Dungeons and Dragons

study:-playing-dungeons-&-dragons-helps-autistic-players-in-social-interactions

Study: Playing Dungeons & Dragons helps autistic players in social interactions

We can be heroes —

“I can make a character quite different from how I interact with people in real life.”

A Dungeons & Dragons game session featuring a map, miniatures, dice, and character sheets

Enlarge / Researchers say that Dungeons & Dragons can give autistic players a way to engage in low-risk social interactions.

Since its introduction in the 1970s, Dungeons & Dragons has become one of the most influential tabletop role-playing games (TRPGs) in popular culture, featuring heavily in Stranger Things, for example, and spawning a blockbuster movie released last year. Over the last decade or so, researchers have turned their focus more heavily to the ways in which D&D and other TRPGs can help people with autism form healthy social connections, in part because the gaming environment offers clear rules around social interactions. According to the authors of a new paper published in the journal Autism, D&D helped boost players’ confidence with autism, giving them a strong sense of kinship or belonging, among other benefits.

“There are many myths and misconceptions about autism, with some of the biggest suggesting that those with it aren’t socially motivated, or don’t have any imagination,” said co-author Gray Atherton, a psychologist at the University of Plymouth. “Dungeons & Dragons goes against all that, centering around working together in a team, all of which takes place in a completely imaginary environment. Those taking part in our study saw the game as a breath of fresh air, a chance to take on a different persona and share experiences outside of an often challenging reality. That sense of escapism made them feel incredibly comfortable, and many of them said they were now trying to apply aspects of it in their daily lives.”

Prior research has shown that autistic people are more likely to feel lonely, have smaller social networks, and often experience anxiety in social settings. Their desire for social connection leads many to “mask” their neurodivergent traits in public for fear of being rejected as a result of social gaffes. “I think every autistic person has had multiple instances of social rejection and loss of relationships,” one of the study participants said when Atherton et al. interviewed them about their experiences. “You’ve done something wrong. You don’t know what it is. They don’t tell you, and you find out when you’ve been just, you know, left shunned in relationships, left out…. It’s traumatic.”

TPRGs like D&D can serve as a social lubricant for autistic players, according to a year-long study published earlier this year co-authored by Atherton, because there is less uncertainty around how to behave in-game—unlike the plethora of unwritten social rules that make navigating social settings so anxiety-inducing. Such games immerse players in a fantastical world where they create their characters with unique backstories, strengths, and weaknesses and cooperate with others to complete campaigns. A game master guides the overall campaign, but the game itself evolves according to the various choices different players make throughout.

A critical hit

Small wonder, then, that there tend to be higher percentages of autistic TRPG players than in the general populace. For this latest study. Atherton et al. wanted to specifically investigate how autistic players experience D&D when playing in groups with other autistic players. It’s essentially a case study with a small sample size—just eight participants—and qualitative in nature, since the post-play analysis focused on semistructured interviews with each player after the conclusion of the online campaign, the better to highlight their individual voices.

The players were recruited through social media advertisements within the D&D, Reddit and Discord online communities; all had received an autism diagnosis by a medical professional. They were split into two groups of four players, with one of the researchers (who’s been playing D&D for years) acting as the dungeon master. The online sessions featured in the study was the Waterdeep: Dragonheist campaign. The campaign ran for six weeks, with sessions lasting between two and four hours (including breaks).

Participants spoke repeatedly about the positive benefits they received from playing D&D, providing a friendly environment that helped them relax about social pressures. “When you’re interacting with people over D&D, you’re more likely to understand what’s going on,” one participant said in their study interview. “That’s because the method you’ll use to interact is written out. You can see what you’re meant to do. There’s an actual sort of reference sheet for some social interactions.” That, in turn, helped foster a sense of belonging and kinship with their fellow players.

