Feel Good Hit of the Autumn

It’s a couple of years now since I added “go to the Burning Man Festival” to the long list of ambitions that I am destined never to fulfil, alongside “play in a rock band”, “run for President” and “make a living from blogging”. It may be for the best, since I’ve heard that it’s not as good as it used to be. If I ever did go I would probably just accelerate the rot, since I would be there purely to consume the spectacle rather than contribute to the creativity – though if anyone pulled me up for that I guess I could argue that all aesthetic endeavour is the result of the interaction between artist and audience, assuming that I could summon up the energy to make such a case after a few days wandering around stoned in the hot sun, gawping at the freaks.

Legend has it that Philip Rosedale was inspired to create Second Life after a trip to Burning Man in 1999. The man himself has debunked this, but there are interesting parallels between the way that die-hard burners complain that the festival has lost its way, and the general feeling among long-time SL residents that things aren’t the way they were, and are only going to get worse. Philip sort of addresses the question in this post, (which in summary says that what we have now in SL is terribly precious, but in order to move on everything has to be renewed), but his subsequent departure from day-to-day management at Linden Lab can only serve to deepen anxiety about where Second Life is headed.

Anyway, in lieu of actually making the effort to haul my bod up to the Nevada desert, I thought it would be cool to take in this year’s Burning Life. I had heard how great the event had been in the past of course, but I have to admit that I was expecting to be thouroughly underwhelmed.

I’m happy to say that my cynicism was entirely misplaced; I ended up spending about ten times as long as I had planned exploring the many and varied installations dotted around the virtual playa, and still had the feeling that I had barely scratched the surface. For the first time in ages I felt a real sense of the creative possibilities offered by Second Life, unsullied by the crass commercialism that too often clouds the grid experience.

The best part though was that there were other people around; friendly people who were willing to exchange opinions about the art and the music, or just have a chat. I know that Burning Life isn’t unique in that regard, but it is unusual to have so many agreeable types gathered together in such a small area.

After a couple of hours I was in such a good mood that even the drawbacks of the platform started to seem strangely endearing. The latest iteration of the SL viewer is far too heavy for my elderly box, obliging me to run it at the lowest graphics setting to avoid the sensation of wading through treacle. The short draw distance meant that each new installation loomed up in front of me as if emerging from a dust storm, greatly enhancing the verisimilitude of the experience.

If there was a disappointing aspect it was the music; in my imagination Burning Man is always soundtracked by Queens of the Stone Age, but try as I might I couldn’t find any robot rock on the many stages scattered around the site. Maybe I should rectify that next year with my own build.

I took lots of snapshots of the festival, but due to the aforementioned graphic limitations most of them are pretty poor; have a look at the Burning Life Flickr stream instead.

Sadly, due to my tragic inability to understand the relationship between SLT and GMT I missed the climatic burning of the Man by twelve hours:

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There’s always next year I guess…

I need to return some videotapes…

Man, these flotation tanks are something else; I went in for a quick dip, and when I got out three weeks had passed…

The weather has turned much colder since I last posted, dispelling any lingering memories of the summer and heralding the onset of another brutal North-European winter. When I was younger I used to quite like autumn and the winter months; walking to work in the crisp cold dawn and spending the long dark nights drinking and socialising by friendly fires. Now, as the leaves fall and the darkness draws in, I can’t help but reflect gloomily on the season just past, and how it is likely that I have more summers behind me than lie ahead.

Recent years have seen me go out a lot less in the winter, a trend exacerbated by my growing addiction to the internet. Brave the icy winds to meet friends in a crowded bar, or enjoy wandering on a (virtual) tropical beach? Drive up into the mountains for a day of skiing, or curl up with my laptop and read about someone else doing it instead? Looking out the window at the grey sky, it seems like an easy choice.

I do make more of an effort to leave the house during the warmer weather, usually going to the park with a book. I did perhaps read a bit less this summer, now I’ve got an iPhone, which lets me get my cyber-fix even when I’m out and about. The city where I live has a “no drinking in public” ordinance though, which means if I am minded to take a small refreshment and/or a discreet smoke while reading, which I often am, I am obliged to remove myself to the quieter corners of the park where the other substance abusers hang out, and where it is rarely advisable to flash expensive electronic gadgets, so the low-tech book still comes in handy for entertainment.

