Regarding a monumental work on race, time, and classical music that does not lose sight of individual, localized lives.
Salvatore Proietti straddles science and fiction to offer an interpretation of a McElroy Cyborg.
hypertext? cybertext? hypermedia? webart? while new media critics debate the terms, Talan Memmott has produced the thing itself, a creative use of applied technology.
Dave Ciccoricco returns to Stuart Moulthrop, considers Operation Enduring Freedom (2003) in light of Operation Desert Storm (1991), and consults the annals of World War II for a likely source of "Victory Garden," the title of Moulthrop's 1991 network fiction on the Gulf War.
Ken Perlin on a game-narrative difference that makes a difference: does agency, rather than identifiction, make characters in a game seem more real than those in novels or films?
Marta Werner uncages Emily Dickinson's fragments.
Pat Harrigan and Noah Wardrip-Fruin introduce Cyberdrama, the first section of First Person.
Kenneth Hite argues that the long-running, H.P. Lovecraft-inspired Call of Cthulhu franchise differs from traditional tabletop role-playing in its focus on suspense rather than character growth. Hite's analysis suggests that in its origins and emphasis on narrative structure Cthulhu is a highly literary game.
Espen Aarseth foresees the quick end of Murray's "story-game hybrid" and suggests instead a "critical theory of games."