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The storyteller's manifesto by Aksel Westlund A model for narrativistic larp The Storyteller manifesto is a manifesto for Narrativistic Larping. It stems from two main concepts: A good Story and that of collective artistic expression. The manifesto views larp as an art form equal to music and theatre, and the players as artists. The manifesto however, wishes to lessen the differences between the makers of the larp and the players. This will be achieved by a clear focus on collective storytelling. The larp will be centred on a story with a clear theme and a strong message. The larp will intrigue and pull the players into the story, and at the same time it will lead to contemplation and new thoughts and ideas about the theme/message that's told through and is a consequence of the story. The manifesto recognises the former works in the area of Narrativistic larp (The Sestia-manifesto and the Manifest Sunday) but tries to narrow its focus to include only larps, and to create a concrete and radical model for the making of Narrativistic larps, something I feel none of the earlier works have tried to do. Definitions “A larp is a meeting between persons who through characters relate to each other in a fictional world.” (1) To this I would like to add that an element of physical boundaries is necessary to be able to define it as larp. A Narrativistic Larp (2) is a larp that bases itself on the telling of a story and communicating a message of a in collaboration with the players, where parts of the story is already given. Narrativistic playing places its main focus on extroverted playing. That is, to play your character to increase and strengthen the fiction, and other players experience of the fiction, as opposed to focusing on solving plots or becoming “one with the character”. In this text the word “fiction” means “the total sum of everything that is real within the larp”, the larp’s "diegesis", “The game universe” (3), the story’s foundation, the “setting” the story is played out in. In this text the word “story” means the story that the larp is attempting to tell. The story is part of the fiction, and the theme of the story shall saturate the fiction. The story is not a story in the traditional sense, ie something that has "already happened", but the seeds of a story; a framework or an idea, yet to be fleshed out. The strengths of Narrativistic Larp Larping is a collective experience. By aiming the focus of the larp outwards instead of inwards, towards the common good instead of the individual player’s good, one will be able to benefit from all the players resources. This will strengthen the larp as a whole as well as the players’ involvement in both story and fiction. There are few experiences that can engage one like a well-told story. Stories have, since the dawn of mankind, been a central part of human culture both as a way of teaching and as a way of remembering the past. By letting players be a part of the telling of a story, the larp may achieve engagement in and an "immersion" in a story like no other media can. This makes larp ideal both to tell a story and to convey a message, and thus both entertain and enlighten us. A Gamist (4) style of play is at a disadvantage because it requires competition, and competition requires a loser. By dividing the larp into winners and losers, the players will turn their focus to winning, and thus away from the larp itself. This will weaken the larp as a whole. Larping isn’t a well-suited medium for problem solving in any case; computer games and table-top role-playing games are much better suited to this purpose since they may easier achieve objectivity/fairness; in a tabletop role-playing game or a computer game situation one can employ game mechanics to achieve a balance between the players with few difficulties. This makes computer games and tabletop games more suitable for gamistic play. An Immersionistic (5) style of play turns the focus inwards into the character's mind and seeks the fusion of player and character. Despite the fact that an Immersionistic style of play leads to a situation where the characters indirectly strengthen the fiction through being “true” or “realistic”, the style focuses mainly on the individual player’s experience, and not the larp as a whole. In addition a great degree of inner conflicts and introverted play pull the focus away from the story or the message if the inner conflicts are not in direct relevance to the theme/story. A certain degree of meta considerations is inevitable in any larp. Since meta considerations goes against the principles of Immersionistic play, the Narrativistic method is better suited to handle such problems: The player’s meta considerations (concerning the needs of the story and the larp as a whole) strengthens the larp, and are a necessity for the larp to function. Principles The larp will seek to tell a story with a theme and a message. Without this the larp is without value, fit only for cheap entertainment without substance or meaning. The makers of the larp will decide the start- and endpoint for the story, the space between these to points will be filled by the players. The fiction, and thus all written material, will be constructed around the story and not the other way around. Use of pre written material or copying from secondary sources (for instance history books) should be avoided if it isn’t critical to the telling of the story. Using prewriting material or secondary sources for their own sake is to patch up a weak story with trappings of originality and authentisism, and forces the focus away from the story one wishes to tell. Any form of “staging” and such, merely there to make the larp more entertaining or interesting, should also be avoided. Larping is about working together to tell a story, and not stand by while people play out constructed events that do nothing for the story except serve as entertainment. Game mechanics