EVE is real: how conceptions of the 'real' affect and reflect an online game community

Used in a wide variety of contexts, a common colloquialism among EVE Online players is the phrase ‘EVE is real’. In this paper, we examine the various ways in which EVE is considered ‘real’ by its players, identifying a nuanced and powerful concept that goes significantly beyond real/virtual distinctions that have already been critiqued in game studies literature. We argue that, as a form of paratext, colloquialisms like this play an enormous role in shaping EVE Online’s informal rules (in particular towards treachery), constructing the identity of EVE Online players, communicating the seriousness of EVE Online play while in other cases, emphasizing the gameness of the MMOG

An Unwelcome Intrusion? Player Responses to Survey Research Recruitment on the World of Warcraft Forums

Internet discussion forums provide convenient opportunities to recruit survey participants, but how do the everyday users of these sites feel about such research requests? Using the official forums of the popular Massively Multiplayer Online Game World of Warcraft (WoW) as a site of inquiry, this article investigates interactions between researchers and potential research participants. Using WoW, a frequently researched gaming community as a case study, I discuss player reactions to the 163 survey requests posted to the WoW forums between December 2010 and April 2015. In particular I outline the concerns raised by forum participants (including fears of account theft and critiques of survey design) and provide evidence this particular online community is suffering from survey fatigue. After highlighting these points of tension between players and researchers, I conclude with a set of suggested best practices for future interactions with this particular online community

The Mutual Interaction of Online and Offline Identities in Massively Multiplayer Online Communities: A Study of EVE Online Players

This phenomenological study was conducted to examine the ways that individuals experience massively multiplayer online games, and the interaction between online and offline identities. Ten members of the EVE Online community were interviewed about their experiences of the boundaries and crossovers between offline self and online character. Interviews were transcribed, coded, and analyzed for consistent themes. Themes drawn from the data fell into three over- arching categories: the Appeal of EVE, or the player motivations and qualities of the game environment that influence player investment; Self/Character Interaction, describing the ways in which online and offline identities interact; and Moral Dilemmas, in which players describe their thoughts and reactions to the moral ambiguity of EVE Online. Appeal of EVE contained the themes of Importance of Social Interaction, My Choices Matter, Algerism, and EVE Relationships are Meaningful. Self/Character Interaction contained the themes of My Character and I Are the Same, My Character and I Are Different, Parallels, Friction Between Selves, One Identity Learning From the Other, and Intersections. Moral Dilemmas contained the themes of My Prosocial Choices, Someone Else’s Antisocial Choices, and Morality is Ambiguous. A final theme, not associated with any of the three categories, but present throughout all of them, was Emotional Content. These results were compared and contrasted with existing literature, and conclusions were drawn about the parallel processes between online and offline selves

Can We Programme Utopia? The Influence of the Digital Neoliberal Discourse on Utopian Videogames

This article has a dual purpose. The first is to establish the relationship between videogames and utopia in the neoliberal era and clarify the origins of this compromise in the theoretical dimension of game studies. The second is to examine the ways in which there has been an application of the utopian genre throughout videogame history (the style of procedural rhetoric and the subgenre of walking simulator) and the way in which the material dimension of the medium ideologically updates the classical forms of that genre, be it through activation or deactivation. The article concludes with an evaluation of the degree in which the neoliberal discourse interferes with the understanding of utopia on behalf of the medium and with its imaginary capabilities to allow for an effective change in social reality

To Play or Not to Play: Non/Participation in Eve Online

This dissertation addresses a gap in the academic study of digital games whereby investigations remain focused on current players and the experiences of former or non-players are rarely accounted for. Using EVE Online (EVE), a massively multiplayer online game (MMOG) known for its difficult learning curve and homogenous community as a case study, I conducted an investigation of who does/does not play this particular game and their stated reasons for playing or not. I argue that while EVE is positioned in the MMOG market as a sandbox style game where in-game activities are only limited by a players imagination, in reality only a very particular type of play (and player) is publically acknowledged by EVEs developer (CCP Games), the gaming enthusiast press, and academics investigations of this game, emphasizing just how little is known about who plays EVE beyond the stereotypical imagined player. Drawing on literature from leisure studies to articulate a framework for exploring barriers/constraints to gameplay and theoretically informed by feminist theories of technology, I conducted an Internet-based survey to capture the thoughts and experiences of current, former, and non-EVE players. A total of 981 participants completed the survey. In my analysis of open-ended responses, I found that current players described the game in a way that emphasized its exceptionality, relied heavily on jargon, and assumed their reader was already familiar with EVE, its player community, and its surrounding norms and conventions. Non-players who were familiar with the game described their perceptions of EVE being an unwelcoming community meant they had opted out of playing without ever downloading the trial. Former players fell into three groupings: ex-players who had permanently quit EVE, a group who want to play but felt forced to take a temporary break due to external constraints (e.g. exams at school or financial limitations), and a third group would consider returning if changes to their personal circumstances and/or the game happened in future. Ultimately this research complicates what it means to play or not play MMOG, opening up avenues for future research about how access and barriers to digital game play inevitably shift over time

Treacherous Play

The ethics and experience of “treacherous play”: an exploration of three games that allow deception and betrayal—EVE Online, DayZ, and Survivor. Deception and betrayal in gameplay are generally considered off-limits, designed out of most multiplayer games. There are a few games, however, in which deception and betrayal are allowed, and even encouraged. In Treacherous Play, Marcus Carter explores the ethics and experience of playing such games, offering detailed explorations of three games in which this kind of “dark play” is both lawful and advantageous: EVE Online, DayZ, and the television series Survivor. Examining aspects of games that are often hidden, ignored, or designed away, Carter shows the appeal of playing treacherously. Carter looks at EVE Online's notorious scammers and spies, drawing on his own extensive studies of them, and describes how treacherous play makes EVE successful. Making a distinction between treacherous play and griefing or trolling, he examines the experiences of DayZ players to show how negative experiences can be positive in games, and a core part of their appeal. And he explains how in Survivor's tribal council votes, a player's acts of betrayal can exact a cost. Then, considering these games in terms of their design, he discusses how to design for treacherous play. Carter's account challenges the common assumptions that treacherous play is unethical, antisocial, and engaged in by bad people. He doesn't claim that more games should feature treachery, but that examining this kind of play sheds new light on what play can be

Arachne Challenges Minerva: The Spinning Out of Long Narrative in World of Warcraft and Buffy the Vampire Slayer

My focus here is to explore the ways in which World of Warcraft can be said to have a long narrative. Core to my argument is that 'worldness' is key to understanding how it is that long narrative can be sustained and make sense. I will historicise long narrative formats through reference to epic poetry--taking as my starting point the battle of narrative form between Arachne and Minerva in Ovid's Metamorphosis, as well showing that world-based long narratives are often driven by media economics and especially franchising. Using Buffy the Vampire Slayer as a point of comparison, I show that because the 'World' of Warcraft is driven ludically, a rather different type of long narrative is produced than found in other media formats