Difference between revisions of "Roleplaying"

Revision as of 20:19, 12 March 2011

Gameplay where players take on the goals and behaviors of fictional agents.

This pattern is a still a stub.

For a detailed analysis of early roleplaying habits, see the book Shared Fantasy^[1].

See the category of Roleplaying Games on this wiki for additional examples.

Examples

Battlestar Galactica: The Board Game

Unwinnable Games (← links) Drop-In/Drop-Out (← links) Dedicated Game Facilitators (← links) Agents (← links) Avatars (← links) Gameplay Statistics (← links) Non-Player Characters (← links) Characters (← links) Freedom of Choice (← links) GURPS (← links) Multiplayer Games (← links) Character Defining Actions (← links) Enforced Agent Behavior (← links) Extra-Game Consequences (← links) Internal Conflicts (← links) Internal Rivalry (← links) Single-Player Games (← links) Call of Cthulhu (← links) Shadow Run (video game) (← links) Category:Roleplaying Games (← links) Self-Facilitated Games (← links) Evolving Rule Sets (← links) Sleep is Death (← links) Game Masters (← links)

Category:Tabletop Roleplaying Games Category:Computer-based Roleplaying Games Category:Live Action Roleplaying Games Category:Massively Multiplayer Online Games

Massively Multiplayer Online Games

Persistent Game Worlds (← links) Europa Universalis series

While in disguise, spies in Team Fortress Classic need to move as part of the other team in order to avoid detection. This forces the players to enact a type of roleplaying using only movement and facing (since they cannot shoot or talk to members in the enemy team).

Many of the best known, Dungeons & Dragons, GURPS, and Basic Roleplaying, are actually game systems that can use different game worlds. These game worlds can be totally player-created, but there are also commercial game worlds available. Other games, e.g. Ars Magica, Call of Cthulhu, Fallen Reich, Mutant, Paranoia, and the various games in the Storytelling System, are instead created to specifically support on particular game world.

The gameplay is based on the group of players that roleplay members of a party going adventuring in sometimes exquisitely detailed fantasy settings with elaborate plot structures. In these games, most often only one of the players is the Game Master (Dungeon Master for Dungeons & Dragons but Game Master is the more generic term) who acts as the game facilitator presenting and resolving the imaginary situations to the players. The gameplay is usually almost wholly based on verbal communication between the players and the Game Master. Rules, resolution tables, and dice are used to resolve the conflict situations, which usually involve combat between players and monsters.

In such as 1942 – Noen å stole på and Prosopopeia, players act out their characters in real life. The real world is used as the basis for the setting of the game although it may be modified by for example constructing buildings, and players often put many hours into make the appropriate props and equipment as good as possible. LARPs, of course depending on the play style, are usually more oriented on acting out the roles of the characters than, and some play styles are closer to improvisational theater than playing games.

Category:Computer-based Roleplaying Games

Category:Massively Multiplayer Online Games

Anonymous Actions

For more examples see Category:Tabletop Roleplaying Games Category:Computer-based Roleplaying Games Category:Live Action Roleplaying Games Category:Massively Multiplayer Online Games

Using the pattern

Roleplaying is based on Identification between players and game components that could be Agents in their own right (at least on a diegetic level), so a primary need for the pattern is to create such suitable game components. This is typically Avatars or Characters (making them Player Characters) since they can have goals and intentions associated with them which players can adopt, but arguably Abstract Player Constructs such as countries in the Europa Universalis series or civilizations in the Civilization series can work.

The Agents needs goals and intentions, and some are more common that others since they inherently have more complexity and thereby let players have more Freedom of Choice in how to perform them (having no Freedom of Choice would make the Agents stop being agents). Internal Conflicts is a common solution and can exist as Incompatible Goals within the Agent or within groups of Characters through Internal Rivalry. A special case of Internal Conflicts for Roleplaying is that players can have it between him- or herself and the Agents played.

Computerized online roleplaying games, such as MUDs and MMORPGs, have and maintain their Game Worlds in digital format. Text-based MUDs also use the players' imagination as an important "game engine" for making the Game Worlds come alive while the current MMORPGs shift the focus from the players' imagination to offering Immersion in detailed audio-visual representations of the Game World.

The players must obviously somehow have access to the Characters in the Game World. Many games, especially computer roleplaying games, offer ready-made Characters with different kinds of Skills and abilities for the players, but it seems that the Emotional Immersion is more vivid and likely if the players have at least some Creative Control over their Characters and especially Character Development during gameplay. Even seemingly small things, such as changing the color of the hair of an Avatar, allow possibilities for further Identification with the players' Characters.

Roleplaying games are often played by groups of players promoting Team Play in general. Games with more stable teams also offer possibilities for not only Character Development for single players but for Team Development for members of the team.

Many games focusing on Roleplaying often wish to provide a large amount of Freedom of Choice and Creative Control for players on how to portray the Agents they are Roleplaying. Sandbox Gameplay can provide players with this freedom while Game Masters can not only roleplay Non-Player Characters but can also improvise ways of allows players to do what they want. However, too much freedom can also be a problem, e.g. in regards to maintaining Diegetic Consistency or unfolding a certain Narration Structure, and in these cases Enforced Agent Behavior may be necessary - but too much control may make Roleplaying limited, impossible, or reduced to pure Enactment.

