Aarseth, E. 2014. “Game Ontology”. In The Routledge Companion to Video Game Studies, B.

Perron & M.J.P. Wolf (Eds.). New York: Routledge, pp. 484 - 492.

Bryan 2013 - how players make narrative choices - Bryan, J. S. 2013. The Dynamics of the Player
Narrative – How Choices Shapes Videogame Literature. Masters Thesis. Georgia Institute of
Technology.

Pinchbeck 2009 - how story is conceptualized - Pinchbeck, D. 2009. Story as a function of gameplay
in First Person Shooters. PhD Thesis. University of Portsmouth.
Linderoth 2013 - how different types of gameplay mechanics are suitable for some narrative themes -
Linderoth, J. 2013. Superheroes, Greek gods and sport stars: Ecological empowerment as a ludo-
narratological construct. In Mitgutsch, K. Huber, S., Wimmer, J., Wagner, H. G., & Rosenstingl, H.
(Eds.) Context Matters! Proceedings of the Vienna Games Conference 2013: Exploring and
Reframing Games and Play in Context. Vienna: New academic press, pp. 17 - 30.
Butler 2103a/b - unique narrative dimension - player must perform actions to unveil the narrative -
Butler, M. 2013a. The Future of Storytelling. Chapter 5 Storytelling in Digital Games Unit 2
Gameplaying and Storytelling. Available from https://iversity.org/my/courses/the-future-of-
storytelling/lesson_units/4817 (Accessed: 3 Dec 2013).

Butler, M. 2013b. The Future of Storytelling. Chapter 5 Storytelling In Digital Games Unit 3
Scenes and Actions. Available from
https://iversity.org/my/courses/the-future-of-storytelling/lesson_units/4820 (Accessed: 2 Dec
2013).

Manninen 2003 - the types of player's actions - Manninen, T. 2003. Interaction Forms and
Communicative Actions in Multiplayer Games. Game Studies - The International Journal of
Computer Game Research. Vol. 3, Issue 1, May 2003.

McCarthy et al. (2005); - McCarthy, D., Curran, S., & Byron, S. 2005. The complete guide to game
development, art & design. Cambridge, UK: Alastair Campbell. - define video game narrative as a
constant predetermined linear story (and its narration)

Bateman (2007); - Bateman, C. (Ed.). 2007. Game writing: Narrative skills for videogames. Boston,
MA: Charles River Med. [the same as in above]

Chandler (2007) - Chandler, R. 2007. Game writing handbook. Boston, MA: Charles River Media.
[the same as above]

---define video games narrative as the player's own unique story and narrative that arises as a
consequence of playing video game:

Rollings, A., & Morris, D. 1999. Game Architecture and Design. Coriolis Group Books.

Vuorela, V. 2007. Pelintekijän käsikirja. [Game-Maker’s Handbook.] Helsinki: BTJ Finland Oy.

Krawczyk, M., & Novak, J. 2006. Game development essentials: Game story and character
development. Albany, NY: Thomson Delmar Learning.
Lee et al. (2006: 265) - psychological definition of narrative in interactive media as "a representation
of events that provides a cognitive structure wherebay media users can tie causes to effects,
converty the complethy of event to a story that makes sense, and thus satisfy their primitive urges to
understand the physical and social worlds" - Lee, K. M., Park, N., & Jin, Seung-A. 2006. Narrative
and Interactivity in Computer Games. In Peter Vorderer and Jennings Bryant (Eds.). Playing
Video Games: Motives, Responses, and Consequences. Lawrence Erlbaum Associates, Publishers.

Dansky (2007) - some constituens of video game narrative; defining avatars; - Dansky, R. 2007.
Introduction to Game Narrative. In Game Writing: Narrative Skills for Videogames. Chris
Bateman (Ed.). Boston, Massachusetts: Charles River Media.
Sylvester (2013) - divides video game narrative ito three main classes, i.e. scripted story, world
narrative, and emergent story. There is overlap; provide a multilinear structure for game plots; -
Sylvester, T. 2013. Designing Games: A Guide to Engineering Experiences. O'Reilly Media, Inc.

