Video game

Video games,[a] also known as computer games, are

electronic games that involve interaction with a user interface
or input device – such as a joystick, controller, keyboard, or
motion sensing device – to generate visual feedback. This
feedback mostly commonly is shown on a video display
device, such as a TV set, monitor, touchscreen, or virtual
reality headset. Some computer games do not always depend
on a graphics display; for example, text adventure games and
computer chess can be played through teletype printers.
Video games are often augmented with audio feedback
First generation Pong console at the
delivered through speakers or headphones, and sometimes
Computerspielemuseum Berlin
with other types of feedback, including haptic technology.

Video games are defined based on their platform, which

include arcade video games, console games, and personal computer (PC) games. More recently, the
industry has expanded onto mobile gaming through smartphones and tablet computers, virtual and
augmented reality systems, and remote cloud gaming. Video games are classified into a wide range of
genres based on their type of gameplay and purpose.

The first video game prototypes in the 1950s and 1960s were simple extensions of electronic games using
video-like output from large room-size computers. The first consumer video game was the arcade video
game Computer Space in 1971. In 1972 came the iconic hit arcade game Pong, and the first home console,
the Magnavox Odyssey. The industry grew quickly during the golden age of arcade video games from the
late 1970s to early 1980s, but suffered from the crash of the North American video game market in 1983
due to loss of publishing control and saturation of the market. Following the crash, the industry matured,
dominated by Japanese companies such as Nintendo, Sega, and Sony, and established practices and
methods around the development and distribution of video games to prevent a similar crash in the future,
many of which continue to be followed. Today, video game development requires numerous skills to bring
a game to market, including developers, publishers, distributors, retailers, console and other third-party
manufacturers, and other roles.

In the 2000s, the core industry centered on "AAA" games, leaving little room for riskier, experimental
games. Coupled with the availability of the Internet and digital distribution, this gave room for independent
video game development (or indie games) to gain prominence into the 2010s. Since then, the commercial
importance of the video game industry has been increasing. The emerging Asian markets and mobile games
on smartphones in particular are altering player demographics towards casual gaming and increasing
monetization by incorporating games as a service. As of 2020, the global video game market has estimated
annual revenues of US$159 billion across hardware, software, and services. This is three times the size of
the 2019 global music industry and four times that of the 2019 film industry.[1]

Contents
Origins
Terminology
 Definition
Video game terminology
Components
Platform
Game media
Input device
Display and output
Classifications
Genre
Mode
Intent
Content rating
Development
Game theory and studies
Intellectual property for video games
Industry
History
Industry roles
Major regional markets
Game sales
Effects on society
Culture
Beneficial uses
Controversies
Collecting and preservation
See also
Notes
References
Sources
Further reading
External links

Origins
Early video games use interactive electronic devices with various display formats. The earliest example is
from 1947—a "Cathode-ray tube amusement device" was filed for a patent on 25 January 1947, by
Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U.S. Patent
2455992.[2] Inspired by radar display technology, it consists of an analog device allowing a user to control
the parabolic arc of a dot on the screen to simulate a missile being fired at targets, which are paper drawings
fixed to the screen.[3] Other early examples include Christopher Strachey's Draughts game, the Nimrod
computer at the 1951 Festival of Britain; OXO, a tic-tac-toe Computer game by Alexander S. Douglas for
the EDSAC in 1952; Tennis for Two, an electronic interactive game engineered by William Higinbotham in
1958; and Spacewar!, written by MIT students Martin Graetz, Steve Russell, and Wayne Wiitanen's on a
DEC PDP-1 computer in 1961. Each game has different means of
display: NIMROD has a panel of lights to play the game of Nim,[4]
OXO has a graphical display to play tic-tac-toe,[5] Tennis for Two
has an oscilloscope to display a side view of a tennis court,[3] and
Spacewar! has the DEC PDP-1's vector display to have two
spaceships battle each other.[6]

These preliminary inventions paved the way for the origins of

video games today. Ralph H. Baer, while working at Sanders
Associates in 1966, devised a control system to play a rudimentary
game of table tennis on a television screen. With the company's
approval, Baer built the prototype "Brown Box". Sanders patented Tennis for Two (1958), an early
Baer's inventions and licensed them to Magnavox, which analog computer game that used an
oscilloscope for a display
commercialized it as the first home video game console, the
Magnavox Odyssey, released in 1972.[3][7] Separately, Nolan
Bushnell and Ted Dabney, inspired by
seeing Spacewar! running at Stanford
University, devised a similar version
running in a smaller coin-operated
arcade cabinet using a less expensive
computer. This was released as
Computer Space, the first arcade video
game, in 1971.[8] Bushnell and Dabney
went on to form Atari, Inc., and with
Allan Alcorn, created their second
arcade game in 1972, the hit ping pong-
Ralph H. Baer (left) receiving the Nolan Bushnell in 2013
style Pong, which was directly inspired
National Medal of Technology from
by the table tennis game on the U.S. President George W. Bush in
Odyssey. Sanders and Magnavox sued
2006
Atari for infringement of Baer's patents,
but Atari settled out of court, paying for
perpetual rights to the patents. Following their agreement, Atari made a home version of Pong, which was
released by Christmas 1975.[3] The success of the Odyssey and Pong, both as an arcade game and home
machine, launched the video game industry.[9][10] Both Baer and Bushnell have been titled "Father of
Video Games" for their contributions.[11][12]

Terminology
The term "video game" was developed to distinguish this class of electronic games that were played on
some type of video display rather than on a teletype printer or similar device.[13] This also distinguished
from many handheld electronic games like Merlin which commonly used LED lights for indicators but did
not use these in combination for imaging purposes.[14]

"Computer game" may also be used as a descriptor, as all these types of games essentially require the use of
a computer processor, and in some cases, it is used interchangeably with "video game".[15] However, the
term "computer game" can also be used to more specifically refer to games played primarily on personal
computers or other type of flexible hardware systems (also known as a PC game), as a way distinguish
them from console games or mobile games.[14][13] Other terms such as "television game" or "telegame"
had been used in the 1970s and early 1980s, particularly for the home consoles that connect to a television
set.[16] In Japan, where consoles like the Odyssey were first imported and then made within the country by
the large television manufacturers such as Toshiba and Sharp Corporation, such games are known as "TV
games", or TV geemu or terebi geemu.[17] "Electronic game" may also be used to refer to video games, but
this also incorporates devices like early handheld electronic games that lack any video output.[15] and the
term "TV game" is still commonly used into the 21st century.[17][18]

