All language subtitles for Video.Games.The.Movie.2014.1080p.BluRay.x264.AAC5.1-[YTS.MX]

Downloaded from
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*

Official YIFY movies site:
YTS.MX

*

(zapping sounds)

(beeping)

*

*

Once upon a time,
there did exist

a world without video games.

Like so many things
distinctly human,

electronic games were born out
of a combination

of innovation,
necessity and curiosity.

Early tinkerers made
electronic amusements,

cheap, crude entertainment
that would transform in time

to something potent and alive.

This would not just happen
by electronic wizardry,

but by the endeavors of artists,
designers, and entrepreneurs

whose initial goal to entertain
also came to challenge,

captivate, and enlighten

millions of people
around the world.

The men and women who created
this industry allowed their own

experiences and the world around
them to inform their creations.

This is the story
of video games.

This is Video Games: The Movie.

* Havin' a good time

* I'm a shooting star leaping
through the skies *

* Like a tiger defying
the laws of gravity *

* I'm a racing car passing
by like Lady Godiva *

* I'm gonna go, go, go

* There's no stopping me

* I'm burning through
the sky, yeah *

* Two hundred degrees

* That's why they call
me Mister Fahrenheit *

* I'm traveling
at the speed of light *

* I wanna make a supersonic man
out of you *

* Don't stop me now

* I'm having such a good time

* I'm having a ball

* Don't stop me now

* If you wanna have a good time,

just give me a call *

* Don't stop me now

* I'm havin' a good time

* Don't stop me now

* Yes, I'm havin' a good time

* Don't wanna stop at all

* I'm a rocket ship
on my way to Mars *

* On a collision course

* I am a satellite

* I'm out of control

* I am a sex machine
ready to reload *

* Like an atom bomb about to

oh, oh, oh, oh, oh explode *

* I'm burning through
the sky, yeah *

* Two hundred degrees

* That's why they call
me Mister Fahrenheit *

* I'm traveling
at the speed of light *

* I wanna make a supersonic
woman of you *

*

* Don't stop me,
don't stop me *

* Don't stop me

* Don't stop me,
don't stop me *

* Ooh, ooh, ooh, I like it

* Don't stop me,
don't stop me *

* Have a good time,
good time *

* Don't stop me,
don't stop me *

* Ooh, ooh, all right

*

* Ooh, I'm burning through
the sky, yeah *

* Two hundred degrees

* That's why they call
me Mister Fahrenheit *

* I'm traveling
at the speed of light *

* I wanna make a supersonic man
out of you *

* Don't stop me now

*

I love video games,
because I have

the same experience that I have
when I watch a movie that I love

or read a book
that captures my imagination.

But, I'm an active participant
instead of a passive observer.

Video games have a really
interesting role to play

in the future of our species,

and we're just starting
to figure it out right now.

I feel like video games
at this point

are intrinsically linked
into our culture

in a way that's
irrevocable.

I think from here on
it goes deeper.

I think video games root
deeper and deeper

into everything
we're doing,

until they're just part
of our lives in a way

we don't even notice.

All media's relevant
to its time.

For example,
records and cassette tapes

disappeared from existence,
but music didn't disappear,

it was digitized.

The same is true
for movies and books.

They evolve from one
form to another.

For video games,
the evolution is the same.

They will change
and evolve.

They will forever be
a part of our global culture.

A hundred,
two hundred years from now,

video games will still exist.

*

According to The Entertainment
Software Association,

the average gamer's
been playing video games

for 12 years.

Adult gamers have been playing
for an average of 14 years.

Males average 16 years
of gameplay,

while females average 12.

As of 2013, 49 percent
of all U.S. households

own a dedicated game console,

and those that do,
own an average of two.

The average game player's age
as of 2013 is 30.

And no, it's not all males.

Forty-seven percent
of gamers are females.

Forty-two percent
of game players believe

that computer and video games
give them

the most value for their money,

compared with DVDs, music,
or going out to the movies.

Who buys video games?

The average age of the most
frequent game purchaser is 35.

The point?

Video games have grown up,
and now they're not just

in arcades or our living rooms.

They're in our pockets.

Fifteen percent of the most
frequent game players

pay to play online games,

while 33 percent play
games on their smartphones,

and 25 percent play games
on a handheld device.

Most gamers who own
dedicated game consoles

use them for other
entertainment media as well

like watching movies,
TV shows, and music.

Are gamers social?

Sixty-two percent of all gamers
play games with others,

either in person or online.

What about rating game content?

Over 85 percent of parents are
aware of the ESRB rating system

which rate a game's content
and match it

with the appropriate gaming age.

E for Everyone, T or Teen,
M for Mature.

But the question
on a lot of minds is,

do parents really control
what their kids play?

Over 73 percent of parents
believe

that the parental controls
available

in all new video game consoles
are useful.

Further, parents impose time
usage limits on video games

more than any other form
of entertainment.

Over 90 percent of the time,
parents are present

when games are purchased
or rented,

and 82 percent of the time

children receive
their parents' permission

before purchasing
or renting a game.

Much like movies, games have
specific genres and sub-genres

such as action, adventure,
role playing, casual games,

shooters, strategy games,
open world versus linear games,

sports games, racing games.

This list goes on and on,
and each genre offers its own

special mix of interactive
entertainment.

And yes, each is wildly
successful in its own way.

In the past decade, video games
have gone from a six billion

to an over $24 billion
annual industry,

far surpassing movies and music.

The bottom line?

Video games are here,
and they are here to stay.

*

*

But where did all this begin?

*

The answer is...

well, a bit complicated.

That's the debate
of the century,

who's the father
of video games?

And, you know,
you can always say

Nolan Bushnell
because he founded Atari.

The godfather of video games
has to be Nolan Bushnell.

It's gotta be Nolan Bushnell.

I would say Bushnell.

Nolan Bushnell.

I would probably
give that to Bushnell.

Nolan Bushnell.

I would probably be
in the Nolan Bushnell camp.

Man who came up
with the whole Atari series.

I'd have to say
the creator of Atari.

Whoever created Pong.

Ralph Baer.

You know,
back in the late '60s,

early '70s,
makin' the Brown Box.

Ralph Baer, 'cause he
created the first console.

I think we both agree,
it was Ralph Baer.

Oh, Ralph Baer.

I can take two
different angles here.

I can say, you know,
whoever started

the entire ball rolling
is whoever created Pong.

Whoever started games
as we know them today,

I'm gonna have to say
Shigeru Miyamoto

from Nintendo.

Miyamoto.

Shigeru Miyamoto.

I think--I think you know
who Shigeru Miyamoto is.

But I'd go all the way back
to MIT,

the guys who did Spacewar,
John Carmack.

Hideo Kojima, I'm telling
you right now, brilliant.

You can't just pick one,
because it's doing injustice

to all the other people
that have helped

develop the games.

I don't think I've ever
really thought about

who started gaming.

I just appreciate
that they did.

*

Some say it began here,
a small back room

at the Massachusetts Institute
of Technology in 1962

on the PDP-1,

the first computer
to utilize a visual display.

Steve Russell,
which I consider to be

the fellow who I
stood on the shoulders of,

did a game called Spacewar
for the PDP-1.

And I played that
in college while working

in an amusement park,
and I felt if I could bring

Spacewar to the arcade,
it would make a lot of money.

It was a game developed
as a demonstration

of the capabilities of a digital
equipment corporation,

PDP-1 computer
back in 1962.

A group of students
and employees at MIT

wanted to create a game
that really would showcase

the capabilities
of this new machine

that had one
particular feature

they were really interested in,
and that was a display screen.

Before that,
most computers had maybe

paper tape outputs
or something like that.

But this one had
an actual screen on it.

I would go back
to Steve Russell,

because he's the one
that actually made

the first playable game.

Russell's product was
so much fun to play

it infected every
PDP-1 in the world,

and they were trying to get
the people to get it

off the machine, 'cause it was
wasting so much computer time.

*

Others argue that electronic
games began much earlier

or that video games
were a byproduct

of Cold War technology.

As usual, the truth
is somewhere in the middle.

While many industries
and innovators

combined to pave the way

even for the possibility
of the first video game,

there is little argument
as to the visionaries

and the company that finally
brought video games

to the public...
in a big way.

*

* All the colors
of the world should be *

* Lovin' each other
wholeheartedly *

*

* Yes, it's all right

* Take my message
to your brother *

* And tell him twice

* Spread the word
and try to teach the man *

* Who's hating his brother

* When hate won't do, ooh

* 'Cause we're all the same

* Yes, the blood inside
of me is inside of you *

* Now, tell me

* Can you feel it

* Tell me, can you feel it

* Can you feel it

* Ooh, when you see what's
goin' down *

* Can you feel it
in your bones *

* Can you feel it

Really, Nolan brought
to Atari the understanding

of what makes
a good game.

