  Smuts notes that our inability to affect fictions is something we are often aware of, and something the masters of suspense frequently make prominent. For instance, one of the most suspenseful episodes in  Hitchcock’s Rear Window (1954) is that in which Lisa (Grace  Kelly) is looking for evidence of murder in the apartment across the  way. Through binoculars, Jeff (James Stewart) sees Thorwald enter his apartment as Lisa is hunting around in the bedroom. Jeff’s position  mirrors that of the audience: We are unable to warn Lisa of the  danger, utterly incapable of using our knowledge to affect the  outcome. Similarly, Smuts and Frome argue that the most suspenseful  videogames are those where the player is temporarily taken out of  control, having to wait to see how a jump turns out or whether his or her character will be discovered by sniffing guard dogs. Smuts’  explanation is that the partial frustration of our ability to satisfy our desires is necessary to the creation of suspense. 