Theory and Practice in Facilitating Transformative Role-playing Games

Authors

Sarah Lynne Bowman, ; Angie Bandhoesingh; Simon Brind, ; Elektra Diakolambrianou, ; Kjell Hedgard Hugaas, ; Felipe García-Soriano, ; Alessandro Giovannucci; Josephine Rydberg, ; Josefin Westborg

Synopsis

As we discussed briefly in previous chapters, facilitation is a special role within the overall category of organizers. While this chapter will cover suggestions for specific implementation situations, we recommend reading all the sections, as much of the advice is applicable in other contexts. 

Facilitation can take many forms in role-playing games. A storyteller helps mediate the rules of the game and the narrative of the world. Storytellers may engage heavily, ranging from high control, representing the entire world and all characters within it, to a low control hands-off approach, with availability only for narrative or rules clarifications. As we will discuss later, many terms for this role exist, but we use storyteller to emphasize narrative responsibilities compared to other forms of facilitation. 

A non-player character (NPC) is a character who serves a certain function in the game and thus has somewhat limited agency (Stenros 2013), e.g., a moderator in a debate or a zombie enemy. Alternatively, a supporting character tends to be more developed and aims to support player-characters (PCs) in their experience (Fido-Fairfax 2024). 

Other types of facilitation include high responsibility player-characters who are full players, but are expected to run events or facilitate play for others. In-game safety team members play characters within the fiction able to provide emotional support or guide players off-game as needed for psychological safety reasons (Bowman et al. 2017; Atwater and Rowland 2018). 

Finally, but most importantly in transformative role-playing games, the workshop and/or debrief leader facilitates the framing of the game. A workshop leader may run pre-game warm-ups, trust-building exercises, character creation exercises, and other activities, whereas a debrief leader helps players process their experience after play through guided structured, semi-structured, or structured discussions. In tabletop, a Session 0 often serves some or all of these purposes. Finally, off-game safety team members assist players who are upset or overwhelmed (Brown 2017; Berthold 2024), whether engaging in crisis management or trying to help strategize narrative, social, or personal strategies to help the player re-engage in the activity. 

Role-playing games can be run in many locations. Each location has its own specifics regarding facilitation requirements and opportunities. As examples, a tabletop role-playing game can occur at a home, a community center, or a therapist’s office. Some larps occur on-site in a realistic location, e.g., a castle, a field, a campsite, or a boardroom. Other larps are played in more neutral locations, requiring players to imagine the location, e.g., a hotel conference room becoming a spaceship, or a classroom becoming a mountaintop. Some larps and freeform games are played in abstract, neutral spaces enhanced by lights and sound, such as black box theatres. Urban larps are often played in multiple locations across a city (Pettersson 2025). Online games often require special software and internet connection to play. 

Therefore, a thorough understanding of the affordances (Gibson 2014; Lampo 2015) offered by different types of environments is necessary when considering facilitation strategies. Some practices that work in a physical room may be more challenging to arrange in video conferencing software, for example organic role-playing scenes in which several people are talking at once. Others might be easier, for example, passing private notes to the facilitator through direct messages without the other players noticing. 
The length, location, player count, and requirements of the narrative design also have an impact on how many facilitators are needed, if any. The context also matters; educational and therapeutic contexts often need more intensive on- and off-game facilitation than leisure ones, i.e., have a higher ratio of facilitators to players.

Thus, any given game will differ in terms of facilitation needed, as well as the required facilitation skills, e.g., whether storytelling skills are adequate, or a facilitator also needs pedagogical training. If a facilitator lacks the requisite training, additional facilitators may need to be recruited, e.g., a paraprofessional in mental health as extra support for an emotionally heavy game; a mental health professional responsible for handling the processing around therapeutic goals while the storyteller runs the narrative; or a school class’ regular teacher. 
This chapter will expand upon these aspects in more detail, with a strong emphasis on styles of facilitation helpful for transformative role-playing games.

