Latest

Badass Larp Talk #20: 5 Popular Boffer Larp Mechanics It’s Time to Re-Examine

BIG DAMN DISCLAIMER
This a post about game mechanics that are common to many larps around the country (if not the world). I am not saying that any game with these mechanics is terrible, and I not calling someone a bad game designer for putting them in their game. For one thing, I’d be condemning about 95-99% of the boffer larps and boffer larp designers out there, since most of them use at least one of these systems, and that’s not my intention or my assessment. I’ve been a boffer player for 14 years, designed and run my own boffer game, and helped write rules for a few others here and there, including systems that used some of these very rules. I love boffer larp. No, think of this more as a call to examine some of the practices that I think the genre may have outgrown, or at least may need to re-assess regarding the cost:benefit ratio surrounding their implementation.

If it helps, think of it like D&D community assessing the utility of THAC0 when the time came to transition to D&D 3.0 and onward. While it’s not the worst system by any means, the designers took  a look at the system and said “Are we using this because it’s the best, or just because it’s the rule we’ve always had and it does well enough?” Though it met with some resistance, including a surprisingly sentimental amount from folks like me who grew up with that system, ultimately the attack system re-design resulted in what I think many players agree is a stronger system overall. Even the diehards who stuck with AD&D and the THAC0 system had a chance to compare it to some new ways of thinking and decide if they wanted to improve anything while still keeping what they were used to using. It was a win all around.

Just to recap: I am not saying your favorite game sucks. I am not calling anyone a bad game designer. I am saying that maybe it’s time to take a look at some of these mechanics and see if they’re still necessary, at least in their current forms. Your answer can certainly be “No thanks, what we have works for us!” and a cheerful wave, and that’s fine! If your game is working and everyone’s having fun, then great, by all means keep on doing what you’re doing. Having fun, after all, is the ultimate goal of any game. Just wanted to make that clear.

That said, let’s have some fun taking apart some rules, everyone.

#5 – The Card Check
The Theory: Keeps players honest.
The Problems: Needlessly breaks immersion, does little to prevent abuse.

There are lots of little variations on this practice – some games use rings of tearaway strips, others have plastic chips players must carry, some use multiple character sheets, and so on – but the basic idea is the same: At certain intervals, the game staff will come along and check your character card or what have you, do some math and make sure that you’re not cheating (using skills you don’t have, overspending for those you do, etc.). It’s also not uncommon for games with these systems to require players to write down things like skill use, resource point expenditures, and so on during play, so if say a crafter is forging a magic sword then he must take a moment or two during the process to write out what he’s doing on his character card. A good player will do this as unobtrusively as possible, but even so, the fact remains that according to the system it needs to be done.

Like most things on this list, it’s not necessarily a bad practice in theory, or when it comes to rare or permanent changes to a character – religious baptism, joining a secret society, forging a powerful item, taking a death in a limited death system, etc. – but when it’s required for more commonplace activities it simply becomes a needless hassle as people break character to sit down and do math after exciting scenes. (Or you make defacto cheaters out of the players who don’t bother or remember to do so.) The great thing about larp, and especially boffer larp, is that the action is supposed to unfold in real time as much as possible. Copying down expenditures on a card is pretty much the exact opposite of that, as it breaks the momentum of the moment and forcibly reminds players that they’re playing in a game.

The other main argument for this practice is to prevent cheating, but honestly, it’s extremely rare that it catches anyone on its own. Like it or not, larp is pretty much entirely an honor system. There are too many players spread across too much territory to watch everyone. If someone wants to lie about what they can do or how often they can do it, they won’t be caught by checking their card math; if they’ll lie about using a skill, why would they be any more honest about their record-keeping? No, serious cheaters will be caught when a marshal watches them break the rules and calls them out directly, usually after other players or NPCs report their suspicions to staff. And you know what? You don’t need a card call system to catch people that way.

Suggestions: Don’t worry about minor expenditures and commonplace actions, but develop a system for recording and monitoring skills and powers that create items, alter characters in a permanent way or otherwise have a lasting impact on the game or significantly affect the game’s economy. Requiring players to report to a central location – typically the NPC staging area, or somewhere nearby – with any required resource cards or other materials is a good way to do so with crafting skills, as it lets staff verify that the proper procedures were followed for important skills and that no one is making items without the necessary resources. Ditto recording significant game events like baptisms, deaths, marriages, etc. But the “everyday” stuff like combat skills, basic healing, and so on? It’s not worth the interruption in play to make people record them. Rely on alert marshals and players to bring possible cheaters to the attention of the staff and leave the little things on the honor system.

#4 – Narration
The Theory: Adds colorful details to the world that are not easily simulated with props/makeup/set dressing
The Problems: Breaks up the game, strains the imagination of an already taxed player base, can lead to problems if people enter the scene after missing the initial description

Let me be clear that I don’t think a little narration now and again is such a bad thing. We are playing a game that relies on the power of imagination, after all, and I certainly don’t mind using mine. I’ve looked at a single wooden wall and been asked to imagine it as simply the front gate of a whole castle; I’ve watched a friend’s apartment become the literal Underworld with nothing more than some candles and dripping water sound effects; I’ve had a hook turn to my group and tell us that the network of candles and Christmas lights on the ground ahead represents a maze with walls of shifting light. Not to mention that I can look at my friend Frank with brown facepaint and tied on horns and see a minotaur instead,  or mentally edit out the feet of the NPCs operating the large Chinese dragon-style monster and instead focus on the fact that the mouth part is actively trying to devour me. It’s all part of the game.

Here’s the thing, though. If you look back at those examples there, all of them have one thing in common: in each case the staff combined narration with the power of even just some basic setting preparation, so that the narration at least had some sort of foundation for my mind to work with instead of just declaring something existed by narrative fiat. I wasn’t just told “there’s a castle there” – the NPCs actually built a single wall with a gate so that we had something to focus on, and that single wall still makes it a lot easier to imagine the rest of the castle than conjuring it entirely in our minds. The hook didn’t just declare “OK, you guys are in a maze now”, but actually laid out a maze on the ground in lights, forcing us to navigate it while solving puzzles and battling monsters. My friend Frank could’ve just narrated “I actually look like a minotaur”, but instead he put on makeup and added some props to help create the image our imaginations could finish in full minotaur form. The key is creating as much suggestion as possible with props, makeup, costuming, set pieces, and so on, so that the narration is simply adding to what the players see in front of them, not conjuring something out of nothing when it can possibly be avoided.

This may seem an odd bone to pick, but it stems from the fact that boffer games are supposed to run in real time as much as possible, which makes WYSIWYG a crucial standard to keep the game running smoothly. If I see an orcish tent encampment in the woods and plan a raid accordingly, it’s more than a little bit of a pain in the neck to have a timeout called as soon as we come crashing out of the trees “because this is actually a castle and you can only enter through the gate, which is those two traffic cones there” and be forced to into a do-over.  (And yes, that sort of thing has happened.) Likewise, if an NPC walks up to me, throws up an out of game sign and says “Oh, by the way, I look exactly like your character’s old friend who betrayed him”, it’s anticlimactic to say the least. We’ve lost all the fun of me recognizing them from across the room and reacting accordingly, whether it’s cursing their name and pulling a sword, running and hiding, or whatever else I might want to do in response. Instead he’s right in front of me and now I have to adjust my reactions accordingly, when I might have never let him near me if I knew it at a glance.

Bottom line: The less you can trust your eyes to at least give you the basic story at a boffer game, the less immersive it will be, and the more prone to frustrating mistakes and missteps based on players missing crucial narration. (Nothing like walking in a few minutes late and quipping at an NPC dressed in basic blacks, only to be told “Um, that’s actually a fire giant” and spending the next few minutes arguing about whether or not you can take back what you said because you didn’t know what the NPC was supposed to be. Good times.)  And that’s just not ideal from a game point of view.

Suggestions: Like I said, a little bit of narration isn’t so bad from time to time, but it’s best when it’s paired with some real elements that help maintain the reality it’s creating. Players are amazingly adaptable and will work with most any setup you give them, but you’re doing both sides a favor if you use setting elements to reinforce your narration. I remember a great fantasy adventure that started with the hook bringing our adventuring group to a little cabin in the woods, turning and telling us: “OK guys, this building is a cave, and the black tarps are the cave walls, so you can’t attack through them or cross under them, and for story purposes it gets hotter and hotter as you go in. Any questions?” Sure enough, the inside of the cabin was set up like a tunnel system, complete with low tunnels set up under tables that we had to crawl through, and it was a blast. A little basic narration combined with some great setup turned into something truly memorable.

#3 – Prestige Classes

The Theory: A special reward system for dedicated, long-term players.
The Problems: A favoritism minefield and an escalating unbalancing factor in large games.

This is one of those hot button topics that can easily tear apart long term games, or at least lead to a lot of bitterness and burnout in the veteran player base, and yet it’s a very common phenomenon at many different games. As usual, at base it’s not a terrible idea – rewarding dedicated long-term players by allowing them access to special “prestige classes” that bestow powerful, high-end capabilities on their character. The actual term for these special roles varies, naturally, but the basic concept is the same – after accumulating a large amount of experience and/or play time, as well as completing certain in-game tasks, a character is granted a new set of powers or given access to a skill list not available to other characters outside of this new prestige class.

The problem here is two-fold: frequency and favoritism. Frequency is simply how often these special rewards are approved – in order to retain their special impact, many games grant these rewards sparingly, elevating a handful of players a year, perhaps a dozen at most. Which can work in smaller games, where that might represent a significant chunk of the player base, but as the size of the game increases it may cause problems. Bestowing prestige classes on 6 players every year in a 60 person game is probably fine, but in a game of 300 players there are going to be a lot of unhappy players at the same level of XP/time invested grumbling about not being picked.  Which brings up the favoritism problem – whether it’s just sour grapes or actually might have some basis in truth (intentionally or not), accusations of favoritism are a serious concern for games that use the prestige class system. This is especially true when you consider that many prestige classes have exceptionally powerful or useful abilities, which can make even veteran players feel frustrated if they feel they are being continually passed over for this reward while also watching rivals or enemies acquire these capabilities.

Suggestions: If you decide to use a prestige class system of some kind, transparency is your friend. Even if it’s surrounded by multiple levels of in-game secrecy, as far as the players are concerned it should be clear when a character becomes eligible, how they can apply for one of these classes, and what if any selection restrictions are in place (as well as whether re-submissions are allowed if they don’t get picked up the first time). That may sound a bit mechanical, but the more the system relies on “personal judgement” by staff, the more you’re opening the process up to accusations of favoritism and encouraging bitterness and unhealthy competition among the player base as people gossip about why one player got their special reward while others got snubbed, and so on.

#2 – Big Numbers
The Theory: Large numbers make things epic!
The Problems: Large numbers are a pain to track during play and often make new players feel pointless compared to veterans.

A lot of boffer games are addicted to big numbers, with players tossing around damage totals in the hundreds and facing down enemies with thousands of hit points. Big numbers sound impressive in theory, but really, from a live action point of view, they’re rarely anything but a totally avoidable disaster in practice. Sure, it sounds awesome to swing for 150 damage, especially if you started out swinging for 3 back at your first game. I’m sure it does make you feel a little bit epic. Cool! But let’s think about it for a second – when numbers start rising, is the challenge of the game actually becoming greater, or simply the associated math?

Let’s say we’re both badass veteran warriors at our respective games, but you’re in a high math system and I’m in a low math system; you swing for 50 damage each hit, and I swing for 1. In your game, a nasty troll has 1250 hit points; in my game, it has 25. Both of us will need to land 25 hits on that enemy to put it down. (Let’s leave spells, skills, and special attacks out of it for the moment.) So far it sounds the same, right? Except at my game, a new player also swings for 1 damage. So it’s 25 swings for him too. But at your game, a new player swinging 3’s will take 417 swings to put down that bad guy, or in other words, he won’t, at least not without developing a wicked case of tennis elbow in the process.

