Live action role-playing game

A live action role-playing game (LARP or LRP) is a form of role-playing game where the participants perform some or all of the physical actions of the characters they are playing within a pre-determined space for a pre-determined span of time. LARP may be considered a form of improvisational theatre.

LARP basics

In character vs. out of character

In LARPs, the players themselves represent the role-played characters, and each player's actions directly represent the character's actions, unlike traditional role-playing games where character actions are described verbally ("My character says..."). At a LARP, the player is treated as being the character - a player's actions are interpreted as character actions by the other players.

Most LARP systems make a distinction between when a player is actively representing the character (called "in-character", "IC", "in-game" or "in-play") and when the player is acting normally, independent of the character (called "out-of-character", "OOC", "off-role" , "out-of-game" or "offplay"). During a LARP, players are normally taken to be in-character - so that if a LARP player says "I am feeling sick", other players will assume that the character is sick while the player is merely acting sick. The ratio of in-character to off-character play varies widely between LARPs. Some LARPs encourage players to stay consistently in-character except in the case of an emergency, while other LARPs accept players being off-character for large portions of the LARP and use devices such as off-game areas, cards or gestures to signify when players are currently off-character.

It is considered bad etiquette or even cheating in many of the more detailed LARPs such as SOLAR for your character to know anything that your player was told whilst OOC (i.e. to metagame), especially as some rely on spells such as forgetfulness which of course will not work if the player does not willingly forget these things. For example, if before an event you know that a friend of yours is working on a new trap, then your character warns other people of this trap, it would spoil the game.

Simulation and representation

All LARPs occur in both a real and an imaginary environment - the latter called the "setting", "game world" or (in theory) "the diegesis" . Characters inhabit the imaginary environment, while players inhabit the real, physical environment. In all LARPs, the real environment to some degree represents the imaginary environment (for example, a real wall is normally also an imaginary wall) and player behaviour represents character behaviour. In cases where the real environment does not correspond to the imaginary environment, LARPs use different techniques to simulate events in the imaginary environment. These techniques may include game rules and randomizers (dice, cards), physical symbols (for example a rope signifying an imaginary wall) and theatrical improvisation.

Characters may also die in most LARPs. In some systems, this is merely a temporary phenomenon, putting the character out of play for a time. In most, it is a major setback, forcing a player to create and role-play a new character from scratch.

Of course since some LARPs are not in the 'real' world, characters can sometimes be revived through means the role-player can determine.

Character advancement and growth

Many LARPs utilize some sort of game system that promotes the growth of a character, to maintain player interest. Some LARPs use a point system, where a player is awarded points based on attendance of events; s/he can apply these points to his/her character to provide growth and mastery of the character's chosen traits. Advancement might be in the form of a "level-based" system, where a character starts at level one and advances levels using awarded points. It might also be a skills-based advancement, with no measurable increments, where a character uses points to simply acquire more traits. Ongoing LARPs tend to use the level system, to measure and properly balance the events, whereas a “Campaign” LARP that runs for a specific duration might choose a skills-based system, since characters won't advance significantly during the campaign and so balance is less of an issue.

LARP styles

LARP practices are notably diverse, with widely different kinds of events being described as "LARPs" in different regions, countries and groups. There is at present no universally agreed-upon taxonomy of live role-playing styles. Various distinctions divide LARP styles according to their system of combat resolution (physical or symbolic), their primary conflicts (player vs player or player vs GM), their duration (campaigns or single events), their stance on role-playing (immersive or theatrical) or their genre (fantasy, science fiction, contemporary etc.).

Physical vs. symbolic combat

The two most common ways of simulating combat in LARP are through either physical representation or symbolic determination. Physical combat occurs without interruption in role-play, using "boffer" or latex representations of edged weapons, airsoft or laser tag guns, and similar. A variety of physical combat uses relatively harmless versions of real weapons (blunt steel swords, firearms loaded with blanks) rather than representations. Games using physical combat are often known as "Boffer" or "Live Combat" LARPs.

Symbolic determination relies on players momentarily suspending role-playing in order to determine the outcome of combat, for example by rolling dice, playing rock-paper-scissors or comparing character attributes. In symbolic combat systems, weapons may be represented as cards or inaccurate replicas. A "no-touch" rule, prohibiting physical contact between players, is often enforced. LARPs which feature symbolic combat may be known as free-form role-playing games or theatre-style games.

