Video Games Related Quotes

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.

In her experience, there were only two kinds of guys: the ones into sports and the ones into video gaming. It seemed guys had to be obsessed with something, whether it was watching a game or playing in it or keeping some weird collection related to it.

Final Fantasy VII awoke American gaming to the possibilities of narrative dynamism and the importance of relatively developed characters—no small inspiration to take from a series whose beautifully androgynous male characters often appear to be some kind of heterosexual stress test.

–Don’t you think the vast majority of the chaos in the world is caused by a relatively small group of disappointed men? – – –I don’t know. Could be. –The men who haven’t gotten the work they expected to get. The men who don’t get the promotion they expected. The men who are dropped in a jungle or a desert and expected video games and got mundanity and depravity and friends dying like animals. These men can’t be left to mix with the rest of society. Something bad always happens.

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.

You need a boyfriend.” Well sure, who doesn’t need a boyfriend? But ealistically, those exotic creatures are hard to come by. At least a quality one. I go to an all- girls school, and meaning no disrespect to my sapphic sisters, but I have no interest in nding a romantic companion there. The rare boy creatures I do meet who aren’t either related to me or who aren’t gay are usually too at ached to their Xboxes to notice me, or their idea of how a teenage girl should look and act comes directly from the pages of Maxim magazine or from the tarty look of a video game character.

The key is to take a larger project or goal and break it down into smaller problems to be solved, constraining the scope of work to solving a key problem, and then another key problem. This strategy, of breaking a project down into discrete, relatively small problems to be resolved, is what Bing Gordon, a cofounder and the former chief creative officer of the video game company Electronic Arts, calls smallifying. Now a partner at the venture capital firm Kleiner Perkins, Gordon has deep experience leading and working with software development teams. He’s also currently on the board of directors of Amazon and Zynga. At Electronic Arts, Gordon found that when software teams worked on longer-term projects, they were inefficient and took unnecessary paths. However, when job tasks were broken down into particular problems to be solved, which were manageable and could be tackled within one or two weeks, developers were more creative and effective.

Have you ever tried to get an elderly relative to play a video game? Highlander is a way to experience the confusion and bewilderment they feel, even if you're well versed with the medium yourself. What's going on? Why isn't the little man moving? Why does he keep falling over? Why can't I ever win? Can I stop playing and watch Columbo now?

I watched the All-Blacks score three tries against England, and formulated the Marco Chance versus Fate Videoed Sports Match Analogy. It goes like this: when the played are out there the game is a sealed arena of interbombarding chance. But when the game is on video then every tiniest action already exists. The past, present, and future exist at the same time: all the tape is there, in your hand. There can be no chance, for every human decision and random fall of the ball is already fated. therefore, does chance or fate control our lives? Well, the answer is as relative as time. If you're in your life, chance. Viewed from the outside, like a book you're reading, it's fate all the way.

Researchers are concerned that when screen time goes up, empathy goes down. Kids are exposed to violence in video games, which can desensitize them to pain in others, bullying, and acts of violence.

played than at rest. Both cocaine and Ritalin work in the basal ganglia. Side note: the reason cocaine is highly addictive and prescription stimulants like Ritalin tend not to be is related to how each drug is metabolized. Cocaine has a powerful, immediate effect that stimulates an enormous release of the neurotransmitter dopamine. The pleasure this brings rapidly fades, leaving the desire for more. Ritalin, and other stimulants like Adderall, on the other hand, work more slowly, inducing no high or pleasure in most people and the effects stay around for a longer time. Similarly, video games bring pleasure and focus by increasing dopamine release. The problem with them is that the more dopamine is released, the less neurotransmitter is available later on to do schoolwork, homework, chores, and so on.

