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 presential 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 4,500 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 180-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.

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 measures 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 players can embrace failure as an avenue for richer or more dramatic narratives or to give others the chance of glory ( playing to lose ) (Vejdemo 2018). . The player can also consciously adjust or change their situation or actions by steering . Here is a curated selection of 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 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.

What can play teach us about ourselves and the world around us? Play is more than mere entertainment—it is a powerful tool for understanding, adaptation, and exploration. Across the natural world, play has been observed countless times, manifesting in fascinating ways: Seals surfing waves (Dukehart, 2014). Crows slide down snowy surfaces (Emery, 2012). Otters juggle small stones (Allison et al., 2020). Play is an evolutionary mechanism for relief, curiosity, exploration, experimentation, discovery, and most importantly, connection. New perspectives are emerging around the idea that play—as a concept, a design tool, and an experience— is vital in understanding ourselves and the world around us. Play shapes our minds, expands our knowledge, and influences culture. As fundamental as it is misunderstood, we are only scratching the surface of what play can do for us. In the human world, play has led to extraordinary outcomes. Gamers have solved complex protein-folding puzzles that stumped researchers for decades (Koepnick et al., 2019; Bohannon, 2010). Research suggests that playing Tetris shortly after experiencing a traumatic event may reduce the likelihood of developing post-traumatic stress disorder (PTSD) (Butler et al., 2020; Iyadurai et al., 2018). Meanwhile, studies on doll play reveal its role in empathy and social understanding in children (Hashmi et al., 2022; Gerson et al., 2024). In larps (live-action role play), adults around the world embody characters and navigate fictional scenarios, sometimes grappling with ethical dilemmas, challenging interpersonal dynamics, and facing uncomfortable situations that reflect real-life complexities. As a relatively new playform, larp has evolved an intricate and unique culture of care, collaboration, and trust (Losilla, 2024; Vejdemo, 2018). Play can transform how we engage with the world and each other. It inspires us to cooperate, embrace uncertainty, create new worlds, and develop a sense of individual and collective identity —these qualities are increasingly critical in today's unpredictable world. Play has multiple practical applications and benefits; most importantly, it helps us pursue a higher interest in the things around us. When we play, we engage fully with life and its dimensions to reach the most profound truths in ordinary things. Play is not just an escape from reality; it is a speculative tool for reimagining the future, shaping culture, and revealing new truths. New truths can arise through a dialectic between play and reality—playing is a way to meet the world. Kubrick, S. (1980). The Shining . Warner Bros. All work and no play makes Jack a dull boy — an old English proverb from the 1600s. In-depth: Foldit, playing to solve real-world scientific problem Tetris, rewiring the mind after trauma Doll play and the human mind Larp culture, the art of playing with others References Auersperg, A. M. I., Kacelnik, A., & von Bayern, A. M. P. (2020). A new problem-solving task in a highly explorative parrot: The object-choice test with cover. PLOS ONE, 15 (6), e0234262. https://doi.org/10.1371/journal.pone.0234262 Emery, N. (2012, June 28). Crow playmates. Psychology Today . https://www.psychologytoday.com/ca/blog/avian-einsteins/201206/crow-playmates Emery, N. (2012, May 30). Corvid tool use, play, and more. Psychology Today . https://www.psychologytoday.com/ca/blog/avian-einsteins/201205/corvid-tool-use-play-and-more Dukehart, C. (2014, December 5). Surfing seals catch a wave in South Africa . National Geographic. https://www.nationalgeographic.com/photography/article/surfing-seals-catch-a-wave-in-south-africa 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 randomised 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 Koepnick, B., Flatten, J., Husain, T. et al . (2019). De novo protein design by citizen scientists. Nature, 575, 184–188. https://doi.org/10.1038/s41586-019-1274-4 Bohannon, J. (2010, August 4). Video game helps solve protein structures . Science. Retrieved January 31, 2025, from https://www.science.org/content/article/video-game-helps-solve-protein-structures Gerson, S., Keating, J., Hashmi, S., et al. (2024). Doll play improves social processing: Evidence from a randomised-control trial . Research Square. https://doi.org/10.21203/rs.3.rs-4794246/v1 Hashmi, S., Vanderwert, R. E., Paine, A. L., & Gerson, S. A. (2022). Doll play prompts social thinking and social talking: Representations of the internal state language in the brain. Developmental Science, 25 , e13163. https://doi.org/10.1111/desc.13163 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/ Zimmerman, Eric. (2014). "Manifesto for a Ludic Century."  In Steffen P. Walz & Sebastian Deterding (Eds.), The Gameful World: Approaches, Issues, Applications . The MIT Press. Tiz Creel  of Living Things Studio ©2025 Thank you for reading 🫀 Keep it playful.

