The article proposes and discusses the term of ‘ludotopian dissonance’ in reference to flawed open-world design in computer role-playing games (cRPGs). Much like ludonarrative dissonance, this concept shall address a paradox of narrative credibility – this time, however, narrowed to the gameworld itself rather than to gameplay or storyline. This case study of Cyberpunk 2077’s world-building is supplemented with reflection upon the idea of openness or ‘openworldlness’ (‘what makes a given imaginary world truly open? Is it possible? Or is it viable for video games?’), as well as with research on explorable imaginary worlds (predominantly from the angle of transmedial narratology and interdisciplinary world-building studies). The aim of the article is to reiterate the necessity of design worlds that do not only serve as a container for storytelling, but also provide the players with an inhabitable, performative ludotopia which does not produce any dissonances between the credible storyworld and incredulous gameworld.

Transmedia is a wide concept, as by definition, it is a network of various media forms. It includes also games, both digital and more traditional forms of games. Even though transmedia productions often are built around a certain television series, as Elizabeth Evans and M. J. Clarke have argued (Evans 2011;Clarke 2012), in some cases a digital game has been the core production as well. Some early examples include the Gadget: Invention, Travel, & Adventure (1993) a game expanded by a picture book and a novel The Third Force: A novel of Gadget (1996) authored by well-recognized science fiction author Marc Laidlaw, and the Myst (1993) game series, accompanied by a series of novels which were not adaptations of the game, but provided novel story content for the game world. Metal Gear Solid (1998) and Mass Effect (2007) game series have also spawned rich transmedia universes. For some reason, however, games have not been looked at in detail in their role as a part of a transmedia whole. Games are somewhat specific as a media form, in their product-audience relation, and in the way how they incorporate playfulness into that relation. In many cases, games are just one, and often minor, part of a wide transmedia franchise, but even in such cases the playfulness involved in transmedia user practices makes games well worth closer scrutiny.In the introduction to Storyworlds Across Media: Toward a Media-Conscious Narratology, Marie-Laure Ryan and Jan-Noël Thon propose to pivot the reflection on transmedial narrative strategies around the post-

Abstract:The trend observed in the past few years, aiming at raising the level of energy safety both in Poland and in the world, has changed irreversibly the management specificity in the electrical energy industry. Traditional methods of management in this sector began to be insufficient in relation to the present quickly changing reality. The article presents a concept of the management method preventing a crisis situation in an electrical energy utility -a baseload power plant for the risks: a power unit overloading resulting in its disorderly close-down, a lack of technical-economic data transmission and a modification of business data.

In this chapter, inspired by Bernhard Waldenfels' phenomenology of the Other and its 'xenotopographic' interpretation, it is examined whether a typical-for fantasy and SF genres-two-world or 'portal-quest' model (empirical world → symbolical gate → counterempirical world) is not nowadays replaced with the pre-established, immersive, and purely imaginative storyworld (purum figmentum). Consequently, it is stated that philosophical premises of such world-building and a representative for it genre of allotopia are altogether contributing to a significant shift between 20 th and 21 st century fiction that manifests in the tendency to create the storyworld prior to the storyline-as a 'matrix for possible narratives'. Finally, it is claimed that this type of prose particularly invites modelling heterotopian frontiers within the allotopian storyworld-but no more entangles itself in the paradigm of 'realist imperialism' by supporting easy, though gravely colonial, juxtapositions of empirical, real, factual and counterempirical, unreal, or counterfactual worlds.

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