Role movement subculture. Who is a roleplayer? Who is a Vkontakte roleplayer
Rtpmz
fsch, obchetope, xtse OE TBb UMSCHYBM YMY YUYFBM P TPMECHPN DCHYTSEOYY, RPMECHSHI YZTBI Y FPMLIEOYINE. ChPNPTSOP, DBTSE YUYFBM CH RTEUUE, VMBZP PV LFPN RYUBMPUSH, YOEPDOPLTTBFOP. b EUMY YUYFBM, FO OBCHETOSLB RTPUYFBOOSCHE FPVPK UVBFSHY PFOPUYMYUSH L PDOPNKH Y UMEDHAEYI FTEI FYRPCH.
FYR RETCHSHCHK (LTPCHBCHP-HTsBUBAEYK): “RPD CHPDEKUFCHYEN OPCHPZP OBTLPFYLB RBOLY-UBFBOYUFSHCH PLPOYUBFEMSHOP UPYMY U HNB Y UFBMY HUFTBYCHBFSH DHMY ABOUT ULPCHPTPDLBI. UCHYDEFEMY ZPURYFBMYYTPCHBOSHCH U FTSEMSHCHNY FTBCHNBNY". LBL OY RTYULPTVOP, FBLPK CHYD RHVMYLBGIK OBYVPMEE TBURTPUFTBOEO Y CHUFTEYUBEFUS DBTSE CH UPMYDOSCHI YODBOYSI. BCHFPTSCH LFYI TSOYEKHFCHETSDBAEYI YEDECHTCH, LAL RTBCHYMP, FE CE UBNSHCHE, UFP RYYHF UCHPDLY LTYNYOBMSHOPK ITPOILY. eee sing MAVSF CHSCHDBCHBFSH ACCOUNT DPUFPCHETOHA YOZHPTNBGYA P CHUFTEYUBI U NBMEOSHLNYY EMEOSCHNY YUEMPCHEYULBNY. IFI UFBFSP OE YNEF OILBPZP PFOPEYS LI TPMCHPNH DCHIETSOPA, B PRIUSHCHBAF Reubmshop Yuchaufokha Fhupchlch h Vompulpchulpn Oletulhuopn UBDH, YMY YMY (NMEFLYK ChBBTBF) "Rpsboee".
FYR CHFPTPK (CHPCHSHCHIEOOP-CHPUFPTTSEOOSCHK): "NPMPDPE RPLPMEOYE PFCHETZBEF TBMBZBAEEEE CHMYSOYE UCHTENEOOOPZP PVEEUFCHB" (CHBTYBOFSHCH: OBTLPFILY, RPDCHBMSCH, LIVETUKHEEUFCHPCHBOYE). ffyi RHVMYLBGYK NEOSHIE, Oo SING RP-UCHPENH WEDHNIGHT, YVP RTERPDOPUSF RTPYUIPDSEEE H TPPCHPN UCHEFE. RYIKHF FBLPE CH PUOPCHOPN "DYCHOSCHE" Y YN UPYUKHCHUFCHHAEYE (P FPN, UFP UYY EUFSH OB CHETY, VKhDEF OENOZP RPTSE). h DEKUFCHYFEMSHOPUFY LFP - PVSCHLOPCHEOOBS DEYOZHPTNBGYS, Y FPK TSE UETYY, UFP Y "PFUHFUFCHYE CETFCH UTEDY NYTOPZP OBUEMEOIS". PRSFSH-FBLY PF TBUUNPFTEOIS OBUFPSEEZP TPMECHPZP DCHYTSEOIS LFY UFBFSHY PYUEOSH DBMELY.
FYR FTEFYK (OEDPKHNEOOP-OECHYAETSBAEYK): "IDKH RP MEUKH, ZTYVSH UPVYTBA, B OBCHUFTEYUKH - RBGBOSCH CH LPMSHYUKHZBI". vMBZYE OBNETEOIS RTY OBRYUBOYY FO MY YЪ-ЪB OECHETOZP RPDIPDB, FO MY YЪ-ЪB VBOBMSHOPK MEOY RTYCHPDSF FKDB, LHDB Y PVSCHYuOP. IPFS RPRBDBAFUS DECUFCHYFEMSHOP YOFETEUOSCHE FPYULY TEOYS. RTPVMEB H FPN, YUFP Chue (!) Tshtobmiyufshch, Ryubishya P TPMCHPN Dchyatsoye, PVTBEBM Chojoa Yulmayufemshop on Cheyoaaa Ufptpokh Schmeoysh OE RTPCHPDYMY TBYEGSHS NEPCH TPMECHN DCYSEYEN LLB FBLPCHNA FPMLYAYYAYYYYAYAYAYAYAYAYAYAYAYAYAYAYAYAYAYAYAYYAYAYAYAYAYAYAYAYAYAYAYYAYYYAYYAYYAYYYYAYAYAYYYAYAYA oYLFP DP uyi RPT OE RSCHFBMUS RTPCHEUFY RPMOSCHK OERTEDCHSFSCHK BOBMY Q, W B LBYUEUFCHE YUFPYUOYLPCH YOZHPTNBGYY CHUEZDB CHSCHVYTBMYUSH OBYVPMEE CHSCHDEMSAEYEUS ( "DYCHOPUFSHA" YMY UFEREOSHA PRSHSOEOYS) UHVYAELFSCH, RPKNBOOSCHE ON RTEUMPCHHFPN "rPZBOYEE". OBY TSHTOBM VETEF ABOUT UEVS UNEMPUFSH YURTBCHYFSH LFP DPUBDOPE HHREEOYE.
yFBL: UFP CE RTEDUFBCHMSEF UPVPK TPMECHPE DCHITSEOYE Y ZDE UMEDHEF YULBFSH EZP YUFPLY?
yufplay tpmechpzp dchyceoys
CHUE OBYUBMPUSH EEE H BUFPKOSHCHTENEOB U YCHEUFOPK RYPOETULPK YZTSCH "BTOYGB". rTBCHYMB VSCHMY RTPUFSCH: OLOMO UPFOY VHDHEYI LPNNHOYUFCH CHCHCHPYMYUSH ABOUT RTYTPDH, ZDE DEMYMYUSH ABOUT LPNBODSCH. obobyubmyush LPNBODYTSCH Y RPDYOEOOSHCH YN "PZHYGETSCH", PUFBMSHOSHCHE YZTBAEYE UFBOCHIMYUSH RTPUFSHCHNY UPMDBFBNY. ChSCHDBCHBMBUSH "CHPEOOBS" ZHPTNB Y DETECHSOOSHCHE NPDEMY PTHTSYS, TSHCHMYUSH HLTERMEOYS. GEMSHA YZTSCH VSCHM ЪBICHBF YFBVB RTPFYCHOYLB YMY VPECHPZP OBNEOY. dPRPMOYFEMSHOSHCHE PYULY NPTsOP VSHMP ЪBTVBVPFBFSH, KHOYUFPTSBS TSYCHHA UIMH RTPFICHOYLB. oEF, ffp OE Vschm Quake ABOUT NEUFOPUFY. FP VSCHMP LHDB YOFETEWOEK.
yZTB OPUIMB STLP CHSHCHTBTSEOOSCHK CHPEOOP-RBFTYPFYUEULYK IBTBLFET, B RP UHFY UCHPEK VSCHMB OERMPIYN NPDEMYTPCHBOYEN VPECHSCHI DEKUFCHYK ABOUT FBLFYUEULPN HTPCHOE. RBTBMMEMSHOP "BTOYGE" OELPFPTSCHE YUFPTYYUEULIE LMHVSH Y LTHTSLY TBCHYCHBMY UPVUFCHEOOOSCHE RTPELFSHCH.
at UBCHIDOPK TEZHMSTOPUFSHHA UP CHUIEI LPOGCH UPAB MADY UYAETSBMYUSH ABOUT VPTPDYOULHA VYFCHH, PUBDH uFBMYOZTBDB, VYFCHH ABOUT lHMYLPCHPN RPME. OP, LAL Y UMEDPCHBMP PTSYDBFSH, FBLIE DECUFCHB VSCHMY MYYSH FEBFTBMSHOPK RPUFBOCHLPK, YI YUIPD VSCHM BTBOEE RTEDTEYEO.
dPRPDMYOOP OYJCHEUFOP, LFP VSCM FEN RETCHSHCHN YUEMPCHELPN, LPFPTSCHK RTEDMPTSYM UMYFSH CHPEDYOP DCHB RTPELFB. yN Refinery VSHCHFSH NPMPDPK YUYOPCHOYL Y TBKLPNB, YOFETEUKHAEIKUS YUFPTYEK, YMY ZMBCHB LMHVB, YMY TSDPPCHPK YZTBAEYK. b YDES WSCMB WPMEE YUEN HDBYOPK. OPCHSHCHK FYR YZT, HOBUMEDPCHBCH MHYUYE YUETFSHCH TPDYFEMEK, TPU Y TBCHYCHBMUS, PVTEFS OEBCHYUYNPUFSH ZDE-FP L 1982 ZPDH. h FBLYI YZTBI YURPMSH'PCHBMBUSH UETSHEOBS OBHYUOBS VBB, Oo RTYUHFUFCHPCHBMY Y UFPMSh TSEMBENSCHE NBUUBNY DYOBNYYN, UCHPVVPDB DEKUFCHYK Y OERTEDULBKHENPUFSH UATSEFB. uKHEUFCHPZP POI RPD LTSCHYEK F. O. "GEOFTCH TPMECHPZP NPDEMYTPCHBOIS" (gtn).
