Spiritual Enlightenment in Virtual Worlds: Designing a ...

National Cheng Kung University Institute of Creative Industries Design Doctoral Dissertation

Spiritual Enlightenment in Virtual Worlds: Designing a Religion Site in Second Life 虛擬世界中的精神啟迪：Second Life 遊戲裡的宗教網站設計

Student: Emil Robert Kaburuan

Supervisor(s): Chien-Hsu Chen, Tay-Sheng Jeng July 2012

ACKNOWLEDGEMENTS Above all, I would like to thank my savior; Jesus Christ, thank you for this vision and passion. I would like to thank my wife Eva for her personal support and great patience at all times. My parents, brothers and sister have given me their unequivocal support throughout, as always, for which my mere expression of thanks likewise does not suffice. This thesis would not have been possible without the help, support and patience of my principal supervisor, Prof. Chien-Hsu Chen, not to mention his advice, friendship and support in finishing my research. The good advice and support of my second supervisor, Prof. Tay-Sheng Jeng, has been invaluable, for which I am extremely grateful. I would like to acknowledge the financial, academic and technical support of the National Cheng Kung University, Tainan and its staff, particularly in the award of a Distinguished International Scholarship that provided the necessary financial support for this research. I also thank the Institute of Creative Industries Design (ICID) for their support and assistance since the start of my postgraduate work in 2008, especially the head of department, Prof. Feng-Tyan Lin. I am most grateful to Dr. Bruce Tsai and Sunny Tsai for helping me with the Chinese part of this work. I would like to thank Thomas Blair, Ezra Peranginangin, Allan and all the Ph.D. classmates at ICID for your kindness, friendship and support. I remember the generosity and the help of the ICID office assistants Ya-Ping and Chia-Ping, your helps will always be remember. Thank you also for my best friends and design team in Second Life, Namssab1nad Piers and Electra Karsim for their dedication and support to this project though I never met them in person. Last, but by no means least, I thank to all my friends in Tainan, Dayspring Church, PPI Tainan, KAWANKITA and elsewhere for their support and encouragement throughout, some of whom have already been named.

“Fear of the LORD is the foundation of true knowledge, but fools despise wisdom and discipline.” Proverbs 1:7(NLT,2007)

Tainan, July 2012 ii

ABSTRACT

The growing of Internet users is amazing. Among these users, there are users who even practice their religion online. A study conducted by Pew Internet & America Life Project found that 64% of the America’s 128 million Internet users have done things online that relate to religious or spiritual matters (Internet & Project, 2004). In response to this need, there are some churches and missions’ organization started doing online ministry. In line with this development, there is another medium arise called Virtual Worlds. USATODAY and the Christian Post reported that Leaders of Christian, Jewish and Muslim sites estimate about 1,000 avatars teleport into churches, synagogues or mosques on a regular basis while hundreds more list themselves with Buddhist, Pagan, Wiccan and other groups (Grossman, 2007; Kwon, 2007). This research is based on Christian Theology with narratology and ludology as video game study’s on designing a religious site in the Second Life®. This study answers questions like; what are the significance features of Second Life for spiritual enlightenment to its users? And what are the design patterns of the “religious site” (the site as mentioned in RQ1)? It uses “research through design” by "Design-Implementation-Evaluation" of a religious site in Second Life. The findings suggest that Second Life and its features could be transformed into “sacred” place and give spiritual enlightenment to its users. The features of Second Life which provide spiritual enlightenment to its users include: Animation, Audio Visual and the Interactive Environment. There are four design principles in resulting of this research including; Storytelling, Mapping, Affectiveness and Virtual Ritual which could be used in designing religious site in Second Life.

Keywords: Ludology, Narratology, Religion, Second Life, Virtual Worlds

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中文摘要

網路使用者的成長率驚人，其中已有許多人在線上進行宗教活動。根據 Pew Internet & American Life Project 調查顯示，美國的 1 億 2 千 800 萬網路使用者，當中有 64%曾經進行線上宗教活動，或是其他與精神信仰相關的事務(Internet & Project, 2004)。有鑑於此需求，一些教堂與佈道組織開始從事「線上服務」。隨此發展，「虛擬世界」成為一個佈道新興媒介。依據 USA TODAY 和 The Christian Post 報導顯示，基督教、猶太教和回教的主要網站共約有 1000 位虛擬化身固定造訪，佛教和其他異教網站則有數百位虛擬化身。(Grossman, 2007; Kwon, 2007)。本研究是基於基督教神學觀，以「敘事學」和「遊戲學」角度來設計宗教啟迪網站於 Second Life 遊戲中。本研究解答幾項問題：在 Second Life 的虛擬朝聖，何種精神啟迪的特性顯著地影響玩家？有哪些”宗教網站”的設計圖像表現？本研究採取”透過設計的研究”(research through design)方法，於 Second Life 遊戲中的宗教網站進行”設計-執行-評估”的設計程序。本研究結果建議可善用 Second Life 以及其遊戲特性（包含動畫、影音和互動環境），將之轉換為神聖儀式所在地給予玩家精神教化。四個宗教網站設計法則可應用於 Second Life 類型遊戲設計為：說故事、可對應性、有效性、以及虛擬儀式。

關鍵詞：遊戲學、敘事學、信仰、Second Life、虛擬世界

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS ..........................................................................................II ABSTRACT ................................................................................................................ III 中文摘要 ..................................................................................................................... IV TABLE OF CONTENTS ............................................................................................. V LIST OF TABLES ..................................................................................................... VII LIST OF FIGURES .................................................................................................. VIII CHAPTER I INTRODUCTION ................................................................................... 1 1.1 Research Background ...................................................................................... 1 1.2 Virtual Worlds .................................................................................................. 2 1.3 Virtual Religious Activity ................................................................................ 4 1.4 Research Question ........................................................................................... 7 1.5 Research Scope ................................................................................................ 7 1.4 Research Framework ....................................................................................... 8 CHAPTER II LITERATURE REVIEW ..................................................................... 11 2.1 Ludology........................................................................................................ 13 2.2 Narratology .................................................................................................... 17 2.3 Spiritual Experience ...................................................................................... 20 CHAPTER III DESIGN DEVELOPMENT ................................................................ 23 3.1. Design Process .............................................................................................. 23 3.1.1 Define .................................................................................................. 23 3.1.2 Collecting Information ........................................................................ 24 3.1.3 Design Steps........................................................................................ 26 3.1.4 Implementation ................................................................................... 44 3.1.5 Evaluation ........................................................................................... 46 v

CHAPTER IV RESULTS AND DISCUSSIONS ....................................................... 51 4.1. Results .......................................................................................................... 51 4.2. Discussions ................................................................................................... 57 CHAPTER V CONCLUSIONS AND RECOMMENDATIONS ............................... 67 5.1. Conclusions .................................................................................................. 67 5.2. Recommendations ........................................................................................ 69 REFERENCES ............................................................................................................ 70 APPENDICES ............................................................................................................. 78 Appendix 1: Questionnaire .................................................................................. 78 Appendix 2: Visitors’ Data .................................................................................. 81

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LIST OF TABLES Table. 3.1. Via Dolorosa Station Design of Each Station ..................................... 34 Table. 4.1. Visitors’ Demography ........................................................................... 51 Table. 4.2. Features Summary ................................................................................. 57 Table. A-2. Visitors’ Data ......................................................................................... 81

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LIST OF FIGURES Fig. 1-1. The Holy Land site in Second Life ................................................................ 5 Fig. 1-2. The Devine Mother site in Second Life; meditation place for Sai Baba’s followers ....................................................................................................................... 6 Fig. 1-3. The Garden for Our Lady of Lourdes site in Second Life ............................. 6 Fig. 1-4. The Buddha Center site in Second Life ......................................................... 6 Fig. 1-5. The Virtual Hajj by IslamOnline.net in Second Life ..................................... 6 Fig. 1-6. Research Framework ..................................................................................... 9 Fig. 2-1. Primary Scheme ............................................................................................. 12 Fig.2-2. Communicating Inner Experience .................................................................. 22 Fig.3-1. The Flow for Design Process .......................................................................... 23 Fig. 3-2. The Via Dolorosa ........................................................................................... 25 Fig. 3-3. The Via Dolorosa in the ‘Real’ Life .............................................................. 26 Fig. 3-4. Island Map Overview..................................................................................... 27 Fig. 3-5. The Design Process of Jerusalem City .......................................................... 27 Fig. 3-6. The Signs ....................................................................................................... 28 Fig. 3-7. Landing Point of the Via Dolorosa ................................................................ 29 Fig. 3-8. Welcoming Message at the Landing Point of the Via Dolorosa.................... 29 Fig. 3-9. The Information for Animated Scripted Tour................................................ 31 Fig. 3-10. The Telepad for Teleporting Avatar ............................................................ 40 Fig. 3-11. The Golgotha Hills....................................................................................... 41 Fig. 3-12. Jesus’ Tomb ................................................................................................. 42 Fig. 3-13. The Cathedral ............................................................................................... 42 Fig. 3-14. Animated Seat inside the Cathedral ............................................................. 43 Fig. 3-15. Sacred Fish Shop; outside look (left), inside look (right) ............................ 43 Fig. 3-16. The Light Shop ............................................................................................ 44 Fig. 3-17. Screenshot of Second Life website during the Holy Week ......................... 44 Fig. 3-18. Screenshot of Virtual World Blogger .......................................................... 45 Fig. 3-19. Morning Prayer Meeting inside the Cathedral ............................................. 46 Fig. 3-20. The Assistant Board; Welcoming Gate (a), Station 2 (b), Last Station(c) .. 47 Fig. 3-21. Visible Sign.................................................................................................. 48 viii

Fig. 3-22. Volunteer Positions Sign ............................................................................. 49 Fig. 3-23. New Shops for Rent ..................................................................................... 49 Fig. 3-24. Wedding Planner Shop ................................................................................ 50 Fig. 3-25. Stage for Live Concert ................................................................................. 50 Fig. 4-1. Visitors Summary .......................................................................................... 56 Fig. 4-2. Visitors Data .................................................................................................. 56 Fig. 4-3. Visible Signs .................................................................................................. 62 Fig. 4-4. Invisible Signs................................................................................................ 62 Fig. 4-5. Audio Visual at Via Dolorosa; Music (a), Video (b) ..................................... 64 Fig. 4-6. Various Rituals at Via Dolorosa .................................................................... 66

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CHAPTER I INTRODUCTION

1.1 Research Background As one of modern communication tools, Internet has changed our society and communication rapidly. Several researches are done in the past about the online religious life. The research done by Pew Internet & American Life Project presented that: 83% of those responding to our survey say that their use of the Internet has helped congregational life (Internet & Project, 2000). In 2004, Pew Internet & American Life Project also conducted a research and found that 64% of the America’s 128 million Internet users have done things online that relate to religious or spiritual matters (Internet & Project, 2004). McKenna & West reported in their research that many of the same benefits associated with membership in a traditional religious institution are also associated with membership in a virtual group devoted to one’s religious beliefs (McKenna & West, 2007). They found out that many who are participating on the online religious forum are those who are not active church-goers. Thus, this participation in these virtual groups allows these individuals to reap important self and social benefits that they would otherwise be missing out on. It also mentioned that these participants are able to reconnect with and strengthen their faith through the virtual fold. If there are any of the family members who involved in the same online religious forum, it will not only strengthen the importance of online group identity for the individual, but also gain benefits from his or her participation. This means that individuals who take part in online religious communities benefit from gains in social support and feel more connected to others who share their faith (McKenna & West, 2007). As one of the growing areas, religion activity has proved that there are significant users who use Internet for their spiritual life. 1

Online religion practice, however dominated by Christianity, but there are other beliefs also present such as; Jewish, Muslim, Hindu and Buddhist (Helland, 2004). There are several studies on the online religion that have been conducted, included: Christian (Campbell, 2004; Casey, 2006; Hutchings, 2007; Young, 2004), Islam (Bunt, 2004; Kalinock, 2006), Sikhism (Jakobsh, 2006) and Buddhist (Macwilliams, 2006; Prebish, 2004). Most of the research in online religion has been done from sociology of religion perspective. When some of them focus on virtual churches, mainly from an ethnographic approach, answering questions such as what are people doing there and how their online life relates to the rest of their lives (Hutchings, 2010), how are Christian faith and practices carried out in the churches (S. Jenkins, 2008), how do different denominations and religious affiliations differ from each other (Jacobs, 2007), how do online churches affect their offline counterparts (Campbell, 2007) Obviously the Internet plays a role in the shaping of religious identity and construction of meaning online in ways that may influence offline religiosity (Campbell, 2005). In other hand, Campbell suggests that an awareness of religious beliefs and practices is an important component for understanding many Internet cultures.

1.2 Virtual Worlds As the Internet grows; it has created a lot of possibilities. One of them is the area called the 3D environment. The 3D environment is Virtual Worlds which started as Virtual Game. Virtual Worlds can be defined as: “Synthetic worlds, or virtual worlds, are persistent online 3D spaces that replicate many of the features of the real world. One negotiates them using a virtual body much like a video game character, and many thousands of people can be in the world at the same time, making the environments much like a real place, socially speaking. The worlds have a sort of fantastical yet logical reality to them, such that people can fly, but only if they have wings or a flying spell or happen to be birds to begin with.”(Castronova et al., 2007) The communities in the Virtual Games are considered one of the most promising online game models – integrating traditional computer games into the context of collaborative virtual environments (Guo & Barnes, 2007). Users use representation of themselves called “avatar”. Avatar is originated from the word avatara, means “descending”, which is the representation of the god Vishnu (Schalk, 1996; Smart, 2

1989). As in the virtual worlds, avatar could be anything; from human, animal, beast and even unreal creature. Virtual Worlds are not just games or character development for its “avatar”; it has been moved beyond that (Kaburuan, Chen, & Jeng, 2011). Many opportunities have been developed such as: Business, Education, Race, Gender, Subcultures, Marriage and Relationships, Avatars and Identity, Religions, etc. (Conklin, 2007). There are several types of 3D Online virtual worlds; such as: THERE®, Moove®, Active Worlds®, Dreamworld®, Cybertown®, World of Warcraft®, Second Life®, Sims Online®, etc. Among these existing Virtual Worlds; Second Life® (SL) has its own economic system and its own currency, the “Linden Dollars”, which can be changed into U.S. Dollars by using a stock market system. Their monetary circulation corresponds to financial transactions in real life, as Linden Lab’s revenues clearly show (Castronova, 2005). This made clear that SL is not just a virtual playground. It’s a place where people can enhance their real-life possibilities on an economical, a social life as well as in a religious level (Kaburuan, Chen, & Jeng, 2009). USATODAY and The Christian Post reported that leaders of Christian, Jewish and Muslim sites estimate about 1,000 avatars teleport into churches, synagogues or mosques on a regular basis while hundreds more list themselves with Buddhist, Pagan, Wiccan and other groups (Grossman, 2007; Kwon, 2007). People who go to Virtual Church experienced the “real” experience just as in the real life church (Kaburuan, Chen, & Jeng, 2012). Second Life® according to its official guidance book is “A virtual environment in which almost all of the content is created by users—people like you. You are the one who determines what Second Life means to you. Do you enjoy meeting people online, talking to them and doing things together in real time? Welcome to Second Life. Do you enjoy creating stuff and making it come alive? Welcome to Second Life. Do you enjoy running a business and making money—real money? Welcome to Second Life. The list of possible Second Life activities is as long as you can imagine”(Rymaszewski et al., 2007).

Creating new objects — clothes, guns, spaceships — is one of the most popular SL activities, and the driving force behind SL commerce (Rymaszewski et al., 2007). These possibilities make SL as a space where the users or avatars can create their own contexts and cultures. 3

1.3 Virtual Religious Activity Religion activities, besides going to online or virtual church, occur in Virtual Worlds. Online space has been transformed to sacred place as people used to seek religious matter there. Sacred places located in geographical space are often identified by particular signifiers, such as architectural style, use of images, and expected protocols of behavior (Jacobs, 2007). Eliade (1959) further suggests that ‘‘for a believer, the church shares in a different space from the street in which it stands’’. Religious buildings act as architectural signifiers of sacred space, and according to Jones (2000), ‘‘constitute inexhaustible funds of otherness.’’ Sacred architecture has its own specific style that facilitates what Jones terms ritual-architectural events, which he understands in terms of the specific interplay between worshippers and buildings. Jones further suggests that ritual-architectural events can be conceived in terms of hermeneutical games or hermeneutical conversations that involve activity (the ritual occasion) which brings participants (both building and human) together (Jones, 2000). Tække (2002) argues that cyberspace or virtual worlds is a real parallel to geographical space, as it is a space ‘‘where we do not only see and listen to broadcast communication, but also participate in communication, create things and satisfy needs’’. Tække further argues that there is an additional parallel between cyberspace and geographical space that derives from Platonic notions of space. In The Timaeus, Plato suggests that space is not directly perceptible by the senses, yet provides a sort of empty receptacle in which things exist: “Space is eternal, and admits not of destruction and provides a home for all created things, and is apprehended without the help of sense, by a kind of spurious reason, and is hardly real.” (Plato, 360 BC) Add the term ‘‘cyber’’ in front of the first word of this quote from the 4th century BCE and change the word ‘‘created’’ to ‘‘virtual,’’ and we have a very accurate description of how the Internet is conceived (Jacobs, 2007). What important is that cyberspace is not merely a store of information, but primarily a space of ‘‘social interaction and communication’’(Wertheim, 1999). Thus, it is possible to ‘‘create things and satisfy needs’’(Tække, 2002).

