作者：Jamey Pittman

前言

本文致力于为《吃豆人》玩家提供这款游戏的最全面最详细的研究成果。本次研究的新发现与游戏中的“鬼”的行为和寻径逻辑有关。本文的第一章叙述了南宫梦和《吃豆人》的设计师岩谷彻的背景故事以及这款经典街机游戏的开发和发布过程。第二章介绍了这款游戏的设计文件的技术部分。第三章和第四章主要解释了游戏的寻径逻辑和特殊的鬼的行为。第五章介绍了“分屏”关卡。本文最后还有几个附件。

PacMan(from auntheather.com)

简介

1990年，佛罗里达州的Billy Mitchell成为世界上获得《吃豆人》完美得分（333360分）的第一人，他的吃豆人吃掉了每个关卡的所有圆点、能量、鬼和增益，在这个过程中没有损失命数。但也许更令人吃惊的是，他玩游戏并不需要记忆路线——众所周知的“模式”。相反地，他依靠自己对各种鬼在迷宫中的行为的熟悉，使吃豆人总是比他的敌人先行一步。

与Mitchell不同的是，大部分玩家只能靠多种利用游戏的确定性属性的模式来获得高分。这些模式要求玩家具有极好的记忆力和反应力——任何一点执行上的犹豫或失误都会导致模式失效。过分依赖这些路线使许多玩家一旦发生失误，就不知道如何有效地避开高级关卡中的鬼和吃到吃掉剩余圆点。

今天，大部分《吃豆人》在线攻略都非常类似于80年代出售的指导书的内容：先总结玩法和得分机制，然后罗列玩家需要记忆的模式，但几乎没有揭示游戏如何运作或鬼如何决策。因此，本文的目的是，让玩家不是通过记忆模式，而是从玩法、迷宫逻辑、鬼的个性和神秘的“分屏”关卡，更加深刻地理解《吃豆人》。我不敢保证你看过本文后会玩得跟Billy Mitchell一样好，但一旦你深刻地理解鬼是如何“思考”的，你绝对会更明白自己为什么会在关键模式中犯错误。

本文所提供的信息都是从原版《吃豆人》的代码文件中提取的，或经过大量测试和观察得出的。因此，我对它们的准确性非常有信心。也就是说，如果你发现了错误或疏忽，请致信我的邮箱jamey.pittman@yahoo.com，以便我及时更正。但愿你跟我一样，觉得这篇详尽分析经典街机游戏《吃豆人》的文章有趣又实用。

特别感谢Don Hodges（www.donhodges.com）对本文的大力支持。

第一章

“我对电脑没有特别的兴趣。但我对通过创造图像与人交流有兴趣。电脑不是唯一使用图像的媒体；我可以使用电影或电视或其他任何视觉媒体。我使用电脑只是偶然。”——岩谷彻

1977年，一个名叫岩谷彻的有为青年通过自学技术，到东京的一家娱乐设备制造公司南宫梦求职。这家公司当时的主要产品线是游戏机和光枪射击玩具。这位22岁的年轻人没有接受任何正规的电脑、视觉艺术或图像设计的培训，但他在游戏设计方面的创新能力和天赋给面试他的执行官留下了深刻印象。他们决定雇用岩谷彻，保证会在公司给他找个位置。他决定留下来。

最后，岩谷彻得到的工作是给南宫梦的新电子游戏部门设计游戏。他有限的电脑技术迫使他作为项目的游戏设计师，与编写代码的程序员保持密切合作。在1977年，游戏设计师对于游戏行业还是一个新鲜的职业，当时在部分游戏是由编写代码的程序员设计的。除了程序员，岩谷彻的团队中还有负责开发各种设备和组件的硬件工程师、负责实现他的画面想象的图形美工和为游戏制作音乐及声音特效的作曲人员。

岩谷彻最实打算制作弹球机，但南宫梦对这种生意没兴趣。也许作为让步，他的第一个游戏设计，《Gee Bee》是一款类似于Atari的《Breakout》的游戏，但玩法上显然受到弹球机的启发。这款发行于1978年的游戏是南宫梦的第一款原创电子游戏——在此之前他们只是把Atari的游戏移植到日本市场。这款游戏在街机市场小有成绩。

