https://nordiclarp.org/w/api.php?action=feedcontributions&user=Eidzm&feedformat=atomNordic Larp Wiki - User contributions [en]2024-03-19T05:42:33ZUser contributionsMediaWiki 1.34.2https://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=6277Erlend Eidsem Hansen2018-01-14T22:55:35Z<p>Eidzm: Blanked the page</p>
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<div></div>Eidzmhttps://nordiclarp.org/w/index.php?title=Slow_take-off&diff=5605Slow take-off2015-12-02T09:30:35Z<p>Eidzm: /* History and Examples */</p>
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<div>A '''slow take-off''' is a technique for beginning a larp, often accompanied by a [[Slow Landing|slow landing]].<br />
==Description ==<br />
At the onset of a larp, players do not begin role-playing immediately (as in a [[flying start]]) but take time exploring various states between "off-game" and "in-game". These may consist of role-playing flashbacks to the characters past, group meditative activities, receiving media input etc. <br />
==Uses==<br />
The slow take-off is intended to give players more time to prepare for role-playing, and may also be used to introduce facts about the larp universe. <br />
==History and Examples==<br />
While earlier examples can be found, the slow take-off was formally introduced along the [[Slow Landing]] at [[Europa]], where it included role-played scenes, meditative sessions and media. [[Kjærlighet i fornedringens tid]] begins with players closing their eyes, silently listening to a song, holding hands across a cafètable. The [[Narrator]]([[GameMaster]]) holds a [[Monologue]] describing the past and the expectations of the couples relationship. As a kind of hypnosis at the start, the players are counted (from 1 to 10) into their characters state of mind, and at the end counted out of their characters (from 10 to 1).<br />
The original inspiration of [[Eirik Fatland]] and [[Erlend Eidsem Hansen]] was one of their favourite filmdirector at that time, Lars Von Trier in the introsequence for his movie "Europa". YouTube clip of this sequence here: {{#ev:youtube|vrTI-SQmj4k&}}<br />
The group [[OPUS]] did a similar opening and ending meditation for [[Delirium]]. They even did it at the start and end of every day of workshop.<br />
The [[Pervasive]] larp [[Prosopopeia]] even established the meditation into and out of the [[character]] as a part of the [[Diegesis]]. This was motivated by the [[Diegesis]] including the off-game persona of the player. (See [[Pervasive]])<br />
<br />
{{#ev:youtube|bXlm3fS0VNs&}}<br />
<br />
==Variants of Take-off and Landing (taking participants into and out of character) ==<br />
<br />
* [[Immersive Ceremonies]] - making the players do a little ritual at the start and end of a game. Games like: [[WA]], [[Mad About the Boy]], [[Agabadan I]], [[Another Life from Scratch]]([[Italy]])<br />
* [[Opening Song]] and [[Ending song]] - sometimes done spontaneously as singing the Norwegian National anthem at [[1942]] or preplanned singing The Internationale at [[Rød Oktober]] ([[Red October]]) - one of the first time this was done, was at the fantasylarp [[Nyteg]] [[1997]] singing the fictional national anthems of the 2 warring fractions. (Duvrike sköna land)<br />
* [[Dinner]] - when the dessert is served you will be in character<br />
* [[Speech]] - at the end of the speech you will be in character<br />
* [[Sleep]] - when you wake up you will be in character (even if it is a staged event waking you up in the middle of the night)<br />
<br />
==See also==<br />
* [[Flying start]]<br />
* [[Slow landing]]<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=5602Erlend Eidsem Hansen2015-11-23T16:12:07Z<p>Eidzm: </p>
<hr />
<div>{{Person<br />
|name=Erlend Eidsem Hansen<br />
|sort_name=Hansen, Erlend Eidsem<br />
|country=Norway<br />
|organizations=[[Laivfabrikken Oslo]], [[Fantasiforbundet]], [[Veiskille]], [[Nosferatu]], [[Ravn]]<br />
|image=Erlend_Eidsem_Hansen.jpeg<br />
}}<br />
'''Erlend Eidsem Hansen''' (September 18, 1972 in [[Oslo]]) is a [[Norwegian]] larpwright, teacher at the larpwriter summerschool and documentary filmmaker. He lives in Oslo, Norway. He is the father of 2 sons, and one of 3 founders of [[Knutepunkt]], the meetingplace of Nordic Larp. <Br><br />
<br />
==Background==<br />
Erlend has grown up in the 70ies and 80ies Eastenders Oslo surrounded by a workingclass, whitetrash environment. Equal to many other Norwegians Erlend has gone through the classjourney from workingclass to cultural academic upper middleclass during the economic oilboom of Norway during the 80ies and 90ies. This means that he worked in a chocolatefactory when he was 18 years, but now he is thoroughly educated and works as filmdirector.<br />
As a consequence, Erlend has 10–15 years of education more than any elder members of his own family. <br />
When it comes to explaining larp to people not familiar with the concept, this teaches a few lessons. It also gives a few prejudices to other academically oriented people.<br />
<br />
==Editor==<br />
* [[The Book]] ''([[2001]])'' - The first of the [[Knutepunkt-books|Knutepunkt-book]]s - The Knutepunktbook of 2001<br />
<br />
== Author ==<br />
* [[8 Ways of Larphacking]] - article in [[Playground Magazine]] nr. 5 ([[2012]])<br />
* [[Trenne Byar]] - chapter in the [[Nordic Larp (Book)|Nordic Larp]] ''([[2010]])''<br />
* [[LarpHacking]] - a wiki, a workshop, a speech and an article - here is the wiki: http://scratchpad.wikia.com/wiki/Category:LarpHacking (it would be awsome if someone helped me locate the juicy interesting parts of it and made small articles here..)<br />
* [[Dogma 99]] - involved in the development of the vows and organised the Dogma game [[Kjærlighet i fornedringens tid]] (Love in the Age of Debasement)<br />
* [[Sex at Larps]] - article in [[Fëa Livia]] (Magazine) ([[2002]])<br />
* [[Rituals and Ceremonies]] - article in [[Fëa Livia]] (Magazine) ([[2001]])<br />
* [["Sex and Larp"]] in [[The Book]] ([[2001]])<br />
* [[Guru Larp Fanzine]] ([[1993]],[[1994]]) - little ranting fanzine on larping - most noted for its article on [[railroading]], [[branching]] and [[marble]] dramaturgies in [[larp]]. Also known as the [[Theory of marbles]].<br />
<br />
== Larps ==<br />
He has organised and designed more than 40 larplike and larp-projects and participated in more than 300 different productions since the very beginning of the larptradition in [[Norway]] in [[1989]].<br />
He has read over 3000 characterdescriptions and been a consultant for the design of over 1000 characters over the years.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
* [[The Beast within - larpscript]] ([[2015]])<br />
* [[Wonders of the Blackbox - larpwriter summerschool]] ([[2014]])<br />
* [[Nosferatu 5 - Vendepunkt]] ([[2013]])<br />
* [[The Oasis v.3 , Grenselandet 2013]] ([[2013]])<br />
* [[Rød Oktober]] ([[2011]])<br />
* [[Dommedagsaften]] ([[2011]])<br />
* [[Ivans Vannhull]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Marcellos kjeller]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Oasis]] (version I + version II) ([[2009]],[[2011]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Baader Meinhof eXperiment]] ([[2010]]) ([[Oslo]],[[Västerås]],[[Stockholm]]) - ([[Laivfabrikken Oslo]])<br />
* [[Kjærlighet i fornedringens tid]] ([[2001, 2002, 2009, 2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Agabadan I]] ([[2008]])<br />
* [[Strangedays - The dream of the Appleliquor]] ([[2004]])<br />
* [[AmerikA]] ([[2000]]) - concept development, scenographer, video and lights<br />
* [[Elegi]] ([[2000]]) (Fantasy)<br />
* [[Moirais Vev]] ([[1997]])<br />
* [[Flammenes Natt]] ([[Night of the Flames]]) ([[1995]]) - Fantasylarp for youngsters 14–20 years old<br />
* [[NÀR II]] ([[1994]])<br />
* [[Nosferatu]] [[Trilogy]] ([[1993]], [[1994]], [[1995]](only as player), [[1996]])<br />
* [[The Celtic and Vikinglarp]] ([[Oslo Winterlarps]] [[1993]]) ([[Ravn]])<br />
* [[The Mafia Larp]] ([[1992]])<br />
* [[Vingulmork 1196]] ([[Oslo Winterlarps]] [[1992]]) ([[Ravn]])<br />
* [[Summerlarps]] ([[1990]],[[1990]],[[1991]]) ([[Ravn]])<br />
<br />
== Contributing organizer ==<br />
<br />
* [[A Mothers heart]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[A fistful of Thyllium]] ([[2009]]) - only as a consultant designer and co-fascilliator of this [[collectivestyle]] larp<br />
* [[inside:outside]] ([[2001]]) - videotechnician and runtime gamemastering<br />
* [[KyberGenesis]] ([[1997]]) (Videotechnician, designer of the in-game TV-channel and the rituals worshipping videoimages of the AIs)<br />
* [[Call of Ravn]] ([[1992]])<br />
* [[Summerlarps]] ([[1992]]) ([[1998]]) ([[Ravn]])<br />
<br />
<br />
== Designer of Larplike projects ==<br />
<br />
* [[Ritual Workshop]] - Knutpunkt Sweden 2010<br />
* [[Changez]] - A larpconcept for a clubbing venue inspired by David Bowie - Club Mezzo, Oslo, 1999<br />
* [[Strangedays]] ([[2005]]) - A zombielarp organised as a project inside a project, within the Rock Festival, Strangedays<br />
* [[Reclaim]] ([[2002]]) - Sort of pervasive game - not really larp more activism - related to [[Maskspel]] and [[Scen 3]] with [[Interactingarts]] in Stockholm<br />
* [[Storytellers Workshop]] - Knudepunkt Denmark 1999<br />
* [[The magic Loo]] ([[1999]]) - part larp, part TV-documentary. kind of philosophical 1-person realitytvshow<br />
<br />
==Organizations==<br />
* [[Knutepunkt]] - (one of the founders of the first Knutepunkt i 1997, organiser in 2001, videotechnician in 2005, suborganiser in 2009, program committee in 2013)<br />
* [[Laivfabrikken Oslo]]<br />
* [[Fantasiforbundet]]<br />
* [[Veiskille]] (only as co-designer of one of the in-game nations in this campaign-game) - see their wiki (in Norwegian) here: http://veiskillewiki.laiv.org/Hovedside)<br />
* [[Veiskille]] - Erlends favourite nation Andhra Kesh (http://veiskillewiki.laiv.org/Andhra_Kesh) (which a lot of people have developed during the last 10 years) <br />
* [[Nosferatu]]<br />
* [[Ravn]]<br />
<br />
==Contact==<br />
* erlendeh@gmail.com<br />
* http://www.facebook.com/eidsem<br />
* a list of his larp track record can be found at the archive of the Norwegian webportal of larp, [[laiv.org]] - http://www.laiv.org/laiv/DetStore.nsf/ (Search for name)<br />
<br />
==External links==<br />
* Dramaturgic Models (with [[Eirik Fatland]]) - http://scratchpad.wikia.com/wiki/Talk:Dramaturgic_Models<br />
* Erlends Website about [[Larphacking]] - http://scratchpad.wikia.com/wiki/Category:LarpHacking<br />
<br />
==List of Relevant articles by Erlend Eidsem Hansen hopefully later to be known as Articles for Larpwriters and Designers ==<br />
(this might not be very cosher way to write wiki, but lets face it, this is what we got, and it´s subjective, so why deny it..)<br />
<br />
<br />
What makes a good larp - Magnus Lie Hetland - 1997 (rev. 2001) - http://www.idi.ntnu.no/~mlh/lrp/lrpkval.html (in Norwegian)<br />
<br />
* ''[[The Book]]'' - [[Knutepunkt 2001]]<br />
Building Dramatics - Susanne Gräslund - (after she organised Knappenålshovudet in 1999) - http://fate.laiv.org/pub/build_dram.htm<br />
<br />
<br />
* ''[[Dissecting Larp]]'' - [[Knutepunkt 2005]]<br />
Incentive tools of larp dramaturgy - Eirik Fatland - (after organising Europa, Inside/Outside, Panopticorp) - http://knutepunkt.laiv.org/kp05/Incentives%20as%20tools%20of%20larp%20dramaturgy..pdf<br />
<br />
<br />
(Knutepunkt and Nordic Live Role-playing: a crash cource - Eirik Fatland - http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf)<br />
<br />
<br />
* ''[[Role, Play, Art]]'' - [[Knutpunkt 2006]]<br />
Interaction Codes—Understanding and Establishing Patterns in Player Improvisation by Eirik Fatland <br />
<br />
<br />
MY FAVOURITE BOOK:<br />
''[[Playground Worlds]]'' - [[Solmukohta]] - http://2008.solmukohta.org/index.php/Book/Book (no direct links to articles whole .PDF only)<br />
* p.&nbsp;53 Producing A Nice Evening - Anna Westerling<br />
* p.&nbsp;125 The nuts and Bolts of Jeepform - Tobias Wrigstad - <br />
* p.&nbsp;139 Behind the Facade of A Nice Evening with the Family - Hultman, Westerling, Wrigstad (the most important co-operation in Nordic larp since Daniel Krauklis, Susanne Gräslund, Martin Ericsson and Holger Jacobsson (and more) for Knappenålshovudet in 1999 (see Susannes article - Building Dramatics)<br />
* p.&nbsp;232 Key Concepts in Forge Theory - Emily Care Boss <br />
<br />
<br />
''[[Larp, the Universe and Everything]]'' - [[Knutepunkt 2009]] <br />
* The Vademecum of the Karstic Style - Andrea Castellani - http://knutepunkt.laiv.org/2009/book/TheVademecumOfTheKarsticStyle/<br />
<br />
<br />
''[[Playing Reality]]'' - [[Knutepunkt 2010]] <br />
* p.&nbsp;63 Six common mistakes in Live Role-playing Design<br />
<br />
<br />
''[[Do Larp]]'' - [[Knudepunkt 2011]] - It´s the right headlines, but the content is not enough to understand everything behind the games<br />
* p.&nbsp;72 Delirium - [[Jesper Heebøll Arbjørn]], Kristoffer Thurøe, Peter Munthe-Kaas<br />
* p.&nbsp;92 Mad about the Boy - Tor Kjetil Edland, Trine Lise Lindahl, Margerete Raaum<br />
* p.&nbsp;124 A Nice Evening with the Family - Anna Westerling <br />
* p.&nbsp;176 Renaissance: Formula of Love - Konstantin Vetlugin, Sergey Lobov, Ludmilla Vitkevich</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=5601Erlend Eidsem Hansen2015-11-23T15:46:53Z<p>Eidzm: </p>
<hr />
<div>{{Person<br />
|name=Erlend Eidsem Hansen<br />
|sort_name=Hansen, Erlend Eidsem<br />
|country=Norway<br />
|organizations=[[Laivfabrikken Oslo]], [[Fantasiforbundet]], [[Veiskille]], [[Nosferatu]], [[Ravn]]<br />
|image=Erlend_Eidsem_Hansen.jpeg<br />
}}<br />
'''Erlend Eidsem Hansen''' (September 18, 1972 in [[Oslo]]) is a [[Norwegian]] larpwright, teacher at the larpwriter summerschool and documentary filmmaker. He lives in Oslo, Norway. He is the father of 2 sons, and one of 3 founders of [[Knutepunkt]], the meetingplace of Nordic Larp. <Br><br />
<br />
==Background==<br />
Erlend has grown up in the 70ies and 80ies Eastenders Oslo surrounded by a workingclass, whitetrash environment. Equal to many other Norwegians Erlend has gone through the classjourney from workingclass to cultural academic upper middleclass during the economic oilboom of Norway during the 80ies and 90ies. This means that he worked in a chocolatefactory when he was 18 years, but now he is thoroughly educated and works as filmdirector.<br />
As a consequence, Erlend has 10–15 years of education more than any elder members of his own family. <br />
When it comes to explaining larp to people not familiar with the concept, this teaches a few lessons. It also gives a few prejudices to other academically oriented people.<br />
<br />
==Editor==<br />
* [[The Book]] ''([[2001]])'' - The first of the [[Knutepunkt-books|Knutepunkt-book]]s - The Knutepunktbook of 2001<br />
<br />
== Author ==<br />
* [[8 Ways of Larphacking]] - article in [[Playground Magazine]] nr. 5 ([[2012]])<br />
* [[Trenne Byar]] - chapter in the [[Nordic Larp (Book)|Nordic Larp]] ''([[2010]])''<br />
* [[LarpHacking]] - a wiki, a workshop, a speech and an article - here is the wiki: http://scratchpad.wikia.com/wiki/Category:LarpHacking (it would be awsome if someone helped me locate the juicy interesting parts of it and made small articles here..)<br />
* [[Dogma 99]] - involved in the development of the vows and organised the Dogma game [[Kjærlighet i fornedringens tid]] (Love in the Age of Debasement)<br />
* [[Sex at Larps]] - article in [[Fëa Livia]] (Magazine) ([[2002]])<br />
* [[Rituals and Ceremonies]] - article in [[Fëa Livia]] (Magazine) ([[2001]])<br />
* [["Sex and Larp"]] in [[The Book]] ([[2001]])<br />
* [[Guru Larp Fanzine]] ([[1993]],[[1994]]) - little ranting fanzine on larping - most noted for its article on [[railroading]], [[branching]] and [[marble]] dramaturgies in [[larp]]. Also known as the [[Theory of marbles]].<br />
<br />
== Larps ==<br />
