walking for pleasure into new and unseen places is not an act of idleness but a necessary part of retaining our humanity in a modern world increasingly cut off from nature

First-person shooters like Doom and Unreal revolutionised our  understanding  of space, structure and embodiment in games. They put players into the body of a killing machine and set them lose [sic]. First-person walking sims have taken the environmental lessons, the same ideas of architectural structure as a form of storytelling, and diverted the focus from action to introversion. They leave the player alone in a world with their own thoughts. (2016)

For instance, a computationally sophisticated MIT student who is also an expert gamer instanced a particular dramatic moment from the text-based Zork II as among his lifetime favorites: The story involves a dragon that is slow to rouse but always lethal if you persist in fighting him. Elsewhere in the dungeon is a wall of ice that is impossible to pass. What you must do is attack the dragon enough to get his attention—but not so much that he “toasts” you—and then run and head for the wall of ice. The dragon follows, sees his reflection in the ice, and thinks it is another dragon. He rears up and breathes fire at his enemy; as he does so, the ice melts, drowning the dragon and eliminating the obstructing wall