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  <description locale="en_US">&lt;p&gt;Special Issue: Role-playing and Simulation in Education 2016&lt;/p&gt;</description>
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        <abstract locale="en_US">&lt;p&gt;German Studies as a discipline aims to make the form and content of its literary heritage relevant to today&#x2019;s undergraduate student. Yet traditional teaching methods of lecture and reading aloud do not emotionally engage them. Literature-based larps such as A Nice Evening with the Family (2007) and Inside Hamlet (2015) emotionally engage their participants with &#x2013; and make an argument about &#x2013; the major themes of their source texts, yet are too logistically complex for the modern university setting. Recent developments in nano-games and freeform, however, permit us to design games that directly address the scale and tight focus needed for the undergraduate foreign-language literature classroom. This article contends that games can be used to interpret literature in comparable ways to an analytic essay, and discusses two nano-games based on German literature already developed by University of Cincinnati students in Spring 2016: &lt;em&gt;Unrequited&lt;/em&gt; (2016), an adaptation by Sarah B. of &lt;em&gt;The Sorrows of Young Werther&lt;/em&gt; (1775) by J.W.G. Goethe, and &lt;em&gt;Babble-On&lt;/em&gt; (2016), an adaptation by Ashton D. of Emine Sevgi &#xD6;zdamar&#x2019;s &lt;em&gt;Mothertongue&lt;/em&gt; (1990). These games exhibit specific interpretations of the texts in question, inviting students to interact with those interpretations, and then emotionally react to both the games and the texts themselves.&lt;/p&gt;</abstract>
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        <abstract locale="en_US">&lt;p&gt;Improv games, which are used to train actors in how to do improvisational theatre, may be used to train other professions as well. The games assist in the development of simple skills and also give context for the skills&#x2019; use. The director chooses a series of these quick and simple games, tailoring the games to the already existing skills of the students. The &lt;br&gt;skills built through the games may assist with further exercises, which may vary widely depending on the field in which they are taught. Instructions on how to create improv games, and hazards to avoid, are also included, should a teacher or director decide &lt;br&gt;to create some games.&lt;/p&gt;</abstract>
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        <abstract locale="en_US">&lt;p&gt;This case study examines the effectiveness of incorporating role-playing and simulation techniques into a high school classroom in order to improve student&#x2019;s mastery of the themes and structure of an American play. After incorporating three techniques to encourage student empathy toward the characters in Arthur Miller&#x2019;s &lt;em&gt;The Crucible&lt;/em&gt;, the teacher compared students&#x2019; grades during this unit to their grades earlier that year and to the grades of the previous year&#x2019;s students during the drama unit. Grades were measurably higher when the teacher applied these role-playing techniques. Both general education and special education students improved their analysis of the play&#x2019;s themes and structural elements, as measured in daily assignments, quizzes, and exams. Despite limitations in the data, such as limited access to the grades of the previous years&#x2019; students and a relatively small sample of special education students, role-playing techniques are a promising tool for secondary educators in the dramatic literature classroom.&lt;/p&gt;</abstract>
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        <title locale="en_US">Playing Political Science - Leveraging Game Design in the Post-Secondary Classroom</title>
        <abstract locale="en_US">&lt;p&gt;The Multiplayer Classroom describes how a course in computer game design can be based on the same structure as a computer game (Sheldon 2012). Students play this game through the entire term. Sheldon also had students take on roles based on Bartle&#x2019;s taxonomy of player types (Bartle 1996), leveraging it to structure group work and accommodating different learning types.&lt;/p&gt;
&lt;p&gt;During the Winter term of 2015, I taught two courses in Political Science at the University of Calgary: Topics in Comparative Politics in the Industrialized World and Introduction to Public Administration. Having previously leveraged gamification principles in teaching extensively (Hellstr&#xF6;m 2015), operationalizing Sheldon&#x2019;s design was a logical next step. This paper describes that effort, including challenges and opportunities for how Sheldon&#x2019;s design can be used. The design requires a complete change in the point of departure for the course, from the implementation of Bartle&#x2019;s Taxonomy, to how the curriculum is presented to the students through potentially asynchronous game events rather than through the linear structure of the classic lecture series.&lt;/p&gt;