Adolescent Warning Signs Lack of peer relationships outside the family Anxiety in social situations Difficulty with social skills such as keeping a conversation going Depression, withdrawal Confusion Sexual identity problems Interpersonal problems—trouble interacting with people Sleep problems, including excessive sleeping Stress-related physical symptoms Feelings of persecution Family conflicts Antisocial attitudes Overdependence on TV, computer, or video games Using subjective symptoms as a way of avoiding responsibilities Procrastination Fear of groups Lack of planning or organization Difficulty with self-expression Feelings of loneliness Physical complaints Difficulty making and keeping friends; stormy relationships with peers Fear of new situations Rationalization about lack of social life Learning disabilities

I believe that what has been labeled as the politicization of entertainment —in fact, the politicization of storytelling— cannot be disassociated from the even more pressing issue of its low quality. Contemporary concerned writers are the equivalent of a technophilic movie director saturating his historical movies with all sort of modern technological marvels, arguing that modern audiences want to see things that reflect their own world and that the pre-industrial past was too dark and scary, so people need to see something relatable like modern technology or they may faint.

One way to think about grit is to understand how it relates to other aspects of character. In assessing grit along with other virtues, I find three reliable clusters. I refer to them as the intrapersonal, interpersonal, and intellectual dimensions of character. You could also call them strengths of will, heart, and mind. Intrapersonal character includes grit. This cluster of virtues also includes self-control, particularly as it relates to resisting temptations like texting and video games. What this means is that gritty people tend to be self-controlled and vice versa. Collectively, virtues that make possible the accomplishment of personally valued goals have also been called “performance character” or “self-management skills.” Social commentator and journalist David Brooks calls these “resume virtues” because they’re the sorts of things that get us hired and keep us employed.

Within the term otaku, there is a certain degree of subtlety. Addressing someone as “otaku” is a formal way of saying “you” by referring to you as “your residence.” Thus using the term otaku can have a double connotation. It can imply very formalistic social relations. The reference to otaku in the 1980s was often to boys and young men who played video games together without really interacting in ways traditionally deemed sociable—these guys weren’t talking much to each other or roaming the streets together; they were interacting through the games. In these game contexts, boys called each other “otaku” as if sustaining cordial but distant (not sociable or intimate) relations with one another. At the same time, otaku can imply “housebound” due to its reference to the residence. This connotation of otaku became pronounced when linking fan behavior to social withdrawal syndrome.

We lose self-control. It’s easy to slip back into some routines without realizing. That could be checking Facebook first thing in the morning, while still in bed. The first thoughts we feed our mind with, though, are crucial to what mood we’ll be in for the day. Ultimately, how we start our days shapes who we become and what our life looks like. If each new day begins by scrolling down a feed just because it’s something you’re used to and do effortlessly, then you end up watching a video or a few without wanting to. You see an old relative inviting you to play a game, someone from college posting details about their life that they could have kept for themselves, another guy you barely know sharing photos from their holiday, and much more. Does it feel right to let these people in your head, overwhelm yourself with that unnecessary information, and even let your brain start comparing your situation with theirs? No. That’s time-wasting and harmful for many reasons.

It comes back to dysregulation. There’s always a pull to regulate, to seek comfort, to fill that reward bucket. But it turns out that the most powerful form of reward is relational. Positive interactions with people are rewarding and regulating. Without connection to people who care for you, spend time with you, and support you, it is almost impossible to step away from any form of unhealthy reward and regulation. This includes alcohol overuse, drug overuse, eating too much sweet and salty food, porn, cutting, or spending hours and hours on video games. Connectedness counters the pull of addictive behaviors.

with Facebook’s purchase of Instagram following the introduction of the front-facing camera. By 2012, many teen girls would have felt that “everyone” was getting a smartphone and an Instagram account, and everyone was comparing themselves with everyone else. Over the next few years the social media ecosystem became even more enticing with the introduction of ever more powerful “filters” and editing software within Instagram and via external apps such as Facetune. Whether she used filters or not, the reflection each girl saw in the mirror got less and less attractive relative to the girls she saw on her phone. While girls’ social lives moved onto social media platforms, boys burrowed deeper into the virtual world as they engaged in a variety of digital activities, particularly immersive online multiplayer video games, YouTube, Reddit, and hardcore pornography—all of which became available anytime, anywhere, for free, right on their smartphones. With so many new and exciting virtual activities, many adolescents (and adults) lost the ability to be fully present with the people around them, which changed social life for everyone, even for the small minority that did not use these platforms. That is why I refer to the period from 2010 to 2015 as the Great Rewiring of Childhood. Social patterns, role models, emotions, physical activity, and even sleep patterns were fundamentally recast, for adolescents, over the course of just five years. The daily life, consciousness, and social relationships of 13-year-olds with iPhones in 2013 (who were born in 2000) were profoundly different from those of 13-year-olds with flip phones in 2007 (who were born in 1994).

