The curious relationship between Tetris and trauma Tetris on the original Gameboy. Tetris is a classic stacking puzzle video game created by Alexey Pajitnov in 1984. A staple of play culture, it has entertained people across generations, cultures, and contexts. Recent studies suggest Tetrist might be more than just a game; it could play a surprising role in trauma therapy, helping to disrupt the consolidation of distressing memories and even fostering brain plasticity. The game challenges players to manipulate falling geometric shapes composed of four square blocks to complete horizontal lines without leaving empty spaces. A player earns points by completing a full line, which makes it disappear. The goal is to score as many points as possible by clearing lines while preventing the blocks from accumulating and reaching the top of the screen. Tetris was one of the first games in space with cosmonaut Serebrov A. Aleksandr aboard the Mir space station in 1993 ( Image   Source ). Several studies have investigated the therapeutic applications of Tetris. A notable research in 2018 found that playing Tetris shortly after experiencing a traumatic event could reduce the occurrence of intrusive memories that contribute to post-traumatic stress disorder (PTSD) (Iyadurai et al., 2018). The study involved individuals who had recently been in motor vehicle accidents, dividing them into two groups: one played Tetris after recalling their traumatic memories, while the control group did not. The Tetris group reported nearly three times fewer intrusive memories than the control group, suggesting that the game interfered with memory consolidation. Concept Intervention Group (Tetris) Control Group Participant count (n=34) (n=33) Mean (M): The average number of intrusive memories reported. 8.73 23.26 Range: The lowest and highest number of intrusive memories reported. 0 and 55 0 and 120 Table 2 Intention-to-treat results for primary and secondary outcomes in the trial. Patients engaged in a brief trauma memory reminder task, recording memories daily in a diary for one week. Half the participants were instructed to play Tetris right after the memory task. The results demonstrate significant differences; the Tetris Group had an average of 8.73 intrusive memories, whereas the Control group had 23.26—almost three times more. For part b, each circle represents participants who reported a certain number of intrusive memories on a particular day; the larger circles mean more people reported that number. The solid lines represent trends over time (how intrusive memories changed across the seven days). When a person experiences a traumatic event, their brain consolidates the memory in stages, transferring it from short-term to long-term storage. This process, known as memory consolidation, can lead to persistent intrusive thoughts. Tetris interrupts the consolidation of intrusive memories by engaging the brain in a visual task, preventing traumatic memories from taking control. Playing Tetris after a traumatic event stops a person from encoding and consolidating that memory and reduces the likelihood of distressing memories solidifying into long-term intrusive thoughts. Neuroimaging results of whole-brain analysis. Brain image displays the cluster from a whole-brain analysis across all participants, comparing increases in the Tetris group to the therapy-only control group after treatment. Beyond its short-term benefits, Tetris may also contribute to long-term brain changes. A 2020 study by Butler et al. investigates the behavioural and neurological changes, focusing on hippocampal volume—a brain region crucial for memory and emotional regulation. The study combined Tetris with Eye Movement Desensitization and Reprocessing (EMDR) therapy for combat-related PTSD. While both groups showed reduced PTSD symptoms, only the Tetris group demonstrated significant hippocampal growth. Paying Tetris disrupts trauma memory consolidation and may enhance neuroplasticity, strengthening the brain's ability to regulate emotions and process memories more effectively. Tetris can act as both a cognitive interference task (disrupting trauma memory reconsolidation) or a brain-training tool (enhancing neuroplasticity), ensuring long-term maintenance of symptom reductions. Butler concluded that hippocampal neurogenesis (new brain cell growth) can lead to "subsequent reductions in PTSD symptoms by weakening memories of the traumatic event and strengthening memories formed during therapy" (Butler et al., 2020). Psychological questionnaire scores and hippocampal grey matter. (A) Changes in Psychological Symptoms Over Time. (B) The Relationship Between Brain Growth and Symptom Reduction. The study measured symptoms of PTSD, Anxiety, and Depression in