The Fantasy Role-Playing Game: A New Performing Art
Many of today’s hottest selling games—both non-electronic and electronic—focus on such elements as shooting up as many bad guys as one can (Duke Nuk’em), beating the toughest level (Mortal Kombat), collecting all the cards (Pokémon), and scoring the most points (Tetris). Fantasy role-playing games (Dungeons & Dragons, Rolemaster, GURPS), while they may involve some of those aforementioned elements, rarely focus on them. Instead, playing a fantasy role-playing game is much like acting out a scene from a play, movie or book, only without a predefined script. Players take on such roles as wise wizards, noble knights, roguish sellswords, crafty hobbits, greedy dwarves, and anything else one can imagine and the referee allows. The players don’t exactly compete; instead, they interact with each other and with the fantasy setting. The game is played orally with no game board, and although the referee usually has a storyline planned for a game, much of the action is impromptu. Performance is a major part of role-playing, and role-playing games as a performing art is the subject of this book, which attempts to introduce an appreciation for the performance aesthetics of such games. The author provides the framework for a critical model useful in understanding the art—especially in terms of aesthetics—of role-playing games. The book also serves as a contribution to the beginnings of a body of criticism, theory, and aesthetics analysis of a mostly unrecognized and newly developing art form. There are four parts: the cultural structure, the extent to which the game relates to outside cultural elements; the formal structure, or the rules of the game; the social structure, which encompasses the degree and quality of social interaction among players; and the aesthetic structure, concerned with the emergence of role-playing as an art form.
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The Fantasy Role-Playing Game: A New Performing Art
Many of today’s hottest selling games—both non-electronic and electronic—focus on such elements as shooting up as many bad guys as one can (Duke Nuk’em), beating the toughest level (Mortal Kombat), collecting all the cards (Pokémon), and scoring the most points (Tetris). Fantasy role-playing games (Dungeons & Dragons, Rolemaster, GURPS), while they may involve some of those aforementioned elements, rarely focus on them. Instead, playing a fantasy role-playing game is much like acting out a scene from a play, movie or book, only without a predefined script. Players take on such roles as wise wizards, noble knights, roguish sellswords, crafty hobbits, greedy dwarves, and anything else one can imagine and the referee allows. The players don’t exactly compete; instead, they interact with each other and with the fantasy setting. The game is played orally with no game board, and although the referee usually has a storyline planned for a game, much of the action is impromptu. Performance is a major part of role-playing, and role-playing games as a performing art is the subject of this book, which attempts to introduce an appreciation for the performance aesthetics of such games. The author provides the framework for a critical model useful in understanding the art—especially in terms of aesthetics—of role-playing games. The book also serves as a contribution to the beginnings of a body of criticism, theory, and aesthetics analysis of a mostly unrecognized and newly developing art form. There are four parts: the cultural structure, the extent to which the game relates to outside cultural elements; the formal structure, or the rules of the game; the social structure, which encompasses the degree and quality of social interaction among players; and the aesthetic structure, concerned with the emergence of role-playing as an art form.
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The Fantasy Role-Playing Game: A New Performing Art