TPMECHPE DCHYTSEOYE PLPOYUBFEMSHOP PZHPTNYMPUSH L 1985 ZPDH, RPRPMOYCH UCHPY TSDSCH YUMEOBNY lmzh (“lMHVB MAVIFEMEK JBOFBUFYLY”), LFOPZTBZHBNY, MYOZCHYUFBNY… CHUEI RTPUFP OE RETEYUYUMYUMYY. yNEOOP lmzh VSCHM FEN RPUMEDOIN YFTYIPN, LPFPTSHK ЪBCHETYYM LPNRPYGYA. yZTSCH CHCHYMY ABOUT OPCHSHCHK HTPCHEOSH: OBHYUOP-ZHBOFBUFYUEULYK. pVEERTYOBOBOSCHNY GEOFTTBNY TPMECHPZP DCHYTSEOIS UDEMBMYUSH nPULCB, rYFET (FPZDB EEE meoyoztbd), LECH, ELBFETYOVKhTZ Y lBBOSH. fBL RTPYMP EEE RSFSH MEF. OYUFP, LBBMPUSH, OE RTEDCHEEBMP RETENEO, LPZDB CH 1989 ZPDKh ZTSOKHM ZTPN UTEDY SUOPZP OEVB, Y ChBMUS PO - "chMBUFEMYO lPMEG".
p chtede fpmlyeoynb
rTPYCHEDEOYS BOZMYKULPZP RTPZHEUUPTB DTsPOB t.t. fPMLYEOB VSHMY Y'CHEUFOSHCH YUIFBAEK PVEEUFCHEOOPUFY DPUFBFPYuOP DBCHOP. RP THLBN IPDYMY LPRYY "DPNBYOYI" RETECHPDCH, RP UPDBOOPC YN CHUEMEOOPK DBCE HUFTBYCHBMYUSH YZTSCH. dU OELPFPTPK RPTSCH EZP "iPVVYF", "chMBUFEMYO lPMEG" J "uYMShNBTYMMYPO" (HTEBOOBS CHETUYS VPMEE TBOOEK "Lojze hFETSOOSchI uLBBOYK") OYYUEN OE CHSCHDEMSMYUSH ON PVEEN ZHPOE RTPYUEK "ULBPYUOPK ZHBOFBUFYLY" (fantasy), LToNe TBCHE YUFP "RYYUOPZP" IBTBLFETB RPCHEUFCHPCHBOYS .
uACEF "CHMBUFEMYOB" VSCHM, CH PVEEN-FP, OE UMYYLPN BLNSCHUMPCHBFSCHN: LPNRBOYS RTILMAYUEOGECH URBUBEF ULBPUOSCHK NYT PF FENOPZP chMBUFEMYOB, PMYGEFCHPTSAEEZP yMP. TPNBO VSCHM OBYUBF EEE Cho ChTENS rETCHPK NYTPCHPK, BDKHNSCHCHBMUS LAL "OPCHSHCHK BOZMYKULYK URPU" Y PDOCHTENEOOP LAL RTEDPUFETETSEOYE YuEMPCHEYUUFCHH. h YUBUFOPUFY, FENOSCHK CHMBUFEMYO Y EZP UFTBOB, nPTDPT, VSHMY URYUBOSCH U PCHTENEOOOPK fPMLYEOH ZETNBOY.
uppfchefufcheoop, TPNBO VSCHM OBRPMOEO BMMEZPTYSNNY, Y OBSHCHCHBFSH EZP LMBUUYYUEULYN (H UPCTHENEOOPN RTEDUFBCHMEOYY) ZHOFEYKOSHCHN TPNBOPN OE UPCHUEN CHETOP. at FBLYN CE KHUREIPN RPMYFYUEULHA UBFYTH vtDVETY YMY MENB NPTsOP RTEDUFBCHYFSH LAL UETSHEYOKHA OBHYUOKHA JBOFBUFYLH.
RETECHPDSHCH "CHMBUFEMYOB LPMEG", CHSHCHRHEEOOSCHE DCHKHNS OEBCHYUYNSCHNY YODBFEMSHUFCHBNY, USCHZTBMY CHO NOPZPN OEZBFYCHOKHA TPMSh. yI RKHVMYLBGYS UPCHRBMB U OBYUBMPN LPOPNYUEULPZP Y UPGIBMSHOPZP LTYYUPCH, TBURBDB UPAB. BEYEEOOBS PF CHOEYOEZP NYTB NPMPDETSSH (PUPVEOOP SE HER YUBUFSH, LPFPTBS "YOFEMMYZEOGYS") have HDYCHMEOYEN PVOBTHTSYMB, YUFP uYUFENB, DP FPZP BVPFYCHYBSUS P CHUEPVEEN VMBZE, PFVTPUYMB LPRSCHFB J PUFBCHYMB her about RTPYCHPM UHDSHVSCH. NOPZYE NPMPDSHCHE MADY, TPUYYE CH FARMYUOSCHI HUMPCHYSI, PLBBMYUSHOE ZPFPCHCHNY L UFPMSh TELPNKH YЪNEOEOYA CHOEYOYOK PVUFBOPCLY. b NYT fPMLYEOB VSHCHM OBUFPMSHLP RTYCHMELBFEMSHOSHCHN, UFP ChPOYLBMP YULKHYOYE RPZTKHJFSHUS CH OEP U ZPMCHPK Y ЪBVSHCHFSH P RTPVMENOPK PLTHTSBAEK DEKUFCHYFEMSHOPUFY. nBOIS (DBCE OE NPDB!) OB FPMLIEOB UFTENYFEMSHOP OBVITBMB PVPTPFSCH, UPVMBIOYCH UMYYLPN NOPZYI, PFFEUOYCH ABOUT CHFPTPK RMBO MAVPCHSH L uFTKhZBGLYN, BYNPCHKH, LMBTLKH. h DBOOPN UMHYUBE fPMLYEO USCHZTBM TPMSH RTEUMPCHHFPZP TBUFBZHYBOULPZP UCHSEEOOYLB, RTPRPCHEDHAEEZP X YUHLYUEK (OEVPMSHYBS URTBCHLB: TBUFBZHYBOUFCHP ZYVTYD LBFPMYYUEUFCHB J FTBDYGYPOOSCHI BZHTYLBOULYI CHETPCHBOYK; PDOB dv EZP DPZN HFCHETTSDBEF, YUFP iTYUFPU VSCHM TPDPN Y yuETOPZP LPOFYOEOFB). OE RPOYNBS CHUEK RPDPRMELY TBVPF fPMLYEOB, PVEEUFCHEOOPUFSH CHPURTYOYNBMB LBTsDPE EZP UMPCHP Lal VTSEUFCHEOOPE PFLTPCHEOYE. About bBRBDE VKhN FPMLIEOYYNB RTPYEM EEE H YEUFYDEUSFSHCHE ZPDSH, B X OBU
LBL Y'CHEUFOP, tPUUYS RPCHFPTSEF RHFSH 'BRBDB', Oo DEMBEF FFP U 'BRP'DBOYEN Y - OETEDLP - CH YULMAYUYFEMSHOP Y'CHTBEEOOPC ZHPTNE. rTPYEM ZPD, Y UPPVEUFCHB FPMLIEOYUFCH RPSCHYMYUSH RPYUFY CH LBTsDPN LTHROPN ZPTPDE. IDEBMYYTPCHBFSH YI OE UFPYF. ChP-RETCHSCHI, CH PFMYYUYE PF "MYYFOSHCHI" lmzh, gn Y CHPEOOP-YUFPTYUEULYI LMHVPCH, FBLIE PVEEUFCHB VSHMY MYOEOSCH GEOPTBMYЪPCHBOOPZP ZHYOBOUYTPCHBOIS. ChP-CHFPTSCHI, POI YOBYUBMSHOP VSHMY VPMEE PFLTSCHFSHCHNY, UFP UPDBMP RTEDRPUSHCHMLY DMS LTYYUB TPMECHPZP DCHYTSEOIS, LPFPTPE OBVITBFSH UYMSCH YUHFSH RPTSE, CH UETEDYOE DECHSOPUFSHCHI. b CH-FTEFSHYI ... RPSCHYMYUSH "DICHOSCHE".
