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• 1 2023-11-01T14:48:36+00:00 Redshift and Portalmetal Images 5 Raymond LI, Ben Amsterdam, Woojin Ahn, Darielle Saintilus image_header 2023-11-01T15:24:34+00:00 Jannet Murray explains that "When we enter a fictional world, we do not merely "suspend" a critical faculty; we also exercise a creative faculty. We do not suspend disbelief so much as we actively create belief.  Because of our desire to experience immersion, we focus our attention on the enveloping world and we use our intelligence to reinforce rather than to question the reality of the experience." (110)
  
  Immersive settings bring their viewers into the setting by allowing the viewer to keep some of their preexisting assumptions about the world and how it works while also introducing fictional concepts and for the reader to explore.  The choices given in Redshift and Portalmetal encourage player to act of their own accord within fictional world. In the image, the player must decide to either hack the border guard station and risk being caught, or wait for the guard and risk being rejected or detained. Redshift and Portalmetal builds a fictional world. the option of hack the border guard station in the moments while the guard is distracted is far removed from reality. However, builds the world around the basic assumption that the player could face negative consequences with the wrong choice. In addition, Redshift and Portalmetal makes the player project their own feelings and thinking to the game in order to make choices and thereby makes the player imagine the world in which they are choosing. In order to do so, the player must make more assumptions about the fictional world while also considering the differences between reality and fiction The same process described in Hamlet on the Holodeck by Murray.