Video Game Designers Quotes

Reality is broken. Game designers can fix it.

She, too, is one of Regin’s friends. They’re poker buddies, sisters of the Wii, and Mari is a vaunted member of the karaoke contingent. Regin has long acted as the witches’ designated driver.” “BFF?” Lachlain asked, brows drawn. “Sisters of the what?” Emma supplied, “Best friend forever and a video game.” Lachlain muttered to Emma, “Your relatives are just no’ right.

What if we started to live our real lives like gamers, lead our real businesses and communities like game designers, and think about solving real-world problems like computer and video game theorists?

As the video game designer and writer James Wallis puts it, “Human beings like stories. Our brains have a natural affinity not only for enjoying narratives and learning from them but also for creating them. In the same way that your mind sees an abstract pattern and resolves it into a face, your imagination sees a pattern of events and resolves it into a story.

Gamers can feel when developers are passionate about their games. They can smell it like a dog smells fear. Don't be afraid to hold onto your unique vision: just be aware that it may not turn out exactly how you envisioned.

Sam would later tell people that these mazes were his first attempts at writing games. "A maze," he would say, "is a video game distilled to its purest form." Maybe so, but this was revisionist and self-aggrandizing. The mazes were for Sadie. To design a game is to imagine the person who will eventually play it.

I told you, I’m awesome at everything,” he teased, putting the PS3 controller on the floor between us. “That includes video games.” I watched as the character Wesley had been operating moved across the screen, doing some sort of odd victory dance. “Not fair,” I muttered. “Your sword was bigger than mine.” “My sword is bigger than everyone’s.

Hocking was slender in the way that writers and musicians are sometimes slender: not out of any desire or design but rather because his days were spent being consumed rather than consuming.

I think it's fair to say most video games let players experience only eight emotions: anger, panic, dread, surprise, wonder, satisfaction, joy and disappointment. And some games only disappoint.

A method of schooling founded by the Italian educator Maria Montessori that emphasizes collaborative, explorative learning, and whose alumni include Google’s founders, Sergey Brin and Larry Page; Wikipedia founder Jimmy Wales; video-game designer Will Wright; Amazon’s founder, Jeff Bezos; chef Julia Child; and rap impresario Sean Combs.

Don’t become so attached to your ideas that you lose objectivity.

Humor. Two unconnected things are suddenly united by a paradigm shift. It is hard to describe, but we all know it when it happens. Weirdly, it causes us to make a barking noise.

If you think something is innovative, it just means you haven’t been paying attention. attention. Scott Rogers

It’s time to shake off the bogus fear that pursuing any interest that falls outside the traditionally “feminine”—say, working in a STEM field, exploring the world, designing a video game—will make us complete pariahs.

Girls practically invented programming,” she said. “Jean Bartik, Marlyn Wescoff, Fran Bilas—they all programmed ENIAC.” I had no idea what she was talking about. “And don’t forget Margaret Hamilton. She wrote the software that let Apollo 11 land on the moon.” “I meant programming video games,” I said. “Dona Bailey, Centipede. Brenda Romero, Wizardry. Roberta Williams, King’s Quest. She designed her first computer game at the kitchen table. I interviewed her for school last year.

...the video-game form is incompatible with traditional concepts of narrative progression. Stories are about time passing and narrative progression. Games are about challenge, which frustrates the passing of time and impedes narrative progression. The story force wants to go forward and the "friction force" of challenge tries to hold story back. This is the conflict at the heart of the narrative game, one that game designers have thus far imperfectly addressed by making story the reward of a successfully met challenge.

Every NPC needs a role. A job. A reason for living.

Sadie loathed games where the box art was spectacular but when you went to play the actual game, it looked nothing like the concept art.

playing a game is a voluntary effort to overcome unnecessary obstacles.

The voice came from the other side of the divider, an older man, bald, who wore a leather vest over a dark blue button-down shirt, like a Radio Shack manager who moonlighted as a forest brigand.

TJ frowns; she can’t write about willing wind and water in the official report. Voicing elements is a rumor. However, she remembers what her grandmother said five decades ago when she was a child; (it was shortly after the war): “Anyone who trains hard can be a Grade A by the time they’re forty or fifty. But it takes decades more to become strong enough to voice one element.” “One element?” TJ asked. “Do you want to voice the entire universe then?” “Can’t I?” Grandmother didn’t answer, not directly anyway, as most great masters do. They never say you can’t do this or no one can do that or that thing is impossible just because they couldn’t do it, or because they hadn’t found it yet. True masters answer differently. Wisely. Like her grandmother answered that day. “Do you know why we evolve, Tirity?” “Because we’re supposed to?” TJ replied. “Yes. It’s in the grand design. We’re ‘supposed to’ evolve. Not just in body, but also in mind,” she said. “In time. You see, time is the key. If given infinite time, you can evolve your mind infinitely. But we live only for a hundred years or so.” “A hundred years is ‘only’?” “You’re so young, Tirity! But yes, it is little for a complete cognitive evolution. Most hard trainers can prolong it to a couple of hundred years. They even get to call the wind or grow a giant plant that could touch the clouds. But voicing everything in the universe? I think only God can do it, the God who created everything with only words. And if God created the world so that he could see how far the humans can evolve, then I’d say, yes, even a human could get godly power. Godlier than voicing one or two elements. If. Given. The. Time.” “How much time?” “More than thousands of years, maybe. Could even need millions, who knows? …” TJ smiles drily; she remembers how her eyes sparkled at the thought of becoming a goddess who could voice everything. She dreamed of flying in the air or walking in space. She thought of making her own garden full of giant flowers where only enormous butterflies would dance. Some days, when she played video games in VR, she even dreamed of voicing the thunder and lightning to join her wooden sword. She thought time could help her do it. But she didn’t know then, time only makes you grow up. Time steals your dreams. Time only turns you into an adult.

The avatar she’d designed to conquer the game of life wouldn’t stop to hug her nemesis. Badass Simone would pulverize the competition. Find his biggest weakness and exploit it in a tactical strike.

Although a 2015 Pew Research Center report53 found that equal numbers of American men and women play video games, only 3.3%54 of the games spotlighted at press conferences during 2016’s E3 (the world’s largest annual gaming expo) starred female protagonists. This is actually lower than the figure for 2015 which, according to Feminist Frequency, was 9%.55 If female playable characters do make it into a game they are still often framed as just another feature.

Wesley was playing Soulcalibur IV. And because I’m a glutton for punishment, I’d challenged him. My God, I had to find something I could beat him at! And you know, something about beating the shit out of an animated character really made me feel better. Before I knew it, I wasn’t even worried about Mom or Dad. Things would be okay. They had to be. I just had to be patient and let things happen. And in the meantime, I had to kick Wesley’s ass… or try, at least.

