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.
An appreciative reply that measures the incline of Henry Jenkins' middle ground.
Even orienteering is of greater use to game designers than narratology, claims Marrku Eskelinen, heading towards an area free from stories once more.
The tenuous dynamics of Phoebe Senger's split story lead Lucy Suchman to ponder "methods and madness" in the metaphors we live by.
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.
J. Yellowlees Douglas adds more titles to Eskelinen's catalog of limnal games.
Literature scholars eager to understand gaming have made early inroads. Markku Eskelinen sets up serious checkpoints.
Narrativists vs. ludologists, material vs. formal constraints: Michael Mateas replies by identifying actors' roles in each division.