First Person makes an invaluable contribution to the current discussion surrounding new media narratives, computer games, and the performative ties that bind them. The anthology brings together major players in the field who discuss their ideas in the appropriately open-ended format of statements and responses, all of which shed light on the aesthetic and social implications of our new experiences of stories. -- Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum of American Art You have entered the rotunda of a gleaming, new conference center. Above you hangs a banner: 'Welcome to First Person.' In front of you, you see doors leading into separate conference rooms, each of which is marked with a sign in large, Futura Bold letters: 'Cyberdrama,' 'Ludology,' 'Simulation,' 'Hypertext and Interactives,' and so on. You soon discover that every room in this virtual conference called First Person is filled with informed discussion and lively controversy from major figures in the emerging field of Game Studies. Some are arguing that digital games (as the heirs of the novel and of film) constitute the next great arena for storytelling; others respond that games are not narratives at all and require a different theoretical framework and a new discipline. Still others are describing their own exciting contributions to interactive fiction, poetry, or visual/verbal art. By the time you return from this virtual tour of the world of Game Studies, you realize that all of these rooms (and all these topics) are connected in an intricate and compelling architecture of ideas. You begin to understand the rich possibilities that computer games offer...as drama, narrative, and simulation. You come to appreciate the great theoretical task that lies before us in exploring both the formal properties and the cultural significance of computer games. -- Jay David Bolter, Wesley Professor of New Media, Georgia Institute of Technology
Noah Wardrip-Fruin is Professor of Computational Media at the University of California, Santa Cruz, where he codirects the Expressive Intelligent Studio. He is the author of Expressive Processing: Digital Fictions, Computer Games, and Software Studies (MIT Press). Pat Harrigan is a freelance writer and editor, most recently of Zones of Control: Perspectives on Wargaming, coedited with Matthew Kirschenbaum (MIT Press). His work has been published widely and he is the author of a novel, Lost Clusters, and a collection of short stories, Thin Times and Thin Places.
" First Person makes an invaluable contribution to the current discussion surrounding new media narratives, computer games, and the performative ties that bind them. The anthology brings together major players in the field who discuss their ideas in the appropriately open-ended format of statements and responses, all of which shed light on the aesthetic and social implications of our new experiences of stories." Christiane Paul , Adjunct Curator of New Media Arts, Whitney Museum of American Art "You have entered the rotunda of a gleaming, new conference center. Above you hangs a banner: 'Welcome to First Person.' In front of you, you see doors leading into separate conference rooms, each of which is marked with a sign in large, Futura Bold letters: 'Cyberdrama,' 'Ludology,' 'Simulation,' 'Hypertext and Interactives,' and so on. You soon discover that every room in this virtual conference called First Person is filled with informed discussion and lively controversy from major figures in the emerging field of Game Studies. Some are arguing that digital games (as the heirs of the novel and of film) constitute the next great arena for storytelling; others respond that games are not narratives at all and require a different theoretical framework and a new discipline. Still others are describing their own exciting contributions to interactive fiction, poetry, or visual/verbal art. By the time you return from this virtual tour of the world of Game Studies, you realize that all of these rooms (and all these topics) are connected in an intricate and compelling architecture of ideas. You begin to understand the rich possibilities that computer games offer... as drama, narrative, and simulation. You come to appreciate the great theoretical task that lies before us in exploring both the formal properties and the cultural significance of computer games." Jay David Bolter , Wesley Professor of New Media, Georgia Institute of Technology
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