Using a badly configured (or badly written) browser add-on for blocking content.Running a "scraper" or "downloader" program that either does not identify itself or uses fake headers to elude detection.Using a script or add-on that scans GameFAQs for box and screen images (such as an emulator front-end), while overloading our search engine.There is no official GameFAQs app, and we do not support nor have any contact with the makers of these unofficial apps. Continued use of these apps may cause your IP to be blocked indefinitely. This triggers our anti-spambot measures, which are designed to stop automated systems from flooding the site with traffic. Some unofficial phone apps appear to be using GameFAQs as a back-end, but they do not behave like a real web browser does.Using GameFAQs regularly with these browsers can cause temporary and even permanent IP blocks due to these additional requests. If you are using Maxthon or Brave as a browser, or have installed the Ghostery add-on, you should know that these programs send extra traffic to our servers for every page on the site that you browse.The most common causes of this issue are: Technological development and the aesthetics of realism, as well as the evolution of FPS games into competitive multiplayer formats, have been mutually influential in this, one necessitating the other in a constant cycle of refinement and occasional decline.Your IP address has been temporarily blocked due to a large number of HTTP requests. Merging these threads, ultimately this study argues that the player-subject of FPS games has been aurally (re)positioned on a trajectory shared with the refinement of audio reproduction technologies towards greater immersive realism. Finally, both sections are brought to bear on one another in a diachronic account of how subjects have been (re)positioned via game audio throughout the history of the FPS. The second part of this study takes four FPS games and formally describes them in terms of how the player is positioned as a subject via the game and platform’s audio affordances and disaffordances. The aesthetics of realism as presented in war cinema are taken as a fundamental influence for how immersive and realistic auditory experiences are constructed for contemporary FPS players. It is argued that the history of FPS games is tightly coupled with the innovation of particular audio reproduction technologies, with the greater history of representation across forms of media, and on a trajectory towards increased immersive realism. The first part of this study explores the context of FPS game audio development, from the earliest days of video games in the mid-twentieth century, to the current day. Bringing together the three fields of video game studies, sound studies, and science and technology studies in its theoretical framework, this study approaches FPS games as commodities, marketed for their capabilities towards providing the player with an immersive and realistic experience, and constructed in particular ways, for particular ends. The following study is concerned with how immersive experiences are constructed in first-person shooter (FPS) video games through the implementation of “realistic” audio. The attainment of these goals is shown to hinge on the complementary relationship between functionality, context, and performance in game space design. The game space design implications of flow prerequisites are examined against my approach and specific practices are highlighted which promote immersion in both narrative (transformation), and game space (spatial presence). In the second chapter I use Csikszentmihalyi’s notion of flow (Csikszentmihalyi 1991) as an analytical structure for examining the overlap between functionality, context, and performance in providing players with the components necessary for the desirable outcomes of flow. In the first part of the thesis I characterise the interaction model for video games as one in which game conveyance is served by functional, contextual, and performance design and these in turn can be seen in combination as components of design patterns in successful video games. In view of this challenge, I discuss an approach to game space design comprised of three overlapping design concerns - functionality, context, and performance, in order to provide a perspective which encapsulates several conventional theories of player experience. Video game space design presents numerous challenges, not only in creating game content which successfully conveys game concepts to players, but also in promoting engaging play which results in a positive player experience.
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