If you enjoy all sorts of violence such as firing rocket launchers at people and shooting machine guns, then Phosphor is the game for you.
If you prefer to keep all the mayhem between friends, the game does have a multi-player mode which allows you to play either over a LAN (like at the office) or via the Internet. Now, I’m not really qualified to comment on the how this game compares to other first person simulations as I simply never play games on my computer. X-TECH Game Development Studio has created an educational 3D game which explains how to protect children from danger. There have anticipated many barriers and difficulties so as to make the game much more interesting and attractive and by overcoming these trials the player obtains some kind of information, knowledge.
In a nutshell, this is a pure educational 3D game developed for certain purposes and good intentions: to avoid children, teens and adults from that terrible disease.
JavaScript-Animated Full Site CSS templates contain JS-based elements that add Flash-like dynamics and animation while still leaving the templates very light-weight. Ultra Nitro Racers is a 3D racing game where you have to be always on top speed to win the championship races. In Ultra Nitro Racers, no need to worry about stopping in the pits to replenish the nitro, much less expect to be filled gradually over time.
Part of that skill is knowing how to make tighter turns without losing speed or hesitation, or you must have perfect control over the parking brake of the vehicle to turn or do not hit a curve arises.
Besides, we also need to get preview problem situations – for example, during the start, all trigger the nitro and there is a sharp turn later. The Ultra Nitro Racers graphics are good and have effects that leave the screen blur to give the effect of speed. The songs played during each race are quite animated and combined with the climate of adrenaline proposed by the frequent use of nitro.
The relationship between video games and space is one of the major questions in video game theory. The intrusion of obstacles to gameplay associated with the outside world, like the interruption of a car driving by in a game of street hockey, disrupts gamers' enjoyment. In the case of military-themed gaming, the real-world implications of players' actions in the gamespace has been particularly important, but media-effects arguments about video games provoking real-world violence and discussions of the uses of gaming as an advertising tool for the military position gamers primarily as receivers of video game messages.
This paper is divided according to two overlapping demographics of American gamers in the mid to late 2000s: civilians playing military-themed games on multiplayer networks, and deployed military personnel in Iraq or Afghanistan playing the same games on multiplayer local-area networks or playing the games' single-player campaign mode.
Despite controversy over their representational content and their position within American military operations, military first-person shooting games are extremely financially successful. As might be expected, first-person shooting games dramatizing global warfare from an American perspective are a particularly American craze.
Indeed, the relationship between virtual space and geographic space in video gaming is marked by a familiar debate about the danger of video games, particularly violent video games, in the popular media. By transferring the typical first-person view to the real world, the player is confronted with his or her actions in the game. Anxieties about the representational content of violent video games often focus primarily on the campaign mode, a single-player mode with a linear narrative, of military first-person shooting games. In terms of time spent in-game, the multiplayer mode of first-person shooting games is much more important than the campaign mode. Steven Graham argues that military shooting games produce a desensitization to destruction for frequent gamers.
In the multiplayer mode, players are identified by pseudonym, and gamers are as likely to be representing an American army branch such as the US Army Rangers or Navy SEALs as they are to be playing as an Afghan insurgent or a member of the Russian mafia. The futuristic shooting game franchise Halo offers a particularly stark demonstration of the idea that character appearance matters little in multiplayer matches.
Thus far, I have described the experience of the contemporary first-person shooter as idealized by gamers and game designers.
The professional player could not headshot the newcomer very well because the newcomer was lagging.
Because of its source in the structure of multiplayer networks, lag represents a genuine inequality in network connectivity that can give gamers information about other gamers' economic or geographic situation.
Firstly, lag ruptures game immersion, returning gamers to their physical body and geographic location and frustrating hard-core gamers' feeling of entitlement to an experience of game mastery.
The most important point about the Xbox controller was simply that it was like previous controllers: players who were already virtuosos would 'get it,' and those who didn't would be as clumsy as ever—a point whose significance would not become fully apparent until . Lag underscores the fact that multiplayer network game spaces are not only virtual spaces: because they are reliant on the cables and servers that make up the Internet connections of all the gamers inhabiting them, multiplayer game spaces are physical spaces insofar as they are experienced as a network phenomenon. One of the factors affecting gamers' Internet connection speed is the physical distance between the gamer and the multiplayer server hosting a given gaming session, as well as the speed of Internet Service Providers (ISPs) available in their city. The site also offers information on the speed of Internet access measured in terms of download speed by continent, by country, and by city.
