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Stories & video games : investigating narratives through play


par Quentin FAUCHIE
Université de Bordeaux Montaigne - Master Etudes Anglophones 2022
  

précédent sommaire suivant

Bitcoin is a swarm of cyber hornets serving the goddess of wisdom, feeding on the fire of truth, exponentially growing ever smarter, faster, and stronger behind a wall of encrypted energy

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II- The world of a game: playground for personal narratives

Until now we have mostly explored the tension among narratives and gameplay on the basis that the game tells a story in a consortium with the player's actions: it relates the events in accordance with their progression. In that regard, to complete a game is to respond to the developers' intentions, and apply to their storytelling ambitions. In his book Half-Real: Video Games Between Real Rules and Fictional Worlds, Jesper Juul, however, identifies two game structures with two ways of creating challenges for players: «emergence» where simple rules create variations and «progression» that entails challenges presented serially (Juul 2005, 5). A distinction that he emphasizes is not a categorization, but a mere description of two models that can, in fact, overlap with each other.

Through Hades we investigated interactive storytelling in which the player mostly acts as a participant, meaning the authorship still lies primarily on the designers' hands; the player drives the plot as the hero but still follow a more or less straight line. But as we saw earlier, narratives in video games acquired many distinctive forms that result from the design of space in games, one of them embracing the «emergent» structure Juul mentioned:

Emergence is the primordial game structure, where a game is specified as a small number of rules that combine and yield large numbers of game variations for which the players must design strategies to handle. This is found in card and board games, in sports, and in most action and all strategy games (ibid, 5).

Emergence comes from the many possibilities the rules of a game offers. Simple rules lead to complex and often unforeseeable consequences (Arsenault, 2005) that escape the designers' expectations; the player interactions are not planned but rather an occurrence that creates novelty and surprise for them and the system. It is a rule-based system rather than a pre-scripted one. Strategy centered games for instance are susceptible to that phenomenon, since the players usually craft their own method to beat the game. According to Chauvin et al., emergent games possess «specific characteristics» for emergent narratives to happen, which are «coherence, agency, possibility space, uncertainty and co-authoring» (Chauvin et al. 2014).

Emergent system is I believe best described using Tabletop RPG (or Pen and Paper RPG) as reference: the Game Master (GM hereafter) determines the full scale of the world and its rules, while the players can take any action redeemed possible in it. Therefore, narrative possibilities become unnumbered, the GM and the players' imagination stands as the only limit of the game.

Video games labeled as RPG reprise this principle, with the role of the GM assigned to the computer system. The player takes control of a character--an avatar of their own creation or not--within a world where their choices become impactful. Their avatar thus represents a way into the story, the point of entry for the narratives (Murnane 2018, 39). Something the open-world, one of the most prominent level-design concepts nowadays, highlights: players appreciate freedom of exploration and approach objectives in a nonlinear manner. They are in control of character they project themselves into. Those games are cases where an overlapping of emergence and progression occur; they offer freedom whilst in a same time contains the player toward a main storyline. Especially in online multiplayer games with an Open-world set up, the vast environment in which players can freely navigate let them display «emergent behaviors.»

A- A place of Freedom, living and retelling in the Open-World

Open world games are particular regarding storytelling. In today's standards, the narrative

process relies on the designers as well as the imaginary capacity of the player. Similar to

Tabletop RPGs, narratives are generated by both sides: the GM (designers) crafts the world, its

background and rules, fashions various plots alongside the player the live the game through

their avatar. This narrative outline is referred as «narrative duality» by Cayatte Rémi:

The specific feature of video games `narrative rest upon the possibility, if not the necessity, to have both sides alternately share the narrative responsibility, in a dynamic of cybernetic oscillation between two authors: the designers and the players. [...] Video games tell a story by allowing an almost simultaneous dialogue between the framework's creator and the players as the author of one or several plots of a game (Cayatte 2018, 12-13, my translation).

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Cayatte applies this principle of narrative duality to the medium as a whole. The designers

frame the world of a game; the temporality of the game and the unfolding of the stories depends

on the players--as we stated above with Hades. However, open world games tend to embrace

that conceptualization of shared authorship, with both the need of having the player follows a

guided storyline and the necessity of giving them the capacity to fashion their own experience.

With that said, the open world concept displays numerous forms; some focus on the

player experiencing the game's world as a vast playground where the objectives are mostly

their own. That is the case with Sea of Thieves, for which the experience around the player's

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capacity to navigate anywhere they please from the get-go. Others like The Witcher III are more

narrative-driven, they use the open world as a means to deliver a story with a stronger

framework (Fregonese 2017, 127).

Open world, the playground of emergence

The concept of open world encompasses numerous codes and as it is, could be seen as

ill-defined. Often label as a genre, it is more accurate to describe it as a form of level design

that provides players a large playing area, the freedom of movement and exploration--no

constraint on the direction to take--and the means to forge their own adventure. Typically,

games with open world leads towards emergent gameplay, since the player is given a certain

level of agency which enables them to have the game's world respond to their actions. Freedom

is usually the word used to describe the promise of an open world game, and what is expected

from the label. But that type of design exists on a spectrum: games use it on very different scale,

for different purposes and do not necessarily answer to the same criteria. Should we take The

Elder Scrolls V: Skyrim (Bethesda 2011) and Cyberpunk 2077: both are to be considered open

world games, but their use of the design differs from one another.

The open world in Cyberpunk 2077 is found in Night City; a very dense city and whole

entity for which its role can be perceived as a character. The purpose of Night City is to immerse

the player into a cyberpunk setting, to display the lives of the people who live in it. The city

remains the core of the plot until the very end and constantly expose the game themes: disparity

between people, power struggles between corporations, over presence of body transformations,

etc. The player is supposed to witness the world's contradictions, the dystopia, to reflect about

the high-tech era and what drives the various storylines. Night City directs the game' narratives,

and frames the plot along the several quests--main or secondary. The city's omnipresence

constantly affects the characters, how they act; the player deals with ubiquitous adds that expose

human decadence, in part through the very invasive technology displayed in [Figure 5

]. Rather

 
 

than being at the center of the experience, the open world structure serves the story and immerse

the player through environmental and textual narrative for them to be confronted with the city,

with the world it embodies. The open world is the narrative core of the game.

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Figure 5 - Cyberpunk 2077, in-game ad in which a track and field runner appears to be in an F1 pit stop

For Skyrim, the main idea behind the open world is the freedom afforded to the player. Though the player is imposed a strong narrative arc--their heroic destiny as «Dragonborn» and their role to be in stopping the dragon Alduin, the World-Eater--they quickly become able to navigate the world (Skyrim) as they wish. That is not to say it is not possible with Cyberpunk 2077, however, Night City, with how dense it is, is meant to be almost suffocating: the world influences the player more than they influence it. In contrast, Skyrim exhibits a more open space that calls for exploration, the limits of affordances are less defined--a difference in design that can be observed on [Figure 6] and [Figure 7]. The path of exploration in Skyrim, and by extension the order in which the sequence of events is running, is up to the player's discretion. In other words, the game encourages emergent narratives by letting the player experiences the world as they see fit. In his dissertation Emergent Narrative: Stories of Play, Playing with Stories, Eric Murnane notes that Skyrim's open world shines by its large possibility spaces, which generates many opportunities to form emergent narratives:

Perhaps the most important part of emergent narratives is how unexpected they are. A game such as Skyrim is a large open world which the player is free to explore. [...] Possibility spaces in emergent narratives are, at their core, opportunities in the form of algorithmic randomness. It is the combination of these that make new and interesting narratives arise. With a large enough number of variables, the possibility space approaches infinity. This is certainly the case of a game like Skyrim. There are sufficient moving parts in this game that the odds of two players having the exact same play experience in game are staggeringly low. (Murnane 2018, 30)

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The player is able to approach the game in a way that remains unique to them. The main plot will enact the same ending whatever happens during one's playthrough10, but the player decides how to get there. They can join the Guild of Mages and learn more about magic, the Thieves Guild, help the empire or fight it with the rebellion ... ignore any side and act as a lone wolf, chose to live as a vampire or a werewolf, etc. A multitude of actions with which the player shapes their adventure and determines its implication in the game's world. The main plot appears less important than the lore the player can have access to--a whole mythology, strengthened by the previous Elder Scrolls game. Skyrim's open world seeks to be the experience itself, along non-sequential narratives dispatched here and there, instead of a complete framework of storytelling (Fregonese 207, 128).

Figure 6 - Cyberpunk 2077, City Center district of Night City.

Figure 7 - Skyrim, region of Faillaise.

10 Skyrim's epilogue displays discrepancies (mostly in the dialogues) depending on some of the choices available to the player. However, the main plot's finality remains unchanged.

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With their affinity with emergent gameplay, open-world games are often occurrences that display an overlap between the two models described by Jesper Juul. Taking The Witcher III as another example: like Cyberpunk 2077, the game revolves around a rich story-- mainly due to the fact that it is adapted from Andrzej Sapkowski's books--that have a definite number of endings depending on how the player branch the narratives. Despite the variety of choices available to the player and the numerous plots that can branch the story, The Witcher III nonetheless depicts a storyline from a point A to a point B. Still, the player can easily ignore the main storyline for hours and hours, perform side quests in any order (most of the time) they want, hunt monsters, visit towns, etc. Also, contrary to The Elder Scrolls V: Skyrim, The Witcher III has much less personalization to offer: the player can only play as Geralt, while the gameplay frames the possibilities around the latter as a Witcher. Nonetheless, the player can build their own experience through the free exploration of the world. They can stumble upon a powerful monster meant to be slain later or through a specific quest; discover a cave that hides valuable treasures; wander in the wild without any objectives whatsoever. Once again, the vast open space let the player control the majority of events that happens independently from the main story--though it eventually happens in a set of interactions allowed by the game designers, how the player lives those events are out of their control.

I chose to describe and compare those games in order to underline the narrative scope

within the open world concept. It also served to highlight how open world games display

characteristics of progression as well as emergence: while giving a large space to play in without

too much restraint, they still provide an objective to fulfill in a more linear sequence. In Skyrim

and Cyberpunk 2077 cases, it is their main quest, for which the end represents the climax to

reach. For Juul, who takes Grand Theft Auto III as an example, this type of structure allows the

completion of the story in various manners, independently of any expectation from the game:

Grand Theft Auto III is structured in two different ways: In the big picture, the game is a linear sequence that the player has to complete, from being betrayed in the beginning of the game to finally getting revenge. There are a few optional missions and a few missions that can be completed in different orders, but overall Grand Theft Auto III is a game of progression. It is up to the player to complete the mission in the way he or she wants. The advantage of structuring a game like this is that the player experiences a predefined story by completing the missions, while having freedom to solve the tasks in different ways (Juul 2005, 82).

Emergence does not entail an unlimited potential; as we stated before, the more agency the player gets, the less designers can yield control over the storytelling. As such, video games embedded in an emergent system still give the player a sense of purpose. In fact, most of the

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video games do not solely rely on a progression or an emergent structure, and lie somewhere between the two (Ibid). Talking about Skyrim, Eric Murnane states that the absence of «a strong imposed narrative which guides the gameplay» would render «quite difficult for the player to either enact it or reject it» (Murmane 2018, 23). In other words, the player's own action--inside or outside the main storyline--carries out meaning because of the primary narrative (in this case, the player's status as the Dragonborn, and their heroic destiny). Likewise, Hades, which we previously categorized as a game of progression--the player has no direct control over the story's pace, since it depends on whether they manage to escape the underworld--comprise several elements which I would describe as emergent. For instance, the variety of weapons and gods' boons combination afford the player a strategic spectrum in order to beat the game; there is not a predetermined method to do it.

Moreover, lots of open-world games do not afford the player to move as they please at first. The games intentionally limit their freedom for them to become accustom to particular mechanics, learn important details about the world they are about to explore. The beginning of Skyrim is rather relevant in that regard: the player character is an unknown prisoner whose hands and feet are bound, transported in a cart towards their place of execution -- they can only watch around them. During the short travel, several key elements of the game world are unveiled until comes the identification of the character. This limiting opening scene exposes the narrative space to the player, who then is encouraged to freely explore it afterwards (Murnane 2018, 44). A similar concept is used in The Witcher III: its first area, while freely navigable, can only be left once the player reaches a certain point in the main quest. The game tightly frames the first steps of progression in order to convey its primordial mechanics in a more efficient way.

For open world games, the focus ultimately lies on finding a good balance in the combination of scripted, narrated gameplay (progression) and the freedom of interaction within the said world -- something that is usually a regulation of narrative design. According to Patrick Redding, who worked as a narrative designer on Far Cry 2 (Ubisoft Montréal, 2008), the story is an output which is infused with certain themes, supported by a premise and specific mechanics. Thus, it is important to differentiate «the premise of the game and the story, which is ultimately the thing that unfolds as a result of player input» (Chris Remo & Brandon Sheffield 2008). Therefore, it is all about providing a narrative premise and let the player decide what to make of it; the environment and the characters support and drive their journey down the world. Control over the narratives is lessened for the designers, in order to bring the game's

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story under the spotlight. Certainly, most of the open world games imbed creative ways to impose the main, storyline on the player without breaking their experience of freedom. Side quests are one of them: they tend to distract the player from the principal objective by giving them substantial contents that do not interfere with the main story. In Cyberpunk 2077 such quests are used to deepen the player's understanding of the world, while offering them the opportunity to create a more meaningful adventure--they can for instance develop a romance with some characters. Though some of those quests deliver additional endings for the main plot, they happen in parallel most of the time. Then, advancing further on the main quest will unlock several more side quests. An almost virtuous cycle which ensure freedom within a dramatic storyline.

One other method often used in open world games to keep the player at least partly focused on the intended experience is what has come to be known as the «Ubisoft Towers» («Open World» 2022). The game initially provides only a section of the map and requires the player to perform particular challenges or obtain specific objects in order to reveal other sections. By doing so, numerous points of interest and new objectives (quests, events, etc.) become apparent. The name «Ubisoft Towers» stem from the studio Ubisoft that promoted this principle across most of their open world games (ibid), starting with the Assassin's Creed series in which the players need to climb actual towers. Since then, the mechanic has been reprised by many games like The Legend of Zelda: Breath of the Wild (Nintendo 2017), Batman: Arkham Knight (Rocksteady 2015) or more recently Ghostwire: Tokyo (Tango Gameworks 2022).

In the framework of Jesper Juul, the concept of open world establishes a game as

«emergent games with progression components» or «progression games with emergent

components,» hybrids of the two models he describes (Juul, 2005, 71). That type of design aims

at non-sequential experience of explorable spaces and the player's experimentation with the

game's world, without letting them directionless nor without clear-defined objectives. Even

Minecraft provide a semblance of pre-designed progression notably with its achievement tree

(Advancements)11. Designers work around their control over the narratives and the player and

gauge the balance based on the experience they wish to convey. As Arsenault points out, as

emergent as a game aim to be, it nonetheless seeks «to fashion a given experience.» The player's

free will «remains framed by the conception choices that structure the system» (Arsenault 2011,

11 The advancement system (previously called achievement) provides players a list of challenges to complete, in order to gradually guide them through the game («Advancements» 2019).

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228). From one player to another, the adventure in the world of Skyrim varies in a lot of ways--

and a player lives a different one each time they redo the game. Still, it occurs «within the

possibility space that constitutes the whole game experience» (ibid).

Nevertheless, emergence remains an inherent part of the open world design, the product

of a desire to offer a semblance of freedom, or at least sufficient autonomy for the player to not

feel entrapped by a scripted, linear game. Some games strongly rely on the player to build up a

story: they focus on delivering an experience that renews itself for each session.