He played a lot of games
and understood them.

When we started this thing,
we found that

the games that were
most successful

were those that were
simple to learn,

but impossible to master.

Pong was somewhat
of an accident.

It was what we consider
to be too simple,

but when it got
all wired up,

and it was done
by Al Alcorn,

he put in some twists to it
that were just remarkable

and made it a massively
fun game.

One of the design feature's
flaws in the original Pong game

was the paddle would not go
to the top of the screen

all the way,
and I was gonna fix it,

but I didn't get around to
doing it, and I realized

that that feature kept
the game from--

two good people
from playing it forever.

It would never end.

The coining of the phrase
"video game" refers to an RGB,

or red, green and blue raster

or "video" display device.

Lets take Pac-Man for example,
the original.

This is a bitmap
image of Pac-Man.

When enlarged, individual pixels
appear as squares.

Zooming in further,
they can be analyzed,

with their colors constructed

by adding the values
for red, green, and blue.

A bitmap corresponds
"bit-for-bit" with an image

displayed on a screen.

A bitmap is technically
characterized by

the width and height
of the image in pixels

and by the number
of bits per pixel,

or a "color depth",
which determines

the number of colors the pixel
and ultimately the image

can represent.

The more bits,
the better the games looked.

More bits, however,
meant more memory was needed,

which was in short supply
in the early days of gaming.

This resulted in games that
looked blocky and simple.

But that didn't stop designers
and gamers from diving headlong

into this amazing new medium.

*

*

Over time and as technology
advanced, 8 bits became 16,

then 32, 64, 128 and so on.

With each generational jump
in graphics

and so called
"image fidelity,"

the depth of story
and immersion in games

seemed to progress as well.

The technological limitations
drove the art form

and vice versa.

Games were slowly evolving,
and those on the inside

were growing up with the very
art form they were creating.

It was the Magnavox machine,

I think it was called
the Odyssey,

and to show you how different
things were--I mean, basically,

it allowed you to play Pong
really.

That console had
no real graphics.

There were just squares
of light on the TV screen.

So, there were
Mylar overlays

that you would stick
on the screen.

And so like,
then you'd put up like

a haunted house.

And then all of the sudden,
the white Pong ball

would be like a ghost, you know,
moving through the house.

So, you had to kind of
use your imagination

and those Mylar overlays
to understand

the story they were
trying to tell.

Magnavox presents
Odyssey,

the electronic game
of the future.

Odyssey easily attaches
to any brand TV,

black and white,
or color,

to create a closed circuit
electronic playground.

Odyssey gives you all
the exciting action of hockey,

and 11 other challenging
play and learning games

for the entire family.

*

I had a very dear friend
who was the head

of ATCO Records.

She had an Atari 2600 console
in her office.

And she pointed at it
and asked me,

"Do you know what that is?"

And I said, "Well, kind of,
but what is it?"

And she said to me,
"It's a license

to print money."

Attention, shoppers.

The new Atari cartridge
game is in.

Only Atari makes
the world's most popular

home video games.

The only Space Invaders.

The only Asteroids.

(cheering)

The only Pac-Man.

(cheering)

And the only way you can
play any of them

is on a home video system
made by Atari.

(cheering)

* Come and play Atari today

The first game that I
ever remember playing

was Space Invaders
on the Atari 2600.

I was six years old
and was at my friend's house,

and I was just blown
away by the fact that

you could manipulate an image
on your television.

My first console
I remember playing

was the Atari 2600.

We played everything.
We had Donkey Kong, obviously.

Baseball.

I loved BurgerTime.

I remember my brother
saying like,

"Wow, look at the graphics."

Pitfall! was like
a wonderland,

because, you know,
like there were so many colors,

you know, you could
only really run--

you know,
it was a side scrolling game,

but it was amazing.

You just see the same
screen over and over again.

You're like, "Oh, they added
an alligator head that time,"

or, "Oh there's a vine."

The fact that you could
go underground in Pitfall!

like totally blew--
like, oh, you can go there?

You know, I knew enough
about computers to know

that it was a computer game,
and this was--

but it was simulating,
you know, this alien invasion

with one ship on the ground,
like, defending Earth

from this alien invasion,
and to me,

it was almost like being there.

Even with those
rudimentary graphics,

it was just the first time
I'd ever had control

over something
on the television

or something on a screen.

*

Probably the most memorable
console of my entire life

and one that I miss,
that I wish I still had,

was my original
Nintendo Entertainment System.

The Nintendo
Entertainment System.

Your parents help
you hook it up.

What's it like
to play

the Nintendo
Entertainment System?

*

*

When you play the system
with the most arcade hits,

you're playing with power.

The Nintendo
Entertainment System,

now you're playing
with power.

I think that one of the reasons
we get nostalgic about things

is it's not necessarily
the thing that we were doing.

It's not that song,
it's not that game

or that movie, or that book,

it's what was happening
in your life at that time.

It hit at exactly
the right time in my life.

And the NES then was
an amazing, amazing game system.

Games got better fast
it seems like.

Before I made it
to my teens,

everything was kinda...

it didn't look as great
as the games did in the arcade.

But by the time Nintendo
came out,

things started getting
a lot better.

*

I was fortunate to first
be exposed to Nintendo

as a consumer.

And for me,
that very first system

that I was exposed on
was the Super NES.

And I have many fond memories
and many great stories

around my interaction
with that system.

Playing for many, many hours.

Playing games like
The Legend of Zelda

Link to the Past,
games like Chrono Trigger,

all of these fantastic
experiences that, for me,

were my very first
gaming experiences.

And I eventually got
a Super Nintendo,

and then I was
all about Star Fox.

And I was so
into Star Fox

and the story and what
was gonna happen next.

Most of the games when we got
into the Super NES,

all of a sudden,
you had a reason to go do this

because you were tryin'
to save somebody.

And so just that
little bit there

brought story
elements into the game.

And what I think was
really great

about Nintendo
during that era

is they really wanted
to make sure that

all the games on the system
were really high quality.

But Sega Genesis
was an entirely different thing.

Sega Genesis was
to my experience in college

as the Nintendo was
to my experience in high school.

You know, that was
a very state-of-the-art console

back then.

*

I think the next time
I bought a console

was the PS1.

And I was like,
"All right.

These games are
getting ridiculous."

So, I got a
PlayStation 1.

Hey, plumber boy,
mustache man.

Your worst nightmare
has arrived.

Pack up your stuff.

I got a little
surprise for you here.

Check it out.

What do you think
about that?

Sony PlayStation
has more than 150 games,

NHL Faceoff '97,
Jet Moto,

Tobal No. 1,
Destruction Derby 2,

Crash Bandicoot,
I could go on.

I'm gonna give you
a personal demonstration.

You can't stop, grandma.

You can't.

Oh, you go, girl!

PlayStation.

I'm gonna have to ask
you to leave.

You're hurting my elbow.

*

All of a sudden, you had this
incredible amount of data

on one disc that could also play
music and everything else.

To me, it was a portal
to modern gaming today.

When Tomb Raider came
on the scene in 1996,

it brought people
into a world

that they hadn't really
participated in before,

the 3D world.

It was an immersive world
in a time

when there wasn't many
games like that.

And I think over
the years that has grown,

people latched onto that one.

When I talk to developers,
and I talk to fans

around the world,
they always hark back

to their first experiences
playing Tomb Raider.

And it touched them,
and it was something special.

*

And I begged my mom
for a console.

I begged her.

And it wasn't until
the N64 came out

that she finally gave in.

If we go to the PlayStation
and the Nintendo 64,

you started to see
3D for the first time.

*

What that allowed
the vision of Mr. Miyamoto to do

was to say now that I have
the ability

to manipulate polygons
in real time

at a fast enough
frame rate,

then instead of just
going back and forth,

now I can run around
in circles,

or move into
or out of the screen.

So, it brought a whole
new dimension

to the gameplay.

And the controller was
actually designed

with an analogue joystick
to be able to control

that movement.

It started to add
a whole new dimension

into what gamers
were used to.

And so, for a long time,
it had been this 2D,

sort of parallaxing 2D planes.

But as you sort of moved
into that 3D era,

you started to see
people start to play with,

you know, what are
the kinds of mechanics

we can do now?

What are the things
that we can actually play with?

What's this new world
of this other dimension?

And so, you know,
it was painful at first.

Certainly, there were
good examples of it,

but it was hard.

It's hard to give
the players this whole

other level of freedom
that they weren't used to.

And then we started getting
consoles that were

bigger and better,
and you could bring in,

you know, more of
a 3D environment,

better frame rate
and better sound.

And then you could put
more polygons on the screens

so the guys could look
more realistic.

*

Finally, with the PlayStation
and the PlayStation 2,

you started to see some really
interesting stuff happening.

