Proposing that Samuel Taylor Coleridge's concept of suspension of disbelief is a complicated process often cited rhetorically rather than given its theoretical due, this thesis aims to rehabilitate the term and turn it into a useful, sharpened tool for games studies. Primarily concerned with how players relate imaginatively to the often major dissonance between gameplay and narrative in digital games, this thesis questions how the literate players of games reconcile these complex texts imaginatively. This thesis explores the ways in which suspension of disbelief works in digital games.
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