Henry Jenkins uses narrative space to distinguish between different tale-ends.
Jesper Juul takes time to complicate the real in different types of games.
Celia Pearce hits SAVE and preserves most of Jesper Juul’s essay. But then “non-computer contexts” hit the screen.
Ken Perlin on a game-narrative difference that makes a difference: does agency, rather than identifiction, make characters in a game seem more real than those in novels or films?