What I’m reading at any given time is largely dependent on what happened to be on the shelves of my local second-hand bookstore the week before, but I do try to rotate through a cycle of contemporary fiction, classic literature and non-fiction, padded out with a lot of pulpy sci-fi.

This summer I finally got round to buying a copy of Lunar Park, which had been on my “to-read” list for ages. Bret Easton Ellis is one of my favourite living authors; when I daydream about writing a novel his is the style I imagine myself emulating. I like the way he can build a sense of dread and paranoia from deceptively banal descriptive prose; never has an appreciation of the work of Phil Collins sounded so terrifying. American Psycho is easily his best work, maintaining a thoroughly unsettling tone from start to finish, thanks to a central character at once monsterous and comic, insecure psychopath Patrick Bateman. Ellis’s other novels are more patchy; Less Than Zero is certainly efficient in evoking a sense of ennui, but as a result it rather lacks narrative momentum, similarly Glamorama‘s characters are so authentically shallow that it is hard to remember who they are let alone care what happens to them.

Lunar Park isn’t as good as Psycho but it is very entertaining, particularly the opening chapters where Ellis constructs a plausibly alternative autobiography, before setting up an intiguing suburban horror story. It flags a bit in the last third, when the subtext overwhelms the narrative to some extent, but the themes of loss and regret are mostly woven into the story in a pleasingly organic fashion, and the ending is unexpectedly poignant.

I’ve picked out a few volumes to get through before the end of the year, and I’ll try to write some brief notes on them, since I think this blog would benefit from some more intellectually challenging content amongst the pop-culture ephemera.

That’s on hold for this week though, while I take a look at Burning Life. Look out for a post on that sometime in the next month or so…

Ladies and Gentlemen We Are Floating in Space

I logged on to the grid for the first time in ages last week, only to find that my entire inventory had been rendered inaccessible for some reason. This included all my shapes and skins, with the result that my avatar took on an elemental form:

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I thought this looked pretty cool, like William Hurt when he has spent too much time tripping in the flotation tank in Altered States.

Two things had changed since my last visit; the adult content filtering regulations had gone into effect, and I had finally got around to upgrading my viewer from the Linux alpha build that I’d been using for the last couple of years. I figured that one or other, or perhaps both, of these had nixed my content – not, I hasten to add, because it was particularly risqué, but because it was all old stuff, and I thought it was maybe unverified or something. This turned out to be an unnecessarily paranoid interpretation of events, since when I looked today everything was back to normal, there having been some sort of “Asset Server Issue”, according to the grid status report.

Anyway, I was glad to be reminded of Altered States, one of my all-time favourite stoner movies. John Lilly, on whose experiences the film is loosely based, is a hero of sorts to me – his work on altered states of consciousness during sensory isolation (he invented the flotation tank for this purpose) is very interesting, his later fascination with talking to dolphins perhaps less so.

Thus inspired I hit Xstreet to see if I could pick up a flotation tank for my apartment, but the closest I could find was this sci-fi style healing tank (L$200 from A’den Technologies):

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There wasn’t any sensory deprivation, but it was restful to bob up and down, listening to some suitable mood music.

The killer awoke before dawn

I’ve been caught up with work and social engagements recently, and so completely missed the latest big Second Life story; Stroker Serpentine’s lawsuit against Linden Lab over the thorny issue of IP rights, and the Lindens’ efforts, or lack thereof, to protect them.

The details of the case, and its merits, have been well covered in the Alphaville Herald and New World Notes, and there’s no shortage of comment around the SL blogosphere (like here, here and here). In such circumstances any opinion I care to offer is bound to be superfluous, as well as being thoroughly uninformative, seeing as how I have no knowledge whatsoever of contract and copyright law as it is applied in the state of California. But what kind of blogger would I be if I let ignorance of the topic or fear of repetition stand in the way of weighing in with my two cents worth?