The first appearance of the term "video game" emerged around 1973. The Oxford English Dictionary cited
a November 10, 1973 BusinessWeek article as the first printed use of the term.[19] Though Bushnell
believed the term came from a vending magazine review of Computer Space in 1971,[20] a review of the
major vending magazines Vending Times and Cashbox showed that the term came much earlier, appearing
first around March 1973 in these magazines in mass usage including by the arcade game manufacturers. As
analyzed by video game historian Keith Smith, the sudden appearance suggested that the term had been
proposed and readily adopted by those involved. This appeared to trace to Ed Adlum, who ran Cashbox's
coin-operated section until 1972 and then later founded RePlay Magazine, covering the coin-op amusement
field, in 1975. In a September 1982 issue of RePlay, Adlum is credited with first naming these games as
"video games": "RePlay's Eddie Adlum worked at 'Cash Box' when 'TV games' first came out. The
personalities in those days were Bushnell, his sales manager Pat Karns and a handful of other 'TV game'
manufacturers like Henry Leyser and the McEwan brothers. It seemed awkward to call their products 'TV
games', so borrowing a word from Billboard's description of movie jukeboxes, Adlum started to refer to
this new breed of amusement machine as 'video games.' The phrase stuck."[21] Adlum explained in 1985
that up until the early 1970s, amusement arcades typically had non-video arcade games such as pinball
machines and electro-mechanical games. With the arrival of video games in arcades during the early 1970s,
there was initially some confusion in the arcade industry over what term should be used to describe the new
games. He "wrestled with descriptions of this type of game," alternating between "TV game" and
"television game" but "finally woke up one day" and said, "what the hell... video game!"[22]

For many years, the traveling Videotopia exhibit served as the closest representation of such a vital
resource. In addition to collecting home video game consoles, the Electronics Conservancy organization set
out to locate and restore 400 antique arcade cabinets after realizing that the majority of these games had
been destroyed and feared the loss of their historical significance.[23] Video games have significantly began
to be seen in the real-world as a purpose to present history in a way of understanding the methodology and
terms that are being compared. Researchers have looked at how historical representations affect how the
public perceives the past, and digital humanists encourage historians to use video games as primary
materials.[24] Video games, considering their past and age, have over time progressed as what a video game
really means. Whether played through a monitor, TV, or a hand-held device, there are many ways that
video games are being displayed for users to enjoy. People have drawn comparisons between flow-state-
engaged video gamers and pupils in conventional school settings. In traditional, teacher-led classrooms,
students have little say in what they learn, are passive consumers of the information selected by teachers,
are required to follow the pace and skill level of the group (group teaching), and receive brief, imprecise,
normative feedback on their work.[25] Video games, as they continue to develop into better graphic
definition and genre's, create new terminology when something unknown tends to become known. Yearly,
consoles are being created to compete against other brands with similar functioning features that tends to
lead the consumer into which they'd like to purchase. Now, companies have moved towards games only
the specific console can play to grasp the consumer into purchasing their product compared to when video
games first began, there was little to no variety. In 1989, a console war begun with Nintendo, one of the
biggest in gaming was up against target, Sega with their brand new Master System which, failed to
compete, allowing the Nintendo Emulator System to be one of the most consumed product in the world.[26]
More technology continued to be created, as the computer began to be used in people's houses for more
than just office and daily use. Games began being implemented into computers and have progressively
grown since then with coded robots to play against you. Early games like tic-tac-toe, solitaire, and Tennis
for Two were great ways to bring new gaming to another system rather than one specifically meant for
gaming.[27]

Definition

While many games readily fall into a clear, well-understood definition of video games, new genres and
innovations in game development have raised the question of what are the essential factors of a video game
that separate the medium from other forms of entertainment.

The introduction of interactive films in the 1980s with games like Dragon's Lair, featured games with full
motion video played off a form of media but only limited user interaction.[28] This had required a means to
distinguish these games from more traditional board games that happen to also use external media, such as
the Clue VCR Mystery Game which required players to watch VCR clips between turns. To distinguish
between these two, video games are considered to require some interactivity that affects the visual
display.[14]

Most video games tend to feature some type of victory or winning conditions, such as a scoring mechanism
or a final boss fight. The introduction of walking simulators (adventure games that allow for exploration but
lack any objectives) like Gone Home, and empathy games (video games that tend to focus on emotion) like
That Dragon, Cancer brought the idea of games that did not have any such type of winning condition and
raising the question of whether these were actually games.[29] These are still commonly justified as video
games as they provide a game world that the player can interact with by some means.[30]

The lack of any industry definition for a video game by 2021 was an issue during the case Epic Games v.
Apple which dealt with video games offered on Apple's iOS App Store. Among concerns raised were
games like Fortnite Creative and Roblox which created metaverses of interactive experiences, and whether
the larger game and the individual experiences themselves were games or not in relation to fees that Apple
charged for the App Store. Judge Yvonne Gonzalez Rogers, recognizing that there was yet an industry
standard definition for a video game, established for her ruling that "At a bare minimum, videogames
appear to require some level of interactivity or involvement between the player and the medium" compared
to passive entertainment like film, music, and television, and "videogames are also generally graphically
rendered or animated, as opposed to being recorded live or via motion capture as in films or television".[31]
Rogers still concluded that what is a video game "appears highly eclectic and diverse".[31]

Video game terminology

The gameplay experience varies radically between video games, but many common elements exist. Most
games will launch into a title screen and give the player a chance to review options such as the number of
players before starting a game. Most games are divided into levels which the player must work the avatar
through, scoring points, collecting power-ups to boost the avatar's innate attributes, all while either using
special attacks to defeat enemies or moves to avoid them. This information is relayed to the player through
a type of on-screen user interface such as a heads-up display atop the rendering of the game itself. Taking
damage will deplete their avatar's health, and if that falls to zero or if the avatar otherwise falls into an
impossible-to-escape location, the player will lose one of their lives. Should they lose all their lives without
gaining an extra life or "1-UP", then the player will reach the "game over" screen. Many levels as well as
the game's finale end with a type of boss character the player must defeat to continue on. In some games,
intermediate points between levels will offer save points where the player can create a saved game on
storage media to restart the game should they lose all their lives or
need to stop the game and restart at a later time. These also may be
in the form of a passage that can be written down and reentered at
the title screen.

Product flaws include software bugs which can manifest as glitches

which may be exploited by the player; this is often the foundation
of speedrunning a video game. These bugs, along with cheat codes,
Easter eggs, and other hidden secrets that were intentionally added
to the game can also be exploited.[32][33][34][35] On some consoles, Freedoom, a clone of the first-person
cheat cartridges allow players to execute these cheat codes, and shooter Doom. Common elements
user-developed trainers allow similar bypassing for computer include a heads-up display along the
software games. Both of which might make the game easier, give bottom that includes the player's
the player additional power-ups, or change the appearance of the remaining health and ammunition.
game.[33]

Components
To distinguish from electronic games, a video game is generally
considered to require a platform, the hardware which contains
computing elements, to process player interaction from some type
of input device and displays the results to a video output
display.[36]

Platform
Arcade video game machines at the
Sugoi arcade game hall in Malmi,
Video games require a platform, a specific combination of
Helsinki, Finland
electronic components or computer hardware and associated
software, to operate.[37] The term system is also commonly used.
Games are typically designed to be played on one or a limited
number of platforms, and exclusivity to a platform is used as a
competitive edge in the video game market.[38] However, games
may be developed for alternative platforms than intended, which
are described as ports or conversions. These also may be remasters
- where most of the original game's source code is reused and art
assets, models, and game levels are updated for modern systems –
and remakes, where in addition to asset improvements, significant
reworking of the original game and possibly from scratch is
performed.[39] Various gaming consoles at the
Computer Games Museum in Berlin
The list below is not exhaustive and excludes other electronic
devices capable of playing video games such as PDAs and
graphing calculators.

