In the shadowy neon-lit corners of Portland, ’81, a phantom machine blinked into existence. Not your garden-variety joystick jockey’s dream, but a siren call to the arcade-addled brains of suburbia. This wasn’t just Pac-Man munching pellets; this was something else, something… other.

Lines coiled like serpents, kids hypnotized, tokens clinking—addiction wasn’t just for the back alleys anymore. It was here, in bright, blinking cabinets. But then, the Men in Black descended, not to flash their badges or zap memories, but to harvest something far more insidious from the glow of those screens. Data? Sure. But what kind of data needs a suit and a silence vow?

The whispers started as murmurs, escalating to screams in the void. Players, pale as the moon and twice as haunted, spoke of sleep stolen, memories erased like chalkboards. Nightmares? Child’s play. This was the stuff of night terrors, the kind that gnaws at the soul. Suicides inked the headlines, but the dots, they never connected back to that cursed cabinet.

“Polybius,” they said, was just a game. But games don’t leave shadows in their wake, nor do they whisper secrets in the dark. In the myth-laced haze of conspiracy, one truth remains: not all games are meant to be played.

Interest

Examining the phenomenon is intriguing for several reasons, touching upon aspects of human psychology, the impact of digital culture, and the nature of urban legends in the modern world.

Here are some key reasons why the phenomenon warrants attention:

1. Urban Legend and Mythology: It serves as a contemporary digital urban legend, reflecting society’s anxieties and fascinations with technology. Understanding why such stories emerge and spread can offer insights into collective fears and the ways in which myths evolve in the digital age.
2. Psychological Impact of Gaming: The legend taps into concerns about the psychological effects of video games, including addiction, desensitization, and the potential for games to influence behavior. Investigating these aspects can contribute to broader discussions about media influence and the responsible design of digital content.
3. Memory and Collective Belief: The Mandela Effects associated with the game highlight how collective belief and shared false memories can form around a piece of cultural lore. This phenomenon is a fascinating area of study within psychology and social science, shedding light on how memories can be shaped by community narratives.
4. Cultural Impact of Arcades: The setting of the legend in early ’80s arcades speaks to the cultural significance of these spaces at the time. Exploring the legend offers a window into the arcade era’s social dynamics, communal experiences, and the role arcades played in shaping gaming culture.
5. Government Conspiracy Theories: The involvement of mysterious “men in black” and the suggestion of government experiments in the story tap into broader conspiracy theories about government surveillance and control. Analyzing these elements can help understand the appeal and persistence of conspiracy theories in public consciousness.
6. Evolution of Digital Folklore: The game exemplifies how folklore can develop and spread in the digital era, with stories evolving through online forums, social media, and gaming communities. Studying this phenomenon provides insights into the lifecycle of modern myths and the role of the internet in folklore creation and dissemination.
7. Impact on Game Development: The enduring interest has influenced some game developers to create games that pay homage to or are inspired by the legend. This influence underscores the legend’s impact on creative processes and the interplay between myth and media creation.

In essence, the phenomenon offers a rich case study for exploring the intersections of technology, culture, psychology, and storytelling, making it a subject of enduring fascination and relevance in understanding contemporary digital myths.

Hardware

Arcade hardware in the early 1980s was characterized by its bespoke, game-specific nature, with each machine often being designed around the needs of the individual game it hosted. Despite this customization, there were common technical capabilities and limitations shared by arcade systems of the time:

Processing Power:

• CPUs: The central processing units (CPUs) used in arcade machines were typically 8-bit microprocessors. Popular choices included the Zilog Z80, the Motorola 6800, and the MOS Technology 6502. These processors generally operated at clock speeds ranging from 1 to 4 MHz, providing the basic computational power needed for game logic and simple physics calculations.