Everyone agrees that content theft is an issue; Stroker’s case revolves around the question of whether the Lindens are mere providers of the framework in which the criminality occurs, and thus not responsible for it, or if the fact that the Lab profits from copyright infringement by collecting dues from the malefactors makes it part of the evil enterprise. The precedent that is being quoted is the case of Louis Vuitton Malletier, S.A., v. Akanoc Solutions, Inc., et al., where the luxury goods maker was awarded $32 million damages against a firm that hosted websites selling counterfeit Vuitton items. The Taser case seems relevant too, as well as the Lab’s previous actions in banning in-world gambling and banking, which presumably stemmed from a realisation that the US Department of Justice was likely to regard hosting illegal activity as an offence in itself.

The Lindens’ defence will probably rest on the “safe harbor” provision of the DMCA, but they may be on shaky ground there, since any claim to be at one remove from the murky business of SL commerce would be rather undermined by their ownership of XStreet, and their record of assisting aggrieved creatives with DMCA filings is allegedly very poor. There is some speculation that the Second Life Terms of Service, specifically the sections prohibiting residents from suing the Lindens, might be the Lab’s get-out-of-jail card, but it seems unlikely that any court would enforce a contract containing such obviously unfair terms.

All these legal questions are mildly diverting, but what is much more interesting is the underlying psychology. It reminds me of a gritty crime movie, the part where the heist has gone wrong and the thieves have started to fall out. One can only imagine that Stroker’s sex-bed business must have hit the skids before he would pursue the nuclear option of suing the Lindens. I’ve no doubt that having his designs ripped off has at least partially contributed to this, but I suspect that the inherent limitations of the virtual economy (which we’ve previously discussed here and here) have had a more significant impact.

It feels as if there is more to this than mere financial considerations though. What Stroker and other designers want is not just money, but respect, due acknowledgement of their creative talents. Unfortunately, outside of a small subsection of the SL population, being a virtual clothes/hair/whatever producer just doesn’t count for very much, in terms of cash or kudos. This may or may not be unfair (I tend to think it is some way off being the worst injustice in the world), but it’s a fact, and no amount of complaining on the internet or suing Linden Lab is going to change it.

Looking at it more analytically, there also seems to be an Oedipal theme to this lawsuit. By all accounts Stroker was a Joe-the-plumber type before Second Life gave him the chance to reinvent himself as a virtual pornography mogul; it seems ungrateful, to say the least, that he should set in train a process that could theoretically ruin the company that made his good fortune possible. The Lab may have begat Stroker, but he has good reason to think that he is not Philip’s favourite son; the sex business of which Stroker is the most prominent public face is often cited as the biggest threat to the Lindens’ future prosperity. Stroker would not have to be particularly paranoid to see the regulation of adult content on the grid as an attempt to castrate him (figuratively and literally; ridding SL of penises seems to be one of the prime objectives of the new rules). Perhaps the case represents Stroker’s unconscious desire to kill his virtual father before he himself is annihilated by paternal rage.

What would be the most desirable, or least undesirable, outcome of the case? Should Stroker prevail it would surely be a Pyrrhic victory. The suit is a class action, so every frustrated shopkeeper who ever had a texture pilfered would be able to jump on the bandwagon, exposing the Lindens to potentially unlimited liability. Even if this doomsday scenario didn’t come to pass, an adverse judgement would force the Lab to radically change the Second Life retailing landscape, probably by introducing some sort of merchant registration and approval system, shutting out the small scale entrepreneurs who are, everyone says, the lifeblood of SL creativity.

And what if Stroker loses? There has been the usual Atlas Shrugged-style posturing from various bloggers, with talk of how an exodus of talent will leave the rest of us wailing and gnashing our teeth, bereft of prim hair and erotic animations. In reality, of course, little would change, since any designers who did flounce out would be quickly replaced by others with equal skill and a rather more realistic estimation of the value society places on virtual creativity. It would be for the best in the long run, since Second Life can only benefit from a population that is more interested in enriching the collective experience than amassing personal wealth.

