Pat Harrigan

Noah Wardrip-Fruin

Narrative strategies for vast fictional worlds across a variety of media, from World of Warcraft to The Wire.

Authoring and Exploring Vast Narratives

Third Person

Matthew G. Kirschenbaum

Examinations of wargaming for entertainment, education, and military planning, in terms of design, critical analysis, and historical contexts. Games with military themes date back to antiquity, and yet they are curiously neglected in much of the academic and trade literature on games and game history. This volume fills that gap, providing a diverse set of perspectives on wargaming's past, present, and future. In Zones of Control, contributors consider wargames played for entertainment, education, and military planning, in terms of design, critical analysis, and historical contexts. They consider both digital and especially tabletop games, most of which cover specific historical conflicts or are grounded in recognizable real-world geopolitics. Game designers and players will find the historical and critical contexts often missing from design and hobby literature; military analysts will find connections to game design and the humanities; and academics will find documentation and critique of a sophisticated body of cultural work in which the complexity of military conflict is represented in ludic systems and procedures. Each section begins with a long anchoring chapter by an established authority, which is followed by a variety of shorter pieces both analytic and anecdotal. Topics include the history of playing at war; operations research and systems design; wargaming and military history; wargaming's ethics and politics; gaming irregular and non-kinetic warfare; and wargames as artistic practice. Contributors Jeremy Antley, Richard Barbrook, Elizabeth M. Bartels, Ed Beach, Larry Bond, Larry Brom, Lee Brimmicombe-Wood, Rex Brynen, Matthew B. Caffrey, Jr., Luke Caldwell, Catherine Cavagnaro, Robert M. Citino, Laurent Closier, Stephen V. Cole, Brian Conley, Greg Costikyan, Patrick Crogan, John Curry, James F. Dunnigan, Robert J. Elder, Lisa Faden, Mary Flanagan, John A. Foley, Alexander R. Galloway, Sharon Ghamari-Tabrizi, Don R. Gilman, A. Scott Glancy, Troy Goodfellow, Jack Greene, Mark Herman, Kacper Kwiatkowski, Tim Lenoir, David Levinthal, Alexander H. Levis, Henry Lowood, Elizabeth Losh, Esther MacCallum-Stewart, Rob MacDougall, Mark Mahaffey, Bill McDonald, Brien J. Miller, Joseph Miranda, Soraya Murray, Tetsuya Nakamura, Michael Peck, Peter P. Perla, Jon Peterson, John Prados, Ted S. Raicer, Volko Ruhnke, Philip Sabin, Thomas C. Schelling, Marcus Schulzke, Miguel Sicart, Rachel Simmons, Ian Sturrock, Jenny Thompson, John Tiller, J. R. Tracy, Brian Train, Russell Vane, Charles Vasey, Andrew Wackerfuss, James Wallis, James Wallman, Yuna Huh Wong

Perspectives on Wargaming

Zones of Control

Associate Professor in the Computer Science Department at the University of California Santa Cruz Noah Wardrip-Fruin

Freelance Writer and Editor Pat Harrigan

Game designers, authors, artists, and scholars discuss how roles are played and how stories are created in role-playing games, board games, computer games, interactive fictions, massively multiplayer games, improvisational theater, and other "playable media." Games and other playable forms, from interactive fictions to improvisational theater, involve role playing and story--something played and something told. In Second Person, game designers, authors, artists, and scholars examine the different ways in which these two elements work together in tabletop role-playing games (RPGs), computer games, board games, card games, electronic literature, political simulations, locative media, massively multiplayer games, and other forms that invite and structure play. Second Person--so called because in these games and playable media it is "you" who plays the roles, "you" for whom the story is being told--first considers tabletop games ranging from Dungeons & Dragons and other RPGs with an explicit social component to Kim Newman's Choose Your Own Adventure-style novel Life's Lottery and its more traditional author-reader interaction. Contributors then examine computer-based playable structures that are designed for solo interaction--for the singular "you"--including the mainstream hit Prince of Persia: The Sands of Time and the genre-defining independent production Façade. Finally, contributors look at the intersection of the social spaces of play and the real world, considering, among other topics, the virtual communities of such Massively Multiplayer Online Role Playing Games (MMORPGs) as World of Warcraft and the political uses of digital gaming and role-playing techniques (as in The Howard Dean for Iowa Game, the first U.S. presidential campaign game). In engaging essays that range in tone from the informal to the technical, these writers offer a variety of approaches for the examination of an emerging field that includes works as diverse as George R.R. Martin's Wild Cards series and the classic Infocom game Planetfall. Appendixes contain three fully-playable tabletop RPGs that demonstrate some of the variations possible in the form.

Role-playing and Story in Games and Playable Media

Second Person

The relationship between story and game, and related questions of electronic writing and play, examined through a series of discussions among new media creators and theorists.

New Media as Story, Performance, and Game

First Person

Narrative strategies for vast fictional worlds across a variety of media, from World of Warcraft to The Wire. The ever-expanding capacities of computing offer new narrative possibilities for virtual worlds. Yet vast narratives—featuring an ongoing and intricately developed storyline, many characters, and multiple settings—did not originate with, and are not limited to, Massively Multiplayer Online Games. Thomas Mann's Joseph and His Brothers, J. R. R. Tolkien's Lord of the Rings, Marvel's Spiderman, and the complex stories of such television shows as Dr. Who, The Sopranos, and Lost all present vast fictional worlds. Third Person explores strategies of vast narrative across a variety of media, including video games, television, literature, comic books, tabletop games, and digital art. The contributors—media and television scholars, novelists, comic creators, game designers, and others—investigate such issues as continuity, canonicity, interactivity, fan fiction, technological innovation, and cross-media phenomena. Chapters examine a range of topics, including storytelling in a multiplayer environment; narrative techniques for a 3,000,000-page novel; continuity (or the impossibility of it) in Doctor Who; managing multiple intertwined narratives in superhero comics; the spatial experience of the Final Fantasy role-playing games; World of Warcraft adventure texts created by designers and fans; and the serial storytelling of The Wire. Taken together, the multidisciplinary conversations in Third Person, along with Harrigan and Wardrip-Fruin's earlier collections First Person and Second Person, offer essential insights into how fictions are constructed and maintained in very different forms of media at the beginning of the twenty-first century.

Pat Harrigan

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