Summer in the Wyrd Woods

Michelle Nephew
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“Once there were three little kids named Sophie, Emma, and Jack. They lived in a normal house in a normal town, and went to a normal school. But at the end of the week, they went to a place that was anything but normal. On weekends they stayed at their family’s log cabin in the Wyrd Woods, where magic lived.” Join them as they explore the strange and wondrous Northwoods, full of fantastical creatures and exciting adventures.

The Wyrd Woods is a series of early reader chapter books for lower elementary children. It features chapter lengths, vocabulary, and subjects appropriate for young readers just starting their reading adventures. Each book also includes a special Parent’s Guide section with ideas to talk about with your child, and a sneak preview of the next book in the series.

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About the author

Michelle Nephew has her Ph.D. in English Literature and is a co-owner of publishing company Atlas Games. She spends her weekends with her husband and three kids at their cabin in Minnesota’s magical Northwoods.

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Additional Information

Publisher
Michelle Nephew
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Published on
Jul 1, 2018
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Pages
71
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Language
English
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Genres
Juvenile Fiction / Fantasy & Magic
Juvenile Fiction / Readers / Chapter Books
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Content Protection
This content is DRM free.
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Read Aloud
Available on Android devices
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Eligible for Family Library

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This study examines roleplaying games (RPGs) as both a literary and cultural phenomenon, in which the text’s producers take the role of an authorial multiplicity.
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ABSTRACT: Authorship has undergone drastic revision in the twentieth century. A fundamental transformation in literature, wherein the author has become a multiplicity of voices, is evinced by the development of roleplaying games as both literary and cultural texts.

The literary roots of roleplaying games are self-evident, as they draw on writers such as H. P. Lovecraft and J. R. R. Tolkien. However, a consequence of the development of the roleplaying game has been a subsequent departure from these authorial beginnings; roleplaying games have irrevocably transformed the role of the writers who inspired them, altering the authorial position to become a border-blurring multiplicity. Not only do roleplaying game designers reinterpret literary texts as literary games, often borrowing rules material from other designers in the process, in modifying the function of the author from a single creative entity to an empowered storytelling among groups roleplaying games further complicate previous distinctions between author and audience. Players create a fictional world as a group endeavor, authoring a complex structure of fantasy that addresses Freudian concepts of dreams and wish fulfillment.
 

In this way, roleplaying becomes a locus for issues of identity, including questions of performance, spectatorship, and gender construction. And by allowing play in regard to identity, roleplaying games are able to transgressively navigate expressions of difference, encouraging players to subtly work against the traditional split between spectacle and narrative. The thriving fan subculture surrounding roleplaying only emphasizes the transgressiveness of the hobby; this is a social formation that aggressively utilizes new technology such as the internet, through which fans are able to explore culturally subversive methods of authoring in the face of hostility from the surrounding cultural environment. They, too, are active producers and manipulators of meanings, rather than passively accepting dominant ideology.

By fusing the broader perspectives of literary and cultural criticism with personal experiences, this study examines the development of roleplaying games from the fiction of individual writers to the interactive roleplaying based on them, wherein fiction writers, the hobby’s creators, designers, editors, publishers, fans, players, and the cultural environment are all invested with the creative power to contribute meaningfully to the narrative.

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