Video Games Quotes

Quotes tagged as "video-games" Showing 1-30 of 112
Terry Pratchett
“Over the centuries, mankind has tried many ways of combating the forces of evil... prayer, fasting, good works and so on. Up until Doom, no one seemed to have thought about the double-barrel shotgun. Eat leaden death, demon...”
Terry Pratchett

Demetri Martin
“I like video games, but they're really violent. I'd like to play a video game where you help the people who were shot in all the other games. It'd be called 'Really Busy Hospital.”
Demetri Martin

Marcus Brigstocke
“If Pac-Man had affected us as kids, we'd all be running around in dark rooms, munching pills and listening to repetitive electronic music.”
Marcus Brigstocke

Haruki Murakami
“My peak? Would I even have one? I hardly had had anything you could call a life. A few ripples. some rises and falls. But that's it. Almost nothing. Nothing born of nothing. I'd loved and been loved, but I had nothing to show. It was a singularly plain, featureless landscape. I felt like I was in a video game. A surrogate Pacman, crunching blindly through a labyrinth of dotted lines. The only certainty was my death.”
Haruki Murakami, Dance Dance Dance

Ridley Pearson
“Always trust computer games.”
Ridley Pearson

Henry Jenkins
“The worst thing a kid can say about homework is that it is too hard. The worst thing a kid can say about a game is it's too easy.”
Henry Jenkins

Jane McGonigal
“A game is an opportunity to focus our energy, with relentless optimism, at something we’re good at (or getting better at) and enjoy. In other words, gameplay is the direct emotional opposite of depression.”
Jane McGonigal, Reality is Broken: Why Games Make Us Better and How They Can Change the World

Jane McGonigal
“Reality is broken. Game designers can fix it.”
Jane McGonigal

Tom Bissell
“We are no longer worried that children are missing school because of video games, though. We are worried that they are murdering their classmates because of video games.”
Tom Bissell

John Darnielle
“In video games you sometimes run into what they call a side quest, and if you don't manage to figure it out you can usually just go back into the normal world of the game and continue on toward your objective. I felt like I couldn't find my way back to the world now: like I was somebody locked in a meaningless side quest, in a stuck screen.”
John Darnielle, Wolf in White Van

Gordon Freeman

Joel Salatin
“I saw a news report recently that measured average video game use by American men between the ages of twenty-five and thirty-five: twenty hours per week. Do you mean the flower of America's masculinity can't think of anything more important to do with twenty hours a week than sit in front of a video screen? Folks, this ain't normal. Can't we unplug already?”
Joel Salatin, Folks, This Ain't Normal: A Farmer's Advice for Happier Hens, Healthier People, and a Better World

Thomas Pynchon
“Only the framing material," Lucas demurely, "obvious influences, Neo-Tokyo from Akira, Ghost in the Shell, Metal Gear Solid by Hideo Kojima, or as he's known in my crib, God.”
Thomas Pynchon, Bleeding Edge

Jonathan Maberry
“She looked like a character from a video game. One of those improbably busty, impossibly well-armed superchicks who could do acrobatics and hit the kill zone even while firing guns from both hands during a cartwheel.

"You look fucking ridiculous," she told herself.”
Jonathan Maberry, Dead of Night

Gillian Flynn
“Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl.”
Gillian Flynn, Gone Girl

Austin Grossman
“Computers had their origin in military cryptography—in a sense, every computer game represents the commandeering of a military code-breaking apparatus for purposes of human expression.”
Austin Grossman, You

“Hard fun is, of course, the idea that we take pleasure in accomplishing something difficult: the joy in meeting and mastering a challenge. As a result, when someone is doing something that is hard fun, moment by moment it looks more like "work" than "fun," but the net effect is pleasurable overall.”
David Williamson Shaffer

David J. Schow
“The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.'

'Oh my God... said Jonathan, his mouth stalling the open position.