但随着新类型的出现，这种游戏很快失去立足之地。游戏发行公司太东的《太空侵略者》于1978年发面，获得了前所未有的成功，使整个游戏行业以太空射击为开发主题。游戏制作商为了复制太东的成功，也在努力开发自己的太空射击游戏。南宫梦也很快抓住这股潮流，马上组织了一支开发《太空侵略者》类型的团队。大约就在这个时候，岩谷彻开始考虑设计一款不同的游戏。他认为射击类游戏的热潮必定会像之前的游戏类型的一样消退。与基制作另一款太空射击游戏，不如在游戏设计上开辟一个全新的方向。所以他的团队没有把设计焦点放在暴力或战斗主题上，而是以既能吸引男性玩家又能唤起女性玩家兴趣为目标。

他从一个关于保护孩子免于被怪兽吃掉的童话故事中获得灵感。岩谷彻的设计方法之一是，用与故事有关的关键词来辅助游戏想法的构思。日本汉字的“吃”成为这款游戏的主题。日本汉字中的“嘴”的字形是圆形，成为游戏主角的形象来源——另一个更知名的传说是，岩谷彻是吃批萨时想到这个角色形象。根据他自己的承认，但不完全准确：

“好吧，半真半假。在日本汉字中，‘嘴’这个字是圆形的。没有批萨那么圆，但我决定把角色做得圆一些。我曾有冲动把吃豆人的形状做得再复杂一些。在我设计这款游戏时，有人建议我加上眼睛。但我们最终没有采纳那个建议，因为一旦我们加上眼睛，我们就会想再加上眼镜、小胡子……这样就没完没了了。食物是这个基本概念的另一部分。在我的初始设计中，我让屏幕充满食物，玩家就被食物包围着。随时思考深入，我意识到玩家会不知道到底要做什么：游戏目标太模糊了。所以我制作了一个迷宫，把食物放在迷宫里。这样无论谁玩游戏，都会有一些在迷宫中移动的结构。日本有一个俚语——paku paku（这是日语发音），人们用它来形容人吃东西时嘴巴的运动。《吃豆人》（《Puck-Man》）这个名称就是从这个词来的（游戏邦注：“Puck-Man”中的“puck”发音与Paku接近）。”——岩谷彻

出自这个童话故事的怪兽是四种鬼，它们会在迷宫中追击玩家，从面而增加游戏的紧张感。对玩家的进攻是分批的（类似于《太空侵略者》），而不是无限的袭击。每一个鬼都有独特的个性。这个童话故事还有一个“精神”的概念或者叫作生命力（使吃豆人能够吃鬼的力量）。岩谷彻把这个概念变成游戏迷宫中的可吃的力量丸，玩家吃了这种力量丸就获得了吃鬼的力量。

名称和基本概念到位后，岩谷彻正式启动项目。南宫梦分配给岩谷彻开发《吃豆人》的团队包含一名程序员、一名硬件工程师、一名美工和一名作曲师。项目于1979年初启动。在这一年中，岩谷彻还设计了两款以弹珠机为主题的新游戏——《Bomb Bee》和《Cutie Q》，这两款游戏都是在《吃豆人》还在开发时发布的。这两款游戏与《Gee Bee》都类似，但玩法上增加了，画面也改善了。

过去几个月一直在开发《太空侵略者》类游戏的团队已经给南宫梦带来了一次技术革命：他们开发了第一款使用真实、多色、RGB显示的而不是单色显示器的游戏，当时的彩色胶带非常流行。多亏了其他团队的突破性成果，岩谷彻现在可能用色彩来强化他的设计了。考虑到希望游戏吸引女性，他立即决定在鬼的设计上使用彩色，即鬼的身体使用轻淡的颜色，眼睛为惹眼的蓝色。迷宫本身是深蓝色的，而吃豆人是亮丽的黄色。

《吃豆人》的外观和感觉在这一年里不断演化。开发团队花了大量时间和精力制作鬼在迷宫中的特殊移动模式和调整游戏难度的变化。红利信号（包括星空飞船）被添加到游戏中，鬼终于有了名字：Akabei、Pinky、Aosuke和Guzuta。声音特效和音乐直到开发接近收尾才作为点眼之笔添加到游戏中。在整个开发过程里，鬼的行为一直在修改和调整。

