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Social Virtual Worlds
and Their Places
A Geographer’s Guide

Merrill L. Johnson
Social Virtual Worlds and Their Places
 Merrill L. Johnson

Social Virtual Worlds

and Their Places
A Geographer’s Guide
Merrill L. Johnson
Anthropology and Geography
Colorado State University
Fort Collins, CO, USA

ISBN 978-981-16-8625-2    ISBN 978-981-16-8626-9 (eBook)

https://doi.org/10.1007/978-981-16-8626-9

© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Singapore
Pte Ltd. 2022
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether
the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and trans-
mission or information storage and retrieval, electronic adaptation, computer software, or by similar or
dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication
does not imply, even in the absence of a specific statement, that such names are exempt from the relevant
protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book
are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or
the editors give a warranty, expressed or implied, with respect to the material contained herein or for any
errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional
claims in published maps and institutional affiliations.

Cover Photo: The cover photo is courtesy of Lynda Schofield (avatar name: Callipygian Christensen) who
is a professional photographer in Second Life. She was successful in posing a group of “people” (avatars)
on the steps of one of the buildings on the Anima educational sim operated by Denise Infinity (avatar
name). We gratefully acknowledge, also, the help of both Denise Infinity and Delia Lake (avatar names) in
assembling avatars for the photo shoot.

This Palgrave Macmillan imprint is published by the registered company Springer Nature Singapore
Pte Ltd.
The registered company address is: 152 Beach Road, #21-01/04 Gateway East, Singapore 189721,
Singapore
 Preface and Acknowledgments

In December of 2006, the bug bit. I was thumbing through my PC

World magazine and stumbled on an article about a new 3-dimensional
virtual world called Second Life. It had a “geography” with landscapes
and people. You engaged that geography by means of an avatar, sort of a
“you 2.0” of yourself. I mustered the courage to join Second Life. It was
“weird,” but I could not let go of the desire to explore this electronic
universe. Thus began a long and fascinating personal journey that led to
this book.
Along the way, many friends and colleagues joined me in their own
explorations, some embracing the technology, others dismissing it, and
still others not knowing what to think about it. The University of New
Orleans, where I was an administrator at the time, led a statewide SL
consortium of universities, initially funded by the Louisiana Board of
Regents technology office, to create a virtual-world presence. In-world
campuses were built and courses were offered. Faculty members were
given virtual offices (often nicer than their actual-world offices), and uni-
versity libraries and administrative offices created in-world links. Like
universities across the globe we were consumed by the wildfire of excite-
ment that defined the early years of social virtual worlds, created by the
promise of new and engaging ways to enhance the educational experience.
The wildfire eventually burned itself out. People moved on. Virtual
campuses were closed. Other social media became destinations of choice.
v
vi Preface and Acknowledgments

Some of us were disappointed to see such an ephemeral public response

to an innovation that we viewed as consequential and even revolutionary
for education, and maybe even life itself—certainly not just a fad.! Several
of us at U.N.O., including Dr. Richard Speaker (Education), Lindsey
Hamlin (online learning), and Dr. Stephen Gasior (Biology), pressed on
in our effort to keep some of the virtual-world embers alive.
The inspiration that kept me believing in the specialness and the pos-
sibilities of social virtual worlds took many forms over the years. I needed
to look no further than the elegance of the Spirit Light Dance Company
as they fused virtual-world technology and classical choreography into
stunning Second Life dance performances. I was reminded of the victory
of the spirit over adversity when I saw the Virtual Ability community at
work and play, demonstrating how virtual worlds can be used to address
actual-world physical challenges. I will never cease to be inspired by the
number of conversations that I have had with avatar “people” who were
performing identities that were “theirs” privately, but not “theirs,” pub-
licly, as they reached within themselves to express personas hidden by the
demands of the physical world.
Geographers, meanwhile, were pursuing exciting work elsewhere on
digital settings that largely excluded social virtual worlds. I thought that
more could be said by geographers about social virtual worlds, and per-
haps I was the person to do it; but my administrative obligations pre-
vented me from taking the writing plunge. With my move to Colorado
State University, however, the resources and time became available to
develop a book. The result, thanks to the unswerving encouragement of
Joshua Pitt at Palgrave-Macmillan, was the following geographical
“guide” to social virtual worlds and their places.
The number of people who provided inspiration and/or guidance for
this book is large. I want especially to thank: 1) Joshua Pitt, Sophie Li
and the Palgrave-Macmillan team; 2) the anonymous reviewers who
shared important insights and provided truly helpful recommendations;
and 3) inworld “advisors” and confidants such as Valibrarian Gregg,
Gentle Heron, Caryl Meredith, Kate Miranda, and many others [all
avatar names].
Nothing would have happened, of course, had it not been for the spe-
cial friendship and encouragement of colleagues that include: 1) Dr.
 Preface and Acknowledgments vii

