Lance Olsen and Tim Guthrie's 10:01), videogames (e.g. Woody Allen's The Purple Rose of Cairo), fan culture, digital fiction (e.g. Flann O'Brien's At Swim-Two-Birds), comics, film (e.g. This will be followed by a tentative typology of illusionist and anti-illusionist metaleptic narratives from narrative fiction (e.g. descending metalepsis, participatory, interactional and hetero-metalepsis. I will begin by mapping some important theoretical concepts, such as rhetorical vs.

In this talk I offer a survey of metaleptic techniques and their effects across media and showcase how specific media affordances help to to 'stage' illusion in two respects: by exposing and subverting mimetic illusion, and by enacting it as an interactive performance. The specific effects of metalepsis vary across media they depend both on authorial intention and individual interpretation, but generally speaking, they are either illusionist or ani-illusionist in nature: they either create/augment feelings of immersion or disrupt the willing suspension of disbelief. Typical examples of metalepsis include author-narrators talking to readers, characters stepping through film screens into superordinate or subordinate narrative worlds vidders creating films as a platform where they (or rather representations of themselves) meet their favourite popular media characters avatars impersonating players in game worlds and players talking about their avatars in the first person. a way of transporting characters, narrators or the audience into and out of diegetic levels or ontological spheres/worlds, or indeed just a quick ‘glance’ across, for instance by briefly addressing a reader, viewer, or player. Metalepses can involve a full physical transgression, i.e. Metalepsis is a rhetorical and narratological term (Genette 1980, Wolf 2005, Kukkonen 2011) referring to aesthetic techniques used across media to 'jump across' or break ontological boundaries between fictional and actual worlds, as well as between various layers of diegesis.

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