The photorealism of the characters and their animations in Turok 2008 game is outstanding with only one exception: that is the drama of Serendar, chapter of Mother Superior mission that loses its photorealistic presentation with the background music coming via Tudor Tower audio system. Among all the chapters of Turok whenever background music is provided the concentration of the dialogues located in further distances is never lost, but in the Mother Superior mission this dramatic scenario is destroyed and the beauty of the reconstructed Japanese aria is reformed too. However, there is no coverage with camera angles, and in this mission various possible camera positions located closer to both the Singer Brothers who play darker music and the Statue of the Lady who lost her Child will not help if it is self-understood that this breakage has been designed on purpose.

Turok 2008 is a video game designed for adults, and interest in the game is consequently concentrated among 17- to 40-year-olds, as revealed in the data taken from the site that feeds the statistics about those who play videogames. Gamers like to test the qualities of their PCs or note-books, and those owning Xbox or PlayStation 3 like to see the power installed there within, and all these test drives are as important for younger generation, ages approximately 14 to 35, as the ride behind the steering-wheel of a new car is showcasing ego to men of same age. Turok 2008 video game has gathered general attention with its high power and performance capabilities.

1.1. Overview of the Game

The structure of the paper is as follows. We next present the main visual and rules features of the Turok game: the geographical traits that mainly represent the game, character modeling, visual presentation, and movement of the camera typically used in each level are introduced. After this, we present our method to discover the camera and the immediate shot in it, and the results are shown in the form of a list for each level of the game. In presenting the results, we will recap a number of tables to group and measure quantitative information. We will then carry out an analysis of the data acquired and the inferences that it allows. Finally, some conclusions are presented.

The present study investigates and classifies specific technological affordances and opportunities that the game Turok 2008 – a First Person Shooter game in which the player hunts down and controls wild creatures – presents for camera movement, angle, and cinematography. An analysis of the topography and geometry of the level of that game also allows us to study specifically how camera shots were designed. We believe this study is interesting for two reasons: from an artistic perspective, it shows a particular use and deployment of the game camera that suggests new possibilities and uses for cameras in virtual cinematography that could be transferrable to a more general feature film scenario. On this basis, we present this study with the stimulating aims of showing developers an innovative set of visual devices to be employed in new versions of the game, and also with the intention of presenting top-level viewer and reviewer audiences with a very richly detailed and organized catalogue of what the game can actually visualize.

1.2. Historical Context

Desire of player to gain control of the field of action from early gaming stages was inversely proportional to concern of game devs about this desire: before being more common in console, personal computer gaming had a wider variety of possibilities of panoramic control of player. These historical and technological evangelical kernels of games lead to the desire to dig into the history of angle of view of what players once were dragging by themselves and only one activity that has more influence except movement in game. The historical development of video games can be split into several ages, bands or whatever discrete periodization unit preferred by historical or historiographical studies.

Game can be interesting, even after being outdated, as it has precious gems in builds of not only outdated technology but outdated player’s view. Without comments and guides, progressing from 90’s or 80’s video games might not be obvious, as players once were still holding hands by desire of developers to taste more or by their economical necessities to prolong gaming experience. Camera views that games provide now shielded from player, making it impossible to vary angles or views in games. Usually, action games provide cinematic cameras but cinematics in games also can’t cover every angle, every action done in game and as a result, every action done with camera. This paper examines the historical development of camera angles in video games, composes main critique vectors from user side and suggests steps for organic development of all-angles filming.

2. Importance of Camera Angles in Video Games

In the game, Turok 2008, there is no fixed camera angle. As an alternative, the game functions camera angles like the first person, third person, and over-the-shoulder angle. These different camera angles are available in each level or part of Turok. Considering the important role of camera angles in the game and the significant effect of the visual presentation in the success of a game in delivering players a satisfying and engaging game experience, the research aims to analyze the camera angles used and the visual presentation of the game, Turok 2008. After a presentation of details about the game, this paper will discuss the methodology and process of obtaining the game’s images, followed by the analysis and presentation of data. Finally, a summary and conclusion will be presented regarding the paper’s objectives and discussions.

Camera angle is one of the factors that affect a player’s vision of the game. In some cases, players are allowed to change the camera angle because it is quite impossible to view the game’s environment due to their limited walk-throughs. How to present an in-game space is one of the aims for the visual artists in creating a game. When talking about camera and visual presentation, it is important to discuss the use of different camera angles. Games include different camera angles to give variety in the visual presentation, to determine the player’s perspective when playing the game, to gain more exciting and dynamic looks or views, and to show the game world’s features. Aside from these, the visual presentation designed according to the camera angle used in the game could have an effect on the gaming experience of the players.

