کایەی ڕۆڵگێڕان

کایەی ڕۆڵگێڕان
کایەی ڕۆڵگێڕان
لقی	کایە، role-playing، tabletop game
ھاشتاگ	rpg
جێبەجێکار	roleplayer
پێڕست	role-playing game terms
	لە ویکیدراوە دەستکاریی زانیارییەکان بکە

کایەی ڕۆڵگێڕان^[١]^[٢] یارییەکە کە یاریزانەکان ڕۆڵی کەسایەتییەکان لە شوێنێکی خەیاڵیدا دەگرنە ئەستۆ. یاریزانان بەرپرسیارێتی نواندنی ئەم ڕۆڵانە لەناو گێڕانەوەیەکدا دەگرنە ئەستۆ، یان لە ڕێگەی نواندنی وشەیی یان لە ڕێگەی پرۆسەی بڕیاردان سەبارەت بە گەشەپێدانی کارەکتەرەکان.^[٣] ئەو کارانەی لەناو زۆرێک لە یارییەکاندا ئەنجام دەدرێن بەپێی سیستەمێکی فەرمی یاسا و ڕێنمایییەکان سەرکەوتوو دەبن یان شکست دەھێنن.^[٤]

یاری ڕۆڵگێڕان چەندین جۆری ھەیە. فۆڕمی ڕەسەن کە ھەندێک جار پێی دەوترێت یاری ڕۆڵگێڕانی سەر مێز (TRPG یان TTRPG)، لە ڕێگەی گفتوگۆوە ئەنجام دەدرێت، لەکاتێکدا لە ڕۆڵگێڕانی ئەکشنی ڕاستەوخۆ (LARP)دا یاریزانەکان بە شێوەیەکی جەستەیی کردارەکانی کارەکتەرەکانیان ئەنجام دەدەن.^[٥] لە ھەردوو ئەم فۆرمەدا ڕێکخەرێک کە پێی دەوترێت وەستای یاری (GM) بەزۆری بڕیار لەسەر یاسا و ڕێکخستنەکان دەدات کە بەکاردەھێنرێن، لەکاتێکدا وەک ناوبژیوان ڕۆڵ دەگێڕێت؛ ھەریەک لە یاریزانەکانی تر ڕۆڵی یەک کارەکتەر دەگێڕن.^[٦]

ھەروەھا یارییە ڕۆڵگێڕانەکان یارییە ڤیدیۆیییەکانی ڕۆڵگێڕانی تاک-یاریزان لەخۆدەگرن کە تێیدا یاریزانەکان کارەکتەرێک، یان تیمی کارەکتەرەکان کۆنتڕۆڵ دەکەن، کە کوێست(ەکان) ئەنجام دەدەن و لەوانەیە تواناکانی یاریزان لەخۆبگرن کە بە بەکارھێنانی میکانیکی ئاماری پێشدەکەون. ئەم یارییە ئەلیکترۆنییانە ھەندێک جار ڕێکخستن و یاساکان لەگەڵ ڕۆڵگێڕانیی سەر مێزدا ھاوبەش دەکەن، بەڵام زیاتر جەخت لەسەر پێشخستنی کارەکتەرەکان دەکەنەوە نەک چیرۆکگێڕانی ھاوبەش.^[٧]^[٨]

سەرچاوەکان

بەشداربووانی ویکیپیدیا، «Role-playing game»، ویکیپیدیای ئینگلیزی. سەردان لە ٤ی کانوونی یەکەمی ٢٠٢٣.