Graphics:

• Display: Arcade games were displayed on raster CRT monitors, with resolutions often around 256×224 pixels, though this could vary significantly between machines. The graphics were relatively simple by today’s standards, with a limited color palette (often 16 to 256 colors).
• Sprites: Graphics were typically rendered using sprites—small, 2D bitmap images that could be moved independently across the screen. Hardware limitations dictated the number of sprites that could be displayed simultaneously and their sizes.
• Tile Maps: Backgrounds were commonly made of tile maps, grids of square or rectangular tiles pieced together to form larger images or levels. This was a memory-efficient way to create complex scenes.

Sound:

• Audio Chips: Sound was generated using dedicated audio chips, such as the AY-3-8910 or the Yamaha YM2149. These chips supported a few channels of monophonic or simple polyphonic sound, capable of producing basic melodies and sound effects.
• Memory Limitations: Due to limited memory, audio samples were rare, and most game sounds were synthesized in real-time by the audio chip.

Memory:

• RAM: Arcade machines were equipped with a relatively small amount of RAM, often in the range of a few kilobytes. This memory was used for storing the game state, player scores, and other dynamic data.
• ROM: Game code and static assets like graphics and sound data were stored in read-only memory (ROM) chips. The size of these ROMs could vary but was generally much larger than the available RAM, sometimes reaching up to a few hundred kilobytes in more advanced machines.

Input/Output:

• Controls: Arcade cabinets featured a range of input devices, including joysticks, buttons, trackballs, and steering wheels, designed to suit the specific requirements of each game.
• Coin Mechanism: An essential component of arcade hardware was the coin mechanism, which validated inserted coins and credited the player with game time or lives.

Cabinet Design:

• Artwork: Arcade cabinets were often elaborately decorated with artwork related to the game, featuring bright, eye-catching designs to attract players.
• Construction: Cabinets were typically made of wood and metal, housing the CRT monitor, control panel, motherboard, power supply, and speaker system.

Despite these technical constraints, the creativity and ingenuity of game developers during this era led to a golden age of arcade gaming, with many classic titles that remain played to this day.

Software

If this were a real arcade game from the early 1980s, it would likely have been programmed in a language or development environment typical of that era’s arcade systems. During this period, arcade games were often developed using assembly language specific to the hardware they were designed to run on.

Assembly Language:

• Low-Level Programming: Assembly language is a low-level programming language that is closely related to machine code. It provides direct control of the hardware, allowing developers to optimize performance and manage graphical and processing capabilities very efficiently, which was crucial for the limited hardware of the time.
• Hardware Specific: Each processor or microcontroller has its own specific version of assembly language, tailored to its instruction set.

Why Assembly Language?

• Performance: The need for real-time performance in video games, particularly in terms of graphics and user input responsiveness, made assembly language a preferred choice. It allowed developers to squeeze every bit of performance out of the hardware.
• Custom Hardware: Arcade cabinets often used custom hardware configurations optimized for the specific needs of each game. Assembly language programming enabled developers to tailor their code to these unique setups.

Alternative Possibilities:

• While assembly language was predominant, it’s also possible that parts of a game like “Polybius” could have been written using higher-level languages that compiled down to assembly, such as:
• C Language: By the late ’70s and early ’80s, C was becoming more popular for systems programming, offering a balance between high-level programming ease and the control of low-level languages. However, its use in arcade game development at the time was less common due to the overhead and less direct hardware control compared to assembly.

Given the mythical nature of this game, with its supposed advanced psychological effects and data collection capabilities, it’s conceivable that the game might have also incorporated experimental programming techniques or even custom-built languages or frameworks to achieve its purported capabilities. However, given the technological constraints of the era, assembly language remains the most likely candidate for the core programming of such a game.

The Game

The urban legend of holds that the game was no mere arcade pastime but a conduit for a deeply psychological, perhaps even nefarious, experiment.

The game’s mechanics, visuals, and audio were rumoured to be engineered in such a way to deeply influence the player’s subconscious mind.

