DOCSLIB.ORG

Performing Virtual Embodiment, Social Conduct, and Racial Imaginaries in World of Warcraft

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performing Virtual Embodiment, Social Conduct, and Racial Imaginaries in World of Warcraft View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Minnesota Digital Conservancy Here Be Dragons: Performing Virtual Embodiment, Social Conduct, and Racial Imaginaries in World of Warcraft A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Kimi Diana Johnson IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Margaret Werry, Associate Professor of Theatre Arts and Dance, Adviser December 2014 © Kimi Johnson 2014 i Acknowledgements I could not have completed this project without the village of people who saw me through the last six years. You all deserve more thanks than I could possibly give here. Thank you to the Social Science Research Council's Dissertation Proposal Development Fellowship and the leaders of the Virtual Worlds Working Group, Tom Boellstorff and Doug Thomas, for helping me outline and develop my initial research strategy for this project. The summer of funding and training in the ethics of digital ethnographic practice and in framing my research questions in an interdisciplinary light were invaluable. Thanks as well to the UMN College of Liberal Arts Graduate Research Partnership Program, for funding some of my most intensive ethnographic research, and the UMN Theatre Arts and Dance Department for supporting the presentation of my evolving thoughts on this site through numerous travel grants. Thank you (thank you, thank you) to my wonderful committee for reading my early work and understanding more than what I was trying to say and for pushing me outside my comfort zone: this project is the richer for it. I am particularly grateful to my adviser, Margaret Werry, for helping me take a pile of disjointed thoughts and sew them into a narrative that is more critically aware than I ever thought it could be. I don't think I could have found my way through this process without her unflagging support and motivation. Thank you as well to Sonja Kuftinec for reading my work and turning my attention to its connection to larger world events; to Gil Rodman, who asked the hard questions and forced me to think beyond my conclusions; and to Sonali Pahwa, whose reading helped redirect my thoughts when I fixated on minutia. ii I want to acknowledge the body of family and friends who have supported me with encouragement, love, and the occasional boot to the rear. I'm incredibly grateful to Stephanie Lein-Walseth and Eric Colleary for reading and re-reading my work over the past few months. Their feedback on my work was invaluable, but the camaraderie of our writing group helped me survive and thrive while developing this project. Shannon Walsh has been my rock for the last six years, providing a mixture of practical and professional advice that helped me find my balance in often shifting sands. Thank you as well to the wonderful friends I have made in the past few years, whose interest in my work pushed me to keep working on transforming my thoughts on a hobby into a proper dissertation. Carra Martinez, Elliot Leffler, Rita Kompelmakher, Virgil Slade, Sarah Saddler, Wade Haynes, Mike Mellas, Bryan Schmidt, Kelly McKay, Kristen Stoeckeler, Kane Anderson, and Jay Gipson-King have all been there when I needed a friend or a sounding board. Thank you especially to George McConnell, who kept telling me that World of Warcraft should be my research site until I finally believed him. In high school, I promised my grandfather that I would to be the first doctor in the family. I did not become the world famous surgeon that my sixteen year-old self envisioned, but I have somehow managed to keep my promise. I know you're proud, Papa, and I miss you dearly. Thank you so much Mom and Dad, for listening to me whine and procrastinate before telling me to get back to work (with love), and for encouraging me to always reach further than my grasp. Finally, thank you Chris, for making my ambitions your own and holding my hand through thick and thin. I'm so glad you've been beside me each day. iii Dedication To my husband, Christopher Weiss. I could not ask for a more supportive gaming partner or life partner. And... To my grandfather, Herbert Johnson, who sacrificed so much for his family's achievements. This project's completion is a promise fulfilled. iv Abstract This dissertation examines the performance of racial identity in the long-running, fantastical multiplayer online role-playing game World of Warcraft (WoW) and its role in shaping digital embodiment, guiding player conduct, and maintaining white racial hegemony in the virtual play space. As a space where players devise, build, and perform digital characters to play fictional scenarios, WoW is the world's largest form of participatory theatre. While this space provides a form of immersive escapism, it also asks players to emotionally invest in a narrative that