Literature Review 

 

The research topic identifies and explores the influence of player avatar controls and camera position on the player’s spatial reasoning skills during games with a second-person perspective. The literature review will focus on the separate components of the problem; second person perspectives, movement mechanics, camera perspective and positioning, and how these factors influence the player’s spatial reasoning in the game world. The literature review will be structured into theoretical sections, with the core components listed above as the headings for each section’s exploration. There is a large quantity of literature in regards to spatial reasoning, however as the focus of this research is on spatial reasoning with fixed cameras, some of these will not be reviewed in detail and will only be referred to as appropriate.

Second Person Perspectives 

Second person perspective in literature, is when the narrator is addressing a specific person or the audience directly. It typically utilises pronouns such as “you”. (Ginny Wiehardt, 2019). Second person perspectives are popular in the exploration of the notion of “self”, due to its similarities in form and structure to conversations (Surber, 2020). Utilising Bell’s (1984) categorisation of Four Audience Roles and the relation between the audience and narrator, the boundaries of different personal addresses (e.g. pronouns) are ambiguous. It is easy to identify which personal address is being used in the second person narration, the conversational nature of the style can lead to much less distinction between the narrator and addressee, potentially leading to a more immersive and empathetic connection than is possible in other points of view. In narratives, the choice of point of view has been shown in multiple studies to have a substantial impact on controlling the reader’s engagement, empathy and immersion in the events and mental states described in the story. Lissa et al ( 2016) studied how the perspective affects readers’ responses to an unreliable character, Hartung et al (2016) investigated the effect of personal pronouns on comprehension, showing that first-person leads to higher immersion. In contrast, Brunye et al (2009) found that third-person pronouns enable the construction of an observer’s mental model, whereas second person pronouns had the strongest effect on the reader’s embodiment of the actor’s perspective. 

 

This is particularly evident in Alma/ This Is How You Lose Her by Junot Diaz (2007). In an award-winning short story, the author creates extreme intimacy between the audience and the protagonist with the use of the perspective, alternating pacing techniques to slowly reveal information informing the reader that the protagonist is a deeply flawed character. The conversational nature of it leads to a deeply intimate experience with the protagonist, as the audience and protagonist share a perspective and are both being addressed simultaneously by the narration. 

 

In the philosophy of mind (Pauen, 2012), first, second and third perspectives are discussed as reflections of different modes of knowledge access and knowing ourselves vs knowing the world around us;  

• First person is seen as subjective, as it can only be accessed based on the subject’s experiences
• Third person is objective. It provides access to objective knowledge of other actors
• Second person is intersubjective because it is the relation between one person’s knowledge of another person’s state of mind 

 

The intersubjectivity of the second person perspective could be the most immersive and have the strongest effect on the reader’s ability to empathise and experience the actor’s perspective, it is worth discussing how this could be implemented in types of media other than literature for more common themes that may prove beneficial to a video game implementation.

 

Film studies have some examples of implementation of second-person perspective, though this is often for a much shorter duration or is used as a plot device to break the fourth wall. This can be seen in the Star Wars: The Force Awakens trailer from 2015. In the trailer, the established protagonist, Luke, is speaking directly to the audience summarising his story and effectively passing the mantle to the next generation of Jedi, or in this case the audience. (Star Wars, 2015). The conversational nature of the trailer creates effective curiosity and immersion in the audience, with them seeking to close the gap between their knowledge of themselves (as presented by Luke) and the world around them (as presented by the video clips of the trailer).

To support the idea that the duration an audience spends within a specific camera or grammatical perspective is shorter for the second person the author will discuss the Netflix TV Series ‘You’. It features a well defined, unlikable character called Joe. The premise of the TV series is that Joe is stalking a woman, Beck, and is manipulating her into falling in love with him.

 The use of the second-person perspective is towards Beck, with Joe’s narration acting as an internal monologue addressing her throughout the series (Berlanti and Sera Gamble, 2018). ‘You’ swaps between first, third and second-person perspectives routinely to distance and immerse the audience in Joe’s perspective, and his perspective of Beck with the rising and falling action of the plot. When the audience is supposed to have its clearest view of Joe as a person, the second person is utilised. When Joe has lost control and acted inappropriately, the action is delivered in the first/third person and then the consequences are portrayed in the second. This switching of perspectives adds longevity to the experience and allows for emotional shifts to have a physical representation on screen by the shifting camera and grammatical perspective. At the mechanical level, camera perspective is fundamentally a matter of distance between the character and the camera itself, this could easily be implemented in a video game and is worth consideration when attempting to find solutions to the counterintuitive movement and disorientation associated with the second person perspective in video games. 

