Shooting the Breeze - Georgetown University
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|Shooting the Breeze |
|A new Ethnography of Nexus: The Kingdom of the Winds |
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|Benjamin J. Tarsa |
|5/6/2010 |
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Contents
Introduction………………………………………………3
What is “Nexus” – From the Nexus Atlas……..……..…7
A Memory: Finding my Voice…………………….……..9
Secret Shame……………………………………….……..14
History……………………………………………….….…19
Reputations……………………………………………..…25
Legends……………………………………………………28
Why do I Love it? ……………………………………..…31
Conclusions, Limitations, and Implications………….…34
References……………………….…………………….…..38
Introduction
My name is Benjamin Tarsa, and I have led a dual life for 11 years. In one world, most often described as the “real world,” I have lived life as a student, growing up around the turn of the 21st century as a young white male in the United States, progressing through all of the rites of passage and turmoil that comes along with physical, social, and intellectual maturation. In the other, I have carefully cultured a second personality, one that does not (and indeed could not) exist in the realm of reality, that of a woman living as a hero in ancient mythical Korea. I was just eleven years old when I used a moniker from another game I had played previously to create what would become my main Nexus persona.
My name is Skum, Virtuoso of the Buyan Muse guild and Primarch of the Enigma Clan of Koguryo. Born long ago, before the events of the Shattering and the Great Shift, I have walked the streets of Kugnae for a hundred years or more. I have loved and lost many friends and relatives in my years, and I have witnessed events of catastrophic magnitude including invasions, war, and even the deaths of those beings known as Immortals and Gods.
Once I got my start in 1998, I played Nexus (or TK) almost religiously for about eight years. I recently returned to playing after having quit with the intention of never returning. Three years later at the urgings of some old friends, August of 2009 , I re-registered my account, and logged onto Nexus. Think of what it's like to come back to your hometown, or the place that you grew up. At first you're a little nervous, maybe things have changed, or maybe those that you love will no longer be there. Maybe you won't fit in, or maybe just being there will stir up just the sort of painful memories that you spent so long trying to push aside.
I stood outside the entrance, the shadow of the Imperial Palace darkening the ground at my feet. Gazing up at the entrance to the Muses’ tree house, I wondered how things had changed. Who had ascended to be the Maestra, the leader of the Muse Guild? Would I know anyone who lived in the Trigram Circle now, more than 50 years later? What had happened in my absence? With a deep breath, I climbed the ladder.
Just like going home again in the real world, all my fears evaporated when I arrived. I was almost lost under the outpouring of friendliness, and the kind of homesickness that only comes from visiting a highly significant place from one's past. I found that indeed, many people that I knew were still active members of the community and that I still held the strong loyalties that I had so many years before. Before I knew it I had put my account on auto-renewal and settled down for a lengthy visit. When the opportunity to turn a more analytic and scholarly eye to this activity that had captivated me for so long, I jumped at it.
This work therefore grew from many different interests and starting points. My initial hope with this piece was to explore the methodology of ethnography, particularly the vein of self-reflexive and narrative writing known as “new” ethnography, as identified by H. L. Goodall, Jr. (2000). Eager to both explore a passion that has followed me for more than half of my life and to choose as a subject a community and culture to explore that would be both meaningful for myself and for my reader, I settled down to explore the nature of one of the internet’s oldest and longest-running MMORPG communities. I have titled this manuscript “Shooting the Breeze,” with the hope that the reader will find themselves as part of a conversation about not just this particular experience, but that of participating in any virtual world.
I believe that one of the most important things about the nature of TK is the immersive nature of the game. You install this computer program, like any other, create your login and password, and yet when you enter the Kingdoms, you step out of this reality and into another, a land of creation tales and legends, of history, art, and magic. However, it is the thousands of characters that inhabit this world that make it truly special, and form the basis of this community-oriented experience. This community shares a virtual, yet geographic, location and immense volume of cultural knowledge specific to their own social codes and norms. They become the actors in the setting provided for us by the game client and allow for the historical and social performance that constitutes the Nexus.
I have opened my journal to you to share my experiences of times past, and my knowledge of how our physical world has been molded by the Dreamweavers, legends, and the many public heroes that have imprinted something of themselves in our world before passing on from it. My stories and memories are just that, my recollections and rembrances of my times here, and a representation of what my life has been like as a citizen.
My boyfriend often notes that I'm totally unaware of anything else that's going on when I'm playing, and it’s quite true. This happens because I don't always feel like I'm playing a game, I feel like I've been transported to this other world, one that is full of my friends, and is almost as familiar as reality, sometimes even more so. My experiences as a member of the NexusTK community have definitely had a hand in shaping my world-view. I have always found the atmosphere of the game to be highly immersive and mimetic in nature, in that it reflects many aspects of a real-world society including politics, a co-constructed historical narrative, economy, as well as relying on object codes and social performances of personality, rituals, and rites of passage. A game of immense digital and social complexity, the eleven years of player interactions have created a unique community and culture.
It is perhaps the plight of all people that as we age we become sentimental and sometimes yearn for a return to the simpler times of our past. Knowing this to be an impossibility, we can only re-live our experiences through writing and sharing them with others. Looking around the Kingdoms at the written knowledge put down in the Scrolls and Legends of our people, we can see the importance of our history both personal and collective that has helped shape the Three Kingdoms into the bustling centers of culture and society that they are today, even as the sun sets on another great God.
One great challenge has been to create, through text, an accurate representation of a digital world that is steeped in meaning and relies on a multitude of different textual, graphical, and social codes of communication. In order to best relate my experiences, this work begins with a short descriptive piece written by an unknown author for the most popular NexusTK fansite, . While only a short summary, this piece of the Nexus Atlas will give the reader a large amount of indispensible context including an overarching picture of the game, its history, and how people play it. This work then moves on through a number of pieces adapted from my fieldwork in the community describing some of my first memories as a player and painting a broad picture of some of the far-reaching themes that are inherent in the game like history, legends, and reputation. Finally, I spend some time reflecting on the experience of playing NexusTK, and discuss some of the implications and areas for future exploration.
My life in the Kingdoms has taught me many lessons about the nature of truth, and of people. I have learned about death, and about how lessons and knowledge are passed from one person to another. I have learned about love, and above all about loyalty. I have learned about the creative spirit that lives within me, and how it can be drawn out and teased into being so as to create deeper meaning for myself and others. Through all my times, I feel I have been seeking after the most basic of questions, “Who am I?” and “Where do I fit in this world?” It is my hope that recording my experiences will help to solve that enigma.