p "DYCHOPUFY" Y "DYCHOSHCHI" UMEDHEF OBRYUBFSH PUPVP, DBVSh UFBMP SUOP, UFP LFP FBLPE. LLB with Hzze Herpniobm, UPDDSI TBCHIMBUS NPDB about Bulbryn (Hypd PF RPCHED, RTPVman H RTydhnboshk, YMMAttoshk Night, Tabmshopufy, Oo Uhyeufchhaeik Yulmayufemshop CHAKHTYKKOP). RTYYUOPK BLBRYNB - "DYUCHOPUFY" - Umkhtsyf, RP Ukfi, DTEUUUYS, B UBNU "DYCHOPUFSH" NPCOP TPBUUNBFTYCHBFSHP HRPTN NUBBERBMSHOP-DTERTUUYCHOPZP RUYIPB, PF LPFPTPZP, LLB YUSCHUFOPE, OADBMELP DPZHAPHTEYYY. pRPOBFSH "DYCHOPZP" DPUFBFPYuOP MEZLP. CHUE VE YULMAYUEOYS "DYCHOSHCHE" UYUYFBAF UEVS "RPFETSCHYNYUS DHYBNY", ZETPSNY RTPYCHEDEOYK fPMLYEOB (LPOEYUOP, Y FHF EUFSH CHBTYBOFSHCH). rP OEMERPK PYYVLE POY TPDYMYUSH ABOUT OBYEK ZTSOPK ENME, Oo UPITBOYMY RBNSFSh P UCHPYI RTEDSHCHDHEYI CHPRMPEEOYSI. sing YEHF FBLYI CE CETFCH CHUEMEOULPK OEURTBCHEDMYCHPUFY Y UVYCHBAFUS CH UVBKLY. pVSCHUOKHA TSIOYOSH POY RPOINBAF UMBVP YOE IPFSF RPOINBFSH, B OB "PVSCHUOSCHI" MADEK UNPFTSF, NSZLP ZPCHPTS, UCHSHCHUPLB. h PVEEN, FFP LMYOYLB. YMELFTPYPL, RTPNSCHCHBOYE TSEMHDLB Y BNYOBYO RETED UPN. vshchfsh npcef, rnpcef.
lPOEYUOP, CHOYFSH fPMLYEOB Y EZP RTPYCHEDEOYS VSHMP VSH ZMKhRP. pFCHEFUFCHEOOPUFSH OEUHF THLPCHPDYFEMY LMHVPCH, PFLTSCHCHYE DCHETY DMS TEVSF U OEHUFPKYUYCHPK RUYYLPK; YBUFP - DTKhЪSHS; Y ZPMCHKH ABOUT RMEYUBI YNEFSH, CH PVEEN-FP, OE RPNEYBEF. ChRTPYUEN, LFB FENB DPUFPKOB PFDEMSHOPZP TBUUNPFTEOIS. PUFBCHYN EE Y CHETOENUS CH 1990 ZPD, LPZDB lmzh LTBUOPSTULB PTZBOY'PCHBM "iPVVYFULYE yZTYEB" (i-90), RETCHHA PVEEUPA'OKHA TPMECHHA YZTH OCHPZP PVTBGBGB. hYUBUFOILPCH VSCHMP CHUEZP 127, Oo OBUBMP VSCHMP RPMPTSEOP. oBRTYNET, B nzh UFBMP NPDOSCHN RTYIPDYFSH ON MELGYY W YZTPCHSCHI LPUFANBI, UYYFSCHI dv NBNYOPK VMHLY FAMECHPK BOBCHEULY TH, TH HUFTBYCHBFSH DHMY ON DETECHSOOSCHI "LPCHSCHTSMSHOYLBI" RBTPDYSI ON FTEOYTPCHPYUOSCHE NEYUY (FPZDB VPMSHYE RPIPDYCHYYI ON NPZYMSHOSCHE LTEUFSCH). RPD DBCHMEOYEN BDNYOYUFTBGYY "FPMLIEOHFSHCHE" UFHDEOFSH VSCHMY YЪZOBOSCH CH VYVMYPFELH CH oEULHYUOPN UBDH, B ЪBFEN - ЪB HER RTEDEMSCH. fBL RPSCHYMBUSH UBNPE Y'CHEUFOPE FPMLIEOYUFULPE UVPTIE, HCE HRPNSOHFSHCHK "bZMBDPT".
y YuEZP TSE UMPTSYMUS FPMLIEOYIN CH EZP OBYUBMSHOPN CHYDE, PVTBGB 91-93 ZPDHR? pTZBOYBGYPOOSCHN LPUFSLPN UFBMY CHSHCHIPDGSHCH Y ChPEOOSHI Y YUFPTYYUEULYI LMHVPCH, YUMEOSCH TBOPPPVTBOBOSCHI lmzh, OBHYUOSCHE UPFTHDOYLY, CH PUOPCHOPN - MYOZCHYUFSHCH. yN HDBMPUSH YMY KHUREYOP YOFEZTYTPCHBFSH OPCHA CHEFCHSH TPMECHPZP DCHYTSEOIS CH HCE YNEAEYEUS UFTHLFHTSC YMY UPDBFSH UPVUFCHEOOOSCHE, OYEBCHYUINSCHE LMHVSHCH. PUOPCHOKHA NBUUKH HCHMELBAEYIUS UPUFBCHMSMY UFHDEOFSHCH. LHJOEGPCH, ZHEIFPCHBMSHEILPCH, LBULBDETCH YMY UREGYBMYUFCH RP VPECHSHCHN YULKHUUFCHBN VSCHMP LTBKOE NBMP. "IPVVYFULYE yZTYEB" UFBMY ETSEPDOSHNY, YUYUMP HYUBUFOILPCH CHSHCHTPUMP DP 500 YuEMPCHEL. LTPNE uy, HUFTBYCHBMYUSH Y NEOSHYYE YZTSCH, ZDE FENB fPMLYEOB CHUE FBL CE RTPDPMTSBMB DPNYOYTPCHBFSH. RETCHSHCHK LTYYYU TPMECHPZP DCHYTSEOIS UMHYUYMUS CH 1994-95 ZPBI. l FPNH CHTENEOY H TSDSCH FPMLYEOYUFPCH Khurem CHMYFSHUS IYRRY ( "DYCHOSCHE" YEE RTYOSMY LaL TPDOSCHI) CHYYPOETSCH (NHFYTPCHBCHYYE "DYCHOSCHE" HFCHETTSDBCHYYE, YUFP ENMS CHPPVEE YMMAPTOB, B TEBMEO MYYSH fPMLYEOB NYT) OPCHPSCHMEOOSCHE PFETYLY. rPUMEDOYE EDYMY RP RPMYZPOBN U TBNLBNY, "YUYUFYMY VYPRPMS", CHSCHCHCHBMY "DHIPCH UFYYK" Y HCHETSMY, UFP NETSDH OBYEK ENMEK Y FPMLIEOPCHULYN UTEDYENSHEN HUFBOPCHSHMBUTCHOBOBETB. y, DEULBFSH, YULMAYUYFEMSHOP RPVEDB UCHEFMSCHI UYM ABOUT i-91 VSCHMB RTYUYOPK RTCHBMB RBNSFOPZP BCHZHUFCHULPZP RHFYUB. fsh ULBTSEYSH, YuFP LFP VTED. oEF, LFP OE VTED - VTED PVSCHUOP RTPIPDYF. yFP HCE NBTBYN, CHPCHEDEOOSHKH TBZ TSIOEOOOPZP LTEDP
h PVEEN, FPMLIEOYIN RTECHTBFYMUS YЪ EEE PDOPZP IPVVY CH UCHPEZP TPDB "BMSHFETOBFYCHOSCHK URPUV UHEEUFCHPCHBOIS". nBUFETB (LBL CHBMYUSH THLPCHPDYFEMY LMHVPCH J PTZBOYBFPTSCH YZT) YMY RMAOHMY ON CHEUSH FPF VEDMBN, BNLOHCHYYUSH CHOHFTY UCHPYI MYYUOSCHI FHUPCHPL, YMY B OEFTECHPN CHYDE ZPTDP IPDYMY RP "ZMBDPTH" LYDBS PE Chueh UFPTPOSCH RBMSHGSCH. xCE OILFP OE Refinery ChPURTERSFUFCHBFSH RPSCHMEOYA UTEDY FPMLIEOYUFPC RBOLHAEEK NPMPDETS Y PFLTPCHEOOOSCHI VBODYFPCH. LBL UMEDUFCHYE, HYBUFYMYUSH LPOZHMYLFSC U NYMYGYEK, RSHSOCHE DTBLY Y FEMEUOSCHE RPCHTETSDEOYS.
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Roleplayers. Role-playing games are a notable phenomenon in today's youth subculture. With little opportunity to influence the rapidly changing real world, many young people want to construct a fictional world - and believe in it.
RPGs are an informal community of people who play various role-playing games, primarily live-action role-playing games. Akin to role-playing are the movements of historical reenactors, Tolkienists, as well as hardball and airsoft players. The role-playing movement is distinguished as a subculture, which is characterized by its own jargon, its own music, its own literature and other characteristic elements of a single culture.
The role-playing movement in Russia and the USSR arose in the 80s. based on the Clubs of Fans of Science Fiction. In addition to role-playing games, role players gather for Role-playing Conventions - short-term meetings dedicated to informing players about the games of the next season, discussing past games, and informal communication. The conventions host historical fencing tournaments, photo and art exhibitions, concerts by songwriters, theatrical performances, and video screenings.
Subculture Tolkienists
Role-playing games are especially closely associated with Tolkienists. In the youth culture of the 90s. the Tolkienist movement and the Tolkienist subculture associated with it, generated by it, appeared. The famous English philologist and writer John Ronald Reuel Tolkien (in Tolkienist slang - Professor) is the author of The Lord of the Rings, The Silmarillion and other works related to the fantasy genre - fairy tale fiction.
The role-playing game is close to an impromptu theatrical production. Props are being prepared (safe weapons, clothes corresponding to Tolkien's conditional Middle Ages). Masters - directors of the game - distribute roles, players pass something like an exam in knowledge of the fantastic world of Tolkien and the background of their character, a storyline is outlined.
