question: Any reason there isn't a second person perspective?
comment: There is a second person perspective. It is where a story is being told to another person about you. In a game it could be where a person is looking at you or talking to another person about you.
passages: Section::::Initial support.
   First-person (gaming)
  
  In video games, first person is any graphical perspective rendered from the viewpoint of the player's character, or a viewpoint from the cockpit or front seat of a vehicle driven by the character. Many genres incorporate first-person perspectives, among them adventure games, driving, sailing, and flight simulators. Most notable is the first-person shooter, in which the graphical perspective is an integral component of the gameplay.
  
  Section::::Game mechanics.
   Virtual Reality immersive narrative allows different points of view: in first-person the audience experiences the main characters story; in first-person peripheral, the audience acts as a supporting character following the main character's story; in second-person, it is in the perspective of "you;" in third-person limited, the audience only knows what the character knows; in third-person multiple, few characters thoughts are known; and, in third-person omniscient, the viewer knows everyone in the story.
  
  Section::::Youth movement.
   Games with a first-person perspective are usually avatar-based, wherein the game displays what the player's avatar would see with the avatar's own eyes. Thus, players typically cannot see the avatar's body, though they may be able to see the avatar's weapons or hands. This viewpoint is also frequently used to represent the perspective of a driver within a vehicle, as in flight and racing simulators; and it is common to make use of positional audio, where the volume of ambient sounds varies depending on their position with respect to the player's avatar.
   Section::::Point of view device.:Identity.
  
  A story written in the first person can be told by the main character, a less important character witnessing events, or a person retelling a story they were told by someone else. This point of view is often effective in giving a sense of closeness to the character.
  
  Section::::Point of view device.:Reliability.
   "You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy."—Opening lines of Jay McInerney's "Bright Lights, Big City" (1984)
  
  The "Choose your own adventure" Gamebooks are written in second person.
  
  Section::::Narrative point of view.:Third-person.
   Section::::Other types and uses.
  
  Text-based interactive fiction, such as "Zork", conventionally has descriptions written in the second person (though exceptions exist), telling the character what they are seeing and doing. This practice is also encountered occasionally in text-based segments of graphical games, such as those from Spiderweb Software, which make ample use of second person flavor text in pop up text boxes with character and location descriptions. Charles Stross's novel Halting State was written in second person as an allusion to this style.
  
  Section::::See also.
  
  BULLET::::- Narrative structure
  
  BULLET::::- Opening narration
  
  BULLET::::- Pace
  
  Section::::Further reading.
   Section::::Narrative point of view.:First-person.
   In 1990, SNK released beat 'em ups with a first-person perspective: the hack & slash game "Crossed Swords", and the fighting & shooting game "Super Spy". In late 1991, the fledgling id Software released "Catacomb 3D", which introduced the concept of showing the player's hand on-screen, strengthening the illusion that the player is viewing the world through the character's eyes.
   In contrast to the broad, sweeping perspectives seen in many 19th-century novels, third-person subjective is sometimes called the "over the shoulder" perspective; the narrator only describes events perceived and information known by a character. At its narrowest and most subjective scope, the story reads as though the viewpoint character were narrating it; dramatically this is very similar to the first person, in that it allows in-depth revelation of the protagonist's personality, but it uses third-person grammar. Some writers will shift perspective from one viewpoint character to another, such as in Robert Jordan's "The Wheel of Time", or George R. R. Martin's "A Song of Ice and Fire".
   First-person narrators are often unreliable narrators since a narrator might be impaired (such as both Quentin and Benjy in Faulkner's "The Sound and the Fury"), lie (as in "The Quiet American" by Graham Greene, or "The Book of the New Sun" series by Gene Wolfe), or manipulate their own memories intentionally or not (as in "The Remains of the Day" by Kazuo Ishiguro, or in Ken Kesey's "One Flew Over the Cuckoo's Nest"). Henry James discusses his concerns about "the romantic privilege of the 'first person'" in his preface to "The Ambassadors", calling it "the darkest abyss of romance."
   Games with a first-person perspective are usually avatar-based, wherein the game displays what the player's avatar would see with the avatar's own eyes. Thus, players typically cannot see the avatar's body, though they may be able to see the avatar's weapons or hands. This viewpoint is also frequently used to represent the perspective of a driver within a vehicle, as in flight and racing simulators; and it is common to make use of positional audio, where the volume of ambient sounds varies depending on their position with respect to the player's avatar.
   The main concept behind the new game structure was to take the idea of "the room" as "the safest part of your world" and make it a danger zone. The first-person perspective was included in this area of the game to give the room's navigation a personal and claustrophobic feel. The producers nonetheless retained the classic third-person perspective in all other areas to accommodate the increased emphasis on action and combat. The developers re-used locations already explored in the first half of the game to show the changes undergone by each character introduced in the locations.
   Many stories, especially in literature, alternate between the third person limited and third person omniscient. In this case, an author will move back and forth between a more omniscient third-person narrator to a more personal third-person limited narrator. Typically, like the "A Song of Ice and Fire" series by George R. R. Martin, a switch of third-person limited viewpoint on some character is done only at chapter boundaries. "The Home and the World", written in 1916 by Rabindranath Tagore, is another example of a book switching among just three characters at chapter boundaries. In "The Heroes of Olympus" series, the point of view changes between characters at intervals. The "Harry Potter" series is told in third-person limited for much of the seven novels, but deviates to omniscient on occasions, particularly during the opening chapters of later novels in the series, which switch from the limited view of the eponymous Harry to other characters (for example, the Muggle Prime Minister in the Half-Blood Prince).
   While the tendency for novels (or other narrative works) is to adopt a single point of view throughout the entire novel, some authors have utilized other points of view that, for example, alternate between different first-person narrators or alternate between a first- and a third-person narrative mode. The ten books of the "" adventure series, by D. J. MacHale, switch back and forth between a first-person perspective (handwritten journal entries) of the main character along his journey as well as a disembodied third-person perspective focused of his friends back home. Margaret Atwood's "Alias Grace" provides one character's viewpoint from first-person as well as another character's from third-person limited. Often, a narrator using the first person will try to be more objective by also employing the third person for important action scenes, especially those in which they are not directly involved or in scenes where they are not present to have viewed the events in firsthand. This mode is found in Barbara Kingsolver's "The Poisonwood Bible". In William Faulkner's "As I Lay Dying", even the perspective of a deceased person is included.
   Scholars, however, have not found that third-person perception predicts willingness to censor news or political media content including censorship of press coverage of the O.J. Simpson trial, support for an independent commission to regulate political communication, or censorship or a Holocaust-denial advertisement.
  