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Several researches have done in the use of cyberspace as a place for spiritual journey. This spiritual journey called pilgrimage. Pilgrimage is a long time practice for people to strengthen their faith. Many of religious people have included pilgrimage as a part of their spiritual discipline. It has been a long tradition for centuries that Muslims have journeyed to Mecca and Jews to Jerusalem. After the time of Jesus, Christians go pilgrimages to the Holy Land, to walk where Jesus walked. Pilgrimage itself can be defined as: “A pilgrimage is a journey inward as well as outward. Pilgrims seek to strengthen and renew their faith through travel. That makes being a pilgrim is different from being a tourist. For a tourist, travel is an end in itself, but for a pilgrim, travel is a means to an end. Pilgrims travel with a clear intention, to draw closer to God. Pilgrimage is sacred travel, travel as a sacrament. And thus we expect to return transformed or changed or converted from the person we were when we began our journey. We will not return the same as we were when we left. Pilgrims return from their journey with a “boon,” something good that will enrich their lives in the everyday world back at home. We’ll experience life differently upon returning.” (Pilgrimage, 2010)

As the 3D virtual environment technology growing, there is a possibility to design a site for pilgrimage inside virtual worlds. There are several sites which could be used for pilgrimage inside Second Life® as seen below:

Fig. 1-1. The Holy Land site in Second Life

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Fig. 1-2. The Devine Mother site in Second Life; meditation place for Sai Baba’s followers

Fig. 1-3. The Garden for Our Lady of Lourdes site in Second Life

Fig. 1-4. The Buddha Center site in Second Life

Fig. 1-5. The Virtual Hajj by IslamOnline.net in Second Life

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Pilgrimage in cyberspace has the understanding of spiritual journey in massive of technology. Campbell (2001) states that online pilgrims often have more fluid aims, focusing on the process rather than a final destination, to see what the virtual environment might offer. Taking pilgrimage online can involve the altering and reformulating of ancient traditions or the creation of new forums for spiritual pursuit (Campbell, 2001). Hill-Smith (2009) uses the term “cyberpilgrimage” to specify pilgrimages performed online. Cyberpilgrimage might best be viewed as a form of virtual pilgrimage, itself a form of pilgrimage (Hill-Smith, 2009). In her research, she concluded that cyberpilgrimages are a new phenomenon; this “newness” both stymies attempts to predict the degree to which technologisation may alter perceptions of how “spiritual benefit” occurs or is ratifiable, and also raises exciting possibilities for researchers: from elucidating cyberpilgrimage - specific typologies from participant accounts, to analyses of the responses of faith groups to increasing representation, including self-representation, in cyberspace, to analyzing the relationship between meaning and media (Hill-Smith, 2009).

1.4 Research Question Doing pilgrimage inside the Second Life® has several challenges. Users’ spiritual journey in connection to the design of “religious site” in virtual worlds will explore in this study. This research will answer several questions such as: 1. What are the significance features of Second Life for spiritual enlightenment to its users? 2. What are the design principles of the “religious site” (the site as mentioned in RQ1)?

1.5 Research Scope This study is limited to “religious site” which belongs to Christianity belief. It focuses on Second Life platform as MMORPGs where users generate the environment. The design of the site will be limited to the Second Life features and platform. Thus, this research it limited to people who are in Second Life. This study implements "Design – Implementation – Evaluation" of a religious site in Second Life.

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1.4 Research Framework This study is based on Massively Multiplayer Online Role-Playing Games (MMORPGs) as game study and Christian theology as the foundation. Huizinga, one of the early scholars in game and play defines game as: “Summing up the formal characteristics of play we might call it a free activity standing quite consciously outside 'ordinary' life as being not serious, but at the same time absorbing the player intensely and utterly. It is an activity connected with no material interest, and no profit can be gained by it. It proceeds within its own proper boundaries of time and space according to fixed rules and in an orderly manner. It promotes the formation of social groupings which tend to surround themselves with secrecy and to stress their difference from the common world by disguise or other means.” (Huizinga, 1971)

Huizinga mentions two types of play: 1. ludus, referring to activities that thrive on competition and that require a lot of discipline and mastery of predefined rules (for example, a game of chess) and 2. paidia, referring to activities that thrive on spontaneous action and on uncontrolled excitement (for example, children’s running games or riding a roller coaster). Later on there are some of Huizinga’s conceptualisation that have been revised (e.g. proposes a more detailed elaboration of both types of play (Caillois, 2001); or the experience of fun is more important than the investigation of rules (Goffman, 1972). However, Huizinga’s general framework has remained very influential up to this moment. There are two main theories used in game study; narratology and ludology. Narratology refers to set theories on narrative and narrations. Narrative could be defined as: . . the representation of an event or a series of events. . . . when we read a narrative, we are aware of, on the one hand, the time of reading and the order in which things are read, and on the other hand, the time the story events are supposed to take and the order in which they are supposed to occur (Abbott, 2002). The other theory is called ludology. The term ludology is a neologism resulting from the combination of two words, one derived from the Latin word ludus (ludere) – ‘to play’ which was used in ancient Rome to cover the entire, large area of games and playing, and the other – Greek word – logos referring to reason and science (Surdyk, 2008). 8

Both theories have been used in game study; however there is a debate between ludology vs. narratology (Mateas & Stern, 2005). Some questions in the debate such as: can gameplay and narrative combine, and to what extent do games and narrative overlap? (Mateas & Stern, 2005). Among the game scholars, often referred to as ludologists, there is a sense of malaise about this question (Juul, 2004 ; Montfort, 2004), or claims that the debate never took place (Frasca, 2003a). This study uses both theories in Virtual Pilgrimage. The research framework will be: Christian Theology (Spiritual Experience)

Christian Site in Second Life Ludology (Game & Play)

Narratology (Story & Sequence) Fig. 1-6. Research Framework

This study uses Narratology (which emphasized on story and sequence) and Ludology (which emphasized on game and play) in the religious site on Second Life®. There are many video games which are in line with Christian theme and genre. Video game that emphasized the story such as: King of Kings (1991); developed by Wisdom Tree (RoyalRanger, 1991). This game deals with Christmas story; the first game on this cart is "The Wise Men," in which you must play a wise man on his camel, heading to the manger where Jesus is supposed to be born. The second game is "Flight to Egypt," where you play the donkey carrying Joseph/Mary/Baby as they travel to Egypt to escape King Herod, who is after the kid. In the third game, "Jesus and the Temple," your job is to play Joseph as you search for 12 year-old Jesus, who has been left out in a temple somewhere (RoyalRanger, 1991). 9

Another Christian theme video game called “The Bible Game” from Crave Entertainment (2005). The critic upon this game is that it lost connection with Bible’s story, especially for people who never read the Bible (Castro, 2005; Colayco, 2006). Wagner, a scholar in religion and culture study, conducted a research on passion of Jesus message on video game. She looked through five Christian theme games; Station of the Cross, Bible Fight, Roma Victor, Christ Killa and Bible Champions: The Resurrection. She found that game is not suitable for portrayal of the passion of Jesus precisely because they disrupt the linear view of sacred time, inject the possibility of other outcomes, invite immersion with the characters in a sacred story line and stray far from the fixed narrative of the Bible (Wagner, 2010). Thus, this research will adopt particular theme in Christian theology which could be adopted for the design of the site. The theme will be described further in methodology.

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CHAPTER II LITERATURE REVIEW

Video game has become a part of our daily life. As the need and growing industry in this area arise, there are also growing academic disciplines in game studies. Previous research shown that MMORPGs users had tendencies of playing 8 (eight) hours continuously, losing sleep because of playing, and had been told they spend too much time playing (Ng & Wiemer-Hastings, 2005). Yee in his research mentioned that MMORPGs players motivation is in line with three components; Achievement, Social, and Immersion (Yee, 2006b). MMORPGs are uniquely social environments. Some users participate in the environment to make friends and form supportive social networks while others use the environment to become powerful through the achievement of goals. Not only are a substantial portion of users emotionally invested in these online environments, they also derive salient experiences from them, and the relationships they form in these environments are comparable to their real-life relationships (Yee, 2006a). Playing computer game is becoming one of the factors to determine the quality of life (QoL) (Leung & Lee, 2005). This study shows that playing computer games gives positive correlation to QoL. Game-based interaction shows how gamers negotiate aspects of their identities as respected members of technical communities (Lange, 2011). Lange discovered as players move from one to another game, they learn consequences cause by a different game. As more and more teenagers play video games, MMORPGs gives possibilities to be modified to a very interesting and educationally environment (Riegle & Matejka, 2006). Nevertheless, MMORPGs in its history and development had been changed and customized in its feature to accommodate its players (Achtebosch, Pierce, & Simmons, 2008). Salen and Zimmerman studied games upon three different primary game design schemas (rules, play and culture) which they described as follows: •

RULES is a formal primary schema, and focuses on the intrinsic mathematical structures of games. 11

•

PLAY is an experiential primary schema, and emphasizes the player's interaction with the game and other players.

•

CULTURE is a contextual primary schema, and highlights the cultural contexts into which any game is embedded (Salen & Zimmerman, 2004).

RULES PLAY CULTURE Fig. 2-1. Primary Scheme (Salen & Zimmerman, 2004)

These schemas are also at the origin of Juulʼs approach to game ontology: the game as formal system, the player, the game and the rest of the world (Jasper Juul, 2005). Frasca argued that the act of play is naturally framed within CULTURE. The players’ experience has at its core the game system (RULES)(Frasca, 2007). Aarseth also identifies three categories in games, two of which are similar to the previous model: •

Gameplay (the player’s actions, strategies and motives)

•

Game-Structure (the rules of the game, including the simulation rules)

•

Game-world (fictional content, topology/level design, textures etc.)

Aarseth connects these three categories to three different types of game research perspectives: •

Gameplay: sociological, ethnological, psychological etc.

•

Game-rules: game design, business, law, computer science/AI

•

Game-world: art, aesthetics, history, cultural/media studies, economics (Aarseth, 2003).

The main difference between Salen & Zimmerman and Aarsethʼs approach is that the latter does not necessary see the categories as concentric. However, they all agree that 12

the perspectives overlap (Frasca, 2007). Game and Play have to be in its world or culture context. It has to follow the rules set by the game system.

2.1 Ludology Ludology is the most popular term use for computer game study. According to research performed by Jesper Juul, the term was used as early as in 1982, albeit scarcely and with a different meaning. However, the expression seems to have started gaining acceptance around 1999 (Frasca, 1999), which was followed in the year 2000 by Jesper Juul (Jesper Juul, 2000). Some related works of ludology included: -

Malliet is using ludology principle to analyze the programmed text of mature-rated video games. He found that within the context of video game studies, the issue of the interpretative position of the researcher is even more relevant than it already was in the context of traditional text analysis. Within interactive texts such as electronic games, a researcher not only makes an interpretation of the audiovisual output that appears on the computer or console screen, but also contributes actively to the messages that are conveyed (Malliet, 2007a, 2007b).

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Nacke uses term “affective ludology” for scientific measurement of user experience in interactive entertainment (Nacke, 2009). The term affective ludology is proposed here for referring to the field of research, which investigates the affective interaction of players and games (with the goal of understanding emotional and cognitive experiences created by this interaction). Therefore, the study of games as systems of rules and processes (ludology) should be informed by the affective reaction of the biological entity engaging with it (players). Nacke divided his thesis into 9 research papers. These papers answer two main questions; "What makes playing games engaging and fun?" and "How can this engaging experience of players be measured empirically?”. Major findings in his research include; some empirical data for supporting some high-level conclusions about engagement in games and the use of subjective and objective assessment techniques for player experience evaluation, which builds upon and extends prior work in the affective ludology area (Nacke, 2009). 13

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Another person who claimed himself as a ludologist is Jasper Juul. He clearly states that: 1) Games and stories actually do not translate to each other in the way that novels and movies do. 2) There is an inherent conflict between the now of the interaction and the past or "prior" of the narrative. You can't have narration and interactivity at the same time; there is no such thing as a continuously interactive story. 3) The relations between reader/story and player/game are completely different - the player inhabits a twilight zone where he/she is both an empirical subject outside the game and undertakes a role inside the game (Jesper Juul, 2001; Jasper Juul, 2005).

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Aki Järvinen, a Finnish game scholar, had introduced a set of concepts, categorizations, and analysis methods deduced from the above sample. The concepts can be used in trying to understand games from the perspectives of design and consumption as a particular form of entertainment. Järvinen's study is multi-displinary, as it draws and applies theories from psychology, aesthetics, communication, cognitive science, etc. Besides a wealth of observations regarding games and play, the main results of the work are analysis methods aimed for practical applications in game studies and development (Järvinen, 2008). Järvinen also claimed himself as a ludologist.

As it has mentioned before, ludology focuses on game and play. In a game, players have an ability to behave in a certain degree of freedom. The key words are "all" and "tolerate" (Frasca, 2007). As Salen and Zimmerman affirm, play is the ability to behave with a certain degree of freedom within a rigid structure (Salen & Zimmerman, 2004). Having freedom to behave means that a player can decide to perform any allowed activity or not. Games have a goal which set by rules and culture contexts. There are multiple scholarly definitions of a game: “A game is a system in which players engage in an artificial conflict, defined by rules, that results in quantifiable outcome”(Salen & Zimmerman, 2004) “A game is a rule-based system with a variable and quantifiable outcome, where different outcomes are assigned different values, the player exerts effort in order to influence the outcome, the player feels attached to the outcome, and the consequences of the activity are optional and negotiable.”(Jasper Juul, 2005) 14

As Salen & Zimmerman and Juul mentioned about games have system, there are also games that have no system. One of the cases is SimCity (1989) which Salen & Zimmerman and Juul acknowledge as problematic. The city-building simulator fails to fully fit inside any of both models. Because there are no preset goals –the player can decide what to build according to his/her personal motivations– no standard quantifiable outcome is generated (Frasca, 2007). Juul describes it as a “borderline” case (Jasper Juul, 2005) and Salen & Zimmerman as a “limit” case, that can either be framed as a play or a game activity (Salen & Zimmerman, 2004). This case will be similar with Second Life where the environment generated by users. Ludologists analyze games as play activities –including games and videogames– convey meaning that can lead to changing the player’s views on subjects and/or induce her to perform certain actions (Frasca, 2007). It uses rhetoric as a discipline to understand play and game in videogames. Rhetoric according to Davidson is “the study of techniques and rules for effectively using communication to convey meaning”, while he adapts rhetorical theory to game analysis. He mentions: “The rhetorical elements are how the mechanics show players how to play. This is the suble distinction between the rhetoric of the gameplay and the gameplay itself. But this disctinction can blur. I believe when gameplay mechanics are well integrated within the overall game design, the rhetorical elements become a seamless part of the game and it’s hard to separate the two. If the overall game design is a unified whole in which the gameplay mechanics are incorporated, then the rhetorical elements are just a part of playing the game, as opposed to an obvious technique or rule to be understood in order to play. Good gameplay makes for good rhetoric, which makes for a good game.”(Davidson, 2003)

Another game scholar named Walz, also proposed the idea of rhetoric in game study. He defines rhetoric as scientific discipline concerned with symbolic action, identification,

persuasive

operations,

strategic

communication,

and

proper

(cross-medial) expression and present its technical core, persuasion, as well as the latter’s relevance for digital games (Walz, 2004). He uses Aristotle’s rhetoric as the process of persuasion influences the choice-making of others in that it, naturally, persuades them to change their status of “unplaying” to playing in the instance of playing games. Rhetoric approach is used to persuade players to play the game as conveying the meaning called play rhetoric. 15

Sutton-Smith frames this activity within seven categories of play rhetorics. Rather than being understood as persuasive techniques, these rhetorics are “part of the multiple broad symbolic systems –political, religious, social, and educational– through which we construct the meaning of the cultures in which we live.” (Sutton-Smith, 2001) In other words, these rhetorics should be understood as different ways of viewing games and play, through different lenses that include them within a group with a global meaning that goes beyond the meaning of its signs, rules and performances. These categories are certainly overlapping, since a particular activity could belong to several groups. These rhetorics include: -

The rhetoric of play as progress is the idea that young children and animals learn through play. It frames children’s imitative play as a form of practicing the activities that they will later perform in adult life.

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The rhetoric of play as fate is connected to a deterministic view of life, arguing that human activities are controlled through fate rather than through free will. This rhetoric applies mainly to games of chance, including gambling games.

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The rhetoric of play as power frames play as a conflict or combat, where the victors become heroes as if they had won a war.

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The rhetoric of play as identity deals with how a community of players identifies itself. It is particularly present in communal play such as festivals like carnival and also in traditional games and toys.

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The rhetoric of play as the imaginary is generally applied to make-believe, improvisation based games.

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The rhetoric of self mainly deals with play as a source of individualistic satisfaction, generally within single player, solitary play.

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The rhetoric of play as frivolous currently frames play as a non-productive activity, as opposed to work. Originally, it was more closely related to the view of play as idle and foolish activities (Sutton-Smith, 2001).

Frasca concludes “gameplay rhetoric” is mainly concerned on how to create games with great gameplay, while “play rhetoric” aims at the more general issue of meaning construction in play and games (Frasca, 2007). The persuasive use of technology has been developed by Fogg. He focuses on computer technology in general and that also includes the use of videogames and simulations. He introduces the concept of captology, an acronym based on the phrase 16

“computers as persuasive technologies”(Fogg, 2002). According to Fogg, this new discipline focuses on “the design, research, and analysis of interactive computing products created for the purpose of changing peopleʼs attitudes or behaviors”(Fogg, 2002). Foggʼs framework is based on approaching technology from three complementary perspectives: computers as tools (as enhancers of actions), as media (in order to provide experiences) and as social actors (creating a relationship with the user). Frasca called it “simulation rhetoric” which focuses on the differences between goal-oriented (ludus) and open-ended (paidea) games (Frasca, 2003). It also points out the rhetorical differences between argumentation done through simulations and narrative. This rule typology works on four different levels; the first level is the one that simulation (such as toys and games) share with storytelling: texts, graphics, sounds, backgrounds, characters, cut-scenes. The second level includes manipulation rules, which state what is allowed for the player to do within the simulated model. The third level focuses on the goal rules: what the player must do in order to win. The last, fourth level, is the one of metarules (Frasca, 2003).

