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industry. We can at this time identify only a few broad, vague, and overlapping groups of players: skill-and-action enthusiasts, D&D enthusiasts, and strategy gamers. There remain several other game types, but they have not attracted so large a following as to present us with a definable group of players. The passage of time and further research will certainly give us more information with which to work. Individual tastes in games are not static; as a person changes so do the tastes. The following analogy with music illustrates this point. As children, we are all exposed to music in a variety of forms, but it has little impact on us because our tastes are poorly developed. We sing and dance to simple songs, but a full appreciation of the emotional range of music eludes us. The power of music arises from our ability to associate musical expressions with emotions. It takes years to develop these associations, and they are made in the context of our experiences. For many in my generation, the first deep contact with music came with rock 'n roll in the 60 s. The pounding beat, simple themes, and short durations were easily grasped by our adolescent and unsophisticated minds. We could understand this music. Moreover, the act of listening to and enjoying this music was itself an educational experience. As the range of our musical experience expanded, we learned more complex components of the musical lexicon and developed a wider range of associations. Soon we were able to understand and appreciate other musical compositions previously inaccessible to our untrained ears. Rock music changed to reflect this maturation; some of us stayed with rock. Others moved to jazz, country, or folk. Like some others, I moved from rock to classical in a series of stages. As I moved along this evolutionary path, the lessons of one stage enabled me to understand the material of the next stage. Other people followed their own paths, exploring and learning the areas of musical expression that most appealed to them. The common experience was that our musical tastes evolved, no matter what direction we chose. Rock music was the broad base we all shared, the entry point or ,junk out of which sprang many branches. Just as rock 'n roll was the entry point into the world of music for an entire generation, so will skill-and-action games be the entry point into the world of games for the whole population. Like early rock 'n roll, skill-and-action games have broad appeal, and are easy to understand. As people become more sophisticated with games, their tastes will evolve down different branches. Like rock 'n roll, skill-and-action games will not go away; they will change to reflect the evolving taste of the public. We can see this happening already. The early arcade games are tame pussycats compared to the rip-snorting, fire-breathing games of 1982. Had TEMPEST been released in 1977, it would have intimidated and repelled players. Times change; people change. Skill-and-action is here to stay and will always provide an entry point for new players, but the public will not stand still. Many people will move on to explore other areas of game-playing.
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People play games for many reasons. In this chapter, I have touched on a variety of these motivations. I readily admit that my treatment of the subject matter is thin, speculative, and uncompelling. People are complex creatures; we will never fully understand human motivations to play games. Yet me must appreciate the importance of these motivations and at least try to understand them if we are to master the art of computer game design.
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