![]() This is a form of player culpability, or implication of the player as accountable for the actions their avatar takes in the game. More importantly, the responsibility for the events that take place in the game are often ambiguously attributed to the player, implying that the (often horrific) results of the player actions are the fault of the player for interacting in the first place. In other words, an ambiguous player-avatar relationship is a situation in which the player is not explicitly acknowledged as diegetic, but the themes, dialogue, and overall presentation of the game heavily imply knowledge of the player’s presence. When characters look at Snake they often see Snake, but they just as often see the player, staring right through Snake's eyes. It does this by reveling in the ambiguous nature of the player-avatar relationship. Metal Gear Solid stretches the membrane between the fictional world and the real world as a way of bringing player and fiction together - not driving them apart. Matthew Weise describes this concept as it appears in metal gear solid as such This chapter will discuss the player in a diegetically ambiguous position, and specifically how ambiguous player- avatar relationships provide deep immersion and critique of the player-avatar relationship. Already discussed in earlier sections are games that explicitly acknowledge the player as part of the extended fiction, and while these games provide great exploration of interesting narrative and metanarrative concepts, they aren’t exactly searing in their critiques: Earthbound provides an emotionally resonant but not critical view of the player as a savior, Icey provides a playful, thoughtful rivalry between player and developer, and Life is Strange takes into account the anticipated goals of the implied player in order to pit them against emotional attachments to implied being. If you do nothing, and you are not killed by someone first, the player may die from their wounds, and the credit for the kill will not be awarded to anyone.The penultimate non-diegetic element in relation to any game is the player. Bleeding out will cause you to instantly, denying the enemy team the opportunity to execute you. ![]() However this also alerts the enemy team to your presence an may increase your chances of being found and killed. Calling for help will make noise and mark you on the minimap, allowing your teamates to more easily find and revive you. The victim is given a choice between calling for help, bleed out, or simply wait and do nothing. After a player goes down-but-not-out from weapons fire or melee, any player on the opposing team has the choice to execute the victim before he can be revived by thier own team. With guns, melees, explosives, or causing sand avalanches. There are multiple ways of killing opponents. Holding the button will cause you to get into the nearest cover as you sprint. Taking cover is caused by tapping the lower action button when near objects like a wall. Vaulting is caused by pressing the right action button (circle for PS3, B for 360) when near objects like barricades. After the player starts running, they no longer need to hold the button. Running is activated by pressing the lower action button (X for PS3, A for 360) and moving the left stick in the direction you wish to move. You walk by moving the left analog stick by default. In gameplay players can walk, run, vault, and take cover. Also at least one sandstorm happens during gameplay. Players can throw a grenade at the ground and the sand will kick up into opponent's faces or shoot at certain points until they are destroyed and sand buries any player unlucky enough to be in the radius of it. Spec Ops: The Line's multiplayer is set before Captain Walker and his squad were sent to Dubai, instead taking place during the initial war between " The Exiles" and " The Damned" 33rd Infantry Maps
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