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Fear and Loathing in Las Vegas (film)

Fear and Loathing in Las Vegas is a 1998 film about an oddball journalist and his psychopathic lawyer travel who to Las Vegas for a series of psychedelic escapades.
 * Directed by Terry Gilliam Screenplay by Terry Gilliam, based on the semi-autobiographical book by Hunter S. Thompson.

Four Days, Three nights, Two Convertibles, One City.taglines

 * See also: Quotes from the novel

Raoul Duke

 * [Responding to Waitress] Madame, sir, baby, child, whatever...

 * FINISH THE FUCKING STORY!

 * A drug person can learn to cope with things like seeing their dead grandmother crawling up their leg with a knife in her teeth, but nobody should be asked to handle this trip. Bazooko's Circus is what the whole hep world would be doing every Saturday night if the Nazis had won the war. This was the Sixth Reich.

 * How long could we maintain? I wondered. How long until one of us starts raving and jabbering at this boy? What will he think then? This same lonely desert was the last known home of the Manson family; will he make that grim connection when my attorney starts screaming about bats and huge manta rays coming down on the car? If so, well, we'll just have to cut his head off and bury him somewhere, 'cause it goes without saying that we can't turn him loose. He'd report us at once to some kind of outback Nazi law enforcement agency and they'll run us down like dogs. Jesus, did I say that? Or just think it? Was I talking? Did they hear me?

 * I was right in the middle of a fucking reptile zoo! And somebody was giving booze to these god damn things! It wont be long now, before they tear us to shreds.

 * [Yelling to Dr. Gonzo] PLEASE, TELL ME ABOUT THE FUCKING GOLF SHOES!

 * Jesus! Bad waves of paranoia, madness, fear and loathing, intolerable vibrations in this place. Get out! The weasels were closing in. I could smell the ugly brutes.

 * We had two bags of grass, 75 pellets of mescaline, five sheets of high-powered blotter acid, a saltshaker half-full of cocaine, a whole galaxy of multi-colored uppers, downers, screamers, laughers... Also, a quart of tequila, a quart of rum, a case of beer, a pint of raw ether, and two dozen amyls. Not that we needed all that for the trip, but once you get locked into a serious drug collection, the tendency is to push it as far as you can. The only thing that really worried me was the ether. There is nothing in the world more helpless and irresponsible and depraved than a man in the depths of an ether binge, and I knew we'd get into that rotten stuff pretty soon.

 * Don't go near that elevator - that's just what they want us to do... trap us in a steel box and take us down to the basement.

 * My attorney had never caught on to the notion espoused by some former drug users that you can get a lot higher without drugs than with them. And neither have I, for that matter.

 * Psychedelics are almost irrelevant in a town where you can wander in a casino any time in the day or night and witness the crucifixion of a gorilla.

 * There was no sense in blowing everything away for the sake of some violent ape I'd never even met.

 * There he goes. One of God's own prototypes. Some kind of high powered mutant never even considered for mass production. Too weird to live, and too rare to die.
 * This quote, while used in the movie, is not actually from the book. It was actually written by Thompson much later in "The Banshee Screams for Buffalo Meat."

 * Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a main era... The kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something, maybe not, in the long run. But no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time in the world. Whatever it meant. There was madness in any direction, at any hour. You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. And that, I think, was the handle - that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting - on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark - that place where the wave finally broke and rolled back.

 * There was only one road back to L.A., U.S. interstate 15. Just a flat-out high speed burn through Baker, and Barstow, and Berdoo. Then on to the Hollywood freeway straight into frantic oblivion. Safety... obscurity... just another freak in the freak kingdom. We'd gone in search of the American dream, it had been a lame fuck around. A waste of time. There was no point in looking back. Fuck no, not today, thank you kindly. My heart was filled with joy. I felt like a monster reincarnation of Horatio Alger, a man on the move, and just sick enough to be totally confident. The bolded lines are from the film version.

 * Everything was automatic. I could sit in the red-leather driver's seat and make every inch of the car jump, by touching the proper buttons. It was a wonderful machine: Ten grand worth of gimmicks and big-priced Special Effects. The rear-windows leaped up with a touch, like frogs in a dynamite pond. The white canvas top ran up and down like a roller-coaster. The dashboard was full of esoteric lights & dials & meters that I would never understand — but there was no doubt in my mind I was in a superior machine.

 * [yelling at a crowd in a parking lot] You people voted for Hubert Humphrey! And you killed Jesus!

 * Few people understand the psychology of dealing with a highway traffic cop. Your normal speeder will panic and immediately pull over to the side. This is wrong. It arouses contempt in the cop-heart. Make the bastard chase you. He will follow.

 * Ah, devil ether. It makes you behave like the village drunkard in some early Irish novel. Total loss of all basic motor function. Blurred vision, no balance, numb tongue. The mind recoils in horror, unable to communicate with the spinal column. Which is interesting because you can actually watch yourself behaving in this terrible way, but you can't control it.

 * With a bit of luck, his life was ruined forever. Always thinking just behind some narrow door in all of his favorite bars, men in red woolen shirts are getting incredible kicks from things he'll never know.

 * [points skyward] Oh, you evil bastard! This your work. You better take care of me, Lord, 'cause if you don't you'll have me on your hands!

 * 1965. The great San Francisco acid wave. I recall one night in a place called the Matrix. There I was. [does a double take, seeing the real Hunter S. Thompson sitting nearby (doppelganger)] Mother of God, there I am! Holy fuck! Uh...clearly I was a victim of the drug explosion - a natural street freak, just eating whatever came by.

Dr. Gonzo

 * It's ok, he's just admiring the shape of your skull!

 * And when it comes to that fantastic note... when the rabbit bites his own head off, I want you to throw that fucking radio into the tub with me.
 * Hey honkies. You folks wanna buy some heroin ? Goddamnit, I'm serious. All I'm trying to sell you is some pure fucking smack! This is the real stuff! You won't get hooked. I just got back from Vietnam.
 * As your attorney, I advise you to take a hit out of the little brown bottle in my shaving kit.

Dialogue

 * Narrator: We were somewhere around Barstow, on the edge of the desert, when the drugs began to take hold. I remember saying something like:
 * Raoul Duke: I feel a bit lightheaded. Maybe you should drive.
 * Narrator: Suddenly, there was a terrible roar all around us, and the sky was full with what looked like huge bats, all swooping and screeching and diving around the car, and a voice was screaming:
 * Narrator and Raoul Duke (simultaneously): Holy Jesus! What are these goddamn animals?!
 * Dr. Gonzo: Did you say something?
 * Raoul Duke: Hm? Never mind. It's your turn to drive.
 * Narrator: No point in mentioning these bats, I thought. Poor bastard will see them soon enough.

 * [driving past a hitch-hiker in the middle of the desert]
 * Gonzo: Let's give that boy a ride!
 * Duke: What? No! We can't stop here! This is bat country!

 * [Duke and Gonzo have just picked up a hitch-hiker]
 * Duke: There's one thing you should probably understand. CAN YOU HEAR ME? GOOD! I want you to have all the background. [gets in the backseat] This is a very ominous assignment - with overtones of extreme personal danger. I'm a Doctor of Journalism, man! This is important, goddamnit!  This is a true story!...
 * [Gonzo panics and swerves the car]
 * Gonzo: DON'T TOUCH MY FUCKING NECK!
 * Narrator: Our vibrations were getting nasty. But why? Was there no communication in this car? Had we deteriorated to the level of dumb beasts?
 * [Duke puts an arm around the hitch-hiker]
 * Duke: I want you to understand that this man at the wheel is my attorney. He's not just some dingbat I found on the strip, man. He's a foreigner. I think he's probably Samoan. But doesn't matter though, does it? Are you prejudiced?
 * Hitchhiker: Hell no.
 * Duke: I didn't think so. Because in spite of his race, this man is extremely valuable to me. Oh shit! I forgot about the beer! You want some?
 * Hitchhiker: No.
 * Duke: How 'bout some ether?
 * Hitchhiker: What?
 * Duke: Nevermind. Alright, let's get right to the heart of this thing.

 * Gonzo: [After cocaine blows away in the wind] Did you see what GOD just did to us man!
 * Duke: God didn't do that, you did! You're a fucking narcotics agent, I knew it. That was our cocaine you fucking pig, scum [swats at him with fly swatter] Pig, swine, whore!
 * Gonzo: [Pointing (previously shown to be empty) gun at Duke] Better be careful. Plenty of vultures out here, they'll pick your bones clean by morning.
 * Duke: You fucking whore...
 * Gonzo: (holding up some acid) He he heeee, here's your half of the sunshine acid. Eat it.
 * Duke: Yeah, all right sure. How long do I have?
 * Gonzo: As your attorney I advise you to drive at top speed and it'll be a Goddamn miracle if we get there before you turn into some kind of wild animal. Are you ready for that? Checking into a Las Vegas hotel under a phony name with the intent to commit capital fraud on a head full of acid? I sure hope so...

 * Narrator: The name rang a bell, but I couldn't concentrate. Terrible things were happening all around us. [sees the floor get flooded with blood]
 * Duke: Put on some golf shoes! Otherwise we'll never make it out of this place alive. Impossible to walk in this muck. No footing at all!

 * Duke: Hey, there's two women fucking a polar bear.
 * Dr. Gonzo: Don't tell me those things. Not now, man.

 * Duke: Let's cut down to the brass tacks here... How much for the ape?
 * Ape's Owner: How much you got?

 * Gonzo: We won't make the nut unless we have unlimited credit.
 * Duke: Jesus Christ, we will, man. You Samoans are all the same. You have no faith in the essential decency of the white man's culture.

 * Hippie: What's the trouble?
 * Duke: Well, all this white stuff on my sleeve is LSD!

