Build and Shoot is a pixel-style online shooting game which has:Over 100 cool weapons;Each weapon has special attributes: poisoning, bleeding, or bullets running around, making you hardly preventable;Auto shooting feature for new players;Invisible? By purchasing this item, you are transacting with Google Payments and agreeing to the Google Payments.

AFinitDataCallback(key: 'ds:17', isError: false, hash: '47', data:functionreturn 'gp:AOqpTOG5Bk6viz62EYXGRjSBLBhjISaPjmS2wOSjSHL6ob-51Y0OqKXyL0avqVcicWf4zyMD0aVXvZTd5yEA','some one',null,2,null,null,null,'control needs a bit of work, as its just buttons instead of a joystick, and I'd much prefer that, the more u play the more u'll get used to it sooo thats good. One problem i have though, is that when im using the fervent rays pistol, my guy would sometimes turn a whole 90u00b0 when im running in shooting, idk if its only this gun though bc my other guns work just fine except that one.

Are you looking forward to make a First Person Shooter (FPS) game in Unity? You have come to the right place. Games like Quake, Counter-Strike, Call of Duty.

Overall a rly fun game nonetheless.' ,252000000,111,null,null,'4','some one',null,null,2,null,null,null,'jack',null,2,null,null,null,'graphics but starting out is rough. You are very limited. Dont even have a scope.

Moving around it hard to adapt to. Long range is most of your shooting. Without a scope pretty hard. Very slow to get enough coins for new weaponry.' ,221000000,7,null,null,'7','artattack jack',null,null,2,null,null,null,'Bryant 2.0',null,2,null,null,null,'of the MOST things im master at. First 4 or 5 trys i WON most at it was 22 poofs. But a drop full of oof is that theres only 2 maps i can play at the recent.

Pls add more maps for starters',926000000,49,null,null,'9','Kobe Bryant 2.0',null,null,2,null,null,null,'game is awesome and the controls are not bad. It is easy to play. Hope you guys add zombie mode it will be the best',924000000,238,null,null,'9','EyedidIT',null,null,2,null,null,null,'is the best game ever i can shoot like fortnite except you need to build it but its fun!'

,345000000,15,null,null,'2','xdjamz',null,null,2,null,null,null,'Kumari',null,2,null,null,null,'1 star was taken because of the battle royale map I can play it only once in a day please fix it',460000000,0,null,null,'7','Anshu Kumari',null,null,2,null,null,null,'Tampus',null,2,null,null,null,'i Love This Game Build and Shoot @Learn More#Build and Shoot POST Now!!!!!!!! And in youTube gamePlay',662000000,0,null,null,'6','Fred Tampus',null,null,2,null,null,null,'black diamond',null,2,null,null,null,'is great! Lots of weapons and armor love it',615000000,72,null,null,'4','The black diamond',null,null,2,null,null,null,'Rubio',null,2,null,null,null,'I got started playing this it was bad but it got better!!! Andrew my friend well he love it.This the best game ever made.'

Neil Charness, Walter R. Boot, in, 2016 Game Preferences of Older AdultsAction/ shooter games and sports games tend to be the most popular console video games, and strategy and roleplaying games tend to be most popular non-console games as indicated by the top selling games of 2012. In 2013, the violent action game Grand Theft Auto V became one of the best-selling games of all time, with sales reaching over a billion dollars faster than any other entertainment property. However, several survey and focus group studies suggest that the types of games that older gamers play, or would like to play, are different from the games that are most popular among younger gamer cohorts. For example, De Schutter (2011) surveyed older adults (ages 45–85) and found that PC-based casual games were most popular among this sample, with the need for challenge being the primary motivation for game play. Games included in this category were puzzle games, computerized versions of card/board games, and games with simple dynamics and controls. De Schutter partly attributed the popularity of casual games among older adults to the ease with which these relatively simple/familiar games can be learned.

Fast-paced and violent first-person shooters, one of the most popular game genres overall, tend to be unpopular with older adults ( De Schutter, 2011; Nap, de Kort, IJsselsteijn, 2009; McKay & Maki, 2010). Instead, slower-paced games that emphasize intellectual challenge tend to be popular with older gamers ( Pearce, 2008).This may not be surprising given the potential mismatch between the visual, attentional, and processing speed demands of popular action, sports, and strategy games and older adults’ poorer perceptual/cognitive abilities. Unfortunately, older adult game preference and gaming habits have been a relatively understudied topic. Additional research is needed to better understand older adults’ motivation to engage in game play and predictors of game preference. Digital gaming represents a novel domain with which to explore and validate new and existing models of technology adoption and adherence. Michael Beran, in, 2018For example, Young and McCoy (2015) adapted a first person shooter game to be played in either a delay of gratification condition or a delay discounting condition. In the delay of gratification condition, the power of the weapon used would increase as long as the player avoided shooting it while it charged up.