&lt;p&gt;These techniques will be familiar to those who are acquainted with computer games or live action role-playing (larp). The paper will also include some reflections on potential for future research in terms of how game-based learning could enhance the post-secondary political science classroom.&lt;/p&gt;</abstract>
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        <copyrightHolder locale="en_US">Mikael Hellstr&#xF6;m</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
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            <givenname locale="en_US">Mikael</givenname>
            <familyname locale="en_US">Hellstr&#xF6;m</familyname>
            <country>CA</country>
            <email>ijrp.editor@gmail.com</email>
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        <pages>39-45</pages>
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        <id type="doi" advice="update">10.33063/ijrp.vi6.245</id>
        <title locale="en_US">Playing Political Science - Leveraging Game Design in the Post-Secondary Classroom</title>
        <abstract locale="en_US">&lt;p&gt;The Multiplayer Classroom describes how a course in computer game design can be based on the same structure as a computer game (Sheldon 2012). Students play this game through the entire term. Sheldon also had students take on roles based on Bartle&#x2019;s taxonomy of player types (Bartle 1996), leveraging it to structure group work and accommodating different learning types.&lt;/p&gt;
&lt;p&gt;During the Winter term of 2015, I taught two courses in Political Science at the University of Calgary: Topics in Comparative Politics in the Industrialized World and Introduction to Public Administration. Having previously leveraged gamification principles in teaching extensively (Hellstr&#xF6;m 2015), operationalizing Sheldon&#x2019;s design was a logical next step. This paper describes that effort, including challenges and opportunities for how Sheldon&#x2019;s design can be used. The design requires a complete change in the point of departure for the course, from the implementation of Bartle&#x2019;s Taxonomy, to how the curriculum is presented to the students through potentially asynchronous game events rather than through the linear structure of the classic lecture series.&lt;/p&gt;
&lt;p&gt;These techniques will be familiar to those who are acquainted with computer games or live action role-playing (larp). The paper will also include some reflections on potential for future research in terms of how game-based learning could enhance the post-secondary political science classroom.&lt;/p&gt;</abstract>
        <licenseUrl>https://creativecommons.org/licenses/by/4.0</licenseUrl>
        <copyrightHolder locale="en_US">Mikael Hellstr&#xF6;m</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
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            <givenname locale="en_US">Mikael</givenname>
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            <email>ijrp.editor@gmail.com</email>
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        <name locale="en_US">J. Tuomas Harviainen -- Physical Presence in Simulation - A Scratch at the Surface of Complexity -- IJRP 6.pdf</name>
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      <publication xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" locale="en_US" version="1" status="3" primary_contact_id="340" url_path="" seq="7" date_published="2016-12-02" section_ref="art" access_status="0" xsi:schemaLocation="http://pkp.sfu.ca native.xsd">
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        <title locale="en_US">Physical Presence in Simulation - A Scratch at the Surface of Complexity</title>
        <abstract locale="en_US">&lt;p&gt;This article examines the impact of physical presence on simulation and educational gaming. Through a meta-review of existing research, it reveals central issues that need to be taken into account when deploying physical simulations. On one hand, the method allows participants to experience events from a visceral first-person perspective. On the other, physical presence limits their vision to one viewpoint and removes tools that other media forms could use for additional exposition. As the environment is largely indexical, fewer elements require re-interpretation in order to fit the fiction, but they can likewise &lt;br&gt;be disruptive, if too far removed from the expectations of play. To balance the play experience and the learning goals, physical simulations should deploy efficient briefings and debriefings. The former ensures that players have sufficient information for play &lt;br&gt;and the right approach to it, while the latter ensures that the intended interpretation of the content and events remains dominant, so that the central learning goals can be ascertained. Physical simulations are revealed as an efficient and enjoyable, yet imprecise &lt;br&gt;learning tool.&lt;/p&gt;</abstract>
        <licenseUrl>https://creativecommons.org/licenses/by/4.0</licenseUrl>
        <copyrightHolder locale="en_US">J. Tuomas Harviainen</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
        <keywords locale="en_US">
          <keyword>presence</keyword>
          <keyword>simulation</keyword>
