Introduction

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As Being-in-the-world, we always live in interactions with other beings. Once we start perceiving others, we inevitably adopt a certain perspective, through which we gain understanding and knowledge of specific things. In games which are fundamentally based on interactive events, we can find perspectives being applied throughout.

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The application of perspectives primarily shapes players’ emotions and understanding, also implying creators’ vision for the dimensions that their artworks possibly convey. Only by understanding the essence of perspectives, can we approach the core of game.

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This essay mainly covers two examples—the puzzle game Samsara Room and the classical film Mulholland Drive, discussing the possibilities of application of perspectives from artistic and phenomenological standpoints, and further analyzing the application of perspective’s shaping on overall narratives.

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(Note: Normally, perspective is defined as a particular attitude towards something or a way of thinking about something. The perspective employed in this article refers to its general meaning, “viewpoint”, which is based on the subject of observation, including interpretations of multi-perspective approach in fine arts and phenomenological theories, rather than focusing on physical aspects such as orientation, perspective, or first-person perspective.)