Video game graphics
A variety of computer graphic techniques have been used to display video game content throughout the history of video games. The predominance of individual techniques have evolved over time due to hardware advances and restrictions such as the processing power of central or graphics processing units; some of the earliest video games were text games or text-based games that used text characters instead of bitmapped or vector graphics. Examples include MUDs, where players could read or view depictions of rooms, other players, actions performed in the virtual world; some of the earliest text games were developed for computer systems which had no video display at all. Text games are easier to write and require less processing power than graphical games, thus were more common from 1970 to 1990. However, terminal emulators are still in use today, people continue to play MUDs and explore interactive fiction. Many beginning programmers still create these types of games to familiarize themselves with a programming language, contests are held today on who can finish programming a roguelike within a short time period, such as seven days.
Vector graphics refers to the use of geometrical primitives such as points and curves instead of resolution-dependent bitmap graphics to represent images in computer graphics. In video games this type of projection is somewhat rare, but has become more common in recent years in browser-based gaming with the advent of Flash and HTML5 Canvas, since these support vector graphics natively. An earlier example for the personal computer is Starglider. Vector game can refer to a video game that uses a vector graphics display capable of projecting images using an electron beam to draw images instead of with pixels, much like a laser show. Many early arcade games used such displays, as they were capable of displaying more detailed images than raster displays on the hardware available at that time. Many vector-based arcade games used full-color overlays to complement the otherwise monochrome vector images. Other uses of these overlays were detailed drawings of the static gaming environment, while the moving objects were drawn by the vector beam.
Games of this type were produced by Atari and Sega. Examples of vector games include Asteroids, Armor Attack, Lunar Lander, Space Fury, Space Wars, Star Trek, Tac/Scan and Zektor; the Vectrex home console used a vector display. After 1985, the use of vector graphics declined due to improvements to sprite technology. Full motion video games are video games that rely upon pre-recorded television- or movie-quality recordings and animations rather than sprites, vectors or 3D models to display action in the game. FMV-based games were popular during the early 1990s as CD-ROMs and Laserdiscs made their way into the living rooms, providing an alternative to the low-capacity ROM cartridges of most consoles at the time. Although FMV-based games did manage to look better than many contemporary sprite-based games, they occupied a niche market; as a result, the format became a well-known failure in video gaming, the popularity of FMV games declined after 1995 as more advanced consoles started to become available.
A number of different types of games utilized this format. Some resembled modern music/dance games, where the player timely presses buttons according to a screen instruction. Others included early rail shooters such as Surgical Strike and Sewer Shark. Full motion video was used in several interactive movie adventure games, such as The Beast Within: A Gabriel Knight Mystery and Phantasmagoria. Games utilizing parallel projection make use of two-dimensional bitmap graphics as opposed to 3D-rendered triangle-based geometry, allowing developers to create large, complex gameworlds efficiently and with few art assets by dividing the art into sprites or tiles and reusing them repeatedly. Top-down perspective sometimes referred to in a while as bird's-eye view, Godview, overhead view or helicopter view, when used in video games refers to a camera angle that shows the player and the area around them from above. While not exclusive to video games that utilise parallel projection, it was at one time common in 2D role playing video games and construction and management simulation games such as SimCity, Pokémon, Railroad Tycoon, as well as in action and action-adventure games such as the early The Legend of Zelda and Grand Theft Auto games.
A side-scrolling game or side-scroller is a video game in which the viewpoint is taken from the side, the onscreen characters can only move, to the left or right. Games of this type make use of scrolling computer display technology, sometimes parallax scrolling to suggest added depth. In many games the screen follows the player character such that the player character is always positioned near the center of the screen. In other games the position of the screen will change according to the player character's movement, such that the player character is off-center and more space is shown in front of the character than behind. Sometimes, the screen will scroll not onl
Video game programmer
A game programmer is a software engineer, programmer, or computer scientist who develops codebases for video games or related software, such as game development tools. Game programming has many specialized disciplines, all of which fall under the umbrella term of "game programmer". A game programmer should not be confused with a game designer. In the early days of video games, a game programmer took on the job of a designer and artist; this was because the abilities of early computers were so limited that having specialized personnel for each function was unnecessary. Game concepts were light and games were only meant to be played for a few minutes at a time, but more art content and variations in gameplay were constrained by computers' limited power; as specialized arcade hardware and home systems became more powerful, game developers could develop deeper storylines and could include such features as high-resolution and full color graphics, advanced artificial intelligence and digital sound.
