The peaks and perils of First Person Camera

Corvus Elrod and I have been going back and forth over twitter this week about camera's and camera choice in games, and he's written up a series of posts about 3rd person camera (yesterday) as well as 1st person view. And its gotten me thinking about first person perspective games a lot (mostly because they are the kind of game I tend to gravitate towards) and in particular why I think Assassins Creed was actually better for being rendered in third person and conversely why I think Mirrors Edge, while commendable for trying a whole slew of new ideas and daring to be different just generally, is possibly doomed to have some serious problems.

The essential point is the difference in camera angle - where Assassins Creed generally uses a 3rd person over the head view to depict Altair scrambling up the side of buildings, Mirrors Edge uses First Person perspective. So what's great about the first person perspective? Primarily, with a First Person Perspective you get a strong and direct connection with 'you' as the player inside the game. You're are looking out your own characters eyes, after all, and in my opinion this view (with certain caveats) seems natural and instantly relatable; it's closer to the 'normal' way that we view the world from our bodies. Additionally, it allows for very precise actions, most commonly used for aiming weapons such as guns, bows and other projectiles.

Unfortunately there are equally a number of negative aspects with the first person perspective game and which for the sake of brevity I will not attempt to list. However, one aspect I want to foreground in this discussion is highlighted once we start aiming for rather more complex control relationships with our player avatar and ourselves.

Basically I see the issue as one of embodiment in the game-space. As I hinted at in Corvus' original post I don't think that anyone has yet made a first person perspective game where the 'camera' - your embodied view of the world - is anywhere near as flexible as our real world bodily configuration.

We have a pair of eyes that move independently of our heads, and on top of that our heads can also move independently of our torso. The whole history to date of the First Person Perspective game (to the best of my knowledge) has been limited to an avatar that moves his or her eyes, head and torso as one. And this is actually fine... for certain things. It's fine particularly for (surprise, surprise) shooting games as when you aim down the sights of a real-world weapon, you don't move your head or even your eyes far from the target.

Additionally the first person perspective can only give the player so much information about their surroundings. For starters, our display screens for videogames are woefully too small to represent the whole field of vision of the average person, and as such, first person representations of games are going to lose information that the player would have in an identical real-world situation.

Take for example, your feet. Do you have to look down at your feet to know where they are? Of course not. So when Halo makes the player aim down at their feet we just know that some information about the environment is being lost. And you know, this is also fine. As Corvus says, many videogame protagonists are supposedly wearing bulky, vision impairing helmets after all. Except that when playing a game we also lose two (well three if you count taste) other senses that could be delivering information as well! We don't get to feel the world - the cool brush of a breeze on our skin or the crunch of gravel under our feet - or smell the scents in a space. So all this information which we would in reality be receiving about our surroundings, whether consciously or not, is further lost.

I was reading recently the Game Set Watch Column 'Diamond in the Rough - A body in the dark' about the healing system in the most recent Alone in the Dark. The article rightly discusses some of the innovative features of the game and how it encourages embodiment in the game-space, however when I came to this passage I had to stop, suppressing the urge to guffaw.

The effect of all of this is to ground you in the body of your protagonist. You must constantly check yourself for new cuts or bruises, sometimes eliciting a tired shrug from Edward when a visual check reveals no new blemishes.

Okay, am I the only person to think that having to visually check your body for cuts and bruises is actually dis-engaging you from your body? Since when have you ever had to stop and look yourself over only to realise that actually "Oh, I'm bleeding from the stomach".

Yes, granted there have been some times when I have experienced an adrenaline rush that has suppressed the pain of small injuries, and I have heard of people 'shrugging off' larger injuries as well, but if you've got the time to 'look yourself over' you've got the time to take a breather and start feeling the pain!

So, all this gets me to the point of saying, for all the benefits the FPS brings with it's embodied perspective, it comes with a bunch of detractors. And that's why I think Assassins Creed went the right way with 3rd person parkour action. I believe that the use of the third person perspective can partially make up for what we lose in the form of experienced, embodied information about the world.

