Kwan, 2016
ViewHTML| Publication | Publication Date | Title |
|---|---|---|
| Upton | The aesthetic of play | |
| Bissell | Extra lives: Why video games matter | |
| Sylvester | Designing games: A guide to engineering experiences | |
| Domsch | Storyplaying: Agency and narrative in video games | |
| Juul | Half-real: Video games between real rules and fictional worlds | |
| Kremers | Level design: concept, theory, and practice | |
| Holmes | A mind forever voyaging: A history of storytelling in video games | |
| Despain | Writing for video game genres: From FPS to RPG | |
| Jahn-Sudmann et al. | Computer Games as a Sociocultural Phenomenon: Games Without Frontiers-War Without Tears | |
| Suckling et al. | Video game writing: from macro to micro | |
| Davidson | Well Played 1.0: video games, value and meaning | |
| Ferrari | The judgment of procedural rhetoric | |
| Reblin-Renshaw | Ludonarrative Synchronicity in the'BioShock'Trilogy | |
| Case et al. | Story Mode: The Creative Writer's Guide to Narrative Video Game Design | |
| Davidson et al. | Uncharted 2: Among Thieves—How to become a hero | |
| Kwan | Authored Agency: Exploring the Language and Grammar of Video Games | |
| Şengün | Six degrees of video game narrative: a classification for narrative in video games | |
| Arsenault | Narration in the video game | |
| Farca | Narratives in video games | |
| Garner | The sociocultural context of the video game experience | |
| Davidson et al. | Uncharted 2: Among Thieves-Becoming a Hero | |
| Bushnell | Tragic Time and Choice in Videogames | |
| Huk | Reflexive Play: Complicity, Emotions, and the Limitations of Choice in Video Games | |
| Halpern | Becoming a Video Game Designer | |
| Nivala | Fiction and video games: towards a ludonarrative model |