Secret agency is at issue in Frasca's response, which denies the application of Aristotle to the open-ended interactivity of gaming.
Henry Jenkins uses narrative space to distinguish between different tale-ends.
The importance of consequences plots Brenda Laurel's response to Michael Mateas.
Jesper Juul maps the "flow" state of gameplay onto innerspace and elsewhere.
Richard Schechner remembers the real-life side of interaction.
Applying games to games, Celia Pearce uses The Sims to showcase six keywords.
Eskelinen can't be bothered to answer his critics.
It's "Game Time." Here in section four we see what the dynamics of time and space have to do with the games people play.
"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.
Eric Zimmerman whips "four naughty concepts" into disciplinary shape.