why i love video games essay

Essays About Video Games: Top 12 Examples and Prompts

Video games have revolutionized the way we have fun today. If you are writing essays about video games, check out our guide to inspire your writing.  

Few can contest the fact that video games have taken over the world. From the basic, almost “primitive” games of the 1970s like Pong to the mind-bending virtual reality games of the 2020s, they have been a source of entertainment for all. Moreover, they have proven quite profitable; countries like Japan and the United States have made tens of billions of dollars solely from the video game market.

Despite their popularity, much has been debated over the potentially harmful side effects that video games may have, particularly on children. One side argues that playing certain video games can lead to people exhibiting violence in the future, while others believe that video games teach players essential life skills. Regardless, they will continue to be a part of our lives for the foreseeable future. 

For engaging essays about video games, read the essay examples featured below for inspiration.

1. What electronic games can teach us by Kendall Powell

2. designers are imagining video games without guns by keith stuart, 3. playing video games all summer won’t make you feel worse by nicole wetsman, 4.  violent video games bad by andrea newman.

• 5. ​​The health effects of too much gaming by Peter Grinspoon

Writing Prompts For Essays About Video Games

1. video games: good or bad, 2. the benefits of video games, 3. what is your favorite video game, 4. do video games cause people to become violent, 5. video games in your life, 6. video games vs. traditional games, 7. is the video game rating system enough.

“In other studies, researchers found that gamers who trained on Tetris were better at mentally rotating two-dimensional shapes than those who played a control game. Students who played two hours of All You Can E.T., an educational game designed to enhance the executive function of switching between tasks, improved their focus-shifting skills compared with students who played a word search game.”

Powell explains a few possibilities of applying video games to education. As it turns out, certain video games can improve players’ skills, depending on the mechanics. Researchers are inspired by this and hope to take advantage of the competitive, motivational nature of gaming to encourage children to learn. New games are designed to help kids improve their focus, coordination, and resilience, and game designers hope they will succeed. 

“Imagine a game where you’re a war reporter seeking to capture the most iconic, representative images in a battle environment: You’d still get the sense of peril that audiences expect from action adventures, but your relationship with the environment would be more profound. It would be Call of Duty from the perspective of a creative participant rather than a violent interloper.”

The graphic nature of some video games is said to make kids violent, so it is only natural that some creators try to change this. Stuart writes that it is possible to maintain the fun that shooter-type games induce without using guns. He gives examples of games where you do not kill your enemy, simply stunning or capturing them instead. He also suggests photography as an alternative to killing in a “shooting” game. Finally, he suggests basing video games around helping others, making friends, and doing more peaceful, creative tasks.

“Any role video games play in skewing well-being that did pop up in the study was too small to have a real-world impact on how people feel, the authors said. People would have to play games for 10 more hours per day than their baseline to notice changes in their well-being, the study found.”

Wetsman counters the widespread belief that video games “destroy your brain.” Research done with a sample of 39,000 players over six weeks has shown that whether one plays video games for long or short periods, their mental health is not impacted much. There are some exceptions; however, there are not enough to conclude that video games are, in fact, harmful.

“Some people believe that the connection between violent games, and real violence is also fairly intuitive. In playing the games kids are likely to become desensitized to gory images;which could make them less disturbing, and perhaps easier to deal with in real life. While video games aren’t about violence their capacity to teach can be a good thing.”

In her essay, Newman writes about the supposed promotion of violence in some video games. However, she believes this violence does not cause people to be more aggressive later. Instead, she believes these games expose children to certain atrocities so they will not be traumatized if they see them in real life. In addition, these games supposedly promote connections and friendships. Finally, Newman believes that these “harmful” can make you a better person.

5. ​​ The health effects of too much gaming by Peter Grinspoon

“Gamers need to be educated on how to protect their thumbs, wrists, and elbows, their waistlines, their emotional state, their sleep, and their eyes. Simple education around taking breaks, stretching, eating healthy snacks, and resting and icing your thumb, wrist, or elbow when it starts hurting can address injuries early, before they become significant. For the eyes, gamers can try the 20-20-20 rule: every 20 minutes, try to look at something 20 feet away for 20 seconds.”