Visual and Audio Design:

The game allegedly utilized a unique combination of flashing images and hypnotic patterns, far beyond the standard fare of arcade games of the time. These patterns were said to induce a trance-like state in players, making their minds more susceptible to the game’s psychoactive effects. Coupled with a soundtrack that utilized binaural beats or subliminal messages, the game might have been capable of altering brain wave patterns, inducing various psychological states.

Gameplay Mechanics:

The gameplay itself was designed to be both addictive and disorienting. The progression and difficulty levels could have been calibrated to create a compulsion loop, keeping the player engaged for extended periods, while the game’s challenges and speed induced a high level of stress and anxiety. This combination of compulsion and stress could lead to significant psychological strain.

Subliminal Messaging:

It was rumoured that the game contained subliminal messages. These messages, flashing on the screen at speeds and durations too quick for conscious recognition, could have been designed to influence players’ thoughts and behaviours, embedding suggestions or commands into their subconscious.

Psychological Effects:

The combination of these elements could explain the adverse effects reported by players. The intense, trance-inducing gameplay could lead to disassociation, where players would lose track of time and reality, leading to amnesia. The stress and anxiety from the gameplay, coupled with possible subliminal suggestions of despair or hopelessness, might contribute to insomnia, nightmares, and in extreme cases, suicidal ideation.

Night Terrors and Suicides:

The most extreme reports of night terrors and suicides could be the result of a profound psychological break. For individuals who might have been predisposed to mental health issues, the intense and manipulative nature of the game could have been the tipping point, leading to tragic outcomes.

The Experiment:

The theory that the game was part of a psychological experiment gains credence from these detailed mechanisms of influence. The men in black, rather than being mere technicians, could have been researchers or agents collecting data on the game’s effects on players, analysing how effectively it could manipulate mental states and behaviours.

In the end, while the existence of the game remains unconfirmed, the legend persists as a cautionary tale about the potential for technology to impact human psychology in profound and unsettling ways. It serves as a reminder of the power of the media we consume and the unseen effects it can have on our minds and well-being.

Features

Creating a game with effects similar to those attributed to the games, while ensuring it remains within current ethical and legal boundaries, would involve designing a highly immersive and psychologically engaging experience.

Here’s a structured approach to developing such a game, focusing on immersion, engagement, and psychological impact without the negative side effects:

1. Concept and Theme:

• Title: “Portland81”
• Premise: Players navigate through a series of increasingly complex mazes, each designed to represent different aspects of human psychology and emotion.

2. Visual Design:

• Aesthetics: Utilize a retro-futuristic design reminiscent of early arcade games but with modern graphical fidelity.
• Effects: Integrate subtle, pulsating patterns and fractal imagery that change based on the player’s progress, designed to enhance immersion without causing discomfort or harm.

3. Audio Design:

• Soundtrack: Develop a dynamic soundtrack that adapts to the player’s actions and the game’s pacing, incorporating binaural beats at safe frequencies to promote relaxation and focus.
• Sound Effects: Use layered, ambient sounds that contribute to the game’s atmosphere, offering cues and feedback to the player’s decisions.

4. Gameplay Mechanics:

• Levels: Design levels that become more intricate, reflecting themes such as memory, fear, ambition, and joy. Each level’s design and challenges are metaphorically linked to its psychological theme.
• Interaction: Implement puzzle elements that require critical thinking and adaptability, encouraging players to engage deeply with the game’s mechanics and themes.
• Feedback Loop: Create a rewarding feedback loop for solving puzzles and navigating mazes, reinforcing positive engagement without encouraging addictive behaviour.

5. Psychological Engagement:

• Narrative: Weave a compelling narrative throughout the game that explores human psychology, encouraging players to reflect on their experiences and perceptions.
• Personalization: Allow players to personalize aspects of the game, fostering a deeper connection to the content and enhancing the reflective aspect of gameplay.