What follows then, is a collection of texts representing portions of both my personal experiences as a gamer living in an age dominated my technologically mediated communication, as well as the experiences of my character who exists and lives only within the contextual frame created by the Nexus game-engine, its community of players, and their shared history. While it can, at times, be unclear how separate the two are from one another, it is my hope that illuminating some of my experiences and knowledge of this virtual world will bring the reader not only a basic understanding of this particular virtual settlement, but insight into the general nature of participating in a virtual world and how this technology could perhaps be adapted to create virtual worlds with meaning far beyond that of simple entertainment.
What is “Nexus?” – From the Nexus Atlas
“Nexus: The Kingdom of the Winds (NexusTK for short) is a online roleplaying game owned by the company KRU. Nexon developed Nexus, which is known as Baram in Korea, back in the early 1990's in Korea. In 1995, it was brought to America to be developed for a US market. In early 1998, several Korean players began testing the new US Version of Nexus, and opened for a Beta test in the Spring of 1998. The rest is history and can be found throughout this site.
Unlike other online roleplaying games, Nexus TK is not 3D nor does it have 50,000 players. NexusTK is a 16-bit, 2D graphic-based game which takes place in Ancient Korea. It's based on the cities, legends, and history of Ancient Korea. Kugnae, the prime city in Nexus, was a major city in Korea circa 40 BC. Even the King Yuri, the "king" of Nexus, existed.
So what can you expect? Nexus TK's social system is very well developed. They have normal speak which anyone on the current screen can see around you. It appears not only in a chat window on the bottom of the screen but also in a little bubble over your head. They have a private messaging service called "whispering," which appears in blue characters. Beyond this they have a yell system in red which can be heard a slight more distance than a normal talk, and yet even stronger, the power to Share Wisdom. Share Wisdom (or as 3.0 players know it, Sage) enables a player to speak to everyone in an entire map area (server) and is extremely effective when selling items, looking for hunting partners, and generally getting to know people. There is also a bulletin board system for miscellaneous information.
The justice system, clan leaders, event hosts, subpath leaders, tutors, and even some of the development staff are all players that have continually played Nexus TK. Anyone who has a good heart and strong will can become an influential figure in Nexus history. A community in this fashion makes it easy to make friends as well as a difference in the entire kingdom by simply speaking your mind. Unlike some other games, Nexus is a small community of about 1000 players and easy to recognize people you know on the street. It's not someone new everyday; you run into the same people time after time. Depending on your personal preference, this could be a good or bad thing.
The hunting system is real-time and experience based. Characters kill creatures starting with bunnies, and later progress to ferocious beasts like Dragons. There is NO limit to how strong you can become in Nexus. There are ranks for those who spend their entire life playing this game. And believe me, people actually DO spend their entire life playing this game.
Players can make a difference in a special role by speaking their mind or even by becoming a rather strong fighter/caster in a group. There are many ways to have your name become a part of Nexus history, somewhat like people who are found in the archives of Nexus Atlas. Some people log on simply to roleplay. Others log on to use the marketplace to sell their items, and still some never stop hunting even to eat. This is most of what makes Nexus so fun (and addictive). There is simply no end to the possibilities or power a player can have.
Nexus has shifted a lot over the ages as well. There is very little about the hunting aspect that can be compared from 3.0 to 5.0. With a constantly shifting game, for some, it may take some time getting used to, but for others may be a wonderful surprise. Using the bulletin boards mentioned earlier, players can also provide feedback to Game Masters (known to Nexus players as Dreamweavers) to have new ideas added, current situations changed, and so forth.
Nexus is a shifting game, just like the winds on which it was founded. [] is devoted to chronicling those winds and giving people a chance to learn from the history; a chance to learn from past mistakes and achievements to overcome events of the future.”
(Nexus Atlas)
A Memory: Finding My Voice
"Greetings and welcome to my home. I see you are eager to get on with your adventure. Before you do however, there is much more you need to learn. Click on me to learn. . ." -Ironheart's Greeting
I recall being a young girl, and leaving my family home in the provinces to seek my fortune as one of the great adventurers, the citizens of Kugnae. My brothers and I set out, determined to succeed in our newly chosen paths. As I approached the city for the first time, I saw the spires and rooftops of a then unimaginable amount of buildings, and the smoke from many workshops and taverns. This was a place of excitement, of commerce. This was a place of new beginnings.
I don't recall how I first heard about NexusTK, or what drew me to first download it. What I do remember is that I was 11 years old and in the 5th grade. I think my friend Paul was the one who suggested it to me, or we discovered it together. Either way, he and I got our start together and Scott, who was to be one of my best friends through High School, followed along not far behind. The three of us plunged into the fantasy world of the Kingdoms of the Winds, beginning an adventure that would seemingly never end.
Now, these were the days before the Great Shift. Some might say that it was a different world, one that lacked refinement or possibility, but I was there and I know the truth. These were simple times. The law was simple, for no one had discovered new ways to skirt around it. The possibilities for adventure were more direct, because we were all young and inexperienced, and our culture was pure, for we had not yet unlocked the true power of the legends.
As I passed through the impossibly large city gate, I turned to marvel at the grandeur and beauty of this construction. Unable to pay attention to my steps, I tripped, cracking my head against a rock and losing consciousness. When I awoke, I found myself in a small cabin occupied by a strange man in a red shirt.
"Welcome back young one, are you alright?" He asked me. I found that I could not quite remember who I was, or where I had come from. Expressing this to him, he chuckled while removing a simple spring dress from a closet full of basic uniforms. He passed the garment to me and spoke to comfort me. "Do not distress, for you are now a citizen of the Kingdoms, and the greatest glory is yet to come. My name is Ironheart, and it has become my calling to teach the ropes to young heroes like yourself... Will you do me a favor?"
I nodded, still unsure of how to speak to this strange man, who seemed to be the first person I had ever met. "Excellent. Take this wooden sword." He turned to a large chest and removed a sword, nothing more than a stick with a hand-hold and passed it to me. I held it awkwardly in my hand. "Step outside, and bring me the meat from ten rabbits. You will find that many live just outside this door, in my yard."
I nodded again, and headed for the door, not knowing what else to do.
I really don't remember what I found so captivating about the game. I suppose it is the same thing that drew me to return, the depth of interaction with other players, and a convincing fantasy world into which I could sink my consciousness, and leave the so-called real world behind. As with any child, the activities that we share with our best friends are often the most enjoyable, and here was a place where we could play together without having to beg our mothers to physically transport us across town.
