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• W1485617298 abstract "Communities of Play: Emergent Cultures in Multiplayer Games and Virtual Worlds. By Celia Pearce and Artemesia. Cambridge, MA: MIT Press, 2009. Pp. xiii + 327, forwards, acknowledgements, photographs, games cited, works cited, index. Communities of Play is an elegantly written, yet supremely accessible, book in which Celia Pearce examines emergent fan cultures in contemporary digital gaming. Drawing from her own experiences as a player, game designer, and scholar, Pearce constructs an ethnographic study of a fan group centered on the video game Uru: Ages Beyond Myst, and the diaspora, which has emerged since the game's demise. This study reveals the power of play and its impact on culture, while simultaneously giving an interesting and much needed twist to the study of diasporic communities and the immigrant experience, allowing us to follow these fields of research into virtual worlds. She asserts that although the worlds may be virtual, the communities formed within them are as real as any that form in proximal (17). Pearce utilizes an ethnographic approach centered on an eighteen-month study of the Gathering of Uru (colloquially known as TGU), a neighborhood (or hood) within the game that formed in 2003 and lasted well beyond the demise of the game, coalescing into what she identifies as an online diaspora. She illuminates how the forced exodus of game players affected members of TGU, and how these newly dispossessed were able to find alternative spaces to reconvene and examine their communal anxiety over their separation from their virtual homeland. She explores the complicated system of community formation and maintenance in virtual worlds and how online community structures work together in a colloquial decision-making process, which has been shaped by virtual, historical, commercial and aesthetic principles. Pearce pays particular attention to the distinctive conventions of Uru, including elements such as virtual geography, eventually conflating the ideas of communal identity and virtual space into the shared notion of identity as place. Though no explanation as to why the game was shut down was ever given by the game's developer or publisher (Cyan and Ubisoft respectively), she does explore the community's narrativized response to the removal of their space. The author dutifully acknowledges her place in the world, as both participant and scholar of this community. Yet she does not get lost in the idiosyncrasies of the community in an auto-ethnographic sense and eschew quantitative or theoretical approaches. She is careful to examine technical distinctions such as the difference between the MMOG (massively multiplayer online game) and the MMOW (massively multiplayer online world), and thoroughly explores the contrast between lucid (created by game designers) and paidiaic (created by players) world constructions. She ably combines participant observation as a qualitative research measure with more sociologically quantitative methods, and this methodological approach impressively demonstrates the importance of studying contemporary online communities and emergent cultures in both ethnographic and sociologic contexts. The book offers a clear, concise, and accessible text for the reader detailing the intersection of technological, personal, and cultural contexts through which play and its diasporic community are imagined, constructed, maintained and consumed. It is divided into five parts (Play, Community, and Emergent Cultures; The Uru Diaspora; Playing Ethnography: Research Methods; The Social Construction of the Ethnographer; and Beyond Uru: Communities of Play on Their own Terms), each further divided into easily digestible chapters that focus on specific aspects of this dialectical contextual intersection. …" @default.
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