He has organised and designed more than 40 larplike and larp-projects and participated in around 250 different productions since the very beginning of the larptradition in [[Norway]] in [[1989]].<br />
He has read over 3000 characterdescriptions and been a consultant for the design of over 1000 characters over the years.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
* [[The Beast within - larpscript]] ([[2015]])<br />
* [[Wonders of the Blackbox - larpwriter summerschool]] ([[2014]])<br />
* [[Nosferatu 5 - Vendepunkt]] ([[2013]])<br />
* [[The Oasis v.3 , Grenselandet 2013]] ([[2013]])<br />
* [[Rød Oktober]] ([[2011]])<br />
* [[Dommedagsaften]] ([[2011]])<br />
* [[Ivans Vannhull]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Marcellos kjeller]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Oasis]] (version I + version II) ([[2009]],[[2011]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Baader Meinhof eXperiment]] ([[2010]]) ([[Oslo]],[[Västerås]],[[Stockholm]]) - ([[Laivfabrikken Oslo]])<br />
* [[Kjærlighet i fornedringens tid]] ([[2001, 2002, 2009, 2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Agabadan I]] ([[2008]])<br />
* [[Strangedays - The dream of the Appleliquor]] ([[2004]])<br />
* [[AmerikA]] ([[2000]]) - concept development, scenographer, video and lights<br />
* [[Elegi]] ([[2000]]) (Fantasy)<br />
* [[Moirais Vev]] ([[1997]])<br />
* [[Flammenes Natt]] ([[Night of the Flames]]) ([[1995]]) - Fantasylarp for youngsters 14–20 years old<br />
* [[NÀR II]] ([[1994]])<br />
* [[Nosferatu]] [[Trilogy]] ([[1993]], [[1994]], [[1995]](only as player), [[1996]])<br />
* [[The Celtic and Vikinglarp]] ([[Oslo Winterlarps]] [[1993]]) ([[Ravn]])<br />
* [[The Mafia Larp]] ([[1992]])<br />
* [[Vingulmork 1196]] ([[Oslo Winterlarps]] [[1992]]) ([[Ravn]])<br />
* [[Summerlarps]] ([[1990]],[[1990]],[[1991]]) ([[Ravn]])<br />
<br />
== Contributing organizer ==<br />
<br />
* [[A Mothers heart]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[A fistful of Thyllium]] ([[2009]]) - only as a consultant designer and co-fascilliator of this [[collectivestyle]] larp<br />
* [[inside:outside]] ([[2001]]) - videotechnician and runtime gamemastering<br />
* [[KyberGenesis]] ([[1997]]) (Videotechnician, designer of the in-game TV-channel and the rituals worshipping videoimages of the AIs)<br />
* [[Call of Ravn]] ([[1992]])<br />
* [[Summerlarps]] ([[1992]]) ([[1998]]) ([[Ravn]])<br />
<br />
<br />
== Designer of Larplike projects ==<br />
<br />
* [[Ritual Workshop]] - Knutpunkt Sweden 2010<br />
* [[Changez]] - A larpconcept for a clubbing venue inspired by David Bowie - Club Mezzo, Oslo, 1999<br />
* [[Strangedays]] ([[2005]]) - A zombielarp organised as a project inside a project, within the Rock Festival, Strangedays<br />
* [[Reclaim]] ([[2002]]) - Sort of pervasive game - not really larp more activism - related to [[Maskspel]] and [[Scen 3]] with [[Interactingarts]] in Stockholm<br />
* [[Storytellers Workshop]] - Knudepunkt Denmark 1999<br />
* [[The magic Loo]] ([[1999]]) - part larp, part TV-documentary. kind of philosophical 1-person realitytvshow<br />
<br />
==Organizations==<br />
* [[Knutepunkt]] - (one of the founders of the first Knutepunkt i 1997, organiser in 2001, videotechnician in 2005, suborganiser in 2009, program committee in 2013)<br />
* [[Laivfabrikken Oslo]]<br />
* [[Fantasiforbundet]]<br />
* [[Veiskille]] (only as co-designer of one of the in-game nations in this campaign-game) - see their wiki (in Norwegian) here: http://veiskillewiki.laiv.org/Hovedside)<br />
* [[Veiskille]] - Erlends favourite nation Andhra Kesh (http://veiskillewiki.laiv.org/Andhra_Kesh) (which a lot of people have developed during the last 10 years) <br />
* [[Nosferatu]]<br />
* [[Ravn]]<br />
<br />
==Contact==<br />
* erlendeh@gmail.com<br />
* http://www.facebook.com/eidsem<br />
* a list of his larp track record can be found at the archive of the Norwegian webportal of larp, [[laiv.org]] - http://www.laiv.org/laiv/DetStore.nsf/ (Search for name)<br />
<br />
==External links==<br />
* Dramaturgic Models (with [[Eirik Fatland]]) - http://scratchpad.wikia.com/wiki/Talk:Dramaturgic_Models<br />
* Erlends Website about [[Larphacking]] - http://scratchpad.wikia.com/wiki/Category:LarpHacking<br />
<br />
==List of Relevant articles by Erlend Eidsem Hansen hopefully later to be known as Articles for Larpwriters and Designers ==<br />
(this might not be very cosher way to write wiki, but lets face it, this is what we got, and it´s subjective, so why deny it..)<br />
<br />
<br />
What makes a good larp - Magnus Lie Hetland - 1997 (rev. 2001) - http://www.idi.ntnu.no/~mlh/lrp/lrpkval.html (in Norwegian)<br />
<br />
* ''[[The Book]]'' - [[Knutepunkt 2001]]<br />
Building Dramatics - Susanne Gräslund - (after she organised Knappenålshovudet in 1999) - http://fate.laiv.org/pub/build_dram.htm<br />
<br />
<br />
* ''[[Dissecting Larp]]'' - [[Knutepunkt 2005]]<br />
Incentive tools of larp dramaturgy - Eirik Fatland - (after organising Europa, Inside/Outside, Panopticorp) - http://knutepunkt.laiv.org/kp05/Incentives%20as%20tools%20of%20larp%20dramaturgy..pdf<br />
<br />
<br />
(Knutepunkt and Nordic Live Role-playing: a crash cource - Eirik Fatland - http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf)<br />
<br />
<br />
* ''[[Role, Play, Art]]'' - [[Knutpunkt 2006]]<br />
Interaction Codes—Understanding and Establishing Patterns in Player Improvisation by Eirik Fatland <br />
<br />
<br />
MY FAVOURITE BOOK:<br />
''[[Playground Worlds]]'' - [[Solmukohta]] - http://2008.solmukohta.org/index.php/Book/Book (no direct links to articles whole .PDF only)<br />
* p.&nbsp;53 Producing A Nice Evening - Anna Westerling<br />
* p.&nbsp;125 The nuts and Bolts of Jeepform - Tobias Wrigstad - <br />
* p.&nbsp;139 Behind the Facade of A Nice Evening with the Family - Hultman, Westerling, Wrigstad (the most important co-operation in Nordic larp since Daniel Krauklis, Susanne Gräslund, Martin Ericsson and Holger Jacobsson (and more) for Knappenålshovudet in 1999 (see Susannes article - Building Dramatics)<br />
* p.&nbsp;232 Key Concepts in Forge Theory - Emily Care Boss <br />
<br />
<br />
''[[Larp, the Universe and Everything]]'' - [[Knutepunkt 2009]] <br />
* The Vademecum of the Karstic Style - Andrea Castellani - http://knutepunkt.laiv.org/2009/book/TheVademecumOfTheKarsticStyle/<br />
<br />
<br />
''[[Playing Reality]]'' - [[Knutepunkt 2010]] <br />
* p.&nbsp;63 Six common mistakes in Live Role-playing Design<br />
<br />
<br />
''[[Do Larp]]'' - [[Knudepunkt 2011]] - It´s the right headlines, but the content is not enough to understand everything behind the games<br />
* p.&nbsp;72 Delirium - [[Jesper Heebøll Arbjørn]], Kristoffer Thurøe, Peter Munthe-Kaas<br />
* p.&nbsp;92 Mad about the Boy - Tor Kjetil Edland, Trine Lise Lindahl, Margerete Raaum<br />
* p.&nbsp;124 A Nice Evening with the Family - Anna Westerling <br />
* p.&nbsp;176 Renaissance: Formula of Love - Konstantin Vetlugin, Sergey Lobov, Ludmilla Vitkevich</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=5600Erlend Eidsem Hansen2015-11-23T15:46:14Z<p>Eidzm: </p>
<hr />
<div>{{Person<br />
|name=Erlend Eidsem Hansen<br />
|sort_name=Hansen, Erlend Eidsem<br />
|country=Norway<br />
|organizations=[[Laivfabrikken Oslo]], [[Fantasiforbundet]], [[Veiskille]], [[Nosferatu]], [[Ravn]]<br />
|image=Erlend_Eidsem_Hansen.jpeg<br />
}}<br />
'''Erlend Eidsem Hansen''' (September 18, 1972 in [[Oslo]]) is a [[Norwegian]] larpwright, teacher at the larpwriter summerschool and documentary filmmaker. He lives in Oslo, Norway. He is the father of 2 sons, and one of 3 founders of [[Knutepunkt]], the meetingplace of Nordic Larp. <Br><br />
<br />
==Background==<br />
Erlend has grown up in the 70ies and 80ies Eastenders Oslo surrounded by a workingclass, whitetrash environment. Equal to many other Norwegians Erlend has gone through the classjourney from workingclass to cultural academic upper middleclass during the economic oilboom of Norway during the 80ies and 90ies. This means that he worked in a chocolatefactory when he was 18 years, but now he is thoroughly educated and works as filmdirector.<br />
As a consequence, Erlend has 10–15 years of education more than any elder members of his own family. <br />
When it comes to explaining larp to people not familiar with the concept, this teaches a few lessons. It also gives a few prejudices to other academically oriented people.<br />
<br />
==Editor==<br />
* [[The Book]] ''([[2001]])'' - The first of the [[Knutepunkt-books|Knutepunkt-book]]s - The Knutepunktbook of 2001<br />
<br />
== Author ==<br />
* [[8 Ways of Larphacking]] - article in [[Playground Magazine]] nr. 5 ([[2012]])<br />
* [[Trenne Byar]] - chapter in the [[Nordic Larp (Book)|Nordic Larp]] ''([[2010]])''<br />
* [[LarpHacking]] - a wiki, a workshop, a speech and an article - here is the wiki: http://scratchpad.wikia.com/wiki/Category:LarpHacking (it would be awsome if someone helped me locate the juicy interesting parts of it and made small articles here..)<br />
* [[Dogma 99]] - involved in the development of the vows and organised the Dogma game [[Kjærlighet i fornedringens tid]] (Love in the Age of Debasement)<br />
* [[Sex at Larps]] - article in [[Fëa Livia]] (Magazine) ([[2002]])<br />
* [[Rituals and Ceremonies]] - article in [[Fëa Livia]] (Magazine) ([[2001]])<br />
* [["Sex and Larp"]] in [[The Book]] ([[2001]])<br />
* [[Guru Larp Fanzine]] ([[1993]],[[1994]]) - little ranting fanzine on larping - most noted for its article on [[railroading]], [[branching]] and [[marble]] dramaturgies in [[larp]]. Also known as the [[Theory of marbles]].<br />
<br />
== Larps ==<br />
He has organised and designed more than 40 larplike and larp-projects and participated in around 250 different productions since the very beginning of the larptradition in [[Norway]] in [[1989]].<br />
He has read over 3000 characterdescriptions and been a consultant for the design of over 1000 characters over the years.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
* [[The Beast within - larpsript]] ([[2015]])<br />
* [[Wonders of the Blackbox - larpwriter summerschool]] ([[2014]])<br />
* [[Nosferatu 5 - Vendepunkt]] ([[2013]])<br />
* [[The Oasis v.3 , Grenselandet 2013]] ([[2013]])<br />
* [[Rød Oktober]] ([[2011]])<br />
* [[Dommedagsaften]] ([[2011]])<br />
* [[Ivans Vannhull]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Marcellos kjeller]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Oasis]] (version I + version II) ([[2009]],[[2011]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Baader Meinhof eXperiment]] ([[2010]]) ([[Oslo]],[[Västerås]],[[Stockholm]]) - ([[Laivfabrikken Oslo]])<br />
* [[Kjærlighet i fornedringens tid]] ([[2001, 2002, 2009, 2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Agabadan I]] ([[2008]])<br />
* [[Strangedays - The dream of the Appleliquor]] ([[2004]])<br />
* [[AmerikA]] ([[2000]]) - concept development, scenographer, video and lights<br />
* [[Elegi]] ([[2000]]) (Fantasy)<br />
* [[Moirais Vev]] ([[1997]])<br />
* [[Flammenes Natt]] ([[Night of the Flames]]) ([[1995]]) - Fantasylarp for youngsters 14–20 years old<br />
* [[NÀR II]] ([[1994]])<br />
* [[Nosferatu]] [[Trilogy]] ([[1993]], [[1994]], [[1995]](only as player), [[1996]])<br />
* [[The Celtic and Vikinglarp]] ([[Oslo Winterlarps]] [[1993]]) ([[Ravn]])<br />
* [[The Mafia Larp]] ([[1992]])<br />
* [[Vingulmork 1196]] ([[Oslo Winterlarps]] [[1992]]) ([[Ravn]])<br />
* [[Summerlarps]] ([[1990]],[[1990]],[[1991]]) ([[Ravn]])<br />
<br />
== Contributing organizer ==<br />
<br />
* [[A Mothers heart]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[A fistful of Thyllium]] ([[2009]]) - only as a consultant designer and co-fascilliator of this [[collectivestyle]] larp<br />
* [[inside:outside]] ([[2001]]) - videotechnician and runtime gamemastering<br />
* [[KyberGenesis]] ([[1997]]) (Videotechnician, designer of the in-game TV-channel and the rituals worshipping videoimages of the AIs)<br />
* [[Call of Ravn]] ([[1992]])<br />
* [[Summerlarps]] ([[1992]]) ([[1998]]) ([[Ravn]])<br />
<br />
<br />
== Designer of Larplike projects ==<br />
<br />
* [[Ritual Workshop]] - Knutpunkt Sweden 2010<br />
* [[Changez]] - A larpconcept for a clubbing venue inspired by David Bowie - Club Mezzo, Oslo, 1999<br />
* [[Strangedays]] ([[2005]]) - A zombielarp organised as a project inside a project, within the Rock Festival, Strangedays<br />
* [[Reclaim]] ([[2002]]) - Sort of pervasive game - not really larp more activism - related to [[Maskspel]] and [[Scen 3]] with [[Interactingarts]] in Stockholm<br />
* [[Storytellers Workshop]] - Knudepunkt Denmark 1999<br />
* [[The magic Loo]] ([[1999]]) - part larp, part TV-documentary. kind of philosophical 1-person realitytvshow<br />
<br />
==Organizations==<br />
* [[Knutepunkt]] - (one of the founders of the first Knutepunkt i 1997, organiser in 2001, videotechnician in 2005, suborganiser in 2009, program committee in 2013)<br />
* [[Laivfabrikken Oslo]]<br />
* [[Fantasiforbundet]]<br />
* [[Veiskille]] (only as co-designer of one of the in-game nations in this campaign-game) - see their wiki (in Norwegian) here: http://veiskillewiki.laiv.org/Hovedside)<br />
* [[Veiskille]] - Erlends favourite nation Andhra Kesh (http://veiskillewiki.laiv.org/Andhra_Kesh) (which a lot of people have developed during the last 10 years) <br />
* [[Nosferatu]]<br />
* [[Ravn]]<br />
<br />
==Contact==<br />
* erlendeh@gmail.com<br />
* http://www.facebook.com/eidsem<br />
* a list of his larp track record can be found at the archive of the Norwegian webportal of larp, [[laiv.org]] - http://www.laiv.org/laiv/DetStore.nsf/ (Search for name)<br />
<br />
==External links==<br />
* Dramaturgic Models (with [[Eirik Fatland]]) - http://scratchpad.wikia.com/wiki/Talk:Dramaturgic_Models<br />
* Erlends Website about [[Larphacking]] - http://scratchpad.wikia.com/wiki/Category:LarpHacking<br />
<br />
==List of Relevant articles by Erlend Eidsem Hansen hopefully later to be known as Articles for Larpwriters and Designers ==<br />
(this might not be very cosher way to write wiki, but lets face it, this is what we got, and it´s subjective, so why deny it..)<br />
<br />
<br />
What makes a good larp - Magnus Lie Hetland - 1997 (rev. 2001) - http://www.idi.ntnu.no/~mlh/lrp/lrpkval.html (in Norwegian)<br />
<br />
* ''[[The Book]]'' - [[Knutepunkt 2001]]<br />
Building Dramatics - Susanne Gräslund - (after she organised Knappenålshovudet in 1999) - http://fate.laiv.org/pub/build_dram.htm<br />
<br />
<br />
* ''[[Dissecting Larp]]'' - [[Knutepunkt 2005]]<br />
Incentive tools of larp dramaturgy - Eirik Fatland - (after organising Europa, Inside/Outside, Panopticorp) - http://knutepunkt.laiv.org/kp05/Incentives%20as%20tools%20of%20larp%20dramaturgy..pdf<br />
<br />
<br />
(Knutepunkt and Nordic Live Role-playing: a crash cource - Eirik Fatland - http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf)<br />
<br />
<br />
* ''[[Role, Play, Art]]'' - [[Knutpunkt 2006]]<br />
Interaction Codes—Understanding and Establishing Patterns in Player Improvisation by Eirik Fatland <br />
<br />
<br />
MY FAVOURITE BOOK:<br />
''[[Playground Worlds]]'' - [[Solmukohta]] - http://2008.solmukohta.org/index.php/Book/Book (no direct links to articles whole .PDF only)<br />
* p.&nbsp;53 Producing A Nice Evening - Anna Westerling<br />
* p.&nbsp;125 The nuts and Bolts of Jeepform - Tobias Wrigstad - <br />
* p.&nbsp;139 Behind the Facade of A Nice Evening with the Family - Hultman, Westerling, Wrigstad (the most important co-operation in Nordic larp since Daniel Krauklis, Susanne Gräslund, Martin Ericsson and Holger Jacobsson (and more) for Knappenålshovudet in 1999 (see Susannes article - Building Dramatics)<br />
* p.&nbsp;232 Key Concepts in Forge Theory - Emily Care Boss <br />
<br />
<br />
''[[Larp, the Universe and Everything]]'' - [[Knutepunkt 2009]] <br />