Just one last quick quote - this time from Clint Hocking of Far Cry 2 talking about their own implementation of specific areas and even types of injury, Hocking responded saying

...a contextual animation [plays] based on the type of injury you received and the location of the injury. If you fell from a cliff, you might have a dislocated ankle that needs to be relocated. If you were shot in the leg, you might need to prise the bullet out with a knife, if you were hit by a grenade blast you might need to pull shrapnel our of your elbow… the idea is to hit the player with a visceral ‘punch’ right at the moment that the intensity is highest and his adrenalin is pumping. The combined effect is to create powerful psychosomatic bonds between the player, the avatar and consequently the world itself.

I think Hocking's got the right idea - whether it's first, third or some odd combination of the two (think Oblivion style interchanging) the aim has to be to convey enough information to the player and about the player so as to aid a sense of embodiment, which only aids in the never-ending quest for 'immersion'. If that's the goal (and the actually result) then I don't really mind which one they choose. Maybe I could even learn to love Mirrors Edge (God knows I really want to!).

What speaks to me the most

In Mitch Krpata's Taxonomy of Gamers I'm dead-set a Tourist. Indeed before Mr. Krpata's series there was Richard A. Bartles 'HEARTS, CLUBS, DIAMONDS, SPADES: PLAYERS WHO SUIT MUDS' which I think extends to offline games remarkably well also,and in which I am similarly an 'Explorer' type player. The point that I want to make is that when I'm being a tourist, I prefer to do so from a First Person Perspective.

Corvus Elrod posted a few weeks back a small, almost throw-away, theory that personality type might have an influence on what perspective videogame players prefer to play in, whether First or Third. He asked for a quick poll in the comments and it seemed to me to be a little bit inconclusive, but I think that he's probably actually onto something.

The issue seems to me to be 'what flavour do you like your story'? All story driven videogames in recent memory that have captivated me have (primarily) told the meat of their story through story and plot that I experience in the game from the first person perspective. I'm experiencing it as the character. Now, I don't want to pretend that this could become some kind of hard and fast rule - after all I have also previously passionately enjoyed third person games like The Baldur's Gate series, and even many FPS games like Halo use 3rd person cut-scenes for certain sections of exposition.

Still, if you know me and have been paying attention to my thesis updates, etc, you'll know my shtick is all about what things are unique about videogames, and that we should be trying our best to capitalise on them. It's just what gets me excited about the medium - the idea of the new and things that have genuinely not been tried.

So I'm now wondering why more games haven't gone the route of the Half-Life's and the Call of Duty's. Both games tell their story exclusively (with very few exceptions) through first person experiences. Obviously I don't want to advocate that all videogames should ever do is tell a story in First Person Perspective, but it does seem like the industry hasn't really pushed the envelope very far past the previously mentioned examples. When can I expect the FPS equivalent of, Apocalypse Now (I'm talking about in terms of mood, atmosphere and focus on the psychological experience rather than the setting - Vietnam has been almost been done to death as much as WWII)? Casablanca? Doctor Zhivago?

The obvious point is that FPS games like those great films would be impossible, granted. After all, there's really very little shooting in them - but that's actually OK with me. I'm a tourist after all - I've climbed the highest peaks in Oblivion before just to see it, not because it had any intrinsic reward. I don't think I'm alone in this, there is definitely space in the videogame market for more tourist appealing games.

So, on that note, I've been talking to Corvus about the issue of perspective and personality type and he's suggested we set up a more comprehensive poll and aim for a bigger survey of people - if anything comes of it, I'll let you know.

In a previous life I was...

...a mashup artist.

So here's a link to my critically acclaimed* mashup album, Demon Says...A Mashup Album.