The sensitivity of high-speed multiplayer first-person shooting games to even the smallest variations in Internet connectivity means that lag reveals not only global, but local inequalities in Internet connectivity.
While lag makes American gamers aware of the regional and national factors affecting their success or failure in the multiplayer gaming environment, gamers from countries with slower Internet connections are especially aware of lag.
On the one hand, executives fly across the world to meet each other, fans gather from large distances to be in the presence of a celebrity. Internet mapping projects are often motivated by the desire to make the Internet faster overall, or even to save it from ultimate collapse. Recipients of Games for Soldiers often request the same games that top US best-seller lists.
Jesse Williams, founder of Games for Soldiers, a non-profit organization that sends video games and entertainment items to U.S. A discussion of soldiers as gamers is essential not only to understanding the relationship between military games and geography, but it is also crucial to discussing fans of military-themed games. The ongoing relationship between computer gaming and the military has become particularly interesting to scholars in the 2000s, following the success of America's Army, the ambitious military training game commissioned by the U.S. James Der Derian argues that the language and imagery used to talk about the wars in Iraq and Afghanistan is becoming increasingly game-like. From the first to the second Gulf War, from Bosnia to Kosovo and from Afghanistan to Iraq, [so-called] virtuous war also took on the properties of a video game, with high production values, mythic narratives, easy victories and few real bodies. A title that appears at the end of the campaign mode of the recent EA release Medal of Honor (2010) dedicates the story to the experiences of soldiers fighting in Afghanistan, who were interviewed heavily in the game's production process, and were represented throughout the game's narrative in a series of impossibly dangerous missions. EA and Danger Close have stressed how closely they've worked with service members to ensure accuracy in the way that Rangers and Tier 1 personnel operate, and the manner in which in-game characters take down doors and move right and left while clearing rooms may be perfectly accurate. Overall, game-like war devices are significantly different from games meant for civilians sent to soldiers by well-wishers. Video games have come to represent home space over a long-term marketing strategy, similar to that deployed at the advent of TV, and the domestication of the computer, making gaming a part of the home. Lag, discussed here as a network malfunction caused by slow Internet connections in multiplayer online gaming, is more complicated. Ultimately, lag demonstrates that military shooting games do enact inequalities between the U.S.
These figures are especially useful for the online piracy of media texts, one of the chief reasons why Internet users might download large files from servers located across the world. I have used download speed data as an example for the sake of this paper, particularly because the form of lag most often depicted, in which a player tries to move his or her character but does not see that movement on screen, seems to be based on download speeds. I was almost moved to tears when I saw the final title of Medal of Honor, and I do not have relatives deployed in Afghanistan.  After a night filled with motion-sickness nightmares, most likely induced by the fact that I spent the entire day before with the Xbox, the final title was both a contrasting relief from the stress of the game and a tug to the heartstrings. JS Animated Templates are just like full Flash websites with animation but there is no Flash in this.


To overcome the dispute, you can use a total of five different cars – released under get good positions in the ten races of the game. This is a light weight 3D game with just 32MB setup and so thought to share my views on this.
However, they are not exactly different between them: half are original, the other half is composed of five roads in the path of the original investment. In the first you can play in a career without the commitment to overcome it to get points for the tournament.
Although it is rather short and repetitive scenarios holds (with the path taken), the difficulty will ensure that less experienced players hours of fun. An array of glowing dots marks the locations where gamers are supposedly connected, with a caption stating the total number of gamers online.
However, these interruptions are often an inevitable and integral part of the game experience. The fact that the hard-core games I have chosen are shooting games is not accidental, as hard-core games commonly feature fast-pacing, violent content, and relative inaccessibility to young children. By focusing on gamers' knowledge of the ways in which video games are connected to physical geography, either through the geography of multiplayer networks and the Internet itself, or through the global circulation of video games as commodities (even to deployed American military abroad), I hope to complicate scholarly understandings of gamers' interaction with hard-core games — particularly military shooting games — to include gamers' awareness of their own geography, even as they interact in virtual spaces. Over two thirds of sales for Call of Duty were within the Americas, and the top six fastest-selling games in the Americas are all in the first-person shooting format, including three entries from the futuristic Halo franchise.5 However, the popularity of the military first-person shooter format is not restricted to the United States.
