Tesi: "Tabletop Role-Playing"

1

Gasque, Travis M. "Design agency: Dissecting the layers of tabletop role-playing game campaign design". Thesis, Georgia Institute of Technology, 2016. http://hdl.handle.net/1853/55055.

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Abstract (sommario):

In the field of digital media, the study of interactive narratives holds the aesthetics of agency and dramatic agency as core to digital design. These principles hold that users must reliably be able to navigate the interface and the narrative elements of the artifact in order to have a lasting appeal. However, due to recent academic and critical discussions several digital artifacts are being focused on as possible new ways of engaging users. These artifacts do not adhere to the design aesthetics foundational to digital media, but represent a movement away from the principle of dramatic agency in interactive narratives. In an attempt to understand this separation and offer a solution to this developing issue, another non-digital interactive medium was studied: tabletop role-playing games. The designers of this medium were studied to understand the techniques and methods they employed to create dramatic interactive narratives for their users. These case studies suggested the designers used a third design aesthetic, design agency, to help balance the tension between agency and dramatic agency of the users of their medium. This design aesthetic could provide a balancing force to the current issues arising within interactive narrative.

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2

Whittemore, Rhys Duncan. "Tabletop Role-Playing Games and the Actual Play Show: Author, Audience, and Adaptation". Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103882.

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Abstract (sommario):

Though tabletop role-playing games, or TRPGs, have received some scholarly attention since the creation of Dungeons and Dragons in the 1970s, very few scholars have considered how TRPGs function as a vehicle for long-form narrative. As an inherently collaborative form of narrative, the TRPG demonstrates a unique relationship between author and audience, as participants take on both roles during play. Previous narratological models of author-audience interaction are insufficient to understand the way that authorship functions in the TRPG, and the rise of actual play shows, where TRPGs are broadcast for an audience of nonparticipants, adds an extra layer of complexity to these author-audience relations. This thesis identifies key narrative elements of the TRPG, including game mechanics, framing, and collaboration, and examines how popular actual play shows and their graphic adaptations engage with these elements to create their narratives. This examination indicates that TRPGs create complex author-webs where each participant is both author and audience, and this influence pushes actual play shows and further adaptations of TRPG narratives to expand the ways in which audiences can influence and interact with narratives as they are created. The TRPG genre continues to explore how these elements can be developed beyond traditional understandings of narrative, and this development provides a framework for further narratological study of interactive works, which will only continue to evolve and grow in popularity and complexity in the continuing digital era.
Master of Arts
The tabletop role-playing game, or TRPG, has been growing in popularity since the creation of Dungeons and Dragons in the 1970s, and the rise of the actual play show, where a TRPG game is broadcast to viewers via video or podcast, has spurred both casual and scholarly interest in the TRPG. Players of TRPGs create narratives through collaborative storytelling moderated by certain rules and game mechanics, so each participant in a TRPG acts as both author and audience, as they create certain elements of the narrative and also witness the narrative creations of the other players. This particular collaborative author-audience model is not seen in any other form of narrative, and existing models of author-audience interactions do not account for authorship in the TRPG. Therefore, this thesis examines how several elements of the TRPG, such as the use of game mechanics to structure the narrative, the multiple frames in which players interact with each other, and the collaboration inherent in every game, contribute to the ways that authorship and audience interact in the narrative. It also looks at how popular actual play shows and the graphic novels they've created of their narratives engage with these elements to create their own unique audience interactions. As audience participation in the development of the stories they're consuming become more prominent with the rise of video games and other interactive media, an understanding of the evolving relationship between authorship and audience developed by the TRPG becomes important for examining interactive works in general.

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3

Pettersson, Fredrik. "Karaktärsskapandets potential och begränsningar". Thesis, Uppsala universitet, Institutionen för speldesign, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-232025.

