Course Content
Unit 2: Transformative Leisure Role-playing Game Design
These types of games are not necessarily played for an educational or therapeutic purpose, but they can be designed with specific goals in mind and players might find them transformative in a variety of different ways.
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Unit 3: Therapeutic Role-playing Game Design
These types of games are designed for a therapeutic purpose or to help participants develop social skills.
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Unit 7: Ritual, Symbolism, and Culture in Game Design
In this Unit, we will deepen into specific practices for designing rituals, narratives, and symbolism in role-playing games.
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Unit 8: Role-playing Game Design and Conflict
As with our first class, this unit will cover both conflicts surrounding certain facets of game design within gaming communities.
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Unit 9: Representation and Tech Ethics in RPG Design
In this unit, we will primarily focus on the way disabilities are represented in role-playing game design.
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Unit 10: Framing Transformative Game Design
Welcome to our last unit on your reflections and analysis of the transformative game design process.
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Transformative Game Design 1

Discussion 8: Educational Role-playing Game Design

Watch Josefin Westborg’s “Learning and Framing” (30 min) and Sarah Lynne Bowman’s “Mixing Desk of Edu-Larp” (12 min).

Read Michał Mochocki’s “Edu-Larp as Revision of Subject-Matter Knowledge” (20 pages), David Crookall’s “Engaging (in) Gameplay and (in) Debriefing” (12 pages), and Erik Aarebrot and Martin Nielsen’s “Prisoner for a Day: Creating a Game Without Winners” (5 pages).

“Prisoner for a Day” Content Advisory: Emotional abuse, forced labor, imprisonment, human rights violations

Review slides for Sarah Lynne Bowman’s “Mixing Desk of Edu-Larp” (3 pages),

Then, answer the following questions:

1) In what situations do you think might intellectual or educational debriefing be necessary to achieve certain learning objectives after an RPG? Use specific examples, hypothetically or from your experience.

2) What faders on the Mixing Desk of Edu-Larp were surprising to you or had you never considered before, if any? What faders would you add to the Mixing Desk, if any? In both cases, explain why these faders might be useful to consider in educational RPG design. 

3) Choose two (2) faders from the Mixing Desk of Edu-Larp. Describe how these faders might be relevant to your nanogame design, even if your game design is not educational in nature.

  • What decisions did you make with regard to these faders, whether consciously or unconsciously?
  • How might moving these faders affect your design? Be specific.

Finally, respond to at least two (2) of your peers in Ask a Question, Answer a Question format.