More importantly, the responsibility for the events that take place in the game are often ambiguously attributed to the player, implying that the (often horrific) results of the player actions are the fault of the player for interacting in the first place. In other words, an ambiguous player-avatar relationship is a situation in which the player is not explicitly acknowledged as diegetic, but the themes, dialogue, and overall presentation of the game heavily imply knowledge of the player’s presence. When characters look at Snake they often see Snake, but they just as often see the player, staring right through Snake's eyes. It does this by reveling in the ambiguous nature of the player-avatar relationship. Metal Gear Solid stretches the membrane between the fictional world and the real world as a way of bringing player and fiction together - not driving them apart. Matthew Weise describes this concept as it appears in metal gear solid as such
This chapter will discuss the player in a diegetically ambiguous position, and specifically how ambiguous player- avatar relationships provide deep immersion and critique of the player-avatar relationship. Already discussed in earlier sections are games that explicitly acknowledge the player as part of the extended fiction, and while these games provide great exploration of interesting narrative and metanarrative concepts, they aren’t exactly searing in their critiques: Earthbound provides an emotionally resonant but not critical view of the player as a savior, Icey provides a playful, thoughtful rivalry between player and developer, and Life is Strange takes into account the anticipated goals of the implied player in order to pit them against emotional attachments to implied being. The penultimate non-diegetic element in relation to any game is the player.
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