The tool identified for data collection of this research project is a video game, which makes the topic of the representation of space in videogame an absolutely relevant aspect for the project. This work bases on the statement of Jenkins, according to which “game space never exists in abstract, but always experientially”. In the current generation of video games, talking about position of the camera assumes a different value than in film or television language, assuming the meaning of point of view from which the game is visually (and auditory) presented and determines the spatial perspective of a computer game. The most common distinction, with respect to the position of the camera, is between First Person Camera, where space is presented from the perceptive perspective of the player's avatar and Third Person Camera, where the perspective is not directly the one of the avatar. This category, in fact, is very extensive, and poorly lends itself to a single definition. Under the umbrella of Third Person Camera are both perspectives associated with the avatar, but framing it externally (a camera follows the avatar) and those in which the camera is fixed. Moreover, the position of the camera compared to the avatar (from behind, left, right, Orbit Camera, etc.), or with respect to the environment (from above, from a precise point of reference) is not a neutral choice. In the present work, we use the categorization proposed by Britta Neitzel (Neitzel, 2002), which, taking up the work of Jean Mitry about The Aesthetics and Psychology of the Cinema (Mitry & King, 1997), distinguishes between subjective, semisubjective or objectives views. The chapter provides examples of different perspectives, and introduces the concept of Natural User Interfaces, which include movements based on input and output, on discretion, on voice, and evolve towards an efficient use of the senses in the interaction with machines.
The Message Influences Me More Than Others: Social Media Metrics, Third-Person Perception, and Behavioral Intentions