Some Assembly Required: Player Mental Models of Videogame Avatars (original) (raw)
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Massively multiplayer online roleplaying games, or MMOs, present an increasingly popular digital media experience whereby identity emerges as players contribute materially to play but contributions are governed by affordances and constraints of the game. Unique to such digital worlds is the player’s ability to create and control a digital body – an avatar – to represent the Self in the immersive gameworld. Although notions of identity and the Self in digital games have been examined through a number of approaches, it is still unclear how the way one sees the avatar in the uncanny situation of having two bodies – one digital, one physical – contributes to a sense of Self in and around these games. Further, it is unclear how non-human objects contribute to human senses of Self. In that vein, this study examines two research questions: How do players have relationships with their avatars in a digital game? And how does the Self emerge in relation to those relationships? Toward understanding how nonhumans play a role in the emergence of the Self, this study approaches these questions from an actor-network perspective, examining how human, nonhuman, material, and semiotic objects exist in complex webs of relations and how those relations give rise to particular senses of Self in relation to particular gameplay situations. Tracing the history of the construct of “Self” from romantic and singular to postmodern and pluralistic, I argue for an approach to Self that accommodates postmodern perspectives that embodiment is only one way that the Self is signified across spaces. Actor-Network Theory principles are integrated with postmodern notions of identity to propose a Network Model of Self. In this model, the Self is a network of personas that are, themselves, complex networks of objects. Following, I present a research approach called “object-relation mapping” that integrates phenomenology, Actor-Network Theory, social network analysis, and Grounded Theory to accommodate network structures and multiplicities of the Self as it is signified across spaces. To address the questions of how the Self emerges in relation to different player-avatar relationships, I conducted in-depth interviews with 29 players of the online digital game World of Warcraft. Transcripts of those interviews were analyzed via thematic analysis for patterns in player-avatar relationships and via object-relation mapping for semantic and structural patterns in how object-relations give rise to persona- and Self-networks. Through this analysis, a four-point typology of player-avatar relationships emerged, characterized by variations in emotional intimacy, self-differentiation, perceived agency, and primary gameplay focus. It is interpreted that the different relationships are the result of sense-making processes in response to the uncanny situation of having two bodies – one digital and one physical. Analysis revealed that players of different relationship types “activated” different types of personas, resulting in a Self that was more or less complex and consistent across game and non-game spaces. Further, players of each relationship type differently approached particular objects in crafting those personas. Ultimately a model of active Self-organization is presented, where players work with the affordances and against the constraints of objects in sense-making practices in order to maintain and protect preferred senses of agency and to achieve personal gameplay goals. These findings suggest that players see avatars as objects that are, to different degrees, both human and technological, and as resources in the purposeful organization of a Self that serves individual psychological, social, and functional purposes. Different phenomenal accounts of the player-avatar relationship emerge as players work to make sense of human-technology interactions and to maintain agency and Selfhood in the face of technological constraints. Implications for human-technology relationships, more broadly, are discussed.
Avatar Creation in Videogaming: Between Compensation and Constraint
Games for Health Journal, 2020
Abstract Objective: We examine the extent that videogame avatars provide players with opportunities for identity exploration, aiming to test the findings of self-discrepancy theory research on the user/avatar relationship with novel cognitive anthropological methods. Specifically, we examine if avatar traits are idealized (more representative of players' ideal rather than actual self) or actualized (more representative of players' actual self) as a function of players' self-esteem. Materials and Methods: Utilizing cognitive anthropological methods, we examine the relationship between actual, avatar, and ideal selves. We first asked 21 respondents to list traits they associated with their various selves. We then asked 57 new respondents to perform four pile sorts of the salient items from these lists (1 unconstrained sort of like-traits, and 3 sorts of terms indicative of respondents' ideal/actual/avatar self). Analysis of this “free list” and “pile sort” data allowed us to clarify (in a manner sensitive to gamer culture) relationships between respondents' various conceptions of self, including how those relationships were modified by self-esteem. Illustrative quotes from the interviews further clarified these relationships. Results: Paired t-test analysis shows that informants as a whole describe their avatar compared with actual selves with fewer negative terms (idealization). Low-esteem players actualize what they deem as positive traits onto their avatars, while simultaneously idealizing avatars' negative traits by minimizing them. Compared with low-esteem gamers, high-esteem players associate significantly more positive attributes with all their various selves—actual, avatar, and ideal—while describing avatar compared with actual selves with fewer positive terms and comparable numbers of negative terms (the latter a process of actualization). Conclusion: Results point to the necessity of theoretical accounts that recognize that avatars may reflect a complex relationship with the user's actual and ideal self, without assuming that avatar play frees gamers from offline social, psychological, or bodily constraints.
What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games. Revised and Commented Edition, 2022
What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? Rune Klevjer examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, Klevjer argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch.
Is My Avatar MY Avatar? Character Autonomy and Automated Avatar Actions in Digital Games
This paper will explore the borders between the avatar and character dimensions of the player figure, as outlined by Vella (2015), particularly in cases where this line is blurred. Through investigation of five different examples, I suggest we use the measures of avatar control and character complexity to study the relationship between avatar and character in a given instance. Avatar control refers to the amount of agency the player has in a given instance in a game compared to the default mode of agency, whereas character complexity builds on transmedia and literary theory approaches to characters, to explore what constitutes complexity of the character in question. The analysis allows us to assess whether the instance can be considered representing either character autonomy or automated avatar actions, and in turn may help us understand the relationship between the player, the avatar, and the character.
Gaminguistics: Proposing a Framework on the Communication of Video Game Avatars
2019
This study attempts to construct a communication framework of video game avatars. Employing Aarseth’s textonomy, Rehak’s avatar’s life cycle, and Lury’s prosthetic culture avatar’s theories as the basis of analysis on fifty-five purposively selected games, this study proposes ACTION (Avatars, Communicators, Transmissions, Instruments, Orientations and Navigations). Avatars, borrowing Aarseth’s terms, are classifiable into interpretive, explorative, configurative, and textonic with four systems and sub classifications for each type. Communicators, referring to the participants involved in the communication with the avatars and their relationship, are classifiable into unipolar, bipolar, tripolar, quadripolar, and pentapolar. Transmissions, the ways in which communication is transmitted, are classifiable into restrictive verbal and restrictive non-verbal. Instruments, the graphical embodiment of communications, are realized into dialogue boxes, non-dialogue boxes, logs, expressions, m...
2014
As principal links between players and many gameworlds, avatars are of central importance to understanding human behavior and communication in play. In particular, the connection between player and avatar is understood as influencing a range of cognitive, affective, and behavioral play phenomena. Divergent approaches examine this connection from both parasocial (one-way, non-dialectical) and social (two-way, dialectical) perspectives. This study examined how player-avatar connections may be better understood by integrating an existing parasocial approach (character attachment; CA) with a social approach (player-avatar relationships; PAR). A quantitative linguistic analysis of player interviews revealed statistically robust associations among language patterns, dimensions of CA, and PAR types. Validating and extending prior research, findings highlight the importance of self-differentiation and anthropomorphization in suspending disbelief so that the avatar may be taken as a fully social agent. Note: Length exclusive of tables, figures, references, and appendix is 22 pages.