reactivates the problematic racial imaginary of 19th century imperial modernity. Through the methodologies of cultural criticism and autoethnography, this dissertation investigates three components of WoW’s gaming environment: the narrative devices that shape a player‘s avatarial identity, the process of embodying a gendered and racialized virtual character, and the structural design of a gaming system that encourages players to perform white, heteronormative, hypermasculine, and neoliberal capitalist behaviors online or acquiesce to operating within a space that defines itself along such lines. The project focuses on the development of racially coded and narratively complex virtual bodies and analyzes how avatarial embodiment shapes player perceptions of self, race, and gender online. It relies on the concept of the interaction continuum, a term that describes the overlap between the social, virtual-active, and real worlds that form the game space, and stresses the importance of online sociality as the locus of the game‘s value. This study also utilizes the concept of governmentality to describe how the game designers structure knowledge of and about WoW‘s citizenry such that small player v populations govern themselves, but within the strictures of the game‘s digital code and the context of its fantastical yet whitewashed narrative. My analysis demonstrates that ludic online culture not only shapes player behavior in the role-playing space of a game, but also alters how players interact with one another in less narrative virtual social spaces. vi Table of Contents LIST OF FIGURES vii CHAPTER ONE 1 INTRODUCTION: GAMES AND MYTH IN THE 21ST CENTURY CHAPTER TWO 43 JUST A GAME, WHAT'S THE BIG DEAL?: OBFUSCATING THE EFFECTS OF THE DIGTIALLY 'POST-RACIAL' SPACE CHAPTER THREE 97 CRAFTING WHITENESS: EMBODIMENT AND IMMERSION AT WAR CHAPTER FOUR 143 CITIZEN OF THE WORLD (OF WARCRAFT): PEDAGOGIES OF RACIAL ACQUIESCENCE CONCLUSION 194 THE SACROSANCT TREEHOUSE: WORLD OF WARCRAFT AND THE SHIFTING SANDS OF GAMING CULTURE BIBLIOGRAPHY 207 vii List of Figures Figure 1.1. Floating chat panel. World of Warcraft. Screenshot August 10, 2014..........17 Figure 1.2 Character creation. World of Warcraft. Screenshot August 10, 2014............18 Figure 1.3 Interaction Continuum. Screenshot August 10, 2014.....................................20 Figure 3.1 Aktobe. World of Warcraft. Screenshot November 14, 2012.......................129 Figure 3.2 Aktobe's face. Screenshot World of Warcraft. November 14, 2012………..129 1 Chapter 1: Introduction: Game and Myth in the 21st Century "Every age has its storytelling form, and video gaming is a huge part of our culture. You can ignore or embrace video games and imbue them with the best artistic quality. People are enthralled with video games in the same way as other people love the cinema or theatre." Actor Andy Serkis, Interview in The Guardian November 8, 2010 “For all the talk about the merging of film and video game, and for all its inevitability, perhaps the secret of true convergence lies not in an external reality, but in an internal truth: What kids seek from video games is what we all seek from our own distractions--be they movies, radio, comic books, literature, or art: an escape from the mundane to the sublime, where our imaginations make of us heroes, lovers, warriors, and gods.” Devin C. Griffiths, in Virtual Ascendance: Video Games and the Remaking of Reality I have spent the last nine years of my life involved with, in some shape or form, the popular Massively Multiplayer Online Role Playing Game World of Warcraft (WoW)—seven of those years as an active (and sometimes over-active) player and community member. World of Warcraft is a sandbox game world in which players role 2 play heroic fantasy characters in an extensive virtual environment in real time. The game has just begun its tenth year as the leader of its genre and will launch its fifth expansion in November 2014. At its height it had over 12 million players—though it now boasts a more humble 7.5 million—and has defined the MMO genre since its launch in 2004. Despite being a space of play, this multi-modal game environment hosts thousands of small, active communities called guilds that define the game‘s value through their generation of social capital. World of Warcraft, then, is just as real a space for its players as social environments in the physical world. WoW is not just a game. Its interactions hold a weight that marks this particular virtual site as an intriguing space to study how identities are shaped into a new set of social standards. There is an impressive body of critical analysis in cultural studies that demands that we look beyond dismissals of broader popular culture as ―just entertainment‖. However, arguments that virtual game spaces are unworthy of or immune to analysis die hard among player populations— particularly in the wake of the Fall/Winter 2014 ―Gamer Gate‖ online attacks against those who work with video games as sites of critical inquiry.