 * Gonzo: AHH! Medicine, medicine!
 * Duke: Huh? Oh, medicine! Watch out, this man has a bad heart, angina pectoris, but don't worry we have a cure. (cracks open an amyl) Ok, big wiff, big wiff, sunny boy! [Gonzo inhales the amyl] Much better...
 * Duke: Ahh, now for the doctor [he inhales the amyl]... eeeeeeeee... Ahh!
 * [Pause]
 * Gonzo : What the-? What the fuck are we doin out here in the middle of the desert? Somebody call the police, we need help, we need help, we need help [Slams the horn] Ah ha, ah ha, ah haha!

 * Car Salesman: Listen. You fellows haven't been drinking? Have you?
 * Duke: No. Not me. We're responsible people. [Drives away with screeching tyres]
 * Car Salesman: Goddamn it! You got my pen! Goddamn hippies!

 * [Duke and Gonzo are covering the DA'S convention on marijuana, with keynote speaker L. Ron Bumquist]
 * L. Ron Bumquist: The easiest way to do this is for each of us to try to imagine what is going on inside the possessed mind of a drug addict. [holds up a joint] The dope fiend refers to the butt of a marijuana cigarette as a "roach". He does so because it resembles a cockroach.
 * Gonzo: What the fuck these people are talking about? You gotta be crazy on acid to think a joint looks like a goddamn cockroach.
 * Bumquist: You will notice that I have distinguished four distinct types of being in the cannabis and marijuana society. They are "cool", "groovy", "hip" and "square". Seldom, if ever, does one aspire to be "square".
 * Gonzo: This is a fucking nightmare, man.
 * Bumquist: If he can figure out what is "happening", he can rise one notch to become "hip", and if he can convince himself to approve of what is "happening", he can become "groovy". [ominously] Groovy! And then he raise himself to the rank of "cool". He can become one of those... "cool guys".
 * D.A.: Dr. Bumquist, do you think the anthropologist Margaret Mead's strange behavior of late can be explained by a private marijuana addiction?
 * Duke: Good question!
 * Bumquist: I'm not really sure I can answer that. But what I can tell you is that if Margaret Mead, at her age, smoked grass...she'd have one hell of a trip! [laughs hysterically; the seated DA's follow suit]

Taglines

 * Four Days, Three nights, Two Convertibles, One City.

 * Buy the ticket, take the ride.

Cast

 * Johnny Depp - Raoul Duke
 * Benicio del Toro - Dr. Gonzo
 * Tobey Maguire - The Hitchhiker
 * Ellen Barkin - The Waitress at North Star Cafe
 * Gary Busey - The Highway Patrolman
 * Christina Ricci - Lucy
 * Mark Harmon - The Magazine Reporter at Mint 400
 * Cameron Diaz - The Blonde TV Reporter
 * Katherine Helmond - The Desk Clerk at Mint Hotel
 * Michael Jeter - Dr. Elron Bumquist
 * Craig Bierko - Lacerda
 * Lyle Lovett - The Road Person
 * Flea - Hippie

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Fear and Loathing in Las Vegas (film)


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Bisexuality

Bisexuality is the romantic attraction, sexual attraction or behavior toward more than one gender. The term is mainly used in the context of human attraction to denote romantic or sexual feelings toward two or more genders.

Bisexuality is one of the three main classifications of sexual orientation, along with a heterosexual and a homosexual orientation, all a part of the heterosexual–homosexual continuum. People who have a distinct but not exclusive sexual preference for one sex over the other may identify themselves as bisexual.

C

 * Heard she bisexual; she fuck what that girl. But boy, oh boy, fucking with me is a whole 'nother world.
 * 50 Cent, "A Baltimore Love Thing" (2005), The Massacre

 * Could you imagine wanting to fuck everybody you meet? Think of all the phone numbers you'd accumulate! You might as well just walk around the White Pages under your arm.
 * George Carlin, Playin' With Your Head

D

 * Even though adult homosexuals have fought hard to win rights and liberties... too many people are still scandalized by the mere idea that youth discovering their gay orientation could be given the same liberties and possibilities as straight ones. Whereas the discovery of heterosexual desire is celebrated as the sign that "he's becoming a man" and therefore largely encouraged, without anyone seeing any sort of proselytizing in it, it's a completely different story when it's homosexual desire that's surfacing. Everything happens as if gays and bisexuals under 18 didn't exist, or at least shouldn't exist.’
 * Dr. Michel Dorais, Mort ou fif

F

 * I do not in the least underestimate bisexuality. . . I expect it to provide all further enlightenment.
 * Letter from Sigmund Freud to Wilhelm Fliess (25 March 1898)

 * And now, the main thing! As far as I can see, my next work will be called "Human Bisexuality." It will go to the root of the problem and say the last word it may be granted to say--the last and the most profound.
 * Letter from Sigmund Freud to Wilhelm Fliess (7 August 1901)

G

 * Appropriate patterns of reproductive, gender, and sexual conduct are all products of specific cultures and all can be viewed as examples of socially scripted conduct. Western societies now have a system of gender and sexual learning in which gender differential scripts are learned prior to sexual scripts, but take their origins in part from the previously learned gender scripts... There are two important points: The first is that both gender and sexuality are learned forms of social practice, and the second is that looking to "natural differences" between women and men for lessons about sexual conduct is an error.
 * John Gagnon, "The Eplicit and Implicit Use of the Scripting Perspective in Sex Research", 1990

 * The dilemma of traditional sex research lay in the unconscious, but unquestiongly assumed division into opposing drives and hereditary factors. . . The division into heterosexuality and homosexuality, into heterosexuals and homosexuals, is also an artefact that rests on a grave error, namely, on the assumption that a fundamentally different model is necessary to explain heteorsexual and homosexual behavior. The entire investigation of etiology was ideologically loaded beforehand because it separated a segment of the sexual contiuum and attempted to make analyses with the help of fundamentally different concepts.
 * Rolf Gindorf, "Scientific ideologies in change: Fear of Homosexuality as an Intellectual Event, 1977

H

 * Nick Nelson: Mum. Sarah Nelson: Mm-hm? Nick Nelson: You know Charlie's like my best friend. Sarah Nelson: If you're going to ask if he can come along on holiday this year, the answer's no, 'cause I've already booked the ticket. Nick Nelson: No, that's, um, that's not what I was gonna say. [stops, hesitates] He's my boyfriend. Charlie's my boyfriend. I... I still like girls, but, um... We... I like boys too. And me and Charlie, we're... We're going out. And I just... wanted you to know. Sarah Nelson: Oh, baby. [hugs Nick] Oh, thank you for telling me. I'm sorry if I ever made you feel like you couldn't tell me that. You don't have to say you like girls if you don't. Nick Nelson: No, I, um... It's definitely not just girls. It-it's called bisexuality, if you've heard of that. Sarah Nelson: [laughs] I have heard of that. I wasn't born in the 18th century. How long've you known? Nick Nelson: Well, um, me and Charlie started going out, couple months ago. But I started liking him way before that. Sarah Nelson: [hugs Nick] Oh, I love you.
 * Heartstopper (TV series), Season 1, Episode 8 "Boyfriend." Directed by Euros Lyn, written and created by Alice Oseman and based on her webcomic and graphic novel of the same name.

K

 * *The very general occurrence of the homosexual in ancient Greece, and its wide occurrence today in some cultures in which such activity is not taboo suggests that the capacity of an individual to respond erotically to any sort of stimulus, whether it is provided by another person of the same or opposite sex, is basic in the species.
 * Alfred Kinsey, Sexual Behaviour in the Human Male (1948)

 * Males do not represent two discrete populations, heterosexual and homosexual. The world is not to be divided into sheep and goats. Not all things are black nor all things white. It is a fundamental of taxonomy that nature rarely deals with discrete categories. Only the human mind invents categories and tries to force facts into separated pigeon-holes. The living world is a continuum in each and every one of its aspects. The sooner we learn this concerning human sexual behavior, the sooner we shall reach a sound understanding of the realities of sex.
 * Alfred Kinsey, Sexual Behaviour in the Human Male (1948)

M

 * It is my opinion that while the word bisexual may have its uses as an adjective, . . . it is not only useless but mendacious when used as a noun.
 * John Malone, Straight Women/Gay Men (1980)

 * When you lie with a woman, at least so girls say, You shit the same moment you come. But what do you do, Polycharmus, I pray,  When a lovers stiff prick stops your bum?
 * Martial, Epigrams, 9, 67 ("To Polycharmus")
 * The Index Expurgatorius of Martial (1868), p. 67

 * The time has come, I think, when we must recognize bisexuality as a normal form of human behavior. . . we shall not really succeed in discarding the straitjacket of our cultural beliefs about sexual choice if we fail to come to terms with the well-documented, normal human capacity to love members of both sexes.
 * Margaret Mead, Redbook (1975)

 * Homosexuality was invented by a straight world dealing with its own bisexuality.
 * Kate Millett, Flying (1974)

O

 * I call myself bisexual because I acknowledge that I have in myself the potential to be attracted – romantically and/or sexually – to people of more than one sex and/or gender, not necessarily at the same time, not necessarily in the same way, and not necessarily to the same degree.
 * Robyn Ochs, Getting Bi: Voices of Bisexuals Around the World

L

 * Oh my GOD, you are NOT bisexual! Don't be stupid!  I mean, I went to a bar mitzvah once, that doesn't make me Jewish!
 * Lucia, The Opposite of Sex

U

 * "I have a dick and it gets hard then that's good. I walk down the street and if I see a girl and my dick gets hard that's good and if I see a boy that's good too and same with seeing a chicken. If my dick gets hard and I want to fuck it then that's good. People like to attach labels to themselves, straight, gay, S&M, it's just so simple. It doesn't matter what you do whether its horrible or mainstream or boring, you know what turns you on. So why the big brouhaha?"
 * Jimmy Urine of Mindless Self Indulgence on his sexuality, SuicideGirls Interview

W

 * He has told me he likes men as well as he likes women, which seems only natural, he says, since he is the offspring of two sexes as well as two races. No one is surprised he is biracial; why should they be surprised he is bisexual? This is an explanation I have never heard and cannot entirely grasp; it seems too logical for my brain.
 * Alice Walker, Possessing the Secret of Joy

title: Bisexuality


text:
Anton LaVey

Anton Szandor LaVey (11 April 1930 – 29 October 1997) was a Satanist author and the founder of Church of Satan.