Jendkings (2005) - environmental storytelling types - Jenkins, H. 2004. Game Design as Narrative
Architecture. In N. Wardrip-Fruin & P. Harrigan (Eds.), First Person: New Media as Story,
Performance, and Game. Cambridge, MA: MIT Press. Available at
http://www.electronicbookreview.com/thread/firstperson/lazzi-fair (Accessed: 20 Jan 2016).
LeBlanc (2000) - apparently the first one to introduce a term for the concept of emergent storytelling
- LeBlanc, M. 2000. Formal Design Tools: Emergent Complexity, Emergent Narrative. GDC 2000,
San Jose, Lecture 5304 (not in proceedings).

Richard (2004) - designer's story/player's story - Richard, R. 2004. Game Design: Theory and
Practice. Wordware Publishing, Inc.

Adams (2010: 168) - lineary of the plot - Adams, E. 2010. Fundamentals of Game Design. Berkeley:
New Riders.

Bacon (2007), - Bacon, H. 2007. Cognition and the aesthetics of reexperience. In J.D. Anderson
and B.F. Anderson (Eds.). Narration and spectatorship in moving images, pp. 260 – 276.
Cambridge Scholars Publishing.
Hocking (2007) - ludonarrative dissonance - disjunction between the narrative and the gameplay -
Hocking, C. 2007. Ludonarrative Dissonance in Bioshock – The Problem of what the game is
about. Available from http://clicknothing.typepad.com/click_nothing/2007/10/ludonarrative-
d.html (Accessed 17 Jul 2015).
Wattssman (2012) - ludonarrative (ir)relevance - inappropriate modes of the gameplay and the
narrative ludonarrative resonance - congruence between the narrative and gameplay (concise
storytelling) - Watssman, J. 2012. Essay: Ludonarrative Dissonance Explained and Expanded.
Escapistmagazine. Available from http://www.escapistmagazine.com/forums/read/9.389092-
Essay-Ludonarrative-Dissonance-Explained-and-Expanded (Accessed 17 Jul 2015).

Robertson (2013) - i would like to criticise him - Robertson, J. 2013. Open Worlds vs. Authored
Narrative: The Battle for the Next-Generation. Available from
http://www.xbox360achievements.org/news-3220-Open-Worlds-vs--Authored-Narrative--The-
Battle-for-the-Next-Generation.html (Accessed: 31 Oct 2013).

Chew (2013) - gameplay-outcome relationship - Chew, A. L. Evelyn. 2013. How does the
interactive aspect of an autobiographical video game affect how someone’s life story is told?
NM6660 Report.
Baunting (2013: 60) - ciritique of Eskelinen - Bunting, B. S. Jr. 2013. Game-to-Film Adaptation and
How Prince of Persia: The Sands of Time Negotiates the Difference between Player and Audience.
In Game On, Hollywood!: Essays on the Intersection of Video Games and Cinema. Gretchen
Papazian and Joseph Michael Sommers (Eds.). North Carolina, Jefferson: McFarland & Company,
Inc., Publishers.
Vara (2009)

Ryan (2009) - Ryan, M.-L. 2009. From narrative games to playable stories: Towards a poetics of
interactive narrative. Storyworlds: A Journal of Narrative Studies, 1(1), 43 – 59.

Ryan, M.-L. 2003. Cognitive Maps and the Construction of Narrative Space. In David Herman
(Eds.). Narrative Theory and the Cognitive Sciences. Stanford; California: CSLI, pp. 214-242.
Keen (2015) - narrative is not inherent in the text but requires narrative reception to demonstrate
narrativity - Keen, S. 2015. Narrative Form: Revised and Expanded Second Edition. Palgrave
Macmillan.

Mäyrä, F. 2007. “The Contextual Game Experience: On the Socio-Cultural Contexts for Meaning
in Digital Play.”, pp. 810 - 814 in Situated Play, DiGRA Proceedings. Tokyo.