‘Whose were those feelings?’ : Affect and likenessing in Halat hisar live action role-playing game
Abstract
Halat hisar was a live action role-playing game (larp) organized in Finland in 2016. Halat hisar’s ambition as a larp was to mirror the current situation in Palestine. In larps, participants take on different roles and improvise without the presence of an audience. Larps offer a place where emotions and affectivities are transmitted through the embodiment of characters. Larps offer forms of likenessing, which create new affective states for the players. We conclude that larps can be powerful tools for portraying political alternatives of actual events, and they can serve a role in raising awareness. Larps offer a productive context for studying subjectivities where the focus is on affective relationalities because larps place the participants in social positions where they take up roles that might be inaccessible to them in everyday life. Larps offer a window to visit other ‘world-lines’ – and other ways of living.
Main Authors
Format
Articles
Research article
Published
2021
Series
Subjects
Publication in research information system
Publisher
SAGE Publications
The permanent address of the publication
https://urn.fi/URN:NBN:fi:jyu-202106183861Use this for linking
Review status
Peer reviewed
ISSN
1367-8779
DOI
https://doi.org/10.1177/13678779211023520
Language
English
Published in
International Journal of Cultural Studies
Citation
- Pöllänen, S., & Arjoranta, J. (2021). ‘Whose were those feelings?’ : Affect and likenessing in Halat hisar live action role-playing game. International Journal of Cultural Studies, 24(6), 899-916. https://doi.org/10.1177/13678779211023520
Funder(s)
Research Council of Finland
Funding program(s)
Centre of Excellence, AoF
Huippuyksikkörahoitus, SA
![Research Council of Finland Research Council of Finland](/jyx/themes/jyx/images/funders/sa_logo.jpg?_=1739278984)
Additional information about funding
The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No. 694893). This research was supported by the Academy of Finland project Centre of Excellence in Game Culture Studies (CoE-GameCult, 312397).
Copyright© The Author(s) 2021