All symbolic combat systems, and most physical combat systems, use game rules governing attributes such as character strength, fighting skills and ability to endure physical pain in order to determine the outcome of a combat situation. An exception is honour system LARPs, where players are trusted to determine the outcomes of combat through free improvisation.

Physical representation is most common in, but not exclusive to, LARP styles where combat is seen as central to game-play. Conversely, symbolic determination and honour system LARPs tend to place less emphasis on combat.

Combat resolution is usually indicative of the design philosophy behind a specific LARP system. The same approaches as are taken to combat will often be used for other elements of LARP simulation such as magic, political power, character sexuality, scenery and propping. For this reason, combat resolution is the most widely used criterion for distinguishing between LARP styles.

Some LARP games involve heavy combat with boffers. Although some games have a "No-touch" policy, some other games are wildly violent in terms of weapons combat. Players of these LARP games must learn the old styles of combat in order to stand a chance in the "real" combat they intend to engage in. Practicing is often encouraged when engaging in these games due to the fact that if you don't practice, you will be beaten fairly regularly. This aspect draws many people to combat intensive LARP games because the idea of taking on a persona that is well versed in the art of sword fighting is very attractive.

Genre and storylines

LARPs can have as many genres and settings as novels, plays, or movies. However, a majority of LARPs use settings derived from genre literature. Fantasy, Science Fiction and historical settings are the most common LARP genres, leading to costuming and history frequently being associated with LARP as a hobby. While some LARPs borrow a setting from an established work in another medium (e.g. The Lord of the Rings or the World of Darkness), most LARPs take place in a setting designed specifically for the LARP. Re-usable custom-designed settings ("campaign worlds"), together with rulesets, are often the principal creative asset of LARP associations and LARP publishers. Sometimes LARPers will borrow a time period and produce their games within a time-based setting (e.g. pirate themed LARPs).

The creative content of a LARP is produced by players in collaboration with organisers - called game masters (GMs), referees or larpwrights - who determine the fictive framework of a LARP. GMs may decide how characters are created by players, or write and distribute characters to the players. The characters allowed or authored by the GMs, along with conflicts placed between characters and possible interventions during the LARP, usually determine a LARPs possible plots. GMs may also influence the LARP while it is played, for example by playing or controlling "Non player Characters" (NPC's).

LARP players will often narrate the events of a LARP as a story, with their character as protagonist, though it should be noted that few LARPs feature pre-determined or pre-scripted stories of the type common in literature or cinema. Whether a LARP can or should "tell a story" is an intensely controversial issue amongst LARP players and theorists.

Some LARPs, such as theatre-style games in the US, feature primarily conflicts between player characters or groups of characters. Others, sometimes called "adventure style LARPs", pit players against GM-controlled obstacles or antagonists. Another distinction is often made (especially in the UK) between player-led and GM-led plots, the former being improvised by players during play while the latter are consciously written by GMs - though may be subject to the players' improvisation.

Game format

LARPs vary in size from a handful of players to several thousands, and in duration from a couple of hours to whole weeks. Most LARPs are either single, self-consistent events or form parts of a campaign - a series of LARP sessions featuring the same setting, the same rules and many of the same characters. Campaigns often contain a storyline which is run and coordinated by members over several episodes. Other campaigns do not have continuous or comprehensive story-lines; the cohesion of the storyline of each character is left to the individual player to determine, and only special games or events contain an over-arching storyline.

List of common LARP styles and genres

Celtic (Mythology) LARPs

Celtic LARPs are LARPs placed in the era of the Celts. It is a cross between re-enactment (historic Celtic clothing and props) and their storytelling, mythology, fantastic creatures from the realm of the fae (fairy) and gods and goddesses. Central is the clan structure, their way of life and their honour in battle.

Children's LARPs

Children's LARPs are LARPs organized by adults for children, either through specialized LARP organisations or through institutions such as schools, churches, the Scouts, the Red Cross etc. Children's LARPing is especially common in Denmark, where an estimated 100,000 children participate in LARPs on a regular basis. The Danish scene is dominated by fantasy combat LARPs tailored for children ages 8-14. Other varieties of children's larping, in Denmark and abroad, include science fiction games and dramatizations of the Harry Potter world.