three moments: Before therapy (Pre) Immediately after therapy (Post) Six months later (Follow-up) PTSD (PDS scores), Depression (BDI scores), and Anxiety (STAI scores) all decreased immediately after therapy, and the EMDR therapy worked for both groups. At 6-month follow-up, both groups maintained reduced PTSD symptoms, but only the Tetris group maintained reduced anxiety symptoms. The more significant hippocampal growth correlated with more considerable symptom reductions at follow-up. Patients who had more hippocampal growth showed more significant PTSD, anxiety, and depression symptom reductions over time, suggesting that therapy alone did not trigger the same brain changes as Tetris did (Buttler et al., 2020). Tetris is more than just a game—it holds therapeutic potential. Recent studies suggest that playing Tetris can disrupt traumatic memory consolidation, reduce intrusive thoughts, and even promote brain plasticity, offering a low-cost, widely accessible complement to traditional PTSD treatments. As research continues to explore the intersection of gaming and mental health, Tetris stands as a compelling example of how play can have profound psychological benefits References Iyadurai, L., Blackwell, S. E., Meiser-Stedman, R., Watson, P. C., Bonsall, M. B., Geddes, J. R., Nobre, A. C., & Holmes, E. A. (2018). Preventing intrusive memories after trauma via a brief intervention involving Tetris computer game play in the emergency department: a proof-of-concept randomized controlled trial. Molecular psychiatry, 23(3), 674–682. https://doi.org/10.1038/mp.2017.23 Butler, O., Herr, K., Willmund, G., Gallinat, J., Kühn, S., & Zimmermann, P. (2020). Trauma, treatment and Tetris: video gaming increases hippocampal volume in male patients with combat-related post-traumatic stress disorder. Journal of psychiatry & neuroscience : JPN, 45(4), 279–287. https://doi.org/10.1503/jpn.190027 Tiz Creel  of Living Things Studio ©2025 Thank you for reading 🫀 Keep it playful.

In larps (live-action role-play), players embody characters and navigate fictional scenarios, sometimes grappling with ethical dilemmas, challenging interpersonal dynamics, and facing uncomfortable situations that mirror real-life complexities. As a relatively new playform, larp has evolved into an intricate culture of care, collaboration, and trust. Written and unwritten norms make larp accessible, creating a safe space for players to take risks and explore different aspects of themselves or others. Nothing stops a s poilsport   (Huizinga, 1949) from abusing or breaking the rules. Like most social contracts, they are self-enforced and depend on the community to maintain them. Foul play   reveals the relativity and fragility of the play, simultaneously revealing the strength and resilience of the collective make-believe. Photos by Jost L. Hansen © Larp culture is led by written and unwritten norms shaping accessibility and safety, creating spaces where players can take risks and explore different aspects of themselves or others. Like most social contracts, the norms are self-enforced. However, spoilsports  (Huizinga, 1949)—those who disregard or abuse these agreements—can expose the fragile nature of play itself. Such breaches also reveal the resilience of collective make-believe, reinforcing the community's ability to adapt and preserve the shared experience. Social affordances that serve the culture become the culture. Social affordances are what shape the larp culture. These affordances—rules, mechanics, spatial design, and player interactions—structure the experience, influencing how narratives unfold. Particularly when engaging with themes that can be harmful, triggering or controversial, safety measurements become even more critical before, during, and after the larp. Establishing the players' understanding of the culture is even more crucial when dealing with problematic concepts or situations. Calibration  helps players internalise the larp's culture and norms while balancing their perceptions, expectations, and personal boundaries in run-of-play (Nielsen, 2014). Calibration is a way to establish the player's alibi and create play opportunities. People seek to larp for different reasons; unlike most popular platforms, the purpose of larp is rarely to win. Personal goals are not at the expense of others but in unison with others. Players might decide to consciously or unconsciously help others by taking the focus away from themselves and placing their character or story ( playing to lift ) , or payers can embrace failure as an avenue for richer or more dramatic narratives or to give others the chance of glory ( playing to lose ) (Losilla, 2024) (Vejdemo, S., 2018). The player can also consciously adjust or change their situation or actions by steering . Here is a curated selection of Markus Montola et al. (2015) extensive list of possible reasons a player might steer during a larp, in their own words: Physical needs.  