Michael DeMers (Professor of Geography, New Mexico State University),

who once travelled as a Second Life avatar and with whom I spent multi-
hour lunches at A.A.G. meetings comparing notes and sharing stories;
and 2) JTCroxton (avatar name), a great in-world friend whose virtual-
world knowledge and unassailable scholarly values provided me with an
important sounding board.
In addition, it is important to thank the C.S.U. Department of
Anthropology and Geography, particularly Drs. Michelle Glantz and
Jason Sibold, for encouraging me to chase my virtual-world dream. I am
especially grateful for the skillful help of Yan Xue, a cultural anthropol-
ogy master’s student, who helped me over the summer of 2020, and
probably saved me two months of work.
I wish also to acknowledge the role of my family, for whom taking
chances and embracing challenges were honored traditions. My father,
Deral, rose out of Depression-era rural Oklahoma to become a ship’s
radio operator during World War II, followed by a postwar stint on a
Harley-Davidson as he took a crack at college; he ultimately became a
distinguished conductor and professor of choral music. Along the way, he
married my mother, Marie, an accomplished pianist/organist from rural
Kansas, and they established a lifelong musical partnership. Thanks to
their inspiration, the three kids, Gail, Marsha, and me, forged ahead on
their own professional paths including, in my case, becoming a geogra-
pher and following through on an “offbeat” interest in social vir-
tual worlds.
Finally, it is with humility and gratitude that I acknowledge the sup-
port of my immediate family, who not only tolerated but lovingly encour-
aged Dad’s “quirky” interests over the years. With that in mind, I
affectionately dedicate this project to my wife of forty years, Lynn Marie
Thornburg, and to my daughters, Erin Johnson and Alyssa Johnson
Griffin.
Of course, any omissions or errors in the book are mine, and mine alone.

Fort Collins, CO, USA Merrill L. Johnson

 Contents

1 Setting the Stage  1

Where Is This Study Headed?    4
Statement of Purpose   4
A Note on Surveys    6
Virtual Worlds 101  18
It’s All About the Avatar   18
Pixelated People: Whence Their Worlds, Labels, and
Definitions?  20
From Boom to Bust? Are Social Virtual Worlds Still a
“Thing”?  32
Chapter Summary and Conclusion   43
Vignettes  44
Vignette 1.1 Ana and JT: Getting to Know You   44
References  46

2 Where in the World Are These Worlds? 55

How Can the Geographer’s Craft Be Related to Social Virtual
Worlds?  56
Early Geographical Expressions and Social Virtual Worlds   56
The Landscapes of Social Virtual Worlds   62
Social Virtual Worlds and the “Neo” in Neogeography   64

ix
x Contents

Toward “Digital Turns” and the Placement of Virtual

Worlds  69
Selected Social Virtual Worlds and Their Maps   75
The Social Virtual World Lay of the Land   75
Comprehensive Social Virtual Worlds   76
Mission-Oriented Social Virtual Worlds   85
Second Life, Open Sim, and Sansar   90
How Can “Concocted” Spaces Be Understood in Social
Virtual Worlds?  103
Land Cover/Land Use in Concocted Spaces  103
Is There a Role in Social Virtual Worlds for GISc,
Cartography, and “Deep” Mapping?  106
Chapter Summary and Conclusion  109
Vignettes 110
Vignette 2.1 the Mappers and Their Collections  110
References 114