《吃豆人》制作了一年零五个月。最终，这款当时开发耗时最长的游戏于1980年5月22日在日本发行。一开始，这款游戏的表现只是一般，并没有造成一夜轰动。事实上，南宫梦的多色“太空侵略者”式游戏《Galaxian》更受广大玩家的欢迎——作为日本游戏市场的主体的男性玩家并不知道具有卡通角色、迷宫和轻柔色彩的《吃豆人》是什么样的游戏，而以太空射击为主题的《Galaxian》显然让他们一眼就觉得亲切熟悉。

galaxian(from galeon.com)

Midway是当时美国一家发行投币电子游戏的公司，它一直在日本寻找一款可以授权到美国的游戏。他们挑中了《Puck-Man》和《Galaxian》，修改了它们的游戏机子和美术，使之更容易生产，更符合美国玩家的品味。

《吃豆人》被进行大刀阔斧的修改：机子的外观颜色从白色变成明黄色，使它在游戏机厅里更抢眼。精细多色的机身图案被更省成本的三色插画取代了（当时的插图是被加上眼睛和脚的吃豆人和一个蓝鬼）。Midway还把鬼的名字（Blinky、Pinky、Inky和Clyde)和南宫梦翻译成英语。吃豆人最大的改变是它的名字。Midway害怕“Puck-Man”中的“P”会被玩家改成“F”，导致角色被冠上不雅的绰号。为了避免自己的产品与“Fuck”扯上关系，Midway在1980年10月的发行以前把游戏名称从原来的《Puck-Man》改成《Pac-Man》。

但是，这两款游戏在美国的表现却与在日本颠倒了。《Galaxian》迷失在美国的射击街机游戏狂潮中，到1980年秋天，它又遭遇更强劲的对手如《Defender》。最后，《Galaxian》在美国的表现只能算一般，而在日本，也没能复制原版《太空侵略者》那种程度的成功。《吃豆人》的命运却与之相反——没有什么游戏能与这款在类型上独树帜的游戏相抗衡。明黄色的游戏机身、画面和声音都非常引人注意。没有人以前见过这样的游戏。迷人的玩法和难度渐增的关卡让硬核玩家大喜过望，而游戏的简单又非常吸引儿童。非战争、暴力的主题正如岩谷彻所期望的那样，激发了相当一部分女性对电子游戏的兴趣。甚至担心游戏暴力的家长也很放心自己的孩子玩像《吃豆人》这样可爱纯真的游戏。

《吃豆人》捕获了全世界玩家的关注，造成了前所未有的轰动。它真正成为一种遍及全球的现象，发行的头一年便卖出超过10万台机子。容易上手但极难精通的玩法，使上至华尔街的执行官下至还在念书的孩子，纷纷守在《吃豆人》的机子旁边等着玩游戏。到1982年，《吃豆人》的周边产品几乎随处可见：T恤衫、帽子、钥匙链、腕带、床单、空气清香剂、挂钟、水杯、游戏卡、贴纸、收纳盒、漫画书——甚至周六早上的卡通片。一首叫作《Pac-Man Fever》的潮歌登上美国流行音乐排行榜第9名。许多书刊发表了由高手玩家写的获得高分的技巧和建议——出现了史上第一本关于电子游戏的策略指南书。

cabinet3（from home.comcast.net)

30多年以后，《吃豆人》仍然是史上销量最好的投币游戏。吃豆人在美国仍然被认为是辨识度最高的游戏角色。它的外观已经被授权给250多个公司，出现在超过400种产品中。他的名字被商业圈用于形容守势的公司反而吞并更大的公司，即“Pac-Man defense”。在华盛顿的Smithsonian 博物院甚至还有一台用于展示的《吃豆人》机子。

对这款原版投币游戏的热情从未完全消退。多亏了南宫梦再次把《吃豆人》和其他经典街机游戏放进现代家用游戏机中，新一代《吃豆人》玩家才有机会玩到这款年纪比他们本人还大的游戏。因为家用电脑能够使用高级街机模拟器（如MAME）来复制街机ROM芯片，100%复原游戏，许多经典游戏才得以保持生命力。还有若干网站存有关于原版《吃豆人》街机游戏的信息，如Wikipedia和Killer List Of Video Games。（本文为游戏邦/gamerboom.com编译，拒绝任何不保留版权的转载，如需转载请联系：游戏邦）

