first person

Carl McKinney argues that Jeremy Douglass's analysis of Shade suggests a presence/absence dynamic useful for understanding interactive fiction in general.

Mark Keavney describes his process in composing a story in which the readers voted on plot points as he was writing, resulting in a truly interactive fiction - a narrative in which, as Keavney puts it, "[n]either the players nor I owned the story completely."

Jordan Mechner explains how the team developing of Prince of Persia: The Sands of Time incorporated a number of cinematic techniques such as flashback and voice over (which do not usually figure into video games) while also working within the practical restrictions of a commercial production schedule.

Michael Mateas and Andrew Stern argue that new media practitioners and scholars should be literate in the code that underlies their objects of creation and study. To this end, they explain how they structured the code of their computer-based interactive drama Façade, which capitalizes on the procedural nature of computers to create a forum for participatory drama that negotiates players' local and global agency within the game world.

Chris Crawford walks through Deikto, an interactive storytelling language that "reduce[s] artistic fundamentals to even smaller fundamentals, those of the computer: addition, subtraction, multiplication, and division."