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QCAA Film TV & New Media study materials
QCAA Film TV & New Media study resources

QCAA Film TV & New Media practice questions

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Question 1Film and television language, codes and conventions

Which term describes the physical relationship between the camera and the subject in a shot?

  1. Montage
  2. Mise en scène
  3. Diegesis
  4. Shot size Correct answer.

Explanation

Shot size names how much of the subject fills the frame, from extreme close-up to extreme wide shot. It is a framing decision made at the camera, so it belongs to cinematography rather than editing or narrative.

Question 2Film and television language, codes and conventions

A scene cuts repeatedly between a character's eyes and a ticking clock on the wall. What editing relationship is being created?

  1. A jump cut compressing time
  2. Cross-cutting between separate locations
  3. A match cut linking similar shapes
  4. An eyeline match suggesting the character looks at the clock Correct answer.

Explanation

An eyeline match cuts from a character looking off-screen to the object of that gaze, establishing that they see it. The repeated alternation builds a connection between the character's attention and the clock.

Question 3Film and television language, codes and conventions

In film sound terminology, what is diegetic sound?

  1. Sound recorded separately from the image
  2. Music scored for the audience only
  3. Sound whose source exists within the story world Correct answer.
  4. Sound added in post-production to heighten mood

Explanation

Diegetic sound has a source inside the narrative world, such as a radio a character switches on or footsteps in a corridor. Characters can plausibly hear it, which distinguishes it from non-diegetic scoring.

Question 4Film and television language, codes and conventions

A low-angle shot of a character is most likely to communicate which idea?

  1. Neutral observation
  2. Power or dominance Correct answer.
  3. Disorientation and imbalance
  4. Vulnerability and smallness

Explanation

Shooting from below makes the subject loom over the viewer, a convention associated with authority and threat. The angle manipulates the viewer's psychological relation to the figure rather than simply recording them.

Question 5Film and television language, codes and conventions

What does the 180-degree rule keep consistent across a sequence of shots?

  1. Lens focal length between shots
  2. Colour temperature between setups
  3. Screen direction and spatial geography Correct answer.
  4. Volume levels of dialogue

Explanation

The rule keeps the camera on one side of an imaginary line so characters and objects maintain consistent screen positions and directions. Breaking it makes viewers feel that the space has flipped or that characters have swapped sides.

Question 6Film and television language, codes and conventions

A director wants the audience to feel a character's isolation in a vast landscape. Which combination best achieves this?

  1. Point-of-view shot from the character's eyes
  2. Extreme wide shot with the figure small in frame Correct answer.
  3. Over-the-shoulder shot with the figure large
  4. Close-up with shallow focus

Explanation

An extreme wide shot reduces the human figure to a small element within a large environment, visually expressing insignificance and isolation. Framing scale is a primary tool for encoding a character's relation to their world.

Question 7Film and television language, codes and conventions

Which description best fits a hard key light?

  1. A broad, soft source producing gradual shadow edges
  2. A light placed behind the subject to outline them
  3. A directional source producing sharp-edged shadows Correct answer.
  4. A fill light that removes all shadow

Explanation

Hard light comes from a small or distant source and casts shadows with crisp, defined edges, increasing contrast and texture. Soft light, by contrast, wraps around the subject and produces gradual shadow falloff.

Question 8Film and television language, codes and conventions

A shot begins with a character in a red coat alone, then a second figure in the same red coat enters and they stand symmetrically. What design principle is most evident?

  1. Visual rhyme through repeated colour and balanced composition Correct answer.
  2. Deep focus to show background detail
  3. Handheld camera to suggest realism
  4. Off-screen sound to expand space

Explanation

Repeating the red coat creates a visual rhyme, and the symmetrical staging balances the frame. These are compositional choices that invite the viewer to compare the two figures.

Question 9Film and television language, codes and conventions

What is the primary function of a match cut on action?

  1. To slow the pace of a sequence
  2. To signal a flashback
  3. To introduce non-diegetic music
  4. To hide a cut by continuing a movement across shots Correct answer.

Explanation

A match cut on action joins two shots at a point where a movement continues, so the edit is concealed and the flow feels seamless. It preserves kinetic continuity even when the location or time changes.

Question 10Film and television language, codes and conventions

A scene uses a slow push-in on a silent character's face while the ambient sound fades to nothing. What effect is most likely intended?

