Video games

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A video game is an electronic game that involves human interaction with a user interface to generate visual feedback on a video device such as a TV screen or computer monitor. The word video in video game traditionally referred to a raster display device, but it now implies any type of display device that can produce two- or three-dimensional images.

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  • In my opinion, RapeLay's storyline went too far. However, if a game creator wants to express something and create content out of it, a government or public entity shouldn't have the power to restrain it.


  • The combination of low culture and high technology is one of the most fascinating social features of the video game phenomenon. Computers were invented as super drones to do tasks no human in her or his right mind (much less left brain) would have the patience, or the perseverance, to manage. [...] Now our robot drones, the ones designed to take all the boring jobs, become the instrument for libidinal extravaganzas devoid of any socially productive component. Video games are computers neutered of purpose, liberated from functionality. The idea is intoxicating; like playing with the help on their night off.
  • Few good computer games have been written so far. Of the good ones, some are computer adaptations of games like Chess and Othello which existed first in another form. These games are good if they add a dimension to the play of the game that is not present in its original form, (such as the possibility of solo play), and do so in an aesthetically pleasing form. My personal opinion is that such computer adaptations will play a trivial role in the future of computer games and the best ones will be those which take unique advantage of the computer capabilities.
    • Rev. George Blank, "Writing Good Computer Games. Part One: Philosophy", SoftSide January 1979, p. 29
  • Since we’ve figured to some extent how these pieces of the brain that handle addiction are working, people have figured out how to juice them further and how to bake that information into apps.


  • We need to treat violent video games the way we treat tobacco, alcohol, and pornography.
  • There have been four decades of research on the effect of media violence on our kids and it all points to the same conclusion -- media violence leads to more aggression, anti-social behavior, and it desensitizes kids to violence. The American Academy of Pediatrics summed up this point in a report entitled Media Exposure Feeding Children's Violent Acts. "Playing violent video games is to an adolescent's violent behavior what smoking tobacco is to lung cancer," it said. This isn't about offending our sensibilities -- it is about protecting our children.
  • We know that violent video games have an impact on children. Just recently there was cutting edge research conducted at Indiana University School of Medicine, which concluded that adolescents with more exposure to violent media were less able to control and to direct their thoughts and behavior, to stay focused on a task, to plan, to screen out distractions, and to use experience to guide inhibitions.
  • Art is subjective; it’s in the eye of the beholder. I think video games can be fun. They can teach eye-hand coordination and strategy and they can introduce children to computer technology. And there is no doubt they are intricate and sophisticated technologically. I’m not in any way trying to do away with video games. I’m strictly concerned with a small subset of games that are harmful to children — those that are excessively violent and sexually explicit. I want to make sure children can’t obtain these games without their parents’ consent.
  • It's almost entirely women being threatened in Gamergate.
    • Stephen Colbert, as quoted by Rich McCormick, (October 30, 2014). "Stephen Colbert takes on Gamergate with Anita Sarkeesian". The Verge. Archived from the original on November 17, 2014. Retrieved November 18, 2014.
  • What quickly becomes obvious is that The Witcher is very much a PC-exclusive game, which are typically designed to be as complex and unintuitive as possible so that those dirty console-playing peasants don't ruin it for the glorious PC-gaming master race.
    • Ben Croshaw (January 23, 2008). "The Witcher". The Escapist. Defy Media. Retrieved September 6, 2014. ... Those dirty console playing peasants don't ruin it for the glorious PC gaming master race ...
  • It was intended to be ironic, to illustrate what I perceived at the time to be an elitist attitude among a certain kind of PC gamer. People who invest in expensive gaming PCs and continually spend money to make sure the tech in their brightly-lit tower cases is up to date. Who actually prefer games that are temperamental to get running and that have complicated keyboard interfaces, just because it discourages new or 'casual' players who will in some way taint the entire community with their presence. I meant it as a dig.
    • Ben Croshaw, (May 28, 2013). "The Glorious PC Gaming Master Race". The Escapist. Defy Media. Retrieved September 6, 2014.
  • Much of the conversation—if I can even call it that—has been a toxic sludge of rumor, invective, and gender bias. The irony comes from people who claim to be challenging the ethics of game journalists through patently unethical behavior.
    • Kathleen Bartzen Culver, (January 3, 2015). "A Magical Putter and the Year in Media Ethics". Center for Journalism Ethics. University of Wisconsin–Madison. Archived from the original on January 14, 2015.