Of course, that didn't stop us from setting up three computers in the same room whenever possible. We had always been the typical tech-geeks, even in lower grades, we were the resident computer experts. Being a young kid in the early 90s, it wasn't hard to know more about computers that our teachers, especially since we all belonged to the newest generation, one that has accessed computers virtually since birth. I know that I even used a computer to learn to read, both through educational programs like Reader Rabbit, but also by learning how to play games on my father's computer by trial-and-error, and then going back and trying to decipher the written instructions. Computers were, and indeed still are, a way of life.
Looking now, computers and internet-mediated communication are hallmarks of modern life. More than 10 million people play the largest MMORPG World of Warcraft alone, and it is reported there are 18 million registered accounts on Second Life, another popular virtual world (Second Life, 2010). Outside of these persistent digital worlds, a full quarter of the world population has access to the internet and therefore likely belongs to at least one, if not many, digital communities (Internet Worldstats, 2010). While everyone has forged some sort of relationship with others online, what makes this sort of virtual world so attractive?
I can't say why we all, not just my friends and I, but all of us players, found this sort of world to be so compelling. To the uninitiated, it seemed to be nothing more than a chat-room combined with two-dimensional avatars that were virtually indistinguishable from one another.
The answer, I believe, lies in the manner in which this alternate reality is treated. As I learned from the tutorial NPC (Non-Player Character), it wasn't about maneuvering my avatar to the space next to a depiction of a rabbit and pressing spacebar, it was stalking an easy prey and striking it with my weapon. We didn't use the arrow keys to navigate to a store; we walked down the city streets on an errand to the town smith, Beard, and tapped him on the shoulder to ask about purchasing a weapon. I can't say if this distinction is true for all players, and it certainly isn't always as true, but we, the inhabitants of this world, treated it as such: the world that we lived in.
Anyone familiar with Alfred Korzybski’s theory of General Semantics knows his famous warning that “the map is not the territory.” In virtual worlds like Nexus, this is not exactly the case. Living in a virtual environment that is literally a patchwork of different maps (the term used to describe the tiles and backgrounds that make up each room or area in the game), these maps are as real to us as whatever town or city we live in. In truth, most of us live two lives. In one, we are students, programmers, mothers, or nine-to-fivers. In the other, we are Muses, Imperial Ministers, Warriors, and characters in a land with a long and glorious history. Sometimes it’s not as hard to see why one might settle into this sort of community.
I spent the rest of the day running these sorts of strange errands for Ironheart. He never left his hut, and I began to wonder if he was some sort of hermit. Having purchased some basic armor and a better sword with the change from the tasks he had set me, I set out to look around the city. I still found myself unable to speak, yet I could hear the words of others. Some of these messages, as I would come to understand later, were being magically broadcast all across the world, and into the minds of each citizen, and ability that would not be taught to me until I had gained a higher insight. Without knowing the nature of these messages, I tried my best to contact the speaker.
At the time, I had no idea who this man, Howie, was. I called his name out on the wind, and received a quick reply. Realizing my status as a new arrival, he walked to Ironheart's hut with his friends Serra and Kiyone, and began to teach me the basics of interacting with others. I remember this meeting very well, for Kiyone and I would live and work side-by-side for many years, having later been two of the first few walkers of the path of the Muse. However, the dark and violent events of The Shattering was still a few years in the future, and well beyond the imaginations of even the most experienced citizens.
When I started, I literally did not know the commands to speak out loud to other players. I eventually figured out how to send a private message, called a whisper, and this first contact became a foundational experience for me. I remember this first interaction more clearly than anything else that happened to me that year. This was the experience that first grabbed my attention, and sparked my continuing interest in playing. Not only did I learn the important facts about actual gameplay, but I also learned about the respect for others and kindness that existed in the community, and saw that this was not just a bunch of people playing a game at the same time, but it was a world inhabited by people, by citizens of the Kingdoms.
Nowadays, 11 years later (or 100 years, depending on the perspective), characters entering the Kingdoms are not subjected to the sharp learning curve of Ironheart’s quests, but instead can enjoy the first 50 levels of advancement in a specialized area known as Tangun that is designed for new players before having to pay a subscription fee to be able to enter the main Kingdoms. The quests of Ironheart exist solely in the memory of older players, each of whom awoke for the first time in that small cabin and had to learn how to use their voice to enter into the discussion and interaction that made up the small and dynamic community.
I never saw Howie again, but I will be forever indebted to him and these two women, for being kind to a stranger, and teaching a poor young girl how to use her voice.
Secret Shame
Erving Goffman once characterized stigma as “a special kind of relationship between an attribute and a stereotype” (Goffman, 1963). Computerized activities, even those that make use of the internet and interpersonal communication, are often criticized as being impersonal or socially isolating. Heavy indulgence in playing video games is almost certainly stigmatized in this manner. In fact, even the most popularly-known analogous activity of playing World of Warcraft is heavily stereotyped, with the conception that these players are lazy, unkempt, fat, or otherwise socially-impaired. Even popular social barometers have used this stereotype as fodder for comedy-driven plot lines, such as in the series Southpark. Combine these social factors with a measure of the secrecy and stigma associated with any type of addictive behavior, and it’s no wonder that for many years I essentially hid my heavy involvement with NexusTK from outgroup friends.
That's not to say that I never told anyone that I played online games, or that I went to extreme lengths to disguise my behavior, but simply that in a typical conversation it wasn't something that I disclosed on a regular basis. If questioned about it, perhaps by a non-initiated friend who had seen me playing at home, I would usually just stick to the simple explanation that it was an online game I had been playing for a number of years. Sometimes people, especially others who also enjoyed some types of video gaming, would ask what the name of the game was. I'd usually tell them, but qualify the statement by letting them know that it was unlikely they had ever heard of it. It was always extraordinarily rare that they would ask anything beyond that.
I've found that ever since rejoining the community and spending significant amounts of time playing, I am more keenly aware of my fears in telling others about my experiences. It comes up much more frequently now that I am also undertaking an academic project related to it. One of the most standard conversations that students have is comparing their course loads. When I mention that I'm trying my hand at ethnography, people inevitably ask what I'm writing about. Situations where a simple explanation were adequate now seem to prompt more questions, asking why I'm so interested in it, or why it is worthy of exploration. I often feel awkward, and even ashamed, when trying to explain the influence this unique and robust community has had on my life.