* The Vademecum of the Karstic Style - Andrea Castellani - http://knutepunkt.laiv.org/2009/book/TheVademecumOfTheKarsticStyle/<br />
<br />
<br />
''[[Playing Reality]]'' - [[Knutepunkt 2010]] <br />
* p.&nbsp;63 Six common mistakes in Live Role-playing Design<br />
<br />
<br />
''[[Do Larp]]'' - [[Knudepunkt 2011]] - It´s the right headlines, but the content is not enough to understand everything behind the games<br />
* p.&nbsp;72 Delirium - [[Jesper Heebøll Arbjørn]], Kristoffer Thurøe, Peter Munthe-Kaas<br />
* p.&nbsp;92 Mad about the Boy - Tor Kjetil Edland, Trine Lise Lindahl, Margerete Raaum<br />
* p.&nbsp;124 A Nice Evening with the Family - Anna Westerling <br />
* p.&nbsp;176 Renaissance: Formula of Love - Konstantin Vetlugin, Sergey Lobov, Ludmilla Vitkevich</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=5599Erlend Eidsem Hansen2015-11-23T15:45:47Z<p>Eidzm: </p>
<hr />
<div>{{Person<br />
|name=Erlend Eidsem Hansen<br />
|sort_name=Hansen, Erlend Eidsem<br />
|country=Norway<br />
|organizations=[[Laivfabrikken Oslo]], [[Fantasiforbundet]], [[Veiskille]], [[Nosferatu]], [[Ravn]]<br />
|image=Erlend_Eidsem_Hansen.jpeg<br />
}}<br />
'''Erlend Eidsem Hansen''' (September 18, 1972 in [[Oslo]]) is a [[Norwegian]] larpwright, teacher at the larpwriter summerschool and documentary filmmaker.<br />
<br>He lives in Oslo, Norway. He is the father of 2 sons, and one of 3 founders of [[Knutepunkt]], the meetingplace of Nordic Larp.<br />
<br />
==Background==<br />
Erlend has grown up in the 70ies and 80ies Eastenders Oslo surrounded by a workingclass, whitetrash environment. Equal to many other Norwegians Erlend has gone through the classjourney from workingclass to cultural academic upper middleclass during the economic oilboom of Norway during the 80ies and 90ies. This means that he worked in a chocolatefactory when he was 18 years, but now he is thoroughly educated and works as filmdirector.<br />
As a consequence, Erlend has 10–15 years of education more than any elder members of his own family. <br />
When it comes to explaining larp to people not familiar with the concept, this teaches a few lessons. It also gives a few prejudices to other academically oriented people.<br />
<br />
==Editor==<br />
* [[The Book]] ''([[2001]])'' - The first of the [[Knutepunkt-books|Knutepunkt-book]]s - The Knutepunktbook of 2001<br />
<br />
== Author ==<br />
* [[8 Ways of Larphacking]] - article in [[Playground Magazine]] nr. 5 ([[2012]])<br />
* [[Trenne Byar]] - chapter in the [[Nordic Larp (Book)|Nordic Larp]] ''([[2010]])''<br />
* [[LarpHacking]] - a wiki, a workshop, a speech and an article - here is the wiki: http://scratchpad.wikia.com/wiki/Category:LarpHacking (it would be awsome if someone helped me locate the juicy interesting parts of it and made small articles here..)<br />
* [[Dogma 99]] - involved in the development of the vows and organised the Dogma game [[Kjærlighet i fornedringens tid]] (Love in the Age of Debasement)<br />
* [[Sex at Larps]] - article in [[Fëa Livia]] (Magazine) ([[2002]])<br />
* [[Rituals and Ceremonies]] - article in [[Fëa Livia]] (Magazine) ([[2001]])<br />
* [["Sex and Larp"]] in [[The Book]] ([[2001]])<br />
* [[Guru Larp Fanzine]] ([[1993]],[[1994]]) - little ranting fanzine on larping - most noted for its article on [[railroading]], [[branching]] and [[marble]] dramaturgies in [[larp]]. Also known as the [[Theory of marbles]].<br />
<br />
== Larps ==<br />
He has organised and designed more than 40 larplike and larp-projects and participated in around 250 different productions since the very beginning of the larptradition in [[Norway]] in [[1989]].<br />
He has read over 3000 characterdescriptions and been a consultant for the design of over 1000 characters over the years.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
* [[The Beast within - larpsript]] ([[2015]])<br />
* [[Wonders of the Blackbox - larpwriter summerschool]] ([[2014]])<br />
* [[Nosferatu 5 - Vendepunkt]] ([[2013]])<br />
* [[The Oasis v.3 , Grenselandet 2013]] ([[2013]])<br />
* [[Rød Oktober]] ([[2011]])<br />
* [[Dommedagsaften]] ([[2011]])<br />
* [[Ivans Vannhull]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Marcellos kjeller]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Oasis]] (version I + version II) ([[2009]],[[2011]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Baader Meinhof eXperiment]] ([[2010]]) ([[Oslo]],[[Västerås]],[[Stockholm]]) - ([[Laivfabrikken Oslo]])<br />
* [[Kjærlighet i fornedringens tid]] ([[2001, 2002, 2009, 2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Agabadan I]] ([[2008]])<br />
* [[Strangedays - The dream of the Appleliquor]] ([[2004]])<br />
* [[AmerikA]] ([[2000]]) - concept development, scenographer, video and lights<br />
* [[Elegi]] ([[2000]]) (Fantasy)<br />
* [[Moirais Vev]] ([[1997]])<br />
* [[Flammenes Natt]] ([[Night of the Flames]]) ([[1995]]) - Fantasylarp for youngsters 14–20 years old<br />
* [[NÀR II]] ([[1994]])<br />
* [[Nosferatu]] [[Trilogy]] ([[1993]], [[1994]], [[1995]](only as player), [[1996]])<br />
* [[The Celtic and Vikinglarp]] ([[Oslo Winterlarps]] [[1993]]) ([[Ravn]])<br />
* [[The Mafia Larp]] ([[1992]])<br />
* [[Vingulmork 1196]] ([[Oslo Winterlarps]] [[1992]]) ([[Ravn]])<br />
* [[Summerlarps]] ([[1990]],[[1990]],[[1991]]) ([[Ravn]])<br />
<br />
== Contributing organizer ==<br />
<br />
* [[A Mothers heart]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[A fistful of Thyllium]] ([[2009]]) - only as a consultant designer and co-fascilliator of this [[collectivestyle]] larp<br />
* [[inside:outside]] ([[2001]]) - videotechnician and runtime gamemastering<br />
* [[KyberGenesis]] ([[1997]]) (Videotechnician, designer of the in-game TV-channel and the rituals worshipping videoimages of the AIs)<br />
* [[Call of Ravn]] ([[1992]])<br />
* [[Summerlarps]] ([[1992]]) ([[1998]]) ([[Ravn]])<br />
<br />
<br />
== Designer of Larplike projects ==<br />
<br />
* [[Ritual Workshop]] - Knutpunkt Sweden 2010<br />
* [[Changez]] - A larpconcept for a clubbing venue inspired by David Bowie - Club Mezzo, Oslo, 1999<br />
* [[Strangedays]] ([[2005]]) - A zombielarp organised as a project inside a project, within the Rock Festival, Strangedays<br />
* [[Reclaim]] ([[2002]]) - Sort of pervasive game - not really larp more activism - related to [[Maskspel]] and [[Scen 3]] with [[Interactingarts]] in Stockholm<br />
* [[Storytellers Workshop]] - Knudepunkt Denmark 1999<br />
* [[The magic Loo]] ([[1999]]) - part larp, part TV-documentary. kind of philosophical 1-person realitytvshow<br />
<br />
==Organizations==<br />
* [[Knutepunkt]] - (one of the founders of the first Knutepunkt i 1997, organiser in 2001, videotechnician in 2005, suborganiser in 2009, program committee in 2013)<br />
* [[Laivfabrikken Oslo]]<br />
* [[Fantasiforbundet]]<br />
* [[Veiskille]] (only as co-designer of one of the in-game nations in this campaign-game) - see their wiki (in Norwegian) here: http://veiskillewiki.laiv.org/Hovedside)<br />
* [[Veiskille]] - Erlends favourite nation Andhra Kesh (http://veiskillewiki.laiv.org/Andhra_Kesh) (which a lot of people have developed during the last 10 years) <br />
* [[Nosferatu]]<br />
* [[Ravn]]<br />
<br />
==Contact==<br />
* erlendeh@gmail.com<br />
* http://www.facebook.com/eidsem<br />
* a list of his larp track record can be found at the archive of the Norwegian webportal of larp, [[laiv.org]] - http://www.laiv.org/laiv/DetStore.nsf/ (Search for name)<br />
<br />
==External links==<br />
* Dramaturgic Models (with [[Eirik Fatland]]) - http://scratchpad.wikia.com/wiki/Talk:Dramaturgic_Models<br />
* Erlends Website about [[Larphacking]] - http://scratchpad.wikia.com/wiki/Category:LarpHacking<br />
<br />
==List of Relevant articles by Erlend Eidsem Hansen hopefully later to be known as Articles for Larpwriters and Designers ==<br />
(this might not be very cosher way to write wiki, but lets face it, this is what we got, and it´s subjective, so why deny it..)<br />
<br />
<br />
What makes a good larp - Magnus Lie Hetland - 1997 (rev. 2001) - http://www.idi.ntnu.no/~mlh/lrp/lrpkval.html (in Norwegian)<br />
<br />
* ''[[The Book]]'' - [[Knutepunkt 2001]]<br />
Building Dramatics - Susanne Gräslund - (after she organised Knappenålshovudet in 1999) - http://fate.laiv.org/pub/build_dram.htm<br />
<br />
<br />
* ''[[Dissecting Larp]]'' - [[Knutepunkt 2005]]<br />
Incentive tools of larp dramaturgy - Eirik Fatland - (after organising Europa, Inside/Outside, Panopticorp) - http://knutepunkt.laiv.org/kp05/Incentives%20as%20tools%20of%20larp%20dramaturgy..pdf<br />
<br />
<br />
(Knutepunkt and Nordic Live Role-playing: a crash cource - Eirik Fatland - http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf)<br />
<br />
<br />
* ''[[Role, Play, Art]]'' - [[Knutpunkt 2006]]<br />
Interaction Codes—Understanding and Establishing Patterns in Player Improvisation by Eirik Fatland <br />
<br />
<br />
MY FAVOURITE BOOK:<br />
''[[Playground Worlds]]'' - [[Solmukohta]] - http://2008.solmukohta.org/index.php/Book/Book (no direct links to articles whole .PDF only)<br />
* p.&nbsp;53 Producing A Nice Evening - Anna Westerling<br />
* p.&nbsp;125 The nuts and Bolts of Jeepform - Tobias Wrigstad - <br />
* p.&nbsp;139 Behind the Facade of A Nice Evening with the Family - Hultman, Westerling, Wrigstad (the most important co-operation in Nordic larp since Daniel Krauklis, Susanne Gräslund, Martin Ericsson and Holger Jacobsson (and more) for Knappenålshovudet in 1999 (see Susannes article - Building Dramatics)<br />
* p.&nbsp;232 Key Concepts in Forge Theory - Emily Care Boss <br />
<br />
<br />
''[[Larp, the Universe and Everything]]'' - [[Knutepunkt 2009]] <br />
* The Vademecum of the Karstic Style - Andrea Castellani - http://knutepunkt.laiv.org/2009/book/TheVademecumOfTheKarsticStyle/<br />
<br />
<br />
''[[Playing Reality]]'' - [[Knutepunkt 2010]] <br />
* p.&nbsp;63 Six common mistakes in Live Role-playing Design<br />
<br />
<br />
''[[Do Larp]]'' - [[Knudepunkt 2011]] - It´s the right headlines, but the content is not enough to understand everything behind the games<br />
* p.&nbsp;72 Delirium - [[Jesper Heebøll Arbjørn]], Kristoffer Thurøe, Peter Munthe-Kaas<br />
* p.&nbsp;92 Mad about the Boy - Tor Kjetil Edland, Trine Lise Lindahl, Margerete Raaum<br />
* p.&nbsp;124 A Nice Evening with the Family - Anna Westerling <br />
* p.&nbsp;176 Renaissance: Formula of Love - Konstantin Vetlugin, Sergey Lobov, Ludmilla Vitkevich</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=5598Erlend Eidsem Hansen2015-11-23T15:45:03Z<p>Eidzm: /* Larpwright (designer/co-designer) */</p>
<hr />
<div>{{Person<br />
|name=Erlend Eidsem Hansen<br />
|sort_name=Hansen, Erlend Eidsem<br />
|country=Norway<br />
|organizations=[[Laivfabrikken Oslo]], [[Fantasiforbundet]], [[Veiskille]], [[Nosferatu]], [[Ravn]]<br />
|image=Erlend_Eidsem_Hansen.jpeg<br />
}}<br />
'''Erlend Eidsem Hansen''' (September 18, 1972 in [[Oslo]]) is a [[Norwegian]] larpwright and documentary filmmaker.<br />
<br>He lives in Oslo, Norway. He is the father of 2 sons, and one of 3 founders of [[Knutepunkt]], the meetingplace of Nordic Larp.<br />
<br />
==Background==<br />
Erlend has grown up in the 70ies and 80ies Eastenders Oslo surrounded by a workingclass, whitetrash environment. Equal to many other Norwegians Erlend has gone through the classjourney from workingclass to cultural academic upper middleclass during the economic oilboom of Norway during the 80ies and 90ies. This means that he worked in a chocolatefactory when he was 18 years, but now he is thoroughly educated and works as filmdirector.<br />
As a consequence, Erlend has 10–15 years of education more than any elder members of his own family. <br />
When it comes to explaining larp to people not familiar with the concept, this teaches a few lessons. It also gives a few prejudices to other academically oriented people.<br />
<br />
==Editor==<br />
* [[The Book]] ''([[2001]])'' - The first of the [[Knutepunkt-books|Knutepunkt-book]]s - The Knutepunktbook of 2001<br />
<br />
== Author ==<br />
* [[8 Ways of Larphacking]] - article in [[Playground Magazine]] nr. 5 ([[2012]])<br />
* [[Trenne Byar]] - chapter in the [[Nordic Larp (Book)|Nordic Larp]] ''([[2010]])''<br />
* [[LarpHacking]] - a wiki, a workshop, a speech and an article - here is the wiki: http://scratchpad.wikia.com/wiki/Category:LarpHacking (it would be awsome if someone helped me locate the juicy interesting parts of it and made small articles here..)<br />
* [[Dogma 99]] - involved in the development of the vows and organised the Dogma game [[Kjærlighet i fornedringens tid]] (Love in the Age of Debasement)<br />
* [[Sex at Larps]] - article in [[Fëa Livia]] (Magazine) ([[2002]])<br />
* [[Rituals and Ceremonies]] - article in [[Fëa Livia]] (Magazine) ([[2001]])<br />
* [["Sex and Larp"]] in [[The Book]] ([[2001]])<br />
* [[Guru Larp Fanzine]] ([[1993]],[[1994]]) - little ranting fanzine on larping - most noted for its article on [[railroading]], [[branching]] and [[marble]] dramaturgies in [[larp]]. Also known as the [[Theory of marbles]].<br />
<br />
== Larps ==<br />
He has organised and designed more than 40 larplike and larp-projects and participated in around 250 different productions since the very beginning of the larptradition in [[Norway]] in [[1989]].<br />
He has read over 3000 characterdescriptions and been a consultant for the design of over 1000 characters over the years.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
* [[The Beast within - larpsript]] ([[2015]])<br />
* [[Wonders of the Blackbox - larpwriter summerschool]] ([[2014]])<br />
* [[Nosferatu 5 - Vendepunkt]] ([[2013]])<br />
* [[The Oasis v.3 , Grenselandet 2013]] ([[2013]])<br />
* [[Rød Oktober]] ([[2011]])<br />
* [[Dommedagsaften]] ([[2011]])<br />
* [[Ivans Vannhull]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Marcellos kjeller]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Oasis]] (version I + version II) ([[2009]],[[2011]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Baader Meinhof eXperiment]] ([[2010]]) ([[Oslo]],[[Västerås]],[[Stockholm]]) - ([[Laivfabrikken Oslo]])<br />
* [[Kjærlighet i fornedringens tid]] ([[2001, 2002, 2009, 2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Agabadan I]] ([[2008]])<br />
* [[Strangedays - The dream of the Appleliquor]] ([[2004]])<br />
* [[AmerikA]] ([[2000]]) - concept development, scenographer, video and lights<br />
* [[Elegi]] ([[2000]]) (Fantasy)<br />
* [[Moirais Vev]] ([[1997]])<br />
* [[Flammenes Natt]] ([[Night of the Flames]]) ([[1995]]) - Fantasylarp for youngsters 14–20 years old<br />
* [[NÀR II]] ([[1994]])<br />
* [[Nosferatu]] [[Trilogy]] ([[1993]], [[1994]], [[1995]](only as player), [[1996]])<br />
* [[The Celtic and Vikinglarp]] ([[Oslo Winterlarps]] [[1993]]) ([[Ravn]])<br />
* [[The Mafia Larp]] ([[1992]])<br />
* [[Vingulmork 1196]] ([[Oslo Winterlarps]] [[1992]]) ([[Ravn]])<br />
* [[Summerlarps]] ([[1990]],[[1990]],[[1991]]) ([[Ravn]])<br />
<br />
== Contributing organizer ==<br />
<br />
* [[A Mothers heart]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[A fistful of Thyllium]] ([[2009]]) - only as a consultant designer and co-fascilliator of this [[collectivestyle]] larp<br />
* [[inside:outside]] ([[2001]]) - videotechnician and runtime gamemastering<br />
* [[KyberGenesis]] ([[1997]]) (Videotechnician, designer of the in-game TV-channel and the rituals worshipping videoimages of the AIs)<br />
* [[Call of Ravn]] ([[1992]])<br />
* [[Summerlarps]] ([[1992]]) ([[1998]]) ([[Ravn]])<br />
<br />
<br />
== Designer of Larplike projects ==<br />
<br />
* [[Ritual Workshop]] - Knutpunkt Sweden 2010<br />
* [[Changez]] - A larpconcept for a clubbing venue inspired by David Bowie - Club Mezzo, Oslo, 1999<br />
* [[Strangedays]] ([[2005]]) - A zombielarp organised as a project inside a project, within the Rock Festival, Strangedays<br />