  Section::::Extending the hypothesis.
   A rare form of first person is the first person omniscient, in which the narrator is a character in the story, but also knows the thoughts and feelings of all the other characters. It can seem like third person omniscient at times. A reasonable explanation fitting the mechanics of the story's world is generally provided or inferred, unless its glaring absence is a major plot point. Two notable examples are "The Book Thief" by Markus Zusak, where the narrator is Death, and "The Lovely Bones" by Alice Sebold, where a young girl, having been killed, observes, from some post-mortem, extracorporeal viewpoint, her family struggling to cope with her disappearance. Typically, however, the narrator restricts the events relayed in the narrative to those that could reasonably be known. Novice writers may make the mistake of allowing elements of omniscience into a first-person narrative unintentionally and at random, forgetting the inherent human limitations of a witness or participant of the events.
   First person refers to a graphical perspective rendered from the viewpoint of the player character. In many cases, this may be the viewpoint from the cockpit of a vehicle. Many different genres have made use of first-person perspectives, ranging from adventure games to flight simulators. Perhaps the most notable genre to make use of this device is the first-person shooter genre, where the graphical perspective has an immense impact on game play.
   First-person narratives can appear in several forms; interior monologue, as in Fyodor Dostoevsky's "Notes from Underground"; dramatic monologue, also in Albert Camus' "The Fall"; or explicitly, as Mark Twain's "Adventures of Huckleberry Finn."
  
  Other forms include temporary first-person narration as a story within a story, wherein a narrator or character observing the telling of a story by another is reproduced in full, temporarily and without interruption shifting narration to the speaker. The first-person narrator can also be the focal character.
  
  Section::::Styles.
   These games are closely related to first-person shooters, which also tie the perspective of the player to an avatar, but the two genres are distinct. While the first-person perspective allows players to aim and shoot without their avatar blocking their view, the third-person shooter shows the protagonist from an "over the shoulder shot" or "behind the back" perspective. Thus, the third-person perspective allows the game designer to create a more strongly characterized avatar and directs the player's attention as in watching a film. In contrast, a first-person perspective provides the player with greater immersion into the game universe.
   Games with a first-person perspective do not require sophisticated animations for the player's avatar, nor do they need to implement a manual or automated camera-control scheme as in third-person perspective. A first-person perspective allows for easier aiming, since there is no representation of the avatar to block the player's view. However, the absence of an avatar can make it difficult to master the timing and distances required to jump between platforms, and may cause motion sickness in some players.
   The third-person objective mode employs a narrator who tells a story without describing any character's thoughts, opinions, or feelings; instead, it gives an objective, unbiased point of view. Often the narrator is self-dehumanized in order to make the narrative more neutral. This type of narrative mode, is often seen outside of fiction in newspaper articles, biographical documents, and scientific journals. This narrative mode can be described as a "fly-on-the-wall" or "camera lens" approach that can only record the observable actions but does not interpret these actions or relay what thoughts are going through the minds of the characters. Works of fiction that use this style emphasize characters acting out their feelings observably. Internal thoughts, if expressed, are given voice through an aside or soliloquy. While this approach does not allow the author to reveal the unexpressed thoughts and feelings of the characters, it does allow the author to reveal information that not all or any of the characters may be aware of. An example of this so-called camera-eye perspective is "Hills Like White Elephants" by Ernest Hemingway.
   Third person refers to a graphical perspective rendered from a view that is some distance away (usually behind and slightly above) from the player's character. This viewpoint allows players to see a more strongly characterized avatar, and is most common in action and action-adventure games. This viewpoint poses some difficulties, however, in that when the player turns or stands with his back to a wall, the camera may jerk or end up in awkward positions. Developers have tried to alleviate this issue by implementing intelligent camera systems, or by giving the player control over the camera. There are three primary types of third-person camera systems: "fixed camera systems" in which the camera positions are set during the game creation; "tracking camera systems" in which the camera simply follows the player's character; and "interactive camera systems" that are under the player's control.
   Play-by-post games are frequently written in the third person perspective due to the fact that multiple players must share each scene, each with his or her character as the focus of attention. Common online game terms such as "OOC" ("Out of character") or "OOG" ("Out of Game") are used to differentiate in-character from personal posting.
   Several years later while interviewing West German journalists to determine the influence of the press on foreign policy, Davison asked the journalists to estimate the influence their editorials had on readers. Although no evidence could be found to support their claims, Davison writes that a common response was, “The editorials have little effect on people like you and me, but the ordinary reader is likely to be influenced quite a lot.” 
  
presuppositions: There is not a second person perspective. A second person perspective does not exist.
corrections: There is a second person perspective where a story is being told to another person about you. A second person perspective does exist.
raw_presuppositions: There is not a second person perspective. A second person perspective does not exist.
raw_corrections: There is a second person perspective where a story is being told to another person about you. A second person perspective does exist.