Shooter Series Quotes

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That’s not shooting,” Dov said. “That’s violence. A little girl hitting a violent predator with a log is hand-to-hand combat and that’s honest. A man, who is represented by a hand, shooting a series of unknown henchmen is dishonest. It’s not violence that I hate anyway. It’s lazy games that act as if the only thing you can possibly do in life is shoot at something. It’s lazy, Florian. And the problem with your game is not that it’s a shooter, but that your game isn’t any fun to play. Let me ask you a question: Did you play
Gabrielle Zevin (Tomorrow, and Tomorrow, and Tomorrow)
Doom, meanwhile, had a long-term impact on the world of gaming far exceeding even that of Myst. The latest of a series of experiments with interactive 3D graphics by id programmer John Carmack, Doom shares with Myst only its immersive first-person point of view; in all other respects, this fast-paced, ultraviolent shooter is the polar opposite of the cerebral Myst. Whereas the world of Myst is presented as a collection of static nodes that the player can move among, each represented by a relatively static picture of its own, the world of Doom is contiguous. As the player roams about, Doom must continually recalculate in real time the view of the world that it presents to her on the screen, in effect drawing for her a completely new picture with every frame using a vastly simplified version of the 3D-rendering techniques that Eric Graham began experimenting with on the Amiga back in 1986. First-person viewpoints had certainly existed in games previously, but mostly in the context of flight simulators, of puzzle-oriented adventures such as Myst, or of space-combat games such as Elite. Doom has a special quality that those earlier efforts lack in that the player embodies her avatar as she moves through 3D space in a way that feels shockingly, almost physically real. She does not view the world through a windscreen, is not separated from it by an adventure game’s point-and-click mechanics and static artificiality. Doom marks a revolutionary change in action gaming, the most significant to come about between the videogame’s inception and the present. If the player directs the action in a game such as Menace, Doom makes her feel as if she is in the action, in the game’s world. Given the Amiga platform’s importance as a tool for noninteractive 3D rendering, it is ironic that the Amiga is uniquely unsuited to Doom and the many iterations and clones of it that would follow. Most of the Amiga attributes that we employed in the Menace reconstruction—its scrolling playfields, its copper, its sprites—are of no use to a 3D-engine programmer. Indeed, the Intel-based machines on which Carmack created Doom possess none of these features. Even the Amiga’s bitplane-based playfields, the source of so many useful graphical tricks and hacks when programming a 2D game such as Menace, are an impediment and annoyance in a game such as Doom. Much preferable are the Intel-based machines’ straightforward chunky playfields because these layouts are much easier to work with when every frame of video must be drawn afresh from scratch. What is required most of all for a game such as Doom is sufficient raw processing power to perform the necessary thousands of calculations needed to render each frame quickly enough to support the frenetic action for which the game is known. By 1993, the plebian Intel-based computer, so long derided by Amiga owners for its inefficiencies and lack of design imagination, at last possessed this raw power. The Amiga simply had no answer to the Intel 80486s and Pentiums that powered this new, revolutionary genre of first-person shooters. Throughout
Jimmy Maher (The Future Was Here: The Commodore Amiga (Platform Studies))
In the aftermath of the shooting, John did not experience any sense of relief at having survived the lethal series of assaults. Nor did he gloat over his victory. In fact, he was horrified that he had caused such severe physical damage to another human being. It didn't help that some of his fellow officers seized upon this opportunity to call him "back shooter" and other phrases used in police humor as a way of dealing with the trauma of violence.
Lawrence N. Blum (Stoning the Keepers at the Gate: Society's Relationship with Law Enforcement)
Shortly before the shooting, I had written a series of articles about the disastrous effects of “education reform” in Washington, D.C. schools. What I saw unfold there had convinced me that the leaders of a movement that purported to “put students first” were far more concerned about their reputations within an elite bubble than about what actually happens to students in schools.
Andrew Pollack (Why Meadow Died: The People and Policies That Created The Parkland Shooter and Endanger America's Students)
Oh, dear God. There was a shooter in the mall.
Toni Anderson (Cold Justice Series Box Set: Volume I (Cold Justice #1-3))