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Click on the top of the screen, jump forward to the next still image. Click on the sides, shift perspective to perspective with a slide transition. Myst built its world on a series of nodes and perspectives, a series of facades. This seems to fit with the new description of space as relative and flowing, and based on relative coordinates: space is a collection of objects, journeys are instantaneous hops from object to object, and distance the number of hops required, the time delayed. What does this shift in how we view space from an absolute, complete space to one characterized by distinct, disjoint objects?

For one, and obviously, there is a deemphasis of the space in between. Because space no longer is understood as continuous, there is less mystery in the space we inhabit — the notion of the infinitesimal is not useful, not discrete, not computable, and thus is removed from our psyche. While we know the space in between one object in the next is completely brimming with activity and substance, it becomes less important than the relationship between source and destination. For all Myst knows, there is no mist, or air — just libraries, shipwrecks, and the nodes en route.

Next, because the space in between collapses, so too does the notion of continuous distance, and with it, delay. Information is expected to arrive near immediately, or incredibly quickly, so that speed and delay become abnormalities; surely not an idea worthy of consideration in normal circumstances. While distance could be described before in terms of time and speed, it now must be described statically, although space is characterized by the motion of bodies within these addresses.