Galloway makes an interesting distinction between the subjective shot in video games and the subjective shot in film writing that “What was predatory vision in the cinema is now simply ‘active’ vision […] Where film uses the subjective shot to represent a problem with identification, games use the subjective shot to create identification. While film has thus far used the subjective shot as a corrective break through and destroy certain stabilizing elements in the film apparatus, games use the subjective shot to facilitate an active subject position that enables and facilitates the gamic apparatus” (Galloway 69). Interestingly, that which was marginalized in film is made natural in first-person shooter games: the predatory vision. Simply from the name of the genre, first-person shooter games make explicit the predator gaze as the player engages in hunting, shooting, and killing which then creates joy for the player as they earn more points, health, etc. The predator of films is unacceptable and distinct from the logic of film. The audience does not want to and is unable to assimilate the predator, however the use of the subjective shot forces the audience into identification with the predator. It is simply because violence and predation is unwelcome and outside of the logic and normalcy of film that the subjective shot is uncomfortable – it makes the audience take almost direct action in the predation; they feel as though they are the predator but unwillingly. In FPS games however, there is no audience but a voluntary individual, or a group of individuals, engaging in the predation. They accept the logic of the game’s violence so the subjective shot is not only natural, but seen as the best and easiest mode of view.