In order to combat this problem, many games adopt a “scaling” practice where they openly divide the player base for battles and adventures based on character level or the equivalent, so that new players don’t fight things they can’t kill and veterans don’t get bored obliterating nuisance threats. In other words, in a scaling system you might not be able to go on anything designated an “Epic Adventure” unless you’re level 15 or higher, that kind of thing. Which is all well and good when you can easily divide players, such as when you have hooks taking a pre-determined number of players on a structured adventure in a designated area, but it can be very difficult to preserve the concept in sprawling melees, night ambushes and other more freeform situations. And it’s not much fun to be the new players who stumble across the Unkillable Lich Minions and are carved down without even the slightest hope of winning. Don’t get me wrong – I’m not saying that every enemy should be a cake walk for new players as well as veterans, and I know full well that many larpers will stubbornly insist on fighting when they probably should run. But there’s a big difference between “probably a good idea to flee” and “there is absolutely no hope at all” and I know which one sounds more fun and dramatic in the end.

Now, I’ve also heard this practice defended with logic along the following lines: “Well, a 1st level D&D character can’t expect to fight a 15 Hit Die dragon and win – why should it be any different in larp?” And I suppose that’s true if that’s the model you want to follow, but in response, let me answer with another question – is a math-heavy tabletop gaming model designed for a small group of friends necessarily the best basis for a real time live combat game with dozens or hundreds of players? I know fantasy boffer games started up with the general idea that it would be like playing D&D in the woods, but it’s been more than 20 years now. Boffer gaming is its own form, with two decades of innovation to make it so. We can imitate tabletop standards if we want to, but we certainly don’t have to do so anymore.

Suggestions: Obviously, this is a difficult thing to “fix” in an existing game without overhauling the entire system, so if the game already uses large numbers and adventure scaling, it might be more of a question of just understanding the problems the come with that kind of system and trying to minimize them. Make sure the new players feel valued, spend equal time and effort designing content for the different levels of players, find other ways to make things challenging than simply adding more numbers to them.

#1 – Calling Damage Every Swing
The Theory: It helps keep combat math straight.
The Problems: It kills combat roleplay, makes large battles extremely confusing, and renders ranged effects difficult to downright useless to land successfully.

This is the absolute number one thing that I find frustrating about fighting in boffer games. Anything larger than a small skirmish invariably becomes an escalating shouting match as everyone tries to make sure their target can hear them clearly, creating a battlefield din that can make it difficult to tell which numbers are directed at which target. Not to mention the difficulty people have in adding up the numbers coming at them – it’s hard enough to add 35+11+7+7+14+25 in a hurry, let alone while you’re also shouting your own numbers back. Which leads to a lot of boffer combatants essentially giving up on doing the math and just taking their best guess at when they should fall down – and if pragmatism means more or less everyone does that, what’s the point of calling damage supposed to be, again?

Another casualty of constant damage calling is ranged combat (including spellcasting and similar mechanics) – I’ve watched spellcasters of power great and terrible throw packets into these cacophonous rugby scrums and scream themselves hoarse trying to be heard by their targets, even giving up in frustration at times. Bow and crossbow users sometimes do a bit better, especially in systems that use padded arrows instead of packets – it’s a lot harder to miss being hit with an arrow than it is being hit with a tiny bean bag – but as someone who plays a game that uses nerf guns to simulate real ones, I know well the frustration of landing a perfect shot only to realize after four tries that my target can’t hear my damage because they’re heavily engaged with three people in melee and all four of them are yelling numbers of their own. Nobody’s cheating – they’re not ignoring my shots on purpose or anything – it’s just that with all the loud math in the air, my target literally cannot hear me over the din. And if I have to run up close to make my skills known, I tend to lose a lot of the basic point of being an archer/gunslinger/spellcaster, namely that I’m supposed to be able to destroy rude strangers from a distance as opposed to getting right up in their faces.

To be fair, a lot of my frustration with this problem comes from the fact that I started out playing in one of the very few boffer games that didn’t use damage calls every swing. It had a very simple system – a one-handed weapon did 1 damage, a two-handed weapon did 2 damage. If you couldn’t tell what hit you – say you were struck from behind and couldn’t turn around to see what did it – you assumed the higher number. If you used a special skill to increase this amount, you called that extra damage, and if your weapon had a magical quality, you called it once or twice the first couple of times you attacked a target, just to see if it had a special effect (or was totally ineffective), but otherwise you didn’t need to call anything while you were fighting. And you know what the best part of that system was?

We could fight and roleplay simultaneously.

Instead of having to pause our combat damage calls in order to say something to our companions – yell for help, a rallying cry, pray to the gods, insults for our enemies, whatever – we could swing our weapons and talk at the same time. It made for a  very dramatic combat environment, where we could continue our character roleplaying and interaction the entire time. Now, I know from experience it’s certainly possible to intersperse roleplaying and combat in systems that require constant damage calls, so I’m not saying such systems eliminate combat roleplaying, but they certainly don’t encourage it to the same degree as a system which has few if any damage calls. When you take out the constant math calls, you not only encourage combat roleplaying but also make it far more likely that spells, ranged attacks and special abilities are properly noted, since those are the only rules calls that will be made during the average fight. It’s a win all around.

Suggestions: Like big numbers, this system is hard to remove from a game without completely overhauling the combat system, but there are some work-arounds that different games have used in the past, and not just the very simple “number of hands = damage inflicted” mechanic I discussed previously. Some games color-code weapons, for instance, so that if you’re hit by a blue weapon you take 1 damage, a green weapon does 5 damage, a red one does 10, etc. At night or in other situations where it might not be obvious, you simply call the color a few times as you swing – “Red! Red! Red!” – until your opponent knows what you’re swinging. This system does rely on learning a color code, requires a handful of standard weapon damage settings to correspond to those colors (typically increments of 1, 3 or 5), can be limited by the practical availability of properly colored duct tape or fabric sheathes to mark weapons, and can be quite noisy at night when colors are hard to see, but it remains a potential alternative. Other games use hit location systems, where weapons don’t inflict damage numbers, they simply render body parts useless after a certain number of hits to that location (potentially modified by armor on that location). This too can have some problems, as it can encourage extremely rapid striking and is often quite brutal compared to other games, but it does eliminate a lot of damage call mechanics a game might dislike.

—————————————————————————-
Badass LARP Talk is a semi-regular advice series for gamers who enjoy being other people as a hobby. Like what you read? Click on the BLT or Badass LARP Talk tag on this entry to find others in the series, follow me on Twitter @WriterPete, or subscribe to the blog for future updates! 

Badass Larp Talk #19: Bias Cut

The Appropriation Conversation
This is one of those posts that I’ve started four or five times, but had trouble finishing each time, because while I think there’s something that needs to be said on the subject, I’m not sure right now if there’s a solution as such (and if there is, I sure don’t have it). So what I have to say may not add up to more than a longer version of “Hey guys, this is a thing, you should consider it when designing your games” – but you know what? The hell with it. I’ve had the itch to write about this long enough, it’s time something got said, even if I don’t have as many answers as I’d want.

Whew. Here goes.

There’s a lot that can be said about race and culture in the context of gaming in general, but to the surprise of nobody who reads this blog even semi-regularly, I’m going to choose to focus on how it applies in larp. Not just larp, even, but primarily in live combat or “boffer” games, as they seem to be the biggest examples of what I’m going to be talking about in this post. They are not the only ones who encounter these subjects, particularly with the rise of many experimental freeform and Nordic larp games dedicated to exploring issues like race, culture and identity, but once again I’m going to try to stay within my wheelhouse here, and I’ve been doing boffer games for almost 15 years now. The issue, I think, is best phrased as the following question:

When do real world analogs and their resulting cultural appropriation cross the line from inspiration to insult?

Let me explain what I mean by cultural appropriation, here. In many games, the various fantasy cultures, kingdoms and even races that players portray are based at least in part on actual peoples and cultures from real world history. It’s a fairly rare fantasy boffer game that doesn’t have some kind of Norse analog, for instance, not to mention a Celtic one and often a loosely defined “you know, like, Asian” one. These cultures are often called different things in the game, naturally, as befits the fictional nature of the world, but players are directed to use their real world inspirations to guide their costuming, makeup and prop choices, sometimes even encouraged to attempt accents or speech patterns based on these cultural touchstones. (Some games even borrow religious or cultural language from these cultures directly, like a fantasy game with Thor as one of the deities or using a term like ronin in their otherwise entirely new fantasy culture.) When I was younger I took this in without thinking too much about it – it was all make believe, after all, and anyway we weren’t actually supposed to be real world individuals, we were just borrowing parts of the real world to help give this fantasy one a solid foundation. Now, though, I look on them with a bit of hesitation, because sometimes I’m not sure we’re putting our best foot forward as a community.

The Good, the Bad, and the Ugly

As a designer and a player, I have to admit I’m torn.

On the one hand, I totally get the advantages of this sort of world-building – rather than try to build something as complex as fashion, language and culture from the ground up, using real-world analogs allows a designer to focus on the parts unique to their game world and gives players to an easy way to handle what they’re being asked to portray. This is often crucial for new players, particularly those new to larping altogether. After all, it’s already fairly taxing for them to try to take on the imagination load of being another person in another world surrounded by other imaginary people, but chances are they know what a Viking is, so imagining that they’re a Viking-type person makes it just a little easier. Not to mention that it’s easier to construct costumes and props, since there are already a lot of references and patterns available. Using an existing culture as a reference point is therefore a good way to help people identify with the game world more quickly and easily, which in turn helps them engage with the stories going on there.

It can also be a lot of fun to do some culture-and-genre mashing, as far as more advanced designs go. For example, in the past I played a game with dark elves, who are long since a staple of modern fantasy gaming, but gave them an interesting twist by combining standard dark elf makeup with feudal Japanese costuming and etiquette, rather than sticking with their traditional vaguely Western European dress and matriarchal organization. They also had a regal culture that combined elements of Victorian England with ancient Rome, which sounds like an utter sartorial train wreck but actually hit a lot of great notes conveying a sort of instinctive sense of power, dignity and imperial superiority (for better or worse), which is exactly what they were shooting for when they created it. I love these sorts of mashups, because when they’re done well it can breathe new life into what might otherwise be all too familiar territory, and let’s face it, fantasy games in particular often cover a lot of very familiar territory.

Just to be clear, then: There are definite upsides. I get that, do not deny it. In fact, I think real world cultural analogs can be powerful tools for designers who think them through and use them respectfully and deliberately. After all, it is certainly possible to create a fantasy setting that uses elements inspired by feudal Japan without venturing into caricature and stereotype – Legend of the Five Rings certainly did so very ably and respectfully, after all, in both tabletop and larp form.

That said, there are the parts that start making me a bit uncomfortable. Because while a lot of these cultural appropriations are harmless or nearly so, there also quite a few that are at best rather painfully simplistic and at worst, well, extremely insensitive and offensive. I think the main culprit here are the “vaguely Asian” cultures I mentioned earlier – they are common to a large number of fantasy games, and all the more striking because while many games have a number of very distinct cultures drawn from various European roots – Norse, Greco-Roman, Celtic, Elizabethan English, etc. – those same games then turn around  and simply hand-wave everything east of Transylvania or so into one big catch-all category.

Now, I understand where this is coming from. While the gaming community is thankfully becoming more diverse, games still tend to have a player majority drawn from various varieties of Western European descent. So that’s the historical and cultural backdrop they know best, and therefore they’re more aware of the distinctions in those real world cultures than they are of Asian, African or South American cultures. Doesn’t make it any less simplistic and potentially insensitive, but I can see the why, if that makes sense? Still, it’s rather shockingly patronizing when you step back and take a good look at it.

I mean, let’s try a little thought experiment here: Imagine if you described a game culture as simply “European” and left it at that. You’d have players asking questions about exactly what that’s supposed to mean, how the designers could possibly lump the Greeks with the Spanish and the British, do they think Vikings are the same as Roman centurions, etc? And yet that’s pretty much exactly what’s being done in a lot of these game cultures that simply say “Asian” or “African” then dust off their hands and walk away.

