In this installment, I’m going to look at very specific but very useful larping technique: faking shared experiences, also known as “winging the backstory” or simply instant history. What do I mean by all those strange terms? Well, here goes!
Shared experiences are moments in the past that were shared with another character (or several characters), but which hadn’t actually been agreed upon or developed until the moment they were suggested. This is what makes them different from spontaneously generating your own backstory when it doesn’t involve others, as that doesn’t require anyone’s approval but your own. Essentially you’re suggesting shared backstory on the fly, and seeing how the other person feels about it.
This might seem rude, but if done right it’s not only polite and creative but can be a great way to reinforce character bonds and create a sense of history in a hurry. Skilled and cooperative players can spin elaborate moments out of almost nothing, and there are a few key tips to pulling it off without a hitch:
Tip #1: Offer, with a Way Out
Example: “Hey, weren’t you there when we chased that banshee across campus?”
This is a good example of an offer with a way out. You’re suggesting a shared experience – chasing a banshee across campus – but with “weren’t you there” you’re still giving them an easy out if they don’t want to have that incident in their backstory (“no, I wasn’t there”). The easiest way to do this is to frame these offers as questions of one kind or another, rather than stating them as facts, because that implies a level of uncertainty or latitude that allows the other player to answer more freely. It also takes a bit of the sting out of the fact that you may be catching them off-guard with the suggestion of part of their backstory they never considered.
The essence of the idea is that you’re doing two things at once – proposing a previously unknown character connection, while also offering the other party a chance to decline if they don’t feel it’s appropriate for their character. Suggest, but leave the door open too. It may sound complicated, but with a little practice it becomes second nature.
Tip #2: Use Weasel Words
Example: “I believe it started when I stole that cursed book out of the library, remember?”
Weasel words are words that in this context allow both parties some wiggle room: some, maybe, many, mostly, probably, believe, feel, seems, apparently, remember, etc. In the example, “I believe” is a lot more of a weasel phrase than using something stronger like “I know” – while technically both could still be wrong, “believe” is a lot more personal sounding than knowing. Also, the inclusion of the word “remember” and phrasing the memory as a question once again allows for the other player to back out if they like.
When you’re offering a shared experience, try to keep it relatively fuzzy, so that everyone involved has a chance to add details or alter things they don’t like. Remember, even though you’re proposing it, it still involves other players, which means they get to have a say in what you’re creating together!
Tip #3: Help with Leading Questions
Example: “Wait, were you in on it, or one of the ones who narc’d us out?”
If the other player seems to be struggling, help them out by asking leading questions that might give them a better idea of possible ways to resolve the situation. This doesn’t mean leading them right into being forced to be on your side or divulge sensitive information about themselves – we’re not in a courtroom here. Instead, leading questions allow you to help a floundering player by giving them possible solutions in the guise of asking for more details about the memory or experience you just conjured up.
The important thing to remember is to only do this if it seems necessary to help someone else out, or if they are in agreement and need a hand fleshing out the situation with you. If they’re not interested (see below), don’t keep piling on in hopes of making them moreso, but be willing to accept that it didn’t work and move on.
Tip #4: It’s OK to “No, But”
Example: “No, I wasn’t in on it, and I didn’t narc you out … but I sure remember how the Chancellor freaked out!”
Most of the time in the world of improv acting, you’re taught to “yes, and” and larp is no exception – it’s generally better to agree with someone and build on it than decline an effort at shared world-building. However, when you’re suggesting a shared moment to someone (or having one offered to you), it’s a time when “no, but” is perfectly acceptable. After all, while you may consider it an innocent offer, it might contradict something in the other person’s backstory or go against how they feel their character would act, possibly in ways you never expected.
The important part of understanding “no, but” is that when it happens, it means the other person is still trying to play with you – if they weren’t, that would be a flat no and end of discussion. A “no, but” means that while the idea doesn’t work for them as stated, they’re still interested in following that general line of play, and offering an alternative way to stay involved.
Tip #5: Respect the Hard No
Example: “No, I don’t remember anything about a banshee or a stolen book.”
Sometimes another player won’t be interested in a shared experience and they’re not willing to “no, but” the situation to being one they like more. It might be it just seems to far-fetched or out of character an experience for them to accept, or they might have a detailed backstory they like that just doesn’t have room for it. Maybe it even touches on some entirely OOC element they don’t want to bring up, much less explain in the moment. Regardless, sometimes players will give you a hard no, and that’s their right. This is the other reason phrasing shared experiences as questions and using weasel words is useful – it allows you to back away from the idea without damaging continuity or creating awkward situations where something might or might not have happened.
Example: “No banshee? Oh man, was I hitting the hallucinogenic potions that night? Sorry, my mistake.”
It’s important to remember that while a hard “no” might seem like bad roleplaying at a glance (at least compared to “yes, and” or “no, but” techniques), it’s entirely possible that the stance is driven by factors that you can’t know and that the other player does not feel comfortable discussing. So give everyone the benefit of the doubt and don’t get huffy if you get a flat no, just assume they have a good reason, and just back off the idea. You can always try it with someone else, or find another way to reach the roleplaying moment you’re looking for!
OK. I’ve started to see some of the sadly inevitable smug pushback on various things related to 2016 and the horrorshow it has been for so many people out there, so let me break down what not to say as people express their grief. I like to call this game Terrible Person/Better Person. Here goes:
Terrible Person: “Oh sure, everyone was sad about David Bowie, but what about Person X? Huh?”
Better Person: “I’m sorry that losing Bowie hurt so much; I felt the same way when Person X died. What made Bowie so special to you?”