What it boils down to is that this activity, which for many years did often act as a substitute for real social interaction, suddenly needs to be talked about, needs to be explained to others. After 8 years of trying to relegate my fear of being perceived as 'dorky' or even stereotyped as an 'online gaming addict,' I often find myself at a loss to try and explain my habits. At the very least, I'm often uncomfortable speaking openly about this highly personal activity for fear of being misunderstood, or perhaps even worse, feeling as though I'm not understood at all.
Getting back to the story of my friendly encounter this afternoon, I was walking between classes and bumped into a friend of mine named Bree. Bree and I met at a party, maybe six months ago, and we've since spent a few friendly evenings hanging out around my house and talking or watching TV. We have a lot of shared interests and enjoy talking, but we hadn't really communicated since before the holidays. Between students, this sort of lapse is certainly not unusual, and when she asked what I was doing tonight I didn't give it a second thought. I was on my way to my last class for the day and I didn't have to work until later on in the weekend, so I told her I was free and invited her over the house to visit with my boyfriend and another friend that was visiting. She told me she would be done with class around 8pm and would give me a call then to make plans. At the time, I felt great because I enjoy her company and it seemed like it would certainly be a relaxing and fun evening.
Not more than a few moments later, I realized that today was Thursday, and I had some major in-game commitments. After more than a month of waiting for the right context and moment to strike, tonight was the night that the first parts of an elaborate Role-Playing (RP) event were to be played out. While many people role-play their character and persona regularly, even constantly, groups also orchestrate more in-depth RP narratives. These events usually draw upon existing situations or past events, and typically seek to involve other characters rather than being simply a staged drama. Earlier this week we had agreed to meet at 8pm for a quick planning session, and then use a general meeting that was planned by someone else as the starting scene for our storyline that will play out over the upcoming two weeks.
Now, while it’s difficult to explain my fascination with the game, or to discuss how much enjoyment and relaxation I derive from it, it is near-impossible to explain the nature of my obligations. My boyfriend will often tell me that I "just need to ignore that stupid game," as if to say that even a minor social obligation in the real world should, even at the last minute, override what he feels is my perceived need to "play my game." This to me is an excellent example of how the perceptions of the outsider are based on incorrect assumptions about the situation, or about the reasons I sometime feel obligated to play. The fact of the matter is that I've overbooked my schedule, something that happens to everyone now and again. The assumption to the average person is that my plans with "real people" should always take the forefront over my plans with "internet friends."
The fact of the matter is that in this particular situation, many more people would be affected if I were to decide to simply ignore my plans to be online tonight. My friend Songa and I have been communicating for months, working out the skeleton of our elaborate RP plot, based on an on-going saga of events within the Muse Circle called "The Chronicles of the Well." These types of RP activities are advanced through actual events (i.e. acting out the roles using a pre-planned outline, but also allowing for unexpected actions from others) as well as through postings like journal entries, which can serve to describe behind-the-scenes actions and feelings that cannot be expressed through the former activity.
Without overly detailed, the story that we’ve developed revolves around my character Skum and Lycurgus (a special RP-only character provided by the Immortals to the Muse path, played by my friend Songa) and their quest to find the book of Stones and access its power. Eventually with the help of Timmy, an animated head-on-a-stick and Muse relic, they find the book, once the journal of the legendary witch Mupa. They fall deeply in love and are set to wed when it is discovered that Skum is under Lycurgus’ spell, climaxing in a dramatic wedding.
Needless to say, with the amount of planning that has gone into this event, and the coordination that has been undertaken in the last week to finally start the action, I feel absolutely unable to miss my meeting tonight. I haven't even mentioned the fact that the entire thing has been kept a total secret from everyone else, including the leader (Elder) of the guild Soleil, who knows what we started from and that something is happening, but has absolutely no idea that she's going to have to defend her circle from Lycurgus' evil takeover.
From my perspective, it’s not a hard decision. On the one hand, I did tell Bree she could come over and it will be disappointing for both of us when I break those plans. On the other hand, after months of creative effort, there are at least a dozen people showing up for a meeting that Songa and I skillfully manipulated our Elder into holding, and another confederate who has agreed to come and play the third character in tonight's action. If I was to flake out, a week's worth of coordination will be wasted and at least 3 people will be very upset that I wasted their time, not the mention the opportunity we had been waiting months for. In this case, it would have been like missing opening night after a successful week of technical rehearsals.Thankfully perhaps, Bree later called and broke our plans, citing another engagement she had forgotten about and releasing me from my dilemma.
In the end, it’s very difficult to explain something like that to someone, and so you just make an excuse and do what you need to do. To me it’s no different than if I had made plans but then found out that my parents were arriving for a visit the next day: I might not want to tell my friend that I have to clean the house up because it feels like a cop-out excuse, so maybe I tell them that I have a paper due, or an exam that I forgot about in order to make the disappointment more understandable. In short, I feel sometimes like my need to play Nexus is often borne out of a need to fulfill obligations with friends online, not always derived out of a want for entertainment.
This example is only somewhat illustrative of this effect, since it’s true that the base purpose of this exercise is to have fun. Sometimes the roles and positions that I have committed to require my presence at meetings I would rather skip. In the end, I have to perform according to the expectations of the community, most especially those of the people who I've promised my involvement to, while also feeling a sense of duty to the people who are as-of-yet not involved. These RP storylines are designed with the intention of drawing people into a larger interaction with history and to participate in the role-playing. This is what brings people together, and this is how our history is ultimately created.
History
In the earliest of times, the great Kingdoms were founded. The first citizens and Gods alike were naïve, walking through the newly constructed streets of the city. Those destined to become the heroes and legends lived life peacefully, and explored the boundaries of the known world. This was a golden age of excitement and novelty.
What is history? For all intents and purposes it is the record that we have of past events. These events are recorded in writing, put down in books, or archeologically reconstructed from documents and other evidence, but history is also a deeply personal thing. Each of us have stories and experiences that we pass along to those with whom we share the world in common with, either through storytelling or by simply conversing together about things that once were. This information helps us to define the present in its context as point on a continuum of time stretching from the past into the future. Knowing about the past helps us to find our place in the present, it stands as a reminder of our past successes and failures. It tells the story of our lives, and the lives of those who came before us. In a persistent virtual world, one that continues on even when the player is offline, history becomes an important method of cultural transmission. Consider this short explanation of the game’s transition from free open beta-testing to its commercial release as a pay-to-play game:
"Dragons filled the kingdoms. There was no escape. People stood strongly together. They knew their death was coming, and this death would surely be the end. Others knew they would live on the legacy of those who fought bravely that day. And the war began.