Computer game
Most computer games are PC games, referring to those that involve a player interacting
with a personal computer (PC) connected to a video monitor.[40] Personal computers are
not dedicated game platforms, so there may be differences running the same game on
different hardware. Also, the openness allows some features to developers like reduced
software cost,[41] increased flexibility, increased innovation, emulation, creation of
modifications or mods, open hosting for online gaming (in which a person plays a video
 game with people who are in a different household) and others. A gaming computer is a
PC or laptop intended specifically for gaming, typically using high-performance, high-cost
components. In additional to personal computer gaming, there also exist games that work
on mainframe computers and other similarly shared systems, with users logging in
remotely to use the computer.
Home console
A console game is played on a home console, a
specialized electronic device that connects to a
common television set or composite video monitor.
Home consoles are specifically designed to play
games using a dedicated hardware environment,
giving developers a concrete hardware target for
development and assurances of what features will be
available, simplifying development compared to PC
game development. Usually consoles only run games
developed for it, or games from other platform made by
the same company, but never games developed by its
direct competitor, even if the same game is available
on different platforms. It often comes with a specific
game controller. Major console platforms include
Xbox, PlayStation, and Nintendo.
Handheld console
The PlayStation 2 is the best-selling
A handheld game console is a small, self-contained
video game console, with over 155
electronic device that is portable and can be held in a
user's hands. It features the console, a small screen, million units sold.[42]
speakers and buttons, joystick or other game
controllers in a single unit. Like consoles, handhelds
are dedicated platforms, and share almost the same characteristics. Handheld hardware
usually is less powerful than PC or console hardware. Some handheld games from the
late 1970s and early 1980s could only play one game. In the 1990s and 2000s, a number
of handheld games used cartridges, which enabled them to be used to play many different
games. The handheld console has waned in the 2010s as mobile device gaming has
become a more dominant factor.
Arcade video game
An arcade video game generally refers to a game
played on an even more specialized type of electronic
device that is typically designed to play only one game
and is encased in a special, large coin-operated
cabinet which has one built-in console, controllers
(joystick, buttons, etc.), a CRT screen, and audio
amplifier and speakers. Arcade games often have
brightly painted logos and images relating to the
theme of the game. While most arcade games are
housed in a vertical cabinet, which the user typically
stands in front of to play, some arcade games use a A police-themed arcade game in
tabletop approach, in which the display screen is which players use a light gun
housed in a table-style cabinet with a see-through
table top. With table-top games, the users typically sit
to play. In the 1990s and 2000s, some arcade games offered players a choice of multiple
games. In the 1980s, video arcades were businesses in which game players could use a
number of arcade video games. In the 2010s, there are far fewer video arcades, but some
movie theaters and family entertainment centers still have them.
Browser game
A browser game takes advantages of standardizations of technologies for the functionality
of web browsers across multiple devices providing a cross-platform environment. These
 games may be identified based on the website that they appear, such as with Miniclip
games. Others are named based on the programming platform used to develop them, such
as Java and Flash games.
Mobile game
With the introduction of smartphones and tablet computers standardized on the iOS and
Android operating systems, mobile gaming has become a significant platform. These
games may use unique features of mobile devices that are not necessary present on other
platforms, such as accelerometers, global positing information and camera devices to
support augmented reality gameplay.
Cloud gaming
Cloud gaming requires a minimal hardware device, such as a basic computer, console,
laptop, mobile phone or even a dedicated hardware device connected to a display with
good Internet connectivity that connects to hardware systems by the cloud gaming
provider. The game is computed and rendered on the remote hardware, using a number of
predictive methods to reduce the network latency between player input and output on their
display device. For example, the Xbox Cloud Gaming and PlayStation Now platforms use
dedicated custom server blade hardware in cloud computing centers.
Virtual reality
Virtual reality (VR) games generally require players to
use a special head-mounted unit that provides
stereoscopic screens and motion tracking to immerse
a player within virtual environment that responds to
their head movements. Some VR systems include
control units for the player's hands as to provide a
direct way to interact with the virtual world. VR
systems generally require a separate computer,
console, or other processing device that couples with
the head-mounted unit. Players using the PlayStation VR
Emulation headsets in 2017
An emulator enables games from a console or
otherwise different system to be run in a type of virtual
machine on a modern system, simulating the hardware of the original and allows old
games to be played. While emulators themselves have been found to be legal in United
States case law, the act of obtaining the game software that one does not already own
may violate copyrights. However, there are some official releases of emulated software
from game manufacturers, such as Nintendo with its Virtual Console or Nintendo Switch
Online offerings.
Backward compatibility
Backward compatibility is similar in nature to emulation in that older games can be played
on newer platforms, but typically directly though hardware and build-in software within the
platform. For example, the PlayStation 2 is capable of playing original PlayStation games
simply by inserting the original game media into the newer console, while Nintendo's Wii
could play Nintendo GameCube titles as well in the same manner.

Game media

Early arcade games, home consoles, and handheld games were dedicated hardware units with the game's
logic built into the electronic componentry of the hardware. Since then, most video game platforms are
considered programmable, having means to read and play multiple games distributed on different types of
media or formats. Physical formats include ROM cartridges, magnetic storage including magnetic tape data
storage and floppy discs, optical media formats including CD-ROM and DVDs, and flash memory cards.
Furthermore digital distribution over the Internet or other communication methods as well as cloud gaming
alleviate the need for any physical media. In some cases, the media
serves as the direct read-only memory for the game, or it may be
the form of installation media that is used to write the main assets to
the player's platform's local storage for faster loading periods and
later updates.

Games can be extended with new content and software patches

through either expansion packs which are typically available as
physical media, or as downloadable content nominally available via
digital distribution. These can be offered freely or can be used to
monetize a game following its initial release. Several games offer
players the ability to create user-generated content to share with
others to play. Other games, mostly those on personal computers,
can be extended with user-created modifications or mods that alter
An unlabeled game cartridge for the
or add onto the game; these often are unofficial and were
Nintendo Entertainment System
developed by players from reverse engineering of the game, but
other games provide official support for modding the game.[43]

Input device

Video game can use several types of input devices to translate

human actions to a game. Most common are the use of game
controllers like gamepads and joysticks for most consoles, and as
accessories for personal computer systems along keyboard and
mouse controls. Common controls on the most recent controllers
include face buttons, shoulder triggers, analog sticks, and
directional pads ("d-pads"). Consoles typically include standard
controllers which are shipped or bundled with the console itself, A North American Super NES game
while peripheral controllers are available as a separate purchase controller from the early 1990s
from the console manufacturer or third-party vendors.[44] Similar
control sets are built into handheld consoles and onto arcade
cabinets. Newer technology improvements have incorporated additional technology into the controller or
the game platform, such as touchscreens and motion detection sensors that give more options for how the
player interacts with the game. Specialized controllers may be used for certain genres of games, including
racing wheels, light guns and dance pads. Digital cameras and motion detection can capture movements of
the player as input into the game, which can, in some cases, effectively eliminate the control, and on other
systems such as virtual reality, are used to enhance immersion into the game.