Terrible Person: “Oh sure, everyone’s upset about George Michael, but nobody cared about an earthquake that just killed 1500 people in Country X! Talk about privilege!”
Better Person: “I know a lot of people are still reeling about George Michael’s death, but if you want to to channel some of that grief into action that will do some good and might make you feel a little better about the world after the shitshow that was 2016, here are some charities that are helping in the wake of the terrible earthquake in Country X.”
Terrible Person: “People are getting so upset about a bunch of celebrities dying, but they didn’t even know these people!”
Better Person: “It really seems like a lot of people lost their artistic/personal heroes this year. That’s rough, and honestly I can’t even imagine what it’s like for the families of those people to mourn a loved one they share with the world.”
Terrible Person: “Well you know Celebrity X did terrible things when they were younger, and therefore you are a terrible person and condone all the things they did by liking them or expressing any feelings of loss regarding their passing, right?”
Better Person: “So Celebrity X did some terrible things when they was younger, yes, and it’s important to remember the whole person. That said, someone who was problematic, even harmful, can have had a positive impact on your life, and it’s OK to grieve that.”
(Thanks to Matt McFarland for this one.)
Terrible Person: “You should be glad for all you have! I’ve had X, Y, and Z horrible things happen to me this year, but I’m not bitching!”
Better Person: “I didn’t realize this year had been so hard for you. I’ve had a pretty rough one myself – want to talk about it?”
Terrible Person: “You know 2016 is just a year, right? A period of time? It doesn’t have motives and it can’t kill anyone. Stop acting like it’s a hitman or something, that’s just stupid.”
Better Person: “I know there have been rough years before, but it seriously seems like we’ve had a bigger than average run of deaths, tragedies, and disasters in this one. We’d better come together so we make sure 2017 isn’t more of the same.”
A really superb checklist. I know waaaaaay too many people who take pride in being “hardcore” about attending larps when they’re sick or broke, perhaps not realizing the rest of us aren’t impressed by adults who don’t know how to take care of themselves (and put others at risk of illness). Fun is fun, I get it – I’ve been that college kid who spent money on larp when I should have allocated it elsewhere – but there’s definitely a limit.
When I was eighteen, any time I couldn’t make a LARP weekend felt like a cardinal sin. I wasn’t able to escape; I wasn’t able to spend time with my friends or do the cool things that they were going to do. I wouldn’t see the story, and I feared the story would move on without me. I did everything in my power to make it to a LARP weekend, and it often put myself in less-than-great real life positions because I felt like I needed to be at game. There were years where I went to 32+ weekend events out of a 52 week year. Of those games, I couldn’t tell you how many I should have considered my self-care before heading to an event.
Don’t get me wrong – LARPing is super, super important to me. But it took me a long time to realize that my body…
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This may be a bit of an unpopular idea, but please, hear me out:
Larp isn’t therapy.
One of the things I’ve loved seeing as larp has grown and developed over the years is the notion that this art form can produce real, profoundly emotional moments for players. While some games are specifically designed to elicit such responses, particularly in the Nordic and American freeform traditions, I’ve still seen plenty of these moments develop for players in more traditional parlor or boffer larps too. Sometimes they even happen to players who normally scoff at the idea of having such a cathartic moment as a consequence of donning elf ears and venturing into the forest for the weekend or putting in fangs and haunting a hotel ballroom for a night. There is really no question that larp can induce moments of great emotional release or trigger surprising personal revelations. And just to be clear, that’s not a bad thing at all!
But catharsis isn’t therapy, and it’s dangerous to mistake one for the other.
The example I like to go with is the Dr. Phil show. Wait, trust me, I’m getting there. On the show, it’s not unusual for people to hear some pat wisdom and “tough love” from that bargain basement Professor X, and respond by dramatically breaking down and tearfully acknowledging their mistakes and promising to do better about some dire personal failing. And while I know the show has been accused of staging such moments, I’ll give them the benefit of doubt and say that most of the folks who do so are genuine. After all, it’s a high pressure, highly emotional situation – they’re on television, they’re usually confronted by several loved ones, they’re getting sound bite wisdom from a world famous personality. Everyone around them is urging them to do better, to be better, and to do so now where the whole world can see it. In those circumstances, even a stoic individual would have trouble not giving in to the emotions of the moment, and most of us aren’t nearly so reserved with our feelings (or resistant to group pressure). Dr. Phil provides a moment of catharsis, a quick fix of self-esteem and the sense of being “better” for those involved.
The trouble, as any responsible mental health professional will tell you, is that rush doesn’t last. People feel clarity and warmth and direction – for a moment. If it’s not followed up on soon, however, and in a serious way, it fades and the individual is often worse off than they were before, because now they’re back where they started and they’re also beating themselves up with guilt about failing to change when they had such a golden chance. Except it wasn’t gold, it was straight up pyrite. Personal change – real, lasting change – takes time and effort and support. And if you’re dealing with actual mental disorders or psychological conditions, you really need the guidance of trained experts and possibly medication to make sure you’re actually getting better and not simply masking your problem or using bad coping mechanisms.
This is what makes larp as therapy a dangerous idea.
Games almost by definition are exactly that kind of short term rush. You have an amazing roleplaying moment, and it releases all kinds of emotions, maybe even nudges you into looking at yourself or the world in a different way. Games are intense, packing a lot of story and substance into a short period of time. Which is great for entertainment, but it’s not what you need if you have a problem that requires real, long term therapy to treat. At best you’re likely to ride a bit of a rollercoaster, up high around game time and then slipping back between sessions before rising high as the next game approaches. At worst, well, you’re learning bad coping mechanisms to say the least. Yes, a game can be “therapeutic” in the sense that it’s stress relief if you’ve had a rough week and need to blow off some steam, but that’s not the sort of therapy we’re talking about here.