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. MEDIA LINKS View Stir World | Art that brings you joy: Tiz Creel’s 'Space for autonomous imagination' View Royal Borough of Kensington and Chelsea | Marigold paper flower making at the Royal Society of Sculptors View Now Play This | Sieze the Power View TimeOut | Giant piñatas are coming to King's Cross View Forbes | Time Out: Mapping London Life And Parties For 50 Years View Acme | Reality is just a Design View Open space contemprary | 10 Minutes with Tiz Creel View British Council | FutureFantastic in HOME Manchester View Lewisham Local | Deptford’s SEAGER gallery to open new open air art exhibition – Touch Base

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Our Natural Blue Spaces is a project dedicated to exploring and celebrating the beauty of Blue Spaces—rivers, lakes, canals, and ponds—within the Central Bedfordshire area through a blend of art, workshops and community engagement. MENU Explore our illustrated maps of Blue Spaces in Central Bedfordshire Click to find the hidden gems of Central Bedfordshire in our interactive map! Collective Charter for our Blue Spaces Together with over 300 students, teachers, and families, we created a collective charter to protect and promote the waterways of Central Bedfordshire. Our Natural Blue Spaces is a project dedicated to exploring and celebrating the beauty of Blue Spaces—rivers, lakes, canals, and ponds—within the Central Bedfordshire area through a blend of art, workshops and community engagement. Comments from our lovely community members This project makes what is possible on the waterways present. Kayaking for one year in Leighton Buzzard Canal, doing it 5 times a week. Enjoying the waterways, sometimes falling in them. Created a walking stick from Hawthrone wood found in Tiddenfoot. Admire waterway dwellers, grit, resilient and tranquil existence. Taking an inflatable kayak to the canal for the first time. Stopping at the Grove Lock for a drink. Enjoying special walks with my little boy in his pram after a sleepless night. Allowing the water and nature to wash away my worries! Returning to the two path after 4 years to meet my childhood best friend. We walked for hours through Tiddenfoot, past the pub and home. I saw King Fisher, too! So inspired by the lad who kayaked up the Thames to raise money- impressive. Me and my granddad used to sit on his boat and watch the fish in the water. It was amazing! I love the water. In 2020, he died but his story still lives on! Being by the water making me feel calm and relaxed. Regarding those who live on the waterways, I admire their grit and resilience, but I mostly admire their peace and existence. We are on a canal-breaking holiday. We are out of the Canal; someone left the lock gates open. We are on a canal-breaking holiday. We are out of the Canal; someone left the lock gates open. Thornhill Primary School Parkfields Middle School Edward Peake Middle School Southcott Lower School Our Natural Blue Spaces | 2024 Produced by Bedford Creative Arts in partnership with Central Bedfordshire Council, featuring illustrations by Kremena Dimitrova and students from Central Bedfordshire schools. This website was designed and built by Living Things Studio for the project Our Natural Blue Spaces . We use cookies to improve the user experience. To find out more, read our privacy policy . Map Menu Blue Leighton Buzzard Toddington Houghton Regis Biggleswade