It serves as a looking-glass into something outside of the reader's perspective
Our group would agree with this sentence, but in addition to immersion serving as an looking-glass, we would say being immersed into something is beyond that to a certain degree. Achieving true immersion includes the player feeling like they themselves are a part of the story.
However, to regulate this immersion, the narrator breaks the fourth wall in the second image. This aligns with Murrays ideas of how good examples of immersion do not truly push the reader into a state of fantasy.
This is a really interesting take on the ending of "c ya laterrr." When the majority of our group members finished the game, we never really viewed this ending slide as a way to break the immersion. Not to say the point is wrong, it is just a new perspective, and it may have been the authors intention to break the immersion - or it could have been coincidence. Either way, it is an interesting example of not pushing the reader into fantasy.
Katie reads and discovers Sam's situation from an outside perspective by reading her diary. The diary bridges the gap between Sam's and Katie's perspective even if they might not be able to relate to each other completely.
Through playing as Katie, the player almost intrudes on this intimate message that was meant for the character. Adding a larger context.
Zork-like puzzle dungeons and maze-based combat videogames derive from a heroic narrative of adventure whose roots are in antiquity.
Integrates the use of Roman epics to portray one of the applications of agency within digital literature in dungeon-style games with the story of Theseus and the great maze of Minos's. This implies that digital literature that are based on brutalist styles typically nest from olden tales with darker themes of slaying beasts and fighting for blood.