Good Society is a tabletop roleplaying game where you create an Austen novel with your friends.

Die Dissertation Role Playing Materials untersucht die materielle Seite von Larp, Mixed Reality und Pen'n'Paper Rollenspielen. Wie kooperieren Gewandung, Virtuelle-Realität-Brille, oder ein Bleistift mit Erzählung und Spielregeln? Neben Antworten auf diese Frage versucht das Buch das Verständnis von Rollenspiel als eine Handlung zu erweitern, die nicht nur von Menschen geprägt wird. Role Playing Materials examines how larp, mixed and tabletop role-playing games work. Costumes, computers, pen and paper are not passive elements. Materials change and are changed during role-playing game sessions, because they work together with narrative and ludic elements. If we think about materials as social elements, how do they make role-playing games work? To answer this question, Role Playing Materials draws on ethnographic fieldwork among role-playing communities in Germany. The analysis draws upon the fields of game studies, and science, technology and society studies.

First published in 1995. Between them, Janet Tolan and Susan Lendrum have nearly thirty years of experiences as counselling trainers. They have worked as practitioners in fields as diverse as voluntary telephone counselling, personnel work in industry, primary health care and local government. Following the recent rapid rise in counselling training, Case Material and Role Play in Counselling Training is the long awaited answer to the demand for an accessible and practical guide for trainers and educators in counselling skills, therapeutic counsellors and psychotherapists. It offers help to those designing a course and to those wondering how to enliven their training sessions. Part one describes how case materials and role play can form part of an overall training programme, and offers step-by-step instructions on how to use or adapt them. Part two comprises over 250 case vignettes and role plays and is further divided into two sections. The first covers core relationship skills such as beginnings and endings, empathy and ethical issues. The second covers practice issues such as loss and bereavement, sexuality and depression. Part two is cross-referenced so that readers looking for particular materials can select them according to: the work setting of their client group; the age of their client group; the stage of the relationship; or the focus of counselling.

Since 2001, the international network Active Learning in Engineering education (ALE) organized a series of international workshops on innovation of engineering education. The papers in this book are selected to reflect the state of the art, based on contributions to the 2005 ALE workshop in Holland. This overview of experiences in research and practice aims to be a source of inspiration for engineering educators.

"Following the recent rapid rise in counselling training, Case Material and Role Play in Counselling Training is the long-awaited answer to the demand for an accessible and practical guide for trainers and educators in counselling skills, therapeutic counselling and psychotherapy. It offers help to those designing a course and to those wondering how to enliven their training sessions."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Many of today's hottest selling games--both non-electronic and electronic--focus on such elements as shooting up as many bad guys as one can (Duke Nuk'em), beating the toughest level (Mortal Kombat), collecting all the cards (Pokemon), and scoring the most points (Tetris). Fantasy role-playing games (Dungeons & Dragons, Rolemaster, GURPS), while they may involve some of those aforementioned elements, rarely focus on them. Instead, playing a fantasy role-playing game is much like acting out a scene from a play, movie or book, only without a predefined script. Players take on such roles as wise wizards, noble knights, roguish sellswords, crafty hobbits, greedy dwarves, and anything else one can imagine and the referee allows. The players don't exactly compete; instead, they interact with each other and with the fantasy setting. The game is played orally with no game board, and although the referee usually has a storyline planned for a game, much of the action is impromptu. Performance is a major part of role-playing, and role-playing games as a performing art is the subject of this book, which attempts to introduce an appreciation for the performance aesthetics of such games. The author provides the framework for a critical model useful in understanding the art--especially in terms of aesthetics--of role-playing games. The book also serves as a contribution to the beginnings of a body of criticism, theory, and aesthetics analysis of a mostly unrecognized and newly developing art form. There are four parts: the cultural structure, the extent to which the game relates to outside cultural elements; the formal structure, or the rules of the game; the social structure, which encompasses the degree and quality of social interaction among players; and the aesthetic structure, concerned with the emergence of role-playing as an art form.