Narrativists vs. ludologists, material vs. formal constraints: Michael Mateas replies by identifying actors’ roles in each division.
Literature scholars eager to understand gaming have made early inroads. Markku Eskelinen sets up serious checkpoints.
“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.
Pat Harrigan and Noah Wardrip-Fruin introduce First Person, an interactive, multi-player collaboration between ebr and the MIT Press.
Brenda Laurel takes a turn at the rules of operation for Interactive Fiction.
Henry Jenkins uses narrative space to distinguish between different tale-ends.
Jesper Juul takes time to complicate the real in different types of games.
Espen Aarseth holds that gameplay, not Lara Croft?s physique, should command the attention of an evolving game studies.
J. Yellowlees Douglas adds more titles to Eskelinen’s catalog of limnal games.