3 Who Am I If I’m Not Me?125

Motivations for Entering a Virtual World  126
What Is the Big Draw?  126
What the Surveys Say  135
A Little Matter of “Reality”: If They Are Virtual, Can They Be
Real? 140
Multiple Shades of Identity and Presence  144
Can I Be “Myself ” as an Avatar?: The Avatar as an
Individual 144
Presence, or Are We “There” Yet?  157
Self, Embodiment, Presence, and Who Shows Up  166
Can an Avatar “Grow Up”?  169
What the Surveys Say  171
Giving Back: The Avatar’s Feedback Loop  184
Yikes! My Avatar Changed Me!  184
What the Surveys Say  187
What About Culture?  188
Chapter Summary and Conclusion  191
 Contents xi

Vignettes 193
Vignette 3.1 Sex, Gender, and the Virtual Girl  193
Vignette 3.2 the Ultimate Reality: Cemeteries  197
Vignette 3.3 Walled Off: The Practical Meaning of
Immersion 199
References 201

4 Is Place Still a Place in Social Virtual Worlds?211

What Is Place?  212
The Geographer’s Engagement, Generally  212
The Geographer’s Engagement, Specifically  215
Formulating a Definition of Place for Social Virtual Worlds  233
An “Assemblage” of Similarities and Differences  234
A Classification of Social Virtual-World Places: Overlapping
Circles 242
Commercial/Government/Public Places  242
Places for Embodiment Re-Creation  244
Places for Improvement and Respite  247
Places for Intellectual and Artistic Engagement  248
Primarily Residential Places  250
What the Surveys Say  251
Comparing Current Sims with Main/Primary Sims  254
Survey Findings and the Definition of Place in Social
Virtual Worlds  254
Respondent Perceptions and Place Classification:
Overlapping Circles?  260
Summary and Conclusion  266
Vignettes 267
Vignette 4.1 Assemblage and Ana’s Thick Places  267
Vignette 4.2 Home-Grown Universities  271
Vignette 4.3 Have to Dance (Virtually)!  274
References 277
xii Contents

5 Whither Social Virtual Worlds and Their Geographers283

Whither Social Virtual Worlds  285
Social Virtual Worlds and the Geographer’s Craft, and What Is
Left to Do  288
Say Goodnight, Ana  291
References 292

Appendices295

Index311
 List of Figures

Fig. 1.1 Ana Prieto (left) and J. T. Croxton (right) are immersed avatars 2
Fig. 1.2 The author’s avatars 7
Fig. 1.3 Conference room used for focus-group meetings. (Source:
Author)14
Fig. 1.4 Technology trajectory over time. (Sources: Adapted from
Hayes 2009 and Gartner Newsroom 2010) 40
Fig. 1.5 JT and Ana having coffee on JT’s deck 44
Fig. 2.1 SW City in Active Worlds. (Adapted from www.activeworlds.
com SW City, circa 2007. Courtesy of Rick Noll, accessed
6-28-2021. This is SW City, the largest city (at the time) in
the Active Worlds universe) 79
Fig. 2.2 Virtual University of Edinburgh and its Openvue “mini-
continent” in Sinespace. (Adapted from Austin Tate’s Blog.
Source: Tate, 2017. Image used with permission. For more
on the virtual-world work of Austin Tate, see vue.ed.ac.uk
and/or https://blog.inf.ed.ac.uk/atate/2017/09/18/
sinespace-­vue/) 86
Fig. 2.3 Major landmasses in Second Life. (Adapted from Linden Lab
world map available in the typical avatar screen presentation.
The names were added by the author. Some isolated periph-
eral sims were omitted in the interest of map clarity. The
small dots are individual sims or small clusters. North is up) 99