We have to deal with rather than anesthetizing tension with TV or video games. It’s easier to bypass relational snags with a convenient distraction, forfeiting the chance to improve problem solving and listening skills. I don’t want my kids to be more comfortable interacting with a computer screen than a human being. We stay the course until we’ve resolved an issue, not allowing “Phineas & Ferb” to fill the space instead. This is harder and requires more time, but my kids will marry people and have bosses and children. Learning healthy relational skills is now or never.

Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The

Then she told us about going to Harrod’s to buy a video game that Prince William particularly wanted for his birthday. She confessed that she “felt a perfect fool,” since she didn’t know how video games worked or exactly which item William wanted. I could relate to that. The video-game craze was too technical for me, too. As she walked through Harrod’s, the other shoppers cleared way for her. They did not stop her or intrude. They only wanted to smile at her, say “hello,” or simply gaze at her in person. Diana’s point was that she loved the genuine friendliness and politeness of the people she encountered. Clearly, Diana needed the reassurance of the sincere support of “ordinary people,” or she would not have ventured to shops, restaurants, and amusement parks as she did. She could so easily have remained behind the palace walls, aloof and isolated.

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

Relatability alludes to the possibility (and easiness) of understanding someone or something, and by doing so, it facilitates the emergence of connections with those situations, even if these are completely alien to them. This opens the opportunity to give people other perspectives, without forcing them, even temporarily, to occupy those positions without question, resistance, or critical distance.

This mechanism, in which an opened secondary concept becomes more cognitively accessible, appears to account for the consequences of a controversial relatively recent phenomenon: video game participation. We know from considerable research that playing violent video games incites immediate forms of antisocial behavior. For instance, such games make players more likely to deliver loud blasts of noise into the ears of someone who has annoyed them. The reason? The games plant aggression-related thoughts in players’ heads, and the resulting easy contact with those thoughts provokes aggressiveness. A tellingly similar but mirror-image effect occurs after participating in prosocial video games—those that call for protecting, rescuing, or assisting characters in the game. Studies have found that after playing such games, players became more willing to help clean up a spill, volunteer their time, and even intervene in a harassment situation involving a young woman and her ex-boyfriend. Moreover, this helpfulness is the direct result of participants’ easy access to a range of prosocial thoughts that the games install in consciousness. In an interesting twist, newer research shows that sometimes violent video game play can decrease later aggressive behavior, provided that the participants have to cooperate with one another in the game to destroy an enemy. Additional details of the new research fit the accessibility account: playing a game cooperatively, even one with violent content, suppresses aggressive thoughts.64

Do you think there’s some loss aversion there? Because once you diverge, you’re not sure if you’re diverging toward a positive outcome or a negative outcome? Absolutely. I think that’s why the smartest and the most successful people I know started out as losers. If you view yourself as a loser, as someone who was cast out by society and has no role in normal society, then you will do your own thing and you’re much more likely to find a winning path. It helps to start out by saying, “I’m never going to be popular. I’m never going to be accepted. I’m already a loser. I’m not going to get what all the other kids have. I’ve just got to be happy being me.” For self-improvement without self-discipline, update your self-image. Everyone’s motivated at something. It just depends on the thing. Even the people that we say are unmotivated are suddenly really motivated when they’re playing video games. I think motivation is relative, so you just have to find the thing you’re into. [1] Grind and sweat, toil and bleed, face the abyss. It’s all part of becoming an overnight success.

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.

I blame it on a fundamental misunderstanding of how our environment shapes our behavior. It leads to a phenomenon that Dutch sleep researchers at Utrecht University call “bedtime procrastination.” We put off going to bed at the intended time because we prefer to remain in our current environment—watching a late-night movie or playing video games or cleaning the kitchen—rather than move to the relative calm and comfort of our bedroom. It’s a choice between competing environments.

