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9 - I, Avatar

Published online by Cambridge University Press:  05 November 2015

John R. Suler
Affiliation:
Rider University, New Jersey
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Summary

Appearances are a glimpse of the unseen.

– Anaxagoras

When I entered Harry's Bar, the social center of the Palace Mansion, my friend River immediately whispered a warning to me, “Watch out! Nightmare is trying to steal our avatars.” I quickly noticed that everyone in the room had taken the form of the generic smiley face rather than their own custom-designed avatars. Except Nightmare. He looked exactly like River should: a disheveled cartoon character with bug eyes and spiky red hair, except the username hanging around his neck said “Nightmare” rather than “River.” For a second I felt disoriented, then annoyed. I quickly switched off my own primary avatar, a small gray owl, so I could automatically default to the generic smiley, just as everyone else had done to protect themselves. Unfortunately, it was too late. Nightmare had already captured my owl image and turned himself into it. I added my aggravation to everyone else's. We told Nightmare that this was unacceptable behavior. People took their avatars very seriously. They should not be snatched, no less worn, without permission. But our objections had no impact on him. Adding insult to injury, he duplicated my owl, littering copies of it all around the room, which I promptly erased using the “clean” command. Later that night, I found more lifeless clones of my owl hanging on the walls in the Armory. I indeed felt that something important had been taken cavalierly from me – that my visual manifestation, my identity, had been violated.

GMUKS AND SECOND LIVES

Of all the many ways people might express themselves in cyberspace, the most embodied experience is the avatar. It is a very unique fusion of the identity and sensory dimensions of cyberpsychology architecture. In Hinduism, the term refers to deities who have “descended” or “crossed over” to manifest their presence on Earth, typically in a human or animal form. The writer and game designer Neal Stephenson adapted the term for his science fiction novel Snow Crash (1992). It was a perfect term to capture the unique online experience that began in the late 1980s, when inventors of digital media constructed graphical worlds in which people could create and maneuver visual representations of themselves as a way to interact with the environment and the people in it.

Type
Chapter
Information
Psychology of the Digital Age
Humans Become Electric
, pp. 225 - 253
Publisher: Cambridge University Press
Print publication year: 2015

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  • I, Avatar
  • John R. Suler, Rider University, New Jersey
  • Book: Psychology of the Digital Age
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316424070.012
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  • I, Avatar
  • John R. Suler, Rider University, New Jersey
  • Book: Psychology of the Digital Age
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316424070.012
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • I, Avatar
  • John R. Suler, Rider University, New Jersey
  • Book: Psychology of the Digital Age
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316424070.012
Available formats
×