Video game music
Video game music is the soundtrack that accompanies video games. Early video game music was once limited to simple melodies of early sound synthesizer technology; these limitations inspired the style of music known as chiptunes, which combines simple melodic styles with more complex patterns or traditional music styles, became the most popular sound of the first video games. With advances in technology, video game music has grown to include the same breadth and complexity associated with television and film scores, allowing for much more creative freedom. While simple synthesizer pieces are still common, game music now includes full orchestral pieces and popular music. Music in video games can be heard over a game’s title screen, options menu, bonus content, as well as during the entire gameplay. Modern soundtracks can change depending on a player's actions or situation, such as indicating missed actions in rhythm games. Video game music can be one of two options: original or licensed. In order to create or collect this music, teams of composers, music directors, music supervisors must work with the game developers and game publishers.
Many of the most notable original sophie game composers have been from Japan, including Nobuo Uematsu, Koji Kondo, Yuzo Koshiro, Yoko Shimomura, Junichi Masuda, Hip Tanaka, Masato Nakamura, Koichi Sugiyama, Yasunori Mitsuda, Michiru Yamane, Yuu Miyake, Takenobu Mitsuyoshi, Manabu Namiki, Shinji Hosoe, Hiroshi Kawaguchi. Notable Western game composers working today include Jeremy Soule, Jesper Kyd, Marty O' Donnell, Jason Graves, Austin Wintory, James Hannigan, Garry Schyman, Peter McConnell, some of whom work in film and television alongside video games. Today, original composition has included the work of film composers Harry Gregson-Williams, Trent Reznor, Hans Zimmer, Mark Rutherford, Josh Mancell, Steve Jablonsky, Michael Giacchino; the popularity of video game music has expanded education and job opportunities, generated awards, allowed video game soundtracks to be commercially sold and performed in concert's. At the time video games had emerged as a popular form of entertainment in the late 1970s, music was stored on physical medium in analog waveforms such as compact cassettes and phonograph records.
Such components were expensive and prone to breakage under heavy use making them less than ideal for use in an arcade cabinet, though in rare cases, they were used. A more affordable method of having music in a video game was to use digital means, where a specific computer chip would change electrical impulses from computer code into analog sound waves on the fly for output on a speaker. Sound effects for the games were generated in this fashion. An early example of such an approach to video game music was the opening chiptune in Tomohiro Nishikado's Gun Fight. While this allowed for inclusion of music in early arcade video games, it was monophonic, looped or used sparingly between stages or at the start of a new game, such as the Namco titles Pac-Man composed by Toshio Kai or Pole Position composed by Nobuyuki Ohnogi; the first game to use a continuous background soundtrack was Tomohiro Nishikado's Space Invaders, released by Taito in 1978. It had four descending chromatic bass notes repeating in a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player.
The first video game to feature continuous, melodic background music was Rally-X, released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay. The decision to include any music into a video game meant that at some point it would have to be transcribed into computer code by a programmer, whether or not the programmer had musical experience; some music was original, some was public domain music such as folk songs. Sound capabilities were limited; as advances were made in silicon technology and costs fell, a definitively new generation of arcade machines and home consoles allowed for great changes in accompanying music. In arcades, machines based on the Motorola 68000 CPU and accompanying various Yamaha YM programmable sound generator sound chips allowed for several more tones or "channels" of sound, sometimes eight or more; the earliest known example of this was Sega's 1980 arcade game Carnival, which used an AY-3-8910 chip to create an electronic rendition of the classical 1889 composition "Over The Waves" by Juventino Rosas.
