Avatars Going Mainstream: Typology of Tropes in Avatar-Based Storytelling Practices

Due to the growing popularity of video games, gaming itself has become a shared experience among media audiences worldwide. The phenomenon of avatar-based games has led to the emergence of new storytelling practices. The paper proposes a typology of tropes in these avatar-based narratives focusing on non-game case studies. Suggested tropes are also confronted with the latest research on avatars in the area of game studies and current knowledge of the issues concerning the player-avatar relationship. Some of the most popular misconceptions regarding the gameplay experience and its representation in non-game media are exposed as a result of this analysis. The research confirms that popular culture perceives gaming experience as closely related to the player identity, as the latter inspires new genres of non-game narratives

‘In the game’? Embodied subjectivity in gaming environments

Human-computer interactions are increasingly using more (or all) of the body as a control device. We identify a convergence between everyday bodily actions and activity within digital environments, and a trend towards incorporating natural or mimetic form of movement into gaming devices. We go on to reflect on the nature of player ‘embodiment’ in digital gaming environments by applying insights from the phenomenology of Maurice Merleau-Ponty. Three conditions for digital embodiment are proposed, with implications for Calleja’s (2011) Player Involvement Model (PIM) of gaming discussed

The co-evolution of the “social” and the “technology": a netnographic study of Social movements in virtual worlds

Virtual worlds provide new forms of social interaction. They offer alternative spaces where social functions can be carried out in online three-dimensional virtual environments. One social phenomenon which has moved into the virtual world is the social movement, which are an important means of bringing out social, cultural and political changes through collective action. These social movements exist in an immersive technological ecosystem which is constantly evolving as designers release patches which change the way users “live” within these environments. Using a biography of artifacts approach, we explore not just the evolution of the technological artifact itself (the virtual world), but also its co-evolution with the social phenomena (a social movement). Using Netnography, a modified version of ethnography, and actornetwork theory, we explore a social movement in World of Warcraft, and observe how it evolves over time as changes to the virtual world are implemented

A monument to the player: Preserving a landscape of socio-cultural capital in the transitional MMORPG

This is the pre-print version of the Article. The official published version can be accessed from the links below - Copyright @ 2012 Taylor & Francis LtdMassively multiplayer online role-playing games (MMORPGs) produce dynamic socio-ludic worlds that nurture both culture and gameplay to shape experiences. Despite the persistent nature of these games, however, the virtual spaces that anchor these worlds may not always be able to exist in perpetuity. Encouraging a community to migrate from one space to another is a challenge now facing some game developers. This paper examines the case of Guild Wars® and its “Hall of Monuments”, a feature that bridges the accomplishments of players from the current game to the forthcoming sequel. Two factor analyses describe the perspectives of 105 and 187 self-selected participants. The results reveal four factors affecting attitudes towards the feature, but they do not strongly correlate with existing motivational frameworks, and significant differences were found between different cultures within the game. This informs a discussion about the implications and facilitation of such transitions, investigating themes of capital, value perception and assumptive worlds. It is concluded that the way subcultures produce meaning needs to be considered when attempting to preserve the socio-cultural landscape

Surveillant assemblages of governance in massively multiplayer online games:a comparative analysis

This paper explores governance in Massively Multiplayer Online Games (MMOGs), one sub-sector of the digital games industry. Informed by media governance studies, Surveillance Studies, and game studies, this paper identifies five elements which form part of the system of governance in MMOGs. These elements are: game code and rules; game policies; company community management practices; player participatory practices; and paratexts. Together these governance elements function as a surveillant assemblage, which relies to varying degrees on lateral and hierarchical forms of surveillance, and the assembly of human and nonhuman elements.Using qualitative mixed methods we examine and compare how these elements operate in three commercial MMOGs: Eve Online, World of Warcraft and Tibia. While peer and participatory surveillance elements are important, we identified two major trends in the governance of disruptive behaviours by the game companies in our case studies. Firstly, an increasing reliance on automated forms of dataveillance to control and punish game players, and secondly, increasing recourse to contract law and diminishing user privacy rights. Game players found it difficult to appeal the changing terms and conditions and they turned to creating paratexts outside of the game in an attempt to negotiate the boundaries of the surveillant assemblage. In the wider context of self-regulated governance systems these trends highlight the relevance of consumer rights, privacy, and data protection legislation to online games and the usefulness of bringing game studies and Surveillance Studies into dialogue

Analysing qualitative data from virtual worlds: using images and text mining

There is an increasing interest within both organisational and social contexts in virtual worlds and virtual reality platforms. Virtual worlds are highly graphical systems in which avatars interact with each other, and almost every event and conversation is logged and recorded. This presents new challenges for qualitative researchers in information systems. This paper addresses the challenges of analyzing the huge amounts of qualitative data that can be obtained from virtual worlds (both images and text). It addresses how images might be used in qualitative studies of virtual worlds, and proposes a new way to analyze textual data using a qualitative software tool called Leximancer. This paper illustrates these methods using a study of a social movement in a virtual world

Virtual World-Weariness: On Delaying the Experiential Erosion of Digital Environments

A common understanding of the role of a game developer includes establishing (or at least partially establishing) what is interactively and perceptually available in (video)game environments: what elements and behaviors those worlds include and allow, and what is – instead – left out of their ‘possibility horizon’. The term ‘possibility horizon’ references the Ancient Greek origin of the term ‘horizon’, ὄρος (oros), which denotes a frontier – a spatial limit. On this etymological foundation, ‘horizon’ is used here to indicate the spatial and operational boundaries that a (video)game environment affords its players. This book chapter discusses a particular feeling that emerge in relation to playful encounters with the ‘possibility horizons’ of videogames. I am referring here to the realization, as a player, that a game environment can be experientially exhausted and is, as such, ultimately banal. In other words, I will examine how our deliberate engagement with the interactive environments of digital games can trigger sensations that are analogous to what Romantic authors referred to as Weltschmerz (‘world-weariness’)

De-Roling from Experiences and Identities in Virtual Worlds

Within dramatherapy and psychodrama, the term ‘de-roling’ indicates a set of activities that assist the subjects of therapy in ‘disrobing’ themselves from their fictional characters. Starting from the psychological needs and the therapeutic goals that ‘de-roling’ techniques address in dramatherapy and psychodrama, this text provides a broader understanding of procedures and exercises that define and ease transitional experiences across cultural practices such as religious rituals and spatial design. After this introductory section, we propose a tentative answer as to why game studies and virtual world research largely ignored processes of ‘roling’ and ‘de-roling’ that separate the lived experience of role-play from our everyday sense of the self. The concluding sections argue that de-roling techniques are likely to become more relevant, both academically and in terms of their practical applications, with the growing diffusion of virtual technologies in social practices. The relationships we can establish with ourselves and with our surroundings in digital virtual worlds are, we argue, only partially comparable with similar occurrences in pre-digital practices of subjectification. We propose a perspective according to which the accessibility and immersive phenomenological richness of virtual reality technologies are likely to exacerbate the potentially dissociative effects of virtual reality applications. This text constitutes an initial step towards framing specific socio-technical concerns and starting a timely conversation that binds together dramatherapy, psychodrama, game studies, and the design of digital virtual worlds

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