Nardi discusses the following criteria for a virtual world in chapter one: creating an animated character, moving that character in 3-D space, having means of communicating with others, and having access to a variety of digital objects. These virtual world criteria can be easily translated into the real world—once again a representation of the fact that games mirror, and shape, society. The first real world example I thought of—however silly it may sound—to demonstrate the presence of these four criteria in a real life situation was a night club. At a night club, participants—I guess we’ll call them— ‘dress to impress’ in their wildest, but most attractive outfit, which is geared toward creating a “party” image or version of ourselves. These club-goers are creating an animated character. They move through the wide open space of the club with different areas of interaction (dance floor, bar, private lounge, etc…). Some people dance, some people sit and mysteriously scope out their surroundings, some people are the life of the party, and some people are just glad to be a silent participant at the party. They choose the interaction and the activity they would like to partake in based on their mediated surroundings. They communicate through excessively loud music, somehow—through body language primarily, but there is no doubt face to face communication occurring in a manipulated way. They have access to a variety of strategically marketed objects: drinks, drink accessories, glow sticks, V.I.P. Tags, etc… Nardi says that “the culture of the virtual world is enacted through human conversation and designed objects that mediate activity;” each aspect of a night club is a mediated activity—the alcohol, the dim lighting, the loud music, the best dressed people in their animated party characters—all of it.