Aram Bartholl's art piece, First Person Shooter: Everyday Counter-Strike takes up both sides of the debate.
At the same time, the project shows how separate everyday life in the physical world is from virtual game space, with its own rules. Bogost argues that while there is such a thing as visual rhetoric, and visual rhetoric is employed in video games, the native language of computation is procedure.
Therefore, when procedures in a game's code produce unfamiliar results, in the case of the glitch, or procedures are processed too slowly for fluid gameplay, as in network lag, gamers are aware that something outside the rules of the game and the controls is at work. Because the rhetoric of game design emphasizes the concept of 3D games, especially those in first person, as seamless simulations of reality, moments of discontinuity in these games tend to be de-emphasized. Spatial discontinuity in fast-moving multiplayer shootouts can often mean instant death for players, a fact that raises the stakes on these demands for continuity over similar demands in other genres. While glitches may initially be a source of annoyance to gamers, therefore, they are quickly absorbed into gaming culture as one of various illicit strategies gamers use to get ahead. It's what happens when a good player gets killed more than he's supposed to, or when a bad player gets more kills than he's supposed to. In multiplayer shooting games, these millisecond differences in the speed of information transfer from one point to another can mean the difference between virtual life and death.
Secondly, lag demonstrates that game mastery is contingent on global technological inequalities on the level of scale, which are marked by a continuing history of Euro-American imperialism. While the Xbox controller's design was meant to maximize hard-core subjects' experience of game mastery, lag disrupts this experience, making lag one of the most annoying phenomena in hard-core gaming. Strategies to avoid lag include everything from upgrading one's PC, to using a cable rather than a wireless Internet connection, to limiting the number of people within one house using the Internet at a time, to strategically connecting to gaming networks when few people in a neighborhood are online.26 The obsession with avoiding lag thus creates for some gamers an increased awareness of their physical surroundings—particularly their home Internet setup—and how those surroundings affect the speed of their Internet connection. Thus, while gamers may appear to be competing against one another in an endlessly regenerated and re-destroyed virtual Iraqi landscape, the concept of lag as a network phenomenon reliant on physical geography makes the virtual Iraqi space less important for multiplayer gamers than the physical distance between the players using that space. Lag occurs in countries with slower Internet connection speeds even if gamers play only on local gaming networks, because games' multiplayer mode is designed for fast connection speeds. On the other hand, those who live far from the 'nodes' (Janelle, 1991) of the global capitalist economy experience ever more intense forms of disconnection. Israeli scholar Shai Carmi argues that an increased use of peer-to-peer networks that connect peripheral nodes to each other could help to diminish peripheral nodes' reliance on central nodes in order to function.34 However, the University of California's Cooperative Association for Internet Data Analysis's 2010 Internet mapping project attempts to increase the speed of information transfer by streamlining the paths information would follow in the Internet's hierarchical structure.
However, most deployed military personnel do not use Xbox Live, as the service is unavailable in Iraq and Afghanistan. Therefore, their perception of gamespace is arguably different than that of gamers in the US. While in many cases, fans of military-themed commercial games may not consider their gaming to be related to the actual U.S. Army and designed by the Modeling, Virtual Environment and Simulation Institute (MOVES) at the Naval Postgraduate School in Monterey, California. However, the action in the game frequently devolves into action movie cliches like giant explosions, hundreds of enemy combatants to kill, and scripted death sequences of American soldiers. The extremity of in-game situations in Medal of Honor's campaign mode asks gamers to sympathize with soldiers in Afghanistan and to support their activities there.
Andreas Lange describes how advertising campaigns for the first console gaming systems tried to link the gaming console to the television, another domesticated technology. While many scholars have successfully demonstrated the connection of the campaign mode of contemporary military first-person shooters to the militarization of American society, my discussion of these war games at home focuses on the geographical and spatial implications of the multiplayer mode. I argue that lag unavoidably disrupts hard-core gaming culture by rupturing gamers' immersion in virtual gamespace and frustrating their feeling of entitlement to game mastery. However, because contemporary game consoles increasingly include the possibility of online play, gaming no longer takes place in virtual space. However, ISPs differ in the equality or inequality of their upload and download speeds, and upload speed data is equally important. There are areas for separate levels and open areas where the player can get the information by overcoming the barriers and difficulties. After finishing the championship, you can play on the tracks released or taken seriously and try to reach the record first.