  • Gaming culture has been pretty misogynistic for a long time now. There's ample evidence of that over and over again... What we're finally seeing is that it became so egregious that now companies are starting to wake up and say, "We need to stop this. This has got to change.
    • IGDA executive director Kate Edwards as quoted by Susan Kelleher, (August 13, 2015). "'This has got to change': Women game developers fight sexism in industry". The Seattle Times. Archived from the original on August 13, 2015. Retrieved August 14, 2015.



  • Initially, the work centers on the vision of the game, both in terms of the story and the artistic style. Lots of story development meetings take place, and concept artists work to flesh out the designs and environments that will become a living world by the end of development. At the same time, the engine and technology is planned, and early work on the technical design is done.
  • Once the technical and artistic vision of the game is planned, people can be brought onboard to start the main production work on the game. Artists build the environments, characters, and objects for the game world, and designers write the dialog and start making things function story-wise. The most difficult part of this stage is that everyone is working with partially complete technology, since the game programmers are also working to create the functionality of the engine and game systems. It's a careful sequencing of work that allows us to complete this stage, similar to trying to film a movie while technicians are still building your lights and cameras.
Once the bulk of the work on the game is complete, the bug database starts to take over as the driving force in development. The list of remaining tasks starts to dwindle, and the team works through the enormous task of perfecting the millions of details that will make it a solid game. Quality assurance testers also take center stage, providing valuable feedback about what's fun and what's not, in addition to spotting bugs. Designers work throughout this phase to improve the balancing of the game, making it more fun and exciting with every day.
  • Once all the bugs have been squashed and the testers are having lots of fun playing the game from beginning to end, the process of submission begins. A strict process of certification must be passed, and when complete, the game is ready for duplication and distribution, on its way to a store near you!
  • So when creating a character in the fore front of my mind is that this character is linked to the game design. So, you know, unlike the character design for an anime or a film or something – when we create a character it has to tie in with the game-play.
So for example, Sonic is invincible while he is jumping. He turns into a ball and has all the spikes around him. So this is a visual representation of what is happening in the game.
  • And another thing that has influence while creating a character is when I’m creating that character – what I think is cool at the time, of you know, is going around at the time around me in my environment or the industry would have an influence on me and what I think is cool. The overall output of the character design.
  • In the old days, there wasn’t really like a formal process, but these days when we create a character we ensure to get input from for example SEGA Europe or from the marketing department. We get input from input from various parts of the SEGA business to ensure that this character that we create is something that will be loved by many people.
  • But having said that, you know, the premise is this character that we come up with – that we are getting input on – there is what I want to achieve with that character and there is that at the forefront. There is this sort of core thing that we are working towards – that I am driving but I get feedback from the various parts of the business to ensure that it is something that will be done by many.


  • The only legitimate use of a computer is to play games.
  • I think one of the most important attributes a designer can have is…not only the ability, but almost the unconscious constant experience of putting yourself in other people’s heads and watching them as they have an experience. Building an experience through the eyes of someone else is incredibly challenging. I think that’s what makes great designers. A bunch of my meta-points that I’ve drawn out over the last 20 years are about that, how you put yourself in other people’s shoes.
  • There seems to be a lot of retro-game nostalgia in recent years. Perhaps it’s because so many gamers have reached that age where they want to look back, or maybe it’s because of how easy it is to tweet out ‘Hey, remember this!?'


  • I played the Mortal Kombat arcade game in their office for half an hour. I turned to [former Midway Games chief] Neil D. Nicastro and I said, “This is Star Wars meets Enter the Dragon. This is not just an arcade game. This is a whole phenomenon.” I said, “If you give me the rights to this, I promise you I will produce this, not just in movies, but in every medium in the world.” He looked at me and said, “You’re full of crap! It’s just an arcade game!” That began a three-month process of me trying to convince them that it was more than just an arcade game. They didn’t believe it… I finally just wore them down and they optioned the rights to me for an insanely short amount of time, which now I would never do, but it was my first deal at my company.
  • We producers don't think that FFVIII is much harder than FFVII! However with FFVIII, we have tried to bring in a mode of play which requires more active thinking from the players. Yes, you can play it all the way through without thinking much about strategy or combination of energies but you have to move very, very slowly.
    However, if you become more involved with the game and think more 'actively', it's much more fun. The harder you think, the better you play. It's wrong to say simply 'easier' or 'harder'...
  • I think girls tend to like RPGs, like Final Fantasy. Girls who play games like that seem to get more of a desire to work in this field. I usually don't think to make games strictly for a female audience, myself, but I think my RPGs attract a larger female audience. Violent, war-themed titles seem to attract an overwhelmingly male audience. I think if companies want to get more girls to play their games, they should keep this in mind.
  • As I'm a woman myself, when I make games, I try not to just have them be male fantasy figures, as people needing to be rescued. I like to make female characters people of both genders can relate to. But we are seeing more strong-willed women in games geared towards female audiences.
  • Back in the day, Sega said we couldn't show our real names, thus everyone went under nicknames in the game credits.