Grinspoon discusses both the benefits and the health risks of gaming. Video games allow people to interact with each other remotely and bond over specific missions or tasks, and some research shows that they have cognitive benefits. However, some gamers may develop vision problems and hand and wrist injuries. Gaming and “staring in front of a screen the whole day” is also associated with obesity. Overall, Grinspoon believes that gaming is best done in moderation.

Looking for more? Check out these essays about hobbies .

Many parents believe that their children’s “bad behavior” is because of video games. Based on your experience and others, decide: are video games good or bad for you? Make sure to read viewpoints from both sides and write an essay based on your position. Would you encourage others to play video games? Discuss these pros and cons for an interesting argumentative essay.

Like anything else, video games have both positive and negative aspects. Explain the good that video games can do for you: the skills they can equip you with, the lessons they can teach, and anything else. Also, include whether you believe their benefits outweigh the disadvantages they may pose. 

For your essay, write about your favorite video game and why you chose it. What is its meaning to you, and how has it affected your life? Describe the gameplay mechanics, characters, storyline, and general impact on the gaming community or society. You can write about any game you want, even if you have not played it; just ensure the content is sufficient.

Many claim that playing violent video games can make you violent in the future. Research this phenomenon and conclude whether it is true or not. Is the evidence sufficient? There are many resources on this topic; support your argument by citing credible sources, such as news articles, statistics, and scientific research.

Video games have been a part of almost all our lives. Recall a treasured experience with video games and explain why it is significant. How old were you? Why do you remember it fondly? How did this experience make you feel? Answer these questions in your own words for an exciting essay.

There are stark differences between video and traditional games, such as board games and card games. For an engaging essay, compare and contrast them and write about which is more entertaining, in your opinion. Be creative; this should be based on your own opinions and ideas.

The video game content rating system is used to classify video games based on their appropriateness for specific ages. However, parents complain that they are not strict enough and allow the display of violent content to children. Explore the criteria behind the rating system, decide whether it needs to be changed or not, and give examples to support your argument.

If you are interested in learning more, check out our essay writing tips !

Tip: If writing an essay sounds like a lot of work, simplify it. Write a simple 5 paragraph essay instead.

Martin is an avid writer specializing in editing and proofreading. He also enjoys literary analysis and writing about food and travel.

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13.7 Cosmos & Culture

Why you should play video games.

A cosplayer dressed as Aloy (left) and Spanish actress Dafne Fernandez present the Horizon: Zero Dawn video game on Feb. 15 in Madrid. Pablo Cuadra/Getty Images hide caption

A cosplayer dressed as Aloy (left) and Spanish actress Dafne Fernandez present the Horizon: Zero Dawn video game on Feb. 15 in Madrid.

There is a certain kind of look I get when I tell people how much I love video games.

It lies somewhere between "You're not serious" and "Oh my God, you are serious." And by "people" giving me these looks, I mean adults of a certain age and outlook. Of course, given that I'm a 54-year-old tenured professor, these "people" are pretty much everyone I know (including my now adult children).

So today, I want to speak to all of you "look-givers" and attempt to explain why you, too, should become a gamer.

Basically, it comes down to robot dinosaurs.

I am just about to finish an amazing game called Horizon: Zero Dawn. I've been in its world, working my way through its story, for the last six months. In this experience, I've encountered all the great things a great game has to offer. This includes, but is not exhausted by, fighting robot dinosaurs.

Now wait. Just wait before you click away to that in-depth analysis of President Trump's most recent tweet. Give me a minute to explain.

First of all, there are lots of different meanings for the term "video game," and many of these hold no interest for me. There are the " platformers " like Mario Brothers, which are really just games. Their concept is simple and you basically do the same thing over and over again, which is fun if you're into it. But I'm not.

Total Failure: The World's Worst Video Game

There are also the multiplayer first person shooter (FPS) kinds of games, where you "spawn" into the game's terrain (a "map"), and then you fight against other real people playing the game. These are mostly, probably 13-year-olds in Korea or Kansas who are much, much better than you. That means you'll probably spend a lot of time just dying. This is not the kind of game I want you to try either.

