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==LARPing is GAY, get a life==
A '''live action role-playing game''' ('''LARP''') is a form of ] where the participants physically act out their characters' actions. The players pursue goals within a fictional ] represented by the real world, while interacting with each other ]. The outcome of player actions may be mediated by game rules, or determined by consensus among players.

The first LARPs were run in the late 1970s, inspired by role-playing games and ]. The activity gained international popularity during the 1980s, and has diversified into a wide variety of styles. Play may be very game-like, or may be more concerned with dramatic or artistic expression. Events can also be designed to achieve educational or political goals. The fictional genres used vary greatly, from realistic modern or historical settings to fantastic or futuristic eras. Production values are sometimes minimal, but can involve elaborate venues and costumes. LARPs range in size from small private events lasting a few hours to huge public events with thousands of players lasting for days.

==Terminology==
LARP has also been referred to as ''live role-playing'' (''LRP''), ''interactive literature'', and ''freeform role-playing''. Some of these terms are still in common use, however LARP has become the most commonly accepted term.<ref name="Tychsen2006LARP">(Tychsen et al. 2006:255) "LARP ... is the commonly accepted term in the gaming community."</ref> It is sometimes written in lowercase, as ''larp''.<ref name="Fatland2005larp">(Fatland 2005:1) "The non-Nordic reader should, however, keep in mind that there are some differences between the Nordic and Anglo-American uses of English when talking about larp. Most importantly, we treat 'larp' as a word in its own right, not an acronym (L.A.R.P.), and it is spelt lower-case."</ref> The ''live action'' in LARP is analogous to the term '']'' used in ] and ] to differentiate works with human actors from ]. Playing a LARP is often called ''larping'', and one who does it is a ''larper''.

==History==
{{main|History of live action role-playing games}}
LARP does not have a single point of origin, but was invented independently by separate groups in the late 1970s and early 1980s.<ref name="Tychsen2006Origin">(Tychsen et al. 2006:256) "LARPs ... appear to have developed based on inspiration from tabletop RPGs such as Dungeons & Dragons, more or less simultaneously in North America, Europe, and Australia sometime during the early 80s. Players from all of these continents claim to have hosted the oldest LARP, however, it appears that LARPs developed independently and with marked cultural differences."</ref> These groups shared an experience with genre fiction or tabletop role-playing games, and a desire to physically experience such settings. In addition to tabletop role-playing, LARP was preceded and possibly influenced by childhood games of pretend, ], ], ]s, ], improvisational theatre, ], ]s, and ] groups.<ref name="Morton2007">{{cite book
| last = Morton
| first =Brian
| title = Lifelike
| chapter = Larps and their Cousins through the Ages
| editor = Donnis, Gade & Thorup
| publisher = Knudepunkt 2007
| date =2007
| url = http://www.liveforum.dk/kp07book/lifelike_web.pdf
| format = PDF
| accessdate = 2008-05-21 }}</ref>

The earliest recorded LARP group is '']'', which was founded in 1977 in ], ].<ref name="dagorhirhistory">{{cite web
| last = Dagorhir
| title = The Origins of Dagorhir
| work = Dagorhir website
| url = http://www.dagorhir.com/dagorhir/history.htm
| accessdate = 2007-07-28 }}</ref> Soon after the release of the movie '']'' in 1976, rudimentary live role-playing games based on the movie were run at US science fiction conventions.<ref name="history2">{{cite web
| last = Muir
| first = John Kenneth
| authorlink = John Kenneth Muir
| title = Logan's Run: The Series
| work = John Kenneth Muir website
| url = http://www.johnkennethmuir.com/JohnKennethMuirsRetroTVFile_LogansRun.html
| accessdate = 2007-10-19 }}</ref> In 1981 the '']'' (IFGS) started, with rules influenced by '']''. IFGS was named after a fictional group in the 1981 novel '']'', which described futuristic LARPs.<ref name="ifgshistory">{{cite web
| last = IFGS
| title = History of the IFGS
| work = IFGS website
| url = http://www.ifgs.org/history.asp
| accessdate = 2007-07-29 }}</ref> In 1982 the ''Society for Interactive Literature'', a predecessor of ''LARPA'', formed as the first recorded ] LARP group in the US.<ref name="OlmsteadDean1998">{{cite web
| last = Olmstead-Dean
| first = Gordon
| title = Theatre Style Live Roleplaying Events
| work = LARP Writing.org
| year = 1998
| url = http://www.larpwriting.org/essays/article_ts/ts8.shtml
| quote = In 1982, Walt Frietag and some friends at Harvard University "invented" what they called "interactive literature."... Frietag called his group the "Harvard Society for Interactive Literature," which was shortened to "Society for Interactive Literature" the next year.
| accessdate = 2008-05-29 }}</ref>

