Digital Culture, Play, and Identity: A World of Warcraft Reader

Review of Digital Culture, Play, and Identity: A World of Warcraft Reader / edited by Hilde G. Corneliussen & Jill Walker Rettberg. MIT Press, 2008

Social movements in world of warcraft

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. In this paper we explore how collective action on a global scale is enabled by these virtual worlds. We used qualitative research to examine the organization of one social movement in World of Warcraft (WoW), the most widely used massively multiplayer online role playing game in the world. Using New Social Movement Theory, our paper suggests that there are a number of differences between real world and virtual world social movements, namely in their (a) locality, (b) issues, (c) periods of activity, (d) hierarchies, and (e) membership

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

ANALISIS GAMEPLAY DAN GAME MEKANIK UNTUK BERKUBU DAN MENCARI MUSUH DALAM GAME MMO (Massively Multyplayer Online) WORLD OF WARCRAFT & AUDITION AYODANCE

World of warcraft dan Audition Ayodance adalah Game MMO adalah subgenre dari MMO RPG dan MMO Musical. World of Warcraft dan Audition Ayodance adalah game yang mengandalkan kerja sama dalam tim. Tujuan dari permainan World of warcraft adalah untuk menghancurkan tim lawan untuk memenangkan pertandingan dan Audition Ayodance adalah untuk memeneangkan setiap pertandingan battle dance. Teka-teki akan terlihat lebih besar jika memiliki masalah berkubu dan mencari musuh pada gameplay.cara berkubu dan mencari musuh dalam permainan MMO pada permainan diperlukan untuk memudahkan pemain dalam permainan game dan lebih gim lebih dinamis. Jadi itu akan menciptakan sensasi bagi pengguna saat itu dan setelah bermain game. Dalam Tugas Akhir ini telah dilakukan analisis terhadap cara-cara berkubu dan mencari musuh.mekanisme ini dimulai dari informasi yang kemudian dilakukan data dengan mengumpulkan data dari jurnal dan game yang telah di di-tentukan. Hal pertama yang dilakukan yaitu memainkan game World of Warcraft dan Audition Ayodance terlebih dahulu dan mengumpulkan data dari setiap langkah-langkah bagaimana cara untuk melakukan percakapan dengan orang-orang melalui cara-cara melakukan pertempuran dengan mencari di bagian pertempuran. kemudian bandingkan angka dari kedua game tersebut . Kata Kunci : World of Warcraft, Audition Ayodance, MMO, MMO RPG, MMO Musical Battle system, Combat system, Party pada gam

The Most Involved Form Of Story: How World Of Warcraft Is A Story-Plus Experience

In this thesis I define the term Story-Plus within the context of the popular video game World of Warcraft. The massively multiplayer online role playing game World of Warcraft has a magnificent story worthy of study, and I believe that the experience available within the game is that of a return to communal story telling through first person experience in a shared and persisting environment. By comparing the game to storytelling structures such as Meta-Plot and through examining the player character’s personal narrative in the game world, I explain how World of Warcraft offers a Story-Plus experience

World of Warcraft: A Family Therapist\u27s Journey into Scapegoated Culture

Relational (online) video games are lucrative business. The extremely popular Massive Multiplayer Online Role Playing Game, World of Warcraft, boasts over eight million paying users. Video games are also a lightning rod for criticism and contempt by news media, parents and policy makers as the number of mass shootings increases in the United States. There is some research suggesting violent video games increase violent cognition and behavior. There is other research arguing no relationship exist between violent gaming and aggression. The same dichotomy of views exists within the discussion of how relational video games impact intimate partnerships. The purpose of this study is to continue conversation into the possibility of using games like World of Warcraft as interventions in individual, couple and family therapy. This autoethnorgraphic work examines researcher experience in World of Warcraft and its impact on violent thought, behavior and intimate relationships. In addition to researcher self-exploration, extensive interviews were conducted to provide additional context. Throughout the course of this work, three themes of World of Warcraft culture emerged: Work, Nostalgia and Connection. The theme of connection was most pervasive to the researcher and the participants. Video games like World of Warcraft may present supplemental opportunities for clients to practice healthy connection. Concerned parents should monitor their children’s online gaming relationships as they would any other. Future research in this area may benefit from an experimental design where video games like World of Warcraft are used in the treatment of PTSD and Social Anxiety Disorder

Chaotic worlds: an analysis of World of Warcraft

Virtual worlds provide new forms of collaboration and social interaction. The World of Warcraft (WoW) is one such virtual world. It is the most popular example of what is called a Massively Multiplayer Online Role Playing Game (MMORPG). In this paper, we analyze players’ outcomes with WoW using chaos theory. Our paper suggests that players are highly sensitive to initial conditions which are impacted by style of play and the social structure of groups

Review: Digital Culture, Play and Identity: A World of Warcraft Reader

Both the digital and real societies produced by Blizzard\u27s Massively Multiplayer Online Role Playing Game (MMORPG), World of Warcraft, have received a lot of attention in the relatively new field of game studies. Due to its phenomenal size and cultural significance, the interest World of Warcraft draws is justifiable. The book, Digital Culture, Play, and Identity: A World of Warcraft Reader attempts to dissect the gaming industry\u27s largest MMORPG through a compilation of work consisting of thirteen separate analyses, representing a wide variety of scholars trained with different analytical toolsets. This format was deliberately chosen by the editors, Hilde G. Corneliussen and Jill Walker Rettberg, because it is common among important works in related fields such as literature and media studies. Furthermore, World of Warcraft necessitates multiple approaches to the game due to its complex multiplicity (3). These different approaches are categorized into a logical organization and often complement each other, and the result is four delineated sections (three of which makeup the title): Culture, World, Play, and Identity. ~ article excerpt

Nazwy gildii w grze World of Warcraft

The subject of the analysis are guild names created by players in the World of Warcraft MMORPG. Guilds are organizations that give structure to virtual micro-communities created in the game. Their names reflect the specific nature of the World of Warcraft gaming environment. The article discusses the names of Polish-speaking guilds in terms of their consistency with the world presented. Four types of onyms were distinguished: consistent with the Warcraft universe; referring to the game mechanics and the way the game is played; referring to players and their communities and taken from other areas of culture.Przedmiotem analizy są nazwy gildii tworzone przez graczy w grze MMORPG World of Warcraft. Gildie są organizacjami nadającymi strukturę wirtualnym mikrospołecznościom tworzonym w grze. W ich nazwach odbija się specyfika społeczności graczy w „World of Warcraft”. W artykule omówiono nazwy polskojęzycznych gildii ze względu na ich spójność ze światem przedstawionym. Wyróżniono cztery typy onimów: zgodne z uniwersum Warcrafta; nawiązujące do mechaniki gry i sposobu prowadzenia rozgrywki; odwołujące się do graczy i ich społeczności oraz zaczerpnięte z innych obszarów kultury