Quotes

 * When walking in open territory, bother no one. If someone bothers you, ask him to stop. If he does not stop, destroy him.
 * "Eleven Satanic Rules of the Earth"

The Satanic Bible (1969)

 * On Saturday night, I would see men lusting after half-naked girls dancing at the carnival, and on Sunday morning when I was playing organ for tent-show evangelists at the other end of the carnival lot, I would see these same men sitting in the pews with their wives and children, asking God to forgive them and purge them of carnal desires. And the next Saturday they'd be back at the carnival or some other place of indulgence. I knew then that the Christian church thrives on hypocrisy, and that man's carnal nature will out no matter how much it is purged or scoured by any white-light religion.
 * As quoted in the Introduction by Burton H. Wolfe

 * IT is a popular misconception that the Satanist does not believe in God. The concept of "God", as interpreted by man, has been so varied throughout the ages, that the Satanist simply accepts the definition which suits him best. Man has always created his gods, rather than his gods creating him. God is, to some, benign - to others, terrifying. To the Satanist "God" - by whatever name he is called, or by no name at all - is seen as the balancing factor in nature, and not as being concerned with suffering. This powerful force which permeates and balances the universe is far too impersonal to care about the happiness or misery of flesh-and-blood creatures on this ball of dirt upon which we live.
 * WANTED! God dead or alive

Open your eyes that you may see, Oh men of mildewed minds, and listen to me ye bewildered millions! For I stand forth to challenge the wisdom of the world; to interrogate the "laws" of man and of "God"! I request reason for your golden rule and ask the why and wherefore of your ten commandments. Before none of your printed idols do I bend in acquiescence, and he who saith "thou shalt" to me is my mortal foe! I dip my forefinger in the watery blood of your impotent mad redeemer, and write over his thorn-torn brow: The TRUE prince of evil — the king of slaves! No hoary falsehood shall be a truth to me; no stifling dogma shall encramp my pen! '''I break away from all conventions that do not lead to my earthly success and happiness. I raise up in stern invasion the standard of the strong!''' I gaze into the glassy eye of your fearsome Jehovah, and pluck him by the beard; I uplift a broad-axe, and split open his worm-eaten skull! I blast out the ghastly contents of philosophically whited sepulchers and laugh with sardonic wrath!
 * In this arid wilderness of steel and stone I raise up my voice that you may hear. To the East and to the West I beckon. To the North and to the South I show a sign proclaiming: Death to the weakling, wealth to the strong!
 * Book I, Section I

 * The Satanist realizes that man, and the action and reaction of the universe, is responsible for everything, and doesn't mislead himself into thinking that someone cares.

 * Self-sacrifice is not encouraged by the Satanic religion. Therefore, unless death comes as an indulgence because of extreme circumstances which make the termination of life a welcome relief from the unendurable earthly existence, suicide is frowned upon by the Satanic religion.

 * Satanism encourages any form of sexual expression you may desire, so long as it hurts no one else. If all parties involved are mature adults who willingly take full responsibility for their actions and voluntarily engage in a given form of sexual expression - even if it is generally considered taboo - then there is no reason for them to repress their sexual inclinations.

 * The only way to determine if you are being vampirized is to weigh what you give the person compared to what they give you in return. You may, at times, become annoyed with the obligations put upon you by a loved one, a close friend, or even an employer. But before you label them psychic vampires, you must ask yourself, "What am I getting in return?" If your spouse or lover insists that you call them frequently, but you also require them to account to you for their time spent away from you, you must realize this is a give and take situation. Or, if a friend is in the habit of calling upon you for help at inopportune moments, but you similarly depend upon them to give your immediate needs priority, you must regard it as a fair exchange. If your employer asks you to do a little more than is normally expected of you in your particular position, but will overlook occasional tardiness or will give you time off when you need it, you certainly have no cause for complaint and need not feel he is taking advantage of you.

 * The ecclesiastical description of Hell is that of a horrible place of fire and torment; in Dante's Inferno, and in northern climes, it was thought to be an icy cold region, a giant refrigerator. (Even with all their threats of eternal damnation and soul roasting, Christian missionaries have run across some who were not so quick to swallow their drivel. Pleasure and pain, like beauty, are in the eye of the beholder. So, when missionaries ventured into Alaska and warned the Eskimos of the horrors of Hell and the blazing lake of fire awaiting transgressors, they eagerly asked: "How do we get there?")

 * Satanism does not encourage orgiastic activity or extramarital affairs for those to whom they do not come naturally. For many, it would be very unnatural and detrimental to be unfaithful to their chosen mates. To others, it would be frustrating to be bound sexually to just one person. Each person must decide for himself what form of sexual activity best suits his individual needs. Self deceitfully forcing yourself to be adulterous or to have sex partners when not married just for the sake of proving others (or worse yet, to yourself) that you are emancipated from sexual guilt is just as wrong, by Satanic standards, as leaving any sexual need unfulfilled because of ingrained feelings of guilt.

 * To the Satanist, martyrdom and non-personalized heroism is to be associated not with integrity, but with stupidity. This, of course, does not apply to the situations which involve the safety of a loved one. But to give one's own life for something as impersonal as a political or religious issue is the ultimate in masochism.

 * The Satanist believes in complete gratification of his ego. Satanism, in fact, is the only religion which advocates the intensification or encouragement of the ego. Only if a person's own ego is sufficiently fulfilled, can he afford to be kind and complimentary to others, without robbing himself of his self-respect. We generally think of a braggart as a person with a large ego; in reality, his bragging results from a need to satisfy his impoverished ego.

 * The Roman god, Lucifer, was the bearer of light, the spirit of the air, the personification of enlightenment. […] It has been said "the truth will make men free". The truth alone has never set anyone free. It is only DOUBT which will bring mental emancipation. Without the wonderful element of doubt, the doorway through which truth passes would be tightly shut, impervious to the most strenuous poundings of a thousand Lucifers.

 * ALL religions of a spiritual nature are inventions of man. He has created an entire system of gods with nothing more than his carnal brain. Just because he has an ego, and cannot accept it, he has to externalize it into some great spiritual device which he calls "God".

 * The seven deadly sins of the Christian Church are: greed, pride, envy, anger, gluttony, lust, and sloth. Satanism advocates indulging in each of these "sins" as they all lead to physical, mental, or emotional gratification.

 * A Satanist knows there is nothing wrong with being greedy, as it only means that he wants more than he already has. Envy means to look with favor upon the possessions of others, and to be desirous of obtaining similar things for oneself. Envy and greed are the motivating forces of ambition - and without ambition, very little of any importance would be accomplished.

 * The devils of past religions have always, at least in part, had animal characteristics, evidence of man's constant need to deny that he too is an animal, for to do so would serve a mighty blow to his impoverished ego.

 * A Satanist practices the motto, "If a man smite thee on one cheek, smash him on the other!" Let no wrong go unredressed.

 * Satanists are encouraged to indulge in the seven deadly sins, as they need hurt no one; they were only invented by the Christian Church to insure guilt on the part of its followers.

 * Satanism encourages its followers to indulge in their natural desires. Only by doing so can you be a completely satisfied person with no frustrations which can be harmful to yourself and others around you. Therefore, the most simplified description of the Satanic belief is: indulgence instead of abstinence.

 * We are so inculcated with guilt that we think that weakness is a sin or that it is some crime against nature to be submissive.

 * Satanism advocates practicing a modified form of the Golden Rule. Our interpretation of this rule is: "Do unto others as they do unto you"; because if you "Do unto others as you would have them do unto you," and they, in turn, treat you badly, it goes against human nature to continue to treat them with consideration. You should do unto others as you would have them do unto you, but if your courtesy is not returned, they should be treated with the wrath they deserve.

 * The highest of all holidays in the Satanic religion is the date of one's own birth. Every man is a god if he chooses to recognize himself as one. So, the Satanist celebrates his own birthday as the most important holiday of the year. Despite the fact that some of us may not have been wanted, or at least were not particularly planned, we're glad, even if no one else is, that we're here! You should give yourself a pat on the back, buy yourself whatever you want, treat yourself like the king (or god) that you are, and generally celebrate your birthday with as much pomp and ceremony as possible. After one's own birthday, the two major Satanic holidays are Walpurgisnacht and Halloween (or All Hallows' Eve). The solstices and equinoxes are also celebrated as holidays, as they herald the first day of the seasons.

 * You cannot love everyone; it is ridiculous to think you can. If you love everyone and everything you lose your natural powers of selection and wind up being a pretty poor judge of character and quality. If anything is used too freely it loses its true meaning. Therefore, the Satanist believes you should love strongly and completely those who deserve your love, but never turn the other cheek to your enemy!

 * When a person, by his reprehensible behavior, practically cries out to be destroyed, it is truly your moral obligation to indulge them their wish. The person who takes every opportunity to "pick on" others is often mistakenly called "sadistic". In reality, this person is a misdirected masochist who is working towards his own destruction.

 * White magic is supposedly utilized only for good or unselfish purposes, and black magic, we are told, is used only for selfish or "evil" reasons. Satanism draws no such dividing line. Magic is magic, be it used to help or hinder. The Satanist, being the magician, should have the ability to decide what is just, and then apply the powers of magic to attain his goals. Nature, in her ineffable wisdom, wastes nothing. Seemingly useless but parasitic or destructive persons should be used like clay pigeons: for target practice.

 * Satanism is not a white light religion; it is a religion of the flesh, the mundane, the carnal - all of which are ruled by Satan, the personification of the Left Hand Path.