should be avoided as much as possible. Situations were they might be seen as necessary (fights, magic, etc.) will be solved by improvising where the needs of the story takes precedence. All written material will be made available for the players after the larp is over, and thus make it easier for each player to reflect over the story and her part in it. All characters must be relevant for the story, and be an invaluable part of it. One should avoid characters that are only there to fill a function6 not directly linked to the story, or who’s only place is to fill blank spaces in the fiction. No character should be a bystander or "extra". The written background of each character shall have parallels to the larp’s story, theme and message. One increases the player’s identification with the story by letting the story be seen through the eyes of the character. The theme of the story will be depicted in all conflicts of the character’s past. All intrigues, plots and fates must mirror the story or advance it. Intrigues for the sake of having intrigues, or plots that are only there to be solved takes the focus away from the story. It should be possible to draw parallels between a characters’ conflicts and the conflicts of the story. The theme of the story shall saturate the Larp. The characters function in the Larp takes precedence over the characters background and personality. Personality and background should be written around the characters function, not vice versa. All characters should be written for a specific player. If the character changes hands after it has been written, it should be revised to suit the new player, thus making sure the character suits the players appearance and presence. The players abilities should not be critical to the choice of character. Any holes in a players skills can be filled trough collective improvisation. The larpwright, on the other hand, should take the players appearance, voice and so forth when she assigns and writes characters. This because lacking abilities can be covered up by good acting, whilst it is rather difficult to fool the eyes. A characters appearance should to some extent match the characters inner being, and thus a certain amount of casting is necessary. Any incident or conflict written into a character must be made with the clear intent of surfacing during play. Incidents or conflicts made only to exist solely inside the characters head are worthless since they don't benefit the Larp as a whole. All drama written into a character should at some point be shared with the other players. One should avoid having too many characters in the Larp. Too many characters complicate the making of the Larp and fragmentates the story. The Larp should contain only the characters the story needs to function, no more. The players are free to decide and influence the path to the story’s end, not the ending itself. The road towards the goal is as important as the goal itself. Telling a story together is the point of the Larp, not making one from scratch. No character is more important than the Larp as a whole. If it benefits the story that a character dies, it dies. Good stories do not require happy endings. Immersion in a character should not be a goal in itself, but a means to achieve immersion in the story and fiction. One should to a certain degree give up ones sense of self and be one with the story. By seeing ones character through the "eyes" of the story, not vice versa, the player is able to see how her characters actions might best benefit the story. The characters are not isolated individuals, but pieces of a larger puzzle. Bu achieving unity with the Larps fiction, the story and message will creep under the player's skin, since the fiction will reflect the story and message. Too great a degree of character immersion could draw focus away from the theme and message of the Larp. Costumes, props and other visual effects should seek to strengthen the story, fiction and Larp as a whole. One should not strive for realism for realism's own sake. A good costume tells us something about the character. Realism, authenticity or "historical correctness" is not important. The organisers have the final say in all matters of the Larp. Though they hold absolute power over the Larp, they should seek to use it as little as possible, to allow the players to influence the Larp as much as the organisers. Narrativistic Larp is about collective storytelling and collective art, not players carrying out the artistic ambitions of the organisers to the letter. The players shall not use any concept of logic or realism other than what the organisers give them. For the artificial reality to function, it must be embraced without hesitation or doubt. The Pledge of Allegiance As a participant of a Larp made after the tenets of the Storytellers Manifesto, I hereby pledge: To respect Larping as an art form, and the organisers and all the players involved in the Larp, including myself, as artists. I shall view the Larp as a work of art I have created in collaboration with all the other artists, and I will take full responsibility for any flaws in the Larp as a whole, sharing the responsibility fully with all the other artist. By recognising Larp as an art form, and by viewing oneself as an artist on equal terms as the organisers, one leaves the classic relationship between artist/audience and artist/performer behind. The classic way of viewing art is outdated and irrelevant concerning Larps, and should thus be abolished. The Larp should strive towards being more like a Jazz-imprivisation, where several artist together create music spontaneously, than a symphony, where an exalted artist uses the performers as tools of her own expression. To further the story and the Larp as a whole rather than pandering to my own experience. To focus on ones own experience can easily lead to memorable situations for the individual, but will not necessarily strengthen the Larp as a whole. By focusing