The article aims to deepen the understanding of the relationship between religion and utopian thought considering the example of nineteenth-century France. The former describes the necessity to engage in the activity of playing in order to activate narrative or persuasive content, while the latter explains how the game’s artificial intelligence serves as proxy for distance communication. Immersion fractures and its antonym, immersion shatters, will be equally introduced as ludo-performative stasis and the homunculus digitalis.

The core unit Painting a Picture with Pixels introduces the four basic levels of game rhetoric: stage, agents, agency, and immersion fractures, the last one of which is one of four new theoretical concepts. While its vast narrative would overextend the limitations of this chapter, it is necessary to understand the basic dystopian themes and acknowledge their rhetorical presentation. Secondly, the analyzed game franchise Metal Gear Solid is to be introduced. The first step is to clarify the reason for videogames being a difficult medium for rhetorical intervention. The Metal Gear Solid saga serves as an excellent subject for investigation, considering it covers about twenty years of videogame history while being credited as one of the most influential games of all time. The primary goal of this paper is to investigate the basic factors that videogame orators can utilize to engage their audience(s).

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