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Abstract (sommario):

This project report describes a supplement for character creation in a tabletop role-playing game “Dragons and Demons." The purpose of this project is to improve the character creation for the players’ trough the narrative elements such as character’s background story. The applied qualitative methods such as a test panel and a questionnaire were conducted for the evaluation of theories used during character creation and to get feedback on the supplement’s creative value for the players. The aim of the questionnaire was to see how the method for the character creation differs from the regular way of making a character for a tabletop role-playing game and if this idea improves user experience during the tabletop role-playing game. The results of the evaluation are based on answers from novice and experienced players, and conclude that the additional background story creates an insight into the character's past, which makes it easier for novice players to get quick started with character creation. The experienced players expressed that the supplement for character creation was more entertaining than the traditional way of making a character for a tabletop role-playing game.

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4

DeHart, Gretchen L. "Out of character : issues of identity, acceptance,and creativity in tabletop role-playing games". Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/376.

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5

Lachance, Graeme. "Living Pedagogies of a Game-Master: An Autoethnographic Education of Liminal Moments". Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34468.

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This study presents the concept of the pedagogy of the game-master. Written from a bricolage of autoethnographic perspectives, a fractured narrative was (de)composed out of the author’s dual experiences as educator and game-master of fantasy tabletop-role-playing games. The narrative seeks to evoke the blurred boundaries of what it means to occupy each role, dwelling between fantasies, (teaching) realities, and player/person/persona identities (Waskul & Lust, 2004), constructing and remaining in the middle of a bridged pedagogy which spans education and tabletop role-playing. From the narrative, the latter section of this manuscript presents a discussion of how the liminal duties of the game-master might help draw educators to and beyond the boundaries of what is possible in education.

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6

Hall, Claudia. "Tabletop role-playing game characters| A transdisciplinary and autoethnographic examination of their function and importance". Thesis, California Institute of Integral Studies, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3743712.

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Abstract (sommario):

This dissertation uses mythological studies, psychological ideas and sociological techniques to introduce the reader to the thesis that tabletop role-playing game (TRPG) characters are intricate, semi-independent personae of their players, who have the potential to be equal in influence to an individual’s other expressions of personality (e.g. employee, parent, friend, etc). TRPG characters, like all aspects of personality, exist at the junction of mythical, psychological, and sociological forces. Unlike other personae, TRPG characters exist within alternative realities deliberately crafted from heroic mythology, which feature group-centered behavior at their core.

By examining differences between character and player perspectives, especially the group based norm of heroism common across many kinds of TRPGs, the importance of studying TRPG characters as personae in their own right is emphasized. The dissertation concludes with ways for TRPG scholars to increase emphasis on TRPG character studies, and with ways for non-TRPG studies to benefit from an increased emphasis on personae play as an important aspect of psychosocial growth, especially with regard to how heroism is understood in American culture.

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7

Jara, Soto David [Verfasser], e Peter Paul [Akademischer Betreuer] Schnierer. "Framing Strategies in Role-Playing Games. 'My Pleasure': Toward a Poetics of Framing in Tabletop Role-playing Games / David Jara Soto ; Betreuer: Peter Paul Schnierer". Heidelberg : Universitätsbibliothek Heidelberg, 2021. http://d-nb.info/1228700745/34.

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8

Comstock, Hannah Marie. "Deivisceris". Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103038.

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Abstract (sommario):

Deivisceris is a four-player role-playing tabletop game that focuses on themes of horror. It looks into ideas from the horror genre as a whole while combining aspects from the body horror and cosmic horror subgenres to create a discomforting horror experience. The game features illustrations and written events with a choice-based narrative that can have multiple outcomes depending on a player's decisions, stats, and items. Deivisceris utilizes randomness in order to create a new experience each time it is played through randomized characters and a randomized game board that is built up as it is played. The game reveals its narrative through clues within the gameplay, illustrations, and written text as characters enter the game's world blindly. Deivisceris is an immersive tabletop horror experience that can be further expanded on in the future with the possibility of a larger production.
Master of Fine Arts
Deivisceris is a four-player tabletop game that looks into the ways horror can be created in a board game format. It examines various ideas from the horror genre as a whole while taking inspiration more directly from two subgenres of horror: body horror and cosmic horror, each of which has very different ways of evoking horror. The game includes a variety of full-color illustrations and written situations that give players a chance to make their own decisions. Deivisceris utilizes randomness in order to create a new experience every time it is played. The game board is built up differently every time it is played and characters' stats, such as strength, intelligence, and endurance, may be different in each game. The game's story is revealed through clues within the gameplay, illustrations, and text. Deivisceris is a tabletop role-playing horror experience that can be further expanded on in the future with the possibility of a larger production.

