Thank you for sharing your ideas on house rules as they pertain to edu-larps! In RPG theory, we've taken to calling this discursive act you describe "establishing the play culture." The play culture involves what is and is not expected from players; what is proper behavior in terms of immersion vs. out-of-character behavior; which topics are open and which are sensitive; what the overall goals of the exercise are; how to treat one another; aspects such as workshopping and debriefing, which I find especially important for edu-larps. Knowing what the players want may be part of the process, but it also involves structuring games to meet multiple player types, goals, and styles of play. Ultimately, establishing the play culture, just like in any other social group, requires strong leadership and clear statements of expectations from both facilitators and students.
You specifically mentioned published rule sets. Are you referring to leisure-based RPGs here? Or edu-larps? Can you provide some examples? A lot of the edu-larps I have studied, for example, do not feature mechanics for social interactions, but rather encourage the student to role-play such things out.
Also, I think in any healthy RPG community and especially in a classroom setting, "rules lawyering" should be kept to a minimum. It's a fine line and difficult to determine at times, but facilitators should be clear in what is and is not acceptable in the game world and OOC interactions in terms of negotiation of plots, rules, and player agency. Excessive rules debates can derail a role-playing experience for everyone, which is doubly problematic in terms of edu-larp due to the need for strong leadership in the classroom.
I enjoyed reading your perspective!
Thanks for the excellent post! As you may have seen from my entry, we have similar interests. I agree that tabletop holds a huge potential to help students grow along several dimensions of learning, as does larp.
You mentioned that secondary education might be better suited for role-playing than scenarios designed for younger students. I'm not entirely sure I agree. We've seen edu-larp used at all education levels, including young children and adult education. Children pretend play by nature and may actually be better at role-taking than young adults. However, I do agree that older students are better at learning and adapting to complex rules systems. May I ask the sorts of tabletop games you think would be most instructive in the classroom? With what tabletop games are you most familiar?
Thanks for the post!
Thank you so much for your feedback on my post. The larps range depending on the wishes of the curriculum and program. The edu-larp non-profit for which I serve on Board of Directors, Seekers Unlimited, runs custom larps for requested subject matter, such as science, social studies, history, etc. These larps usually last 1 day to a week during a particular class period depending on the demand of the school. However, schools like Osterskov, which I mentioned above, use larp all year long as their primary method of pedagogy. While some traditional lecturing and studying is worked into the scenarios, they attempt to frame all subject matters and all lessons as edu-larp. Here is a documentary on the school (only 12 minutes) if you are interested. There are also groups that use edu-larp to increase empathy and raise social consciousness. These scenarios are less "game-like" and more of an experience, such as the Norwegian Prisoner For a Day scenario, in which high schoolers live through a day of imprisonment and hard labor modeled after prison camps elsewhere in the world. Subject matter knowledge is not the focus of these exercises, but rather they hope to inspire greater understanding of social issues and political engagement.
Ultimately, I think any subject can be taught through edu-larp given clever design, but clever design takes time to test and perfect. Also, the success depends on the willingness of the teacher and of the class and the competency of the facilitator.
I hope this response answers your questions!
This is a fascinating post. I'd really like to know more about how these larps work. Are they continuous over the course of the semester or limited to one or two class periods? I wonder if it is possible to design an entire course based around a larp, and if that would be pedagogically helpful.
Your suggestion that it is best used in history and social studies seems to make sense, but I wonder if it might also work for psychology or even public speaking. Any thoughts on that?
Thank you for your comment, Dan.
I think what contributes greatly to the effect that Attack on Titan has had on anime fandom and its image is that it has become well-known enough for a great many people to be reacting to it. It is an unusual series in many ways, but it is the series’ spread and popularity that likely bring attention from those less familiar with anime, that then brings up the old “Only in Japan” mantra as you’ve pointed out.
Just the fact that Marvel Comics has decided to do an official crossover with Attack on Titan says a lot. While there have been attempts to do “manga-style” comics, and plenty of titles have made reference to anime and manga properties, I can see this crossover drawing in new readers to Attack on Titan who bring with them all of their values as superhero comics readers.
I think your use of Attack on Titan and its associated texts make an excellent example of your point here. Having personally watched the show in near real-time to its original airing, I was up on all the talk about the show, its twisting plots, and especially the fan reaction after the anime ended and in anticipation of the manga (now) being ahead. For people somewhat in the know like me, this was an exciting show that was trying new things. And it wasn't even especially any stranger than many other other shows currently airing.
