Games Quotes

“Excelling at chess has long been considered a symbol of more general intelligence. That is an incorrect assumption in my view, as pleasant as it might be.”
― Garry Kasparov

“ADDICTS ARE NICE PEOPLE. THEY CAN NEVER SAY NO, EVEN TO THEMSELVES.”
― Vineet Raj Kapoor

“What if some games, and the more general concept of ‘play,’ not only provide outlets for entertainment but also function as means for creative expression, as instruments for conceptual thinking, or as tools to help examine or work through social issues.”
― Mary Flanagan, Critical Play: Radical Game Design

“I’ve got a sweet tooth and you are my remedy
I’ve got a game that’s sort of like a parody
You be the Marilyn and I’ll be the Kennedy
We can kiss till our minds reach ecstasy
Stay up until sunrise and make love recklessly”
― Soroosh Shahrivar, Letter 19

“And I learn that maybe I don't suck at Peopling as much as I suspected. We stay up past my watch. We play way longer than we should. But hey, nobody's thinking about bad dreams anymore.”
― Amie Kaufman

“Reading a novel, he supposes, is like playing a game where all the choices have been made for you ahead of time by someone who is much better at this particular game. (Though he sometimes wishes choose-your-own-adventure novels would come back into fashion.)”
― Erin Morgenstern, The Starless Sea

“Este constante cuestionamiento, unido a la socialización femenino, desarrolla en las mujeres el síndrome del impostor. Se trata de un trastorno psicológico que se caracteriza porque la persona (comúnmente una mujer) se siente un fraude y cree que no se merece estar en el puesto que ocupa. No es solamente baja autoestima, sino que la persona se cuestiona constantemente si lo que proyecta hacia los demás no es más que una farsa. Como consecuencia, muchas mujeres se encuentran en un estado de estrés constante para no «fallar» y hacer que la gente se dé cuenta de que ese no es su lugar de pertenencia. El síndrome del impostor, además, conduce al perfeccionismo y hace que las programadoras pierdan mucho más tiempo que sus compañeros en documentarse y aprender cada detalle. Esto también influye también a la hora de presentarse a un trabajo, ya que las mujeres suelen solicitar un puesto solo si cumplen todos los requisitos, mientras que los hombres confían más en sus habilidades incluso cuando no son adecuados para el puesto.”
― Irene Alvarado, ¡Protesto! Videojuegos desde una perspectiva de género

“And we also recognize this dance-like spirit, this ethos of grace: societal conduct, the control not only of written and established conventions, the virtuous mastery of forms of play where persons come close to each other without meeting and where they establish distance without damaging each other through indifference; amiability and not insistence is the atmosphere of this ethos of grace - its ethical law is the game and its observation, not seriousness. Forced distance between persons becomes ennobled into reserve. The offensive indifference, coldness, and rudeness of living past each other is made ineffective through the forms of politeness, respectfulness, and attentiveness. Reserve counteracts a too great intimacy.”
― Helmuth Plessner, Grenzen der Gemeinschaft

“A Toy A Day Keeps Sadness Away”
― The Unboxing Toys

“A game or a book that has meaning to me might be boring to you, or vice versa. Stories are personal, you relate or you don’t.”
― Erin Morgenstern, The Starless Sea

“La disonancia cognitiva nos lleva a mentirnos a nosotras mismas. Intentamos fusionar las dos ideas conflictivas de manero que no nos creen malestar. La disonancia cognitiva se basa en una actitud conformista, la toma de decisiones y el esfuerzo. Bien sabemos que tomar decisiones conlleva inconsistencias; decidir una cosa sobre otras hace que necesariamente tengamos que negar una parte en la que podríamos creer. Es por esto que supone un problema ver personajes que representan la feminidad según la entienden los hombres, porque no se adecúa a lo que la feminidad puede ser. Hemos fundamentado nuestro pensamiento en binarios solo para descubrir que esa es una generalización de la realidad.”
― Andrea Sacchi, ¡Protesto! Videojuegos desde una perspectiva de género

