If there is one oft-cited rule that almost all LARP organisers face it is this: LARP does not make money. In fact, scraping together the cash to ensure you have enough funds to run a future event, keep the group website registered and online, or to pay for prop storage when that convenient friend’s garage becomes unavailable is the constant worry of anyone trying to keep a LARPing group together.
There is evidence to the contrary (of course!). The professional ‘LARPwrights’ of Nordic LARP, the large festival systems that at least make enough money to pay their employees, the adept entrepreneurs who transform LARP into a training activity or even the savvy LARPers who run the same game twice to save on props.
But here’s the interesting question; is there something about LARP that would be ‘lost’ if events were run on a for-profit basis?
it’s been a while hasn’t it? I do apologise, I have missed you. Sadly the ‘real’ world of work is not as forgiving as the fantastical world of roleplay, where if you neglect your position some bright adventurer will often seize power in a brutal coup, leaving you to calmly roll up a new character on your next visit to the field.
I have been putting together costume for a new game I am attending at Easter, and investigating wedding garments for myself and spouse-to-be. I was struck by how many of my concerns were similar during these shopping trips and online forays; how re-usable would the garment be for different events? How comfortable will it be? What associated props do I also need to budget for? These questions apply just as much to a wedding suit or dress as they do to costume for a given them and setting at a LARP event. I began to think about how important wedding clothes were for what in LARP would be called ‘immersion’. Will they make the day significant and convey my identity and life decisions by representing me in my ‘best’ light? How important is it that they be customised rather than ready-to-wear? Do they appropriately represent ‘me’ as a person?
I began to wonder how many of these concerns affected the other shoppers I could see around me in the gleaming urban shopping centre. I suspect (from my admittedly quite snobbish position) that they have the same worries but are perhaps less aware of the extent to which these worries are informed by the social power of ‘brands’ or our consumer habits. However, these criteria have changed significantly over time, as those items which are of significance and notable ‘in society’ are transformed by change in taste and technology. Hand-made items are now the preserve of luxury goods, but variety of colour and textile appearance is now something attainable by most consumers.
At LARP events our props and costume are generally considered relative to the setting or genre we are trying to portray, and also due to the skill and uniqueness apparent in their making. Sometimes there is talk of adding to the ‘authenticity’ of the narrative or experience in the same way that re-enactors value the authenticity of historical reproductions. In our attempt to find commercially produced items (in the form of wedding stuff) that held the same value in portraying something about a ‘special day’ (and how I am beginning to hate that term), I reflected on how it must be hard to do the same with everyday shopping. Perhaps this lies behind the close attachment people develop to certain ‘brands’ as representing their identity.
One to think on….
….the role of props and background representations for conveying membership and performing ceremonial rituals…