Video game

"Computer and video games" redirects here. For the magazine, see Computer and Video Games.

SuperTux is a video game inspired by the popular Nintendo Entertainment System game Super Mario Bros.

A video game is a game that involves interaction with a user interface to generate visual feedback on a video device.

The word video in video game traditionally refers to a raster display device. However, with the popular use of the term "video game", it now implies any type of display device. The electronic systems used to play video games are known as platforms; examples of these are personal computers and video game consoles. These platforms are broad in range, from large computers such as mainframes, to handheld devices such as cell phones and PDAs. Specialized video games such as arcade games, while previously common, have gradually declined in use.

The user interface normally used to manipulate video games is called a game controller, which varies across platforms. For instance, a dedicated console controller might consist of only a button and a joystick, or feature a dozen buttons and one or more joysticks. Early personal computer based games historically relied on the availability of a keyboard for game play, or more commonly, required the user to purchase a separate joystick with at least one button to play. Many modern computer games allow the player to use a keyboard and mouse simultaneously.

Beyond the common element of visual feedback, video games have utilized other systems to provide interaction and information to the player. Chief examples of these are sound reproduction devices (speakers) and an array of haptic peripherals (i.e., vibration or force feedback).

Origins

Main article: First video game

The history of video games traces back to 1948, where the idea of a video game was conceived and patented by Thomas T. Goldsmith Jr. and Estle Ray Mann. In 1958, William Higinbotham's Tennis for Two was developed. Then in 1962, "Spacewar!", was developed and it is hailed as the very first computer video game. Later in 1971, Computer Space was released, the first commercially sold, coin-operated video game console. Nolan Bushnell and Ted Dabney are credited as its creators. Finally, another great pioneer of video games came in 1972 with the Magnavox Odyssey, the very first home console.

Platforms

In common usage a "PC game" refers to a game that is played on a personal computer connected to a high-resolution video monitor. A "console game" is played on a specialized electronic device that connects to a standard television set or composite video monitor. A "handheld" gaming device is a self contained electronic device that is portable and can be held in a user's hands. "Arcade game" generally refers to an even more specialized type of electronic device that is typically designed to play only one game and is encased in a special cabinet. These distinctions are not always clear and there may be games that bridge one or more platform. There are also platforms that have non video game variations such as in the case of electro-mechanically based arcade games. There are also devices with screens which have the ability to play games but are not dedicated video game machines. Examples are mobile phones, PDAs, graphing calculators, GPS receivers, MP3 players, digital cameras and watches.

Genres

Main article: Video game genres

A video game, like most other forms of media, may be categorized into genres based on many factors such as method of game play, types of goals, and more.

Because genres are dependent on content for definition, genres have changed and evolved as newer styles of video games are created. As the production values of video games have increased over the years both in visual appearance and depth of story telling, the video game industry has been producing more life-like and complex games that push the boundaries of the traditional game genres. Although many games combine genres, very few actually exist outside the paradigms of previously established genres (with notable exceptions, which when successful generally define a new genre through subsequent imitation by competition).

Some genres represent combinations of other genres such as with Massive Multiplayer Online Role-Playing Game (MMORPG). It is also common to see higher level genre terms that are collective in nature across all other genres such as with Christian or horror-themed video games.

Social aspects

Multiplayer

Main article: Multiplayer game

Video gaming has traditionally been a social experience. From its early beginnings, video games have commonly been playable by more than a single player. Multiplayer video games are those that can be played either competitively or cooperatively by using either multiple input devices, or by hotseating. Tennis for Two, arguably the first video game, was a two-player game as was its successor, Pong. The first commercially available console game system to support multiple games (the Magnavox Odyssey), had two controller inputs.