The losses were devastating.
The items weren't the loss. The friends were. Before the cataclysm, people gave their characters to their friends because they had no intention of subscribing. Everyone lost friends that day. Some of those people will remain as legends forever.
The survivors found ways of coming back to life. They invested in items that would not be taken with the cataclysm and made lots of money that way. Some people went and hunted bosses for hours, restoring circulation to boss drops.
All in all, the Nexus survived, and the survivors built the new Nexus community."
(NexusAtlas History, "The Cataclysm")
This sort of co-constructed historical narrative is an essential part of understanding how the Kingdoms came to be, and how they evolved into what they have become. When considering world history, in the typical 'real-world' sense, there is an underlying imperative for a sort of objective recording of events. It is expected, and required, that histories be based firmly on first-hand accounts or on information that is verifiable in some way. Our history is not so clear cut. It emerges from a number of different places, a large part of which is indeed reports of past events; however, there is also a large volume of legend and myth that arises from the writings and role-playing of characters themselves. These stories and accounts can, and often do, become 'historical,' and have even paved the way for more traditional events and processes that are experienced by the community as a whole. These stories can act either as accounts of actual events, or as myths and legends about unexplained places or phenomena.
The Historian occasionally asks members of the community to write texts describing the legends or stories behind different locales or areas. The best of these stories are chosen to be archived on the Drifting Winds, a bulletin board containing posts that detail the canonical information about various places or events, alongside the Historian’s own records. This board thus acts as a tome of historical knowledge. In some ways this particular method of historical construction is akin to the traditional myths of the Greeks, who sought to explain naturally occurring phenomenon by ascribing personality and history to them. The best of these tales became the accepted truth of the matter, and become guiding principles for how to navigate through the natural world.
"During this time of Yuri's 20th year, a mysterious sage visited the kingdoms. Dressed in strange robes, this man, Eldridge, was befriended by some, and looked at cautiously by others. He offered to help unlock the powers of the subpaths, but he needed to know how to do so. Fragments of a poem were found and pieced together, and it was decided that the Onyx that contained Sagu would have to be shattered to release the powers. But the consequences did not look promising.
Gathering the citizens of both kingdoms together at the Kogurian palace, Yuri and M'hul stood by as the Onyx was shattered. Simultaneously, the Circles were infused with power as Sagu appeared in his full form before the awed onlookers. Wasting no time, the warlock took advantage of the confusion and struck down many with his dark magic. He created a black forest, called up ancient spirits, brought thunder with rain, and fire from below that destroyed persons from miles around."
(Nexus TK boards, Drifting Winds 25)
In some cases, true events are captured by one who witnessed them. A narrative of this sort, like the excerpt from The Shattering above, steps in between two extremes. It is account of an actual event, one that can (and likely has,) been verified by other people who were present. However, it is an account of something that happened 100 years ago, on an in-game time-line. Working out to about 9 years in real-time, there are in fact, very few people who witnessed these events that are still playing. For the majority of players, the legend of the Shattering is an almost mythological story designed to tell the tale of a particular period in the game's history when new features were being introduced. However, for those few remaining players who witnessed it firsthand, The Shattering was the most epic and far-reaching event in Nexus history, affecting every single player and aspect of the game. For us, the change to the world was as real as the events that led up to it and records of this particular event are evident in multiple places. Nowadays, the average person is merely aware that The Shattering was an event that happened long ago and that led to the creation of the subpaths and the Great Shift.
When pondering the question of what makes this community unique, I often come back to the concept of this shared history. There seems to me clear evidence that the existence of this continuum of events, and distinct time line plays a large hand in the specific development of our culture. Events that advance the storyline of the Nexus as a whole often affect every player in the realm, and thus become the shared experiences that bring the community together.
Some clarification must be made as to the meaning of the word "event" as used by players. When used in the most general sense, it simply means some sort of time-limited activity in which a character may participate in. In one major sense it refers to a one-time release of new game content by the GM, usually only available for a short amount of time. This might include events such as a pirate invasion, the opening of the Lost Mines, or a major conflict like the God War. Players also use the word "event" to refer to the much smaller Community Events that are hosted by players and organizations on a daily basis. These events make use of existing content, although often in novel ways, and last between 45 minutes and an hour and a half. These sorts of events often manifest as adaptations of "real-world" games like Dodgeball or Rock, Paper, Scissors, but also include myriad other types of combat tournaments, informational classes, poetry contests, and other such activities. In day-to-day use, it is usually very clear which type of event is being referred to. All major events (GM-released) are publicly announced and discussed, and more often than not become the main focus of the majority of players for the duration. So, if I mention to a friend that I'm headed to "an event" later, they know that I'm referring to some sort of Community Event whereas if I’m headed to the event, something more global is happening.
Events, in the grander sense, are often linked with the release of new game content. While oftentimes locations and quests are available to players only for short periods of time, it is usually the case that the physical rewards of legend marks or special equipment remain a part of the game indefinitely either as a useful object that will increase dramatically in value or at the very least serve as a memento of that particular event. Eventually these items become curiosities, and are even referred to as antiques.
I remember the chaos. Stepping outside into the streets, and being besieged by stone beasts the size of houses. I remember the terrible Onyx trees, sturdy as their namesake, bearing a twisted grin permanently carved into their stone trunks. Word came that the greatest of our gods, Orb, had been corrupted by the Darkstaff and was storming through the Mythic Vale, I rushed towards many deaths, simply wanting to be present for such a world-shaking moment. One of the first to arrive at the scene, I was struck with horror at the sight of this once-kind man looking more and more like the swarming monsters on the street, bent on destruction. The Dreamweaver himself rising into the air and smiting those who were once loyal down without remorse. Even as young as I was, I knew that something drastic would had to be done. I never imagined this conflict would end in the death of our God.
One of the most important things about the history of the NexusTK community is how each of us has a hand in creating it. In one sense, we sometimes have the chance to be present for large events, and important moments, even if we don't always have the power to change the flow of them. These particular sorts of events are typically orchestrated on a higher level by the game’s content manager, often with motives beyond creating historically important moments.
One thing that certainly contributes is the emphasis on literature and writing that exists within the game. Over the years, we have built up libraries full of stories, legends, and information, each penned by the individual with the hopes of being preserved in the historical records for others to enjoy at a later date. There are often contests, with grand prizes, to help bring out the best works such as in the case of major historical events or works of art like the National Anthem. However, our histories are also a way of tracking the development of the actual game client.