Konami's 1981 arcade game Frogger introduced a dynamic approach to video game music, using at least eleven different gameplay tracks, in addition to level-starting and game over themes, which change according to the player's actions. This was further improved upon by Namco's 1982 arcade game Dig Dug, where the music stopped when the player stopped moving. Dig Dug was composed by Yuriko Keino, who composed the music for other Namco games such as Xevious and Phozon. Sega's 1982 arcade game Super Locomotive featured a chiptune rendition of Yellow Magic Orchestra's "Rydeen". Home console systems had a comparable upgrade in sound ability beginning with the ColecoVision in 1982 capable of four channels. However, more notable was the Japanese release of the Famicom in 1983, released in the US as the Nintendo Entertainment System in 1985, it was capable of one being capable of simple PCM sampled sound. The home computer Commodore 64 released in 1982 was capable of early forms of filtering effects, different types of waveforms and the undocumented abilit
Fantasy Zone is a 1985 arcade game by Sega, but released internationally on March 28, 1986, the first game in the Fantasy Zone series. It was ported to a wide variety of consoles, including the Sega Master System; the player controls a sentient spaceship named Opa-Opa who fights an enemy invasion in the titular group of planets. The game contains a number of features atypical of the traditional scrolling shooter; the main character, Opa-Opa, is sometimes referred to as Sega's first mascot character. The game design and main character had many similarities to the earlier TwinBee, together the games are credited with the creation of the "cute'em up" subgenre. Numerous sequels were made over the years. In the space year 1422, the Fantasy Zone was cast in panic at the collapse of the interplanetary monetary system; the Space Guild brings to light the plans of the planet Menon, whose forces are stealing the other planets' currencies to fund a huge fortress in the Fantasy Zone. Opa-Opa is sent to stop the invading army and discover, behind it.
In the end, it turns out that the leader was none other than Opa-Opa's long lost father, a revelation that leaves Opa-Opa with mixed emotions. In the game, the player's ship is placed in a level with a number of bases to destroy; when all the bases are gone, the stage boss appears, who must be defeated in order to move on to the next stage. There are eight stages, in all of them, except the final one, the scroll is not fixed; the final level consists of a rematch against all of the previous bosses in succession before facing the final boss. Opa-Opa uses two different attacks: the standard weapon and bombs, he can move down to land on the ground by sprouting feet and walking around until he flies again. It is possible to upgrade Opa-Opa's weapons and flying engine to increase speed, as well as get extra lives. Before that, the player must get money by defeating enemies, bases or bosses, access a shop by touching a marked balloon; each time a new item is bought, they become more expensive. When the player chooses to exit or the time runs up, another screen appears, in which he or she can select what upgrades Opa-Opa can use.
Some of the new weapons have a time limit. Some of the bombs can be used at any moment, are limited in quantity. Engine upgrades are permanent The powerups can be reassigned by reentering the shop or touch a balloon with the word "Select" written on it. If the player loses a life, all of the upgrades are lost. Fantasy Zone was an arcade game, it was ported to the Sega Mark III/Master System. The game saw ports in other consoles and home computers, such as the MSX, Famicom/NES, SNK Neo Geo, Sharp X68000 and PC Engine/TurboGrafx 16. While all of these ports play to the original version, some of them have several omissions and changes. For instance, the Master System version lacks some features such as the radar that indicates the location of the bases or a gauge that indicates how much energy they have left, two of the bosses were replaced by original ones. Other versions have several changes as well. Two different versions were released for the Famicom/NES; the Japanese version was developed and published by Sunsoft.
The American unlicensed version was developed by Pixel and published by Tengen. In 1997, Fantasy Zone was released under the "Sega Ages" label in Japan for the Sega Saturn. Fantasy Zone was remade for the PlayStation 2, again under the "Sega Ages" label. Although similar in appearance to the arcade version, this version used polygons instead of sprites and added some stages, including bonus levels in which the game takes the view behind Opa-Opa as he tries to collect coins from any boss, defeated at the moment. Though "2UP" can be seen in the score display, this version only has a single player mode; this version was released in North America along other remade classic Sega titles in the Sega Classics Collection compilation. Fantasy Zone was released for mobile phones in 2002 in Japan and in August 2003 in the United States. Due to hardware limitations, this version of the game was divided in three different parts. On March 11, 2008, the Master System version saw a re-release in Japan for the Virtual Console.
In Europe and Australia, it was released on April 11, 2008, in North America, on April 14, 2008. In all territories, it was released at a price of 500 Wii Points. On September 18 of the same year, Sega released another Sega Ages disc devoted to the series, title Fantasy Zone Complete Collection, making the final release in the Ages series; this time, instead of a 3D remake, the disc compiled all of the games in the series, including spin-offs, all of Sega's own ports. It included a remake of Fantasy Zone II created for System 16 hardware; the original arcade release is included in Sonic's Ultimate Genesis Collection in, an unlockable game. A 3D port of the game was released on March 19, 2014 for the Nintendo 3DS titled 3D Fantasy Zone: Opa-Opa Bros. New features of the 3DS port involve stereoscopic 3D visuals, adjustable difficulty settings, an ability to save the game, the ability to switch to the Japanese versions and US versions of the game, a Stage Select feature and a new mode which involves the player playing as Upa-Upa, Opa-Opa's brother.
