"Critical videogames": moving beyond the non sequiter of now, Gonzalo Frasca projects a future in which the phrase would make sense.
Mizuko Ito recounts her experience at an unusual gaming convention in Japan, and posits fan culture as a way to understand software.
Espen Aarseth holds that gameplay, not Lara Croft?s physique, should command the attention of an evolving game studies.
Stuart Moulthrop complicates the idea of self-contained games.
"Where is the text in chess?" asks Espen Aarseth. Rules, play, and semiosis are the (un)common ground between games and stories in "interactive narrativism" and the art of simulation.
Eskelinen can't be bothered to answer his critics.
Richard Schechner remembers the real-life side of interaction.
In response to Perlin, Victoria Vesna reiterates the unique realism of games.
Espen Aarseth foresees the quick end of Murray's "story-game hybrid" and suggests instead a "critical theory of games."
Bringing the queston of 'textuality' into the cyberdebates, and refusing the conservative oppostion between contemplative reading and gaming, Daniel Punday argues that critics should embrace spinoff culture as a model for electronic writing.