LARP quickly spread internationally following the growing popularity of role-playing games in the 1980s. '']'', formed in 1982 at ],<ref name="history4">{{cite journal
| first = Rob
| title = Rob's Bit
| journal = Peckforton Post
| volume =1
| publisher =Treasure Trap
| url = http://www.treasuretrap.net/TTPhoto/displayimage.php?album=4&pos=12
| accessdate = 2007-07-28 }}</ref> was the first recorded LARP game in the ] and influenced the fantasy LARPs that followed there.<ref name="Hook2006">{{Citation | last = Hook | first = Nathan | title = The History of UK LARP | periodical = The LARP Magazine Newsletter | publication-date = 2006-06-05 | volume = 2 | url = http://www.larpmag.com/Issue01_April_06/larp_magazine_newsletter_volume02.htm#Section%20IX.%20%20%20%20%20%20%20The%20History%20of%20UK%20LARP,%20Written%20By%20Nathan%20Hook}}</ref> In 1983 the first recorded LARP in Australia was run, a ] event in the science fiction '']'' setting.<ref name="history5">{{cite journal
| first = Arcanacon
| title = Free Form Role-Playing
| journal = Arcanacon I - 83 handbook
| volume = 1
| pages = 10
| publisher =Arcanacon
| url = http://www.arcanacon.org/1983/page10.html
| quote = ...in the pioneering freeform tournament at Canberra Games Convention '83 participating players were members of the crew of the ship 'Sarten Valador'... rather than sitting around a table... the players move about the game environment...
| accessdate = 2007-10-21 }}</ref> In 1993 ] released '']'' which is still played internationally and is probably the most commercially successful published LARP.<ref name="Appelcline2007MET"/>

Today LARP is a popular activity in ],<ref name="dancey2000">{{cite web
| author =Ryan S. Dancey
| title =Adventure Game Industry Market Research Summary (RPGs)
| version =V1.0
| publisher =]
| date =February 7, 2000
| url =http://www.rpg.net/news+reviews/wotcdemo.html
| quote = According to a 1999 survey in the ] 6% of 12 to 35 year olds had played ]. Half of these had played a live action roleplaying game.
| accessdate = 2007-02-23 }}</ref> ], ] and ]. Large games with thousands of participants are run by for-profit companies, various LARP books are published and an increasingly professional industry sells costume, armour, and foam weapons intended primarily for LARP.<ref name="Tychsen2006Spread">(Tychsen et al. 2006:258) "Today, LARPing is a widespread hobby, especially within the United States and Europe, and caters to at least 100,000 players worldwide ... Professional, full-time LARP sites also exist ... a small industry has grown-up supplying latex weapons, costumes, theater props, and special effects, and numerous special effects and make-up artists work in the LARP environment for training purposes."</ref>

==Play overview==
Players physically portray characters in a fictional setting, improvising their characters' speech and movements somewhat like actors in ].<ref>(Kilgallon et al. 2001:1) "A live action roleplaying game is a cross between a traditional 'tabletop' roleplaying game and improvisational theatre."</ref> This is distinct from tabletop role-playing games, where character actions are described verbally.<ref name="Tychsen2006Embodiment">(Tychsen et al. 2006:255) "LARPs can be viewed as forming a distinct category of RPG because of two unique features: (a) The players physically embody their characters, and (b) the game takes place in a physical frame. Embodiment means that the physical actions of the player are regarded as those of the character. Whereas in a RPG played by a group sitting around a table, players describe the actions of their characters (e.g., “I run to stand beside my friend”); in an equivalent situation in a LARP, a player would physically run to the appropriate point within the game space."</ref> The setting, characters, and rules may be defined in a publication or created by the arrangers or players.<ref>(Tychsen et al. 2005:218) "In PnP RPGs and LARPs, the GMs can be responsible for creating the rules, if an existing RPG rules system is not used."</ref> LARPs may be played in a public or private area, and may last for hours or days.<ref name="SalenZimmerman2003">{{cite book
| last = Salen
| first = Katie
| coauthors = Zimmerman, Eric
| title = Rules of Play: Game Design Fundamentals
| publisher = The MIT Press
| date = 2003
| isbn = 0262240459
| quote= Live-Action Role-Playing Games can take place in indoor or outdoor settings, in private or public spaces.}}</ref><ref name="Widing2008">{{cite book
| last = Widing
| first =Gabriel
| editor= Markus Montola, Jaakko Stenros
| title = Playground Worlds
| chapter = We Lost Our World and Made New Ones: Live Role-Playing in Modern Times
| publisher = Ropecon ry
| date =2008
| isbn = 978-952-92-3579-7
| quote= ...the participants sustain these temporary worlds for a few hours or several days}}</ref> There is usually no audience, and bystanders are typically either ignored or treated as part of the fictional setting.<ref name="FalkDevonport2004Audience">(Falk & Davenport 2004:128) "...live role-playing games are devoid of the audience concept."</ref> Players may dress as their character and carry appropriate equipment, and the environment is sometimes decorated to resemble the setting.<ref name="FalkDevonport2004Costume">(Falk & Davenport 2004:131) "The LRP player, like a stage actor, is a person who under-goes a transformation into a character. The character’s costume and accessories, or kit, aids this transformation ... Physical structures may be used as game locations, and sometimes even purposely constructed to enhance the game world ... Players frequently use physical artifacts as props and tools in their role-play, primarily to back up their character roles."</ref> LARPs can be one-off events or a series of events in the same setting, and events can vary in size from a handful of players to several thousand.<ref name="Tychsen2006ClassificationDuration">(Tychsen et al. 2006:259) "Most LARPs are either scenarios (or single-shots) or campaigns (also known as chronicles)"</ref><ref name="Tychsen2006EventSize">(Tychsen et al. 2006:258) "Games range in size from a handful to more than 4,000 players"</ref>

