POST-PLAY VITIES //Maury Elizabeth Brown Post-Play Activities is an umbrella term that covers all portions of a Ws d ' that occur after the runtime has ended, just as designers must pay attentions h0W participants are onboarded to the experience, post-play activities seek to ensure a clear transition from the fictional frame of the larp back to everyday reality, roles, and relationships. The period just after the runtime is also where participants organise their first-person experiences into coherent narratives, both individually and as a group. Much of what the participants will remember and feel about the experience is decided here. The type, duration, and facilitation of post-play activities should be an integrated part of the design of your larp as a whole. A four-hour, light-hearted larp about comic book characters requires different post-play design than a four-day experience that interrogates social problems. Regardless of what kind of larp you're making, post-play design should not be forgotten. The processes following the runtime - narrating the experience, leaving the character, sorting through any lingering emotions, reconnecting with the other players out of character -are an inevitable part of the larp experience. As they will occur whether or noi you design their framing and facilitation, integrating post-play activities into; design is good practice. It will support participants and your team in procesí the experience and achieving a sense of closure. d to answer When considering which post-play activities to incorporate, you nee fundamental questions: • What do players of this larp need, due to its content? ' What do players as human beings need, after their larp experience? £"-J% activities should be selected based on the aesthetics, "S*** of a eame. as well as nlayers' needs. M^W^»£*g^ game, as well as play ed, either in successic Payers have different needs, it can -V be offeree; i^Son, or as J,", v* choice«^3,, choice or even no structured post-play experience £ all-as long « I vers' needs. sense in your overall design, and meets the pi« y /363 nrf of post-play activities PU R P 71 the space for participants to process ai ay activities ProVldedonal or psychological thoughts and fe< to reSOif TlToi 'acharacte, Unresolved feelings from an intense experience cxitthcheadspaceor (sometimes known as post-larp "depression C- ^^al^s^th con drop), a melancholia brought on by the ^ kfp "7 (^^onal and socially connected play experience ^ between the m, ^ Reflecting on the transition in and out of character K help the participants process bleed, the phenomenon when the emotions " nerienced in character affect the player. (For more on the post-larp blues, see Sarah Lynne Bowman and Evan Torner in the Further Reading section below; it also lists many resources for post-play design). Without the support of a structured post-play process, players may experience some kinds of bleed more strongly and more negatively than they otherwise would - for instance what Eirik Fadand calls a "moral hangover" from playing a villain. Special care should be taken with residual emotions from fictional relationships or social dynamics, which left unresolved can accelerate or even cause interpersonal conflict in the player community. Players might also have conflicts or problems completely unrelated to the play experience or your design, for which you have no responsibility. When these emerge or are intensified through play, they become your problem, and reasonable for you to try to resolve if possible. In the post-runtime phase, emotions are raw, and any negative or overwhelming feelings can end up being blamed on you or your larp design. There are three main goals to post-play activities: reconnection, reflection, and recuperation, all achievable through designed activities. • Players reconnect with their primary identity, and leave behind the role of as^ctaT' They reC°nneCt With others as their Primary selves, and not thev mlT °n thelr exPerience, considering what surprised them, what °f fdt> and ffve name to these feeling, They process experience S 2ft.Cm0tl0ns with others who have been through the same care for others Thi' h°T ^ mtensitv of the experience with self-care and real lives. ' ^ pS 8round the participants in their bodies and their ^~°iPu?ST-PLWACT,vmEs tor the event you are be specifically designed (or selected) and facilitated ered time for post , n& a*d you should schedule adequate and unencum- viues to take place. /364 , practice to design your post-mrp process malüns p--pi 0^ arten ft* rtedtoP**1*^' -r j ,, , * ~~' —post-play act ^spe ather than opt-m-j^y. Payers parucipa.e, bu, choosL not reason should be respected without pressure. You sho I >nd f°r whatever "!"ftrPart,'ciPantS Wh° are Prese« the choice^"""""1 ^c«ure y„ , , Irions asked. If the space and social I °pt out of spec fi " Sh°u,d *" *™ to do so JIT " *eneXefds«. for ««ance „,„ stay in the 1 can ked. ir ulc sr ««.