  1. Documentary objectivity
  2. Growing tension and interior focus Correct answer.
  3. Comic exaggeration
  4. Rapid passage of time

Explanation

Combining a gradual push-in with the removal of ambient sound narrows attention onto the character's inner state and builds unease. Camera movement and sound design work together to shape the viewer's emotional reading.

Question 11Film and television language, codes and conventions

Which term refers to the arrangement of everything visible within the frame, including sets, costumes, lighting and actor placement?

  1. Montage
  2. Diegesis
  3. Mise en scène Correct answer.
  4. Verisimilitude

Explanation

Mise en scène covers all the staged elements within the shot: setting, props, costume, lighting and blocking. It is a design concept applied before and during shooting rather than in the edit.

Question 12Film and television language, codes and conventions

A sequence alternates rapidly between a bomb timer and a crowded train platform, with music accelerating each time. What is the dominant technique and effect?

  1. Slow motion to create calm
  2. Cross-cutting to build suspense Correct answer.
  3. Dissolve to suggest memory
  4. Fade to indicate closure

Explanation

Cross-cutting alternates between two related spaces to imply simultaneity, and the accelerating music intensifies the audience's anticipation. The parallel editing constructs suspense from the implied connection between timer and crowd.

Question 13Film and television language, codes and conventions

Which colour grading choice most strongly signals a warm, nostalgic memory sequence?

  1. Amber and gold tones with softened contrast Correct answer.
  2. Neutral grey with heavy grain
  3. Harsh green tint with crushed shadows
  4. Desaturated cool blues with high contrast

Explanation

Warm amber and gold palettes are a familiar convention for memory and nostalgia, and softer contrast adds a dreamlike quality. Colour grading encodes emotional and temporal cues beyond literal appearance.

Question 14Film and television language, codes and conventions

What distinguishes non-diegetic sound from diegetic sound?

  1. It is always louder in the mix
  2. It is only used in documentaries
  3. It has no source within the story world Correct answer.
  4. It is recorded on location

Explanation

Non-diegetic sound, such as a score or a narrator's voice-over, is not heard by the characters and has no source in the story world. The distinction rests on narrative source, not volume or recording method.

Question 15Film and television language, codes and conventions

A filmmaker wants to suggest that two characters are emotionally distant despite standing close together. Which technique best supports this?

  1. High-key lighting removing all shadows
  2. Wide lens with both figures at frame edges and empty space between them Correct answer.
  3. Fast-paced cutting between their faces
  4. Telephoto lens compressing them into a tight cluster

Explanation

Placing figures at opposite edges with dead space between them uses composition to encode emotional separation. A wider lens exaggerates the gap and makes the emptiness between them visually prominent.

Question 16Film and television language, codes and conventions

Which of these is an example of a Dutch angle?

  1. The camera placed at the subject's eye level
  2. The camera tracking sideways with the subject
  3. The camera tilted so the horizon runs diagonally Correct answer.
  4. The camera placed directly overhead

Explanation

A Dutch angle tilts the camera so vertical and horizontal lines run diagonally, producing unease or instability. It is a roll of the camera rather than a change in height or position.

Question 17Film and television language, codes and conventions

What is the main purpose of a cutaway shot?

  1. To transition between acts with a fade
  2. To slow the narrative pace deliberately
  3. To provide relevant detail or cover continuity in the main action Correct answer.
  4. To reveal a character's private thoughts through voice-over

Explanation

A cutaway shows something outside the main action, supplying information or giving the editor material to bridge continuity problems. It supports the primary scene rather than replacing it.

Question 18Film and television language, codes and conventions

In a scene, a character hears a phone ring from another room and turns toward the sound. Which term best describes the ringing at the moment it is heard but its source is not shown?

  1. Off-screen diegetic sound Correct answer.
  2. Voice-over narration
  3. Non-diegetic score
  4. Foley replacement

Explanation

The ringing belongs to the story world, so it is diegetic, and its source is outside the frame, making it off-screen. Off-screen sound expands the implied space beyond what the camera shows.

Question 19Film and television language, codes and conventions

Which statement best describes the function of a establishing shot?

