Natalie Jeremijenko asserts that machine speech should re-awaken us to "the peculiar structure of participation that we take for granted."
Nick Montfort argues that the contentious notion of the "player character" usefully constrains and makes possible the player's interaction with the gameworld. He considers the possibility that in interactive fiction one plays the character (like an actor plays a role) rather than playing the game.
The builder of Façade, an "interactive story world," Michael Mateas offers both a poetics and a neo-Aristotelian project (for interactive drama and games).
Eugene Thacker sees ethical acting as a potential stumbling block, one that trips up technological complicity.
Theories of performance, training, and psychology explain simulation - or do they? - in the third section of First Person.