  • We always think of the road not taken, of something in the past. 'Wow, what would have happened if I married so and so, or took that job in San Diego…' But you rarely think that each and every second that goes by is one of those moments. Like this second that just happened. And that one. And the one that's going to happen in a second." Potentially, each of these seconds could alter a game in a profound way. Just as they can in life. The easiest thing for us to imagine is that our lives, and the story we are playing, are pre-designed, solid. But neither gaming nor life has to be like that. In both, we can alter and decide in a way that is surprising, ultimately freeing.


  • It’s not easy, but even for me, if I can’t reduce my ideas to actual data then I’m out of luck. Plus, I feel like the real work of game development isn’t just coming up with ideas, it’s translating those ideas into actual data. If you don’t have those skills, then you’re at the mercy of the programmers when they tell you something can’t be done, and if another planner comes up to you asking how to do something, you won’t be able to help. So you see, it’s really those with ideas (planners) who are most hurt by not knowing anything about data and coding.
  • And when it comes time to create the actual data, even if you think “oh, well I’ll just have other people implement my ideas, and they’ll add their own flavor to it”, what will happen is that they’ll end up taking control of the work. That’s why planners should be able to handle data. There’s so many software tools available today to make it easier, so its not like you need as much expertise as you did in the old days.
  • There’s also some planners who are more inclined to art and drawing. I have no skills with art myself, so I really envy those planners who do. And there’s a lot of places where their skills come in handy. We actually do hire some artists who only do “pure” art and don’t touch the software side at all, but for planners, I think it’s best to be able to handle data.
  • Back in the 1990s, games rarely provided free camera movement But now players are used to being able to move both the character and the camera; we need to cater to what they have become accustomed to. Also, the pace, the locomotion speed of player characters, is faster now – and the cut-scenes need to be seamlessly integrated, both in terms of graphical style and continuity of action. I had to bear all of this in mind with Evil Within.
  • The horror experience is most scary when the player really isn’t sure whether their character is going to live or die – death and survival need to be on a constant see-saw. If there’s a situation where you’re not 100% sure that you can avoid or defeat the enemies, if you feel maybe there’s a chance you’ll make it – that’s where horror lies. Creating that situation is vital. Also, I don’t want to just stand there shooting dozens of enemies. Die! Die! Die! I don’t have the energy for that.
  • I don’t know if I’ve put more emphasis on women characters, but when I do introduce them, it is never as objects. In some games, they will be peripheral characters with ridiculous breast physics. I avoid that sort of obvious eroticism. I also don’t like female characters who are submissive to male characters, or to the situation they’re in. I won’t portray women in that way. I write women characters who discover their independence as the game progresses, or who already know they are independent but have that tested against a series of challenges.
  • If I had to name the woman character I most disliked in my games it would be Rebecca Chambers. She’s submissive, she’s not independent. I didn’t want to include her but the staff wanted that kind of character in the game, for whatever reason. I’m sure it made sense to them. And in Japan, that character is pretty popular.
  • Videogames are good for the country, very entertaining, and good for the economy; they're also fun for kids.
    As long as kids don't neglect their education; as long as they respect their parents and don't break the law, I don't think videogames will hurt anyone. I believe these problems are overstated; I meet the youth of America in city after city, and they're as great as ever.
  • Clayton Moore, "The Keyboard: Guest Editorials", Videogaming Illustrated July 1983, p. 6


  • That may be possible, but if there is no script, I will be out of a job! It will not be in the very far future that one character in a story will have full artificial intelligence, but I think it is pretty difficult to make all the characters with AI. That's in the very far future...