  1. It isolates a single detail for emphasis
  2. It orients the viewer to location and spatial context before closer action Correct answer.
  3. It resolves the narrative's central conflict
  4. It signals the start of the closing credits

Explanation

An establishing shot typically opens a sequence by showing the wider setting so the audience understands where subsequent action occurs. It provides spatial orientation that later closer shots build upon.

Question 20Film and television language, codes and conventions

A director shoots a conversation using only a long, unbroken take with the camera slowly circling the pair. What is the most significant effect of this choice?

  1. It fragments the space and disorients the viewer
  2. It signals a shift to a different storyline
  3. It compresses hours of story time into seconds
  4. It sustains continuous temporal and spatial continuity Correct answer.

Explanation

A long take preserves real-time continuity without cuts, and the circling movement reveals the space continuously. This can heighten immediacy and let performance and shifting relationships unfold without editorial interruption.

Question 21Film and television language, codes and conventions

What does a rack focus achieve within a single shot?

  1. It widens the aspect ratio
  2. It shifts the viewer's attention between planes of depth Correct answer.
  3. It changes the frame rate to slow motion
  4. It alters the colour balance mid-shot

Explanation

Rack focus pulls the plane of sharp focus from one subject to another, guiding attention without cutting. It exploits depth of field to create emphasis and relationships within a continuous shot.

Question 22Film and television language, codes and conventions

A scene presents a character in a bright, high-key interior, then cuts to the same character in a dim, low-key alley. What does the lighting contrast most likely communicate?

  1. A change in the character's emotional or moral situation Correct answer.
  2. A continuity error in the production
  3. A switch to a different film stock
  4. A shift in the soundtrack's volume

Explanation

High-key lighting is associated with safety and openness, while low-key lighting with shadow and threat. Contrasting them across a cut encodes a change in the character's circumstances or inner state.

Question 23Film and television language, codes and conventions

Which of these best defines a point-of-view shot?

  1. A shot in which the actor speaks to camera
  2. A shot taken from a helicopter
  3. A shot framed from a character's optical perspective Correct answer.
  4. A shot showing the entire set from above

Explanation

A point-of-view shot approximates what a character sees from their position, often linked by an eyeline match. It invites the audience into the character's subjective experience.

Question 24Film and television language, codes and conventions

A sequence uses a series of very short shots, each lasting under a second, during a chase. What is the most likely intended effect?

  1. Nostalgic reflection
  2. Heightened pace and urgency Correct answer.
  3. Relaxed contemplation
  4. Documentary neutrality

Explanation

Short shot durations increase cutting rhythm, which reads as speed and urgency. Editing pace is a primary means of controlling the audience's sense of tempo and stress.

Question 25Film and television language, codes and conventions

What is the role of a fill light in a three-point lighting setup?

  1. To soften shadows created by the key light Correct answer.
  2. To separate the subject from the background
  3. To provide the main directional illumination
  4. To light the background set only

Explanation

Fill light is placed opposite the key to reduce shadow density and control contrast on the subject. It supports the key without replacing it as the primary source.

Question 26Film and television language, codes and conventions

Which term describes the imaginary line that determines where the camera may be placed so that characters and objects keep consistent screen positions across shots?

  1. The rule of thirds
  2. The 180-degree line Correct answer.
  3. The frame rate
  4. The depth of field

Explanation

The 180-degree line is an imaginary axis drawn between two characters or along a moving subject. Keeping the camera on one side of it preserves consistent left-right screen positions, so viewers do not perceive characters as suddenly swapping places. Crossing the line without a bridging shot disorients the audience.

Question 27Film and television language, codes and conventions

A character in a film sits at a desk while the faint hum of traffic and a distant dog bark are audible. Which term covers these sounds?

  1. Sound bridging
  2. Non-diegetic sound
  3. Foley replacement
  4. Diegetic sound Correct answer.

Explanation

Diegetic sound originates from within the story world, so characters could plausibly hear it. Ambient traffic and a barking dog exist in the scene's physical space and therefore count as diegetic. Non-diegetic sound, such as a narrator's voice-over or a score, sits outside that world.

Question 28Film and television language, codes and conventions

Which editing transition instantly replaces one shot with the next, with no visible intermediate effect?

  1. The dissolve
  2. The fade
  3. The wipe
  4. The straight cut Correct answer.

Explanation

A straight cut is the most common transition: the outgoing shot is immediately followed by the incoming shot. It creates no transitional visual effect and relies on continuity of action, direction or meaning to feel smooth. Dissolves, wipes and fades all add a visible intermediate stage.