Load more

Recommended publications
  • World of Warcraft Online Manual
    Game Experience May Change During Online Play WOWz 9/11/04 4:02 PM Page 2 Copyright ©2004 by Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of World of Warcraft, is subject to your acceptance of the World of Warcraft® Terms of Use Agreement. World of Warcraft, Warcraft and Blizzard Entertainment are trademarks or registered trademarks of Blizzard Entertainment in the U.S. and/or other countries.Windows and DirectX are trademarks or registered trademarks of Microsoft Corporation in the U.S. and/or other countries. Pentium is a registered trademark of Intel Corporation. Power Macintosh is a registered trademark of Apple Computer, Inc. Dolby and the double-D symbol are trademarks of Dolby Laboratory. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark ® Office and certain other jurisdictions. Arial is a trademark of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. ITC Friz Quadrata is a trademark of The International Typeface Corporation which may be registered in certain jurisdictions. All other trademarks are the property of their respective owners. Uses high-quality DivX® Video. DivX® and the DivX® Video logo are trademarks of DivXNetworks, Inc. and are used under license. All rights reserved. AMD, the AMD logo, and combinations thereof are trademarks of Advanced Micro Devices, Inc All ATI product and product feature names and logos, including ATI, the ATI Logo, and RADEON are trademarks and / or registered trademarks of ATI Technologies Inc.
    [Show full text]
  • In- and Out-Of-Character
    Florida State University Libraries 2016 In- and Out-of-Character: The Digital Literacy Practices and Emergent Information Worlds of Active Role-Players in a New Massively Multiplayer Online Role-Playing Game Jonathan Michael Hollister Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION & INFORMATION IN- AND OUT-OF-CHARACTER: THE DIGITAL LITERACY PRACTICES AND EMERGENT INFORMATION WORLDS OF ACTIVE ROLE-PLAYERS IN A NEW MASSIVELY MULTIPLAYER ONLINE ROLE-PLAYING GAME By JONATHAN M. HOLLISTER A Dissertation submitted to the School of Information in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Jonathan M. Hollister defended this dissertation on March 28, 2016. The members of the supervisory committee were: Don Latham Professor Directing Dissertation Vanessa Dennen University Representative Gary Burnett Committee Member Shuyuan Mary Ho Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Grandpa Robert and Grandma Aggie. iii ACKNOWLEDGMENTS Thank you to my committee, for their infinite wisdom, sense of humor, and patience. Don has my eternal gratitude for being the best dissertation committee chair, mentor, and co- author out there—thank you for being my friend, too. Thanks to Shuyuan and Vanessa for their moral support and encouragement. I could not have asked for a better group of scholars (and people) to be on my committee. Thanks to the other members of 3 J’s and a G, Julia and Gary, for many great discussions about theory over many delectable beers.
    [Show full text]
  • Sociality and Materiality in World of Warcraft Nicholas Anthony Gadsby
    Sociality and Materiality in World of Warcraft Nicholas Anthony Gadsby University College London Department of Anthropology A thesis re-submitted for the degree of Doctor of Philosophy May 2016 1 Declaration I, Nicholas Anthony Gadsby, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I conform this has been indicated in the thesis. 2 Abstract The focus of my thesis is the role and status of control in the MMO World of Warcraft where one of the primary motivations for player engagement was to eliminate and marginalise contingency at sites across the game that were perceived to be prone to the negative effects of contingency, a process that its developers were to a significant degree complicit in. My field sites traced the activities and lives of gamers across the physical location of London and the south east of the United Kingdom and their online game locations that constituted World of Warcraft and occasionally other online games which included the guild they were a member of that was called ‘Helkpo’. It examines how the transparency attributed to the game’s code, its ‘architectural rules’, framed the unpredictability of players as problematic and how codified ‘social rules’ attempted to correct this shortcoming. In my thesis I dive into the lives of the members of Helkpo as both guild members and as part of the expansive network that constituted their social lives in London. It demonstrates how the indeterminate nature of information in the relations in their social network contrasted with the modes of accountability that World of Warcraft offered, defined by different forms of information termed ‘knowing’ and ‘knowledge’.
    [Show full text]
  • The Wow Factor
    The WoW Factor A Study on Player Motivations in World of Warcraft Matias Puronlahti University of Tampere Faculty of Information Technology and Communication Internet and Game Studies Master's Thesis April 2019 UNIVERSITY OF TAMPERE, Faculty of Information Technology and Communication Internet and Game Studies Puronlahti, Matias: The WoW Factor: A Study on Player Motivations in World of Warcraft Master's thesis, 66 pages + 1 page of appendices April 2019 This thesis studies how player motivations in World of Warcraft have changed in the past fifteen years by comparing the oldest and the most recent versions of the game. Bartle’s taxonomy of player types is used to categorize different activities in the game which are then compared between game versions. A survey comprising of 23 items is used to gather data from players of both versions, and the results are validated using factor analysis. Significant findings are reported, and the differences are analysed to understand how the two versions differ in terms of player motivations. The results indicate that players of World of Warcraft have moved away from casual socializing. This is argued to be affected by game design choices and was reflected on the types of players the game currently attracts. Players of both versions of the game enjoyed playing with their friends, but players of Vanilla put more emphasis on different aspects of social play and exploration. Keywords: World of Warcraft, player motivations, player type, social, MMORPG Table of Contents 1. Introduction ................................................................................................................................ 3 2. Background ................................................................................................................................. 5 2.1 Historical overview of the game ........................................................................................... 5 2.2 Private servers, what in the World (of Warcraft) ................................................................