6. Adaptive Difficulty:

• Challenges: Adjust the difficulty based on the player’s performance, ensuring the game remains accessible yet challenging, promoting a sense of achievement without frustration.
• Safe Zones: Include areas within the game where players can ‘rest,’ allowing them to take a break from the intense gameplay and reflect on their journey so far.

7. Player Well-being:

• Break Reminders: Integrate regular reminders for players to take breaks, emphasizing the importance of balance and well-being.
• Positive Reinforcement: Ensure that the game rewards problem-solving and critical thinking with positive reinforcement, avoiding negative or distressing consequences for failure.

8. Community and Support:

• Social Features: Incorporate social features that allow players to share experiences and strategies, fostering a supportive community around the game.
• Resources: Provide in-game resources on psychology and mental well-being, offering players insights into the themes explored within the game and support for real-life application.

By structuring the game around these elements would offer an engaging, immersive experience that stimulates psychological and emotional engagement without the adverse effects associated with the legend. The focus would be on positive player impact, promoting mental well-being, reflection, and a supportive community.

Production

The development would likely have been shrouded in secrecy, with all involved bound by strict confidentiality agreements or even more severe measures to ensure the project’s details remained hidden. The collaboration between diverse specialists suggests a well-funded and highly organized operation, possibly with significant resources at its disposal. In the end remains a fascinating urban legend, the true identity of its hypothetical creators and their intentions continue to fuel speculation and intrigue within the gaming community and beyond.

The design and code would likely be the work of an exceptionally skilled and perhaps multidisciplinary team, possibly involving expertise from both the video game industry and fields outside of traditional game development, such as psychology, neurology, and even espionage or military technology.

The complexity and supposed capabilities of the game suggest a level of sophistication beyond typical arcade games of the early 1980s.

Potential Creators:

Cutting-edge Programmers and Game Designers: The coding and game design would require innovative programmers and game designers, those who were not only at the top of their field in terms of technical skill but also willing to push the boundaries of traditional game development. They would need to integrate complex visual and audio elements in ways that had never been done before.

Psychologists and Neuroscientists: The game’s alleged effects on the human psyche imply that the developers had a deep understanding of human psychology and neurology. Psychologists and neuroscientists might have been consulted or directly involved in crafting the game’s content to ensure it could produce the desired psychoactive effects.

Specialists in Subliminal Messaging and Hypnosis: Experts in subliminal messaging and hypnosis could have contributed to embedding hidden commands and suggestions within the game. Their knowledge would be crucial in creating a game that could allegedly manipulate players’ thoughts and behaviours without their conscious awareness.

Government or Military Contractors: Given the legend’s insinuations of psychological manipulation and data reported to be have been collected by “men in black”, a plausible theory is that the game was developed by a government agency or a private contractor working on behalf of national security or defence interests. This would align with historical instances where governments have investigated the potential of psychological operations and mind control.

Market

The arcade industry of the early 1980s was a vibrant and rapidly evolving sector, marked by innovation, competition, and a cultural phenomenon that captured the imaginations of players around the world. This period, often referred to as the “Golden Age of Arcade Video Games,” was characterized by ground-breaking developments in game design, technology, and arcade culture.

Rise of the Arcade Industry:

The late 1970s and early 1980s saw a surge in the popularity of arcade video games, beginning with the success of titles like “Pong” (1972) and reaching a fever pitch with the release of “Space Invaders” (1978) by Taito. “Space Invaders” became a cultural sensation, leading to the installation of arcade machines in various venues beyond traditional arcades, including restaurants, bars, and shopping centres.

Technological Advancements:

During this period, the industry saw significant technological advancements. The transition from black-and-white to colour graphics, the introduction of more complex sound chips, and the development of more powerful and efficient microprocessors allowed for increasingly sophisticated games. Games like “Pac-Man” (1980) and “Donkey Kong” (1981) showcased these technological improvements with their colourful graphics, distinctive characters, and engaging gameplay.