Participants also reported feeling emotionally invested and close to their characters, with some preferring to separate themselves from their character in order to explore other aspects of their personality or even an entirely new persona, thus broadening their perspectives. “I can make a character quite different from how I interact with people in real-life interactions,” one participant said. “It helps you put yourself in the other person’s perspective because you are technically entering a persona that is your character. You can then try to see how it feels to be in that interaction or in that scenario through another lens.” And some participants said they were able to “rewrite” their own personal stories outside the game by adopting some of their characters’ traits—a psychological phenomenon known as “bleed.”

“Autism comes with several stigmas, and that can lead to people being met with judgment or disdain,” said co-author Liam Cross, also of the University of Plymouth. “We also hear from lots of families who have concerns about whether teenagers with autism are spending too much time playing things like video games. A lot of the time that is because people have a picture in their minds of how a person with autism should behave, but that is based on neurotypical experiences. Our studies have shown that there are everyday games and hobbies that autistic people do not simply enjoy but also gain confidence and other skills from. It might not be the case for everyone with autism, but our work suggests it can enable people to have positive experiences that are worth celebrating.”

Autism, 2024. DOI: 10.1177/13623613241275260  (About DOIs).

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“we’ve-done-our-job”:-baldur’s-gate-3-devs-call-off-dlc-and-step-away-from-d&d

“We’ve done our job”: Baldur’s Gate 3 devs call off DLC and step away from D&D

Baldur’s Gate Closed —

Larian boss says BG3 is “a story with a beginning, a middle, and an end.”

Karlach, the tiefling barbarian, infernal heart glowing, axe at her back.

Enlarge / Sometimes your infernal-engine-powered heart just isn’t in it.

Larian Studios/Hasbro

Swen Vincke, director of the colossal entity that is Baldur’s Gate 3, is not leaving the door open to future expansions of that already fully packed game.

At this week’s Game Developer’s Conference (GDC), Vincke made it clear during a talk and in interviews that Larian Studios is not going to make any major new content for Baldur’s Gate 3 (BG3)—nor start work on Baldur’s Gate 4, nor make anything, really, inside the framework of Dungeons & Dragons’ Fifth Edition (5e).

Not that Vincke or his team are bitter. Their hearts just aren’t in it. They had actually started work on BG3 downloadable content and gave some thought to Baldur’s Gate 4, Vincke told IGN. “But we hadn’t really had closure on BG3 yet and just to jump forward on something new felt wrong.” On top of that, the team had new ideas that didn’t fit D&D 5e, which “is not an easy system to put into a video game,” Vincke said.

“You could see the team was doing it because everyone felt like we had to do it, but it wasn’t really coming from the heart, and we’re very much a studio from the heart. It’s what gotten us into misery and it’s also been the reasons for our success,” Vincke told IGN.

After returning from winter holidays, Vincke told the Larian team, “We’ve done our job. It’s a story with a beginning, a middle, and an end. So let’s pass the torch to another studio to pick up this incredible legacy.” The team, he told IGN, was “elated.”

Onto the next act

Vincke’s enthusiasm for having determined Act 1 of “this thing I’ve been working on,” as he posted on X (formerly Twitter) in early January 2024, has some new context from this new dialogue. Larian, it seems, is working on another RPG, just not one involving a certain port city in a particular tabletop scheme.

At GDC, Vincke said Larian was “a company of big ideas… not a company that’s made to create DLCs or expansions,” according to PC Gamer’s recap. “We tried that actually, a few times. It failed every single time. It’s not our thing. Life is too short. Our ambitions are very large,” Vincke told the crowd.

As you might imagine, Larian Studios is ready to say goodbye to D&D games, but Wizards of the Coast and parent company Hasbro almost certainly are not. As of February, BG3 had made around $90 million for Hasbro. Hasbro’s CEO followed up on that report by noting that BG3 was “just the first of several new video games that will be coming out over the next five to 10 years.”

One of those is likely to be “an innovative hybrid of survival, life simulation, and action RPG,” from the makers of the notably survival/life/RPG-like game Disney Dreamlight Valley. Gameloft Montreal pitches the game as a space where “the rich lore of this legendary franchise meets real-time survival in a unique campaign of resilience, camaraderie, and danger at nearly every turn.

