Documenting Role-Playing: Self-Understanding of the Nordic Larp Scene Jaakko Stenros University of Tampere DiGRA 2009
Ephemera <ul><li>” A larp does not exist until it is over, but at the moment it ends, it dissolves.” (Koljonen 2008) </li>...
<ul><li>Larps and other role-playing games are seldom documented </li></ul><ul><ul><li>Role-playing games are economically...
Nordic Larp <ul><li>Documentation as an issue surfaced some three, four years ago </li></ul><ul><li>In order to document, ...
Carolus Rex (Sweden 1999)
Totem (Denmark 2007)
Neonhämärä  (Finland 2008-)
Luminescence (Finland, 2004)
Rudeskov (Denmark 2008)
AmerikA (Norway 2000)
player reports research designer descriptions critiques J. Tuomas Harviainen: Testing Larp Theories and Methods—Results -s...
in-game photos inspirational images design plans behind the scenes photos props in-game diaries log files video player rep...
The Role-Playing Text <ul><li>“ Neither the GM’s notes nor the commercial supplement is the text. Neither is a transcripti...
Erving Goffman: Frame Analysis & Gary Alan Fine: Shared Fantasy diegesis the role-playing text experience frame outside pl...
<ul><li>The Role-Playing Text (abstract) </li></ul><ul><ul><li>Reading made by the participant (”what happened”) </li></ul...
<ul><li>But… </li></ul><ul><ul><li>… the experience is different for everyone  </li></ul></ul><ul><ul><li>… the player is ...
<ul><li>First person audience </li></ul><ul><li>Diegesis vs diegeses </li></ul><ul><li>High-resolution larping </li></ul><...
 
 
 
Dragonbane (Sweden 2006)
Why?
Treasure Trap (UK, 1981-1984)
1943 (Belarus, 2008)
thank you! feedback welcome at [email_address]
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Documenting Role-Playing

  1. 1. Documenting Role-Playing: Self-Understanding of the Nordic Larp Scene Jaakko Stenros University of Tampere DiGRA 2009
  2. 2. Ephemera <ul><li>” A larp does not exist until it is over, but at the moment it ends, it dissolves.” (Koljonen 2008) </li></ul>
  3. 3. <ul><li>Larps and other role-playing games are seldom documented </li></ul><ul><ul><li>Role-playing games are economically insignificant </li></ul></ul><ul><ul><li>They are perceived as youth culture, subculture, as low culture </li></ul></ul><ul><ul><li>Ephemeral </li></ul></ul><ul><li>Yet documentation is necessary in order to understand, research and preserve </li></ul>
  4. 4. Nordic Larp <ul><li>Documentation as an issue surfaced some three, four years ago </li></ul><ul><li>In order to document, one must describe </li></ul><ul><li>Reasons: </li></ul><ul><ul><li>Legitimization </li></ul></ul><ul><ul><li>Fundraising and publicity </li></ul></ul><ul><ul><li>Academic </li></ul></ul><ul><ul><li>Game development </li></ul></ul><ul><ul><li>Community and personal identity </li></ul></ul>
  5. 5. Carolus Rex (Sweden 1999)
  6. 6. Totem (Denmark 2007)
  7. 7. Neonhämärä (Finland 2008-)
  8. 8. Luminescence (Finland, 2004)
  9. 9. Rudeskov (Denmark 2008)
  10. 10. AmerikA (Norway 2000)
  11. 11. player reports research designer descriptions critiques J. Tuomas Harviainen: Testing Larp Theories and Methods—Results -series Juhana Pettersson: Castle Caldwell - Redux! Juhana Pettersson: The Age of Indulgence Anna Westerling: Producing A Nice Evening Justin Parsler: Frail Realities: Design Process Bjarke Pedersen & Lars Munck: Walking the White Road: A Trip into the Hobo Dream Katri Lassila: Adventurous Romanticism: Enabling a Strong Adventurous Element in Larp Matthijs Holter: Exhuming Agabadan Anders Hultman, Anna Westerling & Tobias Wrigstad: Behind the Façade of A Nice Evening with the Family Jonas Trier-Knudsen: Stupid Stories: Using Narrativism in Designing Agerbørn Mike Pohjola: School of Flour Eirik Fatland: Excavating AmerikA Johanna Koljonen: &quot;I Could a Tale Unfold Whose Lightest Word Would Harrow up Thy Soul&quot; Gabriel Widing: Post Panopticon Tova Gerge: Temporary Utopias Karin Tidbeck: Infinite Possibilities Andie Nordgren: High Resolution Larping: Enabling Subtlety at Totem and Beyond Markus Montola & Staffan Jonsson: Prosopopeia—Playing on the Edge of Reality Staffan Jonsson, Markus Montola, Jaakko Stenros & Emil Boss: Five Weeks of Rebellion: Designing Momentum Jaakko Stenros, Markus Montola & Annika Waern: Post Mortem Interaction: Social Play Modes in Momentum Heidi Hopeametsä: 24 Hours in a Bomb Shelter: Player, Character and Immersion in Ground Zero Marie Denward & Annika Waern: Broadcast Culture Meets Role-Playing Culture
  12. 12. in-game photos inspirational images design plans behind the scenes photos props in-game diaries log files video player reports research designer descriptions critiques
  13. 13. The Role-Playing Text <ul><li>“ Neither the GM’s notes nor the commercial supplement is the text. Neither is a transcription of the session the text, any more than a film is the screenplay. The film itself is the text. Similarly, the session itself is the text of the session. However, the comparison between game and film must not be taken too far. One can watch a film over and over again. There is nothing to prevent the video taping of a game session; however, the tape is not the text. The text is the session itself. It is, therefore, transitory, existing only for the duration of the session.” (Padol 1996) </li></ul>
  14. 14. Erving Goffman: Frame Analysis & Gary Alan Fine: Shared Fantasy diegesis the role-playing text experience frame outside playing frame of playing diegetic
  15. 15. <ul><li>The Role-Playing Text (abstract) </li></ul><ul><ul><li>Reading made by the participant (”what happened”) </li></ul></ul><ul><ul><ul><li>Interpretation by the participants (”what it means”) </li></ul></ul></ul><ul><li>Other texts: </li></ul><ul><ul><li>Protodiegesis, paratexts, texts created through playing (in-character diaries), recordings of the session etc… </li></ul></ul>
  16. 16. <ul><li>But… </li></ul><ul><ul><li>… the experience is different for everyone </li></ul></ul><ul><ul><li>… the player is a participant and co-creator </li></ul></ul>
  17. 17. <ul><li>First person audience </li></ul><ul><li>Diegesis vs diegeses </li></ul><ul><li>High-resolution larping </li></ul><ul><li>360 degree illusion </li></ul><ul><li>Ars Amandi </li></ul><ul><li>Bleed </li></ul><ul><li>Indexicality </li></ul><ul><li>Immersion </li></ul><ul><li>Rule of normalcy, rule of no irony </li></ul><ul><li>Protodiegesis </li></ul><ul><li>Ars Ordo </li></ul><ul><li>Interimmersion </li></ul><ul><li>Liminaut </li></ul><ul><li>Scenography </li></ul><ul><li>The role-playing agreement </li></ul><ul><li>The art of experience </li></ul><ul><li>Integrative and dissipative play </li></ul><ul><li>Pervasive larp </li></ul>
  18. 21. Dragonbane (Sweden 2006)
  19. 22. Why?
  20. 23. Treasure Trap (UK, 1981-1984)
  21. 24. 1943 (Belarus, 2008)
  22. 25. thank you! feedback welcome at [email_address]

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