Espen Aarseth foresees the quick end of Murray's "story-game hybrid" and suggests instead a "critical theory of games."
Chris Crawford considers Zimmerman's definitions.
In response to Perlin, Victoria Vesna reiterates the unique realism of games.
Richard Schechner remembers the real-life side of interaction.
Gonzalo Frasca's proposal for videogames that address "critical thinking, education, tolerance, and other trivial issues."
Eskelinen can't be bothered to answer his critics.
Henry Jenkins uses narrative space to distinguish between different tale-ends.
"Where is the text in chess?" asks Espen Aarseth. Rules, play, and semiosis are the (un)common ground between games and stories in "interactive narrativism" and the art of simulation.