Display and output

By definition, all video games are intended to output graphics to an external video display, such as cathode-
ray tube televisions, newer liquid-crystal display (LCD) televisions and built-in screens, projectors or
computer monitors, depending on the type of platform the game is played on. Features such as color depth,
refresh rate, frame rate, and screen resolution are a combination of the limitations of the game platform and
display device and the program efficiency of the game itself. The game's output can range from fixed
displays using LED or LCD elements, text-based games, two-dimensional and three-dimensional graphics,
and augmented reality displays.
The game's graphics are often accompanied by sound produced by internal
speakers on the game platform or external speakers attached to the
platform, as directed by the game's programming. This often will include
sound effects tied to the player's actions to provide audio feedback, as well
as background music for the game.

Some platforms support additional feedback mechanics to the player that a

game can take advantage of. This is most commonly haptic technology
built into the game controller, such as causing the controller to shake in the
player's hands to simulate a shaking earthquake occurring in game.

Classifications Handheld units, like the

Game Boy, include built-in
Video games are frequently classified by a number of factors related to how output screens and sound
one plays them. speakers.

Genre

A video game, like most other forms of media, may be categorized

into genres. However, unlike film or television which use visual or
narrative elements, video games are generally categorized into
genres based on their gameplay interaction, since this is the primary
means which one interacts with a video game.[45][46][47] The
narrative setting does not impact gameplay; a shooter game is still a
shooter game, regardless of whether it takes place in a fantasy Dustforce is representative of the
world or in outer space.[48][49] An exception is the horror game platform game genre as its gameplay
genre, used for games that are based on narrative elements of horror involves jumping between platforms.
fiction, the supernatural, and psychological horror.[50]

Genre names are normally self-describing in terms of the type of gameplay, such as action game, role
playing game, or shoot 'em up, though some genres have derivations from influential works that have
defined that genre, such as roguelikes from Rogue,[51] Grand Theft Auto clones from Grand Theft Auto
III,[52] and battle royale games from the film Battle Royale.[53] The names may shift over time as players,
developers and the media come up with new terms; for example, first-person shooters were originally called
"Doom clones" based on the 1993 game.[54] A hierarchy of game genres exist, with top-level genres like
"shooter game" and "action game" that broadly capture the game's main gameplay style, and several
subgenres of specific implementation, such as within the shooter game first-person shooter and third-person
shooter. Some cross-genre types also exist that fall until multiple top-level genres such as action-adventure
game.

Mode

A video game's mode describes how many players can use the game at the same type. This is primarily
distinguished by single-player video games and multiplayer video games. Within the latter category,
multiplayer games can be played in a variety of ways, including locally at the same device, on separate
devices connected through a local network such as LAN parties, or online via separate Internet
connections. Most multiplayer games are based on competitive gameplay, but many offer cooperative and
team-based options as well as asymmetric gameplay. Online games use server structures that can also
enable massively multiplayer online games (MMOs) to support hundreds of players at the same time.
A small number of video games are zero-player games, in which
the player has very limited interaction with the game itself. These
are most commonly simulation games where the player may
establish a starting state and then let the game proceed on its own,
watching the results as a passive observer, such as with many
computerized simulations of Conway's Game of Life.[55]

Intent
A LAN party at the 2004 DreamHack
Most video games are created for entertainment purposes, a
with hundreds of players
category otherwise called "core games".[36] There are a subset of
games developed for additional purposes beyond entertainment.
These include:

Casual games
Casual games are designed for ease of accessibility, simple to understand gameplay and
quick to grasp rule sets, and aimed at mass market audience, as opposed to a hardcore
game. They frequently support the ability to jump in and out of play on demand, such as
during commuting or lunch breaks. Numerous browser and mobile games fall into the
casual game area, and casual games often are from genres with low intensity game
elements such as match three, hidden object, time management, and puzzle games.[56]
Causal games frequently use social-network game mechanics, where players can enlist
the help of friends on their social media networks for extra turns or moves each day.[57]
Popular casual games include Tetris and Candy Crush Saga. More recent, starting in the
late 2010s, are hyper-casual games which use even more simplistic rules for short but
infinitely replayable games, such as Flappy Bird.[58]
Educational games
Education software has been used in homes and classrooms to help teach children and
students, and video games have been similarly adapted for these reasons, all designed to
provide a form of interactivity and entertainment tied to game design elements. There are a
variety of differences in their designs and how they educate the user. These are broadly
split between edutainment games that tend to focus on the entertainment value and rote
learning but are unlikely to engage in critical thinking, and educational video games that
are geared towards problem solving through motivation and positive reinforcement while
downplaying the entertainment value.[59] Examples of educational games include The
Oregon Trail and the Carmen Sandiego series. Further, games not initially developed for
educational purposes have found their way into the classroom after release, such as that
feature open worlds or virtual sandboxes like Minecraft,[60] or offer critical thinking skills
through puzzle video games like SpaceChem.[61]
Serious games
Further extending from educational games, serious
games are those where the entertainment factor may
be augmented, overshadowed, or even eliminated by
other purposes for the game. Game design is used to
reinforce the non-entertainment purpose of the game,
such as using video game technology for the game's
interactive world, or gamification for reinforcement
training. Educational games are a form of serious
games, but other types of serious games include
fitness games that incorporate significant physical Microsoft Flight Simulator is an
exercise to help keep the player fit (such as Wii Fit), example of a serious game.
flight simulators that simulate piloting commercial and
military aircraft (such as Microsoft Flight Simulator),
 advergames that are built around the advertising of a product (such as Pepsiman), and
newsgames aimed at conveying a specific advocacy message (such as
NarcoGuerra).[62][63]
Art games
Though video games have been considered an art form on their own, games may be
developed to try to purposely communicate a story or message, using the medium as a
work of art. These art or arthouse games are designed to generate emotion and empathy
from the player by challenging societal norms and offering critique through the interactivity
of the video game medium. They may not have any type of win condition and are designed
to let the player explore through the game world and scenarios. Most art games are indie
games in nature, designed based on personal experiences or stories through a single
developer or small team. Examples of art games include Passage, Flower, and That
Dragon, Cancer.[64][65][66]

Content rating

Video games can be subject to national and international content

rating requirements. Like with film content ratings, video game
ratings typing identify the target age group that the national or
regional ratings board believes is appropriate for the player, ranging
from all-ages, to a teenager-or-older, to mature, to the infrequent
adult-only games. Most content review is based on the level of A typical ESRB rating label, listing
violence, both in the type of violence and how graphic it may be the rating and specific content
represented, and sexual content, but other themes such as drug and descriptors for Rabbids Go Home
alcohol use and gambling that can influence children may also be
identified. A primary identifier based on a minimum age is used by
nearly all systems, along with additional descriptors to identify specific content that players and parents
should be aware of.