When politicians like Sen. Joseph Lieberman target video game violence, perhaps it is to distract attention from the material conditions that give rise to a culture of domestic violence, the economic policies that make it harder for most of us to own our own homes, and the development practices which pave over the old grasslands and forests. Video games did not make backyard play spaces disappear; rather, they offer children some way to respond to domestic confinement.

For every job lost to automation, a new one will materialize that we cannot anticipate: he unemployed forklift operators will retrain as tattoo removal technicians and video game costume designers and social media content moderators and pet psychiatrists.

In San Francisco and the Santa Clara Valley during the late 1960s, various cultural currents flowed together. There was the technology revolution that began with the growth of military contractors and soon included electronics firms, microchip makers, video game designers, and computer companies. There was a hacker subculture—filled with wireheads, phreakers, cyberpunks, hobbyists, and just plain geeks—that included engineers who didn’t conform to the HP mold and their kids who weren’t attuned to the wavelengths of the subdivisions. There were

Sam would later tell people that these mazes were his first attempts at writing games. “A maze,” he would say, “is a video game distilled to its purest form.” Maybe so, but this was revisionist and self-aggrandizing. The mazes were for Sadie. To design a game is to imagine the person who will eventually play it.

Most video games are built by teams of dozens of people, each of whom specializes in fields like art, programming, design, or music. Some games, like Uncharted 4, employ staffs in the hundreds and use work from outsourced artists across the world. Even small independent developers usually rely on contractors and third-party game engines.

I love making films, playing video games, designing pictures on Adobe Photoshop, Illustrator. But what I felt so impressed about my life. Is that I finally got my chance to write stories just for the hell of it. To me, it helps with my life. It calms me down. The narrative stories is what captures me. More characters, but big connections. And that's what it took for me to become a writer.

The producer’s responsibilities include hiring and building teams; writing contracts; contributing to the game’s design; managing the team’s work schedule; balancing the game’s budget; resolving disputes between creative and programming leads; acting as the team representative to upper management and publishers; coordinating the creation of outside resources such as art, music, and cutscenes; and arranging testing and localization.

There are as many approaches to unschooling as there are people, by design. A child is supported to read when ready and interested, not on another’s timetable, for example. He can and will be encouraged to pursue a wide range of interests, based on his interests, such as free play, inventing, experimenting scientifically, video gaming, role modeling through friendship, spiritual development through inquiry of self and others, athletics, learning to trust himself and others.

How do you get into making video games anyway? Sadie hated answering this question, especially after a person told her he hadn't heard of Ichigo. "Well, I learned to program computers in middle school, I got an 800 on my math SAT, won a Westinghouse and a Leipzig, and then I went to MIT, which, by the way, is highly competitive, even for a lowly female like myself, and studied computer science. At MIT, I learned four or five more programming languages and studied psychology with an emphasis on ludic techniques and persuasive designs, and English, including narrative structures, the classics, and the history of interactive storytelling. Got myself a great mentor. Regrettably made him my boyfriend. Suffice it to say, I was young. And then I dropped out of school for a time to make a game because my best frenemy wanted me to. That game became the game you never heard of. But yeah, it sold around two and a half million copies, just in the U.S., so...." Instead, she said, "I like to play games a lot, so I thought I'd see if I could make them.

Since their invention about half a century ago, video games have come to play a vital role in modern human civilization. I think this is because we modern humans were never designed to live like we do now—sitting in traffic, working in offices, shopping in stores. We are, by design, hunter-gatherers. Millions of years of evolution have wired our brains with an inherent need to hunt, gather, explore, solve puzzles, form teams, and conquer challenge after challenge in order to survive as we claw our way to the top of the food chain. For most people, day-to-day life no longer requires many of those experiences or challenges, and so those primal, instinctive needs inside us have no natural outlet. To keep our minds and bodies healthy, we have to simulate those old ways in the midst of our modern, technological lives, where everything on the planet has already been hunted and gathered. Thankfully, the technology that created this problem also gave rise to its solution—a way for us modern city dwellers to exorcise our inner evolutionary demons: video games.

Grades can also be profoundly unfair, especially for students who are unable to keep up, because the level of the exams usually increases from week to week. Let’s take the analogy of video games. When you discover a new game, you initially have no idea how to progress effectively. Above all, you don’t want to be constantly reminded of how bad you are! That’s why video game designers start with extremely easy levels, where you are almost sure to win. Very gradually, the difficulty increases and, with it, the risk of failure and frustration—but programmers know how to mitigate this by mixing the easy with the difficult, and by leaving you free to retry the same level as many times as you need. You see your score steadily increase . . . and finally, the joyous day comes when you successfully pass the final level, where you were stuck for so long. Now compare this with the report cards of “bad” students: they start the year off with a bad grade, and instead of motivating them by letting them take the same test again until they pass, the teacher gives them a new exercise every week, almost always beyond their abilities. Week after week, their “score” hovers around zero. In the video game market, such a design would be a complete disaster. All too often, schools use grades as punishments.

these sources were particularly helpful to my thinking about and understanding of 1990s- and 2000s-era game culture and designers: Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made, by Jason Schreier; Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, by David Kushner; Hackers: Heroes of the Computer Revolution (specifically the section on Sierra On-Line), by Steven Levy; A Mind Forever Voyaging: A History of Storytelling in Video Games, by Dylan Holmes; Extra Lives: Why Video Games Matter, by Tom Bissell; All Your Base Are Belong to Us: How Fifty Years of Video Games Conquered Pop Culture, by Harold Goldberg;

The unfortunate truth is that right now men's voices dominate and we see the results. Popular products from the tech boom - including violent and sexist video games that a generation of children has become addicted to - are designed with little to no input from women. Apple's first version of its highly touted health application could track your blood-alcohol level but not menstruation. Everything from plus-sized smart phones to artificial hearts have been build at a size better suited to male anatomy. As of late 2016, if you told one of the virtual assistants like Siri, S Voice, and Google Now, 'I'm having a heart attack,' you'd immediately get valuable information about what to do next. If you were to say, 'I'm being raped,' or 'I'm being abused by my husband,' the attractive (usually) female voice would say, 'I don't understand what this is.

Thiel, the PayPal cofounder who had invested in SpaceX, holds a conference each year with the leaders of companies financed by his Founders Fund. At the 2012 gathering, Musk met Demis Hassabis, a neuroscientist, video-game designer, and artificial intelligence researcher with a courteous manner that conceals a competitive mind. A chess prodigy at age four, he became the five-time champion of an international Mind Sports Olympiad that includes competition in chess, poker, Mastermind, and backgammon. In his modern London office is an original edition of Alan Turing’s seminal 1950 paper, “Computing Machinery and Intelligence,” which proposed an “imitation game” that would pit a human against a ChatGPT–like machine. If the responses of the two were indistinguishable, he wrote, then it would be reasonable to say that machines could “think.” Influenced by Turing’s argument, Hassabis cofounded a company called DeepMind that sought to design computer-based neural networks that could achieve artificial general intelligence. In other words, it sought to make machines that could learn how to think like humans.