Thus, there are roads on which it is possible to complete the three laps without end – obviously, driver skill is vital to maintain speed. Gameplay takes time to adapt, but it is not difficult – as there is no way to alter the difficulty of opponents, it takes a bit to be possible to overcome certain routes.
A rotating globe filling most of the screen emphasizes the Xbox Live network's globality, even as the concentration of dots on the static map may reveal a local cluster of connected gamers at any given time.
Any single player cheating, becoming a sore loser, leaving the space, or otherwise disrupting the game makes the mental-physical space of the game less magical, and therefore less enjoyable. In the case of online multiplayer gaming, gamers meet others, potentially from around the world, in computer rendered spaces.
This awareness of the physical implications of actions in video games challenges understandings of contemporary warfare. Modern Warfare 2 and Black Ops both set records for fastest sales, with Black Ops on Xbox 360 and PlayStation 3 each selling 2 million units in their first week of release. Referencing the common FPS trope of an arm with a gun or other weapon in the bottom right-hand corner of the player's screen, First-Person Shooter: Everyday Counter-Strike, is a postcard that viewers are offered to make into a pair of glasses with a miniature arm on each frame. The narrative possibilities of the multiplayer mode are thus limited not by time, as in a linear narrative, but by space. A simple play-through of any contemporary military shooting game offers several complications to Graham's point, however.
These moments of failure or breakdown can be some of the most frustrating moments in a procedural medium like the video game. Gaming culture emphasizes glitches and lag partially because of gamer annoyance, and partially because gamers use these discontinuities to gain an advantage over other players.
Spatial glitches occur when the camera moves to a location where it would not normally be able to go, such as through a wall, to the top of a tall tower, or through the map itself.
Thus, gaming culture attempts to neutralize the disruptive potential of the glitch, incorporating glitches into a more-or-less accepted repertoire of cheating. Hard-core gamers, in an attempt to avoid lag, become increasingly aware of the geographic factors influencing differential Internet connectivity, making geographical assumptions about other gamers in multiplayer gamespace based on the behavior of the network.


While controlling the movement of a character in a multiplayer online game is as important to survival for an in-game character as getting a drink is to a very thirsty person, having a slow connection to the multiplayer network prevents gamers from controlling their character's movement in space.
When lagging gamers are unable to control their character, or other gamers are unable to shoot gamers who are lagging, the assumption that gamers' skill can be accurately measured through multiplayer game performance breaks down.
Within the state of California, the city with the fastest download speed is Stanford, followed by La Jolla.
No US cities are represented on the top 30 world cities list for download speed, while Seoul, South Korea and Hamburg, Germany top the list. A gamer in Santa Barbara may lament, for example, that the Internet available in Santa Barbara is not as fast as what is available in Los Angeles. Instead of space and place being simply reduced by modern forms of co-ordination-at-a-distance, they are made more complex. Even as the US military uses game-like interfaces and even training simulation games like Full Spectrum Warrior, commercial games based on war continue to be seen by soldiers abroad as nostalgic remnants of the homes they have left. While this message may contribute to American gamers' support for the war, US soldiers playing Medal of Honor abroad will recognize the game's lack of representational realism, seeing it more as a comforting cinematic glorification of their experiences associated with the supportive atmosphere they hope to return to at home. Nevertheless, in a war in which one in eight returning American soldiers suffers from Post-Traumatic Stress Disorder, American soldiers may find themselves just as unable to truly return home as their displaced Iraqi or Afghan counterparts.58 The use of video games such as Virtual Iraq to help PTSD sufferers underscores video games' crucial role in dealing with feeling disconnected from the spaces of their home. Video games, like the Internet, have been since their inception an adaptation of military technology for civilian use.
Glitches, software-based malfunctions that cause unrealistic spatial movement in full 3D spaces that aim for the greatest possible degree of realism, may momentarily disrupt gameplay. Lag also demonstrates the geographic inequalities inherent in the hierarchical structure of the Internet. However, an unintuitive but important way in which Euro-American imperialism manifests in these games is not in their visual representations of violence. Rather, the space of multiplayer gaming is a physical space in that it is inextricably connected to the physicality of the Internet and the worldwide geographic inequalities of Internet connectivity. The player does not directly fire weapons, as in first-person shooting games, but oversees the use of weapons. Her research interests include film and the nonvisual senses, animation and comic books, video game studies, feminist film theory, queer theory, and posthumanist approaches to digital media.
