After playing a random game of Dungeons & Dragons (D&D) one night, I noticed myself contemplate how I could incorporate D&D into my practice. I shared this with a friend who told me about Geek Therapy Community, a Facebook page dedicated to professionals interested in Geek Therapy and integrating it into clinical, research, and school settings (Geek Therapy, 2016).
My therapeutic modality is integrative with a focus on Narrative Family Therapy. I began to recognize how easy it could be to meld them. I love video games and D&D, and my knowledge in these areas has only grown over the years. Scholars in this area use a deep understanding of geek culture in conjunction with therapeutic models of meaning for both the fictional world and reality (Franco, 2016; Bean, 2018). It is the understanding of character creation and socialization through the lens of role-playing. Clients’ builds (character developed) illustrate the injection of self into a fictional world. Is the character a mirror image of them, a foil, or does it hold a few similar traits? If a part of them was injected into the character, why was this part chosen and not another part? How do they play? Cooperatively, competitively, with the intention to ruin campaigns via the chaotic creature they choose?
Narrative Family Therapy interventions include externalizing the problem, deconstructive listening, deconstructive questioning, relative-influence questioning, landscape of action, and landscape of consciousness (White & Epston, 1990; Gehart & Tuttle, 2003). The goals of this model are to explore problem-saturated narratives, identify unique outcomes, co-edit/author alterative narratives; aid in clients enacting these preferred narratives, decipher dominant and subjugated knowledges, and separate the problem from the individual (White & Epston, 1990; Gehart & Tuttle, 2003). How can these goals be achieved through D&D? The D&D character sheet. Using D&D’s 5th edition, I created my own character sheet I dubbed Inner Demons and Warriors (Wizards of the Coast, 2014).
Integration
What better way to externalize problems (Inner Demons) and strengths (Warriors) than to have each become a character?! To begin, have clients name their character. An Inner Demon might be called Anxiety, Panic, Depression, or Worry. Others get more creative; one client called his fidgeting Finut. I will refer to this character over the course of this article. Warriors could include: family members (parents, siblings, extended relatives), social support networks (teachers, peers, co-workers, etc.), positive feelings they wish they had more of (joy, laughter, self-like, love, etc.), themselves, and on occasion, I have been listed as a Warrior. The act of naming the creature immediately forces clients into externalization.
Throughout the process of character building, you are exploring the concept of Landscape of Action (White & Epston, 1990; Gehart & Tuttle, 2003). This means discovering who is involved and what each does via the character sheet; and in what sequence things are done via the battle. As the character sheet is created, you are the co-editor/author of this narrative with your client. You assist in exploring the concept of Landscape of Consciousness: learning the implications, motivations, values, desires, and intentions of each creature and putting them together in a battle (White & Epston, 1990; Gehart & Tuttle, 2003). Landscape of Action and Consciousness give depth to the narrative. It is exploring the influence of that creature within every sphere of the client’s life. From here, eight other considerations need to be flushed out.
Drawing of character
Some clients know immediately what an Inner Demon/Warrior looks like. Others flip through D&D books until they find something that catches their eye. A few will scan the books to get inspired and create their own design using elements from several D&D creatures. This time adds to the externalization process. It brings about questions I never thought I would ask clients. Take Finut, a Bolt Nut (client stated Screw Nut but after drawing it out it became clear he meant bolt nut) with arms, legs, a face, and fidget spinners and cubes held in his hands. I initially assumed Finut was a large being because his Backstory included a part where Finut had formerly been a man turned into Finut after a catastrophic fall and sacrifice to a powerful entity. Inquiring about size, I was informed that Finut was only a few inches tall leading him to be incredibly mad all the time. However, his size enabled him to easily sneak up on people without them seeing him. He then takes his anger out on them by making them bored, fidgety, and getting them into trouble. Finut’s height was added into his drawing to give merit to this portion of the narrative.
Strengths
The creature’s strengths are not the client’s strengths against the creature. At this stage we are still exploring the problem-saturated narrative: how does this creature maintain control over the client. Finut is tiny, making him stealthy. Finut gained his powers through a powerful entity for whom he is now in servitude. He is a warlock who has three spells that make up his strengths: two cantrips (prepared spells that can be cast at-will throughout a day) and one combat only spell. The two cantrips are Foggy Brain and Silence. Foggy Brain represents boredom and daydreaming, not paying attention to what is going on around him. Silence is the inability to talk. When Silence is recognized as being cast, client attempts to wiggle and tap; this gets him into trouble for being a distraction to peers. The combat only spell was never named; however the description was that it “changes items in other person’s inventory into fidget spinners.” A Warrior’s weapon is made useless giving Finut the upper hand. Finut is therefore seen as a powerful Inner Demon. How can you turn the tide against Foggy Brain, Silence, and all weapons being fidget spinners?
Flaws/weaknesses
This section is the beginnings of the alternative narrative. This is where your client is focusing on how they get the upper hand. Finut is a warlock forced to serve his entity, therefore he is compelled to act and has little control over who his target is. The entity gave him his powers and can take them away if Finut fails. Finut is bombastic in how powerful he sees himself. Whenever someone is at the beginning stages of boredom he enters with Foggy Brain. But, if one could pretend not to be bored than Finut may not find him. This moves us into how can one pretend not to look bored. What behaviors would need to be displayed to throw Finut off? On the other hand, when it comes to combat, Finut is weak to the spell Focus and takes critical damage (the spell damage is doubled when it is unleashed). By taking the position of looking bored, Finut is lured in and dealt Focus for double damage. In the real world, this means recognizing those signs of boredom and doing grounding exercises to refocus on the present. It means choosing not to play games on the school’s Chrome book when schoolwork tasks are at hand.
