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Showing similarities to the notion of continuity in cinema, game genres like the first-person shooter have been praised for exactly this kind of fluent, realistic and seamless “direct representation” in which “looking and targeting come together, and the player invited to follow his gun” (Kleijver, cited by Hitchens, 2011). The naturalistic effect that can be achieved in this mode of representation is specifically related to its success in self-effacement that is, its success in managing to render its own form invisible and, through this, its capacity to function as an “engine of affirmation” (Kolker, 1992). 10-11), and in photography theory, where the status of documentary photography in particular has been strongly questioned with regard to truth and objectivity (La Grange, 2005). 22), this mode of representation is also believed to reveal the truth (the capacity to reach the “inside”) while remaining objective (the capacity of stating the factual from “outside”), a highly problematic duality that has been the subject of much debate in anthropology, especially in the distinction between the emic (insider) and the etic (outsider) positions in anthropological field research (Harris & Park, 1983, pp. Rooted in Plato’s philosophy, which is known for the “prominence bestows on visual activity, considered to be equal to cognitive activity” (Stoichita, 1997, p. Based on a strong faith in natural sciences that were instrumental in its development, linear perspective is often hailed as the most “naturalistic” and “scientific” method to be used in the visual representation of the world. 1).Īt the heart of this tradition lies linear perspective, a practice of representation that asks the spectator to remain immobile in front of a stage, and to have a fastened eye that sees what is brought to its sight (Florenski, 2001, p.
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Revived during the Renaissance, and further developed with the notion of Cartesian space, this mode of representation, together with its implied spectator position, became the way of seeing in the New Age, and continues today, where it now serves as the basis for graphic rendering technologies in computer-generated imagery, animation, and video games (Taylor, 2003 Graça, 2006, p. 118), has a long tradition in western mimesis and can be traced back to ancient theatre, in which the visual order relied on principles of Euclidian geometry. 57) 1, which is also central to the form of video games (Rehak, 2003, p. This type of “spectatorship” (Florenski, 2001, p. In other words, one’s illusory experience of navigable space becomes possible only if one’s body in physical space occupies the visual center on which the scenographic arrangement relies in order to function. Despite the dominant view that distinguishes video game space from other spatial representations as navigable space, someone who engages with the screen space of a video game must first and foremost rest at an ideal viewing spot in physical space, which is in accord with the requirements of a proper screening.