As you know, the public conversation about the connection between Islamic ideology and Muslim intolerance and violence has been stifled by political correctness. In the West, there is now a large industry of apology and obfuscation designed, it would seem, to protect Muslims from having to grapple with the kinds of facts we’ve been talking about. The humanities and social science departments of every university are filled with scholars and pseudo-scholars—deemed to be experts in terrorism, religion, Islamic jurisprudence, anthropology, political science, and other fields—who claim that Muslim extremism is never what it seems. These experts insist that we can never take Islamists and jihadists at their word and that none of their declarations about God, paradise, martyrdom, and the evils of apostasy have anything to do with their real motivations. When one asks what the motivations of Islamists and jihadists actually are, one encounters a tsunami of liberal delusion. Needless to say, the West is to blame for all the mayhem we see in Muslim societies. After all, how would we feel if outside powers and their mapmakers had divided our lands and stolen our oil? These beleaguered people just want what everyone else wants out of life. They want economic and political security. They want good schools for their kids. They want to be free to flourish in ways that would be fully compatible with a global civil society. Liberals imagine that jihadists and Islamists are acting as anyone else would given a similar history of unhappy encounters with the West. And they totally discount the role that religious beliefs play in inspiring a group like the Islamic State—to the point where it would be impossible for a jihadist to prove that he was doing anything for religious reasons. Apparently, it’s not enough for an educated person with economic opportunities to devote himself to the most extreme and austere version of Islam, to articulate his religious reasons for doing so ad nauseam, and even to go so far as to confess his certainty about martyrdom on video before blowing himself up in a crowd. Such demonstrations of religious fanaticism are somehow considered rhetorically insufficient to prove that he really believed what he said he believed. Of course, if he said he did these things because he was filled with despair and felt nothing but revulsion for humanity, or because he was determined to sacrifice himself to rid his nation of tyranny, such a psychological or political motive would be accepted at face value. This double standard is guaranteed to exonerate religion every time. The game is rigged.

It was discussed and decided that fear would be perpetuated globally in order that focus would stay on the negative rather than allow for soul expression to positively emerge. As people became more fearful and compliant, capacity for free thought and soul expression would diminish. There is a distinct inability to exert soul expression under mind control, and evolution of the human spirit would diminish along with freedom of thought when bombarded with constant negative terrors. Whether Bush and Cheney deliberately planned to raise a collective fear over collective conscious love is doubtful. They did not think, speak, or act in those terms. Instead, they knew that information control gave them power over people, and they were hell-bent to perpetuate it at all costs. Cheney, Bush, and other global elite ushering in the New World Order totally believed in the plan mapped out by artificial intelligence. They were allowing technology to dictate global control. “Life is like a video game,” Bush once told me at the rural multi-million dollar Lampe, Missouri CIA mind control training camp complex designed for Black Ops Special Forces where torture and virtual reality technologies were used. “Since I have access to the technological source of the plans, I dictate the rules of the game.” The rules of the game demanded instantaneous response with no time to consciously think and critically analyze. Constant conscious disruption of thought through television’s burst of light flashes, harmonics, and subconscious subliminals diminished continuity of conscious thought anyway, creating a deficit of attention that could easily be refocused into video game format. DARPA’s artificial intelligence was reliant on secrecy, and a terrifying cover for reality was chosen to divert people from the simple truth. Since people perceive aliens as being physical like them, it was decided that the technological reality could be disguised according to preconceptions. Through generations of genetic encoding dating back to the beginning of man, serpents incite an innate autogenic response system in humans to “freeze” in terror. George Bush was excited at the prospects of diverting people from truth by fear through perpetuating lizard-like serpent alien misconceptions. “People fear what they don’t know anyway. By compounding that fear with autogenic fear response, they won’t want to look into Pandora’s Box.” Through deliberate generation of fear; suppression of facts under the 1947 National Security Act; Bush’s stint as CIA director during Ford’s Administration; the Warren Commission’s whitewash of the Kennedy Assassination; secrecy artificially ensured by mind control particularly concerning DARPA, HAARP, Roswell, Montauk, etc; and with people’s fluidity of conscious thought rapidly diminishing; the secret government embraced the proverbial ‘absolute power that corrupts absolutely.’ According to New World Order plans being discussed at the Grove, plans for reducing the earth’s population was a high priority. Mass genocide of so-called “undesirables” through the proliferation of AIDS4 was high on Bush’s agenda. “We’ll annihilate the niggers at their source, beginning in South and East Africa and Haiti5.” Having heard Bush say those words is by far one of the most torturous things I ever endured. Equally as torturous to my being were the discussions on genetic engineering, human cloning, and depletion of earth’s natural resources for profit. Cheney remarked that no one would be able to think to stop technology’s plan. “I’ll destroy the planet first,” Bush had vowed.

under oath he revealed the course was designed by taking holes from the courses he found on a PlayStation-era Tiger Woods video game. This resulted in Loudoun County being sued by Pebble Beach, Cog Hill and St. Andrews, not only for stealing from their courses, but for doing it so poorly that it damaged the original courses’ reputations.

