In this chapter, Galloway discusses camera angles.  He spends a lot of time on the subjective angle, which would be the angle for a first person shooter game. I found that I had some different responses when I actually tried playing Quake. Galloway suggested that seeing from a characters view helps you sympathize with that character. While this may be true, I found I had a different experience.

Firstly, maybe because I am used to the subjective view used in suspenseful movies, but I was constantly worried about what was behind me. The first-person view in Quake gives close to a 180 view if that, and with people shooting at you, you constantly have to be turning completely around to see what is behind you. This is obviously unrealistic as in life, if you are concerned about something behind you, you are able to look over your shoulder, and in which case I think the overhead view of the game may in fact be more realistic. The basic idea here is that, in life we are more aware of our surroundings than in the FPS perspective, and this caused me frustration while playing.

Secondly, because I was new to this game, I spent a lot of time bumbling around trying to figure out how to turn.  The turning angle of the character is on a 360 point so besides the view not seeming as realistic, and the movement not seeming very realistic, I found myself actually more distanced from the character I was playing, and frustrated with it. In that way, the FPS perspective made it very hard to empathize with the character I was controlling.

Despite all of this, I am completely aware that I felt unnatural in the environment because I had not mastered the finesse of the movements of the game, and I definitely see where Galloway is coming from in that in some situations it might be  more stimulating to be the character rather than to see the character.