I know what you’re probably thinking. If you’ve been a larper for even a little while, you’ve heard the success stories about people who overcame chronic shyness through larp, or who used in-character events as a springboard to solve problems or confront emotional issues they were facing in real life. You might even be one such success story, for that matter, and if so I’m glad things worked out for you! I’ve known such cases in the past myself, and while I’d argue that most of them were not situations where larp replaced the need for treatment of a serious disorder, there’s no question being part of a community and getting together for regular activities with others is good for anyone, just like eating well and exercising is a good idea all around. The support of a larp community and the friends it contains is a powerful thing that can do a lot of good for a person, and is absolutely to be cherished.
But here’s the thing: support is not therapy, just like catharsis is not therapy. Both can help a person who’s going through changes, sure, but they’re not the same and should not be viewed as replacements for such. Actual therapy is often a long, difficult, and sometimes downright emotionally dangerous process. And if that’s the kind of thing you’re using larp to do, instead of being professionally treated, then do everyone around you a favor. Stop larping, and see a therapist. If the therapist believes that larping can help you, hey, that’s great, but it should never substitute for real treatment for a serious condition.
I know that sounds harsh, and I don’t want to sound unsympathetic. Accidents happen, for one thing – a player with a phobia might not know it’s going to come up in game if it hasn’t in the past, for example, and that’s nobody’s fault if it gets triggered during play. I also know therapy can be expensive, though many clinics and practitioners operate on a sliding scale if you can show hardship, and I’d argue that attending a regular larp often isn’t much cheaper when you factor in event costs, costuming, props, gas, food, etc. But at the same time, look at it for from the other side. The staff and players of your local game are not mental health professionals – and if they are, it’s safe to say that you’re not their patient and they’re still not “on duty” when they’re playing – and putting your well-being in their hands is a disservice to everyone. You’re not likely to get the help you need, and they’re not prepared to cope with the complications if things go wrong.
Which brings up another issue that often gets overlooked as well, but it’s really important to remember: Making other people part of your therapy without their consent is wrong. If you’re trying to confront a lifelong phobia of spiders, for instance, and decide to do so by getting involved in the Unholy Spider Kingdom War at your local fantasy boffer larp – especially without telling anyone about your history – that’s being awfully cavalier with the feelings and enjoyment of your fellow players. They’re not responsible for your therapy, to put it bluntly, and so if you have a breakdown and go catatonic – or start swinging like a berserker as that fear shunts into anger and adrenaline – then you’ve made them responsible for your condition without their consent. Even if you tell them in advance, I’d argue that untrained people can’t really consent to being part of handling a scene involving severe phobia or trauma, simply because they’re not informed enough to know what to do to avoid making it worse.
This also means that games deliberately designed to explore potentially dangerous, emotionally triggering territory need to be overseen closely and with great transparency, for the health and safety of all concerned. Briefings, content advisories, “escape hatch” mechanics for overwhelmed players, and detailed debriefings and “aftercare” should all be standard issue and taken seriously for such games. I’m particularly fond of the growing trend of using simple hand signs to signal other players to slow down, stop, or continue with particular types of scenes, as I feel it is a big step in the right direction. But if you’re not willing to put in that kind of work for an intensely cathartic game, then you’re not simply ready to put on that kind of game, and shouldn’t be allowed anywhere near players until you remedy the situation. No, it’s not “edgy” or “shocking” to drop players into such extremely taxing and emotionally loaded territory without warning, it’s immature and irresponsible. Full stop.
In the end, a friend had a very good parallel for this whole situation – larp will not get you in shape, though getting out and getting exercise is still nice, and wanting to wear that beautiful heavy plate armor you’ve been dreaming of or fit into that swanky suit you feel will catch the Prince’s eye can certainly be outstanding motivation to eat better and work out more. But trying to get fit solely through larp just isn’t going to work, and attempting to make it happen ignores important realities of exercise and nutrition that will at best leave you frustrated and at worse actively hurt you. Not only that, but it isn’t the job of the staff or your fellow players to be responsible for your fitness regiment during an event.
Mental health is no different. Yes, larp can be a powerful and wonderful thing – it could generate a breakthrough you take back to therapy, for instance, or even inspire you to recognize a problem and seek help in the first place – but beyond that it’s no substitute for trained professional help. Enjoy your catharsis, by all means, but for your own sake and the sake of others around you, don’t mistake it for therapy.
So it’s been about a week since I finished Uncharted 4, but I wanted to let it sit as I worked my way through how I felt about it. I want to start off by getting the simple stuff out of the way: the game is great on pretty much every conceivable level, from level design and visuals to gameplay to voice acting. As with previous entries in the series, I routinely stopped just to marvel at my surroundings – or listen to them, or both – and it was just damn impressive.
That said, the story is a bit of a rough one. I don’t mean badly written, though, not at all. I mean because you know going into it that this is Nate’s last adventure – at least so says Naughty Dog, and I believe them – and so there’s an extra level of apprehension to everything because between that and the game’s title you find yourself constantly wondering how the titular thief is and what kind of end they have in mind. I won’t say it makes the game melancholy, as the trademark Uncharted wit and banter is strongly in evidence, but it does add a depth and maturity to the story, as well as an extra sense of risk any time a character is in peril.
Think it like watching the last season of a television show you like, or firing up Mass Effect 3, or how we will all feel picking up the last installment of A Song of Ice and Fire – you’re sad the story is ending, excited to see how it will happen, and more than a little scared because you know all bets are off and literally no character is safe. It’s a thrilling experience, done correctly, but an even more nerve-wracking one too.
