GAM720 Week 05:05 Suspension Of Disbelief Theory In Practice

Extract from my second Draft Literature Review 

The theory presented in this chapter (Chapter 5) contributes to my own practice as it demands that I evaluate how I engage the players suspension of disbelief in my own videogame design. I am challenged to reconsider how the player adopts a ‘lusory attitude’ and the ‘game playing role’ through a willed disavowel of presence, in their acceptance of the 4th wall.

I am prompted to reconsider how the player interacts with the diegesis and how
I might bend or expand my 4th wall for narrative or game play affect. For example, I could design the ‘wheel of fortune’ interaction in such a way that it reinforces a sense of disorientation in the player. This draws attention to the wall between the player and the diegesis because the wheel is not only a game within the game, it is also the game environment in which the game is located. This means that when the player spins the wheel, the game environment will spin, presented to the player as a plan view of the world.

Although I had considered how to visually infer that the world is spinning by the use of lighting and shadow; I hadn’t thought about breaking the 4th wall to draw attention to the controllers or game device within the game. I am now considering whether I could disorientate the player so that it would be necessary to chase the stop button around the screen or add other confusing elements to the design such as sound or vibration (on a console).” 


I am working on my game mechanic design to deploy the suspension of disbelief as a narrative device as I intend to disorientate the player when the world/wheel is spinning. I am considering blurring and shifting boundaries, speaking to the players position outside of the game but connected to it via the device…

This will require further research into how it feels to be dizzy and disorientated.

  • Moving the stop button around the screen so that the player has to chase it in order to press it. 
  • Illustrating the device within the narrative on screen to mirror the players experience holding the control device. 
  • Use sound to disorientate the player. 
  • Use blur effects. 


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