When I first started boffer larp, I played at a game that has one of these “we-say-Asian-but-we-really-mean-Japanese-and-a-few-things-like-tie-shirts-we-think-are-Japanese-but-are-actually-Chinese” cultures, and looking back it makes me cringe to think of just how staggeringly insensitive it was. The name of the culture was simply a real world Eastern culture with r’s substituted for the l’s – get it? – and players were encouraged to use the sort of thick “Asian accents” you don’t hear anymore outside of old time race comedy and the worst sort of hack stereotype characters coughed up by Hollywood. Looking back I just want to facepalm myself into unconsciousness, or perhaps better yet smack the designer on the back of the head. That’s probably the worst example I’ve encountered, but there are quite a few other games that come awfully close to that same line, and really there’s just no excuse for it – not then and certainly not now. I mean, if nothing else, this is the Age of Search Engines. You don’t have to say “Asian” anymore – you can tell people to reference the Edo period, the Boxer Rebellion, the founding of the Joseon Dynasty or any other specific country and era you like, and references are just a few clicks and an image search away.

Speaking of lines, this is just a friendly heads-up for the gaming community at large: inasmuch as one can say an entire culture agrees on anything, generally speaking the Romani consider the term “Gypsy” more than a little offensive, essentially tantamount to using a racial slur. I didn’t know this myself until a few years ago – it’s so pervasive in our language and the Romani are such cultural outsiders that it’s unlikely to change any time soon – but still, now we know, and knowing is half the battle, right? I’m not asking anyone to give up their game cultures based around a nomadic people dressed in bright colors, but maybe we could stop using a racial slur to refer to them? I mean, if you want to use the culture as the basis for a culture in your game, try referring to the Romani instead of using the term Gypsy. Take it from a writer who has his own flamboyant “Gypsy cavalier” larp character in his back catalog and did a big Vistani writeup for Ravenloft back in the day – it’s not any harder and you get to be less offensive too. Win win.

Now, I know that there are probably at least a few people out there saying something along the lines of “Wait a minute, I’m of Scandinavian descent and I gotta tell you, I find some of these ‘Norse’ game cultures pretty damn offensive too – why don’t you say something about that?” Well, for one, consider it said. I’m not disagreeing with you – I’m not saying it’s only non-European cultures and ethnicities that can be appropriated in offensive ways. I’m sure there are plenty of folks who are proud of their heritage, take one look at fantasy game “Celts” and want to throat punch everyone with a terrible Lucky Charms accent. Insensitive is insensitive – just because a lot of gamers are of Western European descent doesn’t mean they can’t be just as patronizing and clueless about those cultures too.

So … What Do We Do About It?

Before anyone accuses me of trying to launch some sort of witch hunt or anti-fun crusade, bringing games to their knees with political correctness run amok and whatnot, let me stress that when these offensive things are done at a game, I’d say about 99% of the time it’s done out of ignorance, not malice. (It certainly was in my case.) People are playing a game to have fun in a make believe world, and because of the distance that fantasy provides they don’t always see what it might look like back in the real world, especially to people from a different background than their own. That doesn’t mean you shouldn’t say anything, but it does mean that you should look at it as a chance to educate, not harangue.

Designers and game runners, when you’re considering using real world analogs, make sure you understand what you are carrying over and what it might bring with it. This doesn’t mean that you should feel paralyzed with indecision, worried that every little move might offend someone somewhere. (Any creative project will offend someone, as the Internet will be only too happy to point out for you.) But it does mean you should stop and think through your decisions – are you using parts of a culture that will add to the game in a meaningful way, or do they encourage the perpetuation of stereotypes and caricatures? If a player starts taking one of your cultural analogs in an offensive direction – for example, showing up in an outlandish caricature outfit and speaking with an offensive accent – what will you say to them?

For example, I was at a game recently where some folks playing dumb redneck NPCs started going off on “lazy Mexican” stereotypes, which needless to say, made more than a few other players angry and uncomfortable out of game. This dumb redneck culture is part of the game, and they probably just figured they were acting in character, but at the same time there’s no question that tossing around real world racist stereotypes crossed the line for their fellow players, and with good reason. Fortunately the game staff was on top of it and addressed the problem quickly, declaring the behavior out of bounds and telling players to refrain from real world insults and stereotypes in favor of insults based solely on the game’s fictional “races” and local cultures. Still, when you draw on real world analogs, you have to realize that sometimes players may miss the point, take it too far, or otherwise cross the line, and you should be ready to handle the situation if it does.

It’s worth mentioning that a lot of games now post rules about inappropriate material, and a discussion point about real world analogs is definitely considering if your game includes them. Let players know that real world elements are there for inspiration, not caricature and stereotype, and let them know the proper method for expressing concern if they feel that something has crossed a line. That alone can go a long way to making sure your game stays  a safe space for people to feel comfortable while they’re playing.

Players, for your part, remember that when a game uses a real world analog, it’s generally designed as a quick reference and a jumping off point, not as a final destination. Unless the game actually encourages you to bring over cultural and historical elements, you should look at it as more of a visual reference than a cultural mandate, and therefore feel free to take it in new and interesting directions rather than recreating what we already know of in our own world. Games are a chance to really unleash your imagination, after all, so even if a game culture has a lot of Celtic analogs, that doesn’t necessarily mean you need to have Gaelic sounding names or make references to existing traditions. (Not unless that is what the designer intends, I suppose.) Instead, use it as jumping off point and chart new territory.

TL;DR

In the end, I think the key is remembering to be respectful and understanding that what may seem like just good fun to one person can be quite different to someone else, especially if they feel their racial or cultural identity is being slighted by material presented in the game.  Because even though the characters are imaginary, the people behind them are not, and as our hobby grows we owe it to everyone to leave behind some of the mistakes of our past and build better worlds for the future.

—————————————————————————-
Badass LARP Talk is a semi-regular advice series for gamers who enjoy being other people as a hobby. Like what you read? Click on the BLT or Badass LARP Talk tag on this entry to find others in the series, follow me on Twitter @WriterPete, or subscribe to the blog for future updates! 

Badass Larp Talk Holiday Special: A Larper’s Thanksgiving Litany

For the Staff
* Thank you to the Storytellers, Directors, Game Organizers and other community leaders who invest so much of their time, their money, their creativity and their hearts to creating the games we love.
* Thank you to all the staff members for bringing the world to life around us, whether it’s a menacing villain we spend an entire season hating or just a bit part played for five minutes.
* Thank you for all the late nights and re-writes, the prop shopping and the jaw dropping, and most of all the non-stop love you have for telling it right.

We see what you do, and we’re so grateful for it all.

For the Players
* Thank you to all the other players who join these communities and dive into these worlds alongside us, whether for a few hours at a one-shot con game or a few years of a long-running chronicle.
* Thank you to everyone who roleplayed with us, talked costuming, worked out character history details, helped us with our makeup, built us a cool prop or just shared post-game fries at a diner.
* Thank you for all the backstories and past glories, the schemes and the dreams, and most of all for the scenes we’ve shared in our stories.

We see what you do, and we’re so grateful for it all. 

For LARP Itself
* Thank you to everyone over the years who had enough faith in the power of “grown up make-believe” to make it such an awesome, entertaining and inspiring part of our lives.
* Thank you to all the game writers, the playtesters and other patient folks who build these worlds we love, from the biggest story flourish to the smallest rules fix.
* Thank you for all the epic nights and the desperate fights, the hot tears and the wild cheers, the jokes everyone hears and the joys of being in a story told right.

We love what we do, and we’re so grateful for it all.

—————————————————————————-
Badass LARP Talk is a semi-regular advice series for gamers who enjoy being other people as a hobby. Like what you read? Click on the BLT or Badass LARP Talk tag on this entry to find others in the series, follow me on Twitter @WriterPete, or subscribe to the blog for future updates! 

Badass Larp Talk #18: The 4 Most Common Problem Character Types (And How to Make Them Work)

In all my years of gaming, I’ve come across a lot of different characters – and perhaps more importantly, character archetypes: the Rogue with a Heart of Gold, the Bookish Wise Man, the Femme Fatale and so on. Whether it’s a fantasy boffer larp or a horror parlor game, certain types of characters keep showing up over and over again. And most of the time that’s fine – archetypes are part of storytelling, so it’s no surprise that we find lovable crooks everywhere from drafty dungeons to cyberpunk clubs. However, there are some character types that aren’t so easily integrated, that in fact can do some real damage to the game and the enjoyment of the other players.

In this installment of BLT, we’re going to take a look at four problematic character types, what’s wrong with them, and most importantly offer solutions on how to turn them around and make them work in a way that makes most everybody happy. It’s not about calling people out to shame them; it’s about taking what are usually well-intentioned concepts that have gone a little astray and steer them into becoming awesome, well-developed characters in their own right.

Note: With this in mind, please don’t go running around your game putting labels on concepts that you think fit these roles or badgering other players about the perceived shortcomings of their characters. If you have a concern about the impact a character is having on the game, talk to a staff member about it. They might think the concept is just fine, and anyway, if it is serious enough to warrant talking to a player about changing their concept, it’s best that it be a staff member and not a fellow player who voices the concern. Wheaton’s Law, folks, always.

The Carbon Copy, aka The Cosplayer

Telling Quote: “What do you mean? My name Mel Reynolds, and I’m the captain of an old spaceship called Tranquility! It’s totally different!”
What’s Going On: 
Perhaps the easiest of problem characters to spot, the Carbon Copy is just that – an exact or nearly exact recreation of an existing character from some form of popular entertainment. The name is either exactly the same or a clever play on the source (Nathan Reynolds, Malcolm Fillion, etc.), the costuming is as close as they can make it within genre considerations – turning Mal’s signature browncoat into a brown cloak for a fantasy version of the character, for example – and the mannerisms and catchphrases are dead on. They probably have the props too, and drop references to their source material every chance they get. Now, in some specialized games this is perfectly fine, even encouraged – if we’re doing a Firefly larp and using the crew of the Serenity as characters, by all means, Mal and Jayne and Zoe to your hearts’ content. But for most other games? Playing a carbon copy of an existing character is something best avoided for a couple of reasons.

The Trouble Is: Setting Breaker
Say it again with me – there is absolutely nothing wrong with being inspired by a character from a book/movie/song/TV show/etc. Many gamers can trace the origins of each of their characters at least in part to inspiration drawn from other sources, and that’s OK. It’s more than OK, in fact – it’s a fantastic way for new players to explore the hobby, and for veteran players to draw on inspiration to make characters they identify with right off the bat. But when you try to faithfully recreate a character in their entirety rather than simply use them as a starting point, you’re missing the chance to make your own. When everyone else around you is making the effort to create something new and exciting, it can be frustrating to see someone else just playing a role other people have already traveled. Not to mention that your character can break immersion a bit as it reminds people of things that don’t necessarily exist in that world or setting – Sir Malcolm Reynolds of the Order of Serenity may tickle your fancy as you stride around in your long brown cloak, but at a fantasy game you’re basically a walking immersion breaker, because any kind of acknowledgment of the source of your character necessarily goes outside of the setting.

How to Make It Work: Spirit, Not the Letter.
Fortunately this one’s pretty easy. Sit down and write out the three or four things you like best about that inspirational character. I’m talking personality traits and mannerisms, not names and events. That’s what’s really important, and so you can focus on bringing those into your character. After all, what do most people really like about Malcolm Reynolds? His name isn’t important, nor is it the way he dresses. It’s more like his sense of honor, his sardonic humor, his loyalty, and his penchant for speaking his mind even if it gets him in trouble. If you bring those into your character, do you really need his name or his coat? Not so much.  By all means, take those characters you love and use them to inspire and structure your own creations if you like, but make sure you put your own spin on them too!

The Lone Wolf That Rides Alone, Wolfishly

Telling Quote: “…” <walks off alone, but only after carefully making sure everyone sees just how alone and uncaring they are>
What’s Going On: 
You all know the type. The moody loner character who actively pulls away from social contact, usually with a hard stare or a cryptic muttered comment about not playing well with others. They’re like a compass lodestone – whatever way the rest of the game is going, the loner is always heading in the other direction.  They absolutely refuse to be grouped in with others, and will fight fiercely to retain their independence and autonomy even when it doesn’t always make sense to do so. In my experience, there are actually two types of Lone Wolves, the True Loners and the Needy Loners. True Loners are players who are genuinely content to go their own way, even if it costs them some entertainment value now and then, and rarely complain about their lot because they’re playing the way that gives them the most enjoyment. Needy Loners, by contrast, are players who make characters that claim to want nothing to do with anyone else, but who really desperately need people to pay attention to just how cool and aloof and alone they are, and tend to complain loudly about how they don’t get enough plot or how they are excluded from certain content even though they do their best to stay apart from others, turn down plot hooks and otherwise push away from the game as a whole. As you can imagine, I’m talking about Needy Loners more here.

