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Create free accountArticleInternational Journal of Role-Playing
The comparison combines an account of one author's time in a role-playing WoW guild with a survey. The authors describe it as small and exploratory.
Jason Pittman and Christopher Paul's study argues that role-play has largely migrated from tabletop settings into online environments, and that game scholarship has underexamined this shift. Their central contention is that the defining difference between the two forms lies in who controls the fictional world: in tabletop play a human Game Master adapts rules and outcomes dynamically, while in World of Warcraft (WoW) a computer program enforces the game's logic. The authors ground this claim in figures showing that 37% of non-adolescent Americans played games by 2003 and that WoW exceeded nine million subscribers by mid-2007.
The study combines an autoethnographic account of Jason's experience in the Ironforge Regiment, a strictly role-playing WoW guild with demanding in-character and race-based requirements, with a survey of 27 respondents after exclusions. The authors also report that Blizzard removed their survey posts and temporarily banned their account, a episode they cite as evidence that publishers restrict academic access to player data.
Findings show that fulfillment was divided almost evenly between the two forms. WoW was preferred for its convenience and visual immersion, while tabletop play was valued for creative freedom and face-to-face social interaction. The strongest correlations involved location and age: rural respondents exclusively favored WoW, urban respondents leaned toward tabletop or expressed no preference, and younger participants preferred WoW more strongly than late-college-age players did.
The paper's conclusions rest on a reference base spanning game studies, communication research, and sociology, drawing on scholars such as Castronova, Steinkuehler, Williams, Taylor, and Yee to address player motivation, guild social life, and online "third places." The study's scope is therefore best understood as a small, exploratory comparison framed by a broader scholarly literature on digital play.
DiGRA · 2022