Author Biographies

Sarah Lynne Bowman, Uppsala University

Sarah Lynne Bowman is a scholar, game designer, and event organizer. She received her B.A. and M.A. from the University of Texas at Austin in Radio-Television- Film and her Ph.D. from the University of Texas at Dallas in Arts and Humanities. Bowman has taught in the Humanities, English, and Communication. Currently, she is an Associate Professor in Game Design at Uppsala University Campus Gotland. She formerly served as Coordinator for the Peace & Conflict Studies program at Austin Community College, where she teaches Humanities. Bowman is a founding member of the Transformative Play Initiative, who research analog role-playing games as vehicles for personal and social change. She co-edited The Wyrd Con Companion Book (2012-2015) and currently edits for the International Journal of Role-Playing and Nordiclarp.org. Bowman has co-organized several conferences, including Living Games (2014, 2016, 2018), Role-playing and Simulation and Education (2016, 2018), and the Transformative Play Initiative Seminar (2022). More information at sarahlynnebowman.com.

Angie Bandhoesingh

Angie Bandhoesingh (Antzela-Sita Bandhoesingh) is an educator and larp designer with extensive experience in non-formal education. She has an educator’s degree from the Literature, Philosophy and Psychology department of the National and Kapodistrian University of Athens and has worked as a private tutor, a child animator, and a non-formal education facilitator since 2010. She has experience in youth work across multiple projects, including several in Erasmus+. Angie is a co-founder of the Dragons’ Nest nonprofit organization (formerly RPG4Kids), is the company manager, and is the educational content supervisor for extracurricular school activities for children aged 5-12. She also co-founded the LARPifiers non-profit organization, where she is an edu-larp designer and organizer, including having co-designed the grant-funded edu-larp Superhero Union. A larper since late 2015, she has been an organizer of local larps from 2016-2019. She has been exploring arts and crafts as a way of personal expression and informal learning activities. Her interest in non-formal education stems from a desire to transform formal education into a children-friendly, student-centric environment.

Simon Brind, Avalon Larp Studio, British Broadcasting Corporation (BBC)

 

 Simon Brind is a larp writer and academic from London, England. He received his Bachelor’s degree in English Literature from University College London, has a Master’s degree in Software Engineering from the University of Westminster, and a second Master’s in Creative Writing from Middlesex University. He completed his Ph.D. in 2023 at the Digital Cultures Research Centre at the University of the West of England. His thesis, Combat Narratology: Strategies for the Resolution of Narrative Crisis in Participatory Fiction, is available from the Digital Cultures Research Centre, (UWE), Bristol. His research looks at emergent narrative structures in participatory fiction and the tension between authorial and participant agency. He has been a larper since 1983, a larpwright since 1986, and is a founding member of Avalon Larp Studio. He has worked on some of the largest and longest running larp systems in the UK as well as projects across Europe and North America.

Elektra Diakolambrianou, Dragons' Nest, Institution for Counselling and Psychological Studies in Athens

Elektra Diakolambrianou (Ilektra Diakolamprianou) is a licensed psychologist and psychotherapist, a certified adult educator, and a larp designer. She has a B.Sc. in Psychology from Panteion University, a Pg.Dip. in Person-Centred counselling from the University of Strathclyde, a Prof.Cert. in Art, Drama and Play Therapy from Edexcel, and is a European Certificate of Psychotherapy holder. Currently she is pursuing a M.A. in Creative Writing offered by the Hellenic Open University. A certified trainer of communication skills by Gordon Training International and member of the trainers’ pool of the Greek National Agency for Erasmus+ Youth 2014-2020, Elektra has had continuing education in cinematherapy, music therapy, bibliotherapy, therapeutic writing, gamification methods, game-based education, restorative justice, and social psychology. Since 2012, she has been working as a psychotherapist working with socially vulnerable groups, including: unaccompanied minors, refugees, immigrants, NEETs, unemployed people, former prisoners, and women. Since 2013, she has been an academic staff member at the Institution for counselling and Psychological Studies in Athens. Her academic work emphasizes the potential of larp as a medium for personal development and psychotherapy. She is also a co-founder of the LARPifiers. Elektra has experience in working as an emotional safety person in games and projects, as well as in curating larp designs for emotional safety.