2.1. Role in Immersion and Player Experience

Research on camera angles in video games has not advanced as much as the reliance on third-person and first-person perspectives found in the majority of commercial games. Third-person perspectives provide a clearer view of virtual actions, reveal more information about the virtual selves, and strengthen spatial orientation and memory. In cases where players cannot see themselves, such as when the characters are off-screen, they must exert more effort to distinguish themselves from external objects. As a result, improvements in the perception of oneself from an exterior object or from visual perception of the bodily self are aligned and contribute to a greater sense of emotional immersion, which, in turn, magnifies negative emotions in times of perceived danger. Since immersing oneself in a game involves experiencing the protagonist’s situation as his or her own, camera views with greater expressionistic potential, such as low angles, may provide a stronger sense of identification with the protagonist as well as sensations of agency. However, the effect of decreased autonomy is also generated through decreased positioning angle in real-world settings, which can be associated with lower viewing angles.

Camera position affects a player’s ability to control forward sensors and anticipate disposition, which in turn directly affects the level of immersion or the capacity of the image to absorb one’s thoughts. For instance, safe projection or the selection of a position and viewing angle that allows for the maximum projection of potential threats against the player facilitates more analysis and less emotional investment associated with concerns about self-preservation. In fact, researchers in various fields, including business marketing and developmental psychology, have explored the relationships between camera angle and consumer response and situational context in video games, respectively, but not how these might affect the biological responses of novice players, including those who are predisposed to experiences with higher levels of anxiety or panic.

2.2. Impact on Gameplay Mechanics

In the Turok 2008 game, various camera angles are used throughout the game experience. These visual clues have an impact on the gameplay mechanics, such as fighting different enemies whose vulnerability points are their eyes, and add suspense, excitement, and variability to the overall gameplay offered. In this article, a study to confirm this is carried out. In the result analysis, a significant amount of mainly precomputable visual information is proposed as a metric of the variety that is relevant to the intended message. The presented technique has been applied to a 40-minute Gametip, demonstrating that on average it achieved a 40% performance increase compared to the previous work, with a similar discriminator capacity whether an engagement message was similar or not.

These external elements help to make a game environment feel more real and engaging, instead of presenting disconnected and open spaces without enough interest. In video game development, a fundamental topic of research is how to optimize resource utilization and guarantee an enjoyable game experience. The correct implementation of this kind of functionality ensures user excitement and satisfaction. In this paper, these considerations are evaluated to measure the impact of their implementation on Turok 2008 game success.

3. Camera Angles in Turok 2008

Camera distance simulates the visual perspective of the game environment. It varies from long distance to super close up. Turok 2008 game uses extreme long shots for the introduction of the level at the beginning, marker points for establishing waiting monsters, the effect of cover for an enemy, group of monsters or friendlies, or for the introduction of the special effects of the level.

Camera angles only add visual perspective to the object and are used to emphasize character dominance, character weakness, environmental dominance, environmental weakness. Camera angles are also used to establish relationships between two characters.

The three-quarter angle camera angle is shot from above, looking down at the object.

The high angle camera angle shows the object from head to toe. In Turok 2008, the game maps are reflective mirrors of the Amazon Rainforest. When the player changes the view from a high perspective, they will have a chance to see the labyrinth screen structures.

Camera angles, as previously stated, are angles from which the camera film is shot. The Turok 2008 game uses two angles: high angle and three-quarter angle.

3.1. Types of Camera Angles Used

The isometric camera angle is used to convey 3D scenes in a form similar to 2D image, with no converging lines, creating a combination between the ability to convey the three dimensions due to information about the position of points and length directions present in the projection of the scenes, and also the possibility to see a better picture for certain scenes and get a global view of the scene. The fixed camera angle where the game’s camera remains largely at fixed positions, typically switching from scene to scene without the player’s intervention, works as a means to design a game with stronger emphasis on narrative. It delivers scenic views and unbelievable camera movement freedom, and it also gives the freedom to perform effects that would not be possible in other camera systems. It is also intended to show the game environment from the best view which results in many pre-baked physical effects not available with typical game engines, being used to create predetermined points of view, which are commonly used in games with release in the 1980s and the 1990s. This camera angle can limit a player’s freedom to move or look around but allows developers a great deal of control over how a scene is framed, the content seen, and what visual elements a player should focus on within a game scene.