          <keyword>larp</keyword>
          <keyword>role-playing games</keyword>
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        <authors xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://pkp.sfu.ca native.xsd">
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            <givenname locale="en_US">J. Tuomas</givenname>
            <familyname locale="en_US">Harviainen</familyname>
            <country>FI</country>
            <email>ijrp.editor@gmail.com</email>
            <orcid>https://orcid.org/0000-0002-6085-5663</orcid>
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        <pages>32-38</pages>
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        <name locale="en_US">Jason Cox -- Arts-Based Inquiry with Art Educators through American Freeform -- IJRP 6.pdf</name>
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        <title locale="en_US">Arts-Based Inquiry with Art Educators through American Freeform</title>
        <abstract locale="en_US">&lt;p&gt;In my dissertation, Educational Communities, Arts-Based Inquiry, &amp;amp; Role-Playing: An American Freeform Exploration with Professional &amp;amp; Pre-Service Art Educators, I explored one application of larp as arts-based research. This paper summarizes that experience, and in so doing presents opportunities to researchers interested in pursuing similar goals, methods, and concepts. My research focused on the creation of a community of play formed with professional and pre-service art educators. This community used a series of American freeform games to examine how participants thought and felt about relationships in educational communities, such as schools. Doing so presented an opportunity for embodied reflection and discourse that encouraged a reaching out towards perspectives other than the participants own, which made barriers of understanding within educational settings such as time, location, and social status more permeable. American freeform was &lt;br&gt;ideal for this purpose because it had few rules, encouraged players to draw on real-life experiences, presented techniques that incorporated both player and character perspectives, and was geared toward a style of play that was culturally appropriate for our &lt;br&gt;group. The experiences provided a reflexive illustration of our understandings of the systems we occupied in our daily lives, and the techniques seem ripe for application in teacher preparation and development courses. As one participant said, &#x201C;There is no &lt;br&gt;textbook, there is no traditional class, that would have provided that learning.&#x201D;&lt;/p&gt;</abstract>
        <licenseUrl>https://creativecommons.org/licenses/by/4.0</licenseUrl>
        <copyrightHolder locale="en_US">Jason Cox</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
        <keywords locale="en_US">
          <keyword>arts-education</keyword>
          <keyword>larp</keyword>
          <keyword>freeform</keyword>
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            <givenname locale="en_US">Jason</givenname>
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            <country>US</country>
            <email>ijrp.editor@gmail.com</email>
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        <pages>27-31</pages>
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        <title locale="en_US">Scaffolding Role-Playing - An Analysis of Interactions  with Non Role-players of All Ages</title>
        <abstract locale="en_US">&lt;p&gt;This paper explores the relationship between nature and culture during a series of scaffolded live action role-playing (larp) activities designed as part of a science, technology, engineering, art, and math (STEAM) summer program for indigenous youth. As a linked construct, nature and culture implicitly ground much of human activity, figuring centrally in core ontological and epistemological frameworks (Bang, Warren, Rosebery, and Medin 2012) and human cognition and development (Medin &amp;amp; Atran 2004). After forefronting cultural stories as the launch of activities, scaffolded larp practices were used as one &lt;br&gt;series of activities of a multiple site, multiple year design-based research study. The STEAM programming was designed to explore the complex connections of indigenous culture, knowledge systems, philosophies, and relational epistemologies with perspective taking (Galinsky, Ku, &amp;amp; Wang 2005). Larp was used to add embodiment of non-role-players through degrees of immersive practices. This paper focuses on the larp finale of the 5 activity larp series at the Seattle site. Preliminary analysis of the video recordings, both handheld and point of view, demonstrated that children took up multiple perspectives of the complex systems of local plants and animals. The participants role-played those relationships with nuance and understanding of how those plants and animals interact and relate. Those interactions also characterized the three layers of role-play that were taken &lt;br&gt;in steps when physical representations of the non-human characters were lacking as a part of the design (Fine, 1983; Bjork and Holopainen 2003).&lt;/p&gt;</abstract>
