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Playground Worlds Creating and Evaluating Experiences of Role-Playing Games

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Playground Worlds Creating and Evaluating Experiences of Role-Playing Games 1 Playground Worlds. Creating and Evaluating Experiences of Role-Playing Games Published in conjunction with Solmukohta 2008 http://www.ropecon.fi/pw/ Published by Ropecon ry. The production of the book has benefited from co-operation with the Game Research Lab at the University of Tampere. Editing: Markus Montola, Jaakko Stenros Layout and cover: Erkka Pynnönen Cover photograph from The White Road, taken by Hvalrusen (played by Bjarke Pedersen) Proofreading: Janine Fron, J. Tuomas Harviainen, Johanna Koljonen, Mika Loponen, Claire Palmer, Mikko Rautalahti, Irene Tanke First Edition published in Finland in 2008. © Respective authors, Ropecon ry. 2008. All rights reserved. ISBN 978-952-92-3579-7 (paperback) ISBN 978-952-92-3580-3 (pdf ) Gummerus Kirjapaino Oy, Helsinki. 2 Playground Worlds - Creating and Evaluating Experiences of Role-Playing Games Contents Playground Worlds: Creating and Evaluating Experiences of Role-Playing Games 5 Introduction Markus Montola & Jaakko Stenros Section A: Journalism & Community 12 The Role-Players’ School: Østerskov Efterskole Malik Hyltoft 26 Leave the Cat in the Box: Some Remarks on the Possibilities of Role-Playing Game Criticism Jussi Ahlroth 33 The Dragon Was the Least of It: Dragonbane and Larp as Ephemera and Ruin Johanna Koljonen 53 Producing A Nice Evening Anna Westerling 64 Design for Work Minimization Kåre Murmann Kjær 70 The Children of Treasure Trap: History and Trends of British Live Action Role-Play Nathan Hook Section B: Art & Design 81 Frail Realities: Design Process Justin Parsler 91 High Resolution Larping: Enabling Subtlety at Totem and Beyond Andie Nordgren 102 Walking the White Road: A Trip into the Hobo Dream Bjarke Pedersen & Lars Munck 110 Adventurous Romanticism: Enabling a Strong Adventurous Element in Larp Katri Lassila 117 Exhuming Agabadan Matthijs Holter 125 The Nuts and Bolts of Jeepform Tobias Wrigstad 3 139 Behind the Façade of A Nice Evening with the Family Anders Hultman, Anna Westerling and Tobias Wrigstad 152 Stupid Stories:Using Narrativism in Designing Agerbørn Jonas Trier-Knudsen 161 Levelling the Playing Field and Designing Interaction Troels Barkholt-Spangsbo 170 The Age of Indulgence Juhana Pettersson 178 Parlor Larps: A Study in Design John H. Kim Section C: Research & Theory 187 24 Hours in a Bomb Shelter: Player, Character and Immersion in Ground Zero Heidi Hopeametsä 199 We Are the Great Pretenders: Larp is Adult Pretend Play Erling Rognli 206 Are You the Daddy? Comparing Fantasy Play in Children and Adults through Vivian Gussin Paley’s A Child’s Work Andreas Lieberoth 216 Kaprow’s Scions J. Tuomas Harviainen 232 Key Concepts in Forge Theory Emily Care Boss 248 Broadcast Culture Meets Role-Playing Culture Marie Denward & Annika Waern 262 We Lost Our World and Made New Ones: Live Role-Playing in Modern Times Gabriel Widing 271 Fantasy and Medievalism in Role-Playing Games Lars Konzack & Ian Dall 283 Authors 287 Solmukohta Book Series 4 Playground Worlds - Creating and Evaluating Experiences of Role-Playing Games Introduction Markus Montola & Jaakko Stenros The role of the character in a role-playing game has long been debated. Yet no character can exist without the context of a game world. The character always has a relationship to its surroundings; the easiest way of creating a character is often through providing a context. Even if one supposedly plays oneself in a fictional world, a character – a variation on the ordinary persona – will soon emerge. This book is very much aboutcreating worlds to serve as playgrounds: An enchanted village protecting its dragon god, a future where tribes fight for survival in the concrete jungle, families huddled in a bomb shelter trying to survive a nuclear war. This book is also about using our ordinary world as a playground: drifters walking the road in Denmark, alternate reality activists tracking missing people in Sweden and occult philosophers changing their world views in Norway. Who “you” are matters little when a nuclear detonation shakes the bomb shelter, or when you visit a gas station dressed in rags and smelling like cheap wine. What matters then is your position within that context: Ground Zero made you a witness of nuclear war, Dragonbane had you live through the death of your god, and The White Road made you experience the daily life of a hobo drifter. These are not necessarily powerful experiences of character immersion, but inevitably powerful experiences of special places and times. Though game worlds can be amusement parks that one leisurely visits for entertainment, larp is no longer merely a tool for escape from ordinary reality. Role-playing games are also a tool for exposing, to make visible a nuclear war or the lowest rung of society. They can be used to study the subject or to experience things at first hand. In recent years larp has also evolved into a tool for