I have lived in the Kingdoms for many years, and seen so much change. When I arrived as a young girl the cities were young and undeveloped. The power of the subpaths had not been unlocked, and our lives were fraught with more danger and less certainty. Advances in armor and weaponry were still far off in the future. Our spells were less powerful, and less numerous, but the events we lived through seemed more grand, and more epic. Perhaps this is simply the product of an old mind recalling the exciting events of childhood, but the truth of the matter is that the safety and stability of the Kingdoms has not been threatened in many decades.
Monsters do not walk the streets killing indiscriminately, and even in times of war those walking the streets are safe from attack. Our possessions are protected, no longer falling to the ground when we are slain for others to loot and steal from. We have explored our world and found new places to adventure, new places to hunt. With these advances comes the unearthing of powerful secrets, ferocious skills, and legendary weapons. Advances in technology, like the Polearm class of weapons, challenges the old techniques and forces us to develop new methods of working together for our common goals.
Our history gives us a framework from which to recall our experiences in a world that no longer exists as it once did. The same way that our grandparents recall to us what life was like growing up, perhaps during or even before the time of major conflicts that changed the way the world functioned. To the young, these tales take on a feeling of a myth about a place that once existed, but to the teller they become a method of reliving the experience of a time and place that bears only a glancing resemblance to the society as it currently exists. To the community as a whole, our documented and recollected histories are an essential part of how we all contribute to create a shared narrative that spans more than a century.
Reputation
In the world of Nexus, there are many sources of information about the other characters one interacts with; not just their names but also their personal histories and lists of accomplishments. While each player may maintain multiple characters, each character acts mostly independently from the others, and may even have a radically different personality or motivation. The continuity of each character, that is, the fact that each character is played by one and only one person, is enforced under the law by the license agreement each of us accepts as a player. In a world where anyone can ascend within the social hierarchy and gain a measure of power over other players, most players carefully guard their reputation. People can become known for different personality quirks or involvement in significant events, but one of the best ways to gain a measure of notoriety is to achieve and commit to some sort of major position.
Beyond the aspects of the game that are a matter of mechanics, such as advancement through hunting, much of the game is comprised of a series of player-run institutions. These organizations serve widely varied purposes, but all are almost entirely constructed through player initiative from their conception. These organizations are lead by players and (generally speaking) supported by players. They include large organizations like clans (groups of more than 100 players united by a common theme), subpaths (the RP-oriented divisions of the four character classes), Justice, as well as a host of smaller organizations like cultural ministries and the hosts of the competitive games known as carnages.
All of these institutions have some measure of power, whether it stems from being able to control the wealth of a large clan, from being the gatekeeper to certain abilities or privileges such as the special spells or markings of the subpaths. These powers are granted by the accumulated "physical" changes to the client and thus, the game world that are programmed by the Gods (a.k.a. GMs or Dreamweavers). While a sore subject for many, especially those who have been unfairly treated by players in these positions of power, the measure of responsibility and influence that can be obtained is arguably one of the most unique and attractive features about the game.
This system establishes a hierarchy of power within the game. At the bottom you have the average player, who belongs to several organizations including perhaps a clan and subpath, but does not hold any positions within those organizations. On the next step are those players who have minor roles of responsibility. This includes sitting on a clan council, holding a position as a guide of a subpath, and those trained to host the various Player-versus-Player (PvP) Carnage events. Appointments to this second tier typically come either from application or selection based on activity, dedication, and past contributions to the organization. The next tier is those leadership positions that require a large time commitment and high level of responsibility. A player cannot, generally speaking, hold more than one of these at the same time, and must be vetted by the Game Master before stepping into one of these top positions. Comprised of the offices of Subpath Elder, Clan Primogen, Head Judge, Kingdom Tutors, and Head Carnage host, the players in these positions are known to virtually everyone and exert a fair amount of control over many aspects of the game. To the highest tier belong the Archons, a volunteer team of players that have been specially chosen for their skills and long-term dedication to the Nexus community. The selection process for this position is top secret, as are the mortal identities of these high-level administrators. In fact, Law 144 makes it illegal to attempt “revealing, or attempting to reveal the identity of a KRU or Immortal character. This includes all archons, royals, and event characters past and present” (NexusTK)
With a community of about 1000 players, reputation is a defining factor in judging the character of one's character. Most players have some measure of familiarity with a large portion of this community. We can see each others' posts on the community tablet, and we interact at the many community events that happen each day. Our world has depended on the service of players for many years. Players step into voluntary positions to establish and run the many varied organizations and institutions that are the lifeblood of the games social, political, and competitive atmosphere.
In the end, players seek to maintain their reputations for a variety of reasons. Some players seek to hold positions of power, something that requires not only a spotless criminal record, but also a level of respect within the community and one’s organization. Generally speaking though, each of us has carved out some sort of social niche where our character fits, and we know that breaking the laws that have been laid down will jeopardize our connections with our friends, subpaths, and clans, as well as being permanently reflected as a red mark on our personal legend.
Legends
One of the primary methods that players use to learn about one another on a day-to-day basis takes the form of what is known as a "legend." This legend is located on the last page of our character's status screen, and is publicly accessible when another player selects our character to find out information about us. Prior to our legend are three pages that denote our name, path title, and current equipment, as well as a short profile that each player may choose to enter for themselves. When players first enter the Kingdoms, the only marking on one's legend is his or her date of birth in the form of "Born in (Year, Season)."
Over time, our legends also track our individual accomplishments, which is in many ways linked to some of the shared rites of passage that each member of the community eventually faces. There are certain choices and decisions affecting each character that are marked down on one's legend as they happen. This includes the completion of quests, ranging from the so-called "newbie" quests of aiding Chu Rua the turtle find Young ginseng roots to cure the ailing dragon king and defeating the Ice Beast, to the much more difficult series of trials that are required for each of the advanced "san" markings. These advanced marks, Il san, Ee san, Sam san, and Oh san (each Korean for First mark, Second mark, etc.) become available as character’s vital statistics (stats) reach certain levels and these difficult yet very rewarding quests serve as rites of passage that most members of the community eventually experience.
Our legends also provide a time line of a character's role in historical events. In addition to each achievement or completion of a quest being dated, there are very often legend marks associated with particular events. Therefore, by seeing that someone bears the legend mark "Witnessed the Rebuilding of the Cities (Yuri 46, Fall)" participated in or witnessed that particular historical event. Events that had quests associated with them may also have multiple markings. For instance, there are mysterious mines in the Northern Pass that open from time to time. Upon entering the mines, the player receives the legend mark "Entered the Lost Mines" with the current date. However, upon completing the event quest, the player receives an additional marking. In the Lost Mines event of Yuri 42, this mark read "Aided the Nagnang Scouts (Yuri 42, Winter)," connected to the plot line of that particular event.
