LARPing

This paper investigates the evolution of larp safety in the NordicAmerican larp community in the last decade, tracing the correlation between safety rhetorics (opinions, arguments, and policies) and mechanics (explicit rules regulating player interactions). It appears that up to around 2010 there was a general acceptance of risk, with a significant share of responsibility for risk identification and harm prevention put on the player. This correlates with mechanics such as safety words, which expected players in distress to actively signal their discomfort. Safety measures expected from the organisers consisted mainly in providing safe off-game spaces, emotional support, and intervention whenever something harmful happened. Around 2014 the safety debate put a larger share of responsibility on players initiating potentially troubling interactions. This correlates with the ‘OK check’ mechanics which requires communication between the initiator and the target of such interactions. Aroun...

Jesień 2016 roku upłynęła młodzieży z kutnowskich szkół pod znakiem walki o tron. Dokładnie tak, gdyż właśnie „Walka o Tron 1733” to tytuł dużego projektu edukacyjnego realizowanego wspólnie przez Fundację Budzenie Pasji i Muzeum Regionalne w Kutnie, którego pomysłodawcą był niżej podpisany. Projekt oparty był na metodzie larp, którą będę chciał poniżej przedstawić i poniekąd zarekomendować. Doświadczenia realizacji kilku podobnych projektów, w których wzięło w latach 2012-2016 ok. 1700 uczniów, skłaniają mnie do sformułowania kilku zasad (wcale nie żelaznych!), które powinno się uwzględnić tworząc a następnie przeprowadzając taki projekt dla młodzieży.

EDU-LARP como una herramienta de refuerzo de contenidos, hace que la información que brindamos en nuestras sesiones lectivas se vuelvan relevantes. Brinda una manera fresca de salir de la rutina y es una excelente herramienta en un proceso de gamificacion explicita en clase.

OldTown to największy w Polsce konwent fanów fantastyki postapokaliptycznej, w ramach którego odbywa się kilkudniowy larp. Rozgrywa się on na terenie opuszczonego lotniska w Stargardzie Szczecińskim. Jest to przestrzeń odizolowana od zabudowań miasta, gdzie infrastruktura wojskowa (m. in. pasy startowe, podziemne schrony, bunkry i zniszczone hangary) jest adaptowana na potrzeby gry.
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OldTown is the largest convention of post-apocalyptic fantasy fans in Poland, as part of which larp takes place over several days. It takes place in an abandoned airport in Stargard Szczeciński. It is a space isolated from the city buildings, where the military infrastructure (e.g. runways, underground shelters, bunkers and destroyed hangars) is adapted to the needs of the game.

The presentation from April 11th, 2015 "The Therapeutic and Educational Uses of Role-Playing Games (RPG) as Intervention Modalities for Individuals and Groups from the Therapeutic Recreation Perspective" at Seattle Children's Hospital for the Washington State Therapeutic Recreation Association (WSTRA) 16th annual conference. The live version of this presentation was certified for Continuing Education Units (CEU's) by the American Therapeutic Recreation Association (ATRA).
Provides in-depth information about all forms of role-playing games (tabletop, live-action (LARP), computer-based, and choose your own adventure), how they benefit users in normal diversional use, how professional may use them in standard approaches to achieve client goals, and how they may be modified to meet specific client needs.

