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How have tabletop RPG’s broken the traditional forms of narrative for player and designer interaction? LOOKING INTO VARIOUS DIFFERENT TABLETOP RPGS AND SEEING HOW NARRATIVE IS CHANGED AND WARPED BY PLAYERS AS A POSE TO DESIGNERS

How have tabletop RPG’s broken the traditional forms of narrative

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Page 1: How have tabletop RPG’s broken the traditional forms of narrative

8/13/2019 How have tabletop RPG’s broken the traditional forms of narrative

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What is a Tabletop RPG’s?

A simple game that requires no platform or essential hardware to play

Primarily played with a group from 3-8 people

Becoming your roll within the story

One person must be the storyteller/ narrator or DM of the game while the

other players make a character each to play

The storyteller creates the world that the players interact with, everymonster, NPC, dungeon, city the whole world is their design.

Where the DM makes the world the players inhabit it.

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Dungeons And Dragons

Players have a choice of a wide range of different races and classes tobring their character to life

Played using a range of models, maps, and specific dice to create adynamic gameplay system

Dice decide outcomes that the storyteller would see as acts of chance orluck.

Fantasy setting, with a range of different monsters, spells items andcharacter customization

Narrative is free for the Storyteller to decide, and warp.

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World Of Darkness

A game set around our world, yet a flipside of it. where monsters andghosts inhabit the streets

Range of different races, Vampire, werewolf, mages est.

A gothic representation of fantasy

Uses multiple D10’s to determine certain outcomes

Players must avoid detection from the normal humans or faceconsequences.

Film in progress of making set around the game

Books filled with short story's

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All Flesh Must Be Eaten

A zombie survival Horror 

Uses only normal D6 Die to determine outcome

Range of different zombies

Different gameplay style to normal tabletop RPG’s yet follows basic rules

of all tabletop RPGs

Follows the D20 dice system

Focus’s on survival (food, shelter, medicine)

Option for player being zombies

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Star Wars RPG

Sc-fi setting

Range of different planets to explore and work from, with ties to themerchandise

Range of different classes' from Jedi to bounty hunter 

Draws from the world that George Lucas created Played using the D20 System (like dungeons and dragons)

Game is set by the storyteller 

Players can travel around the universe traveling from planet to planet

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Storyteller’s input

Roleplaying of All NPC’s

Choosing character levels, alignment and game worldsetting

Description of the environment

Normally have their own set of books to aid them in theregame creation

Planning before the game starts

Creating the world

Rough structure of quest line

Map creation, monster addition

Other aspects of the dungeon or world

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Player Input

The player must play the role they have set outfor themselves

Keeping in character 

Specific goals or aims

Likes, dislikes, skills, talents Working alongside the story of the storyteller 

Quirks of character 

Diagrams, illustrations, adventure log

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Game’s of imagination

Imaginati

Bending andbreaking of

rules

Fully openNarrative

AllowsFreethinking

Tabletop RPGS are always games of imagination

They require players to think out of the box, and allowthere minds to interoperate the world as they want

The game requires imagination for both player andstoryteller 

Storyteller 

What the world looks like

A overall feel of the world

What specific locations and events play out like

Player 

What character looks like

How they interact with their surroundings

The other players they are partying with

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Creation of Character 

Backstory Creation

Rolling for statistics

Skills allocation

Working alongside other players

Specific combat style

No two characters are ever the same

Own story, experiences and personality

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Creation Of World

Choice of main quest line

Environment Setting

Starting the game

Railroading the players

Map Design

Lore Creation/ inspiration

Working from a reference

Sub quests and side quests

Points of interest

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Combination of world and characterbuilding

Creates meaningful play

Full exploration of both character and world

Fully dynamic character and world design

Brings the world of imagination to life

Unique interaction between people that only these games can bring.

A NARRATIVE!

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Bringing these worlds to life with othermultimedia aspects

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How narrative is formed

Someone becomes the narrative

Choices of characters to effect the narrative

Through this conjunction between the twoaspects the narrative takes shape.

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Fully Dynamic narrative

Dynamic

Narrative

Emersion

Narrative power shift

Forms a narrative

collision of character and world

Creation Of world and character 

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Henry Jenkins

“There is a direct, immediate conflictbetween the demands of a story and thedemands of a game. Divergence from a

story's path is likely to make for a lesssatisfying story; restricting a player'sfreedom of action is likely to make for a less

satisfying game.”

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What Game designers can learn fromthese games

Creation of a story

Pacing of a game

Being the role of a storytellerprovides skills andunderstanding what it takes to

require a well crafted game

Storyline creation

Working with the player 

Allow for the unexpected

Mechanics Dynamics

Mechanics Dynamics

Aesthetics

Individual

Experience

Portrayal O

Narrative

MDA Framework of sla

MDA Framework of a

What the aesthet

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Bibliography

Wizards of the coast website

Pathfinder Books

Players Guide

DM’s Guide

World Of darkness Books Vampire

Werewolf

Robin Hunicke - MDA: AApproach to Game De

Henry Jenkins - game denarrative architecture

R.A Salvatore - email