O presente trabalho é resultado da investigação envolvendo Roleplaying game, literatura e sociedade. As estruturas ficcionais e as formas do conto maravilhoso, presentes nas narrativas interativas, propiciam um resgate e reatualização da produção contemporânea na perspectiva da criação coletiva do enredo e na elaboração das personagens no fluxo de ficções. Foram utilizados como corpus as discussões nos fóruns do gênero, registros de jogadores sobre casos felizes e resultados infelizes no uso das regras da gramática da ficção. A prática que torna o leitor um cuidadoso manipulador da ficção, sujeito e criador de narrativas, pode ser observada na experiência com autoria e educação realizada numa escola pública. Finalmente, as narrativas interativas são um indicativo da necessidade de criação do ser humano ao relatar os feitos de suas personagens e os caminhos de suas histórias; denunciam não apenas as estruturas literárias e ficcionais em jogo, mas a presença de um leitor habilidoso na manipulação do universo cultural que o rodeia, cujas regras elementares são as da autoria. / The present search is resulted of the investigation involving Roleplaying loves, literature and society. The structures fictionists and the forms of the wonderful story, presents in the interactive narratives, propitiate a rescue and actualization of the contemporary production in the perspective of the collective creation of the plot and in the characters\' elaboration in the flow of fictions. It was used as a corpus of discussions in the forums of the gender, players\' registrations on happy cases and unhappy results in the use of the rules of the grammar of the fiction. The practice that turns the reader a careful manipulator of the fiction, subject and creator of narratives, it can be observed in the experience with authorship and education, accomplished at a public school. Finally, the interactive narratives are an indicative of the creation need that the human being possesses where, when telling their stories, they not just denounce the literary structures and fictionists in game, but a skilled reader\'s presence in the manipulation of the cultural universe that surrounds it, whose elementary rules are the one of the authorship.

The bond between player and character as perceived by many, in pen-and-paper roleplaying games, is unrivalled in its emotional strength. This is an opinion shared by many hardcore enthusiasts across the globe. Personally I have never achieved a connection to any digital character that even closely resembles the intense affection I have felt for my pen-and-paper characters, and this baffles me. The goal with this thesis is to try and find exactly what pen-and-paper roleplaying games do differently. The method used is qualitative interviews with students at Gotland University. The participants are experienced roleplayers in both the analogue and digital form. With their help I try to identify the reasons to why players get attached to pen-and-paper characters more than digital ones. The literature revolves around roleplaying and how we identify with characters in other media as well. The result shows that there are four distinct reasons to why players get attached to characters.