 

Spatial Reasoning

Spatial reasoning is a person’s ability to interpret their orientation in space (understanding where they are). There are many different components to discuss within spatial reasoning, but the author will focus on the following as they have direct application to gameplay concerning disorientation related to the second-person perspective. 

• Visual sequencing building a mental image of where you are, and recalling where you have been 
• Visual-motor skills aid in controlling the avatar with the input controller

 

Having good spatial perception is the ability to situate yourself, move around, orient yourself, make multiple decisions, and analyse situations and representations of our surroundings and the relationship our body has with it(Simpson et al., 2018). Failure to move or orient themselves could be due to the player’s visual sequencing or their visual-motor skills.

 

Location-based information used for spatial awareness is subjective, but Downs and Stea identify two consistent methods of measuring this: distance and direction. (Downs and Stea, 2011). These two variables could be explored to improve visual motor skills, as long as the player knows the direction the avatar is facing and can measure the distance between the avatar and the camera/ desired location, it will be easier for players to coordinate movements to move the avatar. Clear level sightlines, framing and a clear character silhouette can support this visual clarity. In support of this argument, texture resolution and styles can directly impact distance measurements for the player, as seen in both (Phillips et al., 2009) and (Simpson et al., 2018). higher resolution textures give more accurate measurements. It is worth noting that resolution does not indicate photo realism.

 

In contrast, Zandra and Clore(Zandra and Clore, 2011) propose that emotion has a more significant effect on the spatial perception of global and local orientation. If we consider the “can’t see the woods for the trees” metaphor, evidence suggests that “whether an individual focuses on the global forest or the local trees is influenced by their current emotional state. However, rather than reflecting a direct connection to perception, these data indicate that positive affect can empower either a big or a small view, depending on which is dominant in a given situation.” (Zadra and Clore, 2011). Emotion and motivation influence the player’s perception of both the distance and size of objects, with fear states inducing larger perceived objects/ distances. Whilst the previous paragraph identifies distance and direction as key components of spatial awareness, the emotional and motivational state will also output different results in regard to visual-motor skills. This could be why Resident Evil 1 utilised slower, more precision focused gameplay. Inducing a fearful emotional state makes objects larger, easier to see, and makes distances appear larger which makes the game world feel bigger.

 

There are few indications of differences in sexes between spatial perceptions. But there are differences in spatial strategies. Men reported a greater preference for an orientation strategy (e.g., using reference points). Women, however, reported a greater preference for a routeing strategy (e.g., use of signs or directions from another person).  (Sneider et al., 2015). While this is more of a level layout and design consideration, it is worth noting for testing purposes. 

 

How the distance and direction of the avatar in relation to the camera will impact the player’s ability to both sequence rooms together to determine where to go, as well as their motor skills in how they get there. There may be some variation in spatial strategies based on gender, that should be considered in any future research. 

 

Movement Mechanics and Camera Position

The connection between the player, the game controller, and the player avatar can be used to organise the player’s actions. The controller performs the important mediation between the connection of the player’s physical movements to the avatar’s. That connection is formed through the players divided attention: partially focusing on the screen, and the space where the player is interacting with the controller. Through this method of analysis, playing a game is the process of internalising the controls so that they become the object of unconscious attention(Prasad and Mishra, 2019) for the player. 

 

This connection can be thought of as an unconscious Phantasy of identification, popularised first by Freud and later by Klein (Etherington, 2020). This theory could be used to define the way we think about the way controls and movement mechanics become the object of unconscious attention. For example, when players feel in control of the avatar there is a positive projection of self onto the avatar, and yet conversely when the player is forced to follow a tutorial there is a negative introjection. (McDonald, 2012). This level of avatar identification, and connection to that avatar via movement mechanics, is the foundation for fleeting visual identifications of the avatar and their spatial location.