Technology has advanced to such a great degree that contemporary games boast 3D graphics and full motion video using assets developed by professional graphic artists. Nowadays, the derogatory term "programmer art" has come to imply the kind of bright colors and blocky design that were typical of early video games; the desire for adding more depth and assets to games necessitated a division of labor. Art production was relegated to full-time artists. Next game programming became a separate discipline from game design. Now, only some games, such as the puzzle game Bejeweled, are simple enough to require just one full-time programmer. Despite this division, most game developers have some say in the final design of contemporary games. A contemporary video game may include advanced physics, artificial intelligence, 3D graphics, digitised sound, an original musical score, complex strategy and may use several input devices and may be playable against other people via the Internet or over a LAN; each aspect of the game can consume all of one programmer's time and, in many cases, several programmers.
Some programmers may specialize in one area of game programming, but many are familiar with several aspects. The number of programmers needed for each feature depends somewhat on programmers' skills, but are dictated by the type of game being developed. Game engine programmers create the base engine of the game, including the simulated physics and graphics disciplines. Video games use existing game engines, either commercial, open source or free, they are customized for a particular game, these programmers handle these modifications. A game's physics programmer is dedicated to developing the physics. A game will only simulate a few aspects of real-world physics. For example, a space game may need simulated gravity, but would not have any need for simulating water viscosity. Since processing cycles are always at a premium, physics programmers may employ "shortcuts" that are computationally inexpensive, but look and act "good enough" for the game in question. In other cases, unrealistic physics are employed to allow easier gameplay or for dramatic effect.
Sometimes, a specific subset of situations is specified and the physical outcome of such situations are stored in a record of some sort and are never computed at runtime at all. Some physics programmers may delve into the difficult tasks of inverse kinematics and other motions attributed to game characters, but these motions are assigned via motion capture libraries so as not to overload the CPU with complex calculations. For a role-playing game such as World of Warcraft, only one physics programmer may be needed. For a complex combat game such as Battlefield 1942, teams of several physics programmers may be required; this title belonged to a programmer who developed specialized blitter algorithms and clever optimizations for 2D graphics. Today, however, it is exclusively applied to programmers who specialize in developing and modifying complex 3D graphic renderers; some 2D graphics skills have just become useful again, for developing games for the new generation of cell phones and handheld game consoles.
A 3D graphics programmer must have a firm grasp of advanced mathematical concepts such as vector and matrix math and linear algebra. Skilled programmers specializing in this area of game development can demand high wages and are a scarce commodity, their skills can be used for video games on any platform. An AI programmer develops the logic of time to simulate intelligence in opponents, it has evolved into a specialized discipline, as these tasks used to be implemented by programmers who specialized in other areas. An AI programmer may program pathfinding and enemy tactic systems; this is one of the most challenging aspects of game programming and its sophistication is developing rapidly. Contemporary games dedicate 10 to 20 percent of their programming staff to AI; some games, such as strategy games like Civilization III or role-playing video games such as The Elder Scrolls IV: Oblivion, use AI while others, such as puzzle games, use it sparingly or not at all. Many game developers have created entire languages that can be used to program their own AI for games via scripts.