  • It's tough to "buy American" when a video game sold by a U.S. company has been developed by Japanese software engineers and packaged in Mexico.
  • We know that women gamers face harassment and stalking and threats of violence from other players. When they speak out about their experiences, they're attacked on Twitter and other social media outlets, even threatened in their homes. And what's brought these issues to light is that there are a lot of women out there, especially young women, who are speaking out bravely about their experiences, even when they know they'll be attacked for it.
    • Barack Obama, (March 16, 2016). Remarks by the President at Reception in Honor of Women's History Month (Speech). Washington, DC. Archived from the original on March 18, 2016. Retrieved March 20, 2016.



  • GamesBeat: What do you think of the first-person shooter genre today?
Romero: Well, it looks better than ever. [Laughs] I don’t like the linearity of gameplay that we’ve come to. There’s a balance between how much you spend on art production versus how much you spend on level design and QA. The more you have to explore, the more you have to draw and model, and the more you have to test.
Someone at EA or Activision did some analysis – when a space gets this big, the costs go up by this many millions, so it’s a lot easier if you have a corridor with some big collision brushes that the player just goes down. It’s much easier for QA to worry about the look of those areas that you can’t get into. The economics of how much shooters cost is what’s dictated the linearity of design. Then everyone’s trying to figure out how to make it so the player feels like they have agency and exploration ability, even though they really don’t.
  • GamesBeat: Do you like an open world better than a more story-based game? What do you think of those different directions?
Romero: Games are all about mechanics. That’s what games are, at the heart. You can put a story on top of any mechanics, to string something together, but the game is about the mechanics. To me, one of the most powerful things about games is the story the player can put into the game. The more story you put into a game, the less ownership of the story you give to the player. The less story you put in a game, the more the player feels they can create their own story.
When you play deathmatch, you’re creating a whole story that you can talk about when you’re done, as opposed to something like—You play The Last of Us and you’re told the whole thing through the scripting. You know the outcome because you can go to the next segment of the game when you’ve finished the interactive portion. I’m not a fan of games that are really just stories with some limited interactive sequences in them. I’m about pure mechanics with a story stringing it together. That’s the essence of the medium.


  • All of the team members were affected by HR Giger’s design work, and I think they were aware that such designs would be a good match for the Metroid world we had already put in place. To be honest, I’ve never really been clear on what is or isn’t the ‘Nintendo look’, but as far as we were concerned, we were just projecting another image from within Nintendo – another face of Nintendo, if you like. But yes, it’s a science-fiction game, so…
  • This industry has some profound issues in the way it treats women.
    • Brendan Sinclair, (December 15, 2014). "GamerGate's silver lining". Archived from the original on December 18, 2014. Retrieved December 18, 2014.
  • Show me your children’s games, and I will show you the next hundred years.
    • Smartbomb, by Heather Chaplin and Aaron Ruby
  • Of course another layer of challenge came from the fact that, like most other developers at that time, we were still feeling our way with 3D. Things like camera and character control presented a lot of interesting new challenges and required us to try out a number of approaches before we settled on solutions that seemed to work.
  • Playing video games is like playing tennis or running or traveling. It’s an interest. When a couple participates in a hobby together it’s exciting. The more a couple has in common, the more validated they feel by one another.
  • What’s great about games in particular is that it’s a socially acceptable way for adults to imagine. Take for example a fantasy that has you as a big, burly weapons expert. You run through buildings gunning down bad guys, saving the day and becoming a hero. “If you start telling all your coworkers that you just imagined that, they’d think you were certifiable.
  • Games can be art, and they can be significant and all the glorified things that we want them to be,” Swift said. “But if you ask a kid if their toys are important, they’ll say yes, and please don’t take them away