This paper investigates the psychology of bleed-out, in which in-character dynamics spill over into out-of-character thoughts and feelings (Montola, 2011). We pair emerging neuroscience theory and research with classic models of emotion and motivation to examine the causes and consequences of this important larp phenomenon. Regarding positive bleed, hormones associated with trust and love may promote social bonding between players through shared in-character experiences (Kosfeld et al. 2005). Negative interpersonal dynamics could also develop, however, during antagonistic character interaction via “neural alarm bells” -- increased activation in brain areas associated with social rejection (Eisenberger, Leiberman, and Williams 2003). Such neural activity could in turn set off defensive aggression or social withdrawal (Twenge et al. 2001), behaviors that could bleed over into out-of-game interactions. The impact of these and other neuropsychological reactions on players’ behavior may be determined by the degree to which the line between self and character becomes blurred during play. According to Lankoski and Järvelä (2012), however, such blurring is a baked-in feature of human embodied cognition. Therefore, we propose that compartmentalizing “in-character” reactions requires immense self-regulatory control – a limited resource which is known to be depleted through many activities common to larp, e.g., effortful decision making and self-presentation (Vohs, Baumeister, and Ciarocco 2005; Vohs et al. 2014). Connecting self-regulatory resource models with bleed in this way is especially important since negative
bleed-out can be a source of conflict in player communities (Bowman 2013). As such, we offer proactive solutions for those players or designers who wish to tailor a particular larp experience in order to avoid
bleed-out, building on pre-existing best practices: informed consent, safe-spaces, and debriefing (Burns 2014; Atwater 2016; Brown 2016; Bowman, Brown, Atwater, and Rowland 2017).

Le concept de "bleed" a été inventé au sein de la communauté du jeu de rôle grandeur nature (GN) pour parler d'un phénomène de perméabilité entre le réel et la fiction. Nous commencerons par exposer à travers la notion d’alibi la façon dont le réel et le fictionnel sont en théorie distincts en GN, avant d’introduire ce qui vient troubler cette séparation formelle en admettant l’existence de transferts entre l’un et l’autre. Nous nous intéresserons ensuite au potentiel émancipatoire de cette porosité, afin d’illustrer la façon dont la fiction peut être utilisée comme médium pour produire de l’effet dans le monde réel.

This article will cover the current literature pertaining to educational live-action role-playing games (edu-larp) and related phenomena. Though edu-larp is a rather recent development emerging from the leisure activity of role-playing games, various other spheres have emphasized the pedagogical value of role-playing as a method, including education, theatre, psychodrama, military, business, and health care. This literature review will streamline the discourse surrounding games, simulation, drama, and role-playing with the recent development of edu-larp, emphasizing the various cognitive, affective, and behavioral benefits detailed in the research. The review will also discuss the challenges faced by edu-larp designers and instructors, offering possible solutions.

A brief background summary of research information about the effects of role-playing gaming upon participants, including their use as an intervention modality to achieve therapeutic and educational goals for various populations, including: Autism spectrum (ASD/PDD), at-risk youth, brain injury (stroke, traumatic brain injury (TBI), etc.), the Deaf community, ADHD, depression, and social phobias.
While the focus is primarily on tabletop & live-action RPGs, all formats of role-playing gaming are discussed, including Choose Your Own Adventure (CYOA) books, offline and online computer-based RPG, live-action role-playing (LARP), and tabletop RPG.
Briefly provide historical information and examples of each game format in a typical recreation setting, then proceeds with the existing research using RPG for various educational and therapeutic interventions from other disciplines (psychiatry, psychology, education, sociology, cognitive, behavioral, etc.), then illustrates how TR methodologies are ideal for optimizing these activities as an intervention modality for many populations in group and individual settings to achieve client therapeutic & educational goals.
This paper focuses on a more hands-on practical application of RPGs for education and therapy, rather than a more abstract theoretical discussion, though these theories are referenced for the reader to read elsewhere in more depth.

In this essay I will introduce a dichotomous view of play that displays two faces of the same medal (Dionysian and Apollonian), how "play requires both boundaries and the impulse to cross them" (Gwen Gordon, "What is play? In search of a universal definition", 2008) and how role play and videogames often encompass this concept, mirroring reality. In this respect, I will make a connection with online gaming and how the current COVID-19 pandemic had been simulated in the game of "World of Warcraft", when a fictional virus had spread in game, predicting how people would have reacted to a similar situation in real life.

A l'ère de la ludicisation de la société et du marketing expérientiel dans le champs du tourisme, les jeux de rôles grandeur nature apparaissent comme un potentiel inexploité pour diversifier l'offre de loisirs.

At a time of gamification in society and experiential marketing in the field of tourism, live action roleplaying games appear as an untapped potential to diversify leisure activities.