===Fiction and reality===
]
Player actions in the real world represent character actions in an imaginary setting.<ref name="Tychsen2006Embodiment"/> Game rules, physical symbols and theatrical improvisation are used to bridge differences between the real world and the setting. For example, a rope could signify an imaginary wall. Realistic-looking weapon props and risky physical activity are sometimes discouraged or forbidden for safety reasons.<ref>For example, the ] system forbids realistic looking weapons and contact. From the "Basic Rules" section: "#1 - No Touching. This means none whatsoever, even with consent ... #2 - No weapons as props ... real weapons or anything that even looks like a real weapon ... are a definite no-no." (Dansky 1996:136). Similarly, the ''Rules to Live By'' system forbids certain sorts of physical action, and recommends against realistic-looking weapons: "A participant should never have to run, climb, or jump over anything... Participants should never, ever use real weapons, even as props. They should be extremely cautious about anything that looks like a real weapon - police get nervous." (Kilgallon et al. 2001:2)</ref>

There is a distinction between when a player is ''in character'', meaning they are actively representing their character, and when the player is ''out of character'', meaning they are being themselves. Some LARPs encourage players to stay consistently in character except in emergencies, while others accept players being out of character at times. Character knowledge is usually considered to be separate from player knowledge, and acting upon information a character would not know may be viewed as cheating.

While most LARPs maintain a clear distinction between the real world and the fictional setting, ''pervasive'' LARPs mingle fiction with modern reality in a fashion similar to ]s. Bystanders who are unaware that a game is taking place may be treated as part of the fictional setting, and in-character materials may be incorporated into the real world.<ref name="MontolaStenros2008">{{cite book
| last = Markus
| first = Montola
| coauthors = Jaakko Stenros
| editor = Markus Montola, Jaakko Stenros
| title = Playground Worlds
| chapter = Introduction
| publisher = Ropecon ry
| date =2008
| isbn = 978-952-92-3579-7
| quote= The third and youngest design ideal is ''pervasive larp''. These ''pervasive'' LARPs blur the line between larp and life as the game spills onto the streets. The whole world becomes a playground...}}</ref><ref name="Montola2007">{{cite conference
| last = Markus
| first = Montola
| editor= Baba, Akira
| title = Tangible Pleasures of Pervasive Role-Playing
| booktitle = Proceedings of DiGRA 2007 Situated Play conference
| publisher = The University of Tokyo
| pages = 178-185
| date = 2007-09-24
| year = 2007
| url = http://www.digra.org/dl/db/07312.38125.pdf
| format = PDF
| accessdate = 2008-06-04
| quote= Alternate reality gaming is the most widely established subgenre of pervasive gaming, but others are evolving as well.}}</ref>

===Types of participation===
Participants can be involved in a LARP in a number of ways. Events are put on for the benefit of the ''players'', who play characters within the setting. Arrangers called '']s'' (''GMs'') decide the rules of play and the details of the setting before an event takes place, and facilitate the LARP while it is being played. The GMs may also do the logistical work, or there may be other arrangers who handle details such as advertising the event, booking a venue, and financial management. Participants called the ''crew'' may assist the GMs during play.

The players take on roles called '']''s (''PCs''), that they may create themselves or be given by the gamemasters. Players sometimes play the same character repeatedly at separate events, progressively developing the character and its relations with other characters and the setting.