Espionage LARPs

For a number of years in the late 1980s, the International Fantasy Gaming Society (IFGS) ran "Undercover", a role-playing game set in the real community. Though many games were inspired by Ian Fleming's 007 novels, "The Man/Girl From U.N.C.L.E." TV series and even the "Get Smart" TV series, some were more related to realistic espionage adventures such as the "Three Days of the Condor" movie (marked down from "The Six Days of the Condor" novel). Player characters typically were formed in nation/state teams and pursued their missions in real world corporate offices, hotels, bus stations, doughnut shops, universities, movie theatres, parks, street corners, etc., where NPCs had been salted or were recruited, dead drops located, surveillance established or traps set. Combat, usually a minimal part of the game, was mostly by use of neon-coloured water guns or spray bottles, water balloons and tagged items which served as poisons or explosives. Action sequences were usually reserved for venues controlled by the game organizers. Events such as escapes and car chases were resolved by a comparison of numbered cards, modified by player ability levels.

Fantasy

Fantasy genre LARPs are usually set in pseudo-historical worlds that are inspired by legends and fantasy literature. These settings generally have very low technology, some magic, and non-human species based on myth and legend. Examples include Elves, Dwarves, Orcs, Faeries, Beast-kins, etc. Fantasy, taken as a whole, is probably the worlds most common LARP genre - but may be divided into many different sub-genres and styles.^{[verification needed]} Fantasy combat LARPs are primarily about competition between different fantasy-based characters or factions using magic, weapons, tactics and (possibly) diplomacy. Other types of fantasy LARP emphasize the milieu and sense of wonder of the fantasy genre.

Historical/Living History

Historic LARPs take place in our world, at some point in history. They can vary from a 1930s murder mystery to a feudal Japanese Samurai story. Historical accuracy, in both fictional content and physical props and costume, is often prized in these LARPs, and there are similarities with Historical reenactment.

Horror

A brand of live action stemming from horror writers, books, media such as movies and comics. Zombies, Vampires, lots of running. These adventures can be set in any era including the 1920s of H.P. Lovecraft in Cthulhu Live.

Survival horror genre LARPs are a blend of contemporary/sci-fi settings with strong fantasy elements. These range from the magical futuristic settings of Riftworld and System-Override to the whole range of zombie themed LARPs.

Mil-sim

Mil-sims, or military simulation LARPs take place in a modern setting, or similar, like post-apoc, alternate history or cyberpunk. They implement airsoft or paintball live combat and usually require the players to be "in-character" all the time (even while eating, sleeping, and doing other mundane tasks) to recreate realistic, "dangerous" combat environment. Due to the high level realism, some mil-sims resemble war games conducted by the military or police exercise. Despite the fact that they seem to emphasize combat, mil-sims usually have a significant plot. They can be both attractive to airsoft players who demand a high amount of action, and those who prefer role-playing over fighting. The first group would usually get "military" or "organized forces" roles, and the second "civilian", "VIP" or other non-combatant roles. An exemplary background story might include a group of civilians living in a village in the middle of a combat zone, and interacting with both sides of the conflict (e.g. the Army and the Rebels) which may include arms dealing, hiding deserters, collaborating with political officers, etc.

Nordic Arthaus

Common in the Nordic countries, arthaus LARPs are eclectic events that are judged by the originality of the concept, the acting and immersion of the players, and the depth and complexity of content and role-playing. Arthaus larps have high culture aspirations, and are occasionally held in the context of fine arts - at festivals, in art museums or theatres. The themes, settings and characters of arthaus LARPs tend to be intentionally relevant to real-world issues of politics, culture, religion, sexuality and the human condition. Arthaus LARPs can be seen as experimental LARPs, since they often aim to test out techniques that may be of use to mainstream LARPs.

Science fiction

Science fiction LARPs take place in futuristic settings with high technology and possibly aliens but usually without magic. The "Science fiction" label covers a broad array of LARPs, including politically themed LARPs depicting dystopian or utopian societies, combat-oriented events played with laser tag weaponry, space opera LARPs and post-apocalyptic scenarios. Much of these were presaged by spontaneous role playing games at US science fiction conventions based on the movie Logan's Run. Players took on the roles of 'runners" and "Sandmen".

US Theatre Style / Interactive Literature

Main article: Theatre Style LARP

The U.S. theatre style of larping is characterised by symbolic combat, an eclectic approach to genre and setting, and a preference for diplomacy and narrative over combat as plot drivers. Theatre style LARPs usually last only a few hours, and are typically played at conventions such as Intercon. The northeastern USA has, since the early 1980s, been the stronghold of theatre style LARPing.