2.2 Narratology As it is mentioned in the research framework; narratology theory on game study focused at the story and sequence. Early developments were firmly in motion as early as the mid-1970s, during the industry’s embryonic era, in the form of multiuser dungeons (MUDs), as popularized by titles such as Adventure and Zork, designed to allow users to engage in fantasy worlds purely via textual descriptions and conversations with other players and game characters (Aarseth, 1997, 2004; Murray, 1997). Some related works in narratology include: -

Heliö in her study of The Sims mentions that in games active players are taking part into those actions, but the actions are still only the building blocks of the story, not stories themselves. Also, the temporal structure in games is results from the present, whereas in stories it is constructed from the events that have already happened (Heliö, 2005).

-

Crawford and Gosling in their paper argue that ludic (ludology) approaches are limited in that they often isolate gameplay from everyday life, and also fail to 17

recognize that games narratives can extend, and have life, beyond the games screen. They highlight on how sports-themed games facilitate the development of gamer narratives, and also often act as a resource in social narratives constructed

around

both

video

games

and

wider

sports-related

themes(Crawford & Gosling, 2009). -

Kücklich mentions that philological approaches have often been dubbed "narratologist" in the past; thereby reducing the discipline to just one area of research, recent work in this field suggests that there is more to literary theory than just narratology. He thinks it is necessary to keep in mind that the theoretical work between narratology vs ludology in this field is far from completed and key issues still remain unresolved. These issues cannot be tackled by one discipline alone, but must be dealt with in an interdisciplinary effort. Literary studies can supply some of the building blocks of such a theory, but they must be integrated into a framework that spans all the disciplines involved in the study of computer games (Kücklich, 2003).

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Another study by Mallon and Webb in computer game design suggests that we need to understand the changing nature of narrative form before it can make its full contribution to good game experiences. There are potential clashes between the game, interaction, hyper-structure, and narrative; but these elements need to be reconciled and solutions to conflicts must be found (Mallon & Webb, 2005).

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Ip has conducted a long term research on narrative structure in a computer game. In the first part of his article, he highlights some of the salient elementary aspects of game narrative, including the allocation of time, the means of depicting narrative such as back stories, cut scenes, text, prompts, and game structure (Ip, 2010). In part two, Ip found that there are prevailing areas should take precedence: the temporal nature of narrative, the depth of narrative, and how narrative is depicted to the audience (Ip, 2011).

Studying game as a narrative storytelling has been quite sometimes. Most of the games are telling stories. One of narrative techniques in game study is called an interactive narrative. An interactive narrative has in recent years been the subject of 18

notable attention and scrutiny for games theorists and industry professionals. Such levels of interest are perhaps not surprising considering the historical yet rapid development of interactive narrative in commercial games (Ip, 2010). Early developments were firmly in motion as early as the mid-1970s, during the industry’s embryonic era, in the form of multiuser dungeons (MUDs), as popularized by titles such as Adventure and Zork, designed to allow users to engage in fantasy worlds purely via textual descriptions and conversations with other players and game characters (Aarseth, 1997, 2004; Murray, 1997). The growing sophistication of interactive storytelling demonstrated how game content and narrative may be expanded to provide a greater sense of meaning and immersion to the tasks performed by the player, even for relatively simple forms of interaction typified in early games machines (Madej, 2003; Rollings & Adams, 2003; Tavinor, 2005). In comparison, modern story-driven games combine complex narrative with sophisticated forms of interaction, often resulting in many tens (and possibly up to hundreds) of hours of gameplay (Ip, 2010). Such this storytelling is the appeal and popularity of story-based games, highly elaborate and descriptive narratives are now being incorporated into genres with traditionally vacuous storylines, particularly those among the action, fighting, and shooting categories. Further extensive debates are also available on the role, representation, and potential direction of storytelling in emerging fields of game studies such as narratology, ludology, interactivity, and related communities. Some literatures include, among numerous others, the examination of general storytelling via electronic media (Aarseth, 1997; Murray, 1997; Ryan, 2001, 2006), reflection on a selection of popular games (Atkins, 2003), insight and critique (Jesper Juul, 1999; Jasper Juul, 2005) and into narrative techniques (Sheldon, 2004), and the collection of essays on interactive storytelling (Wardrip-Fruin & Harrigan, 2004). Jenkins introduces narrative architects. He argues that game designers less as storytellers and more as narrative architects (H. Jenkins, 2004). Game designers don't simply tell stories; they design worlds and sculpt spaces. It is no accident, for example, that game design documents have historically been more interested in issues of level design than plotting or character motivation. A prehistory of video and computer games might take us through the evolution of paper mazes or board games, both preoccupied with the design of spaces, even where they also provided some 19

narrative context. Monopoly, for example, may tell a narrative about how fortunes are won and lost; the individual Chance cards may provide some story pretext for our gaining or losing a certain number of places; but ultimately, what we remember is the experience of moving around the board and landing on someone's real estate (H. Jenkins, 2004). Don Carson, who worked as a Senior Show Designer for Walt Disney Imagineering, has argued that game designers can learn a great deal by studying techniques of "environmental storytelling" which Disney employs in designing amusement park attractions. Carson explains, "The story element is infused into the physical space a guest walks or rides through. It is the physical space that does much of the work of conveying the story the designers are trying to tell....Armed only with their own knowledge of the world, and those visions collected from movies and books, the audience is ripe to be dropped into your adventure. The trick is to play on those memories and expectations to heighten the thrill of venturing into your created universe” (Carson, 2000). Thus, environmental storytelling could be applied in 3D Virtual Worlds. It creates the preconditions for an immersive narrative experience in at least one of four ways: spatial stories can evoke pre-existing narrative associations; they can provide a staging ground where narrative events are enacted; they may embed narrative information within their mise-en-scene; or they provide resources for emergent narratives (H. Jenkins, 2004).

2.3 Spiritual Experience The word spirituality originates from the Latin spiritus meaning ‘spirit’, the opposite of the material. In other words, spirituality is concerned with making sense of things (Zijderveld, 2008). Today, spirituality is seen as a spiritual journey to make sense of life and seek the ‘inner self’. A very important part of spirituality is experience. This experience, often mediated by meditation, is perceived as communication between the self and the divine, nature, or another holistic concept (Zijderveld, 2008). According to Mariasusai Dhavamony, an Indian Catholic theologian, identifying with many religious and spiritual traditions offers an excellent perspective on spirituality. 20

“It is true that all basic human spiritual traditions are open, clear and direct expressions of the manner in which humans have structured their personal and social life in order to give it a higher, transcendent significance. In fact, spirit, spiritual, spirituality can be described as the belief in some reality in human beings and the universe beyond the physical or material or biological which is related to the Supreme Reality and which is required to explain and justify certain human capacities, aspirations and ideals. It is that which explains, validates and makes it possible for humans to rise beyond all aspects of their physical material and selfish selves. It is spiritual reality, which accounts for human selftranscendence and world-transcendence. It is its relation to the Supreme Reality, which is at the basis of human religious experience.”(Dhavamony, 2002) Spiritual experience, on the other hand remains in mystery. Highland and Yu (2008) called it “inner experience”, that cultivates into “inner peace”. This experience traditionally includes religions and culture which are communicated and preserved through time via mythology (e.g., textual scriptures), art (e.g., symbolism), and ritual (e.g., ceremony). Meanings are communicated largely through metaphor. The stories communicate experiences and their consequences through the use of narrative and poetry (Highland & Yu, 2008). Many Eastern religions including sects of Buddhism, Hinduism and Taoism have developed meditative practices (considered a form of ritual) that cultivate inner experiences which can be named, duplicated, and verified physiologically using modern instruments and techniques (Austin, 2006). Studies of epileptics have identified potential neurological correlates to behaviors typically associated with deep ‘spiritual experience’ (Ramachandran, Hirstein, Armel, Tecoma, & Iragui, 1997). New fields of psychology including transpersonal psychology recognize the relevance and importance of spiritual experience in personal development (Grof, 1985). Virtual Hajj is an example of the site in Second Life which has been a mediated experience since its inception. It is a simulation (sims) which sponsored by IslamOnline.net (IOL). IOL representatives maintain that the SL Hajj is a tool, and not just for Muslims, but for non-Muslims to learn about Islam. Despite the clear difference between the real and virtually mediated Hajj, Mohammad Yahia has referred to it as the "full Hajj experience," one that he felt was "awe-inspiring," and as close as one could get to the real thing. Sacredness here is in one part determined by the designs of the authors of this space, and in another part by the experiences of users moving through and interacting with it in accord with how the Hajj is meant to be 21

experienced (for example, by wearing the appropriate ihram clothing). The sheer importance of Mecca to Muslims is another factor that influences how the Mecca sims is likely perceived, and visits to the sims increase during Ramadan and the Hajj season. Nonetheless, the Mecca sims is just that: a simulation. This suggests an interesting form of discord between the referent, in this case Mecca, and the representation being used to symbolize it (Derrickson, 2008a). Art is a way of arranging and manipulating physical materials to communicate inner experience. Religious artwork such as early Christian paintings and Buddhist iconography are rich in symbolism that reinforces the meaning of the related scriptures (Highland & Yu, 2008). Dewey (1934) makes a case that esthetic experiences (such as those who derived from engaging art) are important because they help believers to illuminate ordinary experience. Artists in this way expand the ‘inner landscape’ and create the language used to reference this landscape. This language forms commonalities among people and ‘culture’ emerges. In addition to the role of the ‘artist’ and ‘experiencer’ of art, the medium of expression is also as important if not more important than the message as pointed out in McLuhan’s theory (McLuhan, 1964). Highland and Yu (2008) in their research purposed that ‘inner experience” is impacted by upon the modality and the quality of the presentation of myth, art, and ritual. In this case, video games represent an entirely new medium for communicating experience that combine the strengths of traditional media forms with natural and intuitive practices of play and interaction/relationship with others (Highland & Yu, 2008). Video games according to Highland and Yu has all three elements (story, art and ritual) which could be used to communicate ‘inner experience’ to its users (Highland & Yu, 2008).

Fig.2-2. Communicating Inner Experience (Highland & Yu, 2008) 22

CHAPTER III DESIGN DEVELOPMENT

This study adopts one of Sir Christopher Frayling’s three-fold identification of the key areas of design research (Frayling, 1993). It uses “research through design” by "Design-Implementation-Evaluation" of a religious site in Second Life. This method suggests that design researchers focus on making the right things. It allows designers to make research contributions that take advantage of the real skill designers possess—reframing problems through a process of making the right thing (Zimmerman, Forlizzi, & Evenson, 2007; Zimmerman, Stolterman, & Forlizzi, 2010). The religious site is designed according to the theory and research framework. Then, it follows by the implementation to users and site evaluation. The improvement is made to adjust the users’ experience.

3.1. Design Process The design process follows the common design flow as seen through the graph below:

Define

Evaluation

Collecting Information

Implementation

Design Steps

Fig.3-1. The Flow for Design Process

3.1.1 Define The first step is to define which religion or belief and which part of the ‘story’ that a designer wants to develop. In this case, we chose Christian because we are 23

familiar with and we understand fully what is happening is Christian belief. We rely on the Christian theology as the foundation for the design. Jesus crucifixion is considered as the victory over sin for all Christians. This event has been recorded in the four Gospel in the Bible. Christians celebrate Easter to reflect on Jesus’ sacrifice; this is the time when they walk through the path that Jesus took to the Golgotha (Calvary). There is no such spiritual requirement for Christian to do a pilgrimage; however, during the history Christian pilgrims follow the path of Jesus crucifixion. Christians believe that the ‘victory of faith’ is when Jesus died on the cross and rose from the death. This is the climax of Jesus’ ministry on the earth. Mel Gibson described the story in his movie entitled The Passion of Christ (2004) (http://www.thepassionofchrist.com). It is a drama movie on the last twelve hours of Jesus’ life. The movie told the story form four Gospels narrative of Christ’s passion along with other resources. There are some controversies related to the history and violence shown in the movie. Walsh (2005) in his writing mentions that Gibson has a right to interpret the Jesus story. Criticism should insist, however, that Gibson’s film is only an interpretation. Criticism should also offer reasons for or against any such interpretation. On Gibson’s behalf, he would like to say that Gibson has faithfully, masterfully, brutally visualized the horrific, crucified imagination at the heart of Western Christianity. The movie received support and endorsement from most known evangelical leaders and representatives of USA's conservative church organizations: Billy Graham, James Dobson, Mission America Coalition, Salvation Army, Promise Keepers, National Association of Evangelicals, Campus Crusade for Christ, Focus on the Family, Pat Robertson, Southern Baptist Theological Seminary, Trinity Broadcasting Network, Rick Warren, Southern Baptist Convention, Jerry Falwell, Max Lucado, Young Life, Tim LaHaye, Chuck Colson, Lee Strobel, Northern Baptist Theological Seminary, Mothers of Pre-Schoolers (Dillen, 2004).

3.1.2 Collecting Information The next step is doing research about the story of the Passion of Christ and Via Dolorosa. The story of Passion of Christ is written in four Gospels in the New Testament and took place in Jerusalem. We refer to the Bible as the main holy texts for Christian. The four Gospel (Matthew, Mark, Luke and John) clearly mentioned 24

about the Passion of the Christ which is familiar to most of the Christian. In the 14th Century, the Franciscans organized a devotional walk for pilgrims to follow the steps of Jesus in Jerusalem (Murphy-O’Connor, 2008). Then from the early 15th Century, those pilgrims made a symbolic representation of event of the Passion in their home countries following the event in the Gospel in order to foster the devotion of those who cannot go for pilgrimage (Murphy-O’Connor, 2008). These tradition followed by religious who reside in Jerusalem; they made stations on the path in Jerusalem. The first development of the way of the Cross is only 8 (eight) stations. Then the Jerusalem Way of the Cross was extended to include stations within the Holy Sepulcher. The actual route was fixed in the 18th Century, but a number of the stations (nos. 1, 4, 5, 8) were given their present location only in the 19th Century (Murphy-O’Connor, 2008). The Via Dolorosa is defined by faith, not by history (Murphy-O’Connor, 2008). Via Dolorosa ("Way of Grief" or “Way of Suffering” in Latin) is a road in the old city of Jerusalem, a path where Jesus was lead in agony, carrying the crucifixion cross. Via Dolorosa is located within the old city of Jerusalem. It starts from the place where Jesus was tried and convicted - near the Lions' gate on the eastern side (Muslim quarter). It ends in the crucifixion place, Golgotha, where the Church of the Holy Sepulcher is located in the west side of the old city (Christian quarter) (Murphy-O’Connor, 2008).

Fig. 3-2. The Via Dolorosa (http://www.biblewalks.com/Sites/ViaDolorosa.html)

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Fig. 3-3. The Via Dolorosa in the ‘Real’ Life (http://www.biblewalks.com/sites/ViaDolorosa.html)

3.1.3 Design Steps The design follows the story of Christ’s crucifixion as it is written in the four Gospels and applies narratology and ludology principles. The design concept, architecture, scenario and overall idea are developed based on a literature review, real world photo and historical site of Jerusalem. The site is designed as a mirror of the Via Dolorosa. The Via Dolorosa basically has two major parts; the old city of Jerusalem and the surrounding environment. The old city of Jerusalem is the place where we locate the Via Dolorosa, and the surrounding environment is the supporting area to the city. The site is built inside the Second Life and has two major parts. It is located on (90, 185, 23; https://secondlife.com/destination/via-dolorosa---station-of-the-cross ) in Second Life. It’s a full prim simulation (sims) island which allows the full feature from Linden Lab, the creator of Second Life. Its architecture elements are designed to be the same with the ‘real’ Via Dolorosa. The basic idea is to provide full experience to avatar as they could have in ‘real’ Via Dolorosa. The design concept, scenario, and the story have been done by Arke Lethecus (my avatar inside the Second Life). The design process has been done in collaboration with builders (Namssab1nad Piers and Gin Galtier), animator (Electra Karsin), script writer (Taff Nouvelle) and assistance for information cards (Skyfire Constantine). 26

3.1.3.1 Part I The first part of the design is to build the city area. This is the main area where we put the Via Dolorosa. We divide the full island region and decided to locate the city area as seen on the picture below.

Legend: : Old Jerusalem City : Shops area : Golgotha Hills : Stage for Live Concert : Wedding planner shop : The Cathedral

Fig. 3-4. Island Map Overview

As the building process, we looked at the details of the Jerusalem city where the Via Dolorosa located. This is very important as we want to give real experience to users.

Fig. 3-5. The Design Process of Jerusalem City

27

The design included some sign along with the path as self-guidance for avatar. The signs include: an arrow on the floor and a sign board on the site of the path. It is important because when people go to the real life site of Via Dolorosa, there will be a tour guide who can guide them from one station to the other. Unlike in the Second Life, people tend to find their way. This is why we need to help the users with guidance signs.

Fig. 3-6. The Signs

The next design is the “landing point”; which is the place where an avatar first landed using teleport link to the island. We design a place with a gate to the Via Dolorosa. There are welcome messages on both site of the gate. If the avatar landed on the ‘welcome mat’ there is a “whisper” instruction to touch the sign on either site for the important information. We put “Easter Gift” at the welcoming gate. The gift contains information about Via Dolorosa and the “landmark” which teleport avatar to the island. This gift is for the avatars who want to invite their friends to come and visit the island. We also put a “donation jar” here, this jar is the place where people can put donation to preserve the island.

28

Fig. 3-7. Landing Point of the Via Dolorosa

When an avatar touches the sign, there is a ‘notecard’ coming up contains welcoming message. The welcoming message also mentions ‘design credits’ to its designers' team. The gate can be opened as soon as it is touched by mouse; then the avatar can go to the next step and get ready to take the Via Dolorosa journey.