The regulations vary from country to country but generally are voluntary systems upheld by vendor
practices, with penalty and fines issued by the ratings body on the video game publisher for misuse of the
ratings. Among the major content rating systems include:

Entertainment Software Rating Board (ESRB) that oversees games released in the United
States. ESRB ratings are voluntary and rated along a E (Everyone), E10+ (Everyone 10 and
older), T (Teen), M (Mature), and AO (Adults Only). Attempts to mandate video games ratings
in the U.S. subsequently led to the landmark Supreme Court case, Brown v. Entertainment
Merchants Association in 2011 which ruled video games were a protected form of art, a key
victory for the video game industry.[67]
Pan European Game Information (PEGI) covering the United Kingdom, most of the
European Union and other European countries, replacing previous national-based systems.
The PEGI system uses content rated based on minimum recommended ages, which include
3+, 8+, 12+, 16+, and 18+.
Australian Classification Board (ACB) oversees the ratings of games and other works in
Australia, using ratings of G (General), PG (Parental Guidance), M (Mature), MA15+ (Mature
Accompanied), R18+ (Restricted), and X (Restricted for pornographic material). ACB can
also deny to give a rating to game (RC – Refused Classification). The ACB's ratings are
enforceable by law, and importantly, games cannot be imported or purchased digitally in
Australia if they have failed to gain a rating or were given the RC rating, leading to a number
of notable banned games.
Computer Entertainment Rating Organization (CERO) rates games for Japan. Their ratings
include A (all ages), B (12 and older), C (15 and over), D (17 and over), and Z (18 and over).
Additionally, the major content system provides have worked to create the International Age Rating
Coalition (IARC), a means to streamline and align the content ratings system between different region, so
that a publisher would only need to complete the content ratings review for one provider, and use the IARC
transition to affirm the content rating for all other regions.

Certain nations have even more restrictive rules related to political or ideological content. Within Germany,
until 2018, the Unterhaltungssoftware Selbstkontrolle (Entertainment Software Self-Regulation) would
refuse to classify, and thus allow sale, of any game depicting Nazi imagery, and thus often requiring
developers to replace such imagery with fictional ones. This ruling was relaxed in 2018 to allow for such
imagery for "social adequacy" purposes that applied to other works of art.[68] China's video game segment
is mostly isolated from the rest of the world due to the government's censorship, and all games published
there must adhere to strict government review, disallowing content such as smearing the image of the
Chinese Communist Party. Foreign games published in China often require modification by developers and
publishers to meet these requirements.[69]

Development
Video game development and authorship, much like any other form
of entertainment, is frequently a cross-disciplinary field. Video
game developers, as employees within this industry are commonly
referred, primarily include programmers and graphic designers.
Over the years this has expanded to include almost every type of
skill that one might see prevalent in the creation of any movie or
television program, including sound designers, musicians, and other
technicians; as well as skills that are specific to video games, such
as the game designer. All of these are managed by producers.

In the early days of the industry, it was more common for a single
person to manage all of the roles needed to create a video game. As
platforms have become more complex and powerful in the type of Developers use various tools to
material they can present, larger teams have been needed to create video games. Here an editor
generate all of the art, programming, cinematography, and more. is fine-tuning the virtual camera
system.
This is not to say that the age of the "one-man shop" is gone, as this
is still sometimes found in the casual gaming and handheld
markets,[70] where smaller games are prevalent due to technical
limitations such as limited RAM or lack of dedicated 3D graphics rendering capabilities on the target
platform (e.g., some PDAs).[71]

Video games are programmed like any other piece of computer software. Prior to the mid-1970s, arcade
and home consoles were programmed by assembling discrete electro-mechanical components on circuit
boards, which limited games to relatively simple logic. By 1975, low-cost microprocessors were available
at volume to be used for video game hardware, which allowed game developers to program more detailed
games, widening the scope of what was possible.[72][73] Ongoing improvements in computer hardware
technology has expanded what has become possible to create in video games, coupled with convergence of
common hardware between console, computer, and arcade platforms to simplify the development
process.[74] Today, game developers have a number of commercial and open source tools available for use
to make games, often which are across multiple platforms to support portability, or may still opt to create
their own for more specialized features and direct control of the game. Today, many games are built around
a game engine that handles the bulk of the game's logic, gameplay, and rendering. These engines can be
augmented with specialized engines for specific features, such as a physics engine that simulates the
physics of objects in real-time. A variety of middleware exists to help developers to access other features,
such as for playback of videos within games, network-oriented code for games that communicate via online
services, matchmaking for online games, and similar features. These features can be used from a
developers' programming language of choice, or they may opt to also use game development kits that
minimize the amount of direct programming they have to do but can also limit the amount of customization
they can add into a game. Like all software, video games usually undergo quality testing before release to
assure there are no bugs or glitches in the product, though frequently developers will release patches and
updates.

With the growth of the size of development teams in the industry, the problem of cost has increased.
Development studios need the best talent, while publishers reduce costs to maintain profitability on their
investment. Typically, a video game console development team ranges from 5 to 50 people, and some
exceed 100. In May 2009, Assassin's Creed II was reported to have a development staff of 450.[75] The
growth of team size combined with greater pressure to get completed projects into the market to begin
recouping production costs has led to a greater occurrence of missed deadlines, rushed games and the
release of unfinished products.[76]

While amateur and hobbyist game programming had existed since the late 1970s with the introduction of
home computers, a newer trend since the mid-2000s is indie game development. Indie games are made by
small teams outside any direct publisher control, their games being smaller in scope than those from the
larger "AAA" game studios, and are often experiment in gameplay and art style. Indie game development
are aided by larger availability of digital distribution, including the newer mobile gaming marker, and
readily-available and low-cost development tools for these platforms.[77]

Game theory and 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 the player is allowed to become another person, and to act out in another
world.[78] This image of video games 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 idea. 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.
Espen J. Aarseth argues 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 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."[79] Simply put, ludologists reject traditional theories of art because they claim
that the artistic and socially relevant qualities of a video game are primarily determined by the underlying
set of rules, demands, and expectations imposed on the player.

While many games rely on emergent principles, video games commonly present simulated story worlds
where emergent behavior occurs within the context of the game. The term "emergent narrative" has been
used to describe how, in a simulated environment, storyline can be created simply by "what happens to the
player."[80] However, emergent behavior is not limited to sophisticated games. In general, any place where
event-driven instructions occur for AI in a game, emergent behavior will 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.

Intellectual property for video games

Most commonly, video games are protected by copyright, though both patents and trademarks have been
used as well.

