They [arrival stories] play the crucial role of anchoring that description in the intense and authority-giving personal experience of fieldwork … Always they are responsible for setting up the initial positionings of the subjects of the ethnographic text: the ethnographer, the native, and the reader. (Pratt 1986, cited in Hine 2000 p45)
She arrived at night, unintentionally – but perhaps that was a good thing. The journey was long, and involved many transitions, connections and re-connections. Upon arriving, Hiro felt strange, this place was familiar – yet new. She didn’t know where to start, or if starting would be possible. The place was frankly deserted. But she needed help, answers – she couldn’t do this alone.
She checked into an anonymous inn, nothing flashy – palaces and throne halls were a world away, another lifetime. She was a scholarly creature of universities now – at least she hoped she was. She washed and changed out of her travel stained clothes before making her way to the common area. A few sad looking strangers stared into their tankards or picked miserably at the plain food before them. No one she recognized, but yet – would she even recognize them if she saw them? Who was she expecting to be here? The Keeper? Prophet? Innomi? She suspected they were long dead.
Shaking off panic and the urge to return to her room and get some rest before beginning, she ordered a glass of the local ale and bowl of indifferent looking broth that bubbled on the stove and sat in a corner, making notes in her note book as she ate, as she waited for someone to arrive.
I didn’t want to intrude on the role-play game that was to be the main focus of my ethnography, the Forest of the Moon as that was long established and it seemed impolite to jump in just for the sake of research. However as I was using Hine (2000) as the framework of my explorations I felt participation was important.
The definition of ethnography as participation given by Hammersley and Atkinson (1995: 2) highlights the interactive aspect of ethnographic research. The researcher does not just observe at close quarters, but interacts with the researched to ask questions and gain the insights into life that come from doing as well as seeing. (Hine 2000, p. 47)
So I asked the FoTM players to join me in a little experiment called “Hirondelle helps out” where I blew the dust off an old character of mine (Hirondelle the Goddess of the Underworld, who many pf the players knew well) and set her up as an ethnographic scholar in a random imaginary world – in this case an inn, a common enough scene for an RPG happening. This enabled me to (re)familiarise myself with the process – I had forgotten how hard it is, notice the big oops where I forgot to introduce myself and the FoTM GM gives me a gentle nudge in the right direction. It also meant that I felt a little more authentic and less of a ‘mere traveller’ in an exotic land. My arrival story was the first post, for a glimpse of the rest of this mini ethnographic RPG please visit us here.
Hine, C, (2000) “The virtual objects of ethnography” from Hine, C, Virtual Ethnography pp.41-66, London: Sage
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[...] my lifestream Tracy's E-learning and Digital Cultures Blog Part of the MSc in E-learning at the University of Edinburgh My virtual ethnography 1: the arrival story [...]
Hi Tracy, This is my first exposure to an RPG and you have been a very informative guide. I was amazed by the detail people put into their stories. I also was not aware of the taking off the mask aspect – so there are two levels of interaction – at the story level and at the out of character (would you call it the ‘real me’level ?). Very interesting.
I was a bit disappointed that the links to the game were ‘not allowed’ as you have to log in – but I might have found it a bit intimidating if I did manage to get in.
Thanks Silvana, sorry about that the forum permissions settings were wrong and have been fixed now n- so you can visit if you would like. Yes there is at least 2 levels there
I did enjoy this Tracy, and wanted more at each point of the study (this is a comment on the limitedness of the task, not a criticism of what you have acheived here!) Like Silvana, I also know very little about RPG, and I found this fascinating. Is it true to say that a kind of militarised ethos is normal in this kind of game? It seemed even from the peaceful snapshot you give here that everyone is some kind of warrior, or (potential) war victim? Assuming this is integral to the genre, it did also make me wonder about power and identity and the psychosocial factors which make us identify ourselves as ‘warrior’ or ‘victim’ or whatever in this kind of game. Again, what you’ve done here illustrates really well the kinds of themes that might be addressed in a bigger study. Really interesting.
I know! There was so much I wanted to say, so much I had to say – but had to really restrict myself because of time & scale. Every paragraph of the readings could have related back to this ethnography, I am sure everyone had the same problem, and had to make the same choices. Interesting comment ‘warrior’ / ‘victim’. RPG comes from D&D which has the following (in the 2nd ed – the 3rd is far too complicated)
Player’s Handbook Classes
Class Power Source Role
Cleric Divine Leader
Fighter Martial Defender
Paladin Divine Defender
Ranger Martial Striker
Rogue Martial Striker
Warlock Arcane Striker
Warlord Martial Leader
Wizard Arcane Controller
Avenger Divine Striker
Barbarian Primal Striker
Bard Arcane Leader
Druid Primal Controller
Invoker Divine Controller
Shaman Primal Leader
Sorcerer Arcane Striker
Warden Primal Defender
So yes, there is a lot of power politics there, lol. The players I interviewed were very keen to distance themselves from D&D (the interview material was something I sadly chose to omit aside from their motivations for role-playing, but their attitudes to D&D would be an ethnography in itself ‘no we aren’t them, they are NERDS’) but they are ALL fantasy fiction fans, so I think the stereotypes / polarity come from there. You either have to be handy with a sword, or have someone to protect you when there are Orcs around.
‘You either have to be handy with a sword, or have someone to protect you when there are Orcs around.’ Ah I get it – or you can play both, Hunter/Maia style? Another interesting ethnographic theme there, and a link back to your visual artefact, in terms of gendering and options for identity building!
Indeed I could! I shall just write my dissertation now, shall I?
Hi Tracy,
I loved this introduction. For some reasons I am picturing the scene of Harry Potter and Lord of the Ring – where Arragon sitting in the dark corner and watching the Hobbits. Arragon being the 7foot tall man protecting Maia. Can’t wait to read further.
Tracey, I really enjoyed your ethnography. I thought the way you immersed the reader into the field site was really clever and involving. Obviously there is loads that could be explored further but I found it a really fascinating introduction to RPG.
I did have one question though. The descriptions are very sensual and the character descriptions (and hentai-ish player avatars) quite sexual so I was wondering if slash fiction is part (or an PM aspect) of this type of RPG – are there conventions or etiquette around this sort of activity in the space? The habit of players to shift expectations by revealing details of a character (e.g. the fact that Niamh is a child) and the ability to play multiple players would seem to offer interesting complications here.