The Trouble Is: So Lonely
Larp is a social activity. When you create a character whose entire existence is predicated around actively avoiding social contact, grouping up and otherwise forming connections, you’re locking yourself out of a lot of the fun. Even if you’re OK with that – and as I said, True Loners generally are – be aware that by doing so you surrender a certain amount of involvement in the story everyone else is being told, as well as some ability to complain about not having enough to do or not being included in plots. At a lot of larger games, the staff is hard pressed to keep up with the demands of a sizable player population, and simply doesn’t have the resources to spare to babysit a single loner character off doing their own thing. Even in smaller games it can be difficult to justify tailoring plots for a single character, especially when it’s because they stubbornly refuse to go along with everyone else. So I’m not saying you can’t play that loner character concept, but if you stick with it, be prepared to make your own fun as a result, as well as accept what it might cost you in story terms.

How to Make Them Work: The Happy Few
You remember all those great loner characters from your favorite movies, books and TV shows? Remember what happened to pretty much all of them over time? Yeah. They developed connections to at least one or two other characters, even if only grudgingly, and those connections drew them into the larger action and also made them more interesting.  After all, being a loner only really sinks in when contrasted against regular social contact, so as much as you might want to be an absolute island beholden to no one, I recommend developing at least one or two connections with your fellow characters, even if only as business partners or some other formal arrangement. Doing so will allow you to stay involved in certain storylines or give you a reason to throw in for larger causes when necessary, while still letting you go your loner way a lot of the time as well. Because you know what’s just as common as those great “lone wolf” characters? The part where they get drawn into working with others, grumbling all the while maybe, but drawn in nonetheless. Even Logan eventually saw the value of joining the X-Men – if only to hit on Jean – and that tells you something about interesting loners.

The Snowflake, aka The Odd One Out

Telling Quote: “Every good Werewolf game needs at least one vampire.”
What’s Going On: Like a lot of problem concepts, the Snowflake doesn’t usually set out to cause trouble, but often winds up causing a lot of headaches. The simplest way to sum up this concept is that whatever everyone else is playing, they aren’t. They’re the Imperial spy in the middle of a Rebel Alliance cell, the vampire in a werewolf sept, the obvious heretic in a Dark Heresy game, you name it. Anything that is normally rare, despised, ill-advised or otherwise off-limits in the setting is like catnip to these players, who immediately decide that they must play this concept even though it goes against everyone else’s character type. Some of them do it for the sheer challenge of trying to survive in a setting hostile to their concept, others enjoy the fish out of water roleplaying, and many enjoy having different powers or even different rules than the rest of the game. And some just do it because they like standing out in the crowd, being the one character or concept that immediately jumps out as special or different. There’s nothing necessarily wrong with any of these things, by the way, but when the concept is so far outside what the rest of the game is going with, it can be a problem in a number of ways worth discussing. 

The Trouble Is: Writer’s Burden
Even when created with the best of intentions, the Snowflake is an extra drain on the storytelling staff, who have to go to extra lengths to tailor plots and events to make sure that the Snowflake can somehow participate despite so much of the setting material saying otherwise. There are also a lot of potential problems with power balance, as the Snowflake is often resistant to things that are mortally dangerous to other characters (or vice versa), meaning that their mere presence can make some difficult challenges seem trivial. What’s more, in many game settings there are long-established reasons that different nations/races/species/factions/etc. don’t work together, and so the Snowflake presents a unique difficulty when writing storylines, as the staff is either forced to ignore a major setting element or enforce it and risk making the Snowflake feel frustrated as they are persecuted at every turn.

How to Make Them Work: Realistic Expectations
Assuming this concept is approved in the first place, it’s time to take the player aside and have a frank discussion about what their expectations are for their character, as well as what they might expect from NPCs or even their fellow PCs regarding their outsider status. Generally speaking, they should be ready to accept a certain amount of (justified IC) prejudice and poor treatment, as well as being socially excluded from certain groups and storylines. It’s also a good idea to get the player to recognize and accept that their character might have a short lifespan in the game before meeting death, imprisonment or other forms of retirement. (Remember, even if their character is sweetness and light, outsiders make great scapegoats for all kinds of wickedness.) They also should recognize that if 30 players are portraying vampires, and 1 person is playing a wizard, the staff’s obligation is to entertain those 30 players first, and so they may not have the same level of staff attention as the rest of the game. In short, the player should understand that playing a character that radically differs from the other characters means they should expect that their play experience will also be very different, and possibly a lot shorter, than those of other characters. If they can handle that, great! If not, well, a standout character like this might not be best for them.

The Diner Hero, aka The Walking Gag

Telling Quote: “Hail and well met! I’m Sir Prize! Bet you didn’t see that coming! Ha HA!” <gallops away using coconuts to make hoofbeat noises>
What’s Going On: 
Oof. Yeah. Sooner or later we all see these characters – a funny idea from a late night at the diner or at 3 AM of some marathon gaming session, which unfortunately someone turned into an actual character and now wants to play.  Some of them share characteristics with Carbon Copies and dress like famous characters or imitate their important characteristics, but the important difference is that while a Carbon Copy is usually trying to play a sincere character in the game world (if one adapted from some other source), the Diner Hero has no such intentions. They’re just there because they think it’s funny to play a gag character and see how long they can get away with it. At best it’s like watching a Saturday Night Live sketch drag on too long, funny for a few minutes but increasingly painful as it stretches out; at worst these players are actively trolling the game, breaking the world and mocking their fellow players until they’re thrown out.

The Trouble Is: Funny the First Time, But …
I’m going to assume that we’re talking about a player who maybe doesn’t realize exactly what they’re doing, as opposed to someone who’s deliberately trolling. (Troll solution: Throw them out fast, retcon any damage they did to the game before they left, and ban them from returning.) If you confront these more innocent jokers about what they’re doing, they usually respond with something like “It’s just a game” or something along those lines. What players of gag characters often don’t realize is that even the funniest gag character is a drain on the other players around them; they’re quite literally having their fun at the expense of others. Because larp takes a certain amount of serious concentration even from veterans – you have to imagine that you really are your character, that the players around you are actually their characters and not your friends in funny outfits, that the location is actually your game world and not a rented campground/friend’s apartment/hotel ballroom, etc. (Not to mention potentially adding fantastic elements like supernatural powers, differently colored moons in the sky overhead and so on.) That’s a lot to ask of an imagination! And it gets harder when you have someone whose very presence breaks the game, let alone whose behavior is constantly pushing the boundaries of IC/OOC humor and taste.

How to Make It Work: Seeing Past the Punchline
This one can be tough, but if the player isn’t trolling on purpose it can often be done. Take the player and explain to them while you appreciate the fact that they’re enjoying the game, there’s a difference between IC and OOC jokes, and right now their concept feels too OOC to work in the environment. If they can see that, talk about what needs to be changed to make the character feel less like a gag; sometimes it’s as simple as a new name and a few different costume pieces, while other times it’s a more extensive overhaul. If the player’s onboard with what needs to be changed, great! If not, well, it might be time for a new character. Hopefully that’s a last resort, to say the least, but if it seems harsh, remember that larp is a group activity – one person’s fun should not take precedence over the fun of the troupe as a whole, especially if it’s not for strong IC reasons.

—————————————————————————-
Badass LARP Talk is a semi-regular advice series for gamers who enjoy being other people as a hobby. Like what you read? Click on the BLT or Badass LARP Talk tag on this entry to find others in the series, follow me on Twitter @WriterPete, or subscribe to the blog for future updates! 

After Watchmen: Comics 101

After Watchmen… What Next?
I was on a panel at Philcon earlier today, and I promised the audience that I would post the list I’d made up of some of my favorite comics (since I forgot the handouts I’d made to bring). So hello Philcon attendees, and anyone else who’s looking for comic recommendations! Welcome, and enjoy!

Understanding Comics & Reinventing Comics
Written by Scott McCloud. Perhaps the most definitive works examining where comics came from, how they work their special brand of magic and where the medium might be heading. They are fun and easy to read, yet also quite scholarly and informative.

Sandman
Written by Neil Gaiman. One of the most ambitious series of all time, this modern myth follows the designs of personified cosmic forces such as Dream, Death, Destiny, Desire and Despair, as well as dozens of the lives they touch throughout time and space. A heavily allusive yet very accessible and intricately plotted tale from start to finish.

Fables 
Written by Bill Willingham. Exiled from their homelands by a villainous being known as the Adversary, refugees from dozens of fairy tales band together in a small community in modern New York. A good premise executed with wit, humor and endless originality.

League Of Extraordinary Gentlemen
Written by Alan Moore. An arch, intelligent, postmodern examination of Victorian values featuring a “dream team” of period heroes such as Alan Quartermain, Mina Harker and Dr. Jekyll as they battle all manner of evil plots and sinister villains.

Ex Machina
Written by Brian K. Vaughn. What if a superhero decided to treat the disease instead of the symptoms? In this alternate timeline, a superhero gives up punching muggers and runs for mayor of New York. In office, the true test of his heroism really begins.

Transmetropolitan
Written by Warren Ellis. Black humor, trippy illustration and cultural satire combine in this sci-fi tale of a gonzo journalist named Spider Jerusalem and his quest for Truth! in a bizarre yet all-too-familiar future city fraught with idiocy and corruption.

Preacher
Written by Garth Ennis. A preacher sharing his body with a renegade cosmic force, his ex-assassin girlfriend and their Irish vampire buddy – and that’s just the first issue! This series is a bold, bawdy, bloody look at faith, loyalty, America and second chances.

Invincible
Written by Robert Kirkman. Son of Omni-Man, protector of the world, Marc can’t wait for his superpowers to develop – but when he at last becomes a hero, he learns just how hard life is under the mask. A sweet, funny and charmingly retro super hero comic.

Y: The Last Man
Written by Brian K. Vaughn. An escape artist named Yorick and his pet monkey, Ampersand, are the only survivors of a mystery plague that kills all the male organisms on the planet. Part mystery, part romance, part gender study, pure science fiction.

The Boys
Written by Garth Ennis. In a world where superheroes are the new weapons of mass destruction, the CIA keeps one group of absolute badasses around to keep the supes in line: The Boys. Bloody, profane and provocative, this series examines the human cost of superpowers and the damage they do on the human mind.

V For Vendetta
Written by Alan Moore. Set in a dismal totalitarian future Britain, this tale follows a freedom-fighting terrorist as he trains his successor to sow intellectual mayhem. A deep and disturbing dystopian tale in the tradition of 1984 and Brave New World.

Scott Pilgrim
Written by Bryan Lee O’Malley. A young slacker falls in love with a mysterious girl, but before they can live happily ever after, she reveals that first he must defeat her seven evil ex-boyfriends! A hilarious, slightly surreal tale told with lunatic charm, featuring manga-esque art and a lot of truly funny, knowing and often surprisingly touching dialogue.

100 Bullets
Written by Brian Azzarello. An old man offers select hard luck individuals a unique gift: a briefcase containing a folder full of proof that someone else ruined their life, an untraceable gun and 100 bullets. A stylishly illustrated, grim, twisting noir action epic.

Kingdom Come
Written by Mark Waid. What happens when great responsibility no longer accompanies great power? As Superman and his peers grow older, a new generation of irresponsible heroes and depraved villains threatens to tear down everything they’ve built.

Runaways
Written by Brian K. Vaughn. A group of teenagers run away from home after learning their parents are supervillains, vowing use their own gifts to bring their folks to justice. A mundane premise, maybe, but it’s executed with real humor, wit and heart. Vaughn writes teens with honesty and sympathy, and without talking down to them.

Top 10
Written by Alan Moore. In Neopolis, a city where everyone has a superpower (however minor), who keeps the peace? This smart, quirky, visually striking “cop show” comic follows the super-police officers working to keep Neopolis safe, and it’s one helluva ride. Beware the volumes done after Moore left, though – let’st just say the quality is different and leave it at that.

Sin City
Written by Frank Miller. This graphic, brutal noir series follows a number of different characters as they move through the rain and shadows of Basin City, seeking justice and vengeance, addiction and absolution. A highly stylized series of grim, hardboiled tales.