Generally, when we discuss emergent video games, we think about sandbox games. Set up in open world environment, they let the player to their own devices right from the start and usually allow them a great degree of creativity. The most notable includes Minecraft, The Sims (Maxis 2000) series or Terraria (Re Logic 2011), to name but a few. Here again, sandbox englobes a conglomerate of games and different gameplay experiences. Hence, it is as much perceive as a genre than a type of gameplay or design. In a talk with Gamasutra, Matthew Woodward, Senior Designer at CCP (Eve Online), discusses the ambiguity of the term:

[«Sandbox»] is really hard to define, because it is so ingrained in what we do, that we know what it is, but it is hard to put into words [...] Basically, it is three things: being social, goal-driven and emergent--making a game open, giving players control, essentially, and if you are making a multiplayer game, making it as social as possible, because that is why they are playing the game in the first place (Kris Graft 2012).

Woodward emphasizes later that emergence is the most important aspects (ibid). Sandbox thus tends to define games with strong emergent systems, in which player is given most of the control--but still driven by a goal. The term sandbox itself refer to the container children used to play with sand and create more or less anything they want («Sandbox game» 2008). For this reason, the label entails the ability to freely create. However, it does apply to games where there is nothing to build in the proper sense: Skyrim and GTA III are designated as sandbox games for their ability to offer the player freedom to complete tasks as they wish, and to interact with the various inhabitants of the game's world. The «sandbox» part intervenes more in a moral sense (doing bad things, good things) and within the possibility of navigate the world freely (Murnane 2018, 23). Sandbox, in a broader sense, designate open world games that focus on emergent systems to create emergent gameplay and narratives.

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Sail close to the game: a player's methodology

In order to explore emergent narratives in context, I directed my research towards Sea of Thieves. The title is a first-person12 open-world adventure game which embraces the sandbox format, developed by Rare and released in March 2018. We assume the role of pirates in command of a pirate ship, alone or up to four players, and navigate the vast open sea in search of numerous treasures, islands to explore and challenges to face. The world is shared by several players simultaneously: encounter leads either to ferocious battles for one side to rip the other from their spoils, or to form alliances in order to kindly share the loots.

I chose to analyze this game for I believe it perfectly represents emergence in video games: it displays few defined rules, while it greatly encourages players to partake in their own adventures. Our voyages can be set up independently from any quests, or we can take expeditions submitted by the games (trading companies)--each play session becomes unique. As a matter of fact, the game was designed with the intention to provide a playground where players would fashion stories and then recount them. Shelley Preston, senior designer at Rare, explains in an article for MCV/DEVELOP Magazine what the studio was set on when they begin to work on the game:

Ultimately the idea for Sea of Thieves can be distilled into a simple terminology that we use: players creating stories together [...] It was inspired by looking at this emerging trend where there were lots of videos online of people playing games in unique ways, using the game almost as a backdrop to have their own stories. [...] And then at the same time we were obviously looking ahead to the future and thinking about streaming. At the time it was on that trajectory towards being as big as it is today and we were thinking about how perfect streaming would be for a game like this and how we could make a game where it was as watchable and shareable as it was playable. So really the context was making a game where players could create stories together that could be shared socially (Preston 2019).

Thus, Rare did not just focus on the player experience, it developed the game to be an adventure that can and would be shared. The game itself became the backbone for the player and their endeavors. Rare also designed the game around its streaming capacity, so the stories would be recounted through Twitch13 and YouTube for hundreds and thousands of people to live the same

12 First person in video games refers to a particular in-game perspective in which the game renders the viewpoint of the player's character («First person [video games]» 2007). The player plays through their character eyes and usually only see its hands or its weapons.

13 Twitch is a live-streaming platform which let anyone broadcasts various content. It primarily focused on video games live streaming but includes a lot of other categories like «Just chatting,» «Music,» «Sports,» etc.

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adventure, a socially shared one. Sea of thieves is also set in a world of constant evolution; portrayed as a «game as a service»14, it regularly provides new contents for players to enjoy and to bring out new rules of their own. To experience various situations, I focused the several play sessions on the «free adventure» mode--which let you unattached by an initial quest--for the greatest amount of autonomy, and played the sessions with different self-made objectives each time.

The purpose of my research towards Sea of Thieves was to better comprehend «stories told by players.» To that end, I devised my methodology in two steps: first, I experienced the game myself, accompanied with three other players, then alone. For the interpretation of the data collection to be insightful for the narratives at hand, I followed Murnane Eric's example in his work on Skyrim, taking on «the role as player rather than researchers» (Murnane 2018, 26). Second, I collected data about other players' experiences of the game by investigating the official forum as well as the dedicated Reddit page (see Annex: Sea of Thieves related posts sampled).

The inquiry was inspired by Nardi's approach in her analysis of World of Warcraft (Blizzard Entertainment 2004), a digital ethnography she explains to be a procedure that «go with the flow» and follow «the interesting and the unexpected as they are encountered in the field» (Nardi 2010). My overall methodology is thus a «participant observation»; to comprehend the game's mechanics, its rules and their application by the players. Essentially, my focus was on the narratives and the experience from a player's perspective, while I examined the story as a complete meaningful unit. For the following analysis, I also used Cayatte's approach on narrative duality, with the «framed experience» on one side (the experience as planned by the designers) and the «procedure» on the other (how the player «proceeds» within the game) (Cayatte 2018). It situates the player as coauthor in the possibility space of the game. Murnane describes it as «what the player experiences in the moment compared to the numerous possible things he/she could be experiencing» (Murnane 2018, 13). It is an acknowledgement of the uniqueness of one play session: emergent narratives are therefore experiences framed by the player within a vast possibility space. They thus recount their play session with selected details «out of all the possible interactions which happened in that play section» (ibid, 14). In the section «Hundred Thousand Billion Fingers» of their book

14 Game as a service (or GaaS) represents videogames provided with content on a regular basis, which primary goal is to retain players as long as possible. It is a way for studios to monetize the game after the release and to keep the game ahead in the industry news by continuously communicating around it (Epyon 2017).

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Metagaming: Playing, Competing, Spectating, Cheating, Trading, Making, and Breaking Videogames, Stephanie Boluk and Patrick Lemieux explains the phenomenon and states that the players «do not experience the multiplicity, but rather the singularity of each engagement» (Boluk & Lemieux 2017, 176).

Emergent narrative in Sea of Thieves: a pirate life for the player

As I explained above, Sea of Thieves put you in command of a pirate ship. It can either be a sloop, a Brigantine or a Galleon, all suited for a certain number of players. To begin with, it is not just about «driving» around a ship to go from point A to point B. You have to actually manage it like a real ship--though it is obviously simplified. Sails must be hoisted, then adjusted according to the wind; the ship damage must be repaired; you need to bail the water out of the ship... When playing with 3 or 4 players, which entails the use of a Brigantine or a Galleon, there is a greater need for coordination. Operating those large ships can indeed prove difficult, but the actions required to run them can be executed faster in groups (like to raise the anchor or set the sails). In like manner, piloting the boat asks for a mate to call for any obstacle that would come in the way, or to give direction when needed, since the pilot has almost no vision in front of them.

What is notable here is that the game strongly emphasizes what happens (and can happen) on the ship. While the avenue for exploration and discovery stands at the pinnacle of what the game offers, the most memorable moments of one session tends to happen on the ship. For one thing, the management of the ship obviously calls for fantastic fails from the players, whether because of miscommunication or because no one saw the enormous rock in the middle of the sea. Between two destinations, a lot can happen, and when nothing does there are still a lot of things to do: playing music, fishing, drinking until someone pukes everywhere, going for a swim, dancing and using pets as cannonballs, etc. Sea of Thieves provides many features for players to «create something» on their trips aboard the ship. Their story is written along their wandering through music in unison [Figure 8] and frenzy drinking session; you can even put one player in prison, for whatever reason. There are many minor interactions such a sleeping in a bed, cooking meat or sitting on the bow [Figure 9] to help them feel they «live» in the world, actions they are able to contextualize and weave into narratives. For Fregonese, these emergent narratives «work more through incidental details than the gameplay loop» (Fregonese 2017,

Figure 8 - Sea of Thieves, the crew playing music in unison.

Figure 9 - Sea of Thieves, my character sitting on the bow.

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66). Our own stories are crafted from these various interactions which does not necessarily serve the gameplay, but our immersion into the game. That is why the title takes the liberty of putting great distance between the different islands and objectives. During my sessions, it was not uncommon to navigate for more than twenty minutes before we could reach our destination, giving us plenty of time to fool around and interact in silly manners.

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To a same extent, Sea of Thieves attempts to make you feel pirate as much as possible with numerous immersive details: destination is set using a «physical map» disposed on the ship, you navigate using a compass while your equipment consists of old guns without any sort of reticle and poor accuracy (Warren 2018). During a gameplay session with some of Polygon's journalists, Shelley Preston said that they heavily focused on the «pirate adventure, the sense of travel and exploration and discovery.» All in all, the main goal was for the players to have a «feel of children playing dress up, that sense of playing pirate.» (Preston 2018).

A lot of effort has also been put into environments, with a truly astonishing visual for the sea, storms which sound and feel realistic or volcanic islands whose volcano erupts and throws lava rocks within a wide area. In a GDC talk, Rare's art-director Ryan Stevenson outlined the essential role played by the game's environment and its influence on the players:

In Sea of Thieves clouds form, waves crash and the sails billow in the wind ... the plants would sway in the breeze as well. From the swell on an ocean, to the swinging of lanterns below deck, the world was never still. This is especially prominent in the water and also the sky weather and the passage of time. This was really important to create that sense of living world and that drama of being on a pirate ship, sailing through the waves [...] So we knew that these [the environment] was gonna be a really important part of the game. The sea was gonna be this powerful character within the world; we wanted it to be dynamic and also feel like its own entity, had the power to force the player around in the world so as their boat is crashing through the waves triggering these emotions as you ride over the crest. And it varied from appearance depending on where it was in the world, so from calm lagoon, to big storms, to just the open sea (Stevenson 2018).

In the game, the environment certainly has a strong impact on our immersion. The world looks and feels organic, it has us believe in its living and persisting state; the sea changing state between a calm friendly water into a dreadful storm feels natural enough to feel like we truly have to constantly take it in consideration. This is no surprise considering Rare treated the sea as a fully-fledge character, both here to be contemplated and faced. Without a doubt, environmental storytelling here exerts a hold over our ability to fashion our adventures: our surroundings meaningfully imply the context, which we use to mold our identity within the game, and within the narratives. We craft our own stories as adventurous pirates inside the flow of information continuously delivered by the world. An anecdote I find revealing as an illustration is that me and the people I played with, used navy and pirate dialect without realizing it at first. Right and left became starboard and port side («tribord» and «babord» in French), behind became astern («en poupe»), the flag our «colors,» etc. We instinctively used basic knowledge of piracy--at least what we knew from fictions.

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For most of my play sessions, I and the other players decided to go with our own objectives, putting aside any story-driven quests (the «Tall Tales»). We decided on an Island to explore or an event to take part of and set sails there after we carefully stocked up foods, wooden planks and cannonballs. Beyond the interactions we can perform to animate our travel I described above; numerous events unexpectedly took place along our peregrinations. Although our adventures often proceeded without any turbulences, what we can designate as a snowball effect occurred quick enough to throw us off balance. As we sailed in direction of a Skeleton fort that just spawned, another players' ship appeared. The «pirates» on the galleon took battle stations in a blink of an eye and fired upon us. At this instant, coordination becomes even more crucial: while some of us would repeal the assailants boarding us, the others had to patch up the holes on the ship and bail out water with the buckets to avoid sinking. Many cannonballs exchanged, boardings and skirmishes later, a megalodon appeared out of nowhere and assailed the other players. We thus took the opportunity to sink their ship, retrieved their treasures, then sailed away. Alas! Before we could reach an outpost - where we are supposed to obtain gold from our various treasures - the sea became black as the night; a few moments later, a giant Kraken stormed us [Figure 10], sunk our ship and ultimately ripped us off of all our loots.

Figure 10 - Sea of Thieves, random appearance of the Kraken, known to be the strongest creature of the game

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This succession of events was the results of the players' actions and procedural events generated by the game - in this case, the Megalodon and Kraken apparition. A simple cocktail that nonetheless led to unexpected situations and helped us forge this unique story. Upon our encounter with the rival pirate ship, we could have faced a thunderstorm, skeleton ships, ghost fleets, or other monsters, but it happens this way, with the giant shark and the big bad octopus, at this very precise moment. Another key point to take note of is how the players are able to approach such situations. During the confrontation, each side tried different stratagem in order to bring the other down. One of the enemy's players snuck into our ship and dropped anchor, which momentarily immobilized the vessel and was now prey to a storm of cannonballs. Meanwhile, due to our low stock of ammunitions, some of us took explosive barrels and dived under the enemy's ship to make them explode from there, greatly damaging their hull. Like Chauvin et al. pointed out, «emergent games more easily allow the possibility for dramatic actions that greatly impact the course of the game» (Chauvin et al. 2014).

In an play session on my own, another memorable encounter occurred: as I brought treasure chests aboard my sloop, a player jumped aboard my ship without me noticing. He then surprised me with the in-voice chat as he shouted words I could not comprehend. As I was about to shoot him, he began circling around the deck while he held a banana in his hand and asked me where I came from. Once I told him I came from France, he started playing music and sung in French, going on about «baguette» and «saucisson». He then offered me an alliance, and finally jumped off the ship. A hilarious moment for sure, but also a demonstration of players' unpredictive behavior. The fact that he used a banana and music as a peace offering is, I believe, a simple yet good example of how one is able to use interactions outside of their initial purpose. Here he acted in an absurd, laughable manner; his used banana as if he wanted to give it but instead ran erratically with it, just before performing a French song of his own invention. It turned out the player was a Twitch streamer specialized in Sea of Thieves content, who was sailing in search of other players to help and create entertaining and unforgettable moments with his community.

Again, as much as emergent a game wants to be, it falls short without offering a least a semblance of purpose for the player. Back to its release, Sea of Thieves was actually suffering from a lack of objectives to provide: looking at the press review at the time, critics pointed out that the game felt «light on meaningful things to do» (Devore 2018), it brought up a world «devoid of content and features» (Wccftech 2018) or it desperately «need some sense of narrative» (Meer 2018). Since then, Rare has put a lot of care in giving players challenges to

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overcome and seeds for their adventures, notably through the Tall Tales. Design director at Rare explained in an official «behind the scene» video in Sea of Thieves YouTube channel, why it was ultimately important to bring substantial details about the world and more depth to it through those tales:

I think the opportunity with stories is centering on particular emotions. And when we were building Tall Tales, the name for the stories were around emotions and feelings: we had a tale of wonder and a tale of love, very much about giving people specific feelings. But I think, just from a player's perspective, if you know more about the world, the reason why things are the way they are, what character motivations are, why that shipwreck is there, I think it allows players to role play more effectively in the world (Sea of Thieves 2019).

Aside from the different trading companies that offers various quests and voyages with treasure maps or basic bounties, players can embark upon these Tall Tales, episodic narrative conducted mission filled with riddles and trials. Those quests are heavily focused on the game's lore («Tall Tales» 2019); it is about discovering the history of the world within various storylines which are bound to be emotional venture.

With my usual mates, we undertook what is considered in the game as the first Tall Tale named «Shores of Gold». The tale comprises nine whole quests with the reach of the Shores of Gold as the ultimate goal. Albeit the objectives are now determined, they are not given in direct manner like a point on a mini-map but through a «Tale book» [Figure 11]. The book contains a written, illustrated fable, with several hints that lead us to our next destination. Hints and puzzles along the quests are not necessarily difficult to handle, however, they do erect a margin of error. Since the destinations remain intentionally unclear, we can - and we did - stepped into the wrong island. What I want to highlight here is how these tales are still structured around the emergent nature of the game: you are not constraint to one path and can still wander around the world. The tales still involve vast number of possibilities in regard of one's experience, and outside of the events that compose their storyline, they keep the sense of unique adventure.

