Debriefing is a structured conversation amongst players about their larp experience, usually held immediately after a larp.
Debriefs have rules. They often have a facilitator. They have a different purpose than the usual post-larp venting, sharing, bragging, joking and celebrating.
Debriefs are used for many different purposes, and there are several different styles. Edu-larp designers, for example, often use long debriefs to facilitate a learning process, bridging the personal experience with the subject matter. My home community in Oslo used “debrief” to mean a speach where the organisers tell players what REALLY happened. I’m not writing about that kind of debrief. Continue reading Debriefing Intense Larps 101→
I first started writing about “fateplay” in 1996, the stone age of role-playing theory. This was before John Kim’s “Threefold Model FAQ” (1998), when “dramatism” was identified as a possible player agenda, before the birth of the online indie-rpgs community at “the Forge” (2001), before the first Knutepunkt conference (1997) where Nordic arthaus larpers would begin formalizing their ideas.
During the 90s, both in Scandinavia and the English-speaking world, the claim was commonly put forth that role-playing was somehow about “storytelling”. White Wolf, producers of the most influential larp & tabletop games of the day, even called their game mechanics for the “Storyteller System”, while local larpers often used the phrase “experiencing a story together” as a way to explain the point of it all.
So, there is a fairly standardized pair of safewords used at a lot of larps around here – “kutt” which means “Cut! Stop!” and “brems”, which literally translates as “brake!” and means “slow down, buddy – don’t stop roleplaying but do less of whatever it is you’re doing to me”. These safety rules are exposed to constant scrutiny, and it is frequently claimed (for example at the player safety debate at Solmukohta 2012) that they “don’t work”.
Imagine two larps: the first one is about angsty teenagers figuring out the meaning of life in a remote mountain cabin. The second one is exactly the same, except those teenagers are being atacked by zombies. Which larp do you think will attract more players?
The 2011 Knudepunkt Books are now dribbling onto the web. At the time of writing, two of the three books can be downloaded as PDFs:
The three books are devoted to respectively academic research (“Think Larp”), organizer write-ups (“Do Larp”) and rants & opinions (“Talk Larp”). The last volume, rumours have it, is bound to cause some controversy. Also you online viagra overnight don’t feel embarrassment like you feel in local pharmacy while asking for ED pills. As an individual loses more dopamine-making cells, she samples viagra cialis or he develops some symptoms such as stiffness, poor balance and trembling. It is best to get a health checkup once before you take ED drugs, as some illnesses, or bought here cheap cialis professional medicines already being taken may produce interactions. Vardenafil Hydrochloride drug works by stopping the action of chemical in your body called phosphodiesterase type-5, thus widens blood vessels and improves the flow buy cialis line find out description now of blood in penis that results in harder erection.
Also: if you, dear reader, have lived under a rock the last couple of months, you might have missed the monumental publication of the monumental book “Nordic Larp”, which documents 30 historically significant larps in text and pictures. It’s not on-line, and it anyway shouldn’t be read on a screen – this is a beautiful “art book”, which sits nicely on your coffee table or in the library of your neighbourhood art istitution. Buy it here or read the editors blog. I have contributed text on the larp “1942 – noen å stole på”.
1. One player is the host, who invites the others. As host, you should invite people you know really well – and preferably who know each other really well. Apart from this, no GM is needed.
2. The larp begins with a timer or alarm clock set for four hours. It ends when the timer rings.
3. Before role-playing begins, each player should carefully examine their own life, looking back to the single biggest decision that has led them to where they are today. The player should imagine what would have happened had that decision been taken differently (for good or for bad), and if so: who would the player be today? That person is the character.
Depression takes away all the enjoyment and pleasure out of generic cialis pills lovemaking. Realizing his error, he ceased leaking untruths to the press. viagra without side effects videoleadspro.comviagra buy germany A former student of mine, in her 20’s, volunteered her time and helped the elderly man three times each week. Because of this, over an interval of time-there is really a creation of a horseshoe form on the sides of eyes, otherwise viagra cheap prices it will be caused of unwanted or undesired hair on your face. 4. In-game, none of the characters know each other. They meet for the first time.
5. The host decides where and why the characters meet.
I came across this excellent gathering of advice in Swedish on Gabriel Widings blog, and impulsively translated it into English. Gabriel is one of the authors of the book-slash-provocation deltagarkultur (“participatory culture”) and has spent as much time working with ARGs, collaborative writing and other kinds of participatory culture as he has with larp. So the list below includes but is not limited to the design of live-roleplaying events.
I think it pinpoints precisely how to avoid the mistakes that are usually comitted by people in the Established Arts (theatre, cinema, performance etc.) who try to engage their “audiences” in interactivity or participation, and it also offers up some eternal larpwriting truths. As with most holy text, there is space here for both interpretation and heresy.
Tips and traps when making participatory culture
By Gabriel Widing
Communicate the agreement clearly and explicitly. Only when the participant knows the rules of play, that is: how communication and participation are meant to be done, is she confident enough to act.
Consider banning passive spectators and documentation. The external, critical, view is not always productive. It may in some cases prevent participatory action. People do not behave the same way in front of a camera as they do in front of confidantes. Documentation usually fails at capturing the qualities of a participatory work, but easily pushes participants from dialogic action to simple performance.
Do you like larp documentation? I do, and so far 2010 is making me very happy.
First up: “Mad About The Boy” (website), the Nordic arthaus larp about a world where all men are dead and a group of women are competing for the privilege of artificial insemination until * suddenly * the last man alive appears. Li Xin took some excellent photos: Mad About The Boy, First Run.