In the early 80s. Tolkienists appear in the USSR, primarily in Moscow and Leningrad. They hold "voles", conventions, role-playing games dedicated to the Tolkien universe. Since the 1990s All-Russian games and several regional games are held - the annual "Hobbit Games" are very popular.
The most famous role-playing convention in Russia is Zilantkon (from the Tatar Zilant - a mythical dragon depicted on the coat of arms of the city of Kazan), held annually in November in Kazan.
Russian Tolkinists have a rich and diverse folklore, which is regularly updated through the efforts of members of the subculture. This includes theme songs, anecdotes, and fan fiction that have become popular enough to be retold orally. In addition to inventing jokes and writing songs and fanfiction, many Tolkienists devote attention and time to drawing fanart or creating objects of “Middle-earth everyday culture”. In some groups, over time, the canons of the "culture of Middle-earth" are established, supplementing those described by Tolkien.
Usually Tolkienists stand out from the crowd with exotic outfits. Many walk in cloaks, some in medieval outfits. Hairatniks (ribbons around the head, grabbing hair) are very popular. Range - from simple to woven from threads with beads. An almost obligatory attribute - a sword - wooden or textolite - is not an empty decoration.
Tolkienists often meet at concerts. Concerts are organized by Tolkienist minstrels. As a rule, they perform their own songs, accompanying themselves on guitars. Sometimes there are studio recordings. The themes of the songs, as well as the interests of the performers, are diverse. Some of them are related to literary works, others to historical events, and others touch on pressing topics.
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Introduction
Modern culture is fragmentary and mosaic, so the search for self-identification is carried out in various layers and aspects, including those areas of activity that have traditionally been associated with leisure, hobbies, and hobbies. It is possible simultaneously in a wide variety of communities, and among them is the community of participants in role-playing games.
Role-playing games as intellectual entertainment consist in the reproduction of hypothetical life situations, presented in the form of specific plots and with the participation of a master, who acts as a screenwriter. In this case, a role-playing game is understood as a narrower concept - a live-action role-playing game: participants make a conscious attempt to live for some time in the role of another person (or creature), performing some actions on his behalf, due to circumstances or the need to achieve the goal . In a role-playing game, there is a starting situation, but there is no script, the development of the plot is not predetermined and completely depends on the participants in the game. The participant thinks over his character in advance (biography, character, habits, costume) and reacts to all game events in the way that, in the player's opinion, his character would have done. The carriers of the subculture of role-playing games are mainly urban residents - senior schoolchildren, students and young professionals (age - from 15 to 30 years).
The number of fans of role-playing games has tens of thousands of people both in Russia and around the world, and is constantly growing.
In addition to Russia, the most common live action role-playing games in Belarus, Ukraine, Latvia, Lithuania and Estonia, the Scandinavian Peninsula and Western Europe, Israel, USA, Canada and Australia. The scale of distribution of communities of participants in role-playing games emphasizes the relevance of their research.
Accordingly, there is a need to understand the subculture of the community of participants in role-playing games in Russia.
The history of the origin of the role movement
role-playing game
The role-playing movement originated in ancient Greece during the Hellenistic period. A group of aesthetes led by Theocritus, in the shade of their gardens, created the myth of shepherd poets who sing shepherd songs in the bosom of nature, harmoniously merging with it, and not with the political chatter of Alexandrian squares. It was a reaction, familiar to all in later times, to the vicious and emasculated imperial culture.
Having created a myth, the Greek poets singled out several personalities (characters) in it, who were assigned pretentious and beautiful songs (they composed them for the heroes). The characters had their own stories, destinies, experiences, they were connected by friendship or common sadness. Especially noteworthy is the story of the shepherd Daphnis (not to be confused with the Daphnis, in whom Chloe is a Roman interpretation). This young shepherd with a wonderful voice and marvelous appearance loved forests, sea waves and birds, but fled from love. When Aphrodite herself fell in love with him, he refused her reciprocity, and the offended Aphrodite wished him bad luck. As time passed, the goddess-cursed Daphnis languished in the arms of his friends under their sad and beautiful songs, accompanied by playing the harp. It's not hard to see early parallels in this idyll with our roleplayers' ideas about elves. But we will return to this much later.
So, having composed the characters, the Greek poets could not deny themselves the pleasure of playing them right there. These adults and most likely bearded people dressed in shepherd clothes (as they imagined it), went out into the countryside and lived there, wandering under the stars, singing songs they invented, calling each other fictitious names and extremely puzzling real shepherds who shied away from them. in the nearest cypresses. Of course, the Daphnises tried to make contact with real goatherds, but the goatherds did not understand a word in their "shepherd's" songs and were taken for eccentrics by their clothes.
Ancient Rome did not give such vivid examples of the actual role-playing game, because in comparison with Greece it was completely devoid of innocence. Gladiators enacting battles between the Argonauts and the Amazons, emperors playing gladiators, patricians imagining their own funerals and triumphs of ancient kings, are not perfect examples. A good role-playing game should be considered the conquest of Britain by Caligula (the legions approached the shore of the Italian swamp, cut each other in the reeds, were taken out in the mud, after which the pleased Caesar brought them back). But, strictly speaking, it was a culturological action (performance), and not actually a role-playing game with full immersion (not in a swamp).
Further, in Europe, the adoption of Christianity took place, and for many centuries mankind was engaged in business. From our point of view, it found itself in a situation of some intellectual poverty, when reading was the lot of the elite, the main text was Scripture, and the manifestations of the creative spirit were reduced to needlework and assault. The Crusades revived the situation somewhat, as they were a source of unprecedented information about the world. An extremely attractive attempt to consider the history of military knightly orders as a role-playing phenomenon (playing characters from the Old and New Testaments), but, knowing the overwhelming illiteracy of the European chivalry of that time and the general religious intensity, this attempt should be rejected.
Played no longer in Palestine. And in a different archetype. This is not a peasant (a shepherd, a fisherman - for example, of Jewish nationality), but a sorcerer (a sage, interpreter, scribe - for example, of Jewish nationality). Literature brought from Palestine lay on virgin ground. The soil immediately sprouted. The prototype of all magicians and sorcerers is an elderly Templar knight, holding the scrolls of Kabbalah and the keys of Solomon in one hand, and a battle sword in the other. One need only look at the lists of later Masonic degrees of initiation to see the entire history of magical RPGs.
I must say that these are typical games of the “wonderful” - the players do not see the difference between reality and the game, they replace life goals with illusory (textual), use internal titles and nicknames instead of names, flirt to death. From this point of view, all manifestations of religious life not recognized by the church - ecstatic cults, Satanism, witchcraft, heretical sects - are playful.
But we are not interested in the history of delusions. By the 13th century, the culture of troubadours flourished in the French South, which should be recognized as indicative and role-playing. It flourished throughout the autumn of the Middle Ages, despite the Albigensian wars - until the 15th century. Played Knights and Dames. The Courts of Love, the names of the legendary Knights of the Round Table or the Knights of the Fairy Country, gaming tournaments, whimsical names taken by women as poetic pseudonyms, poetic masks, poetic competitions ... Of course, at first everything was natural: only literature was created, where there were "roles" Proud or The Gracious Lady, the Stupid Jealous Husband, the Inconsolable or Frivolous Vassal, the Singer of Beauty, the Valiant Knight… Courtesy, pomp and theatricality increased according to the degree of distance from the actual knightly times - the roles were sorted out, the plots were played out. No one ever plays contemporaries. This is the law. Good reflection takes time.
After that, you can put an ellipsis. The foundations have been laid. Three main role types were formed: the Singer (peyzanin), the Knight and the Mage. Natural man, urbanized man and infernal man. Or - a man feeling, a man acting and a man knowing. Everything else is nothing more than derivatives.
It remains to be noted that the idyllic games of shepherds, naiads and dryads have more than once entered European venues (the age of classicism, the salons of the precision women of the 17th century), magical games have never completely left the arena (one Count of Cagliostro or Saint Germain is worth something), heroic games were in the price in the days of romanticism and in the days of the Third Reich (occult-Teutonic project). The natural conclusion from the above is that role-playing requires certain prerequisites. This is a certain level of social prosperity, state stability, accessibility and breadth of cultural information, idleness.
Role movement subculture
In the last decade, there has been a growing interest in sociology in the connections between movements and subcultures, in informal networks of communication, and in the interpretations of social reality propagated in these networks. It was recognized that subcultures and social networks should be included in the definition of movements as well as collective action. New lifestyles, alternative social perceptions, and finally the use of cultural codes that differ from those of the dominant culture must also be seen as elements of movements.
The role movement is a kind of social formation, social environment, social circle, conglomeration of groups or even their hierarchy. But still, in gaming associations there is a pronounced division into “us” and “them”, common symbols and their standard interpretations, their own traditions in behavior and appearance, folklore. “The gaming community,” writes N.Yu. Gavrilova, a collective with its own group norm, slightly different in different cities with the labels “ours” - “alien”, jargon (for example, the curse word “wonderful”), paraphernalia coming from The Lord of the Rings, addiction to “magic” rings , beaded bracelets borrowed from hippies, a variety of pendants, headbands that are comfortable in training and in the field. So, this essay is devoted to the subculture of the domestic role-playing movement.
