Scholarly debates posit a dichotomy in executable computer applications between, on the one hand, systemically organized code empowered to performative acts and, on the other, the depiction of this course of actions. In computer games, for example, the combination of the set of rules and the perceivable scenery offers the specific sensory experience. Here, I constrict myself to locating the systemic constitution exclusively in a part of the calculated processes 2 , as for me, they are built according to a cybernetic or system theoretical pattern. 3 In this way, it is possible to thematize the limits of the systemic and its interplay with other aspects. This study aims at discussing this complex with a particular focus on the iconic components and their contribution to the forms of interaction in simulators and artistic game modifications respectively. Often, scholars see interactivity as solely determined by a rulebased processing pipeline with an input/output logic, iterations, recursions, and feedback loops. However, locating the operativity only therein hinders the possibility of investigating the iconic aspects of interactive visual computer worlds for modes of regulation and for genuinely sensuously opportunities for interaction in what is presented. Generally, images show something while simultaneously showing themselves, so that they are the instance where something is revealed as something. Furthermore, operative images specifically invite the audience to intervene within them by way of them. How does the particular design of the sensous level in simulators and computer games influence the behavior of the users?