Although many types of camera angles are employed in video games, the more prevalent ones include the first person camera angle, the third person camera angle, the isometric camera angle, and the fixed camera angles. The first person camera angle gives the player the view from the eyes of the character, enabling the player to perceive everything from the character’s perspective. This camera angle creates a higher sense of involvement since the player gets to see things in the game world from the character’s perspective, essentially becoming the character. Despite its advantage of enhanced gameplay involvement, the first person camera angle has been found to decrease the level of player-character attachment, making characters of games that utilize the third person camera angle get a higher level of attachment in terms of feature-driven and story-driven identification. The third person camera angle usually places the view of the game just behind and slightly above the character being controlled. This enables the player to have full view of the controlled character and the game environment. This view reduces the sense of self-involvement achieved with the first person camera angle. However, the third person camera angle provides players with better control of the character’s movements.

3.2. Purpose and Functionality

This study’s utility results are used to support game studies, various game design studies, and software practice fields, and it provides a basic source for academics working on game design. The primary purpose of this study is to describe how the camera angles and visual presentation of Turok 2008 affect the tension-reducing capabilities and emotions of the game environment, the functionality, features, usage, and benefits of the available camera angles and visual presentation. The purpose of this study carried out concerns both game designers and game actors to protect the tension-reducing capabilities in game environment interactions, design evaluation, and new game designs. The relationship between the game world and the player’s emotional reactions and tension reduction engine relationship is also expressed.

The Turok (Turok 2008) video game provides the player with methods of a first-person perspective game and the elements of a tension-reducing engine for the exploitation of various combat situations and stress. In-game training, building tension and game design, the tension reduction capability of camera angles, and visual presentation techniques and methods supporting the game design have an impact on creating different emotions in the game environment. This study aims to guide the role of camera angles and visual presentation, concept and risk of use analysis factor of the subject matter in Turok 2008 video game.

4. Visual Presentation in Video Games

If an artwork dealing with semantic questions of itself becomes a game, then does it need the expert in the relevant field to understand its presentation? Who makes a presentation of a video game called complete and on which authority? Video game theory keeps explaining game-shaped artifacts compared to traditional art theory conventions and methodologies for subject-oriented art. Except for the envelope that keeps the game presented as an entity capable of offering performance, presenting strategies in video games are left virtually unexplored. A game designer uses its artistic vision and an expressive presentational vocabulary defined by game art limitations. Due to the lack of vocabulary specific to this art form, the result has little chances for explanation, creation of associations, and recognition of the presented statement’s quality among members of a larger community.

Video games encourage participation and they are constantly experienced with bodily senses. Visuals are usually the first information that comes to the player. Images as visual representations require a study of their content and perception. We cannot account for the interpretation of any image without reflecting its ways of presentation. Each presentation takes place in contexts, as content is dependent on the chosen visual language. In the case of video games, mentioned contexts are expanded and not strictly visual because gaming adds the component of dynamic user experience in space and time. As a result, this paper focuses on the exploration of the concept of visual presentation in the act of playing video games. Such an investigation is associated with the characteristics of game art, e.g. mechanics, rules, and specific software for video games’ design; idiosyncrasies of games’ reception like agency, computer interactivity, and time-based artifacts, and how they interact with other visual arts and media.

4.1. Evolution of Graphics in Gaming

On the other hand, Turok, which is the focus of the present work, was a game that caused, to the amazement of the market analysts, a certain amount of lack of confidence from the players mainly due to the unoriginality of its script. But despite the lack of originality, it was deeply appreciated by the majority of the gaming community for its excellently developed graphic environment containing high levels of realism and elaborately created vegetation, thus making its soundtrack one of the most realistic that could be found in 2008. That great importance given to the musical environment. It is not surprising, therefore, to learn that companies that are specialists in film soundtracks, like Front Line Music LLC, are venturing into the game segment by seeking to innovate in music and capture a greater involvement of the audience and provide better support for the narrative context of games.

The great majority of the advancements in the area of graphics in games occurred in the last 10 years, basically when games started to gain a better mass appeal together with better sales. Furthermore, it was also around this time that the major gaming engines, i.e. Unreal and Java, were developed. With their development, a revolution involving games occurred due to the high level of detail and realism that they allowed developers to embed in their games. These improved realism and high level of detail in the games made them more attractive to the potential players. As a consequence, the mass appeal of games increased dramatically. And despite some suspicions of naysayers regarding the continuing of this growth, major game studios are still in the business field. Therefore, with this growing appeal, new themes for games have been researched and developed, thereby also increasing the choice of games by the players.

