![]() ![]() “I Have No Words and I Must Design.” Interactive Fantasy 2: 22–38. New York: Broadway Paperbacks.Ĭostikyan, Greg. Stone Mountain: White Wolf.Ĭhikushi, Tetsuya. Peckforton Castle, England.Ĭhambers, John, Alan Alexander, Rebecca Borgstrom, Carl Bowen, and Zach Bush. London: Routledge.Ĭarey, Peter, and Rob Donaldson. “Some Elements of a Sociology of Translation: Domestication of the Scallops and the Fishermen of St Brieuc Bay.” In Power, Action and Belief: A New Sociology of Knowledge, edited by John Law, 196–223. Cambridge: Self-published.Ĭallon, Michel. Urbana: University of Illinois Press.Ĭalhamer, Allan B. “Mythen in der Wirkungsforschung: Auf der Suche nach dem Stimulus-Response-Modell”. New York: Delacorte Press.īrosius, Hans-Bernd, and Frank Esser. “Bleed: The Spillover Between Player and Character.” /2/bleed-the-spillover-between-player-and-character/ (accessed 0).īrite, Poppy Z. Helsinki: Ropecon ry.īowman, Sarah Lynne. “Key Concepts in Forge Theory.” In Playground Worlds, edited by Montola and Stenros, 232–247. Unit Operations: An Approach to Videogame Criticism. Revision of the Threefold Model.” In As Larp Grows Up-Theory and Methods in Larp, edited by Morten Gade, Line Thorup, and Mikkel Sander, 12–16. “Considering Manga Discourse: Location, Ambiguity, Historicity.” In Japanese Visual Culture, edited by Mark W. Ann Arbor: University of Michigan Press.īerndt, Jaqueline. Boca Raton: Taylor & Francis.īaudrillard, Jean. Dungeons and Desktops: The History of Computer Role-Playing Games. Braunschweig: Zauberfeder.īarton, Matt, and Shane Stacks. Aufsatzsammlung Zum MittelPunkt 2010, edited by Karsten Dombrowski, 17–33. “Das Erzeugen von Immersion im Live-Rollenspiel”. ![]() Baba Hidekazu no masuteringu kōza - Shūshō: Raifu azu a gēmumasutā. “A New Look at Cultural Diplomacy: A Call to Japan’s Cultural Practitioners.” Digital Hollywood University, April 28.Īzuma, Hiroki. “A Structural-Phenomenology of Play.” In Adult Play: A Reversal Theory Approach, edited by Michael J. Designers & Dragons: A History of the Roleplaying Game Industry-The 90s. Designers & Dragons: A History of the Roleplaying Game Industry-The 80s. Designers & Dragons: A History of the Roleplaying Game Industry-The 70s. Designers & Dragons: A History of the Roleplaying Game Industry-The 00s. “How Dungeons & Dragons Somehow Became More Popular Than Ever.” Washington Post. As recent as late 2019, this led to heated discussions in respective Facebook groups.Īlimurung, Gendy. Others ask for more sensitivity towards those who experience it as too similar to blackface. Players in favour of black skin paint for Drow insist that “this is just a fantasy game” with no connections to systematic oppression of people of colour in the real world. Still, white players often insist on black skin, also when portraying Drow in live-action role-plays, which receives blame because of similarities to “blackface,” white people with black make-up portraying stereotypes of black people. Because of this, official publications by WotC, for example, switched the skin colour to purple or grey (which leaves the misogynist image of evil females untouched, however). 1987) and to this day feature large in debates between players about depictions of people of colour and female rulers in RPGs as intrinsically evil. Black-skinned, underground-dwelling dark elves, the Drow, were introduced in the game world setting Forgotten Realms (Greenwood et al.
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