Personality traits
Focus is on the creature not your client’s personality traits. Based on Finut’s backstory, he was formerly a man turned into a powerful creature. There are two personality lines to consider; who he was prior to and after the transformation. Prior to the transformation, he was considered Shy, Nervous, and Angry. Shy because he had difficulty connecting with others. When forced to be around others, he played with fidget spinners to distract against his Nervousness. He grew Angry at others for not liking him.
After the transformation and being reduced to a minuscule size, his Anger grew. He weaponized Shy and Nervousness as spells to use against his opponents. See how the plot thickens and helps in identifying unique outcomes. If Finut displaces Shyness, Nervousness, and Anger onto others, learning skills to manage or overcome those emotions will make spell attacks weaker. We see the dominant knowledge of extroversion is good; having friends is better; being well-liked is preferred. Subjugated knowledges are Shyness Nervousness, Anger, and Fidgeting are okay emotions to have.
Appearance/features
For some clients, artistic skills are not as good as their imaginations and they tend to be vocal about that. It is our job as the co-editor/author to help clients transfer their written words into the drawing or add more details into this section that are hard to distinguish in the artwork. Finut is a plastic Bolt Nut; plastic is hard to illustrate. His exact measurements of two to three inches tall, again, were not easy to illustrate. Another example, a Worry cloud, was drawn but that drawing neglected certain features described in this area. Worry would come in as a fog, then grow into a cumulus cloud, and darken from white to a dark grey. This transformation was extremely important to the problem-saturated narrative. Using deconstructive listening and questions will enable you to better grasp what is going on with this creature and how it operates.
Inventory/equipment
Finut’s inventory comprised of two cantrip slots and one combat spell. His weapons included fidget spinners and fidget cubes, which contained his cantrips. Being very tiny, he relied on a steady load of stamina potions. Another client had an Anxiety rogue (a character with stealthy combat and nimble tricks) that used daggers to stab in the back of the neck. These daggers represented the sharp pains of tension experienced in her neck when Anxiety was present. Once more, this section helps us to better understand the problem-saturated narrative.
Backstory
This section illustrates how the creature came into existence. When did Anxiety become a noticeable issue? How do Depression and Suicidal Ideation collaborate to destroy Happy Mood? Finut began as a man named Jake who fell into a pile of bolt nuts and fidgets. He was on the verge of death when a powerful entity saved his life, but it required a sacrifice. Jake accepted living without knowing what he would be sacrificing. Immediately, his appearance changed. He became Finut the Fidgetor and was destined to ruin kids’ lives from then on. Note in this that 1) Jake became Finut due to an impulsive decision to save his own life. Struggles with impulse control are similar to the client; 2) Jake’s transformation required a substantial sacrifice; of similar weight for the client in choosing chores or homework over playing computer/video games.
Level
In the top right corner of the character sheet is a circle with “level” written in it. In D&D, every character has a level from 1 to 20; where 1 represents weak, vulnerable characters with hardly any spells and 20 epitomizes powerful characters with powerful spellcasting. Clients give a level to each of their Inner Demons and Warriors, which allows me to understand them in comparison to other Warriors and Inner Demons. This becomes a quantifiable measure of change. Inner Demons might start out with levels above 10, but over the period of us working in therapy, they fall to a 5. Clients may put themselves at a 3 and put another Warrior, say their friend Betsy (completely fictional character), at a 15. Betsy knows how to calm Panic Attacks. She is pretty powerful in the eyes of our client. She is a good resource and someone who can teach Calming so that the client can replicate it. Betsy may also have Self-Confidence that can be taught, too.
The battle
Each Inner Demon and Warrior is now completed. Now it is time to explore their interactions. The battlefield is where you find out how coping skills are used, where weaknesses are exploited, how creatures aid the other to become more powerful. Will clients reach out to Warriors for help or do Warriors step in without being asked? I then ask clients to envision what it would take for them to win a battle against that Inner Demon(s). This may be difficult for them to imagine. You may have to intervene with questions for the Warriors.
Amanda Anderson, MS, LMFT-IT, is an AAMFT Pre-Clinical Fellow, and owner and therapist at Oshkosh Marriage and Family Therapy Center, LLC. She is enrolled at Northcentral University’s General Family Therapy doctorate program. Anderson is chair-elect for the Wisconsin Association of Marriage and Family Therapy and will take the Chair position January 1, 2021.
REFERENCES
Bean, A. M. (2018). Working with video gamers and games in therapy: A clinician’s guide. New York, NY: Routledge.
Franco, G. E. (2016). Videogames as a therapeutic tool in the context of narrative therapy. Frontiers in Psychology, 7(1657), 1-3. doi: 10.3389/fpsyg.2016.01657
Geek Therapy. (2016, December 29). Geek Therapy Community About [Facebook]. Retrieved from https://www.facebook.com/groups/GeekTherapy/about
Gehart, D. R., Tuttle, A. R. (2003). Narrative therapy. In Theory-based treatment planning for marriage and family therapists: Integrating theory and practice (pp. 213-237). Belmont, CA: Brooks/Cole, Cengage Learning.
White, M., & Epston, D. (1990). Narrative means to therapeutic ends. New York, NY: W.W. Norton & Company.
Wizards of the Coast. (2014, August). Dungeons & dragons: Player’s handbook. Renton, WA: Wizards of the Coast LLC.
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