I wasn’t precisely surprised how emotional I got at some points during the game – I love the characters and I’m an unabashed fan of the series, so you could say I’m invested – but I was pleased with how well it was handled. They didn’t wring melodrama out of it, and even when some of the characters made boneheaded decisions, I believed it emotionally even if it didn’t quite scan logically. More credit to the seasoned and awesome voice acting crew on this one too, for delivering top notch performances. The addition of a new character can really throw an existing dynamic, but it worked beautifully here. Sam doesn’t feel like a gimmick or a distraction, he feels like part of the crew, and the brother chemistry works beautifully in both the funny parts and the serious ones.
I read a review that commented on how you can see the influence of The Last of Us in some of the pacing and the emotional beats, and I’d agree with that. In particular I can see that in how this game takes time to slow down and explore its environments a bit more, to reward you for taking different paths and trying dialogue options. (Seriously, when you have a chance to explore a house – Nate’s or otherwise – then TAKE IT. Lots of neat little things to pick up for character and backstory.) It’s not the first Uncharted game where I was tempted to go back and replay levels to look for stuff, but it was the first time I would do it for story and exploration more than just picking up missed collectibles.
As for the gameplay and set pieces, well, it’s Uncharted. You know what you’re getting, and you get it here like you have in all the others – crazy chases (the mud flats is an insanely fun level in particular), amazing and also exploding/collapsing environments you have to race out of in cinematic fashion, cool Indiana Jones puzzles to figure out, the works. Combat is jazzed up nicely, with good melee and slick shooting, though I will tell you the enemies are no joke this time around – stealth is much more of an option and I suggest you take it, as even on “normal” the enemies are lethal shots and good at flanking and using grenades and other tricks to flush you out and take you down.
And two words of pure joy: GRAPPLING HOOK!
Now, I’ve heard some folks say that Uncharted 4 felt a little tired in the sense that these amazing action scenes and set pieces are expected by now, which makes them predictable instead of the flat out craziness off the first few games. I can see that point, but I don’t believe the predictability detracts from their excellence in execution. And more than a few of those moments had me scrambling and laughing and saying “holy sh-t!” so I think they pulled them off.
There was also a somewhat controversial decision to not include a particular type of plot element in this installment, which has been found in every other Uncharted game (to greater or lesser degree). I will admit I was mildly disappointed when I realized they weren’t going to go in that direction, if only because I like those sorts of stories and felt they had a good setup here (and did it well in the past), but I also recognize that it might have been one ingredient too many in an already packed story. And given that it was the final installment and plenty of personal and emotional stuff going on with Nate and his family – adopted, married, or actual – it was probably best not to muddy the water any further. I salute their restraint, though I still would have loved to see what they would have done differently if the story wasn’t so big already …
Still without going into spoilers, I will say that the very, very end of the game – the Epilogue, in fact – was a total surprise, in the best sort of way. And definitely a spiritual descendant of The Last of Us, which you’ll understand when you see it. I wasn’t expecting an epilogue in general, and I especially wasn’t expecting the one I got, so I will say that it worked particularly well in those respects. It wasn’t how I expected Uncharted to conclude, or at least Nate’s story, and I think some people might have felt it was a bit underwhelming or anticlimactic, especially given the franchise’s action-packed history.
Not me, though. I liked the quiet meditation of it – when you get to it, EXPLORE. EVERYTHING. – and really enjoyed that they let me take my time to process it. No gimmicks, no cheap jumps or gotcha moments, just … an ending. Maybe not the one we were expecting, no. But perhaps the one we should have been.
Bravo, Uncharted. You earned a great exit, and you got one.
Have you ever showed up at a baseball game and wondered why no one wanted to toss a football around? Tried to enter your ferret in the Miss Teen USA pageant? Or offered to throw down at a Street Fighter V tournament using your sick Magic: The Gathering deck? Of course not! All of those are ridiculous examples, right?
Except that’s sometimes exactly what happens when people come to larp.
Before I get into it, let me just say that I don’t normally pull the veteran card when it comes to larp. For one thing, logging a long time in a hobby doesn’t automatically make me better at or more insightful with it than someone else. For another, like any art form, larp needs youth and fresh perspectives as much as it needs the proverbial age and guile, so discounting people for having less experience is a fool’s errand. So I’m reluctant to make it a factor as a rule, and yet in this instance I feel that time logged actually has merit. So if you’ll pardon me, here we go.
I’ve been larping for 23 years now, not as long as some of course, but long enough to have seen trends come and go and as well as observe all kinds of play styles, game setups, and group configurations. I’ve done everything from homebrew parlor larps to massive networked boffer larps to Jeep and American freeform games. I’ve been a player and game runner and a rule designer and participated in all kinds of stories across a couple dozen genres. And let me tell you, sooner or later the same person shows up:
A player who attends one game, but tries to make it into another.
I’ve seen this in pretty much every venue and genre you can imagine over the years. There are always players who feel that the game and its setting should bend to what they want to play, rather than trying to create characters that work in the world they’re presented. I addressed some of these when I talked about problem players a while back, but it’s worth mentioning that players who want to bend the game can have very different motivations, which means that understanding them and how to approach them requires knowing exactly what type of player you’re dealing with in the first place.