    [Show full text]
  • Transmedia Storytelling in the Warcraft Universe: the Role of Intermediality in Shaping the Warcraft Lore
    Transmedia Storytelling in the Warcraft Universe: the Role of Intermediality in Shaping the Warcraft Lore Eszter Barabás A research Paper submitted to the University of Dublin, in partial fulfillment of the requirements for the degree of Master of Science Interactive Digital Media 2020 Declaration I have read and I understand the plagiarism provisions in the General Regulations of the University Calendar for the current year, found at: http://www.tcd.ie/calendar I have also completed the Online Tutorial on avoiding plagiarism ‘Ready, Steady, Write’, located at http://tcd-ie.libguides.com/plagiarism/ready-steady-write I declare that the work described in this research Paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: Eszter Barabás 2020 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: Eszter Barabás 2020 Summary This paper examines the popular franchise known as Warcraft, applying the theory of intermediality to the different mediums that contribute to it, analyzing each of their roles and how intermediality manifests across all platforms. The three established forms of intermediality, that of medial transposition, media combination and intermedial references are used, as well as the concept of transmedia storytelling, considered a fourth type. These categories are first introduced and defined, along with the vast network of media artifacts that contribute to the Warcraft lore. Each consecutive chapter focuses on one form of intermediality, applying it to a few representative works from the Warcraft franchise.
    [Show full text]
  • MDY V. Blizzard and the Battle Over Copyright in World of Warcraft Ross Shikowitz
    Brooklyn Law Review Volume 75 | Issue 3 Article 8 2010 License to Kill: MDY v. Blizzard and the Battle Over Copyright in World of Warcraft Ross Shikowitz Follow this and additional works at: https://brooklynworks.brooklaw.edu/blr Recommended Citation Ross Shikowitz, License to Kill: MDY v. Blizzard and the Battle Over Copyright in World of Warcraft, 75 Brook. L. Rev. (2010). Available at: https://brooklynworks.brooklaw.edu/blr/vol75/iss3/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Law Review by an authorized editor of BrooklynWorks. License to Kill MDY V. BLIZZARD AND THE BATTLE OVER COPYRIGHT IN WORLD OF WARCRAFT I. INTRODUCTION Copyright law grants a limited bundle of exclusive rights to copyright owners.1 These rights include the exclusive right to reproduce and distribute the work.2 However, these rights are limited as the law distinguishes between protecting one’s intellectual property in a product and protecting a right to the product in and of itself.3 In MDY Industries, LLC v. Blizzard Entertainment, Inc.4 the District Court of Arizona upheld Ninth Circuit precedent that gutted this distinction, finding that the purchaser and user of the video game, World of Warcraft (“WoW”), is a licensee of that game, not an “owner.”5 By finding that a WoW user was a mere licensee and not an “owner” of the software, the MDY court concluded that the user was not protected by 1 See 17 U.S.C. § 106 (2006).
    [Show full text]
  • The Semiotic Ecology and Linguistic Complexity of an Online Game World
    Portland State University PDXScholar World Languages and Literatures Faculty Publications and Presentations World Languages and Literatures 9-26-2012 The Semiotic Ecology and Linguistic Complexity of an Online Game World Steven L. Thorne Portland State University Ingrid Fischer University of Groningen Xiaofei Lu Pennsylvania State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/wll_fac Part of the First and Second Language Acquisition Commons, Language Description and Documentation Commons, Semantics and Pragmatics Commons, and the Typological Linguistics and Linguistic Diversity Commons Let us know how access to this document benefits ou.y Citation Details Steven L. Thorne, Ingrid Fischer and Xiaofei Lu (2012). The semiotic ecology and linguistic complexity of an online game world. ReCALL, pp 279301 This Article is brought to you for free and open access. It has been accepted for inclusion in World Languages and Literatures Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. ReCALL http://journals.cambridge.org/REC Additional services for ReCALL: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The semiotic ecology and linguistic complexity of an online game world Steven L. Thorne, Ingrid Fischer and Xiaofei Lu ReCALL / Volume null / Issue 03 / September 2012, pp 279 ­ 301 DOI: 10.1017/S0958344012000158, Published online: 26 September 2012 Link to this article: http://journals.cambridge.org/abstract_S0958344012000158 How to cite this article: Steven L. Thorne, Ingrid Fischer and Xiaofei Lu (2012). The semiotic ecology and linguistic complexity of an online game world.