In recent years, there has been a marked increase in interest in the study of subculture problems, which is confirmed by the emergence of research in philosophy, pedagogy, jurisprudence, psychology, and cultural studies. A subculture is considered as a special culture of any social group: children, youth, including a certain nationality, prisoners, a religious sect. In dissertation research, the specifics of the content of political and criminal subcultures are determined. The subculture was studied as an aesthetic phenomenon, the problem of neutralizing certain types of subculture was studied, and a model of a special form of human socialization in a subculture was proposed.
Analysis of the definitions of youth, children and adolescent subculture A.V. Mudrik, K.D. Radina, N.D. Sarkisova, S.F. Sirotkina allows us to agree with the following definition of this phenomenon - "social education, reflecting the value-semantic and everyday existential social self-determination, the self-identification of a certain group." In line with the problem we are considering, it is noteworthy to define the culture of an organization (E. Shane) as a pattern of collective basic ideas acquired by a group in solving the problems of adaptation to changes in the external environment and internal integration, the effectiveness of which is sufficient to consider it valuable and transfer it to new members of the group. as a correct system of perception and consideration of these problems. Hence it is clear that the essence of the subculture is revealed in the interaction of the group as the bearer of the subculture and society.
It is traditionally believed that the youth subculture contains opposition to the official culture - "the rejection by the young generation of the culture of the fathers, the way of life consecrated by it and the type of personality formed by it." At the same time, the counterculture is unthinkable and does not exist without an official society: they are complementary and connected, they are one. For this kind of “dropped out” cultures, T.V. Shchepanskaya suggests using the term "external" (from Latin externus - someone else's). Let's dwell on some provisions of this approach.
The sphere of external culture includes, in fact, many different subcultures: for example, criminal, bohemian, drug mafia, etc. - they are external to the extent that their internal values are opposed to the so-called "generally accepted". The role-playing movement is one of this set, however, it is fundamentally different from the rest. The main feature here, perhaps, should be called the presence of socially oriented activities in the community, which, of course, is reflected in its culture. No other external culture has an analogue to this: they are usually either “inactive” or “anti-social”. This naturally raises the question of the socio-pedagogical specificity of the role-playing movement.
What unites external subcultures is that they are all local communication systems located outside the framework of the main social structure (the one that determines the state structure). External cultures accumulate certain norms and symbols. If the main culture is those norms and symbols that set the basic principle of ordering a given society, then everything that remains outside the main myth - the self-description of society flows into the external ones: the remnants of former myths, the sprouts of a new one, information penetrating from "strangers" and does not fit into the main myth. All this settles in the sphere of external culture.
Different concepts of subculture state the break of its communicative links with the systems of the "big world". The level of opposition to society in different communities of role players is very different. Some of them can be considered quite “embedded” in the social structure (clubs operating on the basis of institutions of additional education, “student rooms”, universities, teaching staff of role-playing camps). Representatives of other associations strive to stand out from the surrounding society up to the use of other languages, most often artificial (for example, Elvish).
K.D. Kelly (University of Michigan) draws attention to the fact that in a modern post-industrial society, a fairly significant part of the population is being squeezed out of the labor market, and at the same time, the scope of the work ethic (the value system in which work is the basis of status and self-respect) is narrowing. The first to be displaced are women, racial minorities and youth. It is they who form the basis of the most numerous alternative movements and social formations.
There is a way of defining a community in terms of its place in the social structure. T.V. Shchepanskaya, who studied hippie culture, noted that a typical representative of this movement is in the gap between the positions of the social structure. W. Turner, speaking about the communities of Western hippies, referred them to "liminal communities", that is, emerging and existing in the intermediate areas of the structure of society (from Latin limen - threshold). This is where “liminal” individuals, individuals of uncertain status, who are in the process of transition or who have fallen out of society, gather.
According to our observations, it would be unfair to fully say the same about roleplayers. Although the uncertainty of social status as a discrepancy between the desired and the real is a fairly common occurrence in this environment. An artist who works as a stoker in a boiler room, a poet-janitor, a philosopher-head of a circle - there are many of them here. Accordingly, this person finds himself in an indefinite position in relation to norms: after all, norms are associated with status. In general, a typical example of a liminal personality "suspended" between positions. Status in one's own eyes is not the same as status in the eyes of society; accepted norms and values are other than those prescribed by society.
Where and why do the fallen people appear? There are two lines of understanding here. First, in this fallen, indefinite, "suspended" state, a person finds himself in a period of transition from the position of one to the position of another social structure. Then, as a rule, he finds his permanent place, acquires a certain status, enters society - and leaves the sphere of counterculture.
The second direction explains the appearance of "dropped out" people in society by shifts in society itself. It looks like this: young people come, growing up, no longer into the world for which they were prepared in the process of education. The experience of the elders is not good. Young people were prepared to take certain positions in the social structure, but the structure is already different, those positions are not in it. This is where the value and positional gap begins, which entails the rapid growth of youth communities that push away the world of adults, their unnecessary experience. And the result of being in the bosom of the counterculture is already different here: not embedding into the old structure, but building a new one.
In fact, these two directions do not reject each other, but complement each other. We are talking simply about different periods in the life of society, or its different states. In stable periods and in traditional societies, the people who have fallen out are indeed those who are currently, but temporarily, in the process of transition. In the end, they enter society, settle down there, gain status. During periods of change, significant layers become dropped to one degree or another, sometimes it hurts, almost everyone. Not all of them go into hippies, punks, rockers or elves, but many go through a countercultural state (and fall into the zone of values of one of the subcultures).
In general, an encouraging, and sometimes admiring attitude towards this kind of "falling out of society" will be legitimately considered as basic ideas, unconscious, self-evident beliefs for role players, which is the deepest level of subculture analysis. The possibility, or rather, even the need for alternative self-identification (the adoption of a game name, often a game race or nationality) has been elevated into a tradition, a symbol of belonging to a community. But - within reasonable limits, as evidenced by the widespread use of the slang term "wonderful", i.e. overplayed, usually used with a negative connotation. At the same time, the ideologists of the role-playing movement focus the attention of society on the pro-social nature of such an escape (from the English escape - to run away, avoid, elude) as opposed to drugs and violence.
Analyzing the movement, we can say that, for the most part, roleplayers do not run away from reality or their own problems (although this also occurs), but from routine and everyday life. For some, the game is an opportunity to relieve the burden of social norms and obligations (in the game I can cheat, be rude, not thinking about brandishing a sword). Others come here to realize themselves as specialists in what they did not succeed in life (the programmer shows his cultural and historical erudition, and the scientific worker - handicraft skills and physical strength). Still others find in the game an opportunity to try on various masks, often more than exotic (cardinal or samurai, concubine in a harem or nun, peasant or commander).
Role-playing involves "disconnecting" from everything that is not game material. Pedagogically oriented associations (role-playing clubs, workshops and game teams involved in the actual preparation and conduct of role-playing games, various types of joint activities “on their occasion”) diligently emphasize the need to “remove” participants from the game, come up with various forms and technologies for reducing individual gaming experience in the sphere of human social interaction. However, this is where the games of deep familiarization appeared. This only emphasizes the reality of escapism in the role environment, its appeal to young people.
Roleplayers have developed their own ethics - the ethics of heroism, which comes from the game itself and the philosophical ideas of literature in the style of science fiction and fantasy. It is based on the Deed and individual achievement as the basis of status and self-respect. For each role player, self-realization and self-affirmation, skill in some area are significant, which require constant comparison with others, competition. In addition, the Hero always carries some kind of mission, which is deeply individualistic in nature of implementation and social in content. On the other hand, the Great Mission "justifies" the forgiveness of minor weaknesses, irresponsibility in everyday relationships, laziness. Heroism, Deed, Great Mission, Achievement, Competition - proclaimed values, collective norms and rules of behavior used by the bearers of this culture, which are one of its most important characteristics.
Artifacts can be singled out as an external, easily diagnosed level of a subculture - something that can be seen, heard, felt when entering a new group with an unfamiliar culture. This is what usually happens at the level of everyday consciousness: trying to explain who the hippies (or "metalheads", or rockers, etc.) are, we, first of all, describe their signs. Indeed, the presence of a special symbolism, regarded as "one's own", is already an unconditional sign of the existence of a communicative field, a certain social formation. Let us turn to the understanding of the symbolism of the role-playing movement.
The study of the hippie subculture allowed T.V. Shchepanskaya to state: “The system can be considered as a community, since there are such signs of it as a common language (slang and symbols), a network of communications - personal connections, superficial acquaintances. There are common norms and values, as well as patterns of behavior and forms of relationships. There is also Systemic self-awareness, which is expressed, in particular, in self-names ... ". Referring to A.P. Cohen, she defines the community as a field of symbols: “The reality of the community in the perception of people lies in their belonging ... to a common field of symbols; people's perception and understanding of their community ... comes down to an orientation towards its symbolism." The presence of its own symbolism creates the possibility of forming a community, since it provides a means of communication. A symbol is a shell into which "own" information is packed; in this form, it is distinguishable from a stranger.
The word "symbolism" comes from the Greek word "symbolon" (a sign, a material image of something abstract), which in turn comes from the verb "symballein" (add, drop or collect together). The original meaning of this concept was "to put together an object that has been broken into pieces." There is a legend that when in ancient times people went somewhere on long hikes, each carried a piece of a common sign broken into pieces. Returning and not always immediately recognizing each other, they gathered and put these pieces together and, when the integrity of the common sign was restored, they said: “We are all together again, and there are no strangers among us.”