You started to get,
you know, avatars on screen

that were more
representative of people.

They're easier to understand
what they were tryin'

to make you go through.

Especially
on the PlayStation 2,

it started to feel like
we have enough graphics

to really render
interesting people.

You know,
they weren't real,

but they were
real enough.

And so, you could sort of start
to believe in them more.

I had grown the PC business
pretty well

and was starting to look at the
console business and thinking,

"Wow, that would be a nice
business for us to be in."

But we really didn't
know anything about it.

And then one day, these guys
walked into my office.

They were from
the DirectX team,

and they said they had
this idea to put DirectX

into a box.

It was gonna be
this DirectX box.

And DirectX is the name
of the Windows API for gaming.

So this DirectX box
was basically it was

gonna act like a game console
on the outside,

but on the inside,
it was really gonna be

a PC running Windows
and DirectX.

That was the original plan.

And so what I think we didn't
really understand at the time

was that we were really
bridging these two worlds,

that Xbox was gonna be
this bridge

between what was happening
in PC gaming culture

and what was happening
in console gaming culture.

*

And then when we got
to the PlayStation 3,

we really said,
"Okay, this thing's

gonna give us enough
power to really go back

and revisit that idea
of telling an interesting,

character-driven narrative
in a way that we might

be able to do
that no one's done before."

First time that I held
a Wii controller,

it was a piece of plywood

with some electronics
taped onto it,

and they had a demo
of a tennis game.

And when I first
picked it up

and started playin' it,
I thought,

"This is gonna be a hit."

That was the first thing
that popped into my head.

It was just so much fun.

The Xbox 360's
a spectacular console.

It's just fantastic.

I absolutely love it.

And I like the PS3 as well.

Not really interested in,
you know, the holy wars

about which one is better.

I guess they're fan boy
arguments is how you can say it.

Like, "I like Nintendo."

"I like Sega."

"I like Sony,"
you know, it's--I think

this is actually what happens,
because I was a kid,

I would've had a Genesis
and a Super Nintendo.

I would've had a Nintendo
and a Sega Master System,

if I could've afforded it,
but, you know,

you're a child.

You can't afford
all that stuff.

So, then you start defending
the one you have,

and I think that's where
that comes from.

"Xbox,"
"No, PlayStation."

I still, to this day, stay up
till four in the morning

playing the latest
Xbox 360 that came out yesterday

or whatever it may be I'm,
you know, always constantly

still immersing myself in it.

*

*

With the continuous waves of
technical and artistic changes

sweeping over the industry

and games getting
better and bigger,

the video game industry
began to anchor itself

within
the public consciousness,

many starting to argue
that games

are as much an art form as...
anything.

The trouble is with art
is it's a subjective term.

You know, one person's art
is another person's rubbish.

And this is where, you know,
you come back to the semantics

of the word "art"
which is problematic.

Whether that is a film,
or whether that is a book

or whether that is a painting
or whether that is

a computer game,
it elicits a response.

It makes you think
about the world

or look at the world
in a slightly different way.

I've always believed
that games are absolutely

an art form.

You know, as Phil Fish said,
it's the culmination

of every form of art
and expression

that mankind has ever had
goes into a game.

You look at the staff
that builds a video game.

You have a music composer.

You have a writer.

You have an artist
who does sketch work.

You have a technical artist.

You have level designers
who create spaces

much like architects.

It really is kind of
the Avengers of talent

when you really think about it.

Nowhere is it more
obvious than in video games.

You have these artists
creating

these beautiful
three-dimensional worlds.

And the technology allowing
players to come

into those worlds
and have them be

as real as possible
is the ultimate example

of art and science
working together.

The best description
of art I ever heard

from a professor of mine
when I was going for my MFA,

was that art is somebody
whose put together something

that deliberately provokes
a response in an audience.

The consumer actually
is a participant in the art.

It's almost like being part
of a great art experiment

about a living art experiment.

Yeah, there's a lot of, like,
basic logistics.

Like, you push "X"
and this happens,

or you push "up"
and that happens.

But if that's all
games were,

we wouldn't be playing
them anymore, you know?

We would've lost interest
a long, long time ago.

*

Surprisingly, modern game
technology is still based

on the same fundamental concept
of early game tech,

combining new layers of science
and art to reach higher levels

of innovation and expression.

(sirens wailing)

*

*

Modern game systems represent
not only quantum leaps

in hardware and graphics

but also the utilization of
parallel data processing

and memory within the Cloud.

What does all that mean?

Simply put,
it means from here on out,

anyone will be able to play
any game, anywhere, at anytime,

with amazing speed and quality.

The Cloud is something that
you hear a lot about these days,

and there's really two
very different concepts.

The first one is the one
that we all sort of understand

as being the Cloud.

You know,
I've got a picture

I wanna upload it,
I wanna tweet.

This is all being uploaded
into the Cloud

and stored on hard drives.

So, think of the normal
version of the Cloud

as a lot of storage space.

There's another very, very
big idea which is,

why not use the computers
and the Cloud

to give you computing
power that's far beyond

what you would generally want
to purchase for yourselves?

And what that means
is that the software

that you would love
to experience

will be running there
and then the actual...

the video or the output
from the game

is delivered directly
to wherever you are

on whatever device
you're on.

There's more processing
power in the Cloud

behind Xbox One than the
complete processing power

that was on the planet
in the year 1999.

We're now able to put
scenes on screen

that are almost beyond
lifelike in some ways.

But then you have the power
of the Cloud behind that box

that allows us to draw upon
thousands of servers

to help make the box
that's in your home

actually significantly
more powerful

than it is
by itself.

*

But there was a time when the
future of this now mega industry

was in serious jeopardy.

After the explosive financial
and cultural success

of the first generation
of video games,

the industry began
to think it was invincible.

*

You know,
when all these companies

saw that there was
a market for video games,

and they just, you know,
they flooded the market

with so many games.

You know, there were
a few companies out there

that really wanted to show
they have a really awesome game,

but then there were,
you know, for every one

really awesome game, there were
100 really crappy games.

What happened was
there was this manufacturing

of great expectations
that the next Christmas

would be better
than the previous one.

And people just sort
of moved on.

People got tired
of being sold the same thing

again and again with pretty poor
entertainment experience.

People started
to produce games

at a kind of
very accelerated rate.

And the quality of the gameplay
went down substantially

to the point of where
some of the games

were so bad that they ended
up havin' to throw

a lot of them in landfills.

With scores
of new game developers

springing up overnight

and venture capitalists
pouring money

into what seemed to be
a "sure thing" product,

the writing was on the wall.

The market was becoming
saturated and in 1983,

the final nail was driven home.

Atari made a deal
with Universal Studios

to create a video game
adaptation

of the popular movie,
E.T. The Extra Terrestrial.

*

*

Only from Atari,
made especially

for systems from Atari,

the video game that lets you
help E.T. get home.

Just in time for Christmas.

Happy Holidays.

With only 5 weeks
to make the game,

Atari scrambled
to put out a subpar product.

Overconfident and high

on their previous success,

in the fall of 1982,
Atari shipped millions

of E.T. cartridges,
despite its poor quality.

The backlash was legendary.

It caused a ripple effect

throughout the entire
games industry

and by the summer of 1983,
consumer confidence

in video games had reached
an all time low and Atari,

along with many other
rising game companies,

went down like the Titanic.

*

*

So, there came
a lot of conflict

and the whole
management style blew up

and Warner basically took over.

They put their man in,
Ray Kassar,

who was from the east coast,

no experience
in entertainment,

in games, technology,
or Silicon Valley.

And he just didn't
really understand

or play games.

So, when you're that way,
it's really hard

as a president
to really assess

the quality
of what's going on.

It was that kind
of attitude

and creating
terrible product

that was driven
by advertising and marketing

and not by any content
and guess what?

It didn't sell.

The one story
about E.T.'s cartridges

being buried in the desert
is actually a true one.

The fact that Atari
rushed this game

just to have it out
with the movie

to use the license of E.T,

'cause E.T. was huge
in the '80s.

Both the E.T.
and the Pac-Man games,

those were two of the games
that didn't do well,

they were trying
to cram something

into the Atari 2600
that it did not want to do.

The big crash
happened in '83

and toy stores
were unloading consoles

for next to nothing.

Everybody just thought
they could schlock

any sort of games
onto the system

and it was the first lesson
that the industry learned

in the fact that
the consumers are smart,

especially gamers,
and you can't

just put shuffleware
out there and fool them.

They will not buy it.

But, after the crash,

they realized that,
you know,

for a lot of people,
it'd been a fad,

but for a core group
of people,

they still wanted
to play games.

*

For a couple of years
after the crash,

many people thought
that American video games

would be relegated
to the "popular fads" section

of 21st century encyclopedias
and forgotten.