DMZ
Written by Brian Wood. After the Second Civil War grinds to an uneasy truce, novice journalist Matt Roth finds himself the lone voice for a ravaged New York City awash in martial law, militant gangs and scared refugees. Gritty, idealistic and passionate.

Sleeper
Written by Ed Brubaker. Old school heroics and Cold War espionage mix in this twisting tale of a superhero gone undercover in a league of villains, only to find that he’s no longer sure which side he’s on. A clever blend of two genres, with deceptively simple art.

———————————–

Feel free to chime in with your own recommendations!

Badass Larp Talk #17: 3 Little Tricks That Quickly Ramp Up Your Game

I was talking to a group of larpers recently, some old hands and a lot of newer folks, and as is often the case when a group of gamers get together the discussion quickly turned to our common pastime. We were swapping war stories and talking a little bit of larp theory when one of the very new players asked a pretty simple question: Theory aside, what can you do to improve your larping ability, like, right away?

Like a lot of deceptively simple questions, it was actually kind of a stumper, but after thinking on it a bit these are the three best “little” tips I know to quickly boost larp experience. (Well, four really – I added a bonus one you can do pre-game to help get more in character, but the others are all tips to use during play.) So without further ado, here they are, three little tricks that can make a big difference at game:

1 – Put Your Body Into It
“Motions bring emotions.” This is the simplest, yet most effective larping trick I know for anyone looking to up their game and increase their immersion. If you put your body through the motions, the associated emotion/sensation usually follows. It’s a technique that many actors already know but which a lot of larpers don’t always pick up on, and it’s a really powerful one. If you’re wounded, hobble a little, clutch your side or make your breathing ragged, and you’ll be amazed at how much easier it is to really feel that pain like it was your own. If you get devastating news and want to really feel the sting, slump down, put your head in your hands, curl up in a ball, sniffle a little like you’re choking back sobs. Want to feel anxious and agitated? Start pacing back and forth with tight strides, make sharp gestures, fiddle with something small in your hands over and over. Trying to feel that supreme rush of joy? Don’t just smile – hop around, wave your hands a little, throw your head back and laugh, pump your fist and say “YES!”, whatever it takes. Of course, different characters will react differently to all of these situations, no question, so naturally YMMV – but the point is that they should all react somehow.

Too often you see larpers expressing emotional reactions using only their words and their facial expressions, with perhaps a little bit of gesticulation here and there. That’s a good start, don’t get me wrong, but you’d be amazed what a difference it makes to really put your whole body into it. It quite literally changes the way you see larp, and it’s totally worth it.

2 – Learn All the Names!
Seriously! It seems like such a nothing thing to do, but it’s actually a really powerful roleplaying tool. After all, without a name, it’s hard to care about someone (PC or NPC); if you don’t care about someone, it’s hard to get invested in what happens to them; if you’re not invested in what happens to others, you’re basically standing outside of the story looking in any time events don’t revolve around you. Wild, huh? So take the time to learn names. (Or hey, make up your own nicknames for people like I often do!) It can be a lot to take in, especially at a larger game, and don’t worry if you don’t get it right all the time, but make an effort to learn everyone’s name. It goes double for NPCs too, even – perhaps especially – if they are “throwaway roles” that may not be around long.

Not only will it help you feel like you’re moving in a real world full of real people, which is a huge plus for any player, but people like to be recognized too, and referring to someone by their character name instead of a “hey you” or worse still their OOC name is a subtle but powerful bump to help them stay in character too. Everyone wins!

3 – Care
The scariest villain, the most thrilling battle, the most amazing triumph and the most heartbreaking loss – none of these incredible moments will really mean anything to you if you don’t care about your character and her world. But caring is weird and tricky, too, especially if you’re new to larp. So how to go about doing it? I don’t know how to put it any other way, except to let down your guard a little and stop thinking about your character like a lead in a movie or the avatar in a video game. Larp is unique in that you are the only thing holding yourself back from really living in that character’s shoes – for an hour, for a day, for a weekend. Not a tv screen, not a controller, not a handful of dice. Just you. So let down your guard a bit. Let your character and her world matter to you like it would matter to her.

Start small if you like, and just care about your character – what she wants, what she fears, what she plans to do that day. Then expand your circle a little and think about how she cares about her friends and allies, what she’s willing to do for them (and what she expects in return). Then expand even further and care about her rivals, her enemies, think about why she sees them as threats – and what’s she prepared to do about it. Then when you really have it down, care about the problems facing her community, even if only because they threaten to interfere with her own plans. By the time you’re done, you’ll have a complicated web of feelings, reactions and desires, and perhaps even more importantly, you’ll find yourself really caring about what goes on in your game, even when it isn’t about you directly. And that’s amazing fuel to keep you going in a long-term game.

Bonus Pre-Game Tip – Give Your Whole Outfit A Story
I touched on this a little while back with the “Hell of A Hat” contest, but it’s still a quick way to tease out a surprising amount of character backstory and personality when you might otherwise be stumped. Here’s how it works. Put on your whole costume, including any significant props that you usually carry, but as you put on each piece tell yourself a little story about where your character got it. Doesn’t have to be more than a sentence or two, but you’d be surprised how much you can find out from such simple pieces. Has your vampire been buying her dresses at the same boutique for the last sixty years? Did your post-apocalyptic survivor pull those boots off an enemy he killed? Did your character buy a pistol after her girlfriend took her out shooting? Did he cut that ring from an orc chieftain’s cold dead claw – or did he take it from one of his old companions along with a promise to return it to her family? Does she buy her shirts “I dunno, just someplace cheap” because she’s broke, saving money to buy a book of spells, paying off an old debt?

Even if no one else in game ever finds out any of these details, even if they are tiny little stories that aren’t relevant to anyone else but you and your character, it still makes them feel more real. And that in turn makes it easier to be in their head, which makes for a better experience on the whole.

—————————————————————————-
Badass LARP Talk is a semi-regular advice series for gamers who enjoy being other people as a hobby. Like what you read? Click on the BLT or Badass LARP Talk tag on this entry to find others in the series, follow me on Twitter @WriterPete, or subscribe to the blog for future updates! 

Badass Larp Talk #16: A Hand to Head Disease PSA

Hello, larping.

Today I’m here to talk about a growing problem in our community, a spreading sickness that threatens the shared realities we work so hard to create. What you’re about to read may shock you, may disgust, may even horrify you, but don’t worry – there is help, and there is hope.

It’s called Hand to Head Disease.

Some of you may know it by different names – Finger-Crossitis, Headbanding, Clarificosis, HTH, and many more – but the effects are much the same no matter what you call it. A scene is humming along, everyone playing their characters as the world comes to life around you, when all of a sudden an HTH sufferer experiences an outbreak of symptoms. Right in the middle of your unfolding moment, their hand goes to their head, their whole character falls away and they vomit up reality all over everyone. Sometimes it’s a joke, sometimes it’s a compliment, sometimes it’s a reference to a movie or a book or even another game, but whatever it is, now it’s all over you and you’re having trouble wiping it off and staying in character afterward.

What’s worse is that HTH is highly contagious, with others exposed to it often displaying symptoms almost immediately, leading to more outbreaks as hands fly to heads and more reality comes up. The whole scene can get pretty disgusting pretty quickly, leaving a huge mess that wrecks the scene and a reality stink that can follow you around for hours afterward, making it hard to stay in character. Before long whole games can be infected, until it seems like no scene goes by without at least a few outbreaks, and people are spending more time with their hands to their heads than they are in character.

Unfortunately many HTH sufferers don’t even realize what they’re doing can be disruptive and unpleasant for those around them. They believe that spewing that little bit of reality actually increases the enjoyment of others, not realizing that what seems like a momentary splash of reality to them makes a total mess of the environment for everyone exposed to it. They also don’t realize that even people who can’t hear what they’re saying as still affected, as just witnessing an outbreak of HTH from a distance can still be enough to damage someone’s immersion in the world as they watch the game fall away and reality go all over the place.

But don’t worry! There are some simple steps you can take to treat HTH symptoms when you see them emerge. So the next time you see an outbreak begin, just follow these steps, 1-2-3:

Treating HTH In Others
1) Isolate the Outbreak – Try to convince the HTH sufferer to take their aside somewhere more private, quietly but quickly.

2) Explain the Symptoms – Explain to the HTH sufferer politely that unnecessary out of game comments should be saved for after game is over.

3) Dive Back In – Don’t linger, don’t scold, don’t dwell – remember, most HTH sufferers don’t realize what they were doing! Just be friendly, dive back into game and help others do so if needed.

If these steps don’t seem to help, don’t be rude and don’t confront the sufferer further – that just makes the problem worse. Instead, find a member of staff and inform them of your concerns as politely and discreetly as possible, and let them decide the proper course of treatment at that point.

Of course, that all fine and good when treating HTH symptoms in other people, but what if you realize you might be suffering from a bout yourself? Don’t worry! Self-administered treatment is effective in 95% of cases.

Treating HTH In Yourself
1) Stay Your Hand – Before you put your hand up, ask yourself: Is what you were about to say really worth shattering the shared reality of everyone around you? If not, wait on it, and skip steps 2 & 3.

2) Isolate Yourself – If you do feel something needs to be said, try to take aside only the individual(s) you need to address, and say it away from where others can see or hear you.

3) Limit Your Exposure – Say what you feel is necessary quickly and quietly, then resume play as soon as possible. Try to avoid prolonged outbreaks – if you can’t, take them away from the game until they’re over.

Just by following those simple steps, you should be able to minimize the impact of HTH outbreaks at your favorite games, as well as make sure you don’t catch the infection yourself. But don’t forget that the #1 way to prevent HTH from spreading is simple vigilance – the more you focus on staying in character and encouraging others around you to do the same, the more likely that it is you will be successful in blocking HTH transmission in your game.

Remember, it’s up to all of us to be on the lookout for Hand to Head Disease – but if we work together, we can beat it in our lifetime!

~Your friends at the C.D.C. (Character Defense Coalition)

HTH Disease FAQ
Q) Is every character break always a case of HTH?
A) No!  This is a common misunderstanding. In fact, many games encourage players to use certain gestures or phrases ask rules questions, which can look similar to HTH in action but is in fact a vital part of gameplay. Let’s be clear: Asking rules questions, raising safety concerns or clarifying vital story matters (that cannot be resolved in character) are valid reasons to drop character. However, it is still recommended that players try to make the disruption to play as brief and minimal as possible – when you can, take people aside to ask questions in private, for instance, or try to phrase it in at least vaguely in character terms so it doesn’t sound too harshly real to others nearby.

Q) So I want to share a little joke or tell someone they rocked that last scene  – what’s the harm?
A) Some people might not mind if you drop character, it’s true, but other people probably will, even if they don’t tell you so. And remember that even if you’re telling it to some friends who don’t mind, if someone else overhears you break character or witnesses your HTH gesture, you’ve just broken game for them, whether or not you intended to do so, and that’s not fair to them when the default at a larp is a continuous immersive environment. Trust me – if it really is a funny joke or witty reference, it will still be amusing later on. If it’s not, well, you didn’t need to break game for it, did you?

Q) What if something is so wrong in the game that the only choice is breaking character?
A) Apart from things like safety concerns, which as noted always justify dropping character no matter what, I’d say file that under “extreme and unfortunate circumstances” for sure. If something about the current scene is so broken – or at least, appears to be so broken – that the players have no choice but to break character to try to find some way to resolve the problem, then no, I wouldn’t hold that character break against them by any means. (“Hang on, this is a Vampire larp, not a Dr. Who episode – what do you mean the play area just fell through a time rift into the Jurassic period?!”) Just be careful not to jump to this option too quickly, though. A situation may seem difficult in game for perfectly in game reasons, and not necessarily require dropping character to resolve.

Q) Aren’t you being a little bit of a larp nazi?
A) (Hang on – do we really have to use the term “nazi” for something so trivial as larp? We do? OK, fair enough.) Well, this whole thing is more than a little tongue in cheek, so relax. Plus I want to make it clear that as much as breaking character can be disruptive and annoying, the solution is not to be obnoxious back – as noted above, I want to stress that it’s important to be polite and laid back when talking to players breaking character, not confrontational and rude. And there’s always the chance that your your game is cool with people breaking character, then hey, feel free to ignore any and all of this. Seriously!

