Zuzana Husárová and Nick Montfort up the ante for experimental writing by examining the category of "shuffle literature." What is shuffle literature? Simply put: books that are meant to be shuffled. Using formal reading of narrative and themes, but also a material reading of construction and production, Husárová and Montfort show that there are many writing practices and readerly strategies associated with this diverse category of literature.
An argument against the collapse of categories by an author who has, yes, himself perpetrated a few codeworks.
Pat Harrigan and Noah Wardrip-Fruin introduce Cyberdrama, the first section of First Person.
Espen Aarseth foresees the quick end of Murray's "story-game hybrid" and suggests instead a "critical theory of games."
Game-Story set theory.
The man behind The Sims, Will Wright, places narrative controls back in the hands of gamers.
Secret agency is at issue in Frasca's response, which denies the application of Aristotle to the open-ended interactivity of gaming.
The importance of consequences plots Brenda Laurel's response to Michael Mateas.
"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.