These languages are less technical than the language used to implement the game, will be used by the game or level designers to implement the world of the game. Many studios make their games' scripting available to players
Warner Bros. Entertainment Inc. referred to as Warner Bros. and abbreviated as WB, is an American entertainment company headquartered in Burbank, California and a subsidiary of AT&T's WarnerMedia. Founded in 1923, it has operations in film and video games and is one of the "Big Five" major American film studios, as well as a member of the Motion Picture Association of America; the company's name originated from the four founding Warner brothers: Harry, Albert and Jack Warner. Harry and Sam emigrated as young children with their parents to Canada from Krasnosielc, Poland. Jack, the youngest brother, was born in Ontario; the three elder brothers began in the movie theater business, having acquired a movie projector with which they showed films in the mining towns of Pennsylvania and Ohio. In the beginning and Albert Warner invested $150 to present Life of an American Fireman and The Great Train Robbery, they opened their first theater, the Cascade, in New Castle, Pennsylvania, in 1903. When the original building was in danger of being demolished, the modern Warner Bros. called the current building owners, arranged to save it.
The owners noted people across the country had asked them to protect it for its historical significance. In 1904, the Warners founded the Pittsburgh-based Duquesne Amusement & Supply Company, to distribute films. In 1912, Harry Warner hired. By the time of World War I they had begun producing films. In 1918 they opened the first Warner Brothers Studio on Sunset Boulevard in Hollywood. Sam and Jack produced the pictures, while Harry and Albert, along with their auditor and now controller Chase, handled finance and distribution in New York City. During World War I their first nationally syndicated film, My Four Years in Germany, based on a popular book by former ambassador James W. Gerard, was released. On April 4, 1923, with help from money loaned to Harry by his banker Motley Flint, they formally incorporated as Warner Bros. Pictures, Incorporated; the first important deal was the acquisition of the rights to Avery Hopwood's 1919 Broadway play, The Gold Diggers, from theatrical impresario David Belasco.
However, Rin Tin Tin, a dog brought from France after World War I by an American soldier, established their reputation. Rin Tin Tin debuted in the feature; the movie was so successful. Rin Tin Tin became the studio's top star. Jack nicknamed him "The Mortgage Lifter" and the success boosted Darryl F. Zanuck's career. Zanuck became a top producer and between 1928 and 1933 served as Jack's right-hand man and executive producer, with responsibilities including day-to-day film production. More success came. Lubitsch's film The Marriage Circle was the studio's most successful film of 1924, was on The New York Times best list for that year. Despite the success of Rin Tin Tin and Lubitsch, Warner's remained a lesser studio. Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummel; the film was so successful. By the end of 1924, Warner Bros. was arguably Hollywood's most successful independent studio, where it competed with "The Big Three" Studios. As a result, Harry Warner—while speaking at a convention of 1,500 independent exhibitors in Milwaukee, Wisconsin—was able to convince the filmmakers to spend $500,000 in newspaper advertising, Harry saw this as an opportunity to establish theaters in cities such as New York and Los Angeles.
As the studio prospered, it gained backing from Wall Street, in 1924 Goldman Sachs arranged a major loan. With this new money, the Warners bought the pioneer Vitagraph Company which had a nationwide distribution system. In 1925, Warners' experimented in radio, establishing a successful radio station, KFWB, in Los Angeles. Warner Bros. was a pioneer of films with synchronized sound. In 1925, at Sam's urging, Warner's agreed to add this feature to their productions. By February 1926, the studio reported a net loss of $333,413. After a long period denying Sam's request for sound, Harry agreed to change, as long as the studio's use of synchronized sound was for background music purposes only; the Warners signed a contract with the sound engineer company Western Electric and established Vitaphone. In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore; the film was silent. To hype Don Juan's release, Harry acquired the large Piccadilly Theater in Manhattan, New York City, renamed it Warners' Theatre.
Don Juan premiered at the Warners' Theatre in New York on August 6, 1926. Throughout the early history of film distribution, theater owners hired orchestras to attend film showings, where they provided soundtracks. Through Vitaphone, Warner Bros. produced eight shorts in 1926. Many film production companies questioned the necessity. Don Juan did not recoup its production cost and Lubitsch left for MGM. By April 1927, the Big Five studios had ruined Warner's, Western Electric renewed Warner's Vit
Nonviolent video game
Nonviolent video games are video games characterized by little or no violence. As the term is vague, game designers and marketers that describe themselves as non-violent video game makers, as well as certain reviewers and members of the non-violent gaming community employ it to describe games with comparatively little or no violence; the definition has been applied flexibly to games in such purposive genres as the Christian video game. However, a number of games at the fringe of the "non-violence" label can only be viewed as objectively violent; the purposes behind the development of the nonviolent genre are reactionary in nature. As video quality and level of gaming technology have increased, the violent nature of some video games has gained worldwide attention from moral, political and medical/psychological quarters; the popularity of violent video games and increases in youth violence have led to much research into the degree to which video games may be blamed for societally negative behaviors.
