The claim that game rules must fit within generic tropes evokes Newman’s discussion of the incorporation of multiple popular-narrative genres into his choose-your-own-adventure-style novel, Life’s Lottery.

Newman’s incorporation of multiple popular-narrative genres into her choose-your-own-adventure-style novel evokes the issue of properly handling genre-specific tropes that Wallis argues is essential in crafting story-telling engines for games – not only semi-playable novels.

Reviewing Ira Livingston’s book on autopoiesis, Stephen Doughterty marks a convergence between fractal complexity and imaginative writing by pointing out how words are themselves fractal in their organization and evolution. Reviewing Ira Livingston’s book on autopoiesis, Stephen Doughterty marks a convergence between fractal complexity and imaginative writing by pointing out how words are themselves fractal in their organization and evolution.

Alger’s idea that the gamist/narrativist dichotomy is useful for those playing games rather than those designing or theorizing about games, evokes Stanley Fish’s notion that interpretive communities determines one’s reading of a text in Is There a Text in This Class? Alger’s idea that the gamist/narrativist dichotomy is useful for those playing games rather than those designing or theorizing about games, evokes Stanley Fish’s notion that interpretive communities determines one’s reading of a text in Is There a Text in This Class?

Leavenworth’s allusion to “forbidden” and “life-altering” knowledge evokes Goethe’s Faust, a text Marjorie Perloff dwells on in her reivew of Franco Moretti. Leavenworth’s allusion to “forbidden” and “life-altering” knowledge evokes Goethe’s Faust, a text Marjorie Perloff dwells on in her reivew of Franco Moretti.