Food, sleep, warmth, etc. Physical safety.  Not running in the pitch-black forest even when your pursuers do. Coherence.  Preserving the external coherence, even at the expense of your internal coherence. Game mastering and fateplay.  Pushing the game in some direction is required by the larp design. Theme.  Accepting that vampires are real in two minutes. Boredom.  Looking for stuff to do. Picking up fights. Relevance.  Getting closer to the perceived core of the larp or seeking more agency. Staying in larp.  Not leaving the haunted mansion even when two people are dead. Shame.  Not wanting to do or to be seen doing certain things, even as a character. Overcoming disabling design . Deciding that your character wants to become a revolutionary only after you realise that most characters only talk to revolutionaries. Inclusiveness.  Including characters who have nothing to do at that moment. One of the most fascinating larp techniques is also the least talked about. Particularly in the Nordic Larp culture, it is common to encounter a particular quiet signal  —a non-verbal method of communication that enables large groups to quickly organise themselves in chaotic settings, demonstrating how larp culture relies on trust and shared awareness. I call it the silent wave silence :  that moment when, in a chaotic space of hundreds of people, a person raises their hand, and in a matter of 5-10 seconds, in complete silence, everyone else raises a hand, too. This is how it works: At some point, anyone may raise their hand. If you see someone with their arm up, you and everyone else immediately will raise their hand, too, focusing on the silent wave  starter— even if you are in the middle of a conversation. As philosopher Jean Baudrillard (1994) suggests, "all of human culture is the result of the collective sharing in/of simulacra",  implying that reality itself emerges from negotiated simulations rather than objective truths. Larp invites players to actively engage with intimate enactments of different realities, an evolving act that reshapes our perception of ourselves and others. What if, instead of fiction being a mere reflection of reality, reality itself is a product of our collective fiction? When we larp, we discover the agency to do extraordinary things—not just in shaping stories but in shaping each other's experiences. Other players are there to lift us in the same way we will do for them. Larps and larpers might not always be even or just, but more often than not, if there is care, there is trust. Larp culture reflects complexities, vulnerabilities, and strengths inherent in human interactions. When we embrace roles outside our daily reality, players navigate nuanced social explorations, discovering a deeper understanding of ourselves and others. As we step into another's shoes (literally or figuratively), we practice understanding different perspectives. Ultimately, larp is more than play; it is a profound exploration of human behaviour, continually reshaped through shared experiences. References Aabel, M. L., Strand, G. S. B., & Aardal, K. (2013, October). Linda's birthday party . Larp Factory Book Project. Retrieved from http://larpfactorybookproject.blogspot.com/2013/10/lindas-birthday-party.html Groth, A. E., Grasmo, H., & Edland, T. K. (2021). Just A Little Lovin': The Larp Script . Volvemàl Grasmo. Huizinga, J. (1949). Homo ludens: A study of the play-element in culture  (R. F. C. Hull, Trans.). Routledge & Kegan Paul. (Original work published 1938) Montola, M., Stenros, J., & Saitta, E. (2015). The art of steering: Bringing the player and the character back together. In C. B. Nielsen & C. Raasted (Eds.), The Knudepunkt 2015 Companion Book . Rollespilsakademiet Nielsen, M. (2014, April 23). Culture calibration in pre-larp workshops . Nordic Larp. https://nordiclarp.org/2014/04/23/culture-calibration-in-pre-larp-workshops/ Losilla, S. (2024, June 11). Rules, trust, and care: The Nordic larper’s risk management toolkit . Nordic Larp. https://nordiclarp.org/2024/06/11/rules-trust-and-care-the-nordic-larpers-risk-management-toolkit/ Vejdemo, S. (2018, February 21). Play to lift, not just to lose . Nordic Larp. https://nordiclarp.org/2018/02/21/play-lift-not-just-lose/ Baudrillard, J. (1994). Simulacra and simulation  (S. F. Glaser, Trans.). University of Michigan Press. (Original work published 1981) Nordic Larp. (2019, September 3). Larp design glossary . Retrieved from https://nordiclarp.org/2019/09/03/larp-design-glossary/ Tiz Creel  of Living Things Studio ©2025 Thank you for reading 🫀 Keep it playful.