Though local copyright regulations vary to the degree of protection, video games qualify as copyrighted
visual-audio works, and enjoy cross-country protection under the Berne Convention.[81] This typically only
applies to the underlying code, as well as to the artistic aspects of the game such as its writing, art assets,
and music. Gameplay itself is generally not considered copyrightable; in the United States among other
countries, video games are considered to fall into the idea–expression distinction in that it is how the game
is presented and expressed to the player that can be copyrighted, but not the underlying principles of the
game.[82]

Because gameplay is normally ineligible for copyright, gameplay ideas in popular games are often
replicated and built upon in other games. At times, this repurposing of gameplay can be seen as beneficial
and a fundamental part of how the industry has grown by building on the ideas of others.[83][84] For
example Doom (1993) and Grand Theft Auto III (2001) introduced gameplay that created popular new
game genres, the first-person shooter and the Grand Theft Auto clone, respectively, in the few years after
their release.[85][86] However, at times and more frequently at the onset of the industry, developers would
intentionally create video game clones of successful games and game hardware with few changes, which
led to the flooded arcade and dedicated home console market around 1978.[83][87][84] Cloning is also a
major issue with countries that do not have strong intellectual property protection laws, such as within
China. The lax oversight by China's government and the difficulty for foreign companies to take Chinese
entities to court had enabled China to support a large grey market of cloned hardware and software
systems.[88] The industry remains challenged to distinguish between creating new games based on
refinements of past successful games to create a new type of gameplay, and intentionally creating a clone of
a game that may simply swap out art assets.[89]

Industry

History

The early history of the video game industry, following the first
game hardware releases and through 1983, had little structure.
Video games quickly took off during the golden age of arcade
video games from the late 1970s to early 1980s, but the newfound
industry was mainly composed of game developers with little
business experience. This led to numerous companies forming
simply to create clones of popular games to try to capitalize on the E3 is one of the typical trade show
market.[90] Due to loss of publishing control and oversaturation of events of the video game industry.
the market, the North American home video game market crashed
in 1983, dropping from revenues of around $3 billion in 1983 to
$100 million by 1985. Many of the North American companies created in the prior years closed down.
Japan's growing game industry was briefly shocked by this crash but had sufficient longevity to withstand
the short-term effects, and Nintendo helped to revitalize the industry with the release of the Nintendo
Entertainment System in North America in 1985.[90] Along with it, Nintendo established a number of core
industrial practices to prevent unlicensed game development and control game distribution on their
platform, methods that continue to be used by console manufacturers today.[90]

The industry remained more conservative following the 1983 crash, forming around the concept of
publisher-developer dichotomies, and by the 2000s, leading to the industry centralizing around low-risk,
triple-A games and studios with large development budgets of at least $10 million or more.[91] The advent
of the Internet brought digital distribution as a viable means to distribute games, and contributed to the
growth of more riskier, experimental independent game development as an alternative to triple-A games in
the late 2000s and which has continued to grow as a significant portion of the video game industry.[92][77]

Industry roles

Video games have a large network effect that draw on many different sectors that tie into the larger video
game industry. While video game developers are a significant portion of the industry, other key participants
in the market include:[93]

Publishers: Companies generally that oversee bringing the game from the developer to
market. This often includes performing the marketing, public relations, and advertising of the
game. Publishers frequently pay the developers ahead of time to make their games and will
be involved in critical decisions about the direction of the game's progress, and then pay the
developers additional royalties or bonuses based on sales performances. Other smaller,
boutique publishers may simply offer to perform the publishing of a game for a small fee and
a portion of the sales, and otherwise leave the developer with the creative freedom to
proceed. A range of other publisher-developer relationships exist between these points.
Distributors: Publishers often are able to produce their own game media and take the role of
distributor, but there are also third-party distributors that can mass-produce game media and
distribute to retailers. Digital storefronts like Steam and the iOS App Store also serve as
distributors and retailers in the digital space.
Retailers: Physical storefronts, which include large online retailers, department and
electronic stores, and specialty video game stores, sell games, consoles, and other
accessories to consumers. This has also including a trade-in market in certain regions,
allowing players to turn in used games for partial refunds or credit towards other games.
However, with the uprising of digital marketplaces and e-commerce revolution, retailers have
been performing worse than in the past.
Hardware manufacturers: The video game console manufacturers produce console
hardware, often through a value chain system that include numerous component suppliers
and contract manufacturer that assemble the consoles. Further, these console manufacturers
typically require a license to develop for their platform and may control the production of
some games, such as Nintendo does with the use of game cartridges for its systems. In
exchange, the manufacturers may help promote games for their system and may seek
console exclusivity for certain games. For games on personal computers, a number of
manufacturers are devoted to high-performance "gaming computer" hardware, particularly in
the graphics card area; several of the same companies overlap with component supplies for
consoles. A range of third-party manufacturers also exist to provide equipment and gear for
consoles post-sale, such as additional controllers for console or carrying cases and gear for
handheld devices.
Journalism: While journalism around video games used to be primarily print-based, and
focused more on post-release reviews and gameplay strategy, the Internet has brought a
more proactive press that use web journalism, covering games in the months prior to release
as well as beyond, helping to build excitement for games ahead of release.
 Influencers: With the rising importance of social media, video game companies have found
that the opinions of influencers using streaming media to play through their games has had a
significant impact on game sales, and have turned to use influencers alongside traditional
journalism as a means to build up attention to their game before release.
Esports: Esports is a major function of several multiplayer games with numerous
professional leagues established since the 2000s, with large viewership numbers,
particularly out of southeast Asia since the 2010s.
Trade and advocacy groups: Trade groups like the Entertainment Software Association were
established to provide a common voice for the industry in response to governmental and
other advocacy concerns. They frequently set up the major trade events and conventions for
the industry such as E3.
Gamers: The players and consumers of video games, broadly. While their representation in
the industry is primarily seen through game sales, many companies follow gamers'
comments on social media or on user reviews and engage with them to work to improve
their products in addition to other feedback from other parts of the industry. Demographics of
the larger player community also impact parts of the market; while once dominated by
younger men, the market shifted in the mid-2010s towards women and older players who
generally preferred mobile and causal games, leading to further growth in those sectors.[94]
These gamers are allowed to influence how the game can update in the future for further
development of a better game.

Major regional markets

The industry itself grew out from both the United States and Japan in the 1970s and 1980s before having a
larger worldwide contribution. Today, the video game industry is predominantly led by major companies in
North America (primarily the United States and Canada), Europe, and southeast Asia including Japan,
South Korea, and China. Hardware production remains an area dominated by Asian companies either
directly involved in hardware design or part of the production process, but digital distribution and indie
game development of the late 2000s has allowed game developers to flourish nearly anywhere and
diversify the field.[95]

Game sales

According to the market research firm Newzoo, the global video

game industry drew estimated revenues of over $159 billion in
2020. Mobile games accounted for the bulk of this, with a 48%
share of the market, followed by console games at 28% and
personal computer games at 23%.[1]

Sales of different types of games vary widely between countries

due to local preferences. Japanese consumers tend to purchase
much more handheld games than console games and especially PC
A retail display in Switzerland with a
games, with a strong preference for games catering to local
large selection of games for
tastes.[96][97] Another key difference is that, though having platforms popular in the early 2000s
declined in the West, arcade games remain an important sector of
the Japanese gaming industry.[98] In South Korea, computer games are generally preferred over console
games, especially MMORPG games and real-time strategy games. Computer games are also popular in
China.[99]