    [Show full text]
  • The Untapped Potential of Virtual Game Worlds to Shed Light on Real World Epidemics
    Personal View The untapped potential of virtual game worlds to shed light on real world epidemics Eric T Lofgren, Nina H Feff erman Simulation models are of increasing importance within the fi eld of applied epidemiology. However, very little can be Lancet Infect Dis 2007; 7: done to validate such models or to tailor their use to incorporate important human behaviours. In a recent incident in 625–29 the virtual world of online gaming, the accidental inclusion of a disease-like phenomenon provided an excellent InForMID, Department of example of the potential of such systems to alleviate these modelling constraints. We discuss this incident and how Public Health and Family Medicine, Tufts University appropriate exploitation of these gaming systems could greatly advance the capabilities of applied simulation School of Medicine, Boston, modelling in infectious disease research. MA, USA (E T Lofgren BA, Prof N H Feff erman PhD); and Introduction cured of the disease, mimicking the travel of contagious DIMACS, Rutgers University, Piscataway, NJ, USA 1 On Sept 13, 2005, an estimated 4 million players of the carriers over long distances that has been the hallmark of (N H Feff erman) popular online role-playing game World of Warcraft many disease outbreaks in history—eg, the Mongol Correspondence to: (Blizzard Entertainment, Irvine, CA, USA) encountered horde and the bubonic plague, or the cholera outbreaks Prof Nina H Feff erman, an unexpected challenge in the game, introduced in a of Europe during the mid-19th century.4 The highly Department of Public Health and software update released that day: a full-blown epidemic.
    [Show full text]
  • Warcraft® III: Reforged Is Now Live
    To Battle! Warcraft® III: Reforged Is Now Live January 28, 2020 Experience a pivotal period in the Warcraft saga through an epic single-player story spanning over 60 missions, and test yourself in battle online with Warcraft III’s timeless competitive multiplayer gameplay This full-scale modernization of Blizzard Entertainment’s real-time strategy classic features thoroughly overhauled graphics, a revamped World Editor, and full Battle.net® integration IRVINE, Calif.--(BUSINESS WIRE)--Jan. 28, 2020-- Relive some of the most epic moments in Azeroth’s history with Warcraft® III: Reforged, a thorough reimagining of Blizzard’s groundbreaking real-time strategy game. Combining the original Warcraft III: Reign of Chaos® and its award- winning expansion, The Frozen Throne®, Warcraft III: Reforged re-envisions a pivotal period in the Warcraft saga, with a robust single-player story spanning seven individual campaigns, a top-to-bottom overhaul of its graphics and sound, up-to-date social and matchmaking features via Blizzard’s Battle.net® online-gaming service, and a revamped World Editor to power the community’s creations. This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20200128005855/en/ Players will revisit the Warcraft III story in Reforged, with over 60 missions to experience from the eyes of four factions—the mighty Orcs, the noble Humans, the ancient Night Elves, and the insidious Undead. Players will witness firsthand key moments in Azeroth’s history, from the Burning Legion’s invasion to the ascension of the Lich King, and learn the origins of iconic Warcraft characters like Thrall, Jaina Proudmoore, Sylvanas Windrunner, Illidan Stormrage, and others.