The Pac-Man Dossier

by Jamey Pittman

Welcome to The Pac-Man Dossier! This web page is dedicated to providing Pac-Man players of all skill levels with the most complete and detailed study of the game possible. New discoveries found during the research for this page have allowed for the clearest view yet of the actual ghost behavior and pathfinding logic used by the game. Laid out in hyperlinked chapters and sections, the dossier is easy to navigate using the Table of Contents below, or you can read it in linear fashion from top-to-bottom. Chapter 1 is purely the backstory of Namco and Pac-Man’s designer, Toru Iwatani, chronicling the development cycle and release of the arcade classic. If you want to get right to the technical portions of the document, however, feel free to skip ahead to Chapter 2 and start reading there. Chapter 3 and Chapter 4 are dedicated to explaining pathfinding logic and discussions of unique ghost behavior. Chapter 5 is dedicated to the “split screen” level, and several Appendices follow, offering reference tables, an easter egg, vintage guides, a glossary, and more. Lastly, if you are unable to find what you’re looking for or something seems unclear in the text, please feel free to contact me (jamey.pittman@yahoo.com) and ask!

If you enjoy the information presented on this website, please consider contributing a small donation to support it and defray the time/maintenance costs associated with keeping it online and updated. Donations can be made safely and securely via PayPal by clicking the “Donate” button below. You can also make a small contribution (at no cost to you whatsoever) by simply clicking on one or more of the advertisement banners. Your support is greatly appreciated!

Introduction

In 1999, Billy Mitchell of Hollywood, Florida became the first person to obtain a perfect score of 3,333,360 at Pac-Man, eating every possible dot, energizer, ghost, and bonus on every level without losing a single life in the process. But perhaps what is most amazing is the fact he can play without using any memorized routines widely known as “patterns”. Instead, he relies on his familiarity with how each ghost behaves as it moves through the maze, using that knowledge to keep Pac-Man one step ahead of his enemies at all times.

Unlike Mitchell, most players are only able to rack up high scores with the aid of multiple patterns that take advantage of the game’s deterministic nature. These patterns require perfect memorization and recall to be of any real use—a single hesitation or wrong turn during execution can make the remainder of a pattern useless. Not surprisingly, an over-reliance on these routines leaves many a player clueless as to how to effectively avoid the ghosts and finish off the remaining dots in the higher levels once a mistake occurs.

Most Pac-Man strategy guides available online today are very similar in content to the books that were sold back in the early 80s: a summary of gameplay and scoring is provided first, followed by a list of patterns to be memorized by the reader, but very little insight is offered on how the game works or how the ghosts make decisions. Therefore, the purpose of this guide is to give the player a better understanding of Pac-Man without the use of patterns by taking a closer look at gameplay, maze logic, ghost personalities, and the mysterious “split screen” level. I can’t promise that you’ll play as well as Billy Mitchell after reading this guide, but you will definitely feel much better about recovering from a mistake in your ninth key pattern once you have a good understanding of how the ghosts “think”.

All information provided has been extracted from or verified with disassembly output from the original Pac-Man code ROMs in conjunction with extensive testing and observations made during gameplay. As such, I am highly confident in the accuracy of this document. That being said, if you notice an error or omission, please contact me at jamey.pittman@yahoo.com so it can be corrected as soon as possible. Hopefully you will find this material as interesting and useful as I did for gaining a better understanding of this classic arcade title.

Special thanks to Don Hodges (www.donhodges.com) whose invaluable contributions to this guide can be found in every chapter.

CHAPTER 1:

Welcome To The Machine

“I don’t have any particular interest in [computers]. I’m interested in creating images that communicate with people. A computer is not the only medium that uses images; I could use the movies or television or any other visual medium. It just so happens I use the computer.”—Toru Iwatani

It was 1977 when a self-taught, capable young man named Toru Iwatani came to work for Namco Limited, a Tokyo-based amusement manufacturer whose main product lines at the time were projection-based amusement rides and light gun shooting galleries. He was just 22 years old with no formal training in computers, visual arts, or graphic design, but his creativity and aptitude for game design were obvious to the Namco executives that met with Iwatani. They offered to hire him—with assurances they would find a place for him in the company—and he accepted.