Enter Nintendo,
a Japanese toy company

who understood
that the popularity

of classic games
like Pac-Man,

Donkey Kong,
and Pitfall proved

that people liked to play
as a character,

not just a spaceship
or nameless block of pixels.

Even with the crudity
of the early 8-bit graphics,

the concept of "immersion"
and "being" a character

was still very appealing
to the public.

And little
did the world know,

their favorite
videogame character

was just around the corner.

*

*

This is Nintendo,
a flashy little computer

that lets you play video games
on your TV set.

This is called Game Boy
and industry analysts

say that there
may be a run on this

as the holiday demand
exceeds the supply.

This is Super Mario 3,

it's been
a long-awaited game.

Super Mario, of course,
was very, very popular,

Super Mario 2
was extremely popular,

now Super Mario 3
is coming out.

It's been the best selling toy
in this country

for three years running.

Twenty million
of these things

now inhabit
American living rooms.

"Inhabit" is a very good word.

Because of the crash,
no retailer wanted

to touch a, quote-unquote,
"video game system."

And so,
a lot of what we did

was to try to come up
with something

that was uniquely different,

it wasn't just a game system,

it had other features to it.

And, eventually,
we came up with R.O.B.,

the Robotic Operating Buddy
and the Zapper Gun

and two cartridges,

and we sold it
as an entertainment system.

Even with that,
it was a hard sell

to get the retailers
to take it,

but it was fairly successful.

And during
that first initial phase,

Super Mario came out
and that sold like hot cakes.

It was an extremely
successful title.

Nintendo Entertainment System
was, I think,

you know,
a big landmark system,

you know,
because before that

there was a real question mark
about whether or not

video games were gonna
be able to stay popular.

You know, there's
the big video game crash

and then Nintendo showed us
how we can bring them back

and make them
really popular again.

I remember seeing
Super Mario Brothers

for the first time
and just being

completely blown away,
it was like,

"Wow, there's an arcade
in my house!

This is the coolest thing ever!"

And Mario Brothers was great

and Zelda was great
and so,

I put a lot of hours,
as a player,

into those early Nintendo games,

I love those
early Nintendo games.

I saw the Nintendo
Entertainment System

and said, "Wow,
this is new,

unique, different,

bringing new experiences
to the consumer.

I saw the original
Mario Brothers and said,

"Wow, this is new,
this is different."

The same for the original
Legend of Zelda.

So, after
the video game crash,

I kinda fell out of love
with games for a while

and just ignored them.

And then, one day,
a neighbor kid down the street,

I go over to his house
and he has this gray box

with this R.O.B. the Robot
and he has the Zapper Gun

and we're playing
this Duck Hunt game

and then he fires up
the Super Mario game

and I was like, "Okay,
this is some next-level stuff."

And I remember
the first time that I jumped

and I hit a block
that was there

that I didn't know
was there,

one of the secret blocks
with an extra life in it,

my mind just...
exploded

'cause, like,
here are secrets in games now.

*

With the rebirth
of the U.S. games industry,

a new breed of gamers
was rising.

The appetite for simple
maze-based games was waning.

Gamers were ready for more.

Becoming a character,
living out a virtual story

and being absorbed
in something otherworldly

was not just
technically possible now,

but the expectations
for deeper,

more immersive experiences
was growing.

As the game business evolved,

um, people
were making larger

and more complicated games,
requiring 30-page manuals

and 80 hours of gameplay
to get into.

You never really cared about

the characters
in Gauntlet, you know?

It was just that Gauntlet
was an addictive game.

But now, we not only spend
more money on games,

but we see them
as entertainment mediums

where we want
to be invested in the story,

we want to be invested
in the world.

The huge difference
is that the older games,

I think,
were a lot tougher.

Like, if you did not
get your jump exactly right

to land on a platform,
you were not

getting through that level.

Timing was everything,
now you have a lot more freedom.

You can--
you can kill a boss

many different ways.

It used to be before that

the whole point of a game
was, literally,

shooting pixelated aliens
that were falling

out of the sky,
but we didn't know

why those aliens were falling
out of the sky,

we didn't care why
those aliens were falling

out of the sky,
we just wanted to shoot them.

But, nowadays,
not only do we know

why those aliens
are falling out of the sky,

we know the names
of their moms

and we know
their future children's names

and we know we have
to destroy all of them.

I feel like games
as they've developed

throughout time,
have kept a lot of

the same traits,
they've just sort of,

um, manipulated how they act
in the game world,

because people have
different desires for games.

They want to be more involved,
they don't want

to just sit down
and sit at a bar

for a little while
and play Pong,

they want to actually
be invested

in that game world
a little more.

In the beginning,
it was simply

the industry understanding,
"What are these mechanics?

How do players interact
with an interactive medium?"

As we started to understand
those rules a little bit better,

other aspects
of crafting something

really high-end or beautiful
get worked in.

And so, high-end graphics
start to become more relevant

because we're, you know,
learning how visuals

interact with the storytelling

and interact with the gameplay.

In those days,
the game designer's main job

was to create the rules
of a game, that is all.

It was very much
like chess or cards.

In the '90s with PlayStation

and more powerful
technology arriving,

we had the gift of expression.

Games became 3-D,
characters could talk,

music could be created,
characters could emote

through detailed
facial expressions.

In the late '80s
and early '90s

the industry
was reinvigorated

with new technology,
new customers, and new talent.

A renaissance in game design
was arriving,

which not only gave birth
to some of

the greatest video games
of all time,

but eventually
a new industry

that would generate
billions of dollars

and a new generation
of game designers.

*

*

*

*

In the fall of 1972,
a small group

of computer science students
at Stanford University's

Artificial Intelligence
Laboratory

got the idea to convene
the very first

"Intergalactic
Spacewar Olympics"

with the use of
the computer lab's

very own PDP-10.

Contestants fought it out
on the machine's, at the time,

impressive 10-inch
raster display.

Two events were held:
A five-man free-for-all,

and a team competition.

In Spacewar,

five distinctively
rendered vessels,

nicknamed "Pointy Fins",
"Roundback", "Birdie",

"Funny Fins", and "Flatback",
battled to the death

in the display's circular arena,
dominated by a star,

whose gravitational pull
drew them to the center.

This was the very first
video game tournament

and the beginning
of a community

that would soon
become a culture.

*

*

In my dorm room,
we would throw cables

over the balcony down
to other people's computers

and start these kind of
home-brewed LAN competitions

where we were playing
all kinds of games

from shooters to RTSs
to anything

that we could
just play together.

Doom was like a bomb
dropped on my 20s.

I lived in a house with
a bunch of other geeky guys

that I used to play
Dungeons and Dragons with

and we first got Doom
and built a LAN in our house

and we had network cable
going from each room

and oh, my God,
that was all we did

for, like, the next year,
I could swear,

it was just play Doom
and Doom 2, four players.

And just something
about blowing your friend

in half and then hearing him
in the next room, like,

curse at you, like,
nothing is more satisfying.

Growing up in America,
the one place you go

was the mall,
I was like that as a child

and I remember there was
an arcade at the mall

near our house called
The Dream Machine

and it was this stygian
cave of noise

and all these portals
to all these other worlds

you could go in and out of,
Mr. Do!, Dragon's Lair,

Joust, Centipede, Frogger,
all of them.

And every time
a new game would show up,

I would be around it
and on it

and there would
be crowds around it.

And, eventually,
to the point

where fighting games
became a thing later on.

You would literally go up
and put your quarter

next in line
and try and take down

that one kid who's kicking
everybody's butt as Chun-Li.

There was a time period
where kids in arcade games

who could rule,
like, at Chuck E. Cheese

or at the mall arcade
or at the,

in my case a lot of time,
the bowling center,

people would crowd around you
if you were owning a game.

*

A global society was born.

A society that now
not only plays

and connects online,
but has produced

life-long friendships,
thriving communities,

even marriages.

And this community
doesn't just exist

for entertainment's sake.

Gamers are not only
one of the most connected

and vocal groups,

they are some
of the most loyal.

Friendships forged
within a game experience

somehow yield a bond
that isn't easily broken.

*

One of the things
that is really exciting

about games in general
is that they've evolved

far beyond
the local community aspect

of being able to, you know,
just play the game

or enjoy your game with some
of your local friends

into truly global experiences

where you can share your passion

with people all around
the world.

I love the connectivity,
I have lifelong friends

that I've met online
and we started out

just playing together
and then ended up, you know,

meeting up for competitions
or just meeting

to go hand out
and kind of actually

meet each other in person
and it sounds silly,

but a lot of those friendships
are really solidified

around that joint experience
that you have

while you're playing a game
and I think that

that's something special,
it's something magical.