The Commanding Cosplayer
This is a player who has a really cool cosplay, and is less about larping in the setting offered than finding another place to wear it between conventions. The game setting is near enough to the original cosplay source that they feel confident wearing it there, because “close enough,” right? Often they will make a nominal effort at changing some superficial elements, like having a different name than the character, but otherwise they don’t want to change more than they absolutely must, since the costume is what matters. Note that this can apply to people who have excellent historical costumes as easily as cosplayers who base their looks on fiction – I’ve seen Revolutionary War soldiers try to play at fantasy larps in full kit or period-perfect 1920s gangsters arrive at a cyberpunk bar. Having really great costumes can be a boon to any character or any larp, of course, but the Cosplayer is a problem because they want the game to shift to accommodate their aesthetic, rather than the other way around, and can wind up being visually distracting or outright disruptive to the game environment as a result.
The Fanfic Superfan
Sure, this game setting is great, but OMG! You know what it reminds them of! THEIR FAVORITE [BOOK/ANIME/MOVIE/TV SHOW/COMIC SERIES]!!!!111oneoneone This player compares the game to their beloved inspiration whenever possible and immediately tries to figure out how to shoehorn in terminology, backstory, characters, world concepts, or other elements from this source, regardless of whether or not it is a good idea. These are the players who try to turn your local fantasy larp into straight up Game of Thrones, who want to make a Requiem game into a live-action Vampire Diaries fanfic, or can’t seem to so much as see a wand in a setting without endlessly equating everything to Harry Potter. Now, every game has inspirational material behind it and that’s great, but the trouble is that the Fanfic Superfan just can’t let it go and embrace what’s new about the game setting, which does both their inspiration and the larp a disservice.
The Exchange Student
This player brings in a character from another game that they love and want to keep playing, regardless of whether or not the concept really fits the game they’re arriving at now. Rather than change their backstory or other core concepts, they try to bring their original character elements into the game even if it doesn’t suit the world as presented. An example would be a player who tries to bring a vampire character from a homebrew setting into a Masquerade game, but refuses to use the clans and Disciplines of the new setting, instead trying to get their original clan and powers approved instead. Speaking as someone who’s played variations on the same base character off and on for 16 years now, believe me I understand – but the difference between me and an Exchange Student is that I always reshape and reinterpret him to fit the game world, instead of assuming I can walk in as the same person with the same backstory and capabilities regardless of setting.
The Backseat Designer
This type of player can be a little more subtle than some of the other types, but winds up being far more disruptive if their behavior is not caught early. Simply put, the Backseat Designer thinks they know better than the game runners when it comes to a game’s rules or setting or both, and therefore feels free to introduce their own elements instead. Sometimes they can’t help but comparing the game to some fabled game of their past, and constantly try to reinvent this one until it’s a copy of that one, or it might just be that they can’t help tinkering with what they see. This might be making up an important historical event that never happened in the official game timeline, or it might be choosing to ignore a rule they don’t like (or impose one of their own design instead), but whatever form it takes, the Backseat Designer sees no problem in changing the structure of the game in order to make it what they feel would be “better.” Naturally, while larp is a collaborative exercise, changing major elements like rules or important world history without consulting the game runners is a reciper for confusion at the very least, and serious player discord and event problems at worst.
It’s pretty rare in my experience, but sometimes people come with a concept they know doesn’t fit for no other reason than just to mess with the game/see how much game-breaking they can get away with before they get tossed or the game grinds to a halt. The trouble is that a troll can appear to be one of the other types, but while those players generally aren’t trying to deliberately create trouble – they might just be a little confused about the setting, their character, or both – the troll is just there to be as disruptive as possible. Needless to say, if it becomes clear that a player is simply playing a character who doesn’t fit in order to mess with the game, it’s best to toss them out as quickly as possible, and if necessary retcon their actions if they ruined play for others. Giving a supposedly repentant troll a second chance is up to individual game runners, of course, but it is worth remembering that other players who don’t make such selfish and disruptive decisions are worth giving priority.
So What’s to Be Done?
As evidenced above, there are a lot of motivations that might cause players to try to bend a game to suit their needs rather than adapting their characters to the world they’re offered. Regardless of why they do it, though, it’s important to recognize that this is not acceptable behavior – while larp is a collaborative effort, it is still important to respect the role of the game designers and the vision they have for the kind of game they want. Some may not care if players freely add or change elements, but many do, and unless a player has been given specific permission to make changes or bring in characters who don’t quite fit the normal setting parameters, they should work with what they’re given rather than spend energy trying to make it into something else.
This may sound harsh, but at its heart it’s actually advice with the best interests of everyone at the game in mind. For instance, if a game designer announces a new larp set in a four-color superheroic world of her own creation, where the players are going to portray old school straightforward superheroes, attending that game is an agreement on the part of the players to take part in that world. Yes, the game designer needs to make it clear what kind of game she’s putting on – if only so the players don’t make inappropriate characters by mistake – but she should not have to then further defend it from players who want to play a different game and so try to make hers into what suits them.
Sure, a player may wish he could have a darker, more modern superhero character. He might think that modeling his character on Rorschach from Watchmen would be the coolest thing ever, or that it would be great to have Infinite Crisis have occurred in this world, or wish he could bring in his wonderful Dark Knight cosplay outfit based on Batman’s iconic battlesuit in The Dark Knight Returns. He might want to have time control as a power, and have a whole rule set worked out for it, even though it’s not on the regular powers list for this game. All of these might be great elements … but not for this game.
This game is not about those things, and trying to make it so is not conductive to group play.
Let me be clear – it’s OK to ask game runners questions, or even offer suggestions. Nobody is saying otherwise! However, if the game runners decline to make changes a player desires, it’s the responsibility of that player to accept such a decision and either play the game as presented or leave and find a game that better suits their needs. After all, one of the wonderful parts of being involved in this golden age of larp we have going right now is that there’s certainly no shortage of alternative games available if one doesn’t suit you. Or, for that matter, no shortage of players who’ll likely be interested if you start your own!