Fig. 3-8. Welcoming Message at the Landing Point of the Via Dolorosa

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Below is the welcoming message written on the notecard: Welcome to Via Dolorosa. In Latin this means “Way of Grief” or “Way of Suffering.” It is a street within the Old City of Jerusalem, held to be the path that Jesus walked, carrying His cross on the way to His crucifixion. The Sim's architectural structures were designed with great detail as a replica of the Via Dolorosa. Along its path are 14 Stations of the Cross to commemorate stages in Christ's journey to Calvary (Golgotha) where he was crucified. To experience the Stations of the Cross and the suffering of Jesus as he walked the path to His crucifixion, you will be uniquely animated on a scripted tour through the Old City of Jerusalem. To begin your journey, please proceed through the gates and on the right you will find a sign that will provide IMPORTANT INFORMATION. We hope you are touched by the creation and may you be blessed through the sacrifice Jesus made for us through His suffering and crucifixion. ~*~ DESIGN CREDITS ~*~ ARKE LETHECUS ~ Conceptual Developer and Owner of Via Dolorosa NAMSSAB1NAD PIERS ~ Various structures and design elements ~ Owner of Lumiere ELECTRA KARSIN ~ ANIMATION "Christ Carries Cross" and various design elements ~ Interior/Exterior Designer ~ Owner of Electric Interior Designs - https://marketplace.secondlife.com/stores/71759 TAFF NOUVELLE ~ SCRIPTED TOUR - adapted from a walking sim tour / Shopping Tour System ~ Owner of V-teq Scripting https://marketplace.secondlife.com/stores/13441 SKYFIRE CONSTANTINE ~ Assistance with informational instruction cards. Once the avatar goes out from gate, there is another sign for ‘important’ information describing about “Animated Scripted Tour”. It called “Animated Scripted Tour” because it will move the avatar automatically following from one station to the other station. The tour will be approximately fifteen (15) minutes start from station two (2) until station eleven (11). This tour is the experience of carrying cross as Jesus did to the Calvary (Golgotha). It also mentions about the sign on the floor and on each station. 30

Fig. 3-9. The Information for Animated Scripted Tour

This is the content of the important information: ANIMATED SCRIPTED TOUR INFORMATION for THE STATIONS OF THE CROSS ~*~ PLEASE READ - IMPORTANT INFORMATION~*~ There are 14 Stations of the Cross to commemorate stages in Christ's journey to Calvary (Golgotha) where he was crucified. The journey will take approximately 15 minutes to complete the 14 Stations. Your avatar will be fully animated via a scripted tour as you travel to each Station. Each of the 14 Stations is marked by a gold disk on the ground, a plaque and an artistic representation on the wall. Upon arriving at each Station, simple touch the plaque on the wall to receive the Station description. A local chat message will whisper that you have arrived at each Station. ~*~ BEGINNING THE JOURNEY ~*~ You will begin your journey by proceeding forward to the 1st Station by following the red arrow markers on the ground. When you touch the plaque to receive the Station description, PLEASE NOTE: you will be receiving it in a texture format which will be displayed on your screen or be found in your texture folder. 31

After Station 1, proceed to Station 2 by following the arrows to the left, through the Church corridor and to the bottom of the stairs where you will find the gold disk for Station 2 and the plaque. It is at this Station in which you will begin your Animated Scripted Tour along the path of the city by carrying a cross as Jesus was given to carry. PLEASE READ THE IMPORTANT INFORMATION SIGN at this Station. We hope you are touched by the experience.

3.1.3.2 Part II The second part is the journey of Via Dolorosa. We design it based on the event that is happening at each station sequencely. It starts from the station 1 (one) until station 14 (fourteen). As the avatar walks following the arrow on the floor, it leads to Station 1 (one). This arrow functions as a self-guidance for the avatar from one station to the other. As the avatar arrives at the station, there is a metal plate at the wall mentions about station number and a plague with a picture beside it. If avatar touches the plague, then there will be a notecard with Bible verse describing what is happening in that particular station. We put a picture to illustrate what is happening at each station. As avatars arrive at station 2 (two), it will be a starting point where they could experience ‘journey with cross’. We design “Full Animated Scripted Tour” for avatar to experience carrying cross just as Jesus did. This tour will be automatically controlled by script which embedded on the cross. Once the avatar put on the cross and follow the instruction, then it will move automatically to each station. Upon arrival at each station, the script will stop to give sometime for the avatar to read the information and do reflection. As the avatar moving automatically, it gives the users sometime to reflect and meditate upon what is happening. This process will enact and enrich their spiritual experience. We provide three sizes of the cross (male, female and child), this is to fit with the avatar’s size. There is another important guidance for avatars before they can take the tour. This is to make sure that their journey will be successful. The information contains; instruction on how to put the cross on their avatar, how to move the avatars using their keyboard following the arrow on the floor, reminder not to put off the cross until the next instruction at station 11 (eleven) and advice to reflect on struggle that Jesus endured in the way to His crucifixion. We put all the information in order to 32

help avatars understand and have a successful tour. This is the content of the instruction: Station 2 represents when Jesus was given his cross to carry. Here you receive your cross to carry as Jesus was given His, as He traveled the path to His crucifixion. You will find crosses marked Male, Female and Child, please select the appropriate cross by simply touching its sign. You will receive an object named Cross of Christ to WEAR and it can be found in your Object folder. ~*~ IMPORTANT ~*~ PLEASE REMOVE or TURN OFF YOUR AVATAR AO or it will interfere with the animation and script. VERY IMPORTANT! CLOSE ALL OPEN WINDOWS such as Chat IMs, Inventory etc.... Please right click to WEAR (attach) the Cross of Christ from your inventory's Object folder. Allow the Animated Tour Script to load as the local chat message will indicate. When the script is ready you will be moved automatically to the gold Station 2 disk. TOUCH or TAP the ARROW UP KEY on your keyboard ONCE to BEGIN the TOUR! IMPORTANT NOTE: If your avatar is not being properly animated it is possible you failed to TURN OFF your avatar AO! The animation will automatically activate and guide you along the path to each of the Stations of the Cross. IMPORTANT: Please allow your avatar to be moved along the path by the Animated Scripted Tour as it travels you to each of the Stations as well as the silver disks on the ground. DO NOT hold the arrow key down this will cause you to miss stations or disks and interfere with the script. NOTE: You will only need to turn your camera view or avatar in the direction of the arrows. IMPORTANT: PLEASE DO NOT REMOVE THE CROSS. If you remove the cross at anytime during the tour and attempt to wear it again, the script WILL send you to the starting location of Station 2. Once you reach each Station your avatar will STOP automatically on the gold Station disk allowing you time to touch the plaque for the Station description. 33

NOTE: To begin traveling the path again, simply TOUCH or TAP the ARROW UP KEY on your keyboard. It is a lengthy distance ONLY between Station 2 (starting location) and Station 3. Please be patient and use this time to reflect on the struggle that Jesus endured before His crucifixion. Turn on your streaming music to hear Gregorian Chant. We hope you are toued by the experience. Table. 3.1. Via Dolorosa Station Design of Each Station STATION

OVERVIEW

I

STORY

DESIGN FEATURES

This is the place where Jesus is condemned to death. This station was in the Roman times the place of seat of Pontius Pilate, located in the Antonia fortress, and the place of half judgment.

• Plague with notecard • Gold Plate on the floor for the station location. • Picture of Jesus when He is condemned

“And wishing to satisfy the multitude, Pilate released Barabbas for them, and after having Jesus scourged, he delivered Him to be crucified.” (Mark 15:15 NASB). It is where Jesus was given His cross carrying along until Golgotha. Station 2 (two) is located near Franciscan Monastery. This station is the starting point of “Full Animated Scripted Tour”. Avatar could experience carrying the cross like Jesus did.

II

"So the soldiers took charge of Jesus. Carrying His own cross, He went out to the place of the Skull (which in Aramaic is called Golgotha) ". (John 19:16b -17 NIV) 34

• Plague with notecard • Sign for the Station’s name • Gold Plate on the floor for the station location. • Three cross made for the “Full Animated Scripted Tour” • Board sign with notecard for the tour information.

Jesus falls to the floor • Plague with for the first time under notecard the weight of the cross • Sign for the that He is carrying. This Station’s station is located on the name corner of Via Dolorosa Gold Plate on • and El Wad (Hagai) the floor for street. the station location. • Picture of Jesus when He falls for the first time. This 4th station is located • Plague with very close to station 3, notecard further south on El-Wad • Sign for the (Hagai) street. Here, Station’s name Jesus met his mother • Gold Plate on Mary according to the the floor for tradition. the station location. • Two ladies (Jesus’ mother and Maria Magdalene)

III

IV

The 5th station is located at the corner of Via Dolorosa road and El-Wad ("The Gai") road. “As the soldiers led him away, they seized Simon from Cyrene, who was on his way in from the country, and put the cross on him and made him carry it behind Jesus.” (Luke 23: 26 NIV). “And they pressed into service a passer-by coming from the country, Simon of Cyrene, to bear His cross.” (Mark 15:21 NASB) “A large number of people followed him, including women who mourned and wailed for

V

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• Plague with notecard • Sign for the Station’s name • Gold Plate on the floor for the station location. • Picture of Simon from Cyrene takes the cross from Jesus.

• Plague with notecard • Sign for the Station’s name

him.” (Luke 23: 27 NIV). Her name, Veronica, may have been based on the Latin words "Vera" + "Icon", or "true image" - the face of Jesus on the woman's handkerchief. A small Greek Catholic chapel is located at this station. It is named "The Holy Face", since Veronica wiped Jesus’ face with a silk veil. The way up hill and the pressure of the city had its toll: Jesus falls here for the second time. The 7th station, according to the tradition, marks the place where Jesus passed through the Gate of Judgment, along the streets of Jerusalem. This street in one of the busiest in the old city, as it may have been during Jesus times. “Jesus turned and said to them, “Daughters of Jerusalem, do not weep for me; weep for yourselves and for your children. For the time will come when you will say, ‘Blessed are the childless women, the wombs that never bore and the breasts that never nursed!” (Luke 23: 28-29 NIV)

VI

VII

VIII

Station 8th is located closest to the Church of the Holy Sepulcher, and is dedicated by the Greek Orthodox to Saint Charalampos; their monastery is located behind the wall.

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• Gold Plate on the floor for the station location. • Picture of Veronica wiped Jesus’ face.

• Plague with notecard • Sign for the Station’s name • Gold Plate on the floor for the station location. • Picture of Jesus falls for the second time.

• Plague with notecard • Sign for the Station’s name • Gold Plate on the floor for the station location. • Two ladies (Jesus’ mother and Maria Magdalene)

Further up the hill and close to the place of crucifixion, Golgotha, Jesus falls the 3rd time. The 9th station is adjacent to the Holy Sepulcher - the tomb of Jesus.

IX

“And they crucified him. Dividing up his clothes, they cast lots to see what each would get.” (Mark 15:24 NIV). X Station 10th is located at the entrance of the Church of the Holy Sepulcher, in the room called the Chapel of the Franks.

• Plague with notecard • Sign for the Station’s name • Gold Plate on the floor for the station location. • Cross as it’s seen on the real photo. • Picture of Jesus falls for the third time. • Plague with notecard • Gold Plate on the floor for the station location. • Picture of Jesus is stripped of His garments.

• Plague with notecard • Gold Plate on the floor for the station location. • Picture of Jesus is stripped of His garments. • A sign “It was nine in the mentions that morning when they avatar could crucified him. The remove the written notice of the cross and the charge against him video at the read: THE KING OF end of station THE JEWS. They 14. crucified two rebels with him, one on his right and • A “touchable” object to help one on his left.” (Mark avatar in case 15: 25-27, NIV) the cross animation still This is the end of “Full working after Animated Scripted Reaching the place of crucifixion, the hill called Golgotha, Jesus is nailed to the cross. This station is located inside the Church of the Holy Sepulcher. This is the Latin (Franciscan) altar on Calvary (place of the skull - Golgotha).

XI

37

Tour”. Avatar could detach the cross at this station. Jesus is crucified and dies on the cross, ending His agony. “And at three in the afternoon Jesus cried out in a loud voice, “Eloi, Eloi, lema sabachthani?” (Which means “My God, my God, why have you forsaken me?”). With a loud cry, Jesus breathed his last.” (Mark 15: 33, 57 NIV) “………Jesus said, “It is finished.” With that, he bowed his head and gave up his spirit.” (John 19:30 NIV)

XII

removing the cross. • Plague with notecard • Gold Plate on the floor for the station location. • Picture of Jesus dies on the cross.

The location of this station, 12, is a Greek Orthodox crucifixion altar which is inside the Church of Holy Sepulcher. “Later, Joseph of • Plague with Arimathea asked Pilate notecard for the body of Jesus. • Gold Plate on Now Joseph was a the floor for disciple of Jesus, but the station secretly because he location. feared the Jewish • Picture of leaders. With Pilate’s Jesus is taken permission, he came and down from the took the body away. He cross. was accompanied by Nicodemus, the man who earlier had visited Jesus at night. Nicodemus brought a mixture of myrrh and aloes, about seventy-five pounds. Taking Jesus’ body, the two of them wrapped it, with the spices, in strips of linen. This was in accordance with Jewish burial customs. (John

XIII

38

19: 38-40 NIV) This station is also located inside the Church of the Holy Sepulcher. “At the place where Jesus was crucified, there was a garden, and in the garden a new tomb, in which no one had ever been laid. Because it was the Jewish day of Preparation and since the tomb was nearby, they laid Jesus there.” (John 19: 41-42 NIV)

XIV

This is the final station of Via Dolorosa, located in round hall ("Rotunda").

• Plague with notecard • Gold Plate on the floor for the station location. • Picture of Jesus is laid in the tomb. • “Easter Gift” for avatar. • A sign board for the questionnaire • A Video Screen for clip from “Passion of Christ” • Another “donation jar”

Information Source: http://www.biblewalks.com/sites/ViaDolorosa.html

At the end of the station, there is a big picture of the Golgotha Hill with three cross and below that there is a sign for avatars to touch the telepad (round black circle). This telepad allows avatars to transfer directly to the crucifixion location of Jesus which is outside the city on the top of the hill. Besides that, it also allows to teleport to the other part of the island.

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Fig. 3-10. The Telepad for Teleporting Avatar 3.1.3.3 Part III The third part of the design is the surrounding area of the city. This is important to provide a ‘living’ environment for the island. We design some areas and buildings related to Christianity. The most important as it has discussed before is the Golgotha hills. The Golgotha hill is the place where Jesus crucified according to the Gospel. We design Golgotha hills with 3 (three) cross. According to the Gospel, Jesus was crucified between two rebels (Matthew 27:27-56, Mark 15:21-38, Luke 23:26-49, and John 19:16-37). In addition to the cross, we create Jesus’ sculpture on the middle cross with the spot light and others with black sculpture. There are three ‘kneeling’ animations for avatars to kneel down and pray at Jesus’ feet. Avatars could use the telepad to teleport themselves to the hill.

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Fig. 3-11. The Golgotha Hill

In the left side of the Golgotha hill, we design Jesus tomb. This tomb is design based on the look in the real life. The idea is based on the story written in the Bible: “At the place where Jesus was crucified, there was a garden, and in the garden a new tomb, in which no one had ever been laid. Because it was the Jewish day of Preparation and since the tomb was nearby, they laid Jesus there.” (John 19: 41-42 NIV)

From the verse we learned that Jesus was laid close to the Golgotha hills and it did not take long time to put Him in the tomb. However, we do not make any sculpture of Jesus body inside the tomb. As the Christian believe that Jesus is raised from the death and went to heaven just it is written in the Bible. So we create Jesus sculpture “flying” to the heaven above the tomb and Mary Magdalene who was the first one who witnessed Jesus rose from the death. Christians celebrate the “Ascension of Jesus Christ” as the event when Jesus went to heaven.

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Fig. 3-12. Jesus’ Tomb As part of the island we also build a Cathedral. This cathedral will be used for any service, prayer meeting and other related occasion. The cathedral is built based on a combination of Christian and Catholic architecture. As the avatar comes inside the Cathedral, there will be a baptismal font which scripted to make “cross sign”. The altar is equipped with religious ornaments just as in the ‘real’ life. All seat are animated with different poses as usually people do inside the church such as; prayer sits, hands on lap, reading material, sign of cross, listening, and reading prayer. The seat animation also categorize for male, female and child avatars.

Fig. 3-13. The Cathedral

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Fig. 3-14. Animated Seat inside the Cathedral

The surrounding of the city is also decorated with trees, benches, a lake and a small village to create a natural environment. We also add shops selling religious arts which most of them are the photos taken from the island. At the beginning we only opened 2 (two) shops; Sacred Fish and The Light. Sacred Fish is owned by Electra Karsin and the Light is owned by Namssab1nad Piers. Avatar could visit the store and purchase any gifts from the island.

Fig. 3-15. Sacred Fish Shop; outside look (left), inside look (right)

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Fig. 3-16. The Light Shop

3.1.4 Implementation The final design of Via Dolorosa in Second Life was completed on March, 2012. It opened in early April, 2012 and has peak load of the visitors during Holy Week. It is the time for Christian to celebrate Easter. There are 1257 visitors since the opening up to July 11, 2012. The detail of visitors is discussed in chapter four. The island is listed in the Second Life Destination Guide (http://secondlife.com/destinations/belief) and was on highly recommended during the Holy Week (April 2 – 9, 2012).

Fig. 3-17. Screenshot of Second Life website during the Holy Week

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The island has been visited by one of the virtual world bloggers (Angel Kingmaker). She went through the Via Dolorosa Island and wrote the review on her blog. The review could be found here (http://virtualworldblogger.blogspot.com /2012/04/easter-sunday-via-dolorosa-stations-of.html).

