![]() One of the most well-known Replay makers that there has ever been, known for his mastery of boomhits and his tutorial that explains them. Former leader of ORMO and replay-making streamer. ![]() One of the nicest and most valued members the community has ever had.Ī replay icon. Arguably the most talented and popular of a very strong generation of replay-makers.Īdministrator, super-moderator, item forger, market squad, clan moderator, Toribash blogger, Toriagent, uniteam member and Torinews press - Solax has done it all in this community. Arguably the most talented and popular of a very strong generation of replay-makers.Īnother of the best replay-makers of all time. One of the best replay-makers of all time. An excellent example to all users and a dedicated and invaluable member of the staff. High priest of the chvurch of Beattie, smod, msquad, guardian of the scam reports board as well as ex promo team and GM. Artistically gifted.Īrt master & maker of stupidly complex events. Also does awesome forum dev stuff and administration. Massive contributions to clan related things. Seriously, no one can touch this guy when it comes to art. Also did some neat forum dev work.Īmazing Replay maker, comic maker, hilarious. IRC overlord, long time ninja, anonymous.Įlite artist and expert admin. Lord and savior of the MSquad, legendary texturer and comic making genius. Technological development and the aesthetics of realism, as well as the evolution of FPS games into competitive multiplayer formats, have been mutually influential in this, one necessitating the other in a constant cycle of refinement and occasional decline.General awesomeness, one of the new wave single player pioneers. Merging these threads, ultimately this study argues that the player-subject of FPS games has been aurally (re)positioned on a trajectory shared with the refinement of audio reproduction technologies towards greater immersive realism. Finally, both sections are brought to bear on one another in a diachronic account of how subjects have been (re)positioned via game audio throughout the history of the FPS. 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. 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.
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