“Esta metafórica casa del árbol es un club que se niega a poner un cartel de «solo hombres» en la puerta, pero donde se crean todo tipo de normas absurdas e inalcanzables para las mujeres con tal de que no puedan entrar. Puede resultar ridículo, pero el aislamiento de la mujer en la cultura geek produce una falta de identificación de esta con la tecnología. Lo cual lleva a que, aunque las mujeres dediquen tiempo a los videojuegos, raramente se lleguen a plantear el desarrollo como una opción profesional.”
― Irene Alvarado, ¡Protesto! Videojuegos desde una perspectiva de género

“De primeras, se cuestiona hasta la saciedad que a las mujeres les gusten los videojuegos. Ya sea por ser «más sociables», por ser menos habilidosas o por no jugar desde niñas, siempre hay algo que hace que no seamos unas verdaderas aficionadas. Nunca juegas suficientes horas, no te sabes todos los detalles de tu juego favorito, no conoces todos los juegos de culto... E incluso cuando te esfuerzas en cumplir todos los requisitos, el desgaste mental es un precio demasiado alto. Personalmente, yo aun me sigo cuestionando si me gustan los videojuegos de verdad, y eso que me dedico a desarrollarlos.”
― Irene Alvarado, ¡Protesto! Videojuegos desde una perspectiva de género

“El escrutinio constante no es el único método para evitar la identificación femenina con la comunidad de videojuegos. Otra de las tácticas más habituales es la segmentación del mercado de videojuegos. Sí, es verdad, las mujeres juegan. Pero juegan «a lo otro». No juegan a videojuegos «de verdad». No les gustan las competiciones. No juegan como los hombres, que es la forma adecuada de jugar. Es verdad, los hombres tienen distintos gustos que las mujeres; ya sea por la socialización masculina o por la cultura gamer, el género influye a la hora de disfrutar de un juego. Sin embargo, despreciar los gustos femeninos y alabar los masculinos también es misoginia. Y de ello se nutre la etiqueta casual. Todos aquellos juegos que no requieren un gran desafío, no son competitivos, o directamente tienen una estética adorable no son juegos, son casuals. Al final, todo va de hacernos entender de que la única forma que nos respeten y acepten es convertirnos en uno de ellos.”
― Irene Alvarado, ¡Protesto! Videojuegos desde una perspectiva de género

“Critical play means to create or occupy play environments and activities that represent one or more questions about aspects of human life . . . . Criticality in play can be fostered in order to question an aspect of a game’s 'content,' or an aspect of a play scenario’s function that might otherwise be considered a given or necessary.”
― Mary Flanagan, Critical Play: Radical Game Design

“The enactment of critical play exhibits at least three kinds of action: unplaying, re-dressing or reskinning, and rewriting.”
― Mary Flanagan, Critical Play: Radical Game Design

“A group’s preference for specific activities is one important way values emerge in a culture. The leisure habits of the rich are framed as activities to see and to be seen at. They prove exercise, but no exertion; they are a courtly site of sociality and pleasure.”
― Mary Flanagan, Critical Play: Radical Game Design

“The phenomenon of play is local: that is, while the phenomenon of play is universal, the experience of play is intrinsically tied to location and culture.”
― Mary Flanagan, Critical Play: Radical Game Design

“Games are legitimate forms of media, human expression, and cultural importance”
― Mary Flanagan, Critical Play: Radical Game Design

“Critical play is characterized by a careful examination of social, cultural, political, or even personal themes that function as alternates to popular play spaces.”
― Mary Flanagan, Critical Play: Radical Game Design

“Boredom ought to be the closest a child gets to depression.”
― Mokokoma Mokhonoana

“Other times they played some of their own games such as 'going to see the coyote' or ban-madr-che_gio as the Pimas called it. The game was played by very young Pima Indian children.
A group of children line up in a single file with hands holding on to the one in front and marching towards another, usually a boy, lying down pretending to be asleep away from the crowd. When they reach the place where the boy is lying asleep, they march around him singing, alha, alha. When they have marched four times around him, the leader pokes the sleeping boy in the ribs and he jumps up and tries to catch one of the children in the line. The business of the leader of the lines is to prevent the coyote from catching one of the children. The coyote and the leader struggle while the line of children sways back and forth to keep from being caught.
When the coyote grabs one of the children he runs off with him or her and that means he is supposed to have eaten him or her up. When he comes back, another coyote is lying asleep and the game is played over again. The first one caught by the coyote will be the next in turn to lie asleep as the coyote.
We played this game when I was a boy, but the game is not any longer played among the Pima children. Now they play 'London Bridge is Falling Down.'
Sometimes a toka contest is held between two villages. Toka is played only by the women. It is like hockey. Sticks about six feet long were used to throw a pair of small wooden balls tied together about three inches apart with a string of raw-hide. A team is ten or more women on each side.
They pick up the set of balls with the end of the stick and toss it as far as they can. Another on that team will toss it again if she can, and run after her toss, until she gets it over the goal line. The playing field is a hundred steps long and fifty steps wide.
When an argument arises they often use the sticks to settle it.
[page 42, Pima Games]”
― George Webb, A Pima Remembers

