Includes bibliographical references and index.

The encyclopedia of demons and demonology / Rosemary Ellen Guiley foreword by John Zaffis. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Guiley, Rosemary. For information contact: Facts On File, Inc. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. The Encyclopedia of Demons and Demonology Copyright © 2009 by Visionary Living, Inc. Rosemary Ellen Guiley FOREWORD BY JOHN ZAFFIS In adapting the text for the stage, the interaction between fairy-tale and drama goes beyond the transgeneric experience towards a specific fonii of meta-theatrical experimentation.The Encyclopedia of Angels, Second Edition The Encyclopedia of Ghosts and Spirits, Third Edition The Encyclopedia of Magic and Alchemy The Encyclopedia of Saints The Encyclopedia of Vampires, Werewolves, and Other Monsters The Encyclopedia of Witches, Witchcraft and Wicca, Third Edition This piece showed how dramatizing fairy-tales challenges theatrical conventions while resorting nevertheless to the wealth of traditions in story-telling and dramatic arts. Pison's text was re-written to be staged as part of 'Puro cuento', a play performed in 2008 by the Spanish Department Drama Workshop at Stendhal University. to the stage, which becomes the sounding-box of the marvellous and of the multiple pleasures of fiction. More than a mere parodic re-working of such stories, his writing opens up a space of reflexion which invites readers, stage-directors and actors to form a new interpretation of the best-known figures of fairy-tales, to challenge their archetypes and stereotypes, and to give life.

In his play Viva Peter Pan (1995) Spanish playwright Xesus Pison offers a newexploration of the world of fairy-tales. I will conclude with discussion of particular game mode, 'Monster Play' in LOTRO, and point towards some further research questions opened up by the approach I have adopted here: a particular combination of symbolic and textual game analysis with the practices of analytical play – a style of ludic cultural psychology. My aim is not to judge or celebrate games that figure demons, but rather try to understand why such games appear rather popular and why they can provide powerful experiences that appear to be open for multiple personal, social and cultural uses and significations. The general thrust of argument is dialectical: it is important to recognise the 'aesthetic of evil' within the game culture, and to engage in discourse with it in multiple levels, in order to gain a deeper understanding about the actual functions this aesthetics and related game features serve. My aim is to unravel how the demonic elements are embedded into the symbolic and gameplay dimensions of these games, and discuss the various meanings and interpretations they receive, both within the frame of play as well as scholarship. The particular imagery and forms of play investigated here are traced back into the cultural history of occult imagery and demonic forces.

The specific aim in analysis is to discuss how certain demonically marked elements figure in this ludic tradition. This chapter focuses on a demonic tradition that features in Lord of the Rings Online (LOTRO Turbine, Midway & Codemasters, 2007–), and certain computer games preceding it.

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