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9

Decicio, Brendan. "The Layered Frames of Performed Tabletop: Actual-Play Podcasts and the Laminations of Media". BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8737.

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Abstract (sommario):

Despite their sudden growth in popularity, the role-playing actual-play podcasts have either been ignored or grouped with the genre of audio drama in prior scholarly works. Examination using frame analysis shows, however, that these podcasts are distinct in their engagement of the audience on multiple, simultaneous levels; levels which correspond with well-known media genres such as Documentary, Fiction, and Game Play. Each frame has its own layer of identities, conduct, and avenue for appealing to audiences just as these genres have their own distinct appeals. Through the combinations of these frames, familiar tropes and techniques such as Short-Form Improv and Campbell's monomyth are broadened and challenged, and identities become entangled in this post-modern medium. Delineating the features of these frames and exploring their interactions and interconnectivity not only helps to distinguish the actual-play podcast as its own distinct podcast genre, but also highlights the potential for using such frames or frame analysis in other media forms.

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10

Glazer, Kip. "Imagining a constructionist game-based pedagogical model| Using tabletop role-playing game creation to enhance literature education in high school English classes". Thesis, Pepperdine University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731117.

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In today’s K-12 educational environment with the newly adopted Common Core State Standards (CCSS), improving student literacy as a foundational skill to obtain success in all other subject areas is one of the most important goals. Unfortunately, many literature curricula suffer from a lack of innovative pedagogy despite the introduction of various educational technologies meant to aid student learning. This study focused on developing a new game-based constructionist pedagogical model for literature education using tabletop role-playing game creation. Using Shulman’s (1987) Pedagogical Content Knowledge (PCK) that eventually evolved into Mishra and Kohler’s (2006) Technological Pedagogical Content Knowledge (TPACK) as the main theoretical framework, this design-based research showed how tabletop role-playing game creation as a constructionist pedagogical strategy successfully helped high school students to receive the benefits of high quality literature education.

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11

Jäderkvist, Henrik, e Jonsson Johannes Byman. "Spelar det någon roll? : Äventyrsrollspel som behandlingsmetod för personer med psykisk ohälsa och autismspektrumtillstånd". Thesis, Högskolan i Gävle, Socialt arbete, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-32697.

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Abstract (sommario):

I denna uppsats undersöks användningen, användbarheten, samt för- och nackdelar medäventyrsrollspel som behandlingsform vid psykisk ohälsa och autismspektrumtillstånd.För att studera detta har vi genomfört en kvalitativ intervjustudie med verksammapraktiker. Resultatet visar att behandlingens struktur är liknande för olika klientgrupperäven om behandlingsfokuset kan skilja sig beroende på klientens problematik.Återkommande teman är användandet av fantasin som verktyg vid behandling,äventyrsrollspelet som ramverk, social träning samt möjligheten till personligutveckling vilket är positiva aspekter av behandlingen. Dock är behandlingen begränsadför individer med vissa typer av problematik och skulle därmed fungera bättre som enkompletterande terapi. Den har även högt ställda kompetenskrav på behandlare som villanvända metoden. I diskussionen använder vi symbolisk interaktionism som teoretisktramverk för att tolka resultatet.
This study explores the usage, applications, as well as the pros and cons of utilizingtabletop role-playing games as a method of therapy for individuals with mental illnessand autism spectrum disorder. Qualitative interviews were conducted with practitionerswho apply the method. The result shows that the method is structured similarly fordifferent client groups while treatment focus changes according to individual diagnoses.Some recurring themes were: fantasy as a tool for therapy, the tabletop role-playinggame framework, social training, and possibility for personal growth which are allpositive aspects of the treatment. However, the treatment has limitations when used onindividuals with certain types of mental health problems and would instead work betteras a complementary treatment. However, a high level of competence is required forpractitioners who wish to utilize the method. In the discussion we seek to answer ourexplored issues through a symbolic interactionist theoretical standpoint.