Experimentation and Diversification:

The success of arcade gaming encouraged experimentation and diversification within the industry. Developers explored various genres, including shooters, platformers, and maze chase games, each bringing new mechanics and narratives to the arcade landscape. This era also saw the introduction of vector display technology, as seen in games like “Asteroids” (1979) and “Tempest” (1981), offering a distinct visual style and gameplay experience.

Competitive Scene and High Scores:

The arcade industry of the early ’80s also gave rise to a competitive gaming scene, with players striving to achieve high scores and gain recognition on local and national leader boards. This competitive aspect was fuelled by publications like “Twin Galaxies” and the inclusion of high score tables in games, creating a community around arcade gaming.

Experiments in Interactivity and Immersion:

Developers experimented with new forms of interactivity and immersion. Games like “Dragon’s Lair” (1983) introduced laser disc technology, offering animated movie-quality graphics and branching gameplay based on player choices. Additionally, the use of environmental cabinets for games like “Discs of Tron” (1983) provided a more immersive experience by surrounding the player with sound and visuals related to the game.

Challenges and Decline:

Despite the booming popularity, the arcade industry faced challenges by the mid-1980s, including market saturation, the rise of home gaming consoles, and a changing economic landscape. These factors, combined with instances of moral panic over the supposed negative effects of video gaming, led to a decline in the arcade industry’s prominence.

Legacy:

Though the golden age waned, the innovations and cultural impact of this era left a lasting legacy. Many of the period’s iconic games continue to be celebrated and played, and the experimental spirit of the time has influenced generations of game developers. The arcade industry of the early ’80s demonstrated the potential of video games as a form of entertainment and art, laying the foundation for the future of the gaming industry.

Urban Legend

The urban legend of itself is often considered a form of the Mandela Effect within the gaming community, given its murky origins and the conflicting accounts of its existence. The Mandela Effect refers to a phenomenon where a large number of people remember an event or detail differently from how it is officially recorded, often attributing these discrepancies to alternate realities or collective false memories.

In the case of “Polybius,” several Mandela Effect-like aspects contribute to its mythos:

Existence of the Game: The most significant Mandela Effect surrounding the game is the debate over its very existence. Some people claim to vividly remember playing the game or seeing it in arcades, while no concrete evidence of the game has ever been found.

Gameplay Details: There are varying accounts of what the gameplay entailed, with some recalling it as a puzzle game, others as a shooter, and still others as something almost psychedelic or hypnotic. The lack of consistency in these descriptions adds to the Mandela Effect phenomenon.

Side Effects: Different stories attribute various side effects to playing, from headaches and nausea to more severe effects like amnesia or even more dire psychological impacts. The specific side effects and their intensity vary widely among accounts.

Developer and Origin: The company allegedly behind the game is often cited as Sinneslöschen, a name that roughly translates to “sense delete” or “sensory extinguish” in German. However, no such company has been definitively proven to exist, leading to speculation and conflicting memories about the game’s origin.

Government Involvement: Some remember tales of as being part of a government experiment, possibly related to behaviour modification or data collection, with “men in black” visiting arcades to collect data from the machines. Others don’t recall this aspect of the legend at all, further illustrating the effects at play.

Arcade Locations: Accounts differ on where the machines were supposedly located, with the most common setting being in suburban Portland, Oregon. However, others recall seeing or hearing about the game in different parts of the United States or even in other countries, adding to the confusion.

Removal of the Game: The timeline for when the game cabinets supposedly appeared and how quickly it was removed from arcades is also inconsistent. Some remember it being available for a few weeks, while others recall a longer or shorter presence, contributing to the Mandela Effect narrative.

The urban legend, with its myriad of conflicting accounts and lack of tangible evidence, serves as a prime example of how the Mandela Effect can manifest within digital culture and collective memory, turning an urban legend into a phenomenon that blurs the lines between reality and myth.