Since that time, most console systems have been shipped with two or four controller inputs. Some have had the ability to expand to four, eight or as many as twelve inputs with additional adapters, such as the Multitap. In the early days, multi-player Coin-op games commonly featured hotseat play for at least two players. In later years it was more common to feature two-player simultaneous competitive play. Public business establishments which feature predominantly coin-op video games are generally referred to as arcades, and were widely popular during the golden age of arcade games. Also in recent years, new-age Video Gaming Centers are providing customers with the many different types of video gaming consoles. The idea of bringing people together in a cozy space that resembles the common household basement. These gaming places differ from the traditional idea of arcade.

Many early computer games for non IBM PC descendant based platforms featured multiplayer support. Personal computer systems from Atari and Commodore both regularly featured at least two game ports. Network games for these early personal computers were generally limited to only text based adventures or MUDs that were played remotely on a dedicated server. This was due both to the slow speed of modems (300-1200 bit/s), and the prohibitive cost involved with putting a computer online in such a way where multiple visitors could make use of it.

IBM PC (PC for short)-based computer games started out with a lower availability of multiplayer options, largely due to many games being dependent on keyboard or mouse based interactions, a single gaming port (if any) available, and network options that were limited. However, with the advent of widespread local area networking technologies and Internet based online capabilities, the number of players in modern games can be 32 or higher, sometimes featuring integrated text and/or voice chat.

MMOs can offer extremely high numbers of simultaneous players; EVE Online set a record with just under 36,000 players on a single server in 2006.

Benefits

Perhaps the most visible benefits of video gaming are its artistic and entertainment contributions. As a form of multimedia entertainment, modern video games contain a unique synthesis of 3D art, CG effects, architecture, artificial intelligence, sound effects, dramatic performances, music, storytelling, and, most importantly, interactivity. This interactivity enables the player to explore environments that range from simulated reality to stylized, artistic expressions (something no other form of entertainment can allow) where the actions of the player operating as a single, irreducible variable. In this respect, every game scenario will play out a slightly different way every time. Even if the game is highly scripted, this can still feel like a large amount of freedom to the person who is playing the game.

A related property is that of emergent behavior. While many games including card games and sports rely on emergent principles, video games commonly present simulated story worlds where emergent behavior occurs within the context of the game. This is something that some gamers find appealing as it introduces a certain level of randomness to a game. In discussing the issue, game designer Warren Spector has used the term "emergent narrative" to describe how, in a simulated environment, storyline can be created simply by "what happens to the player." Emergent behavior in video games date back to the earliest games though. Generally any place where event driven instructions occur for AI in a game, emergent behavior will inevitably exist. For instance, take a racing game in which cars are programmed to avoid crashing and they encounter an obstacle in the track, the cars might then maneuver to avoid the obstacle causing the cars behind them to slow and/or maneuver to accommodate the cars in front of them and the obstacle. The programmer never wrote code to specifically create a traffic jam, yet one now exists in the game.

In Steven Johnson's book, Everything Bad Is Good For You, he argues that video games in fact demand far more from a player than traditional games like Monopoly. To experience the game, the player must first determine the objectives, as well as how to complete them. They must then learn the game controls and how the human-machine interface works, including menus and HUDs. Beyond such skills, which after some time become quite fundamental and are taken for granted by many gamers, video games are based upon the player navigating (and eventually mastering) a highly complex system with many variables. This requires a strong analytical ability, as well as flexibility and adaptability. He argues that the process of learning the boundaries, goals, and controls of a given game is often a highly demanding one that calls on many different areas of cognitive function. Indeed, most games require a great deal of patience and focus from the player, and, contrary to the popular perception that games provide instant gratification, games actually delay gratification far longer than other forms of entertainment such as film or even many books. [2] Some research suggests video games may even increase players' attention capacities.

Multiplayer games, which take advantage of the fact that computer games can use the internet, provide players with the opportunity to compete with other players from across the globe, something that is also unique to electronic gaming. MMORPG's take the concept much further with the establishment of vast, online communities existing in persistent, virtual worlds. Millions of players around the globe are attracted to video gaming simply because it offers such unprecedented ability to interact with large numbers of people engaged simultaneously in a structured environment where they are all involved in the same activity (playing the game).