Question 29Film and television language, codes and conventions

A scene opens on a close-up of a character's trembling hand holding a letter, then cuts wide to show the room. Which term best describes the first shot?

  1. A wide shot
  2. A two-shot
  3. A tracking shot
  4. An insert Correct answer.

Explanation

An insert is a close shot of a detail, such as a hand, object or written word, placed within a scene to direct attention to specific information. The trembling hand is precisely this kind of detail shot. Its narrow framing contrasts with the wide shot that follows.

Question 30Film and television language, codes and conventions

A conversation is filmed with the camera placed slightly above the seated characters, looking down on them. What does this high angle most commonly suggest?

  1. That the characters hold power over the scene
  2. That the characters appear diminished or vulnerable Correct answer.
  3. That the scene is set at night
  4. That the camera is level with their eyeline

Explanation

Camera height carries connotative meaning. A high angle looks down on subjects, making them appear smaller, weaker or more exposed, while a low angle tends to confer dominance. Because both characters are framed from above, the scene reads them as relatively vulnerable.

Question 31Film and television language, codes and conventions

A filmmaker wants a subject to stay in sharp focus while the busy background falls into soft blur. Which control most directly achieves this?

  1. Using a wide aperture to create shallow depth of field Correct answer.
  2. Increasing the shutter speed
  3. Raising the frame rate
  4. Shortening the focal length of the lens

Explanation

Depth of field is the range of distance that remains sharp. A wide aperture lets in more light and narrows that range, so the subject stays crisp while the background softens. Shutter speed and frame rate affect motion rendering, and a shorter focal length generally deepens focus rather than isolating the subject.

Question 32Film and television language, codes and conventions

A director cuts from a character sprinting down a corridor to a close-up of a ticking clock, then back to the corridor. What is the main function of the clock shot?

  1. It signals the end of the scene
  2. It introduces a time-related idea that builds tension in the chase Correct answer.
  3. It shows the character's point of view
  4. It re-establishes the geography of the corridor

Explanation

Cutting away to a detail such as a clock inserts information the audience can read as meaningful, in this case urgency and time pressure. Placed between moments of the chase, it heightens suspense without advancing the character's physical action. This is a cutaway used for thematic and emotional effect.

Question 33Film and television language, codes and conventions

Two characters talk, and the camera stays on one side so that the first character remains on the left of frame and the second on the right throughout. Which principle is being maintained?

  1. Match on action
  2. Continuity of screen direction Correct answer.
  3. Cross-cutting
  4. The rule of thirds

Explanation

Keeping each character on a consistent side of the frame preserves screen direction, which helps viewers follow who is where and who is speaking. It depends on keeping the camera on one side of the 180-degree line. Breaking it makes characters seem to change places between shots.

Question 34Film and television language, codes and conventions

A film shows a woman in a bright kitchen, then cuts to the same kitchen in cool blue tones with deep shadows for a scene set years earlier. What does the shift in lighting and colour most likely communicate?

  1. A move to a different aspect ratio
  2. A change in the camera's frame rate
  3. A change in time, mood or narrative register Correct answer.
  4. A switch from diegetic to non-diegetic sound

Explanation

Lighting and colour are strong carriers of mood and narrative information. A move from bright, even light to cool tones with deep shadow signals a different emotional register or time period, cuing the audience that the story has shifted. The unchanged location makes the contrast especially legible.

Question 35Film and television language, codes and conventions

A scene uses a low-angle shot of a character framed against a low horizon, so they loom over the viewer. What meaning does this construction most strongly produce?

  1. The character appears detached and distant
  2. The character appears dominant and imposing Correct answer.
  3. The character appears small and threatened
  4. The character appears comical and clumsy

Explanation

A low camera position looks up at the subject, enlarging them relative to the viewer and lending authority or menace. Placing the character against a low horizon removes competing visual weight, reinforcing that dominance. The effect is produced by camera height combined with framing, not by dialogue or performance alone.

Question 36Film and television language, codes and conventions

A filmmaker wants the audience to understand that a character is remembering a childhood summer. Which sound choice most clearly supports this?