Nonetheless, it depicts stronger narratives as the designers strengthened their involvement toward the proceedings of these quests. We had an actual story to keep track of, characters to engage with, precise islands to explore... What we experienced was a mix of authored and procedural elements - hints and puzzles can change for instance - that had us experiencing the tale the game wanted us to apprehend, while adding our own approach into the mix. Furthermore, several elements introduced within the tale persist within the game's

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world: at one point, we needed to find a specific cave within an island, which proved to be one we had already search in a previous session - and we had found the cave. The tale thus provided us the answers to «what» and «why» that surrounded this island. The designers use the tales to convey details about a world that exist, tale or not. It thus serves the narratives they authored, but also the narratives we forge along our following adventures.

Figure 11 - Sea of Thieves, a Tale Book that contains indications or hints for a Tall Tale.

Sea of Thieves presents extensive opportunities for players to combine allowed interactions and actions in a clever way, or simply in accordance with the story they wish to undertake. The game does not require technical prowess, nor does it lock content behind a progression system15 - almost the entirety of the content is available from the start. However, Sea of Thieves with its various quests and Tall Tales keep a codirection in the storytelling process: the players experience narratives with grant them substantial elements to fashion their own afterwards. By crafting their own adventures, then sharing them one way or another, they de facto participates in the game's story.

15 Some quests do require completion of previous ones, but overall, Sea of Thieves' line of progression revolve around cosmetics and achievements.

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Sea of Thieves, the players and the tales

In an open world game, players experiment a certain amount of freedom. The more they have, the more they enjoy autonomy in the way they spend their time within the game. Players can surprise each other and experiment different ways of interacting and immerse themselves into the game's world. In the case of Sea of Thieves, its open world design not only afford an almost total autonomy - a trait of Sandbox games - but also includes random appearances of events, enemies and environmental challenges, which I myself experienced and described on the previous section. A calm situation can quickly escalate into total mayhem. Therefore, it is a powerful anecdote generator that players are but eager to share in community spaces like forums, reddit, YouTube, etc.

I took particular interest towards player's recount of their experience in Sea of Thieves, how they construct their own stories and build the narratives relevant for an audience. The game's community is active in several social online spaces, such as Twitch, YouTube, Discord, etc. However, I directed my attention towards the Sea of Thieves subreddit16 (r/Seaofthieves) and official forum as they serve as a gateway for the other style of content (integration of videos, pictures, etc.). They are also the primary spots for players to share, discuss, and write anything regarding the game - the subreddit has 445 000 community members, whilst the official forum is where every single player is redirected by the studio.

For empirical data, I gathered about twenty posts in which players tell stories they find significant. In most cases, they relate events they consider «funny» or «unexpected» and have the potential to be of interest for the community. For his own investigation towards player's stories within Skyrim, Murnane note that the players «tell stories that have the possibility of mass appeal»; they build their narratives with selected details, omitting any part that would prove irrelevant «because they are aware that there is an audience» and that telling a story «must excite» (Murnane 2018, 77 & 84). That statement is indeed observable within the two sources I used, especially in the subreddit, for the platform tend to favor short posts. Players' shared stories thus are thus intentionally condensed in order to captivate a community that can in turn relate to the event displayed. The official forum does contain more elaborate storytelling, but

16 Reddit is a social network focused on social news and stories, in which members can comment, up-vote or down-vote a post. It then determines its global visibility on the site. Reddit is organized in communities created by users, commonly known as «subreddit»; each subreddit is a space dedicated to one community, such as a game's community or any community devoted to specific topics like TV shows, science, music, etc.

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the players still focus on the interesting parts of their story - they talk about the event that entailed them to come to the forum in the first place. The data studied also takes into consideration the comment system in which occurs player's reactions to a story and conversations about it that strengthen its relevance. Puente and Tosca highlight that «every comment, every response, each reinforcing each discrepancy contributes to the social construction process of storytelling» (Puente et Tosca 2013, 6). Comments establish the context within which the various stories are shared, notably through an upvote systems that determines the prominence of one's story throughout the community. As such, storytelling among communities is an «act of performance» delimited by the said context that represent the «understanding of the game by the community, who will respond with approval or disapproval» (Ibid, 9).

Players construct their story thinking about the audience that is their community. Hence, there is a tendency regarding the type of stories they share. Because of the enormous possibility space of the game established by the open world design, about half of the posts I gathered are about impressive feat - like a lone pirate defeating an entire crew - which demonstrate eithers clever use of interactions or simply skills. The other half concerns escalated situation due to players' actions or game's procedural system with animals and monsters' appearances. Also, there are some outliers: 2 posts are about pointing out something that «every player» already encounter. In fact, one of them enacts what is commonly known as a meme [Figure 12] to express the kind of experience the game provides, which is supposedly apply to all. In r/Seaofthieves, most of the events are either recounted through a recorded video introduced by a short sentence, or a concise text illustrated by a picture. On the other hand, the forum is a place favored for a more textual approach on the storytelling; some posts are in fact dedicated for players to recount their adventures in a more sophisticated, stylish way. For example, KattTruewalker set up a post that seek to regroup tales of players' «adventures on the High Seas - a place for authors, poets and storytellers!»

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Figure 12 - Meme by reddit user Kmvfefjklv, representing what players tend to experience in Sea of Thieves after clearing an objective (here, a fort).

Looking at the whole picture, the shared stories largely involve the unexpected. Treppoman for instance tells how he and his crew found their ship to be an inferno and struggled to put out the fire. As he desperately throws water with its buckets, he stops before the kitchen area and acknowledges the source of the fire. Laughing, he says, «Oh I know what the problem is...It was my banana I accidentally left on the stove! It was me all along!» The climax of the story is obviously the absurdity of what put them in this situation: a mere banana. What stands out is how surprise Treppoman, before he confesses his deed to his crewmates while laughing, «Captain, I have a confess to make...maybe you remember that I'm the cook?» This silliness represents the catharsis of the story; it compelled other players who could relate to share similar events. In the comment section, DoctorWhoToYou recounts their own experience that combines food, stove and fire. During their first hours playing the game, they sunk their ship two times in around before realizing they put it on fire with the pork they were trying to cook whilst carefreely going on exploring an island. Others like Jamesisonfire21 explain that once they discover cooking accident could happen in the game, they would do «the banana bandit» and start fire with food.

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Sea of Thieves certainly immerses the player in a carefree environment where the «anything can happen» is expected to lead to laughable moments. So, there is no surprise when player's stories aim at being humorous and light-hearted. Proof is, storytelling that includes Megalodons and Krakens - the biggest and deadliest sea monsters in the game - remain constructed around some sense of goofiness. With his post entitled «So we encountered a flying Megalodon...», Wildbaws shares a video of their galleon assaulted by a Megalodon. It indeed appears to be flying towards the ship, ends up crashing on it and makes the barrels in it explode. The monster dies on the spot with the ship in rumbles. Wildbaws clearly understood that this event was the result of a bug, yet they retell the event as any genuine story. The giant shark is presented not so much as a threat that as any other element of the game that can lead to silly moments.

Narratively, Megalodons and Krakens - especially the latter - embody the most feared danger thrown at players by the game. They are not only enormous and deadly; above all, they appear randomly. Thus, they constantly remain in player's thoughts, even more so when loots are at stake. Once they manifest, they can quickly sink a ship while they remain difficult to take down - the kraken forces the players into battle by darkening the water, which heavily slow any ship in it. With this in mind, it is no wonder that players' stories about them tend to be in moments they least expect them to appear, or when they have much to lose. Tales about epic battles against the Kraken are not that common. They rather focus on the timing (usually bad) of the encounter or how it overlaps within successive random events. Of course, the fact that it spawns very rarely and that it is a unique world event - meaning there cannot be multiple encounters at once - must be taken into account. Nonetheless, when players relate this kind of event, the battle itself remain secondary.

This in particular highlight how the game influence the type of story tells by players. We determined that players share experience within a context establish by a community as an audience, but that community did forms around the game and its thematic. Murnane examination of Skyrim players' stories shows emphasis on heroic tales and epic battles against dragons and giants, with their character as the heroic figure (Murnane 2018, 79). After all, Skyrim does introduce the player as a fated hero meant to vanquish an evil dragon. Therefore, the game's community unsurprisingly thrives for tales about deadlock situations and narrow victory achieved in grand gestures - Skyrim helps them earn those moments with features such as the «killcam» that deliver the final strike cinematically. In contrast, Sea of Thieves does not frame the player's character along a main story, nor does it give an initial objective to follow.

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From a narrative point of view, all the player know at the start is that they are a pirate. Hence, the game has less influence on their initial behavior. Moreover, the various NPCs often act silly during quests - even Tall Tales - while the whole narrative design lean on humorous traits. It is indeed a world where skeletons eat bananas, chests cry, explode and make you drunk, characters and players shot themselves out of cannons, etc. Players thus generate their stories in accordance to this rather jovial universe.

This is not to say that Sea of Thieves cannot be the playground for «serious» and humorless tales, nor does it mean that Skyrim is no material for players to joke around or act foolish. Their respective world and thematic shape the player's initial perception, though the high capacity of emergent narrative consequently afford adaptive storytelling. In the Sea of Thieves forum, there are several non-comic tales to be found: within the post of Katttruewalker, another user devised an entire story in five chapters, entitle «The damned Rider of the Ferry and The Song of the Dead.» A tale about a pirate that seeks «The song of the Dead», a mysterious melody he heard while facing death in a battle against a horde of skeletons. He presents a novelized storytelling of his own game experience that uses the game's lore, and leaves out the cartoony aspect of the game. In essence, it is a different demonstration of emergent story.

Another strong aspect of Sea of Thieves that supply players with stories that need to be told is the PvP (Player versus Player). Some will devote entire session to hunting other players, hoping to find and abundant source of treasure, or simply for good sport. In general, the unpredictability of these encounters make relation between players extremely tense. Nobody knows for sure that a sighted ship is not hostile; no one can be certain that the other crew is willing to form an alliance, nor if they will abide to it until the very end. Players thereupon exchange more cannonballs than words, and are proud to share achievements following a confrontation. As an illustration, Crazed Corsair tells us that, after his crew gave up the chase of another ship, he alone decided to «take matters into his own hand». In his video, he demonstrates his ability to emerge victorious against an entire crew, with a «final bold move» in which he was able to climb up on the enemy ship's crow's nest and drop explosive barrels onto the deck. Crazed Corsair this event with the objective to «impress», since beating a bigger crew is known to be a difficult feat. A similar story from another user depicts him taking revenge upon another crew, after it «sunk his solo sloop while it was docked». He «hitched a ride» on their ship without anyone noticing. At one point, a skeleton ship appeared and attacked

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the crew. He then took the opportunity and killed them while they were busy repairing their ship.

The PvP, above anything else, led to unforeseeable situations - as I could experience myself - either because one fails to anticipate the other or because the game keeps throwing random events at the players while their focus in on beating the enemy. By all means, this strong accent on PvP also led players to seek out unorthodox way of defeating their foes, such the «banana bandit» mentioned above. And of course, it delivers even more materials for stories to be related.

An important thing to realize is that the high frequency of players confrontations compelled the community to institute their own rules. For instant, as a mean to avoid conflict, players tend to use «Parley!» in an attempt for negotiations - greatly inspired by the use of the expression in the movie Pirate of the Caribbean. In the same fashion, ships with their cannon pointed at the sky usually call for peaceful activities. There is also a flag code to signal other of one's intention. Likewise, the community tries to balance the odds for solo players. From a PvP standpoint, a sloop is inherently weaker than a brigantine, and even more compared to a Galleon. Needless to say, it is not unusual for a galleon crew to chase after a single sloop (as we saw above). Consequently, there appear to be an implicit agreement among the community: should a sloop witness another lone captain being chase by a bigger ship, the former shall join the fray and help the latter (Marshall 2018).

In a sandbox game such as Sea of Thieves, procedural events and players' actions continuously model the global experience and the stories that emerge from it. The several layers of unpredictability of the game constitute the first motor of storytelling for the community. Here, emergent narratives represent what surprise, excite and amuse players who thus wish keep a record of these special events by sharing them. When observing these stories I gathered, it appears that players tell what they believe stands out, express unique, singular moments. As a matter of fact, none of them involved Tall Tales or any narrative driven adventures; they relate moments they feel are theirs and theirs alone. It either demonstrates their achievement, or the complete absurdity and silliness of a situation, in accordance with what the game's world whole ambience wants to convey. By examining these stories, and trying to live our own within the game, it allows to better understand the act of play, its deep bound to the stories players create for themselves. The nature of emergent narrative is tied to the limit and affordances of the game; players play within these boundaries and stretch them

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along their own narrative goals. Beyond the act of play, there are stories shares by authors and readers. They shape the game outside of the game.

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B- The gateway to the virtual world: narratives and immersion through the avatar

Using the prism that is the open world design, we described emergence and players' narratives from the angle of immersion: emergent gameplay and narratives are generated through the player's engagement towards the game, as they interact within it. The state of immersion thus being the quintessential form of interaction, where the dialogue between the player and the system appears blur enough to be unnoticed. However, there is one specific aspect we fail to address properly. The immersion as a dimension in the act of play includes an object of reflectivity we occulted until now: the avatar. Whether it is a fully made character using a game's creator tools or an already fully-fledged one we incarnate, the avatar is the gateway into the game's world, what transports within its story and cosmogony.

In his study «Enter the Avatar: The Phenomenology of Prosthetic» Rune Klevjer note that the avatar works as an extension of the player. It «relocates the body» into the screen space:

The on-screen marionette becomes part of that through which a world comes into existence, part of the player's «I can». The player is being re-wired and re-directed towards «important figures against indifferent backgrounds» through the integrated prosthetic apparatus of controller and on-screen avatar When we play, because the avatar extends the body rather than pure agency or subjectivity, screen space becomes a world that we are subjected to, a place we inhabit and where we struggle for survival. We learn to intuitively judge, like we do in the real world, the opportunities and dangers of the environment (Klevjer 2012).

Klevjer suggests that the avatar therefore serves an almost direct projection of the player into the game space. It determines not the player's affordances within the game, rather it is the virtual body from which «layers of fictional and narrative significance» are added (ibid) and nuance the story implied as a whole.

The avatar, in many ways, represents the player that controls it and act as a vector between them and the game. It can be an object of mise en abyme of this relation - like dialogues only understandable by the player - but also an embodied representation of the player with a psychologic connection, a «persona». As an empirical element of a game, the avatar influences the player's perception - it stimulates their empathy towards it and the world. The RPG genre in video games usually displays strong emphasis on the avatar, the capacity of the player to personalize it and actively participate in its growth, one way or another.

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Here we examine the avatar and its role in the player's immersion in a game. We try to determine how the characteristic of the avatar-character can influence the player's connection to it, and their overall in-game perception.