In addition, satisfying certain conditions during the game enables the player to confront the two "replacement" bosses from the
Zillion II: The Tri-Formation Cycle is a horizontal platform video game created in 1987 by Sega and released on the Master System. It is a sequel to the game Zillion. A faint distress transmission understandable, was received at the headquarters of the White Knights. Sent from a distant outpost at the extreme edge of the Planetary System, the garbled message told of a new, gigantic Norsa Battle Fortress at the edge of the Norsa Galaxy. Apple and Champ, two members of the elite White Knight special peacekeeping force set out on a reconnaissance mission to investigate the Norsa Fortress; the last words which anybody heard from Apple and Champ were: "Help us J. J.! Baron Ricks has...". JJ is now up against the new Norsa Empire facing Olivion Platoon Captain Radajian Defense Leader, the Alleevian Supreme Commander, his mission is to rescue Apple and Champ. There are eight side scrolling levels in the game; the previous adventure format has been changed to a level-based format. The player can no longer explore the base in any direction.
Instead, stages such as riding a motorcycle called "Tri-Formation" have been added to increase variety. Just like the previous game, JJ carries a gun, used as a design model for the Master System's Light Phaser. With the right equipment, the three-wheeled motorcycle becomes the Armorater flying suit of armor. Zillion II at MobyGames Zillion II manual
Zillion (TV series)
Zillion is a Japanese anime television series that ran from April 12, 1987 to December 13, 1987 on Nippon Television in Japan and was produced by Tatsunoko Production. After the production of the anime, Tatsunoko Production and Mitsuhisa Ishikawa, the producer of Zillion, established IG Tatsunoko to obstruct the dispersing of the excellent staffs of Tatsunoko branch which had done actual production. Therefore, Zillion is considered to be Production I. G's first work. Five of the 31 episodes were dubbed into English and released on VHS in the United States by Streamline Pictures; this anime was featured in the music video for Michael and Janet Jackson's collaboration "Scream". Samples from the English dub of the anime were featured in Del the Funky Homosapien's single "Cyberpunks". In October, 2018, Funimation has released the complete series and the OVA on a Blu-ray/DVD set with Japanese audio and English subtitles; the story takes place on the planet Maris in the year 2387. Around this time, the Nohzas civilization, led by Empress Admis, started a genocide program to kill all humans in order to lay eggs and reproduce on the planet.
Three mysterious guns dubbed the "Zillion Weapon System" appear and three teens soldiers are chosen to wield them as a task force called White Nuts, whose purpose is to fight back against the Nohzas. J. J.: the series' 16-year-old main protagonist and third member of the White Nuts. He is an avid fighter. Champ: the 18-year-old primary leader of the White Nuts. Apple: the 17-year-old female member and navigator of the White Nuts. Amy Harrison: a primary assistant of Mr. Gord, she has a liking for J. J. Mr. Gord: the commissioner/commander of the White Nuts. Dave: a mechanic and assistant pilot member of the White Nuts. Opa-Opa: White Nuts' companion robot and ally, member of the White Nuts. Admis: empress of the Nohza Empire. Ricks: the main antagonist of the story, leader of the invasion troops. Navaro: a big Nohza soldier, filled with micromissiles, specially created to fight against the White Nuts, one of the three Nohza Warriors Solair: a flying Nohza woman specially built to fight the White Nuts, the second N.
W. shaped somewhat like a wasp. Gardk: a soldier with stretchable arms, the third Nohza Warrior created to counter the White Nuts. Equipment of the White Nuts team: Zillion: a mysterious weapon, impossible to analyze and reproduce, it fires a load of a strange substance, appearing as a red light that engulfs the target and disintegrates it. It uses a small red crystal for ammunition and impossible to reproduce. One of the guns is destroyed in episode 10 and reconstructed afterwards by Dave, changing its "flat" design to a more ergonomic one. All pistols are rebuilt, allowing the use of special accessories that change them into a sub machine-gun, used by Apple, or a precision sniper rifle, used by Champ. Ridingcepter: a motorcycle, it can carry a Cargocepter or a Cannoncepter. Tricharger: a tricycle that can change into a versatile mobile suit, it has buggy form, kneeled form and armoretter form. Big Porter: a Vertical Take Off and Landing vehicle, prepared to carry one of three special crafts, named: Submarine Aqua-Carried, a yellow small submersible.
