Spawn This: Minecraft As a Virtual World

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Spawn This: Minecraft As a Virtual World Spawn This: Minecraft as a Virtual World (presented at Society for Cinema and Media Studies Conference in Montreal, March 2015 and part of a longer essay) Lori Landay, Berklee College of Music à advance in Prezi http://prezi.com/41ifd5nd_erz/?utm_campaign=share&utm_medium=copy&rc=ex0share *à*In 2006, cover stories in Wired and Business Week hyped virtual worlds, speculating that “Virtual worlds may end up playing an even more sweeping role -- as far more intuitive portals into the vast resources of the entire Internet than today's World Wide Web.”1 Second Life and Open Sim grids still have a dedicated user base, as do habbo and Disney’s Club Penguin, but there.com, Google’s lively, facebook’s Cloud Party, and LEGO Universe are all defunct. The promise glimpsed in those virtual worlds has not materialized—or virtualized—in a mainstream way. Until now, with Minecraft. Although it does not look or at first seem like what proponents of virtual worlds have been waiting for, Minecraft is the breakthrough success for virtual worlds. To be sure, there are other transmedial imaginary worlds that are participatory and brimming with user-generated content. There have been player-created servers that mod a game in new narrative, gameplay, and social directions, and create vibrant communities. But no game or other transmedial IP has approached the size or the scope of Minecraft, and its players use Minecraft as a portal into disparate media experiences, including other franchises, to an unprecedented degree. In thinking through how what has emerged through the Minecraft phenomenon has redefined what a virtual world is, this presentation explores three interrelated questions: *à*What does it mean to consider Minecraft as a virtual world? Why has it succeeded as the breakthrough virtual world? How does transmedial experience factor into Minecraft as a virtual world? First, some information about Minecraft that helps us understand how a low-res looking video game spawned a virtual world. Minecraft has become more than a game, but it began as a game, coded by Markus Persson, known as Notch, in 2009. *à* Today, in March 2015, Minecraft is a global transmedial phenomenon, becoming the best-selling PC game ever on September 20, 2014 (http://minecraft.gamepedia.com/Minecraft_Wiki), and holding the record for the most concurrent players on Steam, with 1 million people playing at the same time (http://www.vg247.com/2015/01/11/minecraft-1-million-concurrent-players/). There are over 200,000 Minecraft servers, and countless mods adding new objects and gameplay to the Minecraft interface. Players can access practically any theme, style, or imaginary world through Minecraft 1 Hof, Robert D. "My virtual life: A journey into a place in cyberspace where thousands of people have imaginary lives." 2 mods, maps, and texture packs. This alone distinguishes what players do with Minecraft from other transmedial worlds, and because children can do so much of this on their own, they have a high degree of agency to explore and experience the media that interests them, through the lens of Minecraft. Minecraft has some other staggering numbers that suggest its immense scope, including 19,265,652 purchased copies of the PC/Mac version of the game as of April 18, 2015 (https://minecraft.net/stats), and a 2.5 billion US $ purchase price for Mojang and all of its assets, including Minecraft, by Microsoft in September 2015, (http://www.planetminecraft.com/blog/how-many-servers-are-there-in-minecraft-multiplayer/). Minecraft players tend to keep playing the game, with 36% having played for more than 12 months in a 2014 poll.2 Minecraft was the second most searched term on YouTube as of January 2015 (“music” was the first), http://www.vg247.com/2015/01/07/minecraft-is-a-massive-deal-on- youtube/) . There have been over 156 million views on YouTube of Captain Sparklez “Revenge” a Minecraft parody song and animation [PLAY] (https://www.youtube.com/watch?v=cPJUBQd- PNM ), and almost 3 million views of the behind the scenes video in which Captain Sparklez shows how he used the program Maya for the animation3 . *à* The official Minecraft handbook Collection published by Scholastic is the #1 bestseller in Children's Video & Electronic Games Books and #123 overall on amazon’s bestseller list. People have also used Minecraft for serious games purposes, including educators around the world through minecraft.edu and on their own. *à* In the art field, even the prestigious British Tate museum is using Minecraft. *à* There are currently three Tate Worlds, special maps that “present virtual environments inspired by artworks from Tate’s collection”, with four more planned (http://www.tate.org.uk/about/projects/tate-worlds-art-reimagined-minecraft). Minecraft is so popular because it is open and flexible. *à* Using a version of my Transmedial Imaginary Worlds Experience Model built in Minecraft to illustrate, [PLAY] within the game, a player can move easily along the structure spectrum between the rule-based play of ludus, choosing survival mode and perhaps pursuing the Ender Dragon and the open play of paidia (in creative mode). Minecraft also affords a range of engagement with the game, and players can also move freely along the affordance axis, to interpret, explore, combine, remix, transform, and invent, experiencing different kinds of agency. 