 * The Satanist shuns terms such as "hope" and "prayer" as they are indicative of apprehension. If we hope and pray for something to come about, we will not act in a positive way which will make it happen. The Satanist, realizing that anything he gets is of his own doing, takes command of the situation instead of praying to God for it to happen. Positive thinking and positive action add up to results. [...] Just as the Satanist does not pray to God for assistance, he does not pray for forgiveness for his wrong doings. The Satanist knows that praying does no good, confessing to another human being, like himself, accomplishes even less - and is, furthermore, degrading.

 * Satanism condones any type of sexual activity which properly satisfies your individual desires – be it heterosexual, homosexual, bisexual, or even asexual, if you choose. Satanism also sanctions any fetish or deviation which will enhance your sex-life, so long as it involves no one who does not wish to be involved.

 * Religionists have kept their followers in line by suppressing their egos. By making their followers feel inferior, the awesomeness of their god is insured. Satanism encourages its members to develop a good strong ego because it gives them the self-respect necessary for a vital existence in this life. If a person has been vital throughout his life and has fought to the end for his earthly existence, it is this ego which will refuse to die, even after the expiration of the flesh which housed it. Young children are to be admired for their driving enthusiasm for life. This is exemplified by the small child who refuses to go to bed when there is something exciting going on, and when once put to bed, will sneak down the stairs to peek through the curtain and watch. It is this child-like vitality that will allow the Satanist to peek through the curtain of darkness and death and remain earthbound.

 * Even the asexual has a deviation - his asexuality. It is far more abnormal to have a lack of sexual desire (unless illness or old-age, or another valid reason has caused the wane) than it is to be sexually promiscuous. However, if a Satanist chooses sexual sublimination above overt sexual expression, that is entirely his own affair. In many cases of sexual sublimination (or asexuality), any attempt to emancipate himself sexually would prove devastating to the asexual. Asexuals are invariably sexually sublimated by their jobs or hobbies. All the energy and driving interest which would normally be devoted to sexual activity is channeled into other pastimes or into their chosen occupations. If a person favors other interests over sexual activity, it is his right, and no one is justified in condemning him for it. However, the person should at least recognize the fact that this is a sexual sublimation.

The Nine Satanic Sins (1987)

 * It's too bad that stupidity isn't painful.

 * Pride is great up to the point you begin to throw out the baby with the bathwater. The rule of Satanism is: if it works for you, great. When it stops working for you, when you’ve painted yourself into a corner and the only way out is to say, I’m sorry, I made a mistake, I wish we could compromise somehow, then do it.

The Devil's Notebook (1992)

 * There are many who would take my time. I shun them. There are some who share my time. I am entertained by them. There are precious few who contribute to my time. I cherish them.

 * Man prides himself on being the only animal who can modify his nature, yet when he chooses to do so he is called a phony.

 * After an inferior man has been taught a doctrine of superiority he will remain as inferior as he was before his lesson. He will merely assume himself to be superior, and attempt to employ his recently-learned tactics against his own kind, whom he will then consider his inferiors. With each inferior man enjoying what he considers his unique role, the entire bunch will be reduced to a pack of strutting, foppish, self-centered monkeys gamboling about on an island of ignorance. There they will play their games under the supervision of their keeper, who was and will always be a superior man.

 * Definition of Good and Evil: Good is what you like. Evil is what you don't like.

 * Hair on a man's chest is thought to denote strength. The gorilla is the most powerful of bipeds and has hair on every place on his body except for his chest.

 * The best place to meditate is on the pot. If you have a comfortable toilet seat and a stout lock on the door, there's no telling what great thoughts might emerge. Martin Luther dreamed up Protestantism whilst sitting on the toilet at Wittenburg monastery, and we know what a big movement that became.

 * Never enter a business deal with anyone who has less than yourself.

 * Large breasts are associated with feminine women, regardless of the slenderness of their hips. The capacity of a milk container cannot be told by its outside dimensions. Femininity is more accurately displayed by generous hips. Guess you can tell I favor women with big asses.

Satan Speaks! (1998)

 * Indications are everywhere that we, as Satanists, have an affinity for certain elements of both Judaism (unrealized and unspoken) and Nazism (recognized and spoken)--presumably incompatible.

 * Through the medium of rock and roll, all white kids have taken up, without realizing it, a black cultural identity, one otherwise alien to them. Blacks are where they are today because whitey insisted on being part black, no other reason.

 * To be a Satanist is, by association, already to be aligned with the universal devil Jew.

 * The Jews have always had the Devil's name. They just haven't owned up to or taken pride in it, but rather have attempted to defend themselves against it.

 * It will become easier and more convincing for any Satanist to combine Jewish lineage with a Nazi aesthetic, and with pride rather than with guilt and forgiving.

 * If being a Satanist means being rooted in Judeo/Nazism, kids who are on the outside looking in will find it attractive to the extent that they will forge a pedigree, if necessary.

 * Jaffe, in his book The American Jews, predicted that a new and vast mixed demographic of non-practicing and part-Jews would require new identities, but in another manner neither as Christians nor Jews, but as something else. Without realizing it, Jaffe was describing Satanism. His grouping is the future of Satanism.

Quotes about LaVey

 * LaVey's always struck me as an ecologist in the same way that people like Tiny Tim are ecologists in that he's preserving important things from a world that is dying, carrying them through this world that is dead, and preserving them for a world to come.
 * Boyd Rice, interviewed by Adam Parfrey for Nick Bougas' biographical film, Speak of the Devil

 * I was surprised by how sad I felt, because he had actually become a father figure to me and I never got the chance to say good-bye or even thank him for his inspiration. But at the same time I knew that even though the world had lost a great philosopher, Hell had gained a new leader.
 * Marilyn Manson, The Long Hard Road Out Of Hell

title: Anton LaVey


text:
Video game

A video game is an electronic game that involves human interaction with a user interface to generate visual feedback on a video device such as a TV screen or computer monitor. The word video in video game traditionally referred to a raster display device, but it now implies any type of display device that can produce two- or three-dimensional images.

 * A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z · See also · External links

A

 * It ... appears that there is no antisocial theme too base for some in the video-game industry to exploit.
 * Samuel Alito,  (2011)

 * In my opinion, RapeLay's storyline went too far. However, if a game creator wants to express something and create content out of it, a government or public entity shouldn't have the power to restrain it.
 * Anonymous member of Institute of Contents Culture in "'RapeLay' video game goes viral amid outrage" by Kyung Lah, CNN, (March 31, 2010).

B

 * The combination of low culture and high technology is one of the most fascinating social features of the video game phenomenon. Computers were invented as super drones to do tasks no human in her or his right mind (much less left brain) would have the patience, or the perseverance, to manage. [...] Now our robot drones, the ones designed to take all the boring jobs, become the instrument for libidinal extravaganzas devoid of any socially productive component. Video games are computers neutered of purpose, liberated from functionality. The idea is intoxicating; like playing with the help on their night off.
 * Charles Bernstein, Play It Again, Pac-Man, Postmodern Culture, vol. 2 no. 1, (September 1991)
 * Few good computer games have been written so far. Of the good ones, some are computer adaptations of games like Chess and Othello which existed first in another form. These games are good if they add a dimension to the play of the game that is not present in its original form, (such as the possibility of solo play), and do so in an aesthetically pleasing form. My personal opinion is that such computer adaptations will play a trivial role in the future of computer games and the best ones will be those which take unique advantage of the computer capabilities.
 * Rev. George Blank, "Writing Good Computer Games. Part One: Philosophy", SoftSide January 1979, p. 29
 * Since we’ve figured to some extent how these pieces of the brain that handle addiction are working, people have figured out how to juice them further and how to bake that information into apps.
 * Ramsay Brown, Scientist at Dopamine Labs, as interviewed on 60 Minutes, cited in "The Tech Industry’s War on Kids"
 * Someday there's going to be a genius—an absolute genius—who writes something so brilliant, so involving, so magnificent, that you'll just weep for joy.
 * Mary Ann Buckles in the documentary film Get Lamp (2010)

C

 * Dave: Hey, what's going on? What are you two doing? Larry: We're just playing this really cool computer simulation game, where you get to interact with thousands of people in a virtual world. You can earn virtual money and buy virtual property, and... Dave: Oh, yeah, yeah, I heard about this game. I heard it's so realistic that you guys can't get dates there, either
 * The family father Dave talking to his son Larry in the tv show The War at Home (2006) directed by Andy Cadiff

 * Story in a game is like a story in a porn movie. It's expected to be there, but it's not that important.
 * John D. Carmack. Quoted in David Kushner, Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture Chapter 8, p. 120.

 * We level designers — you would come and explain what it is that the goal would be. This level should look like Piranesi, the famous architect. We’d go and look at books and try to come up with a level that looked like Piranesi. You’d come by and shake your head and we’d go back to look at books again. I used to wonder, why is Amy mad? And it wasn’t until I became a creative director myself that I understood the curse of being a creative director, which is this: you have the vision for the game. You know what it is you want to be making. You explain it to someone. If they get it instantly, you’ll never see that person again on the project, because you don’t need to communicate. The brilliant people on the project who are — realistically you’ll see them three times in the course of the game. If you have a masterful UI designer and you can explain the vision, you’re done. You spend your time almost exclusively with the people who don’t understand what you’re trying to do. That’s the load you bear. And so we just didn’t get it.
 * Mark Cerny in “Mark Cerny and Amy Hennig: A fireside chat with master game makers” by Dean Takahashi, VentureBeat, (July 8, 2018).

