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The article discusses focalization theory in the context of digital fiction. The author analyzes two digital fiction stories "The Lair of the Marrow Monkey” by Erik Loyer and “The Last Day of Betty Nkomo” by Young-Hae Chang Heavy Industries. He explains focalization in print narratives, describes how digital fiction incorporates focalization, and explores the concepts of cybernetic narration and point of action.

The article focuses on the mimetic epistemology violations of fictional narratives. It examines the consequences of naturalizing and narrativizing the narratives. The possibilities and limitations of the narrativization based on assumptions of literary scholar James Phelan are discussed. It also presents a tentative typology of paraleptic narrators in first person narrative fiction. These include the illusory paralepsis, humorous paralepsis, mnemonic paralepsis, global paralepsis and local paralepsis.

The analyses and discussions in this article are all aimed at clarifying a question that most people don't even ask because the answer seems self-evident: "Who narrates in first-person narrative fiction?" The author hypothesises, that in literary fiction, as opposed to oral narrative, one cannot be certain that it is the person referred to as "I" who speaks or narrates, and therefore that there is a need to posit an impersonal voice of the narrative. This phenomenon can be observed whenever something is narrated that the "narrating-I" cannot possibly know, as happens in Moby Dick, The Great Gatsby, and other fictional narratives, some of which I'll examine later. The article begins with a brief review of some contemporary discussions of voice in literature. It then proceeds to use the authors proposal to examine passages of first-person fiction that seem difficult to explain without the concept of the impersonal voice. Finally, the author compares my interpretations to some alternative proposals about similar textual phenomena.