The GMs determine the fictional framework of a LARP, and may also influence an event and act as referees while it is taking place.<ref>(Tychsen et al. 2005:216) "In order to play, the players must have a fictional setting... In essence, the GM creates the magical circle around the game."</ref><ref>(Montola, Stenros & Waern 2009) "Runtime game mastering is the process of influencing the flow of a game in real time."</ref><ref>(Tychsen et al. 2005:218) "The GM may or may not be responsible for enforcing the rules between players... The GM can also be responsible of {{sic}} hunting down cheaters or other rule breakers."</ref> Unlike the GM in a tabletop role-playing game, a LARP GM seldom has an overview of everything that is happening during play because numerous players may be interacting in separate physical spaces, especially at larger LARP events. For this reason a LARP GM's role is often less concerned with tightly maintaining a narrative or directly entertaining the players, and more with arranging the structure of the LARP before play begins and facilitating the players and crew to maintain the fictional environment during play.<ref>(Tychsen et al. 2005:218) " forced to let go of the game and let it take on a life of its own outside his or her control. While based on similar principles, the requirements therefore very different in practice from GMs in PnP RPGs... The GM is generally, unless the LARP is small in terms of number of participants, ''not'' responsible for keeping the narrative flow. The GM can however oversee the progress of the game and help or influence where needed... Establishing a hierarchy of GMs and NPCs to monitor the game and ensure everyone is entertained and activated within the shared game space is a typical way of controlling large fantasy LARPS. This structure is usually established before the game commences."</ref>

Crew members assist the gamemasters in setting up and maintaining the environment of the LARP during play, which sometimes involves playing '']s'' (''NPCs'').<ref>(Tychsen et al. 2005:216) "The environment needs to be filled out with non-player controlled characters (NPCs)</ref> NPCs exist to make the LARP more satisfying for the players, and typically receive more direction from the GMs than PCs do. In a tabletop role-playing game a GM usually plays all the NPCs, whereas in a LARP each NPC is typically played by a separate crew member. Sometimes players are asked to play NPCs for periods of an event.

Much of play consists of interactions between characters. Some LARP scenarios primarily feature interaction between PCs, who may be written with connections that encourage interesting interactions. Other scenarios focus on interaction between PCs and aspects of the setting, including NPCs, that are under the direction of the GMs.<ref name="styles3">(Young 2003:11) The Interaction Axis</ref><ref>(Tychsen et al. 2005:216) "LARP scenarios can likewise vary from detailed scripts of each participating character, to a loose association of GM-controlled NPCs in a fictional world setting."</ref>

==Rules==
]s are sometimes used for combat]]
Many LARPs have game rules that determine how characters can affect each other and the setting.<ref>(Tychsen et al. 2005:216) "Rules in RPGs ... focus on 1) How the fictional world operates; 2) How the players interact with the fictional world and its inhabitants and; 3) How the players interact with each other and the GM."</ref> These rules may define characters' capabilities, what can be done with various items, and what characters can do during the ''downtime'' between LARP events. Because referees are often not available to mediate all character actions, players are relied upon to be honest in their application of the rules.

Some LARP rules call for the use of simulated weapons such as ]s or ]s to determine whether characters succeed in hitting each another in combat situations. The alternative is to pause role-play and determine the outcome of an action symbolically, for example by rolling dice, playing ] or comparing character attributes.<ref name="physym2">(Young 2003:8) The Mechanics Axis</ref>

There are also LARPs that do without rules, instead relying on players to use their common sense or feel for dramatic appropriateness to cooperatively decide what the outcome of their actions will be.<ref name="Tychsen2006LowRules">(Tychsen et al. 2006:255) "...a LARP can be very similar to improvisational theater, with only a few guidelines for rules and a very low-powered GM."</ref>

==Genre==
LARPs can have any genre, although many use themes and settings derived from genre fiction.<ref name="FalkDevonport2004Setting">(Falk & Davenport 2004:129) "All LRP games of our definition take place within an agreed upon theme or narrative setting that provides the context for players’ actions and character roles. This theme can be pretty much anything you can imagine; the possibilities are inexhaustible. To give some obvious and common examples, it may be fantasy and involve magic, heroes, and fantastic creatures, much like the game world settings of the classic tabletop role-playing games. Or, it may be realistic, based on historic events or contemporary life. Or it can be futuristic post apocalyptic environments, involving mutants and cyborgian characters dwelling in deserted cities. Or, it can be any combination of these"</ref> Some LARPs borrow a setting from an established work in another medium (e.g. '']'' or the '']''), while others use settings based on the real world or designed specifically for the LARP.<ref name="Tychsen2006ClassificationSetting">(Tychsen et al. 2006:261) "The world setting or framework for the fictional world in which the game takes place varies greatly in LARPs. Generally, these can be divided into either real-world settings or fictional settings."</ref> ] ]s, together with rulesets, are often the principal creative asset of LARP groups and LARP publishers.