Even simple games offer potential benefits to the player. Games like Tetris and Pac-man or Galaga are well-designed games that are easy to pick up but difficult to master, much like chess or poker. Despite their simplicity, simple games may also feature online capabilities or powerful AI. Depending on the game, players can develop and test their techniques against an advanced computer player or online against other human players.

More obvious benefits to the player can come in the form of education on the game's subject matter. For example, a RTS set during the American Civil War may feature the use of period armies engaging in historical battles, and outwitting an opponent such as Robert E. Lee. SquareEnix (SquareSoft) has done this many times in its Final Fantasy chain of games. Most of the games feature ancient gods such as Leviathan, Shiva, and Freya.

The U.S. army has deployed machines such as the PackBot which makes use of a game-style hand controller intended to make it more familiar to use by young men and women.

Controversy

Main article: Video game controversy

Like related forms of media, computer and video games have been the subject of frequent controversy and censorship, due to the depiction of graphic violence, sexual themes, advergaming (a form of advertising in games), consumption of drugs, consumption of alcohol or tobacco, propaganda, or profanity in some games. Among others, critics of video games sometimes include parents' groups, politicians, organized religion groups, and other special interest groups, even though all of these can be found in all forms of entertainment and media. Various games have been accused of causing addiction and even violent behavior. "Video game censorship" is defined as the use of state or group power to control the playing, distribution, purchase, or sale of video games or computer games. Video game controversy comes in many forms, and censorship is a controversial subject. Proponents and opponents of censorship are often very passionate about their individual views.

Historically, this type of controversy and criticism is not unique to video games. The same situation has been applied to comic books, motion pictures, dancing and to some extent music and books. As long ago as the nineteenth century the same accusations were made about "penny dreadfuls". Moreover, it appears to be a question of age. Since these art forms have been around longer, the backlash against them occurred farther in the past, beyond the remembrance of today's youth. In both cases, the attempts at censorship in the United States were struck down as a violation of First Amendment rights, and they have gone on to become fully integrated facets of society.

An organization known as the Entertainment Software Ratings Board or ESRB rates software for certain age groups, however publishers are not required to submit games for ratings, and parents are not always aware of the existence of these ratings. In some cases, children are able to obtain software that is not deemed appropriate by the ESRB for their age.

Games that have sparked notable national controversy in the United States include Mortal Kombat, Night Trap, Doom, the Grand Theft Auto series and, most notably, Grand Theft Auto: San Andreas' infamous Hot Coffee mod fiasco which boosted the game's ESRB rating from M (Mature) to AO (Adults Only).

Demographics

The November 2005 Nielsen Active Gamer Study, taking a survey of 2,000 regular gamers, found that the U.S. games market is diversifying. The age group among male players has expanded significantly into the 25-40 age group. For casual online puzzle-style and simple mobile cell phone games, the gender divide is more or less equal between males and females. Females have been shown to be significantly attracted to playing certain online multi-user video games that offer a more communal experience, and small amount of young females have been shown to play aggressive games that are sometimes thought of as being "traditionally male" games. The most "loyal" fan-base is reported to be for large role-playing games.

According to the ESRB almost 41% of PC gamers are women.. With such video game social networks as [3]Miss Video Game and [4]Guild Cafe having a large percentages of female gamers the "traditionally male" games are now considered cross-gendered.

Theory

Main article: Game studies

Although departments of computer science have been studying the technical aspects of video games for years, theories that examine games as an artistic medium are a relatively recent development in the humanities. The two most visible schools in this emerging field are ludology and narratology.

