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            "abstractNote": "Responding to Ruberg’s notion of the “queer games avant-garde” where games are made by, for, and about queer gamers [23], we sought out “queer TTRPGs” where queerness is centered in the design of a given tabletop roleplaying game (TTRPG) system and/or setting. In this study, we curated a ludography of seven queer TTRPGs that support the exploration of queer identity: Thirsty Sword Lesbians [36], Monsterhearts 2 [2], Dream Askew [1], Alice is Missing [29], Sleepaway [8], Lichcraft [19], and Wanderhome [9]. In our content analysis of the game guidebooks, we found that the games guide players through queer play experiences through tenets of queer theory, while using visibility and direct disclosure of the game’s themes to resist the status-quo of erasing queerness in traditional media. We close with reflections on how other game designers can leverage these strategies to support and uplift queer gamers.",
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            "title": "Dramaturgies of Being: Agency, Pedagogy and the Self-Focused Performance of Tabletop RPGs",
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                    "firstName": "Sophie",
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            "abstractNote": "When approached as a performance medium, tabletop role-playing games, or TTRPGs, demonstrate a dramaturgical method that allows for the exploration of an individual playerperformer’s agency, as well as the limits thereof. At the same time, the rule frameworks that structure play work to create experimental and pedagogical environments where suppositions about reality can become true within the virtual play-space, and thus allow space for speculative performances of said reality; if the rules say that something is true, what then becomes true by extension? The combination of these elements allows for the construction of ‘dramaturgies of being,’ which facilitate the performance of identity within the speculative framework, and thus the testing of said identities. Avery Alder’s 2018 game Dream Askew presents a dramaturgy of being for queer postapocalyptic identity exploration, community building, negotiation of agency, and teaching through simulated experience.",
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            "title": "Magic Circles: Tabletop role-playing games as queer utopian method",
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                    "firstName": "Felix Rose",
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            "abstractNote": "This paper explores the connections between utopian approaches in performance studies, queer strategies for community building, and the world-creation tools made available by tabletop “pen and paper” role-playing games (TRPGs). Particularly, drawing on the varied modes of reality offered by each of the above, and they ways they can support experimentation with alternative societies, relationships, and political ideologies.Beginning with a contextual analysis of Dungeons & Dragons, it outlines the structure, history, and current iterations of tabletop roleplaying games, towards an understanding of how the form can be used in the construction of playful, microcosmic utopias sensitive to queer experiences of solidarity within marginalisation. To illustrate this usage, Avery Alder’s queer, post-apocalyptic TRPG Dream Askew (2019) is later explored as a particularly appropriate case study to illustrate this usage.The paper goes on to look at how the conception of Utopia as a world apart (as in Thomas Moore’s ‘No Place’), the establishing of a ‘Magic Circle’ (coined by Johan Huizinga) as a zone of shifted possibility in both game and performance contexts, and the genres of science fiction and speculative fiction, can be used together to facilitate a form of collaborative storytelling. This type of storytelling is noted as being politically significant in the ways it consolidates the roles of performer and spectator, engaging with Augusto Boal’s critiques of passive spectatorship, and framing of performance as possible “rehearsal for revolution” [1974(2008): 135].",
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            "title": "No Dice, No Masters: Procedures for Emancipation in Dream Askew / Dream Apart",
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            "abstractNote": "This study of Avery Alder and Benjamin Rosenbaum’s Belonging Outside Belonging system for tabletop roleplaying games (ttrpgs) follows in Jacques Rancière’s project of ignorance, as set out in The Ignorant Schoolmaster (1987) and as continued in The Emancipated Spectator (2008). With Rancière’s politics as a framework, this study works backward from Ian Bogost’s Persuasive Games (2007) to his Unit Operations (2006), and then to Alain Badiou’s Manifesto for Philosophy (1989), in order to recover the radical politics undergirding Bogost’s distinct method of game criticism. Badiou’s Manifesto, going beyond Bogost’s primary philosophical source, Badiou’s Being and Event (1988), clariﬁes the political stakes of Badiou’s ontology, allowing us to return to the present with a more robust politics of procedurality motivating our critical work. From here, Alder and Rosenbaum’s Dream Askew / Dream Apart (2018) furnishes us with a provocative model of emancipatory procedurality suited not only for radical play but radical design, challenging the limits of Bogost’s “persuasion” as an activist paradigm.",
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            "title": "Changing the Game: The Rhetorical Approach of “No Dice, No Masters” Tabletop RPGS",
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            "abstractNote": "This thesis is a rhetorical analysis of gamebooks for the tabletop roleplaying games (TTRPGs) Dream Askew by Avery Alder and Wanderhome by Jay Dragon. Using Dungeons and Dragons as the ubiquitous example of a TTRPG that operates on foundations of hierarchy, coloniality, and violence, I consider the reframing of discourses that their designers achieve through how they structure character and world creation and player interaction. These games exemplify counter-hegemonic, decolonial practices of game design and play by undoing the player-gamemaster hierarchy, changing the apparatuses that mediate in-game and out-of-game discourses, and increasing the value of lived experience and subject positionalities for players and characters. Collaborative processes and structures that increase player agency and relationship-building shift the objectives of gameplay from conquest and domination to building a mutually satisfying narrative and emphasizing the value of empowering and uplifting other players. I’ll also be attentive to the structure of Dream Askew and Wanderhome in my primary analysis, taking inspiration from their configurations as a conversation and a journey, respectively. Through considering these games as attending to a broader range of experiences and reimagining game design for a more inclusive audience, I position them as examples that can inspire game designers to consider the discourse their games enact and TTRPG players to recognize what a game’s structures restrict or enable in their play experience.",
            "thesisType": "MA",
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