Despite the inconclusive nature of the scientific results, a number of groups have rejected violent video games as offensive and have promoted the development of non-violent alternatives. The existence of a market for such games has in turn led to the manufacture and distribution of a number of games designed for the nonviolent gaming community. Video game reviewers have additionally identified a number of games belonging to traditionally violent gameplay genres as "nonviolent" in comparison to a typical game from the violent genre. Despite the fact that some of these games contain mild violence, many of them have entered the argot of nonviolent gamers as characteristic non-violent games. Controversies surrounding the negative influences of video games are nearly as old as the medium itself. In 1964, Marshall McLuhan, a noted media theorist, suggested in his book, Understanding Media: The Extensions of Man, that "he games people play reveal a great deal about them. " This was built upon in the early 1980s in an anti-video-game crusade spearheaded by the former Long Island PTA president, Ronnie Lamm, who spoke about her cause on the MacNeil/Lehrer NewsHour in December 1982.
The same year, Surgeon General, C. Everett Koop, had suggested that games had no merit and offered little in the way of anything constructive to young people. Despite early general claims of the negative effects of video games, effects of these concerns were minor prior to the early 1990s. Discussion of the impact of violence in video games came as early as 1976's Death Race arcade game. In the 1980s titles such as Exidy's Chiller, Namco's Splatterhouse and Midway's NARC raised concerns about video game violence in the arcade. Home games such as Palace's Barbarian featured the ability to decapitate opponents, it was not until graphic capabilities increased and a wave of new ultra-violent titles were released in the early 1990s that the mainstream news began to pay significant attention to the phenomenon. In 1992, with Midway's release of the first Mortal Kombat video game, in 1993 with id's Doom, genuine controversy was first ignited as the wide and growing popularity of violent video games came into direct conflict with the moral and religious ethics of concerned citizens.
Protests and game-bannings followed the publicizing of these conflicts, controversies would erupt periodically throughout the 1990s with the releases of such games as Dreamweb, Wolfenstein 3D, Mortal Kombat II, Duke Nukem 3D, Grand Theft Auto, Postal, Mortal Kombat 3, Carmageddon II: Carpocalypse Now, Blood II: The Chosen, Grand Theft Auto 2, Requiem: Avenging Angel among others. In April 1999, the fears of the media and violence-watch groups were legitimated in their eyes as investigations into the lives of Eric Harris and Dylan Klebold, the shooters in the Columbine High School massacre, revealed that they had been fans of the video game and had created levels for it today dubbed "the Harris levels". A great deal of discussion of violence in video games followed this event with strong arguments made on both sides, research into the phenomenon which had begun during the 1980s received renewed support and interest. In December 2001, Surgeon General David Satcher, led a study on violence in youth and determined that while the impact of video games on violent behavior has yet to be determined, "findings suggest that media violence has a small impact on violence," and that "meta-analysis the overall effect size for both randomized and correlational studies was small for physical aggression and moderate for aggressive thinking."Despite this, the controversies and debate have persisted, this has been the catalyst for the emergence of the non-violent video game genre.
