by Dr. Cristo León last updated 01/22/2025
Introduction
Immersion remains one of the most compelling and debated concepts in the study and design of role-playing games (RPGs) and live-action role-playing (LARP). Defined broadly as the player’s ability to imaginatively inhabit their character and experience the game world through that persona, immersion is often seen as a hallmark of meaningful play (Bowman, 2015, pp. 379–394). Researchers and designers have sought to conceptualize the varying degrees of immersion players experience. Among these, Moyra Turkington’s (2006, as cited in Bowman, 2015) four degrees of immersion—marionette, puppet, mask, and possessing force—have become widely referenced. This model draws on theatrical metaphors to illustrate the shifting relationship between player and character, from detached control to total identification.
However, as insightful as Turkington’s model is, it reflects a narrow view of performance theory, implicitly favoring method acting (Stanislavski, 1936/2013), with its emphasis on emotional truth and character embodiment, as the ideal of immersive play. This perspective overlooks other acting paradigms that offer players tools for maintaining distance, reflexivity, and psychological safety—qualities that are particularly important in emotionally charged or physically risky LARP environments. This post proposes an expanded framework for understanding immersion in RPGs and LARPs, informed by alternative acting theories such as Lecoq’s neutral mask technique and Brechtian alienation. Such a nuanced model acknowledges that immersion is not a linear progression toward “possessing force,” but rather a spectrum of intentional creative choices.
Immersion and Its Theatrical Roots
Moyra Turkington’s model of immersion builds explicitly on theater metaphors. In the marionette stage, the player retains full control, treating the character as an external tool. At the puppet stage, the character begins to display agency, though the player remains aware and in control. The mask stage represents a blending of player and character, and at the extreme, possessing force, the player fully identifies with the character, surrendering their personal identity to inhabit the character’s subjectivity (Bowman, 2015, pp. 379–394).
While conceptually elegant, this model aligns closely with method acting, the Stanislavskian tradition of drawing deeply on one’s emotions and memories to achieve authentic character immersion (Stanislavski, 1936/2013). In theatrical contexts, method acting can produce powerful performances. In gaming contexts, however, full immersion carries risks: emotional bleed, psychological strain, or unsafe behavior in LARP scenarios that are physically or emotionally intense.
Thus, the assumption that possessing force represents the “highest” or most desirable form of immersion is questionable, especially when alternative acting paradigms offer valuable tools for maintaining balance and safety without sacrificing creative engagement.
Alternative Acting Paradigms for Safer and More Nuanced Immersion
Acting theory offers a rich vocabulary for reimagining the immersion spectrum in RPGs. Jacques Lecoq’s neutral mask technique, for example, emphasizes physical presence, awareness, and exploration of character through gesture and space, rather than emotional identification (Lecoq, 2002, pp. 34–38). This approach enables performers—and by analogy, players—to engage creatively while maintaining a degree of detachment that can protect their psychological well-being.
Similarly, Bertolt Brecht’s concept of alienation (Verfremdungseffekt) deliberately disrupts full emotional absorption to provoke critical reflection and self-awareness (Brecht, 1964, pp. 91–99). In LARP settings, especially those tackling controversial or sensitive topics, such distancing can foster ethical engagement and prevent harm.
Finally, acting programs at institutions like Juilliard and the American Academy of Dramatic Arts incorporate a range of presentational techniques that balance technical mastery with emotional truth (Cole & Chinoy, 1970, pp. 12–18). These traditions remind us that creative performance need not always entail total identification, but can thrive within a range of approaches suited to context and intent.
By incorporating these paradigms into our understanding of immersion, we recognize that some players may prefer or require a more controlled, reflexive mode of play, while others may embrace deeper emotional engagement. Both are valid, and both enrich the diversity of play experiences.
Practical Implications for RPG and LARP Design
A nuanced view of immersion has important implications for game design and facilitation. Nordic LARP communities have long acknowledged the risks of deep immersion and developed tools to mitigate them, such as consent-based safety mechanics and calibration techniques (Pohjola, 2003; Bøckman, 2003). Expanding Turkington’s model to include dimensions of reflexivity and boundary-maintenance aligns with these practices, offering designers and players a more comprehensive framework for informed choice.
Game facilitators should consider presenting immersion as a spectrum of equally legitimate options, encouraging players to calibrate their engagement to their own comfort levels and the demands of the scenario. Rather than presenting possessing force as the ideal, designers can highlight the creative potential of controlled distance and reflective play, ensuring both safety and depth in the experience.
Conclusion
Immersion is not a singular destination, but a multidimensional spectrum of creative choices informed by context, intent, and individual preference. By integrating alternative acting paradigms such as Lecoq’s neutral mask, Brechtian alienation, and presentational traditions alongside method acting, we can better support diverse player needs and foster ethical, inclusive, and psychologically safe RPG and LARP environments.
As role-playing games continue to mature as both art form and social practice, scholars and designers should engage with the full richness of performance theory to guide their work. Recognizing the value of distance and reflexivity in immersion does not diminish the power of role-play; rather, it expands its potential to inspire, transform, and care for those who participate.
References
Bowman, S. L. (2015). Immersion and shared imagination in role-playing games. In J. Zagal & S. Deterding (Eds.), Role-playing game studies: Transmedia foundations (pp. 379–394). Routledge. https://doi.org/10.4324/9781315549402Brecht, B. (1964). Brecht on theatre: The development of an aesthetic (J. Willett, Ed. & Trans.). Hill and Wang. (Original work published 1957)Cole, T., & Chinoy, H. K. (1970). Actors on acting: The theories, techniques, and practices of the world’s great actors, told in their own words. Crown Publishers.Lecoq, J. (2002). The moving body: Teaching creative theatre (D. Bradby, Trans.). Methuen Drama.Pohjola, M. (2003). The manifest immersionist. In M. Montola & J. Stenros (Eds.), Beyond role and play: Tools, toys and theory for harnessing the imagination (pp. 81–89). Ropecon ry. http://www.ropecon.fi/brap/Bøckman, P. (2003). The three-way model: Revision of the threefold model. In M. Montola & J. Stenros (Eds.), Beyond role and play: Tools, toys and theory for harnessing the imagination (pp. 11–18). Ropecon ry. http://www.ropecon.fi/brap/Stanislavski, C. (2013). An actor’s handbook: An alphabetical arrangement of concise statements on aspects of acting (E. Hapgood, Ed.). Routledge. (Original work published 1936)