4.2. Importance of Visuals in Immersion

Some games fail to use their features with good visuals to present the games well, causing them not to sell well, as well as providing a bad gaming experience. Making a visually engaging game is not just good for marketing and financial purposes, but importantly, visual experiences of games provide high affective responses and provide entertaining gameplay. Also, the use of visuals is also an important part of the narrative. Thus, this chapter involves any manipulation of visual stimuli to enhance or encourage the player to become part of the game world. The manipulation of visual stimuli is the easiest and heaviest relied method to engage the player as much as possible. In this section, the discussion will be restricted to focusing on the Turok game of 2008 in terms of the camera angles presentation and the game’s overall visual presentation.

The first aspect that makes a computer game is the visuals, that is, the combination of both animation and graphics. This is because humans are primarily visual animals. They can have all their emotions manipulated and provoked with visually rich information. Without visuals, humans are not able to enter an imagined state of mind whereby they become a character or enter a world. This is why we use our imagination for stories and theatre performances to recreate a visual imagination.

5. Visual Presentation in Turok 2008

Game character and environmental appearance in the present day are of high quality, and together with game physics and character animation, they contribute to the general visual impression of the game. The visual creation of the game requires interaction of many motion graphics tasks of different types. Good control of the camera angle is the most important parameter, as well as a communication and coordination part of a positive user experience. It also ensures more complete visual events during the game. All camera angles analyzed in the paper ensure a high level of user experience and fully contribute to the excellent visual performance of the game, thereby facilitating the shooting and shooting functions in «Turok» games.

As part of the experience of playing a video game, players look at the results of the computer’s work presented on the screen. They process various visual, audio, and tactile clues to experience immersion in the game environment and to simulate a realistic experience in a simulated world. The research concerns the visual perception of third-person shooters. The paper examines all important camera angles and analyzes how they are organized to ensure the best visual performance during the game. This resulted in guidelines that can help game developers create better virtual worlds to increase the level of user experience and satisfaction with the game.

5.1. Art Style and Design Choices

Overall visual style of the game can be broken into three main components – art style, game graphics, and camera angles. Art style is about choices made about how the objects in the game look, game graphics are about how these objects are represented in the game, whereas camera angles are how they are shown to the player. The overall success is determined by how these elements are combined into a cohesive visual presentation. The design decisions made within these areas are crucial – they can greatly increase the immersion factor and keep the player immersed in the game world. The goal of this paper is to examine how the different choices within the limits of art style decisions and camera angles affect the overall immersion factor and ultimately can increase the gameplay experience of a title called Turok, which is known for its beautiful presentation.

This paper focuses first on the effect art style in Turok game has on the game and then continues into the design choices for game graphics.

Camera angles, together with visual design choices, summon the overall visual style of the game. This not only attracts the potential customer but also sets the mood of the game. There are many different visual styles, and each of them has its strengths and limitations. The overall visual style of the game can be broken into three main components – art style, game graphics, and camera angles. Art style is about choices made about how the objects in the game look, game graphics are about how these objects are represented in the game, whereas camera angles are how they are shown to the player. The overall success is determined by how these elements are combined into a cohesive visual presentation.

5.2. Technical Achievements

3D objects of trees, walls, rocks, and the ground are used as creating image zones providing distance perception and a sense of volume effect. The choice of landscape in the game, as a result, becomes very important since classic methods such as closing vision within the limits of systems of linear perspective of the objects world cannot be used in full: distant objects are visible for the active character from great distances, which is connected to the 3D-Objects limited culling connected to the «open spaces» mechanic. Due to 3D objects as image zones, the visual perception in the game does not occur within the limits of the plant coverage, regardless of the visibility angle from an array of environmental background architecture, but is created by a variety of images of actual flora components. The combination of the capabilities can create scenarios for various types of appearance dynamics of dynamic objects to achieve maximum game tension with the most picturesque and compact visual presentation.

The key point here is the use of various camera angles in the game. This not only elicits a sense of depth and volume within the game, but also expands the dynamic visual representation of the virtual environment due to a closer look at the landscape. In the game, a «rich» inner world of jungle flora is identified in the form of three-dimensional objects of trees, walls, and rocks, valuable in terms of their detail and visual appeal. The combined use of the original landscape, including hills, tunnels, and other attributes, and the choice of techniques by developers to present the image forms unique scenarios of collecting level keys and opens up new possibilities for expanding the dynamic visual representation. The combination of the capabilities of the Turok game engine in terms of «open spaces» and the principles of visual presentation used by employees of the Romanian developer PotStat allows the object-space upon removal of collision and «culling» of game objects that are not visible on the screen to provide the user with the expanded review options.

