World of Warcraft, the Role-playing Game and the Deconstruction of the Classical Model. the Construction of Environments and Multiform Narrations

Let’s remember the idea of the film spectator. The projective systems of artistic creation have always tried a “place” for its spectator. In the cinema furthermore, the exhibit’s own structure proposes the spectator as an indispensable element of the cinematographic act, developing a hegemonic model, in which it occupies a central and essential position. As Müsterberg stated, the cinema works ideally for the spectator, it is formed to aim the human spirit not existing, psychologically, nor in the film nor in the screen, but only in the spirit that gives it its reality. It is articulated like this, a whole device of creation and cinematographic reproduction designed for this cinematographic spectator without all its creative process remaining ruined. Retaking the Sartrian thesis of the image as “absentpresence”, in which the perception of the world gains force from an infantile mentality which considers the reality of the dreams with so much presence with the reality of the vigils, it introduces the figure of the cinematographic spectator in an identical position, as this one is the one who gives a “soul” to the things he perceives over the screen. In this way the perception in the cinema comes close to the “magic perception” based in a system determined “by the believe in the double, in the metamorphosis and in the ubiquity, in the universal flow, in the reciprocal analogy of the microcosms and macrocosms, in the anthropocosmomorphism”.