El LARP es una actividad que procede por una parte de los juegos de rol clásicos, y por otra, de las artes escénicas. Se basa en la interpretación de un personaje de manera improvisada en contacto con otros personajes, es por eso que suele decirse que el LARP es teatro alternativo o interactivo. Además, no existe un público a la manera habitual, sino que el público participa en el propio evento, y todos y cada uno de los participantes son público al mismo tiempo. Los personajes
forman parte de una historia que va formándose entre todos los participantes, y que nunca puede predecirse como acabará, ya que es decisión de los propios participantes.
Debemos tener en cuenta que alrededor de esta actividad y a raíz de que la comunidad que la practica ha reaccionado de una manera concreta, nos hace pensar que nos encontramos frente a una subcultura, con su propio lenguaje y su propia manera de entender lo que les rodea a través de esta actividad. Actualmente, en toda Europa y, en concreto, en el territorio español se está desarrollando esta actividad cultural y de ocio y, cada vez más gente participa en ella. Más allá de ser únicamente una actividad de ocio, el LARP puede considerarse como creación y producción artística.
Abstract: The LARP is an activity that comes from some of the classic role-playing games, and from the performing arts. It is based on the playing of a character in an improvised way in contact with other characters, that is why they say that the LARP is alternative or interactive theater. In addition, there is no public as usual, but that the public participates in the LARP itself, and each and every one of the participants are public at the same time. The characters are part of a story that is formed among all participants, and you can never predict how it will end, as it is up to the participants themselves
We should note that this activity and the community has reacted in a certain way, it makes us think that we are facing a subculture, with its own language and its own way of understanding the world around them, through this activity. Nowadays, across Europe and in particular in the Spanish
territory it's developing this cultural and leisure activities, and more people participate in it everyday. Beyond being just a leisure activity, the LARP may be considered artistic creation and production.

Nathan Hook (2015): "Pan". in Charles Bo Nielsen & Claus Raasted (eds) The Nordic larp Yearbook 2014, ed. Charles Bo Nielsen and Claus Raasted.. Knudepunkt 2015. Rollespilsakademiet. complex or innovative scene structure is often considered a meta-technique in its own right. Consider also whether to have discrete scene breaks (which is more common) between scenes or a more organic structure where scenes flow into each other with more fluid notions of time. Consider whether to design in "mini-scenes," such as monologue opportunities or reflections between the main scenes. Consider the expected length of each scene, and so estimate the total expected playtime of the scenario.

Les études sur le jeu restent aujourd’hui encore largement influencées par deux auteurs classiques, Johan Huizinga et Roger Caillois. Tous deux ont considéré le jeu essentiellement dans ses rapports à la culture. La culture, que ces deux auteurs ont souvent entendue dans le sens de « civilisation1 », est décrite par l’entremise du jeu et selon deux axes : l’ensemble des normes sociales qui caractérise un groupe humain ; l’ensemble des procédés de création artistique ou intellectuelle.
Pour le premier, historien néerlandais spécialiste du Moyen Âge, jeu et culture s’entremêlent :
« La civilisation humaine s’annonce et se développe au sein du jeu, en tant que jeu » [1988, p. 11].
Pour le second, philosophe français et haut fonctionnaire à l’Unesco, les choses sont bien différentes ...

Este estudo reúne autores e conteúdos interdisciplinares, para o entendimento da prática de um tipo de jogo, o Larp, como uma atividade imersiva e sob a ótica das performances culturais. A importância deste estudo se dá ao fato de haver carência de material científico que crie as conexões entre os estudos do Larp e das performances. Para isso, a seleção e pesquisa das referências são baseadas em revisões para se perceber a relação de pensamentos entre autores de maneira dialética e histórico-cultural. Dessa maneira, o trabalho buscou compreender o Larp como uma prática recreativa e artística para preencher a carência de material. Portanto, uma revisão bibliográfica constituída pelo materialismo histórico e dialético. Os resultados colhidos dessas conexões foram a percepção e conceitos sobre fenômenos emocionais em ações performáticas. Nas considerações finais, o caminho escolhido contribuiu para uma relação crítica de como as teorias estão para além da instrumentalização do objeto. Deste modo, permitindo que o estudo continue avançando mediante os contextos históricos e culturais observados dentro de futuras perspectivas.

