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TitleFirst Person Shooter: The Subjective Cyberspace
LanguageEnglish
File Size977.5 KB
Total Pages196
Table of Contents
                            FOREWORD
INTRODUCTION
AUTHOR'S NOTE: MIRROR'S EDGE
THE CONCEPT OF FPS
	WHAT IS A FPS?
	IN YOUR FACE
	THE SCREEN AS MASK
	SUBJECTIVE SHOOTER
	GRAPHIC ENGINE
	A REAL VIRTUALITY
	THE TARGET-IMAGE
	PERSPECTIVE DEVICE
	TECHNOLOGICAL CHANGE
	NEW CULTURE, NEW GAMING
INSIDE CYBERSPACE
	SLICED REALITY
	CYBERSPACE – A VEHICULATION SPACE
	TRON: THE ELECTRONIC WORLD
	UNCHARTED TERRITORY?
	ART OF HUNTING
	THE CINEMATIC EXPERIENCE
	MEDIUM CONFIGURATIONS
	TYPOGRAPHY AND TOPOGRAPHY: BEYOND CHAT
	THE MATRIX – A SUBJECTIVE LANDSCAPE
MACHINE-SUBJECTIVITY
	THE TRAJECTIVE SUBJECT
	SYNTHESPIANS
	SUBSTITUTE SUBJECTIVITY
	SHARED IDENTITY
	FELLOW PATRIOTS: CAPTURE THE FLAG!
	ALTERNATIVE FIRST PERSON
	MULTIPLAYER – MULTIPLE SUBJECTIVITY
	NEW COMMUNITIES
	DANGEROUS NETWORKS
CONCLUSION
GLOSSARY
AFTERWORD
BIBLIOGRAPHY
VIDEOGRAPHY
FILMOGRAPHY
CHRONOLOGICAL APPENDIX
                        
Document Text Contents
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88 First Person Shooter: The Subjective Cyberspace

son Shooter is a violent ground, where whoever haves fun communicates too,
keeps in touch and answers with its own kind of registers. Being eternally
viewer or user is not the objective in this kind of media; it is, in sum, to reach
the level of a communication operator or the level of game party leader, with
the purpose of dethroning clans and capturing enemy flags.

Like in the MUDs, Turkle spoke so much about, playing a FPS in the
first person is to become integrated in digital’s topography, not just by writ-
ing, but also through typing, so it is the role of images, to verify the identity
shared in the network. If typing helps user-players getting enlightened, im-
ages confirm and elucidate their telepresence in cyberspace. As in MUDs the
user which was typing imagined the Other on the other side of the screen,
there was already a discursive cutting; in the FPS, when we play it online, the
user-player who makes speeches and appears, is a graphical product and not
just because of its online typing. Once that writing was the only vehiculation
available for imaginary worlds, until the appearance of other media, in the
interactive digital media, such as games, the typographic component remains
underlying like an ultimate portal left open to another dimension, the classic
vehiculation fashion that the audiovisual apparatus solidified. But the textual
machine and the typographic practice remain, in an apparently residual form,
a preponderant role in the entrance to the virtual. Through such logic, even
in interactive and de-linearized environments, despite the sequences had been
overtaken by multiplicities; it still remains an absorbing totality dimension, a
matrix frame. We conclude, this way, that the enunciation models available
are juxtaposed, despite the audiovisual apparatus obtaining a clear powerful
position. Typographic enunciation has been graphic ever since, and if such
enunciation remains in cyberspace, though more hanged on the visual com-
ponent, the textual dimension does not vanish because it enhances the graphic
domain, by checking it.

2.9 THE MATRIX – A SUBJECTIVE LANDSCAPE

EVER since Neuromancer (1984), William Gibson’s novel, that the “Ma-trix” concept is well-known. Actually it was mentioned a year afterNeuromancer in the short-story Burning Chrome (1985), by the same
author. And what happens to both science-fiction texts is that the Matrix is

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Herlander Elias 89

seen as a technical structure holding up connections, the connectivity behind
every data representation stored on a computer, and that surprisingly has its
origins in videogames. The Matrix would act as a sort of simulator, hence
Gibson mentions in Burning Chromethe “Matrix simulator”. It is under-
stood that Gibson refers himself to equipment which would grant the access
to cyberspace. Such a structure, in which a matrix of simulations would sus-
tain cyberspace, in fact is the present time that we can find reality in FPS
videogames, the domain where user-playeraccesses by means of software to
environments that, once they’re online, they become the true essence of gib-
sonian cyberspace. As we interact with an online FPS Gibson’s ideas seem
clear, because the user-playersurfs in a machine-generated three-dimensional
territory, programmed for the machine, yet it is not experienced in an objec-
tive form, but in a subjective one. It means that interacting with the “Matrix
simulator” forecast by Gibson, the relation between player and cyberspace is
a subjectivity-based relationship. Same is to say that the Matrix is a subjective
landscape, so it depends on how the subject respects, or not, the rules (ludus)
of that very same Matrix. Henceforth, as the subject behaves in cyberspace so
the final result shall differ in a type of more specific audiovisual experience.

The Matrixis comprehended as a subjective landscapesince it depends on
a series of variables. In the first place it is equipment-dependent, concerning
hardware available for the user-player, and then it depends on the videogame,
its version, and on his behavior at the time of the interaction. So the access
to the “Matrix simulator” as announced by Gibson, is subjective, personal,
private, singular, despite the entire connectivity which is required by getting
plugged into the global, the online collective, which is predicted in the ob-
jective programming. Resuming, cyberspace is what you contemplate as you
“enter in the Matrix”. One may also accept cyberspace as a mnemonic space
of events, a digital territory where all processed, accessed and registered data
which leaves a record behind. That record handles everything which hap-
pens at an informative and graphic level in cyberspace, where all things oc-
curring possess characteristics of a certain kind of graphic eventuality, thus
cyberspace would be the most geographic version of the entire “Matrix simu-
lator” existing only in the domain of the virtual. The graphic behaviorof the
programmed entities and the staged situations in the digital ground make this
territory to become a sort of ultimate graphical event.

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ABOUT THIS BOOK

Herlander Elias has a trajectory in Communication Sciences including mostly
Journalism and Academic Research. On the academic and scienti�c domain
this Communication Sciences Master’s Dissertation of his stands out, in the
expertise of �Contemporary Culture And New Technologies�, thus entitled
�First Person Shooter: The Subjective cyberspace� (2007). This Dissertation,
that consists on an essay on the next-generation videogames, as relevant new
media, had its conclusion with its public defense in September 10th, 2007,
in the Faculdade de CiŒncias Sociais e Humanas at the University Nova of
Lisbon (New UNL). This public defense of Elias’ Master Dissertation was
chaired by António Fernando Cascais (supervisor Ph.D.), Óscar Mealha (ma-
jor Jury Ph.D.) and Jorge Martins Rosa (secondary Jury Ph.D.).

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