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This article is about structural resemblances, linguistic and rhetoric similarities and media-strategic as well as tactical operations, that Nordic LARPers and 20th century avant-garde artists share. Many of the 20th century avant-garde movements and subcultural formations started from a shared collective experience and then branches out into refined, diversified and individualized forms of expression. Futurism, DADA and Fluxus, Punk, Emo and Goth did originally constitute a dress code, a toolset, a jargon, a mission statement and a territorial assignment within the cities they choose as the center of their activities. Manifestos defined what a Futurist, Dadaist or Punk would most probably think and say, and how he or she would say it. A similar observation can be made for the communities that engage with live action role playing games (LARPs) in the Nordic countries. The Turku manifesto and the Dogma 99 manifesto influenced directly and indirectly how the Nordic LARP subculture framed defined itself and presented itself to the world. The initiating, collective experiences of Cafe Voltaire, the Wuppertal art galleries, SOHO, and respective locations for Nordic LARPers have been constitutive for the process of identity building and identity shaping for artists and gamers alike.

The recent success of non-standard and playful interface devices like Wii Remote, Move, and Kinect is an indicator of a process that demonstrates that ludic interfaces might be the core driver for a transformation in the sector of video games cultures and beyond. Yet, ludic interfaces are drivers—as well as driven by social developments known as the ludification (Raessens, 2006; Fuchs & Strouhal, 2008), or the gamification of society (Schell, 2010; Bogost, 2010; Ionifides, 2011; Deterding, Khaled, Nacke, & Dixon, 2011).