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first-person shooter

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Journal Article
Camera Obscura (2015) 30 (2 (89)): 89–123.
Published: 01 September 2015
...Diana Adesola Mafe This article argues that the 2013 first-person shooter (FPS) video game BioShock Infinite (2K Games) challenges gamers in its representations of race. Launched in 2007, the BioShock franchise has a reputation for thoughtful dystopian narratives, beautiful retro worlds, and...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 188–190.
Published: 01 December 2015
... Linda Liu Occult Anxieties and the Recessionary Imaginary in the Paranormal Activity Franchise. No. 90: pp. 61 – 91 Diana Adesola Mafe Race and the First-Person Shooter: Challenging the Video Gamer in BioShock Infinite. No. 89: pp. 89 – 123 Mauro Resmini Reframing the New French...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
... traditional survival horror third-person view, whenever the player is trapped within the titular room, play is seen through the protagonist’s optical perspective in a manner similar to that of first-person shooter (FPS) games likeQuake , Half-Life, and Doom. Comparing the FPS apparatus to that of...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 61–91.
Published: 01 December 2007
... on the story of the human-becoming that I now turn my attention. Continuum of the Human  •  71 Parsing the Human 1973: Westworld; The Importance of Hands When I first began this essay, it was because three distinct patterns of story and person in sci-fi...
Journal Article
Camera Obscura (1999) 14 (3 (42)): 96–123.
Published: 01 September 1999
... narrative as an 101 unexpectedly dexterous rifleman, a sharp shooter, thereby meriting for the first time his drill sergeant's praise: "Outstanding, P.rivate Pyle! I think we've finally found something that you do well!" The shattering physical and psychological violations he has undergone thus finally...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 70–89.
Published: 01 May 1990
... restraints, they exercised a new kind of cultural authorization of sexual objectification and of women’s roles as consumer and consumed. The “temptations” of the moviegoing experience were twofold. First, danger lurked implicitly in the female spectator’s identification with cinematic activities...