on playing outwards the players experience of the Larp will even out between the players; everybody will be pulling everybody else up. To see my character as a part of the story and the fiction, as well as the reason for their existence. I shall try to view my character objectively, not subjectively. By viewing ones character as a part of a greater whole, it is easier to see how ones actions best can strengthen and improve that whole. By keeping an objective eye on ones character, it is easier to avoid losing sight of the collective experience and the Larp as a whole. To play outwards, not inwards, and to put other peoples experiences over my own. If all players strive to strengthen their fellow players experience, all players will benefit. In addition, a Narrativistic style of play means that all participants can get a clear image of a given character, regardless of the players level of immersion. This means seeking to understand and act out the character, rather then being it; and to seek this understanding through reflection, not immersion. To strive to express all aspects of my character, so others can participate in the unique story that is my character. In a Narrativistic Larp all aspects of a character are there for a reason; inseparably tied to the story and message, and should thus be acted out. By acting out all aspects of the character, one will achieve a greater understanding of the character, and thereby a greater understanding of the theme and message that are the foundation of the story, and thus also the foundations of the character. This also means that all the other players will, if indirectly, be able to participate in the players reflections about the character and the story. And last but not least, striving to express your character fully will build a clear image of the character I the minds of the other players. This makes sure that no character will seem like an "extra". To contemplate my character and her place in the story and fiction, both before and after the Larp, as well as the story and fiction in itself. During the Larp, reflection on the fiction, theme and story can easily drown in personal experiences. It is therefore important to thoroughly contemplate your character before the Larp. An understanding of the larps theme and message means that the player can more easily feel like a irreplaceable part of the Larp. To thoroughly rinse myself of any concepts of realism, authenticity, political correctness, what constitutes good Larp and good taste and to mindlessly give myself over to the reality of the Larp. Larp is an art form, and for art to be of any value, it must be free. All groundbreaking art is made where creativity smashes the boundaries of conservative society. Cemented notions of right and wrong, good and bad etc. get in the way of free artistic expression, and can in a worst case scenario distort the Larp beyond recognition. The theme and message of the Larp should not be quelled in bourgeoisie political correctness and its form should not be destroyed by conservative notions of what constitutes "good" Larping or art. The player shall accept the reality as created by the organisers, and contribute to it with an open, creative mind, free of prejudice. To play out the total degradation, defeat and decay of my character with the same joy and zeal as her greatest victories. Victory and loss are equal; the story itself is most important. Some of the greatest and most moving stories in the history of mankind ends in tragedy. As much understanding and value can be gleaned from the depths of tragedy as from the heights of bliss. One should not seek personal gain for the character to fulfil the players needs for success. To give fully of myself, and expect others to do the same. All true art requires engagement, Larping no less. Good stories engage and rouse us, and the player should enter the Larp with the intention of giving all she can, knowing that the other players will do the same. To willingly share my experiences from the Larp with others so that they too can benefit from my experiences. Larp is a fragile medium. We have few methods of preserving a Larp after it is complete; making the same Larp again would not yield the same result. This is why its is important that the Larp is hared with those who did not participate, and that the contemplation about the Larps theme and message do not end when the Larp does. The best stories live by word of mouth. The best Larps should do the same. Notes (1) Dogme 99, Eirik Fatland and Lars Wingård, 1999 (2) The threeway model, Revision of the Threefold Model, Knudepunktboken, Petter Bøckmann, 2003 (3) The Diegetic Rooms of Larp, Knudepunktboken, Carsten Andreassen, 2003 (4) The threeway model, Revision of the Threefold Model, Knudepunktboken, Petter Bøckmann, 2003 (5) The threeway model, Revision of the Threefold Model, Knudepunktboken, Petter Bøckmann, 2003 (6) Narrative funksjon (Narrative function), Erling Rognli, 2003 Inspiration Personal experiences on: Den store Kyrthanim-Laiven, Kenneth Bakken, Benedikte Berg og Mari Sletten, 2003 Enigheten, Ragnhild Hutchinson, Bjørn Kleven, Margrete Raum, Grete Ruden, 2001 Narrativ funksjon (Narrative function), Erling Rognli, 2003 (http://forum.laiv.org -> "Teori") Dogme 99, Lars Wingård og Eirik Fatland The Turku Manifesto - Mike Pohjola - 1999 - http://www.larp.fi/turku/school/ The Key Manifesto - Tomas Mørkrid - http://www.fabula.no/manifest.html The Manifest Sunday, Gabriel Widing, Emil Boss, Martin Brodén and Tobias Wrigstad, 2001 The Diegetic rooms of Larp, Knudepunktboken, Carsten Andreasen, 2003 The multi-tier game immersion theory, Knudepunktboken, J. Tuomas Harvianen, 2003 Thanks to Ragnhild Hutchinson, Petter Bøckmann and Marit Løkke for feedback and proof-reading of the original Norwegian manuscript. And last but not least, huge thanks to Martine Svanevik, who proved indispensable during the translation, as well as giving final feedback and proofreading. |