Jeux et fictions partagent un point commun : celui qui s’y engage doit adopter une posture d’immersion. Cette posture se caractérise d’un côté par un accord tacite ou explicite des règles du jeu et des logiques d’action dictées par le système ludique, qui demande d’adopter une certaine attitude de faire-semblant. De l’autre, l’immersion fictionnelle fait appel à nos capacités d’imagination, à nos perceptions, à notre sens de l’esthétique en tant que spectateurs ...

We invite proposals for chapters on tabletop roleplaying games in relation to utopia and utopianism. The theme may be construed broadly, encompassing for example hopepunk, solarpunk, and other -punks, transformative justice and anti-carceral feminism, queer publics and queer world-making, colonialism and decoloniality, Afrofuturism and Indigenous Futurisms, climate change and ecological crisis, critical humanism and posthumanism, dystopia and heterotopia, imaginary voyages and philosophical novels, or counter-mapping and radical cartography. Please submit proposals by 1 February 2021 to [email protected], along with a brief bio (or a CV). Innovative formats and approaches and informal queries are very welcome.

Les jeux de rôles sur table et grandeur nature (GN) sont nés pratiquement à la même époque aux États-Unis. Eux-mêmes héritiers des wargames et jeux de stratégie militaire, ils ont participé à une évolution historique du genre, caractérisée par une individualisation forte du personnage et la volonté d’étendre le domaine de jeu, de sortir des premiers donjons pour partir à la conquête d’un univers. Cet article propose d’étudier les changements apportés par le passage en grandeur nature des jeux de rôles, d’une part sur un plan historique, mais surtout en prenant en compte la façon dont l’introduction d’éléments traditionnellement attachés au récit de fiction va changer la perspective. Non seulement, l’organisation sociale du jeu va être modifiée, mais également, le rôle conféré aux acteurs va évoluer au même titre que les logiques d’écriture présidant à sa création.

Mar 9, 2022 - Online lecture in the Transformative Play Initiative Event Series

Description:
The transformative potential of live action role-playing allows players to develop holistically (on a physical, mental, emotional, creative, and social level), even when participating in games just for fun. Are the processes and elements at play different, however, when personal development happens informally in a recreational larp, as to when a larp is formally designed for psychotherapeutic purposes? What makes larp a valid and effective methodological tool in the hands of a mental health professional? In this lecture we will attempt to answer these questions by exploring characters and stories in larp as psychotherapeutic material, identifying the connections between larp and some of its most adjacent psychotherapeutic methodologies, and finally discussing how psychotherapy techniques can be used to design and use larps as tools in psychotherapy.

The Transformative Play Initiative is part of the Games & Society Lab at the Department of Game Design, Uppsala University Campus Gotland. The Initiative explores the use of analog role-playing games as vehicles for lasting personal and social change.

Moderated by Kjell Hedgard Hugaas.

Graphic design and editing by Liliia Chorna. Music by Elias Faltin. Captions by Kjell Hedgard Hugaas.

Rol yapma oyunları, bugün hem masaüstünde, hem de dijital ortamda fazlasıyla deneyim edilen oyunlar olduğu gibi, oyun piyasasına ziyadesiyle etki etmeyi başarmışlardır. Her ne kadar dijital dünyada rol yapma oyunu dediğimiz zaman birçok farklı isim akla gelse de tüm bu oyunların aslında analog olarak üretilip, akabinde dijital dünyaya aktarıldığını unutmamak gerekmektedir. Nitekim dijitalleşmenin etkilerine rağmen, masaüstü rol yapma oyunları hem dünyada, hem de ülkemizde ziyadesiyle deneyim edilmektedir. Bu oyunların ülkemizde de kendisine büyük bir yer bulması, şüphesiz fantastik ve bilim kurgu romanlar ile başlamıştır. Fakat onların bugünkü yerlerine gelmelerindeki en büyük pay, 90’lı yılların sonun ile 2000’li yılların ortasında kadar başta İstanbul ve Ankara’yı etkileyen, FRP Cafe’lerdir. FRP Cafe’ler ile birlikte daha önce görülmemiş bir alt kültür topluluğu ortaya çıkmış ve bir grup insanı etkisi altına almıştır. Her ne kadar bu bir oyun olsa da değişen konjonktürden etkilenmiş ve Satanizm olaylarının ortasında kalmıştır. Bu dönem esnasında FRP hakkında birçok olumsuz şey söylenmiş olsa da değişen zamana ayak uydurmuş ve yapılan convention etkinlikleri ile daha da görünür hale gelmiştir.

