Popular fantasy is often populated by members of different species, such as dwarves, elves, and orcs. Much of the narrative structure of the genre comes from the interactions and conflicts between these species, with many of them serving as stand ins for real world culture. This has become the underlying fabric of fantasy fiction and has deep resonance in our contemporary pop culture. However, many of these depictions are founded on colonialist constructions of race and otherness, turning the genre into a medium for reproducing racist ideologies, often unconsciously. This thesis examines the origins and trajectory of this trend by looking at one of the most well- known examples of contemporary fantasy: Blizzard Entertainment’s World of Warcraft. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

According to a 2009 study, 68% of American households played video games (Entertainment Software Association). With this number continually on the rise, video games and their cultures are in need of further scholarly exploration. A video game of particular interest is a massive online game known as World of Warcraft, drawing over twelve million players worldwide (Blizzard Entertainment, 2010). With a cyberspace-based culture, World of Warcraft exposes its players to phenomenon that are unique to it, and thereby not easily understood through the same measures and evaluations offered by society at large. One such phenomena is that of gender, or more specifically the bending of gender by which players assume characters of the opposite gender. Although a common practice in video games like World of Warcraft, its motivations have yet to receive adequately scholarly attention. The present study seeks to explore the process of gender selection in the massive online game World of Warcraft through qualitative methods utilizing interviews, texts, and field notes. The data is then analyzed using Kellner's (2003) methods of critical analysis of media and Langian's (1975) work on thematization.

Massively multiplayer online games (MMOGs) present fantastic, persistent worlds and narratives for a community of players to experience through pre-defined rules, roles, and environments. To be able to offer the opportunity for every player to try the same experiences, many game developers have opted to create elaborate virtual theme parks: scripted experiences within static worlds that cannot be affected or changed through player actions. Within these games, some players have turned to role-playing to establish meaningful connections to these worlds by expanding upon and subverting the game's expectations to assume a limited sense of agency within the world. The interaction between role-players and the locations they occupy within these worlds is a notable marker of this narrative layering; specific locations inform social codes of conduct, designed by developers, and then repurposed by players for their characters and stories. Through a qualitative case study in World of Warcraft on public role-playing events, this thesis considers how the design of in-game locations inform their use for role-playing, and how locations are altered through storytelling as a result.