That's something
I saw working

kinda in the internet industry
all through the '90s

and the early '00s
was people, um,

who would meet
other people online

and become really enamored
with them

and sometimes move
to another city

to try living with this person
or, you know,

people would get married
or meet that way

and that's a whole new kind
of human relationship

that didn't exist 10
or 15 years ago.

It's like a new thing,
people can meet

and fall in love
and not have ever met

in the real world.

I can't tell you
how many stories we've gotten

of people being hookups
because of--

people eventually
getting married

because of the game,

people that have gone through
you know,

some sort of horrible
medical condition

that they've had to deal with
and the games

kind of let them
work through that.

I see that, you know,
deaths of key characters

really affected people
and made them cry in the game,

or they got tattoos
of the logo of the game

on their bodies,
or a man and his wife

met on Xbox Live
playing the game

and now they
play co-op every night.

There are kids out there
who exist now

because their parents met
in World of Warcraft, you know?

Like, um, video games
have changed the, you know,

the course of human evolution
to some degree

and created
whole new mating rituals

and ways of social interaction
that didn't exist

and that's as a result
of the internet

and video games,
so it's gonna be interesting

to watch all of that evolve,
video games are gonna get

more and more real
and connect

more and more people
around the world.

I used to play EverQuest
quite a lot,

as many EverQuest players did.

A guy that I met
in South Karana DVPing,

we became friends,
I ended up going

to his wedding,
ten years later,

we're family friends now
and it's phenomenal

because we have
this shared passion for games,

we had a lot
of similar values and ideas,

and we had a lot of great
shared experiences online

where we really formed
a deep bond

and true friendship
and has blossomed

into a great, long-lasting
friendship in the real world.

I saw someone recently
speaking about, he, uh,

a boy whose parents were killed
in a car accident,

so he was left alone
in the world and--

and without video games
to sort of fall back into,

he'd be sitting in his room,
depressed out of his mind

and his video game world,
and all his friends

in his video game world
really supported him

through that
really painful time

and the guy who
was observing this

was basically saying,
"You guys don't

really understand it,
'cause I know you hear this

all the time,
that violent video games

are the problem in the world,
et cetera, et cetera,

but games are so meaningful
to people

and the friends
that they build around it

and the, sort of,
the creativity

and the immersion
and everything else

that comes with it
is actually very valuable

and it's something
you learn a lot from.

I walked into
the stairwell here

and I-I, this shooting--
I can't even really describe it,

but I basically
fell down the stairs, um,

'cause I had had a stroke,
as they later revealed to me.

I ended up in the hospital
for about nine, ten days,

and you're really scared
and you really don't know

where to--
I mean, you're, like, sad

and you have all this anger
and you don't know

where to aim it
and my friends started bringing

stuff up to me
and at first it was food

and then,
they started bringing ways

to play games up,
I got a little Nintendo DS,

um, and I was playing Zelda
on that

and I had a laptop
and I was playing,

I mean, I had Steam on there
and I had just TF2

and Left 4 Dead
and Borderlands

and that really was
the turning point,

at the hospital,
where I-I...

I wasn't as scared,
I guess, anymore?

I wasn't as mad,
I had something to do, um.

'Cause part of the stroke
that was awful

was I went blind
out of my right eye

and it's sort of crazy
how not just the games

in the hospital
that really got me through it,

it's been everyone around me
in this industry.

In all different companies
and all different states.

So, yeah,
in a very literal way,

I think video games
really did kinda save my life.

*

The world is now engulfed
in an artistic, social,

and technological revolution
like never before.

Interactive entertainment
is the ultimate expression

and delivery format
but who will determine

what stories are told and how

we will experience
them in the future?

The answer is simple.

*

Children have
a limitless capacity

for wonder, imagination,
and creativity,

and they aren't afraid to fail.

When I learned history
in school,

it was the most boring...

old books with black
and white images in them

and I saw a girl
in a video recently

from Carnegie Mellon
that was talking

about trebuchets,
which is this old,

medieval siege weapon.

But she had actually
experienced using one,

because, of course,
she had done it

in a virtual world.

And to have,
I think she was six,

to have a six year old girl
telling you her opinion

of medieval siege weapons
versus my version of it,

which was so incredibly boring,
is a fundamental change

to education
through entertainment

that can make history
and things like that

much more engrossing.

My kid, he is 12,
and he is faster

at things that I'm not
as fast at.

He is better at things
and it's because

while his mind was developing,
he had access

to interactive media
that was much more advanced

than the interactive media
that I had

and the interactive media
that I had

was the first time.

My parents didn't have
any interactive media

when their brains
were developing.

Video games, I think,
they provide a space

for learning how
to fail safely and successfully.

I think, as a culture,
we have a real obsession

with always
getting things right.

We're afraid of failing.

Video games provide us
this very safe space

to learn how to problem-solve,
to think through an issue

that we can't quite get right,
to help us realize

that it's okay to fall
on our face occasionally

if we learn from that
and we eventually can succeed.

Because it's simulation,
we can do things

and experience things,
and practice things,

and test things
that either aren't feasible

or aren't safe in real life,
in the real world.

*

Despite
the mainstream acceptance

of video games in the '80s
and early '90s,

by the late '90s

the term "gamer"
still seemed to be

a close cousin
to "geek" or "nerd."

If you were a serious,
dedicated gamer,

you were seen as part
of a strange subculture.

But the winds
of change were blowing

and this perception
would soon shift.

Being a gamer
would soon be en vogue.

* I can feel it burn

* We're taking over,
we're taking over *

* Now, I try to lead them,
will they ever learn *

* We're taking over,
we're taking over *

* Every time I breathe in,
I can feel it burn *

* We're taking over,
we're taking over *

* Now, I try to lead them,
will they ever learn *

* We're taking over,
we're taking over *

*

* Hands up in the sky,
let me hear you say *

* Every time I breathe in,
I can feel it burn *

* We're taking over,
we're taking over *

It's a borderline
religious experience

to stand in the middle
of an eSports stadium,

packed full of tens
of thousands of players,

cheering for
their favorite teams.

It's just awesome to see
because it's easy to doubt

that that kind of passion
would actually manifest

in a physical environment
and people would pay

hundreds of dollars
or travel thousands of miles

to come to these events
to watch people

play video games
and they do and they love it.

I've always
been kinda frustrated

by the perception
of video game nerdiness

and things like that.

Um, for my career,
making games that feel

like summer blockbusters
and don't feel like, you know,

D&D basement games,
to having the courage

to put myself out there
on camera and put on

a clean shirt and kind of change
that perception as well

to just evangelizing games
overall

and to also evangelize
the career.

And so, over the course
of my 20-plus year career

in this business,
I've always hoped

that there are some kids
out there who see

a football player
or, you know, astronaut

and they're like,
"Yeah, that's awesome,

but, you know,
maybe video games?

Maybe that's
where I want to be?"

And there are a lot
of people who'll message me

or send me e-mails,
and they...

they are just miserable
because they're super lonely,

they haven't found
their friend group, you know?

And I think that's sort of
like my mission

is to connect people
and make people happy

and give people friends,
'cause I never

had that growing up,
I never had my nerd group.

I think that's how communities
have really started up,

it's just being able
to find people

with similar interests.

You know, when you're a kid,
it's really only like

if your next door
neighbor played,

but now, we're all adults
and have the ability

to reach out and connect
with someone else.

It's clearly a culture
where everybody's having fun,

everybody's got
a smile on their face.

They're living their life
in a very, very,

you know, powerful way.

The old way of sort of,
"Oh, computers

are for geeks and stuff
and video games are for geeks,"

has died, is dead.

No one doesn't have Facebook.

Angry Birds, people don't--

almost don't even think
of that as a video game.

People don't think of--

There's become
this blur of like

what is a video game
and what isn't.

Is Facebook a video game?

I kind of think it is.

I mean, it's interactive
like a video game

and you can do stuff on it.

The world's
really different now

and I think it's because
those of us that grew up

being ostracized
and looked down upon

and treated
like we were radioactive

by mainstream culture
created our own culture

and we took the things
that we love.

We took the video games
and we took the technology

and we took that engineering
and we built our own world

out of those things
and that world

is so awesome that
the mainstream culture

that made fun of us
when we were kids

for loving this culture
that's so awesome

could not deny it
and could not help

but be seduced by it.

*

We're celebrating
video game week starting today.

*

From Studio 6B
in Rockefeller Center,

the National
Broadcasting Company presents

Late Night With Jimmy Fallon!

Look, it looks slick, come on.

Well, it's the most powerful

video game console ever made.

We were targeting
about ten times the performa--

-Ten times, really?
-Yeah, ten times.

I didn't think you can
get better than PS3,

but you can,
ten times, I guess.

We're gonna play this together.

So, this is
Super Mario 3-D World.