—————————————————————————-
Badass LARP Talk is a semi-regular advice series for gamers who enjoy being other people as a hobby. Like what you read? Click on the BLT or Badass LARP Talk tag on this entry to find others in the series, follow me on Twitter @WriterPete, or subscribe to the blog for future updates! 

“The Gamers: Hands of Fate” film review!

[Update: This review refers to the film’s “Festival Cut”, which is available now for free streaming and $10 downloads throughout August. According to the creators, the film’s “Extended Edition” will premiere in serial form in September, and apparently it addresses some of the concerns raised in this review, such as the absence of Lodge and Joanna as well as adding elements like Leo’s own subplot. Mea culpa for not noting this sooner.]

Full disclosure: I’m a geek.

Now that we have that bombshell out of the way, I’m sure it will be even less surprising to learn that I backed tihe new Gamers film from Zombie Orpheus when the Kickstarter went up last year, and have been waiting rather eagerly for the film’s release. As the third film in the series, The Gamers: Hands of Fate+ is following in some pretty big footsteps – I think the first two films can best be described as witty, loving satire of tabletop gaming and the relationships of the players behind the characters.  (The creators also do a great comedy-fantasy series, JourneyQuest, which wrapped up its second season a little while back.) Understand that when I say loving satire, I mean that we’re laughing with the characters rather than laughing at them, and though gamer stereotypes are found in the films, they’re clearly intended as just that, caricatures. It’s not mean-spirited, and even if you’ve never gamed with people like those you see in the movies, you probably know people who have. It’s insightful and dead-on in many ways, but always affectionate – for gamers by gamers, if you will.

I enjoyed both films a great deal, though I particularly enjoyed the second film, Dorkness Risingbecause I felt like they really captured one of the best parts of gaming that non-gamers almost never see: the camaraderie of a good gaming group (or “table” as it’s often called).  I’ve been blessed to have great tables throughout my gaming history, but I know some people go years trying to find that perfect mix of players, and if you get gamers talking old war stories some of them will reminisce about tables they used to have much the same way people might talk about past romances and old friends. Which is where I’ll start this review of The Gamers: Hands of Fate.

[EXTREMELY MILD BASIC STORY ARC SPOILERS AHEAD. NO ENDING OR TWIST SPOILERS.]

The table that came together in Dorkness Rising returns for this film, though rather than returning to the tabletop gaming arena of the first two movies, most of the film’s action is centered around sarcastic competitor Cass as he tries to master a collectible card game (CCG, for the uninitiated) in order to impress Natalie, an equally sharp-tongued gamer girl who catches his eye at a local tournament. The rest of the table is still there, particularly Leo, who acts as the Morpheus to Cass’ Neo as he teaches him the ways of the card game, though I wish some of the others had gotten a bit more time on the whole. Gary has a great running subplot that pits him against a Pikachu-esque character seemingly bent on tormenting him, but Lodge and Joanna show up all too briefly, though they get some good laughs when they’re around.  (Plus we get some more resolution on their romance subplot from the second film, which is nice.) After some establishing work, the film’s action quickly shifts to GenCon Indy, where it focuses on Cass’ progress through the CCG tournament, dabbling in larp and tabletop gaming and the politics of competitive play as it goes.

As with the previous Gamers movies, many of the moves the players make in the CCG universe are also dramatized – and that’s where Hands of Fate deviates from the other two installments, as drama is the key word here. Whereas the in-game sequences were almost entirely played for laughs in the previous films, allowing us to chuckle at the kind of silliness that happens around the gaming table, the scenes set in the CCG universe start off a bit comedic but are soon played mostly straight. In fact, for reasons I don’t want to spoil in this review, the story of the CCG characters becomes quite compelling, and you find yourself rooting for the hero characters as they battle sinister forces out to destroy their world of Countermay. (In a clever stroke of set design, the actors are superimposed over illustrated backgrounds drawn from the art on the game cards, literally pulling you into the card game and giving the world a cool, stylized look.)  It’s an interesting twist and ties directly into the setup for the next Gamers film – because oh yes, they set that up, and you’ll enjoy how they do it – but I must admit it did throw me off a bit, because I’d come with the expectation that this installment was going to be much like the first two. As in, lots of rapid fire gaming jokes, witty player banter and fun re-enactments of the game activities that keep us hopping between the real and fictional worlds. It has those things, but the aim is a bit different this time, and it took me a while to realize that. When I did, though, I found myself getting more and more into what it was saying.

Don’t get me wrong – Hands of Fate is still a very funny movie, and if you’re coming for another round of affectionate satire of gamers and the gaming community, you’ll find plenty of that to enjoy. (I mean, it’s GenCon – if you can’t laugh at least a little bit at what we gamer folk do there, you obviously haven’t been.) But whereas the first two movies mostly confined themselves to satire – save for the surprisingly poignant end of Dorkness Rising, which I think foreshadowed the depth that really comes through in this film – Hands of Fate starts off knowing that it has some important things to say and isn’t shy about making its points. Don’t worry, it’s not one of those dreaded Message Movies that tries to hit you over the head with its ideas until you’re sick to death of being preached at, but as far as depth of insight and cultural examination, Hands of Fate shows that the Gamers series has really leveled up.

For example, while Dorkness Rising also touched on the topic of sexism a bit with jokes about “bikini mail” and “broad swords”, Hands takes on some of the abuse that female gamers put up with and puts it front and center. In an early scene, a male gamer spouts some stereotypical insults at Natalie while she gets ready to enter a tournament; significantly, not only does Natalie absolutely put him in his place (without needing a guy to jump in for her), but then we also see him tossed out by the store owner for being an obnoxious jerk even while the guy sputters some equally stereotypical excuses for his rude behavior. (Having had experiences in the past with both store owners and players who didn’t do the right thing in that same situation, it’s nice to see a change modeled here.) Then there’s one of the central matters of the plot – the only reason that Cass learns the game in the first place is because he believes winning the tournament will get him a date with Natalie. Just when you’re about to cringe over this rather archaic plot chestnut, though, the movie turns around and throws it right back at you, with Natalie herself objecting to being treated like a prize to be won and rightly calling it out as shallow and sexist. I won’t spoil the ending of the film, but suffice it to say that her objections are given real weight, and we’re allowed to realize how easily we accept that “guy does X so girl will give him Y” premise in other movies, and how uncomfortable it really is when you think about it. No, it wouldn’t pass the Bechdel, but it doesn’t just ignore some of the attitudes of the community either, and I applaud it for that.

Edit: As the creators and my astute commenters have pointed out, the film pass the Bechdel. Repeatedly and deliberately, in fact. Mea culpa again, folks, for not checking more carefully before going to press.

Another issue that the film tackles rather effectively is gamers hating on other gamers – the so-called “geek hierarchy” of who looks down on whom – and how pointless and illogical it is. For example, Cass starts off sneering at CCG “cardfloppers” as unimaginative obsessives because they play an expensive game that doesn’t utilize the imagination the way his beloved tabletop RPGs do. Even as he starts doing well he still sees it merely as a means to an end – getting the girl – and it takes a lot for him to finally see it the way its devoted players do. There’s also a scene at a larp run by players of the CCG, where they play as characters from Countermay and meet to discuss important developments in the game’s ongoing storyline, and prior to showing up, Cass is as dismissive of larpers as he is of CCG gamers. It’s not an after school special, so he doesn’t get a special lecture about tolerance and understanding before hugging it out with a puppet, but watching him come to realize what other gamers see in their particular game styles is subtle but well done overall. It’s a reminder to never forget that when it comes to gamers, we’re all geeks, so we should embrace the fact that we all love our games more than mock each other for enjoying different parts of the hobby. Especially at a place like GenCon, where everyone is quite literally there for the love of their games.

(Sidebar: Speaking as a larper myself, I loved how true to life the larp scene was. They had larpers who were dressed like larpers actually dress at cons – you know, where we often have trouble bringing all of our big costumes and killer props due to luggage constraints – and I loved it. The costumes were fun and appropriate, but not so over the top that it immediately rang false to me as to what people might bring to a con. I know it sounds like I’m giving a very left-handed compliment there, but I’m not trying to be insulting at all. Quite the opposite, in fact. I like to see larpers represented by larpers, and I think it’s a fantastic choice to make their costumes look as much like what you see at a con as possible. Kudos to Janessa Styck, the costumer, for the great costumes throughout the film as a whole – I want Dundareel’s coat! – and for making it feel incredibly real during that scene in particular.)++

Though it’s a subplot and largely figures for comedy, Gary’s hilariously insane blood feud with Pokemon spoof Chibichan even has a message of sorts, and a pointed one for a culture that often sees things cut short before their time. (They also released a NSFW deleted scene of Lodge ranting to Leo about cancelled TV shows that speaks even more directly to this theme.) Interspersed with all the amazingly satisfying Chibichan abuse – including an absolutely brilliant Tarantino moment – is the message that you don’t have to hate something to prove how much of a fan you are of something else. In fact, doing so might actually get in the way of being able to appreciate what you like for what it really is. Like I said, it’s not something they come out and hit you over the head with, but it’s there and surprisingly sweet, in Gary’s lovably demented sort of way that is.

And that’s not even counting the existential dilemma that rolls in by the end of the film. But, in the words of Dr. Song, “Shh, spoilers!” So no more of that.

As far as the actors go, the regulars returning from Dorkness Rising are as charming and witty as ever, and it’s a pleasure to watch how Brian Lewis manages to pull off keeping Cass the sarcastic bastard we’ve come to know and love while still allowing him to go through a plausible and moving evolution as the film goes on. Scott Brown looks to be having great fun showing a bit more depth to the character of Leo – sorry, should I say Mr. DaVinci? – as he steps into the mentor role, plus the affection he conveys for the CCG really helps sell the love the players have for it. (Look for a nice nod to him and the game’s history in the throne room of Holden.) Christian Doyle is a marvelous madman as always and can pull a great Tarantino out of his pocket when he needs it, while Nathan Rice and Carol Roscoe are an adorably sweet (if often exasperated) couple.

Looking at some of the newcomers to the series, the men of the sinister Legacy team make a great cabal of menacing gamers – I’m pretty sure I’ve played against at least one of you in Swiss before! – while Trin Miller brings great strength to the character of Natalie, giving as good as she got and not compromising herself for others. I particularly enjoyed her dressing down of Cass during the larp scene, it’s the sort of wakeup call that a lot of gamers need from time to time when they start judging their fellow geeks too harshly. And Conner Marx steals a lot of scenes as Jase, the adorably enthusiastic leader of the Displaced faction in the CCG and one of Countermay’s endangered “story players” – it was hard to take my eyes off him whenever he was around, his energy was contagious and fun to follow. Samara Lerman and Jesse Keeter make a charming pair as Myriad and Dundareel, and sell the CCG scenes and their evolving storyline extremely well. Combined with Matt Vancil’s trademark witty writing and both Vancil and Ben Dobyn’s impressive direction – seriously, those crowd scenes in the finale are beautifully shot – it’s a whole lot of great stuff, folks, great stuff.

So in conclusion, Hands of Fate is another fun, witty trip through geek culture with some great characters we’re really coming to love. It’s able to keep us laughing while still pulling off a number of solid dramatic twists, not to mention sneaking in some great points about some troublesome parts of the culture in a way that doesn’t feel preachy or intrusive. The creators have shown a keen eye for geek culture for years, but now it looks like they’re ready to go beyond satire and deliver a film that’s funny, moving, and most of all, true. Superb!

+The title also turns out to be a pretty clever reference, on a couple of levels. Just a heads up.
++By the way, if there’s a R9E larp next year, I’m totally calling one of the Displaced. WWII military garb mixed with fantasy elements? I’m so in.

—————————————————————————

I’m a larper, author and game designer who’s been publishing professionally in the RPG industry for almost two decades. I write a few semi-regular series for this blog, including Table Manners – a commentary and criticism series about gamers and their corner of geek culture – as well as Badass LARP Tricks, which focuses on advice larpers and larp organizers. Amused by the GenCon bits? I’ve written a few posts about cons as well. Interested in sexism and the gaming industry? Check out the breakout post “Guys, We Need to Talk” about gender and sexism problems in the community. You can also follow me on Twitter @WriterPete, and subscribe to the blog stay for future updates!

