Instruct: Given a question, retrieve passages that can help answer the question.
Query: What was the first video game?
The history of video games spans a period of time between the invention of the first electronic games and today, covering a long period of invention and changes. Video gaming reached mainstream popularity in the 1970s and 1980s, when arcade video games, gaming consoles and home computer games were introduced to the general public. Since then, video gaming has become a popular form of entertainment and a part of modern culture in most parts of the world. The early history of video games, therefore, covers the period of time between the first interactive electronic game with an electronic display in 1947, the first true video games in the early 1950s, and the rise of early arcade video games in the 1970s (Pong and the beginning of the first generation of video game consoles with the Magnavox Odyssey, both in 1972). During this time there were a wide range of devices and inventions corresponding with large advances in computing technology, and the actual first video game is dependent on the definition of "video game" used.
This was also the first involvement of Nintendo in video games. According to Martin Picard in the "International Journal of Computer Game Research": "in 1971, Nintendo had -- even before the marketing of the first home console in the United States -- an alliance with the American pioneer Magnavox to develop and produce optoelectronic guns for the Odyssey (released in 1972), since it was similar to what Nintendo was able to offer in the Japanese toy market in 1970s".
This standard treats the whole game as a singular component but does not define what would be covered by such a protection and what would be excluded. WIPO had recognized the complexity inherent in copyrighting video games, saying: "Although Article 2 of the Berne Convention provides a solid basis for eligibility for protection of video games by copyright, they are in fact complex works of authorship, potentially composed of multiple copyrighted works." WIPO has also stated in one of its reports that "there is no clear classification of video games and their protection will vary depending on each particular game and the elements that are part of it. In this sense, video games can be treated as computer programs and, thus, are classified as works of authorship; in that case, the source code for a video game is classified as a literary work. If pictorial or graphic authorship predominates, a video game may be classified as a visual arts work. Similarly, if motion picture or audiovisual authorship predominates, a video game may be classified as a motion picture/audiovisual work."
At the time of the hearings, video games were not established as a protected form of speech covered under the First Amendment to the United States Constitution, though Lieberman and others had stated their concerns about First Amendment rights through censoring violent games and sought the ratings approach. Since the formation of the ESRB, attempts had been made by lawmakers at federal and state levels to restrict video game sales by their ESRB rating, principally in regards to their level of violence. In a landmark case in 2011, the Supreme Court of the United States ruled in "Brown v. Entertainment Merchants Ass'n" that video games are an art form, protected by the First Amendment. The ruling found that while states can pass laws to block the sale of "obscene" video games to minors, violence would not fall within the Miller test of what is considered obscene. 
Video game programmer Tim Sweeney, at the time attending the University of Maryland, first developed "ZZT" as a text editor that ran in Pascal. However, after experimenting with ASCII characters, Sweeney designed his first levels for what would become a video game. The game took around nine months to develop, and was released in October 1991.
Annapurna Interactive published its first video game "What Remains of Edith Finch" on April 25, 2017. "What Remains of Edith Finch" received "universal acclaim" on PC and "generally positive" reviews on PS4, according to video game review aggregator Metacritic. The publisher has also provided funding and publication support for "The Artful Escape" by Beethoven & Dinosaur, "Ashen" by Aurora44 and Gorogoa by Jason Roberts.
Many have pointed out that this lack of diversity within the industry has contributed to a lack of representation within video games themselves. Dennis Mathews, a game designer at Revelation Interaction Studios, suggests that the exclusion of non-white game developers leads to stereotyping within video game development and marketing. Developer prejudices impact who counts as a game's target audience, leading many developers to pigeonhole or ignore non-white gamers. As Mathews puts it, "Those stereotypes tie into publisher decisions of what games get picked up and what should be put into games."
Lara Croft's 1996 debut is often cited as a catalyst for more female leads in video games. Kaiser Hwang of "PlayStation Magazine" commented that she "brought girl power" to video games. IGN argued that Croft helped redefine gender in video games by providing a different interpretation of what women could do. Several publications have used her as the standard to which later female video game characters have been compared. Video game publications like "PlayStation Magazine", IGN, "Edge", and "PlayStation: The Official Magazine" have labelled the character a video game and cultural icon. Jeremy Smith credits Croft with exposing the "Tomb Raider" games and video games in general to a wider audience. "Computer and Video Games" commented that Croft's appearance on the cover of "The Face" signalled a change in the perception of video games from "geeky" to mainstream. The character is honoured in the British city Derby, previous home to Core Design. In 2007, Radleigh Homes placed a blue plaque for Croft at the site of Core Design's former offices, now a block of flats. The Derby City Council opened a public vote in 2009 to name its new ring road. The winning choice, with 89% of over 27,000 votes, was "Lara Croft Way", and opened in July 2010.