But if you go to a game, don’t try to make it something it’s not, or judge it for not meeting expectations it was never intended to fulfill in the first place. Instead, embrace the world and the system you’re offered for what they are, because that’s the vision the designers have in mind. It’ll be less stress and more fun for everyone that way.
I see more ghosts
on New Year’s Eve
all of Halloween.
All Hallow’s Eve
is like a tourist town,
one the living
invade once a year.
The dead enjoy
the attention, sure,
but soon they wish
we’d go away.
No, New Year’s Eve
is far worse haunted,
because they gather
around the lights
and across the gap
of tears and sighs
they watch us plan,
and vow, and live.
You can feel them
best at midnight,
if you try, if you listen –
mouthing our promises,
sad and hungry eyes
reflecting the cycle
of hopes and regrets,
seeing all the mistakes
they would gladly make
again, if only.
Yes, the dead are close
on New Year’s Eve.
So as you toast, count
the faces in the glass,
and if you see
some you’ve lost,
don’t be sad, or afraid –
just raise your glass
It’s an often overlooked game design factor, but truly one of the most important things a larp runner needs to decide on are what the barriers of entry to their game will be like. Or to put it another way, what sort of limits and requirements will they impose on their player base in the name of the game? For the purposes of this post, I’m assuming the game is at least semi-public – entirely private, invitation-only games are a different sort of entity entirely.
What follows is a list of some of the most common barriers of entry that a larp runner should consider when putting a new game together, or which might be worth occasionally re-examining as part of an ongoing game. It’s important to note that there are no “right” answers here, simply decisions and how they potentially impact a game. It’s a series of trade-offs, and ultimately the only correct answers are the ones that allow the game runner to create the experience they
For example, if a game runner wants to have a weekend larp event with $150 tickets that also requires extensive costuming, total immersion roleplay, and significant downtime preparation beforehand, that’s not necessarily “elitist” or “exclusionary” – it’s simply her prerogative for crafting the sort of game she wants. She’s accepting that with those barriers in place she’s going to have a small, dedicated player group in return for delivering an incredibly immersive and detailed experience.
By the same token, a game runner who hosts free bi-weekly games with minimal costuming and roleplay requirements isn’t necessarily creating a “weaker” game – he might simply not be interested in turning people away and just want to run a game for a big, rotating cast. If that’s the experience he’s shooting for, then great!
With that in mind, here are the barriers any larp runner should consider
Money: Sticker Shock
The most obvious barrier to entry is direct cost. A free game potentially attracts anyone who’s even a little curious about what game might be like, while a game that costs $80 or more per session is likely to cut out a lot of low-income players – many high school and college students, as well as fixed income or minimum wage earners – which definitely changes your player base. While the upside of having an expensive game is that it naturally also tends to attract players with more disposable income, which in turn often leads to higher costuming, prop, and makeup standards for the player base, as players who can afford a more expensive session tend to have the money to splash out on fancy gear as well.
The downside to a high cost barrier, of course, is that it simply rules out a lot of the larp demographic right off the bat, and may also force out existing players who suffer a financial setback later on. On the other hand, free or low-cost games cast a wide net, which can be a blessing or a curse depending on the local player base.
Time: It’s Money Too
Another barrier of entry is time investment, both in terms of session frequency, session length, and any downtime needs as well. A game that’s played for a few hours one night every other month and requires minimal downtime participation is a lot more accessible to working parents and busy professionals, for example, while a monthly game that requires a full weekend (like many boffer larps) and/or has extensive downtime roleplay demands is going to naturally cater to students, couples without children, and other players with more free time on their hands. Games that demand a lot of time investment, whether at session or in downtime or both, do tend to encourage in-depth roleplaying and backstory creation if only due to the sheer amount of time players spend playing and developing their characters. By contrast, a lower barrier makes it easier for players to stay involved at all levels of involvement.
The downside, of course, is that players who can’t invest so much time either feel left out o the important action, or are actually relegated to second-class characters simply because they cannot follow every forum discussion or Facebook post. In an age when even modest larps spawn multiple Facebook groups, private messaging threads, and official forum posts to follow, this barrier should not to be underestimated!
Costuming: You Must Be This Rad to Ride this Ride
Time and money are both important barriers to consider, but another very important one is the costuming barrier. (To save space, for the purposes of this article “costuming” is being defined as the overall use of costumes, makeup, and props to portray a character.) This is not necessarily linked to the ticket price of a game, though it certainly can be, as even games with “cheap” tickets become considerably less affordable if the costume barrier is set high. On its own, though, it’s what standards a player is expected to uphold in terms of appearing to be part of the game world on just a purely visual level. A high standard helps create an incredibly immersive experience for everyone, and can be crucial for creating an intense roleplaying environment and keeping people in character. By contrast, a low barrier encourages new and casual players, as well as requires far less setup and prep to make players ready to start0.
Costuming standards are an extremely sensitive barrier in the larp world, however, as there’s often a thin line between expecting players to meet certain standards and having garb Nazis shaming players for not being up to snuff. Few things drive off new and potential players than feeling like they’re being mocked or excluded just because they don’t have the coolest costume on site, and even veteran players can get into destructive “cooler than thou” cycles over what is “acceptable” costuming.
No matter where the barrier is set here, game runners should watch carefully for signs of costume policing, garb shaming, or makeup snobbery and stamp them out whenever possible. If a player isn’t meeting the game’s requirements, mocking them never helps – but offering advice and assistance just might earn a dedicated player for years to come.
Roleplaying: Who Do You Think You Are?