        <licenseUrl>https://creativecommons.org/licenses/by/4.0</licenseUrl>
        <copyrightHolder locale="en_US">Gabriel de los Angeles</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
        <keywords locale="en_US">
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          <keyword>edu-larp</keyword>
          <keyword>educational psychology</keyword>
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            <givenname locale="en_US">Gabriel</givenname>
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            <country>US</country>
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        <pages>20-26</pages>
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        <title locale="en_US">Enhancing Healthcare Simulations and Beyond: Immersion Theory and Practice</title>
        <abstract locale="en_US">&lt;p&gt;This paper synthesizes the different ways that players and theorists discuss immersion in role-playing games, establishing six major categories: immersion into activity, game, environment, narrative, character, and community. For the purposes of understanding typical modes of engagement, immersion concepts are considered alongside player motivation theories. Furthermore, this article applies these categories, which are drawn largely from game studies, to the field of health care simulation, categorizing specific practices within the simulation classroom according to types of immersion. The goal of this &lt;br&gt;research is to enhance the understanding and design of simulation by appealing to multiple modes of immersion, which may assist in engaging a greater number of students. Diversifying the types of experiences within health care simulations in order to appeal to multiple modalities of immersion holds the potential to create more rich and layered experiential learning situations.&lt;/p&gt;</abstract>
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        <copyrightHolder locale="en_US">Sarah Lynne Bowman, Andhe Standiford</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
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          <keyword>healthcare</keyword>
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        <title locale="en_US">Enhancing Healthcare Simulations and Beyond: Immersion Theory and Practice</title>
        <abstract locale="en_US">&lt;p&gt;This paper synthesizes the different ways that players and theorists discuss immersion in role-playing games, establishing six major categories: immersion into activity, game, environment, narrative, character, and community. For the purposes of understanding typical modes of engagement, immersion concepts are considered alongside player motivation theories. Furthermore, this article applies these categories, which are drawn largely from game studies, to the field of health care simulation, categorizing specific practices within the simulation classroom according to types of immersion. The goal of this &lt;br&gt;research is to enhance the understanding and design of simulation by appealing to multiple modes of immersion, which may assist in engaging a greater number of students. Diversifying the types of experiences within health care simulations in order to appeal to multiple modalities of immersion holds the potential to create more rich and layered experiential learning situations.&lt;/p&gt;</abstract>
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        <copyrightHolder locale="en_US">Sarah Lynne Bowman, Andhe Standiford</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
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          <keyword>fidelity</keyword>
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        <abstract locale="en_US">&lt;p&gt;This paper synthesizes the different ways that players and theorists discuss immersion in role-playing games, establishing six major categories: immersion into activity, game, environment, narrative, character, and community. For the purposes of understanding typical modes of engagement, immersion concepts are considered alongside player motivation theories. Furthermore, this article applies these categories, which are drawn largely from game studies, to the field of health care simulation, categorizing specific practices within the simulation classroom according to types of immersion. The goal of this &lt;br&gt;research is to enhance the understanding and design of simulation by appealing to multiple modes of immersion, which may assist in engaging a greater number of students. Diversifying the types of experiences within health care simulations in order to appeal to multiple modalities of immersion holds the potential to create more rich and layered experiential learning situations.&lt;/p&gt;</abstract>
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          <keyword>game</keyword>
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        <title locale="en_US">We Need to Talk - A Literature Review of Debrief</title>
