| Summary: | Among the narrative transgressions, the metalepsis has spread over all the media, until occupy a prominent place in video games. Henceforth, its omnipresence questions about the possibility that it still produces any sense of transgression. Would it be relegated to the conventional uses of video games? Based on several disciplines (literary, cinematography, narratology, game studies, communication and didactic studies), this contribution will put aside the purely functional metalepsis of video games to focus on different forms which articulate playful and narrative. After presenting the concept of metalepsis in the first part, the second one will discuss a transgression known as the “fourth wall”. It will be shown that this frequently used expression is not only inherited from previous media – and therefore not specific to video games – but that it masks above all a variety of processes. From a corpus of twenty games, the last part will focus on some metalepsis not well-known, if not thought out. In spite of their current low popularity, these metalepsis could well renew the feeling of transgression while participating in the modernity of the video games.
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