See, the kind of game I want you to try is the one with a story — a good, long, intricate story. And that story should be set in a wide-ranging and intricately imagined world. And just as important, that world should be brought to life through the eyes of an artist. That may mean a visual hyper-realism that leaves your jaw permanently dropped, or it can be an impressionism that serves the story at subtler levels.

And, yes, it will also be cool if there are robot dinosaurs.

So Horizon: Zero Dawn is what's called an RPG (role playing game). An RPG basically means you play as the central character in the game's story. For Horizon: Zero Dawn, the story is a hybrid, lying somewhere between science fiction, post-apocalypse tale and sword and sandal drama. It takes place 1,000 years after our civilization has fallen. This new world has been reclaimed by nature in the most beautiful, verdant way imaginable, except for one addition: robot dinosaurs (which, OK, might not really be robot dinosaurs but robot animals.) These machines, until recently, had been pretty docile.

The main character — a young woman named Aloy — begins the story as an outcast in a primitive tribe but is given the task of venturing out into the world to find why "the machines" (as they are called) have suddenly become dangerous.

To answer that question, you have to follow Aloy's journey by literally taking it on yourself. You will have decisions to make, battles to fight and discoveries to unveil. This is a lot like a great escapist novel you read on a long, lazy summer vacation — except in the game you get to be the protagonist.

Now, ultimately, it's this story that makes Horizon: Zero Dawn a great game. It's always the story that matters most. Technology alone can't leap over that hurdle. The story in Horizon: Zero Dawn is well-crafted with engaging characters you like or hate, and it slowly peals itself away in a manner that is both surprising and satisfying.

But, on the other hand, if that were all there was to the game then it would be just a hyped-up novel. What makes this kind of video game worth your time is the immersion. That's what makes it a new kind of experience reaching above the older narrative forms humanity has come up with.

Horizon: Zero Dawn is what's called an "open world" game. That means that you can go pretty much anywhere in its extensive map. While you work your way through the story of Aloy and her fallen world, you can just stop and go off to explore anywhere you want. See those beautifully rendered mountains over there? Yeah, go climb them. There's probably a giant robot bird-thing that will attack you. How about those islands on the other side of the lake? Wonder what's over there?

And did I mention the art? The world of Horizon: Zero Dawn is so beautiful to look at that sometimes you have to just stop climbing or running or fighting and just look. The game artists managed to take the most beautiful aspects of a rainy meadow or a mountain pass and turn them up to 12. RPGs may demand a good story to start, but the world you inhabit derives its felt quality from that world's art and design.

Now, I get it that you may not be interested in a game that includes fighting robot dinosaurs. That's fine (sort of, I guess). There are other games with other kinds of stories. Some are heavy on investigation; others have more fighting. Choose what you like. The point is this: I spent six months slowly working my way around Aloy's world and her story and, in the end, the whole experience was delightful and exciting and engaging.

But more than anything, it was a waste of time.

That might seem like a strange recommendation, but what I really mean is that it was a delicious waste of time. We live in a world of endless pressing concerns with so many competing avenues of being productive. A good game makes no demands other than the age-old pleasures of great story combined with the very modern possibilities of immersion. And none of it matters except the enjoyment of the doing.

That, I would argue, has real value.

Adam Frank is a co-founder of the 13.7 blog, an astrophysics professor at the University of Rochester, a book author and a self-described "evangelist of science." You can keep up with more of what Adam is thinking on Facebook and Twitter: @adamfrank4

• video games
• robot dinosaurs

Essay on Video Games

Students are often asked to write an essay on Video Games in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Video Games

Introduction.

Video games are interactive digital entertainment platforms. They are played on devices like computers, consoles, or mobiles.

Types of Video Games

There are many types of video games. Some are educational, others are adventure-based or sports-themed.

Benefits of Video Games

Video games can improve hand-eye coordination, problem-solving skills, and strategic thinking. They can also be a fun way to relax.

Drawbacks of Video Games

Excessive gaming can lead to health issues like eye strain and lack of physical activity. It can also impact social skills if not balanced with real-world interactions.

Video games can be both beneficial and harmful. It’s important to play responsibly and maintain a healthy balance.