Submitted by Jordan (jordanbiblio@gmail.com) on 2017-04-24T13:16:45Z No. of bitstreams: 1 DISS_2015_Jeferson Lucas Zanin.pdf: 8584710 bytes, checksum: 18482800d13e706bdabaa541a17b22bb (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-04-27T12:31:48Z (GMT) No. of bitstreams: 1 DISS_2015_Jeferson Lucas Zanin.pdf: 8584710 bytes, checksum: 18482800d13e706bdabaa541a17b22bb (MD5) / Made available in DSpace on 2017-04-27T12:31:48Z (GMT). No. of bitstreams: 1 DISS_2015_Jeferson Lucas Zanin.pdf: 8584710 bytes, checksum: 18482800d13e706bdabaa541a17b22bb (MD5) Previous issue date: 2015-08-28 / Este trabalho apresenta os ganhos e as contribuições do jogo de intepretação de papéis, ou Roleplaying Game (RPG), voltado para o ensino de Química, utilizando o formato de um Guia Didático. Enquanto joga RPG, cada participante representa o papel de uma personagem dentro de uma aventura fantástica. Um dos jogadores assume o papel de mestre do jogo, ou simplesmente mestre, e possui um papel único e especial entre todos do time. É ele que descreve as cenas e segue a trama. Os jogadores então, atuam de acordo com suas personagens, interferindo e construindo a história. Pesquisado no Brasil como ferramenta pedagógica desde a década de 90, Marcatto (1996) e Schmit (2008) apontam o RPG como uma ferramenta pedagógica capaz de desenvolver inúmeras habilidades e competências entre os jogadores. Cavalcanti (2009) relatou êxito da sua utilização na avaliação do conhecimento químico. Com essa base, realizou-se uma pesquisa bibliográfica para criação de um banco de dados dos trabalhos científicos e livros impressos, concomitantemente a uma análise das obras que levantam as contribuições do RPG na educação. Posteriormente, realizou-se uma pesquisa sobre os materiais de RPG e sistemas de jogo gratuitos, assim como conceitos básicos de narrativa e construção de histórias, para elaboração de aventuras pedagógicas que visem a construção de conceitos utilizados na disciplina de Química. O resultado dessa pesquisa indicou que, em sua maioria, os narradores de RPG são os próprios pesquisadores já com certa experiência no jogo, sem relatos de experiências com outros professores assumindo o papel de mestre do jogo. Elaborou-se então, um produto educacional contendo uma aventura, um sistema de regras adaptado e informações sobre a condução de um jogo de RPG para professores de Química leigos no assunto. Após ser submetido a testes, o produto educacional se tornou um Guia Didático, denominado Na Trilha da Aventura: Ensinando e Aprendendo Química com RPG. Ele foi avaliado por jogadores experientes de RPG, integrantes do Programa Institucional de Bolsa de Iniciação à Docência (PIBID) Interdisciplinar em Ciências Naturais e Matemática e professoras formadoras do Centro de Formação e Atualização dos Profissionais da Educação Básica – Cefapro. A avaliação considerou o aspecto técnico, lúdico, didático e pedagógico do Guia Didático. Os resultados da avaliação foram positivos, demonstrando que o material prepara o professor para utilizar o RPG em suas aulas. O Guia Didático ajuda a criar aventuras, fornece subsídios para que o professor leigo sobre RPG possa ensinar os alunos jogando a aventura proposta, permitindo que se inclua outros conceitos de Química e adapte os desafios propostos de acordo com sua realidade. / This paper presents the gains and contributions of a Roleplaying Game (RPG) to chemistry teaching, presented as a Teaching Guide. While playing RPG, each player undertakes a character role in a fantastic adventure. One of the players assumes the role of Game Master (GM), who holds a unique and special role among all in the team. The GM describes the scenes and follows the plot. The players then, act according to their characters, interfering and building up the history. Researched in Brazil as a pedagogical tool since the 90s, Marcatto (1996) e Schmit (2008) point out the RPG as pedagogic capable of develop a number of skills among its players. Cavalcanti (2009) reports success of its use in natural sciences teaching. With this foundation in mind, a research was done over the literature to create a database of scientific papers and physical books, concomitantly to an analysis of the works regarding the contributions of the RPG in teaching. Later on, it was carried out a research on free RPG materials and game systems, as well as basic concepts for storytelling and plot build focused on construction of chemical concepts. The result of this research indicated that major parts of RPG game masters are the researchers themselves, who already has some experience with the game. Then, it was produced an educational product containing an adventure, an adapted system of rules and information concerning how to drive a RPG game for Chemistry teachers who have no experience with the game itself. After undergoing tests, the educational product became a Teaching Guide, called "Na Trilha da Aventura: Ensinando e Aprendendo Química com RPG". It was rated by experienced players of RPGs, members of Programa Institucional de Bolsa de Iniciação à Docência (PIBID) Interdisciplinar em Ciências naturais e Matemática and teachers of the Centro de Formação e Atualização dos Profissionais da Educação Básica – Cefapro. The evaluation found the technical aspect, playful, didactic and pedagogical of the Teaching Guide. The evaluation results were positive, demonstrating that the guide prepares the teacher to use the RPG in his classes. It helps to create your own adventures, provides subsidies so that the teacher who never had experience with RPG may teach the by playing the proposed adventure, allowing the teacher to add other chemistry concepts and adapt the proposed challenges according to their realities.

O presente trabalho é resultado da investigação envolvendo Roleplaying game, literatura e sociedade. As estruturas ficcionais e as formas do conto maravilhoso, presentes nas narrativas interativas, propiciam um resgate e reatualização da produção contemporânea na perspectiva da criação coletiva do enredo e na elaboração das personagens no fluxo de ficções. Foram utilizados como corpus as discussões nos fóruns do gênero, registros de jogadores sobre casos felizes e resultados infelizes no uso das regras da gramática da ficção. A prática que torna o leitor um cuidadoso manipulador da ficção, sujeito e criador de narrativas, pode ser observada na experiência com autoria e educação realizada numa escola pública. Finalmente, as narrativas interativas são um indicativo da necessidade de criação do ser humano ao relatar os feitos de suas personagens e os caminhos de suas histórias; denunciam não apenas as estruturas literárias e ficcionais em jogo, mas a presença de um leitor habilidoso na manipulação do universo cultural que o rodeia, cujas regras elementares são as da autoria. / The present search is resulted of the investigation involving Roleplaying loves, literature and society. The structures fictionists and the forms of the wonderful story, presents in the interactive narratives, propitiate a rescue and actualization of the contemporary production in the perspective of the collective creation of the plot and in the characters\' elaboration in the flow of fictions. It was used as a corpus of discussions in the forums of the gender, players\' registrations on happy cases and unhappy results in the use of the rules of the grammar of the fiction. The practice that turns the reader a careful manipulator of the fiction, subject and creator of narratives, it can be observed in the experience with authorship and education, accomplished at a public school. Finally, the interactive narratives are an indicative of the creation need that the human being possesses where, when telling their stories, they not just denounce the literary structures and fictionists in game, but a skilled reader\'s presence in the manipulation of the cultural universe that surrounds it, whose elementary rules are the one of the authorship.

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.