How important is it for players to stay in character? How seriously is roleplaying to be taken? How immersive is the experience going to be? Simple questions, but deceptively challenging ones. Most games have a rule about staying in character, of course, aside from perhaps a designated out of character zone or to (briefly) address rules or safety concerns. That’s the absolute minimum barrier, though, and most games unofficially add levels to this requirement over time – not just discouraging players dropping character, but actively expecting them to roleplay in certain ways such as playing to fail, taking defeat seriously, respecting in-game authorities, etc. A high barrier insists on serious, in-depth roleplaying, while a low one doesn’t mind if players are a bit more casual or their characters less fully-realized.
Games with a high standard for roleplaying expectations can be as intimidating as they are engaging, however, and if they don’t take care to offer advice and assistance to players who aren’t used to such acting requirements they’re bound to turn away a lot of potential players who simply don’t feel good enough to play. By the same token, a game with a low standard can be frustrating for players who enjoy more in-depth roleplay if they feel too many other characters just aren’t “serious” or that their scenes are constantly interrupted with out of game chatter.
Lore: There Will Be A Test
Another less commonly considered barrier of entry is what might be called a “lore requirement” – how much in-game knowledge you expect players to have in order to function properly and roleplay in the game world. Games with a high lore barrier tend to have complex world histories and years of accumulated play experiences that reward players with immersive environments and in-depth environments for engaging with their stories, while games with a low lore barrier are much more welcoming to new and casual players, requiring far less explanation and setup for players to get up and running. Consider how much world lore you need to absorb to properly play a highly political Game of Thrones larp, for example, versus how much you need to play neophyte mortal vampire hunters in a World of Darkness game.
The downside to a low lore requirement is that it can feel a little too “episodic” at times – if the game doesn’t acquire much history and backstory as it goes it can seem like a sitcom where everything resets between stories. On the other hand, games with a high lore barrier can be seriously intimidating, like trying to start in the middle of the fourth book in a nine book cycle or picking up a comic series with forty years of continuity references behind it.
Moving the Bar
Last but not certainly not least, changing existing barriers is subject worth mentioning is changing barriers down the line, because if it’s not handled right it can lead to serious player discontent. Raising a barrier presents the most obvious problems, of course – if a game’s ticket price jumps from $35 to $65 there’s likely to be a lot of anger and dismay, for example. Even if players understand the necessity of an increase, it may not prevent some players from needing to drop out due to lack of funds. Likewise, if elf players are used to just wearing ear tips to signal their species, telling them that they now need to do full wigs, face paint, and French accents is likely to call up a storm of complaints.
Lowering barriers may not seem like quite as much of a problem, but it carries difficulties of its own, especially if the existing player base feels like the game is being “watered down” or that their investment in the game is being devalued. After all, if playing an elder vampire used to require writing a 10 page backstory, and now it requires a single page, the players who went through that effort are going to be justifiably upset – and may take it out on newer players who didn’t have a say in the change.
When raising or lowering a barrier, there are a few things that can be done to make the process easier on everyone. The first is to be as upfront and transparent about the change as possible – let players know what is happening and why, and be ready to answer questions and address concerns. The second is to give players lead time when making a change – while this isn’t always possible, the more time in advance the players have to process the change, the less likely it is to upset them or even cause them to leave the game.
Lastly, it’s usually worth considering compensating players who met the original barrier, especially if it’s now being lowered. Going back to the elder vampire example, giving players of existing elders who wrote the 10 page backstories some perks or advantages is certainly fair, and a good way to show that their effort was appreciated even as the new standard is being implemented. Even a small gesture can go a long way to mollifying players, which is worth it to keep the game going and fun for everyone.
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!
I never thought I’d say this, but sometimes it’s good to have a story on rails.
In case you might have missed it, this past week’s release of The Order: 1886 has generated a fair amount of controversy. Two of the most common objections are regarding the game’s duration, as well as the fact that it is a story “on rails” as opposed to a sandbox world of open exploration. The game’s developer, Ready At Dawn, even came out to respond to critics on the first charge, defending the game’s shorter than average runtime as being what the story required.
And I have to say, I agree. I think both objections are junk.
Let me preface my defense with a caveat – I am playing, but have not yet finished The Order, mostly due to a lot of deadlines floating around and also a deliberate decision to savor it a bit and play it in small pieces. To which some more cynical reviewers would probably respond by saying that if I played it but haven’t finished it, I must not have done more than sit through the opening credits. There has been serious howling about the fact that the game runs around 10 hours, and how this constitutes a “ripoff” for a game costing $60. A ripoff? Really? Let’s do some simple math.
$60 for 10 hours of entertainment is $6/hour.
$12 for 2 hours of entertainment (going rate for a movie ticket, not including snacks or 3D funny business) is $6/hour.
So, in effect, you are paying about the same for the game experience as you would for a theatrical movie experience. (Except, you know, it’s longer, interactive, and you don’t have to deal with the meathead in the row in front of you texting “omg channing tatum looks like legolas! more like jupiter GAYscending lol #YOLO” the entire time.) Where is the ripoff in that, exactly? Yet longer playtime is consistently touted as a good thing, with games bragging about 40 or 60 or even the occasional insane 100+ hours of playtime. Don’t get me wrong, I get that having a ton of time to bash around in a game world can be a lot of fun. I did every side mission in the Mass Effect and Dragon Age series because I loved those worlds and those characters and wanted to squeeze as much out of them as I could.
