Tag:

Jesper Juul suspects that things will remain unruly: big-budget, "cinematic" games will nose out experimental ones.

Celia Pearce's position - anti-isolationist, but also anti-colonialist - derives from her understanding of "the unique properties of games themselves."

A recommendation for participatory, interdisciplinary articulations of action and perception from Mary Flanagan.

Mark Bernstein explains that games have many lessons to learn from other artforms that speak to, and teach us, what it means to be human.

Jesper Juul takes time to complicate the real in different types of games.

Asymmetries between event time and play time interest Mizuko Ito, who asks "How do you answer the door to get a pizza to nourish your flesh-and-blood body when you are in the middle of life and death online combat?"

Celia Pearce hits SAVE and preserves most of Jesper Juul's essay. But then "non-computer contexts" hit the screen.

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.

Whether CTPs should walk on three legs or two; how the robotic artwork Petit Mal is "interpretationally plastic;" what cultural assumptions we build into machines: just some of the response-topics here.