xiii
xiv List of Figures

Fig. 2.4 The continent of Sansara in Second Life. (Sansara is the

central landmass in Second Life. The grid system comprising
“sims” is clearly visible in this image. Modified by author to
show basic map information) 100
Fig. 2.5 The continent of Corsica in Second Life101
Fig. 2.6 Typical “beachscape” in Second Life105
Fig. 2.7 Carl Metropolitan, mapping pioneer, standing in his
museum. (Source: Author, used with permission of Carl
Metropolitan)111
Fig. 2.8 Globe room of the New Kadath Lighthouse. (Source:
Author, used with permission of Juliana Lethdetter-Decuir
(pictured))112
Fig. 2.9 The David Rumsey facility in Second Life. (Users may tour
the map displays, most of which are of actual-world histori-
cal settings, and purchase copies. Source: Author, with
permission by David Rumsey. See https://www.davidrumsey.
com/about/copyright-­and-­permissions for the official
statement)113
Fig. 2.10 New ways of presenting old globes 113
Fig. 3.1 A matter of avatar “reality”. (So, who is “real” in this photo?
Ever thought that it might be the person in the middle?
Picture of “author(s)” by “author(s).”) 142
Fig. 3.2 Profile statement in Second Life for Meryl McBride The
avatar is asked to supply information about its virtual- and
actual-world biographies. In this case, the avatar is reason-
ably open (though coy) about what it is willing to share with
the outside world. 164
Fig. 3.3 Sex and the virtual girl. (Who knows who these people are?
What better reason to make use of the bed? Source: Author.
Yes, he knows these people.) 193
Fig. 3.4 Welcome to the Second Afterlife Cemetery. (Lena Anthony
(hovering, to the left) and Meryl McBride at the Second
Afterlife Cemetery welcome sign. Source: Picture by author.) 198
Fig. 3.5 Memorials at the Second Afterlife Cemetery. (Source: Picture
by Author) 199
Fig. 3.6 The immersed Ana “walled” off from the actual world.
(Source: Picture by author) 200
Fig. 4.1 A figurative business landscape in Second Life as of 2009.
(Source: With permission, Motrix Bulloch) 243
 List of Figures xv

Fig. 4.2 Streetscapes of 1920s Berlin. (This region is an example of

the role-play sim, many of which have a fantasy or historical
focus. Source: Pictures by author) 245
Fig. 4.3 The Star Wars Library. (The person in the picture is a
librarian and archivist. Multiple futuristic role-play sims exist
in Second Life)246
Fig. 4.4 Source of contentment: mountain-scape in Second Life There
are many places simply to relax and enjoy scenery in Second
Life.247
Fig. 4.5 The ancient Titanoboa This “snake” from 61 million years
ago is giving a period crocodile a very bad day as the
Titanoboa coils itself around its prey. Shown in the picture
are Linda Kelley and Greg Bollella in the Science Circle’s
immersive exhibit, a diorama that a person can walk
through. Picture by author. 250
Fig. A.1 Ana in her front yard. (These plants took but seconds to
grow. Source: Picture by author) 268
Fig. A.2 Ana on her back deck with friends. (The sun is shining.
Thank you whoever set the sun to shine, although the house
has a roof in case somebody sets it to rain. Source: Picture by
author)269
Fig. A.3 Ana at home by the fire. (A “thick” place at its best! Source:
Picture by author) 270
Fig. A.4 Rockcliffe University Consortium. (Phelan Corrimal
standing in front of the Rockcliffe library and administration
buildings (https://urockcliffe.com/about/). Source: Picture
by author) 271
Fig. A.5 Caledon Oxbridge University. (The Victorian look of
Caledon Oxbridge University in Second Life (see http://www.
caledonoxbridge.org/). Source: Picture by author) 272
Fig. A.6 Author’s office in Second Life. Making use of collaborative
educational space. Looks better than the actual-­world
equivalent!273
Fig. A.7 Lobby of the Spirit Light Dance Company’s performance
venue. (Caryl Meredith is the Artistic Director of one of the
most innovative and prestigious dance organizations in
Second Life)274
Fig. A.8 Dancing to seasonal favorites 275
xvi List of Figures