“Dark Bakura: The odds are a bit against you. But that doesn't mean you've lost yet...”
― Kazuki Takahashi, Yu-Gi-Oh! (3-in-1 Edition), Vol. 6

“Dark Bakura [to Yūgi]: The odds are a bit against you. But that doesn't mean you've lost yet...”
― Kazuki Takahashi, Yu-Gi-Oh! (3-in-1 Edition), Vol. 6

“…we human beings are, at our psychological core, game players; we have a predilection for rule systems (which we also like to transgress), strategies (in which we like to display cunning) and competition (in which we like to establish our superiority over others).”
― Simon Unwin, Metaphor: an exploration of the metaphorical dimensions and potential of architecture

“Melrose Avenue, Santa Monica - Dialogue on a terrace. SHE: You are jealous ? Are you jealous ? You are fucking jealous! . . . Let me say . . . You 're twenty and I am forty-two, and I'll give my fucking ass to fucking anybody . . . Do you know that? * He gets up, crosses Melrose for no reason, comes back, kneels down in front of her (younger, but as theatrical). HE: Do you love me? Do you love me? SHE: Yes . . . Yes, I love you . . . The Italian kneads his meatballs. An Indian is playing a video game and its shrill soundtrack provides a backing to the conversation. The woman herself speaks in a shrill, hysterical voice. It is pleasant in Los Angeles in November, on the Melrose terrace, around the middle of the night. Everyone is smiling somewhere. No passion. A scene American-style. The waiter takes the car keys and drags off the woman, who shows off her black-stockinged legs and pretends to be mad. A black man gets up and, as he passes, says to me: ' Too much love! '

Gliding along the road that runs beside the coast in a black Porsche is like penetrating slowly into the inside of your own body.”
― Jean Baudrillard, Cool Memories

“I am not an addict. I habitually cling to happiness.

Oct 2 World Smile Day
Oct 2 World Anti Drug Addiction Day
Oct 2 International Day of Non Violence”
― Vineet Raj Kapoor

“We started our inquiry into the aesthetics of games with various accounts that tried to subsume games under more familiar forms of art - fictions, conceptual art, and the like. But, I've argued, some of the most important kin to game design are actually urban planners, and government designers. All these are attempts to cope and corral the agency of users, to achieve certain effects. Games are an artistic cousin to cities and governments. They are systems of rules and constraints for active agents. But game designers have a trick up their sleeves that the designers of cities and governments do not. They can substantially design the nature of agents who will act within them. The medium of agency is active, then, in two directions. It creates a distinctive recalcitrance - the recalcitrance of agential distance. And it offers a a distinctive sort of solution - the manipulation of agency.”
― C Thi Nguyen, Games: Agency As Art

“Games let us flirt with such seductive agencies in a protected context. Here is the hope: if you spend a lot of time engaged in aesthetic striving play, you will have plenty of practice losing yourself in, and then drawing back from, the pleasures of value clarity. You will be used to wearing your submersion a little lightly. Then when life hands you far more pressing agential modes, and value clarities with more seriousness and force behind them - when you face the calls of the crisp and clear value systems inherent in money, grades, Twitter likes, and research impact factors - you will have developed the right habits of lightness and control with your agency.”
― C Thi Nguyen, Games: Agency As Art

“A variant of "Psychiatry" is "Archaeology" (title by courtesy of Dr. Norman Reider of San Francisco), in which the patient takes the position that if she can only find out who had the button, so to speak, everything will suddenly be all right. This results in a continual rumination over childhood happenings.”
― Eric Berne, Games People Play