Effects on society

Culture

Video game culture is a worldwide new media subculture formed

around video games and game playing. As computer and video
games have increased in popularity over time, they have had a
significant influence on popular culture. Video game culture has
also evolved over time hand in hand with internet culture as well as
the increasing popularity of mobile games. Many people who play
video games identify as gamers, which can mean anything from
someone who enjoys games to someone who is passionate about it.
As video games become more social with multiplayer and online The Art of Video Games exhibit at
capability, gamers find themselves in growing social networks. the Smithsonian American Art
Gaming can both be entertainment as well as competition, as a new Museum in 2012
trend known as electronic sports is becoming more widely
accepted. In the 2010s, video games and discussions of video game
trends and topics can be seen in social media, politics, television, film and music. The COVID-19
pandemic during 2020–2021 gave further visibility to video games as a pastime to enjoy with friends and
family online as a means of social distancing.[100][101]

Since the mid-2000s there has been debate whether video games qualify as art, primarily as the form's
interactivity interfered with the artistic intent of the work and that they are designed for commercial appeal.
A significant debate on the matter came after film critic Roger Ebert published an essay "Video Games can
never be art",[102] which challenged the industry to prove him and other critics wrong.[103] The view that
video games were an art form was cemented in 2011 when the U.S. Supreme Court ruled in the landmark
case Brown v. Entertainment Merchants Association that video games were a protected form of speech with
artistic merit.[104] Since then, video game developers have come to use the form more for artistic
expression, including the development of art games,[105] and the cultural heritage of video games as works
of arts, beyond their technical capabilities, have been part of major museum exhibits, including The Art of
Video Games at the Smithsonian American Art Museum and toured at other museums from 2012 to 2016.

Video games will inspire sequels and other video games within the same franchise, but also have influenced
works outside of the video game medium. Numerous television shows (both animated and live-action),
films, comics and novels have been created based on existing video game franchises. Because video games
are an interactive medium there has been trouble in converting them to these passive forms of media, and
typically such works have been critically panned or treated as children's media. For example, until 2019, no
video game film had ever been received a "Fresh" rating on Rotten Tomatoes, but the releases of Detective
Pikachu (2019) and Sonic the Hedgehog (2020), both receiving "Fresh" ratings, shows signs of the film
industry having found an approach to adapt video games for the large screen.[106][107] That said, some
early video game-based films have been highly successful at the box office, such as 1995's Mortal Kombat
and 2001's Lara Croft: Tomb Raider.[108]

More recently since the 2000s, there has also become a larger appreciation of video game music, which
ranges from chiptunes composed for limited sound-output devices on early computers and consoles, to
fully-scored compositions for most modern games. Such music has frequently served as a platform for
covers and remixes, and concerts featuring video game soundtracks performed by bands or orchestras, such
as Video Games Live, have also become popular.[108] Video games also frequently incorporate licensed
music, particularly in the area of rhythm games, furthering the depth of which video games and music can
work together.[108]

Further, video games can serve as a virtual environment under full control of a producer to create new
works. With the capability to render 3D actors and settings in real-time, a new type of work machinima
(short for "machine cinema") grew out from using video game engines to craft narratives.[109] As video
game engines gain higher fidelity, they have also become part of the tools used in more traditional
filmmaking. Unreal Engine has been used as a backbone by Industrial Light & Magic for their StageCraft
technology for shows like The Mandalorian.[110]

Separately, video games are also frequently used as part of the promotion and marketing for other media,
such as for films, anime, and comics. However, these licensed games in the 1990s and 2000s often had a
reputation for poor quality, developed without any input from the intellectual property rights owners, and
several of them are considered among lists of games with notably negative reception, such as Superman 64.
More recently, with these licensed games being developed by triple-A studios or through studios directly
connected to the licensed property owner, there has been a significant improvement in the quality of these
games, with an early trendsetting example of Batman: Arkham Asylum.[111]

Beneficial uses

Besides their entertainment value, appropriately-designed video games have been seen to provide value in
education across several ages and comprehension levels. Learning principles found in video games have
been identified as possible techniques with which to reform the U.S. education system.[112] It has been
noticed that gamers adopt an attitude while playing that is of such high concentration, they do not realize
they are learning, and that if the same attitude could be adopted at school, education would enjoy
significant benefits.[113] Students are found to be "learning by doing" while playing video games while
fostering creative thinking.[114]

Video games are also believed to be beneficial to the mind and body. It has been shown that action video
game players have better hand–eye coordination and visuo-motor skills, such as their resistance to
distraction, their sensitivity to information in the peripheral vision and their ability to count briefly presented
objects, than nonplayers.[115] Researchers found that such enhanced abilities could be acquired by training
with action games, involving challenges that switch attention between different locations, but not with
games requiring concentration on single objects. A 2018 systematic review found evidence that video
gaming training had positive effects on cognitive and emotional skills in the adult population, especially
with young adults.[116] A 2019 systematic review also added support for the claim that video games are
beneficial to the brain, although the beneficial effects of video gaming on the brain differed by video games
types.[117]

Organisers of video gaming events, such as the organisers of the D-Lux video game festival in Dumfries,
Scotland, have emphasised the positive aspects video games can have on mental health. Organisers, mental
health workers and mental health nurses at the event emphasised the relationships and friendships that can
be built around video games and how playing games can help people learn about others as a precursor to
discussing the person's mental health.[118] A study in 2020 from Oxford University also suggested that
playing video games can be a benefit to a person's mental health. The report of 3,274 gamers, all over the
age of 18, focused on the games Animal Crossing: New Horizons and Plants vs Zombies: Battle for
Neighborville and used actual play-time data. The report found that those that played more games tended to
report greater "wellbeing".[119][120] Also in 2020, computer science professor Regan Mandryk of the
University of Saskatchewan said her research also showed that video games can have health benefits such
as reducing stress and improving mental health. The university's research studied all age groups – "from
pre-literate children through to older adults living in long term care homes" – with a main focus on 18 to
55-year-olds.[121]

A study of gamers attitudes towards gaming which was reported about in 2018 found that millennials use
video games as a key strategy for coping with stress. In the study of 1,000 gamers, 55% said that it "helps
them to unwind and relieve stress ... and half said they see the value in gaming as a method of escapism to
help them deal with daily work pressures".[122]

Controversies

Video games have had controversy since the 1970s. Video games
have emerged as one of the primary playthings used by youngsters
all over the world. Parents and children's advocates have raised
concerns that violent video games can influence young players into
performing those violent acts in real life, and events such as the
Columbine High School massacre in 1999 in which the
perpetrators specifically alluded to using video games to plot out
their attack, raised further fears. Medical experts and mental health
professionals have also raised concerned that video games may be
addictive, and the World Health Organization has included
"gaming disorder" in the 11th revision of its International Statistical
The compulsion loop for video
Classification of Diseases. Other health experts, including the
games is believed to trigger
American Psychiatric Association, have stated that there is
dopamine release that can
insufficient evidence that video games can create violent tendencies
encourage addictive behavior.
or lead to addictive behavior,[123] though agree that video games
typically use a compulsion loop in their core design that can create
dopamine that can help reinforce the desire to continue to play through that compulsion loop and potentially
lead into violent or addictive behavior.[124][125][126] Even with case law establishing that video games
qualify as a protected art form, there has been pressure on the video game industry to keep their products in
check to avoid over-excessive violence particularly for games aimed at younger children. The potential
addictive behavior around games, coupled with increased used of post-sale monetization of video games,
has also raised concern among parents, advocates, and government officials about gambling tendencies that
may come from video games, such as controversy around the use of loot boxes in many high-profile games.

