By Theodore Low De Vinne
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Events need to be deﬁned and realized in their spatiotemporal setting by the player. Applying Brooks and Iser’s theories, the comprehension of this personal experience is seen as the plot.
A sniper view), duck/crouch/jump to avoid impact, call for help to friendly forces (controlled by other players), or taunt the enemy. In Counter-Strike, all these functions—examples of direct interactive access with immediate audiovisual feedback—are accessible at the same time through keyboard, mouse, and optional voice input. Most of these interactions depend on the avatar’s position in space. It makes a lot of difference for my actions whether I stand next to a door that can open or close, a virtual elevator, a pitfall that might stop the enemy, or behind some cover from possible attacks.
Aarseth 1997; Ryan 2001a, b; Kücklich 2001) but did so primarily in the context of MUDs and hypertextual pieces. The element of 3D navigable space adds a different mechanism to the readers’ involvement. While we can consider game worlds as a format of video games just like MUDs, players read and interact with them in very different ways than they do with descriptive text. Game worlds situate the players in a different relation to the evocative Deﬁning Narrative 43 elements. As we engage in the game space we start that discourse for which Bruner has identiﬁed narrative as a main method.