Fantasy Role-Playing Game: A New Performing Art
Daniel Mackay, Marshall Blonsky (Afterword), Brooks McNamaraBooks.org participates in affiliate programs including Bookshop.org and the Amazon Services LLC Associates Program. We may earn a commission from qualifying purchases made through links on this page, at no additional cost to you.
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.
Author Biography: Daniel Mackay holds an M.A. in performance studies from New York University's Tisch School of the Arts. He lives in Eugene, Oregon.
Synopsis
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.
Author Biography: Daniel Mackay holds an M.A. in performance studies from New York University's Tisch School of the Arts. He lives in Eugene, Oregon.
Booknews
A scholar in performance studies, Mackay argues that a major part of role-playing and the role-playing game is a performance art. He offers a framework for a critical model to understand the genre, especially in terms of aesthetics, and identifies the cultural, the formal, the social, and the aesthetic structures. Annotation c. Book News, Inc., Portland, OR (booknews.com)