6. Comparison with Contemporary Games

The very successful modeling technology for the time, especially the fact that plants are modeled three-dimensionally when compared to its rivals, gives Turok an appealing look, though it also creates a major in developing the distinctiveness of the enemies. Even the feature of the largest surgical improvement in the image that was seen in the inescapable occupation of its kind is seen in the 2008 Turok. Also, in terms of its visual beauty, the Turok 2008 Edition, which is damaged by the fact that it was the last game released in its own specific region, is still quite successful. When compared with present-day games, especially Crysis 3, some remarkable differences can be observed. When determining which game may be favored most for its visual impact and graphics quality, the 2008 Turok can be said to have much more successful graphics. However, the high-cost production technology and newer version are more favored in the environment. Turok presents moderate quality graphics within its production cost and 2008 design standards in the outdoor places and very successful interior environments, achieving a very successful visually appealing presentation. At this point, it is highly acclaimed that the team responsible for the graphics has successfully visualized the cliche turned into ordinary problems, with its more robust visual presentation in indoor environments. This can be observed from the following screenshots.

Camera angles and visual presentation of the 2008 Turok game, when compared with present-day games, especially Crysis 3, some remarkable differences can be observed. When determining which game may be favored most for its visual impact and graphics quality, the 2008 Turok can be said to have much more successful graphics. However, the high-cost production technology and newer version are more favored in the environment. Turok presents moderate quality graphics within its production cost and 2008 design standards in the outdoor places and very successful interior environments, achieving a very successful visually appealing presentation. At this point, it is highly acclaimed that the team responsible for the graphics has successfully visualized the cliche turned into ordinary problems, with its more robust visual presentation in indoor environments. This can be observed from the following screenshots.

6.1. Similarities and Differences in Camera Angles

In the Turok 2008 game, the camera angle is static and always the same (first person). This is due to the game character Turok, who is the only person in the group of all working specialists capable of seeing and sensing essential plot lines required for its completion. None of the other characters can describe the peculiarities of solved problems and these logical tasks. This inevitably leads to the impossibility of using other types of camera angles in the game. The matter of different types of camera angles is being solved by the Turok 2008 game in the same way. This is the difference between the Turok game and other typical TPS and FPS games.

In the process of the game’s visual presentation making, the camera angle plays an important role. It usually sets quotas to increase immersion in the game and help the player to identify with the game character. There are no established camera angles for the separate genres of TPS and FPS games. In some games with a similar mode of investigation, the emphasis can be placed on different characteristics. Most TPS games use both the first-person view camera angle and the third-person view angle (cameras usually placed behind the game character). In FPS games, the player usually perceives the game through the eyes of the game character. However, there are some FPS games that go beyond the framework of these typical characteristics and use the third-person view camera angle. Due to the variety of research on FPS and TPS games, one can find and set other types of camera angles used by a game.

6.2. Visual Presentation Innovations

Camera positioning and the change of view brought interactivity and a more immersive dimension to the games, but made the creation of games more complex norms, with constantly changing systems, where the codes for the game and for the scenes or perspectives could not be static, but should create a more aerial view that would allow the player to observe what is happening in the game, to facilitate the resolution of strategic movements, and to facilitate the control of the characters. But regardless of all these changes and of the cameras’ greater precision and adjustment, the camera’s orbit and travelling methods or the relation with the movement space have followed standards that are today graphically too devalued and little extraordinary. This kind of situation can easily change with the explosion of the first person view method of games like «Doom» and «Quake». And today, although the third person view method is no longer the latest in the world of video games, this movement sounds like and reacts to the sensations of the physical world that are projected into the game environment through the sight of the player that controls and visualizes the actions of their character. Of the attack, collect things, move, explore and accusations of any adversary with the intent of becoming victorious with their character.

In its early history, games like Doom maintained a human perspective with fixed positions and changing views. Later, working with successive generations of consoles, such as Nintendo 64, a third view that sits behind the characters in the game was preferred and allows changing views of the characters. This caused a new sub-language and a more complex approach to video game camera placement, with the player constantly adopting new views from the game following the game objective. This camera was installed behind and sometimes at the top of the character, called the player’s point of view, and the player had more comprehensive information about the game and the freedom to change their strategy. For this, in this new logic, a new language for the positioning, movement of the camera and interaction with the environment to produce visual appeals was needed. This sub-language arose both from the need for abstraction and from a purely graphic or visual concern and that makes gamers interact not only through the characters’ faces but with the game’s world.