In essence, “Polybius” and “Tron” are both reflections of the early ’80s fascination with video games and digital realms, albeit from different perspectives. The relationship between “Polybius” and “Tron” is primarily thematic and cultural, as both are part of early 1980s arcade lore and share a connection to the burgeoning video game culture of that era.

Shared Themes:

• Virtual Realms: Both “Polybius” and “Tron” explore themes related to virtual worlds and the blurring of lines between reality and digital spaces. “Tron” tells the story of a software engineer who gets transported into a digital universe, a concept that resonates with the mysterious and immersive experience attributed to “Polybius.”
• Arcade Culture: “Tron” and the legend of “Polybius” are both deeply rooted in the arcade culture of the early ’80s. “Tron” celebrated this culture by centering its narrative around video games and featuring arcade scenes, while “Polybius” is said to have been an arcade game that mysteriously appeared in arcades.

Influence and Impact:

• “Tron” Legacy: The release of “Tron” and its depiction of a digital frontier had a significant impact on pop culture and the perception of video games. It inspired arcade games like “Tron” (1982) and “Discs of Tron” (1983), which allowed players to engage with the film’s universe in a tangible way.
• Urban Legend of “Polybius”: The legend of “Polybius” taps into the mystique and allure of arcades, much like “Tron.” However, “Polybius” added a darker twist to the arcade narrative, with rumours of its psychological effects and mysterious origins feeding into the era’s anxieties about technology and its influence on the youth.

Differences:

• Documentation: “Tron” is a well-documented part of film and video game history, with tangible evidence of its influence and legacy. In contrast, “Polybius” exists only as an urban legend, with no physical proof of its existence ever being found.
• Tone and Message: While “Tron” presents a somewhat optimistic view of technology and digital worlds, celebrating the potential for adventure and heroism within them, the “Polybius” legend warns of the potential dangers and negative impacts of video games.

What is in a Name ?

The name of the game in the context of the urban legend does not have a clear, documented origin explaining why this particular name was chosen for the mythical arcade game.

However, it’s worth noting that Polybius is a historically significant name, most famously associated with an ancient Greek historian of the same name who lived in the 2nd century BCE.

Historical Polybius:

Polybius was a Greek historian known for his work “The Histories,” in which he chronicled the period of the Roman Republic’s rise to dominance, aiming to provide a rational and analytical account of historical events. His emphasis on factual accuracy, critical analysis of sources, and the importance of understanding the cause and effect in history had a lasting impact on historiography.

Possible Connotations:

• Complexity and Analysis: The use of the name “Polybius” for the game could subtly reference the complexity and analytical depth characteristic of the historian’s work, perhaps alluding to the game’s supposed complexity and psychological depth.
• Cryptography: Polybius is also associated with the “Polybius square,” a cryptographic tool attributed to him. This device is a method for encoding letters into numbers and has been used in various forms of cryptology. The connection to cryptography might allude to the enigmatic and encoded nature of the game in the urban legend.
• Mystery and Legend: Choosing a name linked to a historical figure with a legacy in analysis and cryptography could add an aura of mystery and intellectual intrigue to the legend, making the game seem more enigmatic and sophisticated.

Speculation and Myth-Making:

The choice of the name for the game in the urban legend could be purely speculative or a deliberate decision by the originators of the legend to imbue the story with a certain depth or mystique.

The lack of concrete evidence or documentation about the game’s origins allows for multiple interpretations, and the name’s historical and cryptological associations contribute to the legend’s enduring fascination. In summary, while the exact reason for the naming of the “Polybius” game remains unclear, the historical and cryptological connotations of the name add layers of intrigue and complexity to the urban legend.

Research

As an acronym, given the context of its urban legend and the mysterious, possibly psychological, and experimental nature of the game, it could stand for something related to those themes.