Iwatani eventually found his place designing titles for Namco’s new video games division. His limited computer skills necessitated his being paired with a programmer who would write the actual code while Iwatani took on the role of game designer for the project. This was a new job for the game industry in 1977 when most games were designed by the programmers who coded them. In addition to a programmer, Iwatani’s team would usually include a hardware engineer to develop the various devices and components, a graphic artist to realize his visual ideas, and a music composer for any music and sound effects needed in the game.

Iwatani had initially wanted to work on pinball machines, but Namco had no interest in the pinball business. Perhaps as a concession, his first game design, called Gee Bee, was a paddle game similar to Atari’s Breakout but with a decidedly pinball-inspired slant to the gameplay. Released in 1978, it was Namco’s first original video game—they had only ported existing Atari games to the Japanese market up to this point—and it enjoyed moderate success in the arcades.

But the paddle games were losing ground fast to a new genre. The unprecedented success of Taito’s Space Invaders in 1978 caused an industry-wide shift toward space-themed, shoot-’em-up games (as well as a national coin shortage in Japan). Game manufacturers scrambled to match Taito’s success with space shooters of their own. Namco was quick to follow suit, assigning a team to start work on a Space Invaders clone at once. It was around this time that Toru Iwatani began thinking about designing a different kind of game. He felt the shoot-’em-up craze was destined to fade away like the paddle games before them. Rather than make another space shooter, Toru wanted to take his game design in a completely new direction that did not focus on violence or conflict, and would appeal to both male and female audiences.

He took inspiration from a children’s story about a creature that protected children from monsters by eating them. One of Iwatani’s design methods included taking key words associated with a story to aid in developing his ideas. The kanji word taberu (“to eat”), became the premise for the game. The word kuchi (“mouth”) has a square shape for its kanji symbol and provided the inspiration for the game’s main character—the better-known legend of Iwatani receiving his inspiration from a pizza pie with a slice missing was, by his own admission, not entirely correct:

“Well, it’s half true. In Japanese the character for mouth (kuchi) is a square shape. It’s not circular like the pizza, but I decided to round it out. There was the temptation to make the Pac-Man shape less simple. While I was designing this game, someone suggested we add eyes. But we eventually discarded that idea because once we added eyes, we would want to add glasses and maybe a moustache. There would just be no end to it. Food is the other part of the basic concept. In my initial design, I had put the player in the midst of food all over the screen. As I thought about it, I realized the player wouldn’t know exactly what to do: the purpose of the game would be obscure. So I created a maze and put the food in it. Then whoever played the game would have some structure by moving through the maze. The Japanese have a slang word—paku paku—they use to describe the motion of the mouth opening and closing while one eats. The name Puck-Man came from that word.”

—Toru Iwatani

The monsters from the children’s story were included as four ghosts that chase the player through the maze, providing an element of tension. Attacks on the player were designed to come in waves (similar to Space Invaders) as opposed to an endless assault, and each ghost was given an unique personality and character. The children’s story also included the concept of kokoro (“spirit”) or a life force used by the creature that allowed him to eat the monsters. Toru incorporated this aspect of the story as four edible power pellets in the maze that turn the tables on the ghosts, making them vulnerable to being eaten by the player.

With a name and a basic design in place, Iwatani was ready to begin work. The team Namco assigned Iwatani to bring Puck-Man to life included a programmer (Shigeo Funaki), a hardware engineer, a cabinet designer, and a music composer (Toshio Kai). Development got underway in early 1979. In the course of that year, two new pinball-themed designs from Iwatani—Bomb Bee and Cutie Q—were both released during Puck-Man’s development cycle. Both games were similar to Gee Bee but with stronger gameplay and improved visuals.

The Namco team working on the Space Invaders clone for the past several months had just achieved a technological coup for Namco: the first game to use a true, multi-colored, RGB display instead of the monochrome monitors with colored cellophane tape so prevalent at the time. Thanks to the breakthrough of the other team, Iwatani now had the new promise of color to enhance his design. Mindful that he wanted the game to appeal to women, he immediately decided to use it on the ghosts, choosing pastel shades for the bodies and adding expressive, blue eyes. Dark blue was used for the maze itself, while Puck-Man was drenched in a brilliant yellow.

The look and feel of Puck-Man continued to evolve for over a year. A large amount of time and effort was put into developing the ghosts unique movement patterns through the maze and tweaking the game difficulty variables as boards were cleared. Bonus symbols (including the Galaxian flagship) were added into the mix at some point, and the ghosts were finally given names: Akabei, Pinky, Aosuke, and Guzuta. Sound effects and music were some of the final touches added as development neared an end along with constant tweaking of the ghosts’ behavior.