Non-violent video games are defined in the negative by a Modus tollendo ponens disjunctive argument. In other words, in order to recognize a non-violent game, an identifier must recognize the violent game as a distinct class; this has led to a degree of ambiguity in the term as it relies upon a definition of violence which for different identifiers may mean different things. In general, violence may be placed into at least three distinct categories: Totally non-violent games – Games in which no violence occurs; this category contains games characterized by lack of the death of characters, lack of sudden noise or movement, lack of traditional conflict. Games in which the player acts non-violently – Games where violence occurs to the character-player
Video is an electronic medium for the recording, playback and display of moving visual media. Video was first developed for mechanical television systems, which were replaced by cathode ray tube systems which were replaced by flat panel displays of several types. Video systems vary in display resolution, aspect ratio, refresh rate, color capabilities and other qualities. Analog and digital variants exist and can be carried on a variety of media, including radio broadcast, magnetic tape, optical discs, computer files, network streaming. Video technology was first developed for mechanical television systems, which were replaced by cathode ray tube television systems, but several new technologies for video display devices have since been invented. Video was exclusively a live technology. Charles Ginsburg led an Ampex research team developing one of the first practical video tape recorder. In 1951 the first video tape recorder captured live images from television cameras by converting the camera's electrical impulses and saving the information onto magnetic video tape.
Video recorders were sold for US $50,000 in 1956, videotapes cost US $300 per one-hour reel. However, prices dropped over the years; the use of digital techniques in video created digital video, which allows higher quality and much lower cost than earlier analog technology. After the invention of the DVD in 1997 and Blu-ray Disc in 2006, sales of videotape and recording equipment plummeted. Advances in computer technology allows inexpensive personal computers and smartphones to capture, store and transmit digital video, further reducing the cost of video production, allowing program-makers and broadcasters to move to tapeless production; the advent of digital broadcasting and the subsequent digital television transition is in the process of relegating analog video to the status of a legacy technology in most parts of the world. As of 2015, with the increasing use of high-resolution video cameras with improved dynamic range and color gamuts, high-dynamic-range digital intermediate data formats with improved color depth, modern digital video technology is converging with digital film technology.
Frame rate, the number of still pictures per unit of time of video, ranges from six or eight frames per second for old mechanical cameras to 120 or more frames per second for new professional cameras. PAL standards and SECAM specify 25 frame/s. Film is shot at the slower frame rate of 24 frames per second, which complicates the process of transferring a cinematic motion picture to video; the minimum frame rate to achieve a comfortable illusion of a moving image is about sixteen frames per second. Video can be progressive. In progressive scan systems, each refresh period updates all scan lines in each frame in sequence; when displaying a natively progressive broadcast or recorded signal, the result is optimum spatial resolution of both the stationary and moving parts of the image. Interlacing was invented as a way to reduce flicker in early mechanical and CRT video displays without increasing the number of complete frames per second. Interlacing retains detail while requiring lower bandwidth compared to progressive scanning.
In interlaced video, the horizontal scan lines of each complete frame are treated as if numbered consecutively, captured as two fields: an odd field consisting of the odd-numbered lines and an field consisting of the even-numbered lines. Analog display devices reproduce each frame doubling the frame rate as far as perceptible overall flicker is concerned; when the image capture device acquires the fields one at a time, rather than dividing up a complete frame after it is captured, the frame rate for motion is doubled as well, resulting in smoother, more lifelike reproduction of moving parts of the image when viewed on an interlaced CRT display. NTSC, PAL and SECAM are interlaced formats. Abbreviated video resolution specifications include an i to indicate interlacing. For example, PAL video format is described as 576i50, where 576 indicates the total number of horizontal scan lines, i indicates interlacing, 50 indicates 50 fields per second; when displaying a natively interlaced signal on a progressive scan device, overall spatial resolution is degraded by simple line doubling—artifacts such as flickering or "comb" effects in moving parts of the image which appear unless special signal processing eliminates them.
