The second part of this study takes four FPS games and formally describes them in terms of how the player is positioned as a subject via the game and platform’s audio affordances and disaffordances.
The aesthetics of realism as presented in war cinema are taken as a fundamental influence for how immersive and realistic auditory experiences are constructed for contemporary FPS players. It is argued that the history of FPS games is tightly coupled with the innovation of particular audio reproduction technologies, with the greater history of representation across forms of media, and on a trajectory towards increased immersive realism. The first part of this study explores the context of FPS game audio development, from the earliest days of video games in the mid-twentieth century, to the current day.
Bringing together the three fields of video game studies, sound studies, and science and technology studies in its theoretical framework, this study approaches FPS games as commodities, marketed for their capabilities towards providing the player with an immersive and realistic experience, and constructed in particular ways, for particular ends. The following study is concerned with how immersive experiences are constructed in first-person shooter (FPS) video games through the implementation of “realistic” audio. The attainment of these goals is shown to hinge on the complementary relationship between functionality, context, and performance in game space design. The game space design implications of flow prerequisites are examined against my approach and specific practices are highlighted which promote immersion in both narrative (transformation), and game space (spatial presence). In the second chapter I use Csikszentmihalyi’s notion of flow (Csikszentmihalyi 1991) as an analytical structure for examining the overlap between functionality, context, and performance in providing players with the components necessary for the desirable outcomes of flow. In the first part of the thesis I characterise the interaction model for video games as one in which game conveyance is served by functional, contextual, and performance design and these in turn can be seen in combination as components of design patterns in successful video games. In view of this challenge, I discuss an approach to game space design comprised of three overlapping design concerns - functionality, context, and performance, in order to provide a perspective which encapsulates several conventional theories of player experience. Try and jump over obstacles, perform kickflips and collect as many gold coins as you can! Stickman Skate 360 Epic City - this is another skating game but in this title you must work hard to avoid hitting obstacles and skate your way down a never-ending open runway.Video game space design presents numerous challenges, not only in creating game content which successfully conveys game concepts to players, but also in promoting engaging play which results in a positive player experience. Skate Hooligans for example is a brilliant skateboarding platform game in which you must ride your board on busy streets. Today we are lucky enough to have a variety of epic skateboarding browser games we can play - these games allow you to take control of a skater and practice different tricks and stunts.
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During the late nineties and early two thousands, skateboarding games were some of the best selling in the console game industry and everyone can remember the awesome Tony Hawks Pro Skater series. Skateboarding is a hugely popular sport, especially in North America. Skateboarding Games – Jump onto your board and pull off some amazing tricks and grinds!
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