first person

Sean Thorne explains how he uses Puppetland to help children improve their writing. The RPG allows the students to develop characters, and to participate in the construction of stories so that they're imaginatively invested in what they write.

John Tynes argues that it took the novel two hundred years to gain cultural capital; film, forty years; rock and roll, fifteen. Given this increasing velocity and the fact that it's been three decades since Colossal Cave Adventure, interactive storytelling should have gained a much higher level of respect than it has. Tynes argues that games should eschew escapist fantasy for more timely "engagist" settings that would allow the player to reflect on contemporary life and politics.

Jesper Juul argues that James Wallis's focus on definitions in his intervention into the story/game debate doesn't give the experience of story - or game - its due.

Corvus Elrod extends Bruno Faidutti's claim that all games tell stories by making the counter-intuitive argument that board games like Chess and Go are more effective story vehicles than RPGs.

David Parry argues that Pax occupies a position between literature and games - that it "glorifies play while undermining games," and that it's "not so much literature as it is literary."