Love MINECRAFT? **Over 18,000 words of kid-friendly fun!** This high-quality fan fiction fantasy diary book is for kids, teens, and nerdy grown-ups who love to read epic stories about their favorite game! Meet the Skull Kids. They're three Minecraft players who hop from world to world, hunting zombies and searching for the elusive Herobrine--the ghost in the machine. Teleporting down into a new world, the group is surprised to find that the game has changed once again, rendering almost ALL of their technology and mods useless. And when two of the Skull Kids are starving and distracted by exploring a desert village on Day 1 of their new adventure, the whole group is in danger when the sun goes down. Will the Skull Kids survive? Thank you to all of you who are buying and reading my books and helping me grow as a writer. I put many hours into writing and preparing this for you. I love Minecraft, and writing about it is almost as much fun as playing it. It’s because of you, reader, that I’m able to keep writing these books for you and others to enjoy. This book is dedicated to you. Enjoy!! After you read this book, please take a minute to leave a simple review. I really appreciate the feedback from my readers, and love to read your reactions to my stories, good or bad. If you ever want to see your name/handle featured in one of my stories, leave a review and tell me about it in there! And if you ever want to ask me any questions, or tell me your idea for a cool Minecraft story, you can email me at steve@skeletonsteve.com. Are you on my Amazing Reader List? Find out at the end of the book! June 29th, 2016 Now I’m going to try something a little different. Tell me what you guys think! This ‘Players Series’ is going to be a continuing series of books following my new characters, the players Renzor51, Molly, and quantum_steve. Make sure to let me know if you like it or not! Would you still like to see more books about mobs? More books about Cth’ka the Creeper King? I’m planning on continuing that one. ;) Don’t forget to review, and please say hi and tell me your ideas! Thanks, Ryan Gallagher, for the ideas to continue the wolf pack book! Enjoy the story. P.S. - Have you joined the Skeleton Steve Club and my Mailing List?? You found one of my diaries!! This particular book is the continuing story of some Minecraft players—a trio of friends who leap from world to world, searching for the elusive Herobrine. They’re zombie hunters and planeswalkers. They call themselves “The Skull Kids”. Every time these Skull Kids hop into a new world, they start with nothing more than the clothes they’re wearing, and they end up dominating the realm where they decide to live. What you are about to read is the first collection of diary entries from Renzor51, the player and member of the Skull Kids who documents their adventures, from the day they landed on Diamodia and carved out their own little empire, and beyond. Be warned—this is an epic book! You’re going to care about these characters. You’ll be scared for them, feel good for them, and feel bad for them! It’s my hope that you’ll be sucked up into the story, and the adventure and danger will be so intense, you’ll forget we started this journey with a video game! With that, future readers, I present to you the tale of the Skull Kids, Book 1. The Skull Kids Ka-tet Renzor51 Renzor51 is the warrior-scribe of the group, and always documents the party’s adventures and excursions into game worlds. He’s a sneaky fighter, and often takes the role of a sniper, but can go head to head with the Skull Kids’ enemies when needed. A natural artist, Renzor51 tends to design and build many of the group’s fortresses and structures, and keeps things organized. He also focuses a lot on weapon-smithing and enchanting, always seeking out ways to improve his gear. Molly

When speaking of disabilities, the blind and their needs are most often used as an example. It is deceivingly simplistic since accessibility is something most of the population can benefit from. We all benefit when we are tired, in bright sunshine with a mobile, are forced to use a gaming mouse with too-high sensitivity or receive the text version of video clips when we have forgotten our earphones and are in a quiet environment.

Well before Trump, we had wars fought as televised entertainment. The 1990 Gulf War was dubbed the first video-game war, complete with its own logo and theme music on CNN. But that was nothing compared with the show put on during the 2003 Iraq invasion, based on a military strategy called “Shock and Awe.” The attacks were designed as a spectacle for cable news consumers, but also for Iraqis, to maximize their sense of helplessness, to “teach them a lesson.” Now, that fearsome technology is in the hands of the first reality TV president.

Graffiti and Tearing55: Designed by Norlander et al. (1998) participants are given an illustration of "Adam and Eve in the Garden of Paradise" and are told to draw or doodle on it (hence the "graffiti” part.) Next, they are given an illustration of "Samson and the Lion" which, theoretically, is intended to provoke participants to exhibit aggressiveness. The participants are told to tear apart that image into little pieces. The number of graffitis and their content (if sexual or violent) and the bits and pieces from the second image are the dependent variable (i.e. the thing being measured,) and, allegedly, an indicator of aggression. The experiment can be adapted to study the influence of sex differences, alcohol consumed before the experiment, or any variable you can imagine (like having played video games before the experiment.)

Super Mario Bros. hooks newcomers because there are no barriers to playing the game. You can know absolutely nothing about the Nintendo console and still enjoy yourself from the very first minute. There's no need to read motivation-sapping manuals or grind through educational tutorials before you begin. Instead, your avatar, Mario appears on the left-hand side of an almost empty screen. Because the screen is empty, you can push the Nintendo controller's buttons randomly and harmlessly, learning which ones make Mario jump and which ones make him move left and right. You can't move any further left, so you quickly learn to move right. And you aren't reading a guide that tells you which keys are which--instead, you're learning by doing, and enjoying the sense of mastery comes from acquiring knowledge through experience. The first few seconds of gameplay are brilliantly designed to simultaneously do two very difficult things: teach, and preserve the illusion that nothing is being taught at all.

A computer program was designed so it couldn’t lose the game. The creators devised this program to try and figure out the best strategy to beat the game. However, when the program was about to lose, it simply paused the game and never unpaused. This was the program’s way of “not losing.

At thirteen, we had a visiting preacher come in from nearby Washington temple. He came with his mother, who was a popular preacher in her own right, but her son, who was the same age as me got up and preached. My mother immediately looked at me and said “You can be a preacher one day too”. As it turned out, that preacher was Al Sharpton and I never did enter the seminary. I would frequent the local Muslim mosque as well because, for me, religion was universal. The teachings of the Koran are so interconnected with the Bible that both are relevant in their teachings. I learned that religion is so universal that no matter what your sect, the underlying theme is the same: peace, love, respect for all men. This was the message I learned from Martin, Malcolm, and Gandhi. I would have gone to a Jewish Synagogue if I were invited. At the same time, I was fully aware that even in religion there are wars.

Like Malcolm and others who came to us to awaken our consciousness, the Moors also had a message that was so deep that you had to pay attention. This was back in the sixties, man! As more and more brothers turned to the Muslim religion for support and guidance, it turned out the Muslim leadership was just as bad as any of the leadership in Brownsville. One summer day, Lockley Bey was found thrown off a roof from the Atlantic Towers apartments.

The 73rd police precinct was two blocks south of Linden Boulevard and was known by everyone in Brownsville as one of the most racist precincts in Brooklyn. There were more claims of police brutality, false arrests and “accidental deaths” than almost any other police department in New York at that time. Let us not forget, New York police have been responsible for the sodomization and the chokehold death of Michael Stewart, the shooting of Eleanor Bumpers, the sodomy of Abner Louima, the chokehold death of Eric Gardner…

