Diogo Ribeiro

Now, if only they wanted my body fat... I'd comply without hesitation.

In the really old days, it went like this: newc0235 chewed everyone's ass.

If it's anything like the game, then I expect to fall asleep a few minutes into it.

This is one of the more concise points I've ever seen Hades do. And it's true to boot!

That strip is great. VG Cats rules.

Well, for the rest of the world, taste is little more than a convenient scapegoat used to avoid dealing with facts. Damn. I'm all out of those.

But it never really wins over it.

You'll get no argument from me that it presents a different kind of experience. But as before, it's up to personal interpretation just how much of a better experience it is. I can't attribute immersion exclusively to firstperson because for that I would have to forget everything else that contributes to any immersion I might feel in videogames. There's been a handful of firstperson games which created no immersion for me, as opposed to thirdperson games which somewhere along the road had me refer to the character I was playing as 'me'. "How the player reacts" seems to be misleading. I am nearly always reacting to things in a game, sometimes as if I would react in real life. I've encountered no short amount of situations where I forget myself and become so enthralled by the gameworld that I forget myself, and oftentimes there are situations where I reacted the same way as if I would act in real life, regardless of whatever perspective is being used by a game. I've been somewhat frightened, wheter by explicit or implicit danger, in X-Com: Terror From The Deep and Aliens vs. Predator. I've felt marvelled by 'my' surroundings, to the point of gawking at them, in games like Torment and Morrowind. But perspective never influenced me on this, in regards to feeling like I'm there or not. It influenced how I looked at it, not how I felt about it. Then again, there are different levels of reactions. A gameworld which relies on physical reaction by the player will no doubt allow for physical expressions that become analogous to those we might have in real life. An isometric version of Doom that relies on character targetting for the purpose of attacking (similar to Fallout) won't allow me to shoot as freely as in a firstperson Doom, sure; but the very act of clicking frantically to kill whatever is headed our way exists in both situations... And could probably be done in the first scenario as well. It could be argued that you never experience anything because games are always about someone else other than you. This is part of why immersion rings differently for me. Experiencing something from a different perspective rarely has an effect on me because the same situation would still have the same value regardless. Watching my avatar burn trough my visual perspective is no less terrifying than seeing it burn trough someone else's perspective because they are both happening to your extension in the gameworld.

No. You're wrong, R00fles, and all that jazz. Next.

As the thread title goes, can anyone recommend me some of her works? Not sure if there is an introductory work of sorts, so it can be anything from her essays, fictions and monographs. Thanks in advance.

Just what people are actually talking about when discussing immersion in videogames? Do they just use it as a synonym of absorption and fascination? If that is the case, then I find it difficult to believe they can objectively attribute more value to one perspective than another, when both first and thirdperson unmistakably make players feel like they are "there" by the simple reason that they allow them to view the gameworld where they are playing. You can easily be fascinated by a gameworld wheter you're seeing it trough a perspective which simulates your vision or wheter you see your characters from a detached perspective. A different perspective has no bearing on the fact that the characters are in the gameworld and that you are experiencing the gameworld trough them. And because of this, I have to wonder just how seeing trough the 'eyes' of a character with no periphal vision whatsoever is more immersive (or more realistic, as some say) than seeing the gameworld in all its glory from an overhead or isometric view. If people's appraisal of a gameworld, if the way it reaches out to their imagination and desire to be a part of it, or if the way it makes them feel like they (or their actions) actually matter to the gameworld comes solely from the perspective used to present them the gameworld, then I seriously doubt they understand immersion at all.

Morrissey - Everyday Is Like Sunday

And there was much rejoicing!

I think her power was to have incredibly outdated hairdos.

Source Too bad.

That's hardly recognition of her as a good character, though. You can easilly find characters with their own titles that range from Captain America to Barbie (published by Marvel, no less), and Spiderman to Forge. And Toad still sucks. At least they didn't think of Arcade. :ph34r:

REM - Half a World Away

I wonder how many Toad fans there really are.

What's with trying to push second rate characters like Mystique and Toad into the game?

Yeah, the thing. With the twist and the other stuff, right?

That's not so much work as it is media-based terrorism against consumers in corporate-sponsored, legalized culture appropriation. They just try to sell you reasons for you to buy a product which they also conveniently manage to be promoting. Not that culture jammers are any better, though. I have no idea what I just said but there, I said it.

Marketing people work?