Immersion in Video Games, a Work of the Senses

The concept of immersion has been considered as of one the most important experience of gaming by researchers, gamers and designers alike. Within the video game context, immersion is perceived to be important, if not essential. It appears as much as a state for players to reach, as it is a powerful marketing tool for the industry which often highlights the immersive capability of a game. According to Arsenault and Picard, «video games evolution can be understood as the search for an always greater, better and more encompassing immersion» (Arsenault and Picard 2007, my translation). Yet again, immersion in games is arduous to define, or more specifically, to identify what drives the definition (Brown et Cairns 2004). According to the basic definition by the Cambridge dictionary, immersion is «the fact of becoming completely involved in something,» using as a sentence example «total immersion in a video game is almost like living another life»17. Therefore, it suggests a state where one's senses cease to interpret information outside of the screen space, a faultless focus on the object of interest. Although this may be enough to some degree of understanding, some designers tend to differ on what it means for video games. For Marcin Przybyowicz and P.T Adamczyk, respectively music director composer and senior composer at CD Projekt Red, immersion is equivalent to «engagement,» which correspond to «fun»:

It [Immersion] makes combat more exciting if the player cares about the character. It makes the story more intriguing if the choices and consequences that the player makes resemble some sort of reality; it makes exploration more intriguing if the player's curiosity is fed back by the design of the world [...] In order to truly appreciate a work of art, you have to either suspend disbelief or create secondary belief in the presented reality (GDC 2022).

To them, immersion consists in a make-believe of an alternate reality for the player to find enjoyment in it. It is a work of design involving music, sound--diegetic or not--and images

17 Cambridge Dictionary, s.v, «Immersion,» accessed April 5, 2022. https://dictionary.cambridge.org/dictionary/english/immersion

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that make the player «feels» the world, creates emotional attachment as well as involvement toward the whole story.

Within game studies, researchers attribute immersion to a state reached through the interaction with a game's system and the gameplay experience. The said state thus depends on the game characteristics and the player's perception of the game's dynamic--hence it ultimately varies from one subject to another. In their article «Fundamental Components of the Gameplay Experience: Analyzing Immersion,» Ermi Laura and Mäyrä Frans established the immersion as a «multidimensional phenomenon» that displays various «aspects that can appear and be emphasized differently in the individual cases of different games and players» (Ermi and Mäyrä 2005). Through a gameplay experience model, they called «Sci-model,» they divided immersion in three distinct forms: Sensory, challenge-based and imaginative and immersion.

Sensory Immersion is a dimension of play related to the senses, stimulated by a game's audiovisual rendering. This is probably the type of immersion closest to the Cambridge dictionary, and what gaming communities seem to acknowledge as immersion. Ermi and Mäyrä state that «large screens close to the player's face and powerful sounds easily overpower the sensory information coming from the real world.» The player thereupon only perceives the stimuli of their senses induced by the game world.

More specific to video games, challenged-based immersion is deeply related to the player's skill (motor and mental). A «feeling of immersion» attained when «one is able to achieve a satisfying balance of challenges and abilities.» To put it in another way, it is based on the player's ability to interact with the game.

Then, imaginative immersion concerns the player's involvement with the game world, its stories and its characters. Within this game experience, the player more directly perceived themselves within the diegetic game world; they can «feel or identify with a game character» (ibid). Whilst it does not solely belong to role-playing game, the RPG genre is particularly prone to this dimension of play since it relies on a very structured world and cosmogony. Arsenault Dominic and Picard Martin prefer to call this type of immersion «fictional immersion» rather than Ermi and Mäyrä's version, as they note it includes «all the forms of fiction, including narratives and representation» (Arsenault and Picard 2007).

An important thing to note is that these three dimensions of immersion are merely identification of processes within a game experience. The SCI-model establishes how it is

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formed and emphasizes on the fundamental components. Ermi and Mäyrä thus explain that immersion in modern video games displays multiple forms at once:

Since many contemporary digital games have richer audiovisual and narrative content than for example classic Tetris, these three dimensions of immersion usually mix and overlap in many ways. In other words, the factors that potentially contribute to imaginative immersion (e.g., characters, world, and storyline) are also apparent in the interaction design (e.g., goal structures) and the audiovisual design (how goals, characters and the world are represented and perceived) of well-integrated game designs (Ermi and Mäyra, 2005).

As we already highlighted on the sections above, video games are complex computer programs that integrate other media in their designs. Moreover, they require the player to be an active participant - at various degrees - which delivers said gameplay experience. Just like narrative design involves many artistic fields (sound-design, level-design, writer, quest-design, etc.) in order to create a meaningful and coherent narrative experience, immersion is the result of complex dynamics between various game's aspects. The multidimensional phenomena exposed by the SCI-model shows the mechanics video games are able to use to create what we refer to an» immersive experience». For instance, Dead Space (Visceral Games 2008) heavily relies on its sound design to keep the player immerse in its world: it conveys a horrific atmosphere mostly through the rattles of unseen monsters, far away screams that echo across the vast empty spaceship and other various reactive sounds that keep the player on edge. In the same manner, Sea of Thieves creates immersion through its powerful environmental narrative that displays a world in motion with water that moves and sounds realistic, the creaks of the ship that sails the sea and the trees that sways in the breeze. However, the immersion would certainly not work that well without a sense of challenge when facing those unseen monsters, nor without the detailed structured world that enables the player to consciously live the adventure on the sea.

Hence, video games possess numerous elements that are likely to induce immersion. This is not, however, a binary notion: immersion supposes a degree of involvement. The degree changes over time, depending on the player's receptiveness to the said elements. The study of Emily Brown and Paul Cairn finds three levels of involvement - from lesser to greater degree: engagement, engrossment and total immersion (Brown et Cairns 2004). Each level of involvement is attained through the removal of «barriers». The barriers correspond to conditions the player or the game must fulfill; they «act to defines and scope the level of involvement with the game» (ibid).

·

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Engagement: «the first stage of immersion». It strongly depends on their initial feeling; if the «style» of the game fit their preferences, and if the overall control and rules appears intuitive enough for them. This level is then reached throughout the investment of time and effort the player is willing to put into the game. If the game provides rewards they judge worthy of their attention, the investment increases. The more they play, the more they feel engage.

· Engrossment: when the player becomes further involve with the game, they «become engrossed». Given that the game construction, meaning features such as «the visuals, interesting tasks and plot» among others, is satisfying enough to «suspend their disbelief of the game world», an emotional development happens. Player's investment affects their emotion while their attention is almost entirely focused on the game.

· Total immersion: At this point, «the game is the only thing that impacts the gamer's thoughts and feelings.» The total immersion occurs when the player feels completely detached from the outside world, with their attention solely focused on the game. Their attachment to characters becomes empathy - they deeply care about their situation - whilst they are intensely receptive to the game atmosphere (graphics, sounds and the plot appear more relevant). According to Brown and Cairn, one's inability to feel «empathy and transfer of consciousness» are unable to be in «total immersion» (Brown and Cairn 2004).

From Brown and Cairn's study, Arsenault and Picard established a model of immersion that take into account video game genres. The premise is that each genre «would have its own immersive focus, meaning it would favor a type and level of immersion.» Notably, First-Person Shooter, that renders the action from the viewpoint of the embodied character, mostly seeks sensory immersion in order to convey «strong sensations». By contrast, RPGs emphasize the worldbuilding and the interconnection of game system elements that forms the gameplay - what is asked of the player is therefore «exclusively mental». Thus, the focus tends to be found in imaginative immersion and challenged-based immersion (which Arsenault and Picard name «systemic immersion) (Arsenault and Picard 2007).

Of course, the subjectivity regarding a genre's definition as well as the technical evolution of video game entails variation and diversification in those tendencies. For example, RPG such as The Witcher III: Wild Hunt demonstrate strong sensory immersion through vast and beautiful scenery, and a great deal of graphical details. For Arsenault and Picard, it allows to divide the types of Immersion given by the SCI-model in several subtypes. Sensory immersion can thus be «visceral, contemplative or kinesic», whilst challenged-based immersion can be «diegetic, narrative or identifying» (Ibid).

In essence, immersion is also a matter of subjective experience. Whereas designers certainly focus on some immersive elements according to the game experience they wish to convey, immersion ultimately delivers a variable experience and is subject to a great number of factors. Particularly from the player's side, the feeling of «presence» within a game world

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may be easily altered by the mood at a given moment. Nevertheless, the notion of immersion stands as a process of communication; in effect, even in the aforementioned state of «total immersion», the player remains aware that they are playing.

Overall, the studies I expose here only consider immersion as a mechanical interaction between the player and the game. The need for player input defines the sense of immersion; the player delves into a virtual space that «cuts» them off from the real world to varying degrees. However, I believe these studies fail to highlight how immersion can also occur through the avatar. In essence, it serves as a vector for "player presence" within the game. Whilst Brown and Cairn touch upon the game structure that can convey this cognitive involvement from the player, it only places the avatar as another element influencing the level at which the immersion happens, or establishing a type of immersion. I argue, however, that in many cases it is the object that characterize the player experience, and how the game allows the experience to occur.

Avatar: path into the game, vision of the world.

Up until now we have discussed story, narratives, plot and immersion by analyzing the role of both the medium and the player. The video game as a narrative medium sets up a dialogue between it and the player. What we call interaction represents the latter's input using an intermediary device; a console and its controller, a computer with its keyboard and mouse, a smartphone, etc. Thus, the principle of interaction is represented through these three elements: the game as object, the player, and the technological device that allows the dialogue. With that being said, one can argue for a fourth entry in this minimalist model. Within a game, the player has an «embodied presence» through an avatar. There is a relocation into the virtual space conducted by the avatar.

In Klevjer's aforementioned study, he made a distinction between two «common uses» for the notion of avatar : the avatar «understood as a playable character» and avatar «understood as a vehicle through which the player is given agency and presence within the gameworld» (Klevjer 2012). To put it in another way, the difference would rely on the method in which the player's presence is establish in the game. There is the avatar as an actual character, like Geralt from The Witcher III or your persona in Divinity Original Sin II and the «vehicle of agency»

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that is not a necessarily a character per says but an «object» the player embodies, such as a spaceship in Everspace (Rockfish Games 2017) or a car in racing games. Nevertheless, this distinction only helps to highlight two main model in the type of role the player can assume; it expresses the space in which they can navigate and the manner they do - with a character or a «non-character».

In this section and the one that follows, the avatar is studied mostly through the observation of character-based video games and games labelled as «role-playing games». Indeed, they entail a deeper connection between the player and the avatar, thus allowing a more proficient analysis within the length of my work. However, we shall keep in mind that the conceptualization of the avatar extends beyond simple personification of a character or any particular genre - after all, one «plays a role» even in non-RPG games. There are also cases where there is no «visual» avatar or one specific embodiment within the game, like for example Tetris (Pajitnov 1984) or 4X games such as Sid Meier's Civilization VI (Firaxis Games 2016). The notion of avatar and how these games localize the player is not irrelevant for the subject at hand, however, it shall need further investigation in future works.

As we previously determined, video games let the gamer participates in the storytelling process; they do not watch the protagonist, they are playing it. The phenomenon of immersion we discussed above happens because of the gamer's «presence» inside the virtual word. Yet that presence is not physical; they are represented and introduces through an avatar that is part of the narratives as a whole. In the same manner the player can assume different roles according to the type of games, the avatar manifests various characteristics in order to represent the player in specific ways. Barnabé Fanny and Delbouille Julie explored the particularity of the regarding its role as an interface between the game and the gamer:

With its acting mediation between the player and the game-object, the avatar is one of the main vectors of the video games' inherent reflexivity. Whereas it often takes the forms of a fictional character (or at least, of a digitized icon), it also depicts the player who controls it; consequently, it introduces an empirical element into the game universe. In effect, it operates like a shifter, these deictic characters (such as personal pronouns, adverb of time and place...) which part of the meaning only activate when they are assumed by a given speaker (here, the term can thus reflect different places according to the authority that utters it) [...] By enabling two distinct planes of realities to meet, the avatar constitutes what Genette name a «metaleptic vehicle». Moreover, it frames the existence of «interactional» metalepsis (Ensslin 2011), i.e. beyond the narrative thresholds that are not written as such in the story, but which go through the player's action (Barnabé and Delbouille 2018, my translation).

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Referring to Gérard Genette theories in narratology, metalepsis here relates to «transgression of the boundaries» that separate two distinct worlds (here the physical and the virtual) and/or induce the convergence of different narrative levels (Genette 2004). Therefore, the avatar acts as a mediator between the player and the game; the latter expect the former to play a role, which creates a partial merge of the actual and the virtual. The avatar responds and behave according to the player that manipulates it: the avatar acts both as an interactive tool and a projection of the player's identity that enact narratives in the fictional as well as in the physical world.

The intention behind the avatar as a character is to allow a transfer of consciousness. Often, there is a desire to «insert» the player within the avatar. It becomes a mean of identification, as well as a narrative device. In essence, that is the reason behind game tropes such as the «silent protagonist»; famous characters such as Link (The Legend of Zelda), Samus (Metroid) or Gordon Freeman (Half-life) are among the most prominent examples. These characters lack any sort of dialogue and at most resort only to interjections - in short, very limited voice acting or indistinguishable noises. A main reason for this particular characteristic would be for the player to better identify with them. To put it another way, by being silent, the protagonist becomes a vessel, a proxy for the player's own voice and thoughts - the answers or written dialogue are therefore enacted solely through their visualization, in the same manner they «imagine» the voice of a book's character.

When asked about Link's conception, Shigeru Miyamoto - the creator of The Legend of Zelda's franchise and many other famous Nintendo games - underlines his yearning for a close relationship between the player and his character:

For me it has always been important that the gamers grow together with Link, that there is a strong relationship between the one who holds the controller and the person who is on the screen. I have always tried to create the feeling that you really are in Hyrule. If you don't feel that way, it will lose some of its magic [...] The way Link reacts creates a closer relationship with the player (Miyamoto 2003).

The identification is more about the perception of the character than the direct embodiment of the one in control. In the case of The Legend of Zelda, the protagonist is named (Link), has but little features that can be personalized - none in most games - and his overall personality cannot be altered - he is a destined hero who confronts evil. The character remains in fact physically and mentally the same, regardless of who is playing it. Protagonist's characteristic limitations (here the voice and dialogue) nonetheless permit one to impersonate it: the player becomes Link, and Link becomes «unique» through the former's perception of his missing features. The

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more the player feel a strong relationship with Link, the more they are able experience his world - which refers to the aforementioned total immersion though empathy.

Additionally, letting some of the avatar's aspect blank induce some questioning from the gamer in control. If the protagonist does not talk, hide their feelings and reactions, there is a lack of details the gamer starts to wonder about; it creates a sense of mystery surrounding the protagonist. Notably, in the original Metroid game (Nintendo 1986), the silence of Samus Aran is an inherent part of her narrative traits: she is a lone bounty hunter who explores hostile worlds and faces dangerous, sometimes unknown, creatures. The worlds in which the actions take place are devoid of any friendly life. The game portrays a very independent character entirely focused on her mission, with very little exposition towards her backstory. Her condition as one of the greatest bounty hunters is basically the only information the gamer is given. As a matter of fact, until the very end, they do not know that Samus is actually a «she»; it is recognized as one of the most famous revelations in the video game industry, since it was kept a secret even by the game's instruction manual, which referred to Samus as a «he» (Robinson 2007). The player's connection with a character like Samus happens through this void of information: the avatar's characteristics and world appear open to interpretation. The reveal of Samus gender effectively used this space of interpretation and the player's presumptions about her gender -even more so since video games were (and still are, in a lesser degree) dominated by male protagonists.

Of course, rthe concept of silent protagonist was also born out of technical limitations; voice acting was certainly not the norm (nor could it be included effectively) at the time of the above-mentioned games and characters that had no dialogue often meant a significant gain of time for the designers. Yet it became part of these emblematic protagonists and an inherent aspect of their functions as avatar. Significantly, Samus began to speak in the games following the original - though it remained scarce - but in the last entry, Metroid Dread (MercurySteam 2021), the bounty hunter returned to her silent treatment. A decision Yoshio Sakamoto, producer of the game, explains in an interview with Gamespot:

In this game, Samus barely speaks. The reason that I wanted to make it that way is the main theme of this game, which is dread. I felt that to convey the current situation of Samus or what Samus is thinking right now, this would be better conveyed to the player not through actual words or actual voice, but more with acting or visuals. I want the player to think, «What is going on? What is Samus feeling right now?» That is why I decided to go this way for this game (Sakamoto 2021).