 * We need to treat violent video games the way we treat tobacco, alcohol, and pornography.
 * Hillary Clinton as quoted in Senator Clinton on Violent Video Games, CBS, (Aug 2, 2005) YouTube

 * There have been four decades of research on the effect of media violence on our kids and it all points to the same conclusion -- media violence leads to more aggression, anti-social behavior, and it desensitizes kids to violence. The American Academy of Pediatrics summed up this point in a report entitled Media Exposure Feeding Children's Violent Acts. "Playing violent video games is to an adolescent's violent behavior what smoking tobacco is to lung cancer," it said. This isn't about offending our sensibilities -- it is about protecting our children.
 * Hillary Clinton as quoted in Senator Clinton on Violent Video Games, CBS, (Aug 2, 2005) YouTube

 * We know that violent video games have an impact on children. Just recently there was cutting edge research conducted at Indiana University School of Medicine, which concluded that adolescents with more exposure to violent media were less able to control and to direct their thoughts and behavior, to stay focused on a task, to plan, to screen out distractions, and to use experience to guide inhibitions.
 * Hillary Clinton as quoted in Senator Clinton on Violent Video Games, CBS, (Aug 2, 2005) YouTube

 * Art is subjective; it’s in the eye of the beholder. I think video games can be fun. They can teach eye-hand coordination and strategy and they can introduce children to computer technology. And there is no doubt they are intricate and sophisticated technologically. I’m not in any way trying to do away with video games. I’m strictly concerned with a small subset of games that are harmful to children — those that are excessively violent and sexually explicit. I want to make sure children can’t obtain these games without their parents’ consent.
 * Hillary Clinton as quoted in Senator Clinton on Violent Video Games, CBS, (Aug 2, 2005) YouTube

 * It's almost entirely women being threatened in.
 * Stephen Colbert, as quoted by Rich McCormick, (October 30, 2014). "Stephen Colbert takes on Gamergate with Anita Sarkeesian". The Verge. Archived from the original on November 17, 2014. Retrieved November 18, 2014.

 * In-depth research into the behaviour of about 100 13- and 14-year-olds found over-exposure to violent games weakened empathy for others.
 * Sean Coughlan, "Violent video games leave teens 'morally immature'", BBC News, (6 February 2014)

 * Many teenagers could play these games without any evidence of a change in attitude. And non-violent games seemed to have no adverse effects on "moral reasoning", regardless of time spent. But the problems arose with teenagers who spent more than three hours every day in front of a screen, continuously playing these violent games without any other real-life interaction.
 * Sean Coughlan, "Violent video games leave teens 'morally immature'", BBC News, (6 February 2014)

 * For these screen-obsessed teenagers, the researchers say that parents should try to put them in social situations where they have to see other people's perspectives or needs, such as charity work.
 * Sean Coughlan, "Violent video games leave teens 'morally immature'", BBC News, (6 February 2014)

 * What quickly becomes obvious is that The Witcher is very much a PC-exclusive game, which are typically designed to be as complex and unintuitive as possible so that those dirty console-playing peasants don't ruin it for the glorious PC-gaming master race.
 * (January 23, 2008). "The Witcher". The Escapist. Defy Media. Retrieved September 6, 2014. ... Those dirty console playing peasants don't ruin it for the glorious PC gaming master race ...

 * It was intended to be ironic, to illustrate what I perceived at the time to be an elitist attitude among a certain kind of PC gamer. People who invest in expensive gaming PCs and continually spend money to make sure the tech in their brightly-lit tower cases is up to date. Who actually prefer games that are temperamental to get running and that have complicated keyboard interfaces, just because it discourages new or 'casual' players who will in some way taint the entire community with their presence. I meant it as a dig.
 * Ben Croshaw, (May 28, 2013). "The Glorious PC Gaming Master Race". The Escapist. Defy Media. Retrieved September 6, 2014.

 * Much of the conversation—if I can even call it that—has been a toxic sludge of rumor, invective, and gender bias. The irony comes from people who claim to be challenging the ethics of game journalists through patently unethical behavior.
 * Kathleen Bartzen Culver, (January 3, 2015). "A Magical Putter and the Year in Media Ethics". Center for Journalism Ethics. University of Wisconsin–Madison. Archived from the original on January 14, 2015.

E

 * That Ender could be tricked into believing a real battle scenario was a game-like video simulation is one of the most believable post-modern twists in modern science fiction, particularly considering how often the difference between our digital and "real" lives is debated and conflated. Ender becomes a "hero" in a supposed video game, something that embodies and magnifies fears about video games, both in 1985 when the book was published and today.
 * Rachel Eddin, "Ender's Games: What Child Soldiers in Dystopian Fiction Teach Us About Ourselves", WIRED, (10/30/13).

 * Gaming culture has been pretty misogynistic for a long time now. There's ample evidence of that over and over again... What we're finally seeing is that it became so egregious that now companies are starting to wake up and say, "We need to stop this. This has got to change.
 * Kate Edwards as quoted by Susan Kelleher, (August 13, 2015). "'This has got to change': Women game developers fight sexism in industry". The Seattle Times. Archived from the original on August 13, 2015. Retrieved August 14, 2015.

F

 * Making political statements are [sic] for other people to do. We want people to smile and have fun when they play our games.
 * Reggie Fils-Aimé, CBC News The National, June 15, 2017.

 * It's true that Americans spend billions of dollars on video games every year and that the United States has the highest firearm murder rate in the developed world. But other countries where video games are popular have much lower firearm-related murder rates. In fact, countries where video game consumption is highest tend to be some of the safest countries in the world, likely a product of the fact that developed or rich countries, where consumers can afford expensive games, have on average much less violent crime.
 * Max Fisher "Ten-country comparison suggests there’s little or no link between video games and gun murders", The Washington Post, (December 17, 2012). as qtd. in Esther Zuckerman, "Why Video Games Don't Correlate to Gun Violence", The Atlantic, (Dec 17, 2012).

 * Unlike print, radio, television, or movies, video games are an interactive format that allows them to affect people differently than more traditional forms of broadcast media. Ian Bogost, a professor of media studies at the Georgia Institute of Technology, has argued that the interactive nature of video games makes them an inherently persuasive medium—a system of “procedural rhetoric” that encourages players to create abstract mental models for how systems work and to form judgments about those systems through the act of playing. The design of a game’s models and systems of interactions are intentional choices by the designers, and they set the terms for how a person encounters the game. One video game designer called this effort to induce a certain type of player reaction “emotion engineering” in the design process.
 * Joshua Foust, “Video games are the new contested space for public policy “, Brookings Institution, (March 25, 2021)

 * Research has demonstrated that some game design choices improve the way people focus and increase feelings of well-being. Other design choices can trigger addictive behavior. While research is ongoing, experimental studies have shown that some military FPS games can cause players to become measurably more militarist in outlook. In a “realistic” military FPS game, the presence or absence of rules of engagement, for example, will dramatically change how the player approaches a mission. When the military itself consults on the design of such a game, this leads to a number of uncomfortable questions about why those choices were made.
 * Joshua Foust, “Video games are the new contested space for public policy “, Brookings Institution, (March 25, 2021)

 * Today, the global video game industry is one of the world’s largest culture industries. According to market research firm IDC, the global video game market topped $179 billion in revenue in 2020, making it larger than the global film industry ($100 billion) and North American professional sports (around $75 billion) combined. Video games’ cultural impact skews young: According to the Entertainment Software Association, 70% of people under the age of 18 regularly play video games. Younger players also tend to be male: According to a Pew survey, almost twice as many young men regularly play games as young women. That doesn’t mean all players are young; 64% of players are between 18 and 54 years old—prime voting age.
 * Joshua Foust, “Video games are the new contested space for public policy “, Brookings Institution, (March 25, 2021)

 * Obviously not all video game players are misogynist harassers, just as not all games are funded by the Pentagon to present tailored narratives about a controversial war. But all video games do present a worldview to the player, whether it is explicit or not, and understanding that world view can help us understand what the players themselves believe. As an inescapable part of public discourse and an enormous media market we ignore at our peril, video games are not just video games: They are the site of political contention, of negotiation over social boundaries, and of free speech itself.
 * Joshua Foust, “Video games are the new contested space for public policy “, Brookings Institution, (March 25, 2021)

H

 * So when creating a character in the fore front of my mind is that this character is linked to the game design. So, you know, unlike the character design for an anime or a film or something – when we create a character it has to tie in with the game-play. So for example, Sonic is invincible while he is jumping. He turns into a ball and has all the spikes around him. So this is a visual representation of what is happening in the game.
 * Kazuyuki Hoshino, "Interview: Sonic Team Artist/Designer Kazuyuki Hoshino", Sega Nerds 9 August 2013

 * And another thing that has influence while creating a character is when I’m creating that character – what I think is cool at the time, of you know, is going around at the time around me in my environment or the industry would have an influence on me and what I think is cool. The overall output of the character design.
 * Kazuyuki Hoshino, "Interview: Sonic Team Artist/Designer Kazuyuki Hoshino", Sega Nerds 9 August 2013

 * In the old days, there wasn’t really like a formal process, but these days when we create a character we ensure to get input from for example SEGA Europe or from the marketing department. We get input from input from various parts of the SEGA business to ensure that this character that we create is something that will be loved by many people.
 * Kazuyuki Hoshino, "Interview: Sonic Team Artist/Designer Kazuyuki Hoshino", Sega Nerds 9 August 2013

 * But having said that, you know, the premise is this character that we come up with – that we are getting input on – there is what I want to achieve with that character and there is that at the forefront. There is this sort of core thing that we are working towards – that I am driving but I get feedback from the various parts of the business to ensure that it is something that will be done by many.
 * Kazuyuki Hoshino, "Interview: Sonic Team Artist/Designer Kazuyuki Hoshino", Sega Nerds 9 August 2013

 * Initially, the work centers on the vision of the game, both in terms of the story and the artistic style. Lots of story development meetings take place, and concept artists work to flesh out the designs and environments that will become a living world by the end of development. At the same time, the engine and technology is planned, and early work on the technical design is done.
 * Casey Hudson, "Star Wars Knights of the Old Republic Interview", Hilary Goldstein, IGN, (9 January 2003)