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12

Sterckx, Joel, e Kristian Repo. "Lek eller allvar? En roligare behandling : Bordsrollspel som behandlingsmetod och social färdighetsträning". Thesis, Jönköping University, HHJ, Avd. för socialt arbete, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-53022.

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Abstract (sommario):

I denna studie undersöks hur bordsrollspel kan användas i en behandlingskontext. För att studera detta har vi genomfört en kvalitativ studie av verksamma utövares medverkan i podcaster och panelsamtal uppladdade på Youtube där de berättar om metoden. Resultatet visar att bordsrollspel används i två, delvis överlappande, syften: social färdighetsträning och behandling av psykisk ohälsa. Bordsrollspel beskrivs som en social aktivitet med många inneboende positiva följder för spelaren, exempelvis ökad samarbetsförmåga, perspektivtagande och känsloreglering. När aktiviteten leds av en tränad behandlare kan spelet användas för att nå uttalade terapeutiska mål. Detta ställer emellertid stora krav på spelledaren som behöver ha god kännedom om både behandling och spelet. Behandlingen riktar sig främst till ungdomar med svårigheter med socialt samspel, men den har också potential att användas med vuxna klienter. För att diskutera materialet har ett symbolisk interaktionistiskt perspektiv använts.
This study examines how tabletop role-playing games (TTRPGs) can be used as an intervention. We have conducted a qualitative study of practitioners' participation in podcasts and panel discussions published on Youtube where they talk about TTRPGs as an intervention. The results demonstrate how TTRPGs are utilized with two, partially overlapping purposes: social skills training and treatment for mental health conditions. TTRPGs are described as a social activity with a number of inherent benefits for the player, such as increased collaboration skills, perspective-taking and emotional regulation. Whilst being led by a trained professional the game can be used as a tool to reach defined therapeutic goals. This, however, requires the game master to be well-versed in both the role of therapist as well as game master. The intervention studied is primarily used with adolescents struggling with social interactions, but also has potential to be used with adult clients. To discuss the results a symbolic interactionist perspective has been used.

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13

Gardner, Felix. "The actualities of Actual Play : A qualitative study on interaction within the netnographic landscape of Actual Play". Thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190574.

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Abstract (sommario):

This study’s purpose is to explore the online medium known as “Actual Play” through the perspective of both content creators, who work within the format as well as their audience who consume and interact with the content. This is a qualitative interview and observation study on the subject of Actual Play. The empirical material consists of four interviews with participants who are in one way or another involved with Actual Play content creation or distribution, an entire episode of an Actual Play series has also been analyzed to demonstrate the concept to readers unfamiliar with Actual Play and/or role-playing games. The questions this study has sought to answer regard what Actual Play is and looks like in practice and what the interactions between participants within Actual Play as well the interactions between these Actual Play creators and their audience looks like. The study’s findings show that the interaction between the different social actors within Actual Play is similar to that of improvisational theater. To maintain the trust between the participants, social contracts that employ safety tools are often used. The interaction between the Actual Play content creators and their audiences seems more personal than average, since they’re all able to inhabit and interact over the Internet. The audience also seems to enjoy that aspect of getting to know the Actual Play actors and/or creators on both a personal level and through their characters. Finally, Actual Plays main appeal appears to be based around being a way to share and engage with others around a shared interest.

