Can playing games make us happy by releasing the hormone dopamine? Science says absolutely yes to that!

Although departments of computer science have been studying the technical aspects of video games for years, theories that examine games as an artistic medium are a relatively recent development in the humanities. The two most visible schools in this emerging field are ludology and narratology. Narrativists approach video games in the context of what Janet Murray calls “Cyberdrama”. That is to say, their major concern is with video games as a storytelling medium, one that arises out of interactive fiction. Murray puts video games in the context of the Holodeck, a fictional piece of technology from Star Trek, arguing for the video game as a medium in which the player is allowed to become another person, and to act out in another world. This image of video games received early widespread popular support, and forms the basis of films such as Tron, eXistenZ and The Last Starfighter.

Ludologists break sharply and radically from this idea. They argue that a video game is first and foremost a game, which must be understood in terms of its rules, interface, and the concept of play that it deploys. Espen J. Aarseth argues that, although games certainly have plots, characters, and aspects of traditional narratives, these aspects are incidental to gameplay. For example, Aarseth is critical of the widespread attention that narrativists have given to the heroine of the game Tomb Raider, saying that “the dimensions of Lara Croft‘s body, already analyzed to death by film theorists, are irrelevant to me as a player, because a different-looking body would not make me play differently… When I play, I don’t even see her body, but see through it and past it.” Simply put, ludologists reject traditional theories of art because they claim that the artistic and socially relevant qualities of a video game are primarily determined by the underlying set of rules, demands, and expectations imposed on the player.

While many games rely on emergent principles, video games commonly present simulated story worlds where emergent behavior occurs within the context of the game. The term “emergent narrative” has been used to describe how, in a simulated environment, storyline can be created simply by “what happens to the player.”

However, emergent behavior is not limited to sophisticated games. In general, any place where event-driven instructions occur for AI in a game, emergent behavior will exist. For instance, take a racing game in which cars are programmed to avoid crashing, and they encounter an obstacle in the track: the cars might then maneuver to avoid the obstacle causing the cars behind them to slow or maneuver to accommodate the cars in front of them and the obstacle. The programmer never wrote code to specifically create a traffic jam, yet one now exists in the game.

Notable video-game franchises established in the 1980s

Arcades

Consoles and home computers

Notes:

• ¹Game franchises that also accompany major film or television franchises.
• ²Game franchises that are considered spin-offs of previously established franchises.

Intellectual property for video games

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

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

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

Industry

History

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

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

Industry roles

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

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

Major regional markets

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

Game sales

According to the market research firm Newzoo, the global video game industry drew estimated revenues of over $159 billion in 2020. Mobile games accounted for the bulk of this, with a 48% share of the market, followed by console games at 28% and personal computer games at 23%.

Sales of different types of games vary widely between countries due to local preferences. Japanese consumers tend to purchase much more handheld games than console games and especially PC games, with a strong preference for games catering to local tastes. Another key difference is that, though having declined in the West, arcade games remain an important sector of the Japanese gaming industry. In South Korea, computer games are generally preferred over console games, especially MMORPG games and real-time strategy games. Computer games are also popular in China.

Effects on society

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

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

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

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

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

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

Beneficial uses

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

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

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

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

Controversies

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

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

Collecting and preservation

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

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

The Art of Video Games premiered at the Smithsonian American Art Museum in 2012.

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

Source: wikipedia.org