Yeah, yeah, that's my man!

I love Mario.

(yelling)

I broke a sweat
on that video game.

Ladies and gentlemen,
here's a professional actor

reading the line,
"It's-a me, Mario,"

in a very dramatic way.

It's-a me...Mario.

Hey, Conan O'Brien here.

Once again, I know
absolutely nothing

about video games which is
why I've decided to review them.

-Take a girl for a ride.
-Oh, my God.

I've never licked
a remote before.

I look like John Tesh
after he's been dead a year.

-What did she just say?
-"I hate tombs."

Yeah, guess what,
than don't be a tomb raider!

Oh, I'm sorry,
I meant to compliment her

and I almost kicked her!

*

In the late '90s,
with realism in games

reaching new levels
and more visceral,

action packed fare
appearing on game shelves,

a new conversation started.

Violence.

...home video games
isn't holding back the violence.

Mortal Kombat,
two of the bloodiest games

to date were released yesterday.

This game encourages players
to shoot this gun,

which is called a Justifier.

Kids who play
video games too often

are more likely to be violent.

That's the finding
of a new study

out of Japan's
Tohoku University.

There was no rating
on this game at all

when the game was introduced.

...have a great deal
of information

that is racist, sexist,

and promotes models
of violence.

...recommendations on guns
after that series

of meetings and,
as you mentioned,

the latest
with video game makers who said,

"Don't blame us."

There's always a lot
of media talking

about violence in video games

and, certainly,
there are violent video games,

but that's not how you describe
the medium of gaming.

If I were to go
to the cinema

and I were to just
watch Saw movies

and I came away
and you asked me

what I felt about the cinema,
I would say,

"It was the most disgusting,
violent, gratuitous thing."

And that's what
the media has done

is it's focused
on a few titles

and that has ended up,
in consumers' minds,

defining what this industry is.

It's weird how,
when you watch the people,

you know, they go to Congress
and they're angry, you know?

"Our kids are being corrupted,"
I'm like,

"Yeah, exactly, your kids.

You should be
not corrupting them."

"I leave 'em alone
ten hours a day."

I mean, it's like finding
your dad's Playboys

under the bed
and then blaming Playboy.

You know, we're just like
any other industry that...

that we have
these ratings systems in place

and there's gonna be
something for everybody.

We put measures in place,
ESRB are our guidelines.

We make sure that we build
our game to the rating.

It gets checked
on a regular basis.

The interesting thing,
I think, with games

is that we actually have
an even better

ratings system than movies,
but there's still

kinda this,
this general misunderstanding

with the elder generation
that somehow all games

are like Grand Theft Auto.

People like to make
just kind of a causal link

and say video games
cause violence

and it's like,
"Well, let's see,

so, there's more crime
in the summer

and more ice cream is sold
in the summer,

therefore, ice cream
causes crime."

That's not how legitimate
scientific research works.

Violence, unfortunately,
is a part of human nature

and last time I checked,
Cain didn't bludgeon Abel

with a Game Boy,

Genghis Khan didn't have
an Xbox Live account,

and, you know, Hitler
didn't play Crash Bandicoot.

We have unfortunately
had a lot of gun crime

in the United States recently
and I remember someone tweeted

after one of
the most recent incidences

that when people
started accusing video games

of being an influence for this,
they were like,

"Wow, I wonder how
all those other countries

with the same exact
video games as us

don't have as much gun crime."

You know,
it'd be like saying,

"We don't want anyone
to go watch movies

because all movies are violent."

But people don't say that

because everyone
really understands

movies as a medium.

I don't believe that video games
are murder simulators.

If anything,
what the statistics prove

is that it's exactly
the opposite.

We've survived
a lot of things as gamers

for a really long time.

We've survived Congress,
we've survived busybody parents,

we've survived
religious-based hysteria.

You realize
that it's about imagination

and invention
and a connection to a world

and it doesn't have
these big trappings

that people apply to them.

So, I think it's a problem
that's just gonna

naturally evolve away
and we just have

to defend the industry
until that evolution happens.

*

*

(musical beeping)

*

The campfire.

We've all been there,

whether an actual campfire

or just listening to someone
tell a great story.

As humans we have always had
the ability and desire

to suspend our disbelief.

If only for a few minutes a day

we want to escape
from the treadmill of life

and "give it up" to be immersed
in something outside ourselves.

We have this opportunity
to be storytellers,

to be able to give the consumer
the opportunity

to lose themself
in a world

for as long or as little
as they want.

We have the realities
of life every day,

whether it's the economy
or whether it's getting by

or whether it's a job
and earning money,

but we have a medium
that we can lose ourselves in.

Day-to-day life isn't always
that exciting,

and if at the end of the day
you can turn on a tablet,

a PC, a console,

and just kind of escape
into another world,

I think it's a wonderful thing
that essentially allows you

to kind of live the dream.

The storytelling in games

is just as good as movies.

It's just as good
as reading a book.

*

With the resurrection and
renaissance of the industry

coming into the '90s
and early 2000s,

games began another
evolutionary step forward.

Story.

*

*

This fundamentally changed
the audience's expectations

of what a "good game"
really was

and raised the bar for game
designers everywhere.

Storytelling in games is
a tricky, tricky beast to tame.

As game makers,
we have to set up rules,

we have to set up universes
that make sense

and have
their own sense of logic,

and once we've established
what that logic is,

then we let the player's mind
and imagination solve problems

and work their way
through those worlds.

I think one of the things
we've really learned

over the last maybe decade
is ways to tell stories

without a cut scene, without
stopping the interactivity,

to have the story be
something that emerges

from the play itself.

Video games are
a lean forward experience

whereas film and television
are a lean back experience.

You're driving every moment
of the game.

A friend of mine
a while back

actually compared games
to novels

in the fact that
if you stop reading,

the novel doesn't keep going.

Video games are
very much the same.

Telling a story
in video games

can be a lot more difficult

because then you have to--
you have to anticipate

the actions of the player,

whereas in a movie, you decide
what both characters say

and then you write it down
and that's what they say.

Storytelling in games is
an interesting problem right now

because we don't fully
understand it.

The movie industry
has been around

for a hundred years
or whatever

and they have
a really good idea

of what it means
to tell a story

in that kind of visual medium,

and the game industry doesn't
have all those rules yet.

Either reading a book
or watching a movie,

it's completely passive.

You're letting the storyteller
give you their vision

of their world or whatever story
they want to tell you,

and you are--
you're listening to it,

it's unfolding for you.

You're not affecting that.

With a game,
the journey is the reward

more than, say,
the ending or the payoff.

This is our routine.

Day and night,
all we do is survive.

It never lets up.

*

(grunting)

*

The idea of spontaneity
within storytelling

is something that's unique
to video games.

You can't just change how
a song sounds midway through.

You can't just change
the end of a book

while you're reading it,

but in certain games,

your decisions
have a direct outcome

on the ultimate fate
of characters,

and that's unique
and sweet.

And I think that's what
people respond to.

Can you imagine if you were
redoing Star Wars,

and you get
to Empire Strikes Back

and Vader says "Join me,"
and you, as Luke Skywalker,

go, "Okay."

And then the rest of the movie
and all of Jedi

are completely different
because you made that choice.

And that is where I think
video games

fundamentally
and vastly differ

from every other kind
of nerd media that I love.

*

Who lives,
who dies?

I get it.
We're meant to choose.

Heads up, there he goes!

Guns down.

*

You don't have to get involved.

We must choose.

*

If you insist.

I do not see
how I could save

the lives of other people.

I also lost someone
I loved.

*

Whether the classic
Arthurian legends

or more modern translations,

one thing humanity
has never had a problem with

is the willing suspension
of our disbelief.

The earliest storytellers
saw the primal power

in writing, reading,
and telling stories,

true or fictional.

I think that
once you show a player

what a world looks like
and how a world functions,

they get into the world,
and then that is their reality.

And so I think
as modern game makers,

we have to keep remembering
that the suspension of disbelief

comes from the creation
of a universe

and the creation of a world,
and an immersive world

that has rules
that are predictable

and that are logical,

and not from the visual eye
candy that we get, you know,

with all this horsepower.

And now that we have
these consoles

that deliver
mind-blowing graphics

and beautiful explosions
and immersive worlds,

there's something more to it.

We've taken our inspirations
from outside of games

with emotion and character
development and storytelling

in a way that we've tried
to break new ground

that you have an association
and an attachment

with a character in a game

that makes you want to feel
for that story,

makes you want to feel like
you're there

making the decisions
all along the way.

Good storytelling
is not just entertainment.

Good stories can help us grow.

They can teach us
about the past

and challenge us
to aspire

to higher
and greater things.

The story experience in
a video game is no different;

the campfire is just a bit
brighter and more colorful.

*

*

*

So many things have to perfectly
sync up for it to work.