I would also like to note that I received no consideration for this review. I was a Kickstarter backer, as indicated, but have no relationship with Zombie Orpheus, the Dead Gentlemen, or any of the cast and crew of The Gamers film series.

Badass Larp Talk #15: 5 Little Questions that Do Big Things for Your Character

I was talking with some friends over the weekend about the best characters we’ve ever seen at games – ours, each others’, those of near or total strangers – and as our conversations sometimes do, it wrapped around to how those characters were created. As we were talking, I realized that a lot of what everyone was saying boiled down to how the players of the characters we loved had chosen to answer a small set of questions, and I realized that sharing those could help other players ask the important questions that really shook up characters and pushed them to be more real and more engaging.  (Besides, we’ve had a lot of longer, weightier posts in the series lately, so I figured it might be time for a bit of a palate cleanser.) So here they are, five simple questions that open a lot of doors in character development!

5 – Why are you here?
Why does your character come to game events? (If she’s nomadic, why does she keep coming back?) Is she in love? Seeking fortune and glory? Out for revenge? Exploring and questioning the world around her? Settling a score? Doing good and helping others? Or just desperate for a dry place out of the rain? Ask yourself this question before every session and I think you’ll be surprised at how much the answer tells you about your character, not to mention how they’ve evolved over time if you compare it to some of your previous answers.

4 – What do you want, right now?
Ask yourself this at the beginning of every game session – during longer ones, such as full-weekend boffer larp, ask yourself when you get up every day. This isn’t a theoretical, big picture question either – it’s all about what your character wants in the short term. What does he need right now? A better weapon, a political alliance, a good fight, a puzzle to solve, maybe some medical attention? How can he get it? Setting little concrete goals is a great way to keep you active and invested in your character, not to mention keep you engaged with the larger stories at work around you.

3 – Who do you trust?
Come on, admit it. Your character trusts someone, even if they probably shouldn’t. Who is it? How far does that trust go – would they trust that person with their wallet, their safety, their heart? Why? Who do they think trusts them, and are they right? And if you’re convinced that your character absolutely does not trust anyone in any way at any time for any reason, well, how do they plan to exist that way? Do they feign allegiance and friendship, or go their own way and dare others to mess with them?

2 – What will you never do?
Even the most hardened, cynical, jaded character usually has one or two lines left that they won’t cross. (If they don’t, what do they do to avoid others finding out just how heartless they’ve become? Or do they revel in their monstrous nature, and if so, how do they get away with it?) What does your character consider the ultimate sin? Betrayal? Deception? Wanton killing? Blasphemy? What would they do if they found out someone they trust from question #3 crossed that line?  What would they do if they broke it themselves?

1 – How will it end? 
Simply put, what’s the end of your character’s story? Yes, games are filled with uncertainty and it’s very possible that you may find your character exiting earlier than expected or in ways you couldn’t imagine before they happened … but let’s put that aside for a moment. Look down the line and try to figure out where you want your character to go – and how you want their story to wrap up? It may seem a little morbid, but it’s actually quite liberating. One of the main causes of player fatigue in long term games is that the player has no clear idea of where they want their character to go, so they just kind of trudge along from game to game. By thinking about how you want their story to end, you give yourself a powerful guide to how you want to play them, where you want their story to go, and possibly even when their story has been told to your satisfaction and it’s time to retire them to start a new character.

—————————————————————————-
Badass LARP Talk is a semi-regular advice series for gamers who enjoy being other people as a hobby. Like what you read? Click on the BLT or Badass LARP Talk tag on this entry to find others in the series, follow me on Twitter @WriterPete, or subscribe to the blog for future updates! 

Table Manners: A Very Special Geek Convention PSA

So! That last Table Manners post had some real legs, didn’t it? Wow. Y’all are amazing, I have to say. One of the responses that came up as the reactions to the post went on, though, was a call for more specific, helpful advice for gamers in general and guys in particular in order to improve or avoid some of the bad behavior that was the subject of the post. After all, these responders reasoned, if I’m going to take these guys to task for being ill-behaved and ask them to do better, shouldn’t I also do more to help them know what that means? I figured that was a fair point, so I gave the traditional Internet response – “Challenge accepted!” – and put the word out to some of the gamers and geeks I knew that I was looking for advice to help people treat each other better in the scene, then collected their answers.

After sifting through some of the responses I got, I decided to split it into two parts, spread across two posts: Conventions and Gaming. Conventions is a bit more general, and covers all kinds of cons – gaming, comics, entertainment, sci-fi/fantasy/horror, you name it. In particular, it focuses a bit on proper etiquette for approaching strangers – celebrities, cosplayers and costume designers especially – since that seemed to what got the biggest response. Gaming is a bit more specific in scope, and talks mostly about tabletop and larp gaming, though I think a lot of it applies to video games, board games and other gaming forms as well. I wanted to make them one post, honestly, but as I wrote it became clear they were each long enough to justify their own post, and I felt lumping them together would also detract from the message of each. You can look for the follow-up to drop in a day or two, promise!

It’s worth noting, of course, that these are tips and guidelines, not absolutes, and what’s appropriate in one situation might not be in another, even if they seem otherwise identical. Some cosplayers love having their picture taken, but others might decline no matter how polite you are, and even that cute couple who gladly posed for your “Dr. Who versus Pinkie Pie Deathmatch!” photo earlier in the day might just want to get back to their room and not be in the mood for pictures later on. With that in mind, as a rule of thumb I encourage you to treat each situation as its own new experience; even if you had a great conversation and photo op with a celebrity earlier in the day, that doesn’t mean you should just walk up to them while they’re talking to their friends at the hotel bar and act like you’ve been buddies for years.

Last but not least, you’ll notice that none of these tips address how to get a date, put the moves on someone or otherwise enter the sexual/relationship sphere.  That’s deliberate; I definitely didn’t want people to think this was some kind of “How to Pickup Con Hotties” or “Bringing that Elf Ranger Back to Your Place 101″ guide. Besides, I think the whole “pickup artist” scene is creepy as hell, so if that’s your cup of tea, kindly drink it elsewhere. I will say this and only this on the subject: Good manners should not be viewed as a stepping stone to or a guarantee of sexy funtimes, they’re an end unto themselves and should be treated accordingly  … but that said, good manners are also a hell of a better start to a conversation than the alternative. Just puttin’ that out there.

Convention Etiquette 101

Conventions are purpose-built sensory overload, but even in the midst of the panels and the demos and the workshops and the previews and the parties and the dealers’ room, there’s still no excuse for forgetting a few basic rules of etiquette when it comes to your fellow convention-goers, whether they’re working the con or fans like you. What follows is a series of tips to help you make a good impression and avoid the “creeper factor” as you meet people, take pictures and strike up conversations around the con. So if you’re nervous about the social rules surrounding the convention scene, well friend, we’re here to help you.

Be Nice

Yep. The Mister Rogers rule. Be nice to people. You might see what you think is a terrible cosplay and be tempted to comment on it right there, for example, perhaps even while that person is in earshot, but my advice? Save it for your blog, if you really feel the need to say it anywhere.  It’s not about censorsing yourself, it’s about taking a moment and remembering that everyone is at the con to have fun, geek out about things they love and generally enjoy their fandoms in the company of other fans for a day or two. Why take that away from someone else, just because you don’t approve of their choice of costume or favorite movie or best rpg ever or whatever else it is? You probably don’t like it when people make fun of your hobbies, so why on earth would you turn around and bring that sort of bullying and aggravation into the scene yourself?

So, take the high road when you can. Be nice to people. You’d be amazed how far it gets you.

Look, Don’t Leer

OK, I know this is going to be subjective territory at times, but let me give you a couple rules of thumb – if you’re looking at someone long enough that they look back not once but twice or more in your direction, clearly aware that you’re looking at them, then you’ve probably crossed from “looking” to “staring” (and are making them uncomfortable too). And if you’re in a place where they’re not likely to see you, like looking down from a balcony, then count Nathan Fillion credits backward to yourself: “1, Castle, 2, Dr. Horrible, 3, Serenity, etc.” If you reach Saving Private Ryan, you’ve been looking too long.  What’s wrong with that, you ask? Well, have you ever been riding on the subway or walking down the street, seen a stranger looking at you, then looked back a few seconds and saw that they were still staring at you? Creepy, right? So don’t do that to someone else across the convention floor. Sure, you may mean no harm by it – but they don’t know that, and shouldn’t have to worry about the distinction.

Also, it’s worth noting that openly staring at body parts – especially the sexy ones – is pretty much automatically going to put you in the creeper category as far as most people are concerned. And yes, it is different than simply appreciating an attractive person in general. For instance, you can think a woman is absolutely stunning and still be able to maintain eye contact for a full conversation, as opposed to spending the entire chat staring into her cleavage as though a mystical formula for transmuting d12s into gold was tattooed across it. The former shows appreciation for a whole person, but the latter fetishizes a body part to the point where the person attached to it is pretty much an afterthought. Remember, you might think that this sort of body appreciation is a compliment – “I can’t help admiring how gorgeous that costume is!”, “You can’t dress up like Captain Jack Harkness and not expect people to stare!” – but once again they don’t know what’s in your head. All they see is someone staring, and it’s likely to make them more than a bit uncomfortable.

Of course, if someone is rocking a really awesome cosplay, or is the big star of everything you’ve ever liked in film and television, or wrote that game you’ve been playing nonstop for years, or has created a super elaborate costume you just can’t believe, you might wonder: How are you supposed to appreciate all that magnificence in just a couple of seconds before moving on? Fair question. The answer is that if you think you’re going to need some serious time to appreciate the person and their work, it’s probably best to actually approach them and let them know that you’re a fan or that you’re admiring their handiwork (or both). That way you can express your admiration and not just be someone creeping on them from afar, plus it gives you the advantage of possibly getting to meet a con rock star and take some pictures up close instead of furtive, stalker-y shots from deep in the crowd.

Meeting people give you a big case of the nerves? No worries! Keep reading, we’ve got your back.

Stop and Ask Yourself, “Am I Interrupting?”

Before you approach someone at a convention, whether it’s a celebrity or an awesome cosplayer or your favorite game designer, take a few seconds to see if you might be interrupting. Conventions are busy places, and people are often juggling several things at once – talking to friends, browsing booths, texting their dinner plans, you name it. That doesn’t mean you can’t approach them until they’re standing alone and staring off into space with nothing to do, but one sure way to get off on the wrong foot is to walk up to someone in the middle of something that’s really demanding their attention – eating dinner, talking on the phone, taking a picture with someone else, having a tender moment with their sweetie – especially if you don’t seem to notice that you might be intruding.

If it looks like the person you want to talk to or take a picture of might be busy, always err on the side of the caution and acknowledge that when you introduce yourself: “I’m really sorry if I’m interrupting, but do you have a moment for a picture/autograph/question?” It’s a lot more considerate than just walking up and demanding some of their time as though you were the only important thing at the con. Plus, if they don’t have time but you’re polite when you ask, you’re more likely to have them tell you a better time later if they have one available. You show consideration for their schedule, they have a polite way to turn you down if it really isn’t a good time, everyone wins.

Introduce Yourself Politely Before Asking for Anything

OK. So you want to approach someone and it looks like you’ve got a good window to do so. Now, I know introducing yourself to strangers can be stressful as hell, no question, but as a rule it sure beats just walking up to someone and demanding a picture or launching straight into a discussion of your common hobbies. It doesn’t have to be elaborate, either; just a simple “Hi, I’m [Your Name Here], how are you?” is a great start. I know, it doesn’t sound like much, but you’d be amazed at how many people skip this step, which means that suddenly you’re putting a total stranger on the spot by launching right into a topic like you’ve been talking for years.

For what it’s worth, people are also a lot more likely to consider your requests if you approach them politely and engage them first, rather than just walking up and demanding something out of the blue. So even from a bottom-line perspective, this basic courtesy still makes a lot of sense. Practice it.