S.I. Ozhegov gives a definition: a symbol is something that serves as a conventional sign of some concept, phenomenon, idea. The meaning of a symbol lies not in its own visual content, but in another content (object, process, relation, etc.), which it, the symbol, means, symbolizes. Thanks to a person's ability to generalize, his sensory perception rises to the level of thoughts, ideas and, at the same time, materializes on a conventional basis in visually tangible, emotionally influencing factors - words, objects, actions. A symbol is a material phenomenon that expresses abstract ideas and concepts in a visual-figurative form. In other words, an object, action or word becomes a symbol, a sign, not because of its natural features, but as a result of the fact that they begin to play a special role in human activity, turning the generalized content into a visually tangible, emotionally influencing factor. The impact of the symbol on others occurs due to the ability of human consciousness to assign a certain moral and value content to various words, objects, and actions.
Based on the ways of expressing ideas contained in symbolism, and the specifics of their impact on the consciousness and feelings of people, we considered the approach of the postgraduate student of Moscow State University S.N. Smirnov, in which symbols are combined into five groups.
The first group includes symbols united by a verbal way of expressing their content. First of all, these are means of communication (slang, jargon), means of self-identification (name of the association, names, nicknames), as well as means of preserving valuable information (folklore forms: mottos, legends, parables, sayings, anecdotes, ditties, songs).
Among the specific slang expressions of role players, one can distinguish words and expressions denoting the phenomena of the role-playing movement as a whole, terms for determining individual directions in the movement of role-playing games, a hierarchy within the role-playing movement, proper names - the names of conventions, games, self-name associations, etc. There are words that are necessary for direct communication during the preparation and conduct of a role-playing game. They are used to refer to various activities within the role-playing club, social roles during the game, various items related to role-playing games. A special place is occupied by vocabulary used in the process of designing and analyzing a role-playing game.
As already noted, in the role-playing movement, unlike other subcultural formations, in addition to slang as such, some associations use fictitious languages, the most common of which is Elvish. They are mainly used at games and for writing songs, poems, hymns, less often in everyday communication.
Most game names (self-names) of role players can say a lot about a person, as they are borrowed from various literary works, often have their own symbolic meaning or translation from one of the artificial languages. By name, it is often possible to determine belonging to a particular fantastic civilization, race, people, as well as the ideas and ideals of a person, to suggest a possible circle of interests and a preferred style of interaction.
An analysis of the folklore forms of a particular association within the framework of a common subculture makes it possible to see differences in attitudes towards such phenomena as escapism and heroism, "overplayed" and "strangers", towards representatives of other associations and currents in motion.
Symbols, united by the subject (attributive) way of expressing their content, constitute the second group. It includes flags and standards as symbols of a certain association or team, books that have become a kind of "creed".
Elements of appearance often act as symbols of belonging to a particular culture. The stereotypical idea of a role player is associated with long hair (“hair”, from English hair - hair), tied with a “hairatnik”, a chlamys girdled with a belt, a wooden sword, a cloak sewn from a piece of either curtains, or mother’s skirt. The role-player is similar to other representatives of “post-hippie trends in youth culture, with its somewhat feminine orientation, the cult of “nature”, “naturalness” (“no scissors: hair grows - and let it grow!”) and “freedom” (“in all times sheared only slaves!”). The realities of modern role-playing culture are as far from this stereotype as the obligatory wearing of glasses, a tie and a briefcase is from the image of an intellectual.
Role players have a special relationship with game clothes and weapons made by a participant in the movement for themselves or on order. This is a matter of pride and concern. Most often they are really close to the style of various periods of the Western European Middle Ages, however, there are clubs whose image is far from the traditions of fairy tales in the power of "fantasy". At KONs (conventions) you can meet "hussars" and "Petliurites", "Russian knights" and "guests from the future" in black robes, wide-brimmed hats and dark glasses.
By analogy with the hippie subculture, baubles (baubles) are widely represented among role players. T.V. Schepanskaya explains that fennies “... give each other, they are filled with symbols, colors, patterns are significant, there is numerical and geometric symbolism. However, various kinds of badges and decorations are also called fennec, even poems - something that can be presented. The main value is not they themselves as things, but the symbolic wishes and images embedded in them - fenki play the role of talismans ... ".
Runes are ideal for creating talismans, which we have assigned to the next group of symbols. Their appearance allows them to give the talisman an aesthetic form, and the fact that it is a magical alphabet makes them especially attractive to role players who are prone to all sorts of mysticism. Tradition allows the magical intent to be simply written in runes, and this writing is itself a magical act. Indeed, archaeologists have found similar talismans more than once. Runes were often used in funeral rites, their inscriptions were applied to weapons to give them their own magical life and power. By analogy, roleplayers give their swords and daggers names, create their own spells. The basic form of a runic talisman is simply to carve or engrave suitable runes on an item or object (according to D. Jason Cooper's book "Using the Runes").
So, runes belong to the group of symbols of the sign-pictorial variety. Here is an example of a description of one of the runes.
Rune Ansuz (Ansuz).
The rune is a symbol of theology, the rune of Odin.
Literally: the rune directs the spiritual life of a person, helps to establish a connection with the gods.
In its mundane meaning, Ansuz is the rune of communication, communication, inspiration, learning, and learning.
The rune can be used against cunning and deceit, as a weapon (fighting enemies with the help of magic).
Each of the twenty-four runes has several interpretations. We chose Ansuz not by chance. It reflects many of the subcultural ideas of the role-playing movement. Judge for yourself:
TREES AND RUNES. ASH. Inner tremor. Ash. The leaves flew off. The wind rips off the earrings and spreads them around the world. The branches sway affably, as if calling somewhere. Wood gives a slight warmth when touched. Suddenly, the space previously occupied by the tree takes on new properties. A rectangle is formed, the size of a door. It is a shimmering colorless space, an entrance to other worlds.
Ash. Ansuz. This big, tall tree grows near my house. I go up to him and stand by him for a long time. On a fairly large area of the surface of the tree, the bark is absent and the wood is exposed. This is a window, a door, you can enter there. Enter and be transported to other worlds. And it's a miracle close to home. You just have to look around sometimes."
“... This rune indicates the need to unite unconscious aspirations and conscious intentions. This is a sign to turn your gaze deep into, to the very foundations of being and to know the inexhaustible Divine source within your being ... "
Ralph H. Blume
“... The power of the release of the Breath of Life, the self-expression of the creative Spirit. The energy of thought and inspiration, the functions of the deepest levels of the Mind, where the subconscious is revealed. It acts as a link to the wisdom of the ancestors, allowing the lost knowledge to be restored...”
C. Meadows
“... Rune of poetry and magic, inspiration, revelations, Rune of Knowledge. The rune is associated with travel between the worlds and the image of the World Tree ... "
A. Platov
In addition to runes and the runic elven writing close to them (J.R.R. Tolkien), in this group one can distinguish coats of arms, badges, insignia, emblems. Unlike the second group, they cannot be used as tools for ceremonies. The variety of symbolism here reflects the different existential values of the movement. In coats of arms and emblems we can meet the symbols of Time (hourglass), Knowledge and Wisdom (mythical animals, book, owl), Courage and Valor (lion, sword, shield), Love and Poetry (rose, lyre, feather), Good Luck ( unicorn), Quest and adventure (star), Plurality of worlds, Life and Death, etc.
The fourth group of symbols is represented by various symbolic gestures and actions (rituals). Representing a system of symbolic actions, rituals are aimed at expressing specific ideas, thoughts, and ideas. Initiations-initiations, rituals of taking oaths, accepting weapons, etc. are widespread among role players.
The symbols of the last, fifth group are musical symbols, uniting melodies and songs. As a rule, musical symbols are used in rituals, however, in our opinion, they have intrinsic value, turning any everyday situation into a meaningful one. It is difficult to single out the specifics of "role" music, since the authors work in a variety of directions. Here are the thoughts of one of the participants in the movement (punctuation and grammar of the author: www.wizardrules.com):
“For me, fantasy is the personification of eternal struggle, so when you are in an unreal world (when you read, for example) - a fantasy world, something energetic (in the sense of energizing), triumphant is better; battle - victory - jubilation, battle - defeat - despair, and everything is driven through music - a change of fast marching compositions and slow ones - sad and lyrical (for "defeat") and "victorious", triumphant.
Almost anything can be called fantasy music - the main thing here is that it creates the appropriate mood!!! Everyone chooses for himself - what he likes, which makes you feel deeper into the magical atmosphere of the fantasy world ... And if, for example, you turn back from any group, then let its music be ranked at least a hundred times as a fantasy genre - You won't listen to her anyway!
Oddly enough, it is the fantasy genre, I think, that best reflects the emotional side of the life of REAL people.
Our life is an eternal struggle - with ourselves, with the world around us.
Come on, try to wrestle under "I'm crazy"!
Heavy music is a kind of anthem, a march that raises morale among fantasy fans. Fast, energetic compositions - and two huge armies converge in the field, the superhero crushes his enemies to the right and left, the great magician calls on all his forces and destroys cities and armies with a wave of his hand (Fess in Perumov likes to do this). Slow, beautiful, lyrical compositions - affect the inner, spiritual side of life, all our feelings - love, mourning for the dead, despair (Fallen One (Hammerfall) - a sea of despair, an attempt to escape from iron shackles, for the most dramatic moments.
Somewhere in the middle of all this nonsense is my point of view on this issue.”