* [[Reclaim]] ([[2002]]) - Sort of pervasive game - not really larp more activism - related to [[Maskspel]] and [[Scen 3]] with [[Interactingarts]] in Stockholm<br />
* [[Storytellers Workshop]] - Knudepunkt Denmark 1999<br />
* [[The magic Loo]] ([[1999]]) - part larp, part TV-documentary. kind of philosophical 1-person realitytvshow<br />
<br />
==Organizations==<br />
* [[Knutepunkt]] - (one of the founders of the first Knutepunkt i 1997, organiser in 2001, videotechnician in 2005, suborganiser in 2009, program committee in 2013)<br />
* [[Laivfabrikken Oslo]]<br />
* [[Fantasiforbundet]]<br />
* [[Veiskille]] (only as co-designer of one of the in-game nations in this campaign-game) - see their wiki (in Norwegian) here: http://veiskillewiki.laiv.org/Hovedside)<br />
* [[Veiskille]] - Erlends favourite nation Andhra Kesh (http://veiskillewiki.laiv.org/Andhra_Kesh) (which a lot of people have developed during the last 10 years) <br />
* [[Nosferatu]]<br />
* [[Ravn]]<br />
<br />
==Contact==<br />
* erlendeh@gmail.com<br />
* http://www.facebook.com/eidsem<br />
* a list of his larp track record can be found at the archive of the Norwegian webportal of larp, [[laiv.org]] - http://www.laiv.org/laiv/DetStore.nsf/ (Search for name)<br />
<br />
==External links==<br />
* Dramaturgic Models (with [[Eirik Fatland]]) - http://scratchpad.wikia.com/wiki/Talk:Dramaturgic_Models<br />
* Erlends Website about [[Larphacking]] - http://scratchpad.wikia.com/wiki/Category:LarpHacking<br />
<br />
==List of Relevant articles by Erlend Eidsem Hansen hopefully later to be known as Articles for Larpwriters and Designers ==<br />
(this might not be very cosher way to write wiki, but lets face it, this is what we got, and it´s subjective, so why deny it..)<br />
<br />
<br />
What makes a good larp - Magnus Lie Hetland - 1997 (rev. 2001) - http://www.idi.ntnu.no/~mlh/lrp/lrpkval.html (in Norwegian)<br />
<br />
* ''[[The Book]]'' - [[Knutepunkt 2001]]<br />
Building Dramatics - Susanne Gräslund - (after she organised Knappenålshovudet in 1999) - http://fate.laiv.org/pub/build_dram.htm<br />
<br />
<br />
* ''[[Dissecting Larp]]'' - [[Knutepunkt 2005]]<br />
Incentive tools of larp dramaturgy - Eirik Fatland - (after organising Europa, Inside/Outside, Panopticorp) - http://knutepunkt.laiv.org/kp05/Incentives%20as%20tools%20of%20larp%20dramaturgy..pdf<br />
<br />
<br />
(Knutepunkt and Nordic Live Role-playing: a crash cource - Eirik Fatland - http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf)<br />
<br />
<br />
* ''[[Role, Play, Art]]'' - [[Knutpunkt 2006]]<br />
Interaction Codes—Understanding and Establishing Patterns in Player Improvisation by Eirik Fatland <br />
<br />
<br />
MY FAVOURITE BOOK:<br />
''[[Playground Worlds]]'' - [[Solmukohta]] - http://2008.solmukohta.org/index.php/Book/Book (no direct links to articles whole .PDF only)<br />
* p.&nbsp;53 Producing A Nice Evening - Anna Westerling<br />
* p.&nbsp;125 The nuts and Bolts of Jeepform - Tobias Wrigstad - <br />
* p.&nbsp;139 Behind the Facade of A Nice Evening with the Family - Hultman, Westerling, Wrigstad (the most important co-operation in Nordic larp since Daniel Krauklis, Susanne Gräslund, Martin Ericsson and Holger Jacobsson (and more) for Knappenålshovudet in 1999 (see Susannes article - Building Dramatics)<br />
* p.&nbsp;232 Key Concepts in Forge Theory - Emily Care Boss <br />
<br />
<br />
''[[Larp, the Universe and Everything]]'' - [[Knutepunkt 2009]] <br />
* The Vademecum of the Karstic Style - Andrea Castellani - http://knutepunkt.laiv.org/2009/book/TheVademecumOfTheKarsticStyle/<br />
<br />
<br />
''[[Playing Reality]]'' - [[Knutepunkt 2010]] <br />
* p.&nbsp;63 Six common mistakes in Live Role-playing Design<br />
<br />
<br />
''[[Do Larp]]'' - [[Knudepunkt 2011]] - It´s the right headlines, but the content is not enough to understand everything behind the games<br />
* p.&nbsp;72 Delirium - [[Jesper Heebøll Arbjørn]], Kristoffer Thurøe, Peter Munthe-Kaas<br />
* p.&nbsp;92 Mad about the Boy - Tor Kjetil Edland, Trine Lise Lindahl, Margerete Raaum<br />
* p.&nbsp;124 A Nice Evening with the Family - Anna Westerling <br />
* p.&nbsp;176 Renaissance: Formula of Love - Konstantin Vetlugin, Sergey Lobov, Ludmilla Vitkevich</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=5430Erlend Eidsem Hansen2015-03-25T17:11:29Z<p>Eidzm: /* Larpwright (designer/co-designer) */</p>
<hr />
<div>{{Person<br />
|name=Erlend Eidsem Hansen<br />
|sort_name=Hansen, Erlend Eidsem<br />
|country=Norway<br />
|organizations=[[Laivfabrikken Oslo]], [[Fantasiforbundet]], [[Veiskille]], [[Nosferatu]], [[Ravn]]<br />
|image=Erlend_Eidsem_Hansen.jpeg<br />
}}<br />
'''Erlend Eidsem Hansen''' (September 18, 1972 in [[Oslo]]) is a [[Norwegian]] larpwright and documentary filmmaker.<br />
<br>He lives in Oslo, Norway. He is the father of 2 sons, and one of 3 founders of [[Knutepunkt]], the meetingplace of Nordic Larp.<br />
<br />
==Background==<br />
Erlend has grown up in the 70ies and 80ies Eastenders Oslo surrounded by a workingclass, whitetrash environment. Equal to many other Norwegians Erlend has gone through the classjourney from workingclass to cultural academic upper middleclass during the economic oilboom of Norway during the 80ies and 90ies. This means that he worked in a chocolatefactory when he was 18 years, but now he is thoroughly educated and works as filmdirector.<br />
As a consequence, Erlend has 10–15 years of education more than any elder members of his own family. <br />
When it comes to explaining larp to people not familiar with the concept, this teaches a few lessons. It also gives a few prejudices to other academically oriented people.<br />
<br />
==Editor==<br />
* [[The Book]] ''([[2001]])'' - The first of the [[Knutepunkt-books|Knutepunkt-book]]s - The Knutepunktbook of 2001<br />
<br />
== Author ==<br />
* [[8 Ways of Larphacking]] - article in [[Playground Magazine]] nr. 5 ([[2012]])<br />
* [[Trenne Byar]] - chapter in the [[Nordic Larp (Book)|Nordic Larp]] ''([[2010]])''<br />
* [[LarpHacking]] - a wiki, a workshop, a speech and an article - here is the wiki: http://scratchpad.wikia.com/wiki/Category:LarpHacking (it would be awsome if someone helped me locate the juicy interesting parts of it and made small articles here..)<br />
* [[Dogma 99]] - involved in the development of the vows and organised the Dogma game [[Kjærlighet i fornedringens tid]] (Love in the Age of Debasement)<br />
* [[Sex at Larps]] - article in [[Fëa Livia]] (Magazine) ([[2002]])<br />
* [[Rituals and Ceremonies]] - article in [[Fëa Livia]] (Magazine) ([[2001]])<br />
* [["Sex and Larp"]] in [[The Book]] ([[2001]])<br />
* [[Guru Larp Fanzine]] ([[1993]],[[1994]]) - little ranting fanzine on larping - most noted for its article on [[railroading]], [[branching]] and [[marble]] dramaturgies in [[larp]]. Also known as the [[Theory of marbles]].<br />
<br />
== Larps ==<br />
He has organised and designed more than 40 larplike and larp-projects and participated in around 250 different productions since the very beginning of the larptradition in [[Norway]] in [[1989]].<br />
He has read over 3000 characterdescriptions and been a consultant for the design of over 1000 characters over the years.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Nosferatu 5 - Vendepunkt]] ([[2013]])<br />
* [[The Oasis v.3 , Grenselandet 2013]] ([[2013]])<br />
* [[Rød Oktober]] ([[2011]])<br />
* [[Dommedagsaften]] ([[2011]])<br />
* [[Ivans Vannhull]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Marcellos kjeller]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Oasis]] (version I + version II) ([[2009]],[[2011]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Baader Meinhof eXperiment]] ([[2010]]) ([[Oslo]],[[Västerås]],[[Stockholm]]) - ([[Laivfabrikken Oslo]])<br />
* [[Kjærlighet i fornedringens tid]] ([[2001, 2002, 2009, 2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Agabadan I]] ([[2008]])<br />
* [[Strangedays - The dream of the Appleliquor]] ([[2004]])<br />
* [[AmerikA]] ([[2000]]) - concept development, scenographer, video and lights<br />
* [[Elegi]] ([[2000]]) (Fantasy)<br />
* [[Moirais Vev]] ([[1997]])<br />
* [[Flammenes Natt]] ([[Night of the Flames]]) ([[1995]]) - Fantasylarp for youngsters 14–20 years old<br />
* [[NÀR II]] ([[1994]])<br />
* [[Nosferatu]] [[Trilogy]] ([[1993]], [[1994]], [[1995]](only as player), [[1996]])<br />
* [[The Celtic and Vikinglarp]] ([[Oslo Winterlarps]] [[1993]]) ([[Ravn]])<br />
* [[The Mafia Larp]] ([[1992]])<br />
* [[Vingulmork 1196]] ([[Oslo Winterlarps]] [[1992]]) ([[Ravn]])<br />
* [[Summerlarps]] ([[1990]],[[1990]],[[1991]]) ([[Ravn]])<br />
<br />
== Contributing organizer ==<br />
<br />
* [[A Mothers heart]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[A fistful of Thyllium]] ([[2009]]) - only as a consultant designer and co-fascilliator of this [[collectivestyle]] larp<br />
* [[inside:outside]] ([[2001]]) - videotechnician and runtime gamemastering<br />
* [[KyberGenesis]] ([[1997]]) (Videotechnician, designer of the in-game TV-channel and the rituals worshipping videoimages of the AIs)<br />
* [[Call of Ravn]] ([[1992]])<br />
* [[Summerlarps]] ([[1992]]) ([[1998]]) ([[Ravn]])<br />
<br />
<br />
== Designer of Larplike projects ==<br />
<br />
* [[Ritual Workshop]] - Knutpunkt Sweden 2010<br />
* [[Changez]] - A larpconcept for a clubbing venue inspired by David Bowie - Club Mezzo, Oslo, 1999<br />
* [[Strangedays]] ([[2005]]) - A zombielarp organised as a project inside a project, within the Rock Festival, Strangedays<br />
* [[Reclaim]] ([[2002]]) - Sort of pervasive game - not really larp more activism - related to [[Maskspel]] and [[Scen 3]] with [[Interactingarts]] in Stockholm<br />
* [[Storytellers Workshop]] - Knudepunkt Denmark 1999<br />
* [[The magic Loo]] ([[1999]]) - part larp, part TV-documentary. kind of philosophical 1-person realitytvshow<br />
<br />
==Organizations==<br />
* [[Knutepunkt]] - (one of the founders of the first Knutepunkt i 1997, organiser in 2001, videotechnician in 2005, suborganiser in 2009, program committee in 2013)<br />
* [[Laivfabrikken Oslo]]<br />
* [[Fantasiforbundet]]<br />
* [[Veiskille]] (only as co-designer of one of the in-game nations in this campaign-game) - see their wiki (in Norwegian) here: http://veiskillewiki.laiv.org/Hovedside)<br />
* [[Veiskille]] - Erlends favourite nation Andhra Kesh (http://veiskillewiki.laiv.org/Andhra_Kesh) (which a lot of people have developed during the last 10 years) <br />
* [[Nosferatu]]<br />
* [[Ravn]]<br />
<br />
==Contact==<br />
* erlendeh@gmail.com<br />
* http://www.facebook.com/eidsem<br />
* a list of his larp track record can be found at the archive of the Norwegian webportal of larp, [[laiv.org]] - http://www.laiv.org/laiv/DetStore.nsf/ (Search for name)<br />
<br />
==External links==<br />
* Dramaturgic Models (with [[Eirik Fatland]]) - http://scratchpad.wikia.com/wiki/Talk:Dramaturgic_Models<br />
* Erlends Website about [[Larphacking]] - http://scratchpad.wikia.com/wiki/Category:LarpHacking<br />
<br />
==List of Relevant articles by Erlend Eidsem Hansen hopefully later to be known as Articles for Larpwriters and Designers ==<br />
(this might not be very cosher way to write wiki, but lets face it, this is what we got, and it´s subjective, so why deny it..)<br />
<br />
<br />
What makes a good larp - Magnus Lie Hetland - 1997 (rev. 2001) - http://www.idi.ntnu.no/~mlh/lrp/lrpkval.html (in Norwegian)<br />
<br />
* ''[[The Book]]'' - [[Knutepunkt 2001]]<br />
Building Dramatics - Susanne Gräslund - (after she organised Knappenålshovudet in 1999) - http://fate.laiv.org/pub/build_dram.htm<br />
<br />
<br />
* ''[[Dissecting Larp]]'' - [[Knutepunkt 2005]]<br />
Incentive tools of larp dramaturgy - Eirik Fatland - (after organising Europa, Inside/Outside, Panopticorp) - http://knutepunkt.laiv.org/kp05/Incentives%20as%20tools%20of%20larp%20dramaturgy..pdf<br />
<br />
<br />
(Knutepunkt and Nordic Live Role-playing: a crash cource - Eirik Fatland - http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf)<br />
<br />
<br />
* ''[[Role, Play, Art]]'' - [[Knutpunkt 2006]]<br />
Interaction Codes—Understanding and Establishing Patterns in Player Improvisation by Eirik Fatland <br />
<br />
<br />
MY FAVOURITE BOOK:<br />
''[[Playground Worlds]]'' - [[Solmukohta]] - http://2008.solmukohta.org/index.php/Book/Book (no direct links to articles whole .PDF only)<br />
* p.&nbsp;53 Producing A Nice Evening - Anna Westerling<br />
* p.&nbsp;125 The nuts and Bolts of Jeepform - Tobias Wrigstad - <br />
* p.&nbsp;139 Behind the Facade of A Nice Evening with the Family - Hultman, Westerling, Wrigstad (the most important co-operation in Nordic larp since Daniel Krauklis, Susanne Gräslund, Martin Ericsson and Holger Jacobsson (and more) for Knappenålshovudet in 1999 (see Susannes article - Building Dramatics)<br />
* p.&nbsp;232 Key Concepts in Forge Theory - Emily Care Boss <br />
<br />
<br />
''[[Larp, the Universe and Everything]]'' - [[Knutepunkt 2009]] <br />
* The Vademecum of the Karstic Style - Andrea Castellani - http://knutepunkt.laiv.org/2009/book/TheVademecumOfTheKarsticStyle/<br />
<br />
<br />
''[[Playing Reality]]'' - [[Knutepunkt 2010]] <br />
* p.&nbsp;63 Six common mistakes in Live Role-playing Design<br />
<br />
<br />
''[[Do Larp]]'' - [[Knudepunkt 2011]] - It´s the right headlines, but the content is not enough to understand everything behind the games<br />
* p.&nbsp;72 Delirium - [[Jesper Heebøll Arbjørn]], Kristoffer Thurøe, Peter Munthe-Kaas<br />
* p.&nbsp;92 Mad about the Boy - Tor Kjetil Edland, Trine Lise Lindahl, Margerete Raaum<br />
* p.&nbsp;124 A Nice Evening with the Family - Anna Westerling <br />
* p.&nbsp;176 Renaissance: Formula of Love - Konstantin Vetlugin, Sergey Lobov, Ludmilla Vitkevich</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5183Theory of Marbles2014-11-24T16:47:58Z<p>Eidzm: /* Scene structure - the modern interpretation */</p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the more complex or perhaps organic(?) chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
<br />
(The math behind it is described as the "bag of marbles" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every active encounter with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
== Scene structure - the modern interpretation ==<br />
Bag-of-marbles is about chosing any available scene.<br />
Then when one participants has collected enough scenes to form a story the participant has reached a place in time where an endscene is possible to play out. (During the story participants could possibly be repeating scenes already done in a new way to gain a deeper understanding of the theme of the story.)<br />
<br />
<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
== Compared to fates & fateplay ==<br />
Fates usually explains everything on how to explore the prewritten material.<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5182Theory of Marbles2014-11-24T16:44:49Z<p>Eidzm: /* Description */</p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the more complex or perhaps organic(?) chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
<br />
(The math behind it is described as the "bag of marbles" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every active encounter with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
== Scene structure - the modern interpretation ==<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
== Compared to fates & fateplay ==<br />
Fates usually explains everything on how to explore the prewritten material.<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5181Theory of Marbles2014-11-24T16:43:01Z<p>Eidzm: /* Description */</p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the more complex or perhaps organic(?) chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
<br />