Two video games for the Sega Master System have been spawned with the story loosely based on the series and Zillion II. An original video animation movie titled Zillion: Burning Night has been released after the success of the TV series. Despite the cult success of the video games, the Zillion anime received only a brief release in the early 1990s in the United States; the first five episodes of the TV series, as well as the Burning Night OVA were dubbed and released on VHS by Streamline Pictures. In October, 2018, Funimation has released the complete series and the OVA on a Blu-ray/DVD set with Japanese audio and English subtitles. In 1993, Eternity Comics published a comic book adaptation, written by Tom Mason, drawn by Harrison Fong, lettered by Tim Eldred. "My Name Is J. J." —J. J. becomes the newest member of the White Knights "Attack the Enemy of the High Skies" —J. J. misunderstands the usage of the Zillion weapon system "0.1 Second Chance!" "Trap of the Shapeless Ninja Squadron" "Apple Order Violation!?"
"Take Off, Tricharger" "Struggle'Til Death! J. J. vs. Ricks" "Strike the Oceanfloor Base!" "Stolen Zillion" "Flames! Ricks' Counterattack" —Apple and Amy are captured by Ricks and his henchmen "Birth of New Zillion!" "Attack! Triple Shoot" "Angry Shutter Chance" "Nightingale of the Battlefield" "Life Or De
Platform games, or platformers, are a video game genre and subgenre of action game. In a platformer the player controlled character must jump and climb between suspended platforms while avoiding obstacles. Environments feature uneven terrain of varying height that must be traversed; the player has some control over the height and distance of jumps to avoid letting their character fall to their death or miss necessary jumps. The most common unifying element of games of this genre is the jump button, but now there are other alternatives like swiping a touchscreen. Other acrobatic maneuvers may factor into the gameplay as well, such as swinging from objects such as vines or grappling hooks, as in Ristar or Bionic Commando, or bouncing from springboards or trampolines, as in Alpha Waves; these mechanics in the context of other genres, are called platforming, a verbification of platform. Games where jumping is automated such as 3D games in The Legend of Zelda series, fall outside of the genre. Platform games originated in the early 1980s, which were about climbing ladders as much as jumping, with 3D successors popularized in the mid-1990s.
The term describes games where jumping on platforms is an integral part of the gameplay and came into use after the genre had been established, no than 1983. The genre is combined with elements of other genres, such as the shooter elements in Contra, Beat'em up elements of Viewtiful Joe, adventure elements of Flashback, or role-playing game elements of Castlevania: Symphony of the Night. While associated with console gaming, there have been many important platform games released to video arcades, as well as for handheld game consoles and home computers. North America and Japan have played major parts in the genre's evolution. Platform themes range from cartoon-like games to science fantasy epics. At one point, platform games were the most popular genre of video game. At the peak of their popularity, it is estimated that between one-quarter and one-third of console games were platformers. No genre either before or since has been able to achieve a similar market share; as of 2006, the genre had become far less dominant, representing a two percentage market share as compared to fifteen percent in 1998, but is still commercially viable, with a number of games selling in the millions of units.
Since 2010, a variety of endless running platformers for mobile devices have brought renewed popularity to the genre. Platform games originated in the late 1970s - early 1980s. Most, but not all, early examples of platform games were confined to a static playing field viewed in profile. Space Panic, a 1980 arcade release by Universal, is sometimes credited as being the first platform game, though the distinction is contentious. While the player had the ability to fall, there was no ability to jump, so the game does not satisfy most modern definitions of the genre. However, it influenced the genre, with gameplay centered on climbing ladders between different floors, a common element in many early platform games. A difficult game to learn, Space Panic remained obscure as an arcade game, but the 1981 unauthorized clone Apple Panic was a hit for home computers. Another precursor to the genre from 1980 was Nichibutsu's Crazy Climber, which revolved around the concept of climbing vertically-scrolling skyscrapers.
