I’ve already written about what, for me, makes visiting the regions of Fantasy Faire special, so it may seem unfair to pick out one or two for mention beyond that post. However, as I’ve mentioned elsewhere in this blog, I am a long-time admirer of Elicio Ember’s work and designs, and so Otherworld tends to call to me strongly wherever I’m in the Fairelands.
I particularly love visiting it during the mornings (my local time, that is). It is then that the Fairelands are at their quietest and I can wander through the caves and high fields of Otherworld, climb the stairs, descend under water or wade through the pools – and simply enjoy the tranquillity and the marvellous architecture.
At these times, My thoughts can roam, taking a short break between getting myself upright and plunging into all things physical and virtual, as demanded by the day.
Time has again conspired against me this year, preventing me from writing anywhere near what I had hope might have otherwise been the case for each of the Faireland realms; so I hope this video of Otherworld goes some way towards making up for things.
I’ve always enjoyed reading Ms. D’Anastasio’s pieces on matter of digital identity, and have previously written about her excellent Avatar IRL, which appeared almost exactly a year ago.
This new article examines a number of ways in which people – notably, but not exclusively, young male gamers – have created representations of current or past Significant Others in the virtual environments they use.
Some of the related stories are pretty innocent. From Second Life, for example, we learn that well-known boat designer Jacqueline Trudeau uses an avatar “minutely resembling” her husband to help promote her designs, even though he seemingly has no interest in either the platform or his wife’s ability to generate an income through it. Similarly, Kevin D. Kramer, a Second Life DJ in his 50s, has designed an avatar modelled on his wife which they both use, candidly admitting it offers him the opportunity to buy gowns, dresses and outfits to surprise her with in ways he cannot easily replicate in the physical world.
However, some are much more disturbing in tone, notably the examples drawn from Skyrim and XCOM-2 where the motivation for creating likenesses of ex-partners be 20-something gamers as a means to exert greater (and not entirely positive) control over them, even to the point of subjugation, or to increase their own self-image as a “protector” of the women formerly in their lives.
The piece is certainly an interesting read, going by way of Nick Yee’s research into matters of gender-bending as covered by his Daedalus Project (you can also learn more about his work on matters of avatar identity here and via Draxtor’s excellent interview with him), and including feedback from Dr. Jamie Banks of Department of Communication Studies, West Virginia University. However, it is not without potential fault.
There is an acknowledged lack of research in why people might create avatars in the likeness of former or current partners; as such, there is perhaps a bias present in the piece, which I did find undermined it in places.
For example, while it is hard to reconcile Dr. Banks’ view of creating avatars in the image of a former partner as a means of coping with the Skrim and XCOM2 examples cited (they are far too calculated in their creation and use), it doesn’t mean the idea doesn’t have merit in other possible cases. Unfortunately, any potential credence it might have is more-or-less directly thrown under the bus in the paragraph of the article following Dr. Banks’ comments.
There are other flaws evident in the writing as well. It is noted, for example, that one of the people who created a female avatar based on his ex-girlfriend has since been banned from an unrelated game. The reason for that ban isn’t specified and could be entirely unrelated to the issues being discussed in the article. Thus, the inclusion of this statement seems to serve no other purpose than to enhance the reader’s negative view they may already have of the individual.
However, given this is an aspect of the use of avatar-driven environments and MMOs that hasn’t really been deeply researched, the article does open the door to discussions on the subject, and may encourage a greater academic study of the issue.
In Why Is Second Life Still a Thing?, which appeared on April 29th, Emanuel Maiberg poses a question I suspect might be asked by a lot of journalists who have perhaps been previously familiar with the platform and are suddenly exposed to it once more.
In asking the question, Mr. Maiberg also does a fair job in answering it as well, and in doing so, takes the reader on a no hold barred tour of the platform, commencing with what has been it’s crucial differentiator over other, “prettier” platforms and games:
A crucial difference between Second Life and MMOs like World of Warcraft is that the latter are mostly fixed worlds. Once in awhile, developer Blizzard will introduce a new continent or reconfigure an existing location, but all players are guests in the world that Blizzard created. Second Life, by contrast, allows users to not only create their own avatars, but also to shape and create the world they’re in, importing their own 3D assets and modifying the world with the Linden Scripting Language.
A potted history of the platform follows, together with an examination of much of what goes on in-world being referenced: art, education, user-generated transactions, and so on, together with the highs and lows the platform has seen. Of course, sex gets a fair mention within the piece; no surprises there, as it does both act as a draw for at least some of those coming into the platform (although equally, they may find their interests moving elsewhere once they are engaged in the platform), and it does contribute fairly to the platform’s economy.
Project Sansar is also touched upon – as is one of the core reasons why the Lab is keen to emphasise it is a platform designed to run alongside, rather than replace, Second Life. The very success of the latter and the level of investment users have within the system mean that displacing them anywhere else is at best exceptionally difficult; no other platform or service as thus far managed to achieve what Second Life invented in terms of environment, capabilities, user numbers and economical viability.
Those of us familiar with Second Life may not find much that is new in Mr. Maiberg’s piece, but that’s beside the point. What he offers is a frank look at the platform, free from bias or agenda but which fairly addresses many of the reasons which have made the platform a success in and of itself.
Overall, both pieces made for interesting reading.
Officially opening on Saturday, April 30th ins the 2016 Visions of Hope silent auction in aid of Relay for Life of Second Life.
First held in 2015 (see my preview here), has been organised by Randy Firebrand and Ricco Saenz on behalf of Hope Haven Heroes, where the survivors and caregivers support groups meet.
The auction features pieces by seventeen of Second Life’ photographers and visual artists, who have all donated up to three pieces of work for the auction and who comprise: Bijou, Boudicca Amat, Ciottolina Xue, d-oo-b, Dru G Eiren-Milneaux, Em Larsson, Hills, Inara Pey, Mareea Farrasco, Nikolai Warden, Proph, Pusher, Randy Firebrand, Ricco Saenz, Tomais Ashdene, Trinity Yazimoto and Ziki Questi.
All of the pieces on offer to the highest bidders are in large format (they may include resizer scripts), and have a reserved starting bid of just L$500 (bidding can be increased in L$100 increments). As this is a silent auction, bids will be tallied and the winners announced on May 31st. 100% of all proceeds from the bidding will go to RFL of SL.
To mark the auction’s formal launch, there will be a special party on Saturday, April 30th, from 16:00 through to 18:00 SLT, featuring music from DJ Cupric. An open invitation is extended for people to attend. The auction items will be open for bidding from the start of the party, and will remain open to bids until Monday, May 30th.
All the pieces that have been donated are unique to the auction, making this a one-time opportunity to obtain some really superb artwork while also raising money for RFL of SL. So be sure to make a note of the event in your diary, and do pop along to the Hope Haven Heroes gallery to make a bid on any that appeal to you once the auction commences.
The gallery is already open for those wishing to view the pieces and perhaps decide which they might like to make bids, however, as notes above, the auction boards will not be enabled until the official start of the auction on April 30th.
I am particularly honoured to have been invited to join such a distinguished group of artists, and am delighted to participate in this year’s auction, and would like to thank Ricco and Randy for inviting me to do so.