Sound Research WIKINDX
Sound Research WIKINDX |
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Taylor, L. N. (2002). Video games: Perspective, point-of-view, and immersion. Unpublished thesis master's, University of Florida. Added by: Mark Grimshaw-Aagaard (05/03/2006, 15:45) Last edited by: Mark Grimshaw-Aagaard (04/11/2006, 12:01) |
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| Resource type: Thesis/Dissertation BibTeX citation key: Taylor2002 Email resource to friend View all bibliographic details  |
Categories: Game Design Keywords: Diegetic/non-diegetic, Electronic space, Immersion, Narrative, Perspective Creators: Taylor Publisher: University of Florida |
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| Abstract |
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"Presently, video game designers, players, and often even video game theorists approach the representation of point-of-view in video games as intuitive and uncomplicated. Drawing on the current critical work on video games, theories of immersion and engagement, and theories of human-computer-interaction, I question the significance of optical perspective in video games in terms of player point-of-view. Because video games are an experiential medium, critical study of video games must include the study of the diegetic, visual-auditory, interface, and experiential (often termed interactive or participatory) aspects of video game play. Through an analysis of the various points-of-view within different games and the differing points-of-view within a single game, I attempt to delineate the differences both in the creation of the experiential game space and in the possibilities for immersion within the game space. For this, I delimit two types of immersion: diegetic immersion, which corresponds to immersion in the game, and intra-diegetic or situated immersion, which corresponds to immersion within the created virtual space of the game situated through both a character's perspective and an embodied point-of-view. I discuss how these are not necessarily mutually exclusive and how they can and do blend together, combined with the game's overall representation of perspective, for varied gaming experiences. I conclude with an analysis of how differing perspectives and points-of-view influence gameplay and game world spatial understanding."
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard |
| Notes |
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For a work that deals with videogame immersion, no use is made of audio. All the more surprising when the first page of the introduction states: "Because video games are an experiental medium, critical study of video games must include the study of the diegetic, visual-auditory, interface..." (p.vii) after which point, audio and its synonyms are mentioned once more where characters in MUDs have no "audio and visual code" to help create a sense of space (p.23). Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard |
| Quotes |
| p.19 "... as much of the 20th century phenomenology of vision has demonstrated, geometrically accurate space is not equivalent to lived, representational space. A phenomenological awareness of the space must exist ... constructed from the combination of the geometric construction of space, the narrative of the game space, and the character through which the player interacts within the space." Added by: Mark Grimshaw-Aagaard |