]
LARPs set in the modern day may explore everyday concerns, or special interests such as espionage or military activity. Such LARPs may resemble an Alternate Reality Game, an '']'' game, or a military simulation using live combat with airsoft, ], or ] markers. LARPs can also be set in historical eras, or have semi-historical settings with mythological or fantastical aspects incorporated.

Fantasy is one of the most common LARP genres internationally, and is the genre that the largest events use.<ref name="Tychsen2006Fantasy">(Tychsen et al. 2006:258) "Exclusively, the large LARPs with hundreds or more players are set in fantasy/medieval world settings, which is the historic genre for LARPs."</ref> Fantasy genre LARPs are set in pseudo-historical worlds inspired by ] and fantasy role-playing games such as ''Dungeons & Dragons''. These settings typically have magic, ], and limited technology. Many fantasy LARPs focus on adventure or on competition between character factions. In contrast, ] LARPs take place in futuristic settings with high technology and possibly ]. This describes a broad array of LARPs, including politically themed LARPs depicting ]n or ]n societies and settings inspired by ], ] and ] fiction.<ref>While many of these science fiction LARPs use rules created by the event arrangers, official LARP rules have been published for the popular space opera '']'', see (Russo & Heinig 1996)</ref>

Horror LARPs are inspired by ]. Popular sub-genres include ] and ], sometimes using the published '']'' rules. The World of Darkness, published by ], is a widely-used ]-] horror setting in which players usually portray secretive supernatural creatures such as ]s and ].<ref name="Appelcline2007MET">{{cite web
| last = Appelcline
| first = Shannon
| title = A Brief History of Game #11: WHITE WOLF, PART ONE: 1986-1995
| work = ]
| publisher = Skotos Tech
| date = 2007-02-01
| url = http://www.rpg.net/columns/briefhistory/briefhistory11.phtml
| accessdate = 2007-11-03 }}</ref> This setting can be played using ], which is a set of LARP rules also published by White Wolf. World of Darkness LARPs are usually played in a ''chronicle'', a series of short events held at regular intervals, and are also popular at conventions. An international chronicle is run by White Wolf's official fan club the '']''.

==Styles==
]
LARP events have a wide variety of styles that often overlap. As described above, simple distinctions can be made regarding the genre used, the presence of simulated weapons or abstract rules, and whether players create their own characters or have them assigned by gamemasters. There is also a distinction between scenarios that are only run once, and those that are designed to be repeatable.<ref>{{citation|last=Harviainen|first=J Tuomas|title=Notes on designing repeatable larps|work=Larp, the Universe and Everything|publisher=Knutepunkt 2009|date=2009|url=http://knutepunkt.laiv.org/2009/book/NotesOnDesigningRepeatableLarps/kp09_NotesOnDesigningRepeatableLarps.pdf|format=PDF|accessdate=2009-05-05}}</ref> A number of other common classifications follow.

LARPs may place a lesser or greater emphasis on artistic considerations such as creating a compelling narrative, encouraging dramatic interaction, or broaching challenging subject matter. Many events focus on more game-like considerations in which players attempt to achieve their characters' goals within a framework of game rules, and entertainment is considered more important than artistic merit. At the other end of the spectrum, some events are considered to be ] or ''arthaus'', these being eclectic events using experimental themes and techniques. Avante-garde LARPs have ] aspirations, and are occasionally held in fine art contexts such as festivals, art museums or theatres. The themes of avante-garde events are usually relevant to real-world issues of politics, culture, religion, sexuality and the ]. Such LARPs are common in the ] but also present elsewhere.<ref name="Fatland2005arthaus">(Fatland 2005:5)</ref>

In addition to entertainment and artistic merit, LARP events may be designed for educational or political purposes. For example, the Danish secondary school ''Østerskov Efterskole'' uses LARP to teach most of its classes.<ref name="Hyltoft2008">{{citation|last=Hyltoft|first=Malik|editor=Markus Montola, Jaakko Stenros|title=Playground Worlds|chapter=The Role-Players’ School: Østerskov Efterskole|publisher=Ropecon ry|year=2008|isbn=978-952-92-3579-7}}</ref> A subject such as chemistry may be taught by framing it as the creation of potions within the ] setting.<ref>{{citation|last=Hyltoft|first=Malik|last2=Holm|first2=Jakob T|chapter=Elements of Harry Potter: Deconstructing an edu-larp|title=Larp, the Universe and Everything|publisher=Knutepunkt 2009|year=2009|url=http://knutepunkt.laiv.org/2009/book/ElementsOfHarryPotter/kp09_ElementsOfHarryPotter.pdf|format=PDF|accessdate=2009-05-05}}</ref> Politically-themed LARP events may attempt to awaken or shape political thinking within a culture.<ref>(Montola, Stenros & Waern 2009) "Some pervasive larps seek to engage in active dialogue with their social environment. The purpose of such dialogue can be politically or artistically motivated. These games have a message that is aimed either at the players, at bystanders, or society as a whole."</ref> An example is a ]-themed LARP event that was run in ] with the intention of providing Belarusian youth with new perspectives on the place of ] in their modern society.<ref>{{citation|last=Andersen|first=Anita Myhre|last2=Aarebrot|first2=Erik|chapter=Larp in Kamensky forest|title=Larp, the Universe and Everything|publisher=Knutepunkt 2009|date=2009|url=http://knutepunkt.laiv.org/2009/book/LarpInKamenskyForest/kp09_LarpInKamenskyForest.pdf|format=PDF|accessdate=2009-05-05}}</ref>

