Literature scholars eager to understand gaming have made early inroads. Markku Eskelinen sets up serious checkpoints.
The builder of Façade, an “interactive story world,” Michael Mateas offers both a poetics and a neo-Aristotelian project (for interactive drama and games).
Animals and invaders populate the space of Janet Murray’s counter-response.
Mizuko Ito recounts her experience at an unusual gaming convention in Japan, and posits fan culture as a way to understand software.
Ian Bogost, the co-designer of The Howard Dean for Iowa Game (along with First Person contributor Gonzalo Frasca), deconstructs section three.
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.
Eric Zimmerman modifies Gonzalo Frasca’s game strategy with a strategic patch.
Narrativists vs. ludologists, material vs. formal constraints: Michael Mateas replies by identifying actors’ roles in each division.