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.
The importance of consequences plots Brenda Laurel's response to Michael Mateas.
Secret agency is at issue in Frasca's response, which denies the application of Aristotle to the open-ended interactivity of gaming.
The man behind The Sims, Will Wright, places narrative controls back in the hands of gamers.
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."
Moving from the holodeck to the game board, Janet Murray explains why we make dramas of digital simulations.