Something goes wrong in the play mindset to allow a love relationship with a machine. Nathanael doesn't at first realize that he is dealing with an artifact when he spies on Olimpia from his window, when he dances with her, when he reads to her his poems. He has not left his world; he is in his reality mindset and not in a play mindset. Contrast that with the narrator in Cassou-Noguès’ “Le Jeu.” He is explicitly playing. He takes on the play mindset when he puts on his VR gear and enters Proust's world and leaves it by just taking off the gear. There are, of course, perversions of this scheme in the form of hybridization of mindsets. Deckard has been attracted by androids in the past (95) and he makes love with Rachael knowing it is an artifact with no pretension that she is human. Is he playing or is he using the android as a sex gadget? Could one play at making love? The case is somewhat different with Villiers’ Ewald. He doesn’t play. He doesn’t abandon the reality mindset. Upon discovering that the entity showing some empathy is Hadaly and not Alicia, he is at first angry for having been taken and, after listening to a long metaphysical discourse by the android (193-198), reconciles himself to a non-sexual relationship and decides to take it back with him to England. We are perhaps witnessing here the collapse of the distinction between mindsets and worlds and along with it the difference between human and artifact. All in a work of fiction, let’s not forget.