Fig. 3-18. Screenshot of Virtual World Blogger

As it is mentioned before, we put “donation jar” for avatars to support the island. There are 3 (three) “donation jars” in the island. The locations are station 1, station 14 and inside the cathedral. We accept L$31,545 since its opening until July 11, 2012. This donation will be used to maintain the site, Linden Lab charges US$295/month to maintain the site. Second Life applies its economic system with Linden Dollar (L$). The exchange of Linden Dollar to US Dollar is based on the Linden Economy system (https://secondlife.com/my/lindex/buy.php?), the exchange rate is USD $1 = L$ 248 (July 11, 2012). Most of the donations came in during the Holy Week, but we still accept donation afterward. The Cathedral is opened for avatars to have Sunday service, wedding ceremony, prayer meeting and other religious activities. We have a group of people who come and have a Morning Prayer meeting inside the Cathedral.

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Fig. 3-19. Morning Prayer Meeting inside the Cathedral

3.1.5 Evaluation The design evaluation is the process of adjusting the previous design after the implementation process. We do observation to visitors as they arrived and try to take the tour. Users sometime skip reading the instruction and as the result they could not get a smooth tour. We are helping them by giving assistant using SL chat room. We made some improvements the design of Via Dolorosa based on the survey and our observation. Below are the design improvements that we made: A. Adding more “assistant” boards to guide the avatars. This assistant board has indicator to show if assistant is online or not. This will be a sign for avatars in case they need assistance to help them experience the animated tour. The sign board has three assistants (Arke Lethecus, Namssab1nad Piers and Electra Karsin). Initially, we only put at station 2 and station 14, but we add one more location; at the welcoming gate.

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(a)

(b)

(c) Fig. 3-20. The Assistant Board; Welcoming Gate (a), Station 2 (b), Last Station (c)

B. Adding more “visible” signs to guide the avatars. We found in our observation that some avatars still had problems in taking the tour. In fact, we could not be there 24 hours. So we decided to put more sign boards that can be seen easily. Some of the signs are also a reminder for avatars.

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Reminder sign between station 2 & 3

Reminder sign between station 6 & 7

Guidance sign between station 2 & 3 Fig. 3-21. Visible Sign

C. There are some visitors coming from non-English speaking country which do not understand English well. They are having problems to understand what is written on the information card. So, we initiate to recruit volunteers to help us translate the instructions to some major languages such as; Spanish, Portuguese, Japanese and Chinese. We put the sign on the welcoming gate for the “Volunteer Positions”.

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Fig. 3-22. Volunteer Positions Sign

D. We also extend the shop area into a small village with more shops. These shops are for rent. We open this area for people who want to run business by renting our store which will help us preserve the island.

Fig. 3-23. New Shops for Rent

E. We got contacted from some people who are doing business as a wedding planner in Second Life. The owner is interested to open a special shop inside the island. This will allow her to take a wedding shot with the background of the island and sell her wedding ornaments. We had agreed to share the profit for each transaction made.

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Fig. 3-24. Wedding Planner Shop

F. Another improvement we made is creating a stage for a live concert. We met one of the Worship Leaders in Second Life. His name is Lehman Shinn. He visited the island and experienced the tour then he purposed to have a live concert in the island. We agreed to accommodate him and his team. This will bring more traffic to the island and help to support it as well.

Fig. 3-25. Stage for Live Concert 50

CHAPTER IV RESULTS AND DISCUSSIONS

4.1. Results As it has mentioned before that we provide a questionnaire for the visitors. This questionnaire functions as feedback for us to improve the design. We also want to know the users demographic, their religious background and their experience inside the Via Dolorosa. The visitors’ demography could be found on the table below:

Table. 4.1. Visitors’ Demography

Education Background

High School Bachelor Master Doctoral Age below 19 years 20-29 years 30-39 years 40-49 years 50 years and up Time spent in less than 1 year Second Life 1 - 3 years 4 - 6 years more than 6 years Self-assessment in Low experience Second Life Moderate experience High experience Self-Intense in Not enough Second Life Enough Too much Activity in Looking for fun Second Life Running business Meeting friends Religious activity Exploring Real Life Roman Catholic Religion Christian Background Anglican

Male

Female

Total

6.67 % 20% 6.67% 13.33% 6.67% 13.33% 6.67% 20% 6.67% 26.67%

26.67% 26.67% 13.33% 6.67 % 20% 13.33% 6.67% 20% 26.67% 20% 13.33% 6.67% 46.67%

26.67% 33.33% 33.33% 6.67% 6.67 % 20% 26.66% 13.34% 33.33% 33.34% 40% 30% 6.67% 73.34%

6.67% 6.67% 26.67% 6.67% 13.33% 6.67% 6.67% 26.67% 6.67% -

20% 20% 33.33% 13.33% 13.33% 6.67% 20% 6.67% 20% 26.67% 20% 6.67%

26.67% 26.67% 60% 13.33% 20% 6.67% 33.33% 13.34% 26.67% 53.34% 26.67% 6.67%

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Participation in Real Life religious activity Religious Group in Second Life Participation in Second Life religious activity

None No at All Once a day Once a week 2-3 times/week None Anglican Interdenominational No at All Once a day Once a week 2-3 times/week

6.67% 6.67% 6.67% 26.67% 6.67% 26.67% 6.67% -

13.33% 6.67% 6.67% 46.67% 20% 46.67% 6.67% 13.33% 53.33% 6.67% 6.67%

13.33% 13.34% 13.34% 46.67% 26.67% 73.34% 6.67% 20% 80% 13.34% 6.67%

We ask several open ended questions regarding their experiences such as: First question: Do you feel visiting "Via Dolorosa" sims has helped deepen your faith? Answer: Absolutely!! (Doc Droverson) I believe that visiting Via Dolorosa has indeed helped deepen my faith. (Larian Ellsmere) It made it even stronger and thank you. (Linneah1031) Since I am newbie in SL, I got only a little bit for deepen my faith. (gandagantenk) When I've thought about going to the Holy Land at all, this is why I'd want to do it; which is to walk the Stations of the Cross where Jesus himself walked the earth. This is the closest I've come so far. (Jubilant Quackenbush) It is good place to remember rl via dolorosa. (Zgred Watanabe) I enjoyed the sims. It gave me the opportunity to explore a different spiritual perspective, but I would not say that it has deepened my faith. (Sophie Sneerwell) It has really helped me. I was unable to attend the stations at my church today in rl and I was hoping there would be something in sl. When I found this site and saw how amazing it was I felt an experience. Thank you. (moonde Magic) I feel that the sim has given me more of a personal experience of the world that Christ and his disciples inhabited. I feel even more empathy for his journey to being crucified - acting as opposed to simply being told. (Tabitha Ogleby) Not really. I like the sim, but I already walk the Via Dolorosa every day of my life, as do we all. It's a great sim, and It's wonderful to visit (even if it’s just a sim) the place where the Christ walked, but I internalize my faith. It is not influenced by outside stimuli unless that stimulus is something which truly impacts my life - like holding a dying child, or talking to a suicidal teen, or helping an aids patient through their death struggle. Those things deepen my faith. (LanishAtwood Resident) 52

The visit has opened my eyes to the importance of bring my faith fully to SL and not leaving it in RL. This has been an emotional start to my Easter day, and I am glad I came. (Lehman Shinn) Yes, very cool for religion classes....(SophiaGG Resident) I think it provided an understanding of the path that Christ took to the cross to die for our sins as well as seeing the tomb empty to see he is risen. (Hermione Highwater) My faith is strong already but I appreciate all the care and work put into this SIM. (Freeyourself Jewell)

Second question: Could you share any “spiritual enlightenment” you’ve gained in 'Via Dolorosa' sims? Answers: It helped my appreciated of how Christ suffered. It was an extremely profound experience! (Doc Droverson) By walking through Via Dolorosa, I began to see a visual image of Jesus walking along this path. It made me think, "Wow, he really suffered for our sins. What if it were me who had to do what he did? I don't think I could have been that strong!" This experience has made trust even more in the strength of character of Jesus and his eternal power. (Larian Ellsmere) I can review many times, and it can help me for details what already happen when Jesus would be crossed. (gandagantenk) Your rendition of what Jesus went through was deeply inspiring just to imagine Him walking down the street bearing his cross. I want to thank you from the bottom of my heart and may God bless. (Linneah1031) Honestly, at first I thought carrying a cross would feel silly, but the fact that the animation included stumbling (echoing the fall stations) and that the stumbling echoed a genuflection, was quite moving and enhanced the experiencing. "Take up your cross and follow me." (Jubilant Quackenbush) Rather no. (Zgred Watanabe) The sims gave me a chance to look into a spiritual tradition that is different from my own. (Sophie Sneerwell) Yes. I was really down this evening. I was getting ready to log when I did a search and found the stations site. My mood lifted. I felt excited to experience this. I felt I was carrying the cross and sharing the burden for Jesus. (moonde Magic) I didn't really gain spiritual enlightenment, per se, but I have a better sense of what happened - a better sense than that which had been learned from books, video, and the pulpit. I felt Christ's suffering; I felt the struggle to fulfill what His father had intended for him. (Tabitha Ogleby) Sorry, I have none. (LanishAtwood Resident) 53

I have become rather clinical about Easter. Go to church, have a meal with family. Visiting the Via Dolorosa, seeing the buildings, feeling the dust in my face, reading the stations, took me to a place that I once knew but buried in my consciousness. I am blessed and have a different perspective on this Easter 2012. (Lehman Shinn) Not boring way to go through the Stations of the Cross...(SophiaGG Resident) I didn't really gain any. (Hermione Highwater) Going through the station at a slow pace and reading all the notecards makes you realize how Christ must have suffered from being completely miss understood and rejected by the very people He was sent to save. (Freeyourself Jewell) Through the interactiveness of the sim, it has given me more of the personal experience Jesus Christ endured. (NicoleRaynierLee)

We asked any suggestion from visitors in related to their experiences in Via Dolorosa. Here are the suggestions that we received: You have done an incredible job here. The cross-carrying animation is superb along with the Women of Jerusalem and Mary figures. It would be good if the user could 'fall' with the cross and have a Roman soldier step out and lash the user, or at least urge the user up. As I walked as he did to his death, I was very intrigued to know if at the 11th /12 stations, I would be nailed and raised up on the cross. I was not disappointed that that did not occur, as I don't know how I would have dealt with that, but it would be interesting to find out. I realize that much of what I suggest may not be workable as an open and random user experience, but perhaps a more controlled use of it could work, possibly with persons using 3 crosses at one time. One would be Christ and the other two, the thieves. Others interested could follow the three on the route to be spectators at Crucifixion, or await another batch of crosses to use. Each group of crosses would be available perhaps every 10 minutes, so one Crucifixion scene cleared out before the next occurred. Even so, you really have created a remarkable experience here! I am no longer a practicing Catholic, but this did create some feelings within me and makes me think! Thank you very much!!! (Doc Droverson) If I could suggest one thing to improve Via Dolorosa, it would be making the textures that each plaque dispenses a little bigger. For those that are hard of sight like me, it's a bit hard to read the text! Other than that, everything was great. (Larian Ellsmere) I think in virtual such as SL, it is better to build "Via Dolorosa" sim not relate the current condition in there, but relate for the ancient (real) time. (gandagantenk) Beautiful well done job. (Linneah1031) The video at the end was difficult to see (even with a viewer 2 based viewer) I ended up going to the YouTube link. And while Gibson's the Passion was indeed a powerful film, one scene out of context made the gore (which was worse than most of the Horror films I've watched) distracting from an otherwise very moving experience. (Jubilant Quackenbush) I think will be good to show interior of basilica too. (Zgred Watanabe) 54

It is good that the notecards are brief. And it's good that they present scripture. I always appreciate it when scripture is left to speak for itself. A very brief comment of Jerusalem. (Sophie Sneerwell) I think it is wonderful. I will send all my friends here. (moonde Magic) I was very impressed with the construction, and I *love* the automated tour (all this time in SL, and I still walk terribly :) ). I was thinking about bots possibly being placed at the stations that involve interaction (Jesus meets his mother, St. Veronica wipes his face, etc). Each bot could dispense more information about the figure it represents via notecard or URL for those who may not be familiar with the details of Jesus' last moments and crucifixion. Of course, if there would be lag issues, this may not be the most practical suggestion. (Tabitha Ogleby) I really don't actually. It's a great walk, but my faith is already sound and secure. I would have loved to visit where the Christ was condemned by Pilate, or visit Herod's palace. I would have like to watch the sunset at Golgotha... with just the wind in the background. What about including some of the LIFE of the Christ - some of His teachings? Jesus' time on this earth is not just about His death and resurrection... (LanishAtwood Resident) I would love to have had a chance to do a live Praise & Worship . . focused in Christ's sacrifice. Many of my Christian friends would come to experience the music, and this beautiful place. (Lehman Shinn) No, it's great. (SophiaGG Resident) Not really for now, I have just been through the stations but will visit the rest of the SIM to appreciate it more. (Freeyourself Jewell) No, it's a fabulous just the way it is. (NicoleRaynierLee Resident)

Beside the questionnaire, we also talked with the visitor using the Second Life chatting. We received some great comments regarding the site; these are some of the comments: This really is quite a profound experience! A wonderful thing has been done here! (Docius Resident) I thought the journey was so beautiful! It was so touching and that video my God. I have NEVER seen anything like it (Lauren Keiyrti) Thank you for making this possible in 2nd Life. (Charles Mowbray) It is very good place for pray, thanks for made it :) (Zgred Watanabe) I am overwhelmed at this moment; I never imagined SL could off me this emotional experience. I have been a Praise & Worship leader in SL for almost 3 years . . ,but this has given me more spiritual connection than I thought possible here so often we read the words in the Gospels, but we are visual people . .This place brought those words to life for me. I needed this, You and your friends have created something so precious here. Again, thank you . . (Lehman Shinn) 55

You did a great job with making the walk with the cross, thank you :). (Melvin Starbrook) I enjoyed this, very nice; It is really amazing. (Natalie Cliassi) It's a fabulous just the way it is. (NicoleRaynierLee)

As it is mentioned in previous chapter, we have 1257 visitors from the opening up to July 11, 2012. We put a tracker on the site which logs the visitors landed in the island. The highest numbers is in the month of April as the time for Easter celebration for Christian. The summary of the visitors is presented in the graph below:

Visitors Summary 1000

901

Total

800 600 400

195

133

200

73

0 Apr.

May

Jun.

Jul. (up to Jul. 11)

Month Fig. 4-1. Visitors Summary We found that 23.86% of the visitors came more than one time to the site. The details of the visitor and frequency of visit as presented in the graph below:

Total

Visitors Data April - July 11, 2012 1200 1000 800 600 400 200 0

957

277

1

2-3

20

3

4-6

11 or more

Frequency of Visit Fig. 4-2. Visitors Data

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4.2. Discussions The design of religious site in Second Life is very important to provide experience which could give spiritual enlightenment to its users. As the results of this research, we want to answer the two research questions. The first research question is focusing on the features in Second Life which could provide spiritual enlightenment to its users. The features are listed below:

Table. 4.2. Features Summary No.

Features

Users’ Testimony

1.

Animation – this feature of Second Life used to provide the ritual practice and animated spiritual journey for users. In this case we use it for “Animated Scripted Tour” for carrying the cross.

2.

Audio Visual – this feature allows us to link the site with external audio visual like music and video. This creates the atmosphere where the users will feel that they are really in that place.

3.

Interactive environment – Second Life as the platform allows its users to create an interactive 3D environment just like in the real world or even imaginary world.