Yahoo! Movies and IGN credit Jolie's role in the first "Tomb Raider" film with significantly raising her profile and propelling her to international super-stardom, respectively. Jolie commented that young children would ask her to sign objects as Lara Croft. After filming for the first movie at the Cambodian temple Ta Prohm, the local inhabitants called it the "Angelina Jolie Temple" and local restaurants served Jolie's favourite alcoholic beverage advertised as "Tomb Raider cocktails". IGN's Jesse Schedeen described Croft as one of few characters to receive a decent videogame-to-movie adaptation. By 2008, the first "Tomb Raider" movie was the highest-grossing video game movie and the largest opening ever for a movie headlined by a woman. It became the second highest-grossing video game movie in 2010, after the release of "".
Kaufman was born on April 3, 1981. He dropped out of high school, with what he describes as "a total lack of work ethic and no concept of timeliness or organization." He spent the next few years composing arrangements and remixes of video game music under the alias "virt". In 2000, Kaufman broke into the video game industry as a composer, with his first work being the Game Boy Color port of "Q*bert". Over the next few years, he composed the music to several Game Boy Color and Game Boy Advance games. In 2002, Kaufman was one of the co-founders of the website VGMix, which hosted video game music remixes.
In the description of the video, they said,"After seeing that the White House produced a video depicting video games as ultra-violent, we felt compelled to share a different view of games. Video games, their innovative creators and the vast community of players are so much more than what is depicted in the White House’s video. We wanted to create our own version, at the same length, to challenge the White House’s misdirected blame being placed upon video games. To all you game developers and players who create and enjoy games – this is for you! #GAMEON"
Gutman was a magazine editor and columnist. While editor-in-chief of "Stag", he became a fan of video games and launched a video-game magazine. Gutman became the first employee of "Video Game Player" (later "Computer Games") in 1982. He said, "I started a magazine about video games and suddenly I was an expert in video games. I started writing about them and computers. All for grownups. It took me a long time to realize that writing for grownups was not my thing. It took me a long time to realize that what I was good at was writing for kids." His column appeared regularly in various computer-related magazines, such as "Genie" Livewire.
"Game Over" (the title was inspired by the phrase "game over" that commonly concludes video games whether the player loses or finishes the game, depending on which video game he or she plays) focused on what happens to video game characters after the game ends. The show recounted the lives of the Smashenburns, a far-from-ordinary suburban family that lives in an alternate video game universe.
"Waypoint" deemed the game a "painfully accurate satire of the role video game writing takes place in video games." "Ars Technica" deemed it a "gripping, well-constructed work" and outlined what it saw as the game's thesis statement: "No one sets out to make a bad game, but bad games still get made all the time." Meanwhile, "Rock, Paper, Shotgun" felt it was a "mix of sharp social observation and collective embarrassment". "Kill Screen" compared the game's keen sense of auteur status to those of "Cibele", "The Beginner's Guide", and "Emily Is Away", and further described it as a "PTSD flashback" with circular arguments and no clear solution. "Wired" suggested that to video game players, this is a clever way for them to break their rose-tinted glasses of how their favourite games get made. "Gamasutra" noted that while there are practical guides, blogs and talks available to teach aspiring writers how to write video games, this is a rare interactive experience that demonstrates what it is actually 'like' to write a video game, likening it to "Empathy Machines" as defined by Liz England.
"Blockade" is the first of what would become known as snake games.
CellFactor: Revolution is a first-person shooter video game developed by Timeline Interactive, Artificial Studios and Immersion Games. It was released on May 8, 2007, for Microsoft Windows. The game was designed to show off what AGEIA PhysX cards are capable of. The cards are designed for physics processing, which allows the video games that use them to have a physics based gameplay.
In a retrospective focusing on the entire "Metroid" series, GameTrailers remarked on the original game's legacy and its effect on the video game industry. They noted that starting with "Metroid", search and discovery is what continues to make the franchise popular. The website felt that the combination of detailed sprites, original map designs, and an intimidating musical score "generated an unparalleled ambience and atmosphere that trapped the viewer in an almost claustrophobic state". They also noted that the Morph Ball, first introduced in "Metroid", "slammed an undeniable stamp of coolness on the whole experience and the franchise", and they enjoyed the end segment after defeating Mother Brain, claiming that the race to escape the planet Zebes was a "twist few saw coming". The game brought "explosive action" to the Nintendo Entertainment System and a newfound respect for female protagonists. Noting that "Metroid" was not the first game to offer an open world, nor was it the first side-view platformer exploration game, and neither was it the first game to allow players to reach new areas using newly acquired items, Gamasutra praised "Metroid" for being perhaps the first video game to "take these different elements and rigorously mold them into a game-ruling structure".
