An appreciative reply that measures the incline of Henry Jenkins’ middle ground.
Literature scholars eager to understand gaming have made early inroads. Markku Eskelinen sets up serious checkpoints.
Julian Raul Kucklich points out the virtues of interdisciplinarity cooperation for ludologists.
Jason Mittell calls David Simon’s bluff: to what degree is The Wire really like a “televised novel”? To what degree is it more like a video game? Why not classify it as what it really is - a genre-spawning “masterpiece” in the medium of television.
Markku Eskelinen reiterates the bounds of ludology.
Brenda Laurel takes a turn at the rules of operation for Interactive Fiction.
Eric Zimmerman whips “four naughty concepts” into disciplinary shape.
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.
Gonzalo Frasca’s proposal for videogames that address “critical thinking, education, tolerance, and other trivial issues.”
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.