- Honestly, at first I thought carrying a cross would feel silly, but the fact that the animation included stumbling (echoing the fall stations) and that the stumbling echoed a genuflection, was quite moving and enhanced the experiencing. "Take up your cross and follow me." (Jubilant Quackenbush) - …….. The cross-carrying animation is superb….(Doc Droverson) - ……..and I *love* the automated tour (all this time in SL, and I still walk terribly :) )…… (Tabitha Ogleby) - You did a great job with making the walk with the cross, thank you :). (Melvin Starbrook) - ……..but we are visual people . .This place brought those words to life for me……..( Lehman Shinn) - I thought the journey was so beautiful! It was so touching and that video my God. I have NEVER seen anything like it. (Lauren Keiyrti) - …..And while Gibson's the Passion was indeed a powerful film,……...(Jubilant Quackenbush) - ……..It was an extremely profound experience! (Doc Droverson) - …….This is the closest I've come so far. (Jubilant Quackenbush) - I enjoyed the sims. It gave me the opportunity to explore a different spiritual perspective,….(Sophie Sneerwell) - I think it is wonderful. I will send all my 57

friends here. (moonde Magic) - Going through the station at a slow pace and reading all the notecards makes you realize how Christ must have suffered from being completely miss understood and rejected by the very people He was sent to save. (Freeyourself Jewell) - Through the interactiveness of the sim, it has given me more of the personal experience Jesus Christ endured. (NicoleRaynierLee) - I am overwhelmed at this moment; I never imagined SL could off me this emotional experience. . . ….(Lehman Shinn) Second Life as one of MMORPGs provides a good platform for users to generate any 3D environment. These 3D environments range from real world to imaginary world. It is a place for people to have social interaction just as in the real world. Second Life as a virtual space is allowed to be transformed as “sacred” space where avatars could practice their religion. The religion site created in Second Life has allowed users to experience the atmosphere of religion and perform ritual activities. Users experience spiritual enlightenment through the religious site in Second Life. The spiritual enlightenment include: made their faith stronger, exploring different spiritual perspective, feel more empathy for Jesus’ journey and understanding the path that Christ took to the cross. In relation to the second research question, we suggest the design principles for creating religious site in Second Life. The design principles are formulated based on the result of this research. The 4 (four) principles mentioned describe below:

• Storytelling: Narrative Architect Second Life is a Massively Multiplayer Online Role-Playing Games (MMORPGs) which allows users to generate their own content and context. This allows us to generate an “imaginary world” which reflects the real life. In the game study, narratology is the way of study game focus on the story and sequence. Early developments were firmly in motion as early as the mid-1970s, during the industry’s embryonic era, in the form of multiuser dungeons (MUDs), as popularized by titles such as Adventure and Zork, designed to allow users to engage in fantasy worlds 58

purely via textual descriptions and conversations with other players and game characters (Aarseth, 1997, 2004; Murray, 1997). There are a lot of studies about game as a narrative such as; The Sims: whereas in stories it is constructed from the events that have already happened (Heliö, 2005), the sports-themed games facilitate the development of gamer narratives (Crawford & Gosling, 2009), the understanding of changing nature of narrative form before it can make its full contribution to good game experiences (Mallon & Webb, 2005), study on some of the salient elementary aspects of game narrative, including the allocation of time, the means of depicting narrative such as back stories, cut scenes, text, prompts, and game structure (Ip, 2010), the prevailing areas should take precedence: the temporal nature of narrative, the depth of narrative, and how narrative is depicted to the audience (Ip, 2011). The growing sophistication of interactive storytelling demonstrated how game content and narrative may be expanded to provide a greater sense of meaning and immersion to the tasks performed by the player, even for relatively simple forms of interaction typified in early games machines (Madej, 2003; Rollings & Adams, 2003; Tavinor, 2005). In comparison, modern story-driven games combine complex narrative with sophisticated forms of interaction, often resulting in many tens (and possibly up to hundreds) of hours of gameplay (Ip, 2010). This is such as the appeal and popularity of story-based games, highly elaborate and descriptive narratives are now being incorporated into genres with traditionally vacuous storylines, particularly those among the action, fighting, and shooting categories. Some literature includes, among numerous others, the examination of general storytelling via electronic media (Aarseth, 1997; Murray, 1997; Ryan, 2001, 2006), reflection on a selection of popular games (Atkins, 2003), insight and critique (Jesper Juul, 1999; Jasper Juul, 2005), into narrative techniques (Sheldon, 2004), and the collection of essays on interactive storytelling (Wardrip-Fruin & Harrigan, 2004). Jenkins introduces narrative architects, but he argues that game designers are less as storytellers and more as narrative architects (H. Jenkins, 2004). Game designers don't simply tell stories; they design worlds and sculpt spaces. It is no accident, for example, that game design documents have historically been more interested in issues of level design than plotting or character motivation. A prehistory of video and computer games might take us through the evolution of paper mazes or board games, both preoccupied with the design of spaces, even where they also provided some 59

narrative context. Monopoly, for example, may tell a narrative about how fortunes are won and lost; the individual chance cards may provide some story pretexts for our gaining or losing a certain number of places; but ultimately, what we remember is the experience of moving around the board and landing on someone's real estate (H. Jenkins, 2004). Don Carson, who worked as a Senior Show Designer for Walt Disney Imagineering, has argued that game designers can learn a great deal by studying techniques of "environmental storytelling" which Disney employs in designing amusement park attractions. Carson explains, "The story element is infused into the physical space a guest walks or rides through. It is the physical space that does much of the work of conveying the story the designers are trying to tell....Armed only with their own knowledge of the world, and those visions collected from movies and books, the audience is ripe to be dropped into your adventure. The trick is to play on those memories and expectations to heighten the thrill of venturing into your created universe” (Carson, 2000). Thus Environmental storytelling could be applied in 3D Virtual Worlds. It creates the preconditions for an immersive narrative experience in at least one of four ways: spatial stories can evoke pre-existing narrative associations; they can provide a staging ground where narrative events are enacted; they may embed narrative information within their mise-en-scene; or they provide resources for emergent narratives (H. Jenkins, 2004). In this research we used the story of Passion of Christ. It is a powerful story among Christians and consider as victory of their faith. We used the story and its sequences to create the 3D worlds for users to experience. •

Mapping: Signs and Guidance Virtual Worlds like Second Life is just like our ‘First Life’, it needs some

guidance. Designing a site in SL also needs guidance for users. This guidance includes; sign, icon/image, instruction and notecard. The rich feature and environment on SL has allowed the residents to create any creative sign which help users find their ways. This process is a “mapping”, this concept has provided means of viewing ideas and experiences across time and space (Kilde, 2007). In general, religious spaces of the Real Life appear less isolated, being more or less connected with an urban or an extra-urban landscape, according to a city-scape and land-scape that varies depending on the historical periods and the confessional 60

contexts. This is the case because in the Real Life, with very few exceptions, it is often the religious space to be created within a pre-existent urban or extra-urban landscape, with which it is connected in a more or less harmonious manner (Leone, 2011). On the contrary, in Second Life, the planning and digital ‘‘building’’ of virtual places of worship comes first, whilst the surrounding landscape, be it ‘‘natural’’ or not, is designed in order to harmonize with the aesthetics of the place of religious (Leone, 2011). Therefore, religious spaces in Second Life digital places of worship, for instance are not surrounded by a real context, but by a sort of virtual ‘‘paratext’’(Genette, 1987), an appendix of religious space that anticipates, even beyond the confines of the place itself, the ‘‘religious atmosphere’’ that the avatar will experience by crossing them. Signs have been used in our human history. Religious signs, however, are the connection between human and God. In this regard, signs become invocatory when we can re-conceive the structured relation between the signifier and signified (as in a semiotic sense) as between the stimulus and response, such as in religious terms. Not only sign reading is not grounded solely in the particular context of interpretation, but also is decided by the ways in which they appear to people (Lin, 2011). In addition to this, there are icons/images which mostly consider as ‘holy’ material in religion practice. Icon according to the philosopher C. S. Peirce is drawing on one sense of the original Greek eikon as “likeness,” adopted the term icon to label a sign that resembles what it stands for (Maniura, 2011). Icons are not just looked at and prayed before. They can be touched, manipulated, carried around, or otherwise impelled into movement and involved in more or less elaborate rituals, rituals which may also “look like” social interactions with other human actors (Maniura, 2011). In many cases, image has been treated as it is god himself. Maniura argues on an important part of how images “work” and what sustains their central role in the first place. Images provide such a good focus for devotion precisely because they are so enduringly provocative (Maniura, 2011).

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Fig. 4-3. Visible Signs

Fig. 4-4. Invisible Signs

• Affectiveness: Experience Design Religion practice is a matter of a spiritual experience. People are experiencing God when they are connected to spiritual things. This is also true in Virtual Worlds. Partala (2011) found that Second Life is a self-therapy, source of instant pleasure, liberation from social norms, tool for self-expression, exploration and novelty for its users. Furthermore, Partala (2011) suggested that designer of virtual worlds could include supporting autonomy, self-esteem, relatedness, and pleasure-stimulation which often motivated by users’ real world limitation. As most of the users’ activities in the Virtual Worlds are connected with the real world, it’s more likely that users want to perform the activities as they had in real life but in advanced world. The experience given in religious performance is a sensational form. Birgit Meyer treats religions as modes of inducing experiences of divinity, or rendering the 62

transcendental “sensible,” while at the same time instilling a sense of limit which in turn evokes the experience of “something beyond”(Meyer, 2006, 2009). Howes (2011) argues that the religious experience is not trans-sensory, as is commonly thought, but inter-sensory. This means that we have to consider the way in which peak religious experiences are often expressed in synaesthetic terms. Synaesthesia, the union or crossing of the senses, is a prime example of inter-sensory perception. Religious experience is also about touching and being touched. Touch is a powerful medium of religious communication, between not only human beings, but also humans and spirits. Touch can effectively establish physically felt contact with spiritual forces. Touching a religious object or being touched by a religious leader or specialist may induce very powerful religious experiences. Feeling touched by God may make a fundamental change in a religious person’s life (Witte, 2011). As in the Virtual Worlds, touch will refer to “imitation touch” which is performed by the avatar using keyboard or mouse. This imitation touch is performed whenever the avatar wants to an action or series of actions that associated with the site (Connelly, 2010). Another important aspect in bringing full religious experience to users is the atmosphere. This atmosphere could be generated not only by visually design environment, but also by sound. Religious sound has been a part of our life, ever since we heard the Church’s bell or gongs, of orating preachers and imams, of electro-acoustic loudspeakers, of musical instruments and record album covers, or even of a lightning bolt flashing across a darkened sky (Weiner, 2011). Sound could connect spaces and physical object and the relationship between them, this will direct users’ attention (Weiner, 2011). The sound could be music which form the atmosphere and help users to focus. Furthermore, sound helps users to focus and create surrounding environment.

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(b)

(a)

Fig. 4-5. Audio Visual at Via Dolorosa; Music (a), Video (b)

• Virtual Ritual: Digital Enactment Religious performance required a sacred place. This will be easy when we are in the real life; while in the Virtual Worlds this could be a challenge. Users agreed to use the term ‘sacred’ in virtual space just as we can see an erosion of the distinction between sacred and profane space in Second Life (Wagner, 2011). Mark Brown, an ordained priest for the Second Life Anglican Church, explained the details how to use Second Life from downloading the client, creating avatar and finding the Church location: You would then be welcomed by the service leader and given the liturgy by clicking on a book located on a table near the entrance. You then click on a virtual pew and select ‘sit’. The service leader will then either type the liturgy, or say it for all to hear or offer both. The liturgy is either Compline or Evening Prayer. When it comes to the sermon the message has been prerecorded and at the appropriate time is streamed into Second Life. Following the service people congregate around the Cathedral for fellowship and discussion. Where ever you are in the world, if you have a good internet connection and a reasonably powerful computer you can attend church (Brown, 2008).

Islamic space in Second Life is represented by online hajj. Considering this space, Derrickson (2008b) points out that the Virtual Mecca may be considered as a form of a sacred virtual space where it’s constructed in virtual context and its sacredness is endowed by intent. The sacredness that any virtual building exhibits is thus contested, reflexively constructed, and subject to simultaneous multiple interpretations (Wagner, 2011). Virtual Hajj is an example of the site in Second Life 64

which has been a mediated experience since its inception. It is a simulation (sims) which sponsored by IslamOnline.net (IOL). IOL representatives maintain that the SL Hajj is a tool not just for Muslims, but also for non-Muslims to learn about Islam. Despite the clear difference between the real and virtually mediated Hajj, Mohammad Yahia has referred to it as the "full Hajj experience," one that he felt was "awe-inspiring," and as close as one could get in the real thing. Sacredness here is in one part determined by the designs of the authors of this space, and in another by the experiences of users moving through and interacting with it in accord with how the Hajj is meant to be experienced (for example, by wearing the appropriate ihram clothing). The sheer importance of Mecca to Muslims is another factor that influences how the Mecca sims is likely perceived, and visits to the sims increases during Ramadan and the Hajj season. Nonetheless, the Mecca sims is just that: a simulation. This suggests an interesting form of discord between the referent, in this case Mecca, and the representation being used to symbolize it (Derrickson, 2008). This ambiguity of sacred meaning of religious virtual space makes some of the rituals are still debating whether could be performed virtually or not. Wagner (2011, 2012) argues that there are certain traditional religious rituals acceptable in Second Life, such as lighting Shabbat candles, praying or meditating. An avatar can enact a ‘kneeling’ animation while praying, but can’t engage in the traditional sacraments. There are no marriages, baptisms, or Eucharist performed in the Anglican Church as well as the Catholic Church banned the virtual Eucharist (Wagner, 2011). Rev. Brown explains that the virtual Anglican Church offers only ‘non-eucharistic services’ along with Bible study and discussion groups; that is, those things that help to build a sense of community which do not require any verification of religious authority (Brown, 2008). This is confirmed by Anglican theologian, Bosco Peters which mentions that sacraments and Eucharist are outward and visible signs – the virtual world is still very much at the inner and invisible level (Peters, 2009). In the other hand, Oxford systematic theology professor Paul Fiddes in a short paper on virtual sacraments argues that: An avatar can receive the bread and wine of the Eucharist within the logic of the virtual world and it will still be a means of grace, since God is present in a virtual world in a way that is suitable for its inhabitants. We may expect that the grace received by the avatar will be shared in some way by the person behind the avatar, 65

because the person in our everyday world has a complex relationship with his or her persona (Fiddes, 2009). Thus, this debate has been going on among the virtual and online church leaders. Some of them agree not to do it at all, some will do it virtually and some will do it offline (Estes, 2009). Although, there are still some traditional rituals could be performed in a religious site inside Second Life.

Carrying Cross

Kneeling Prayer

Making Cross Sign

Reading the Bible

Fig. 4-6. Various Rituals at Via Dolorosa

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CHAPTER V CONCLUSIONS AND RECOMMENDATIONS

5.1. Conclusions This research is focusing on how to design a religious site in Second Life. As users’ generated 3D environment, Second Life offers a lot of possibilities to users to create a new world. Thus far, this study has focused on the design principle of religious site in Second Life. We designed the Via Dolorosa in order to provide a spiritual enlightenment to users in 3D virtual environment. The design of the site is based on Christian Theology with game theory study. We refer to narratology (story & sequence) and ludology (game & play) as game theory to support the design. The design is being implemented and visited by the Second Life community and the adjustment is made accordingly. We use full private regions (islands) in Second Life, this gives use full features of Second Life. We built the part of Jerusalem city where the Via Dolorosa takes place. The design of the city is a replica of the “real” Via Dolorosa with the sequences of event. We added animated tour and ritual performance for the avatars to experience. This animated tour and ritual are made using the feature of Second Life. Thus, it allowed avatars to enrich their experiences. We built Golgotha hills, cathedral, shop, village, and concert stage surrounding the city. The design of the site has been implemented and we received various positive comments from users. The implementation took place at the same time of Easter Day 2012. So, we had many people come and celebrate Easter in the site. Most of the users have university degrees. Users also coming from wide range ages, this means that Second Life has been placed for not only young people. Eisenbeiss, Blechschmidt, Backhaus, and Freund (2012) also found that the users’ age mean is 31.3 and have university degree. Users’ motivation to join virtual worlds are socializing, creativity and escape (Eisenbeiss et al., 2012). In this research we found that most of them are looking for friends or socializing as seen in the table 4.1. Users also have been in

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Second Life for more than a year, this means that they have moderate and high experience. The Via Dolorosa Island is the only kind of it inside the Second Life. It is a different experience since most of the people created “bunny and egg” island to celebrate Easter. We give opportunity to experience carrying cross along just as Jesus did. This is a ritual which users could experience in Via Dolorosa. It considers interactivity as common feature in games, rituals and stories. Wagner (2012) argues that the physical or functional interaction with an object, or of dynamic engagement program or organized engagement. It is also a form of cultural engagement, it is “beyond-the-object interactivity” with the larger system in which a text, game, or other object appears (Salen & Zimmerman, 2004). Ritual itself is intensely, “interactive”, characterized by “interaction of the body with a structured environment” (Bell, 1992). Beside the main attraction (Jerusalem City), we build cathedral, shops for rent and open area for rent. Just like the real life we make the area interested and invite people to do some activities there. We promote the space to gain more people into the site main space with some open a space for people to run business in our shops and welcoming any religious related activities to use the cathedral. This will keep the “traffic” after the Easter celebration. As the results for this research, we conclude that Second Life as 3D environment could be transformed to a “sacred” place where people could gain a spiritual experience. This experience thus limited to avatars that are already in Second Life. This experience could become an “additional” to their spiritual life or as part of “religious education” just as one avatar say: “Yes, very cool for religion classes....” (SophiaGG). There are four design principles in resulting from this research. These principles serve as guideline for future design development for religious site in Second Life. Second Life as the users’ generated platform allows users to build a virtual world which could provide experience which brings spiritual enlightenment to its users. This is true, even for the religious site where people could translate the virtual within the environment connected with their previous knowledge about particular religion. Yet, the avatar could perform the virtual ritual while people behind it experience being touched by supernatural power. 68

5.2. Recommendations There are few recommendations for further study of designing the religious site in Second Life. First, designing a service system which provide full service to the site, this include how to generate income from users. Second, the further study in using of design principles from this study to design religion site other than Christianity. Third, a study of implementing the design principle on other platforms of MMORPGs like; The Sims. Fourth, an interdisciplinary study of the online community and how they interact each others could be good input for the design improvement.

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APPENDICES

Appendix 1: Questionnaire

GENERAL INSTRUCTION It is a great opportunity to have you in this research. This questionnaire is part of my study entitled; “Spiritual Enlightenment in Virtual Worlds: Designing A Religion Site in Second Life”. The purpose of this study is to find out what are the significance features of Second Life for spiritual enlightenment to its users? And what are the design patterns of the “religious site” ? Please follow the questionnaire’ instructions below; if it is possible, do not leave any blank answer and complete it at once sitting time. All of the information given will be treat confidentially and use for the purpose of this study. Thank you for your time and corporation. If you have any inquiry regarding this questionnaire, please contact me at [email protected].

SECTION A: YOUR SELF BACKGROUND Please answer [√ ] only one answer for the following questions. 1. Last Educational level completed a. Bachelor Degree b. Master Degree c. Doctoral Level d. Other(please specify)…. 2. Gender

a. Male

b. Female

3. Age (years) a. below 29 years

b. 30-39 years

c. 40-49 years

78

d. 50 years and up

SECTION B: BACKGROUND OF YOUR SL LIFE Please answer [√ ] only one answer for the following questions. 1. How long have you been in Second Life (SL)? a.

Less than 1 year

b.

1 - 5 years

c.

More than 5 years

2. What is your self-assessment about using the Second Life? a.

Low experience

b.

Moderate experience

c.

High experience

3. Currently, how intense do you think that you are in Second Life? a.

Not enough

b.

Enough c.

Too much

4. What do you do when you are in Second Life? a.

Looking for fun

b.

Running business c.

d.

Other (please specify)………………

Meeting friends

SECTION C: BACKGROUND OF YOUR RELIGIOUS LIFE Please answer [√ ] only one answer for the following questions.