Narrativists approach video games in the context of what Janet Murray calls "Cyberdrama." That is to say, their major concern is with video games as a storytelling medium, one that arises out of interactive fiction. Murray puts video games in the context of the Holodeck, a fictional piece of technology from Star Trek, arguing for the video game as a medium in which we get to become another person, and to act out in another world. This image of video games certainly received early widespread popular support, and forms the basis of films such as Tron, eXistenZ, and The Last Starfighter.

Ludologists break sharply and radically from this. They argue that a video game is first and foremost a game, which must be understood in terms of its rules, interface, and the concept of play that it deploys. Ludologists such as Espen J. Aarseth argue that, although games certainly have plots, characters, and aspects of traditional narratives, these aspects are incidental to gameplay. For example, Aarseth is critical of the widespread attention that narrativists have given to the curvaceous heroine of the game Tomb Raider, saying that "the dimensions of Lara Croft's body, already analyzed to death by film theorists, are irrelevant to me as a player, because a different-looking body would not make me play differently... When I play, I don't even see her body, but see through it and past it." Simply put, ludologists reject traditional theories of art because they claim that the artistic and social qualities of a video game are primarily determined by the underlying set of rules, demands, and expectations imposed on the player.

Development

Main article: Game development

Video games are made by game developers, who used to do this as individuals or small teams in the 80's. Now, development commonly requires a large team consisting of designers, graphic designers and other artists, programmers, sound designers, musicians, and other technicians; all of which are managed by producers. The visionary for any game may come from any of the roles outlined.

Video games are developing fast in all areas, but the problem is of cost, and how developers intend to keep the costs low enough to attract publisher investment. Most video game console development teams number anywhere from 20 to 50 people, with some teams exceeding 100. The average team size as well as the average development time of a game have grown along with the size of the industry and the technology involved in creating games. This has led to regular occurrences of missed deadlines and unfinished products; Duke Nukem Forever is the quintessential example of these problems.

See also: Video game industry practices

Modifications

Main article: Mod (computer gaming)

Games running on a PC are often designed with end-user modifications in mind, and this consequently allows modern computer games to be modified by gamers without much difficulty. These mods can add an extra dimension of replayability and interest. The Internet provides an inexpensive medium to promote and distribute mods, and they have become an increasingly important factor in the commercial success of some games. Developers such as id, Valve, Crytek, Epic and Blizzard Entertainment ship their games with the very development tools used to make the game in the first place, along with documentation to assist mod developers, which allows for the kind of success seen by popular mods such as the (previously) Half-Life Mod Counter-Strike.

Cheats

Main article: Computer and video game cheating

Cheating in computer games may involve cheat codes implemented by the game developers for playtesting, modification of game code by third parties (by either cheat cartridge hardware or a software trainer), or players exploiting a software glitch.

Cheats usually make the game easier by providing an unlimited amount of some resource (lives, health, or ammunition, for example) but might provide an unusual or amusing feature, like reversed colors in a game, or big head mode (Spyro the dragon) for example.

Cheat codes usually are often found on the Internet and can be found for almost any game on any platform.

Glitches

Main article: Computer glitch

Software errors not detected by software testers during development can find their way into released versions of computer and video games. This may happen because the glitch only occurs under unusual circumstances in the game, was deemed too minor to correct, or because the game development was hurried to meet a publication deadline.

Glitches can range from minor graphical errors to serious bugs that can delete saved data or cause the game to malfunction.

Glitches in games for home computers, and now in consoles like the Xbox 360, PS3, and the Wii, may be later corrected if the developers release a patch.

Commercial aspects

Game sales

A typical retail display (in Geneva, Switzerland) with a large selection of games for several major consoles

The three largest producers of and markets for computer and video games (in order) are the United States, Japan and the United Kingdom.[5]. Other significant markets include Australia, Canada, Spain, Germany, South Korea, Mexico, France and Italy. Both India and China are considered emerging markets in the video game industry and sales are expected to rise significantly in the coming years.