MSI Modern 14 B5M Laptop Review The MSI Modern 14 B5M Laptop is an excellent choice for any gamer. The laptop has an impressive Intel Core i7 processor and 16 GB of RAM which means it can run most current games on high settings. The resolution is also higher than most laptops, which allows for a crisp, high-quality image. Other features include a 10-point touchscreen, a fingerprint scanner, and a backlit keyboard. 1. What does the MSI Modern 14 B5M have to offer? The MSI Modern 14 B5M is a great laptop for those that want to play video games. It has an Intel Core i7 processor and a Nvidia GeForce GTX 1050 Ti graphics card. It also has 8 GB of RAM and a 256 GB SSD. It has a 15.6" 1080p display with a 144 Hz refresh rate. This laptop also has a backlit keyboard, which is perfect for typing in dark rooms. If you're looking for a laptop that can play video games, the MSI Modern 14 B5M is a great choice. 2. What are the specs of the MSI Modern 14 B5M? The MSI Modern 14 B5M is a powerful laptop with a very sleek design. It is equipped with a 2.6 GHz Intel Core i7-4700HQ quad-core processor and a dedicated NVIDIA GeForce GTX 745M graphics card. The MSI Modern 14 B5M also has a 256 GB SSD and a 1 TB HDD. It has a 14.0-inch screen and a resolution of 1920 x 1080 pixels. The battery life is up to 8 hours. 3. How does the MSI Modern 14 B5M run games? The MSI Modern 14 B5M Laptop is a great gaming laptop. It has a quad core Intel Core i7 processor and it can run games at 1080p. It also has a NVIDIA GeForce GTX 1050 graphics card. This means that the MSI Modern 14 B5M is a great laptop for playing games. It also has a battery life of up to 9 hours and 16 minutes. The price is a little high, but you are getting a lot of value for your money. 4. Conclusion. MSI is a very popular brand and they offer a wide variety of laptops. They have a wide range of laptops from business class to gaming. This laptop is a great choice for someone who is looking for a laptop that is powerful but still affordable. This laptop is also a good choice for someone who is looking for a laptop that is powerful but still affordable. Read More - anygadgetreview.com

MSI Modern 14 B5M Laptop Review The MSI Modern 14 B5M Laptop is an excellent choice for any gamer. The laptop has an impressive Intel Core i7 processor and 16 GB of RAM which means it can run most current games on high settings. The resolution is also higher than most laptops, which allows for a crisp, high-quality image. Other features include a 10-point touchscreen, a fingerprint scanner, and a backlit keyboard. 1. What does the MSI Modern 14 B5M have to offer? The MSI Modern 14 B5M is a great laptop for those that want to play video games. It has an Intel Core i7 processor and a Nvidia GeForce GTX 1050 Ti graphics card. It also has 8 GB of RAM and a 256 GB SSD. It has a 15.6" 1080p display with a 144 Hz refresh rate. This laptop also has a backlit keyboard, which is perfect for typing in dark rooms. If you're looking for a laptop that can play video games, the MSI Modern 14 B5M is a great choice. 2. What are the specs of the MSI Modern 14 B5M? The MSI Modern 14 B5M is a powerful laptop with a very sleek design. It is equipped with a 2.6 GHz Intel Core i7-4700HQ quad-core processor and a dedicated NVIDIA GeForce GTX 745M graphics card. The MSI Modern 14 B5M also has a 256 GB SSD and a 1 TB HDD. It has a 14.0-inch screen and a resolution of 1920 x 1080 pixels. The battery life is up to 8 hours. 3. How does the MSI Modern 14 B5M run games? The MSI Modern 14 B5M Laptop is a great gaming laptop. It has a quad core Intel Core i7 processor and it can run games at 1080p. It also has a NVIDIA GeForce GTX 1050 graphics card. This means that the MSI Modern 14 B5M is a great laptop for playing games. It also has a battery life of up to 9 hours and 16 minutes. The price is a little high, but you are getting a lot of value for your money. 4. Conclusion. MSI is a very popular brand and they offer a wide variety of laptops. They have a wide range of laptops from business class to gaming. This laptop is a great choice for someone who is looking for a laptop that is powerful but still affordable. This laptop is also a good choice for someone who is looking for a laptop that is powerful but still affordable.

Zelda was created by Shigeru Miyamoto, a total genius of a game designer. I have found very few other action/rpg’s really match up to the immersive experience that the Zelda games offer.

games like Taito’s Space Invaders were not designed with the peculiarities of the Atari VCS in mind. Sprites were different in many post-1977 arcade games. Most important, there were often more than two per screen! When faced with the rows of aliens in Space Invaders or the platoon of ghosts that chases Pac-Man, VCS programmers needed to discover and use methods of drawing more than two sprites, even though only two one-byte registers were available.

We had one, a chance to be brothers again, like when we little. We felt it. Heck, we lived it the night before he died. And it was so simple. We played a video game. Connor reached out his hand, and for the first time since I'd missed that freaking basket, I took it

Allison frowned. “But that’s the easiest one we’ve had in ages. She just wants to meet that software CEO—the man who designed that video game she likes so much. Rick Hunter, right? He lives right here in Des Moines. What’s the problem?

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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

The Guildhall was in the middle of Plano, Texas. Plano Texas, is brown and not much else. They have a Frito-Lay factory, parking lots, and a videogame school. At the time, I kept a strict vegan diet and didn’t drive. There was nothing to eat and nowhere to go. But the latter didn’t matter; when you were at the Guildhall you had no life outside the Guildhall. I remember the first day of orientation, sitting in a lecture hall with my future classmates and the spouses they’d brought with them to this wasted brown land. One of the other level design students had his wife and their year-old child with him. “Give her a kiss and say good-bye,” the director of the school told him in front of the assembly. “You’re not going to see her for two years.” I was in Plano, Texas, for six months. You’re at school from nine to five. You stay after and do your work with the teams they’ve assigned you to. Late at night you drag yourself home and do your actual homework. Maybe you get a few hours of sleep. The idea behind the school is that you’re always in what the Big Games Industry calls “crunch time”: unpaid overtime. Your masters want the game done by Christmas, so you don’t leave the office until it’s done. This is why people in the industry aren’t healthy; this is why they burn out and quit games within a few years. This is why you miss the second year of your daughter’s life. This is their scheme: you put up with crunch time all the time while you’re in school, so when you work for a big publisher—or, rather, a studio contracted by a big publisher—you won’t complain about being told you can’t see your daughter until the game’s done. The Guildhall boasts an over 90 percent employment rate, and it’s true: they will get you a job in the games industry. That’s because they will make you into exactly the kind of worker the games industry wants. It’s that kind of school. And it works; that’s the horrifying thing. My classmates were all self-identified gamers and game fans and were willing to put up with anything in order to live their dream of making videogames. That’s the carrot the industry dangles, and it’s what we take away from the industry when we create a form to which anyone can contribute. As long as the industry is allowed to continue acting as the gatekeeper to game creation, people will continue to accept the ways in which the industry tramples the lives and well-being of the creative people who make games, rather than challenging the insane level of control that publishers ask over developers’ lives.

I give the world thoughtful observations and considered theses, and it gives me back a dozen Kardashians. You know what's going to happen to my library when I sell it? Nothing. Flat nothing. It will probably go to some interior designer who will tell her client how authentic it is. But I'll be damned if a single one of the books are cracked open by their video-game-playing fucktard children!