So I’m hoping that the case goes to court, and that Stroker loses. I doubt that this will happen though; the Lindens’ corporate lawyers will want to avoid the uncertainty of going to trial, and will push for a settlement, which I suspect is what Stroker has had in mind from the start. Even if they don’t admit liability the Lab will have to introduce more regulation to avoid facing similar actions in the future, and the nature of Second Life will change forever.

Whatever happens, it feels like a chapter, if not the whole book, is drawing to a close.

It’s the end of our elaborate plans…

Learn to forget

I heard something or other about Twitter this week, I can’t recall exactly what. Maybe if I watch some YouTube it’ll come back to me…

Brother, can you spare me an ISK?

More virtual-life-imitates-real-life news from the futuristic universe of EVE Online, where EBANK, one of the game’s largest financial institutions, has frozen all deposits after new management discovered a 1.2 trillion ISK (InterStellar Kredit) hole in the accounts.

At first glance this seems to be a repeat of the Second Life banking fiascos of 2007, but, to be fair to the directors of EB, they do seem to have been trying to run a proper retail banking operation rather than just a glorified Ponzi scheme, with interest paid to depositors theoretically covered by interest charged to creditors.

The initial stories of EB’s troubles focused on the embezzlement of 250 billion ISK by the bank’s former CEO, but what really seems to have done the damage is the spectacularly high level of bad-debt provision. Just about the whole of EB’s loan book looks to be unrecoverable, a failure of risk-management that makes even the most delinquent of real-life banks look ultra-cautious.

It is, I think, another example of cargo cult consciousness, the belief that you can capture the essence of something by replicating its superficial form. In this case EB did the things that a real bank does, like taking deposits and making loans, but without the social infrastructure than underpins such a business in the real world, like a legal system that allows creditors to pursue their debtors and seize their assets. More importantly, institutions of finance capital can only exist in the context of a system where there is actual value being produced, rather than an imaginary universe where work ultimately counts for practically nothing.

It’s surprising that anyone still believes that banking and other financial wizardry can magically create wealth, rather than just existing parasitically on the labour of the workers, given that recent events in the real world have shown up the masters of the universe for the frauds that they are. (ISK also stands for Icelandic Krona, and we all know how well that’s been doing recently.) A certain suspension of disbelief is required to enjoy the experience of EVE Online; perhaps for the more avid players their time in New Eden detaches them from reality altogether.

I want to spin my little watch right before your eyes

My Twitter feed is gradually accumulating a small band of adherents, all of whom, I am sure, are keen to digest my scintillating prose, rather than just following people at random as part of a Twitter-spam operation or SEO scam.

Quimbe, one of my new buddies, has been especially keen to share with me an amazing opportunity he has unearthed. Do I want to ” Discover A Rebel Psychiatrist’s Amazing Secret?” One that will let me “Put People Under Your Control Quickly & Easily … and Get Them to Do Anything You Want?” Well, who doesn’t? This arcane knowledge can be mine for only $197, thanks to the amazing generosity of master hypnotist Igor Ledochowski.

Actually, what Igor is peddling is not particularly new, drawing as it does on the work of the fairly well-known American psychiatrist Milton Erickson, pioneer of hypnotherapy back in the ’50’s. Erikson had a somewhat idiosyncratic concept of the unconscious as an entity whose therapeutic power could be tapped by entering into a hypnotic trance, which he famously could induce in a subject using only his secret handshake. Erikson’s ideas were always on the fringe of respectability, and his modern-day followers, most notably practitioners of Neuro-linguistic programming, which draws heavily on his work, are largely confined to the life-coaching and self-improvement industries.

Igor may not have much clinical credibility, but he does show some appreciation of modern business trends. He used to charge thousands of dollars for his seminars (he says), but there was a physical limit on how many of these he could do, and also a small pool of potential customers, for whose attention he had to compete with all the other gurus out there. With the advent of digital distribution channels he has been able to benefit from a new, and much more lucrative, revenue model – mass circulation and (relatively) micro-payment.

