In his last book, The Playstation Dreamworld (Polity, 2017), Alfie Bown is not exclusively addressing video game players—whether full-time or simply occasional players—but everyone. He understands that video games can be the perfect tool to comprehend the digital media scenario in which we live. So, in the same way that American cinema from the 40s, 50s and 60s left a footprint in several generations' lives, regardless of whether one watched the movies or not, influencing their clothes, haircuts, the music that they listened to, and the way they walked or smoked, Bown's idea is that video games might be doing the same with this generation, regardless of whether we play video games or not. The digital revolution has arrived and former cultural backbones such as theatre, novel, radio, cinema, and television have been swept away or assimilated by the internet. Video games, however, which were also born before the internet, seem to be a means of expression, cultural asset, leisure activity or whatever you want to call them, which adapts and morphs with technology. Advances in computers allowed games to evolve and designs to become more real. The possibilities of games multiplied, as well as the available offer. The consoles, before the mobile phones, became small and portable and gave the option to play anywhere. The development and implementation of the internet make it possible to play online with people from all over the world, and virtual reality (VR) systems seem to be the last frontier between fiction and reality. In addition to this, with the shift of generations of players, video games have ceased to be a market for children, teenagers, or alternative cultures to occupy an important part of the adult leisure market.