As for the texts of amateur songs, the same heroic motifs, descriptions of battles and images of love dominate here, however, there are texts that are not quite decent content. It should be noted the proximity of this group of symbols to the verbal ones in terms of folklore and the preservation of valuable information.
Being a phenomenon of a superstructural order, symbolism has always been a reflection of the way of thinking, worldview, ideology of a certain class, which, in turn, formed feelings, way of thinking, worldview on the basis of its social relations. When considering the problem of the impact of symbols on the minds of young people, two essential relationships should be emphasized, justified by the example of the use of symbols in the education of patriotic feelings in students of the cadet corps. Firstly, these are the special properties of the content and form of symbols - the ability to form semantic associative links (integration of generally accepted socially significant contexts into the individual subjective meaning of the pupil), which K. Levin called "valency". Secondly, the specific mode of existence of the symbolic field is a combination and alternation of direct and indirect, individual and public, organized and spontaneous, continuous and discrete, everyday and eventful semantic influences, which can be interpreted in accordance with the works of L.I. Novikova, N.L. Selivanova and others as "ambivalence". Both regularities require their confirmation on the empirical material of the role community.
The most complete expression of the influence of subculture on the process of socialization can be observed when studying the image (or style) of life of a particular group.
The Concise Sociological Dictionary of Lifestyle gives the following definition of "forms of human (individual and group) life activity that are typical of historically specific social relations." In the same edition, the way of life is characterized by "the unity of the objective (the way of joint activity, the social connection of people that determine the nature of communication and behavior) and the subjective (goals of communication, interests and motives of activity, value orientations) aspects." The phrase "lifestyle" is used "to characterize the individual (social-psychological, moral and aesthetic) features of the lifestyle of an individual or groups of people (formal or informal communities)".
In the publication "How to pass for a bad player?" the image of a “bad player” is presented, thanks to which, arguing from the contrary, we can construct requirements for an ideal (good) player. At the stage of preparation for the game, the future participant must be modest (do not demand for himself an overly important role, overpowerful game tools), consistent (once having stated his wishes regarding the role, do not change them), punctual (do not be late for the game). During the game, a good player must be constructive (do not argue on any occasion), law-abiding (observe the rules of the game, do not invent their own rules, do not specifically look for contradictions in the rules, do not use items that do not correspond to the game world), decent (do not make fun of the game, do not intrigue against the masters, do not drink alcohol), tolerant towards other participants (do not transfer game relationships to life and vice versa, do not use profanity). These requirements can be interpreted in such a way that a good player must show a high degree of subjectivity (responsibility, independence, reflexivity) in relation to the people around him, to the game as a joint activity.
The task of describing the lifestyle of a member of a gaming association seems to be quite difficult for a number of reasons, so we decided to carry out a kind of scientific test. So, when characterizing the lifestyle, we will proceed from the trinity of the participant's everyday life: the reality of life, the reality of the subculture and the reality of a separate game. All of them can be opposed one to the other. A collected, reserved, highly self-organized businessman comes to a gaming informal association in order to be absent-minded, uninhibited and spontaneous. At the same time, since a significant part of the participants in the movement is students, who are distinguished by their objective infantilism, it can be imagined that in all three realities, the role player looks like it is reflected in the material of the Winged Herald in 2002 - “Why I don’t like role players ? In it, the author denounces the behavioral stereotypes of the role player: “extreme unreliability and lack of commitment, lack of punctuality, ... frivolity and irresponsibility (not keeping promises), ... extreme disorganization, ... incredible laziness, ... an exception for the role player is to finish the job to the end, ... militant dilettantism, ... inability to learn. All of the above features refer to the role player as a participant in real (life) interaction. One more assumption is possible here: the role-playing game itself requires childishness, spontaneity, creativity from its participant, which in turn leads to such a not very pleasant picture.
Role-playing game
Roleplay (eng. RolePlay game - RPG) is an entertainment game, a type of dramatic action, the participants of which act within the framework of their chosen roles, guided by the nature of their role and the internal logic of the action environment; Together they create or follow an already created plot. The actions of the game participants are considered successful or not in accordance with the accepted rules. Players are free to improvise within the chosen rules, determining the direction and outcome of the game.
Thus, the process of the game itself is a simulation by a group of people of a particular situation. Each of them behaves as he wants, playing for his character.
The basis of the socio-cultural practice of gaming associations of young people is role-playing games, which involve:
Competitiveness - individual or group;
the presence of rules that regulate game interaction and, at the same time, ensure the creativity of participants in creating their own image and choosing ways to solve problems;
More or less clearly defined roles, including role prescriptions, a description of the goals of interaction and attitudes towards what is happening;
the two-dimensionality of the situation, i.e. some fantasy, conventionality, on the one hand, and the reality of interaction, on the other;
endowing various objects with game values.
The action of the role-playing game takes place in the world of the game. The game world can look like anything, but it is he who determines the course of the game. The story offered by the game master and the world he describes form the basis of the role-playing game. The world can be completely invented, based on some work of art (book, film or play).
Achieving a goal is not necessarily the primary objective of an RPG, and some RPGs don't have one at all. The main task may be the development of the character, the correct roleplaying or exploration of the world.
The role-playing community distributes non-commercial publications devoted to games and issues of historical reconstruction, author's collections, including music ones.
It should be noted that since the 70s of the XX century, role-playing has been used in teaching foreign languages, and at about the same time in the practice of psychology and psychiatry.
The role-playing community has developed its own terms for designating the realities of the game.
In the West, the development of role-playing games began with board games. This is evidenced by the history and names: role-playing games - it means table role-playing games and appeared earlier than live-action roleplaying games - live action role-playing games.
In the USSR, these two branches of role-playing games originated and developed in parallel. Tabletop RPGs were developed by enthusiasts based on gamebooks and Enchanted Land. Live action role-playing games originated in the Fans of Fantasy Clubs (CLF) and Amateur Song Clubs (KSP), and in the 1980s lead to the emergence of an independent informal role-playing movement.
It is extremely difficult to describe the development of tabletop role-playing games in the USSR and the CIS, since the community of roleplayers playing board games is very loose and disconnected. Therefore, in the following, only the history of the development of live action games is described.
Classification of role-playing games, roles and actions in the game
According to the set goals (slang).
· Combat game, process, combat role implies, first of all, game weapons interaction, with an almost obligatory competitive component of the behavior of both players and characters.
Theatrical (theatrical role-playing) implies greater emphasis on the certainty and predeterminedness of the plot, correspondence to roles (for example, if the game is historical, then the absence of subjunctive probabilities: If Rodrigo Borgia became the Pope in reality, then in game activity too, and not how it goes) . With the achievement of the appropriate atmosphere.
· Extreme (survival game) means that during the game the player obviously finds himself in extreme situations for him, perhaps psychological, perhaps physical.
Mystery (mystery game) involves a deep psychological immersion of the player into the essence of his character, and in a collective game it is also the most adequate for all participants in the action
· Modeling -- special attention is paid to the accuracy of modeling. Most common in strategic role-playing games and computer games.
· Business role-playing games are used in vocational education by modeling any life situations, for example, work in a work team. In this case, participants assume the roles of various positions and professions.
According to the way the players interact and the conventions of modeling.
In tabletop role-playing games and word games, all the action takes place in the imagination of the participants, and the development of events in most cases is controlled by the so-called master (game master, GM, dungeon master, DM) in accordance with predetermined rules, or without them. The difference between board games and word games is the presence or absence of a gaming system.
In live-action role-playing games, players are physically involved in the events of the game. At the same time, there are also rules and masters. In this case, the masters are not responsible for the whole world, but only for the unmodeled part of it. Sometimes masters somehow control the entire game world through the introduction of master characters or through masterful arbitrariness. The rules also describe only those actions that are replaced by the model.
In computer role-playing games, the entire environment around the players is controlled by a computer program. Often such games are designed for one player and have a prescribed plot (the development of which, to a certain extent, depends on the decisions of the player). In recent years, massively multiplayer online role-playing games have become widespread in which thousands of players interact with each other via the Internet.
E-mail RPGs are small-player, single-master e-mail games (eg, Mafia), and related forum-based RPGs and browser-based RPGs.
The type of characters played.
Most games refer to a role as one being, one person, one self played by one player. More complex structural constructions are possible. Below are some of them.
Strategic role-playing games - wagering by one person of the country. That is -- role = (territory + people + state apparatus + ...).
Ships (there is no established term) - the role of the ship with the crew and the captain, as a whole, is played out.
Properties of the whole -- (not added, there is no established term in the role-playing environment). An example - "Expedition" - the players win back the landing on an unknown planet with unknown properties, and the other part of the players wins back precisely the various properties of the planet. The game master at the same time only coordinates the actions of the players.
However, role-playing games have quite a few varieties that differ significantly from each other. In various publications, there are many approaches to their classification. In terms of scale (duration, number of participants, playing area), small and large games are distinguished; at the venue - cabinet, polygon, field, city; by the nature of the interaction - verbal, theatrical, interactive, combat. And of course, there are complex games that, with the dominance of one type, include other types of games as elements, episodes. The material for the game is most often either historical events of various eras, or legends and myths of the peoples of the world, or plots of literary works.
The history of the emergence and development of the domestic role-playing movement
From the second half of the 70s, the preconditions for a mass role-playing movement began to mature, in the early 80s the first role-playing games of a new type appeared, in 1985-86. there was a formation of local groups of role players, and in 1990 the movement took shape as such.