This a text overview of the presentation Playing the Part: Exploring the Civics of Empire LRP , for the symposium Evolution of Story III: Having a Larp 2025 at Southampton Solent University. This article is part of an ongoing exploration on the art of playing with others, particularly focusing on larp to study the intricacies of social play at large scales. Larp is a Social playform that depends on human connections. The social aspect of larp allows for significant levels of agency, while requiring, in turn, a meaningful amount of trust and endowment from all participants and organisers alike. A defining factor of presential playforms is the limited and controlled player counts. Scaling precential play  Plato  discusses the ideal population size for a polis, proposing the number 5040 through a somewhat complex reasoning involving divisibility and the practicalities of the state. Anthropologist Robin Dunbar  proposed a cognitive limit to the number of stable social relationships a person can maintain. Suggesting a limit of around 150 meaningful relationships — that is, relationships of regular contact and cooperation. Dunbar understood relationships as ripples in a pond, layers whose quality, closeness, and strength decrease as the circles get bigger. In psychology, groupings between 12 and 15 are sometimes called the sympathy group— these are the typical size in most team sports, the number of members on a jury, or the number of Apostles. Small groups usually function without structure, relying instead on personal communication. All social groups have a critical threshold at which informal mechanisms break down, and formal systems emerge to maintain, oversee and regulate social interaction. Metcalfe's Law illustrates that one-on-one connections grow quadratically as the group grows. In the context of larp, as in team sports or tabletop games, one more or fewer player can significantly impact the run of play. Ultimately, most presential playforms rely on small groups to create that type of connection and vulnerability that enables play to emerge. Heavily mediated player interactions are designed to compensate for the fundamental lack of trust in large groups, where unmediated trust cannot be sustained. This is when trust  is often placed on the system rather than the social bonds or the make-believe. However, large-scale LARPs follow different principles. Held in the UK, Empire LRP has hosted around 3,000 participants and crew, four times a year since 2013 (with some exceptions). Preparation to play Large-scale larps emerge through many years of world-building and participation. Most larps require some form of preparation, not only to understand the rules and culture, but it also has a decisive underlying role in building trust and reinforcing the make-believe.  The preparation for a new player at Empire starts with creating a character. To do so, a new player first chooses one of ten nations, which defines what players can do and explore over the course of play. Empire functions like an ordinary human society that can be studied politically and economically. The system is modelled after a blend of feudal  and bureaucratic forms, where the head of the Throne is elected by the Imperial Senate, which is composed of representatives of each territory. Character Creation Tool (Character Wizard, Empire). The character creation process gives the player a place and a purpose within the imaginary world. After choosing a nation, the new player can choose skills and resources, a character archetype, and lineage, define goals and intentions, and craft a backstory, among other unique tasks. Then, players have to prepare costumes, props, and camping gear, bespoke to the character choices. By the time the player gets to the site, they are predisposed to connect and get immersed within a world they already know and understand, they see themselves reflected in the fictional world as they enter the shared make-believe . The preparation inherently introduces the player to the imaginary world while creating a personal connection to its fiction. Images by Tom Garnett (E4 2024) Authorities of play In-character power is not tied to mechanical progression; it is earned by contributing to the Empire and building a legacy through in-game actions, role-play, connections, and strategic involvement. The paper Power and Control in Role-Playing Games, defines three primary forms of Authority: The cooperative nature of Empire means that a significant part of the referential authority  is enforced by player characters and referees composed solely of  players and volunteers. In larps the community actively upholds the social contract, engaging in negotiations usually without the intervention of a higher authority. Social boundaries in role-playing games are fluid, and players have the responsibility to balance their expectations and motivations with those of the group. Culture at play To reach the higher roles of governance and influence, a player must