All this came to mind today when I read about the travails of the Second Life music scene. Apparently musicians and venue owners are struggling to get audiences to pay anything at all for their live music experience. Mankind Tracer, alter-ego of musician Seth Regan, is proposing that venues start charging a cover, and he feels that L$500 would be about right for one of his performances, though comments on the thread suggest that people think this would be too much for the market to bear.

My first thought was that if punters won’t pay US$2 to see your band then you probably need to practice a bit more. I’m not out much these days, but back when I was an avid gig-goer I would regularly pay US$10 or more to get into a club without even knowing who was playing. I guess the difference is that in real life even if the band sucks you can still have a good time, because you are in a bar, with your friends, but in SL if the act is no good then the night is a washout.

Even if we take the stinginess of virtual audiences as a given, it should still be possible to make good money if you put on show that is good enough to draw a big crowd. If you played to ten thousand people you’d still do OK even if 90% of them paid nothing at all and the rest coughed up a dollar apiece, and even better if you dropped the suggested tip to 25c and half of them put their hands in their pockets.

The problem is that this mass-audience/micro-payment plan requires a scalability that Second Life currently does not provide. Full sims can theoretically support up to 100 avatars, though on the rare occasions when I’ve been somewhere with more than a couple of dozen or so other people (which have all been music events, interestingly) the experience has not been particularly enjoyable. So even if your band could pull in a five-figure crowd (which is not entirely unrealistic, given the potential world-wide reach), the sim would crash long before you started making money.

Blue Mars, which has (finally) gone into public beta this month, promises the capacity that could make this model work. If that turns out to be true, virtual musicians on that platform might get the rewards they deserve.

There are certainly some bands I’d pay L$500 to virtually see…

Twixt and between

Although I have a link to heavyweight academic virtual world weblog Terra Nova in my blogroll, I must admit that I hardly ever look at it. This is partly due to time constraints, since when I do start reading it I often end up spending hours browsing through the papers they link to, but is mostly because I hate to be reminded that it is possible to build one’s career around research in this area, instead of having to work for a living.

Anyway, I visited the site the other day, and came across the story of Loyola University (NO) professor Dave Myers and his alter-ego Twixt. It’s a bit involved, but I’ll try to summarise; Myers is a fan of MMORPG City of Heroes/City of Villains, commonly referred to as CoH/V, in which players take on the role of, you’ve guessed, comic-book good- or bad-guys, and battle it out to save/destroy the world, or whatever. As I understand it the bulk of gameplay involves players banding together to fight computer-controlled adversaries, known as PvE play. However there are also areas set aside for PvP play, that is for direct conflict between the players’ characters, with one side, Heroes or Villains, supposedly emerging victorious.

Myers noticed that in one of these PvP areas, known as Recluse’s Victory, or RV for short, not a lot of fighting went on, contrary to what might be expected. Instead the players would fraternise across the Hero/Villain divide, using the space as a social club instead of a gladiatorial arena. Myers decided to see what would happen if he disrupted this social equilibrium by attempting to achieve the ostensible goal of the zone, that is defeating the other team. His heroic avatar Twixt began enthusiastically killing villains, a course of action which had not entirely unpredictable results; he became spectacularly unpopular, was vilified on CoH/V-related web forums and received death-threats.

Myers wrote up his take on the events that unfolded in a paper “Play and Punishment: The Sad and Curious Case of Twixt” which he published last year. The story came to wider attention when his local paper covered it last month; this in turn provoked responses in the blogosphere and a lively debate in the comments section of Myers’ own blog.

Myers is an academic who has been writing about video games for years, so, as might be expected, his analysis of the matter is somewhat impenetrable to a reader unfamiliar with the finer points of the field, but as far as I can see his argument is this; he was playing by the Rules, as set by the game designers, and where these conflicted with the social conventions established in the RV, he had the right, if not the duty, to breach the latter, since the Rules are the same for everybody, and thus more democratic than the conventions established by what may very well be an unrepresentative clique of players, and which, like all social conventions, apply differently depending on where you are in the social hierarchy.

