Eirik Fatland, Spillerom 2015:

Laivdesign* 101

Boffer in the park 2009 Photo: Li Xin

* eller: manipulasjon for kunst og morro.

“Så - hvordan kan vi ble bedre til å lage laiv?”- Petter Bøckmann, Knutepunkt 1997

18 år, 30+ bøker, 500+ laiver senere...

“VI” vet INGENTING

SKINNER : DÅRLIG

MANIPULASJON : BRA

OBJEKTET, og BEGRENSINGEN for ALL LAIVSKAPING

“Skape en fortelling, med andre”“Overgå egne grenser”“Få nok plot”“Lære om meg selv”

“Denne rollen var umulig å spille”“Denne laiven sugde fordi den var så dårlig designet”

HVA VIL SPILLERNE?

“Skape en fortelling, med andre”“Overgå egne grenser”“Få nok plot”“Lære om meg selv”

“Denne rollen var umulig å spille”“Denne laiven sugde fordi den var så dårlig designet”

“Jeg gjorde det for det var HELT SAKLIG for rollen”

HVA VIL SPILLERNE?

I BEGYNNELSEN SÅ VAR DET...

BRUTE FORCE LARP DESIGN

Makthierarkier på kollisjonskurs + skjulte historier + Mer er Mer!(å spille for å vinne)

I BEGYNNELSEN ...

Kybergenesis 1997 Photo: Britta Bergersen

PROBLEMENE MED BFLDPLOT-TOG SOM KJØRER AV SKINNENE

SJEFEN MONOPOLISERER PLOTTET

DE BESTE OPPLEVELSENE HAR IKKE STRATEGISK VERDI

...

HVEM ER JEG?

VISJON!

Illustration: © 2014 Shelly ʕ•ᴥ•ʔ at Sketchport.com Licensed under CC-BY.

(midt på 90-tallet)

Pregame, Jenny Drakenlind. From the Nordic Larp Book Play, Daniel Hallbygård From the Nordic Larp Book

ABSOLUT SIMULERING(1994, TRENNE BYAR)

SKJEBNE!(1996/97)

The gamist:Jeg vil konkurrere!

The dramatist:Draaaaama!

The simulationist:Troverdighet!

The Three-fold Model / GSD (rec.games.frp.advocacy,1998)

I hereby submit to the rules of the Vow of Chastity, as developed by Dogma 99,

1. It is forbidden to create action by writing it into the past history of a character or the event.

2. There shall be no "main plot". (The story of the event must be made for each players character, not the whole).

3. No character shall only be a supporting part.4. All secrecy is forbidden. (Any participant who so desires shall in

advance be shown all documents that pertain to the event).5. After the event has begun, the playwrights are not allowed to influence

it. (Any use of staging and ad hoc organiser roles is forbidden).6. Superficial action is forbidden. (The playwrights may not in any way

plan or encourage the use or threat of violence as part of the event)7. LARPs inspired by table-top role-playing games are not accepted.8. No object shall be used to represent another object. (all things shall be

what they appear to be)9. Game mechanics are forbidden. (rules to simulate for instance the use

of violence or supernatural abilities are not permitted)10. The playwrights shall be held accountable for the whole of their work.

1. When playing a character and immersing myself in it, my foremost goal shall be to simulate what happens inside the character's head, and how it affects his behavior. Hollow pretence I leave for the actors.

2. I shall use no non-diegetic (out-of-game world) methods (such as background music or unrelated off-game comments) while playing, if there is any other way to play the situation. (E.g. unless the game material specifically says otherwise, when the character hits, I hit.) If I think I see something like this in a game, I will assume them to be diegetic methods, and that my character experiences them exactly as I do, unless the game master has instructed me otherwise. (It remains the game master's duty, however, to make sure I know what level of physical and mental safety and suspension of disbelief is in use in the game.)

3. I shall learn and understand the character's person by building the self image, personality, world view and other things that make it an individual from the subconscious outwards (i.e. not via manners or such). I expect others to do the same.

4. When attempting to look and act like the character, I shall avoid stage acting. I am aware that I and my character might have different ways of speech, manners or other outward features, without them forcing me, the player, to over-act or otherwise call for undue attention.

5. I shall immerse myself in the game with the assumption that if a character or other game element seems out of place in the world or in the game - such as comical, over-acted or badly played - it is still a part of the world, not a stupid idea the player had.

6. If forced to improvise or add to my character during the game, my first and foremost goal shall be to do this by thinking about the big picture I have of the character and the game world, not trying to add surface dramatics or theatre methods. While playing, I will focus on immersing myself in my own character, not trying to improve the gaming experience of other players. I will try to be true to my character without trying to spot a story-line which I should act out. I accept the fact that as a player my part is to see only a small part of the whole.

