Nightly, I typed the commands that called those words onto my computer screen, dropping me with what seemed a warm electric thud inside the mansion's darkened coat closet, where I checked my quotidian identity, stepped into the persona and appearance of a minor character from a long-gone television sit-com, and stepped out into the glaring chatter of the crowded living room. Sometimes, when the mood struck me, I emerged as a dolphin instead.

- Julian Dibbell, A Rape in Cyberspace

Unlike traditional narrative a frequent trait in digital narratives is that of agency, you have influence on the story told or at least how it is told. The influence if this agency also provides something else a stronger sense of identity, either directly by providing a character to play as is the case in IFs, games or in this case a MUD or less directly as you choose characters or a thread to follow in a hypertext work either discrete or networked. The identity functions to bring new issues to be dealt with while Leland in his "The Gamer as Artiste" (2005) talks about guilt as a possible emotion that video games can access easier than other mediums, digital narratives also allow a different feeling to be accessed that of victim, which is something partially addressed in the Dibbell article "A Rape in Cyberspace". The possibility of being a victim could allow readers to take the advice of To kill a Mocking Bird's" Atticus to heart and walk around in the skin of others, and see the consequences of actions different perspectives and from mainly in the case of video game see how other choices turn out. Beyond this multiplayer games and narratives also allow you to be the victim not only of your own choice or the narratives author, but also to be the victim of another reader or player, while most of the time it is merely an annoyance or interruption, for the victims in the case of Dr Bungle their identification with their characters resulted in feelings that would of surprised most of the people involved.