When hypertexts first digitized literature, Defenders of the Book called hypertext little more than a literary game. Now their observation is being turned against them. More and more hypertext criticism is starting to recognize the important contributions of computer and video games in the realms of interactive narrative, multilinearity, user interaction, and audio/visual storytelling. George Landow's Hypertext 2.0 (1997) and J. Yellowlees Douglas's The End of Books (2000) use games to demonstrate hypertextual phenomena. Espen Aarseth's Cybertext (1997) is the first serious consideration of games as predecessors of hypertext, and the online journal GameStudies.org (which Aarseth is the chief editor of) promises to produce game criticism that overlaps with hypertextual aesthetics. Once overlooked, the study of games could now be a wellspring of ideas for hypertext authors. Erik Loyer, whose piece "The Persistence of Hyperbole," crafts text out of his early gaming experiences with the Wolfenstein series, is part of a new generation of authors for whom games are an important storytelling medium.