Apparently, the legitimate forms of life offered by socio-cultural reality (participation in the economic, social, cultural life of the country), which acted as a space for self-realization, could not satisfy the youth. To this circumstance, perhaps, a mythological need was added. The fact is that the dominance of one ideology or another carries within it a system of explanations for man's place in nature and in the human world. At one time, this task was carried out by paganism, Orthodoxy, and later by the communist idea. During the period of perestroika in the mid-1980s, the niche was left unfilled. The social stratum that interests us, being dissatisfied with its own social roles, either did not try or did not have the opportunity to choose real social functions. Most likely, that is why this group of young people focused on playing roles, and preferred the path of internal (spiritual) transformation to the external (subjective) one.
The essence of the remaining signs and the changes that have taken place is very important (in role-playing as a form of joint activity, in role-playing clubs as informal associations, in the subculture of youth associations). Let us turn to the analysis of the transformation object. The game practice we are interested in has ethno-cultural roots-patterns. The following excerpt seems to be very significant in terms of characterizing ethnocultural game practice: “The capture of a snowy town, immortalized in the famous painting by V.I. Surikov (according to the artist’s direct observations), existed mainly in the Urals and Siberia. This complex undertaking, which equally included elements of the game, performance and sports competition, was preceded, like skiing from the icy mountains, by the participation of young people in the construction of a special structure ... One party occupied the fortress. The other was on the attack. The besiegers were mounted and on foot. The latter climbed the wall, falling off the slippery icy surface to the laughter of the audience, and the riders had to break through the gate one by one. Besieged with brooms, twigs, whips, they whipped the horse, frightened it to force it to retreat back ... Then the winners walked solemnly through the village ... ". This quote allows us to assert that military-strategic imitation - fun (a sign) has existed in Russian everyday culture since at least the 18th-19th centuries.
Apparently, ethnocultural game practice has found its continuation in two interdependent phenomena: spontaneous game practice of children and organized game practice of military historical clubs, communard associations, pioneer and Komsomol organizations.
It is generally recognized that the Military History Clubs (VIKs) played a certain role in the formation of the role-playing movement. “With enviable regularity, people from all over the Union came to the battle of Borodino, the siege of Stalingrad, the battle on the Kulikovo field. But ... such actions were only a theatrical production, their outcome was predetermined in advance. Perhaps the appeal to the reconstruction of the socio-cultural contexts of the past was a variant of gaining mental integrity.
We dare to suggest that the changes consisted in the fact that the reconstruction of historical contexts was supplemented by improvisation, the predetermined outcome was lost. Although in fairness it should be noted that the measure of improvisation differed and differs in different clubs. In the activities of role-playing clubs, such a component as the manufacture of medieval weapons, ammunition, armor, as well as a focus on preparing for one, less often two or three annual events, has been preserved.
Characteristic features of the practice of associations that influenced situational role-playing games.
1. The collective nature of the activity and a well-established technology for the collective organization of activities: stages (joint goal-setting, planning, preparation, conduct, analysis), distribution of the functions of the participants (which is not the forerunner of the distribution of roles in the game), and so on.
2. The creative nature of the activity, which in the role-playing game manifests itself as creativity in the development, organization, participation. The same game in a given team can be played, as a rule, no more than once, since knowledge of the game tasks of other participants deprives the role-playing game of one of the main and necessary characteristics. Therefore, every time you have to invent a new game. In general, the role-playing process itself is inconceivable without the creativity of both the master and each player trying on a role and striving to solve game problems within a given game context of interaction. There is an interesting point of view of Denis Torgashov, who proposes to consider role-playing games as a kind of art: "a game is a work of art, a work of art created jointly by the master and the players." In this regard, the author of the article refers to the similarity of the functions of art and role-playing: "To give the opportunity to experience feelings that have never been experienced before."
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I decided to post a more detailed story about who "Roleviks" are, so that my further "Tales of Rolevik" will be more understandable for readers. And if the topic interests you, then I will reveal an interesting and fascinating world in more depth.
Well, let's start perhaps.
“We were born to make a fairy tale come true…”
Words from a song…
Roleplayers are an association of people who love history, love legends and myths. But they do not just like to read, but also try to experience on their own "skin" what our ancestors or the heroes of legends and fairy tales felt.
If you are interested in how a person in chain mail feels in the rain, how much you can run in armor, how you would behave in the place of a great magician, how the inquisitors proved the guilt of witches, what it means to get a sword on a helmet in a knightly tournament or be a princess, or feel like a serf - welcome to the world of roleplayers.
But remember - tourism should not be confused with immigration. A fairy tale in words - in real life will turn into harsh everyday life. Roleplayers build their world with their own hands. There are still very few far-sighted sponsors, and therefore, in order to become a knight, you need to acquire armor; to become a princess - you have to prove that you are a princess, to get to the polygon game - you need to be ready for life in the wild, to enjoy the game - you must learn to live.
Those who are ready to come to terms with the harsh reality and boldly look into the eyes of gray everyday life and work on themselves - read on. Who is not ready - also reads and enjoys. ;)
The main event in the life of every roleplayer is the Game.
A game is an attempt by role-players to live in real life a certain episode from the history of mankind or from a world created by writers, or any fictional world. The main difference between a game and a performance is the complete improvisation of all the characters taking part in the game.
Games are different, but the most important and striking are the Polygon Games, which take place in nature: in forests, forest plantations, forest areas, lasting more than one day.
More about what games are, I'll tell you another time. In the meantime, a small digression into the history of rolevikov.
So, where did the role-playing movement come from?
The founders of the Role Movement were members of the club of writers of Science Fiction of the Soviet Union. In 1989, at the next congress of Fantasts, the work of J.R.R. Tolkien's The Lord of the Rings, and as part of the festival, it was decided to try to stage the events described in the book. The proposal was accepted and implemented with the writers' usual imagination and enthusiasm, and subsequently it was decided to make it an annual event. The people who took part in this event spread the idea throughout the expanse of the now Soviet Union, including Ukraine. The first Ukrainian club was created (and even officially registered in 1990). The Role Movement came to Zaporozhye in 1994, thanks to the acquaintance of young students with Valeria Alexandrovna Matorina (among the Role people affectionately referred to as VAMushka). Her translation of Tolkien's works was recognized as the best translation into Russian. Well, this is probably the end of the digression into history.
As we found out, the roots came from the works of Tolkien and the first role players began to be called Tolkienists. Young romantically minded guys from the Soviet Union, inexperienced with fantasy works, were shocked by the details of the world described by Tolkien, and everyone found in it something close to him. And since the work was fabulous, the first taste of the unusual was felt by the guys playing mythical characters. So there were elves, dwarves and orcs.
But if the actors playing on the stage temporarily learn their role by reading the same phrases, then the role players had to keep themselves in character for several days and improvise with dialogues, which for some of them became fatal, and for many years they so they remained elves and other creatures.
Having nothing but sheer enthusiasm behind them, the guys began to create costumes for themselves from what came to hand. And there was little. At this point, the Tolkienists discredited themselves to the public by rushing through city parks with clubs instead of swords and pot lids instead of shields. This caused natural bewilderment in most people, and even those who would not mind joining - having seen all this disgrace, passed by. In this connection, for many years the public did not attach importance to these mysterious teenagers, considering them to be another manifestation of the heavy post-Soviet legacy.
But the years passed, the movement expanded, the guys grew up. Naturally, Tolkien alone was not enough and games began to be organized based on other works, as well as on the basis of events that took place in history.
There were clubs on the basis of which the guys could share experiences and see each other and exchange experiences with each other. Forges appeared. Craftsmen appeared, forging swords, making armor and crossbows. Craftswomen appeared, sewing suits to order.
The guys involved in sports and martial arts organized trainings, created various systems for teaching historical fencing. To date, knightly tournaments have acquired almost a single standard and are regularly held in all major regions. Special literature and videos are available.
Separate more organized clubs moonlight as stuntmen on film sets.
Today, historical festivals are held throughout the CIS, supported by sponsors and bringing profit to their organizers and participants.
Over the past years, highly specialized communities have appeared in the Role Movement.
Fighters appeared - fighters who devote themselves mainly to preparing for tournaments.
Reenactors appeared - people who are fond of purely reconstruction, weapons, armor and costume. They try to recreate to the smallest detail those things that our ancestors wore 40-700 years ago, and maybe more.
The guys who have more opportunities than the rest are already reconstructing not only things, but also life itself, creating small settlements that fully correspond to the spirit of the Middle Ages.
And there are talents that have always been there, these are minstrels singing folk, writing now modern ballads and songs.
And, of course, there are always and will be Masters. Masters who create and organize games.
I will try to tell you more about different directions, and about how to become a Role Player, about who the masters or fighters are, because there is too much information.
To date, the role-playing movement in the CIS countries has about 300 thousand people (according to some sources, up to half a million). And the best part is that the vast majority of them are good, honest, educated and, most importantly, bright and talented people.
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Books
- Mobbers (ed. 2014), Ryzhov Alexander Sergeevich. They call themselves mobbers. Their task is to shock the public and at the same time make dozens or even hundreds of completely different, unfamiliar people for a moment ...
- Mobbers, Ryzhov A. They call themselves mobbers. Their task is to shock the public and at the same time make dozens, or even hundreds of completely different, unfamiliar people feel for a moment ...