(The math behind it is described as the "bag of marbles" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every active encounter with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5180Theory of Marbles2014-11-24T16:42:37Z<p>Eidzm: /* Description */</p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the more complex or perhaps organic(?) chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
<br />
(The math behind it is described as the "bag of marbles" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment or another participant is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5179Theory of Marbles2014-11-24T16:39:41Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the more complex or perhaps organic(?) chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
<br />
(The math behind it is described as the "bag of marbles" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5178Theory of Marbles2014-11-24T16:39:04Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the more complex or perhaps organic(?) chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
<br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5177Theory of Marbles2014-11-24T16:38:52Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the more complex or perhaps organic(?) chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
<br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5176Theory of Marbles2014-11-24T16:38:31Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the more complex or perhaps organic(?) chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5175Theory of Marbles2014-11-24T16:37:54Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction. Interaction would be the chaos or randomness of choices that participants in larger larps often encounter).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5174Theory of Marbles2014-11-24T16:36:47Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line).'' <br />
<br />
''It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5173Theory of Marbles2014-11-24T16:36:25Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line). <br />
<br />
It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5172Theory of Marbles2014-11-24T16:36:04Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line). It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5171Theory of Marbles2014-11-24T16:35:50Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
''This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line). It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction).'' <br />
<br />
<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5170Theory of Marbles2014-11-24T16:35:05Z<p>Eidzm: /* Description */</p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line). It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. It is not a free choice, it is a limited list of choices in one scene. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction). <br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5169Theory of Marbles2014-11-24T16:33:59Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives in much the same way as someone pulling random marbles out of a bag. <br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line). It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction). <br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5168Theory of Marbles2014-11-24T16:21:56Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives at a larp-game in much the same way as someone pulling random marbles out of a bag. <br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
This is contrary to reading a book (which is a chronological action, page after page, scene after scene, like a railroad has stations along the line). It is also contrary to playing most computer games (which usually has a branching structure in the storyline, that you get alternate ways but the interactivity is deciding alternate actions and getting alternate endings. The Swedish Interactingarts Collective would name this in their book "Deltagerkultur" as Interactivity, but not as Interaction). <br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5167Theory of Marbles2014-11-24T16:18:19Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The idea is that a participant at a larp will encounter clues or incentives at a larp-game in much the same way as someone pulling random marbles out of a bag. The metaphor of the bag of marbles is used in figuring out probability in math. <br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5166Theory of Marbles2014-11-24T16:17:54Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. The idea is that a participant at a larp will encounter clues or incentives at a larp-game in much the same way as someone pulling random marbles out of a bag.<br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5165Theory of Marbles2014-11-24T16:17:06Z<p>Eidzm: /* Description */</p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
The metaphor of the bag of marbles is used in figuring out probability in math. The idea is that a participant at a larp will encounter clues or incentives at a larp-game in much the same way as someone pulling random marbles out of a bag.<br />
(The math behind it is described as the "Bags of Marble" puzzle and can be searched on the internet using "math theory" & "bag of marbles").<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5164Theory of Marbles2014-11-24T16:07:57Z<p>Eidzm: /* History and further reading */</p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008).<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=5163Theory of Marbles2014-11-24T16:07:30Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description ==<br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any available scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Apparently also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading ==<br />
Theory of marbles was probably "invented" (or its relation to larpdesign discovered) in Norway.<br />
Erlend Eidsem Hansen published an article about larp dramaturgy dividing plotstructures into 3 main strategies : railroading, branching and marbles in his underground larpfanzine "Guru" in 1993. <br />
Also some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki] (the wiki is referring to a workshop at KP 2007 and a roundtable/panel-discussion in SK 2008)<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[Category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Pervasive&diff=3854Pervasive2013-05-05T22:24:00Z<p>Eidzm: /* Examples of pervasive games */</p>
<hr />
<div>{{Concept Stub}}<br />
'''Pervasive''' is use to describe games that intertwine with the non-[[Diegesis|diegetic]] world, i.e take place out in the real world or among people unaware of the game.<br />
<br />
==Examples of pervasive games==<br />
* Quite a few vampire/World of Darkness-larps has been played, early on, in the "public".<br />
* [[Agabadan]]<br />
* [[Agabadan 2]]<br />
* [[MediaJazz]] (also known as [[Reclaim]] <br />
* [[Scen 3]]<br />
* [[Prosopopeia]]<br />
* [[Understockholm]]<br />
* [[Maskspel]]<br />
<br />
==External links==<br />
<br />
[[Category:Concepts]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Maskspel&diff=3851Maskspel2013-05-05T22:17:47Z<p>Eidzm: </p>
<hr />
<div>'''Maskspel''' was a 3 week [[pervasive]] larplike game in the summer of 2005. <br />
<br />
It was organized by [[Interactingarts]] in collaboration with [[Ulf Stafslund]].<br />
<br />
One idea the programme followed was the idea of [[Scen 3]] school of thought, which was an activist way of using larp as a soft subversive tool to turn actual societal structures around in the head and perception of the participant.<br />
<br />
<br />
<br />
Maskspel had 40 participants from 12 countries and over 20 experts and organizers. <br />
<br />
=Summary=<br />
<blockquote>''During the week, we will provide a framework and a toolbox for creating larps. While the goal of the summer school is to encourage pedagogical larps, our understanding of that term is very wide. We believe that the tools that create good larps can be applied broadly, and our toolbox will be useful for the designer of any larp that aims to tell a story.'' [http://larpschool.blogspot.no/p/about-summer-school.html]</blockquote><br />
<br />
=Program=<br />
<br />
==General structure==<br />
Maskspel was structured in three acts, '''The what''', '''The why''' and '''The how'''.<br />
It all was documented in one of interactingarts free .pdf Magazines some years back [http://ulfstaflund.se/downloads/IA05-enkelsidigt.pdf]<br />
<br />
<br />
==Experts==<br />
The organizers had chosen a big variety of experts about Nordic larp to be able to create a great program for the participants. The experts came from [[Norway]], [[Sweden]], [[Denmark]] and [[Czech Republic]] and they held talks, larp presentations, workshops and larps.<br />
<br />
==The Mixing Desk of Larp==<br />
The underlining theme of the program was [[The Mixing Desk of Larp]]. For each presented fader there was a fader talk held by and expert to give and introduction to that specific element of larp design. This was also played out in a small scene game called ''The boring family dinner'', a game played several times during the week where the organizers added different faders so that the participants got a hands on understanding of the different elements. <br />
<br />
Larps, workshops and other talks in the program was also planned in conjuction to the relevant faders talks.<br />
<br />
==Larps played at The Larpwriter Summer School==<br />
Several larps where played at the summer school. Here are some of them.<br />
* [[Familjen Andersson|The Family Andersson]]<br />
* [[Snapphane]]<br />
* [[When Our Destinies Meet]]<br />
* [[New Voices in Art]]<br />
* Microscope<br />
<br />
=External Links=<br />
* [http://ulfstaflund.se/maskernas-stad-the-city-of-masks// Documentation Blogg]<br />
* [http://interactingarts.org/ main interactingarts network website]<br />
[[Category:Scen3|Maskspel]] [[Category:Projects|Maskspel]][[Category:Pervasive games|Maskspel]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Maskspel&diff=3848Maskspel2013-05-05T22:14:53Z<p>Eidzm: </p>
<hr />
<div>'''Maskspel''' was a 3 week [[pervasive]] larplike game in the summer of 2005. <br />
<br />
It was organized by [[Interactingarts]] in collaboration with [[Ulf Stafslund]].<br />
<br />
One idea the programme followed was the idea of [[Scen 3]] school of thought, which was an activist way of using larp as a soft subversive tool to turn actual societal structures around in the head and perception of the participant.<br />
<br />
<br />
<br />
Maskspel had 40 participants from 12 countries and over 20 experts and organizers. <br />
<br />
=Summary=<br />
<blockquote>''During the week, we will provide a framework and a toolbox for creating larps. While the goal of the summer school is to encourage pedagogical larps, our understanding of that term is very wide. We believe that the tools that create good larps can be applied broadly, and our toolbox will be useful for the designer of any larp that aims to tell a story.'' [http://larpschool.blogspot.no/p/about-summer-school.html]</blockquote><br />
<br />
=Program=<br />
<br />
==General structure==<br />
The program was structured in three levels, '''The what''', '''The why''' and '''The how'''.[http://larpschool.blogspot.no/p/programme.html]<br />
<br />
{| class="wikitable"<br />
|-<br />
! Level<br />
! What<br />
! Type of programme<br />
! Goal<br />
|-<br />
|Level 1<br />
|The what - the experience<br />
|Larps & larp presentations<br />
|Obtaining experience to contextualise the other program me items<br />
|-<br />
|Level 2<br />
|The why<br />
|[[The Mixing Desk of Larp]]<br />
|Understanding why and when to design larps differently<br />
|-<br />
|Level 3<br />
|The how<br />
|Workshops & talks<br />
|Learn the tools and methods to change the parameters of a larp to achieve what you want<br />
|}<br />
<br />
==Experts==<br />
The organizers had chosen a big variety of experts about Nordic larp to be able to create a great program for the participants. The experts came from [[Norway]], [[Sweden]], [[Denmark]] and [[Czech Republic]] and they held talks, larp presentations, workshops and larps.<br />
<br />
==The Mixing Desk of Larp==<br />
The underlining theme of the program was [[The Mixing Desk of Larp]]. For each presented fader there was a fader talk held by and expert to give and introduction to that specific element of larp design. This was also played out in a small scene game called ''The boring family dinner'', a game played several times during the week where the organizers added different faders so that the participants got a hands on understanding of the different elements. <br />
<br />
Larps, workshops and other talks in the program was also planned in conjuction to the relevant faders talks.<br />
<br />
==Larps played at The Larpwriter Summer School==<br />
Several larps where played at the summer school. Here are some of them.<br />
* [[Familjen Andersson|The Family Andersson]]<br />
* [[Snapphane]]<br />
* [[When Our Destinies Meet]]<br />
* [[New Voices in Art]]<br />
* Microscope<br />
<br />
=External Links=<br />
* [http://ulfstaflund.se/maskernas-stad-the-city-of-masks// Documentation Blogg]<br />
* [http://interactingarts.org/ main interactingarts network website]<br />
[[Category:Scen3|Maskspel]] [[Category:Projects|Maskspel]][[Category:Pervasive games|Maskspel]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Maskspel&diff=3846Maskspel2013-05-05T22:08:53Z<p>Eidzm: </p>
<hr />
<div>'''Maskspel''' was a 3 week [[pervasive]] larplike game in the summer of 2005. <br />
<br />
It was organized by [[Interactingarts]] in collaboration with [[Ulf Stafslund]].<br />
<br />
One idea the programme followed was the idea of [[Scen 3]] school of thought, which was an activist way of using larp as a soft subversive tool to turn actual societal structures around in the head and perception of the participant.<br />
<br />
<br />
<br />
Maskspel had 40 participants from 12 countries and over 20 experts and organizers. <br />
<br />
=Summary=<br />
<blockquote>''During the week, we will provide a framework and a toolbox for creating larps. While the goal of the summer school is to encourage pedagogical larps, our understanding of that term is very wide. We believe that the tools that create good larps can be applied broadly, and our toolbox will be useful for the designer of any larp that aims to tell a story.'' [http://larpschool.blogspot.no/p/about-summer-school.html]</blockquote><br />
<br />
=Program=<br />
<br />
==General structure==<br />
The program was structured in three levels, '''The what''', '''The why''' and '''The how'''.[http://larpschool.blogspot.no/p/programme.html]<br />
<br />
{| class="wikitable"<br />
|-<br />
! Level<br />
! What<br />
! Type of programme<br />
! Goal<br />
|-<br />
|Level 1<br />
|The what - the experience<br />
|Larps & larp presentations<br />
|Obtaining experience to contextualise the other program me items<br />
|-<br />
|Level 2<br />
|The why<br />
|[[The Mixing Desk of Larp]]<br />
|Understanding why and when to design larps differently<br />
|-<br />
|Level 3<br />
|The how<br />
|Workshops & talks<br />
|Learn the tools and methods to change the parameters of a larp to achieve what you want<br />
|}<br />
<br />
==Experts==<br />
The organizers had chosen a big variety of experts about Nordic larp to be able to create a great program for the participants. The experts came from [[Norway]], [[Sweden]], [[Denmark]] and [[Czech Republic]] and they held talks, larp presentations, workshops and larps.<br />
<br />
==The Mixing Desk of Larp==<br />
The underlining theme of the program was [[The Mixing Desk of Larp]]. For each presented fader there was a fader talk held by and expert to give and introduction to that specific element of larp design. This was also played out in a small scene game called ''The boring family dinner'', a game played several times during the week where the organizers added different faders so that the participants got a hands on understanding of the different elements. <br />
