Welcome to BiodiverCity
- We developed a biodiversity-themed LARP through iterative playtesting.
- BiodiverCity was structured around tribal roles, cooperative dynamics, and a simplified game mechanism.
- Fully controlling every scenario was difficult, and embracing player spontaneity proved more effective for immersion.
Recap
Our group designed a LARP (Live Action Role Play) based on the theme of biodiversity. Through several weeks of test games, we were able to explore and understand the basic structure and key elements of LARP. The game we ran last week was set in an extreme scenario that stimulated players’ imaginations, but as the theme itself is rich and complex, we realised it was time to narrow our focus. Our next challenge would be to define the final goal—the Seed Vault—and determine how to integrate collaboration between player groups and embed biodiversity-related elements in a meaningful way.
One More Game
Based on the ideas discussed so far, we carried out our first playtest. We began by aligning on the game’s overall goal, using the concepts of Noah’s Ark and the Seed Vault to create a narrative in which players work to restore biodiversity and rewild the Earth. Participants were divided into four tribes—Earth, Carbon Dioxide, Light, and Water—each with different types and amounts of resources and behavioural constraints. In every round, each tribe was required to submit life essential elements in order to survive. Resources could be traded between tribes, and players could use a recipe book to unlock special actions and lift restrictions when certain conditions were met.
Refining the Game
Through the playtest, we identified several areas that needed improvement. The main challenge was to simplify the game structure while keeping the core message intact.
Initially, we introduced an elements mechanic inspired by board games, using cards to represent resources. However, in practice, this mechanic didn’t add much meaning to the gameplay. We had expected the differences in resource distribution to encourage negotiation and cooperation, but this didn’t materialise as hoped. Instead, the mandatory submission of elements felt burdensome to players. As a result, we decided to remove the resource-based mechanic entirely.
The riddle-solving element also required further development. Players had to locate hidden pieces of paper and solve biodiversity-related questions, but because all clues were text-based, the actions felt repetitive and lacked visual engagement. The absence of physical or sensory interaction reduced immersion. We realised the need to stimulate more senses to keep players engaged throughout the experience.
Final LARP Design
“Welcome to BiodiverCity.”
This is a world devastated by the collapse of biodiversity. The four tribes—Earth, Water, Light, and Air—gather before the dying Tree of Life, tasked with restoring the ecosystem and unlocking the Seed Vault, humanity’s last hope.
The game consists of four rounds, each lasting seven minutes, with a one-minute break between rounds. Players may only act during the daytime, and must return to their tribal base during night-time (breaks). This was a mechanism to control the rhythm and tension of the game. Each round includes diverse activities such as solving biodiversity-related challenges and visual puzzles. As the game progresses, inter-tribal cooperation becomes increasingly essential.
Reflection
LARP
In hindsight, it’s a shame we didn’t explore the elements mechanic more deeply. If we had created physical objects that reflected the elements’ weight, texture, or size, it might have added a stronger physical presence to the players’ actions. Alternatively, incorporating these characteristics into costume design could have enriched the experience. In future projects, I’d like to explore how physical objects impact user experience more thoroughly.
There were also some technical limitations. We installed a speaker behind the Tree of Life to simulate the effect of the tree speaking to the players, but the sound didn’t reach the tribes located farther away. As a result, key information was not clearly delivered to all participants, and the intended immersive effect was weakened. We learned that additional speakers or repositioning the existing speaker to a more central location may be necessary.
We also wanted to show the tree glowing greener as rounds progressed, but due to daylight and equipment limitations, the lighting effect wasn’t visible. More planning would be needed for lighting in darker settings or with more powerful equipment.
Design
Working as a team of ten, we exchanged countless ideas. Synthesising different perspectives into one game was challenging but rewarding. Tools like sketches, mind maps, and iterations helped us refine our direction.
The most valuable lesson was that users often interact in unexpected ways. Initially, we tried to control every variable, but this made the game overly complex and tiring. In the end, it became clear that embracing players’ spontaneous actions can lead to better outcomes than rigid control.
Reference
- Klei Entertainment (2019) Oxygen Not Included [Video game]. Steam. Available at: https://store.steampowered.com/app/457140/Oxygen_Not_Included/ (Accessed: 20 March 2025).
- Koljonen, J., Stenros, J., Grove, A. S., Skjønsfjell, A. and Nilsen, E. (2019) Larp Design: Creating Role-Play Experiences. Bifrost.
- Norwegian Government (n.d.) Svalbard Global Seed Vault. Available at: https://www.regjeringen.no/en/topics/food-fisheries-and-agriculture/svalbard-global-seed-vault/id462220/ (Accessed: 20 March 2025).
More Stories
LARP Week 1
Plant Points Week 1