Which alias best fits interactive fiction?
The nominees are:
“Story,” “Game,” “Storygame,” “Novel,” “World,”
“Literature,” “Puzzle,” “Problem,” “Riddle,” and “Machine.”
Read, and decide.
“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.
The builder of Façade, an “interactive story world,” Michael Mateas offers both a poetics and a neo-Aristotelian project (for interactive drama and games).
Bryan Loyall cites expertly paced penguins in this response to Janet Murray.
Mark Barret cautions against reinventing the wheel in this riposte to Cyberdrama and to Janet Murray’s essay.
Jane McGonigal goes mobile with a “transformational agenda” shift for Cyberdrama.
Gonzalo Frasca’s proposal for videogames that address “critical thinking, education, tolerance, and other trivial issues.”
Celia Pearce’s position - anti-isolationist, but also anti-colonialist - derives from her understanding of “the unique properties of games themselves.”
U.S. cybernetic pragmatisim and practical Net expertise interest Moulthrop (and his auditors) on “second thought.”
Stuart Moulthrop complicates the idea of self-contained games.