Learning language from video games, it is argued, is a contextual process. Gamers playing a game that has text and audio in a language other than their own (e.g., an English-speaking player playing a Japanese game) can draw on the context of the game to help them understand what is being said or written within the game. Many video games use repetition in their commands and this enables the player to recognize these words and come to understand what they mean and represent over time. Games transform the learning process from a passive task to one in which individuals engage actively in the experience of learning by focussing first on meaning. Computer games, researchers' argue, supply authentic environments for language learning, complete with ample opportunities for students to develop and test their emerging target language knowledge.
What They Play was a video game-centric website aimed at helping parents learn about content in video games, helping them decide what games their children should play. It was the first of several websites to launch under "What They Like, Inc.", other sites featuring books, movies and music followed.
Throughout the rest of the 1960s, digital computer games were created by increasingly numerous programmers and sometimes sold commercially in catalogs. As the audience for video games expanded to more than a few dozen research institutions with the falling cost of computers, and programming languages that would run on multiple types of computers were created, a wider variety of games began to be developed. Video games transitioned into a new era in the early 1970s with the launch of the commercial video game industry in 1971 with the display of the coin-operated arcade game Galaxy Game and the release of the first arcade video game Computer Space, and then in 1972 with the release of the immensely successful arcade game Pong and the first home video game console, the Magnavox Odyssey, which launched the first generation of video game consoles.
What Video Games Have to Teach Us About Learning and Literacy is a book by James Paul Gee that focuses on the learning principles in video games and how these principles can be applied to the K-12 classroom. Video games can be used as tools to challenge players, when they are successful. They motivate players to persevere and simultaneously teach players how to play the game. These games give a glimpse into how one might create new and more powerful ways to learn in schools, communities, and workplaces. Gee began his work in video games by identifying thirty-six learning principles that are present in—but not exclusive to—the design of good video games. He further argues for the application of these principles into the classroom environment. "What Video Games Teach Us about Learning and Literacy" is a call to educators, teachers, parents and administrators to change the approach to pedagogy.
Antix is a video game developed by Dmitry Pavlovsky, one of the original developers of the video game "Tetris", and realized in 1985.". The game was named "Antix" by Dmitry, what is short for "Antixonix", because it was a version of a game "Xonix".
A video game is a type of game which is played on a TV, computer, or mobile phone. Video games are involving Latin American communities more and more. This page talks about populations of Latin America and Latino gamers: What games they like to play? Do they play on their computers and or cell phones? And what video games affect Latin American populations. Moreover, what about gender and age affects gamers? And what are the differences to white gamers? What does this mean to show the different culture of Latino Americans?
"Game Developer"'s most popular feature was probably its monthly "Postmortem" column which discusses the recent development of a video game with the top five each of "What Went Right" and "What Went Wrong". It provided a frank, first-hand account of the lessons learned in the development process. The first Postmortem was featured in October 1997 and written by Andre Vrignaud on "Dark Sun Online".
Anthropy's first book, "Rise of the Videogame Zinesters", was published in 2012. In an interview at the time of its release, Anthropy said it promotes the idea of "small, interesting, personal experiences by hobbyist authors ... "Zinesters" exists to be a kind of ambassador for that idea of what video games can be." The book also deals with a detailed analysis of the mechanics and potentialities of digital games, including the idea that games can be more usefully compared to theater than film (Anthropy: "There is always a scene called World 1-2, although each performance of World 1-2 will be different") and the role of chance in games. Anthropy also criticizes what she refers to as the video game industry being run by the corporate "elite" which design video games to be formulaic and do not take creative risks. "Zinester" wants consumers to see video games as having "cultural and artistic value" similar to artistic mediums such as comic books. The video game industry being run by "elites" does not allow for a diverse cast of voices, such as queer voices, to give their input in game development and design and stifles the creative process. As Anthropy puts it, "I have to strain to find any game that's about a queer woman, to find any game that resembles my own experience."
A video previewing a possible album track was uploaded to Mudvayne's MySpace profile on July 16, 2008. A second video appeared on the profile on August 19 showing Gray tracking vocals. The second video was later made a feature on the band's official website. On September 16, 30-second previews of "Fish Out of Water," "A New Game" and "Do What You Do" were made available for streaming on the profile. The first single, "Do What You Do," first received airplay on September 23. Mudvayne also shot a video for "A New Game" and released a second single to radio, "Scarlet Letters," that was first broadcast on March 9, 2008.