Animal awareness is the perfect carrier of propaganda - it is the ideal facilitator of animal conditioning, while human awareness is the only civilized answer. Let me show you how animal conditioning through propaganda works. I'll mention a word, and you'll tell me what's the first thing that comes to your mind. And the word is - "terrorism". Here, the first thing a white american nationalist will think of, is "arabs". Ask an indian hindu nationalist the same question, and their first thought would be "pakistan". In the same way, israeli zionists would automatically associate the word terrorism with palestine. Like it or not, that's animal nature. Every moment you are bombarded with materials that have no relation to truth and humanity, as far as the civilized mind could see. Through cinema, through video games, through news - propaganda is everywhere. And no, I am not talking about some grand conspiracy. Apes, who still cannot look past the color of skin and language of tongue, do not have the brains to orchestrate some grand scheme of manipulation - all they can do is, simply peddle the same old rotten narrative of hate and fanaticism repeatedly, and the rest is taken care of by the primitive survival instinct of the ape brain. So, what's the way out? Simple - start using that grand instrument you carry on your shoulders, which you call a brain - driven by an actual civilized craving for uplift and illumination.

You may very well not be aware of the sickness, but I guarantee you have got experienced it. The Builder’s Block psychological sickness has affected almost every Minecraft player at least once, which is quite typical. The illness is contagious, but in an odd manner; it is going to force anyone to give you the nausea publicly through a really uninformative and rushed forum thread. Humans are not susceptible to this as being a type of transmission, but, and sometimes are trying to help the victim by replying to the poorly created thread, frequently neglecting to achieve this. Happily, the nausea has perhaps not been proven deadly, nonetheless it is proven to mentally stress players which can be affected. Signs There's a obscure set of symptoms one might expect you'll feel. You might perhaps have Builder’s Block when you've got one thing such as the following: •​lack of ideas to help keep you busy in Minecraft •​The sudden disinterest of continuing a project in Minecraft •​Feeling bored •​The urge to hit one’s head against a nearby wall for a few ideas •​Uncontrollable urges to press [ESC] and [ALT]+[F4] The illness is famous to alter between players. It is extremely not likely that you will suffer from all of the aforementioned indications, and when you do have problems with them all at one period of time, please avoid calling any health-related doctor as it can cause undesired psychological treatment. Treatment Healing Builder’s Block is generally benign. First, attempt to ‘mine it off’. That is, mine for resources you may/may not want. If you are not willing to invest as much as 3 hours attempting to heal your illness, decide to try one of many following to get motivation: •​Bing: Look into random such things as your preferred video gaming level or let’s play person. •​Minecraft Forums: Search the forum for other people’s projects and prefer to assist them away. NEVER POST A THREAD; it'll oftimes be ignored or turn for the worst. •​Minecraft: Explore. See if something demands a structure or statue. That overhang is screaming at one to become a wonderful hanging city.

Over the years, Bill has seen hundreds of kids who had relatively low academic motivation but were extremely motivated about something else—crafting, music, sports, or making Star Wars replicas. What he says to the parents of these kids is that so long as they are working hard at something they really enjoy doing, he’s not worried, because he knows they’re shaping a brain that will eventually enable them to be successful. And Bill tells kids, “Working hard to get better and better at something that’s important to you is one of the best things you can do for your brain.” (An exception here may be video games, which aren’t all bad, but require more nuance.

I bet you human kids don’t have to go to family reunions. I’m sure they don’t have to deal with all of their crazy relatives coming together to do dumb family stuff. Human kids probably have fun summers, just playing video games all day and eating lots of cake.

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.

The most important advantage of an object-oriented programming language is that the objects—for instance, various objects in a video game—can be specified independently and then combined to create new programs. Writing a new object-oriented program sometimes feels a bit like throwing a bunch of animals into a cage and watching what happens. The behavior of the program emerges, as a result of the interactions of the programmed objects. For this reason, as well as the fact that object-oriented languages are relatively new, you might think twice about one for writing a safety-critical system that flies an airplane.