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For example, the 4x90 degree image arrangement—in Myst and Riven there is often the following situation: You turn to the right (on the screen, a new monica image pushes the old from monica right to left), but the images do not fit. You see in the pushing process double objects and breaks. An example of the match of visual-virtual situation and the "what you can do"—in some adventure games you find situations like this: You stay on a path beside a meadow or other passable area, but monica you can't go on it. There is no railing, no rift, no water, but still you can't go. In Rhem I wanted to prevent this breaking asunder of visual situation and the possibilities of your own action. It was also important for me to avoid cinema elements, which contradict the idea of interactivity. For example, in the intro of Myst 3: Exile, as Saavedro throws the fireball, the camera (the view of the gamer) moves around.
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