|
|
| (4 intermediate revisions by one other user not shown) |
| Line 1: |
Line 1: |
| − | Epic larp dramaturgy techniques picked from games like 2027, When our destinies meet, Just a litle lovin’:
| + | #redirect[[Epic Dramaturgy]] |
| − | 1. Time jumps with common brakes for the whole larp.
| |
| − | 2. Developing story simultaneous in core groups of anchor relationships (ca 2-4 people) and social groups of larger relevance (your subculture or friend circuit, ca 5-10 people) and the whole world/larp/culture in the game (all players, an approximat maximum of 100 people. I have never seen runtime epic dramaturgy with bigger casts than 60 folk, it might work. I have however seen very successful Epic dramaturgies in long campaigns of fantasy larps and vampire chronicles, with each game being a Dramatic chapter in a longer Epic story.), both in brakes and during runtime to promote story development across the whole larp. It is important that the groups are not to overlapping, ie all anchor relations should not be within the same social circuit all of the time.
| |
| − | 3. Black boxing different places and times during runtime, like a temporary smaller time jump or flashbacks for just a few players.
| |
| − | 4. Having a fluid sense of time in 360 runtime segments where different people need to be at different times for their stories to develop properly. Rigid time might brake the games consistency or a plots internal logic.
| |
| − | 5. Using several game locations with different scenes played in different places. Particularly traveling epics similar to the Odyssey can be played in a 360 illusion this way.
| |
| − | 6. Cut scenes where players are allowed to watch other players as they play a part of their story to develop a sense of the different stories being told in the same story, the other plots and subplots.
| |
| − | | |
| − | [[category:Techniques]]
| |