Le Moyen Âge sinon rien. Statut et usage du passé dans le jeu de rôles grandeur nature D'un abord un peu alternatif, voire trivial, le jeu de rôles grandeur nature est un observatoire tout à fait sérieux pour étudier la « présence » du passé et surtout celle du « Moyen Âge » dans nos sociétés. À la différence de la littérature ou du cinéma, dans le jeu de rôles grandeur nature, le récit est foncièrement interactif ; la dimension participative exige des créateurs, des joueurs et des animateurs, de partager une vision commune et pratique de l'univers dans lequel ils évoluent. La majorité des jeux de rôles grandeur nature a lieu dans une « ambiance moyenâgeuse » et à peu près tous dans un contexte non contemporain. Ce jeu, enfin, n'est pas une activité intimiste ; on estime le nombre de pratiquants à 15 000 par an en France, et une « partie » peut réunir, en Belgique par exemple, plus de 1 500 participants. Cette activité présente donc au moins pour ces trois raisons une configuration remarquable pour réfléchir sur les rapports contemporains au passé, tant dans les objets narratifs de fiction que dans la société en général.

This paper investigates the evolution of larp safety in the Nordic-American larp community in the last decade, tracing the correlation between safety rhetorics (opinions, arguments, and policies) and mechanics (explicit rules regulating player interactions). It appears that up to around 2010 there was a general acceptance of risk, with a significant share of responsibility for risk identification and harm prevention put on the player. This correlates with mechanics such as safety words, which expected players in distress to actively signal their discomfort. Safety measures expected from the organisers consisted mainly in providing safe off-game spaces, emotional support, and intervention whenever something harmful happened. Around 2014 the safety debate put a larger share of responsibility on players initiating
potentially troubling interactions. This correlates with the ‘OK check’
mechanics which requires communication between the initiator and the
target of such interactions. Around 2016 the safety debate moved to the
position in which it requires organisers and participants to do their best
to prevent harm from ever happening. This finds its expression in the rapidly expanding toolkit of mechanics of consent and calibration, which clearly put responsibility for overstepping someone’s boundaries on the one who oversteps. To simplify, the first approach obliged players and organisers to taking care of those who signalled they needed it. The second approach required caution and care in testing someone’s boundaries. The last one states that boundaries are to be carefully identified and respected – not tested.

This paper extends theoretical work on small group dynamics in live action role-play (larp; Leonard and Arango 2013), honing in on three challenges larps face that are anticipated by our unique integration of roleplay studies with small groups research. These challenges are: relative group embeddedness, which can cause splintering and unfavorable social
comparison when a larp is situated in a dense network of other larp groups; bleed of relationship dynamics such that in-character conflicts can foster intragroup tension (Bowman 2013), especially under conditions of zero-sum competition; and principled conflicts in which players disagree on core values, ideas, and goals of the larp itself (Wheelan 1994). We analyzed 17,371 survey responses to explore the role of embeddedness, socially competitive play, and regional play-style “fit” in explaining larp satisfaction. We discuss implications of these hypothesis-driven analyses, both for their scholarly and practical value.

An avant-garde approach to the concept of Faerie as a place and people.
This essay explores the very definition and understanding of the Fae and the realm of Faerie, starting with their historical folklore ties primarily descending from Western Europe and Ireland.

Presentation to January 2016 Pacific Northwest American Therapeutic Recreation on "The Therapeutic and
Educational Uses of Role-Playing Games (RPG) as Intervention Modalities for Individuals and Groups from the
Therapeutic Recreation Perspective". Academia.edu won't allow me to upload the full presentation file due to file size constraints. See full length version at http://www.rpgresearch.com This version is a shorter printable summary of the presentation.