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Here Samus reflects the player but also the thematic of the game. Her silence can be regarded as a piece of narrative design: it strengthens the feeling of being isolated in hostile environment as well as the terror that lurks in it. At the same time, it individualizes the player experience. The avatar act as a character (Samus), but also a tool that helps convey a specific atmosphere when controlled.

The basic idea behind these avatars is to build an immersive relationship between them and the players. Though the former, the latter engages in the game world; there is a transfer of consciousness towards the avatar which exposes the player to the context, characters, thematic and narratives. However, just like the total immersion is never truly «total», the identification the player exerts stays within the boundaries of their awareness: whatever the case, they still acknowledge the avatar as a virtual entity.

The player relates to the avatar through what Katie Salen and Eric Zimmerman calls «the double-con-sciousness of play» (Salen and Zimmerman 2003). By taking control of a game character, the player builds a relationship with it as they delve into its world. The avatar act as a placeholder for them. It can lead to an emotional attachment and empathy that, as we determined earlier, construct the immersion phenomenon. Nonetheless, the avatar persists as an «object for the player to manipulate according to the rules of the game»:

Through the process of metacommunication, the player is aware of the constructed nature of the character within the larger system of the game. A game avatar is simultaneously both subject and object: on one hand a mask to be worn, and on the other a tool to view and manipulate (Ibid).

The avatar as a character is thus central for the game and its narratives, while being the object that give access to it. This mediation role, video games then use it as discursive argument to address the player. A concept that Barnabé and Delbouille establish as a «reflective process»: the game operates by means of metalepsis that translate its «ludo-narrative organization, its possibilities and its rules of manipulation» (Barnabé and Delbouille 2018). To better exemplify the concept, this kind of dialogue tend to happen during tutorial sequences: the game addresses the avatar with a discourse that only make sense for the player (Ibid). The FormSoftware Soulsborn series regularly resort to this type of communication through its message system 18[Figure 13].

18 In the Soulsborn series, one can write message (with preestablished words) to other players, either to help them or to mislead them.

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Figure 13 - Dark Souls III, a message on the ground gives and advice that only make sense outside of the game.

Salen and Zimmerman note that double-consciousness is the main reason character-based games delivers «such a rich and multi-layered experience». The avatar acts as a gate for the narrative tapestry of the game world and fashions the player appreciation of it. The game then can add layers of complexity to enrich the experience and strengthen the player-avatar bound, such an advance management of the avatar's resources (Salen and Zimmerman 2003). That is in fact the main appeal of the RPG genre: usually set with developed storytelling, the genre put an emphasis on the character the player controls, who displays several forms of development (i.e., outside of the narratives). In these games, players tend to design the avatar for the role they wish to assume, and adopt a fictional personality.

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Playing a role, developing an avatar: the legacy of Pen and Paper RPG

First, it may be convenient to define RPG. In order to stay in line with the common understanding of the genre, I use here the definition of Encyclopedia Britannica:

Game genre in which players advance through a story quest, and often many side quests, for which their character or party of characters gain experience that improves various attributes and abilities. The genre is almost entirely rooted in TSR, Inc.'s Dungeons & Dragons (D&D; 1974), a role-playing game (RPG) for small groups in which each player takes some role, such as a healer, warrior, or wizard, to help the player's party battle evil as directed by the group's Dungeon Master, or assigned storyteller19.

Yet again, the definition shall only color our perception of the genre. As we previously established, genre is also a matter of subjectivity. Though RPGs take their roots in Dungeons and Dragons, the label certainly is not applied solely in regard of a game's similarity with the tabletop game. For instance, taking a look at the Steam Store page, we can see that Assassin's Creed Odyssey (Ubisoft Québec, 2018) is referenced as RPG among other tags. Indeed, the game offers an improvement system for the character (with statistics and capacities), a story quest, side quests, along with a certain variety of playstyle. On the other hand, Dying Light (Techland, 2015), while it displays the same basic features, is not considered as a RPG - or at least, it is not regarded as a prominent aspect of the game. Additionally, RPG nowadays comprises numerous subgenres; JRPG (Japanese Role-playing game), Action-RPG, Tactical RPG, CRPG (Classical RPG), etc. It thus covers a large scope of titles, all with their defining features. In this section, I intend however to analyze a CRPG - with a focus on the character creation - since in effect, this subgenre is the most directly tied to basic of Pen and Paper RPG. Specifically, I direct my attention on Divinity Original Sin II, which not only embrace its D&D roots, but is also widely acclaim for doing it extremely well. Eurogamer indeed describes it as a «CRPG of unparalleled breadth and dynamism» (Lane 2017) while Gamespot gives it a perfect note, stating the game «is one of the most captivating role-playing games ever made» (Todd 2017).

At this point, and for what follows in my work, it however conveys to distinguish the RPG (the video game) to the role-play (to incarnate a character). The latter reflect the practice born along tabletop games like D&D, where the player embodies a character and seeks a

19 Encyclopedia Britanica, 15th ed., Hosh L., William, "Role-playing game", accessed April 7, 2022. https://www.britannica.com/topic/role-playing-video-game

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complete immersion by talking and behaving like the said character is supposed to, according to the features applied to it during its creation. In RPG, the role-play designates that same practice, except it usually happens outside of the game's frame, i.e beyond the character's characteristics initially given by the game and the development it undergoes in it. The role-play is especially practiced in MMORPGs, which we will discussed later on. With this in mind, here, I explore the player-avatar connection in RPGs as a whole, not expressly on the basis of role-play.

During my researches on the relation shared by players and their avatars within RPG video games, I started to examine the conceptualization of character creation among the Tabletop RPG communities. I rapidly stood upon an interesting notion, directly connected to this peculiar relation: bleed. According to the fan site RPG Museum and the Jeepform dictionary, «Bleed» in role playing games is a phenomenon «of a player feeling the emotions» of their character and vice-versa. A state of mind in which the line between the player and the character fades away; either's emotions «bleeds» over the other and alter his or her whole perception (RPG Museum 2020) (Jeepform 2007). In other words, the term refers to a state of immersion which take its source in the relationship between the player and their avatar. After all, the avatar is created in great details - in D&D for instance, the character creation can take several hours - and usually participates in several campaigns20. Therefore, it rapidly becomes the pivotal entity for the player's involvement in the game. Plus, the game master design the narratives according to the character's actions (since the story emerge from the play); through their avatar, players thereupon collaborate with the GM in the storytelling process.

Returning to video games, RPGs certainly keep the aforementioned connection, even though they do not necessarily expect players to fully commit into role-play. Though immersion certainly happens differently, the avatar stays central toward the experience. Through the whole game, the player does no solely control a character: they undergo growth along with it. Broadly summarized, the gameplay of video games under the RPG genre revolves around the story and the construction of the character; whilst RPGs generally use a «lighter» version than Pen and Paper RPG for their creation tool, it remains an important step for the player. Right from the start, there are plentiful aspects to choose for the character's build. From a full character creation

20 Often in Tabletop RPG, a game is divided in several campaigns, either for a continuing storyline or in order to set up various adventures in the same universe. It allows player to improve their knowledge of the said universe, and further develop their character (level, capacities, relations, etc.) since they use the same across the campaigns («Campaign (role-playing games)» 2003).

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perspective, here are a non-exhaustive list of customization elements to pick for their avatar during its creation:

· Races: the player decides which race their character belong. On top of the appearance it entails, each race displays benefits in different fields (combat, speech, trade, etc.). It is also a way for the game to present the kind of races that inhabit its world.

· Gender: while some races may no particular gender, in most cases, each can be male or female. Sometimes, the gender offers different bonuses for the character and can affect the interaction with other game world characters.

· Appearance: The physical traits of the character: hair, face, size, corpulence, skin color, etc. The possibility greatly varies from one game to another.

· Classes: the classes represent the character's archetype, which involve specific combat style, type of weapons, armor, overall abilities, etc. Player-wise, it determines the playstyle they wish to enjoy throughout the game.

· Attributes: while the classes generally establish where the character's strength lies, the player can still adapt the attributes. In most cases, attributes correspond to statistics that shape the avatar's «qualities,» its «inborn,» «natural» characteristics. Often, the player can strengthen one or more attributes of their choosing by distributing points. Then, the attributes usually increase along the avatar advancement (level, capacities, narrative progression...).

· Abilities: Depending on the class (and sometimes the initial attributes), the character is allowed starting abilities such as martial skills, magics, incantations or sorcery.

· Skills: character's competences and non-combat expertise. It can be proficiency in particular jobs (blacksmith, medicine, weaver, etc.), physical feats (acrobatic, athletics, insight, etc.) or more specific aptitude (survival, investigation, animal talk, etc.). It can greatly influence how the various interactions unfold.

· Background: the character's life that precedes the game's events. It determines the character's perception about its world, its influence, and can offer bonuses or penalty.

Regarding the overall avatar's personalization, video games obviously differ in what they offer, and in the impact each of the elements has--it is also dependent of the fiction's genre (high fantasy, science fiction, medieval...). In any cases, their aim stays the same: a more or less deep customization of the main character for the player to «give life» to it. Over the course of the game, the player then tries to act according to their avatar, and the persona they gave to it. Often, there is a binary pole system of «good or evil» that enact various consequences, either favorable or not.

Divinity Original Sin II (DOS II here after), developed by Larian Studios and released in 2017, draw its inspiration from D&D and surely applies the Tabletop RPG philosophy regarding the player's role. Whilst I myself played the game before, I needed to experience it again, this time more as researcher. I thus spent about thirty hours playing DOS II to analyze

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its narrative structure, how it weaves it in a story dedicated to a fully created character. At the same time, I tried to examine the evolution of the player(me)-avatar connection along the game's progression.

Before the journey in Rivellon (the game world) begins, there is of course the character creation to go through. Similar to what I describe above, DOS II comprises many elements to choose for our character. Interesting to note here is that we have to pick our character's «origin». Basically, it determines its ties to the world: its relation with various NPCs, the manner it perceives the world and vice-versa. Consequently, we can either use a «custom origin» character [Figure 14] or an «origin character» [Figure 15]. The former is essentially «blank» since it makes us enter the game with little to no knowledge about Rivellon and its story. We live the story as an outsider with no prior connections, and build relations with other NPCs from the ground up. Conversely, Origin Characters are already part of the world; therefore, they expose us to it through the eyes of a «native», while they enact unique narratives, notably with several NPCs. That way, we learn more about them but also about the game lore. This Origin system is DOS II equivalent of the aforementioned Background, the main difference being that it paradoxically establishes whether or not our character is entirely created. Here, our custom character's background is mostly express through «Tags» (which dictate their type of person) and its race, since it inherently alters other character's perception about it. However, whether we decide to assume our role in the game from a custom character or an already existing one, we remain the focal points within the whole story, as well as within the main plot.

Figure 14 - Divinity Original Sin II, Character Creation with a «custom origin"

Figure 15 - Divinity Original Sin II, Character Creation for an "origin character", here The Red Prince.

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What is important to realize here is that our choices in the character creation matter for the whole playthrough. It affects our interactions with the world, changes the means whereby we unfold the events. Playing an Undead character for instance (which is a walking skeleton) implies to constantly hide our condition to avoid that every single NPCs turns belligerent; the

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personality (tags) entails different types dialogues that modify other characters' behavior; noncombat capacities (civil abilities) directly influence the way we resolve enigmas, get out (or not) of a dire situation, or our ability to get what we want out of an NPC (persuasion, intimation...). Our character is directly at the center of the narrative process. With character creation, the game seeks to build an almost instant connection between us and our avatar. The latter influences the outcome of multitude of events; since we give it its characteristic, shape its personality, and controls it, it becomes the embodiment of the role we desire to play.

At the same time, DOS II affords our character a large margin of development and emphasizes our capacity to evolve the way we want. The player-avatar connection is then bound to strengthen over time. We gain experience each time we emerge victorious of a fight or discover a new area, learn new abilities and find better equipment that make us even stronger; we forge new relation with NPCs, engage in various sub quests and «secondary» plots, while further deepen our knowledge of Rivellon's story. Hence, the character creation is but the initial entry into the game world. It neither strictly condition our behavior or the way we pursue our endeavors through the whole game. As an illustration, whilst we have to pick a class, attributes, skills and such, it only stands as a starting point. During the playthrough, we can either stick to our initial choices, or evolve our character in another direction - would we choose to start as a Knight, we could very well become a Sorcerer afterwards. That is to say, our playstyle is not pre-determined, same for our role within the party.

Likewise, the narratives greatly involve our choices regarding our overall behavior, notably with the important characters of the game. Whilst this is not merely a system of «good choices/bad choices» that would rule our character as either good or evil, how we act enacts various consequences. There are always multiple ways to move forward, and we surely can do it according to the character we portray. For instance, the first location after the tutorial, Fort Joy, is a prison we must escape. To do so, various solutions are available: to broadly summarize, we can fight our way through and kill our oppressors, explore to find the right item, talk to the right persons, sneak our way out, etc. Yet, most of these solutions does not prevent us from carrying out another. Should we want to kill the guards after we went for the pacifist way, we can easily do so.

Given these points, DOS II extensively aim at providing us an adventure filled with meaningful choices for our character (therefore, us) to make. The avatar extends our vision and agency within the screen-space, while we are subject to the game world sway (Klevjer 2012, 13). Through the role we assume with our avatar, we influence the story, which influences us

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in return. The fact that we are impactful right from the character creation certainly intensify the immersive sense we got with our avatar. Although I did find myself greatly committed to the growth of my character, the aforementioned phenomenon of bleed or total immersion stayed out of my reach. As Salen and Zimmerman noted, players «always know that they are playing» (Salen and Zimmerman 2003). This double-con-sciousness of play, we previously mentioned, manifests here. Whether during my recent play sessions I underwent as a researcher or the previous ones as a simple player, the feeling of immersion remained scarce within a layered state of mind. There are arguably several reasons for that: in the first place, as Salen and Zimmerman's double-con-sciousness suggest, I stayed aware of my player's status. Mainly because ultimately, the avatar whom I identify with move and interact with the world under the instructions I give it. The overall navigation happens through mouse-clicking, the abilities are used by entering the right keyboard command. Plus, in the case of DOS II, it happens that we are able to control up to 4 characters, including our own. Even though the metacommunication works essentially with our avatar, we still enact control over the companions. Broadly speaking, as a player, we nevertheless linger on our awareness regarding the extradiegetic interface (the mouse cursor, the key binding, the narrator...). The type of interaction does not block the immersion, since of course, we never focus on it in the act of play. Rather, the roleplaying becomes an ambiguous experience through the means and the figurative. For Klevjer, strategy and roleplaying games exposes us to «symbolic interactions», opposed to «tangible interactions». Instead of a simulated direct action with an avatar that acts as «prosthetic», we are given a responsive agent that act upon our instructions (Klevjer 2012, 12). An aspect reinforced here by the camera: more than the character, we control an omniscient camera, able to navigate way beyond our character field of vision.

