Defining LARPing can be a nuanced exercise, much like defining “literature” – a broad term encompassing a wide range of creative expressions. Just as not everything can be considered literature, not every activity fits neatly into the definition of LARPing. This article aims to explore the multifaceted nature of LARPing, delving into its artistic aspects and challenging the notion that it must always be entertaining.
Art, in its essence, strives to be enlightening, not necessarily entertaining. A school textbook, for example, is literature primarily designed for education, not amusement. Similarly, LARPing as a medium doesn’t always need to be solely driven by entertainment.
The definition of “entertainment” itself can vary. If we consider it as simply “an enjoyable distraction,” then its purpose is not to cause lasting change in an individual or group. Any change that occurs is incidental. However, if we interpret “entertainment” in its older sense, meaning “to hold among” or to maintain people in a certain state, then it can be argued that entertainment is a requirement for art and, subsequently, LARPing. But in the more modern sense of “to amuse or evoke enjoyment”, it is not a requirement for art.
Consider the LARP “Fat Man Down,” where participants spend hours insulting a character about their weight. This is undoubtedly a LARP, and arguably art, but few would consider it “entertaining.” Or, for example, scenes I wrote for Mike Young’s “The Road Not Taken” (which was a runner up for the 2010-11 larpwriter challenge), I definitely was not thinking or aiming for entertainment, at least how I define it.
Furthermore, not all LARPs are necessarily games. This is why the term “LARP” itself is becoming increasingly relevant, as “game” is not part of the acronym. This allows for a broader understanding of LARPing that goes beyond traditional game mechanics and encompasses more artistic and immersive experiences.