The purpose of this research is to investigate the nature of small group dynamics in live action roleplay (larp) communities. We examine which features of larps and larpers intensify three challenges anticipated by past integration of roleplay studies with small groups research (Leonard and Arango 2013). These challenges are: intragroup tension due to zero-sum competition (Bowman 2013); relative group embeddedness, when a larp is situated in a dense network of other larp groups; and principled conflicts in which players disagree on core values, ideas, and goals of the larp itself (Wheelan 1994).

Monty Python and the Holy Grail is an example of surreal humor performed by the well- known British comedy group Monty Python. They brought a satiric approach to the Middle Ages, and they reinterpreted the Arthurian Legend. This chapter focuses on how the movie works as a Role- Playing Game (RPG) by discussing the RPG elements in the movie. RPG requires narration, and the movie has a narrator, and all the events follow his narration. The movie is divided into pieces like a common RPG session. In a different genre of RPG called “Live Action Role- Playing” (LARP), players do not only “role play,” but also wear proper clothes, use proper equipment, and physically act as their characters. The movie can also be interpreted as a LARP. This is an analysis of the movie about whether

The findings of online sociologic survey (2015–2016) among members of the LARP subculture (N = 290) are presented. The analysis of basic demographical data and its dynamics (2002–2011–2016) shows that the LARP movement is becoming increasingly popular with elder Russians (after 30), most of whom are representatives of brainpower, creative and business social classes. The stability and consistency of LARP subculture all over its history has also been found – 21% of respondents have been members of the LARP movement for more than 15 years, with total 3 out of 4 surveyed persons more than 5 years’ being a LARP members. Two key events unify all LARP members – ‘great’ games providing a continuous event-driven fullness of the LARP movement life for its ‘major’ members, and festivals of fantastic and RPGs, which function refers to as presenting the subculture’s activities to the outer society. In addition to it, LARP members participate in ‘minor’, board (e.g. D&D, etc.) and videogames; as well as in the role modeling – dances, costume plays, staging battles, jousts, quests etc. LARP members perceive their participation in these activities and events as hobby, and also are attracted by the opportunity to realize their escapist intentions to submerge into subjectively alternative reality for changing their self-image from real one to game. 2 out of 3 LARP members feel positive changes in their lives after participating in these kinds of games. Generally, despite the active development of MMORPG online communities, the LARP movement is well-incorporated into nowadays Russian social landscape, and has not lost its relevance.

To best accommodate their functional challenges and incorporate their narrative advantages, villains in live action role play games should be designed and cast in such a way as to facilitate the player finding enjoyment in pushing the conflict. Originally published in Volume 1 of Game Wrap Magazine (http://gamewrap.interactiveliterature.org/).

This paper examines volunteers as workers in the leisure activity of festival-scale UK live-action roleplaying. The descriptive term ‘monsters’ is native within the field, referring to volunteer roles often involving dramatic performance of a ‘villain’ as opposed to the roles played by paying player ‘characters’. The term highlights the paradoxical relationship between these ‘monsters’ and their consumption by the organization in order to produce its main ‘product’; the live-action roleplay (LARP) event. These volunteers do not clearly conform to a normative role as customer or employee, and they represent deviations in activity, identity, and morality. Yet this study indicates that the simultaneous production of organization and monstrosity in LARP conceals monsters’ role in the production of the LARP event as a conventional leisure activity. The paper suggests that conceptualizing volunteers as monstrous highlights their function and their potential for radical and different approaches to existing organization.

While many virtual reality game projects are attempting to reproduce traditional screen- based digital game mechanics and genres, the authors of this paper used their appreciation for experiential games and participatory art to explore new experimental design approaches and phenomenological impacts for virtual reality experiences. In doing so, they made several discoveries that they believe will be of unique value to other practitioners designing virtual reality games for entertainment, social impact and artistic effect.

The article reflects briefly on the path of larp in Brazil: from its arrival along with RPGs and long years of “for fun” larps without far reaching outcomes until 2011, with the growing interaction with practices and theories of Nordic and world larp. This influence is building a new identity of Brazilian larp, based on the idea that larp is a language, a medium and a kind of art.