    [Show full text]
  • Why the Humans Are White: Fantasy, Modernity, and the Rhetorics Of
    WHY THE HUMANS ARE WHITE: FANTASY, MODERNITY, AND THE RHETORICS OF RACISM IN WORLD OF WARCRAFT By CHRISTOPHER JONAS RITTER A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Department of English MAY 2010 To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of CHRISTOPHER JONAS RITTER find it satisfactory and recommend that it be accepted. __________________________________ Victor Villanueva, Ph.D., Chair __________________________________ Patricia Freitag Ericsson, Ph.D. __________________________________ Jason Farman, Ph.D. ii ACKNOWLEDGMENTS Greatest thanks go to my family guild, without whom I would never have played WoW for so long (or even in the first place, possibly): Dan Crockett, Annie Ritter, Dave Ritter, Betsy Ritter, and Peter Ritter. To my committee: Victor Villanueva, Patty Ericsson, and Jason Farman. Without your open- mindedness and encouragement, I would have succumbed to the derision of the Luddites and avoided studying what I love. To my colleagues/friends/professors at WSU, who helped me work out my ideas about this subject as they were born in several different seminars. Especially: Shawn LameBull, Rachael Shapiro, Hannah Allen, and Kristin Arola. To Jeff Hatch for his expertise with the architecture stuff. To The Gang, who helped me work out my ideas over beers: Pat Johnson, Sarah Bergfeld, Scott McMurtrey, Jim Haendiges, and Gage Lawhon. To my dad, Tom Ritter, for introducing me to Pong in like 1985 and indirectly putting me on the path that led me here. To Blizzard, not only for making a game that‘s kept me happy for approximately six times longer than any game had done previously; but more importantly, for providing the context and occasion for me to maintain long-distance relationships with people I love.
    [Show full text]
  • World of Warcraft: Legion Hardcover Blank Sketchbook Pdf, Epub, Ebook
    WORLD OF WARCRAFT: LEGION HARDCOVER BLANK SKETCHBOOK PDF, EPUB, EBOOK . Blizzard Entertainment | 192 pages | 17 May 2016 | Insight Editions | 9781608876877 | English | San Rafael, United States World of Warcraft: Legion Hardcover Blank Sketchbook PDF Book The design needs to match the idea. Dropshipping Fabian Siegler. If the price is too high, you may want to consider buying in bulk or waiting until there is a promotion on the item. The Art of World of Warcraft - Monatskalender. Russo Cissp-Issap Ciso. Pre-order - out 31 Jan As the Swarm boils in chaotic uncertainty, Arcturus Mengsk has seized this opportunity to bolster his Dominion forces. World of Warcraft: Poster Collection. Dropshipping Fabian Siegler. The Illidari Hardcover Journal By nooah Polygonmonster says:. You can submit as many entries as you like, but only submit new work that you created for this contest! Solo projects only. Russo Cissp-Issap Ciso. Keep in mind the character is optional. Jake Ramsey -- an unassuming, yet talented archaeologist -- has been given the chance of a lifetime. Tags: illidan stormrage, world of warcraft, wow, minimalist, warcraft, games, videogames, minimal, purple, green. Published: May 17, Illidan Hardcover Journal By Snoweflake. Warm yourself by the fire and hear the story of how Hearthstone came to be, growing from a small-team project to the worldwide success that it is today with more than 50 million players. Hours of Play:. Kubernetes Handbook Stephen Fleming. Russo Cissp-Issap Itilv3. When you shop for a new warcraft legion, make sure to read through the product descriptions. As long as the models are created from scratch by you and not taken from the game in any shape or form.
    [Show full text]
  • Download Warcraft: Lord of the Clans Free Ebook
    WARCRAFT: LORD OF THE CLANS DOWNLOAD FREE BOOK Christie Golden | 278 pages | 01 Dec 2016 | Blizzard Entertainment | 9780989700115 | English | Irvine, United States Warcraft Adventures: Lord of the Clans With this one, I just couldn't. You throw Durotan into this mix Blackmoore secretly raised the orcling Thrall within the confines of his prison fortress Durnholde. Award-winning author Christie Golden has written over thirty novels and several Warcraft: Lord of the Clans stories in the fields of science fiction, fantasy and horror. He held it aloft with seeming ease, then brandished it at Thrall. February 14, That's how pivotal it is to the entire world of Azeroth. Golden is a outstanding writer, I never Warcraft: Lord of the Clans the wow into reading and I don't know if it's her writing or the story but now I love to read. It's like watching Jackson's Lord of the Rings trilogy and then switching on The Hobbit animated movie. Every twist showed Thrall's personality grow and shape. She deserved more than she actually got. Apr 11, Ken Badertscher rated it it was amazing. Very character driven, which I enjoyed. Other books in the series. Really well-written insight into Thrall's past, psyche, and what drives his need for leadership. He remarked, "It's one thing to have a bunch of cool stills, and it's another thing to have Warcraft: Lord of the Clans fifteen-minute short to show them. Hardcore Gaming They apparently would have been killed by an intense bright light, causing their flesh to melt.
    [Show full text]