Donkey Kong, an arcade game created by Nintendo and released in July 1981, was the first game that allowed players to jump over obstacles and across gaps, making it the first true platformer. It introduced a modern icon of the genre, under the name Jumpman. Donkey Kong was ported to many consoles and computers at the time, notably as the system-selling pack-in game for ColecoVision, a handheld version from Coleco in 1982; the game helped cement Nintendo's position as an important name in the video game industry internationally. The following year, Donkey Kong received a sequel, Donkey Kong Jr.. The third game in the series, Donkey Kong 3, was not a platformer, but it was succeeded by Mario Bros, a platform game that offered two-player simultaneous cooperative play; this title laid the groundwork for other popular two-player cooperative platformers such as Fairyland Story and Bubble Bobble, which in turn influenced many of the single-screen platformers that would follow. Beginning in 1982, transitional games emerged that did not feature scrolling graphics, but had levels that spanned several connected screens.
Pitfall!, released for the Atari 2600, featured broad, horizontally extended levels. It was a breakthrough for the genre. Smurf: Rescue in Gargamel's Castle was released on the ColecoVision that same year, adding uneven terrain and scrolling pans between static screens. Manic Miner and its sequel Jet Set Willy continued this style of multi-screen levels on home computers. Wanted: Monty Mole won the first award for Best Platform game in 1984; that same year, Epyx released Impossible Mission, which further expanded on the exploration aspect and laid the groundwork for such games as Prince of Persia. The term platform game is somewhat ambiguous when referring to games that predate the widespread, international use of the term; the concept of a platform game as it was defined in its earliest days is somewhat different from how the term is used today. Following the release of Donkey Kong, a genre of similarly-styled games emerged characterized by a profile view of tiers connected by ladders; these included Kangaroo, Canyon Climber, Miner 2049er, Lode Runner, Jumpman.
The two most common gameplay goals were to get to the top of the screen or to collect all of a particular item, both of which are found in Donkey Kong. The North Ame
Tatsunoko Production Company known as Kabushiki gaisha Tatsunoko Purodakushon and shortened to Tatsunoko Pro, is a Japanese animation company. The studio's name has a double meaning in Japanese: "Tatsu's child" and "sea dragon", the inspiration for its seahorse logo. Tatsunoko's headquarters are in Tokyo; the studio was founded in October 1962 by anime pioneer Tatsuo Yoshida and his brothers Kenji and Toyoharu. The studio's first production was the 1965 TV series Space Ace. Since many figures in the anime industry have worked with Tatsunoko, including Mizuho Nishikubo, Hiroshi Sasagawa, Koichi Mashimo, Katsuhisa Yamada, Hideaki Anno, Kazuo Yamazaki. Sasagawa is notable for bringing his fondness for comedy animation to the forefront in Tatsunoko series such as the Time Bokan franchise; the company licensed Macross to Harmony Gold, who produced Robotech. Takara acquired Tatsunoko on June 3, 2005 after purchasing an 88 percent stake and made the company a subsidiary. Production I. G was established in 1987 as I.
G. Tatsunoko, a branch for the production of Zillion led by Mitsuhisa Ishikawa. In 2009, Tatsunoko announced that it would collaborate with Marvel Comics on a joint television project and other ventures. IG Port announced on June 2, 2010 that its subsidiary, Production I. G, had purchased an 11.2 percent stake in Tatsunoko. Production I. G president Mitsuhisa Ishikawa became a part-time director of the studio. Talent agency Horipro announced on February 23, 2013 that it had acquired a 13.5 percent stake in Tatsunoko. At Anime Expo 2013, Sentai Filmworks announced a deal to license and release some of Tatsunoko's titles, including Gatchaman and Casshan. Nippon TV announced on January 29, 2014 that it had purchased a 54.3 percent stake in Tatsunoko and adopted the company as its subsidiary. Tatsunoko vs. Capcom: Ultimate All-Stars Hutch the Honeybee ~Yuki no Melody~ Yozakura Quartet ~Hoshi no Umi~ Princess Resurrection: The Money of Soul and Possibility Control Sket Dance Pretty Rhythm Aurora Dream Pretty Rhythm Dear My Future Ippatsu-Hicchuu!
