I think the way that the games industry and game makers, uh, had been seen and are being seen is changing continually. And I will have, uh, designers and - and people in the craft of game say to me very often, you know, we should be respected more for our craft and my resp - my response to that always is, “All in good time my pretty; all in good time.” Because the experiences that seem magical to one generation are routine and intuitive to the next. The experiences that seem threatening to one generation - if they survived to later generations - actually become accepted as a norm. And we can see this in cultural history repeating itself over and over and over again. So, I keep going back to the idea that at one time, to operate an elevator, you had to have an elevator operator. Because, of course, it was too dangerous and imposing to have you do it yourself. Then we got elevator buttons and originally that was an interface and people were, “Oh, I’m going to do - where’s the operator to help me?” Well, of course now, we don’t walk into an elevator and say, “Oh, here’s an interface. I’m going to figure out how to use my interface. I’ll learn this instr - where’s the instructions? Do I have a tutorial?” No. We walk up. We push the darn button. That familiarity with every aspect of being interactive - you already see two year olds on touch screens; they’re completely comfortable. If you grew up around games and you enjoyed them they’re a book on the shelf, reassuringly, in the family living room. And, I think, as the years go by this idea that we are somehow, uh, a - an attack upon traditional literature, art in any other form will subside and people will say it’s another form of art. And it can be done in a way that is, uh, really deplorable and it can be done in a way that’s a distraction and it can be done in a way that can change people’s lives in very positive ways.