        <abstract locale="en_US">&lt;p&gt;This literature review consults the diverse academic definitions of debriefing to give context to larp debriefs. Among the many concepts for debriefing, simulation learning and psychological debriefing are explored to show lessons and precedents. Simulation debriefs emphasize learning and a transition from the affective to the cognitive, which can inform how larp debriefs engage with content. The concepts of fidelity and authenticity, along with tripartite learning within simulations, are invoked to show similarities and potential growth for larp debriefs. Psychological debriefing has mixed results, but reviewing the literature shows that psychological debrief practice within research has been functionally dissimilar to larp debrief. Discourse already surrounding psychological debrief has questioned the research methods and results of previous studies, making generalization to larp debriefs inappropriate. Larp-specific debriefs are considered non-therapeutic transitional tools for moving between perspectives and reinstalling the social reality suspended during play. Its counterpart, workshopping, is considered important to creating the necessary context for debriefing. Larp debriefs have the potential to become a vector for the therapeutic work through larping. The article advocates for responsible content creation despite using debrief as a transitional tool, as no evidence suggests that debriefing makes larping safer.&lt;/p&gt;</abstract>
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        <copyrightHolder locale="en_US">Brodie Atwater</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
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          <keyword>psychology</keyword>
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          <keyword>role-playing games</keyword>
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        <abstract locale="en_US">&lt;p&gt;Editorial - Special Issue: Role-playing and Simulation in Education&lt;/p&gt;</abstract>
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        <abstract locale="en_US">&lt;p&gt;&lt;strong&gt;IJRP 6: Special Issue &#x2014; Role-playing and Simulation in Education&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Table of Contents&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Sarah Lynne Bowman, &#x201C;Editorial&#x201D;&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Brodie Atwater, &#x201C;We Need to Talk: A Literature Review of Debrief&#x201D;&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Sarah Lynne Bowman and Andhe Standiford, &#x201C;Enhancing Healthcare Simulations and Beyond: Immersion Theory and Practice&#x201D;&lt;/strong&gt;&lt;/p&gt;&#xD;
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&lt;p&gt;&lt;strong&gt;Jason Cox, &#x201C;Arts-Based Inquiry with Art Educators through American Freeform&#x201D;&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;J. Tuomas Harviainen, &#x201C;Physical Presence in Simulation: A Scratch at the Surface of Complexity&#x201D;&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Mikael Hellstr&#xF6;m, &#x201C;Playing Political Science: Leveraging Game Design in the Post-Secondary Classroom&#x201D;&lt;/strong&gt;&lt;/p&gt;&#xD;
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&lt;p&gt;&lt;strong&gt;Graham MacLean, &#x201C;One Way to Create Educational Games&#x201D;&lt;/strong&gt;&lt;/p&gt;&#xD;
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        <title locale="en_US">Edu-Larp as Revision of Subject-Matter Knowledge</title>
        <abstract locale="en_US">&lt;p&gt;The paper presents theoretical foundations of the author's approach to the design of edu-larps. It is deliberately steering away from cross-disciplinary teaching, artistic education or soft skills training in order to advocate larps tailored to single school subjects, focused on integration and consolidation of curricular knowledge. Putting larp in the context of applied drama, or Drama in Education, the text argues that well-designed edu-larp is likely to be accepted by the average teacher, not just by dedicated and trained drama educators. The concept of print-and-play &#x201C;larp for dummies&#x201D; downplays the importance of preparation, acting and immersion, while emphasising the game-like structure of goals and conflicts: gameplay set to work alongside role-play. Therefore, the ideas and tools borrowed from video games and board games design can be useful in the creation of edu-role plays, &lt;br /&gt;breeding a form which might be called 'gamified drama'. The recommended function for edu-larps is final revision of a large textbook unit, an idea discussed on the example of high-school history classes. The suggested model for classrom larp is a negotiation game between conflicted but cooperating factions, divided into three stages: a) preparation of all factions separately; b) informal meeting of all factions shortly before the official talks; c) official negotiation session which is supposed to bring forward all major (textbook-based!) issues for public debate. The paper ends with a section on troubleshooting, i.e. an overview of risk factors frequently pointed in the discussion of game-based learning, with ideas of how to eliminate or minimise the risks through careful design. Referenced sources come from the fields of edu-larp, edu-drama, game-based learning, and general educational theory.&lt;/p&gt;</abstract>