But there’s also the question of how much of a game’s playtime is gripping story or involving action (or both), and how much of it is simply busywork? I consider Mass Effect 2 one of the finest games ever made, and yet I know my personal playtime was inflated by at least a couple of hours spent firing probes and collecting materials. I spent a lot of time playing watch_dogs, but only a fraction of that time was on the main story – the rest was all side missions, secondary objectives, and the odd collectible. A writing professor of mine once said “there is no greater tragedy than a novel that should have been a short story” and it’s a lesson I think the gaming industry – and its fans – need to remember. Adding playtime is only a good thing if it enhances enjoyment. Otherwise you’re just creating busywork, and unless it all ties in neatly and powerfully you might in fact actually hurt the story you’re trying to tell by throwing off its pacing and drowning it in distractions.
When I finished watch_dogs, in fact, I was left feeling like the sandbox nature of the game seriously harmed the story at the heart of the game. It’s supposed to a tightly-wound neo-noir tale of revenge, but giving the player a chance to drive all over (a very beautifully rendered) Chicago on a whim dilutes the essential drama and pacing of the story. It’s hard to take the unfolding events seriously when I get a plot update like “do this job or your nephew dies” but can cheerfully spend the next few hours driving around shooting gang members and participating in street racing with no impact at all on the main story. I felt like a terrible uncle, sure, but there was no penalty at all. A lack of urgency means a lack of tension, and a lack of tension means events feel flat or disjointed, and that makes a story that could have been a tight, compelling thriller wanders off into a series of weird, disconnected events.
To put it simply, if you try to take a 10 hour story and turn it into a 30 hour story, you’re not doing anyone any favors – not the creators, not the players, nobody.
Which is where the rails discussion comes in. One of the other major complaints about The Order is that “it’s on rails”, meaning that the player has no choice but to follow the path laid out for them by the developers. Or to put it another way, there is only one way to go through the story – the player cannot choose to go other places or do other things. Look, once again, there is no question that sandbox games can be totally awesome. I’ve played my share and loved them … when it suits the nature of the game. Having an entire world to explore and interact with can add an amazing feeling of freedom to a game, as well as fit in countless side activities to flesh out more of the setting (there’s that playtime bump again). But like a lot of design elements, opening a game up into a sandbox experience is a trade off – when players can go anywhere on the map, you lose the tighter narrative control that comes with putting a story “on rails.”
I mean, this is obvious from the textures and assets elements on up. If The Order was a sandbox game, you’d have to detail a huge playable area of London (among other locales), as well as fill it with reasons to go out exploring. That’s a ton of content that isn’t necessarily focused on or related to the main story. Sure, that trade-off is worth it to some, but that doesn’t mean it’s the only viable way to approach the design. I loved bombing around Revolutionary Paris in Assassin’s Creed: Unity, and it was absolutely gorgeous and stacked to the gills with side content, but that doesn’t mean every game wants to invent several types of side missions, collectibles, and other activities just to justify their open world experience.
There’s also the matter that the best games “on rails” make those rails as invisible as possible – you follow the story as it’s laid out because it’s a fun, compelling plot. The Last of Us is absolutely on rails in the strictest possible sense, and it’s still one of the best stories I’ve ever experienced in gaming. I never once bemoaned the lack of an open world map, because it meant that the levels and encounters I was going through were carefully calculated for maximum narrative and gameplay impact – something you can’t do nearly as neatly or cleanly in a sandbox environment. There are great sandbox games, and great games on rails, but they are distinct styles of telling a story, and we need to stop stigmatizing one simply because it tends to have shorter playtimes. Especially considering how much complaining I hear about how pointless a lot of side content feels in so-called longer games – it’s a damned if you do, damned if you don’t approach to criticism.
As a lifelong tabletop gamer and larper, believe me when I say that my first response to the notion that a game is “on rails” is usually to recoil – one of the things I enjoy most about playing rpgs in those formats is the fact that there’s room for tremendous player creativity. Even so, I also recognize that some types of experiences – especially short convention games or other one shot formats – are best put on some kind of rails, because otherwise you have a bunch of players puttering around for a few hours hoping to bump into a cool plot. Sometimes putting players on track is not only useful, but necessary to convey the story you want, as well as lead them to certain carefully crafted and utterly unforgettable moments.
It’s ludicrous and more than a little confusing to try to say games like The Order don’t measure up because they aren’t meeting some absurd, arbitrary standards of playtime and player freedom. That’s finding a game lacking because it’s not the game you thought it should be, which is always going to be an impossible standard. If you want to criticize what is there, great – and there have been reviews that focused on what they saw as weaknesses in the finished product. That’s cool, and necessary. We just need to approach a game on its own merits, instead of applying consumer metrics that area increasingly pushing games to adopt sandbox models and multiplayer elements whether they make any sense or not, just to keep playtimes up to what gamers consider “acceptable” levels.
In the end, I’d rather have a tightly crafted 10 hour story than a bloated 30 hour mess.
But it seems like I’m more in the minority with every release.
Justin speaks wisdom, as usual. Why write a book most people will never read when you can do so much more in three bold sentences?
I’ve spent many years of my career expanding characters into prose-length works, establishing elaborate backgrounds for them and giving them extensive histories. Because those books are intended for commercial sale, those characters are designed to have broad appeal. Somewhere in those 2,500-4,000 words is a hook almost anyone can use in a chronicle. Whether your setting involves attack ships on fire off the shoulder of Orion or a vampire coup in Chicago, you should be able to grab a character published for your game of choice, find an engaging hook, and fit it into your campaign. It might require a little fine-tuning, but that’s okay – fine-tuning is less cumbersome than whole-cloth world- and character-building, and that’s what published source material is all about. You trade a couple bucks and save several hours of campaign engineering. As well, hobby games draw on a variety of loquacious literary traditions, so it’s…
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