Ask Before You Touch

Here’s a big rule that a lot of people violate without even thinking about it, even though most of us were taught it back in kindergarten: Don’t touch other people without asking. Simple as that, and yet a lot of people forget it as soon as cameras come out or costumes come into play. So this one’s short and to the point – always ask before you touch someone. Even if you think it’s casual contact, such as if you want to throw your arm around someone for a photo – or shake their hand, or stand back to back, or touch them in any other way really – ask them first. If they don’t care, they’ll tell you so and you still come off being more polite than most; if they do care, you can avoid an embarrassing moment and possibly crossing into creeper territory. When I’ve posed with celebrities at cons, I’ve never had one react poorly to me asking them if I can throw an arm around them or shake their hand for the photo … but I have had some politely decline, and I’ve also seen them get justifiably annoyed when someone touched them without asking first.

Likewise, when it comes to costumes, props and cosplay in general, don’t assume you can touch anything without asking first; even if it’s a giant angel wing sticking three feet off their body, it’s still an extension of their person, and one they probably spent a lot of time working on and don’t want people messing with at random. Not only is it rude, but a lot of costume pieces are lighter and more delicate than they might appear, in order to prevent the cosplayer’s untimely death from sweating under 175 lbs of costuming all day at Otakon, and you might end up doing several hundred dollars and several thousand hours of damage very easily. I’m a steampunk and a larper who’s married to a costumer, so costume etiquette is more strongly ingrained in me than most, but let me tell you that few things annoy my otherwise sunny and amazing wife faster than people walking up and touching her costuming without asking. She’s likely fine with people examining the craftsmanship if they ask first, but if they don’t? It’s intrusive.

Oh, and About Those Photos

Just like you don’t want to touch people without asking, it’s also safe to assume that you should ask people before taking their picture. “But they’re in a public place!” I hear some people say. “And they’re dressed up! You can’t tell me that they don’t want their picture taken!” Actually, yes, I can. Believe it or not, not everyone at a con wants their picture taken, or wants it taken by people they don’t know, and that’s their right. A lawyer may not want opposing counsel to find pictures of him dressed as Weapon X; a woman might have a stalker in her past that makes her averse to any pictures of her showing up online; a celebrity might not want pictures taken when they don’t have their game face on or feel up to dealing with the public. Not that they have to share their reasons – all they have to do is say “No, I don’t want my picture taken” and that’s the end of the conversation. I know it might be really disappointing to come across the best genderbent Deadpool cosplay you’ve ever seen, approach her politely and ask her a for a photo only to be told no, but in the end, that’s her decision. Respect it and move on.

If you’re nervous about asking for a picture, you can also hang back a bit and wait for other people to take pictures – this is pretty likely with a good cosplay or a celebrity – and it gives you a natural moment to make your own request since others have broken the ice. Just try not to follow them all over the con or for long periods of time, or it’s going to make you seem like a creeper because they’re bound to notice you sooner or later.

Also, I’m not saying you can’t take pictures at a con without getting the permission of everyone in the background; that’s just not going to happen. Cons are too crowded to make that practical, and anyway, if you’re really just trying to take a picture of your best friend in front of the Evil Hat booth and a cosplayer wanders into the background of the shot, so be it. But there’s a big difference between taking crowd shots or candids of your friends that happen to include other people in passing, and deliberately setting up shots so that you can get a picture of someone else while pretending to take a different photo.

I mean, I know that right now some folks out there are thinking “Well, can’t I just take someone’s picture anyway, whether or not they tell me no or even ask in the first place?” To which I respond, stop and think about what you’re saying. What you’re describing – making a conscious decision to take someone’s picture in a way that avoids or ignores getting their consent – is really pretty creepy. And if it doesn’t seem creepy to you, that’s kind of scary on its own.

Be Cool with “No”

I’m not talking about “No means no” here, though while we’re on the subject, that too, damn straight. What I’m talking about is everything not covered by the above – autograph requests, attempts to share your analysis of a star’s last three movies, offering someone a free T-shirt from your gaming store if they’ll pose with it, you name it. It might make perfect sense in your head, it might be a totally innocent request, it might only take 30 seconds for them while it would totally make your year – and it their answer still might be no. And you have to be OK, not only with that being the answer, but the fact that you also might not get an explanation.  Because while some folks will offer one in the spirit of politeness, they don’t actually owe you one – you’re the one who approached them and asked for something, remember?

I’ve seen a lot of fans approach people at conventions with all sorts of requests, and you can see that they’ve played the exchange over and over in their head before they walked up, never once considering it might not work. “I just know Wil Wheaton will think this shirt is awesome,” they’ve told themselves, imagining the moment as he slips on their irreverent “Kobolds Do It In Great Numbers” T-shirt and thereby becomes the envy of the con. “How can he not? He’s a gamer! He’s totally going to wear it!” But remember, just because it makes sense to you and seems reasonable in your eyes doesn’t mean it will line up with what that person is OK with, either at that moment or in general. Maybe he has a policy about not accepting gifts from fans, or he’s running late to a panel and literally doesn’t have the time, or his first TPK came at the scaly hands of a kobold horde and just thinking about the little bastards gives him traumatic flashbacks. Or maybe – and this allowed too – he just isn’t interested in the shirt. All of these and countless more are legitimate reasons to turn down your request, and you have to be OK with that before you step up and ask.

In the end, remember that when you pay your admission, you’re not entitled to anything at a con beyond any special events you sign up for – such as a guaranteed photo op or autograph session – and even those usually have rules that you’re expected to follow.  Which means that even things that seem like no big deal to you might not be something someone else is interested in, and that’s their right.

Not All Compliments Are Created Equally

So now you’re talking to someone, and you want to tell them what’s so awesome that you just had to come over and say hi, but sadly, a lot of geeks are master of left-handed compliments, things that they think are positive but are actually mixed at best. You may mean all the best by it, for instance, but telling that game designer “Oh my god, I love your new game! It’s soooo much better than your last two!” isn’t likely to win you much goodwill. Why? Because even though you think you’re saying something nice, you’re essentially saying that you thought their last two games were terrible. You might not mean that – you might also like the other two – but that’s not what you actually said. Another classic is “You look really badass, for a girl” – well, pretty much anything with the “for a girl” phrase suffixed is probably a good example of a bad compliment. You might mean to say something positive, but all that the other person is going to hear is that you track women separately from men in the category being discussed, and unless gender’s an essential and obvious factor that’s not going to go over too well.

Another category of compliments that cause a ton of tension and aggravation are physical or sexual compliments. “You look so sexy!” is intended to be positive, for instance, but it also immediately suggests that you see the person as a potential sexual partner (or object). This is rarely a good way to make a first impression with a stranger, because the other person immediately has to wonder if you’re hitting on them, which can derail an otherwise pleasant exchange as they evaluate that situation instead of focus on a fun conversation. Again, you might know that you have no interest in them as a sexual partner, but they don’t know that, and given that you’re a stranger, they’re likely to assume the worst if you put them in that situation. I know, that sucks, but it’s the world we live in, at least until we change it.

And it should go without saying, but praising body parts – “You have amazing tits!”, “Your costume makes your ass look awesome!”, “Your feet are really pretty!” – is pretty much a bad call all around. Even if it’s an “innocent” body part, it makes them immediately aware that you’re closely studying their body, and that can make them very uncomfortable as they wonder why you’re doing that and if your interest is purely lecherous. You might feel like you wouldn’t mind if people said those things to you, so what’s the harm in saying them to others, but other people won’t automatically feel the same way. Now, if things take a particular turn and you wind up going on a date with them later on, that might be the time to tell them how their Akuma costume made their pecs look fabulous or how their Asuka suit accentuated their curves, but until then? Unless specifically invited to do so, I’d keep the body compliments to yourself and focus on costume pieces and props instead.

With that in mind, take a moment to compose a proper compliment or two if you have a chance. I don’t want to stress people out by making them go over and over their words until they’re absolutely perfect, but fortunately at conventions you often have time in autograph lines, panel crowds or other places to think out what you might say in advance. And if you’re really worried about getting it right, keep it simple – just say one nice thing and a thank you: “Thanks for your work, I love your movies,” “That costume is amazing, thanks for the pics,” “Your games really inspired me, thank you.” You’d be amazed how far a little thank you can go.

Have An Exit Strategy

I know most of us have this secret fantasy – no, not that one, the other one, the one where we meet one of our idols at a convention and wind up hitting it off. What starts as two strangers meeting becomes something more friendly and casual, and before long we’re swapping buddy IMs with Felicia Day or dropping guest vocals on that new Paul and Storm ode to the Valve gaming console that shall never be. Or maybe it’s not quite as star struck as that, just an invitation to join that elite cosplay group we’ve been admiring from afar or an alpha tester spot for a new MMO we’ve heard a lot about. Whatever it is, there’s this conviction that a lot of us have deep down that we’re just one good conversation with our heroes away from realizing our dreams – but while that might be true in some rare instances, it also tends to mean that people wear out their welcome at conventions trying to make it happen, turning what were pleasant interactions into increasingly uncomfortable and one-sided exchanges the other person can’t wait to end.

My advice? Don’t assume that a simple request like a photo or an autograph is automatically an opportunity for a long, in-depth conversation. If the two of you start chatting, great, I’m not saying you need to cut it short for some arbitrary reason, but try to gauge the other person’s level of engagement and excuse yourself when it looks like it’s run its course (ideally a little before it reaches the very end). If the conversation starts hitting some long pauses, or it circles back around to points you’ve already made, or they start glancing around a lot like they have somewhere else to be, you’re likely at the edge of your welcome, if not already tipping over. At that point thank them for their time and anything they might have done for you – pics, autographs, etc. – and just excuse yourself. It might seem a little awkward, but it makes a much better impression than having the moment stretch out out so far it finally snaps and they’re forced to take more direct action to end it.

Worried that you might have accidentally cut short a crucial conversation before its prime? Well, for one thing, if you go to excuse yourself and the other person protests, that’s usually a good sign that you can stick around a while longer – you gave them a chance to politely bow out of conversation and they didn’t take it. For another, this is the reason business cards were invented – have a batch of professional-looking ones made and offer them to people as you’re leaving the conversation. Nothing fancy, nothing too cute, just your name and some basic contact information. That way if they want to get in touch with you later – for example, to get copies of the pics you took of their cosplay – they have an easy way to do so, without requiring them to find a pen or whip out their phone. What’s more, giving them a card means future contact will be on their terms as well – they choose when and how to contact you, which is a lot less pressure than asking for their info on the spot. Plus offering a business card can result in receiving one in return, which can also tell you a lot about whether or not someone is interested in continued contact.

Speak Up

Last but most certainly not least, remember that con culture will only change for the better when it hits a critical mass of people who stand up to the jerks and call them on their bullshit. If you see someone bullying a reluctant cosplayer for a picture, speak up. If you see someone getting creepy and not taking no for an answer at the hotel bar, speak up.  If you see someone ridiculing another attendee for how they look or what they say, speak up. I’m not saying wade in with fists swinging – if you think a situation’s tipping dangerously, by all means call security or the cops – but a lot of the bad behavior arises from the fact that nobody speaks up when the jerks act like assholes, which makes them think it’s OK to be that way. If we can get enough people to make it clear that it’s not acceptable, it may not change their minds, but it will take the megaphone out of their hands and give the rest of us a chance to speak our minds instead.

—————————————————————————

Table Manners is a new commentary and criticism series for gamers and their own little corner of geek culture. Like what you read? Enjoy larping in particular? Click on the BLT or Badass LARP Talk tags to read a different semi-regular advice series for larpers of all kinds. You can also follow me on Twitter @WriterPete, and subscribe to the blog to stay in the loop about future updates! 

Fair Escape

LARPing Thoughts from a LARPer Fair

Whatever

ALL CAKE AND HAND GRENADES

I'm Josh Harrison

I go where no ordinary rabbit would dare.

Not Quite Literally

Musings. Teachings. Ramblings.

Stretchmarklandia

You look good. So, so good.

J.R. Blackwell

Writer and Photographer

Music and Zombies

Musings about life and living

Agnostic, Maybe

the neverending reference interview of life

A Story a Day

Keeps the boredom at bay.

terribleminds: chuck wendig

Chuck Wendig: Freelance Penmonkey

Final Girl Support Group

Put down the chainsaw. Have a donut. Let's talk horror.

Follow

Get every new post delivered to your Inbox.

Join 106 other followers