Elżbieta Niewiadoma
A b s t r a k t
Metalepsis has been defined as a “disruption of the hierarchical structure of diegetic levels of narration” (Hanebeck, 2017, p.1). As such, it is frequently associated with a narrative break that interferes with any fictional immersion, often for narrative goals. However, academics like Bell (2016), Ensslin (2015) and Kukkonen (2011) have pointed out the existence of interactional metalepsis, whose goal is to ensure the smooth crossing of the aforementioned ontological boundaries. It is noted that interactional metalepsis frequently takes place within the world of ergodic digital fiction through the use of so-called “media-specific interactive modes of expression” (Bell, 2016, p. 297). An important example of these are avatars, which Ensslin describes as “the most immersive metaleptic tool, as it offers user-players the opportunity to project themselves physically and graphically into the storyworld” (qtd. in Barkman, 2021, p. 6). As such, the following paper will explore how video game avatars function as metaleptic tools within the confines of interactional metalepsis. Specific examples and video game titles will be referenced, including such games as Inscryption (2021) and Alan Wake 2 (2023). The paper concludes that avatars act as ontological bridges in video games, serving as a key foundation for immersive and non-disruptive gameplay.