The Fantasy Role-Playing Game: A New Performing Art

by Daniel Mackay
The Fantasy Role-Playing Game: A New Performing Art

The Fantasy Role-Playing Game: A New Performing Art

by Daniel Mackay

eBook

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Overview

Many of today’s hottest selling games—both non-electronic and electronic—focus on such elements as shooting up as many bad guys as one can (Duke Nuk’em), beating the toughest level (Mortal Kombat), collecting all the cards (Pokémon), and scoring the most points (Tetris). Fantasy role-playing games (Dungeons & Dragons, Rolemaster, GURPS), while they may involve some of those aforementioned elements, rarely focus on them. Instead, playing a fantasy role-playing game is much like acting out a scene from a play, movie or book, only without a predefined script. Players take on such roles as wise wizards, noble knights, roguish sellswords, crafty hobbits, greedy dwarves, and anything else one can imagine and the referee allows. The players don’t exactly compete; instead, they interact with each other and with the fantasy setting. The game is played orally with no game board, and although the referee usually has a storyline planned for a game, much of the action is impromptu. Performance is a major part of role-playing, and role-playing games as a performing art is the subject of this book, which attempts to introduce an appreciation for the performance aesthetics of such games. The author provides the framework for a critical model useful in understanding the art—especially in terms of aesthetics—of role-playing games. The book also serves as a contribution to the beginnings of a body of criticism, theory, and aesthetics analysis of a mostly unrecognized and newly developing art form. There are four parts: the cultural structure, the extent to which the game relates to outside cultural elements; the formal structure, or the rules of the game; the social structure, which encompasses the degree and quality of social interaction among players; and the aesthetic structure, concerned with the emergence of role-playing as an art form.

Product Details

ISBN-13: 9780786450473
Publisher: McFarland & Company, Incorporated Publishers
Publication date: 08/11/2017
Sold by: Barnes & Noble
Format: eBook
Pages: 215
File size: 943 KB

About the Author

Daniel Mackay holds an M.A. in performance studies from New York University’s Tisch School of the Arts. He lives in Eugene, Oregon.

Table of Contents

Acknowledgmentsxi
Forewordxiii
Introduction: Toward an Aesthetics of the Role-Playing Game1
The Role-Playing Game: Defined, Described, and Systematized4
Part 1Cultural Structure
Origins: From War Games to Role Games13
Novel Ideas: AD&D and Dragonlance as a Case for the Role-Playing Game's Reciprocal Relationship with Fantasy Literature17
A Recursive History: The Role-Playing Game's Dialogue with Popular Culture20
A New Category of Popular Entertainments and a New Kind of Sandbox: Playing in Imaginary-Entertainment Environments26
Part 2Formal Structure
Interface Design: The Machinery Manufacturing the Ghost in the Machine37
Enabling the Performance in Every Way: Everway as a Case Study in Role-Playing Game Interface Design40
Spheres of Performance: A Taxonomy48
Drama: Inscription, Transcription, Prescription49
The Theater and Performance of the Game: Frames of Interaction53
One Word, Two Ears: How the Theater of the Role-Playing Game Narrative Exists within the Sphere of the Role-Playing Game Performance57
Part 3Social Structure
The Structural Foundation of the Role-Player's Subjectivity63
The Role-Playing Game Convention: Festival Subculture69
Context [right arrow] Intertext [right arrow] Hypertext: Role-Playing Games as Systems of Cultural Allusion73
The Structuralist Activity within the Cultural Sphere: Making the Score in the Liminal Mind76
Strips of Imaginary Behavior and the Assemblage of the Character79
The Theater of the Mind: A Phenomenology of the Role-Played Performance within the Theater Sphere (the Performative and Constative Frames)85
The Imaginary Script: A Phenomenology of the Role-Played Performance within the Script Sphere (Narrative Frame)87
If As If: The Role-Played Performance within the Script Sphere (Narrative Frame)88
Structures of Power92
What Leaks? The Archiving of the Player-Character98
Mopping Up: The Archived Player-Character in the Ongoing Narrative106
Shared Substance, Emancipation, and Discipline107
The Efficacy of Entertainment109
Becoming the Spectator117
Part 4Aesthetic Structure
The Theater of Events: Narrative as Aesthetic Object121
The Implied Narratee: The Role-Playing Game Performance and Ergodic Literature131
Ars Ludica, Ars Significans: Wherefore the Insistence of Aesthetics?135
Dividing to Conquer: Demiurge in the Mind136
Aesthetic Dementia: Frosting and Defrosting the Windows of Otherworldliness150
Epilogue: The Paradigm for Analysis of a New Performing Art157
Afterword161
Notes165
Bibliography185
Index193
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