Which alias best fits interactive fiction?
The nominees are:
“Story,” “Game,” “Storygame,” “Novel,” “World,”
“Literature,” “Puzzle,” “Problem,” “Riddle,” and “Machine.”
Read, and decide.
J. Yellowlees Douglas and Andrew Hargadon on the affective side of hypertexts via “schemas, scripts, and the fifth business.”
Literature scholars eager to understand gaming have made early inroads. Markku Eskelinen sets up serious checkpoints.
The builder of Façade, an “interactive story world,” Michael Mateas offers both a poetics and a neo-Aristotelian project (for interactive drama and games).
Animals and invaders populate the space of Janet Murray’s counter-response.
Eastgate Systems alumns Diane Greco and Mark Bernstein explain two “exotic tools for hypertext narrative.”
Casting the ludology vs. narratology debate as a game in itself, Henry Jenkins brings Bible gardens and the duck-billed platypus into this defense of hybridity.
Even orienteering is of greater use to game designers than narratology, claims Marrku Eskelinen, heading towards an area free from stories once more.
“Playing with play,” John Cayley sets ludology on an even playing field with literature, but without literary scholarship’s over-reliance on ‘story,’ ‘closure,’ and ‘pleasure.’
Stuart Moulthrop (re)mediates the interpretation (narrativists) vs. configuration (ludologists) debate by going macropolitical.