![]() Since, as she states, “ameplay takes the form of written narrative in the style of traditional fiction” this activity is often thought of as “collaborative writing” rather than playing a game (para. In her article on Livejournal roleplaying, Sarah Wanenchak (2010) provides a detailed description of PBPRP and observes that this kind of activity “is not a ‘game’ by the most traditional definition: there is no ultimate goal and no system of points, and the focus is on the creation and development of an ongoing story” (para. Sometimes the world and characters are based on existing media, but all the writing is expected to be original. ![]() In this activity, participants take on the role of specific characters and take turns contributing to the creation of a fictional world through narrative storytelling. Reprinted by permission of the Beacon Press, Boston.Earlier this year, Shawn Dorey (2017) wrote a piece for First Person Scholar on play-by-post roleplaying (PBPRP), which is broadly defined as a form of text-based online roleplaying. Play is invested with the noblest qualities we perceive in things: rhythm and harmony.įrom ``Homo Ludens: A Study of the Play Element in Culture,'' by Johan Huizinga. The words we use to denote the elements of play belong mostly to aesthetics they are terms with which we try to describe the workings of beauty: tension, poise, balance, contrast, variation, solution, resolution. The aesthetic impulse is perhaps identical with that impulse to create orderly form which animates play in all its aspects. The profound affinity between play and order may be why play has a tendency to be beautiful. The least deviation from it ``spoils the game,'' robs it of its character, and makes it worthless. Into an imperfect world, into the confusion of life, it brings a temporary, a limited perfection. ![]() Here we come across another, very positive feature of play: it creates order: it is order. ![]() Inside the playground a special order reigns absolutely. All are temporary worlds within the ordinary world, dedicated to the performance of an act apart.ħ. ![]() The arena, the card-table, the magic circle, the temple, the stage, the screen, the tennis court, the court of justice are a ll playgrounds in form and function: they are forbidden spots, isolated, hedged round, hallowed within them, special rules hold good. Just as there is no formal difference between play and ritual, so the ``consecrated place'' cannot be formally distinguished from the playground. All play moves and has its being within a playground marked off beforehand either materially or imaginatively, with deliberation or as a matter of course. More striking even than the limitation as to time is the limitation as to space. He turned to a timeless subject in ``Homo Ludens: A Study of the Play Element in Culture'' (1938 English translation, 1949), which is briefly represented here by two of his numbered points analyzing ``the n ature of play.'' 6. He is known for the literary as well as scholarly qualities of such writings as his major work, ``The Waning of the Middle Ages,'' dealing with France and Holland in the 14th and 15th centuries. Johan Huizinga (1872-1945) was a Dutch historian held by the Nazis during the last few years of his life. ![]()
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