«awu aiiuws them to stay in the invite them to do so quietly; for instance, participants who do small groups can still reflect individually on the prompts r°^dUke talking ms ^ded by the facilitator. ~,nts who do not participate in structured post-play activities should be to create their own, such as informal debriefing with trusted friend participants ncouraged to create their own, sucn as mioim or co-players, resting, socialising, or alone time. TYPES of post-play activities Post-play activities fall into four general categories: larp wrap or epilogue, de-roling, debriefing, and decompression. These are discussed next. LARP WRAP OR EPILOGUE Larp wrap or epilogue is time to close the fictional narrative. At their simplest, these post-play activities give participants time to narrate how a character ended an experience and sometimes also what they do next. Designers and participants can reveal any secrets that were left unexplored, and individuals or the group can create a sense of closure and intensify the shared experience. If you do not provide a structure for this, players will do it anyway - often narrating of one's experience starts at the moment the larp ends, as players tUrn t0 each other and share what their character was doing or feeling at the very C"d' or retell some shared moment and what it meant in the context of their ^meter's story. It will also continue as players socialise later, both in person and online. . Providing some time and perhaps a structure for telling these stones - briefly 2,SmaU 8^ups can still be valuable. The character's journey will ou°f ^ ^ ^ ^ ^ 3 ^ "TerZ o ^ post-play oi their system before being able to move on to other parts SS- orders anH AS ?°Wman and To™er have discussed, narrating one's h^^Zodvmon ^akes Sense out of chaos, including going back.anda ^uuj ^ narraf * Ch°1Ces that were made " tains a mastery over thei? n and Piecing together the stories of others, a player g experience. sweU aS it encourages -^^ncessaswell,a e ^eir T^"-"-ntc. .. Dfocess *j ••' This post-play activity can begin the de-^ nJ£ n and Pa^ipants to consider their characters in the thrrd p 7 365 :e will lrcasonlngcaP-Ues, which Mpsc^e a sense of dlstancef[ ^character. . ■ , individual participant stories are validated by their 'hC I these of the shared event. The player's expend a„d connected to the w ^ ^ nses of others, which frcl more real and epic ^ esteem partlclpaung helps playets fee, * feeltngsof comnum . ■ s(im| expedence and aUows them to see other ^ comfortable wttn m v ts of die larp. need to write an epilogue for their character i„ ,i S°mC £ TOU can encourage this and provide a place online to share Ell* should also be aware that for some players, the character's story ends trhe runtime, and they see no reason to speculate about what might have happened later. Be careful as you design post-play activities on site and online to allow both kinds of participants to feel validated. DE-ROLING De-rolingis the conscious and often ritualised process of setting aside the character and re-affirming one's self or primary identity as distinct from the character. De-roling post-play activities are helpful for leaving behind the world of the fiction and the headspace of the character, and for making a comfortable transition to reality. They separate the roleplay experience from everyday idenutv and reality, and help players reclaim or reunite with their own identities or ego. De-roling is especially important when playing intense roles or after engaging in transgressive play. Benefits of de-roling include: Helping players control their exit from the larp and create a slow landing after the experience. Reinforce the boundary between player and character by distancing one self from any negative traits or emotions that were embodied in character and claiming any positive traits or emotions that were experienced in character. Transferring what is felt viscerally through the embodiment of character o what is known and remembered intellectually (from the body to the . ™nfid)th7gh ^flection and analysis. ' AlloS^f1? ^ r°lepky eXpenenCe " °Ver- s Payers to interact as themselves in a facilitated space. or ^^Te^V^ mt° °ne °f three tyP^ EstabUshing^^^ samples of de-miin 8^cbo/og^ distance, and ritualised demarcation. So* roUn8 activities include: Av movements, such as shaking each limb ( ^hake-off" character or chan^g one's posture * rtTf ^ to n0sture and gait. ° the P^r's Usual fhange of physical location: Or "gating," invol . fhe space where the event or roleplay happened ^ P^ers from slgnal for shifting out of character. This can also be H u SpaCe as a the environment, such as turning on the lights on. i 7 changing ving decor, or the like. 8 '' °pening attains, remo- Counting out of character. A facilitator asks participant, . i es and uses their voice to count backwards «ii°°*P ing players art!ulate and deal with difto^m«^Jgj p^een that arose in the larp." In addition, deb^g At.aa, -P> the fiction of the larp and everyday reality duM^ ^ bolKls that aU< 1 article 'We need to talk', "lets players rein ^ ^ ^ and reflect on their own actions." textualise a p«vV' Larp debriefs, where participants co ■erful experience, / 367 merits. uch iave ther or The pu 1 , th debriefs after trauma not be contused -« ^ fl Iarp can be surprising or new, but the ^ goals- l^ouons experiences something traumausingat youf n0t traumata-: • • just as they would incase of a physical ' they will neal , . ^ with the emotional fallout of real-life *?2 Dcbriefe are no, ^ cmo)1()ns stcmming from play. ^ physical emergencies, (Mi) .rposcs of larp debriefs arc: To provide the opportunity for participants' voices to be heard and w have their larp experience validated by their co-players. 2 To begin processing the larp, moving from the immediate experience and emotions into memories, reflections, and learning. 