Abstract This paper inspects the concept of immersion in video games as a gradient category resulting from the degrees of interactivity and immediacy. By factoring in the objective technological affordances of media, as well as the subjective impression that these affordances help create, and the culturally constructed nature of gameplay experience, I argue that high degrees of interactivity and immediacy are not achieved solely by giving the player more freedom of action, and, respectively, by inflecting the content of the narrative as little as possible with the medium’s specific narrative affordances. Quite on the contrary, it is necessary that freedom be limited and content be manipulated for the video game to have high degrees of narrativity and playability, thus ensuring player engagement. In the absence of player engagement, the mediated nature of gaming experience becomes obvious and the level of immersion decreases. In the last section, I explore the relationship between video games and film and point out the consequences the remediation of film has regarding the level of immediacy.1

中文翻译：

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沉浸在技术，主体和文化的交汇处：《寂静岭2》的分析

摘要本文考察了沉浸在视频游戏中的概念，它是由交互性和即时性程度引起的梯度类别。通过考虑媒体的客观技术支持，以及这些支持有助于创造的主观印象，以及游戏体验的文化构造本质，我认为不能仅通过赋予玩家更多自由来实现高度的互动性和即时性行动，以及通过尽可能少地利用媒体的特定叙事能力来改变叙事的内容。相反，对于视频游戏来说，必须限制自由度并操纵内容，以使其具有高度的叙述性和可玩性，从而确保玩家的参与度。在没有玩家参与的情况下，游戏体验的中介性质变得很明显，沉浸感的水平降低。在上一节中，我探讨了视频游戏与电影之间的关系，并指出了电影补救对即时性的影响。1