The Very Difference Between Game Design & 3D Game Development You Always Want to Know Getting into the gaming industry is a dream for many people. In addition to the fact that this area is always relevant, dynamic, alive and impenetrable for problems inherent in other areas, it will become a real paradise for those who love games. Turning your hobby into work is probably the best thing that can happen in your career. What is Game Designing? A 3D Game Designer is a creative person who dreams up the overall design of a video game. Game design is a large field, drawing from the fields of computer science/programming, creative writing, and graphic design. Game designers take the creative lead in imagining and bringing to life video game worlds. Game designers discuss the following issues: • the target audience; • genre; • main plot; • alternative scenarios; • maps; • levels; • characters; • game process; • user interface; • rules and restrictions; • the primary and secondary goals, etc Without this information, further work on the game is impossible. Once the concept has been chosen, the game designers work closely with the artists and developers to ensure that the overall picture of the game is harmonized and that the implementation is in line with the original ideas. As such, the skills of a game designer are drawn from the fields of computer science and programming, creative writing and graphic design. Game designers take the creative lead in imagining and bringing to life video game stories, characters, gameplay, rules, interfaces, dialogue and environments. A game designer's role on a game development outsourcing team differs from the specialized roles of graphic designers and programmers. Graphic designers and game programmers have specific tasks to accomplish in the division of labor that goes into creating a video game, international students can major in those specific disciplines if desired. The game designer generates ideas and concepts for games. They define the layout and overall functionality of the Game Animation Studio. In short, they are responsible for creating the vision for the game. These geniuses produce innovative ideas for games. Game designers should have a knack for extraordinary and creative vision so that their game may survive in the competitive market. The field of game design is always in need of artists of all types who may be drawn to multiple art forms, original game design and computer animation. The game designer is the artist who uses his/her talents to bring the characters and plot to life. Who is a Game Development? Games developers use their creative talent and skills to create the games that keep us glued to the screen for hours and even days or make us play them by erasing every other thought from our minds. They are responsible for turning the vision into a reality, i.e., they convert the ideas or design into the actual game. Thus, they convert all the layouts and sketches into the actual product. It may involve concept generation, design, build, test and release. While you create a game, it is important to think about the game mechanics, rewards, player engagement and level design. 3D Game development involves bringing these ideas to life. Developers take games from the conceptual phase, through *development*, and into reality. The Game Development Services side of games typically involves the programming, coding, rendering, engineering, and testing of the game (and all of its elements: sound, levels, characters, and other assets, etc.). Here are the following stages of 3D Game Development Service, and the best ways of learning game development (step by step). • High Concept • Pitch • Concept • Game Design Document • Prototype • Production • Design • Level Creation • Programming

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I guess it’s no surprise that the beat cops were gone right after the riots of sixty-eight. I saw the transition from foot patrol to riding around in police cruisers, looking for any black man to harass. Don’t hang out on a corner with more than three guys. You will get stopped and questioned because in Brownsville we all look alike and racial profiling was the norm.

When used in combination with the elements, the organizing principles of art and design allow for the infinite combinations that we see when we walk through a museum, read a magazine, or play a video game. These compositions create more than just an image, they can dictate a viewer’s experience of that image.

The product she became dependent on was not a prescription pill or street drug—it was a pedometer. More specifically, it was the Striiv Smart Pedometer, made by a Silicon Valley start-up founded one year earlier. Chance is quick to mention that the Striiv is no ordinary pedometer. “They market it as a ‘personal trainer in your pocket,’” she says. “No! It is Satan in your pocket!” As a company founded by former video game designers, Striiv utilizes behavioral design tactics to compel customers to be more physically active. Users of the pedometer are tasked with challenges as they accrue points for walking. They can compete with other players and view their relative rankings on tournament-style leaderboards. The company also couples the step counter with a smartphone app called MyLand, where players can exchange points to build virtual worlds online.

2D animation design has gained immense popularity since when it was first introduced. Today it’s primarily deployed in 2D animation studios for creating advertisements, marketing videos, animated movies or cartoons, corporate presentations, and video games. Besides being adorable, 2D animations tend to capture audiences through their auditory, visual, and kinesthetic aspects. Information communicated to the viewers in a visual format is perceived far better since it stimulates different brain regions while simultaneously engaging multiple senses to enable the user to comprehend data more effectively. This deeper level of engagement also triggers the urge in users to share what they find attractive, thus, accounting for more prospects.

Technology is constantly replacing old jobs with new ones. A hundred years ago no one would have thought of being a computer code writer or a video game designer as a career. Two hundred years ago, no one would have thought of being a movie actress or an airplane pilot. To make way for new jobs, old ones are pushed aside. Today, we see the cashier at large stores being replaced with self-checkout; in a few years, the cashier may be as rare as the full-service gas station attendant.

Python is a mainstream programming language that is commonly used to solve cognitive and mathematical problems. Many Python modules and useful Python libraries, such as IPython, Pandas, SciPy, and others, are most commonly used for these tasks. Usage of Business Applications Python is used by many engineers to assemble and maintain their commercial programs or apps. Python is used by many designers to maintain their web-based company sites. An application that runs on the console Python can be used to create help-based software. IPython, for example, can be used to create a variety of support-based applications. Audio or Video-based Application Programming Python is an excellent programming language for a variety of video and audio projects. Python is used by many professionals to create a variety of media applications. You can do this with the help of cplay, another Python compiler. 3D based Computer-Aided Drafting Applications Python is used by many designers to create 3D-based Computer-Aided Drafting systems. Fandango is a very useful Python-based application that allows you to see all of the capabilities of CAD to expand these types of applications. Applications for Business Python is used by many Python experts to create a variety of apps that can be used in a business. Tryton and Picalo are the most famous applications in this regard.

You can’t neglect it. Honestly, biomechanics are a little beyond my scope of expertise, but it’s easy to find information and people who know how to help. My advice: visit mytpi.com and peruse the site’s strength and mobility videos. It’s all cutting-edge stuff designed purely for golfers. Also, consider having a strength-and-conditioning expert assess you and prescribe a personalized, golf-specific fitness plan.

Fenton-O’Creevy has experimented with techniques intended to increase investors’ interoceptive awareness—through the practice of mindfulness, and through the provision of frequent physiological feedback. In his lab, he had participants play a specially designed video game called Space Investor; as part of the game, they periodically estimated how fast their hearts were beating. The more accurate their guesses, as gauged by a wireless sensor placed on the chest, the more game points they accrued. Fenton-O’Creevy reports that repeated play appears to produce lasting improvements in participants’ interoceptive awareness.

So yes, Summer is everything. She’s my muse. My sketches of her are already being transferred onto my computer to create the assets for the new video game I’m designing. She’s my laughter, because everything she says makes me laugh. She’s my trigger, because holy shit do we scream at each other sometimes. I never knew I was capable of expressing raw emotion, didn’t think I even had it in me. She’s my desire, because I can’t take a step without wanting to be inside her. But most of all, she’s my heart. “I love you,” I tell her as we walk down the hall to my room. “Love you too,” she whispers.