2 http://www.newzoo.com/insights/analyzing-game-franchises-gamers-love-minecraft/ 3 https://www.youtube.com/watch?v=Aj_eaclFPWE 3 Yet Minecraft as a virtual world only originates with the game. *à* In this [PLAY] animation of my Transmedial Imaginary Worlds Experience Model, we can see how Minecraft begins on the interface platform as the official game known as the “vanilla” version and spreads across the interface platform in the maps, mods and servers that proliferate from it. Minecraft emerges as a virtual world as it bursts in all directions from the interface platform to the physical, screen, and page platforms, with players experiencing multiple ways of engaging with Minecraft and various degrees of structure. From when Persson started coding Minecraft in 2009 onward, he integrated community input, incorporating the players as co-creators in the spirit of the indie game developer online community TIGSource, of which he was a member. Instead of a single author, or a team of designers, programmers, and artists organized in a company, Minecraft has a community of creators, and the process of creating content is what grew Minecraft from a game into a virtual world. No other game is characterized to the same degree by what scholar Dennis Redmond terms *à* “audience-led production,” in which a digitally networked community of internet users in a technologically and transnationally diverse digital eco-system engaged in co-creating Minecraft. Redmond proposes, *à* “Minecraft is a commercial franchise wrapped around a core non- commercial fan community. While the fan community does not legally own the franchise, this lack of formal ownership is also irrelevant. The reason is that fans co-produce, co-regulate, and co- distribute the videogame in close concert with the commercial franchise.”4 Redmond analyzes Notch’s blog to show how he used social media, YouTube videos, email, chats, online polls, and message boards to seek out player feedback, to which he listened and often deferred. The player community does more than provide feedback, though, because Mojang crafted policy that allows users to modify the game code, and make and share mods, tools, and plugins, but only for non-commercial use. *à* The EULA is clearly written, and summarizes Mojang’s approach: Essentially the simple rule is do not make commercial use of anything we‘ve made unless specifically agreed by us, either in our brand and asset usage guidelines or under this EULA. 4 “The Videogame Commons Remakes the Transnational Studio” in Understanding Minecraft: Essays on Play, Community and Possibilities, Nate Garrelts, ed (2014-09-25). (Minedraft) (Kindle Locations 179-181). McFarland. Kindle Edition. 4 . Otherwise we are quite relaxed about what you do - in fact we really encourage you to do cool stuff - but just don‘t do those things that we say you can‘t. (https://account.mojang.com/documents/minecraft_eula) One of the results of this open approach to modding is that, beyond the Game player’s purchase, the wider phenomenon of Minecraft is not consistent, and the hundreds of thousands of servers and individual mods are not only often incompatible with each other, but do not constitute a coherent virtual world in the way that EVE Online, Second Life, Star Trek Online, or other MMOs do. As a player logs into different servers, installs mods, or uploads maps or texture packs, he or she can bring their name and customized skin if they have one, but that’s it.5 If the multitude of servers and single-player client-side games are not all part of one big networked, unified entity, then *à* how is Minecraft a virtual world? My answer lies in redefining what a virtual world has become in practice, and what it means to consider Minecraft as one. Mark Bell defines a virtual world as “A synchronous, persistent network of people, represented as avatars, facilitated by networked computers.”6 Minecraft, if we are talking about the game that is purchased, is not necessarily persistent or synchronous. There is Edward Castronova’s wider term, synthetic worlds, which he defines as “crafted places inside computers that are designed to accommodate large numbers of people.” Minecraft still doesn’t fit that term, either. Minecraft is not one unified world, but a confederation of single player and multiplayer experiences, some of which are persistent because they are hosted on servers, and some of which are client-side.
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