 

Spatial Awareness, in relation to movement mechanics, is impacted by the distance of the avatar to the camera, the speed the avatar moves at, and the complexity of the button inputs from the controller. The more complex the controls, the further the distance between the camera and avatar typically is. This seems to be a design choice, to enable unconscious phantasy of identification (Etherington, 2020) and to allow the avatar to become the object of unconscious attention (Prasad and Mishra, 2019). With the preliminary steps of identification and initial visual sequencing of the avatar achieved, the ludic elements of the movement mechanics (movement speed and complexity of the controls) should be considered.

 

When discussing fixed camera systems, Resident Evil One’s(RE1) “tank controls” are an industry trope. These movement mechanics draw their heritage from top-down games, utilising the world Z-Axis to orientate player movement through rotation. Slow and deliberate movement, with low to medium level complexity in terms of avatar actions and player input. To compensate the camera is pulled in tight, with fairly narrow environments, to ensure the player can orient themselves and engage with the atmosphere through slow and limited input.

RE1’s movement mechanics provide the right amount of cognitive load for Psychological Flow(Oppland, 2019) in terms of complexity, but they can feel unintuitive and can make visual identification of the avatar challenging in certain circumstances. For example, in a top-down partially obstructed camera angle it can be difficult to determine the direction the character is facing. Likewise, if the camera is too far from the avatar. In contrast, if the camera is too close to the character, it is difficult to visually sequence locations as their view of the environment is limited. An example of these challenges with Fixed Cameras can be seen (RabidRetrospectGames, 2015, 03:39:33-03:39:39) and the Resident Evil developers have combined it with a surprise enemy attack to use the limitations of the coordination and camera perspective to heighten the tension of the moment. 

 

God of War(Andreweisen and IGN-GameGuides, 2016) by comparison has much more speed and range of movement, with far more complex actions available to the player. To compensate the camera has been pulled out from the player, so the player can visually sequence more accurately due to the increased view of the level and to ensure the player can orient themselves in the environment while moving at speed. This higher level of traversal requires faster and more complex input to maintain flow.

 

That said, the developers will frequently bring the camera in closer to the avatar during intense Boss Fights, to intentionally limit the player’s visual sequencing in sections of the game where they are gated in until the end of the section. This can be seen below in God Of War 3’s Zeus Boss fight (Boss Fight Database, 2015, 00:01:45-00:01:56). 

 

This intentional limitation of visual sequencing is to allow for easier reading of the enemy avatar’s visual cues to allow for the player to coordinate response attacks more effectively with the input controller, texture quality is temporarily improved and it is all to focus the player unconscious attention on the fight itself rather than planning for inputs that aren’t possible in these moments.  

 

Five Nights at Freddy’s has the simplest controls utilising mouse interaction to navigate a single screen. It also utilises buttons on the screen to load the camera feeds(Father, 2018, 00:04:50-00:06:30).

 

The deceptively simple input is there to allow for the maximum speed of interaction, with minimum complexity of controls. The player avatar is stationary, but several antagonistic non-playable characters roam the environment hunting the player. These characters are disproportionately scaled to the environment, to fake a negative emotional and motivational response from the player. Their perception of the space and distance of the character to the environment and camera could indicate to the player’s brain that they (or the avatar they play as) are in a fear state. This is beneficial given the horror genre the game occupies. 

 

However, Five Nights and Freddy’s(Cawthorn, 2014) places a greater cognitive load on the player by forcing them to make fast decisions and manage resources to avoid a potential threat, partially by having an outstanding understanding of the layout of the room’s enemy NPCs are traversing. This ability to visually sequence is limited, as players can only view one camera at a time, though they can select which one to view. The cameras show quite small portions of rooms, intentionally obstructing the view to confuse the distance and direction of the NPC avatar in relation to the camera. Texture resolution is low, further impacting the player’s ability to measure the distance and speed of the avatar from the camera. (Markiplier, 2014, 00:04:39-00:05:05)

 

Based on this, these games seem to utilise emotional state, the scale of the avatar and room, distance and direction of the avatar in relation to the camera and texture resolution to impact the player’s ability to both sequence rooms together to determine where to go, as well as their motor skills to get there.  According to Compton(Compton, 2019), there are a few mechanical criteria that must be met to maximise spatial reasoning in relation to movement controls and mechanics. First, the movement must be responsive. Second, the movement must feel natural and intuitive to the player. By this, we are aiming for believability, not realism. First, good movement in a game responds instantly to the player’s inputs. Second, it is more important that the movement ‘feels fun’ to control than to be physically accurate.. (Compton, 2019). The only element of this that could be contradicted is the importance of the movement ‘feeling good, rather than being physically accurate’. Accuracy will be important for more complex or slower control schemes, e.g. RE1 and God of War 3. Without accuracy rotating the character to determine movement direction, as in RE1, would be impossible to do and therefore would limit the avatar identification and coordination of the player.                 