        <licenseUrl>https://creativecommons.org/licenses/by/4.0</licenseUrl>
        <copyrightHolder locale="en_US">Micha&#x142; Mochocki</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
        <keywords locale="en_US">
          <keyword>edu-larp</keyword>
          <keyword>Drama in Education</keyword>
          <keyword>curriculum</keyword>
          <keyword>Applied Drama</keyword>
          <keyword>subject matter revision</keyword>
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            <givenname locale="en_US">Micha&#x142;</givenname>
            <familyname locale="en_US">Mochocki</familyname>
            <country>PL</country>
            <email>ijrp.editor@gmail.com</email>
            <orcid>https://orcid.org/0000-0001-5679-9219</orcid>
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        <title locale="en_US">A Closer Look at the (Rule-) Books: Framings and Paratexts in Tabletop Role-playing Games</title>
        <abstract locale="en_US">&lt;p&gt;As texts which are based on collaborative and interactive narration, tabletop &#x2013; also known as &#x201C;pen and paper&#x201D; &#x2013; role-playing games (TRPGs) are distinct in their technological simplicity. Indeed, in their traditional form all they require is the physical presence of a group of players &#x2013; commonly around a table, hence &#x201C;tabletop&#x201D; &#x2013; who collaboratively participate in developing a narrative; and a system of rules which allow resolving the outcome of situations in which different levels of chance may be involved &#x2013; the need to write down statistic information making them &#x201C;pen and paper&#x201D;. Evidently, this apparent lack of sophistication makes role-playing games &#x2013; as a clearly contemporary cultural&lt;br&gt;phenomenon (cf. Punday, 2005; Nephew, 2004; Harrigan, 2007; Mackay, 2001) &#x2013; stand out in the context of a world that is becoming ever more dependent on technology. All the more so, considering the persistence of TRPGs in the face of its &#x201C;descendants&#x201D; in other more technologically advanced media and despite what has become the popular notion of &#x201C;the bigger, the faster, the better.&#x201D; Nevertheless, that which occurs during a role-playing game session &#x2013; the level of interactivity, player immersion in the narrative, flexibility of the rules, etc. - generally surpasses, even today, what many of its &#x201C;successors&#x201D; achieve. How does this&lt;br&gt;occur? How is it possible; through what mechanisms do TRPGs allow such sophistication when relying solely on the &#x201C;old fashioned&#x201D; technologies of (hand-) writing and oral narration? Approaching these questions from the general perspective of literary studies, the following paper problematizes what can be called a &#x201C;na&#xEF;ve view&#x201D; of communication technology by addressing the complex relationship between the printed texts used for role-playing &#x2013; such as rule- and sourcebooks &#x2013; and the narratives created during game-play. To do so, it addresses the fundamental influence that framings, such as rules, character sheets&lt;br&gt;and setting, as well as paratextual elements contained within or at the borders of these texts, such as cover illustrations, prologues and epilogues, just to name a few &#x2013; have on participants&#x2019; interpretation and, most importantly, creation of TRPG narratives.&lt;/p&gt;</abstract>
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        <copyrightHolder locale="en_US">David Jara</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
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          <keyword>role-playing games</keyword>
          <keyword>paratext</keyword>
          <keyword>narrative</keyword>
          <keyword>rules</keyword>
          <keyword>paratexts</keyword>
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            <givenname locale="en_US">David</givenname>
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            <country>DE</country>
            <email>ijrp.editor@gmail.com</email>
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        <pages>39-54</pages>
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        <title locale="en_US">Cultural Languages of Role-Playing</title>
        <abstract locale="en_US"></abstract>
        <licenseUrl>https://creativecommons.org/licenses/by/4.0</licenseUrl>
        <copyrightHolder locale="en_US">Angelina Ilieva</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
        <keywords locale="en_US">
          <keyword>role-playing games</keyword>
          <keyword>culure</keyword>
          <keyword>bulgaria</keyword>
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            <givenname locale="en_US">Angelina</givenname>
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            <country>BG</country>
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        <pages>26-38</pages>
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        <title locale="en_US">Cultural Languages of Role-Playing</title>