His critics attack him on several fronts, most cogently when they say that he is wrong to distinguish between the Rules and the conventions that have grown up around them through player consensus; both are important in the production of the game experience. Some note his apparent delight in the annoyance he caused to the established community and accuse him of being a griefer, or even a sociopath. Others charge him with violating academic ethics, on the grounds that his study caused upset to a lot of people who were never asked for their consent to be part of it.

I am not particularly impressed by Myers’ position; he has a point in his observation that socially-generated rules can be oppressive, and favour one group over another, but the solution to that lies in constructing a more democratic society, not in sticking rigidly to some code of conduct handed down by an external authority. It’s unclear why he gives so much weight to the intentions of the game developers, who are after all fallible humans, and who he himself attacks for failing to defend the integrity of their creation. He does himself no favours with the style of his response to criticism, which is needlessly antagonistic.

Myers’ whole attachment to the ideal of the Rules seems a little extreme, given that we are talking about a video game. He repeatedly makes the point that social rules poison the purity of game rules, and that this is important because of the crucial role that games play in human development. I presume that he expands on this thesis in his other work, but it seems awfully heavy baggage to hang on a minority pastime involving imaginary men in tight lycra costumes. One can only imagine that he intends it as a metaphor for some weightier social issue, like the Death of Respect or somesuch.

It all positively begs to be analysed, something that Myers himself seems to have anticipated in his blog post “Four types of game-related bloggers“, where he identifies “The Psychoanalyst” as someone who “believe[s] that play is best evaluated with reference to the outside-the-game intentions of players rather than the in-game outcomes of their play [and] that different players play games for different reasons, which may or may not be (but most often aren’t) determined by the game”. That sounds reasonable to me, especially if we broaden our definition of “playing the game” to include things like “writing about the game in a blog”, or “publishing game-related learned papers”.

So where do we start with Professor Myers? What did he mean when he likened his journey as Twixt to a “bad high school experience”? Is it significant that he teaches at Loyola, a Jesuit University? Does he worry that some in the academic community might feel that the study of video games lacks gravitas? What’s with his identification with a superhero, battling not only the villains, but also the treachery of his supposed allies?

With a little imagination (OK, with a lot of imagination) it’s possible to flesh things out a bit. We can see an unhappy young Dave at high school, resentful of the popular clique he outwardly disdains, but secretly longs to be accepted by. There may be unrequited love – for the girl next to him in science class who he can’t pluck up the courage to talk to, or perhaps the captain of the football team. His parents are emotionally distant, and he can never meet their expectations however hard he tries. His Jesuit education teaches him to respect and fear authority. He chooses as a career the study of technologically-mediated escapism, but he is painfully aware that he is living vicariously at two degrees of separation, only able to watch as others live out their fantasies in a virtual world. On the outside he is a mild-mannered professor, but inside he seethes with rage, with dreams of destructive omnipotence that at once seduce and terrify him.

Of course it’s equally possible, indeed rather more likely, that Myers was perfectly happy at school, dating every member of the cheerleading squad on his way to being voted “most popular” and “most likely to succeed”, before delighting his loving parents by embarking on a stellar college career. He’s probably not even a Catholic, never mind a Jesuit. He is perfectly happy with his job, which consists of being paid to play video games, then jetting around the world to address conferences about it, and is at ease with his self-image; a playfully intellectual merry prankster, who punctures pretension and fights injustice wherever he sees it.

Does it matter that I’m able to conjure up such widely disparate images of Professor Myers’ psyche, or that I could come up with a dozen more if I thought about it for another ten minutes? Not really, because we’re not talking about Dave Myers, resident of New Orleans La. here, but “Dave Myers” a character in an ongoing game/narrative of which the “Twixt” episode and my awareness of it is but one chapter.

I’m not sure if I have a bit-part in Dave’s story – as a snarky psychiatrist/blogger who appears in an exposition-heavy cut-scene to fill in some backstory – or if he’s a player in my drama, part of an interlude in which we establish my character as an an uncannily perceptive student of the human condition. I can only hope that some meta-blogger is following all this, and will explain it to me sometime.