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14

Svan, Oscar, e Anna Wuolo. "Emergent Player-Driven Narrative in Blades in the Dark and Dungeons & Dragons : A Comparative Study". Thesis, Uppsala universitet, Institutionen för speldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448012.

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Abstract (sommario):

This paper presents a comparative study on two Tabletop Roleplaying Games, Dungeons & Dragons and Blades in the Dark. This paper takes a look at the narrative differences within the two systems. More specifically investigate if Blades in the Dark is more playerdriven than Dungeons & Dragons. The two tested as closely as possible and will be compared with each other. This is a close reading on the rules and player agency rather than a one-on-one comparison. The comparisons were made regarding the mechanics and narrative differences within the systems rather than quality of the story. This study was conducted by running two sessions, one for each system, played by separate groups with the same game scenario and premise. Meaning that the background for both games, character and plot for the session were the same. Comparisons were made by observing player decisions, situations that arose and the influence that the gamemasters had on the game. It was found that there is a clear difference between the two systems, this difference regarding whether the players were reacting to the gamemaster, or the other way round. In Dungeons & Dragons, it was observed that the players reacted and acted according to what the gamemaster explained and played out, whereas in Blades in the Dark it appeared to be the opposite. Here we found that it was the Gamemaster who was reactive to the players instead. The paper concluded that Blades in the Dark is the more player-driven system. This short study could later be built upon and used by game developers to keep in mind and plan their future game systems around. Taking these observations on emergent narrative in Tabletop Role-playing Games into account can be used to create more player-centric and player-driven games. Meaning that the players are more in influence and decisions to make in the story and game.
I detta papper presenteras en jämförande undersökning av två rollspelssystem, Dungeons & Dragons och Blades in the Dark. Det här papperet kollar på skillnaderna när det kommer till spelar-drivet berättande inom de två spelen. Mer specifikt så utreds om Blades in the Dark är mer spelar-drivet än Dungeons & Dragons. De två kommer att testas så likt som möjligt och jämföras med varandra. Detta är en noggrann läsning av reglerna och spelarnas påverkan på spelets berättande, där vad som undersöks är spelets funktioner och skillnader i hur de berättas och presenteras, snarare än kvalitén på spelen eller berättelserna. Denna studie genomfördes genom att hålla två sessioner, en för varje system, spelad av separata grupper men med samma scenario och förutsättningar. Jämförelser gjordes genom att observera spelarbeslut, situationer som uppstod, samt det inflytande som spelmästare hade på spelet. En tydlig skillnad blev synlig mellan de två systemen var gällande huruvida spelarna reagerade på spelmästaren eller tvärtom. I Dungeons & Dragons observerades att spelarna reagerade och agerade enligt vad spelmästaren förklarade och spelade ut. I Blades in the Dark studerades en motsatt effekt, här upptäcktes att det var spelmästaren som reagerade på spelarna istället. Med denna undersökning kom vi fram till att Blades in the Dark är det mer spelar-drivna systemet. Den här studien kan i framtiden användas och byggas på av spelutvecklare för att göra nya spelsystem, med dessa observationer som framkom, kan komma till användning för att göra fler spel med mer spelar-drivet fokus. Vilket innebär att spelaren har mer inflytande på historiens som berättas och spelet i sig.

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15

Streck-Havill, Trenton. "Playing Angels and Angels at Play: The Study of Religion in Tabletop Role-Playing Games". Thesis, 2012. http://spectrum.library.concordia.ca/973912/7/Playing_Angels_and_Angels_at_Play_%2D_Thesis.pdf.