        <abstract locale="en_US">&lt;p&gt;Role-play interaction in live role-playing games is also language interaction. Role-playing language is different from everyday language, because the worlds created in role-play are not just a reflection or extension of everyday life. We examine three examples of interaction in live action role-playing games. In all three, players rely on shared cultural knowledge. In the first example, two players employ the cultural conventions about the meanings of colors, objects and space as well as materials borrowed from myth and folklore in order to enact an encounter between a mage and a dragon. In the second, the organizers enact scenes from literary classics in order to construct the game plot. In the third, the players employ cultural stereotypes of personalities and behavior in order to present characters of diverse age and social status.&lt;/p&gt;</abstract>
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        <copyrightHolder locale="en_US">Angelina Ilieva</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
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        <title locale="en_US">Editorial -- Special issue: Role-Playing in Games</title>
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        <copyrightHolder locale="en_US">J. Tuomas Harviainen</copyrightHolder>
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          <keyword>role-playing</keyword>
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        <id type="doi" advice="update">10.33063/ijrp.vi4.225</id>
        <title locale="en_US">International Journal of Role-playing Issue 4 - Special Issue: Role-playing in Games -- Full Issue</title>
        <abstract locale="en_US">&lt;p&gt;&lt;strong&gt;International Journal of Role-playing Issue 4 -- Full Issue&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Table of Contents&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;J. Tuomas Harviainen -- "Editorial -- Special issue: Role-Playing in Games"&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;This special issue contains five articles chosen from amongst those presented at the Role-Playing in Games seminar at the University of Tampere, Finland, April 10-11, 2012. Several others from that seminar will be appearing in future issues of this journal. Read the full editorial here&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Sarah Lynne Bowman -- "Social Conflict in Role-Playing Communities: An Exploratory Qualitative Study"&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;Much of the current research in the field of role-playing studies focuses upon the positive impact that games can have on the lives of participants. This research describes potential problems within role-playing communities.&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Angelina Ilieva -- "Cultural Languages of Role-Playing"&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;Role-play interaction in live role- playing games is also language interaction. Role-playing language is different from everyday language, because the worlds created in role-play are not just a reflection or extension of everyday life.&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;David Jara -- "A Closer Look at the (Rule-) Books: Framings and Paratexts in Tabletop Role-playing Games"&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;As texts which are based on collaborative and interactive narration, tabletop &#x2013; also known as &#x201C;pen and paper&#x201D; &#x2013; role- playing games (TRPGs) are distinct in their technological simplicity.&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Micha&#x142; Mochocki -- "Edu-Larp as Revision of Subject-Matter Knowledge"&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;The paper presents theoretical foundations of the author&#x2019;s approach to the design of edu- larps. It is deliberately steering away from cross-disciplinary teaching, artistic education or soft skills training in order to advocate larps tailored to single school subjects, focused on integration and consolidation of curricular knowledge.&lt;/p&gt;&#xD;
&lt;p&gt;&lt;strong&gt;Jaakko Stenros -- "Between Game Facilitation and Performance: Interactive Actors and Non- Player Characters in Larps"&lt;/strong&gt;&lt;/p&gt;&#xD;
&lt;p&gt;The challenge of combining narrative and gameplay in live action role-playing games (larps) has been successfully negotiated with the use of runtime game mastering and interactive actors (ractors) performing non-player characters (NPC).&lt;/p&gt;</abstract>
        <licenseUrl>https://creativecommons.org/licenses/by/4.0</licenseUrl>
        <copyrightHolder locale="en_US">J. Tuomas Harviainen, Sarah Lynne Bowman, Angelina Ilieva, David Jara, Micha&#x142; Mochocki, Jaakko Stenros</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
        <keywords locale="en_US">
          <keyword>role-playing games</keyword>
          <keyword>tabletop</keyword>
          <keyword>larp</keyword>
          <keyword>academia</keyword>
        </keywords>
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            <givenname locale="en_US">J. Tuomas</givenname>
            <familyname locale="en_US">Harviainen</familyname>