Numerous other controversies around video games and its industry have arisen over the years, among the
more notable incidents include the 1993 United States Congressional hearings on violent games like Mortal
Kombat which lead to the formation of the ESRB ratings system, numerous legal actions taken by attorney
Jack Thompson over violent games such as Grand Theft Auto III and Manhunt from 2003 to 2007, the
outrage over the "No Russian" level from Call of Duty: Modern Warfare 2 in 2009 which allowed the
player to shoot a number of innocent non-player characters at an airport, and the Gamergate harassment
campaign in 2014 that highlighted misogamy from a portion of the player demographic. The industry as a
whole has also dealt with issues related to gender, racial, and LGBTQ+ discrimination and
mischaracterization of these minority groups in video games. A further issue in the industry is related to
working conditions, as development studios and publishers frequently use "crunch time", required extended
working hours, in the weeks and months ahead of a game's release to assure on-time delivery.

Collecting and preservation

Players of video games often maintain collections of games. More recently there has been interest in
retrogaming, focusing on games from the first decades. Games in retail packaging in good shape have
become collectors items for the early days of the industry, with some rare publications having gone for over
US$100,000 as of 2020. Separately, there is also concern about the preservation of video games, as both
game media and the hardware to play them degrade over time. Further, many of the game developers and
publishers from the first decades no longer exist, so records of their games have disappeared. Archivists and
preservations have worked within the scope of copyright law to save these games as part of the cultural
history of the industry.

There are many video game museums around the world, including the National Videogame Museum in
Frisco, Texas,[127] which serves as the largest museum wholly dedicated to the display and preservation of
the industry's most important artifacts.[128] Europe hosts video game museums such as the Computer
Games Museum in Berlin[129] and the Museum of Soviet Arcade Machines in Moscow and Saint-
Petersburg.[130][131] The Museum of Art and Digital Entertainment in Oakland, California is a dedicated
video game museum focusing on playable exhibits of console and computer games.[132] The Video Game
Museum of Rome is also dedicated to preserving video games and their history.[133] The International
Center for the History of Electronic Games at The Strong in Rochester, New York contains one of the
largest collections of electronic games and game-related historical materials in the world, including a 5,000-
square-foot (460  m2 ) exhibit which allows guests to play their way through the history of video
games.[134][135][136] The Smithsonian Institution in Washington, DC has three video games on permanent
display: Pac-Man, Dragon's Lair, and Pong.[137]

The Museum of Modern Art has added a total of 20 video games and one video game console to its
permanent Architecture and Design Collection since 2012.[138][139] In 2012, the Smithsonian American Art
Museum ran an exhibition on "The Art of Video Games".[140] However, the reviews of the exhibit were
mixed, including questioning whether video games belong in an art museum.[141][142]

See also
Video games
portal

Lists of video games

List of accessories to video games by system
Outline of video games

Notes
a. "Videogame" may also be used, though this is less frequent.

References
1. Hall, Stefan (15 May 2020). "How COVID-19 is taking gaming and esports to the next level"
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Sources
Murray, Janet (1998). Hamlet on the Holodeck (https://archive.org/details/hamletonholodeck
00murr). MIT Press. ISBN 978-0-262-63187-7.

Further reading
Blodget, Henry (12 April 2005). "How to Solve China's Piracy Problem" (http://www.slate.co
m/articles/arts/go_east_young_man/2005/04/how_to_solve_chinas_piracy_problem.html).
Slate.com. Archived (https://web.archive.org/web/20111108033525/http://www.slate.com/arti
cles/arts/go_east_young_man/2005/04/how_to_solve_chinas_piracy_problem.html) from
the original on 8 November 2011. Retrieved 12 February 2006.
Costikyan, Greg (1994). "I Have No Words & I Must Design" (https://web.archive.org/web/20
080812015347/http://www.costik.com/nowords.html). Archived from the original (http://www.c
ostik.com/nowords.html) on 12 August 2008.
Crawford, Chris (1982). The Art of Computer Game Design (https://web.archive.org/web/201
50702204947/http://library.vancouver.wsu.edu/art-computer-game-design). Archived from
the original (http://library.vancouver.wsu.edu/art-computer-game-design) on 2 July 2015.
Retrieved 2 February 2011.
Lieu, Tina (August 1997). "Where have all the PC games gone?" (https://web.archive.org/we
b/19980112155115/http://www.cjmag.co.jp/magazine/issues/1997/aug97/0897pcgames.htm
l). Computing Japan. Archived from the original (http://www.cjmag.co.jp/magazine/issues/19
97/aug97/0897pcgames.html) on 12 January 1998.
Pursell, Carroll (2015). From Playgrounds to PlayStation: The Interaction of Technology and
Play. Baltimore, MD: Johns Hopkins University Press.
Salen, Katie; Eric Zimmerman (2005). The Game Design Reader: A Rules of Play
Anthology. The MIT Press. ISBN 978-0-262-19536-2.
Smuts, Aaron (2005). "Are Video Games Art?" (http://www.contempaesthetics.org/newvolum
e/pages/article.php?articleID=299). Archived (https://web.archive.org/web/20101214025334/
http://contempaesthetics.org/newvolume/pages/article.php?articleID=299) from the original
on 14 December 2010. Retrieved 17 August 2006.
Winegarner, Beth (28 January 2005). "Game sales hit record highs" (http://www.gamespot.co
m/news/game-sales-hit-record-highs-6117438). Gamespot. Archived (https://web.archive.or
g/web/20120106224517/http://www.gamespot.com/news/game-sales-hit-record-highs-6117
438) from the original on 6 January 2012. Retrieved 12 February 2006.
 John Wills (1 October 2002). "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 (https://doi.org/10.1080%2F1362517022
000047334). S2CID 144132612 (https://api.semanticscholar.org/CorpusID:144132612).
Williams, J.P.; Smith, J.H., eds. (2007). The players' realm: studies on the culture of video
games and gaming. Jefferson, NC: McFarland & Co.

External links
Video games bibliography (http://www.ludoscience.com/
EN/ressources/bibliographie/index.html?sort=files%20A
SC) by the French video game research association
Ludoscience
The Virtual Museum of Computing (VMoC) (https://web.a How can video games boost your
rchive.org/web/20141010105238/http://archives.icom.mu mental health? – Dr. Max Birk
seum/vlmp/computing.html) (Eindhoven University of Technology)

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