In the delay discounting condition, the player had one second to shoot the weapon, or else they were forced to allow it to build to a greater strength. So, in the first case, delay maintenance was needed, whereas in the second case the choice phase occurred early in the trial, and then locked the player into that outcome based on that choice. As you might expect, people were more likely to lock into the delayed reward of a stronger weapon in the delay discounting variation of the task, compared to the delayed gratification version where defection (i.e., changing their mind and shooting the weapon) was a possibility.

In that experiment, however, people were in one task or the other, not both tasks, so we do not know a lot about how the same people would do in both kinds of tests. It would be interesting to see if people were consistent in their choices (whether to delay or not) in both tests given at different points in the experiment. Weimin Toh, in, 2016 LimitationsThe present chapter proposes a conceptual model by building upon Martin and White’s (2005) appraisal theory to understand the player’s emotions during the weapon customization process. However, the proposed model might be limited to certain video game genres which include role-playing games, shooter games, and massively multiplayer online games as not all games incorporate weaponry or even use weaponry in a similar fashion, as what I have discussed in this chapter.The proposed conceptual model might not accurately predict the process in which different players experience the emotions listed in the model. For instance, after the players experience an emotion, they might not necessary pay attention to it which contributes to decision making. The process of appraisal might not equate (or follow-up) with conscious reasoning as no appraisal theories assume that appraisals must be conscious and controlled ( Roseman & Smith, 2001). Appraisal processes might be typically non conscious and automatic ( Smith & Kirby, 2001) as they need to be fast because the environment can change quickly ( Lazarus, 2001).Another limitation involves the different ways in which the different personality types of players influence how they identify with the weapon customization experience.

The players might not experience the basic emotions proposed in the model for weapon customization. Perhaps a future empirical study may use the Myers-Briggs model as a starting point to gauge how different players respond to different gaming elements related to weapon manipulation. To apply a set of emotions to all gamers and how they experience weaponry in a game would be too inaccurate at the outset. A game may be the same for all the players, but the players themselves are the greatest variable in a gaming experience. Carmina Marcial, in, 2017 Children and Adolescents' Cognitive Skills Are Enhanced Via MediaThe second section of this volume explores the affordances of digital media for enhancing a broad range of cognitive skills, including visual attention, executive functioning, and literacy.

The first two chapters in this section focus specifically on video games. Gorman and Green emphasize the differential impact of action video games (first- and third-person shooter games) relative to other types of video games in enhancing aspects of perceptual and cognitive processing, including contrast sensitivity, peripheral vision, object tracking, and control of attention among primarily adult study participants. The authors further highlight the need for game developers to combine the perceptually demanding elements of action video games with more age-appropriate content for children.

Lane and Yi consider the profound impact of the game Minecraft in today's youth culture and its adoption by schools as a means of engaging youth in creative projects that may spark their interest in STEM fields. The authors consider the need for research to evaluate how specific implementations of Minecraft in school settings impact both student motivation and targeted cognitive skills.Fietzer and Chin evaluate claims that interactions with digital technologies, primarily video games, impact executive functioning, including their control of attention, working memory, planning, and problem solving among typically developing individuals and those with special needs.

Bailey and Bailenson review what is meant by immersive virtual reality (IVR) and how it might be used as a venue for informal education and remediation of skills. The authors also consider the ramifications of IVR for cognitive development.Wood and Johnson consider texting in relation to the development of literacy skills (reading, spelling, and writing). Specifically, they review recent research suggesting that the use of textspeak (i.e., texting language that includes acronyms, initials, and emoticons, and other abbreviations) facilitates phonological development, which includes awareness of how speech sounds map onto written units (orthography). They conclude that texting allows children and adolescents to practice skills necessary to master the writing system, which benefits their literacy development.In the final chapter of this section, Fisch advocates for increased collaboration between children's media producers and academics. Specifically, he proposes that applying theory that can be used to examine children's learning from media (e.g., Sweller's Cognitive Load Theory and Fisch's Capacity Model) to the production of educational media results in products that maximize learning. Hamlen, Fran C. Blumberg, in, 2015 Working Outside the ProgrammingOften, when the in-game approaches to problem solving do not work, a gamer will start working outside of the programmed game play to creatively solve the problem.

This can include both working with others to problem-solve collectively, as well as glitching. Glitching occurs when there is a programming error in the game, and a player exploits that error to do something they would normally not be able to do in the game. When a player drinks a “Fortify Restoration” potion in Skyrim, it is designed to increase Restoration skill only. Due to a programming error, however, it also increases the power of any enchanted item you equip while the portion is active. Gamers who discover this glitch can create overpowered, unstoppable characters that can win the game very easily.

