Simon Penny re-collects the dimensions of simulation-as-training in martial arts, football, and ballet (not to mention computer games).
The reader steps to the fore in the final section of First Person, reconfigured and ready for interaction.
"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.
