It's more complex.

I don't know how the analogy would  fall apart  when it's simply an addition to very concrete arguments. That I used for one person. If I was talking to all the people who don't get the point of DMC at the same time it would be the same. The analogy would  fall apart if people were robots unable to adjust their perception, and wouldn't know what's a piano or the point of music. The analogy doesn't hold well in a vacuum, but in the context of the indirect benefits from such a complex design as our organism. It comes precisely from the biggest picture: Instruments and art overall have existed much before video games. Even if other types of games have existed before them as well. The tendency to express ourselves is psychobiological, and the evidence that supports this is how common is art in past societies, and among different cultures. Unlike a much more local (historically more than geographically) tendency about video games. Also subordinate to an industry, i

This is a reply to this video. More specifically the part related to DMC, even if it's focused on 5: Part about DMC5 . Even though I would recommend to watch the entire video to understand his view. ____ Please, don't take anything from this reply as an attack towards you. I am only attacking a specific part of your arguments. ____ In broad terms, we could consider almost every single player video game a type of Simon Says sequence or system of tasks. The differences can be found in interactive variables like: - How hard or complex is to execute what Simon says (headshots, reactions to very quick attacks, intricate inputs with high APM). - How hard is to understand what Simon wants you to do (puzzles). - How much variety there is in what Simon wants you to do (optional exploration, combo systems, multiple paths to reach a goal). - How deceptive is Simon (intentionally unnatural movement from enemies to make them harder to parry, traps and ambushes in first playthroughs). - How