^ Harrigan، Pat (2007). Second Person: Roleplaying and Story in Playable Media. MIT University Press. ISBN 978-0-262-51418-7.
^ GURPS (4th ed.). Steve Jackson Games. 2004. pp. Chapter 1. But roleplaying is not purely educational. It's also one of the most creative possible entertainments. Most entertainment is passive: the audience just sits and watches, without taking part in the creative process. In roleplaying, the "audience" joins in the creation, which may introduce a huge impact on the project. The GM is the chief storyteller, but the players are responsible for portraying their characters. If they want something to happen in the story, they make it happen, because they're in the story.
^ Grouling، Jennifer (2010). The Creation of Narrative in Tabletop Role-Playing Games. McFarland & Company. pp. 6. ISBN 978-0-7864-4451-9. As suggested by the name, TRPGs are played face-to-face (around a table, most likely), and involve players 'acting out' a role. This acting is not always literal. Players do not arrive in costume or speak exclusively in character – something that differentiates TRPGs from live-action role-playing games (LARPs). Instead, players develop characters based on certain rules and are responsible for deciding what those characters do over the course of the game.
^ (Tychsen 2006:76) "The variety of role-playing games makes it inherently challenging to provide a common definition. However, all forms of role-playing games – be they PnP RPGs, CRPGs, MMORPGs, or LARPS – share a group of characteristics, which makes them identifiable from other types of games: storytelling with rules, control of fictional characters, a fictitious reality, usually the presence of a game master (or game engine), and at least one player."
^ (Tychsen et al. 2006:255) "LARPs can be viewed as forming a distinct category of RPG because of two unique features: (a) The players physically embody their characters, and (b) the game takes place in a physical frame. Embodiment means that the physical actions of the player are regarded as those of the character. Whereas in an RPG played by a group sitting around a table, players describe the actions of their characters (e.g. , "I run to stand beside my friend")"
^ Kim، John. «"Narrative" or "Tabletop" RPGs». لە ڕەسەنەکە لە ٢٩ی ئابی ٢٠٠٨ ئەرشیڤ کراوە. لە ٩ی ئەیلوولی ٢٠٠٨ ھێنراوە.
^ (Tychsen 2006:75) "PnP RPGs are an example of interactive narratives. The rules and fictional worlds that form the basis for these games function as a vessel for collaborative, interactive storytelling. This is possibly the most important feature of PnP RPGs, and one that CRPGs have yet to reproduce."
^ Crawford، Chris (2003). Chris Crawford on Game Design. New Riders Publishing. pp. 163. ISBN 978-0-13-146099-7. In some ways, the emphasis on character development has impeded progress in storytelling with RPGs. The central premise of these [computer RPGs] is that the player steadily builds his abilities by acquiring wealth, tools, weapons, and experience. This emphasis on character development tends to work against the needs of dramatic development – dramatic twists and turns clash with the prevailing tone of steady development. Fortunately, this impediment is not fundamental to the RPG genre; it is a cultural expectation rather than an architectural necessity.

[secondperson-1] Harrigan، Pat (2007). Second Person: Roleplaying and Story in Playable Media. MIT University Press. ISBN 978-0-262-51418-7.

[gurpsrp-2] GURPS (4th ed.). Steve Jackson Games. 2004. pp. Chapter 1. But roleplaying is not purely educational. It's also one of the most creative possible entertainments. Most entertainment is passive: the audience just sits and watches, without taking part in the creative process. In roleplaying, the "audience" joins in the creation, which may introduce a huge impact on the project. The GM is the chief storyteller, but the players are responsible for portraying their characters. If they want something to happen in the story, they make it happen, because they're in the story.

[Cover-3] Grouling، Jennifer (2010). The Creation of Narrative in Tabletop Role-Playing Games. McFarland & Company. pp. 6. ISBN 978-0-7864-4451-9. As suggested by the name, TRPGs are played face-to-face (around a table, most likely), and involve players 'acting out' a role. This acting is not always literal. Players do not arrive in costume or speak exclusively in character – something that differentiates TRPGs from live-action role-playing games (LARPs). Instead, players develop characters based on certain rules and are responsible for deciding what those characters do over the course of the game.

[4] (Tychsen 2006:76) "The variety of role-playing games makes it inherently challenging to provide a common definition. However, all forms of role-playing games – be they PnP RPGs, CRPGs, MMORPGs, or LARPS – share a group of characteristics, which makes them identifiable from other types of games: storytelling with rules, control of fictional characters, a fictitious reality, usually the presence of a game master (or game engine), and at least one player."

[TychsenEtAl2006DefiningLARP-5] (Tychsen et al. 2006:255) "LARPs can be viewed as forming a distinct category of RPG because of two unique features: (a) The players physically embody their characters, and (b) the game takes place in a physical frame. Embodiment means that the physical actions of the player are regarded as those of the character. Whereas in an RPG played by a group sitting around a table, players describe the actions of their characters (e.g. , "I run to stand beside my friend")"

[whatisnarrative-6] Kim، John. «"Narrative" or "Tabletop" RPGs». لە ڕەسەنەکە لە ٢٩ی ئابی ٢٠٠٨ ئەرشیڤ کراوە. لە ٩ی ئەیلوولی ٢٠٠٨ ھێنراوە.

[Tychsen2006CollaborativeNarrative-7] (Tychsen 2006:75) "PnP RPGs are an example of interactive narratives. The rules and fictional worlds that form the basis for these games function as a vessel for collaborative, interactive storytelling. This is possibly the most important feature of PnP RPGs, and one that CRPGs have yet to reproduce."

[Crawford-8] Crawford، Chris (2003). Chris Crawford on Game Design. New Riders Publishing. pp. 163. ISBN 978-0-13-146099-7. In some ways, the emphasis on character development has impeded progress in storytelling with RPGs. The central premise of these [computer RPGs] is that the player steadily builds his abilities by acquiring wealth, tools, weapons, and experience. This emphasis on character development tends to work against the needs of dramatic development – dramatic twists and turns clash with the prevailing tone of steady development. Fortunately, this impediment is not fundamental to the RPG genre; it is a cultural expectation rather than an architectural necessity.

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