Fig. A.9 Fantasy is elevated to new levels through costuming and set
design275
Fig. A.10 Caryl Meredith with MJ in an SLDC reception area, a
picture of dancers in the background 276
Fig. 5.1 JT and Ana enjoying the fire at the end of the day 292
Fig. A.1 Front materials for questionnaire 303
 List of Tables

Table 1.1 Demographic characteristics of questionnaire respondents 12

Table 3.1 The most important reason for entering and remaining in
Second Life136
Table 3.2 The relationship between the avatar and the user 172
Table 4.1 Relationship between the avatar and its places 252
Table 4.2 Levels of agreement by place category for selected
questionnaire statements 264
Table A.1 Approval statement by Colorado State University
Institutional Review Board 296

xvii
 1
Setting the Stage

Ana Prieto1 is an avatar (Fig. 1.1). She was “born” in the virtual world
called Second Life™ on January 2, 2007.2 She was birthed as a fully grown
woman with dark hair, slightly Latin features, and the body that would
be the envy of anybody attempting to keep things together in her mid-­40s.
Of course, bodily perfection is possible when shape sliders can be used to
set every part of her look to an ideal, if aspirational, place. Furthermore,
she does not get sick or feel pain, nothing breaks if she falls, and she does
not have to eat or sleep. Oh yes, and going to the bathroom is mainly a
social moment, since she has no bodily functions to which she must
respond. And best of all, Ana does not age! After all these years she is still,
well … mid-40ish.
Wardrobe decisions can be vexing. She, like most residents of Second
Life, has a nearly infinite supply of fashion options. That is one of the
biggest industries in the virtual world, making and selling clothes. Will it
be a summer dress or winter boots? Does she need to dress for partying or

1
Name was changed to protect the anonymity of a “real-life” avatar who is fully immersed. The
descriptions of her life and circumstances are accurate.
2
Second Life and SL are trademarks of Linden Research, Inc. This study, including its Virtual World
Identity and Place Survey, is not affiliated with, or sponsored by, Linden Research.

© The Author(s), under exclusive license to Springer Nature Singapore Pte Ltd. 2022 1
M. L. Johnson, Social Virtual Worlds and Their Places,
https://doi.org/10.1007/978-981-16-8626-9_1
2 M. L. Johnson

Fig. 1.1 Ana Prieto (left) and J. T. Croxton (right) are immersed avatars

maybe going out to eat? (Oh yes, fact check: in virtual worlds you don’t
actually need to “eat” to “eat out.”) She can change her hair, or eye color,
or makeup, with the stroke of a key.
Professionally, Ana keeps busy. She is a journalist, columnist, and
researcher. Currently, she is the communications coordinator for a major
organization in Second Life. She has earlier experience writing columns
for Second-Life newspapers and magazines, even being photographed for
some of their spreads.
Her office is located in the downtown area of an older Second-Life resi-
dential community, on the edge of a plaza surrounded by quaint
European-looking shops and a chapel on one end. Nothing much hap-
pens beyond the occasional party or festival. The locals know each other
and say hello in passing. The trees show fall colors and then drop their
leaves before the snow gathers in the winter. Spring brings new growth.
Her home is a small Mediterranean dwelling just up the hill from down-
town. It sports a nice patio that overlooks a waterway below, and friends
often get together on her patio.
 1 Setting the Stage 3