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Abstract (sommario):

Tabletop role-playing games (TRPGs) provide a unique religious experience to players through three levels of interaction. Players engage with religion and religious concepts in TRPGs through mechanics and system rules, setting, and interpersonal interactions with other gamers during the game session. Together these three facets of the TRPG experience create a bridge between the player and the game environment. This allows for players to experience the game setting as part of their conventional reality. Religious constructs erected in the game world and interacted with via the player's character, become authentic expressions of religion worthy of study by scholars of religion. Religion becomes actualized by the player as he translates the experience of his character into personal experience with the game environment. Mechanics help facilitate that translation by creating the liminal space of the game. Rules and system create boundaries for the game that creates the place where religious play can occur. Setting then fills the liminal space providing the environment that is explored, creating an understandable engagement with religious components of the game. Lastly, the act of play, by the player, creates religious belief within the setting. Taken together the game experience of the TRPG is actuated to conventional religious experience, which opens it up as a subject for religious study.

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16

Cover, Jennifer Ann Grouling. "Tabletop role-playing games perspectives from narrative, game, and rhetorical theory /". 2005. http://www.lib.ncsu.edu/theses/available/etd-03262005-191219/unrestricted/etd.pdf.

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17

Breen, Lorna. "Making believe, together: a pilot study of the feasibility and potential therapeutic utility of a family tabletop role-playing game". Thesis, 2021. http://hdl.handle.net/1828/13358.

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Abstract (sommario):

Interventions for children and their families have traditionally stemmed from two interrelated frameworks: play-based child therapies, and family therapies (Gil, 2015). Integrated family play therapy frameworks aim to capitalize on the strengths of both approaches by combining meaningful engagement of children through play, and systems-level insights into patterns of family functioning and interaction (Gil, 2015). A virtually unexplored avenue for play-based therapeutic applications of role-play that may lend themselves to an integrated family play therapy framework are tabletop role-playing games (TRPGs); cooperative and narrative-based games wherein players adopt the role of fictional characters as they navigate a fantasy setting arbitrated by a game master. Case studies on the use of TRPGs with children and young adults have yielded initial evidence of their potential therapeutic utility (e.g., Blackmon, 1994; Enfield, 2007; Rosselet & Stauffer, 2013), however, research on their application is limited, particularly with families. The current study pilot tested an original TRPG module (“The Family Tabletop Adventure”) for use with families to establish the module’s potential therapeutic utility and identify targets for further refinement. A sample of three family groups (N = 11) were recruited to participate in six weekly online sessions (a 1-hour introductory session, four 1.5- to 2-hour game sessions, and a 1-hour exit interview). A variety of mixed-method measures were used to assess family functioning at baseline and post-game, including observational coding, self-report, and qualitative group interviews. Exploratory analyses of the findings indicated the module’s feasibility of implementation and ease of use, low iatrogenic risk, perceptions by families as fun and engaging, and potential utility across a range of family processes relevant to therapeutic contexts, including communication and problem solving, positive interactions and relationship building, and the generation of novel insights about family members. Family feedback was used to identify several targets for additional refinement of the game module to improve families’ comprehension and engagement with the game. The implications of these findings and their relevance to the use of TRPGs in family intervention contexts are discussed.
Graduate
2022-08-26

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18

Dyson, Scott Benjamin, e 張禾力. "The effect of tabletop role-playing games on the emotional and cognitive creativity of Taiwanese college students". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/q84np3.

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碩士
國立臺灣師範大學
教育心理與輔導學系
101
Research on the effect of tabletop role-playing games on creativity has been sparse. It is not clear exactly how the two are related. The purpose of this study was to examine how role-play influences cognitive and emotional creativity. To investigate this topic, this study used a two group experimental design, one treatment group (N=19) and one control group (N=20). After taking the Emotional Creativity Index (ECI) and Abbreviated Torrance Test for Adults (ATTA) as pre-tests, the treatment group played tabletop role-playing games once every week for four weeks. Upon the completion of the treatment, the subjects retook the tests. The control group only took the pre-tests and post-tests and did not play any role-playing games. After data collection, ANCOVAs were run to test the differences between the two groups. No significant results were found, and it was concluded that role-playing games do not influence the emotional or cognitive creativity of Taiwanese college students.

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Tesi sul tema "Tabletop Role-Playing"

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