Gonzalo Frasca's proposal for videogames that address "critical thinking, education, tolerance, and other trivial issues."
Which alias best fits interactive fiction?
The nominees are:
"Story," "Game," "Storygame," "Novel," "World,"
"Literature," "Puzzle," "Problem," "Riddle," and "Machine."
Read, and decide.
Jane McGonigal goes mobile with a "transformational agenda" shift for Cyberdrama.
Mark Barret cautions against reinventing the wheel in this riposte to Cyberdrama and to Janet Murray's essay.
The builder of Façade, an "interactive story world," Michael Mateas offers both a poetics and a neo-Aristotelian project (for interactive drama and games).
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."
Bryan Loyall cites expertly paced penguins in this response to Janet Murray.
Secret agency is at issue in Frasca's response, which denies the application of Aristotle to the open-ended interactivity of gaming.
"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.