]
Theatre-style or ] LARP is characterised by a focus on interaction between characters that are written by the gamemasters, not using simulated weapons for combat, and an eclectic approach to genre and setting. Events in this style are sometimes played at ]s, which they suit well as they typically only last a few hours and require relatively little preparation by players. Some ]s where players are assigned characters and encouraged to roleplay freely also resemble theatre-style LARP.

Some very large events known as fests (short for ''festival'') have hundreds or thousands of participants who are usually split into competing character factions camped separately around a large venue. There are relatively few fests in the world, all based in the UK, Europe, and ], however their size means that they have a significant influence on local LARP culture and design. At the other end of the size scale, some small events known as ''linear'' or ''line-course'' LARPs feature a small group of PCs facing a series of challenges from NPCs, and are often more tightly planned and controlled by GMs than other styles of LARP.<ref>{{cite web
| url = http://www.ifgs.org/about.asp
| title = About the IFGS
| accessdate = 2007-12-08
| publisher = International Fantasy Gaming Society
| archiveurl = http://www.ifgs.org/about.asp
| archivedate = 2007-12-08
}}</ref>

While some LARPs are open to participants of all ages, others have a minimum age requirement. There are also youth LARPs, specifically intended for children and young people. Some are run through institutions such as schools, churches, or the ]. ] has an especially high number of youth LARPs.<ref name="Morten2005">"According to the survey, 8% of children had participated in role-playing events in nature during the last month" {{cite web
| last = Morten
| first =Gade
| title = Danish larp by numbers
| work = Dissecting larp
| publisher = Knudepunkt 2005
| date =2005
| url = http://knutepunkt.laiv.org/Danish%20larp%20in%20numbers.pdf
| format = PDF
| accessdate = 2007-07-29 }}</ref>

==Cultural significance==
Roleplaying may be seen as part of a movement in Western culture towards participatory arts, as opposed to traditional spectator arts.<ref>{{Citation|last=Larsson|first=Elge|chapter=Postmodernity and participation|year=2005|editor-last=Haggren|editor-first=Kristoffer|title=Interacting Arts - International Issue 2005|publisher=Interacting Arts|url=http://interactingarts.org/data/ia-international-05.pdf|access-date=2008-04-24}}</ref> Participants in a LARP cast off the role of passive observer, and take on new roles that are often outside of their daily life and contrary to their culture.<ref>{{Citation|last=Werkman|first=Rachel|chapter=Vampire: The Masquerade - a countercultural performance|year=2001|editor-last=Lancaster|editor-first=Kurt|editor2-last=Mikotowicz|editor2-first=Thomas J|title=Performing the force|publisher=McFarland||isbn=0-78640-895-2}}</ref> The collaborative process of LARP creation is typically egalitarian, enabled by ] with improved freedom of communication, increased disposable income and free time, and an increasing focus on collaborative and distributed creativity.

