Written by Björn-Ole Kamm

100円の力 – 日本におけるラープ

日本のLARP(ライブRPG)と百均のパワーについての発表、第二回EAJS日本会議、神戸大学、2016年9月24日、17時15分。

The history of live-action role-playing (larp) in Japan, a mixture of improv-theatre and role-playing game, is rather short. The practice awoke broader interest mostly since 2012 through the abridged and commented Japanese translation of DragonSys, a German larp rule system.

As young as fantasy and sci-fi larp is in Japan, it faces a number of material constraints, one of which is the actual or perceived limited accessibility of space – Japan’s largest larp group meets in a community centre instead of in the woods, on camping grounds, or in a castle. Also limited is the availability of larp paraphernalia common in Europe.

Japan’s larpers do have access to an extraordinary source for equipment, though: 100-Yen-Shops, hyakkin. These shops offer a broad variety of products for just 100 Yen, useful for larping as outlined by Japan’s first “how-to-larp” publications. This paper discusses the development and current state of larp in Japan: How did “European-style” fantasy larp come to Japan? How was this practice adapted to local circumstances? How is it related to sibling practices, such as cosplay (masquerading) and pen & paper role-playing? The paper analyses the ways of appropriation including the discursive and material constraints practitioners are entangled with.

Conceptualizing larp as a network of heterogeneous human and non-human elements, the practice in Japan is hardly defined by a somewhat special “Japaneseness” but produced through the tracing of connections between these various elements. “Japanese-style” fantasy larp combines “global” elements of larping with “local” materials so that the practice is (continuously) reassembled.

キーワード: 百均、充当、異種ネットワーク、日本、物質的制約。

原稿: Kamm, Björn-Ole. 2015. “Die Kraft von nur 100 Yen – Larp in Japan” [ただ100円のパワー・日本のLARP]. In LARP: Zeug. Aufsatzsammlung Zum Mittelpunkt 2015, edited by Rafael Bienia and Gerke Schlickmann, 17–36. Braunschweig: Zauberfeder Verlag.

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