Although there is a large body of research on the effects of unstructured group therapy among college students, there is inconclusive research on how implementing tabletop roleplaying games (TTRPGs) as a structured activity affects group cohesion for therapy groups made up of college students. Participants were adult, full-time university students who are seeking therapy at the university counseling center. This study measured the effectiveness of therapeutically applied TTRPGs in group therapy with a mixed-methods approach. Participants took the Outcome Questionnaire-45 (OQ-45) to measure psychological functioning, the Group Questionnaire (GQ) to measure group cohesion, and answered five qualitative questions to describe their group experiences. A series of linear regressions and means comparisons identified differences between treatment and control groups followed by a qualitative thematic analysis of participants' group experiences. The study yielded the following results: (a) groups had statistically suggestive improvements in their psychological functioning (p = 0.947), (b) groups had significant improvements in their group cohesion (GQ TS p < 0.0001, GQ NR p < 0.0001, GQ PB p < 0.0001, GQ PW p < 0.0001); (c) there were no significant quantitative differences between treatment and control groups; and (d) identifiable themes in group member comments. This study indicates that therapeutically applied TTRPG (TA-TTRPG) groups are as effective at treating mental health symptoms as unstructured interpersonal process groups are with additional qualitative benefits. These findings suggest that clients of university counseling centers might benefit from participating in TA-TTRPG groups as they do from participating in unstructured interpersonal process groups.

Made available in DSpace on 2016-12-08T16:51:58Z (GMT). No. of bitstreams: 1 andre.pdf: 2189502 bytes, checksum: 1b7754d59cdba007a21afe49938f8a37 (MD5) Previous issue date: 2012-06-28 / This research looks at similarities between ROLEPLAYING GAME and Process Drama by identifying their elements of theatricality and performativity, both common aspects to roleplaying and theatre. This investigation focus on theory and practice. In theoretical terms, studies on Performance and Theatre were carried out, based on Schechner (2006) and Feral (2003); the relationship between game and theatre was examined from the perspectives of Huizinga (2001), Caillois (1994) and Pavis (1999). The game analysis was based on RPG view point and its live version, LARP (Live Action Roleplaying). Regarding practice, two experiments with LARP were carried out. In both, The Crucible , by Arthur Miller, was used as pre-text. In these experiences, students from the first semester majoring in theatre used elements of Drama and Theatre Games. The analysis of both practices point to similarities between the Game Master and the Teacher-in-role, a planning based on episodes, and a game dimension oriented by a pre-text. This investigation also included a conceptual analysis of game, acting and representation / Esta pesquisa examina as similaridades entre ROLEPLAYING GAME e o Process Drama, identificando seus aspectos de teatralidade e performatividade, ambos comuns ao ROLEPLAYING GAME e ao teatro. Esta investigação esteve centrada em teoria e prática. Em termos teóricos, foram desenvolvidos estudos sobre performatividade e teatralidade, baseados em Schechner (2006) e Féral (2003); o relacionamento entre jogo e teatro foi examinado a partir das perspectivas de Huizinga (2001), Caillois (1994) e Pavis (1999). A análise do jogo foi considerada pelo ponto de vista do RPG e de sua versão ao vivo, LARP (Live Action Roleplaying). Com relação à prática, duas experiências com LARP foram desenvolvidas. Ambas tiveram "As Bruxas de Salém", de Arthur Miller, como pré-texto. Nestas experiências, alunos da primeira fase de licenciatura em teatro usaram elementos de drama e jogos teatrais. A análise de ambas as práticas apontam similaridades entre o Mestre do Jogo e o Teacher-inrole, um planejamento baseado em episódios, e uma dimensão de jogo orientada por um prétexto. Esta investigação também incluiu uma análise conceitual de jogo, atuação e representação

The connection that players can feel toward their characters in pen-and-paper roleplaying games is a known phenomenon that has been previously studied and is recognized among roleplaying enthusiasts. Pen-and-paper roleplaying games are a complex form of games, with three distinct frames which are ludological, social, and diegetic (also called narrative). The frames are different aspects of the game as well as the base of different motivations for players, who value the frames in a varied degree. The goal of this thesis is to examine if in-game choices based on the diegetic frame in contrast to the ludological frame are correlated with the player/character connection. The method used for data collection is distribution of a quantitative questionnaire on the internet, spread to Swedish roleplayers through social media and associations tied to SVEROK. With their answers, the analysis identifies correlations between the player/character connection and the three frames of pen-and-paper roleplaying games, as well as other correlations noted in the data analysis. The literature revolves around the two core concepts; the player/character connection and the three frames of roleplaying games. The result shows that diegetic choices in contrast to ludological are weakly correlated with the player/character connection.

This study explores the archetypes, motifs, and stages of the Joseph Campbell's Hero's Journey as they are found in the Moldvay revision of the rules to Basic Dungeons & Dragons, that emerge from playing the game using the seven adventure modules printed for these rules. Using narratological concepts, the definition of what makes narrative is expanded to include the narrative that emerges by playing story-based roleplaying games like Dungeons & Dragons. These narratives, based on the seven adventure modules, are the analyzed using Campbell's monomyth as an interpretive tool, showing that these types of narratives are up to similar academic scrutiny as other forms of narrative. Such scrutiny shows that the types of narrative that emerge from playing a tabletop roleplaying game like Dungeons & Dragons need an expansion of the models for narrative analysis. This expansion presents a myriad of opportunities for future study.

No description available.