Similarly, seeing as we assume a role, our behavior is supposedly dictated by the character we wish to portray within the virtual space. To put it in another way, we try to consciously not act as we would normally do; in a sense, we perform acting like in theaters or movies - which is the principle behind Tabletop RPGs. But in DOSII (and in RPGs in general), players are halfway between role-play and just play since their main role is already determined (hero, chosen one, exile, etc.). Under those circumstances, the players find themselves naturally tempted to apply their own inherent behavior to their action. Compellingly enough, Larian Studios observed that the majority of players has difficulties to inhibit their good conscience, and would play a «good» playthrough rather than an «evil» one, despite trying to do so at first.

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During the announcement livestream for the release date of their latest title, Baldur's Gate 3, Larian Studios' Senior Writer Adam Smith in fact compelled players to do «the bad thing»:

We don't want to deliver 45 000 lines of dialogue to you as a speech, we want you to discover them; we want you to interact with them; we want these to feel like conversations. So, you're gonna get, on a playthrough, the ones that fell right for your playthrough and I'm gonna do something...I'm gonna implore you all. We know that most people tend to be good people when they play CRPGs. It's the [Divinity Original Sin II] metric that shows that. So, what I'm gonna ask you to do if you play [Baldur's Gate 3] early access, use it as an excuse to do the bad thing; I want you to be the worst version of yourselves [...] Some of [the characters] you'd never speak to, some you just kill if you're playing the good option and some of them have really interesting stories to discover, so I beg of you, be evil, just this once, but be good in your life (Larian Studios 2020).

Using their experience with DOS II, the designers wish players to go as evil as they can, so that they can discover all the game has to offer. Because they know that most of them act good whether because they want to be heroes, or just because they act good naturally. Designers also wants their game to function as a «digital Dungeon Master», that allows players to react as they see fit (ibid).

Of course, it is important to note that players do not solely think their action over their character's personality. Often, rewards are taken into account: their decisions can be based on the best equipment or the greatest amount of gold they can obtain. In this case, pragmatism supplants idealism or romanticism. Contrary to tabletop RPGs, CRPGs like DOS II are not based on imagination; the player branches part of the narratives along their decisions, but the story includes a finite number of possibilities in a set up world. For these games, guides and walkthrough are common occurrences, so the player knows they are able to acquire knowledge over a specific branch and the entailed rewards beforehand. Similarly, there are saves and checkpoints: any fail or bad choice can be void if one desire so, just by loading a previous save. The player thus is able to make as many attempts as he need to in order to obtain the results they want.

In essence, DOS II is a D&D inspired campaign with fewer flexible plots and outcomes. That is because in video game RPGs, the game master is basically a computer: it cannot sway out of the pre-programmed story. It does not adapt the story through play, but provide a set of possible outcomes for the player to choose. Ian Bogost highlighted this contrast though the comparison between online and traditional retail: since the latter is managed by humans, they can be reasoned with over basic processes like a return policy. Should a client try to return a product too late, the problem may be solved through persuasion or even tantrum. Humans can

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bend the rules. However, for computers, rules and policies are unalterable; a late return is then automatically rejected (Bogost 2007, 5-6). For RPGs, this contrast is heavily marked by their non-emergent nature compared to Tabletop RPGs. Those are inherently emergent as there are no boundaries if not for the players' own imagination. In a video game, technologies and designs dictate the affordances, the space of possibility for them (Fassone 2017, 74). As such, RPGs, despite being deeply rooted with their pen and paper counterpart, rarely display emergence. They offer vast choices regarding the player's character, its overall evolution, and the whole narrative, but all those choices fall into the expected. The plotlines as conceptualized by the designers and the plotlines formed by the player's input are outlined, but never divergent. The player influences the course of the whole story, though it stays within the array of possibility framed by the designers. If a dialogue leads to five possible choices, it also means that there are five different outcomes; the outcome is decided, not created.

Back to the avatar, it certainly establishes a sense of immersion as a body-object that marks the player's presence within the virtual space. They frame its characteristics and control its actions; therefore, they manipulate a character while being the character at the same time. Yet, as far as our understanding of the notion of immersion goes, the phenomenon occurs in a succession of specific moments (intense battle, deep reflection on choices, narratives...) without being constant nor systematic. James Newman talks about a «continuous feedback loop» in which the player has to be seen as «both implied by, and implicated in, the construction and composition of the experience» (Newman 2022). Throughout my play sessions, I often find myself deeply involved in difficult, long fights that required more attention than usual. On the other hand, more than once did I play my character outside of its initial frame. In most cases, it was my own personality that would transpire: with a companion I did not want to be mean to, for instance, or a choice I made to obtain a better outcome. Hence, as players, the cognitive frames are fluid: we assume our role as the main character, engrossed by the numerous in-game activities, whilst our own identity comes into the mix to constantly reconsider the actions. The player and the Character's identity provide an immersive experience by being separated; it allows a deep engagement both through the avatar as the object of our representation in the simulated world, and our knowledge of the game system. Like Salen and Zimmerman note, the pleasure in the act of play in fact comes from the player that «embraces the flexibility of this movement, coming in and out of immersion, breaking the player and character frames, yet all the while maintaining the magic circle (Salen and Zimmerman 2003, ch. 27, 36).

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Eventually, the connection the player shares with their avatar thus allow a physical and mental projection into a game world, to interact with it and experience its story. All in all, it is a relocation of awareness that permits to establish relations with the said world, strengthened by the connection with a customized virtual representation (the avatar-character). The player then moves in and out of the character frame, fashions the act of play through their role within the game and their identity as player. Moreover, the avatar as a character can project the player self-representation which entails social behavior within an online virtual space. Then, games like MMORPG demonstrate another dimension of immersion.

C- MMORPGs and the social Heroes: Forging the tales within a community

Over the course of this work, we have established a conception of dual narrativity that exposes narratives as intended by the designers--the narrative design--and narratives developed by the player, as a participant in a linear, pre-scripted progression (a game's story with a beginning and an end) or as a player-author within a game that forfeit major part of the designers' control over the storytelling process. According to Geraldine Wuyckens, MMORPGs add a third layer of narrativity, that is to say narratives, «created by the community of players»:

Many players do not solely interact with the game, but also invest in activities that were not initially planned by the designers. Those activities are part of the meta-game, which gathers the activities that form around the game together: fanfiction, players' communities (guilds), websites and forums, capitalization activities (sale, purchase, collection) or even players' meetings in real life. Matching the game activities, those of the players generate stories; there are created by them and their interactions with each other. [...] this third narrativity is composed of a set of tales that contribute to each other. They can be fashioned individually or collectively, inside or outside the game. What establishes the specificity of the MMORPG narrativity, and distinguishes it from the offline games, mainly concern the story build collectively, since it is made possible by its nature of MMO (Wuyckens 2018, my translation).

Wuyckens's approach on MMORPGs narratives considers a community of players a whole entity; players, by themselves or in groups, shape various stories independently of the game initial given objectives using both the game world, its lore and rules, and extra ludic elements of their own creation or not. Analyzing MMORPGs social dimension and the place of the player in it, enables to understand players' perception over the narratives and the game world as well

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as their «life» inside the game. MMORPGs are probably the closest thing to an actual virtual world; by enabling a great number of players to interact at the same time, in the same space, it becomes a social playground. Story and plots are therefore created for the community to share and recount beyond the game boundaries. In this context, we will also explore the narrative basis.

Online and massively multiplayer: beyond the act of play?

What led me to investigate MMORPGs is that, within the whole medium, MMORPGs hold a special place. With top games like Final Fantasy XIV (Square Enix 2010) and World of Warcraft respectively registering an average of 2M and 1M active players per day21, their economic component with sale and trade, and their overall design that encourage interaction and communication, they are not only great research materials for the game studies field, but also for many other academic fields (economics, linguistics, culture...). Regarding my own research on narratives, MMORPGs best express the points I explored until now: they display gigantic worlds (most of the time within an open-world design) which player experience through an avatar that is shaped and evolve through play, in the same manner as for RPGs. Moreover, MMORPGs are the ideal playground regarding emergent behavior, especially in regards of what Celia Pearce refers as «social emergence» that connect with the world design and affordances (Pearce 2009, 188).

More than Hades or Sea of Thieves, MMORPGs are known to be very time-consuming especially for whom has but little experience with them. The reason that compelled me to explore narratives in MMORPGs nonetheless is that I am a regular player of these games. The knowledge I acquired prior to my work allowed me to drastically reduce the time needed to undergo the observations as a researcher. At first, I opted for New World, a recently released MMORPG from Amazon Games Studios. Whilst it presents basic aspects of the genre, two of its particularities are that the economics are entirely managed by players (no NPCs to sell or buy objects) as well as its strong orientation towards PvP (Player versus Player) with three factions constantly disputing control over the world's territories. Thus, it appeared to me as a good research material since I could witness firsthand how the player would approach the game,

21 Based on the statistics estimates by the MMO Populations website ( https://mmo-population.com/activity).

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and the evolution they would enact. However, after many hours in the game, I found myself unable to gather enough substantial data. During its first weeks of release, New World was unstable: due to technical difficulties and a large surge of players that oblige Amazon to increase the number of servers (Yin-Pool 2021), the game revealed arduous to access to, which disrupted my investigation. The slow pace of my progression then led me to look for other subjects.

After several weeks at looking upon various popular MMORPGS, I decided to conduct my research on Final Fantasy XIV (FF XIV hereafter) on the basis that, for starters, I had played the game a certain amount of time before. Hence, I was already accustomed to its world, its mechanics and the culture surrounding players, as well as their way of enjoying the game. Progression within the game was not an issue since I had experienced most of the game story beforehand along with my high-level character. Developed by Square Enix's Creative Business Unit III, FFXIV launched September 30, 2010, in what is now referred as the version 1.0. Following the critical and commercial disaster of this version, it was shut down and relaunched 3 years later (August 27, 2013) in the 2.0 version that is still up today, with four added expansions.

Apart from my affinity with FF XIV, what convinced me to undertake research on it is that, even among the other MMORPGS, FF XIV put a strong emphasis on players' socialization; notably so, it regularly strengthens their ability to simple «live» within the game. This aspect appears even more relevant as FF XIV is multilingual by design: it is available in four languages (English, French, German and Japanese) whereas the players repartition in different servers are done on a geographic rather than linguistic basis. In other words, FF XIV is a virtual space where players from different countries and culture, who do have the same native language, play and communicate with each other daily. Additionally, it is a game where the player-avatar relation seems especially strong, for reasons I intend to highlight below.

Coupled with FFXIV, I carried out my analysis using World of Warcraft (WoW hereafter). Released on November 23, 2004, the game from Blizzard Entertainment greatly influences the design of MMORPGs (including FFXIV) and still stands nowadays among the most popular ones. I believe that examining WoW amounts to investigating MMORPG as a whole. With that being said, because it would have required more time than I could spare, I did not play WoW for my work. Instead, since numerous research was conducted on the game with various prospects over the years, I leaned on some that work as well as my own knowledge about the game. By doing do, I intended to add value to my participant observation in FFXIV, and better comprehend the player-game relation within MMORPGs.

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The play to the social: investigating emergence from the social dimension

In her book entitled My Life as a Night Elf Priest, anthropologist and professor of the Department of Informatics at the University of California, Bonnie Nardi compiled about three years of ethnographic research on World of Warcraft in which she exposes the «peculiarities of human play» and what drives the players in this «visual-performative medium» (Nardi 2010, 6- 7). In the chapter «What Is World of Warcraft and Who plays it?» she provides a concise, yet introductive description for the MMORPG: `MMORPGs are role-playing games with hundreds, thousands, or millions of players. However [...] World of Warcraft is a social world as much as a game' (ibid, 17). MMO stands for «Massively Multiplayer Online» and designate video games which game design revolves around the capacity of having a large number of players that can play and interact in a same, persistent world. MMORPG (massively multiplayer online role-playing game) then reprises the RPG concept--the player controls an avatar character and manages its evolution within the game world--in the multiplayer setting. With that being said, according to Nardi the MMO acronym is «not entirely accurate» as what defines the MMORPG is not as much the multiplayer aspect as the social dimension it entails (ibid).

Besides the multiplayer aspect that forms the basis of the genre, MMORPGs indeed display a large social playground, for the most part conducted through their persistent world. To broadly present the notion, a persistent world is what the name indicates: a world that exists continuously, and sometimes changes, even when the player is not actually playing the game (i.e., when they are offline). The world in question is maintained on a server; usually, an MMORPG exists in multiple instances, which correspond to a server where players are assigned according to a geographical and linguistic basis. Players of a same server thus log in the same persistent world. More than persistent, it is capable of thousands of concurrent players, for MMORPGs are «synchronous» games, meaning they allow simultaneous play (Bogost 2004, 1).

That combination is what creates the virtual world in the strict sense of the term, i.e., closest to emulate «real life.» To log out the game becomes similar to return home after walking around town and crossing paths with many people: back in one's house, those people no longer exist in one's immediate space, but they are still out there, attending to their business. In fact, MMORPGs have towns that serves as a «hub» for the players like Stormwind City and Orgrimmar, the two main capitals in WoW that represents the two opposite factions (respectively the Alliance and the Horde). Players frequently gathers in these towns in order to

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trade, buy, sell or upgrade their equipment. As a result, similar to «real» towns, one can observe places crowded with players. In FFXIV, such places tend to be the «Aetheryte Plaza» (the cities' main square) or specific districts like marketplaces; walking around the cities, one gets to observe actual mobs enjoying their free time. I found this aspect especially interesting from a narrative angle: in the same way we do not pay attention to every single person when wandering in town, we perceive this mass of players as an inherent part of the cities we walk through. Just like a pair of NPCs which make a ruckus in a bar in The Witcher III, the players blend with the background. From a one's perspective, it could be argued that they are a compelling and dynamic aspect of environmental narratives.

Here, I argue in favor of the social dimension as an inherent component of the game narratives, which connect to the community creation, Wuycken's established third narrative. Celia Pearce, in her book Communities of Play: Emergent Cultures in Multiplayer Games and Virtual Worlds, determined that such networked social system provides a «feedback engine» for what she calls «social emergence,» notably through the game and world design (Pearce 2009, 45, 188). Since MMORPGs are virtual worlds which take in numerous players at once, their design includes tools for players to communicate and interact with each other. They can form groups, join guilds; they have a chat box with several channels, allowing to converse privately or across a given area; in some cases, they are able to obtain their own house. Also, it extends beyond the game itself: there are websites, forums, discord servers and social networks (Twitter, Reddit, Instagram, etc.). Players craft their own community space as well, often focused on specific aspects of the game. FFXIV community for instance created a discord server for the «official» subreddit (/ffxiv) which has more than 220,000 members; the website «Eorzea Collection» is a fan-made catalogue for players to share their «glamour,» i.e., their character's outfits. MMORPGs designed affordances regarding social systems thus favor «an accelerated form of emergence,» for the «social context of play and the design of the game software itself facilitate this feedback process» (ibid, 45).

The act of play within MMORPGs is therefore inherently social. The play induces «social feedback» from which emergence manifests. Players use the particular context and the game affordances to partake in social activities they organize themselves. It includes large-scale gathering, fashion show and even online weddings--FFXIV has its own wedding system (the Ceremony of Eternal Bonding) for which two players must set up a date, can invite other players and obtain various gifts such as the wedding outfits. But beyond «basic» activities, players use the social playground inherently provided by MMORPGS for social organizations like wide

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protests. In July 2021, the California Department of Fair Employment and Housing (DFEH) sued Activition Blizzard (which own WoW) for its «frat boy» culture in which female employees faced widespread sexism, sexual harassment, and were subject to unequal pay and retaliation (Allsup 2021). Following the DFEH lawsuit, many WoW players were horrified to learn about the terrible alleged culture conducted within the company that own their precious game. In response, the role-play guild Fence Macabre organized an in-game protest on the Wyrmrest Accord and Moon Guard servers against Activision-Blizzard. A large number of players gathered on Oribos (a game capital and social hub) for a sit-in to voice their disappointment and show their support for the victims of the company's hostile culture (Marshall, 2021).