You have art,
you have writing,

you have music,
you have backgrounds,

you have timing,
you have the voice actors,

you have acting,
and then video games,

you have everything
on top of that

it has to be an engaging
user experience as well,

so I think
a good video game

I think is probably
the hardest thing to make.

*

If you want emotion,
you need the human face,

and in the world
of film,

that is the cheapest thing
that you can get.

You point the camera
at somebody

and you have it instantly.

But in the world of games,

you have a multi-million
investment in technology

before you see anything
that looks like a human face.

I think the most exciting part
about this industry

is that we're constantly
inventing

and being fearless about
that challenge of invention.

And invention's difficult

because if you already knew

what it was going to be,

you wouldn't be inventing it.

It would already exist,
right?

So whenever we invent,

whether it's a design idea

or a stylistic thing,

or, you know,
something related to the story,

we kind of depend upon
this trust

that there will be
inspiration,

that there will be revelation.

Then you gotta get in
and start prototyping stuff,

so you build a bunch
of prototypes

and you start
trying to understand,

hey, are the ideas we had
really fun

once you put them into
an interactive environment?

You know, I think
at the alpha stage,

hopefully we'll see
the fun.

It's pins and needles time

because it's that awkward
teenage years

that, you know, you've got--
could be an awesome experience,

it could really come together
nicely,

everyone's really enthusiastic

because there's something there
to play

from beginning to end,
but, you know,

there are some weird
elements to it,

and, you know, you just had
a bunch of people come through

and point out all your,
you know, awkwardness,

your buck teeth and your,
you know,

crazy-lookin' eyebrow
and all that stuff,

and you're sort of hoping that,

okay, I see that,
I understand it,

now I need to kind of go back
and fix those things

a little bit,
make myself a little prettier,

get back out on the street,

and show myself off again.

You start layering on
all the really rich assets,

things like a great story,

the high fidelity art,

the fully detailed characters,

and once you start marrying the
super high production quality

with those original bare bones
prototypes of your design ideas,

you can start really bringing
the product together.

*

And then the work to go
from alpha to beta

is generally speaking
a laundry list of things

that we have to check off

and make sure
are working properly.

We don't touch those as much
at alpha,

but they certainly are
on our minds at that point

as we start to kind of
polish up the game,

make those adjustments
to the gameplay,

really try to hone down
on what's working well

and maybe give it some more
resources and time to develop

and sort of
put aside those things

that aren't working as well.

One of the big revolutions
we had in the 1990s

was we started bringing in
people to play our games

and watched them play.
That's it.

But it transformed the way
that we make games.

I mean, up until that point,
we'd pretty much been

making the games
for ourselves,

and so if we thought it was fun,
we were done.

You sort of had to make a game
and then do, you know,

kind of one of these.
Did it feel right?

You know, you'd have
your QA department,

but, you know,
they were paid employees,

so you never know if you're
getting the best feedback.

But now we have
this beta testing

and ability to talk
with the fans,

and if you're utilizing that
correctly,

it's really powerful.

So you hand this, what you think
is the gold master

off to the first party,
in the console world, anyway.

The PC side's definitely still
more of a wild west,

but there's a lot of backlash
certainly

if you can't deliver quality

or you have lots of bugs
in a PC product.

So you hand it off to Microsoft,
Sony, Nintendo,

and you wait and you wait
and you wait.

And usually it's, you know,
a ten-day waiting game,

and, you know, it's always
the most nerve-racking time

is that, okay, is this gonna
make it through?

And so, you know, we get that
call maybe or email, you know,

maybe ten days later
or so,

and you know, it's,
"Hey, looks good."

Celebration ensues.

Or, "You've got
these critical issues

and these minor issues,

and you need to fix,
you know, the critical issues

and as many minor issues
as you can and resubmit."

And, yeah,
and then it hits the streets.

People either love it
or hate it,

most of the time both.

You get--you know,
you get both ends

no matter how good your game is.

And you sort of have to--
you roll with the punches,

you let people say
their piece.

I look out today, things
have changed beyond belief.

Titles we saw,
1,000 man years

of programming art work
and design work went into them.

It's astonishing.

It's making a movie
times a thousand.

It is daunting.

I don't know why I do it.

(laughing)

The evolution of great
storytelling in video games

couldn't have come
at a better time.

It seems as if the technology
rose to the occasion

at precisely the right moment.

From the turn of the century
to now,

games have never looked better,

felt better or played better.

Enter the next-next generation.

*

* I'm feeling so good,
so incredible *

* Some sort of chemical
is spreading thick

around my brain *

* I've got the sun
and I won't let it go *

* It burns a fire in my veins

*

* Let's get out tonight

* You've got the fire,
I've got the fight *

* Whoa

* In my young blood

* Let's light up the dark

* You've got the fuel,
I've got the spark *

* Whoa

* In my young blood

* Our RPMs are in the red

* Driving closer to the edge

* Up on Flagstaff Road

* I still remember
what you said *

* "Are you living?"

* "Are you dead?"

* You better let me know

* Put on display
just like a cinema *

* Standing naked on the stage

* And I'm unashamed

* It's so easy to be cynical

* Let's turn around
and start again *

*

* Let's get out tonight

* You've got the fire,
I've got the fight *

* Whoa

* In my young blood

* Let's light up the dark

* You've got the fuel,
I've got the spark *

* Whoa

* In my young blood

* Oh

* Oh-oh-oh-oh-oh

* In my young blood

It's funny
because every few years,

the industry really kind of
reinvents itself,

whether that's
we figure out a new way

to give that experience
to players,

or there's a new piece
of hardware out there,

or some new technology,
some new interface.

There's always
that new challenge.

Right now is a really difficult
time for the industry.

We are in transition
of consoles,

and we are seeing--a lot
of the economic score cards

have come in about what games
do and do not make money

and which are the best
to be doing.

Honestly, it's so hard
to predict.

I mean, no one would predict
that the platforms

that are most popular
right now--

five years ago or ten years ago,
no one would have predicted

that that's what would be
the norm now.

Every new console generation
we get more and more horsepower,

and every console generation
there are people who say,

"Is this enough?"

"Okay, oh,
this is really awesome."

And then five minutes later,
"Eh,

guess it wasn't that awesome.

I need a new awesome thing,"
you know,

because we're just so spoiled
with it.

The medium has grown up
a lot from the early days.

I think part of it is that
we finally have the technology

to render characters
in a believable way.

As we look as a studio how
we're gonna evolve our new IP,

and moving into this next phase,
the next generation of consoles,

we're having to think
outside the box.

We're having to look
at how we set

the foundation
of a structure

for the next ten years.

*

I think at this point,
we're in

a pretty interesting
crossroads

in the history of games.

Publishers,
especially in companies,

are fairly risk averse
right now

because everybody foresees
a big change happening

and nobody knows what it is.

I often compare
indie developers

and big huge studios

to a couple of guys
in a Zodiac raft

and an entirely
fully-loaded battleship.

Each one has
its own strengths,

and I think
where the indie guys

literally and figuratively
run circles

around the big publishers

is that they're
a lot more mobile.

They don't have to make
as many complicated,

boardroom-based decisions.

They can focus on the kind of
game that they want to make,

and because of things
like Steam,

they can take their game,
make it awesome,

and then get it directly
to players

who then spread the existence
of their game

because they love it so much

that they're telling
other people about it,

they're sharing it on forums,

they're giving it
to their friend lists,

and they don't really need
to make that investment

of ridiculous amounts of money
on advertising and marketing.

The AAA games have beautiful
graphics, big budgets,

incredible art teams,

but that's not always
necessarily

what makes a great game.

Really, whenever a platform has
opened itself up

to allow hobbyists
to be able to create products,

you get incredible amounts
of innovation.

The interesting thing
about that

is when you get to a team
of like 200 people,

the ability to innovate
is pretty much zero.

You have to basically go with
what was designed originally,

and that's what
the game becomes.

The smaller the team,
the more you can discover

the really important
flashes of lightning

and flashes of insight
that happen

after large parts
of the game are done.

And then you're like,
"Oh, you know,

what would be really cool
is in this section

and that section
if we could do this."

You know, and if you have
a 200-person team,

you can't pivot
on a dime like that,

you have to be like,
"Well, that would be nice,

but we don't have time
and we have to get done."

I do think that there's like
a revolution afoot in gaming

where people are interested
in finding those games

that have more
character and soul

than what they've
experienced before.

A large game developer might
not be able to take big risks

on a virtual reality title
that only works in VR

and really utilizes it.

But in indie,
they're driven by passion,

by wanting to make
the best game possible.

They're usually
not sitting there saying,

"How can I make something
that really gives me

a nice return
on investment?"

And I think that
that's going to become

more and more important
in the game space

in the coming years.