7. Reception and Impact of Turok 2008

The first-person view camera perspective presents a lot of challenges when telling a story. It had an excellent use in Turok 2008, capable of putting the characters and short but elaborate dialogs to narrate the story. It was possible to witness the militaristic environment of the Turoks and the concern for each other of the UMC mercenaries. In Turok 2008, visual assets accompanied the creation of characters. Turok was a good reboot that had a successful approach to the comfort of progress and also prestigious respect for the original concept of the character. In the game, Turok is a man without a unit assigned to escape from an invasion of dinosaurs and mercenaries.

At the time of release, Turok 2008 did not receive a huge impact. The game was seen by many as a reboot of the Turok series, developed for newer consoles. The 2008 Turok game was fighting an uphill battle, restoring the type of respect that the first two Turok games created among the slow and steady video game industry. However, in time fans of the original games looked at the Turok Deep Dive Development to show Turok’s history, including the comic book roots of the series: Through Vision. The Day of Giving and the original creation of the character Painkiller are shown.

7.1. Critical Reception

Micah brings up a very interesting elephant in the room, which is the Orientalist stereotype. For a hunter who has an affinity with animals and has grown to be a spiritual member in a tribal setting, Turok’s outsider’s perspective brings forward an element of the noble savage. This criticism has been shown in many other reviews and can be viewed in Turok. However, this element should be considered in historical context when making judgments on this wilderness story. It has become part of the hunter tradition. This, however, should not deter future improvements on the claim of all stories existing within the tribal cultural identity. The art of the single-player game shows that there is a significant choice of inaction with ritual purposes. Raised questions surface the idea of agency by using it as a game aspect and whether Turok 2008 game also has a future for the development of gaming experiences. The status of this immersive single-player title can be modified by truly giving the player power as they peer through the magic eyes of Turok.

7.2. Influence on Future Game Development

Game graphics with interactive cinematic techniques provide full interactivity and enable the exceptional selection of the visual aspect of the rendered objects, as well as obtaining an image worthy of publication in the reviewed scientific journal. An appropriate system for rendering game scenes in accordance with the selected viewpoint location makes it possible to integrate a number of functions offered by different independent game engines. Such a system can be realized as a game script for engines with extended game script languages. Furthermore, combining such capabilities with the function of video making will enable the production of a full-featured computer imagery. This function can be used to produce high-quality films, reflecting the unique achievements of computer game development. The presented technique considers both the virtual camera simulation and the quality and believability of the resulting images, offered to the modern audience of game connoisseurs.

Apart from the film aesthetics, game graphics drawn with interactive cinematic techniques (shortcuts of a cinematographic process) lend the specific visual image to the game. Furthermore, further game development leads to the necessity to increase interactivity between the player’s character and the environment. The development of virtual surfaces’ rendering techniques is aimed, in the first instance, at simulating the scattering when computing an image in distant points. However, it is very important to enhance the scattered light simulation when rendering the image of the environment itself. Such a simulation can be used to significantly extend the capabilities of a game engine already having a number of functions offering quite realistic rendering of the scene as a whole. Indeed, the attained effect of realism is used to reveal any new functions integrated into the engine. In particular, towing a green bush cracks the snow crust, being trodden upon and deforming the snow cover. The system of displayed surfaces can be developed in more complicated scenes. The possibility of camera path planning would be very valuable, both for game publishers and for independent users with limited time for the repeated (manual) adjustment of viewpoints.

The classical development structure of any high-quality computer game presupposes the creation of a number of cut scenes – «in-game» movies, visualizing a significant event occurring to a hero. A cut scene usually serves to provide the spectator with the only opportunity to enjoy new game surroundings from all their aspects. But the game world is forthcoming for all players after the completion of corresponding tasks. It is proposed to use such opportunities of cut scenes to the full extent and to create some camera’s points of view not only with respect to the cut scene but for all stages of the game, trying to take into account the full visual likeness both of the cut scene and the game itself. Thus, the external appearance of the game presents the player with the utmost graphical richness from any possible game location. The use of a professional game camera for all the game provides full game play visual attractiveness as well as a thorough grasp of game events and problems. This, in turn, advances the gaming process skill, enhances interaction with the game, and increases the full satisfaction of mastering it.