<br />
Larps, workshops and other talks in the program was also planned in conjuction to the relevant faders talks.<br />
<br />
==Larps played at The Larpwriter Summer School==<br />
Several larps where played at the summer school. Here are some of them.<br />
* [[Familjen Andersson|The Family Andersson]]<br />
* [[Snapphane]]<br />
* [[When Our Destinies Meet]]<br />
* [[New Voices in Art]]<br />
* Microscope<br />
<br />
=External Links=<br />
* [http://larpschool.blogspot.com/ Official website]<br />
* [http://larpschool.blogspot.com/p/resources.html/ Videos, slides and other material collected at the website]<br />
[[Category:Scen3|Maskspel]] [[Category:Projects|Maskspel]][[Category:Pervasive games|Maskspel]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Maskspel&diff=3845Maskspel2013-05-05T22:07:05Z<p>Eidzm: Created page with "'''Maskspel''' was a 3 week pervasive larplike game in the summer of 2005. It was organized by Interactingarts in collaboration with Ulf Stafslund. One idea the..."</p>
<hr />
<div>'''Maskspel''' was a 3 week [[pervasive]] larplike game in the summer of 2005. <br />
<br />
It was organized by [[Interactingarts]] in collaboration with [[Ulf Stafslund]].<br />
<br />
One idea the programme followed was the idea of [[Scen 3]] school of thought, which was an activist way of using larp as a soft subversive tool to turn actual societal structures around in the head and perception of the participant.<br />
<br />
<br />
<br />
Maskspel had 40 participants from 12 countries and over 20 experts and organizers. <br />
<br />
=Summary=<br />
<blockquote>''During the week, we will provide a framework and a toolbox for creating larps. While the goal of the summer school is to encourage pedagogical larps, our understanding of that term is very wide. We believe that the tools that create good larps can be applied broadly, and our toolbox will be useful for the designer of any larp that aims to tell a story.'' [http://larpschool.blogspot.no/p/about-summer-school.html]</blockquote><br />
<br />
=Program=<br />
<br />
==General structure==<br />
The program was structured in three levels, '''The what''', '''The why''' and '''The how'''.[http://larpschool.blogspot.no/p/programme.html]<br />
<br />
{| class="wikitable"<br />
|-<br />
! Level<br />
! What<br />
! Type of programme<br />
! Goal<br />
|-<br />
|Level 1<br />
|The what - the experience<br />
|Larps & larp presentations<br />
|Obtaining experience to contextualise the other program me items<br />
|-<br />
|Level 2<br />
|The why<br />
|[[The Mixing Desk of Larp]]<br />
|Understanding why and when to design larps differently<br />
|-<br />
|Level 3<br />
|The how<br />
|Workshops & talks<br />
|Learn the tools and methods to change the parameters of a larp to achieve what you want<br />
|}<br />
<br />
==Experts==<br />
The organizers had chosen a big variety of experts about Nordic larp to be able to create a great program for the participants. The experts came from [[Norway]], [[Sweden]], [[Denmark]] and [[Czech Republic]] and they held talks, larp presentations, workshops and larps.<br />
<br />
==The Mixing Desk of Larp==<br />
The underlining theme of the program was [[The Mixing Desk of Larp]]. For each presented fader there was a fader talk held by and expert to give and introduction to that specific element of larp design. This was also played out in a small scene game called ''The boring family dinner'', a game played several times during the week where the organizers added different faders so that the participants got a hands on understanding of the different elements. <br />
<br />
Larps, workshops and other talks in the program was also planned in conjuction to the relevant faders talks.<br />
<br />
==Larps played at The Larpwriter Summer School==<br />
Several larps where played at the summer school. Here are some of them.<br />
* [[Familjen Andersson|The Family Andersson]]<br />
* [[Snapphane]]<br />
* [[When Our Destinies Meet]]<br />
* [[New Voices in Art]]<br />
* Microscope<br />
<br />
=External Links=<br />
* [http://larpschool.blogspot.com/ Official website]<br />
* [http://larpschool.blogspot.com/p/resources.html/ Videos, slides and other material collected at the website]<br />
[[Category:Education|Larpwriter Summer School, The]] [[Category:Projects|Larpwriter Summer School, The]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=3844Erlend Eidsem Hansen2013-05-05T22:04:46Z<p>Eidzm: </p>
<hr />
<div>[[File:Erlend_Eidsem_Hansen.jpeg|thumb]]<br />
'''Erlend Eidsem Hansen''' (September 18, 1972 in [[Oslo]]) is a [[Norwegian]] larpwright and documentary filmmaker.<br />
<br>He lives in Oslo, Norway. He is the father of 2 sons, and one of 3 founders of [[Knutepunkt]], the meetingplace of Nordic Larp.<br />
<br />
==Background==<br />
Erlend has grown up in the 70ies and 80ies Eastenders Oslo surrounded by a workingclass, whitetrash environment. Equal to many other norwegians Erlend has gone through the classjourney from workingclass to cultural academic upper middleclass during the economic oilboom of Norway during the 80ies and 90ies. This means that he worked in a chocolatefactory when he was 18 years, but now he is thoroughly educated and works as filmdirector.<br />
As a consequence, Erlend has 10-15 years of education more than any elder members of his own family. <br />
When it comes to explaining larp to people not familiar with the concept, this teaches a few lessons. It also gives a few prejudices to other academically oriented people.<br />
<br />
==Editor==<br />
* [[The Book]] ''([[2001]])'' - The first of the [[Knutepunkt-books|Knutepunkt-book]]s - The Knutepunktbook of 2001<br />
<br />
== Author ==<br />
* [[8 Ways of Larphacking]] - article in [[Playground Magazine]] nr. 5 ([[2012]])<br />
* [[Trenne Byar]] - chapter in the [[Nordic Larp (Book)|Nordic Larp]] ''([[2010]])''<br />
* [[LarpHacking]] - a wiki, a workshop, a speech and an article - here is the wiki: http://scratchpad.wikia.com/wiki/Category:LarpHacking (it would be awsome if someone helped me locate the juicy interesting parts of it and made small articles here..)<br />
* [[Dogma 99]] - involved in the development of the vows and organised the Dogma game [[Kjærlighet i fornedringens tid]] (Love in the Age of Debasement)<br />
* [[Sex at Larps]] - article in [[Fëa Livia]] (Magazine) ([[2002]])<br />
* [[Rituals and Ceremonies]] - article in [[Fëa Livia]] (Magazine) ([[2001]])<br />
* [["Sex and Larp"]] in [[The Book]] ([[2001]])<br />
* [[Guru Larp Fanzine]] ([[1993]],[[1994]]) - little ranting fanzine on larping - most noted for its article on [[railroading]], [[branching]] and [[marble]] dramaturgies in [[larp]]. Also known as the [[Theory of marbles]].<br />
<br />
== Larps ==<br />
He has organised and designed more than 40 larplike and larp-projects and participated in around 250 different productions since the very beginning of the larptradition in [[Norway]] in [[1989]].<br />
He has read over 3000 characterdescriptions and been a consultant for the design of over 1000 characters over the years.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Rød Oktober]] ([[2011]])<br />
* [[Dommedagsaften]] ([[2011]])<br />
* [[Ivans Vannhull]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Marcellos kjeller]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Oasis]] (version I + version II) ([[2009]],[[2011]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Baader Meinhof eXperiment]] ([[2010]]) ([[Oslo]],[[Västerås]],[[Stockholm]]) - ([[Laivfabrikken Oslo]])<br />
* [[Kjærlighet i fornedringens tid]] ([[2001, 2002, 2009, 2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Agabadan I]] ([[2008]])<br />
* [[Strangedays - The dream of the Appleliquor]] ([[2004]])<br />
* [[AmerikA]] ([[2000]]) - concept development, scenographer, video and lights<br />
* [[Elegi]] ([[2000]]) (Fantasy)<br />
* [[Moirais Vev]] ([[1997]])<br />
* [[Flammenes Natt]] ([[Night of the Flames]]) ([[1995]]) - Fantasylarp for youngsters 14-20 years old<br />
* [[NÀR II]] ([[1994]])<br />
* [[Nosferatu]] [[Trilogy]] ([[1993]], [[1994]], [[1995]](only as player), [[1996]])<br />
* [[The Celtic and Vikinglarp]] ([[Oslo Winterlarps]] [[1993]]) ([[Ravn]])<br />
* [[The Mafia Larp]] ([[1992]])<br />
* [[Vingulmork 1196]] ([[Oslo Winterlarps]] [[1992]]) ([[Ravn]])<br />
* [[Summerlarps]] ([[1990]],[[1990]],[[1991]]) ([[Ravn]])<br />
<br><br />
<br><br />
<br />
== Contributing organizer ==<br />
<br />
* [[A Mothers heart]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[A fistful of Thyllium]] ([[2009]]) - only as a consultant designer and co-fascilliator of this [[collectivestyle]] larp<br />
* [[inside:outside]] ([[2001]]) - videotechnician and runtime gamemastering<br />
* [[KyberGenesis]] ([[1997]]) (Videotechnician, designer of the in-game Tv-channel and the rituals worshipping videoimages of the AIs)<br />
* [[Call of Ravn]] ([[1992]])<br />
* [[Summerlarps]] ([[1992]]) ([[1998]]) ([[Ravn]])<br />
<br />
<br />
== Designer of Larplike projects ==<br />
<br />
* [[Ritual Workshop]] - Knutpunkt Sweden 2010<br />
* [[Changez]] - A larpconcept for a clubbing venue inspired by David Bowie - Club Mezzo, Oslo, 1999<br />
* [[Strangedays]] ([[2005]]) - A zombielarp organised as a project inside a project, within the Rock Festival, Strangedays<br />
* [[Reclaim]] ([[2002]]) - Sort of pervasive game - not really larp more activism - related to [[Maskspel]] and [[Scen 3]] with [[Interactingarts]] in Stockholm<br />
* [[Storytellers Workshop]] - Knudepunkt Denmark 1999<br />
* [[The magic Loo]] ([[1999]]) - part larp, part tv-documentary. kind of philosophical 1-person realitytvshow<br />
<br />
==Organizations==<br />
* [[Knutepunkt]] - (one of the founders of the first Knutepunkt i 1997, organiser in 2001, videotechnician in 2005, suborganiser in 2009, program committee in 2013)<br />
* [[Laivfabrikken Oslo]]<br />
* [[Fantasiforbundet]]<br />
* [[Veiskille]] (only as co-designer of one of the in-game nations in this campaign-game) - see their wiki (in norwegian) here: http://veiskillewiki.laiv.org/Hovedside)<br />
* [[Veiskille]] - Erlends favourite nation Andhra Kesh (http://veiskillewiki.laiv.org/Andhra_Kesh) (which a lot of people have developed during the last 10 years) <br />
* [[Nosferatu]]<br />
* [[Ravn]]<br />
<br />
==Contact==<br />
* erlendeh@gmail.com<br />
* http://www.facebook.com/eidsem<br />
* a list of his larp track record can be found at the archive of the Norwegian webportal of larp, [[laiv.org]] - http://www.laiv.org/laiv/DetStore.nsf/ (Search for name)<br />
<br />
==External Links==<br />
* Dramaturgic Models (with [[Eirik Fatland]]) - http://scratchpad.wikia.com/wiki/Talk:Dramaturgic_Models<br />
* Erlends Website about [[Larphacking]] - http://scratchpad.wikia.com/wiki/Category:LarpHacking<br />
<br />
==List of Relevant articles by Erlend Eidsem Hansen hopefully later to be known as Articles for Larpwriters and Designers ==<br />
(this might not be very cosher way to write wiki, but lets face it, this is what we got, and it´s subjective, so why deny it..)<br />
<br />
<br />
What makes a good larp - Magnus Lie Hetland - 1997 (rev. 2001) - http://www.idi.ntnu.no/~mlh/lrp/lrpkval.html (in norwegian)<br />
<br />
* ''[[The Book]]'' - [[Knutepunkt 2001]]<br />
Building Dramatics - Susanne Gräslund - (after she organised Knappenålshovudet in 1999) - http://fate.laiv.org/pub/build_dram.htm<br />
<br />
<br />
* ''[[Dissecting Larp]]'' - [[Knutepunkt 2005]]<br />
Incentive tools of larp dramaturgy - Eirik Fatland - (after organising Europa, Inside/Outside, Panopticorp) - http://knutepunkt.laiv.org/kp05/Incentives%20as%20tools%20of%20larp%20dramaturgy..pdf<br />
<br />
<br />
(Knutepunkt and Nordic Live Role-playing: a crash cource - Eirik Fatland - http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf)<br />
<br />
<br />
* ''[[Role, Play, Art]]'' - [[Knutpunkt 2006]]<br />
Interaction Codes—Understanding and Establishing Patterns in Player Improvisation by Eirik Fatland <br />
<br />
<br />
MY FAVOURITE BOOK:<br />
''[[Playground Worlds]]'' - [[Solmukohta]] - http://2008.solmukohta.org/index.php/Book/Book (no direct links to articles whole .PDF only)<br />
* p. 53 Producing A Nice Evening - Anna Westerling<br />
* p. 125 The nuts and Bolts of Jeepform - Tobias Wrigstad - <br />
* p. 139 Behind the Facade of A Nice Evening with the Family - Hultman, Westerling, Wrigstad (the most important co-operation in Nordic larp since Daniel Krauklis, Susanne Gräslund, Martin Ericsson and Holger Jacobsson (and more) for Knappenålshovudet in 1999 (see Susannes article - Building Dramatics)<br />
* p. 232 Key Concepts in Forge Theory - Emily Care Boss <br />
<br />
<br />
''[[Larp, the Universe and Everything]]'' - [[Knutepunkt 2009]] <br />
* The Vademecum of the Karstic Style - Andrea Castellani - http://knutepunkt.laiv.org/2009/book/TheVademecumOfTheKarsticStyle/<br />
<br />
<br />
''[[Playing Reality]]'' - [[Knutepunkt 2010]] <br />
* p. 63 Six common mistakes in Live Role-playing Design<br />
<br />
<br />
''[[Do Larp]]'' - [[Knudepunkt 2011]] - It´s the right headlines, but the content is not enough to understand everything behind the games<br />
* p. 72 Delirium - Jesper Heebøll-Christensen, Kristoffer Thurøe, Peter Munthe-Kaas<br />
* p. 92 Mad about the Boy - Tor Kjetil Edland, Trine Lise Lindahl, Margerete Raaum<br />
* p. 124 A Nice Evening with the Familiy - Anna Westerling <br />
* p. 176 Renaissance: Formula of Love - Konstantin Vetlugin, Sergey Lobov, Ludmilla Vitkevich<br />
<br />
<br />
<br />
<br />
[[Category:People|Hansen, Erlend Eidsem]]<br />
[[Category:Norway|Hansen, Erlend Eidsem]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Plot&diff=3696Plot2013-04-28T19:04:49Z<p>Eidzm: /* See Also */</p>
<hr />
<div>{{Redirect|Intrigue}}<br />
{{Redirect|Storyline}}<br />
{{Redirect|Incentive}}<br />
{{Redirect|Incentive web}}<br />
The word ''Plot'' is used frequently amongst Nordic larpers to mean either some kind of structure designed to make things happen at a larp, or some kind of series of things that happened at a larp, or one (or many) storylines during a larp (or a combination of all).<br />
<br />
Different national larp traditions, as well as different local larp traditions and subcultures, assign wildly different meanings to the word, and it should be used with the utmost care when trying to communicate between larpers of different backgrounds.<br />
<br />
The term ''storyline'' is sometimes used synonymously with plot, sometimes to describe a structure that is the opposite of plot.<br />
<br />
==Usage in larps==<br />
===Plot===<br />
A larp may use a plot (or several) to describe a possible (or even a somewhat scripted or predetermined) series of actions that drive a particular story line forwards. A larp might for instance have a ''main plot'' (e.g a feud that divides a village or a struggle between two groups for dominance), and/or several ''sub plots'', that are the main story arcs for the dramaturgy during the larp. These plots may be just the setting of the larp, for the players to engage in at will, or might be connected (through incentive webs or storylines for instance) to specific players or groups in order to establish "hooks" for interaction and storytelling. <br />
<br />
===Storylines===<br />
A storyline, as used in the larp community, is often a short but descriptive piece of information for the player (or group of players) to act upon during the larp. One function of the storyline is to create the potential for some action happening, for one or more players (or groups) to interact or for setting up the prerequisites for a particular "ending" or conclusion to a larp. Storylines are also commonly used to give the player a set goal that they can "accomplish" during the course of the larp. The format often tends to be instructional in nature; do ''X'' for consequence ''Y'', and you will have fulfilled the roles internal motivation or "quest".<br />