Kjell Hedgard Hugaas, Uppsala University

Kjell Hedgard Hugaas is a Northern Norwegian game designer, organizer, writer, theorist, and trained actor. In particular, he is engaged within the Nordic larp tradition, where he has been active for a bit over two decades. For the last few years, he has explored the transformative potential of games, and has proposed specific intentional game design practices that facilitate transformative effects. As well as being a founding member of the Transformative Play Initiative, Hugaas has theorized how ideas impact players through the processes of memetic bleed, procedural bleed, and identity bleed. His work on bleed has so far culminated in his 2022 Master’s thesis in Game Design at Uppsala University, and he is planning to expand on this theoretical work in the future. In 2023, he completed a second thesis for UU on the impacts of larp on participants’ attitudes and anxieties around death. He works as a project assistant on EDGE, the Erasmus+ Cooperation Partnership ROCKET, and the Horizon Europe Larpocracy project through LARPifiers. Hugaas is the co-founder and CEO of the game studio and research company Evocative Games AB, where he currently works as a consultant, researcher, narrative designer, and writer, including for the Erasmus+ Dystolarp project

Felipe García-Soriano, University of Alicante

Felipe García-Soriano is a sociologist from the University of Chile and a PhD candidate in Economy, Business and Society at the University of Alicante. He works primarily as a consultant and designer of non-formal learning experiences, with a focus on organizational development, civic engagement, and systems thinking through tabletop role-playing games (TTRPGs) and participatory methodologies.

Alessandro Giovannucci

Alessandro Giovannucci is an award-winning game designer and theorist working in the field of larp and immersive experience. He co-founded the larp collective Chaos League in 1992 and wrote the manifesto “Southern Way – New Italian Larp.” His work focuses on political and social topics, experienced through the participatory nature of larp. He has worked on different formats and styles of games, going from small ones (First They Came) to some of the bigger and most successful international larps (Sahara Expedition, Miskatonic University). Very active in the field of online larp, he designed games and organized several online festivals in the last years including the International Larp Festival. Alessandro is also regularly invited to host talks, larp design workshops and seminars all over Europe and their games are hosted in some of the most important festivals. Has already participated, both as a partner and leader, in European funded projects related to larp, civil rights and education. Alessandro is also a music teacher at the University of Teramo and University of Chieti, researching the relationship between materialism and storytelling in the arts.

Josephine Rydberg, Stockholm University of the Arts

 

Josephine Rydberg is a Ph.D. candidate at Stockholm University of the Arts (SKH). The research project Dramaturgy for Participatory Practices is explored using examples from larp and social VR. Her focus is on designing play for avatars and finding best practices for adapting larp designs to a virtual environment. Rydberg has held a position as a crossmedia developer for the County Council of Gävleborg (Region Gävleborg) since 2014, and has developed a number of innovative projects mixing storytelling and new technology. Current projects include: VR & World Heritage, Games Culture, and the Storytech conference. Rydberg has been a larper since the early ‘90s and was one of the founding members of Gothenberg’s first larp society. She holds an M.A. in Film & Theatre from the University of Sheffield and M.A.s in film production from the University of Gothenburg (Filmhögskolan, Göteborgs Universitet) and Stockholm Academy of the Arts (Dramatiska Institutet).

Josefin Westborg

Josefin Westborg is one of the world’s leading designers in edu-larps. She has a background in game design and pedagogy and is one of the founders of Lajvbyrån (previously LajvVerkstaden Väst). Josefin has worked as a research assistant and teacher at Uppsala University’s Department of Game Design where she was a founding member of the Transformative Play Initiative with focus on analog role-playing games. Westborg co-designed curriculum for Uppsala’s Master’s in Transformative Game Design and has worked as a teacher in its introductory courses, upon which EDGE is based. She has also been a teacher in game design at both Chalmers University of Technology and the University of Gothenburg. She recently published an article for the International Journal of Role-playing entitled “The Educational Role-Playing Game Design Matrix: Mapping Design Components onto Types of Education.” In addition to EDGE, she also works as a project assistant in the Erasmus+ Cooperation Partnership ROCKET. Throughout her career Josefin has met thousands of students of all ages, and run and designed larps for them. She is passionate about designing for interaction, storytelling and learning. When she is not involved with games you will probably find her at the dance studio doing ballroom dance.

Published

June 11, 2026

Online ISSN

3035-7934

Print ISSN

3035-7594

How to Cite

(Ed.). (2026). Theory and Practice in Facilitating Transformative Role-playing Games. In Implementing Transformative Role-playing Games: Vol. Transformative Play Research Series, 2. Uppsala Scholarly Books. https://doi.org/10.33063/wyqet763