undergo a character evolution process likely involving numerous events, building a reputation, alliances, and connections. Senator Cesare Sanguineo Rezia Di Tassato  has served for 38 consecutive seasons- that is about 9.5 years. His tenure is marked by significant contributions to the city's infrastructure and cultural landscape, including museums, ministries, and trade institutions. Ultimately, the extent of intensity experienced in an larp depends significantly on the length of time invested. Senator Cesare Sanguineo Rezia Di Tassato. Image by Rebecca Moody (E4 2022). Empire is a living organism that evolves, changes and grows on past events. Empire's culture endures partly because experienced and veteran players represent the majority of participants at any event. Experienced players maintain the culture and community norms, teaching them directly or indirectly to new players. Players likely act according to the norms because they trust others will do the same. A key aspect of trust is accountability, which occurs when players interact repeatedly over time. Players are more likely to engage in antisocial behaviour (in and out of character) if the social encounter is a one-time event rather than a long-term commitment. Barriers to play Every new player has a different experience, and not all are positive. The player base represents people from different customs, ages, and professions... sometimes causing conflicts, disputes, alienation, and breaches of the make-believe. Nonetheless, players share enough similarities for Empire to survive and grow for over a decade. Barriers to entry can equally be an aspect of social cohesion, as it is and a form of social exclusion. Things like the physical location, costs, time, language, or background, among other impediments, profile what kind of players can participate in Empire. Like any ordinary subculture, the larp community faces a conundrum between becoming more accessible and inclusive and conserving culture and social cohesion. The 80-acre permanent site in Cambridgeshire was purchased by Unknown Worlds  (2024). The future might be uncertain, but Empire will live on. Recently, Profound Decisions (the organisation behind Empire) purchased a permanent site in the English Midlands, marking a pivotal point for larps and community organisations. The purchase was made possible by raising more than a million pounds with 2,400 shares bought by community members. The shareholders own 49.9% of Unknown Worlds, and Profound Decisions owns 50.1%. Organisers, crew, and players are now looking at a blank space to finally build Empire with permanent structures, vegetation, and basic infrastructure. The main goal of the unknown world is to host the Empire, and the long-term ambition is to create the National Live Role Playing Centre, which will host different larps, events, and conventions. Empire reminds us that enduring cultures are not built by systems alone but by the strength of human connection and the endowment to make-believe. And maybe by studying how we play together, we can learn something about how we live together, too. Evolution of Story III : Having a Larp symposium took place on 17 June 2025 at Southampton Solent University, Southampton, UK, and online. References Fine, Gary Alan. 1983. Shared Fantasy: Role-Playing Games as Social Worlds . Chicago: University of Chicago Press.  Bowman, Scott Robert, et al. 2010. The Functions of Role-Playing Games: How Participants Create Community, Meaning and Personal Growth . Jefferson, NC: McFarland & Company. Hammer, Jessica, Whitney Beltrán, Jonathan Walton, and Moyra Turkington. 2024. "Power and Control in Role-Playing Games." In The Routledge Handbook of Role-Playing Game Studies , edited by José P. Zagal and Sebastian Deterding, [insert start page]–[insert end page]. New York: Routledge. Montola, Markus. 2012. A Freezing Moment: The Ludic Sublime . Aalto University. Plato. 1970. Laws . Translated by Trevor J. Saunders. Harmondsworth: Penguin Books. Book V, sec. 734e. Dunbar, Robin I. M. 2010. How Many Friends Does One Person Need?: Dunbar's Number and Other Evolutionary Quirks . London: Faber & Faber. Monge, Peter R., and Noshir S. Contractor. 2003. Theories of Communication Networks . Oxford: Oxford University Press. Uzzi, Brian, and Jarrett Spiro. 2005. “Collaboration and Creativity: The Small World Problem.” American Journal of Sociology  111, no. 2 (September): 447–504.   https://www.kellogg.northwestern.edu/faculty/uzzi/ftp/uzzi's_research_papers/uzzi-spiroajs_smallworlds.pdf . West, B.J., G.F. Massari, G. Culbreth, R. Failla, M. Bologna, R.I.M. Dunbar, and P. Grigolini. 2020. "Relating Size and Functionality in Human Social Networks through Complexity." Proceedings of the National Academy of Sciences of the United States of America  117 (31): 18355–58.   https://doi.org/10.1073/pnas.2006875117 . Profound Decisions. (n.d.). Home . Profound Decisions.   https://www.profounddecisions.co.uk/home?17 . Accessed January 31, 2025.

