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geog22801fa2017.courses.bucknell.edu geog22801fa2017.courses.bucknell.edu
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The capacity of game environments to produce spatially complex structures as well as respond to players’ location within them helps to generate what Calleja (2011) calls “spatial involvementȄ in the space of the image, whereby movement and navigation reuire effort and skill. This effort and skill then produce a sense of exploration: ȃwhen a player plots a route through a geographical expanse and then navigates it, it is more likely that she will feel a sense of habitation within the game environment” (
By perfecting the space involved in video games, it helps make the game more realistic for the player. Once the player becomes experienced with the navigational aspects of the game, then they begin to feel as if they are actually in the game.
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a geometric understanding of screen space assumes that space is a property of the screen and that different forms of space are dependent on how geometry and graphical lines are presented on the screen. Space is therefore a bounded property of the distance between the lines and polygons that delimit the edges of the game environment and serves to separate and partition how and where the player can move within this space through the joining of straight lines and polygons.
The created spaces in video games are made in order for the game to become an actual reality for the players.
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This chapter has examined various ways of conceptualizing video-game space and place. It has argued that what makes video-game spaces and places unique is that, as digital simulations, video games are possibility spaces – spaces of potential opened up between the rules that limit players’ actions and the freedom that is available within these spaces.
Video games have opened up an alternate reality for the players. For example, video games can place a player in the middle of a combat zone without the player being in the military in real life.
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representations of people and places. As a number of writers are now highlighting, there is a clear representational politics to video-game images and how they shape the geographical imagination of users. This politics has two clearly identifiable strands: representations of conĚict and militarism and representations of human identity.
There are types of stereotypes that are involved in video games. For example, in video games about the military, there is much violence and blood shed. When, in reality, violence and blood shed are not the only aspects of the military. Video games have a way of glamorizing not-so-glamorous things.
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geog22801fa2017.courses.bucknell.edu geog22801fa2017.courses.bucknell.edu
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Sometimes the view is from outside looking in, but more common, as in this photograph, is the interior view showing the world beyond.
An image has more meaning then just what is seen by the eye. Usually there is a deeper meaning hidden inside of an image.
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rough photographs, the world was ȃmade familiarȄ and ȃbrought in intense reality to our very hearthsȄ (
With the invention of photography, people were now able to see places and things they had never seen in real life. Seeing foreign lands became a reality with photographs.
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his constant tension between photography and reality – a slippery relationship at once straightforward and enigmatic – can be found at the extreme ends of the photographic spectrum: from modest snapshots emerging from a Brownie camera or cell phone to the most serious ȃartȄ photographs.
A photo can be easily be edited and manipulated, which can cause a tension between photography and reality. Editing an image causes the look to become a skewed image of reality.
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geog22801fa2017.courses.bucknell.edu geog22801fa2017.courses.bucknell.edu
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we repeatedly encounter the power of media to transform the places in which they are used. This power is not a mere conceit of human audiencesDz animals and even plants respond to the presence of media in their environments (see lulka, this volume). Media transform a place from within, whether the place in uestion is the nation-state, the neighborhood, or the home
The presence of media keeps growing, and it has the ability to commercialize any space. Just like the media has the power to influence the thoughts of people, it also has the power to influence the meaning of a certain space or place.
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A third feature of Geography, the Media and Popular Culture was its attention to power, whether in the form of the power to produce cheap television programming (Gould and lyew-Ayee 1985), the power to define notions like risk and danger (liverman and sherman 1985Dz Burgess 1985), the power to articulate a particular structure of space and time (Brooker-Gross 1985), or more generally the power to propagate dominant ideologies. Power remains a central concern in media geography,
The author is stating the knowledge of how much power the media has over its consumers. The media would not exist if it did not possess power over the viewer. the media takes advantage of the power it holds.
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