They do not divulge their actual-world identities to other people in the

virtual world. They have never met, talked to, or corresponded with, the
other person’s user in the actual world. Yet they are great friends. They
will appear throughout this study.3
Ana enjoys her many friends. They may be sitting next to her in Second
Life, but physically be a continent away. She has a special friend,
J. T. Croxton, who often shares morning coffee with her. He is a young-
ster by comparison, having been born in May 2014, but he looks at least
as old as Ana. His Second-Life work is that of an environmentalist and
writer. Ana and JT have never seen each other in the physical world, or
talked to each other, or written to each other, or anything. But the friend-
ship is real. Most of the people who walk the streets of Second Life do not
know the identities of the typists associated with Ana or JT. They truly
occupy an electronic second space, with all its idiosyncrasies and strange
expressions, and that is the way they want it. They are who they appear to
be in the virtual world, and it feels amazingly “real” (see Vignette 1.1,
“Getting to Know You”).
Welcome to virtual worlds! Oh yes, besides Ana and JT, we will want
periodically to imagine a fire-breathing dragon avatar, just to keep things
interesting.

3
All pictures were taken by the author. In those case in which pictures were taken in Second Life by
the author of subjects and/or places not directly related to the author’s avatars, the Linden Lab
Terms of Service policy was adhered to, to wit (additional provisions apply):
As long as you comply with the terms and conditions below, both Linden Lab and the Residents
of Second Life (collectively, “we”) grant you the following copyright licenses:

1. A License To Capture. You may take snapshots and capture machinima of the 3D content we
created that is displayed in-world, and
2. A License To Use. You may use the resulting snapshot or machinima within or outside of
Second Life in any current or future media.

“Use” means “use, reproduce, distribute, modify, prepare derivative works of, display, and per-
form.” For other definitions, see Definitions.
Both the License To Capture and the License To Use (collectively, the “Licenses”) are non-­
exclusive and royalty-free. In addition, the License To Use is worldwide, sublicenseable, and
­transferable.” Source: http://wiki.secondlife.com/wiki/Linden_Lab_Official:Snapshot_and_
machinima_policy#:~:text=You%20may%20take%20snapshots%20and,any%20current%20
or%20future%20media. Accessed 1/23/21.
4 M. L. Johnson

Where Is This Study Headed?

Statement of Purpose

The purpose of this study is to look at who Ana and JT (and the millions
like them) really are, how they interact with their virtual spaces and
places, and above all how they and their social virtual worlds (SVWs)
relate to the geographer’s craft. The emphasis is on conceptual breadth
over depth. The study covers a broad sweep of issues, to the point that it
may read like a literature review (for which the author asks the reader’s
indulgence in advance). That said, sources cited are more representative
than comprehensive, and not every possible journal article or website is
acknowledged (though the bibliography contains hundreds of entries).
In the final analysis, the goal of this effort is to provide a foundational
understanding of the social virtual world—by means of a “guide,” if you
will—that is scholarly, yet accessible to geographers and non-geographers
alike, and provides a context for future geographical work. Included is
the issue of whether the study of social virtual worlds is actually worth the
effort to geographers. We focus on the social virtual world called Second
Life, although multiple social virtual worlds are referenced.
While there is no single question that directs this study, the content
will be guided by a series of issues, as follows:

1. What is a social virtual world? What is its history? How is it different

from other virtual worlds, including games?
2. Where in the world are we? Where does a social virtual world fit into
the profile of interests that defines geography? How can existing geo-
graphical scholarship be adapted to understand better the social vir-
tual world and, in turn, how can such a world be used to inform better
the geographer’s craft? What do some of these social virtual worlds
and their maps look like? How do we experience and understand
“concocted” spaces and their maps?
3. Who am I if I am not me? Who are the “people,” the avatars, that
populate the social virtual world? What are the “motivations” for
coming into a social virtual world and staying in the world? How
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