Software,” as the venture capitalist Marc Andreessen has proclaimed, “is eating the world.” It’s true. You use software nearly every instant you’re awake. There’s the obvious stuff, like your phone, your laptop, email and social networking and video games and Netflix, the way you order taxis and food. But there’s also less-obvious software lurking all around you. Nearly any paper book or pamphlet you touch was designed using software; code inside your car helps manage the braking system; “machine-learning” algorithms at your bank scrutinize your purchasing activity to help spy the moment when a criminal dupes your card and starts fraudulently buying things using your money. And this may sound weirdly obvious, but every single one of those pieces of software was written by a programmer—someone precisely like Ruchi Sanghvi or Mark Zuckerberg. Odds are high the person who originally thought of the product was a coder: Programmers spend their days trying to get computers to do new things, so they’re often very good at understanding the crazy what-ifs that computers make possible. (What if you had a computer take every word you typed and, quietly and constantly and automatically in the background, checked it against a dictionary of common English words? Hello, spell-check!) Sometimes it seems that the software we use just sort of sprang into existence, like grass growing on the lawn. But it didn’t. It was created by someone who wrote out—in code—a long, painstaking set of instructions telling the computer precisely what to do, step-by-step, to get a job done. There’s a sort of priestly class mystery cultivated around the word algorithm, but all they consist of are instructions: Do this, then do this, then do this. News Feed is now an extraordinarily complicated algorithm involving some trained machine learning; but it’s ultimately still just a list of rules. So the rule makers have power. Indeed, these days, the founders of high-tech companies—the ones who determine what products get created, what problems get solved, and what constitutes a “problem” in the first place—are increasingly technologists, the folks who cut their teeth writing endless lines of code and who cobbled together the prototype for their new firm themselves. Programmers are thus among the most quietly influential people on the planet.

When it comes to internet use and video games, avoid anything designed by a company (movies/television) or requiring frequent input (scrolling/clicking), because such goods prioritize user engagement over user well-being.

walls of the Young Adult Room were painted purple and yellow. There were swirly zebra-print rugs on the floor and a lumpy cluster of beanbag chairs. A couple of sofas were designed to look like Scrabble trays, with letter-square pillows. Akimi nudged Kyle in the ribs. “Check it out.” In the far corner stood a carnival ticket booth with a mechanical dummy seated inside. A “Fun & Games” banner hung off the booth’s striped roof. The dummy inside the glass booth? He looked like Mr. Lemoncello. He wasn’t wearing a turban, but the Mr. Lemoncello mannequin reminded Kyle of the Zoltar Speaks fortuneteller booths he’d seen in video game arcades. “That’s not really him, is it?” said Akimi, who was right behind Kyle. “No. It’s a mechanical doll.” The frozen automaton was dressed in a black top hat and a bright red ringmaster jacket. Since the booth had the “Fun & Games” banner, Kyle figured you might have to talk to the dummy to get a game. “Um, hello,” he said. “We’d like to play a board game.” Bells rang, whistles whistled, and chaser lights blinked.

Long-term observers of video games will remember that they went through something of an identity crisis in the mid-'00s, during which they were continually trying to ape films, as if the creative apex of the video game form was to be exactly like a movie... It took a good while for games to emerge from this phase and realise that they didn't actually have to be like film; that they have their own ways of telling stories, their own ways of getting into your head... An especially interesting aspect of Dark Souls' story is that it could only be told through a video game, making it almost unique. It tells us very little through the mediums of text or film, and vast amounts through context, exploration and environmental storytelling that simply would not be possible in any other format. Nowadays it's widely regarded as a masterclass in interactive narrative design, despite the fact that any given player could bypass the story entirely if they weren't inclined to investigate.

Long-term observers of video games will remember that they went through something of an identity crisis in the mid-'00s, during which they were continually trying to ape films, as if the creative apex of the video game form was to be exactly like a movie... It took a good while for games to emerge from this phase and realise that they didn't actually have to be like film; that they have their own ways of telling stories, their own ways of getting into your head... ...An especially interesting aspect of Dark Souls' story is that it could only be told through a video game, making it almost unique. It tells us very little through the mediums of text or film, and vast amounts through context, exploration and environmental storytelling that simply would not be possible in any other format. Nowadays it's widely regarded as a masterclass in interactive narrative design, despite the fact that any given player could bypass the story entirely if they weren't inclined to investigate.

Instead of bemoaning the games’ hold over children, we should be exploiting the techniques that game designers have developed. They’ve refined the basic steps of self-control: setting clear and attainable goals, giving instantaneous feedback, and offering enough encouragement for people to keep practicing and improving. After noticing how hard people work at games, some pioneers are pursuing the “gamification” of life by adapting these techniques (like establishing “quests” and allowing people to “level up”) for schools and workplaces and digital collaborations. Video games give new glamour to old-fashioned virtues. Success is conditional—but it’s within your reach as long as you have the discipline to try, try again.

We also explained that the apps and videos on the iPad were made by some very smart people and were intentionally designed to keep her hooked and habitually watching. It’s important that our kids understand the motives of the gaming companies and social networks—while these products sell us fun and connection, they also profit from our time and attention.

There is a good reason why you cannot imagine one of the Pilgrim Fathers kicking back at Six Flags, or Daniel Boone going down a water slide. It is not that their lives were busier than ours, or that they were more serious people. We are all busy in our own ways, whether we are hunting down dinner in a forest or laboring through the crowds at our local market. The difference is in our attitudes towards leisure time. Today reading a novel or going to see a play is just a way to pass the time, and a fairly admirable one at that, given the alternatives of video games and reality television. Two hundred years ago, however, a decent man or woman would not have wasted God-given time with people and events that had never taken place, and in a manner designed to artfully stimulate the emotions. The theater is “wholly useless,” a minister told his flock in 1825. “Can it teach the mechanic industry, or the merchant more economy and skill?” Surely not, he declared. Even at its very best, the theater is “mere recreation.