 * Once the technical and artistic vision of the game is planned, people can be brought onboard to start the main production work on the game. Artists build the environments, characters, and objects for the game world, and designers write the dialog and start making things function story-wise. The most difficult part of this stage is that everyone is working with partially complete technology, since the game programmers are also working to create the functionality of the engine and game systems. It's a careful sequencing of work that allows us to complete this stage, similar to trying to film a movie while technicians are still building your lights and cameras. Once the bulk of the work on the game is complete, the bug database starts to take over as the driving force in development. The list of remaining tasks starts to dwindle, and the team works through the enormous task of perfecting the millions of details that will make it a solid game. Quality assurance testers also take center stage, providing valuable feedback about what's fun and what's not, in addition to spotting bugs. Designers work throughout this phase to improve the balancing of the game, making it more fun and exciting with every day.
 * Casey Hudson, "Star Wars Knights of the Old Republic Interview", Hilary Goldstein, IGN, (9 January 2003)

 * Once all the bugs have been squashed and the testers are having lots of fun playing the game from beginning to end, the process of submission begins. A strict process of certification must be passed, and when complete, the game is ready for duplication and distribution, on its way to a store near you!
 * Casey Hudson, "Star Wars Knights of the Old Republic Interview", Hilary Goldstein, IGN, (9 January 2003)

 * What you have to keep in mind as a collaborator — that’s why we get very uncomfortable when it seems like we’re getting singled out. We as game developers. It seems trite to say so, but it’s a group effort, a team effort. So much of it is being in the right place at the right time with the right people and the right ideas. It seems wrong for any person to be elevated like you’re the author of this thing. You can’t even remember sometimes whose ideas were what, because it’s this big messy wonderful process.
 * Amy Hennig in “Mark Cerny and Amy Hennig: A fireside chat with master game makers” by Dean Takahashi, VentureBeat, (July 8, 2018).

J

 * The only legitimate use of a computer is to play games.
 * Eugene Jarvis, Supercade, MIT Press, p. 14

 * I think one of the most important attributes a designer can have is…not only the ability, but almost the unconscious constant experience of putting yourself in other people’s heads and watching them as they have an experience. Building an experience through the eyes of someone else is incredibly challenging. I think that’s what makes great designers. A bunch of my meta-points that I’ve drawn out over the last 20 years are about that, how you put yourself in other people’s shoes.
 * Jason Jones, "BUNGIE CO-FOUNDER, HALO AND DESTINY CREATOR JASON JONES BREAKS 11-YEAR SILENCE" by Ryan McCaffrey, IGN, (8 July, 2013).

 * There seems to be a lot of retro-game nostalgia in recent years. Perhaps it’s because so many gamers have reached that age where they want to look back, or maybe it’s because of how easy it is to tweet out ‘Hey, remember this!?'
 * Greg Johnson, "Greg Johnson on ToeJam Earl Back in the Groove", Sega Nerds, (25 February 2015).

K

 * I played the Mortal Kombat arcade game in their office for half an hour. I turned to [former Midway Games chief] Neil D. Nicastro and I said, “This is Star Wars meets Enter the Dragon. This is not just an arcade game. This is a whole phenomenon.” I said, “If you give me the rights to this, I promise you I will produce this, not just in movies, but in every medium in the world.” He looked at me and said, “You’re full of crap! It’s just an arcade game!” That began a three-month process of me trying to convince them that it was more than just an arcade game. They didn’t believe it… I finally just wore them down and they optioned the rights to me for an insanely short amount of time, which now I would never do, but it was my first deal at my company.
 * Larry Kasanoff, "Story Behind Mortal Kombat Incredible" Bloody Disgusting, 20 August 2015

 * We producers don't think that FFVIII is much harder than FFVII! However with FFVIII, we have tried to bring in a mode of play which requires more active thinking from the players. Yes, you can play it all the way through without thinking much about strategy or combination of energies but you have to move very, very slowly. However, if you become more involved with the game and think more 'actively', it's much more fun. The harder you think, the better you play. It's wrong to say simply 'easier' or 'harder'...
 * Yoshinori Kitase, Final Fantasy VIII Interview, Final Fantasy Shrine, (February, 2001).

 * I think girls tend to like RPGs, like Final Fantasy. Girls who play games like that seem to get more of a desire to work in this field. I usually don't think to make games strictly for a female audience, myself, but I think my RPGs attract a larger female audience. Violent, war-themed titles seem to attract an overwhelmingly male audience. I think if companies want to get more girls to play their games, they should keep this in mind.
 * Reiko Kodama, Interview Reiko Kodama, The-nextlevel.com.

 * As I'm a woman myself, when I make games, I try not to just have them be male fantasy figures, as people needing to be rescued. I like to make female characters people of both genders can relate to. But we are seeing more strong-willed women in games geared towards female audiences.
 * Reiko Kodama, Interview Reiko Kodama, The-nextlevel.com.

 * Back in the day, Sega said we couldn't show our real names, thus everyone went under nicknames in the game credits.
 * Reiko Kodama, Interview Reiko Kodama, The-nextlevel.com.

 * The concern that violent video games may promote aggression or reduce empathy in its players is pervasive and given the popularity of these games their psychological impact is an urgent issue for society at large. Contrary to the custom, this topic has also been passionately debated in the scientific literature. One research camp has strongly argued that violent video games increase aggression in its players, whereas the other camp repeatedly concluded that the effects are minimal at best, if not absent. Importantly, it appears that these fundamental inconsistencies cannot be attributed to differences in research methodology since even meta-analyses, with the goal to integrate the results of all prior studies on the topic of aggression caused by video games led to disparate conclusions. These meta-analyses had a strong focus on children, and one of them reported a marginal age effect suggesting that children might be even more susceptible to violent video game effects. At present, almost all experimental studies targeting the effects of violent video games on aggression and/or empathy focussed on the effects of short-term video gameplay. In these studies the duration for which participants were instructed to play the games ranged from 4 min to maximally 2 h (mean = 22 min, median = 15 min, when considering all experimental studies reviewed in two of the recent major meta-analyses in the field) and most frequently the effects of video gaming have been tested directly after gameplay.
 * Simone Kühn, Dimitrij Tycho Kugler, Katharina Schmalen, Markus Weichenberger, Charlotte Witt, Jürgen Gallinat, “Does playing violent video games cause aggression? A longitudinal intervention study”, Molecular Psychiatryvolume 24, pages1220–1234 (2019)

 * Taken together, the findings of the present study show that an extensive game intervention over the course of 2 months did not reveal any specific changes in aggression, empathy, interpersonal competencies, impulsivity-related constructs, depressivity, anxiety or executive control functions; neither in comparison to an active control group that played a non-violent video game nor to a passive control group. We observed no effects when comparing a baseline and a post-training assessment, nor when focussing on more long-term effects between baseline and a follow-up interval 2 months after the participants stopped training. To our knowledge, the present study employed the most comprehensive test battery spanning a multitude of domains in which changes due to violent video games may have been expected. Therefore the present results provide strong evidence against the frequently debated negative effects of playing violent video games. This debate has mostly been informed by studies showing short-term effects of violent video games when tests were administered immediately after a short playtime of a few minutes; effects that may in large be caused by short-lived priming effects that vanish after minutes. The presented results will therefore help to communicate a more realistic scientific perspective of the real-life effects of violent video gaming. However, future research is needed to demonstrate the absence of effects of violent video gameplay in children.
 * Simone Kühn, Dimitrij Tycho Kugler, Katharina Schmalen, Markus Weichenberger, Charlotte Witt, Jürgen Gallinat, “Does playing violent video games cause aggression? A longitudinal intervention study”, Molecular Psychiatryvolume 24, pages1220–1234 (2019)

L

 * We always think of the road not taken, of something in the past. 'Wow, what would have happened if I married so and so, or took that job in San Diego…' But you rarely think that each and every second that goes by is one of those moments. Like this second that just happened. And that one. And the one that's going to happen in a second." Potentially, each of these seconds could alter a game in a profound way. Just as they can in life. The easiest thing for us to imagine is that our lives, and the story we are playing, are pre-designed, solid. But neither gaming nor life has to be like that. In both, we can alter and decide in a way that is surprising, ultimately freeing.
 * Ken Levine, Ken Levine Bioshok Interview, The Guardian, 14 January 2014

N

 * Isn't it scary to think about the impact a game can have on people's lives? That said, I really admire them for the time, energy and money that they spend on their costumes...
 * Yusuke Naora, FFshrine.org "Final Fantasy VIII Kitase, Nojima, Naora and Nomura Interview", Final Fantasy Shrine

 * That may be possible, but if there is no script, I will be out of a job! It will not be in the very far future that one character in a story will have full artificial intelligence, but I think it is pretty difficult to make all the characters with AI. That's in the very far future...
 * Kazushige Nojima, Final Fantasy VIII Kitase, Nojima, Naora and Nomura Interview, Final Fantasy Shrine

O

 * It's tough to "buy American" when a video game sold by a U.S. company has been developed by Japanese software engineers and packaged in Mexico.
 * Barack Obama, The Audacity of Hope, P.175

 * We know that women gamers face harassment and stalking and threats of violence from other players. When they speak out about their experiences, they're attacked on Twitter and other social media outlets, even threatened in their homes. And what's brought these issues to light is that there are a lot of women out there, especially young women, who are speaking out bravely about their experiences, even when they know they'll be attacked for it.
 * Barack Obama, (March 16, 2016). Remarks by the President at Reception in Honor of Women's History Month (Speech). Washington, DC. Archived from the original on March 18, 2016. Retrieved March 20, 2016.

P

 * We said we’d never make a video game unless we really did it hands-on. We’re both gamers, we both grew up as gamers and we both respect gaming as an art form, just like musical theatre so to us it wasn’t just ‘oh go and do something like that’. Once we’d finished Book of Mormon, South Park: The Stick of Truth really was our other big project, and right now it’s this.
 * Trey Parker, "‘South Park’ Creators Matt Stone And Trey Parker Chat ‘Fractured But Whole’, Superhero-Bashing And Shopping Channels", Huffington Post, (22 June 2015).

