Which alias best fits interactive fiction?
The nominees are:
“Story,” “Game,” “Storygame,” “Novel,” “World,”
“Literature,” “Puzzle,” “Problem,” “Riddle,” and “Machine.”
Read, and decide.
J. Yellowlees Douglas and Andrew Hargadon on the affective side of hypertexts via “schemas, scripts, and the fifth business.”
Literature scholars eager to understand gaming have made early inroads. Markku Eskelinen sets up serious checkpoints.
Following Katherine Hayles, Matthew Kirschenbaum agrees that materiality matters.
The parallels (and oppositions) between hypertext and AI are brought out in section five.
Casting the ludology vs. narratology debate as a game in itself, Henry Jenkins brings Bible gardens and the duck-billed platypus into this defense of hybridity.
Even orienteering is of greater use to game designers than narratology, claims Marrku Eskelinen, heading towards an area free from stories once more.
First Person, second section: What is Ludology? Editors Pat Harrigan and Noah Wardrip-Fruin see a disciplinary shift away from ill-advised analogies toward analyses of the gaming situation itself.
Jim Rosenberg sends a shot of grammar straight across the bow of Nick Montfort’s controversial Cybertext review, adding volume to a volley already in progress
A book about books conscious of their materiality, N. Katherine Hayles’ Writing Machines draws praise from Raine Koskimaa for its own media consciousness, and blame for embodied emphasis.