Sales of different types of games vary widely between these markets due to local preferences. Japanese consumers tend to purchase console games over computer games, with a strong preference for games catering to local tastes. In South Korea, computer games are preferred, especially MMORPG games and real-time strategy games; there are over 20,000 PC bang Internet cafes where computer games can be played for an hourly charge.

The NPD Group tracks computer and video game sales in the United States. It reported that:

• Console and portable software sales: $6.2 billion, up 8% from 2003
• Console and portable hardware and accessory sales: $3.7 billion, down 35% from 2003
• PC game sales: $1.1 billion, down 15% from 2006

A possible factor causing this drop in PC games would be the free MMORPG games available such as Silkroad Online, Runescape and Maple Story. Also note that PC games that are digitally distributed either directly or by distribution networks such as Steam are not tracked by the NPD, and Steam does not list sales numbers for games downloaded through their service.

These figures are sales in dollars, not units; unit shipments for each category were higher than the dollar sales numbers indicate, as more software and hardware was sold at reduced prices compared to 2003. However, with the release of the Next-Gen Consoles in 2006, these numbers have increased dramatically.

The game and film industries are also becoming increasingly intertwined, with companies like Sony having significant stakes in both. A large number of summer blockbuster films spawn a companion game, often launching at the same time to share the marketing costs.

There is also controversy relating video games in Australia and other PAL regions. In general when compared to the US, PAL gamers have to pay up to 40% more. More of a problem in Australia is where games are constantly delayed for no apparent reason, most notably games released by Nintendo. As English is the main language in the Australian region there is no need for any translation and the complications of differences between the PAL and NTSC video formats are not existent, as the majority of video displays in Australia are fully capable of running at a 60 Hz format. There is also the problem of Regional Lockout in Australia, with most DVD players release coming region free in order to comply with local laws, but video game consoles are still sold fully region locked. Some efforts to increase awareness of the issue, specifically to Nintendo of Australia, was in the form of a formal report outlining the issues, published by Aaron Rex Davies. The report has gone on to gain a lot of attention in the public media.

See also

• Computer and video game industry
• Artistic computer game modification
• Personal computer game
• Games for Windows
• Unlockable games
• Gaming computers
• Cheating (video games)
• First video game
• Emulator
• International Mobile Gaming Awards
• Video game culture
• Video game collecting
• Game studies

Lists

• List of gaming topics
• Lists of video games
• List of cancelled video games
• List of vaporware
• List of commercial failures in video gaming
• List of home computers by video hardware

References

• Lieu, Tina (August 1997). "Where have all the PC games gone?"". Computing Japan.
• Costikyan, Greg (1994). "I Have No Words & I Must Design".
• Crawford, Chris (1982). "The Art of Computer Game Design".
• Salen, Katie (2005). The Game Design Reader: A Rules of Play Anthology. The MIT Press. ISBN 0-262-19536-4. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
• Smuts, Aaron (2005). "Are Video Games Art?".
• Blodget, Henry (April 12, 2005). "How to Solve China's Piracy Problem". Slate.com. Retrieved February 12. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: year (link)
• Winegarner, Beth (January 28, 2005). "Game sales hit record highs". Gamespot. Retrieved February 12. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: year (link)
• John Wills (2002-10-01). "Digital Dinosaurs and Artificial Life: Exploring the Culture of Nature in Computer and Video Games". Cultural Values (Journal for Cultural Research). 6 (4): 395–417. doi:10.1080/1362517022000047334. {{cite journal}}: Check date values in: |date= (help); Unknown parameter |pubisher= ignored (|publisher= suggested) (help)
• Guy, Hannah (2007). "Women video gamers: Not just solitaire".

External links

• "The Tenth Art", article about the cultural significance of computer games by Steven Poole
• Chronology of Video Game Systems
• User-consensus video game innovation chronology and dynamic web diagram

Template:Vg-industry WARNING: may cause drop of IQ points, but honestly who cares!!!