Notes - Game Play: Paratextuality in Contemporary Board Games - page 184

33 Lin Carter, Lovecrat: A Look Behind the “Cthulhu Mythos” (USA: Ballantine
Books, 1972), 26-27.
34 Price, “With Strange Aeons,” 232.
35 Ian Bogost, “he Rhetoric of Video Games,” in he Ecology of Games: Connecting
Youth, Games, and Learning , ed. Katie Salen (Cambridge, MA: MIT Press,
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36 Flanagan, Critical Play, 84.
37 Wagner, Godwired , 58.
38 Ian Bogost, “Videogame Adaptation and Translation,” Ian Bogost , 2006 (accessed
June 01, 2014), http://www.bogost.com/ teaching/videogame_adaptation_and_
trans.shtml.
39 Wilson, “One Story,” 93.
40 Flanagan, Critical Play, 11.
41 Jonas Linderoth, “Exploring Anonymity in Cooperative Board Games,”
Proceedings of DiGRA 2011 Conference: hink Design Play , 2011 (accessed
June 01, 2014), http://www.digra.org/ wp-content/uploads/digital-
library/11312.15167.pdf.
42 Arkham Horror, 13.
43 Price, “With Strange Aeons,” 231.
44 Arkham Horror , 5.
45 Wilson, “One Story,” 92.
46 Wilson, “One Story,” 92.
47 Barton Levy St. Armand, “Synchronistic Worlds: Lovecrat and Borges,”
in An Epicure in the Terrible: A Centennial Anthology of Essays in Honor of
H. P. Lovecrat , eds. David E. Schultz and S. T. Joshi (Cranbury, NJ: Associated
University Presses, 1991), 298.
48 Costikyan, Uncertainty in Games, 95.
49 Greg Costikyan, “Games, Storytelling, and Breaking the String,” in Second Person:
Role-Playing and Story in Games and Playable Media , eds. Pat Harrigan and Noah
Wardrip-Fruin (Cambridge, MA: MIT Press, 2007), 6, 12.
50 St Armand, “Synchronistic Worlds,” 319.
51 Price, “With Strange Aeons,” 241.
52 Kenneth Hite, “Narrative Structure and Creative Tension in Call of Cthulhu,”
in Second Person: Role-Playing and Story in Games and Playable Media , eds.
Pat Harrigan and Noah Wardrip-Fruin (Cambridge, MA: MIT Press, 2007),
32, 37.
53 Price, “With Strange Aeons,” 239-40.
54 Peter Lunenfeld, “Uninished Business,” in he Digital Dialectic , ed. Peter
Lunenfeld (Cambridge, MA: MIT Press, 1999).