1. Do you belong to any religion? a.

No

b.

Yes (please specify)……………………………….

2. How many times do you participate in any religious activities in real life? (Please check √ only one option) ___ not at all; ___ less than once/wk; ___ once/wk; ___ 2-3/wk; ___ several times/wk; ___ once/day; ___ several times/day 3.

Do you join any religion group in SL?

a.

No

b.

Yes (please specify)……………………………….

79

4. How many times do you participate in any religious activities in Second Life? ___ not at all; ___ less than once/wk; ___ once/wk; ___ 2-3/wk; ___ several times/wk; ___ once/day; ___ several times/day

SECTION D: YOUR EXPERIENCE IN VIA DOLOROSA SIM 1.

Do you feel visiting this sim has helped deepen your faith?

………………………………………………………………………………………… ………………....................................………………………………………………… ………………………………………………………………………………………… ………………………………………………………………………………………… ………………………………………………………………………………………… ………………………

2.

Could you share any “spiritual enlightenment” you’ve gained in this sim?

………………………………………………………………………………………… ………………....................................………………………………………………… ………………………………………………………………………………………… ………………………………………………………………………………………… ………………………………………………………………………………………… ……………………… 3.

Do you have any suggestion to improve this sim?

………………………………………………………………………………………… ………………....................................………………………………………………… ………………………………………………………………………………………… ………………………………………………………………………………………… 80

Appendix 2: Visitors’ Data

Table A-2. Visitors’ Data No.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49

Name

23 Resident 23tz Resident 9364 Resident 69ISABELLA69CULLEN Islay 0ldMan Resident 4SakenIce Resident 2012 Gaffer 0ceanwaves Resident 777lupinia Bruun 14Angellssa Resident acbd Resident Adina Vlodovic Aimin Pollemis Akanil Resident Alef777 Resident angie2 Diesel AnneAlyce Maertens Apaixonado2013 Resident Aixha Kirax alexiscrowns Resident Ambient Melody Antharia Resident Arete Calliope Augie Augenblik Aura Dirval avni Cobalt Asia Chaffe AstroboyHeart Resident Axi Garnet Adreanna Larnia Aiko Seljan AMSC2012 Resident AndyZephyr Resident angel Kingmaker appleown Resident Arlan Catteneo Ashley250 Resident Ashlyn Cazalet ace031454545 Resident Adalita Voom Aguard Resident Aleeda Palen Alelangel Resident Alessandra Lombardia Alu27 Resident Alyssia Batista AnneMarie Macbeth Aphrodite Odigaunt Arlequin Carter

April

May

1 3 1 2 1 1 1 0 0 0 2 1 1 1 2 1 1 1 2 2 2 1 2 2 1 1 2 2 2 1 1 1 2 1 11 1 1 1 1 1 2 1 1 1 1 1 1 1 1

0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

81

Frequency of Visit June July (up to July 11) 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Total 1 3 1 2 1 1 1 1 1 1 2 1 1 1 2 1 1 1 2 2 2 1 2 2 1 1 2 2 2 1 1 1 2 1 11 1 1 1 1 1 2 1 1 1 1 1 1 1 1

50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110

AxheL Stromfield absolute Lionheart Alelangel Resident Allee MacIntyre AlliCatt Resident andrewmonster1 Resident Antoniella Jaidov Adriana Zamarung AlieCambridge Resident AnneMarie80 Resident AndreROCKER7 Constantine angel6 Susanti AlanSauvage Resident Anjolie Elton Anushka Absent alberto859 Resident Akamar Resident Alarmingbulldog Resident Almibar Resident Amanda Geraln Andreas Thexton angyel Resident Athoria Rhode Avalyt Resident Abaddon Axelrad angelaz1 Resident Anjeliina Resident Arlets Queenstown Andrea Jolbey Avalon Bouvier Alpha Easterwood Ann Seetan armani Farella Arwen Riler Aguard Resident Aleksandr String ANGIE30HEAVEN Resident Asher77 Resident Asterida Calamity Ailey Valerian Akiva Trallis Ashlyn Voir Angelbirdie20 Resident Ara Axel Anastasis Villiers alejandra Queenstown angelica Belar Ayesea Bikcin Ansus Larsson Atyche Resident Ann Zimberman aninha26 Resident Argos Kaur Aislynn Silversmith Angelo Crannock Atik Ghost Alt Dawg ally Oompa aHu4ka Lisle Aleister Allardyce alogenu Resident

1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 3 1 2 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

82

0 0 0 0 0 0 3 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 1 1 5 4 1 1 1 1 1 1 1 1 1 1 1 1 1 3 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171

Aidalyn08 Resident Ambashi Pherala Ayti Resident AnJosefin Resident Acuolo Barbarossa ai616 Resident Bahiyaa Jumanya Balthazar Rugani Bamabelle Graves bard Alex Biggi Serenity BigRedCoyote bonston Resident Bronwyn Ingrassia Brownie Khaos Brune Baxter Francis Bells Semyorka Bettina Lykin Bissoj Resident Bloomy Miles BookLion Resident braunla Resident badboy805 Resident BillyBob Portal Bruixa Bernard Burdon Lane belencata Resident bimsabby Resident blueheart028 Resident BriannaJoyce Resident bulbullorent Resident bendur Resident BettyCSinger Resident BigDaddy Snowbear Bishop1664 Resident Bryndis Madrigal Bullygirl Resident Bonzokool Aabye Burgas Andel Bliss Windlow benjamin78 Resident betti Falmer Barocco Lionheart Beck Svenson Bissoj Resident BeautifulDisaster Requiem Barbie Idyll Baunnie Resident Bastet Hynes bahlover Resident Biengle Resident Busta Rustamova bobby Peapod Burno Delicioso BlueAngelRiver Resident BaconGrease Oberts Buddy Gata Bee Blackrain bernadetteanne Resident Burenrings Crystal

0 0 0 0 0 0 2 2 2 2 2 1 2 2 2 1 1 1 1 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0

83

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 2 1 1 1 1 1 1 0 0 0 0

1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1

0 0 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0

1 1 1 1 1 1 2 2 2 2 2 1 2 2 2 1 1 1 1 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 2 1 1 1 1 1 1

172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232

Brock Braumley Bryant Wheatcliffe Babette Bellios Blissful Antiesse Betty Rogan babsi Beizer Bolt Michigan Brenda Fourneau camelia Rhiano camri Choovio Catany Klaar Charles Mowbray Charlet1 Resident CharlieLee82 Resident Christian Eccleston Ciccia Bellah Coline Liotta Colleen Bracken coltofed Resident Crims Crimson Dagger crimsonvortex Resident Catany Klaar charlieblades1 ChristoferOxford Resident clau Aabye coracaodeleao76 Aie Cristinarash Resident Cyin Resident Cadet241 Resident CarpetRawg Resident Cezar2020 Resident chaos Pastorelli Chimera Hermit Christian Welles Clarissa Zhao Craig Horsefly cybob Balazic Calek Resident Carolina Coveria Cayanna5 Resident Chanche Resident cher Brandi Chimera Hermit Clarabella Cuttita Cloeh Ormidale Colette Nozomi coxita Xue Cald Stine Casey Draconia CarmenDeseo Resident Caswin Hax CinnamintBunnz Resident Couine Badger carly Foxglove CELYS Camel chullinarteaga Resident Caesar Osterham Caity Lexington Carry Moonwall carmindisabella Resident

0 0 0 0 0 0 0 0 1 2 1 1 2 2 3 2 1 2 2 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 1 1 1 1 1 1 1 1 1 1 1 1 1 3 1 1 1 1 1 1 1

84

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0

1 2 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 1 1 2 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0

1 2 1 2 1 2 1 1 1 2 1 1 2 2 3 2 1 2 2 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 1 1 1 1 1 1 1 1 1 2 1 1 1 4 1 1 1 1 1 1 1

233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293

Cedrick Meriman ClaraMaeline Resident Catta Grizot choumafou Resident Claire Jolles Colette Mumfuzz Chad Couerblanc chrx Zepp ChazTraveler Resident chiko Cresci Chelsea899 Resident Cr9DeBraga Toocool CornelioDeCervi Resident car Larnia clode Resident Cristina109 Resident Cyleas Cham cecylya Resident ChattanoogaClaym8 Resident Claire Hollysharp CrisValmont Resident Celine Bouvier camilalacrimosa12 Resident crisbadlolo Resident Clio Jinx Captain Bromide Chucky Hollak Chiana0 Resident CognitiveShrapnel Resident Connie Arida Chaz Toxx chriss Zepp Cherry Suivios Cris Taselian cuki38 Resident czarwriter Resident carolinne Mystiere daffodill Darkfire Dammevalerie Resident Daniel Regenbogen darkevilone Demonia Dash Xevion Davi deadlydarkfire Domhan Deborah Goldblatt Deborah Manen Dillon Doghouse Disaster Krogstad DIVA Macalroy dmgmit Cao Doc Droverson Dominic Minoptra Donna Flora Durum Iskast DaianeLove Resident danlas1300 Resident Dariusz Tenenbaum devine Abonwood Disha Moo Dakota Bruhl Dan Seiling

1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4 2 2 2 1 1 2 2 2 2 2 1 2 2 2 2 2 1 1 1 1 1 1 1

85

0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 2 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 2 1 1 1 4 2 2 2 1 1 2 2 2 2 2 1 2 3 2 2 2 1 1 1 1 1 1 1

294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354

Danny Oakleaf Dantalion Halberd Delonya Whitesong DevilishBrat Resident Djaz Resident Drack Bonham Damvha Resident DannyPomin VanDouser Dariases Resident Dorothy Follet Dakota Auster DakotaSocorro Resident dannyasz Resident Danick Firehawk Darkness Paine desir Irata Daniibwoy Blackheart DerfelSaxon Resident Dianket Wobbit Dragonwings Yalin Dom Lunasea dh0dzren Resident DinaDeelish Resident Dragonwings Yalin Diana Herberg Deninmb1 Resident Danielle Levane DeWayne303 Resident daniela0006 Resident dixie Philly Del Fargis Dahlia Jayaram DickVan Denimore Desi Nightfire Dolores Rainier Denetza Resident DJEY Topaz Daphne Kalchek DvD Zuta DragonRougeFR Resident DestinyDistinctive Resident Demon Aura Djown Coeur deivid Aboma DevilsAngel Magic Deninmb1 Resident Danuta Resident DamianoDeWinter Resident EmzikliBaba Resident estatica Resident Exodex Chrome Eddy Bouvier Edele Yotov Eirwen Eddingham Erica Barbarossa Ernst Uxlay errika Foxclaw Eve Greymoon Elena Tournier EricNeko Resident errika Foxclaw

1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 3 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 1 3 1 1 1 2 1 1 1 1

86

0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 2 0 0 0 0 0 0 0 0 2 0 0 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 0 0 0 0 1 0 0 0 0 0 0 0 0

1 1 1 1 1 1 1 1 1 1 1 3 1 1 1 5 1 1 1 1 1 1 1 1 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 1 6 1 1 1 2 1 1 1 1

355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415

Evie Fairchild Ed Bannon Solo EmmaIskis Resident enrique Spires entonj Loopen ESMER4LD4 Resident Evalaurine Resident Evion Ember eli Arcana EricRob01 Resident Eemaan Resident Edmonde Wonder Evva Carlucci emilyGems Resident Emlies Xeltentat Elyrathela Resident elbrics2011 Resident efrensantjaume Resident EveyHammon Resident Elrik Anton EdBarberHQ Resident Eddie Trallis elenn Ferd eoshestia1 Resident Extra Cardboard EvanCrates Resident EmilyWerewolf Resident Euphoria Boyington Fairy Constantine Fernandinha Capelo fonzi50 Charisma franklin75 Resident Fusia Blaisdale Faintree Resident Faithless Babii fernando Ryba flayvflay Resident Flower Marville flaquin Resident Fable Jupiter flaquin Resident Florence Simondsen Freising Resident Faylinn Erin freddy Chaffe Flow Alecto firstbot Resident florecitta25 Resident failsafe Resident fand Flaks Fiona75 Foxclaw Fiddler Petrov Foxy Braham FabyElite Resident Fujiko Memo FabyElite Resident fred Zeplin Fiona Kappler Five Noyes Franxisco Romano Firelover5 Resident

2 1 1 1 1 1 1 1 1 1 1 3 1 1 1 1 0 0 0 0 0 0 0 0 0 1 0 0 2 2 2 2 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 2 1 1 1 3 1 1 0 0 0 0

87

0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1

1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

3 1 1 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 2 1 1 1 3 1 1 1 1 1 1

416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476

Fangor Roogus ForSakyn Blackheart Fany Galtier FreeYourself Jewell fangedkman Resident Fiona Isenia fave Lane gantenk Resident Geekesse Resident GIANDRA Button Gil77 Resident Gio Macarthur Graceylynn Flanagan Gucci Benoir Gwenda Abbot gina Broono girlyprince Resident glis603 Resident GonzalezMoreno Jierdon Gemmaclofent Resident Gera Jefferson Gina Farrjones Guru Umbarundu gilgarca Resident GuitarDan Silversmith GrazyLemon Novi Geniviere Svenson GrantKK Resident gbryden Resident Goblin Shuffle Gunther Zifer ginowangya Resident Glenn Tracer gieffe Resident GianmarcoPiccone Resident Gregorios Latte GRaCE Wrexan Ginger Winsmore Geena Ferina greek Wingtips H08C Canucci HeavensFire7778 Resident Hope9565 Resident hazelslov Resident HelenPresley Resident Habriel Afterthought hellen Solo Hermione Highwater hiro Ushimawa hoster1 Resident Hunter Rembrandt Hansje Hoch Hermione Serenity Hope Coakes huricane Resident hasia1 Kira Hailey Moonwall HelloKittiana Resident Hecate Amaterasu HarloweLove Resident harvy Deed

0 0 0 0 0 0 0 1 2 2 2 3 2 2 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 2 3 2 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 0 0

88

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0

2 1 1 2 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 1 5 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2

0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

2 1 1 2 1 2 1 1 2 2 2 3 2 2 1 1 1 1 1 1 1 1 1 3 1 1 1 1 1 1 1 1 1 2 1 1 6 1 1 1 2 3 2 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 2

477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537

honeyBi Resident harry057 Resident IdaArchitect Resident Irish Handrick Isabelle Oaklourne Isolde Spitteler Ivan Deed Inish Karu Inovis Igaly Isis Islar Ilka Xue iTemptation Resident Izar Bamaisin IceWood Bayn ileana Rae irisbiris Resident jaci Wylder Jekaterina Resident Jezabell1976 Resident Jil Miami jo Deezul john75 Resident JohnWayne Boucher Joshewa Daniels Juan Kingmaker Jubilant Quackenbush Julana Teichmann JASMINE57 Resident JO Mokeev Jazi Feld JesuisKate Resident Jewell Wirefly joeli Staheli Jules Saxondale JackieChan2012 Resident jaden Charisma JeanPierre Giordano Jenny Minuet Jeremiah Xaris jesmanu Resident Jewell Wirefly JillDowney Resident JJJaney Resident Justine Millet JohnyMichel Resident joliecoeur Cheri Joinmyrevolution Resident Juliett Moonites jey Button juank67 Resident Julia Bigbear Juliette Ruben JoyannLuv Resident johnnieblazesup Resident Jasonbond Resident Jaida Linden Jake6Breaker Resident JerseyDawn Resident jessicasims08 Resident jwill38 Resident Jaccaranda Jael

0 0 1 2 1 1 1 2 1 1 1 1 1 1 1 0 2 2 2 2 2 22 2 1 2 1 2 1 2 1 1 1 1 1 1 1 2 1 1 2 1 1 1 3 1 1 1 1 1 1 1 2 1 1 1 0 0 0 0 0 0

89

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 1 0 0 0 6 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 2 1

1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 2 1 1 1 2 1 1 1 1 1 1 1 1 2 3 2 2 2 29 2 1 2 1 2 1 2 1 1 1 1 1 1 1 2 1 1 2 1 1 1 3 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 2 1

538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598

JanetK23 Resident Juice Bearsfoot Journey Texan Jannie Millet JOANB Xenga Juanlu Thor Journey2 Resident josiasbarbosa2 Resident jennasys Hykova Joshua Phenomena Jasmin Helstein JERMAINEEETW Resident kaedepan Akina KawaiiNicole Piers kellymelly100 Resident kikomango123 Resident KirstyLee Resident Kristy Handrick ksa Brune K2 Whitefalcon KateAmbrose Resident khalilsocute2 Resident Kiki Rubanis kollaps Resident Kaelor Odigaunt Kama Shamrock Kandiii Kidd Khineshia Resident KILIKU Resident KoSMoX Voom KristalAbayomi Resident Kuro Mistwalker Kyal Jonesford kalanite Bluestar katalica Resident kievit Resident Kimico Jewell KristalAbayomi Resident Kaitlin Carlucci Kandinsky Beaumont KateForever Resident Kirsti Calamity Kessy Edring Kal Greymoon kam Baskein Krystal Duffield kiing8 Resident K0Ry Gothly Kikkles Capelo kasie Oh kevmcfarl7 Resident Katzazuyon Kahanamoku killerbabe Resident Kolia Ditko kimlam Bloobury Korii Tiger Kaori Juliesse Ken Chardin Kikito Albatros Katrina Rioccan kevinjones37 Resident

0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 2 0 0 0 0 0 0 0

90

1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 0 0 0 0 0 0 0 0

0 0 0 0 4 2 1 2 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 2 1 1 1 2 1 1

0 0 1 0 1 0 0 1 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1

1 1 2 1 5 2 1 3 1 1 1 1 2 2 2 2 2 2 1 2 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 3 1 2 2 1 1 1 2 1 2