Here’s our speculative interpretation:

• Psychological
• Operations
• Layered
• Yielding
• Behavioral
• Influence
• Using
• Simulation

This acronym suggests that the P.O.L.Y.B.I.U.S. project was designed as part of psychological operations (PsyOps), aiming to influence or modify behaviour through a complex simulation (or stimulation). This aligns with the urban legend’s narrative that implies the game was part of an experiment, possibly conducted by a government or unknown organization, to study or manipulate the minds of its players.

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Doe, J., & Smith, A. R. (1985). “Explorations in Digital Simulation and Behavioral Influence: The POLYBIUS Initiative.” In Proceedings of the International Symposium on Virtual Environments and Cognitive Processes (pp. 142-156). New Atlantis Press.

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Abstract
The Psychological Operations Layered Yielding Behavioural Influence Using Simulation (POLYBIUS) Project represented a pioneering investigation into the intersection of behavioural psychology, digital simulation, and strategic influence operations. At the core of POLYBIUS was the development and deployment of a highly sophisticated digital simulation platform designed to subtly influence user behaviour and cognitive patterns through immersive interactive experiences. Drawing upon foundational theories in psychology (Bandura, 1977; Zajonc, 1968) and the then advancements in virtual reality and simulation technologies (Sherman & Craig, 2003; Slater & Sanchez-Vives, 2016), POLYBIUS sought to explore the latent potential of digital environments in shaping perceptions, decisions, and actions.

The project’s methodology involved a multi-layered approach to simulation design, incorporating elements of cognitive behavioral therapy (Beck, 1979), classical and operant conditioning (Skinner, 1938; Pavlov, 1927), and subliminal messaging (Strahan, Spencer, & Zanna, 2002) to create a series of scenarios within the simulation that engage users at both conscious and subconscious levels. Initial trials had demonstrated significant shifts in short-term behavioural markers and cognitive bias (Kahneman & Tversky, 1979), suggesting a substantial potential for long-term behavioural influence.

Ethical considerations were paramount in the design and implementation of POLYBIUS, with rigorous adherence to established guidelines for psychological research (American Psychological Association (revised), 2010) and digital ethics (Ess, 2020). The project, at that time, operated under strict oversight to ensure the well-being and autonomy of participants, with informed consent and debriefing processes integral to the research protocol.

POLYBIUS represented a novel frontier in the application of digital simulations for psychological operations. Its implications extend across various domains, from therapeutic interventions and educational enhancements to strategic communications and defense operations. As this whitepaper elucidates, the carefully calibrated integration of psychological principles with digital simulation offers an unprecedented avenue for understanding and influencing human behavior in the digital age.

Citations
American Psychological Association. (2010). Ethical principles of psychologists and code of conduct. http://www.apa.org/ethics/code/index.aspx
Bandura, A. (1977). Social learning theory. Prentice Hall.
Beck, A. T. (1979). Cognitive therapy and the emotional disorders. Penguin.
Ess, C. (2020). Digital media ethics. Polity Press.
Kahneman, D., & Tversky, A. (1979). Prospect theory: An analysis of decision under risk. Econometrica, 47(2), 263-291.
Pavlov, I. P. (1927). Conditioned reflexes. Oxford University Press.
Sherman, W. R., & Craig, A. B. (2003). Understanding virtual reality: Interface, application, and design. Morgan Kaufmann.
Skinner, B. F. (1938). The behavior of organisms: An experimental analysis. Appleton-Century.
Slater, M., & Sanchez-Vives, M. V. (2016). Enhancing our lives with immersive virtual reality. Frontiers in Robotics and AI, 3, 74.
Strahan, E. J., Spencer, S. J., & Zanna, M. P. (2002). Subliminal priming and persuasion: Striking while the iron is hot. Journal of Experimental Social Psychology, 38(6), 556-568.
Zajonc, R. B. (1968). Attitudinal effects of mere exposure. Journal of Personality and Social Psychology, 9(2, Pt.2), 1-27.
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