In making my thoughts and assumptions explicit, I have very strong opinions about how World of Warcraft favors certain playstyles over others.  I feel that the design and “loudest” player groups have created a game culture that favors ambition, aggressiveness, and a focus on certain achievements over others.  (Warning: The following sentence might be highly subjective or half-baked).  High level or “epic/elite” activities, raiding, or player vs. player are seen as “better” than any-level activities like exploration, pet collection, or crafting.  While these any-level activities are not seen as unimportant, they don’t have near the prestige of the other activities, and are often treated as a means to an end.

After my first attempt at doing a semiotic reading of the FigurePrints service, I have a vague sense of a thesis.  This is something along the lines of: The FigurePrints interaction favors dominant, aggressive, and high-level players over players that are low-level or less concerned with aggressive or competitive play.

I begin with a statement about what the figure itself represents.  It is a text that represents the player’s time investment, their attachment to the character and the character’s place in the history of the game lore, the character’s (and player’s) growth over time, the character (and player’s) growth in a larger social context of friends and other players in the game, and on and on.  It is a text of rich and personal meaning, and the choices that FigurePrints provides limit players to only certain kinds of meaning.  I will illustrate this with a syntagmatic and paradigmatic analysis of the choices provided to players in the creation of the figure.

Syntagmatically-speaking, the creation of the FigurePrints statue consists of choosing from a Pose, a Base, and a set of Armor.

I think I need to explore the importance of limiting players to these 3 choices, but as of yet I haven’t analyzed it that much.  However, I currently can adequately speak about what each of these paradigms represent and what choices are given.

Pose as a representation of body language

Players can choose from 44 different poses, 33 of which involve the use of a weapon and depict the character in battle.  This leaves 11 poses that could reflect the character out of battle.  Of these 11 poses, 5 are gestures that depict behavior that is aggressive or negative in the culture of World of Warcraft.  There are the character poses of yell, chicken (taunt), rude (making an obscene gesture), train (a gesture that represents a despised activity in which a player or players, on purpose or on accident, lead a large group of monsters to another player resulting in chaos, game lag, and death), and beg (perhaps an even more despised behavior than a monster train).

The remaining 6 poses are stand, walk, wave, kiss, kneel, and sit.  Out of 44 possible representations of body language, this seems to be a very limited range of choices for creating a character figure that is NOT fighting or calling attention to the negative cultural aspects of the game.  Granted, the game is called World of WARcraft, not the World of Politeness and Compromise.  However, there is much more to a player’s character and gameplay than fighting.  Players engage in arguably more social/helpful scenarios than they do in fighting, and they collect plants, mine for metals, go fishing, craft items, and engage with storylines.  But there are no poses for any of these.

Base as a representation of [something]. < I don’t know what to put here yet.  It is a symbol of elevated status, of standing on top of something, of being built upon something.  I don’t know.  Anyway:

There are 4 choices of statue bases:

Marbled Floor: The “plainest” of all the bases, but represents a material of luxury and importance.

Horned Stand: Horns are aggressive, bestial, and associated with violence

Gold Mound: wealth, greed, achievement

Onyxia Base: This one is interesting in that it cost an extra $10, perhaps due to printing constraints.  However, more cost is usually associated with a “premium” or “superior” product, which in this case is the base that represents a large, epic battle against a dragon.  This particular battle is a well-known (relatively-speaking) raid in World of Warcraft, and is sort of a rite of passage for players that begin raiding.  Here the “premium” product is reserved for players concerned with raiding.

What is missing from this assortment of bases is the choice to have your character standing in a meadow, or at a crafting station, or near a fishing hole, all of which are places that exist in the game and can have very special meanings for players.

Armor as a representation of fashion and achievement

Choices of armor are limited to the armor you have actually collected in the game.  In the analysis I did, a level 80 character that has done many raids and player vs. player fights has 10 armor options as opposed to a level 20 character who has 3.  Additionally, 2 of these options are for Christmas outfits that every player has access to.  If you remove those options the armor choices are 8 to 1 in favor of the player that engages with game activities that reward players with special armor.

As I mentioned before, there are an incredible amount of activities that players can engage with.  Players can follow the storyline, harvest materials, craft items, play the stock-market on the auction house, explore the game world, collect pets, teach other players how to play, help out other players with difficult situations, make new friends, and on and on.  However, these activities in themselves are not rewarded with special sets of armor.  Special sets of armor are reserved for players that engage with high-level game content, and are successful in killing “epic” monsters, or defeating other players in tournaments.

Since FigurePrints only allows players to “dress” their character in the armor they have acquired in the game, this places a much higher value on high-level players concerned with raids and player vs. player activities.  This is most evident in the words used in the instructions:

These are the instructions shown to all players, regardless of if they have 8 sets of high-level armor to choose from or 1 low-level set of armor.

Any player without high-level armor could be described as either not interested in those aspects of the game that provide the armor, or as not “advanced” enough to have acquired it.  By not providing this player with as many options to “dress” the character, the player is limited in the ways he or she can create a meaningful representation of his or her character.

FigurePrints situated amongst other texts

And then I can also talk about FigurePrints as a creative activity concerned with creating an artifact that represents the player’s character.  In seeing FigurePrints as this, I can compare it to many other artifacts that are created to represent the character:  costumes, drawings, forum signatures, fan fiction, and the WoW Armory just to name a few.  In exploring these artifacts, I have seen an interesting occurrence: artifacts that are created from scratch by players have very different qualities than artifacts that are generated using information from the game.

Some future design implications?

Namely, game-generated artifacts seem to focus on achievements, statistics, armor, and items.  Player-generated artifacts seem to focus on personal stories and social elements.  Some of this is discussed by Silvia Lindtner, Bonnie Nardi, and Fernanda Viégas.  This will be more important in the future as representations based on digital data become a source for decision-making.  If social spaces like World of Warcraft use their digital data to reduce the rich experience down to statistics and equipment, what implications does that have for the ways in which we value others and ourselves?
EDIT: January 4, 2010.  Since first posting this, I have developed these thoughts more and have written several drafts of this paper.  It is currently a work in progress.

I only stayed for two hours, but what I got out of it was that “Acme” wanted me to know that they have created an entire design and development process for me.  It just so happens that every single step in that process completely relies on “Acme” products.  Additionally, the new software tool I was supposed to be learning was being presented as the solution to the visual/interface designer-developer communication gap.  No mention was ever made about actually talking amongst designers and developers, including a wide range of people on your team, or cultivating an open and communicative attitude in your business. No, with this new software tool, as a designer you can keep thinking the developers are a bunch of nerds (this is what “Acme” actually said numerous times in the session), and just do your work and pass it along.

Despite all this there was still something even more sinister at work: they spent two hours talking about the tool before actually opening up the software and using it.  This was to ensure that we thought about the tool “properly” before starting to use it.  This is what bothered me the most about the session, and it got me thinking about all the tools that we use to design things.  We as designers have the luxury to decide on our own how we will think about a tool, how we will fit it into our design process, and what our process looks like.  I feel that in their efforts to force a process on us, companies like “Acme” are just reducing designers and developers to cogs in a machine.

Design is not a machine.  No matter how much somebody wants it to be predictable and safe, it never will be.  Design is messy.  Design deals with wicked problems.  Design involves judgment.  This doesn’t sound so good considering everything that might be at stake with a design: time, money, safety, ideologies, etc.  However, the most anyone can hope for is that designers use tools and choose processes deliberately and with designerly rigor.