Kim Newman describes various methods of approaching his choose-your-own-adventure-style novel, which can be read or played because, like a role-playing game, “you are at once a reader and the main character.”
Van Leavenworth, in his response to Hite, delves more deeply into Cthulhu’s literariness, in particular the “large adventure book ‘footprint’ ” of the series. He contends that the Lovecraft mythos provides a framework for the generation of narratives that - unlike many RPG stories - hold up beyond the game-play session.
Brian McHale looks back on the movement in “What Was Postmodernism?” He contrasts postmodernism’s canonization with critical constructions of modernism, and moves through contemporary painting to reflect on intersections between the violence of recent history and postmodernism, as the postwar world lived “in the ruins of our own civilization, if only in our imaginations.”
Will Hindmarch contests Greg Costikyan’s challenge to the idea that “games have something to do with stories” by contending that “storytelling games reconcile the theoretically antithetical relationship between their two halves - story and game.”
For Jay Murphy, Clayton Eshleman in his JUNIPER FUSE makes a resounding case for lived experience, for the tortuous growth, however partial or fragmented, as rooted in self-suffering as modes of vision and dream.
Ken Hirschkop questions whether poststructuralism and
self-referentiality offer workable alternatives to the military ‘World
Target’ that, according to Rey Chow, provides the framework for
knowledge production in Departments of Comparative Literary Studies.
As Christian Moraru argues here that the new is still the objective in contemporary writing. But writers and artists make it by making it anew rather than new (“Get it used,” Andrei Codrescu invites us), a new not so much novel as renovated, reframed and reproduced rather than produced, which by the same token redefines and advertises authorship as deliberate plagiarism.
James Wallis uses genre as the fulcrum for balancing game rules and narrative structure in story-telling games, which he differentiates from RPGs through their emphasis on the creation of narrative over character development.