 

 

Research Design

The research aims to explore the different implementations of movement mechanics and camera positions in a second person game to reduce the counterintuitive nature of the controls and the disorientation of the player. Qualitative methods will be used over quantitative as it tends to be more flexible and inductive, allowing for observations of phenomena to recognise a pattern and then use patterns to form a generalised conclusion. This is a preferred method for exploration into the camera position and movement mechanics of a second person perspective as it is not clear what patterns lead to failures in spatial reasoning, nor what components of gameplay feel counterintuitive. Analogical inductive reasoning(Bhandari, 2022) will be used to draw conclusions about similarities between the case studies, and how this might generally apply to second person games as a genre. 

 

To explore the existing implementations of second-person perspectives in video games through a case study using both videos and games, with a focus on the camera position and movement mechanics of the player to limit the scope of the research and to attempt a practical application of findings. The results will be used to build a  conceptual framework of the relationship between camera position, and movement mechanics and this framework applied to the Lost and Found(Bishop, 2022) prototype to explore the practical implementation of the framework.

Research Type

The research will be utilising qualitative approaches, in particular, case studies using primary and secondary sources. The use of literature reviews will allow a solid understanding of the research that has been conducted previously, and any theories/ models that other researchers propose. The research will utilise primary and secondary sources for the literature review. Forums and documented previous research will support the development of new ideas, provide credible evidence for arguments and finally, ensure the research is original and reliable as the information will be taken from conflicting sources to increase the accuracy of the results.

 

Case studies will be used to gain concrete, contextual knowledge(McCombes, 2019) of existing Second Person Perspective games, enabling the research to explore and identify the key characteristics and implications of the camera position and movement mechanics on the player experience, in particular, what components of these games are so disorienting to the players spatial reasoning skills.

 

However, this should be balanced with appropriate secondary sources such as forums and comments sections, as well as how other researchers have approached the same problems. Through gaining detailed background knowledge the author can gain supporting and contrasting information around the current arguments for implementation. It could also provide access to media that is no longer accessible, e.g. The Second Person Shooter on Kongregate. 

 

Secondary research and case studies will be used to conduct descriptive research, to allow for descriptions of the second person perspective within the parameters of specific games and media. This will allow the research to focus on unusual and/or interesting examples of the implementation, rather than the more mainstream examples. The characteristics, trends and patterns of second-person perspectives can be defined and explored, rather than how the variables affect each other.

 

Population and Sample

The research will use case studies to collect data on one second-person perspective film, and two second-person perspective games to draw themes and explanations of why the gameplay of Lost and Found(Bishop, 2022) is counterintuitive and disorienting. The sampling method will be random sampling, implemented in a purpositive way. Sources will be selected based on accessibility to the researcher, due to the limited examples available and the fact that many examples are now not playable due to discontinued support, for example, Second Person Shooter (Acaudel, 2009) on Kongregate. There is some sample bias risk with this sampling method, in particular under coverage and survivorship. To combat this a case study of each medium will be used to maintain objectivity in regard to the definition and requirements of a second-person perspective. There will also be two separate video games explored to prevent researcher bias in regard to exploring specific game mechanics and camera perspectives that support the initial findings in this report.

 

Case Study 1: Trover Saves The Universe (SquanchGames: 2019) played by YouTuber Jackscepticeye (Jacksepticeye, 2019).

Trover Saves The Universe is a VR game utilising a second-person perspective. Rather than try to design around the counterintuitive controls, it comedically embraces them. The exception to this is that it uses teleporting movement mechanics to avoid fixed cameras, however, this could also be because this is a conventional movement mechanic in VR games. It is one of the most commercially successful iterations of a second-person perspective. 