Gaia Reboot is a game that embodies a methodological approach towards designing self-regulating ecologically-reflexive paraludic games.  Players can earn two types of points by completing ecologically beneficial tasks.

Points are tallied in a blockchain ledger system that tracks the two types of points being earned: Gaia Points (GP), a running tally of all Points the player has earned, and Trade Points (TP), which can be exchanged with other players.

Ecologists serve as task-creators and moderators, using biomass evaluations and ecological health measurements to reify each task.  Their work also counts towards earning points within the gameplay structure.  Players with enough GP may be invited to train with ecologists to take on their roles.

This point system is modular and paraludic, allowing user-developed game content, so hundreds or even thousands of game designers might use it to underlay their game story world.  Gaia Reboot can also be integrated with the points systems of preexisting campaign games such as LARPs, tabletops, capital, deck-building games, and MMORPGs.

This game requires further collaborative work between game designers, ecologists, and web developers to reach fruition.

Comment ethnographier la place de la création fictionnelle chez l’enfant ? Nous proposons ici une étude de cas d’une pratique à la croisée du jeu de rôle enfantin spontané et du jeu de rôle grandeur nature pour adulte. Menée sous la forme d’un stage estival, cette activité nous permet de comprendre comment adultes et enfants peuvent ponctuellement participer ensemble à l’écriture d’un récit qui prendra la forme d’un jeu en actes et en paroles. Une des caractéristiques principales de cette forme hybride est que l’enfant est placé dans une position d’auteur, d’acteur et de spectateur. Mais contrairement à ses propres jeux, il est en permanence sous la surveillance et la conduite d’adultes qui supervisent le développement du récit et la conformité des actions par rapport aux règles. Le jeune joueur est donc dans une posture originale : il produit une partie du contenu narratif du jeu dont il n’est pas l’acteur unique (en créant par exemple son personnage). Lui aussi veut raconter une histoire, mettre en place un scénario, créer des règles et faire jouer les adultes, comme dans son jeu enfantin. Mais les règles changent, il n’est plus omnipotent et doit jouer dans des cadres de simulation qu’il contribue à définir.

A LARP for making a creative economy, for use in hackerspaces (but could be adapted for [un]conferences).  Uses simply a bulletin board, paper notes, and colored pencils.  With only a simple administrator task to guide it, organizes all hackerspace's activity without dictating anything:  a free-market system for ideas.

It is an economic game, made with the spirit Buckminster Fuller's idea of a "World Peace Game" and patterned after the Gaia Hypothesis of Earth as a self-organizing, living system.

The binding of José Arcadio to the fence: a cognitive
ethnography of situational normativity of moral
controversy in the LARP game Cien Años

The paper is an ethnographical probe into
the chosen exotic environment of normativity in the
fictive world enacted and embodied in a LARP game
(role-playing simulation) and a theoretical essay about
the artificial inter-subjectivity in role-playing simula-
tion in general. Based on field research from participant
observation and semi-structured interviews, the study
analyses chosen parts of the recent Czech LARP game
Cien Años de Soledad (One Hundred Years of Solitude)
inspired by the book by García Márquez. The aim is
to explore some aspects of the general problem of the
situational normativity of moral behavior using the ex-
ample of the game’s participant behavior. The focus is
on situational micro-social relations between the act-
ing individuals and the environment. The research is
inspired by cognitive approaches to culture, like cog-
nitive ethnography, ecological psychology and enactive
cognitive – situational normativity is understood as a
property of a concrete instance of the embodied and
enacted social environment. The core of the study is
an analysis of a chosen moral controversy from the
game in terms of its participants as well as the situ-
ational construction. The analytical axis is the conflict
or synergy of personal normative attitudes of partici-
pants (“real people”) with the fictional normative order
of the shared world (“roles”). Through an analysis of the
sources of LARP behavior, the study explores the situ-
ational normative attitudes of participants and shows
the interplay of factors on three levels of the situation
(the reality of persons, players, and roles).