Puck-Man’s creation was a year and five months in the making—the longest ever for a video game to that point. Finally, on May 22nd, 1980, it was released to arcades in Japan. Initially, the game did moderately well, but was no overnight sensation. In fact, Namco’s multi-colored Space Invaders clone, called Galaxian, was much more popular with the gaming public—the predominately male, game-playing audience in Japan was unsure what to make of Puck-Man with its cartoon-like characters, maze, and pastel colors, whereas Galaxian was more immediately familiar to them with its shoot-’em-up space theme.

Midway was a distributor of coin-operated video games in the U.S. that was always looking for the next big hit from Japan to license and bring to America. They opted for both Puck-Man and Galaxian, modifying the cabinets and artwork to make them easier to manufacture as well as providing a more American look and feel.

Puck-Man went through the majority of the changes: the cabinet was modified slightly, changing the color from white to a bright yellow to make it stand out in the arcade. The detailed, multi-colored cabinet artwork was replaced with cheaper-to-produce, three-color artwork illustrating an iconic representation of Puck-Man (now drawn with eyes and feet) and one blue ghost. English names were given to the ghosts (Blinky, Pinky, Inky, and Clyde), and the Namco title was changed to Midway. The most significant change to Puck-Man was the name. Midway feared it would be too easy for nasty-minded vandals to change the P in Puck-Man to an F, creating an unsavory epithet. Not wanting their product associated with this word, Midway renamed the game Pac-Man before releasing it to American arcades in October 1980.

But the situation in America was reversed from Japan for these two titles. Galaxian got lost in the shuffle of the shoot-’em-up craze that blanketed America’s arcades and, by the fall of 1980, it was already competing with more advanced video games like Defender. In the end, Galaxian enjoyed moderate success in America and in Japan, but was never the smash hit the original Space Invaders was. Pac-Man was another story. There were no games to compare it to—it was in a genre all by itself. The bright yellow cabinet, visuals, and sounds drew a great deal of attention. No one had seen a game quite like this before. The addictive gameplay and challenge of increasing levels of difficulty kept the die-hard gamers more than happy, while the simplicity of the game appealed to younger children. The lack of war-like motifs and violence did as Iwatani had hoped and attracted a sizable female audience—a first for a video game. Even the parents wary of the violence-themed arcade games had no problem with their kids playing as cute and innocuous a game as Pac-Man.

Pac-Man went on to capture the world’s imagination like nothing before or since. It was a genuine phenomenon on a global scale, selling over 100,000 machines in its first year alone. Easy to learn but notoriously difficult to master, everyone from school children to Wall Street executives dropped quarter after quarter into an ever-increasing number of waiting Pac-Man machines. By 1982, Pac-Man merchandise was literally everywhere: t-shirts, hats, keychains, wrist bands, bedsheets, air fresheners, wall clocks, drinking glasses, trading cards, stickers, cereal boxes, comic books—even a Saturday morning cartoon. A novelty song called “Pac-Man Fever” received significant radio play, reaching number nine on the U.S. Billboard charts. Many books were written offering tips and tricks used by the best players to achieve high scores—the first-ever strategy guides published for a video game.

More than thirty years later, Pac-Man remains the best-selling coin-operated video game in history. Still considered the most widely-recognized video game character in the U.S., his likeness has been licensed to over 250 companies for over 400 products. His namesake has been adopted by the business world to describe a way to defend against a hostile takeover (the defending company swallows up the larger company instead in a move known as the “Pac-Man defense”). There is even an upright Pac-Man machine on display at the Smithsonian Institution in Washington, D.C.

Interest in the original coin-op title has never completely faded. Thanks to Namco’s re-release of Pac-Man and other arcade classics for modern home consoles, new generations of Pac-addicts have worn their hands out playing a game often older than themselves. Many classic titles are also kept alive thanks to the advent of high-quality arcade emulators available for the home computer (like MAME) that use a software copy of the arcade ROM chips to recreate the game with 100% accuracy. Several web pages with information about the original Pac-Man arcade game can be found online including Wikipedia and the Killer List Of Video Games.(source:home.comcast)