Also check:

• 10 Lines on Video Games

250 Words Essay on Video Games

Video games, a form of interactive entertainment, have evolved dramatically from their rudimentary origins in the 1970s. They have penetrated almost every aspect of modern society, becoming a significant part of our culture and a powerful force in the entertainment industry.

The Evolution of Video Games

In their inception, video games were straightforward, consisting of basic graphics and gameplay. However, as technology advanced, so did the complexity and visual appeal of these games. Today, video games are immersive experiences, boasting high-definition graphics, complex narratives, and intricate gameplay mechanics.

The Impact on Society

Video games have a profound impact on society. They have transformed how we spend our leisure time, and have even created new professions, such as professional e-sports players and game developers. In addition, video games have educational potential, as they can develop problem-solving and strategic thinking skills.

Controversies and Criticisms

Despite their popularity, video games have attracted controversy. Critics argue that they promote violence, addiction, and social isolation. However, research on these issues remains inconclusive, and many argue that the benefits of video games outweigh potential negatives.

In conclusion, video games are a multifaceted phenomenon that has significantly influenced our culture and society. Despite criticisms, their popularity continues to rise, indicating their enduring appeal and potential for future growth. As technology continues to evolve, so too will video games, promising exciting developments for this dynamic medium.

500 Words Essay on Video Games

Video games, a form of digital entertainment that has dramatically evolved over the past few decades, have become a significant part of contemporary culture. They offer a unique blend of interactive storytelling, art, and technology, engaging players in a way that no other medium can. Video games are more than just a pastime; they are a platform for expression, learning, and innovation.

The history of video games is a testament to the incredible technological advancements of the late 20th and early 21st centuries. From the rudimentary pixel graphics of the 1970s to today’s immersive virtual reality experiences, video games have continuously pushed the boundaries of what is technologically possible. They have transformed from simple, solitary experiences into complex, social phenomena, connecting people from all walks of life.

The Impact of Video Games

Video games have a significant impact on society, influencing various aspects of our lives. They have revolutionized the entertainment industry, becoming a multi-billion dollar sector that rivals and often surpasses traditional media like film and music. Beyond entertainment, video games have found applications in education, healthcare, and even military training, demonstrating their versatility and potential.

The Benefits and Concerns

Despite the criticisms often associated with video gaming, such as addiction and violence, numerous studies have highlighted the potential benefits. Video games can improve cognitive skills, such as problem-solving and spatial awareness, and can also foster social interaction and cooperation when played in groups. They can serve as therapeutic tools, helping to manage conditions like anxiety and depression. However, it is essential to maintain a balanced perspective, acknowledging the potential risks and promoting responsible gaming.

The Future of Video Games

The future of video games is as exciting as it is unpredictable. With emerging technologies like virtual and augmented reality, artificial intelligence, and cloud gaming, the possibilities for innovation are limitless. Video games are poised to become even more immersive, interactive, and personalized, offering experiences that were once the stuff of science fiction.

In conclusion, video games are a dynamic and influential part of modern society, reflecting our culture, advancing technology, and impacting various aspects of our lives. They are a testament to human creativity and innovation, offering unique experiences that entertain, educate, and inspire. As we move forward, it is crucial to continue exploring the potential of video games, addressing the challenges they present, and harnessing their power for positive change.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Veterans Day
• Essay on Vaping
• Essay on Values

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Persuasive Essay: Video Games

Teenagers today often spend a great deal of time playing video games. These games are fun and engaging and young people often feel like playing games is a great thing to do in their spare time. However, you shouldn’t spend too much time gaming and there are a number of reasons for this: it’s unhealthy, you should spend more time studying, and you need to socialize more.

The primary reason to cut down on gaming time has to be that youths that spend a long time on computers and games consoles are often not getting enough exercise. With high obesity rates, it’s very important for young people to spend as much time being active as possible, especially since studies show that people who are overweight during childhood and adolescence are far more likely to become overweight adults than those of a healthy weight when they’re young. There is just as much, if not more, fun to be had in getting out and about and being active. This doesn’t have to mean going for long runs if that’s not your thing; team sports are both fun and great exercise. Dance or fitness classes are also a good option for those not into sports.

