The following study is concerned with how immersive experiences are constructed in first-person shooter (FPS) video games through the implementation of “realistic” audio. Thus, undeniable game content can be safely assumed as being involved in the emotions' of all players. Finally, the dissertation postulates an experiential ontology of computer game content, distinguishing between game content that is undeniable: crucial in terms of ful lling the gameplay condition, and deniable: game content whose taking seriously is mostly voluntary. By the conduct of emotional investment, the dissertation describes how voluntary players can end up experiencing emotions about aspects which would most likely seem trivial from a non-player's perspective. Based on this condition, game artefacts can be described as standing out from among all other technological artefacts which co-shape human intentionality. However, this can go on only as long as long as the player ful fills the requirements of which the gameplay condition comprises. Rather than being explained in terms of their rules, computer games appear as technological artefacts which simultaneously extend the concrete limitations against which their human players are free to realize their projects, and shape the ways in which human mind can be directed at aspects of the world. From describing the freedoms and responsibilities imposed by the materiality of the computer game artefact on its voluntary player, the gameplay condition emerges as an intersubjective baseline for the players' judgements about events, objects, and states of a airs in the game, potentially surfacing as emotions. Building on game studies, existential phenomenology, and philosophy of technology, this dissertation postulates a first person perspective from which to describe solitary computer game play and the emotions it involves in terms of their experienced signi cance. From this premise follows that to understand an emotion it is necessary to understand the reasons the subject has for relating to the object of the emotion in the particular way. Emotions are taken as intentional, as always about something. Focusing single player computer games and situating within the emerging fi eld of computer game studies, this dissertation starts from the assumption that emotions are always already intertwined with the experience of play and proceeds to describe, not any idiosyncratic emotional experience, but the means by which games can ensure their contents to be involved in players' emotions. Our ability to enjoy computer game play that involves genuine intense emotions which in other contexts would be easily deemed as "negative" suggests that there is something in the ways in which we make sense of computer games that separates gameplay from other activities we engage in. Computer games contribute to their players' emotions in diverse ways, ranging from sheer exhilaration to anger and disillusion.
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