Flogging a dead zombie

I know; enough already with the zombie shtick. But I was thinking that we hadn’t done a Second Life-themed post for a while, and it would be nice to round off our undead week with a look at ghoul culture on the grid.

Many people would say that, with their awkward posture, lumbering gait and blank expressions, regular SL avatars are zombie-like enough for most purposes, but if you really want to get into the living-dead lifestyle, a quick search for “zombie” at Xstreet brings up a range of avatars, skins and AO’s for the full “reanimated corpse” effect.

Cheap bastard that I am I went for a free skin from Bloody Hell, though I did pay L$100 for the t-shirt (from CC’s), and L$190 for the zombie walk (from Azumi):

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There are dozens of zombie role-playing sims, so I chose Zombie Valley at random, and teleported in to lurch around for a spell:

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I was rather hoping that some Buffy-style chick would leap out of the shadows to rough me up a bit, but, this being Second Life, the place was entirely deserted. I tried the Zombie Crypt, and Zombie Island, but they were devoid of the living too, so my putrefying body remained unmolested.

I decided to try a different tack, and headed over to a reliably busy place, the Fermi Sandbox, to see if my unhealthy pallor would elicit any concern there. No one seemed particularly alarmed by my appearance though; certainly no one felt moved to destroy my brain, which, as we all know, is the recommended course of action when faced with the living dead. While this bodes ill for SL‘s chances in the event of a full-scale zombie invasion, it does say something about the tolerant nature of the average resident that he or she doesn’t let a little decomposition get in the way of social discourse.

I eventually started just teleporting around at random, to see if I could find a place I felt at home. I was right into the zombie mindset by now, and it felt strangely relaxing to shuffle around the mostly empty suburbs and shopping malls, gaping mindlessly at the virtual recreation of our consumer culture.

Perhaps I’ve been too quick to dismiss our undead brethren as mere senseless flesh-eaters. Maybe we can learn something from their unhurried attitude, and delight in the simple pleasures of living death, like groaning incoherently or snacking on fresh brains. I’m just grateful that Second Life has given me the chance to embrace my inner zombie.

Zombie Bites

Further to the mathematical analysis of zombie infestation, here’s some more undead-themed academic enquiry:

Dr. Steven C. Schlozman, assistant professor of psychiatry at Harvard Medical School, has written a paper on zombie neurobiology. It turns out that zombies have exactly the brain lesions one would expect in an ataxic, insatiable cannibal with impulse-control problems and poor social skills – underactive frontal lobes, a dysfunctional anterior cingulate cortex, cerebellar/basal ganglia problems and a misfiring hypothalamus.

Some time ago I offered a brief psychoanalytic interpretation of zombie-phobia; for more in this vein read “Saving Ourselves: Psychoanalytic Investigation of Resident Evil and Silent Hill by Marc C. Santos and Sarah White. Through a Lacanian deconstruction of the games’ dynamic the paper analyses the role of the player/avatar in maintaining symbolic order in the face of the “impossible, cataclysmic infinity of existence”, represented by the zombies, with their “near-sexual drive for consumption a constant reminder of the discursive construction of our own desire”. The authors conclude that “Resident Evil establishes a more conservative (Freudian) position that Silent Hill playfully (Lacanian-ly) problematizes”

There is more psychoanalytically-informed zombie literature around than you might think – “Zombie Trouble: A Propaedeutic On Ideological Subjectification and the Unconscious”, for example, or “Legacies of Plague in Literature, Theory and Film”. If you like all this undead-psychoanalysis stuff, why not make your own Zombie Freud?

Canadian anthropologist and ethnobotanist Wade Davis wrote about his experiences with the Vodou practitioners of Haiti in his 1985 book The Serpent and the Rainbow. Davis’ theory that zombies are created using a powder containing, among other things, tetrodotoxin is not widely accepted, but his account of the hidden power structures of the Vodoun secret societies is certainly fascinating.

Columbia College in Chicago runs a course on “Zombies in Popular Media“; the reading/screening list is a good starting point for further zombie study.

And finally – Let me tell you ’bout the way she looked…