References
- Aarseth, E. J. 1997. Cybertext: Perspectives of Ergodic Literature. Baltimore: Johns Hopkins University Press.
- Ahmed, S. 2010. The Promise of Happiness. Durham: Duke University Press.
- Anthropy, A. 2019. “Queers in Love at the End of the World (game).” https://w.itch.io/end-of-the-world
- Austin, J. L. 1976. How to Do Things with Words. Edited by J. O. Urmson and S. Marina. 2nd ed. Oxford: Oxford University Press.
- Berlant, L. 2011. Cruel Optimism. Durham: Duke University Press.
- Butler, J. 2004. Precarious Life: The Powers of Mourning and Violence. London: Verso.
- Butler, J. 2015. Notes toward a Performative Theory of Assembly. Cambridge: Harvard University Press.
- Cardona-Rivera, R. E., and R. Michael Young. 2014. “Games as Conversation.” Paper presented at the 3rd Workshop on Games and NLP at the 10th AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment, Raleigh, October 3–7. https://www.aaai.org/ocs/index.php/AIIDE/AIIDE14/paper/view/9033
- Clode, D., and S. Argent. 2016. “Choose Your Own Gender: An Interdisciplinary Approach to Studying Reader Assumptions in Second-Person Adventure Stories.” Poetics 55: 36–45. doi:10.1016/j.poetic.2016.01.002.
- Danielewski, M. Z. 2000. House of Leaves. New York: Pantheon Books.
- DelConte, M. 2003. “Why You Can’t Speak: Second-Person Narration, Voice, and a New Model for Understanding Narrative.” Style 37 (2): 204–219. https://www.jstor.org/stable/10.5325/style.37.2.204
- deWinter, J. 2014. “Just Playing Around: From Procedural Manuals to In-Game Training.” In Computer Games and Technical Communication: Critical Methods and Applications at the Intersection, edited by J. deWinter and R. M. Moeller, 69–85. Farnham: Ashgate.
- Farrell, N. 2017. “Games as Owned Experiences.” FilamentGames, July 12. https://www.filamentgames.com/blog/games-owned-experiences
- Goodman, D. L. 2018. The Throne of Zeus. Waitsfield: Chooseco.
- Halberstam, J. J. 2005. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press.
- Hart, I. 2014. “Meaningful Play: Performativity, Interactivity and Semiotics in Video Game Music.” Musicology Australia 36 (2): 273–290. doi:10.1080/08145857.2014.958272.
- Hoffman, K. M. 2019. “Social and Cognitive Affordances of Two Depression-Themed Games.” Games and Culture 14 (7–8): 875–895. doi:10.1177/1555412017742307.
- Jayemanne, D. 2017. Performativity in Art, Literature, and Videogames. London: Palgrave Macmillan.
- Juul, J. 2005. Half-Real: Video Games between Real Rules and Fictional Worlds. Cambridge: MIT Press.
- Lo, C. 2017. “Everything Is Wiped Away: Queer Temporality in Queers in Love at the End of the World.” Camera Obscura 95 (32.2): 184–192. doi:10.1215/02705346-3925194.
- Muñoz, J. E. 2009. Cruising Utopia: The Then and There of Queer Futurity. New York: New York University Press.
- Parkin, S. 2014. “Zoe Quinn’s Depression Quest.” The New Yorker, September 9. https://www.newyorker.com/tech/annals-of-technology/zoe-quinns-depression-quest
- Pratt, M. L. 1977. Toward a Speech Act Theory of Literary Discourse. Bloomington: Indiana University Press.
- Puar, J. 2012. “Precarity Talk: A Virtual Roundtable with Lauren Berlant, Judith Butler, Bojana Cvejić, Isabell Lorey, Jasbir Puar, and Ana Vujanović.” TDR 56 (4): 163–177. doi:10.1162/DRAM_a_00221.
- Quinn, Z., P. Lindsey, and I. Schankler. 2013. “Depression Quest (game).” http://www.depressionquest.com
- Rhizome. “Queers in Love at the End of the World.” Accessed 8 May 2020. https://rhizome.org/art/artbase/artwork/queers-in-love-at-the-end-of-the-world
- Stephens, E., and K. Sellberg. 2019. “The Somatechnics of Breath: Trans* Life at This Moment in History: An Interview with Susan Stryker.” Australian Feminist Studies 34 (99): 107–119. doi:10.1080/08164649.2019.1605490.
- Wardrip-Fruin, N. 2005. “Clarifying Ergodic and Cybertext.” Grand Text Auto, August 12. https://grandtextauto.soe.ucsc.edu/2005/08/12/clarifying-ergodic-and-cybertext