This article analyses the phenomenology and ontology of videogames through the lens of semiotics. The difference between games and more traditional narrative models (such as those found in books and movies) lies on the structural level. The game narrative needs to be ‘written’ (played) before it can be ‘read’ (interpreted). Games provide fluidity of interactive immersion: the interface as the place of the merger between the player and the game. A connection, without delay, is established between the movement of the (...) player’s hands and the virtual movement across virtual space-times of the virtual characters/events on the screen. The connection is cybernetic, of course, and real. The actuality of the virtual is established as the action of the finger movements of the player. Games require at least a minimum degree of interaction. The player has a role as the master of the code, as the last string of code attached to complete the sequence. Such is the definition of the Cinematic under the formal demands of the Ludic: the defining-delimiting-restricting background which nonetheless, by its very (fixed) presence, provides the nurturing ground for the appearance and presence of (fluid) malleability as the ‘gap’ or ‘lack’ in the structure to be filled – in whatever manner – by the player in the act of his or her (world-constitutive) existential engagement. (shrink)