Secondly, getting a good education is that best thing that you can do for your future. If every teenager cut down on their gaming time by 30 minutes per day and used this time to study, the whole of that generation would achieve better results and be more likely to have the career that they want. With education, you get out what you put in, so it’s really up to you to put in the additional effort. If you want to go to a good college, extra study in your own time will be completely vital, but gaming can reduce your concentration span and make this more difficult.

The third main reason that playing video games too often is that it’s no good for your social skills. Some teenagers may argue that because they can now play their games online with friends, they are socializing in their own way. However, you can’t beat face-to-face contact, and if you want to succeed in interviews and build good relationships in later life, you need to develop some proper communication skills. This shouldn’t be a chore, or difficult, because hanging out with friends is far more fun than sitting indoors playing on games all day anyway!

In conclusion, there can be no doubt that spending too much time gaming isn’t good for you. You don’t have to stop all together, but it’s all about moderation. Cut down and allocate your additional free time to doing things that are good for you, and you definitely won’t regret it in later life.

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The Field of Dreams Approach: On Writing About Video Games

Tony Tulathimutte on the future of video game criticism

Every year, more and more great essays are published on literary sites concerning video games. In the past year I’ve especially loved entries like Janet Frishberg’s “On Playing Games, Productivity, and Right Livelihood,” Joseph Spece’s “A Harvest of Ice,” and Adam Fleming Petty’s “The Spatial Poetics of Nintendo: Architecture, Dennis Cooper, and Video Games.” But for each great essay there are a handful of others written like apologies, seemingly perennial pleas to take video games seriously as a form of meaningful narrative.

I hoped to have a conversation with a writer about games that went a little deeper. There were two main reasons I turned to the Whiting Award-winning writer Tony Tulathimutte. The first was because of his response in an interview with Playboy , in which he said that his interest in gaming probably “had something to do with my desire to bend or break formal conventions in fiction.” The second was his three thousand word essay about Clash of Clans , “Clash Rules Everything Around Me,” which was exactly the type of essay about gaming I wanted to see more of. Tulathimutte is the author of Private Citizens , which we listed as one of the 25 best novels of 2016 .

What I want is long-form literary criticism. But writers should just write what they want to read. The body of work will be there and the audience will follow it. The ‘ Field of Dreams’ approach.

Graham Oliver: Can we have this conversation without getting stuck trying to legitimize video games as a medium?

Tony Tulathimutte: “Are video games art?” “Have we had the video game Citizen Kane  yet?”

GO: That’s such a boring and overdone conversation. I think it’s more interesting to look at the ways in which video games actually do interact with literature, and not to hold the conversation just as a demonstration of our respect.

TT: Take the respect for granted and go from there. I thought about starting a literary magazine about video games a while back, but the discourse had by then become so toxic that, even with the most anodyne academic essay you could write, the best you could hope for was that it would be ignored. There needs to be more space for this kind of writing, but I just didn’t want to wade into it then. I feel a little better about it now, which is why I did the Clash of Clans  essay.

GO: What is the difference between video game-related essays showing up on a literary site, versus a site where the primary purpose is the intersection of video games and literature? What could that site do that can’t be done (or isn’t being done) otherwise?

TT: Part of it is just volume. You can’t have a general interest magazine like the New Yorker covering video games to the same depth or degree as it does film or music or even theater. Every big magazine at this point covers video games occasionally — I know the New Yorker has written about Minecraft and No Man’s Sky , for instance. New York Magazine just did a big essay on gaming more broadly.

But for some reason, there’s no video game editor at the New Yorker , no dedicated departments or verticals, except at newer places like VICE, Vox , The Verge . Unlike music or movies, video games aren’t equally distributed through the culture; it’s more compartmentalized. This owes in part to a marketing apparatus around games that caters to and fosters a specific audience, and because the audience for certain genres — responding to these pressures — became self-selecting, especially with respect to gender. Video games may be art, but they are also a STEM [Science, Technology, Engineering, and Mathematics] industry, which makes them no different from any other STEM field in that regard.