            <country>FI</country>
            <email>ijrp.editor@gmail.com</email>
            <orcid>https://orcid.org/0000-0002-6085-5663</orcid>
          </author>
          <author include_in_browse="true" user_group_ref="Author" seq="1" id="280">
            <givenname locale="en_US">Sarah Lynne</givenname>
            <familyname locale="en_US">Bowman</familyname>
            <country>SE</country>
            <email>ijrp.editor@gmail.com</email>
            <orcid>https://orcid.org/0000-0003-1277-8787</orcid>
          </author>
          <author include_in_browse="true" user_group_ref="Author" seq="1" id="281">
            <givenname locale="en_US">Angelina</givenname>
            <familyname locale="en_US">Ilieva</familyname>
            <country>BG</country>
            <email>ijrp.editor@gmail.com</email>
            <orcid>https://orcid.org/0000-0003-2564-2707</orcid>
          </author>
          <author include_in_browse="true" user_group_ref="Author" seq="1" id="282">
            <givenname locale="en_US">David</givenname>
            <familyname locale="en_US">Jara</familyname>
            <country>DE</country>
            <email>ijrp.editor@gmail.com</email>
          </author>
          <author include_in_browse="true" user_group_ref="Author" seq="1" id="283">
            <givenname locale="en_US">Micha&#x142;</givenname>
            <familyname locale="en_US">Mochocki</familyname>
            <country>PL</country>
            <email>ijrp.editor@gmail.com</email>
            <orcid>https://orcid.org/0000-0001-5679-9219</orcid>
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            <givenname locale="en_US">Jaakko</givenname>
            <familyname locale="en_US">Stenros</familyname>
            <country>FI</country>
            <email>ijrp.editor@gmail.com</email>
            <orcid>https://orcid.org/0000-0003-0320-7042</orcid>
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        <title locale="en_US">Social Conflict in Role-Playing Communities: An Exploratory Qualitative Study</title>
        <abstract locale="en_US">&lt;p&gt;Much of the current research in the field of role-playing studies focuses upon the positive impact that games can have on the lives of participants. Analysis of the more negative social interactions within role-playing communities becomes necessary in order to establish a more complete picture of the psychosocial effects of these games. This research describes potential problems within role-playing communities in order to aid groups experiencing cohesion difficulties.&lt;/p&gt;
&lt;p&gt;This thematic, qualitative ethnography describes the types of social conflict occurring within role-playing groups and examines possible sources for their exacerbation. The study includes several types of role-playing from a phenomenological perspective, including tabletop, larp, and virtual gaming. Semi-structured interviews were collected from a selective sample of 30 international participants gathered from vastly different play cultures. While the types of games and methods of play contributed to conflict in some instances, striking similarities between the experiences of players across modes, cultures, and genres were observed.&lt;/p&gt;
&lt;p&gt;Emergent themes for sources of conflict included general problems inherent to group behavior, such as schisms, Internet communication, and intimate relationships. Other sources of conflict unique to the role-playing experience included creative agenda differences, the game master/player power differential, and the phenomenon of bleed, both in- and out-of-game. Potentially conflict-inducing play styles included long-term immersion into character, campaign-style, and competitive play.&lt;/p&gt;</abstract>
        <licenseUrl>https://creativecommons.org/licenses/by/4.0</licenseUrl>
        <copyrightHolder locale="en_US">Sarah Lynne Bowman</copyrightHolder>
        <copyrightYear>2023</copyrightYear>
        <keywords locale="en_US">
          <keyword>bleed</keyword>
          <keyword>role-playing games</keyword>
          <keyword>rpgs</keyword>
          <keyword>tabletop</keyword>
          <keyword>larp</keyword>
          <keyword>conflict</keyword>
          <keyword>social</keyword>
          <keyword>community</keyword>
          <keyword>communities</keyword>
          <keyword>bleed-in</keyword>
          <keyword>bleed-out</keyword>
          <keyword>debriefing</keyword>
          <keyword>competition</keyword>
          <keyword>intimate relationships</keyword>
          <keyword>creative agenda</keyword>
          <keyword>power</keyword>
          <keyword>game master</keyword>
        </keywords>
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            <givenname locale="en_US">Sarah Lynne</givenname>
            <givenname locale="sv_SE">Sarah Lynne</givenname>
            <familyname locale="en_US">Bowman</familyname>
            <familyname locale="sv_SE">Bowman</familyname>
            <country>SE</country>
            <email>singingyoutoshipwreck@gmail.com</email>
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        <pages>4-25</pages>
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