The Living Things Studio is an experiential play studio that creates resources, experiences and spaces to challenge, inform, inspire and transform. Ultimately, it’s all about creating memorable experiences by reaching the state of play. OUR STORY From an early age, I have fostered an unsatisfied curiosity. I didn't know it then, but play was already essential to my life. During my artistic endeavours, my goal was to transform passive observers into engaged participants, hoping they would develop affection or interest in the work. This period marked the beginning of a journey into the myriad forms of play, including immersive theatre, tabletop games, video games, live-action role-play, and more. Over five years, I delved deep into play's forms, engaging in practice, theory, experimentation, and validation. Play offers a wide range of applications and benefits. It helps us pursue a higher interest in the things around us. When we play, we engage fully with life and its contents to discover the most profound truths in ordinary things. After numerous collaborative projects, I began compiling research, methodologies, and frameworks on play, leading to what we now call the Play Method. This foundation enabled the launch of Living Things Studio, which is focused on creating, sharing, and promoting play. Tiz Creel Founder & Director Tiz Creel About I am an all-around creative strategist and play designer with over five years of experience in the cultural industries. Since moving to the UK, I have worked with various organisations & gorups to design and implement playful experiences that inspire, engage, inform, and, at their best, transform. ABOUT PLAY Play is found widely in nature, and it is highly relevant in social psychology. Like dark matter, play is considered fundamental yet poorly understood. We have overlooked the potential and power of play by believing it is a non-productive child behaviour — our mission is to change that idea. Our values are built around the belief that play — as a concept, a design tool, and an experience — is vital in understanding ourselves and the world around us. We are only scratching the surface of what play can do for us. ABOUT CARE It is crucial for us to raise awareness of the multiple underlying societal issues we face, but most importantly, we need people to care more. That is why we focus on building a stronger society by embedding ideas of care, responsibility, and culture in most of our work. We see play as a tool to explore social change. Through the interactions between play and reality, new truths could emerge. Today, we need to play more than ever to encounter the challenges and uncertainties of the future; for us, imagination driven by play is the parameter for understanding the unknown.

In the past, we worked with diverse clients & partners to design new experiences and solutions that include: - Games, play forms, and play spaces - Tools & Resources - Creative & exploratory sessions - Installations & participatory experiences - Community engagement initiatives WHAT DO WE DO? We collaborate with groups, organisations and institutions seeking inspiring and transformative experiences. In the past, we worked with diverse clients & partners to design new experiences and solutions. Tools & resources Exploraiton sessions Community programme Your idea! Engaging sessions focused on achieving specific outcomes using play to spark curiosity, inquiry, and discovery. Toolkits and learning resources that provide instructions, standards, and information for self-led explorations and learning experiences. Involve and empower communities and generate a sense of self-expression and self-affirmation. The sky is the limit! We work with groups, organisations and institutions seeking inspiring and transformative experiences & explore new ways of experiencing and thinking about the world. We offer opportunities for → Towns, Boroughs & Neighbourhoods Not-for-profit organisations, public institutions, & organisations Private companies & brands Community groups

Play studio that creates resources, experiences and spaces to challenge, inform, inspire and transform. Welcome to the Living Things Studio 🌀 Play studio that creates resources, experiences and spaces to challenge, inform, inspire and transform. Welcome to the Living Things Studio. Contact Us Thinking more playfully, playing more thoughtfully. Tools & resources Games & playforms Creative sessions Comunity engagement Installations & experiences Your idea! Through play, we foster individual & collective transformation by designing new ways for people to understand and experience the world. THE PLAY METHOD