Social phenomena in MMORPGs are common occurrences and WoW, which has existed for almost twenty years now, certainly had its fair share of it. With that being said, I looked upon similar social phenomena that occurred in FFXIV. Paralleling the way I gathered data for my analysis on Sea of thieves, I explored FFXIV forums and subreddit and extracted information I believed was relevant for the subject at hand (see Annex 2: Final Fantasy XIV related posts sampled). What I found particularly interesting was the events that occurred in a scale that encompassed a good part of the community. In 2014, the Redditor Pattmyn posted a story on/rffxiv about his friend, an FFXIV 29-year-old player under the name of Codex Vahlda, who was passing away due to complications from renal failure. On the game official forums, players shared the story and organized a vigil on several servers. Kaes, the player who initiated the thread on the English forums wrote, «This is happening in Gilgamesh [name of the server] [...] a memorial for Codex Vahlda, an adventurer who is leaving Eorzea, and the real world, forever.» Thus, both friends and strangers paid their respect for the man with light shows made out of their character's skills and «build» his name on a beach. For those who happened to be on Codex Vahlda's server, they went in front of his Free Company's house (FFXIV guild equivalent) and kneeled with prayer. The press video game website Kotaku relayed the event and shared several pictures of it, coming from different servers. The article's author, Mike Fahey, commented on the MMORPGs community, stating, «when a group of peoples is deeply invested in a virtual world, be it Eorzea, Azeroth [WoW] or Norrath [Everquest] or wherever, there is a bond there that crossed any and all real-world lines (Fahey 2014).

In a touching way, MMORPGs communities are indeed no stranger when it comes to pay respects for those who passed away (in real life) and FFXIV alone contains many examples.

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More recently, its community paid tribute for Miura Kentaro, famous author of the Berserk manga, who passed away at 54. He was considered as one of the greatest mangaka22 as Berserk greatly influenced numerous works, including within the video game medium. The Dark Knight job in FFXIV is heavily inspired by Berserk and echoes its universe with several elements, most notably its great sword and its armors (Messner 2021), which is well known by the game community. Hundreds of players thereupon lined up in Ul'dha (one of the game capitals) across different servers as Dark Knights [Figure 17], their sword stuck in the ground.

Figure 16 - Final Fantasy XIV screenshot by redditor Renaart. Players as Dark Knights paying tribute for the late Miura Kentaro.

Though common within MMORPGs and relevant illustrations regarding social emergence, these large-scale events remain few--thus not necessarily a faithful representation of players «everyday life» inside the virtual world. As part of my studies on FFXIV, I decided to spend a few hours in Limsa Lominsa, one of the game most crowded cities. More specifically in the Aetheryte plaza known to be many players' favorite place to spend time in. My purpose was simply to carefully observe players, how they were passing time here outside of basic game activities (exploration, dungeons, battles, etc.).

22 An author of manga.

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In the time I spent in this spot, the most noticeable I noted was that many players did not conduct any particular activities. They were literally doing «nothing.» But they were not «AFK» (away from the keyboard), they were idling. As surprising as it can be, idling appears to be a genuine part of the FFXIV experience. As we mentioned earlier, players themselves intertwine with environmental narratives, as part of the MMORPG (synchronous) design. However, they do not do so by simply «being there»: they enjoy various methods of expression and performance afforded by the game. They dance, perform particular emotes, roll different poses to expose their glamour and cosplay, do role-play ... all the sights and sounds act as a «background noise»--in fact the game enacts an ambient «brouhaha» whenever numerous players are gathered together. More than just noises, there are actual musical performances. By playing the Bard job, one has access to a «performance mode» [Figure 17] which allow to perform virtual instruments (electric guitar, panpipes, clarinet, cello...). It is thus possible to compose, record, and share your own music. Hence, music performance is part of idling: while some players share their performance, others sit by, dance, and enjoy it. During my observation, a Bard played for about an hour and played various known video game music. I could recognize «Type A» from Tetris, «Song of Storms» from The Legend of Zelda series, and several more I did not know were performed as well. A few other players gathered around the Bard and cheered him using emotes with glowing sticks. The Bard player, through their avatar-character, transposed their own musical references into the virtual world and threw a street performance for anyone to enjoy.

Some time later, I came back to Limsa Lominsa Aetheryte Plaza, hoping to gather more data regarding my observations. Unexpectedly, I stumbled upon a mob massed at the center of the plaza. It certainly looked like a party, with the large number of glowing sticks waving around, and characters dancing and performing numerous noisy emotes. To my surprise, it happened to be a live concert, performed by an actual in-game band. The performance lasted for about an hour, with music from videos games & anime. After the show, i went and search about the band on the/rffxiv and twitter. I then found out they are called «Mosh Mosh» and conduct a concert tour [Figure 18] on a regular basis, set up a grand festival all across the game cities and servers. They are in fact famous among the community; several posts on/ffxiv stated they were the reason «They love the XIV community,» and «always a fun time.» In my view, it properly illustrates the social emergence powered by feedback Pearce established: the game provides different actions to perform (emotes, dances, poses, music performances, etc.), whereas players respond by breathing life with it. They become fixtures of the game world,

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inextricably bound to it. Access to music instrument allowed Mosh Mosh to be born. They now fashion the game experience of a large number of players through their concerts. Idling appears now as a genuine game function.

Figure 17 - Final Fantasy XIV, my character in the «performance mode» playing electric guitar.

Figure 18 - Picture from twitter user @CeresCloudsXIV. Final Fantasy XIV, Mosh Mosh live concert performance at Limsa Lominsa.

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FFXIV let players idle in various ways--mostly without constant input--to the point that the title is as much the grand epic fights against monstrous foes (and the acquisition of items) as the lounging in a city's street before people playing the panpipes. The play is embedded within the game social dimension. The events I was versed in during my observations may indeed represent a big part of the players' broad experience. Significant enough, a redditor under the name of Daddical shared his thoughts over the game, which certainly highlights the compelling experience regarding the social dimension:

FFXIV opened my eyes to enjoying the actions of the people around you [...] During that time I am looking at the crowd he has gathered and what is that? Only the most badass looking Lala the world has ever seen. Oh, and what is that? An M.Bison cosplay glamour. Wait are these people standing around the plaza rolling through different poses to show off their glamour? What is that emote and where do I get it?! [...] There was so much player driven, player made, player enjoyed content going on around me. These people weren't just stopping by Limsa to sell some things and head back off to their next grind for pre-raid BiS [high-level equipment] or for some super rare mount. It was just people doing the things they enjoy in the game with other people who enjoy doing those things.

MMORPGs heavily on their world constructions, their environment. For players to be immersed in it, it has to display consistency and coherence, the world must be whole and feels complete. It has to convey a sense of «worldness» (Pearce 2009, 20). In a context where details of the whole virtual world environment produce a big part of the narrative experience, what they do best lies on their capacity, «to give concrete shape to our memories and imaginings of the story world.» They provide the means to experience an immersive environment «We can wander through and interact with» (Jenkins 2004, 7). What I extracted through my observations, and what Daddical experienced here, reflect such detailed environment, filled with players that appropriate it and became part of it. Their inventiveness, like the concert performances, stems from the game affordances, whereas that same creativity forms its consistency, as well as its aesthetic.

All in all, we explored but the surface regarding FFXIV (and MMORPGs in general) social dimension. A lot of additional work would be required to thoroughly identify the elements which shape the entire social playground. Nevertheless, the data gathered through participant observations and research denote the complex nature of the social environment and the scope of the narratives it generates. Beyond the game itself, players create interpersonal experiences through the social emergence the world construction affords.

Although, as Pearce note, emergence «occurs over time,» social emergence is therefore «the outcome of prolonged and repeated interaction with a persistent networked virtual world

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through a persistent identity» (ibid, 186). To enable the enactment of social activities such as described above, players obviously have to familiarize themselves both with the game world, its rules, affordances, and with the character they embody. For MMORPGs, it starts with a common background, a story in which the player progress along their avatar-character.

Hero for the history books: player character living the story...

In like manner of open-world games such as The Elder Scrolls V: Skyrim and Cyberpunk 2077 we discussed in previous sections, MMORPGs both afford the player freedom to navigate the world and push them into a built-in storyline that provides a more or less linear progression, a begin and an «end.» The player explores the game world following a narrative arc that serves as the game's overall background; it builds the cosmogony and fashion the referenced universe (Wuyckens 2018). Among the most popular MMORPGs, the main storyline that revolves around the «chosen one» trope is predominant--de facto, the heroic fantasy. WoW, FF XIV, but also Guild Wars 2 (ArenaNet 2012), Lost Ark (tripod studio 2019) or The Elder Scrolls Online (Zenimax Online Studios 2014) all position--to various degrees-- the player as a unique hero, adventurer, someone chosen by destiny, who appears as the only one up to the task ahead. The premise usually changes depending on the avatar conception; the player choses a race, class, tribe, that dictate the starting point of the adventure until it connects to the grand story. That particular exposition not only it easily exposes the player to the story, but it also makes them and their avatar a central part of it.

Yet the story as a whole is not enacted solely through a main plotline: it forms through a multitude of quests that each contributed to the global narratives. Through their experiment, Emmett Tomai et al. determined that quests, as stories, «combine computationally friendly constraints and in-game metaknowledge with open-ended narrative» while demonstrating «how many versions of the stories can be told» (Tomai et al. 2014). In other words, they strengthen the player's comprehension of the game world and reinforce their implication in it. By enabling their character to gain experience, learn new skills and obtain better equipment, those quests interlock the character's powerfulness with the narratives. The player's path of progression widens itself as their character becomes more potent. The more level they have, the more there are new areas, quests and NPCs to interact with. The main storyline thus guides the player, while giving them a larger navigable space. The narratives values stem from their decisions

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regarding their course of actions, the quests they accomplish, their character's evolution and their interactions with other players. Here again, it reflects Cayatte's dual narratives, with the player-author who fashions their narratives within a «framed experience that defines the game's processes» (Cayatte 2018, my translation). That is also what Wuyckens refers as the first and second narrativity: the game main narrative arc works as «a frozen storyline» which places the player inside a grand story so that they may progress in the game along their character (Wuyckens 2018).

Moreover, as we already determined, MMORPGs are network play environments set in persistent worlds: by design, they are scalable. The evolve over time, through updates on a regular basis, but also through the community's actions. The main storyline conclusion is not an end, but a gateway to further possible plotlines: strictly speaking, the game itself has no end. Marti notes that these games induce the player to set up his own goal outside of a centralized story:

In these evolving games the player is encouraged, as mush by their position as by the elements implemented, to involve themselves in a plot they get to drive rather than to be immersed in a plot produced by another [the designers], while they comply with the environment technical limitations. These are games that, at various degrees, make the player assume the role of an author within the game: the very purpose of the game is to develop a story, not to play one (Marti 2014, 11, my translation).

Indeed, MMORPGs tend be split in two parts: the storyline or the narrative arc under which the player and their character progress, and the aftermath, what players refers to «endgame.» The endgame comprises every kind of activity that can be performed once the main quests are completed and usually, when the character reaches the highest level. From side quests, to powerful foes to beat, as well as specific areas to explore and even better items for the character to obtain, the endgame offers the player numerous goals they can set for themselves. For the designers, it often represents a milestone: it is supposed to keep players engage with the game as long as possible. Lots of MMORPGs players have their appreciation of the game almost entirely determined by this aspect--which will be further examined in the following section.

Then again, I believe Marti's observations regarding the game's plot needs to be slightly nuanced. Here, I thus seek to broaden the observation further. If MMORPGs certainly seek to provide a large virtual space for players to experience their own adventure, they use their evolutive nature for narrative purposes as well. These games often intend to further deepen their lore; they use their never-ending longevity to tell longer stories and immerse players in it--an

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approach we could compare to TV Shows seasons. Though it can be regarded as a special case among MMORPGs, FF XIV surely illustrates how the genre can recount a tale that extends through several years, blending together closed and opened narratives.

The setting of the game falls into a rather classic heroic fantasy inherited by the Final Fantasy series from which it is the fourteenth main installment--the cult JRPG franchise was in fact originally inspired by Dungeons & Dragons. The story takes place in Eorzea, within the world of Hydaelyn. We assume the role of the Warrior of Light, a being chosen by Hydaelyn, the mother crystal of the world (that carries the same name). Our overall progression goes through a specific series of quests untitled «Main Scenario Quests.» It comprises all the plots that are directly bound to the main storyline. Our journey begins in one of the three grand city-states, Limsa Lominsa, Gridania or Ul'dah, depending on the class we first chose for our avatar. We start with very simple quests meant to introduce this new world, the people that live in it and the difficulties they are facing. Thus, the first plots are rather down to earth and quite centered on our understanding of our surroundings, the exploration of various areas and meeting important characters. Before anything, we are an adventurer. Then again, these minor quests are meant to converge towards the bigger picture. The more we progress within the game, the more we are immersed in a story beyond us: the stakes become higher, the enemies more dangerous, our objectives more «extraordinary.» Little by little, we are acknowledged as the Warrior of Light, the central piece of the story meant to «save the world.» From mere bandits to make flee, we take our journey on the moon where we confront a godlike entity.

Wuyckens notes that the whole story of MMORPGs is as much the result of multiple plots dispatch on the numerous quests and events as the transmedia storytelling. Websites, stores or videos are used by designers to extend the depth of the game's lore (Wuyckens 2018). Announcement trailers always give a glimpse at game's themes, expectation over the story and details of it. Outside of their obvious commercial role, MMORPGs trailers effectively expose what to expect going forward. Blizzard Entertainment is very well known for its grandiose cinematic trailers for each WoW expansion, that display the game world in a gorgeous and epic way, whereas the theme and tone of the expansion are set. For Nicolas Ojeda et al., the «narrative nature of the animatics makes them a key element in the strategic construction of the WoW semantic universe.» The player's experience is imbued with meaning beforehand; it «contextualize and personalize» their adventure, the stories they will construct (Ojeda et al. 2019). Through its cinematic trailer, FFXIV presents a sense of continuity: the main character (the player) is represented by a male Hyur (FF XIV human equivalent)--the community calls

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it «Meteor survivor» or «Meteor»--whereas he projects parts of the events that will be enacted. Plus, each expansion trailer highlights one of the game's jobs (class) through this character, both to present the new ones and to demonstrate the character's acquired abilities along the story. The trailer of Shadowbringers23, FFXIV third expansion, even shows «Meteor» switching jobs at will for the first time, definitely putting the prime gameplay system 24 of the game canonically in the story.

The trailers also serve to underline MMORPGs conceptualization of storytelling: they segment the narratives that shape the whole story through their expansions and updates. Director and producer of the game, Yoshida Naoki, explains in the video The Creation of Final Fantasy XIV: Shadowbringers--Episode One: Telling a Tale how they set up the various storytelling elements within what feels like an episodic game:

Typically, with a title that's a standalone25 release, there's a philosophical message we want to share with our players. But with Final Fantasy XIV, we're constantly updating, refining and moving forward with what we deliver to our players. It sorts of feel like a TV series--so if asked if there was something we wanted to say with Shadowbringers, if we look at our current story as the Hydaelyn and Zodiark arc, we are reaching the climax of that particular narrative now. We had different mysteries and elements that were unclear up to this point; but for Shadowbringers I told my team they can go for it and reveal about 80% of everything related to this story arc.