GO: It’s a question of access. I was thinking about your Clash essay; you have this entire paragraph that has to explain this massively popular and mechanically fairly simple game. Does that automatically turn off an audience who are already proficient in those basics? In which case, are you only writing for people who don’t game? I suppose that’s another conundrum of coverage in a general interest publication…

TT: If you read an essay by Susan Sontag or Martin Amis about the great books, or by André Bazin about film, they can assume a certain level of knowledge about the text or film from their audience. I can write that way about games on my own time and my own dime, but there’s no presumed canon or general readership for games, because they’re not taught in schools and not regularly discussed in big publications. So you either write for the diehards — the equivalent of film buffs or bookworms — or for novices.

GO: Is that why we haven’t had novels which interact with video games the way David Foster Wallace did with tennis, or Ann Patchett with opera? Neither of their books included explanatory paragraphs; it’s so ingrained in our culture that it seems almost impossible to have grown up without some idea of what tennis or opera are.

TT: Most people have played a game, and the average gamer spends six hours a week playing them. I think it has less to do with the medium inherently than just the failure of writers who have approached the subject. I haven’t read everything on games, but so far, the fledgling efforts have been too literal or kind of corny. Some writers seem to think that you’re supposed to transpose the form of games into fiction — to provide this very lightly remediated experience of reading a book so that it feels like you’re playing a game.

The last thing you want to do is create a watered-down experience of gaming in a text. A book should still work as a book. It’s the usual difficulty of writing about other mediums; there’s that old chestnut that writing about music is like dancing about architecture. But there are special considerations for how to write about any form in a way that conveys deep presence and vividness comparable to the experience itself.

GO: When you’re writing about games in one form or another, do you find you prefer to write for someone who is like you — very interested in both writing and video games — or is your preference for someone in that liminal space somewhere between them?

TT: I approach it as I do with all my creative writing, which is to write for the audience of Tony. That frees to me to write things irrespective of their publishability. Right now I’m working on a long essay about Metal Gear Solid  — the whole series. That’s between ten and twenty games, depending on which ones you call canon. The dialogue alone stacks up to something like sixty thousand words each. And the companion synopsis is almost three thousand words. I’m just trying to make points about the series that haven’t been made before. Would Kill Screen or The New York Review of Books ever run that? Hell to the fuck no.

If writers keep doing this, eventually there will be a readership equipped to deal with it. For the longest time there have been really smart people playing video games and wondering where all the good criticism was. It’s a discoverability issue, to a certain extent. There’s so much good writing out there about games, but most games-writing outlets cater to fairly niche perspectives. Action Button is extremely good, irreverent creative criticism, probably my favorite. Five Out of Ten is academically oriented, Kill Screen is mainstream journalism. What I want is long-form literary criticism. But writers should just write what they want to read. The body of work will be there and the audience will follow it. The Field of Dreams approach.

GO: You said earlier (and you’ve also mentioned it in your Playboy interview) that the discourse around games is toxic and partisan. Are you talking about within or outside of the gaming community?

TT: All of it. Partisan lines have been drawn within it for purposes far beyond aesthetic disagreement. In part because so much of this discourse occurs in a medium where people are not held accountable for their words, i.e. on the internet.

GO: How does that compare to conversations within the literary community? You’ve written before, for instance, about the MFA vs. NYC debate .

TT: I want to do my part to de-estrange gaming discourse. Not de-stigmatize or demystify, but de-estrange. This cancerous shit happens everywhere — it just happens in a spectacularly aggressive and organized way in gaming.

GO: When you’re not actually writing about video games, what place do they hold in your life? Are they the stress relief at the end of the day, the reward after two hours of writing? Or something you try to avoid when you’re in the middle of a big project?

TT: I’ve played video games since I was three years old. I have loved video games a lot longer than I’ve loved literature — which is not to say more. Actually… yeah, probably more. It just so happens that I’m a writer. I don’t feel the guilt that some people do who, even if they enjoy gaming, approach it feeling as if it’s a waste of time, or a form of entertainment which takes them away from their “real life.” You wouldn’t condemn a cineaste or a lover of literature. But a fug of non-respectability still attends video games.

That said, the reward mechanisms in most games are designed to get you hooked in cognitive motivational ways that don’t apply to most literature. So it’s absolutely possible for games to displace other things that you would want to do just as much. I don’t struggle to fit them into my life, but I probably would, if my life consisted of much more than just teaching and writing.