Devander Namiuchigiwa no Muromi-san Pretty Rhythm Rainbow Live Gatchaman Crowds Yozakura Quartet ~Hana no Uta~/Yozakura Quartet ~Tsuki ni Naku~ Triple Combination: Transformers Go! Robotech: Love Live Alive Wake Up, Girls! Ping Pong PriPara Psycho-Pass 2 Yatterman Night Gatchaman Crowds insight PriPara Mi~nna no Akogare Let's Go PriPari Transformers: Combiner Wars Time Bokan 24 Infini-T Force Idol Time PriPara Transformers: Titans Return Transformers: Power of the Primes Kiratto Pri Chan The Price of Smiles King of Prism: Shiny Seven Stars Once Upon a Time... Man The Super Dimension Fortress Macross Genesis Climber MOSPEADA: Love Live Alive OVA Megazone 23 Robotech, An adaptation of Macross, Southern Cross, Mospeada Robotech II: The Sentinels Outlanders Time Travel Tondekeman Video Girl Ai Dizzy Down the Rapids Neon Genesis Evangelion Martin Mystery Ashi Productions/Production Reed Pierrot J. C. Staff Production I. G Xebec Radix Ace Entertainment Bee Train Actas TNK Official website Tatsunoko Production at Anime News Network's encyclopedia
Video game genre
A video game genre is a classification assigned to a video game based on its gameplay interaction rather than visual or narrative differences. A video game genre is defined by a set of gameplay challenges and are classified independently of their setting or game-world content, unlike other works of fiction such as films or books. For example, a shooter game is still a shooter game, regardless of when it takes place; as with nearly all varieties of genre classification, the matter of any individual video game's specific genre is open to personal interpretation. Moreover, each individual game may belong to several genres at once; the first attempt to classify different genres of video games was made by Chris Crawford in his book The Art of Computer Game Design in 1984. In this book, Crawford focused on the player's experience and activities required for gameplay. Here, he stated that "the state of computer game design is changing quickly. We would therefore expect the taxonomy presented to become obsolete or inadequate in a short time."
Since among other genres, the platformer and 3D shooter genres, which hardly existed at the time, have gained a lot of popularity. As hardware capabilities have increased, new genres have become possible, with examples being increased memory, the move from 2D to 3D, new peripherals and location. Though genres were just interesting for game studies in the 1980s, the business of video games expanded in the 1990s and both smaller and independent publishers had little chance of surviving; because of this, games settled more into set genres that larger publishers and retailers could use for marketing. Due to "direct and active participation" of the player, video game genres differ from literary and film genres. Though one could state that Space Invaders is a science-fiction video game, such a classification "ignores the differences and similarities which are to be found in the player's experience of the game." In contrast to the visual aesthetics of games, which can vary it is argued that it is interactivity characteristics that are common to all games.
Descriptive names of genres take into account the goals of the game, the protagonist and the perspective offered to the player. For example, a first-person shooter is a game, played from a first-person perspective and involves the practice of shooting; the term "subgenre" may be used to refer to a category within a genre to further specify the genre of the game under discussion. Whereas "shooter game" is a genre name, "first-person shooter" and "third-person shooter" are common subgenres of the shooter genre. Other examples of such prefixes are real-time, turn based, side-scrolling; the target audience, underlying theme or purpose of a game are sometimes used as a genre identifier, such as with "games for girls," games for cats,"Christian game" and "Serious game" respectively. However, because these terms do not indicate anything about the gameplay of a video game, these are not considered genres. Video game genres vary in specificity, with popular video game reviews using genre names varying from "action" to "baseball."
In this practice, basic themes and more fundamental characteristics are used alongside each other. A game may combine aspects of multiple genres in such a way that it becomes hard to classify under existing genres. For example, because Grand Theft Auto III combined shooting and roleplaying in an unusual way, it was hard to classify using existing terms. Since the term Grand Theft Auto clone has been used to describe games mechanically similar to Grand Theft Auto III; the term roguelike has been developed for games that share similarities with Rogue. Elements of the role-playing genre, which focuses on storytelling and character growth, have been implemented in many different genres of video games; this is because the addition of a story and character enhancement to an action, strategy or puzzle video game does not take away from its core gameplay, but adds an incentive other than survival to the experience. According to some analysts, the count of each broad genre in the best selling physical games worldwide is broken down as follows.
The most popular genres are Shooter, Role-playing and Sports, with Platformer and Racing having both declined in the last decade. Puzzle games have declined when measured by sales, however, on mobile, where the majority of games are free-to-play, this genre remains the most popular worldwide. List of video game genres