Not only does a legend track quests that are completed and events that are participated in, but they also can be a strong indicator of one's commitment to the community-oriented aspects of the game. These marks can show affiliation with an organization, such as the "Initiate of the Spy Guild" mark, or they can show accomplishment in learning like the "Understood the Eightfold path" mark given by the Monks.
Different Subpaths maintain different awards and markings based on the realm of information and RP of that path. There are three player-run (PC) and one automated non-RP-oriented (NPC or Totem) subpaths for each path. The NPC subpaths are desgined for players who do not want to participate in the RP requirements of a PC subpath and are generally considered to be aimed at the portion of the population driven by hunting and power advancement. Each of the other PC subpaths represents a distinct branch of the general path based on some kind of real-world archetype or belief system. Warriors may become Babarians (Wilderness-dwelling fighters), Chonguns (Warriors with a strict code of honor), or Do (Weapon and combat masters). Mages choose from Geomancers (Balance-seeking Ba-Gua devotees), Diviners (Fortune-tellers based on a Taoist system), or Shamans (Traditional shamanistic necromancers). Poets have their choice of Druid (Nature worshipers), Monk (Buddhist-oriented views), and Muse (Worshipers of the traditional Goddesses of the arts and sciences). Finally, Rogues have the options of becoming either a Spy (Secretive crime organization), a Merchant (Traders, Treasure hunters, economists), or a Ranger (Outdoorsman, Tracker/Archer).
There is even a Justice system, where appointed judges hear cases on crimes that are reported by players. These judges have the ability to send the guilty party to jail and place red justice marks on the player's legend for all to see. In most circumstances, the conviction is also posted publically on the ‘Scum’ board. While most often telling of a crime, there are other red brandings. Each subpath has one mark that indicates the marked individual stands against the ideals of that path. For instance, one judged negatively in the eyes of the Muse subpath may in extreme circumstances be marked as a "Discordant Note," indicating they are not welcome at any Muse events. This red mark, and any other, becomes an immense stigma for the affected character. Most clans and subpaths will not allow those so-marked to be admitted. At the very least these marks serve as literal red flags of past troubles and applicants will be questioned deeply about the behavior that caused them to be marked. Due to the fact that these marks can destroy years of work for some people, they are rarely bestowed except in extreme circumstances.
Some red marks can be removed, either through redeeming oneself with the subpath that was offended or, for lesser crimes, by applying for a pardon from the tribunal of the Chongunate. However, the removal of red brands is a serious matter and takes a significant amount of dedication and true remorse. The most serious brands can only be removed by purchasing an Unsigned Royal Pardon (which costs tens of millions of coins) and even then the offending party must convince their Sovereign that the mark should be removed and pay another hefty fine.
The use of the legend as a method of tracking each individual’s history and path through the game truly allows for the personal development of each character. Our legends serve many purposes, and each of us accrues legend marks depending on our desired goals. Some players simply allow their legends to grow as they explore different aspects of the game, others compete in competitive activities with the hopes of receiving markings that tell of their victories. Still others focus on marks that must be earned through the completion of difficult quests. In the end, our legends serve to proclaim to the world the events we have witnessed, and the trials we have overcome.
Why do I love it?
I'm just trying to figure out what it is that I have always found so captivating about this online world. I mean, it took hold of me more than 11 years ago now and for many of those years was a big influence in my life and upbringing. I've met hundreds of different individuals and forged varying levels of friendships and other relationships. I've seen the game advance from its humble beginnings as the first graphical MMORPG on the market through its peak after the turn of the century, and I have now returned to experience dusk in the Kingdoms of the Winds.
There’s something about the immersive nature of the experience. I'm more consciously aware of it now that I'm a bit older and have a slightly different perspective, but when I'm logged in as my character I feel as though I have stepped into another reality and act accordingly. That's not to say that I'm a stuffy role-player who always tries to stay in character, but more of the sense that the Kingdoms are a real place. I don't think you could convince me otherwise to be honest. I mean, what does the "real world" have that the Kingdoms don't? We move our forms around in a space defined both by physical restrictions as well as by cultural ones. We have possessions, homes, families, loyalties. Many of us have labored for many years to achieve skill in the arts, or advancement in physical might. We have established rituals, culture, and traditions, shared among the many groups and institutions that have arisen from our virtual settlement of the Kingdoms. Even now as I write these words here, hundreds of adventurers are roaming the Kingdoms. The hunting, trading, learning, loving, hustle, and bustle are a constant.
By sheer virtue of the fact that it was the first commercially released graphical MMORPG and is still functioning, the NexusTK community is the oldest in existence. There may be larger ones, or those that show more promise in certain areas, but until the true decline and fall of the Kingdoms, we will always have that distinction. It truly is the community that makes NexusTK unique. This point is often argued, but the fact of the matter remains that regardless of the game mechanics that assisted the rise of the fascinatingly special culture of the Kingdoms, the majority of this culture has been created and advanced by players. Not just players walking the path the makers of the game have laid out for them, but players devoting huge amounts of time, dedication, and creative energies to leveling the uneven ground and building roads that would stand for hundreds of years, like those lain by the Roman Legions. These are the players that have collected, written, and codified the knowledge of the subpaths and all of the information we know about our world.
Is that me? Sadly, for many years it was not. It is my eternal burden of hindsight, regret, and possibly even shame, that for many years I did not have the maturity or drive to devote my labors to the betterment of my community. For so many years, my primary enjoyment was derived wholly from the interactions I had with friends, both schoolmates that also played and the many characters that I met and gotten to know in some form over the years. Not only was I unable to make the generous time commitments needed, I simply did not understand the responsibility and trust associated with the many positions of power. Eventually I think that this imbalance contributed to the buildup of negativity that resulted in my leaving the Kingdoms, ostensibly forever, just before leaving for college in 2005.
There have been so many times that I think back about the choices that I made, and the possibilities I squandered in my undisciplined youth playing Nexus. If only I had hunted, if only I had achieved more, if only I had applied myself. Perhaps reinforcing the mimetic function of the Kingdoms, all of these "What ifs" are a reflection of my development as a human being, and my coming of age and maturation. Speaking of my real-world self, I was undisciplined and immature. I didn't apply myself in school, or anywhere really, and it wasn't until well into college that I began emerging from some of these more childish work habits and attitudes towards organization and applying my talents.