*

*

*

*

*

Where do we go from here?

Many think
that when it comes

to the next-next generation
of the campfire,

the traditional
game controller

tied to a screen
gameplay experience

may have
its limitations.

One of the things
I'm most excited about

is virtual reality.

I think a lot of us can remember
back in the early '90s

when movies like
The Lawnmower Man came out

and VR was gonna be
the next big thing,

and it never really was
'cause the headsets

were big and clunky,
the graphics were crappy.

Well, thanks to recent advances
in smartphone technology

and screens
and tracking devices,

VR is set for a big comeback.

I didn't
actually start out

to create
a virtual reality headset,

I set out to buy
a really nice one.

So I tried buying all manner
of different head mounts,

and none of them
was really what I wanted

for playing video games
immersively.

And so I said,
"Oh, shoot, well,

it looks like I'm gonna have
to actually try to make my own."

And I actually found
that it was something

that there was
a lot of technology

that had advanced
over the last few years

and it was actually something
that was finally possible to do.

How do you walk around
in a virtual world?

How do you physically move
in a natural way

beyond just sitting down
and using a keyboard and mouse?

That's why
we developed the Omni.

It's an interface
that allows you to walk

and move freely and naturally
in your favorite game.

*

Well, when you
break it all down,

I hope we never get rid
of the kind of gaming

where I just get
to sit on a couch

and push some buttons
for a while.

*

Could those
early pioneers,

whose ideas eventually
gave birth to an industry,

have guessed what it
one day would become?

*

Would it be foreign to them?

Or did they have a feeling
from the beginning

that the ideas
and creativity

of each generation
of new designers and artists

would forever reinvent
the medium?

*

You know,
back when we were

working on games
on the Atari 800,

I think people would
have laughed if you said,

"This is gonna be
a meaningful art form

and it's gonna be
in The Smithsonian one day."

I never thought
it would amount to anything.

Nolan was
running around saying,

"Oh, it's gonna be
a big industry!

We're gonna sell
millions of games

and it's gonna take over!"

And I fully expected
that Atari was gonna fail

until the day
Nolan and Joe

came back from
visiting Warner.

He informs us they want to pay
this money for us, you know,

like 20 million
or 30 million dollars.

It was like, "What?"

The amazing thing for us,
you know,

back in the early days,
is we envisioned this.

We really did
look forward to a day

where video games would
be interactive movies,

would look like
interactive movies.

And, I mean,
we are there.

The spirit of curiosity
and invention

that was there
at the industry's creation

is still its driving force.

*

Today's game designers
continue to give audiences

new and fresh interpretations
of classic stories.

What began as a single pixel
has now redefined

what storytelling is
for the 21st century and beyond.

The future of games
inherently gets tied up

into the future of technology
in a lot of ways.

And it's really hard to know
beyond a couple of years

where technology
is gonna go.

We have a faster rate
of invention

than probably
any medium before it.

I think video games
in the next 30 to 40 years

are going
to be unimaginable,

where you can't tell
fantasy from reality

and you can live the dream that
you've always wanted to live.

They have a lot
of really intelligent people

becoming intelligent
through the use of this stuff.

Video games, I feel like, are
inching towards the holodeck,

because that's the end goal
is to have to be

as much like real life
as possible.

Couldn't the whole world
just be digitized

and that make it an easier,
safer, and better place?

I could see us
getting there,

and getting there quick.

What is the ineffable
sort of characteristics

that make real life
important?

I think this
is what video games

are going to start challenging
in the next 20 years.

*

The size and scope of
the modern video game industry

might well be far beyond
the greatest expectations

of the men
who began it.

But games will continue to be
created as they always have,

by drawing on
history and culture,

imagination and technology,

to deliver stories
and experiences

that delight and challenge
generations to come,

whatever form
the games may take.

*

I think that's why a lot
of "nerds" play video games

because we have it pretty tough,
we don't quite fit in.

But in a game,
we always fit in.

Always.

Even though
I make them every day,

even though
I play broken games

for years
before they're perfect

and we put them on a shelf,
and, you know,

there's so many issues
that go along with that,

I still have the capability
of being transported back

to that little kid
wrapped in a blanket

staying up
way too late

sitting in front
of a tiny television,

obsessed.

And I really,
really wanna give that

to another
eight-year-old kid

and have him
feel the same thing

thirty years from now
as well.

It's the same reason
that kids

play cowboys and Indians
when they're young

or you saw Star Wars,
you wanted to be that.

It's fantasy fulfillment,

and being able to do
fantasy fulfillment

on the level
of fully interactive worlds

that you can explore
and get lost in.

It was
how to get my game

to delight as many people
as possible.

And it's coming back
to this fundamental thing

that we do
in the games industry

is delight people,
is entertain people.

You know, I used to say
to people, you know,

"Someday everybody'll
be a gamer."

And, you know, that was
like an aspirational thing.

Now I can't even use that line
anymore because everybody--

'cause it's like, duh,
well, everybody is.

There is something
which we never expected,

which was an assumption
you'd have in the film industry

to some degree,
that you'd make a film

and people could
archive the film

and see it decades
or hundreds of years later.

In the game industry, I never
thought that would be the case.

And seeing people who are
still loving these old games

means that they'll
probably be surviving

for decades to come
in some form or another.

*

There are a lot of people
that have dreams.

I like to say everyone
who has ever had a shower

has had a good idea.

It's the people who dry off
and do something about them

that make the difference.

I think the world
is way too interesting

to dwell on your past.

And I'm proud
of my participation

in this industry,

but I think that what
is really more remarkable

is how we can take
all the things we've learned

and push it
yet one step further.

*

*

* You know I said it's true

* I can feel the love,
can you feel it too *

* I can feel it ah-ah

* I can feel it ah-ah

* You know I said it's true

* I can feel the love,
can you feel it too *

* I can feel it ah-ah

* I can feel it ah-ah-ah-ah

*

* You know I said it's true

* You know I said,
I said, I said *

*

* You know I said it's true

* You know I said,
I said, I said *

*

* You know I said it's true

* I can feel the love,
can you feel it too *

* I can feel it ah-ah

* I can feel it ah-ah

* You know I said it's true

* I can feel the love,
can you feel it too *

* I can feel it ah-ah

* I can feel it ah-ah

* Na-na-na-na

* No, oh, oh, yeah

* No, no, no, no,
all right*

*

*

* I gotta tell you

*

* I gotta tell you

* Tell you

* I gotta tell you

* Tell you

*

* I gotta tell you

* Tell you

* Tell you

* Tell you

*

* You know I said it's true

* You know I can feel it too

* I can feel it now

* I can feel it now

* You know I said it's true

* I can feel the love,
can you feel it too *

* I can feel it ah-ah

* I can feel it ah-ah

* You know I said it's true

* I can feel the love,
can you feel it too *

* I can feel it ah-ah

* I can feel it ah-ah

* You know I said it's true

* I can feel the love,
can you feel it too *

* I can feel it ah-ah

* I can feel it ah-ah

*

* I can feel it,
I can feel it *

* I can feel it,
can you feel it too *

*

* Too

* Too

* Ah

* Ah

*

I can still remember
some of the music.

(imitates game music)

I think my favorite memory
from playing video games

was when I first played
Bonk's Adventures.

The one with the TIE fighter
and the one with

the motorcycle things.

*

BurgerTime.
I loved BurgerTime.

Oh, Crystal Castles!
Ghosts 'n Goblins.

I would close my eyes
and see falling Tetris blocks

and that's when I knew
Tetris was going to be

my favorite video game
of all time.

(imitating game sounds)

And the elevators.

(imitating game sounds)

It's something my family and I
have always bonded over.

It's the common topic
around dinner tables,

and it's molded and sculpted
my life into what it is today.

My wife is kinda like my mom
when it comes to video games.

She tries to regulate
how much I play.

First game that I actually
remember playing was Pitfall!

for the Atari 2600.

It's from that point on that
I had a special place

in my heart
as a gamer.

And also, the Atari had
so many problems.

Like, if it got dusty,
your games didn't work,

so you'd have to blow
on the games

and bang the games.

-This is really cool.
-Excuse me.

Being an engineer,

I think this place needs
more cross bracing.

One of my favorite gaming
memories ever

is the first year that I signed
up for Extra Life.

and in the first year
I raised over 1,000 dollars

for the children's hospital
of my choice

and it made me so proud
to be a gamer.

(imitating game music)

Thank you.

And playing
Return to Castle Wolfenstein

and met a lot of great guys
during that,

some I still consider friends

even though I've never met
them in real life.

Wherever the industry
takes us next,

I will definitely
be there for the ride.

Gamer forever.

People kill each other
at a toy store

in order to get
that Nintendo 64 game.

I'm one of those people.

*

*

I'm in space.

The end.