visitors can literally lose track of time, experimenting and comparing their gaming experiences. Each game sparks a desire to try others, to experiment, and to make comparisons, offering a way to deepen one’s passion and knowledge of video games—especially as different generations come together to discuss gaming experiences that, while changing over time, sometimes pay tribute to the traditions of the past.
As you aim to reach a broad audience—including families, students, and industry experts—how will GAMM cater to the diverse backgrounds and interests of its visitors? I believe I’ve already partially answered this question earlier, as different visitors have varying levels of engagement, and this really demonstrates the value of video games. Video games, regardless of the target age group—though we know age rating systems like PEGI in Europe or the American ESRB play an important role— have a unifying value. Usually, video games can speak on multiple levels: in a similar way to The Simpsons, when it first aired. A show that addresses adult themes, uses humor through broader references, but still manages to entertain younger audiences.
18 | MCV/DEVELOP December/January 2025
Video games are somewhat like this, because
even without rating restrictions, they can tackle certain themes or provoke thought about details in their development. At the same time, they can also be experienced as an immediate, more instinctual, “gut-level” dimension, in a sense, serving purely as entertainment, leisure, and fun. In my opinion, this is proof of the great cultural
value of video games and their nature as a form of art. The fact that video games offer direct engagement that excites and immerses players, while also generating moments of reflection that linger in the player’s mind even after they’ve stopped playing. Video games continue to stimulate thought, leaving memories and visions behind. To me, this is beautiful because it connects to other experiences we live, and we realize that at some point, video games become an expression of the life around us. It’s like when we close our eyes and still see the Tetris
blocks falling into place. Sometimes, this experience surfaces in everyday situations, like when we have to fit items into a suitcase—but that’s just a trivial example. The concept is clear: video games stem from the life experiences that everyone involved in creating them
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52
