Notes - Game Play: Paratextuality in Contemporary Board Games - page 202

40 Lancaster, Interacting with Babylon 5 , 98.
41 Lancaster, Interacting with Babylon 5 , 93.
42 Lancaster, Interacting with Babylon 5 , 95, 99-100.
43 Woods, “Last Man,” 3.
44 Fay, “Filtering Feedback,” 63.
45 Lancaster, Interacting with Babylon 5, 100.
46 Gwenllinan-Jones, “Virtual Reality,” 91-92.
Chapter 8
1 Nick Couldry, Media Rituals: A Critical Approach (London: Routledge, 2003), 2.
2 Koster, A heory of Fun, 38.
3 Phillips, A Creator's Guide, 41-54.
4 Koster, A heory of Fun, 144.
5 Roger C. Aden, Popular Stories and Promised Lands: Fan Cultures and Symbolic
Pilgrimages (Tuscaloosa, AL: Alabama University Press, 1999).
6 Fiske, “he Cultural Economy of Fandom.”
7 Matt Hills, “Fiske's 'Textual Productivity' and Digital Fandom: Web 2.0
Democratization Versus Fan Distinction?” Participations: he Journal of
Audience and Reception Studies 10, no. 1 (2013), http://www.participations.org/
Volume%2010/Issue%201/9%20Hills%2010.1.pdf, 130.
8 Paul Booth, “Board, Game, and Media: Interactive Board Games as Multimedia
Convergence,” Convergence (2015), ArticleFirst. doi:10.1177/1354856514561828 .
9 H. Porter Abbott, he Cambridge Introduction to Narrative , 2nd ed. (Cambridge:
Cambridge University Press, 2008), 112.
10 Megan Condis, “Adaptation and Space: hematic and Atmospheric Considerations
for Board Game Environment Construction,” Intensities: he Journal of Cult Media
7 (2014), https://intensitiescultmedia.iles.wordpress.com/2014/08/8-condis-
adaptation-and-space-pp-84-90.pdf, 84.
11 Andrews, Concepts in Film heory ; John Desmond and Peter Hawkes, Adaptation:
Studying Film and Literature (New York: McGaw, 2005), 44.
12 Andrews, Concepts in Film heory , 97.
13 Hutcheon, A heory of Adaptation, 22.
14 Booth, Time on TV .
15 Ian Bogost, Persuasive Games (Cambridge, MA: MIT Press, 2010), 175-76.
16 Andrews, Concepts in Film heory , 100.
17 Sutton-Smith, Ambiguity of Play, 10.
18 Andrews, Concepts in Film heory , 100.