Each expansion enacts a storyline that is intertwined with the narrative arc that encompasses the whole game. Like TV series episodes that narratively respond to each other, expansions bring multitudes of plotlines which expand the lore and incorporate themselves among the story. They narratively feed the player with the new elements they bring to the table. At the same time, they create further expectations for the next updates or expansions to come. For many players, expansions stand as a good enough reason to come back to the game after a hiatus, and delve into new adventures with their avatar. Even regarding the main story, the game is designed to be in constant evolution.

Similar to a classic RPG, FF XIV recount a tale in which our avatar-character takes the main stage. However, as we stated before, an MMORPG is synchronous: players share the same

23 Final Fantasy XIV: Shadowbringers Full Trailer. https://youtu.be/4tyuIh12_HU

24 In MMORPGs, each character has one class attributed at the beginning. However, In Final Fantasy XIV the player's character is able to learn every class and jobs of the game, regardless of the one it started with. Then, it is able to switch from one to another at will by equipping the corresponding weapon.

25 Here, standalone refers to video games that functions independently from any other game, should it belong to the same franchise or not. The term is to be opposed to «expansion» or «DLC» that suggest the possession of a «base» game.

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game simultaneously, they live in the same world. Thus, the main storyline that serves as the backbone for the whole game's cosmogony is not meant to be altered; conversely to typical RPG where the player is presented with choices to make in order to take the plots in the wished direction, MMORPGs constraint them (plot-wise) in a unique path. Towards the story, the player appears more a protagonist than an author. Nevertheless, the game seeks to tell a tale for which they feel like it is their own. For instance, FF XIV frequently affords dialogue options [Figure 19] incidental to the plot proceedings. Regardless of the line chosen, the sequence of events remains unaffected; it only slightly alters NPCs following line or reaction. The purpose here is for us to pick the dialogue that befits the most of our character. This illusion of choices is part of narrative design tools that aim to make the player feel involved in the plot--their ability to interact is inconsequential, but them being part of the story would be genuine.

Figure 19 - Final Fantasy XIV, example of dialogue tree occurring during quests.

As far as the Main Scenario quests series is concerned, the agency we get as a player is therefore limited. Not on the rhythm of progression--we can attend to other activities between each quest--but on the nature of our adventure: whatever we do, we are the Warrior of Light. As we stated in the section «Player's agency: to interact or not,» this lack of agency is intended by the designers who wish to better handle the storytelling. Hence, the title regularly resorts to cutscenes to set our actions in a significant narrative frame. Interaction gives way to immersion. It is also a means to echoes the various elements introduced by the trailers for instance;

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cutscenes and other «non-playable» situation can unveil the origin of specific events initially described in extra ludic and transmedia elements (Marti 2014, 6). Adding the episodic format characterized by the expansion, and the cinematic trailer that exposes the game continuity, the immersion is therefore based on the diegesis and the narrative elements unknown to the player.

In contrast with Marti's statement, we drive a plot, a full story arc even, produced and tie together by the designers. We embody our avatar-character and assume the role of the hero in a story where the low interactivity allows stronger emotional effect (Fregonese 2017, 105), attachment and empathy towards the characters, as well as a deep involvement for what is at stakes (the world). Above all, FF XIV wants to establish the player as the hero of its world. For this reason, it portrays our character as such through its staging, thus frames the act of play around the story. Notably, the fourth expansion, Endwalker, staged the main characters in a final scene, with our own in the center. The said scene served as the game end credits and significantly enough, our character is attributed in it [Figure 20] It is a final acknowledgment of our status in the game's story, as well as a narrative contextualization for the further adventure we might undertake.

Figure 20 - Final Fantasy XIV, my character appearing in the game's end credits.

MMORPGs, including FFXIV, then purposely provide a narrative basis for the player, while also allowing imaginative input. It comes back the inherent dual narratives of the open-world design, for which the game world becomes «a generator of stories in the same fashion as

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pen and paper RPGs,» which attract many players «with different profiles who can develop their own storyline, and pursue the goals» they can set for themselves at any moment (Fregonese 2017, 121). In essence, the narrative arc lays the main background for emergence, notably taking place within the endgame.

... then redefining the tale: author of the endgame and builder of the community

Generally, MMORPGs offer high-level contents in the form of grand battle against very powerful foes. Historically, WoW is known for its large-scale raids with up to 25 players attending to the task (for a time, it could go up to 40). Raiding activities is an important and complex part for the game. A lot of players only aim at this type of content, thriving for the challenge it procures, and the source of excitement it becomes when victory is achieved--as well as the powerful pieces of equipment and various artefacts they can obtain in it. As the most difficult activities to perform, raids require a lot of investment from the players, which in return gain in excitement whenever the goal is reached. Indeed, raiders (players who participate to raids) need considerable preparation for their endeavor; their characters must be at the current max level, of course, but must also possess finely tuned equipment. They also have to ready a supply of consumables (foods, potions and elixirs) that enhance the character's statistics for a limited time. All of which can require more or less intense farming26. Overall, raids also demand players to be efficient at applying complex strategies, which entails a good level of communication with their teammates--usually, there is a raid leader that performs «call-outs» for each step of a fight, facilitating the strategic exercise for the whole group.

Bonnie Nardi learned herself to be a «raider» to better comprehend what they are playing for. She notes that this preparation and dedication were generally perceived as a genuine «work» by the raiders, in an «energized and positively valued» sense (Nardi 2010, 99). She then summarizes the play at a high level as a «freely chosen activity while at the same time opening the potential for work-like results» (ibid, 101). Surely, raids here extend the experience beyond the simple act of play; it involves as much individual as collective efforts, communities' experiences that create bounds while players' commitment deploys self-performative

26 Farming or «grinding» in video games refers to «the act of performing repetitive tasks to achieve a desired outcome» («grinding (video games)» 2007). Usually, the goal is to obtain specific resources, loot or piece of equipment. It can also designate the repetition of tasks that aim at gaining level for the character.

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development. Moreover, I argue that this high-level form of play entails its own form of narratives, whose scope encompasses the players and the game, both inside and outside the game world boundaries. As it is, I believe these narratives fall within the third narrativity suggested by Wuyckens. Although the endgame authoring does not emancipate from the narrative duality--which is the case of role-play as Wuyckens demonstrated (Wuyckens 2018)--it is thoroughly enacted through the community aspect. Plus, since the high-level play involves a whole strategy facet, it could be considered part of the «metagame.»

To begin with, nowadays, raids and other similar content in MMORPGs have an esport27 side to it. When a new raid, or a new raid difficulty, is implemented in WoW, it quickly turns into a race between the strongest guilds to see who will beat it first. It usually takes days, even weeks before one of them gets the «first clear» and the moment it happens, it is a great source of recognition from the whole community, but also from the designers. As an illustration, for the last raid difficulty from WoW's expansion Shadowlands, «Sepulcher of First ones» on mythic difficulty, it took 18 days for the guild named Echo to «win the race» (Harris 2022). Blizzard Entertainment then immediately shared the news on Twitter, stating that the guild was the champion of the «RWF» (Race to World First)28. The acknowledgment itself represents the only reward for being «the first,» yet it is seen as a genuine competition watched at every step by a good part of the community. But outside of the competitive side--which affects only a limited range of players--high difficulty content represents a «game after the game,» a distinguished experience from the one initially offered.

FF XIV certainly does not break with this inherent MMORPG aspect: the title provides what is called «Extreme Trials» and «Savage Raids.» When a new challenging content of the sort comes up, players can spend hours, if not days establishing strategies from the ground up. Then, they share their solutions to other players--mostly through YouTube guide video--that in turn apply a given strategy and learn through their own «trial and error» phase until they manage to emerge victorious. Having max level character at my disposal, I went and try myself in these challenging content FFXIV has to offer--at least what I could have access to. Interesting enough, the community established their own means of communicating a specific

27 eSport (or e-sport) stands for «electronic sports.» It is a form of competition involving multiplayer video games, typically played by professional gamers and watched by spectators. Based on Dictionary.com, s.v, «Esport,» accessed April 25, 2022. https://www.dictionary.com/browse/esports

28 World of Warcraft (@Warcraft). «It is done! EchoGuild is your RWF Sepulcher of the First Ones champion!" Twitter, March 26, 2022.

https://twitter.com/Warcraft/status/1507842691400351749?s=20&t=dSpA321GV1R s6aQiagG w

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strategy, by using macro commands. Before a high-level battle, the group leader usually generates a minimalist representation of the encounter proceedings [Figure 21] using the chat box. Each player is given a position depending of its role (M for melee, R for range, etc.), with simple indications as to where they have to go according to the specific mechanics. It is a way to easily get everyone on the same page regarding the overall strategy.

Figure 21 - Final Fantasy XIV, strategy and positions for a raid set up through a text macro post in the chat box.

In essence, overcoming these challenges is the result of a large community effort: each player, or group of players, shares their insight regarding a given strategy, try it, refine it, create variants, and share it again. Tactics usually change over time as players try new ways to handle an encounter. The aforementioned macro represents an independent creation among several others, which depict a specific way to handle the various mechanics. It is an entire implicit process build by the community micromanagement, for which the game designers have no direct implication, which then would fall within the metagame.

The metagame reflect a kind of emergent gameplay, as it refers to rules and elements outlining the game design. It is an alternative play generated by the player extended practice of the game or unexpected material factors (Boluk and Lemieux 2017, 4). It is a design actualization enacted by the player, whereas «metagame» slightly differs in meaning from one game to another--the applied definition thus is «decided» by a game community. Concerning MMORPGs, it usually refers to the rules combination and gameplay features the community fashions from players' empirical observation (strategies, characters' build, group formation...) that extend beyond the initial rules («Metagame» 2013). The various strategies players come up for high-level content, the way they are shared and enhanced would indeed be considered as part of the metagame. Of course, tactics designing by the community remain expected; in itself it may not be «meta» in the proper sense of the term, since it does not supplant the game rules. Likewise, the developers intend the fights to generate some specific response from the

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players--the mechanics are meant to be a bit familiar (such as an attack marker you instantly know must be avoided). The metagame here would refer more to the community micromanagement in optimizing the strategy overall efficiency (specific positions, the use of the characters or the focus on specific classes). Players also regularly break the holy trinity29 and establish unorthodox group combinations, «not supposed to work.» The developers cannot foresee these elements; it is but unique response from players to a set of game mechanics.

The «work-like» preparation, the learning of a complex strategy and the desire to surpass yourself, all embedded within a community effort, forge a powerful unique experience. It took me a few days before I could achieve victory over one of the current high-level fights, and it was indeed a great moment of satisfaction. I had to enhance my character's gear, fetch a specific type of food, before watching video guide that explains the fight step by step. I then trained with some of my friends that went back to the game for the occasion. It sure was intensive at first: almost any mistake would lead to a snowball effect of many other misfortunes, whereas the numerous mechanics were arduous to keep track of. The training was a constant refining of our capacity to apply the given strategy until we knew the fight by heart. Once we managed to defeat the «big bad guy,» we could say we were relieved to finally be done with the fight, but also overcome with joy knowing we were now «powerful» enough to make it bite the dust as much as we wanted.

This whole process towards the completion of a challenging objective is without a doubt a strong way to fashion one's experience. Strategy, planning, optimizing, cooperating, many factors come into play regarding the overcoming of this type of challenge. Most of all, it is a dive into the community space; we learn the community and partake in its development. As Juul note, communication and elaboration of a strategy in pursuit of a goal «is an important incentive to build community.» Even more so, «Being part of a community will make you a better player» (Juul 2005, 91). The act of play is incorporated within the community continuity, with each individual performance and refinement of the repertoire, forging the play experience of «all.» From a narrative standpoint, the connection to a group it entails enacts a sequence of events that forms a personal story, culminating in victory over a heavy challenge. In fact, the FFXIV subreddit is filled with posts in which players tell the story of how they manage to conquer raids and trials (see Annex 2: Final Fantasy XIV related posts sampled). For instance,

29 The «holy trinity» is a term used to describe a classic MMORPGs configuration regarding the combat system, which display three distinct roles for players to assume: tank, healer, and damage dealer. Battles thus revolve around their synergy. «Breaking» the holy trinity therefore means neglecting one (or two) roles, usually to enact a tougher challenge.

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one user described her struggle over finding a group for raid content, because of her mutism (since players rely on vocal communications):

I was ready to give up, until I found a static with a group of people whom I enjoyed with and accepted me as who I am. We were able to do ultimate and finally clear it! It was really an amazing feeling and I felt like I wanted to scream even though I wasn't able to.

I really am unable to express how huge of a milestone this was for me, I am super happy with myself and my static who helped me get this far into hardcore content. I really love each and every one of them and I hope we will be able to continue raiding together until we clear all ultimates!

The personal development enacted by one's insertion into a community establish a different sense of play; players personal play experience is shaped by this community, and influenced their personal stories. The narratives stem from the interaction with game, but even more so with its community. Players no longer build «individual plots,» but plots structured within the story of the community (Marti 2014, 11).

In this context, players perceive the community as a vital part of their experience. Communication with it becomes an inherent component of their storytelling, whereas they display the need to share their personal experience and actively engage in «community narratives.» For example, another redditor wrote, «I wanted to share my own experiences as a female raider to hopefully inspire others! [...] We started UwU [High-level content] as a completely fresh group and I was so glad that we all worked amazingly together.» Similarly, one post emphasizes the appreciation for the FFXIV community with the bond they created with «strangers»: «It took ALL DAMN DAY, but finally got my first clear of floor 200 In PotD with a group of strangers turned friends!» Others simply wish to share their pride and satisfaction, «After 3 long months, our group cleared UCOB! If you guys see this post, I love all of y'all.» Or underline their personal growth regarding the endgame «I know this isn't especially impressive but it's a first for me, cleared the 2 extremes while they were still relevant and I'm super happy.» All of their personal experience intertwines within the community space. These posts indicate how individuals establish a whole story through their personal endgame achievements and the events that led them so far. Being an active audience and engage others' game experience then forms the game narratives at both an individual and community level.

All in all, the endgame we investigated here only emphasizes a piece of what player may do to fashion their personal experience. As a matter of fact, high-level content like raids tends to appeal but a minor portion of the game population. The difficult challenge they represent is one thing, but it can be argued the endgame may be a matter of one's own

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perspective: to some, getting the best gear, riding blazing dogs through the skies or killing the most powerful monsters does not necessarily represent the type of experience they are looking for. In the time I spent in FFXIV, it was not rare to see players designate the glamour (fashion) system as the «true endgame.» The fashion aspect of the game greatly appeals to a myriad of them. There is not only a lot to dig into, with all the piece of clothing and gear to try, the possible combinations, but it is also a way to enact the self-representation through their avatar and strengthen their attachment for it.

Although I did not explore much of this game aspect, it represents an important element for numerous players and certainly would be worth investigated in further studies. The glamour system is no less than an elaborate customization of the character, and to many, it is a way to appropriate the avatar. Moreover, this is something they can experiment and share within the community--it even gave birth to the community website «Eorzea Collection» which greatly expand one's dressing perspective. Through a deep personalization of their avatar, players are able to connect further with it. Their creativity allows to tell a story about their character; for lots of FFXIV players, this is a way to stand as unique Warrior of Light (Arter 2021), to fashion their own narrative journey.

Altogether, players' approach to the «game after the game» may be the main component that excites their imagination. It indicates their wish to belong--one way or another--to a grand story that encompasses the game and its community, working along others to forge their narrative journey. In short, a third narrativity interlocked in the «dialogue» between the player and the game. As Jesper Juul puts it, «Games project fictional worlds through a variety of different means, but the fictional worlds are imagined by the player, and the player fills in any gaps in the fictional world» (Juul 2005, 121). In an MMORPG such as FFXIV, the gaps may very well designate every personal event players undergo with their avatar-character, as well as the world they structure through the whole social dimension of the game.

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