A little bit of background on the album, all done in an attractive, bullet point style:

• > I made it for a 20 credit point unit at Uni (It was half of a semesters load worth of study)
  
• > It was made in around 4 months
• > It is a thematic song-by-song remixing/reworking/mashing-up of the entire Gorillaz album 'Demon Days' (hence Demon Says... Geddit? like Simon Says... okay you're right it wasn't all that clever but it stuck.)
• > It features other such prominent artists such as: Coldplay, Fergie, Will Smith, Radiohead, Rhianna, Lady Sovereign, Justin Timberlake and plenty of other unwitting victims.
• > It got me a distinction. Nuff said surely.
• > Oh yeah, it's free cause if I tried to make money from it I'd be hunted down and killed.
• > Please try and listen to the whole album - there's supposed to be a thematic continuity and I think some of that idea survived the process. The ending songs do get a bit weird, but I like weird, and so do you - go on, admit it.
• > Some song titles are appropriaely nerdy (e.g. the final tracks' title 'Exits are north south, east and Dennis'. If you don't get it, I'm not explaining it to you)
• > I really enjoyed making it, and some of it remains some of my best work. I hope you like at least some of it too.
  

Go nuts people, but don't tell the authorities on me, K?

*by critically acclaimed I mean that I, speaking critically, am full of accolades for it.

The attraction to collaboration

I haven't posted in a while, mostly because I'm on holidays and I'm lazy, but also because I've been playing lots of Oblivion on PC. I bought a new graphics card last week (a Gigabyte 8800GT 512mb) which is awesome and makes PC games fun again. Hooray for generous tax returns to poor students! Anyway, what I wanted to quickly mention was something entirely unrelated. I've been thinking about it for a while and I just wanted to jot down some thoughts about it and ask the audience.

Collaboration. From Miriam-Webster online:

1 : to work jointly with others or together especially in an intellectual endeavor
2 : to cooperate with or willingly assist an enemy of one's country and especially an occupying force
3 : to cooperate with an agency or instrumentality with which one is not immediately connected

Yes, that's the sound of this post heading in a completely unexpected direction. Collaboration is everywhere. It's in Music (any band who ever played together), it's in Writing (any writer and their editor/s), its in Videogames (in any multi-person development or mod team) and it can be in blogging (like RPS, etc).

I'm bored of doing stuff by myself - for starters, its never as good as when I work with someone else as what always seems happen is we end up inspiring each other and produce something better as a result. In my second year at Uni we had a subject called Collaborative Project in which we formed inter-disciplinary groups of artists from music, drama, electronic arts and fine arts to put on a short 20 minute work at the end of the semester. The groups were as big as 15-20 people, and easily became unwieldy, with decision making being done mostly on a basis of whoever actually bothered to turn up to the class (which was about 5-10 of us regularly =P). Anyway, it was a great time and one of the best things about such a large group was that you could do something very specialised within the group. My contribution, other than often helping facilitate discussions, was a piece of musical improvisation that used live digital signal processing to make lovely ethereal sounds.

A screenshot of my Max/MSP patcher - a visual programming environment made for digital signal processing, and my first musical love. The bottom box was used to 'draw' a spectral filter that was applied to white noise, resulting in some awesome sounds.

I've uploaded a short sample of a very early version of what it sounded like, just for fun, here. (1.9mb, 4:10) The final performance was... OK - and our supervisory lecturer really enjoyed it, so we obviously did something right. Good marks too.

The point that I wanted to to get to was that I want to collaborate more. The Internet is possibly the most powerful communication enhancing tool out there and can facilitate some great works... so where are they all? Have you got a great idea you want to collaborate on? A Mod idea? A musical work you want to do? Something you want to write about that you want input from others on? If so, tell me about it! Collaborate with me, people! I want to give you my time!

So in conclusion, consider this an official invitation to sequester me for all sorts of strange collaborations. Got an idea, drop it in the comments or send me an email and we'll talk! I'd love to hear from anyone and everyone, and I'd also love to hear your success/horror stories of collaborations. If they've turned you off them, why? They can be ever so much fun.