It feels safe to say that you will not be able to romance Beast, Maui, or Mike Wazowski in the next big D&D game. Larian’s time in the Forgotten Realms is over, and the team is likely to have many people waiting to see where they’re going next.

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Dungeons & Dragons turns 50 this year, and there’s a lot planned for it

Critical Success —

It started with “a new line of miniatures rules” and became a global phenomenon.

The three rulebooks fo Dungeons & Dragons Art & Arcana: A Visual History.” src=”https://cdn.arstechnica.net/wp-content/uploads/2024/01/rulebooks-800×548.jpg”>

Enlarge / The three rulebooks fo “fantastic medieval wargames” that started it all, released at some point in late January 1974, as seen in Dungeons & Dragons Art & Arcana: A Visual History.

Wizards of the Coast/Ten Speed Press

“We have just fromed [sic] Tactical Studies Rules, and we wish to let the wargaming community know that a new line of miniature rules is available.”

With this letter, written by Gary Gygax to wargaming zine publisher Jim Lurvey, one of the founders of what would become TSR announced that a January 1974 release for Dungeons & Dragons was forthcoming. This, plus other evidence compiled by Jon Peterson (as pointed out by the Grognardia blog), points to the last Sunday of January 1974 as the best date for the “anniversary” of D&D. The first sale was in “late January 1974,” Gygax later wrote, and on the last Sunday of January 1974, Gygax invited potential customers to drop by his house in the afternoon to try it out.

You could argue whether a final draft, printing, announcement, sale, or first session counts as the true “birth” of D&D, but we have to go with something, and Peterson’s reasoning seems fairly sound. Gygax’s memory, and a documented session at his own house, are a good point to pin down for when we celebrate this thing that has shaped a seemingly infinite number of other things.

  • The evolution of The Beholder, through 3rd edition, in Dungeons & Dragons, from Art & Arcana: A Visual History.

    Wizards of the Coast/Ten Speed Press

  • The fourth and fifth edition versions of the Beholder, as seen in Art & Arcana: A Visual History.

As with playing a good campaign, you’ve got a lot of options for how you acknowledge D&D‘s long presence and deep influence. The game system itself, now under Wizards of the Coast, will this year push “One D&D,” a name the D&D leaders sometimes stick with and sometimes don’t. Whatever the next wave is called, it includes new handbooks, guides, and Monster Manual books that are not exactly a new “edition,” but also an evolution. Books like Xanathar’s Guide to Everything and Tasha’s Cauldron of Everything will be codified and unified by a new sourcebook at some point, but all of it will be compatible with 5th Edition material.

Also, at some point this year, stamps celebrating D&D‘s 50th will be available from the US Postal Service, at least if you rush. Ten different designs, leaning heavily on the dragons, were commissioned based on existing illustrations. There’s a documentary from Joe Manganiello (still in pre-production, seemingly). And there’s a 500-plus-page non-fiction book, The Making of Original Dungeons & Dragons: 1970-1976, with research help from the aforementioned Peterson, containing never-before-seen correspondence between co-creators Gygax and Dave Arneson.

I grew up in the 1980s and 1990s, never actually playing Dungeons & Dragons, but its influence shaped vast amounts of my playtime and curiosity. I loved playing Hero Quest, without knowing that it was essentially an on-rails D&D setup. My cousin and I spent large parts of one summer attempting to play Marvel Super Heroes without understanding its D&D roots (or that it would always be a bit awkward with just two people).

And, of course, every video game, comic, novel, and other media I consumed that made a point of explaining how different classes worked, or the theory behind spells, owed something to D&D—by way of J.R.R. Tolkien and centuries of folklore tradition, of course. Tales keep inspiring other tales, and it’s largely to our benefit.

Take a moment on this occasion to look back through some notable D&D coverage at Ars:

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