7. I shall assume that the game master has told me everything I need to know about the game world, and what he wants his players to know about larping. I shall not attempt to use any general larping conventions in any one game, but the exact conditions given to me by the game master: if for example the off-game sign has been defined to be something, I will not substitute anything for it.

8. When attending a game, I shall not consider it to be a member of any particular genre or see its events as larp-plots that have a certain solution. Unless the game master tells me otherwise, I shall see each game as a unique work of art, which should be treated accordingly.

9. I shall not let any non-critical factors from outside the game (such as entertaining the other players, advancing the plot, guiding the newbies, off-gaming etc.) affect my playing in any way. During the game these things do not exist for me.

10. As a player I shall strive not to gain fame or glory, but to act out the character as well as possible according to the guidance given to me by the game master. Even if this means I have to spend the entire game alone in a closet without anyone ever finding out.

Furthermore, as a role-player I vow to refrain from any personal style of gaming! I do not try to play, but to mold myself after the game master's wishes. I do not try to create myself a perfect gaming session or give others short-lived pleasure, because I consider the game as a whole to be much more important than any single player's experience of the game. My greatest goal shall be to fulfill the game master's vision, forcing myself to immerse in the character as truthfully and realistically as possible. I swear to do this in all ways possible to myself, regardless of any concepts of good taste and the convenience of other players.

The gamist:Jeg vil ha utfordring! Jeg vil

kunne vinne!

The narrativist:Fortelling! Fortelling nå!

(also: premise)

Simulationist:Jeg vil utforske en internt sammenhengende verden!

GNS-modellen (Edwards, 2001-)

The gamist:Jeg vil konkurrere!

The dramatist:Draaaaaama!

The immersionist:Troverdighet!

The Three-way Model / GSI (Petter Bøckmann, 2003)

Nå lever jeg meg inn, altså!

THE 360° ILLUSION

1942 (2000). Photo: Britta Bergersen

Koljonen, 2006

CASTING

Trad.Norskinger & Finner

SYSTEMISK

2001-

FORHANDLING

Trad.Dansker & Svensker

TRE STRATEGIER FOR Å UTSTYRE SPILLERE MED ROLLER

Larp is Chaos

Larp is ChaosLarp is ChaosLarp is ChaosLarp is Chaos

Larp is ChaosLarp is Chaos

Montola 2004

Larp is Chaos

Larp is ChaosLarp is ChaosLarp is ChaosLarp is Chaos

Larp is ChaosLarp is Chaos

Montola 2004

Men... Attractors!Dissipative!Integrative!

emergence

INSENTIVER!KONFLIKTER!PUSLESPILL!TRIGGERE!

INSENTIV-VEV!LINEÆRE / FORGRENEDE OG KAOSVEV!

“Incentives as tools of larp dramaturgy” - Fatland 2005

Hvordan får du greier til å skje på laiv?

INTERAKSJONSKODER!(FATLAND 2006)

INTERAKSJONSKODER!(FATLAND 2006)

ALIBI TO PLAY

Photo: CC-AT-NC-ND 2014 DeviantArt user RainSmile

BLANDA UPP!(EN STILLA MIDDAG, 2007)

Simuleringsregler

Hva gjør du når du ikkekan gjøre det på årntli?

Meta-techniques

Regler som lar deg uttrykke deg på måter som ikke er realistiske*

* IKKE EN DEFINISJON!

Metateknikker

32

BLACK BOX LAIVING2010ish

Aspects of a playable character (FATLAND 2010)

CLARITY: I feel confident about how to play this character.

ACTIVITY: My character provides me with things to do at the larp.

CONNECTIVITY: My character has a place in the group / society.

source: Johanna Koljonens brain

Image: Puppeli @ DeviantArt, CC-BY-SA 3.0 2014

Image: Puppeli @ DeviantArt, CC-BY-SA 3.0 2014

fight flee

Image: Puppeli @ DeviantArt, CC-BY-SA 3.0 2014

fight

flee

Image: Puppeli @ DeviantArt, CC-BY-SA 3.0 2014

hugtoast

boastgrunt

fightflee

affordances:Perceivable possibilities for action

(norsk: handlingsmuligheter)

Source: James J. Gibson / Don Norman

STEERING : ÅRETS ORD!

BONUS : ELEMENTS OF LARP DESIGN

CASE

AMTGARD

CASE

MELLAN HIMMEL OCH HAV

CASE

WHITE DEATH

Compound& Holistic

A Knutebook Larp Design Reader*• “Building Dramatics” by Susanne Gräslund

• Everything by Eirik Fatland

• Everything by Troels Barkholt-Sprangsbo

• Selected Works by J. Tuomas Harviainen

• All the larp reports

• ...

• Everything Else* based on a flawed memory of a napkin I might have dreamt about

http://larpschool.blogspot.dk/p/resources.html