In response to Perlin, Victoria Vesna reiterates the unique realism of games.
The man behind The Sims, Will Wright, places narrative controls back in the hands of gamers.
Eric Dean Rasmussen explores Lynne Tillman's "cognitive aesthetic," suggesting that her work is powered by the generative disconnect between asignifying affect and signifying emotion. He argues that her 1998 novel, No Lease on Life, examines the role of affectively sustained universal values in responding politically to the neoliberal city.
Secret agency is at issue in Frasca's response, which denies the application of Aristotle to the open-ended interactivity of gaming.
The importance of consequences plots Brenda Laurel's response to Michael Mateas.
Eric Zimmerman whips "four naughty concepts" into disciplinary shape.
Against the notion that music is the most abstract of art forms, Olivia Block thinks of music as a language with its own vocabulary of sounds, patterns, rhythms, notes. On the day of a performance in Kyoto, Japan, these reflections alter Block's sense of her own language, English, deconstructed by Japanese advertisements, tee-shirts, "American" candy-bar wrappers, and text-cell phones.