Case Study 2: Second Chance (The_T_V1rus, 2020) played by YouTuber AlphaBetaGamer (AlphaBetaGamer, 2020)

Second Chance is an indie horror game that utilises fixed camera perspectives through CTTV camera feeds, like a hybrid between Resident Evil and Five Nights At Freddy’s. It attempts to create a more believable diegetic context for the second person movement mechanics, and static cameras using its story and visuals, but it also utilises tried and true movement mechanics. 

Case Study Three: Living In Second Person (Thompson, 2020)

Living In Second Person is a YouTube video of an individual trying to create a second person perspective in ‘real life’ using a VR headset connected to a camera on their dog. The individual attempts both coordinated movements and visual sequencing around the house with a camera that has autonomy from the individual wearing the VR headset. 

 

Research Methods

Data collection will be completed using media and communication analysis of the above case studies in order to write notes and form detailed descriptions of mechanical and gameplay themes based on different implementations of the camera perspective and movement controls.

This data will be analysed using thematic analysis, and the data used to generate tables that code and organise the data into key themes of the camera perspective and movement mechanics and how successfully they are used to create immersion and flow.

 

The case studies will utilise observation, documentary data and field notes to perform a retroactive study of specific examples of the second-person perspective. Multiple contrasting cases will be used to support unbiased analysis of data and to enable expansion of the scope of the research and suggestions of what movement mechanics and camera positions work best in Lost and Found(Bishop, 2022). This may be required as more appropriate samples for the case studies become apparent throughout the studies. As there will be no control over which variables will be measured, or how to measure those variables, potential conclusions could be limited.

Conducting The Research

It will take two months, until June 2022, to collect the data from the case studies and secondary sources. The secondary sources could continue for an additional month, depending on how much contextual application can be made from the results. Due to timeline constraints, the specificity of the research topic, and ambiguity in potential sources, these are the best methods to generate valid and reliable data to explore the topic. 

Sources will be accessed through analysis of YouTuber gameplay, to measure multiple experiences with these games to provide the foundational analysis for each case study. It will be important to be aware of how player behaviour changes in the presence of a camera or recording equipment, as YouTubers, normally record their voice and/or webcam footage as well as the gameplay. It will be worth looking at a playthrough with no audio as a control variable if one is available. Secondary sources will be in the form of forum posts, journal articles, websites and books on the topic or case studied media itself. 

The biggest obstacle will be confirmation bias in results and finding appropriate sources to use in the first place. Confirmation bias will be mitigated through the use of contrasting cases from a variety of sources, whereas the discovery of sources will be through keyword research and literary reviews. 

Data Analysis

The case study data will be analysed using thematic analysis of common themes/ terms/ responses to form conclusions, in particular using grounded theory to code the relevant data into concepts, then higher concepts to inform recommendations. The reason this approach was selected was partially due to the fact that this approach is more accessible to a researcher with a lack of experience. The big risk with using this data analysis is its flexibility. Without the use of existing theoretical frameworks, there will be many ways to interpret the data set which could lead to issues with neutrality in the research. 

Ethical Considerations

For the case studies, gameplay from YouTubers will be analysed. While it could be argued that publishing a video to a public internet platform is indicative of consent, the content creator may not agree with or wish to be associated with the findings of this research. As such, all YouTubers will be referred to by their username on their channel to prevent the re-identification of participants. The data will avoid resulting in harm, damage or distress to their personal brand by treating their thoughts and opinions with compassion and respect. (Duggappa, Sudheesh and Nethra, 2016)

 

Implications To Further Research

The research will contribute to the game and narrative design, specifically through the strengthening and consolidation of existing knowledge ready for further research into the topic. As an individual, the author will use this research in the building of an experimental prototype to implement a second person perspective in a video game and could seek a further research project to measure the success of the prototype. 

 

 Project Plan

 

Project Phase	Activity	Deadline
Research Design Planning	Secondary Research Identify online forum posts, online communities and content creators for primary research Expand secondary sources Create codes to identify themes, patterns and trends in the data	22/04/22
Data Collection and Preparation	Conduct case studies using the identified codes. Refine codes to identify themes, patterns and trends.	20/05/22
Analysis	Conduct thematic analysis of primary and secondary research Draft results and discussion section Work on prototype	03/06/22
Writing	Complete project report draft Work on prototype Meeting with supervisor to discuss revisions	24/06/22
Revision	Redraft based on feedback Get supervisor approval for final draft Finish prototype	15/07/22
Submission	Submit project report	01/08/22

 

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