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This article proposes to explore the concept of videogames rules by Salen and Zimmerman through the work of Yoko Ono, specifically the event scores or performative instructions published in Grapefruit (2000 [1964]). To do so, the authors have created an interactive experience based on four event scores' rules where gameplay emerges from their direct application. The project is contextualized through those rules and the differences between Ono's work and Fluxus. The return on the creative act reveals an innovative approach outside of the imperatives of "fun," privileging an embracing of errors and incertitude.

This article proposes an analysis of recent alternative video games through the particularities of industrial music’s aesthetics. Considering a massive increase in video game production by solo designers since 2015, the author identifies how singular practices of game creation can be inspired by underground art forms. To further this research, five game developers were invited to participate through interviews: Yames, Selfish Dream, Valerie Dusk, Stef Pinto and Andrea Pignataro. The article proposes an analysis of the common production strategies between industrial culture and these game creators, more precisely by studying the singular use of noise in their games (audio but also visual and spatial) and how their creations act as noise in the context of the dominant video game industry by weakening its core definitions of what games are and the technocentrist history of the medium.

The essay discusses the role of paratext in framing players’ experience of videogames, focusing on the indie game scene and specifically examining three types of paratext: game title, game description, and the readme file. It cites examples coming from the author’s experience as an independent game creator and as a player. The focus on concrete manifestations of paratext reflects the author’s belief that examples should not only be used to illustrate theoretical arguments about paratextual phenomena, but should help deepen our understanding of them.