599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659

KarmaSmith Resident Kate Spiritor Klarissa Huntress KaretaJo Resident Kathleen MacIntyre Kariliyn Resident Kami Zong kellyannebussman Resident LadyElderberry Resident LauraMirembe Resident Lauren Keiyrti lazaro58argueta Resident Leontia Arun Lilly Juno linday Landar Linneah1031 Resident Lizzy Azarov LordGregGreg Back lordsimon87 Beck Lorenzo Balogh Lotus Mastroianni Ludwig Sugita Luneris Aeon Lyre Dunia ladieday Saphir Landon Aries LanishAtwood Resident Latika Kuhn lillian Aries Linda Mensing Ljiljana Flores Luanna Deed Larida Arida lavanas Resident llouve30 Resident Lorenzo Balogh Luisa Lynagh Lachanita Resident lailaestrella Resident Latok Neumann Lauwren Resident lavoa Deir Layla Ludlow Leone Magic Lex Darkwyr lia34 Arun LilBunnygirl Resident Liliana Bishop LIZ68 Resident lizzie147258 Resident lulu May Lupis Metaller Lexilyn Lykin Longinus Jacobus Laine Frye Lareh Portal loly2008 Resident Louren Fiertze Lealou Lutrova Lena Broome Lisa12 Juliesse

0 0 0 0 0 0 0 0 2 2 2 2 3 2 2 2 2 2 2 3 2 2 2 2 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1

91

0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 1 1 1 1 2 2 2 2 4 2 2 2 2 2 2 4 2 2 2 2 1 1 1 1 1 2 1 1 1 1 1 1 2 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1

660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720

Lacibabylove Resident LoveBunny Andretti loveyouvampira Resident Leeloo Acacia Linda Mensing Layla16 Munro Led Frenzy Lyngra Jayaram LuisXIV Resident LeoWhiteLighter Resident lap1zjapones Resident Lehman Shinn Lente Sabra LilMiss54 Resident Len88 Resident LLangstaein Resident LivnLrn Resident Lunaire Farspire lapato12 Carissa Lisi Parx Loulou Rizooto Lucho Latte LataniaMyles Resident Leonard Magnifico Louisiana Faith loveeegirl Resident Lluis Pau lilith Mumbhata LeiPari Resident lizzivanes Resident LindaLore Lauria Lindsay Bluestar LizeSC Resident Lanay Lorefield LAZARUSrise Resident laurie38 Resident Love Toocool Lea Galewind Malu Zhao MarcSL Allen MarioGene Resident MarissaDroplet Resident Marmelli Resident Martino Breen marygemini Resident mateuslittlemonster Resident matson86 Resident MaximSP Resident mazemaster Resident Maziso Resident Meden Resident Melv9 Alcove mercinho Resident miraje04 Miami Mishe Mactavish Missy Milena moonde Magic Morelos Resident moybeto Silverweb munky Aristocrat mystsee Resident

1 1 2 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 1 2 2 2 2 2 3 2 2 1 2 2 2 2 2 2 2 2 2 2 2 2

92

0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0

1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 3 1 2 2 2 2 2 3 2 2 1 2 2 2 3 2 2 2 2 2 2 2 2

721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781

MarcioAmor Resident mazemaster Resident mercinho Resident Mercury Gandt Mimiru Kamachi Misha Silverblade Mabalot Tatham mackieemerys Resident marcelinexmarshllee123 Resident martin75 Resident marygemini Resident mateuslittlemonster Resident mechapink Resident Melaniee Lax MonaByte Resident Monariality Resident MacSickandTired Resident Mae Liamano mardanja Rau MartinVille Resident MarttaJaen Resident maruxa Allen Melvin Starbrook Michael Walmer Mietta Ronas MikePatton Bohemian moreno85 Oxidor MrStormbringer Resident Muli Basiat Mackinzeey Resident Maggie Hawksby Marihana1 Resident Moosey Lionheart morgana1969 Resident MsAmazon2u Braveheart mariaramosromero Resident marie Corryong Momi Barbosa Monnika Almendros mew619 Resident mily Orsini Margo Barzane Minae Gracemount MarieJose Adored Mariis Placebo marivvn Resident Martinique Aya Maurine Hifeng Moksha Muhindra MarkSpector Resident MICA Bingyi missmiacatherine Resident MELISABRu Resident MossyKnoll Warden margarita7 Resident Maru Melodie Minou Larsson Marisa Yip MaryJane Zerundi mikeblade22 Resident Mandy Bergamasco

1 1 1 1 1 1 1 2 1 18 1 1 1 1 1 3 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 5 1 1 2 1 1

93

0 0 0 0 0 0 0 0 0 13 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 17 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0

0 0 0 0 0 0 0 0 0 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 1 1 1 2 1 53 1 1 1 1 1 3 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 2 2 1 1 1 1 1 1 1 1 1 1 2 6 1 1 2 1 1

782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842

Marelena Karu Malcom Repine Mondstein Ahren Miemava Resident Marie3whispers Resident MasterOurs Resident Meghindo Romano Moireach Bigboots Masquerade Snowbear Mariella Deezul Melkore Soulstar Macca Difference Mike Reaves Moni Uladstron Marryan Daines MURACHI Aichi marce Moraff Merettt Resident Miguel Lectar Minerva Maskelyne mileboy Frostbite morgana Arabello MORIENA Resident Marie Chardin morguishita Mildor Mab Mystiere Mix Caxton McMillan Resident MiwDaBalada Resident mona Ricantaur martta80 Resident marveneis Resident Madam2012 Resident Morgana Nagorski Mia Lavarock mily Orsini MmeMaria Resident Maelgwyn Resident Maximus Gridolfo Melanie Dannitza Melidawn Resident Mittzzy Resident Marvia Callow Maxim Arlington mlysia Resident nahiram Vaniva Nall Faith Neytiri Hanly NickRyder Resident Nink Spires Noree Xue Nutjrin Resident Naxos Loon Nayneeh Resident Neytiri Hanly NikaAmor Resident Nine Asp Nink Spires Noree Xue NyxLight Resident Naru Rae

1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 2 4 3 1 2 1 1 1 1 1 2 1 1 1

94

0 1 0 0 0 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 2 1 1 1 1 1 1 1 1 1 1 1 3 2 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 4 3 1 2 1 1 1 1 1 2 1 1 1

843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903

Natsuki Morigi Niifti Serenity ninodelmar Resident Natalie Cliassi Neesa Audion NeroVergil Resident NewSmil Resident Nordiko Resident NanaStone Resident nilsah Feden Nokia Popstar Noralie78 Resident nupharganon Resident Naomi Ghanduhar NeroVergil Resident nhoemi48 Resident NavanaxSacratus Resident Niamh Gedenspire NikeKiid Resident Nhaomi Morrisey naoya Haiku NeoBokrug Elytis Nania Canis NewYorkMeeroosMarketBot2 Resident naomicohen Resident nuria Lemur nupharganon Resident Niky73 Resident nuria89 Resident Najori Resident nubelinda Parx Nabilasan Resident NicoleRaynierLee Resident Nardo Andrew Natascha Randt nattanon Resident Nicoli Dinzeo onerol Resident OnigiriSweet Resident Oscar Skute Ox Hak Ohtra Resident Oldmanis Resident onepenny Resident omega Burner Otis Gregan Ost Clawtooth Olga Godde Off Frequency omega11 Resident OiHaN Sauber Oxana Topaz onewith Slingshot pammy Helendale PatriciaAnne Daviau Pattto Resident Peele Burner Phyllis Bigboots possum1 Elan poucette Pearl Panzerlied Criss

1 1 1 1 1 1 3 1 2 2 1 1 3 1 1 1 1 1 1 1 2 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2 1 1 2 1 1 1 0 0 0 0 0 0 2 2 3 2 2 2 2 1

95

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 1 1 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 0 0 0 2 0 0 0 0 1 0 0 0 0 0 0 0 0

1 1 1 1 1 1 4 1 2 2 1 1 3 1 1 1 1 2 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 1 1 2 1 1 1 3 1 2 1 1 1 2 2 3 2 2 2 2 1

904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964

Paolaa Peretz paul Faintree Phyllicia Adagio Phyllis Bigboots possum1 Elan Perspicacious Resident Phil Martiel Phobe Cazalet pixel Reanimator Prizm Tungsten Pandora Kenyon PAULINNIE Resident Paulpaul Paul Pax Huet Piero Padar Pinky Villota Pjay Adder Prismatica Palisades Paulina India Peg Wylder Portia Schmertzin pressR Resident Pennylane Hyun Preston101 Resident philiph Urdaneta Peg Wylder poultang Gran Panto Tamura phrack Islar Piccolo Breil peach Lyre paquiss Nakim Panzerlied Criss PapillonMask Resident POTRO Hye pinion Resident PollyMagoo Resident Paul Serupta PrinceKassim Resident PHILIPNEVES Resident quasar2010 Resident Quoprimum Resident Qigong Resident qixin Zsun Qudsy Resident Ralph Schnook Raven Pennyfeather Rick Quonset Rico Millefiori Romanji Zenovka Rtada Resident Revella Xeltentat Riviera Medier Rufferta Resident RASALZIR Exonar rdxrathod Resident Rebekkah Loudwater ronch Resident Rosamary Ysabel Ruzky Resident Radiance Rosewood

1 2 1 1 1 1 1 1 1 2 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 0 0 0 0 0 0 0 0 0 0 0 2 1 1 0 0 2 2 2 2 2 2 1 1 1 1 1 1 4 2 2 1

96

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 0 0 1 1 1 1 1 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 1 2 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 2 1 1 1 1 1 1 1 2 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 2 1 2 1 1 1 2 1 1 1 1 2 2 2 2 2 2 1 1 1 1 1 1 4 2 2 1

965 966 967 968 969 970 971 972 973 974 975 976 977 978 979 980 981 982 983 984 985 986 987 988 989 990 991 992 993 994 995 996 997 998 999 1000 1001 1002 1003 1004 1005 1006 1007 1008 1009 1010 1011 1012 1013 1014 1015 1016 1017 1018 1019 1020 1021 1022 1023 1024 1025

RageScientist Resident Ralph Raynier Renate Mulford RickJays Resident rkrish Resident rolzi230 Resident rongq85 Resident Rand Azemus rejuvejoyce Resident RickJays Resident Rikarda Rossini rinhoa Kappler Rikki Nubalo Racsor Resident Renee Parkes rosebudluver Resident rajul4ever Clarence Rozor Resident Rylanjames1 Resident Rosalucia Coba roseany Boucher Rain Silentghost Rhiannon Renard raxter1307 Resident Rona Daffyd Riko Kamachi Ronja Moonites Rini Oodles RadioActiveX2 Resident Rufus Mistwalker revdrkdm Resident sakura4649 Resident sams Byron SavvyCharlotte Scoundrel Clarity segunjoselo Resident Selfridge Resident SenK Akina shagg Landar Shotsi Davi Sisi Biedermann SlytStyle Resident SnowSuger Resident sofie Rain suveli Resident sonvortex Resident SophiaGG Resident Sophie Sneerwell SophieAmalieFerdinanda Resident Susanna Allen Suy Brune Suzanne Graves Suzuei Resident Sylenoz Resident szekifer Resident SabrinaPitty Mellison SavvyCharlotte Writer selena Fretwerk Soar Wingtips solomon Greycloak Stardust Savira

1 1 1 1 2 2 1 1 1 1 2 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 2 2 1 2 2 2 2 2 1 1 1 2 2 2 1 5 2 2 2 3 2 4 2 1 1 1 1 1 1 1

97

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 2 2 1 1 1 1 2 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 1 2 3 2 2 2 1 1 1 2 2 2 1 6 2 2 2 3 2 4 2 1 1 1 1 1 1 1

1026 1027 1028 1029 1030 1031 1032 1033 1034 1035 1036 1037 1038 1039 1040 1041 1042 1043 1044 1045 1046 1047 1048 1049 1050 1051 1052 1053 1054 1055 1056 1057 1058 1059 1060 1061 1062 1063 1064 1065 1066 1067 1068 1069 1070 1071 1072 1073 1074 1075 1076 1077 1078 1079 1080 1081 1082 1083 1084 1085 1086

Steve Lapis szekifer Resident Shotsi Saigo Grashnar sal Denver segunjoselo Resident Shaneeta Davies SolaSelena Resident Somaa Woodall SophiaSharon Larnia sylentman Solo sabrina Camel SalseroSam Resident Saori Monentes Shenlei Flasheart silvia1248 Resident SunithisUpoptos Resident Samanta Levee sanna Jupiter seancoyle Resident sevinofnine Resident Skyfire Constantine Stitches Bade SavannahGrace Constantine Spike Malaspina Swenyia Chuwen Synthetyc Summers Sandro850 Resident Sej Karu shania Nightfire Sigren Panthar Solene Resident Sugar Silverstar Sannita Cortes Siracusa Resident Sissy Charron StClare Resident SarahShadow Addens Selina Graycloud Sissy Charron solomon Greycloak Sabariz Fairey scorillo69 Abonwood SHEEREN Ballyhoo shySafoorah Resident Sand Abramovich SimonTarp Actor SKAINET01 Resident ShandraL Resident SiddharthBhatia Resident Sunshine Zurivost Soul Valeska SarahTuesday Resident Svetlana Ceawlin stacystar Resident ScarletteBlack Resident skybie Paule Saurabh Blogger Skully Sabra Southpaw Pizzaro sCLEOPATRAs Resident

1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 2 1 0 0 0 0 0 0 0

98

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 1 1 1 3 1 1 1

0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 2 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 2 1 1 1 2 1 1 1 1 3 1 1 1

1087 1088 1089 1090 1091 1092 1093 1094 1095 1096 1097 1098 1099 1100 1101 1102 1103 1104 1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 1116 1117 1118 1119 1120 1121 1122 1123 1124 1125 1126 1127 1128 1129 1130 1131 1132 1133 1134 1135 1136 1137 1138 1139 1140 1141 1142 1143 1144 1145 1146 1147

Susie Larnia SAYABA Resident Smralda Resident sarahconners Resident ShawnWavy Resident Smile Shelter Sabine McGettigan sunnytimes Resident serpenz Resident suzy Fensen SololaXOXO Resident STEA Cresci subjina Resident sdpat1124 Littlebird Slasher74Slitheron Resident ShaunaSand Resident Sanna Sonata Scottie Flagon Shayyene Resident sabrina Camel somlee2stevens Resident SweetiePie Riggles Sharon Vlodovic Talula Strom Tammy123 Resident Tati Pixelmaid teacherstudent Resident Teno Theriac Tessa Ezvalt ThadLeach Resident thirston Bergan Thunder Insippo Tonyboi Jonstone tori Carlucci Truths Marder Tzeithel Lerner Tabitha Ogleby tanghero Brandi TatiyanaSmith Resident Teddy Ying Toni Duran, taylor765 Resident ThadLeach Resident tia Henhouse Tito Damour twikie Adder Tyler Stevenson tiare Resident Tippi Wunderland tiera Latte TINK Gaffer Torrid Delvalle tswp1234 Resident Tuman88 Resident TorWithLuv Resident Timothy Cartauld TorWithLuv Resident tuprincesachiki67 Adagio Tyvano Yven Tessa Danube tonnyrocca2011 Resident

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 2 2 2 2 3 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 2 1 1 2 1 1 1

99

1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 3 2 2 2 2 3 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 2 1 1 2 1 1 1

1148 1149 1150 1151 1152 1153 1154 1155 1156 1157 1158 1159 1160 1161 1162 1163 1164 1165 1166 1167 1168 1169 1170 1171 1172 1173 1174 1175 1176 1177 1178 1179 1180 1181 1182 1183 1184 1185 1186 1187 1188 1189 1190 1191 1192 1193 1194 1195 1196 1197 1198 1199 1200 1201 1202 1203 1204 1205 1206 1207 1208

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1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 1 1 0 0 2 2 2 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 2 2 2 2

100

0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 1 1 1 3 1 1 1 1 1 1 1 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 2 1 1 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 1 1 1 3 1 1 1 1 1 1 1 1 1 1 2 2 1 1 1 1 2 2 2 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 1 1 2 2 2 2

1209 1210 1211 1212 1213 1214 1215 1216 1217 1218 1219 1220 1221 1222 1223 1224 1225 1226 1227 1228 1229 1230 1231 1232 1233 1234 1235 1236 1237 1238 1239 1240 1241 1242 1243 1244 1245 1246 1247 1248 1249 1250 1251 1252 1253 1254 1255 1256 1257

WareWolfGirl6 Resident Wildstar Resident wipwip Zaurak wmatheeus36 Resident wendy Moonwing Wol Euler Wakkalita Resident Waverly Kline Wiz Nirvana WUEHlmaus Resident WaYward1 Resident White Myanamotu Willy Sandalwood Wildwolf Revnik wenchirito Cyberstar XaldinO3O Resident XandreSilva Resident Xyla98 Resident xAhem Resident Xania Cheri xayamexx Resident Yasmina Jumanya Yenrof Teromaximus yugi Brandenburg Yman Juran Yohighnus Resident Yasmina Negulesco Youseph Monday Yves Diabolito Y3Y3 Garobie yomisma15 Resident YunaXx1 Resident yugi Brandenburg Zannie Bellflower Zealina Resident zerbina Resident ZeroZest Resident Zgred Watanabe Zinnia Gossamer Zingo Hax, Zoweb Easterwood ZacTurner Resident ZaneRyder Resident Zujei Caffarelli Zeng Carver Zackary Mint Zara Yip Zipper Moomintoog zyesika Resident

1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 2 2 2 1 1 0 2 1 1 2 1 1 1 1 1 1 1 0 2 2 2 2 3 2 1 1 1 1 1 1 1 1 0 0

101

0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1

0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 1 1 1 2 1 1 2 1 1 1 1 1 1 1 1 2 2 2 2 3 2 1 1 1 1 1 1 1 1 1 1