An alternative way of achieving Roleplaying in games is to introduce Betrayal. This since a player is Roleplaying when pretending to have other intentions than he or she in fact has, as for example playing a Cylon in Battlestar Galactica: The Board Game requires. The same effect can be achieved through having Infiltrate goals (and can be said to work for Single-Player Games), as for example through the spy class in Team Fortress Classic. Secret Goals in any Multiplayer Game can serve a similar purpose but does not have to be as easily noticeable by other since players are not force to pretend to have any specific goals.

A special case of Roleplaying exists when players pretend to be other players than they themselves are. This may not be to impersonate other, but rather to be able to have a Possibility of Anonymity in games with Social Interaction.

Diegetic Aspects

Games that are to support Roleplaying need at least implicit Game Worlds since the Agents that are to be roleplayed need an environment to offer possibilities and challenges. Roleplaying often requires players to be able to not only interact with other players but also diegetic entities such as Non-Player Characters. For the Roleplaying to become a interactive exchange and have flexibility, Game Masters may need to roleplay the Non-Player Characters rather than having them be their own Agents.

Given that players may break Diegetic Consistency quite easily, e.g. by engaging in [[ when Roleplaying if they are given to much freedom

Interface Aspects

While Unmediated Social Interaction makes Live Action Roleplaying as well as vocal Enactment possible, enforced Communication Channels can compartmentalize In and Out of Character Conversations to help support Narrative Engrossment.

Narrative Aspects

Roleplaying games naturally tend to have strong Narration Structures to motivate the goals and desires of Characters, as well as increasing the possibilities for Identification and Narrative Engrossment. However, they may need to be Never Ending Stories if they are to be function together with Creative Control in the power of players.

Consequences

Roleplaying typically leads to Enactment in various forms but not always - while Roleplaying in Tabletop Roleplaying Games can consist of moving Miniatures on maps and speaking as one's Character would, it can also just consist of stating what actions one is doing without any Enactment whatsoever. Regardless, adopting the goals of Agents can lead to Narrative Engrossment, and choosing how to reach their goals and enact their interactions is a form of Creative Control. All Roleplaying games happen in Game Worlds since the Agents need an environment, but these Game Worlds can become Player Constructed Worlds if the players have sufficient Creative Control.

Given that Roleplaying can lead to the closure of the goals and intentions of Agents, it can also lead to Character Development, and some of the actions players chose are likely to be Character Defining Actions.

While Roleplaying is most common in Multiplayer Games, and there creates a particular form of Social Interaction, it is not necessary and can therefore Multiplayer Games can be seen as a way to modulate Roleplaying. This Social Interaction can give rise to quite a number of different types of activities, e.g. Gossip. Examples of situations where Roleplaying can occur even when no other player are present include when making a country behave as it did historically while playing one of the games in the Europa Universalis series or when playing a Character in Fallout: New Vegas as one decided it should behave during its creation.

When done in Multiplayer Games, Roleplaying requires Cooperation between the players to uphold an Alternative Reality and the possibility of Narrative Engrossment. One common issue regarding this Cooperation, and which can require Negotiation, is that Roleplaying may give rise to both In Character Conversations and Out of Character Conversations and that different players may have different opinions on their appropriateness and how much it disturbs Narrative Engrossment. Roleplaying games with human Game Masters typically contain large amounts of Storytelling, being not only what Game Masters can use to drive the game forward but also being how players can describe their actions and how Game Masters provide Effect Descriptions of those actions.

Relations

Can Instantiate

Character Defining Actions, Character Development, Creative Control, Enactment, Gossip, In Character Conversations, Narrative Engrossment, Out of Character Conversations, Storytelling

with Characters

Player Characters

with Creative Control

Player Constructed Worlds

with Multiplayer Games

Social Interaction

with Unmediated Social Interaction

Live Action Roleplaying

Can Modulate

-

with Multiplayer Games

Cooperation, Social Interaction

Can Be Instantiated By

Abstract Player Constructs, Agents, Avatars, Betrayal, Characters, Game Masters, Game Worlds, Identification, Infiltrate, Non-Player Characters, Player Characters, Sandbox Gameplay, Secret Goals

Possibility of Anonymity together with Social Interaction

Can Be Modulated By

Communication Channels, Enforced Agent Behavior, Incompatible Goals, Internal Conflicts, Internal Rivalry, Multiplayer Games, Narration Structures, Never Ending Stories, Unmediated Social Interaction

Possible Closure Effects

-

Potentially Conflicting With

Enforced Agent Behavior

History

A rewrite of the pattern Roleplaying that was part of the original collection in the book Patterns in Game Design^[2].

References

1. ↑ Fine, G.A. (2002) Shared Fantasy - Role-Playing Games as Social Worlds.
2. ↑ Björk, S. & Holopainen, J. (2004) Patterns in Game Design. Charles River Media. ISBN1-58450-354-8.