  1. A sudden increase in the volume of nearby dialogue
  2. The removal of all sound except a single loud door slam
  3. A switch to a different language for the dialogue
  4. A softened, slightly muffled version of the scene's ambient sound Correct answer.

Explanation

Subjective sound design can signal memory by altering the quality of what is heard rather than what is shown. Softening and muffling ambience creates a hazy, inward feeling that matches recollection. The technique works because it departs from the clean, present sound of the surrounding scenes.

Question 37Film and television language, codes and conventions

A sequence cuts repeatedly between a musician on stage and a producer watching from a booth, showing each reaction in turn. Which term describes this editing pattern?

  1. Fade
  2. Jump cut
  3. Cross-cutting Correct answer.
  4. Match on action

Explanation

Cross-cutting alternates between two actions or viewpoints occurring in different spaces, inviting the audience to connect them. Here the pattern links performance and reaction, building a relationship between the two figures. It is also called parallel editing when the actions are simultaneous.

Question 38Film and television language, codes and conventions

A director frames a character in the centre of a symmetrical corridor, with the camera at eye level and the walls converging precisely behind them. What is the most likely intended effect?

  1. A suggestion that the character is physically small
  2. A sense of order and control that may feel unnerving Correct answer.
  3. A spontaneous, handheld documentary realism
  4. A feeling of chaotic, unstable space

Explanation

Symmetrical, centred compositions with strong converging lines impose visual order on the frame. That control can read as calm, but when applied to a lone figure it often produces unease because the environment feels rigid and inescapable. The effect arises from deliberate compositional choice rather than camera movement.

Question 39Film and television language, codes and conventions

A scene is shot with a long lens from far away, compressing the distance between two characters walking toward each other on a street. What is the most likely narrative effect?

  1. The street appears wider and more open than it is
  2. The characters appear to move in slow motion
  3. The background becomes sharply detailed and dominant
  4. The characters seem to be closing the gap faster, heightening anticipation Correct answer.

Explanation

Long lenses compress apparent distance, so subjects on a receding plane seem closer together and approach more rapidly. Filmmakers exploit this to intensify anticipation or tension in a meeting. The effect is a property of focal length and perspective, not of editing or sound.

Question 40Film and television language, codes and conventions

A filmmaker wants to imply that a character's account of an event is unreliable without using dialogue. Which combination of techniques would most effectively achieve this?

  1. A locked-off wide shot held for the whole scene
  2. A continuous score played at a constant volume
  3. Steady eye-level framing with consistent three-point lighting
  4. Inconsistent props and costume details across repeated shots of the same moment Correct answer.

Explanation

Continuity errors such as changing props or costume details within a repeated moment can be used deliberately to unsettle the audience and question the narrator's reliability. The technique works because viewers expect continuity, so small mismatches register as meaningful. Stable framing, lighting and sound would instead reinforce a sense of objective truth.

Question 41New media forms, platforms and interactive storytelling

In interactive narrative theory, what does the term 'branching narrative' describe?

  1. A story told through a single linear sequence of scenes with no audience input
  2. A story structure where the audience's choices lead to different story paths and outcomes Correct answer.
  3. A method of editing where two shots are cut together to imply simultaneity
  4. A technique for colour-grading scenes to signal changes in time period

Explanation

Branching narrative is a structure in which decision points split the story into multiple possible routes, so the audience's choices determine which content is shown and how the story ends. Each branch may reconverge or remain separate. The defining feature is that the plot is not fixed in advance for every viewer.

Question 42New media forms, platforms and interactive storytelling

What is 'worldbuilding' in the context of transmedia storytelling?

  1. The marketing campaign used to promote a film's release date
  2. The process of designing a coherent fictional universe that can support stories across multiple media Correct answer.
  3. The construction of physical film sets for a single production
  4. The technical process of rendering computer-generated backgrounds

Explanation

Worldbuilding creates a consistent fictional universe with its own rules, history and characters, which allows different stories to be told across films, games, websites and other platforms without contradicting each other. It is the shared foundation that makes transmedia extension possible. Physical sets and rendering are production tasks, not the design of a story world.

Question 43New media forms, platforms and interactive storytelling

Which feature most clearly distinguishes interactive documentary from a conventional linear documentary?