 * ... if playing ultraviolent video games is one of your great pleasures in life, then virtual mayhem can become even more enjoyable in the wake of a biohappiness revolution – if you so desire. That said, as an embarrassed player of first-person shooters myself, I hope posthumans will do something more edifying.
 * David Pearce, an interview to Plausible Futures (March 2021)

Q

 * I used to go to game events and feel like I was going home ... Now it's just like... are any of the people I'm currently in the room with ones that said they wanted to beat me to death?
 * (October 29, 2014). "Zoe Quinn: GamerGate must be condemned" (Interview). Interview with Dave Lee. BBC News. Archived from the original on October 30, 2014. Retrieved October 31, 2014.

R

 * This underrepresentation of women even pervades television commercials, where women not only appear less, but are also more likely to be portrayed as secondary characters supporting a male character when they are present (Ganahl, Prinsen, & Netzley, 2003). The same trend holds true for video games, where female characters are less likely to be heroes or main characters and, when they are included, they tend to dress in a manner consistent with stereotypes (Dietz, 1998). Female (vs. male) video game characters are also more likely to be sexualized and scantily dressed, while male characters tend to be hypermasculine and violent (Dill & Thill, 2007). And, consistent with research on other media effects, sexist content does affect consumers in a content-consistent manner. For example, media consumption in general (Swami et al., 2010) and frequency of playing sexist video games specifically are both associated with greater benevolent sexism (Stermer & Burkley, 2015). In another study, greater video game playing over one's lifetime was found to correlate with hostile sexism (Fox & Potocki, 2016). Together, the research shows that the way gender roles are portrayed in media can influence consumers’ own attitudes.
 * Stephen Reysen, Iva Katzarska-Miller, Courtney N. Plante, Sharon E. Roberts, Kathleen C. Gerbasi, "Examination of Anime Content and Associations between Anime Consumption, Genre Preferences, and Ambivalent Sexism", The Phoenix Papers, Vol. 3, No. 1, (August 2017).

 * GamesBeat: What do you think of the first-person shooter genre today?
 * Romero: Well, it looks better than ever. [Laughs] I don’t like the linearity of gameplay that we’ve come to. There’s a balance between how much you spend on art production versus how much you spend on level design and QA. The more you have to explore, the more you have to draw and model, and the more you have to test. Someone at EA or Activision did some analysis – when a space gets this big, the costs go up by this many millions, so it’s a lot easier if you have a corridor with some big collision brushes that the player just goes down. It’s much easier for QA to worry about the look of those areas that you can’t get into. The economics of how much shooters cost is what’s dictated the linearity of design. Then everyone’s trying to figure out how to make it so the player feels like they have agency and exploration ability, even though they really don’t.
 * John Romero, "After 20 years, Doom co-creator John Romero looks back on the impact of a seminal (and Satanic) game (interview)" by Dean Takahashi, Venturebeat.com (December 11, 2013)

 * GamesBeat: Do you like an open world better than a more story-based game? What do you think of those different directions?
 * Romero: Games are all about mechanics. That’s what games are, at the heart. You can put a story on top of any mechanics, to string something together, but the game is about the mechanics. To me, one of the most powerful things about games is the story the player can put into the game. The more story you put into a game, the less ownership of the story you give to the player. The less story you put in a game, the more the player feels they can create their own story. When you play deathmatch, you’re creating a whole story that you can talk about when you’re done, as opposed to something like—You play The Last of Us and you’re told the whole thing through the scripting. You know the outcome because you can go to the next segment of the game when you’ve finished the interactive portion. I’m not a fan of games that are really just stories with some limited interactive sequences in them. I’m about pure mechanics with a story stringing it together. That’s the essence of the medium.
 * John Romero, "After 20 years, Doom co-creator John Romero looks back on the impact of a seminal (and Satanic) game (interview)" by Dean Takahashi, Venturebeat.com (December 11, 2013)

 * Past video game play in excess of 3 h/wk correlated with 37% fewer errors (P<.02) and 27% faster completion (P<.03). Overall Top Gun score (time and errors) was 33% better (P<.005) for video game players and 42% better (P<.01) if they played more than 3 h/wk. Current video game players made 32% fewer errors (P=.04), performed 24% faster (P<.04), and scored 26% better overall (time and errors) (P<.005) than their nonplaying colleagues. When comparing demonstrated video gaming skills, those in the top tertile made 47% fewer errors, performed 39% faster, and scored 41% better (P<.001 for all) on the overall Top Gun score. Regression analysis also indicated that video game skill and past video game experience are significant predictors of demonstrated laparoscopic skills.
 * Rosser JC Jr, Lynch PJ, Cuddihy L, Gentile DA, Klonsky J, Merrell R., "The impact of video games on training surgeons in the 21st century.", Arch Surg. 2007 Feb;142(2):181-6; discussion 186.

S

 * Many studies show the link between playing ultra-violent video games and violent behavior. We have a responsibility to our kids and our communities to protect against the effects of games that depict ultra-violent actions.
 * Arnold Schwarzenegger, GOVERNOR SCHWARZENEGGER FILES APPEAL TO PROTECT CHILDREN FROM ULTRA-VIOLENT VIDEO GAMES Ca.gov

 * This industry has some profound issues in the way it treats women.
 * Brendan Sinclair, (December 15, 2014). "GamerGate's silver lining". GamesIndustry.biz. Archived from the original on December 18, 2014. Retrieved December 18, 2014.

 * Show me your children’s games, and I will show you the next hundred years.
 * Smartbomb, by Heather Chaplin and Aaron Ruby

 * Video games are a prevalent and increasingly expressive medium within modern society. In the forty years since the introduction of the first home video game, the field has attracted exceptional artistic talent. An amalgam of traditional art forms—painting, writing, sculpture, music, storytelling, cinematography—video games offer artists a previously unprecedented method of communicating with and engaging audiences.
 * Smithsonian, The Art of Video Games, (March 16, 2012 - September 30, 2012).

 * Of course another layer of challenge came from the fact that, like most other developers at that time, we were still feeling our way with 3D. Things like camera and character control presented a lot of interesting new challenges and required us to try out a number of approaches before we settled on solutions that seemed to work.
 * Chris Sorrell, "Behind the Classics: MediEvil", blog.us.playstation, 7 September 2012

 * Playing video games is like playing tennis or running or traveling. It’s an interest. When a couple participates in a hobby together it’s exciting. The more a couple has in common, the more validated they feel by one another.
 * Rachel Sussman, in "Couples who game together, stay together" by Jennifer Wright, New York Post, September 22, 2013

 * What’s great about games in particular is that it’s a socially acceptable way for adults to imagine. Take for example a fantasy that has you as a big, burly weapons expert. You run through buildings gunning down bad guys, saving the day and becoming a hero. “If you start telling all your coworkers that you just imagined that, they’d think you were certifiable.
 * Games can be art, and they can be significant and all the glorified things that we want them to be,” Swift said. “But if you ask a kid if their toys are important, they’ll say yes, and please don’t take them away.
 * Kim Swift, "Portal Designer Kim Swift Won’t Let You Take Her Toys Away", Wired, 21 June 2012

T

 * Unlike novels or movies, video games are an interactive medium where the player's actions drive the story forward, so I had actually wanted to allow players to manipulate the evidence themselves earlier on in the series.
 * Shu Takumi, Shu Takumi gives insight about the creation and evolution of Ace Attorney. Nintendowire. Retrieved November 17, 2017.

 * It feels like the gamers are finally in charge of our games. I like that. I trust that crowd so much just because of our Kickstarter campaign. We never approached our audience this way. Usually we make a game and it’s like we gift it to the players. But this time the players gifted us with the ability to make the game. And like all of my successes, PencilTest and the Kickstarter backers lifted the ceiling off of me. I hope I’ve done everyone right. I really want to honor the investment people have made in this game. It’s important that it succeed and it’s important that this model work for other games and developers too.
 * Doug TenNaple, "A Conversation with ‘Armikrog’/‘Earthworm Jim’ creator Doug TenNapel", Skwigly, 30 September 2015

 * Work hard. That’s the thing that most people who love games and animation may not realize about what they’re seeing. It requires an ugly amount of work. You have to dedicate your life to it, but I believe almost anyone can learn how to make games and animate at a competent level. I don’t believe in following your dreams and going into too much fairy dust about the arts. Sure, it’s fun, but there are many times it’s not fun and you still have to do it.
 * Doug TenNaple, "A Conversation with ‘Armikrog’/‘Earthworm Jim’ creator Doug TenNapel", Skwigly, 30 September 2015

 * I have very strong opinions on that, and it's kind of my area of expertise. The reason why I got out of video games, or am at least leaning away from video games (I just contract for them,) is really that a video game is a terrible place to tell a story. It's really because the reason we go to a game is different from the reason why we go to a more passive form of entertainment. And really a great story can be there, but it's optional. What must be there is good gameplay. And that's why at its core, I think it's inaccurate to call it some kind of sequential storytelling medium when, at its core, it's not necessary. If you get a guy who just good at drawing wacky cartoons, you've probably got in the wrong guy if your next game is going to see some Gothic horror. Yeah, I think in a way video games have gotten a really bad start with how expensive it became to develop in such a short amount of time. You know if you look at the budgets of what it cost to make a film in the first year that film was invented versus the fifth year or the 10th year the budgets didn’t go up astronomically. But if you look at video games, they went nuts and the original developers were working with this primitive technology and most games were done with under eight people in under a year for three quarters of a million dollars if you were lucky.
 * Doug TenNapel, Digging For Worms: "Why Doug Tennapel Doesn't Care What His Fans Think", Gamasutra, 6 June 2006

 * By the ’80s, the early pioneering work done by female programmers had mostly been forgotten. In contrast, Hollywood was putting out precisely the opposite image: Computers were a male domain. In hit movies like “Revenge of the Nerds,” “Weird Science,” “Tron,” “WarGames” and others, the computer nerds were nearly always young white men. Video games, a significant gateway activity that led to an interest in computers, were pitched far more often at boys, as research in 1985 by Sara Kiesler, a professor at Carnegie Mellon, found. “In the culture, it became something that guys do and are good at,” says Kiesler, who is also a program manager at the National Science Foundation. “There were all kinds of things signaling that if you don’t have the right genes, you’re not welcome.”
 * Clive Thompson, “The Secret History of Women in Coding”, The New York Times, (Feb. 13, 2019).

