David Shepard heads off the discussion regarding Stephen Ramsay's live reading of Andrew Sorensen's "Strange Places." His initial contribution is followed with posts by Amanda French, Mark Marino, Max Feinstein, Jeremy Douglass, Daren Chapin, John Bell, Jeff Nyoff, Jennifer Lieberman, and Stephen Ramsay, as well as Andrew Sorensen himself.
Emily Short interrogates Ian Bogost's Unit Operations and finds his approach to videogame criticism too capacious in its attempt to account for a variety of expressive media, and too narrow in its focus on low-order choices in videogames.
Stephen Schryer contrasts narratological and postsecular readings of postmodernism in a review of Gerhard Hoffmann's vast study, From Modernsism to Postmodernism (2005), and John McClure's narrower but more pointed exploration, Partial Faiths (2007).
Through a mini-experiment Robert Lecusay explores the differences between gamers' and non-gamers' interactions with non-player characters in Michael Mateas and Andrew Stern's Façade.
A review of John Farrell's magnificent Paranoia and Modernity: Cervantes to Rousseau, in light of contemporary literary criticism: Where Brian McHale declares an end to postmodernism, and where many discount paranoia as a passing literary interest, reviewer Tim Melley sees postmodern paranoia everywhere. As long as corporations are regarded by law as 'individuals' and conspiracy is the preferred way of understanding political and social systems, it seems that we'll remain in the longue duree of the postmodern moment.
Adriene Jenik describes a project of virtual performances via avatars in online chat spaces.
Celia Pearce applies the logics of identity politics, diaspora studies, and cultural studies to an online gaming community.
Torill Elvira Mortensen explains the joys of the role-playing high, in which the player no longer has to contemplate how her character might act in a given situation; instead the player simply reacts as the character. Mortensen develops the case to argue that role-playing experience can lead to a cynicism about the sincerity of people's out-of-character (or real-world) personae.