There is a good reason why you cannot imagine one of the Pilgrim Fathers kicking back at Six Flags, or Daniel Boone going down a water slide. It is not that their lives were busier than ours, or that they were more serious people. We are all busy in our own ways, whether we are hunting down dinner in a forest or laboring through the crowds at our local market. The difference is in our attitudes towards leisure time. Today reading a novel or going to see a play is just a way to pass the time, and a fairly admirable one at that, given the alternatives of video games and reality television. Two hundred years ao, however, a decent man or woman would not have wasted God-given time with people and events that had never taken place, and in a manner designed to artfully stimulate the emotions. The theater is “wholly useless,” a minister told his flock in 1825. “Can it teach the mechanic industry, or the merchant more economy and skill?” Surely not, he declared. Even at its very best, the theater is “mere recreation.

where Jeffrey Sachs, the Columbia University economist most famous for having designed the “shock therapy” reforms applied to the former Soviet Union, had a live-on-video-link session in which he startled everyone by presenting what careful journalists might describe as an “unusually candid” assessment of those in charge of America’s financial institutions. Sachs’s testimony is especially valuable because, as he kept emphasizing, many of these people were quite up front with him because they assumed (not entirely without reason) that he was on their side: Look, I meet a lot of these people on Wall Street on a regular basis right now . . . I know them. These are the people I have lunch with. And I am going to put it very bluntly: I regard the moral environment as pathological. [These people] have no responsibility to pay taxes; they have no responsibility to their clients; they have no responsibility to counterparties in transactions. They are tough, greedy, aggressive, and feel absolutely out of control in a quite literal sense, and they have gamed the system to a remarkable extent. They genuinely believe they have a God-given right to take as much money as they possibly can in any way that they can get it, legal or otherwise. If you look at the campaign contributions, which I happened to do yesterday for another purpose, the financial markets are the number one campaign contributors in the US system now. We have a corrupt politics to the core . . . both parties are up to their necks in this. But what it’s led to is this sense of impunity that is really stunning, and you feel it on the individual level right now. And it’s very, very unhealthy, I have waited for four years . . . five years now to see one figure on Wall Street speak in a moral language. And I’ve have not seen it once.20 So there you have it. If Sachs was right—and honestly, who is in a better position to know?—then at the commanding heights of the financial system, we’re not actually talking about bullshit jobs. We’re not even talking about people who have come to believe their own propagandists. Really we’re just talking about a bunch of crooks.

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As for my own reward, after finishing my verse, I received affirmation from a satisfying “Day Complete!” screen. A check mark appeared near the scripture I had read and another one was placed on my reading plan calendar. Skipping a day would mean breaking the chain of checked days, employing the endowed progress effect (previously discussed in chapter 3)—a tactic also used by video game designers to encourage progression.

Benjamin Hunnicutt, a historian at the University of Iowa, argues that if a cashier’s job were a video game, we would call it completely mindless and the worst game ever designed. But if it’s called a job, politicians praise it as dignified and meaningful. Hunnicutt observes that “Purpose, meaning, identity, fulfillment, creativity, autonomy—all these things that positive psychology has shown us to be necessary for well-being are absent in the average job.” Most jobs today are a means for survival.

Because make no mistake: the videos we put on for our kids—or the video games we pull up on our phones in our own moments of boredom—are designed, unconsciously or consciously, to produce a bewitching effect. And that effect is achieved by filling a screen with a level of vividness and velocity that does not exist in the real world—or only very rarely. Because it is rare, we instinctively respond to it, and indeed take delight in it.

Gaming addiction—particularly on phones—is at DEFCON 3 levels in China. Chinese children play so many video games and exhibit patterns of dependency to the extent that Chinese parents are sending their children to detox camps specifically designed to help kids detach from

Prisons exist to hide the fact that the entire system is a jail. Shopping malls conceal the reality that the whole of America is a shopping mall. America is a vast shop. It is not a nation. It does not exist these days to land men on the men and do “the difficult thing”. It exists to shop and do the easy thing. The purpose of America is to create maximum profits for the 1% who run America. Everything is designed to serve that end, and everyone goes along with it. One of the 1% is now the President. The middlemen – the politicians – have been cut out. America creates apparent perimeters around explicitly imaginary domains (such as Disneyland), but the truth is that reality no more exists outside the limits than inside the limits. The effect of the “imaginary” is to conceal the loss of the real. The more energy that America devotes to the imaginary – via Disney, Hollywood, “reality” TV (actually unreality TV), video games, virtual reality, social media, “fake news”, post-truth, and so on – the further the real recedes into the distance. Is it possible for America to return to the real now? Would it even know what the real was? How would it recognize it? America has become hyperreal. It’s not real at all. It is “more real than real” and also “less real than real”, the problem being that “more” and “less” would make sense only if there were a reality to serve as a comparison point. That’s exactly what is lacking.

Mario, the most famous character in the world's largest entertainment business, is as colorful as he is because of the challenges of eight-bit technology: to compensate for poor pixilation definition, designer Shigeru Miyamoto gave the character a large nose to emphasize his humanity, a mustache to obviate the need for a mouth and facial expressions, overalls to make it easier to see his arms in relation to his body, and a cap to free him from the problems of animating hair; the most recognizable character in video game history was born of technical constraints.

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If video games had been around in 350 BC, Euclid would have made a video game,”Devlin told me. The thirteen books of Euclid’s Elements would have been the supplemental material, a PDF file that you could read if you wanted to. “People think I’m joking—I absolutely mean that. Euclid would not have written a textbook, he would have designed a video game.” Peek at any of his proofs, Devlin said, and you’ll quickly find that the great Greek mathematician, often called the father of geometry, is asking the reader to do things. “He says, ‘Draw this arc,’ ‘Drop this perpendicular.’ ‘Bisect that line.’ These are actions, and actions are what you get in video games.

Popular products from the tech boom— including violent and sexist video games that a generation of children has become addicted to—are designed with little to no input from women. Apple’s first version of its highly touted health application could track your blood-alcohol level but not menstruation. Everything from plus-sized smartphones to artificial hearts have been built at a size better suited to male anatomy. Facial recognition technology works far more accurately for white men than darker-skinned women. Social media platforms are hotbeds of online hate disproportionately targeted at girls and women, not simply because some humans are downright mean, but because of how men have designed the very systems that allow this hate to propagate. The exclusion of women matters—not just to job seekers, but to all of us.

We might then entertain a set of crazy and not-so-crazy questions: Did the typical American diet play any role in engendering the widespread susceptibility to the propaganda leading up to the invasion of Iraq? Do sand storms make a difference to the spread of so-called sectarian violence? Does mercury help enact autism? In what ways does the effect on sensibility of a video game exceed the intentions of its designers and users? Can a hurricane bring down a president? Can HIV mobilize homophobia or an evangelical revival? Can an avian virus jump from birds to humans and create havoc for systems of health care and international trade and travel?

the late 1990s, one of the largest slot machine manufacturers hired a former video game executive to help them design new slots. That executive’s insight was to program machines to deliver more near wins. Now, almost every slot contains numerous twists—such as free spins and sounds that erupt when icons almost align—as well as small payouts that make players feel like they are winning when, in truth, they are putting in more money than they are getting back. “No other form of gambling manipulates the human mind as beautifully as these machines,” an addictive-disorder researcher at the University of Connecticut School of Medicine told a New York Times reporter in 2004.

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Boys encouraged to play video games grow up to become men who are interested in making video games. Girls, on the other hand, are discouraged from playing videos games and do not grow up with the desire to create these games. The end result is that video gaming is dominated by male game designers making games for male players.