However, most of the reaction I saw from the West after the first season ended and it was spread more widely was focused on how bizarre the show was to them, how the fandom didn't seem to make sense, and in many cases there was just the simple reductionist response of "only in Japan." From those types of replies, it was easy to see how just being aware of the context of the show, even outside of just watching it, created a culture bridge that inculcated myself and many others to some sense of understanding the cultural norms, to some degree anyway, at play within the show.
Yet, for those who had only seen the Suburu car commercial, or even the growing number of parody videos, this was metaphorically a giant monster that was chasing them across various media. They would see people discussing the show on Twitter or Facebook, watch it cross into a new shared video or show up as part of a meme in a Tumblr feed, but ultimately have no context for it. It was just another thing from the "Other" that was Japan for them, some latest weird they felt comfortable dismissing without much investigation.
Syd, I also thought of Big Hero 6 when I listened to Dr. Roh's interview. While the landscape of the San Fransokyo seemed to be a seamless melding of Japanese and American culture, with such examples as the Golden Gate Bridge topped with a pagoda style and the trolleys decorated with paper lanterns, the setting is in the United States rather than Japan and all of the characters are American. The main character, Hiro Hamada, may be Japanese-American, but he is depicted primarily as an American teenager, more interested in making money and looking cool (can't go to "nerd school" if he's going to be a hip, fighting-robot designer) than in putting his talents to use for the good of others. It is the character of the caretaker robot Baymax who displays the most "Japanese" characteristics as he is polite, puts the welfare of others first, and is ultimately trained in the art of karate (making him a ninja-warrior, despite his soft demeanor and build). Baymax starts to adapt to American culture (with much of it acting as comic relief rather than an examination of the process of acculturating) and is harnessed for Hiro's schemes, with the boy taking advantage of Baymax's naivety to pursue his own ends. For this film, though I completely adore it and am trying not to give spoilers, Japanese culture and stereotypes become a foundation upon which American-ness (in its characters and in the values they represent) comes to save the day.
That was a fascinating overview, Dr. R!
I'm intrigued by the mixture of de-humanizing as well as elevation of skill that goes into a Western "admiration" of technological advances / embodiments — even when spun positively as in, to grab a recent example, Big Hero 6. The embodiment aspect seems crucial to me as a source of anxiety and power. The friendly, caretaking, nanny-ishness and the setting of Sanfranyoko seem (and I've only seen trailers, so I may be very wrong) to speak to a concern about loss of distinct national identity as well as individual identity in megacities even as the quality of life and safety is improved. That, perhaps, our agency will be lost?
Does Iwabuchi's idea of cultural odor tie in productively to the techno-orientalist conversation, I wonder? The fragrance of a geisha + the odorlessness of a cyborg?
Your comments about labor practices and the treatment of Oriental workers as machine like reminded me of the movie I'm a Cyborg, But That's Okay. Admittedly, a confection of movie with Rain, but some striking moments nonetheless.
Technoculture masking issues in society is something that I have been thinking about quite a bit myself and I think the point you make about turning to private companies to solve issues having an effect of furthering inequality is an interesting one. As someone who relies on public transportation quite a bit in a city that struggles to expand their network I have personal concerns tied to this. Public transit at it's core is a problem about networks. There need to be as many different interconnected lines going everywhere in a city for them to become useful. Here is Norfolk they have been trying to get a Light Rail system going but right now it only has one line that just runs back and forth. People have already begun to write the whole project off because they don't see it as useful for them instead of realizing that the way it becomes useful is to expand and allow it to go more places in the city.
All of this is just for me to say that if instead of expanding the public network we push people into using private tools like Uber and Lyft do we not just end up with a weak network that could have been something more useful? All those people that could have been connected are now let loose to figure things out for themselves and to hope that a car is available when they need one.
You said "adopting/adapting of another text is a new performance" and the new library cataloging standards (Resource Description & Access) are aligned with this notion of an original and then a remixing/reposting. For example, the work is Hamlet, by William Shakespeare, and all performances of it, whether parody, YouTube, translation, comic book, movie, book edition, website, etc. are all tied to the original expression, not treated as discrete records. The intent is to show derivation and reperformance, and also to show movement and transliteration of a work.
They haven't gone quite so far as thinking about the author as being different each time, but the fact that there are new editions published of original works, with new prefaces by the author is a way of getting at this concept.