19. MANUFACTURING CONSENT IN MMORPGs

      Online gaming space is intrinsically ideologically different from the usual conception of online space. The myth of a wholly democratic information superhighway is still perpetuated, and in the case of blog popularity for instance, can often look like a reality. Within cyberspace we can find cyberplanets, loosely grouped as online chat, or news media, or pornography, or online gaming. Within the latter category we can identify cybercontinents: MUDs and MOOs; online gambling; first person shooters; and the de rigeur massively multiplayer online roleplyaing games (MMORPG). In a fully-3d online world , gamers create a character with the attributes of their choosing and engage (most often) in strategic combat with countless other players, in a solo quest or as part of a "clan". Competition has become intense in recent years, and game-specific dealings, lucrative. Particular titles have amassed an economy with a virtual worth of multi-millions of dollars, on account of people's willingness to spend actual money on in-game items or attributes. As a result of the potential for the individual gamer to turn a profit, users have begun playing with the sole intent of trading their progress in the game for cold hard cash.

      Unsurprisingly, this has caused some amount of worry amongst the game companies. The appearance of gamers taking control seems to back developers into a corner in which they feel forced to reassert themselves. To regain control of their digital economy, they subtly wage war. At first, concessions are made about the nature of the virtual realm as uninhibited and removed from reality, as (despite the fact that these games are subscription-based) advertising finds its way into the gaming. Then, commercials become fully integrated into the game -Everquest 2 was released with a command that permitted the player to simply type "/pizza" and the local Pizza Hut would be contacted for delivery immediately. And most recently, steps have been made to prevent gamers from engaging in real-world transactions of game artifacts. While still preaching a near-boundless digital space, MMORPGs are quickly closing in on gamer freedom. Marketed as an opportunity to create your own reality and game as you please, the industry's growth has seen an incline in restrictions of what is believed to be acceptable play. In a sense though, the fantasy "reality" is mirroring actual reality with a constant tightening on the limitations of freedom. Yet the games themselves still put forth a sense that anything is possible; that the world in which the player functions does not suffer from the imposition of top-down control. The pervasion of the digital world by the commerce of the real, and vice versa, has created barriers to the notion that a cyberspace may exist independent of the forces of the real world's global economy.





| INTRODUCTION |
| ABOUT THE AUTHOR |
| LINKS | CONTACT | FORUM |
| WORKS CITED |

1. Invasion of the bedroom

2. "I like to watch, Eve."

3. The safest sex of all

4. This ain't your parents'
    interface

5. Invasion of the subway

6. Programming the city

7. Linguistic determinism for
    dummies

8. They'll be selling popcorn in
    my living room

9. I really didn't want to
      mention "The Matrix", but...

10. Narratology. Narratoday.
      Narratomorrow.

11. Add and abstract

12. Invasion of the mind

13. The procession of simulacra

14. My Sims clean up so I don't
      have to

15. Games make me murder
      people

16. Pause and reboot

17. Party like it's 1999

18. Real-world military
      simulation

19. Manufacturing consent
      in MMORPGs

20. I want to be just like me
      (only better)

21. The soundtrack of a
      generation

22. Invasion of the body

23. My mom went to cyberspace
      and all I got was this lousy
      t-shirt

24. When I get lost I stop for
      directions

25. Invasion of the soul

| CONCLUSION |

 

| INTRODUCTION |
| ABOUT THE AUTHOR |
| LINKS | CONTACT | FORUM |
| WORKS CITED |

Paul T. Hanlon's 2005 undergraduate thesis project, supervised by Prof. Susan Lord.
Queen's University Film Studies Dept.