LARP is not well known in most countries and is sometimes confused with other role-playing, reenactment, costuming, or dramatic activities. While ] and ] culture in general has become increasingly mainstream in developed countries, LARP has often not achieved the same degree of cultural acceptability. This may be due to intolerance of the resemblance to childhood games of pretend, a perceived risk of over-identification with the characters, and the absence of mass marketing.<ref name="Leppalahti2004">{{cite book|last=Leppälahti|first=Merja|editor=Markus Montola, Jaakko Stenros|title=Beyond Role and Play|chapter=About the Community of Role-Players|publisher=Ropecon ry|url=http://www.ropecon.fi/brap/ch28.pdf|date=2004|isbn=952-91-6843-8}}</ref><ref>{{cite conference|last = Tocci|first = Jason|editor=|title=The Well-Dressed Geek: Media Appropriation and Subcultural Style|booktitle=Proceedings of MiT5 conference|publisher=Massachusetts Institute of Technology|pages=|date=2007-04-29|year=2007|url=http://web.mit.edu/comm-forum/mit5/papers/Tocci.pdf|format=PDF|accessdate = 2009-04-24|quote= Many of those with whom I spoke said that they have a number of different geeky interests, but draw the line at cosplay or live-action role-playing games (LARPs), hobbies in which players might dress in costume and act as a character... too closely resemble a child’s game of “let’s play pretend” to outside observers, thus standing on the less acceptable side of the divide “between the people who do these things and the people who live these things,” as phrased by one of my interviewees... The LARPers may seem, as some of my interviewees would suggest, too geeky (i.e., too freely creative and immersed in media, too focused on use-value)}}</ref> In recent US movies such as the 2006 documentary '']'' and the 2008 comedy '']'', fantasy LARP is depicted as somewhat ridiculous and ], but also treated affectionately as a "constructive social outlet".<ref>{{Citation|last=Coffman|first=Jason|title=Role Models(2008)|publisher=Film Monthly.com|year=2008|url=http://www.filmmonthly.com/now_playing/role_models.html|accessdate=2009-04-25|quote=It’s to the film’s credit that LARPing comes across as both completely ridiculous and as a valid, constructive social outlet}}</ref><ref>{{Citation|last=Cockrell|first=Eddie
|title=Darkon|publisher=Variety|year=2006|url=http://www.variety.com/review/VE1117930872.html?categoryid=31&cs=1|accessdate=2009-04-25}}</ref> In the Nordic countries, LARP has achieved a high level of public recognition and popularity. It is often shown in a positive light in mainstream media, with an emphasis on the dramatic and creative aspects.<ref name="Fatland2005NordicRecognition">(Fatland 2005) "The popularity of larp has recently made it a feature of 'common knowledge', so that a Swedish journalist may refer to something unrelated as 'larp-like', Finnish TV produces a teen soap opera about fantasy larpers, and a Norwegian professor of theatre history routinely ends his course by mentioning larp as the 'new theatre'."</ref> However, even in Norway where LARP has greater recognition than in most other countries, it has still not achieved full recognition as a cultural activity by government bodies.<ref>{{Cite web|url=http://www.klassekampen.no/54499/mod_article/item&sl=no&tl=en&hl=en&ie=UTF-8 |last=Müller|first=Olav Brostrup|title=We play an important role: Role play-writers are losing the battle for cultural assets |accessdate=2009-04-24|publisher=Klassekampen|year=2008|language=Norwegian}}</ref>

Communities have formed around the creation, play and discussion of LARP. These communities have developed a ] that crosses over with role-playing, fan, reenactment, and drama subcultures.<ref name="Leppalahti2004" /><ref name="Copier2005">{{cite conference|last=Copier|first=Marinka|title=Connecting Worlds. Fantasy Role-Playing Games, Ritual Acts and the Magic Circle|booktitle=Proceedings of DiGRA 2005 Conference: Changing Views--Worlds in Play|publisher=Digital Games Research Association (DiGRA)|pages=|year=2005|url=http://www.digra.org/dl/db/06278.50594.pdf|format=PDF|accessdate=2009-04-26}}</ref> Early LARP subculture focused on ]-like fantasy, but it later broadened to include appreciation of other genres, especially the horror genre with the rapid uptake of the ''World of Darkness'' setting in the 1990s.<ref name="Copier2005" /> Like many subcultures, LARP groups often have a common context of shared experience, language, humour, and clothing and can be regarded by some as a lifestyle.<ref name="Leppalahti2004"/>

LARP is increasingly the subject of academic research and theory. Much of this research originates from role-players, especially from the publications of the Nordic ] role-playing conventions. However the broader academic community has recently begun to study LARP as well, both to compare it to other media and other varieties of interactive gaming, and also to evaluate it in its own right.<ref>{{Citation|last =Drachen|first =Anders|last2=Smith|first2=Jonas Heide|year=2008|title=Player talk—the functions of communication in multplayer role-playing games|periodical=Computers in Entertainment (CIE)|publication-place=New York|publisher=ACM|volume=6|issue=4|url=http://portal.acm.org/citation.cfm?id=1461999.1462008|issn =1544-3574|accessdate =2009-04-25}}</ref><ref name="MontolaStenros2008"/>

==See also==
<!-- STOP! Do not list gaming groups in this article. Instead add them to "List of live action role-playing games -->
;Lists
*]

;LARP conventions
*] - several conventions regularly held on the ].
*] - convention regularly held in several Nordic countries.

