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  1. (1 other version)Video Games as Self‐Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2012 - Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...)
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  • Ludic resistance: a new solution to the gamer’s paradox.Louis Rouillé - 2024 - Ethics and Information Technology 26 (2):1-11.
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  • (1 other version)Glitches as fictional (mis)communication.Nele Van de Mosselear & Nathan Wildman - 2021 - In Timothy Barker & Maria Korolkova (eds.), Miscommunications: Errors, Mistakes, Media. Bloomsbury. pp. 300-315.
    Here, we focus on the underexplored fictional relevance of videogame glitches. For this purpose, we will make use philosophical theories on fiction, as well as standard suggestions about how best to deal with unintended errors within fiction. Focusing on glitches like that of Red Dead Redemption’s "manimals", we argue that glitches, more than any kinds of mistakes in traditional, non-interactive fictions, can actually have a significant influence on the fictional worlds of the work in which they appear. In particular, we (...)
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  • Interactivity, Fictionality, and Incompleteness.Nathan Wildman & Richard Woodward - 2018 - In Jon Robson & Grant Tavinor (eds.), The Aesthetics of Videogames. New York: Routledge.
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  • (1 other version)Video Games as Self-Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2016 - Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...)
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  • It’s about Time: Film, Video Games, and the Advancement of an Artform.Steven Gimbel & Joseph Roman - 2019 - Philosophies 4 (4):56.
    Jon Robson and Aaron Meskin have argued that the insights obtained through the philosophical analysis of video games is not specific to video games, but to a larger class of artistic creations they term Self-Involving Interactive Fictions, or SIIFs. But there is at least one aspect of SIIF video games that is philosophically interesting and does not apply to the class of SIIFs as a whole, the ability to represent non-classical time. If SIIF video games are considered to be an (...)
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  • Walton, Truth in Fiction, and Video Games: A Rejoinder to Willis.Martin Ricksand - 2020 - Journal of Aesthetics and Art Criticism 78 (1):101-105.
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 101-105, Winter 2020.
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