'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")”
David J. Schow, Seeing Red

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

Salman Rushdie
“Rashid did not give in. "Look how his hands move on the contols," he told her. "In those worlds left-handedness does not impede him. Amazingly, he is almost ambidextrous." Soraya snorted with annoyance. "Have you seen his handwriting?" she said. "Will his hedgehogs and plumbers help with that? Will his 'pisps' and 'wees' get him through school? Such names! They sound like going to the bathroom or what." Rashid began to smile placatingly. "The term is consoles," he began but Soraya turned on her heel and walked away, waving one hand high above her head. "Do not speak to me of such things," she said over her shoulder, speaking in her grandest voice. "I am in-console-able.”
Salman Rushdie, Luka and the Fire of Life

Tom Bissell
“Hocking was slender in the way that writers and musicians are sometimes slender: not out of any desire or design but rather because his days were spent being consumed rather than consuming.”
Tom Bissell, Extra Lives: Why Video Games Matter

“Games were not just a diversion, I realized. Games could make you feel. If great literature could would its power through nothing but black squiggles on a page, how much more could be done with movement, sound, and color?”
Sid Meier, Sid Meier's Memoir!: A Life in Computer Games

Aaron Clarey
“The seven billion people on the plane don't give a fuck what you want. They want you to program code for cool video games, they want you hot young girls to do porn, and they want you guys to like go build engineering and other stuff to make their lives easier. And they want food... and they want it fast.”
Aaron Clarey

“I need to go marry my wife, so I can beat her to death.”
Aaron Kyle Andresen

“I was speaking metaphorically,’ Eggor said, speaking laconically.”
Martin Adams, Sonic The Hedgehog In Robotnik's Laboratory

A.D. Aliwat
“Fuckin’ Call of Duty. Older generations actually went off to war and fought shit worth fighting for, meeting and overcoming horrors that made them into men; now less than 1 percent of Americans enlist and your average guy in his twenties, Ray included, would probably have a helluva lot more pride in their performance playing that particular, stupid franchise.”
A.D. Aliwat, In Limbo

“Tech helped to create this economy, and tech is what keeps it stable by giving us the greatest bread and circuses of all time. Casino owners discovered in the late 1980s that people who gambled on screens became addicted three to four times faster than those who gambled at tables. The rest of America had learned that lesson by 1992, when a third of homes had Nintendo systems. Men without jobs have video games the way men without girlfriends have pornography, and growing numbers of men are finding the substitute good enough to be going on with, declining to pursue either permanent employment or marriage. The historian David Courtwright calls this “limbic capitalism,” the redirection of America’s productive energies into inducing and servicing addictions.”
Helen Andrews, Boomers: The Men and Women Who Promised Freedom and Delivered Disaster

Adam Weishaupt
“Our world is full of submissive activities. Shopping is submissive. You wander around buying the things the controllers have placed in front of you. Watching TV is submissive. You watch fictional lives rather than live your own life. Playing video games is submissive. You sit there shooting up the world (in virtual reality), while having no impact at all on actual reality. It’s easy to be a virtual hero, hard to be a real one. One involves no work, and the other is as hard as it gets. Video games are an avoidance of the real world. Voting is submissive too – you delegate your authority to one of the puppets of the controllers. Dominants are active, not passive. They DO. They ACT. They MOVE. They CHOOSE. They DECIDE. They are NOT CONTROLLED by the system. They are FREE. So, what are you?”
Adam Weishaupt, Christianity: The Devil's Greatest Trick

Adam Weishaupt
“What is “virtual reality”? It’s where people HIDE from real reality. What is the spectacular society? It’s where people watch other people having the spectacular life of which they dream. Why don’t they try to make it happen FOR REAL? There’s no high higher than REAL highs. There’s nothing better than being a real hero, not a fantasy hero. Ironically, all the spectacular people are a crashing disappointment in real life. They don’t have their scriptwriters with them to give then something clever and witty to say. They don’t have their make-up artists with them or the airbrushers or digital image enhancers that make them look so good on screen.”
Adam Weishaupt, The Revolt of the Spectacular Society

A.D. Aliwat
“There are no real breaks in video games—no rooms or lounges where the characters go to chill for a bit, reflect on the previous level, take a load off. Depending on the game, you might have to restock inventory, or there could be something text- or scene-based that suspends play to move the story along. But otherwise it’s always a smash cut to the next challenge.”
A.D. Aliwat, In Limbo

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