A procedure known as deinterlacing can optimize the display of an interlaced video signal from an analog, DVD or satellite source on a progressive scan device such as an LCD television, digital video projector or plasma panel. Deinterlacing cannot, produce video quality, equivalent to true progressive scan source material. Aspect ratio describes the proportional relationship between the width and height of video screens and video picture elements. All popular video formats are rectangular, so can be described by a ratio between width and height; the ratio width to height for a traditional television screen is 4:3, or about 1.33:1. High definition televisions use an aspect ratio of 16:9, or about 1.78:1. The aspect ratio of a full 35 mm film frame with soundtrack is 1.375:1. Pixels on computer monitors are square, but pixels used in digital video have non-square aspect ratios, such as those used in the PAL and NTSC variants of the CCIR 601 digital video
Game design is the art of applying design and aesthetics to create a game for entertainment or for educational, exercise, or experimental purposes. Elements and principles of game design are applied to other interactions, in the form of gamification. Game design creates goals and challenges to define a board game, card game, dice game, casino game, role-playing game, video game, war game or simulation that produces desirable interactions among its participants and spectators. Academically, game design is part of game studies, while game theory studies strategic decision making. Games have inspired seminal research in the fields of probability, artificial intelligence and optimization theory. Applying game design to itself is a current research topic in metadesign. Sports and board games are known to have existed for at least nine thousand, six thousand, four thousand years. Tabletop games played today whose descent can be traced from ancient times include chess, go, backgammon, mahjong and pick-up sticks.
The rules of these games were not codified until early modern times and their features evolved and changed over time, through the folk process. Given this, these games are not considered to have had a designer or been the result of a design process in the modern sense. After the rise of commercial game publishing in the late 19th century, many games which had evolved via folk processes became commercial properties with custom scoring pads or preprepared material. For example, the similar public domain games Generala and Yatzy led to the commercial game Yahtzee in the mid-1950s. Today, many commercial games, such as Taboo, Pictionary, or Time's Up!, are descended from traditional parlour games. Adapting traditional games to become commercial properties is an example of game design. Many sports, such as soccer and baseball, are the result of folk processes, while others were designed, such as basketball, invented in 1891 by James Naismith. Technological advances have provided new media for games throughout history.
The printing press allowed packs of playing cards, adapted from Mahjong tiles, to be mass-produced, leading to many new card games. Accurate topographic maps produced as lithographs and provided free to Prussian officers helped popularize wargaming. Cheap bookbinding led to mass-produced board games with custom boards. Inexpensive lead figurine casting contributed to the development of miniature wargaming. Cheap custom dice led to poker dice. Flying discs led to Ultimate. Personal computers contributed to the popularity of computer games, leading to the wide availability of video game consoles and video games. Smart phones have led to a proliferation of mobile games; the first games in a new medium are adaptations of older games. Pong, one of the first disseminated video games, adapted table tennis. Games will exploit distinctive properties of a new medium. Adapting older games and creating original games for new media are both examples of game design. Game studies or gaming theory is a discipline that deals with the critical study of games, game design and their role in society and culture.
Prior to the late-twentieth century, the academic study of games was rare and limited to fields such as history and anthropology. As the video game revolution took off in the early 1980s, so did academic interest in games, resulting in a field that draws on diverse methodologies and schools of thought; these influences may be characterized broadly in three ways: the social science approach, the humanities approach, the industry and engineering approach. Broadly speaking, the social scientific approach has concerned itself with the question of "What do games do to people?" Using tools and methods such as surveys, controlled laboratory experiments, ethnography researchers have investigated both the positive and negative impacts that playing games could have on people. More sociologically informed research has sought to move away from simplistic ideas of gaming as either'negative' or'positive', but rather seeking to understand its role and location in the complexities of everyday life. In general terms, the humanities approach has concerned itself with the question of "What meanings are made through games?"
Using tools and methods such as interviews and participant observation, researchers have investigated the various roles that videogames play in people's lives and activities together with the meaning they assign to their experiences. From an industry perspective, a lot of game studies research can be seen as the academic response to the videogame industry's questions regarding the products it creates and sells; the main question this approach deals with can be summarized as "How can we create better games?" with the accompanying "What makes a game good?" "Good" can be taken to mean many different things, including providing an entertaining and an engaging experience, being easy to learn and play, being innovative and having novel experiences. Different approaches to studying this problem have included looking at describing how to design games and extracting guidelines and rules of thumb for making better games Game theory is a study of strategic decision making, it is "the study of mathematical models of conflict and cooperation between intelligent rational decision-makers".
