The Temple of No is a game that has a lot of resemblance to a child’s book or fairytale. The story about going to the temple is being told as a fairytale in the game itself. However, this fairytale doesn’t seem to carry a big message throughout the story, besides maybe leaving no trace. Although, throughout the game elements like the image above encourage the reader to let loose, to stop caring about being so serious, and to embrace the fantastical elements of the story; to just enjoy the fact that the frog is dancing and singing in a mysterious forest looking for an Aztec temple and not worry about whether that is real or not. In the image, you can see the frog wearing a silly little hat and what looks to be human clothes. These elements of the image personify the frog making him more relatable to the reader despite still being a frog. So while the fantasy elements of the story like the fact that the character is a silly frog dancing in the woods create a unique outside perspective on things by creating an otherworldly and often intensified feeling, the human elements still allow the reader to project themselves into the story and relate to the character.

The overlap between what was considered real or fantasy and what is now considered real or fantasy exemplifies how fiction creates connections between events and ideas in ways that are not always possible given the restrictions of what we call reality. In her book Otherworlds Medieval English Literature professor Aisling Bryne explores fantasies of otherworlds in medieval history and how they might not be so fantastical or “other” as the term indicates; otherworlds are “a means of stepping outside the narrative text while remaining in it…in the same way, fiction provides a means to step out of reality in order to return to it with a fuller understanding” (Bryne 185). The given image from The Temple of No does exactly this; by creating this imaginary mystical world of a frog explorer foraging through the forest in search of a secret map it, in a sense, creates an “otherworld”. This therefore allows the reader to immerse themselves beyond the analog text and into the fantasy to comprehend the story in ways not previously possible as Bryne stated.