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According to Bolter and Grusin, computer games with a high narrativity—like adventure, mystery, and simulation games—create immediacy by using filmic techniques, thereby making the players feel themselves to be in a film. Once the educative direction is understood, the audience knows which of Phil's actions are promising regarding the plot. [...]to the dissipative use of coincidences in Run Lola Run, where single events clearly change within the three versions, in Groundhog Day the events of the repeated day only marginally deviate from time to time—they are not ruled by chance, but by order and repetition. "16 Ironically, Lola succeeds in determining a game of chance after running thrice through a plot dominated by accumulated chances. [...]the fictional world that is determined by coincidence is tamed by the subject that believes in love and trusts in her will and her ability to scream.17 In Sliding Doors the ludic form that could be called "split/fork by chance" is due to form closed at the end of the film and confirmed by repetition when the doors of the elevator slide. [...]the integration of ludic forms brings forth hybrid logics; it produces effects on the ambient narrative setting because their bounded logic interferes with the overarching logic of the entire media product.