In this paper, we address the issue of presence in the virtual environment. In particular, we discuss the
question of aesthetic realism in computer games, and try to evaluate its importance in regard to different
elements of playability that generate a sensation of immersion or presence. What we demonstrate, mainly
through the analysis of interviews of Quake players and observations of their activity during lan-parties, is that
players are driven by multi-dimensional pleasures in games, and that realism is far from being enough for
enjoyment. The main qualities in a game's universe can be described as "a change of scenery" in different ways:
the senses must be surprised (by sounds as much as images), there must be a cognitive challenge in the discovery
of the laws of the universe (some laws are implicit and require training, like being able to evaluate if one can
jump across a given river), social life must be slightly complex and, if possible, rewarding, emotions can be
unusual, strong, or unusually associated. What the interviews show is that, in the first place, players are usually
attracted to games where the aesthetic aspect is a success. However this aspect is only interesting for a short
time: as soon as performance starts to become a central aspect of gameplay, what turns out to be important is
the game's ability to generate emotions on a regular basis, and to be used as a benchmark to evaluate and
compare progress. Depending on the players implication, his/her interest switches from aesthetic realism to the
search for a game adapted, or adaptable, to the task. During Lan-Parties, experienced players parameterised
Quake, not to get the best possible realism but to obtain the maximum speed, precision and clarity. Then the
surroundings have to display a certain form of coherence in driving feelings related to the challenges that are at
stake