GO: I suppose I was thinking more about the effect on your mental state. For instance, I have to save video games for the end of the day, because I have a hard time going from the almost meditative state of game-playing into writing. How does it fit in, not in the sense of time but in how it interacts with your ability to produce writing afterwards?

TT: If a visual narrative enters my head before I start writing, it’s enormously difficult to pull myself back into writing. A huge amount of psychic inertia has to be overcome to transition from consuming a narrative to assembling one. I have a lot of wacko bird theories as to why. Perhaps language is such an information-poor medium that it demands a sparseness of input, so that you can have room to envision or create new stuff in your head. Maybe the act of viewing, which puts you in the posture of evaluation and judgment, beefs up the inner critic that makes it hard to write. That’s all pure superstition, I have nothing to base that on.

GO: What about when it comes to the type of video game? You’ve mentioned playing DotA 2 in other interviews, which is very different from more narrative-heavy single player games. In the middle of a big writing project, do you find yourself drawn more to one type of game over another?

TT: With the caveat that writers are the worst self-appraisers, I’ll say that I have not noticed any influence from the type of games I’m playing on what I write. I think games engage an entirely different part of my brain, which might also account for the difficulty I have toggling between those two modes. That said, I think longer games can work like long books — immersively — where you have to pinch your nose and take a deep breath before plunging into the Neapolitan books and it just becomes the medium you swim in for months. Some games demand a higher or more frequent degree of engagement to get any kind of nuance at all. You can play a thousand hours of DotA 2 , without coming anywhere near understanding it.

GO: How does that compare to the relationship between reading and your own work? Do you avoid other people’s writing when working, or do you keep books on your desk for the sake of referencing them?

TT: I do. I try to keep a messy puddle of books around my work area, in case I want to steal something from somebody else. But I Google as much as I refer to other books. I don’t disconnect from the internet when I’m writing, like some writers who have this almost mystical anathema against technology. I generally find I benefit from my procrastination.

You can have a rom-com game, a campus game, an adultery game, or a boring-but-important game that will get taught in high schools circa 2110.

GO: You referred to language as being information-poor a minute ago, which reminds me of the AGNI essay you wrote on boredom. The thesis of that essay was basically that boredom in literature is okay. Can you also apply that idea to video games? Can there be meaningful or productive boredom while playing, through the act of repetition, for instance? I just played Her Story, which I know you enjoyed, and while it has a super interesting story you have to slog through a certain amount of repetition to get to it.

TT: The democratization of game creation is producing a wider range of games, like the Super 8 camera did with film. You can have vignette-style games like Nina Freeman’s —  Cibele , how do you Do It? , Freshman Year , etc. You can have “walking simulators” that are almost purely meditative, like Gone Home , Firewatch , or Dear Esther . I just saw a piece on a game based on Thoreau’s Walden .

The impulses and tendencies that make people want to create literature are present. It will happen more as people are able to do what they want to do, without enormous corporate financial support or even crowdfunding, which, to an extent, just moves the bottom line to having to be crowd-pleasing. Games can be plenty boring in spite of themselves, even if that’s not what they’re trying to do. It’s a cliché by now to point out that the most time investment-heavy games like World of Warcraft consist largely of “grinding.” Or, if you play something like DotA 2 , queuing for a game.

GO: For DotA 2 you also have to spend a lot of time reading up on viable builds. Work that’s not in actually playing the game.

TT: Yes, although I will say that that intellectual work doesn’t feel like tedious labor to me. I have fun looking up builds. The deep strategy and understanding are coextensive with the pleasure of playing the game.

Moments of boredom are built into games for reasons that range from comedy to suspense. I think a lot about the moment in Final Fantasy VI where you’re directed to just wait at the edge of a floating continent for a character to come along. On the one hand you’re sitting watching a clock tick down. On the other hand, it’s extremely tense.

Contrasting aesthetic effects in games to those in other media is not always productive, because it’s like playing Twenty Questions. Can games do X like books? Can games do Y like films? In the same way we should assume games are art, and that there’s an audience out there hungry to make something of them, we should assume that games can do anything. You can have a rom-com game, a campus game, an adultery game, or a boring-but-important game that will get taught in high schools circa 2110.