World of Darkness

Published by White Wolf Game Studio under the brand name Mind's Eye Theatre, these gothic-punk setting LARPs take place in the World of Darkness. The World of Darkness is much like our modern world, but with the existence of secretive supernatural creatures, like vampires, werewolves, ghosts, mummies, and changelings. Players in such games typically portray these supernatural creatures. The setting was originally developed for use traditional tabletop role-playing games using the Storyteller System. White Wolf also publishes a number of historic gothic-punk style games, such as Dark Ages: Vampire and Wild West: Werewolf. The Minds Eye Theatre game system has a relatively complex system for conflicts and skill simulation, including an intricate system of symbolic combat rules. The rules govern the natural and supernatural abilities of characters, and the growth of such abilities over time. These LARPs are most often played in series ("chronicles") of short events held at regular intervals, including the global chronicle run by White Wolf's own fan club, the Camarilla. The games are popular at conventions where a single large game might officially be active for the entire duration of the convention.

History

Main article: History of live action role-playing games

LARP does not have a single point of origin, but was invented independently by several different groups in the late 1970s. What these groups had in common was experience with tabletop role-playing games (particularly Dungeons & Dragons) and a desire to make the game more physical. In addition to tabletop role-playing, the early LARP groups were preceded and possibly influenced by educational and therapeutic role-playing, historical reenactment groups and the Society for Creative Anachronism.

The earliest recorded US LARP group was the live-combat Dagorhir Outdoor Improvisational Battle Games, founded in 1977 in the Washington, DC area. Though the exact dates are not known, shortly after the release of the movie Logan's Run in 1976, rudimentary role playing games based on the movie sprang up in US science fiction conventions and quickly spread. By 1977 they were almost ubiquitous at US conventions. In 1981 The International Fantasy Games Society (IFGS) began to open chapters. It was also live-combat but with a complex rules system more clearly influenced by Dungeons & Dragons. IFGS took its name from a fictional group in the novel Dream Park by Larry Niven and Steven Barnes, which described highly realistic, futuristic LARPs. In turn the authors adopted and publicized the LARP organization in two subsequent novels in the series. The first Theatre Style LARP group was the Society for Interactive Literature (SIL), founded in 1981 at Harvard University. Treasure Trap, formed in 1982 at Peckforton Castle, is generally recognised as the first LARP game in the UK, and most of the many hundreds of clubs and systems now active in the UK can trace their descent to it.

Research and theory

Nordic LARP theory

Nordic LARP theory is mainly bound to the annual Knutepunkt conventions. For an introduction to Nordic LARP theory see the following non-commercial publications; the texts can be downloaded for free:

• Morten Gade, Line Thorup & Mikkel Sander (eds.): As Larp Grows Up. Knudepunkt 2003. ISBN 87-989377-0-7. http://www.laivforum.dk/kp03_book/
• Markus Montola & Jaakko Stenros (eds.): Beyond Role and Play. Solmukohta 2004. ISBN 952-91-6842-X. http://www.ropecon.fi/brap/
• Petter Bøckman & Ragnhild Hutchison (eds.): Dissecting Larp. Knutepunkt 2005. ISBN 82-997102-0-0 (print) ISBN 82-997102-1-9 (online) http://knutepunkt.laiv.org/
• Thorbiörn Fritzon & Tobias Wrigstad (eds.): Role, Play, Art. Knutpunkt 2006. ISBN 91-631-8853-8. http://jeepen.org/kpbook/
• Jesper Donnis, Morten Gade & Line Thorup (eds.): Lifelike. Knudepunkt 2007. ISBN 978-87-989377-1-5. http://www.liveforum.dk/kp07book/

Academic works

• Geir-Tore Brenne Making and maintaining frames - a study of metacommunication in laiv play[1]) . Graduate degree thesis, Department of Sociology and Human Geography, University of Oslo 2005. The study focus on the Scandinavian tradition, being centred on the larp community in Oslo from 2001-2002. The text is in English, and is oriented towards introducing and presenting the activity to people who do not have much knowledge of Scandinavian larp in advance. It employs a sociological theoretical perspective.

• Journal of Interactive Drama. An Online Multi-Discipline Peer-Reviewed Journal of Scenario-Based Theatre-Style Interactive Drama Freeform Live Action Roleplaying Games. http://www.rpg.net/larp/journal/index.html

See also

• List of live action role-playing groups
• Assassin (game)
• Cosplay
• Darkon: LARP Documentary

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