3 To provide a space for others to become aware of anything particularly challenging that a player experienced, and to take steps towards processing it. The debrief in collaborative larp usually takes the form of structured and facilitated conversation exercises, using guidelines that help create a welcoming environment and ensure everyone has a chance to speak and be heard. It is usually conducted in small groups with participants in a circle. Through a series of open-ended questions that encourage players to reflect on and identify strong moments and emotions, debriefing helps players express and process emotions, thoughts, or social connections that arose in the larp. Benefits of debriefing: Normalises having emotions after a roleplay experience and provides a safe space for them to be expressed. Facilitates processing difficult scenes or interactions, regrets for expectations that were not met or choices that were made during play . |° aT°W for ^ release of negative or overwhelming emotions. achates separation from in-character feelings of attachment or animosity. & to«w! ChMa"er « by attributing actions and feelings relating ^zit a to the character ™* ^ PCO, trusting, and supportive culture among players. The responsibility player, U does not end with the t0 ^ Cach other with resPect and comPaSS1°n whose characters partirin^T"" Spedal care shouW be taken with participants abus*n& or depnvin. ^ S°dally exd^ing, snubbing, bullying, harassing, 8 an°ther Cha^ter of any baste needs during the larp * - „ emotionaUy taxing to portray an oppressor as it is, * lcaS' rafter the larp, the person who played the oppresseH 1 P01^ a to refleCt °n the em°dons °f the oAer par * P^H *e oppressor might be feeling unrenewed <^iofls blocking them from asking for support they naghfZT thw jSTC - *-» - J*, the seene .ibarot another player to make snre someone ean eheck ,n with the X participants, ultimate If your larp engages with conflict or power imbalances - and most do - k i y°ur responsibility to create a structure where all players and NPCs fas weU as any team members who might have portrayed characters during runtime) rift be seen and validated as themselves after the runtime and asked about their DEBRIEFING OPEN-ENDED QUESTION SUGGESTIONS The Mowing questions are from Learn Larp Studios' debriefing template. It was developed with consultation of Martin Eckhoff Andresen's and Uzzie Stark's articles that you can find under Further Reading, below. These questions are not prescriptive or exhaustive, nor do they all need to be used. They can be selected from or used to serve as inspiration for your own reflective questions to fit your hip. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. Do you have any burning feelings that you need to get off your chest? What was your most intense moment? Why? What was your most difficult moment or difficult part of the expenence: What did you do? What interested you the most during this experience?^ What was your most positive moment during the larp ^ What was your most negative moment during the larp Does this larp have any parallels to fapi What is your strongest impression that you w ^ ^ ^ expenencer What surprised you about the larp your p / he , would vc If you could go back in time and change something If so, what would it be? .____c Mce what would it be? If you could give your cl If your character could give you a piece ? ? our '«*«■« 8 wi.twouldi.be? DECO |V[ H .ION is an umbrella term that refei process of attendi -^^nuing to ful experiences. Decompression can session is ftn U"' mcr after po^ei v • h another, hydrating and :Sr^;Hr^-^^kindness to oneself and huddling and each other. Often decompression wi--- . .....ltctls can enable and encourage them to do so by scheduling time for snacks choirs and other basic needs, as well as time when they are not expected to do involve participants caring for their own needs but vou can en? I I ' I ■ ■ »■--- ' 1 ---(JU anything in particular. Most players will then gravitate towards whatever they need the most. Such breaks are an important part of your post-play design. Kven if y0u prescribe no other formal activities, you can still schedule a break between the end of the runtime and the start of an out-of-character after-party. This further allows for distance from character to player, as they can reappear at the after-partv in out-of-character clothes, voice, and mannerisms. An after-party is a post-play experience designed by the organisers that allows participants to get together to celebrate, mingle, and share their experiences. They are often at the site of the larp, but sometimes are held at a nearby venue. A different place for the after-party reinforces the shift from runtime to post-play. Benefits of an After-Party: Ends an experience on a high note. Encourages participants to get to know each other outside of the roles they have played and allows them to transform the trust they innately feel from having shared an experience into real-world social relationships. • Provide an environment for continued de-roling, informal debriefing, and appreciations. • Serves as a cleansing of the physical and emotional discomfort o play by renewing and supporting participants. Design Principles for an After-Party Ideally, the after-party takes place in a space that comfortably holds all participants with the ability for people to gather in small groups. if £*lm Qeate an °Pen »fter-party that all participants can attend they choose. Put some thought into the atmosphere, tone, and f#f /370 pities. If you do not desi it* T'"s mSht reinforce pre ',Party, p%fr, . «ri cVes and leave some ^ °« of T" *6afr * ** (for instance * Pa"ts iSo, °' charac *• 'o 6_ W' or navi„„ . a*enafi were mX imping for (for instance *** final battle by 4iZ>* dea/,**" a ^"T^ ,OTcterjokes and social dvnalr % °f BR ^nefr" *(-» t„ow each other for rea,)nam'« «««d of 3^*^ reh? a" ^«*fe Take care * ensure ** fo^rd w> a.et for partiapants wfe r ^ Acre are -~ ~---------P EnCe Se"s°ry £££ ** »<* ^ character juivca «nu to know each other . Accessible. Take lu ensure that th • ()f quiet for participants who experience «J Spaces that are m0rp „ (or parttcpants and that the event space k^^^**"** mobility difficulties. r accessible to participants Mt(f • Safe: Remind participants of c A other. Have a des.gnated no alcohoTspSof ?'° '°°k °Ut for «* drink or don't want to be around otherswhot ^ choo« "°< <°