==Notes==
<!--See http://en.wikipedia.org/Wikipedia:Footnotes for an explanation of how to generate footnotes using the<ref> and </ref> tags and the tag below -->
{{reflist|2}}

==References==
<div class="references-small references-column-count references-column-count-2" style="-moz-column-count:2; column-count:2;">
* {{cite book
| last = Dansky
| first = Richard E. (Developer)
| authorlink = Richard Danksy
| title = Laws of the Night
| publisher = ]
| date = 1996
| isbn = 1-5604-506-8}}<!--(Dansky is the first credit and is credited for "Development." The Authors credit is "All new material by Richard E. Dansky. Reprinted material from '''Antagonists''' by Jennifer Albright with Nicky Rea and Phil Brucato. Reprinted material from '''The Apocalypse''' by Geoffrey Fortier, William Spencer-Hale, Sam Chupp, Ian Lemke and Mike Tinney. Reprinted material from '''The Masquerade Players' Kit''' by Iam Lemke and Mike Tinney. Reprinted material from '''The Masquerade 2nd Edition''' by Geoffrey Fortier, Frank Branham, Mark Rein•Hagen, Iam Lemke and Mike Tinney. Reprinted material from '''Vampire: The Masquerade 2nd Edition''' by Mark Rein•Hagen, Graeme Davis, Tom Dowd, Lisa Stevens and Stewart Wieck.")-->
* {{cite book
| last = Falk
| first = Jennica
| coauthors = ]
| title = Entertainment Computing – ICEC 2004
| chapter = Live Role-Playing Games: Implications for Pervasive Gaming
| publisher = Springer Berlin / Heidelberg
| date = 2004
| volume = 3166
| pages = 127–138
| url = http://springerlink.com/content/up8k3p2xywdf49ag/?p=c2914626bfa243b299327f78722deb90&pi=1
| series = Lecture Notes in Computer Science
| format = PDF
| accessdate = 2008-10-28
| isbn = 978-3-540-22947-6}}
*{{cite web
| last = Fatland
| first = Eirik
| title = Knutepunkt and Nordic Live Role-playing: a crash course
| work = Dissecting larp
| publisher = Knudepunkt 2005
| year = 2005
| url = http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf
| format = PDF
| accessdate = 2007-07-29 }}
* {{cite book
| last = Kilgallon
| first = John
| authorlink =
| coauthors = Sandy Antunes, Mike Young
| title = Rules to Live by: A Live Action Roleplaying Conflict Resolution System
| publisher =Interactivities Ink
| date =2001
| isbn =0-9708356-04}}
* {{citation
| last = Montola
| first = Markus
| last2 = Stenros
| first2 = Jaakko
| last3 = Waern
| first3 = Annika
| chapter = Philosophies and strategies of pervasive larp design
| title = Larp, the Universe and Everything
| publisher = Knutepunkt 2009
| year = 2009
|url=http://knutepunkt.laiv.org/2009/book/PhilosophiesAndStrategiesOfPervasiveLarpDesign/kp09_PhilosophiesAndStrategiesOfPervasiveLarpDesign.pdf
| format = PDF
| accessdate = 2009-05-08}}
* {{cite book
| last =Niven
| first =Larry
| authorlink =Larry Niven
| coauthors =]
| title =Dream Park
| publisher =Phantasia Press
| date =1981
| isbn =0-9320960-9-3}}
* {{cite book
| last =Russo
| first =Anthony
| coauthors = Heinig, Scott
| title = Star Wars Live-Action Adventures
| publisher =]
| date =1996
| isbn =0-8743128-3-3}}
* {{cite conference
| first = Anders
| last = Tychsen
| coauthors = Hitchens, Michael; Brolund, Thea; Kavakli, Manolya
| title = The Game Master
| booktitle = The Second Australasian Conference on Interactive Entertainment
| pages = 215-222
| publisher = Creativity and Cognition Studios Press
| date = 2005
| url = http://portal.acm.org/citation.cfm?id=1109180.1109214
| accessdate = 2008-12-03}}
* {{cite journal
| last = Tychsen
| first = Anders
| authorlink =
| coauthors = Hitchens, Michael; Brolund, Thea; Kavakli, Manolya
| title = Live Action Role-Playing Games: Control, Communication, Storytelling, and MMORPG Similarities
| journal = Games and Culture
| volume = 1
| issue = 3
| pages = 252–275
| publisher = Sage Publications
| year = 2006
| month = July
| url = http://gac.sagepub.com/cgi/content/abstract/1/3/252
| accessdate = 2007-11-04
| doi = 10.1177/1555412006290445 }}
* {{cite book
| last =Young
| first =Mike (Editor)
| authorlink =Mike Young (game designer)
| title = The Book of LARP
| publisher = Interactivities Ink
| date = 2003
| isbn = 0-9708356-8-X}}
</div>

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Revision as of 16:25, 13 May 2009

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Players dressed in character at a LARP event

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Part of a series on
Role-playing games
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LARPing is GAY, get a life