“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.
Espen Aarseth holds that gameplay, not Lara Croft?s physique, should command the attention of an evolving game studies.
Moving from the holodeck to the game board, Janet Murray explains why we make dramas of digital simulations.
Linda Brigham offers a Deleuzean take on Independence Day.