 * The gaming industry has come under increased scrutiny following the December 2012 shootings in Newtown, Connecticut — a tragedy that has reignited the debate surrounding gun control and violent media. Vice President Joe Biden discussed the issue with game industry leaders earlier this year, while the National Rifle Association has taken a more pointed approach, singling out video games as a driver of violent culture. After the Newtown shooting, NRA chief executive Wayne LaPierre described the gaming industry as "a callous, corrupt and corrupting shadow industry that sells, and sows, violence against its own people."
 * Amar Toor, “EA will no longer pay gun makers for the right to depict weapons in games”, The Verge, (May 8, 2013).

 * The game company claims it has the legal right to depict branded weapons in its products, likening its games to novels and other narrative-based media. "We're telling a story and we have a point of view," Frank Gibeau, EA president of labels, said in an interview with Reuters. "A book doesn't pay for saying the word 'Colt,' for example."
 * Amar Toor, “EA will no longer pay gun makers for the right to depict weapons in games”, The Verge, (May 8, 2013).

 * Most studies on the impact of playing violent video games on mental health have focused on aggression. Relatively few studies have examined the relationship between playing violent video games and depression, especially among preadolescent youth.
 * Susan R. Tortolero, Melissa F. Peskin, Elizabeth R. Baumler, Paula M. Cuccaro, Marc N. Elliott, Susan L. Davies, Terri H. Lewis, Stephen W. Banspach, David E. Kanouse, Mark A. Schuster; “Daily Violent Video Game Playing and Depression in Preadolescent Youth”, “Cyberpsychol Behav Soc Netw”], 2014 Sep 1; 17(9): 609–615.

 * In the present study, we examined the association between daily violent video game playing over the past year and depression in a large, ethnically diverse preadolescent sample. We found that playing high-violence video games for ≥2 hours per day is significantly associated with having a higher number of depressive symptoms. This association was consistent across all racial/ethnic subgroups and among boys, and more important, it was observed after controlling for aggression and several violence-related variables. The magnitude of these associations was small (Cohen's d values ranged from 0.12 to 0.25). However, these effect sizes are similar to those reported for the association between playing violent video games and aggression. Overall, our findings indicate that playing violent video games for a substantial amount of time each day over an extended period is significantly associated with depression in preadolescent youth. They also suggest that this association is unique, given that the number of depressive symptoms was not associated either with playing low-violence video games or with time spent playing video games in general.
 * Susan R. Tortolero, Melissa F. Peskin, Elizabeth R. Baumler, Paula M. Cuccaro, Marc N. Elliott, Susan L. Davies, Terri H. Lewis, Stephen W. Banspach, David E. Kanouse, Mark A. Schuster; “Daily Violent Video Game Playing and Depression in Preadolescent Youth”, “Cyberpsychol Behav Soc Netw”], 2014 Sep 1; 17(9): 609–615.

 * In conclusion, we found that, compared with playing low-violence video games for <2 hours per day, playing high-violence video games for ≥2 hours per day was significantly associated with a higher number of depressive symptoms among preadolescent youth. However, the magnitude of the association was small and a causal relationship cannot be inferred. Nevertheless, it should be noted that even these small effect sizes can be of practical importance considering the large number of preadolescent and adolescent youth who regularly play violent video games. More studies are needed to examine the association between playing violent video games and depression in general and among boys in particular. If this association were confirmed, longitudinal studies would then be needed to investigate its causality, persistence over time, underlying mechanisms, and clinical implications.
 * Susan R. Tortolero, Melissa F. Peskin, Elizabeth R. Baumler, Paula M. Cuccaro, Marc N. Elliott, Susan L. Davies, Terri H. Lewis, Stephen W. Banspach, David E. Kanouse, Mark A. Schuster; “Daily Violent Video Game Playing and Depression in Preadolescent Youth”, “Cyberpsychol Behav Soc Netw”], 2014 Sep 1; 17(9): 609–615.

U

 * Games are still considered to be in the sub-culture category, coming under movies, coming under manga or comics or animation, especially in Japan. So, hopefully we'll be able to establish our own position that can be established as a culture.
 * Nobuo Uematsu, FFshrine.org "Final Fantasy IX "Round Table" Developers Interview: Page II", Final Fantasy Shrine

 * Even in Japan, I don't think that the game culture is established. So, probably the users are kids in school, even adults, I'm not sure up to which age they are. For example, my father will watch movies but games don't appear in his life at all, I think that that's sad. Even though we can create something really good, our parents wouldn't be able to understand what we do.
 * Nobuo Uematsu, FFshrine.org "Final Fantasy IX "Round Table" Developers Interview: Page II", Final Fantasy Shrine

V

 * Video games are taking over the world, and they're doing it in style. We're winning because we offer something better than art. We offer Experience.
 * Jeff Vogel, "No, Video Games Aren't Art. We're BETTER"

 * When I write a game, I try to make you feel like you have power. Then I try to make you feel the awesome, terrifying responsibility of having power. When I force you to make a tough decision, for a brief moment, I can reprogram your brain and take your thoughts somewhere they've never been before. This is amazing. That is, at heart, what the games we make are. They are tools we creators use to compel and rewrite your brains. We haven't begun to come to terms with the power we've unleashed with these toys, these addiction machines.
 * Jeff Vogel, "No, Video Games Aren't Art. We're BETTER"

 * Video games should not interest or impress you. We should scare you. Video games are taking over the world. You haven't even seen a fraction of what we can do.
 * Jeff Vogel, "No, Video Games Aren't Art. We're BETTER"

W

 * Videogames? In the sixties, that meant To Tell the Truth and What's My Line? Today, a lot of the apparatus we had in Batman - dressed, of course, in less imposing names - is fact. And we're lucky this is so. My present-day fascination with videogames does not derive from personal affection. I prefer working our and skiing to playing videogames. But that's a personal preference, not a value judgement. I happen to think that videogames are an ideal means to help broaden the imaginations of young people.
 * Adam West, "The Keyboard: Guest Editorials", Videogaming and Computergaming Illustrated, (July 1983), p. 6

 * Needless to say, adventure characters should be just one facet of videogaming. In the same way a painting allows us to gaze upon the faces and souls of people from another age, or a book permits us to linger on the thoughts of great figures from history and fiction, videogames can expand our awareness of the world as it is, was, or might be. The medium is still in its infancy, but read this again in a few years and see if this prediction hasn't come true: as videogaming grows, we will grow.
 * Adam West, "The Keyboard: Guest Editorials", Videogaming and Computergaming Illustrated, (July 1983), p. 6

 * Everything about the games industry sends the signal: ‘this is a space for men’. When players are repeatedly shown that women are sex symbols and damsels in distress, is it any surprise that players go on to treat women poorly in real life?. Gamergate feels like it owns the culture. Women and minorities are only welcomed if they keep their identity silent and don’t try to change the status quo. If I am a feminist, I am an outsider trying to steal their games – even if I am an avid gamer and a developer. I worry about becoming known to people outside the industry. As I gain experience in speaking, writing articles, publicising my game, I am increasing the risk of abuse. I stopped playing online games years ago. I couldn’t see why I was putting myself through the torrent of abuse, and sexual messages. Today, instead of them directing their abuse at a gamer tag, they will be contacting me directly, by email, Twitter, Facebook, and maybe anyone else that associates with me.
 * as quoted in James Batchelor, (November 10, 2014). "Games developers must fight internet abuse together". Develop. Archived from the original on November 10, 2014. Retrieved November 10, 2014.

 * The occasional awful movie can be chalked up to bad directing/acting/writing/etc., but why have traditional screen adaptations of video games been consistently terrible? I suspect a huge part is simply due to the difficulties of translating across mediums; video games are very different from a show or a movie, and turning a good game into a good show is way more difficult than it seems. Shows and movies do not require any input from the watcher outside of pressing the “Play” button, whereas games are very interactive (and a lot of times the story is also integrated into gameplay). So to turn a video game into a movie or a show requires removing essentially its core element, the “game” part, so everything else needs to be really good to make up for it, especially the writing, as there is no longer gameplay to carry the experience.
 * Edmond Wu, “Netflix’s Castlevania: An Actually Good Video Game Adaptation”, Medium, (Aug 4)

Y

 * I shrink it down by myself, actually. It's up to the schedule, so... If the artists or programmers say "no", then that's the answer. So it's kind of a mix. I always try to push a can-do attitude with them, you know?
 * Hirokazu Yasuhara, Gamasutra - Game Design Psychology: The Full Hirokazu Yasuhara Interview, Gamasutra, August 25, 2008

 * Medal of Honor's "authentic action" is a selling point for Electronic Arts. (Electronic Arts and the other companies in this story did not agree to be interviewed on tape.) To get a military man's take on the authenticity of these games, NPR spoke with Navy veteran, gun owner and war gamer Nathan Zelk. "Games today are very, very real," Zelk says. "It's the weapons; it's the story lines, you know, that people get caught up in — even the optics that are used on the guns, it says L-3 EOTech. It actually has the name of the brand on the side of it so you know which optic, you know, you could go out and buy." But Zelk says not everything in the games is based in reality. "When you get trained in the military, you're taught about [the] use of lethal force. It's a very big deal in the military — you don't draw your weapon on anybody unless there's [an] imminent threat to you, your crew, your ship that you're on, those type of things."
 * Sami Yenigun, “A Real-World Connection Between Video Games And Guns”, All Things Considered, NPR, (April 29, 2013).

title: Video game