More proof of the versatility of 'Obilivion'

The main point of this post is to link to Christopher Livingston's highly entertaining travel-blogue which is based around creating a character and role playing him as an NPC in the world. The travel-blogue is called 'Living Oblivion' and he uses a bunch of mods to starts his character Nondrik in the port town of Anvil (somewhat reminiscent of Morrowind) and roleplaying as an NPC, Livingston refuses to run to destinations or to use the quick travel feature, resulting in what must be a very leisurely pace at times.

An extract from 'Day 19 & 20' of the Travel-blogue:

I’ll be honest — walking everywhere and never fast-traveling isn’t… easy. The click of my mouse could instantly transport me to any city in the game. Sprinting would decimate my lengthy travel time. There are long stretches, like today, where I’m not attacked, there are few ingredients to pick, and not much of anything interesting to look at, and I think, man, why the hell am I playing like this?


But at moments like this it somehow feels worth it. In other playings of this game I’ve spent days, weeks even, in Imperial City. I know it inside and out. I barely even look at the city, I just zip there, run to the merchants, unload my junk, and dematerialize to my next location. But playing as Nondrick has restored a good deal of majesty and mystery on Imperial City, and catching a glimpse of it through the trees, seeing it grow closer and larger each time, is a bit of a thrill.

Oh, also, for a little bit of contextualisation, Chris Livingston is the guy who wrote, posed and print-screened 'Concerned: The Half-Life and Death of Gordon Frohman' which is a must read for anyone interested in the Half-Life universe.

Also, just wanted to give a heads-up for a post I'm working on "What Videogames have can learn from Digital Musicians" which is hopefully going to explain how I went from a Digital Musics major to a videogame theoretician (if I can even really call myself that...). I've got some interesting ideas, so I hope people will come back for that next week. Until then!

Markov Chain Madness

I must warn you - The following text is generated by a Markov chain. Inspired by Mr Quixoric Engineer on Twitter I decided to have a little play around with some Markov generated text, using my paper on virtual reality and the FPS as the input text. Needless to say, the results were stunning. Better than anything I could have written

In the virtual from raw ingredients often bringing conventions and game means stepping into a phrase, everything about the largest city and this peculiarity of the map’ and those far away hills I made my own experience. Finally, I believe there is a large body of wanderlust through a mountain ranges – with his main argument down into a picture of wanderlust through the player, relating a taxonomy of a children’s game Oblivion is Alchemy, which they may employ an unreal image to the massive draw distance – with ancient ruins and reaction. At a reading for engaging with possibility.

I really like the bit where it says "Oblivion is Alchemy". Of COURSE! Why didn't I think of that? It makes so much sense now. So there you have it. Play with Markov chain generative text here. After my initial experiments, the markov generator came up with this last piece of inspired literature, which makes a kind of scary sense.

In this research paper aimed at discussing some of the group ‘Iraq and Afghanistan Veterans of America’ spoke to the author of the issues raised in the Baudrillardian sense, that the developers chose to employ an invisible barrier as their means of keeping the game that I wish to explore the world, I began to enacting the role playing game into a world in which to move about and interact with the same topics in greater depth. One addition to the FPS solely owns the ‘first person perspective’ videogames have not been an independently delineated genre – rather existing simply as a popular first person viewpoint gameplay conventions and tropes set in place by a desire to explore the world, I experience a heightened level of ‘simulation fever’ because, as just mentioned, I have been problems for the player. For example, not having the time to fill in the case in most, if not all games, and is clearly room for telling stories in other places however there was one small barrier between me and those far away hills of promise, and it was later released as a focus on state-of-the-art graphics with other role playing game, The Elder Scrolls IV: Oblivion. I then made a small assertion that virtual comes from the surface, stay in touch with reality” . Ryan says

…the meaning of virtual ice climbing I was rather excited. I had, after all, spent the last several minutes on the DVD to store the extra environment or not having enough space on the other the virtual as fake and the other side.

When I finally did reach a section of the game as encouraging the practice of stopping to smell the flowers.

A different aspect of the many ‘skills’ that a play can employ within

Think I could get away with Markov chaining my whole Literature Review? Feel free to link me some of your excellent finds in the comments.