<br />
Storylines were very common in the early days of larp (and are still being used extensively in mainstream larp), but have fallen out of style in the more avant garde larp community.<br />
====Example of Storyline====<br />
: ''The Baker is a sly one. You've seen her sneaking around your camp several times, and now things have gone missing. You naturally suspect her. Maybe you should confront her? You'd need to gather some evidence first, however. Rummage through her belongings when she isn't around and see if you can find some stolen goods.''<br />
<br />
===Incentives===<br />
<br />
===Incentive webs===<br />
<br />
===Fate===<br />
<br />
Also see [[Fate]].<br />
<br />
===Relationships===<br />
<br />
===Attractors===<br />
<br />
<br />
==See Also==<br />
For more precise terms, that describe some of the things that might be considered aspects of "plot" (depending on the definition of "plot"), see:<br />
* [[Dramaturgy]]<br />
* [[Conflict]]<br />
* [[Puzzle]]<br />
* [[Theory of marbles]]<br />
* [[Relationship]]<br />
* [[Fate]]<br />
* [[Incentive]]<br />
* [[Incentive web]]<br />
* [[Narrative structure]]<br />
* [[Attractor]]<br />
<br />
[[category:Concepts]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=3657Theory of Marbles2013-04-27T07:11:17Z<p>Eidzm: </p>
<hr />
<div>A marble is 1 piece of a set that makes a coherent unity.<br />
The set might be a set of scenes that together forms a story<br />
or it can be a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description == <br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any avaible scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Appearantly also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading == <br />
Theory of marbles was probably "invented" in Norway. Some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki]<br />
<br />
== Notable usages of this technique ==<br />
* [[Nosferatu]], 1994, 1995, 1996, 2013<br />
<br />
<br />
[[category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=3656Theory of Marbles2013-04-27T07:05:17Z<p>Eidzm: /* Description */</p>
<hr />
<div>A marble is 1 piece of a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description == <br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
<br />
Scene structure - the modern interpretation<br />
Bag-of-marbles - Chosing any avaible scene – collecting enough scenes to form a story - also possibly repeating scenes already done in a new way<br />
This relates strongly to what mathematics refer to as Pigeonhole principle.(http://en.m.wikipedia.org/wiki/Pigeonhole_principle) - Appearantly also it relates to 'database narrative' - this link might give you some more meat on the bone: http://tigerlilynewmediatheory.blogspot.no/2005/11/kinder-in-western-academic-theory.html?m=1<br />
<br />
An example is this: Presume that in a box there are 10 black socks and 12 blue socks and you need to get one pair of socks of the same colour. Supposing you can take socks out of the box only once and only without looking, how many socks do you have to pull out together? When asked point-blank, people may sometimes unthinkingly give answers such as "thirteen", before realizing that the correct answer is obviously "three". To have at least one pair of the same colour (m = 2 holes, one per colour), using one pigeonhole per colour, you need only three socks (n = 3 objects). Think of the socks as elements of a plot-sequence or as scenes or plot-objectives needed to be achieved.<br />
<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading == <br />
Theory of marbles was probably "invented" in Norway. Some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki]<br />
<br />
== Notable usages of this technique ==<br />
* [[Moirais Vev]], 1997<br />
* [[Knappnålshuvudet]], 1999<br />
* [[Hamlet inifrån]]<br />
* [[Hamlet]]<br />
* [[Mytteriet]]<br />
* [[Amaranth]] (a series of larps)<br />
* [[Marcellos kjeller]]<br />
* [[Terra incognita]], 2013<br />
<br />
[[category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=3655Theory of Marbles2013-04-27T06:57:57Z<p>Eidzm: /* Uses */</p>
<hr />
<div>A marble is 1 piece of a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description == <br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is [[fate]]d, and the fates are used to establish interesting conflicts, while the rest of the larp is controlled by [[theory of marble]]s.<br />
<br />
== History and further reading == <br />
Theory of marbles was probably "invented" in Norway. Some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki]<br />
<br />
== Notable usages of this technique ==<br />
* [[Moirais Vev]], 1997<br />
* [[Knappnålshuvudet]], 1999<br />
* [[Hamlet inifrån]]<br />
* [[Hamlet]]<br />
* [[Mytteriet]]<br />
* [[Amaranth]] (a series of larps)<br />
* [[Marcellos kjeller]]<br />
* [[Terra incognita]], 2013<br />
<br />
[[category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=3654Theory of Marbles2013-04-27T06:55:03Z<p>Eidzm: /* Description */</p>
<hr />
<div>A marble is 1 piece of a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description == <br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment is regarded as a possible situation that would give the player access to another clue. This could be a character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
Also usually there are at any given game parallell storylines.<br />
As the metaphor the bag of marbles have several colors of marbles.<br />
How many do you have to draw to have 5 of the same color?<br />
This is a classic mathematic problem related to organic structures.<br />
(a topic [[Erlend Eidsem Hansen]] studied during his early years in object oriented computer programming.)<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is fated, and the fates are used to establish interesting conflicts, while the rest of the larp is open-ended. <br />
<br />
== History and further reading == <br />
Theory of marbles was probably "invented" in Norway. Some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki]<br />
<br />
== Notable usages of this technique ==<br />
* [[Moirais Vev]], 1997<br />
* [[Knappnålshuvudet]], 1999<br />
* [[Hamlet inifrån]]<br />
* [[Hamlet]]<br />
* [[Mytteriet]]<br />
* [[Amaranth]] (a series of larps)<br />
* [[Marcellos kjeller]]<br />
* [[Terra incognita]], 2013<br />
<br />
[[category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=3653Theory of Marbles2013-04-27T06:48:43Z<p>Eidzm: /* Description */</p>
<hr />
<div>A marble is 1 piece of a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description == <br />
The essence of a marble structure is to regard a game-location including the characters present as placeholders for clues.<br />
Like a marble in a closed bag of marbles are the clues hidden from view.<br />
Every encounter either with the environment like character(not player), objects, piece of scenography or even a view of the landscape that gives the player a clue on how to solve a prewritten puzzle or mystery.<br />
The trick is that a player would need a minimum number of clues before being able to realize the hidden truth.<br />
<br />
(compared to fates that explains everything:)<br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is fated, and the fates are used to establish interesting conflicts, while the rest of the larp is open-ended. <br />
<br />
== History and further reading == <br />
Theory of marbles was probably "invented" in Norway. Some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki]<br />
<br />
== Notable usages of this technique ==<br />
* [[Moirais Vev]], 1997<br />
* [[Knappnålshuvudet]], 1999<br />
* [[Hamlet inifrån]]<br />
* [[Hamlet]]<br />
* [[Mytteriet]]<br />
* [[Amaranth]] (a series of larps)<br />
* [[Marcellos kjeller]]<br />
* [[Terra incognita]], 2013<br />
<br />
[[category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Theory_of_Marbles&diff=3652Theory of Marbles2013-04-27T06:41:18Z<p>Eidzm: Created page with "A marble is 1 piece of a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers. == Description ..."</p>
<hr />
<div>A marble is 1 piece of a set of clues to uncover the truth of a mystery, conspiracy, a web of lies or other the pre-written truths designed by the organisers.<br />
<br />
== Description == <br />
There are several different interpretations of the fateplay idea, but they usually involve '''an instruction that the player should be able to achieve easily''', with the challenge being more about achieving it in an interesting an meaningful way. For example a character might be given the fate that "Before the second night of the larp, you shall challenge the king to a duel on the third morning. You will lose this duel." The duel is unavoidable, but the details of the challenge and the fighting leave plenty of space for dramatic improvisation. <br />
<br />
Fates may be inter-connected into a "fateweb" where individual fates reveal their meaning as they are carried out. For example, the King in the above example might be fated to reveal his complicty in the murder of the previous King before the second day, thereby providing a motivation for the character fated to challenge him to a duel.<br />
<br />
== Uses ==<br />
Marbles may be used to adopt whole narratives to larp - e.g. stories derived from mythology, theatre plays and the like. "Light-weight fates" may be used to give the players good ideas for what to do during the larp. There are also examples of larps where the first part of the larp is fated, and the fates are used to establish interesting conflicts, while the rest of the larp is open-ended. <br />
<br />
== History and further reading == <br />
Theory of marbles was probably "invented" in Norway. Some (old) texts on larphacking are gathered at: [http://scratchpad.wikia.com/wiki/Category:LarpHacking Larp Hacking Wiki]<br />
<br />
== Notable usages of this technique ==<br />
* [[Moirais Vev]], 1997<br />
* [[Knappnålshuvudet]], 1999<br />
* [[Hamlet inifrån]]<br />
* [[Hamlet]]<br />
* [[Mytteriet]]<br />
* [[Amaranth]] (a series of larps)<br />
* [[Marcellos kjeller]]<br />
* [[Terra incognita]], 2013<br />
<br />
[[category:Techniques]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Erlend_Eidsem_Hansen&diff=3651Erlend Eidsem Hansen2013-04-27T06:24:57Z<p>Eidzm: /* External Links */</p>
<hr />
<div>[[File:Erlend_Eidsem_Hansen.jpeg|thumb]]<br />
'''Erlend Eidsem Hansen''' (September 18, 1972 in [[Oslo]]) is a [[Norwegian]] larpwright and documentary filmmaker.<br />
<br>He lives in Oslo, Norway. He is the father of 2 sons, and one of 3 founders of [[Knutepunkt]], the meetingplace of Nordic Larp.<br />
<br />
==Background==<br />
Erlend has grown up in the 70ies and 80ies Eastenders Oslo surrounded by a workingclass, whitetrash environment. Equal to many other norwegians Erlend has gone through the classjourney from workingclass to cultural academic upper middleclass during the economic oilboom of Norway during the 80ies and 90ies. This means that he worked in a chocolatefactory when he was 18 years, but now he is thoroughly educated and works as filmdirector.<br />
As a consequence, Erlend has 10-15 years of education more than any elder members of his own family. <br />
When it comes to explaining larp to people not familiar with the concept, this teaches a few lessons. It also gives a few prejudices to other academically oriented people.<br />
<br />
==Editor==<br />
* [[The Book]] ''([[2001]])'' - The first of the [[Knutepunkt-books|Knutepunkt-book]]s - The Knutepunktbook of 2001<br />
<br />
== Author ==<br />
* [[8 Ways of Larphacking]] - article in [[Playground Magazine]] nr. 5 ([[2012]])<br />
* [[Trenne Byar]] - chapter in the [[Nordic Larp (Book)|Nordic Larp]] ''([[2010]])''<br />
* [[LarpHacking]] - a wiki, a workshop, a speech and an article - here is the wiki: http://scratchpad.wikia.com/wiki/Category:LarpHacking (it would be awsome if someone helped me locate the juicy interesting parts of it and made small articles here..)<br />
* [[Dogma 99]] - involved in the development of the vows and organised the Dogma game [[Kjærlighet i fornedringens tid]] (Love in the Age of Debasement)<br />
* [[Sex at Larps]] - article in [[Fëa Livia]] (Magazine) ([[2002]])<br />
* [[Rituals and Ceremonies]] - article in [[Fëa Livia]] (Magazine) ([[2001]])<br />
* [["Sex and Larp"]] in [[The Book]] ([[2001]])<br />
* [[Guru Larp Fanzine]] ([[1993]],[[1994]]) - little ranting fanzine on larping - most noted for its article on [[railroading]], [[branching]] and [[marble]] dramaturgies in [[larp]]. Also known as the [[Theory of marbles]].<br />
<br />
== Larps ==<br />
He has organised and designed more than 40 larplike and larp-projects and participated in around 250 different productions since the very beginning of the larptradition in [[Norway]] in [[1989]].<br />
He has read over 3000 characterdescriptions and been a consultant for the design of over 1000 characters over the years.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Rød Oktober]] ([[2011]])<br />
* [[Dommedagsaften]] ([[2011]])<br />
* [[Ivans Vannhull]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Marcellos kjeller]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Oasis]] (version I + version II) ([[2009]],[[2011]]) - ([[Laivfabrikken Oslo]])<br />
* [[The Baader Meinhof eXperiment]] ([[2010]]) ([[Oslo]],[[Västerås]],[[Stockholm]]) - ([[Laivfabrikken Oslo]])<br />
* [[Kjærlighet i fornedringens tid]] ([[2001, 2002, 2009, 2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[Agabadan I]] ([[2008]])<br />
* [[Strangedays - The dream of the Appleliquor]] ([[2004]])<br />
* [[AmerikA]] ([[2000]]) - concept development, scenographer, video and lights<br />
* [[Elegi]] ([[2000]]) (Fantasy)<br />
* [[Moirais Vev]] ([[1997]])<br />
* [[Flammenes Natt]] ([[Night of the Flames]]) ([[1995]]) - Fantasylarp for youngsters 14-20 years old<br />
* [[NÀR II]] ([[1994]])<br />
* [[Nosferatu]] [[Trilogy]] ([[1993]], [[1994]], [[1995]](only as player), [[1996]])<br />
* [[The Celtic and Vikinglarp]] ([[Oslo Winterlarps]] [[1993]]) ([[Ravn]])<br />
* [[The Mafia Larp]] ([[1992]])<br />
* [[Vingulmork 1196]] ([[Oslo Winterlarps]] [[1992]]) ([[Ravn]])<br />
* [[Summerlarps]] ([[1990]],[[1990]],[[1991]]) ([[Ravn]])<br />
<br><br />
<br><br />
<br />
== Contributing organizer ==<br />
<br />
* [[A Mothers heart]] ([[2010]]) - ([[Laivfabrikken Oslo]])<br />
* [[A fistful of Thyllium]] ([[2009]]) - only as a consultant designer and co-fascilliator of this [[collectivestyle]] larp<br />
* [[inside:outside]] ([[2001]]) - videotechnician and runtime gamemastering<br />
* [[KyberGenesis]] ([[1997]]) (Videotechnician, designer of the in-game Tv-channel and the rituals worshipping videoimages of the AIs)<br />
* [[Call of Ravn]] ([[1992]])<br />
* [[Summerlarps]] ([[1992]]) ([[1998]]) ([[Ravn]])<br />
<br />
<br />
== Designer of Larplike projects ==<br />
<br />
* [[Ritual Workshop]] - Knutpunkt Sweden 2010<br />
* [[Changez]] - A larpconcept for a clubbing venue inspired by David Bowie - Club Mezzo, Oslo, 1999<br />
* [[Strangedays]] ([[2005]]) - A zombielarp organised as a project inside a project, within the Rock Festival, Strangedays<br />
* [[Reclaim]] ([[2002]]) - Sort of pervasive game - not really larp more activism<br />
* [[Storytellers Workshop]] - Knudepunkt Denmark 1999<br />
* [[The magic Loo]] ([[1999]]) - part larp, part tv-documentary. kind of philosophical 1-person realitytvshow<br />
<br />
==Organizations==<br />
* [[Knutepunkt]] - (one of the founders of the first Knutepunkt i 1997, organiser in 2001, videotechnician in 2005, suborganiser in 2009, program committee in 2013)<br />
* [[Laivfabrikken Oslo]]<br />
* [[Fantasiforbundet]]<br />