  • It feels like the gamers are finally in charge of our games. I like that. I trust that crowd so much just because of our Kickstarter campaign. We never approached our audience this way. Usually we make a game and it’s like we gift it to the players. But this time the players gifted us with the ability to make the game. And like all of my successes, PencilTest and the Kickstarter backers lifted the ceiling off of me. I hope I’ve done everyone right. I really want to honor the investment people have made in this game. It’s important that it succeed and it’s important that this model work for other games and developers too.
  • Work hard. That’s the thing that most people who love games and animation may not realize about what they’re seeing. It requires an ugly amount of work. You have to dedicate your life to it, but I believe almost anyone can learn how to make games and animate at a competent level. I don’t believe in following your dreams and going into too much fairy dust about the arts. Sure, it’s fun, but there are many times it’s not fun and you still have to do it.
  • I have very strong opinions on that, and it's kind of my area of expertise. The reason why I got out of video games, or am at least leaning away from video games (I just contract for them,) is really that a video game is a terrible place to tell a story. It's really because the reason we go to a game is different from the reason why we go to a more passive form of entertainment. And really a great story can be there, but it's optional. What must be there is good gameplay. And that's why at its core, I think it's inaccurate to call it some kind of sequential storytelling medium when, at its core, it's not necessary.
If you get a guy who just good at drawing wacky cartoons, you've probably got in the wrong guy if your next game is going to see some Gothic horror.
Yeah, I think in a way video games have gotten a really bad start with how expensive it became to develop in such a short amount of time. You know if you look at the budgets of what it cost to make a film in the first year that film was invented versus the fifth year or the 10th year the budgets didn’t go up astronomically. But if you look at video games, they went nuts and the original developers were working with this primitive technology and most games were done with under eight people in under a year for three quarters of a million dollars if you were lucky.


  • I used to go to game events and feel like I was going home ... Now it's just like... are any of the people I'm currently in the room with ones that said they wanted to beat me to death?
    • Zoë Quinn (October 29, 2014). "Zoe Quinn: GamerGate must be condemned" (Interview). Interview with Dave Lee. BBC News. Archived from the original on October 30, 2014. Retrieved October 31, 2014.


  • Games are still considered to be in the sub-culture category, coming under movies, coming under manga or comics or animation, especially in Japan. So, hopefully we'll be able to establish our own position that can be established as a culture.
  • Even in Japan, I don't think that the game culture is established. So, probably the users are kids in school, even adults, I'm not sure up to which age they are. For example, my father will watch movies but games don't appear in his life at all, I think that that's sad. Even though we can create something really good, our parents wouldn't be able to understand what we do.


  • Video games are taking over the world, and they're doing it in style.
We're winning because we offer something better than art. We offer Experience.
  • When I write a game, I try to make you feel like you have power. Then I try to make you feel the awesome, terrifying responsibility of having power. When I force you to make a tough decision, for a brief moment, I can reprogram your brain and take your thoughts somewhere they've never been before. This is amazing.
That is, at heart, what the games we make are. They are tools we creators use to compel and rewrite your brains. We haven't begun to come to terms with the power we've unleashed with these toys, these addiction machines.
  • Video games should not interest or impress you. We should scare you. Video games are taking over the world. You haven't even seen a fraction of what we can do.


  • I happen to think that videogames are an ideal means to help broaden the imaginations of young people.
  • Needless to say, adventure characters should be just one facet of videogaming. In the same way a painting allows us to gaze upon the faces and souls of people from another age, or a book permits us to linger on the thoughts of great figures from history and fiction, videogames can expand our awareness of the world as it is, was, or might be.
    • Adam West, "The Keyboard: Guest Editorials", Videogaming Illustrated July 1983, p. 6
  • Everything about the games industry sends the signal: ‘this is a space for men’. When players are repeatedly shown that women are sex symbols and damsels in distress, is it any surprise that players go on to treat women poorly in real life?. Gamergate feels like it owns the culture. Women and minorities are only welcomed if they keep their identity silent and don’t try to change the status quo. If I am a feminist, I am an outsider trying to steal their games – even if I am an avid gamer and a developer. I worry about becoming known to people outside the industry. As I gain experience in speaking, writing articles, publicising my game, I am increasing the risk of abuse. I stopped playing online games years ago. I couldn’t see why I was putting myself through the torrent of abuse, and sexual messages. Today, instead of them directing their abuse at a gamer tag, they will be contacting me directly, by email, Twitter, Facebook, and maybe anyone else that associates with me.
    • Briana Wu as quoted in James Batchelor, (November 10, 2014). "Games developers must fight internet abuse together". Develop. Archived from the original on November 10, 2014. Retrieved November 10, 2014.


  • I think making Jade Empire a 360 launch title would have been massive. That's a really specific example, but we made a choice, and there are a lot of factors that go into these choices and you can't revisit them. But it's interesting, because it reminds me of what's going on right now with analysts saying that game sales are down because people are waiting for new consoles, and we released Jade Empire into that kind of window. In retrospect, it would've been great to put off a bit and polish the game a bit more.

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