I think this change, one that I think affects everyone who goes through the transition from high school to college, from childhood to adulthood, is one of the reasons I fell back into playing. Even just in the first month I realized that I had undergone a huge change, growing appreciably as a person, just growing up. I was now equipped with the tools to succeed in an arena where I felt I had failed for so many years. I had come to understand the impact of this special place and these special people on my life, and was faced with an immediate desire to give back to the community that had given so much to me over the years. Within a few months, I had been asked to join my clan’s council, and quickly rose to the position known as Primarch, a position that has allowed me to give back to my clan through service.
Living in the Kingdoms of the Winds has made me smile, and given me much joy over the years. So many memories and moments that I will take with me forever of a world that will someday no longer exist. But, it has also brought me grief, and pain. Friends lost, either through moving on from our shared virtual space or taken by illness or accidents in the real world. Melancholy afternoons spent pining for a lost age, and the lost innocence of a naive childhood. The agony of my self-imposed exile, the unbridled joy of my return...and of course, the wrenching existential worry associated with the “Nexpocolypse,” the day that the storms of chaos will cloud the Kingdoms forever. The mere thought brings tears my eyes, and I know from discussing it with others that this fear is shared by the others who have not become completely jaded and cynical about our homeland.
Suffice to say that my time spent in Nexus: The Kingdom of the Winds essentially constitutes a complete second life, one that played out in parallel with my years as a child in primary school. I learned many important lessons about myself and about others in those Kingdoms, and while I've wondered what my life would be life if I had never played, I would never willingly give up this experience. It simply is part of who I am, and will be with me for the rest of my life.
Conclusion, Limitations, and Implications
I can’t help but feel that I’ve barely scratched the surface in teasing apart the strands that form the immense cultural net that exists in NexusTK. Before even picking up Goodall’s “Writing the New Ethnography” (2000), I had conceived a notion of what I wanted to write about, namely how playing Nexus constitutes a cultural performance and of how the significant relationship between rituals and play creates the heart of the social construction of the community. After reading about Goodall’s approach, centered on the idea developing a rhetorically intimate narrative or account, I realized that a new ethnography might be a better vehicle for sharing my experiences, experiences that arise out of another narrative that is equally intimate. Rather than working in the traditional analytic style that Goodall calls assertive, and even “confrontational,” writing in a more self-reflexive and dialogic style allows for the authentic re-presentation of this alternate culture while still generating information, in the form of fieldnotes, for later analyses.
While I do believe that this, perhaps the internet’s oldest virtual settlement, is worthy of study simply based on its longevity, level of player involvement, and the complexity of the virtual society of its inhabitants, it can perhaps also be used as a case study for future online worlds. While not specifically addressed in this work, a recurring subject in my fieldnotes was the way that information is taught within the game. Players have established a college of arts and sciences that teaches classes on in-game subjects like hunting techniques, real-world subjects like Bahasa (the Indonesian language, important because since the Indonesian version of Nexus called Nexia went offline, there has been a surge in the number of Indonesian players), as well as subjects that span the border such as Taoism, trigrams, and the I-Ching.
Considering the digital environment and high level of interest even in a relatively small community, there are perhaps ways that immersive digital environments and communities could be created for the purpose of online distance education. I can imagine a free digital university, complete with a campus, dormitories, sporting fields, and of course, classrooms and auditoriums where educators can interact in real-time with their students and have all of the tools they need at their fingertip. An accredited online educational experience that seeks to expand beyond the transfer of knowledge and completion of assignments through a website by creating a world in which students of all ages from around the globe could have access to higher education.
There is already a push for making course materials available online; indeed MIT offers materials for more than 1900 courses on its OpenCourseWare (OCW) website and researchers at other institutions are striving to create true virtual classrooms, to more closely mirror the brick-and-mortar educational experience. Almost all institutions offer some sort of distance learning via the internet, termed “virtual education,” and while so-called “virtual universities” do exist now, the concept of an immersive environment that would seek to combine the activities of ritual and play, essential for the creation of a community, is largely an untapped resource. It is my hope that further exploration of a longstanding virtual community might help in providing answers to how a truly mimetic and representative experience can be created to create a virtual “marketplace of ideas” that more closely reflects that of the traditional college experience.
Beyond matters of accessibility, a shift towards education in immersive environments could conceivably be much more cost-effective. Especially in the current climate, with many institutions both public and private suffering economic woes, the idea of a campus that has no buildings and few physical resources to maintain becomes attractive; an entire microcosm that could be contained in a single room, maintained by a cloud of administrators and programmers while being accessed from any internet connection by professors and students alike.
Beyond this sort of application in education, further study of this community could also shed light on the nature of immersive realities, and perhaps even on the nature of reality itself. The same way that artistic masterpieces provoke questions and provide us with new lenses with which to interpret the world, virtual environments that mimic that of the real world also provide us with new perspectives on our social reality.
It is my plan to continue my fieldwork, as well as working to further analyze and reflect on my experiences. The reward of working on this project has been far beyond that of the ideas generated by this manuscript. Watching myself move from two distinctly separated personalities, with the “me” that plays Nexus compartmentalized from my general life and academic interests, to a more holistic and encompassing position drawing on my life experiences and passions has been an enriching experience. I can only hope that this window into the unique culture of Nexus has attained its goal of engaging the reader in an open and honest conversation about my experiences, and to shed light on the phenomenon of playing and participating in a virtual world.
Finally, I would like to conclude with an invitation to the interested reader to experience a little bit of NexusTK. A free download from , anyone can create a character and enter into the Kingdom that our community and Dreamweavers have built over the years. Free play is available until level 50, albeit in an area separate from the main Kingdoms. Should you ever decide to give it a try, feel free to contact my character Skum and she will gladly travel to Tangun and show you some of the basics, just as she was shown so many years ago. Who knows? Perhaps this is a world that you belong in as well.
References
"Current user metrics for Second Life". .
. Retrieved 2010-05-05.
Goffman, I. (1968). Stigma. Englewood Cliffs, NJ: Prentice-Hall.
Goodall, H.L. (2000). Writing the new ethnography. Oxford, England: Altamira Press.
Internet World Stats. . Retrieved 2010-05-05.
MIT OpenCourseWare. . Retrieved
2010-05-06.
Nexus Atlas. . Retrieved 2010-02-15
Nexus TK boards. . Retrieved 2010-05-05.
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