 In sum, while there are a heterogeneity of language games through which we pass, artists, writers, and philosophers make moves within those language games—say those said to govern what a novel is—that disrupt and open those language games to what “will have been”, as he puts it. That is, they open up new ways of thinking that are unpresentable in current language games. “Terror”, as he understands it, is “a fantasy to seize reality”, that is to colonize or totalize all other language games and their future possibilities under the regime of one language game (e.g., the technocratic language game of efficiency [Postmodern Condition, 67]). On this flip side of this terror are those that are “witnesses to the unpresentable”, who wish to “activate the difference” beyond and between the plurality of language games that make up postmodern societies (Postmodern Condition, 82).