How Old Was The Stranger Things Characters In Season 1 Propp’s Fairy Tale Functions and the Fantasy Role Playing Game

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Propp’s Fairy Tale Functions and the Fantasy Role Playing Game

Propp was one of the most brilliant folklorists of all time, who was very familiar with fairy tales, their meanings and, above all, their story structures. While people in his day tried to classify stories according to key features and elements, resulting in hundreds of story types, Propp thought it would make more sense to look at story structure in terms of activities.

Propp found 31 fairy tale functions in his research, but his argument was that although not all of these functions were in any fairy tale, fairy tales were governed by all of these functions, all of which occurred in the numerical order he outlined for them from smallest to largest.

While it can be argued that perhaps there are folktales, especially in other cultures, that don’t exactly follow the contours Propp created, he certainly found something that is true most of the time, and when it comes to people, that’s usually for the best. can get, because people have few, if any, rules about their imaginations that are true all the time. Then it’s wise to use Propp’s functions as a tool for understanding fairy tales rather than simply denying it, because if you try you’ll find fairy tales that don’t match it, but you’ll find many others that do. .

What does Propp mean in fantasy stories and role-playing games

So what does Propp’s activities have to do with fantasy RPGs and fantasy worlds? All, for it is Propp’s actions that have shown the outlines of most of all early fantasy stories, and certainly the most famous such stories. By defining this story, Propp has not only created a tool for understanding fairy tales, he has created a tool for writing them and fantasy stories like them, and because of the power and timeless nature of fairy tales, this is a valuable story tool indeed. When creating a task for your characters, this tool is invaluable for generating ideas. Often the quests are just a series of challenges and not a story. Propp offers ideas a more concrete structure. In this way, a game master creating an rpg mission might prefer to string together challenges, string together events from meeting heroes, receiving magical items, and revealing the nature of the villain.

A particularly interesting creator of role-playing tasks is a broken prohibition (players or someone close to them doing something they told them not to do). Common in fairy tales, someone is told not to do something, so they inevitably have to do it. In the case of the hero, this could be a good opportunity to use outside characters to pressure them. Their significant other will pester them until they do what they were told not to do. Or the PCs can be forced to choose between a known negative event and an unknown one, being chased by a dragon, poisoned, or forced to do something they wouldn’t normally do in order to survive. Because when they run away from the dragon, they find themselves in the private realm of the fairies, hating it. To cure themselves of the poison, they make a deal with a stranger. There are many other ways to steer the PCs towards breaking the ban, setting them up for a fantasy mission.

Once the ban is broken, the PCs can get into trouble, and so they need the help of the villain, who at this point is disguised as a helper. One of the things that makes fairy tales so interesting is the way the villains often end up helping the heroes. Yet they only do so to cause some kind of damage to the hero or to get something out of the hero. In your role-playing game, this duality of the villain character could add interest and of course more story-like atmosphere.

On the flip side of the hidden villain is the actual helper character, someone who offers magical help to the hero. Fairies play this role well because they have no unknown reasons of their own for helping, so they can simply choose to be helpful if the player characters are friendly to them. It is important to understand here that these are not just random events; It’s OK if the PCs get miraculous help from an outside source in this story structure, since this structure is so familiar to most people. Propp’s structure is, after all, the structure most of our fantasy stories are based on in the first place.

Propp’s function began with the initial setting situation, who, what, when and where, after which, according to him, the stories followed in order some of the following 31 functions.

1. Family member leaves home (hero introduced);

2. Prohibition is addressed to the hero (‘don’t go there’);

3. The prohibition is broken (the villain enters the story);

4. The villain makes a reconnaissance attempt (either the villain tries to find the children/jewels, etc., or the intended victim questions the villain);

5. The villain gets information about the victim;

6. The villain tries to trick the victim in order to take possession of the victim or the victim’s property (fraud; the villain in disguise, trying to win the victim’s trust);

7. A victim taken by treachery, unknowingly aiding the enemy;

8. The villain causes harm/damage to a family member (by kidnapping, stealing from a magic agent, spoiling crops, robbing in other forms, causing disappearance, banishing someone, casting a spell on someone, replacing a child, etc., committing murder, imprisoning/imprisoning someone, threatening forced marriage, offering night torture); Alternatively, a family member lacks something or wants something (a magic potion, etc.);

9. Misfortune or deficiency is announced (a hero is dispatched, hears a cry for help, etc. / the alternative is that the victimized hero is dispatched, released from prison);

10. The applicant agrees to countermeasures or decides on them;

11. The hero leaves home;

12. The hero is tested, interrogated, attacked, etc., preparing the way for his receiving magic agent or helper (donor);

13. The hero reacts to the actions of the future donor (passes/fails a test, frees a prisoner, settles disputes, performs a favor, uses the opponent’s powers against him);

14. Hero gains access to a magic agent (directly moved, located, purchased, crafted, spontaneously spawns, eaten/stuck, aid provided by other characters);

15. The hero is transferred, delivered or led to the location of the search object;

16. Hero and villain engage in direct combat;

17. The hero is marked (wounded/marked, gets a ring or scarf);

18. The villain is vanquished (killed in battle, defeated in battle, killed in his sleep, banished);

19. The original accident or deficiency is resolved (quest divided, spell broken, slain, prisoner freed);

20. The hero returns;

21. The hero is chased (the chaser tries to kill, eat, destabilize the hero);

22. The hero is saved from the pursuit (obstacles delay the pursuit, the hero hides or hides, the hero becomes unrecognizable, the hero is saved from having his life broken);

23. The hero is not recognized, arrives at home or in another country;

24. A false hero makes baseless claims;

25. Difficult task proposed for the hero (trial, riddles, test of strength/endurance, other tasks);

26. The task is solved;

27. The hero is identified (by a mark, sign, or object given to him);

28. A false hero or villain is revealed;

29. The hero is given a new appearance (made whole, handsome, new clothes, etc.);

30. The villain is punished;

31. The hero marries and ascends the throne (is rewarded/promoted).

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