imposing, for actively engaging the outside world. The games can have dialogue not just amongst the players and game organizers, but engaging society too as play spills into the streets. Whether role-playing games are fairgrounds, test laboratories or attempts to subvert the ordinary, they employ and deploy alternative realities to serve as tools and toys, for fun and profit. This is the idea of playground worlds. Towards Playground Worlds Four years ago we edited Beyond Role and Play for Solmukohta 2004. On the finishing lines of the task, we looked at the collection we had in our hands, and were quite impressed. In a short time, Solmukohta larp discussion had evolved from inebriated opinion, photocopied fanzines and random presentations to an actual discourse, with referenced arguments, and a strong motivation to further the understanding of role-playing. Looking at the manuscript of this present volume, saying that we are proud only begins to describe our feelings regarding the development of the Nordic role-playing community since then. In these four years, we have not only created countless innovative larps, ranging from massive Dragonbane to tiny The White Road, but we have seen several community members turn in professionals. Many have become commercial larp organisers. Others, like ourselves, have became academic game researchers. Denmark has founded one larping school and is about to found another. Markus Montola & Jaakko Stenros 5 Four years ago these jobs simply did not exist. Larp is, indeed, growing up. In hindsight the problem with Beyond Role and Play was that we forced most texts into a pseudo- academic format, or at least assessed them with such criteria. In Playground Worlds we wish to celebrate both the Solmukohta larp community and role-playing as creative work. In this spirit, we have organised the book into three sections with separate editorial principles. Community and Journalism collects together articles on the role-playing community. This section is meant to be the easiest to approach, requiring no prior reading. Art and Design covers role-play as a creative product, exposing philosophies and intentions behind role-playing games, and providing advice and guidance for designers. Research and Theory focuses on analytic and academic thought. In addition to these sections, a few central themes emerged from the submitted papers. Firstly, the staging of larps has previously been discussed mostly as an artistic activity. This year a number of authors have decided to approach the more practical side of project management. Marie Denward, Matthijs Holter, Kåre Murmann Kjær, Johanna Koljonen, Justin Parsler, Annika Waern and Anna Westerling touch upon issues of larp production. Secondly, while the one belief that most role-playing cultures around the globe subscribe to is that role-playing games are not children’s play, most are willing to concede that there are important similarities. Andreas Lieberoth and Erling Rognli swim against the tide of popular opinion in their discussion of the connection between larp and child’s play, offering yet another way to interpret the title of the book. Finally, Jussi Ahlroth and Johanna Koljonen attempt to find ways to capture lightning in a bottle: they discuss criticism and documentation of larp. Telling Stories about Games Role-playing games cease to exist the moment they end. Revisiting old games is not possible without restaging them, and even if this is done, the game is always different. Documenting the games we have played is imperative if we wish to render our rich history visible: if we wish to both build a history and to build on that history. Four years ago in Beyond Role and Play we attempted to jump-start a tradition of writing about specific games on a Nordic level, commissioning documentation ofHamlet , Panopticorp and Mellan himmel och hav. But as the past four years have shown, no culture of game documentation has been established. Past games are often discussed over long periods of time, but are rarely documented, described or dissected in writing. In this volume we try again. We have managed to solicit papers on Agabadan, Agerbørn, Dragonbane, Ground Zero, Frail Realities, A Nice Evening with the Family, Tote m, Sanningen om Marika and The White Road, in addition to writing on various larping styles. We hope that these works inspire our readers to similar documents in the future,1 even if such texts are always taxed with the kinds of challenges described by Ahlroth and Koljonen later in this book. Disseminating our work is a critical to the role-playing community as a whole. The strength of Solmukohta, “The Nodal Point”, has always been in bringing people from various 1 We would especially like to see articles on larps such as 1942, AmerikA, Carolus Rex, Europa, Executive Game, Ghost Express, Knappnålshuvudet, System Danmarc, U-359 and Vreden. Some entire larp traditions remain undocumented, like the 700% games, the Finnish Harry Potter tradition, the various vampire chronicles and the Finnish history enactment larps by Harmaasudet.
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