  1. The viewer can navigate, select or influence content rather than following one fixed sequence Correct answer.
  2. It is always shorter than thirty minutes in total running time
  3. It must be shot entirely on a smartphone camera
  4. It cannot include interviews with real people

Explanation

Interactive documentaries give the audience agency over what they see and in what order, often through menus, maps, branching or embedded data. This user-controlled navigation is the defining difference from a fixed linear edit. Length, capture device and the use of interviews are not defining criteria.

Question 44New media forms, platforms and interactive storytelling

In web-based interactive storytelling, what is a 'hyperlink' primarily used to do?

  1. Connect one piece of content to another so the audience can jump between them Correct answer.
  2. Compress video files so they stream faster
  3. Synchronise audio with picture during playback
  4. Encrypt user data during transmission

Explanation

A hyperlink is a reference that links one node of content to another, allowing the audience to move non-linearly through a story or information space. It is the basic building block of navigation on the web. Compression, encryption and synchronisation are separate technical functions.

Question 45New media forms, platforms and interactive storytelling

What does 'user agency' mean when analysing interactive media?

  1. The legal ownership of content by a platform
  2. The number of people who view a piece in its first week
  3. The speed at which a website loads on a user's device
  4. The capacity of the audience to make meaningful choices that affect the experience Correct answer.

Explanation

User agency refers to the real and perceived ability of an audience member to act within a system and have that action matter. In interactive storytelling, meaningful choices that change outcomes are what give the work its distinctive participatory quality. Load speed, ownership and audience size are not forms of agency.

Question 46New media forms, platforms and interactive storytelling

Which platform type is best described as hosting short-form, vertically oriented video designed for rapid scrolling?

  1. A broadcast television network
  2. A social media short-video feed Correct answer.
  3. A physical cinema multiplex
  4. A subscription video-on-demand service

Explanation

Short-video social platforms are built around brief, portrait-format clips in a continuously refreshing feed, encouraging quick consumption and repeated engagement. Their interface and format are designed for scrolling rather than scheduled or seated viewing. The other options describe longer-form or location-based distribution.

Question 47New media forms, platforms and interactive storytelling

In the context of new media, what is 'participatory culture'?

  1. A culture in which only professional studios are permitted to publish work
  2. A system where viewers vote on which films a broadcaster commissions
  3. A model where audiences pay a subscription to access archived programs
  4. A culture in which audiences actively create, remix and share content rather than only consuming it Correct answer.

Explanation

Participatory culture describes audiences moving from passive reception to active production and circulation, through fan works, remixes, comments and platform uploads. The key feature is lowered barriers to creative contribution and shared distribution. Professional gatekeeping and subscription access describe different arrangements.

Question 48New media forms, platforms and interactive storytelling

What is a 'second screen' experience in relation to television?

  1. Displaying a program on two televisions in different rooms
  2. Watching the same program twice to compare edits
  3. Using a phone or tablet alongside a broadcast to access extra content or interact Correct answer.
  4. Recording a broadcast to watch it at a later date

Explanation

A second-screen experience pairs a primary broadcast with a companion device that offers supplementary material, live polls, behind-the-scenes content or social discussion. The companion device extends the program rather than duplicating it. Repeated viewing, multi-room display and time-shifting describe different practices.

Question 49New media forms, platforms and interactive storytelling

A streaming drama releases all episodes at once, but a fan community creates episode-by-episode discussion threads, fan theories and remix videos. Which concept best describes this activity?

  1. Linear broadcast scheduling
  2. Passive reception of a closed text
  3. Participatory fandom extending the text beyond the platform Correct answer.
  4. Studio-controlled continuity editing

Explanation

When audiences produce discussion, theory and remix content around a released work, they are participating in fandom and extending the text's life beyond the platform itself. This activity is audience-driven rather than scheduled by a broadcaster. It also shows that a text is not closed once distributed.

Question 50New media forms, platforms and interactive storytelling

An interactive film offers viewers three choices at a key moment, but all three lead to the same ending. Which critique is most accurate?

  1. The work is a linear documentary rather than interactive
  2. The work has no narrative structure at all
  3. The choices make the work a multiplayer game
  4. The choices offer an illusion of agency because they do not alter the outcome Correct answer.

Explanation

Agency depends on choices having meaningful consequences, so branches that reconverge to an identical ending can feel cosmetic. The work may still be interactive in a technical sense, but the perceived agency is limited. This is sometimes called an illusion or appearance of choice.