These are the full site templates that do not include Flash animation, but contain JavaScript-based elements instead – this makes the templates very light-weight and makes loading fast. However, the geographic distance between gamers in the space sometimes intrudes on the space of gameplay.
Gamers' level of familiarity with these maps and their game controllers either allows them to shoot other players without being seen, or condemns them to dying seemingly at random, never knowing where their killer was hiding. All software runs code, but videogames tend to run more code, and also to do more with code. Gamers' mastery of the rules and the controls may help them to use glitches to their advantage once they become aware of the programming errors in a particular game. As such, it is more difficult to communicate a glitch in a first-person shooter in a still picture than it is to show the phenomenon in games with a third-person virtual camera.
Meanwhile, gamers outside the US, particularly those in areas with slower Internet available, experience more lag overall, making games like Halo nearly impossible to play in some locations. Thus, even the process of avoiding lag disrupts the illusion of seamless gamespace and fluid online movement. He runs down the street, stepping on a banana peel, but slips and falls several steps later.
Complaints from US gamers that lag is on the rise may therefore have to do with the US's lack of dominance in Internet connectivity—a difficult fact for some hard-core gamers, whose US military-themed game narratives argue for the superiority of the US over the rest of the world, to swallow. The games' pro-military themes, often criticized as potentially indoctrinating for young gamers, may actually contribute to their ability to be comforting for deployed soldiers during their leisure time. However, glitches are ultimately integrated into hard-core gaming culture as new ways to prove game mastery. Rather, the experience of multiplayer gameplay and the possibility of game mastery are unequal.
As games become more and more caught up in global communication flows, due to their reliance on the Internet and their physical circulation around the world (of which Games for Soldiers is only one small example), the questions not only of game space but of game geography will become increasingly important. These templates are a sort of a mix of JavaScript and HTML, therefore you don’t need any specific software to edit JS Animated Templates.
However, as of November 2010, Xbox Live is only available in 35 countries and territories, disproportionately including North American and European countries over those in Africa and Asia.
Similarly, gamers' physical locations while gaming may affect their experience of the space of the game. Moreover, I will argue that gamers are aware of many of the ways in which virtual space is intertwined with physical space.
Recalling Crawford's term, tend to offer more process intensity than other computational media. While pictures of spatial glitches featuring characters standing on water or in midair are relatively common, gamers usually demonstrate glitches in first-person shooters through videos. Rural gamers experience this form of discrimination on the Xbox Live network alongside the general hostility of the network's social environment to many forms of difference. Because new recruits to the Army after 2002 may have learned about the military partially through their familiarity with military recruitment and training games such as America's Army (MOVES Institute, 2002) or Full Spectrum Warrior, military gaming fans in the U.S. Within the United States, these inequalities are subtle but perceptible, as gamers in rural areas have access to slower Internet connections than their urban counterparts. Commonly they are not simple games which are played just to be satisfied but they have some internal meaning as well. This 3D game is also aimed at eliminating the stigma placed on infected people.Game activities are held at an isolated island. If Modern Warfare 2 desensitizes players to destruction, it prepares gamers for the destruction of urban environments coded as American as well as Arab.
Instead, gamers sometimes construct geographical explanations for lag referring to the procedural structure of the Internet itself. It was an artifact for people with large hands, like North Americans, particularly North American men (Takahashi 2002, 160). Nodes located in the US and Russia stretch towards the center of the map, while few countries in Asia and Africa are even represented.
Game can be played in two ways as a game direct participant and as a 3rd player controller. To use Bogost's concept of procedural rhetoric to discuss military first-person shooting games would be to focus less on the appearance of the environment, the bodies of the characters and the weaponry than on the types of actions that are possible for the player and the kind of consequences possible for those actions. In this way, not only is the gaming experience virtual, physical and geographic, but gamers complaining of lag are in fact experiencing one of the many effects of the hierarchical structure of the Internet itself.
Thus, gamers in multiplayer gamespace do not engage in disembodied online travel as Halo 3's matchmaking lobby suggests.
Rather they are highly affected by and, in some cases, aware of the geographical factors influencing their gameplay.



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