* [[Veiskille]] (only as co-designer of one of the in-game nations in this campaign-game) - see their wiki (in norwegian) here: http://veiskillewiki.laiv.org/Hovedside)<br />
* [[Veiskille]] - Erlends favourite nation Andhra Kesh (http://veiskillewiki.laiv.org/Andhra_Kesh) (which a lot of people have developed during the last 10 years) <br />
* [[Nosferatu]]<br />
* [[Ravn]]<br />
<br />
==Contact==<br />
* erlendeh@gmail.com<br />
* http://www.facebook.com/eidsem<br />
* a list of his larp track record can be found at the archive of the Norwegian webportal of larp, [[laiv.org]] - http://www.laiv.org/laiv/DetStore.nsf/ (Search for name)<br />
<br />
==External Links==<br />
* Dramaturgic Models (with [[Eirik Fatland]]) - http://scratchpad.wikia.com/wiki/Talk:Dramaturgic_Models<br />
* Erlends Website about [[Larphacking]] - http://scratchpad.wikia.com/wiki/Category:LarpHacking<br />
<br />
==List of Relevant articles by Erlend Eidsem Hansen hopefully later to be known as Articles for Larpwriters and Designers ==<br />
(this might not be very cosher way to write wiki, but lets face it, this is what we got, and it´s subjective, so why deny it..)<br />
<br />
<br />
What makes a good larp - Magnus Lie Hetland - 1997 (rev. 2001) - http://www.idi.ntnu.no/~mlh/lrp/lrpkval.html (in norwegian)<br />
<br />
* ''[[The Book]]'' - [[Knutepunkt 2001]]<br />
Building Dramatics - Susanne Gräslund - (after she organised Knappenålshovudet in 1999) - http://fate.laiv.org/pub/build_dram.htm<br />
<br />
<br />
* ''[[Dissecting Larp]]'' - [[Knutepunkt 2005]]<br />
Incentive tools of larp dramaturgy - Eirik Fatland - (after organising Europa, Inside/Outside, Panopticorp) - http://knutepunkt.laiv.org/kp05/Incentives%20as%20tools%20of%20larp%20dramaturgy..pdf<br />
<br />
<br />
(Knutepunkt and Nordic Live Role-playing: a crash cource - Eirik Fatland - http://knutepunkt.laiv.org/kp05/Knutepunkt%20and%20Nordic%20Live%20Role-playing,%20A%20crash%20course.pdf)<br />
<br />
<br />
* ''[[Role, Play, Art]]'' - [[Knutpunkt 2006]]<br />
Interaction Codes—Understanding and Establishing Patterns in Player Improvisation by Eirik Fatland <br />
<br />
<br />
MY FAVOURITE BOOK:<br />
''[[Playground Worlds]]'' - [[Solmukohta]] - http://2008.solmukohta.org/index.php/Book/Book (no direct links to articles whole .PDF only)<br />
* p. 53 Producing A Nice Evening - Anna Westerling<br />
* p. 125 The nuts and Bolts of Jeepform - Tobias Wrigstad - <br />
* p. 139 Behind the Facade of A Nice Evening with the Family - Hultman, Westerling, Wrigstad (the most important co-operation in Nordic larp since Daniel Krauklis, Susanne Gräslund, Martin Ericsson and Holger Jacobsson (and more) for Knappenålshovudet in 1999 (see Susannes article - Building Dramatics)<br />
* p. 232 Key Concepts in Forge Theory - Emily Care Boss <br />
<br />
<br />
''[[Larp, the Universe and Everything]]'' - [[Knutepunkt 2009]] <br />
* The Vademecum of the Karstic Style - Andrea Castellani - http://knutepunkt.laiv.org/2009/book/TheVademecumOfTheKarsticStyle/<br />
<br />
<br />
''[[Playing Reality]]'' - [[Knutepunkt 2010]] <br />
* p. 63 Six common mistakes in Live Role-playing Design<br />
<br />
<br />
''[[Do Larp]]'' - [[Knudepunkt 2011]] - It´s the right headlines, but the content is not enough to understand everything behind the games<br />
* p. 72 Delirium - Jesper Heebøll-Christensen, Kristoffer Thurøe, Peter Munthe-Kaas<br />
* p. 92 Mad about the Boy - Tor Kjetil Edland, Trine Lise Lindahl, Margerete Raaum<br />
* p. 124 A Nice Evening with the Familiy - Anna Westerling <br />
* p. 176 Renaissance: Formula of Love - Konstantin Vetlugin, Sergey Lobov, Ludmilla Vitkevich<br />
<br />
<br />
<br />
<br />
[[Category:People|Hansen, Erlend Eidsem]]<br />
[[Category:Norway|Hansen, Erlend Eidsem]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Lars_Wing%C3%A5rd&diff=3511Lars Wingård2013-04-25T07:58:52Z<p>Eidzm: </p>
<hr />
<div>[[File:LarsWingård.jpeg|thumb]]<br />
'''Lars Wingård''' is a Norwegian larpwright, puppeteer, scriptwriter and teacher of advanced mathematics. As of 2013 he lives in Turku. Wingård was influencial in the "big leap" in Norwegian larp from [[1997]] to [[2001]]. A close friend and larpcollegue of the larpdesigners [[Erlend Eidsem Hansen]] and [[Eirik Fatland]], they pushed the idea of art and seriousness into the Oslo larpscene at the end of the 90ies. Lars was also educated at the Fredrikstad School of "Figurteater" excersicing Budo, Physical theatre and martial arts. Lars Wingård workshopped Eidsem and Fatland a lot in dramatics during the late 90ies.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Afasias Barn]] [[Children of Afasia]]<br />
* [[Andebylaiven]] [[Duckburg]]<br />
* [[Moirais Vev]]<br />
* [[Twin Peaks]] [[1993]]<br />
<br />
== Contributing organizer ==<br />
* [[Amaranth]]<br />
* [[Kybergenesis]]<br />
* [[Den Lille Kyrthanilaiven]]<br />
<br />
== Author ==<br />
<br />
* "How to run larp in schools" in [[Laiv.org]]<br />
* "[[Dogma 99]] - a manifesto for the liberation of larp"<br />
<br />
== Larps that was attended and affected his works ==<br />
* [[Kjærlighet i fornedringens tid]] [[Love in the age of debasement]]<br />
* [[Nosferatu]]<br />
* [[Kybergenesis]]<br />
<br />
<br />
== External links ==<br />
* [http://fate.laiv.org/ Amor Fati] (the page of gold for the legacy of the dogma manifesto)<br />
* [http://www.laiv.org/laiv/skatt.nsf/173a001ad4327805802567b300327268/144853574113c910c12568f6002f3e39?OpenDocument Larp in Schools]<br />
* [http://laivforum.net/threads/3801-Kj%C3%A6rlighet-i-fornedringens-tid?highlight=fornedringens+tid Review of Love in the Age of Debasement (Eidsem 2001) ]<br />
[[Category:People|Wingård, Lars]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=File:LarsWing%C3%A5rd.jpeg&diff=3492File:LarsWingård.jpeg2013-04-25T06:43:20Z<p>Eidzm: </p>
<hr />
<div></div>Eidzmhttps://nordiclarp.org/w/index.php?title=Lars_Wing%C3%A5rd&diff=3491Lars Wingård2013-04-25T06:42:50Z<p>Eidzm: </p>
<hr />
<div>[[File:LarsWingård.jpeg|thumb]]<br />
'''Lars Wingård''' is a Norwegian larpwright, puppeteer, scriptwriter and teacher of advanced mathematics. As of 2013 he lives in Turku. Wingård was influencial in the "big leap" in norwegian larp from 1997 to 2001. A close friend and larpcollegue of the larpdesigners [[Erlend Eidsem Hansen]] and [[Eirik Fatland]], they pushed the idea of art and seriousness into the Oslo larpscene at the end of the 90ies. Lars was also educated at the Fredrikstad School of "Figurteater" excersicing Budo, Physical theatre and martial arts. Lars Wingård workshopped Eidsem and Fatland a lot in dramatics during the late 90ies.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Afasias Barn]] [[Children of Afasia]]<br />
* [[Andebylaiven]] [[Duckburg]]<br />
* [[Moirais Vev]]<br />
* [[Twin Peaks]] (1993)<br />
<br />
== Contributing organizer ==<br />
* [[Amaranth]]<br />
* [[Kybergenesis]]<br />
* [[Den Lille Kyrthanilaiven]]<br />
<br />
== Author ==<br />
<br />
* "How to host an orgy" hidden somewhere in the subdirectories of [[Laiv.org]]<br />
* "How to run larp in schools" in [[Laiv.org]]<br />
* "[[Dogma 99]] - a manifesto for the liberation of larp"<br />
<br />
== Larps that was attended and affected his works ==<br />
* [[Kjærlighet i fornedringens tid]] [[Love in the age of debasement]]<br />
* [[Nosferatu]]<br />
* [[Kybergenesis]]<br />
<br />
<br />
== External links ==<br />
* [http://fate.laiv.org/ Amor Fati] (the page of gold for the legacy of the dogma manifesto)<br />
* [http://www.laiv.org/laiv/skatt.nsf/173a001ad4327805802567b300327268/144853574113c910c12568f6002f3e39?OpenDocument Larp in Schools]<br />
* [http://laivforum.net/threads/3801-Kj%C3%A6rlighet-i-fornedringens-tid?highlight=fornedringens+tid Review of Love in the Age of Debasement (Eidsem 2001) ]<br />
[[Category:People|Wingård, Lars]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Lars_Wing%C3%A5rd&diff=3490Lars Wingård2013-04-25T06:36:48Z<p>Eidzm: /* External links */</p>
<hr />
<div>'''Lars Wingård''' is a Norwegian larpwright, puppeteer, scriptwriter and teacher of advanced mathematics. As of 2013 he lives in Turku. Wingård was influencial in the "big leap" in norwegian larp from 1997 to 2001. A close friend and larpcollegue of the larpdesigners [[Erlend Eidsem Hansen]] and [[Eirik Fatland]], they pushed the idea of art and seriousness into the Oslo larpscene at the end of the 90ies. Lars was also educated at the Fredrikstad School of "Figurteater" excersicing Budo, Physical theatre and martial arts. Lars Wingård workshopped Eidsem and Fatland a lot in dramatics during the late 90ies.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Afasias Barn]] [[Children of Afasia]]<br />
* [[Andebylaiven]] [[Duckburg]]<br />
* [[Moirais Vev]]<br />
* [[Twin Peaks]] (1993)<br />
<br />
== Contributing organizer ==<br />
* [[Amaranth]]<br />
* [[Kybergenesis]]<br />
* [[Den Lille Kyrthanilaiven]]<br />
<br />
== Author ==<br />
<br />
* "How to host an orgy" hidden somewhere in the subdirectories of [[Laiv.org]]<br />
* "How to run larp in schools" in [[Laiv.org]]<br />
* "[[Dogma 99]] - a manifesto for the liberation of larp"<br />
<br />
== Larps that was attended and affected his works ==<br />
* [[Kjærlighet i fornedringens tid]] [[Love in the age of debasement]]<br />
* [[Nosferatu]]<br />
* [[Kybergenesis]]<br />
<br />
<br />
== External links ==<br />
* [http://fate.laiv.org/ Amor Fati] (the page of gold for the legacy of the dogma manifesto)<br />
* [http://www.laiv.org/laiv/skatt.nsf/173a001ad4327805802567b300327268/144853574113c910c12568f6002f3e39?OpenDocument Larp in Schools]<br />
* [http://laivforum.net/threads/3801-Kj%C3%A6rlighet-i-fornedringens-tid?highlight=fornedringens+tid Review of Love in the Age of Debasement (Eidsem 2001) ]<br />
[[Category:People|Wingård, Lars]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Lars_Wing%C3%A5rd&diff=3489Lars Wingård2013-04-25T06:36:23Z<p>Eidzm: /* External links */</p>
<hr />
<div>'''Lars Wingård''' is a Norwegian larpwright, puppeteer, scriptwriter and teacher of advanced mathematics. As of 2013 he lives in Turku. Wingård was influencial in the "big leap" in norwegian larp from 1997 to 2001. A close friend and larpcollegue of the larpdesigners [[Erlend Eidsem Hansen]] and [[Eirik Fatland]], they pushed the idea of art and seriousness into the Oslo larpscene at the end of the 90ies. Lars was also educated at the Fredrikstad School of "Figurteater" excersicing Budo, Physical theatre and martial arts. Lars Wingård workshopped Eidsem and Fatland a lot in dramatics during the late 90ies.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Afasias Barn]] [[Children of Afasia]]<br />
* [[Andebylaiven]] [[Duckburg]]<br />
* [[Moirais Vev]]<br />
* [[Twin Peaks]] (1993)<br />
<br />
== Contributing organizer ==<br />
* [[Amaranth]]<br />
* [[Kybergenesis]]<br />
* [[Den Lille Kyrthanilaiven]]<br />
<br />
== Author ==<br />
<br />
* "How to host an orgy" hidden somewhere in the subdirectories of [[Laiv.org]]<br />
* "How to run larp in schools" in [[Laiv.org]]<br />
* "[[Dogma 99]] - a manifesto for the liberation of larp"<br />
<br />
== Larps that was attended and affected his works ==<br />
* [[Kjærlighet i fornedringens tid]] [[Love in the age of debasement]]<br />
* [[Nosferatu]]<br />
* [[Kybergenesis]]<br />
<br />
<br />
== External links ==<br />
[http://fate.laiv.org/ Amor Fati] (the page of gold for the legacy of the dogma manifesto)<br />
[http://www.laiv.org/laiv/skatt.nsf/173a001ad4327805802567b300327268/144853574113c910c12568f6002f3e39?OpenDocument Larp in Schools]<br />
[http://laivforum.net/threads/3801-Kj%C3%A6rlighet-i-fornedringens-tid?highlight=fornedringens+tid Review of Love in the Age of Debasement (Eidsem 2001) ]<br />
[[Category:People|Wingård, Lars]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Lars_Wing%C3%A5rd&diff=3488Lars Wingård2013-04-25T06:35:40Z<p>Eidzm: /* Author */</p>
<hr />
<div>'''Lars Wingård''' is a Norwegian larpwright, puppeteer, scriptwriter and teacher of advanced mathematics. As of 2013 he lives in Turku. Wingård was influencial in the "big leap" in norwegian larp from 1997 to 2001. A close friend and larpcollegue of the larpdesigners [[Erlend Eidsem Hansen]] and [[Eirik Fatland]], they pushed the idea of art and seriousness into the Oslo larpscene at the end of the 90ies. Lars was also educated at the Fredrikstad School of "Figurteater" excersicing Budo, Physical theatre and martial arts. Lars Wingård workshopped Eidsem and Fatland a lot in dramatics during the late 90ies.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Afasias Barn]] [[Children of Afasia]]<br />
* [[Andebylaiven]] [[Duckburg]]<br />
* [[Moirais Vev]]<br />
* [[Twin Peaks]] (1993)<br />
<br />
== Contributing organizer ==<br />
* [[Amaranth]]<br />
* [[Kybergenesis]]<br />
* [[Den Lille Kyrthanilaiven]]<br />
<br />
== Author ==<br />
<br />
* "How to host an orgy" hidden somewhere in the subdirectories of [[Laiv.org]]<br />
* "How to run larp in schools" in [[Laiv.org]]<br />
* "[[Dogma 99]] - a manifesto for the liberation of larp"<br />
<br />
== Larps that was attended and affected his works ==<br />
* [[Kjærlighet i fornedringens tid]] [[Love in the age of debasement]]<br />
* [[Nosferatu]]<br />
* [[Kybergenesis]]<br />
<br />
<br />
== External links ==<br />
[http://fate.laiv.org/] (the page of gold for the legacy of the dogma manifesto)<br />
[http://www.laiv.org/laiv/skatt.nsf/173a001ad4327805802567b300327268/144853574113c910c12568f6002f3e39?OpenDocument]<br />
[http://laivforum.net/threads/3801-Kj%C3%A6rlighet-i-fornedringens-tid?highlight=fornedringens+tid Review of Love in the Age of Debasement (Eidsem 2001) ]<br />
[[Category:People|Fatland, Eirik]]</div>Eidzmhttps://nordiclarp.org/w/index.php?title=Lars_Wing%C3%A5rd&diff=3487Lars Wingård2013-04-25T06:34:48Z<p>Eidzm: Created page with "'''Lars Wingård''' is a Norwegian larpwright, puppeteer, scriptwriter and teacher of advanced mathematics. As of 2013 he lives in Turku. Wingård was influencial in the "big ..."</p>
<hr />
<div>'''Lars Wingård''' is a Norwegian larpwright, puppeteer, scriptwriter and teacher of advanced mathematics. As of 2013 he lives in Turku. Wingård was influencial in the "big leap" in norwegian larp from 1997 to 2001. A close friend and larpcollegue of the larpdesigners [[Erlend Eidsem Hansen]] and [[Eirik Fatland]], they pushed the idea of art and seriousness into the Oslo larpscene at the end of the 90ies. Lars was also educated at the Fredrikstad School of "Figurteater" excersicing Budo, Physical theatre and martial arts. Lars Wingård workshopped Eidsem and Fatland a lot in dramatics during the late 90ies.<br />
<br />
== Larpwright (designer/co-designer) ==<br />
<br />
* [[Afasias Barn]] [[Children of Afasia]]<br />
* [[Andebylaiven]] [[Duckburg]]<br />
* [[Moirais Vev]]<br />
* [[Twin Peaks]] (1993)<br />
<br />
== Contributing organizer ==<br />
* [[Amaranth]]<br />
* [[Kybergenesis]]<br />
* [[Den Lille Kyrthanilaiven]]<br />
<br />
== Author ==<br />
* "1942 - Role-playing living memory" in [[Nordic Larp (Book)|Nordic Larp]]<br />
* "Excavating AmerikA" in [[Larp, the Universe and Everything]]<br />
* "How to host an orgy" hidden somewhere in the subdirectories of [[Laiv.org]]<br />
* "How to run larp in schools" in [[Laiv.org]]<br />
* "[[Dogma 99]] - a manifesto for the liberation of larp"<br />
<br />
== Larps that was attended and affected his works ==<br />
* [[Kjærlighet i fornedringens tid]] [[Love in the age of debasement]]<br />
* [[Nosferatu]]<br />
* [[Kybergenesis]]<br />
<br />
<br />
== External links ==<br />
[http://fate.laiv.org/] (the page of gold for the legacy of the dogma manifesto)<br />
[http://www.laiv.org/laiv/skatt.nsf/173a001ad4327805802567b300327268/144853574113c910c12568f6002f3e39?OpenDocument]<br />
[http://laivforum.net/threads/3801-Kj%C3%A6rlighet-i-fornedringens-tid?highlight=fornedringens+tid Review of Love in the Age of Debasement (Eidsem 2001) ]<br />
[[Category:People|Fatland, Eirik]]</div>Eidzm