An alternative term suggested "as a more descriptive name for the discipline" is interactive decision theory. The subject first addressed zero-sum games, such that one person's gains equal net losses of the other participant or participan
A video game is an electronic game that involves interaction with a user interface to generate visual feedback on a two- or three-dimensional video display device such as a TV screen, virtual reality headset or computer monitor. Since the 1980s, video games have become an important part of the entertainment industry, whether they are a form of art is a matter of dispute; the electronic systems used to play video games are called platforms. Video games are developed and released for one or several platforms and may not be available on others. Specialized platforms such as arcade games, which present the game in a large coin-operated chassis, were common in the 1980s in video arcades, but declined in popularity as other, more affordable platforms became available; these include dedicated devices such as video game consoles, as well as general-purpose computers like a laptop, desktop or handheld computing devices. The input device used for games, the game controller, varies across platforms. Common controllers include gamepads, mouse devices, the touchscreens of mobile devices, or a person's body, using a Kinect sensor.
Players view the game on a display device such as a television or computer monitor or sometimes on virtual reality head-mounted display goggles. There are game sound effects and voice actor lines which come from loudspeakers or headphones; some games in the 2000s include haptic, vibration-creating effects, force feedback peripherals and virtual reality headsets. In the 2010s, the commercial importance of the video game industry is increasing; the emerging Asian markets and mobile games on smartphones in particular are driving the growth of the industry. As of 2015, video games generated sales of US$74 billion annually worldwide, were the third-largest segment in the U. S. entertainment market, behind broadcast and cable TV. Early games used interactive electronic devices with various display formats; the earliest example is from 1947—a "Cathode ray tube Amusement Device" was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, issued on 14 December 1948, as U. S.
Patent 2455992. Inspired by radar display technology, it consisted of an analog device that allowed a user to control a vector-drawn dot on the screen to simulate a missile being fired at targets, which were drawings fixed to the screen. Other early examples include: The Nimrod computer at the 1951 Festival of Britain; each game used different means of display: NIMROD used a panel of lights to play the game of Nim, OXO used a graphical display to play tic-tac-toe Tennis for Two used an oscilloscope to display a side view of a tennis court, Spacewar! used the DEC PDP-1's vector display to have two spaceships battle each other. In 1971, Computer Space, created by Nolan Bushnell and Ted Dabney, was the first commercially sold, coin-operated video game, it used a black-and-white television for its display, the computer system was made of 74 series TTL chips. The game was featured in the 1973 science fiction film Soylent Green. Computer Space was followed in 1972 by the first home console. Modeled after a late 1960s prototype console developed by Ralph H. Baer called the "Brown Box", it used a standard television.
These were followed by two versions of Atari's Pong. The commercial success of Pong led numerous other companies to develop Pong clones and their own systems, spawning the video game industry. A flood of Pong clones led to the video game crash of 1977, which came to an end with the mainstream success of Taito's 1978 shooter game Space Invaders, marking the beginning of the golden age of arcade video games and inspiring dozens of manufacturers to enter the market; the game inspired arcade machines to become prevalent in mainstream locations such as shopping malls, traditional storefronts and convenience stores. The game became the subject of numerous articles and stories on television and in newspapers and magazines, establishing video gaming as a growing mainstream hobby. Space Invaders was soon licensed for the Atari VCS, becoming the first "killer app" and quadrupling the console's sales; this helped Atari recover from their earlier losses, in turn the Atari VCS revived the home video game market during the second generation of consoles, up until the North American video game crash of 1983.
The home video game industry was revitalized shortly afterwards by the widespread success of the Nintendo Entertainment System, which marked a shift in the dominance of the video game industry from the United States to Japan during the third generation of consoles. A number of video game developers emerged in Britain in the early 1980s; the term "platform" refers to the specific combination of electronic components or computer hardware which, in conjunction with software, allows a video game to operate. The term "system" is commonly used; the distinctions below are not always clear and there may be games that bridge one or more platforms. In addition to laptop/desktop computers and mobile devices, there are other devices which have the ability to play games but are not video game machines, such as PDAs and graphing calculators. In common use a "PC game" refers to a form of media that involves a player interacting with a personal computer conne