This becomes even more of an issue in a competitive multiplayer game. In Halo, a first-person multiplayer shooter game, there are known glitches that allow the player to pass through a wall that one should not be able to pass through.

Some players exploit these glitches to gain an advantage over their enemy in the game. According to Bainbridge and Bainbridge (2007), the most common response of a gamer when faced with a glitch in the game is to exploit the glitch. Finding glitches and new ways to proceed through the game and overcome obstacles may be considered a source of pride among gamers because they are not easy to find; it is difficult to solve problems in a video game in unique ways because most creative efforts in video games are limited by the game programming. Games are generally released still containing bugs, or problems in the game programming that are not only glitches but can either make tasks more difficult or can sometimes even prevent the player from being able to finish a task in the game.

In another form of creative problem solving in digital games, related to these bugs and glitches, some individuals deliberately take on the challenge of locating bugs and glitches in games. They then find ways to overcome the bugs to get the game back on its usual course, since many of these bugs and glitches interrupt the normal game play and keep the player from being able to accomplish goals. Once an individual finds a solution, he or she may then publish it online, which is very useful to others who run into the same problems in the game. This can also be a way to gain notoriety or praise in a video game community. Mathew Bumbalough, Adam Henze, in, 2016 Violence and PTSD Across GenresWhile the majority of our data analysis revolves around the Max Payne and Metal Gear Solid franchises, by briefly touching upon other popular games, we hope to convey the sense of how trauma is often depicted in current digital media. An important point to note is that, while some traumatic video games contain violence, not all violent video games contain trauma. Take, for example, the 2011 console release Bulletstorm by Electronic Arts, a game that the entertainment website, IGN Entertainment Company (IGN), describes as a “violently charming popcorn shooter” ( Gies, 2011).

Sporting the tagline “Kill with Skill,” Bulletstorm stands apart from other first-person shooter games by tasking the player with murdering enemies in innovative ways—such as shooting an opponent in the rear end, strapping explosives to their back before boot-kicking them in the chest and riddling their flailing body with bullets, as it is sent flying into a patch of spiny cacti. Game Informer magazine praised Bulletstorm’s clever action mechanic, stating that the “sadistic opus arrives at a time when most shooters do little more than let you blast dudes in the head while things explode. Bulletstorm has those things, but also lets you shoot a man in the testicles and kick slide his head off” ( Turi, 2011). While the gameplay consists of impaling and chain-whipping countless foes left and right, the narrative never allows the player to question the impact of their decisions or internalize the weight of taking the life of another.

The spikey-haired, catch-phrase-spouting, over-the-top-action protagonist Jet Brody stands in contrast to the main characters of games with heavier narratives. In the critically acclaimed game Heavy Rain by Sony Computer Entertainment, for example, protagonist Ethan Mars, succumbs to chronic depression and drug addiction after the death of his son.

The tragedy leaves our hero with crippling agoraphobia; he is prone to blackouts and the player’s responses to signs of Ethan’s anxieties have a tremendous impact on how the story unfolds. The symptoms of Ethan’s PTSD become a Macguffin, or a plot device that significantly propels the narrative of a story. While Bulletstorm is sensationally violent and empty of consequence, Heavy Rain is sorrowful, uncomfortable even in its attempt to authentically digitize the staple American antihero. And as the demographic of gamers has matured in the past two decades, a growing number of game protagonists are starting to look more like Ethan and less like Jet.Although the Max Payne and Metal Gear Solid series were among the first games to take an adult look at issues involving PTSD, the theme is now an increasingly popular plot device in games that extend outside the shooter genre. For example, in the Sci-fi/horror game Dead Space by Electronic Arts, players step into the perspective of Isaac Clarke—a deep-space systems engineer whose fragile psyche crumbles as he and his shipmates are attacked by an onslaught of deranged necromorphs. Another example, in the mythological-themed action game, God of War by Sony Computer Entertainment, the protagonist Kratos seeks revenge against the god Ares after the deity forces Kratos’s hand to slaughter his own wife and daughter in bloodlust.

Finally, Joel in the survival/horror game The Last of Us by Sony Computer Entertainment suffers PTSD from the death of his daughter Sarah who was gunned down by quarantine police during the inception of a massive infectious outbreak (the zombie apocalypse). While this list is neither extensive nor exhaustive, the intent is to show that tropes involved with PTSD appear frequently in franchises well outside the sphere of the typical military shooter, where games like Spec Ops: The Line by 2K Games, commonly use themes of trauma as a Macguffin.