Literature scholars eager to understand gaming have made early inroads. Markku Eskelinen sets up serious checkpoints.
Asymmetries between event time and play time interest Mizuko Ito, who asks “How do you answer the door to get a pizza to nourish your flesh-and-blood body when you are in the middle of life and death online combat?”
“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.
Which alias best fits interactive fiction?
The nominees are:
“Story,” “Game,” “Storygame,” “Novel,” “World,”
“Literature,” “Puzzle,” “Problem,” “Riddle,” and “Machine.”
Read, and decide.
It’s “Game Time.” Here in section four we see what the dynamics of time and space have to do with the games people play.
A reply from game designer Eric Zimmerman that is receptive to multiple viewpoints, non-design or otherwise.
Celia Pearce hits SAVE and preserves most of Jesper Juul’s essay. But then “non-computer contexts” hit the screen.