GO: I go to these academic conferences where a similar conversation is happening among professors who write in the field of gaming studies. Some bring in literary and film theory, and try to lay that on top of video games, while others reject that. The tools and the language are already there from other fields, so it seems easy. On the other hand, it can be kind of reductive, and perhaps prevents you from having the more meaningful conversation.

TT: Right, or even just the conversation you’re trying to have. There are also those efforts to create a language around game studies, partly I think try to legitimatize it in the eyes of the academy. You get people going on about the Ludologists versus the Narratologists, about ludonarrative dissonance, copping these quasi-academic terms. I can see the point of systematizing things, but my favorite criticism helps you not to just describe and understand, but to enjoy stuff more.

GO: How much do you worry about the effect that being an “out” gamer will have on your literary career?

TT: If I were bashful or coy about my love of video games I wouldn’t do this interview. The same goes for pornography or television. Even the language of being “out” implies a political and social pressure or an importance that just doesn’t exist. I’d hate to believe that being a writer means living in a constant state of deposition, publicizing everything you do, think, or feel. The fact that I like video games isn’t interesting. Video games are interesting. I love talking about them with smart people, both within and outside of gaming culture. But I’m also perfectly happy to be left alone with them.

GO: Do you hope there’s a day around the corner where a game developer decides to make a narrative-heavy game like Life is Strange , Her Story , or Kentucky Route Zero , and they look at a list of literary authors to figure out who should write it?

TT: Not at all. I believe that I can do a lot of things in writing, but I haven’t felt an urge to create a video game since the third grade. It’s always good to have some kind of interest that is totally pure, where you’re going to be an eternal fan, because sausage-making can disillusion you fast. If part of the charge of art comes from mystique or sheer baffled admiration, that’s something I want to preserve in at least a few departments of my life.

GO: As a writer, you’re expected to be both a creator and a thoughtful critic as well. It seems like once you publish a book, there is an expectation that you’ll be reviewing or blurbing for other books for the rest of your life. How does your approach to writing about literature differ from your essays on games?

TT: I review books as a practitioner; I know what goes into putting one together, so I can pan one that isn’t well-made. I write about games as an appreciator, in that I want to take something I like and enlarge people’s sense of pleasure or wonder at it. This doesn’t mean that I can’t be critical of a game. I have negative things to say about everything. But because I’m not highly qualified to trivialize or disparage a game on the level of craft — for instance, a sunbeam in a video game might look shitty and aliased because of technological or budgetary constraints that I’m not aware of — my main task is to study its narrative and to add value.

GO: You’ve been thinking about games critically for a long time. I read that you wrote your theses — both in undergrad and for your first master’s degree — on video game interaction. What were you looking at in those?

TT: I majored in something called Symbolic Systems, which would be called cognitive sciences anywhere else. They add linguistics and philosophy to the standard curriculum of formal logic, computer science, and cognitive psychology. I applied the extremely specific language of human-computer interaction studies to video games. So I wrote pretty dry literature surveys of game-writing and interaction theory, and how the latter could be applied to the former.

One was about game controller design, which ended up anticipating the Nintendo Wii controller by a couple of years. I talked about the potential for modular design and gestural input. The second thesis was about menus. They’re the basis of turn-based RPGs, and in games their definitional boundaries are weird. Take the Warp Zone Pipes in Super Mario Brothers . You go over a ceiling and drop into a room where you’re invited to select one of three pipes to go through. It is very clearly a menu, where you’re selecting one of three options, but it’s also a part of the action.

God, I sound so stoned when I talk about this.

GO: I hate to keep mentioning Her Story , but I just started it today. In that game, the user interface also has this blurry boundary. You read a ReadMe file to learn how to use the system, but that’s all part of the in-game computer you interact with as part of the story.

TT: Yeah, it’s brilliant. Any computer interaction can be extrapolated into a game premise. Here it’s basically Database Search: The Game, but it’s fun and well written. To analogize with literature, there are plenty of stories whose premise comes from its formal conceit. My favorite is “ Going for a Beer ” by Robert Coover. He takes a simple sentence gimmick — where two things that happen at different times are written as though they’re simultaneous — and it becomes the conceit of the story. The story is, “what if your life was composed of moments with endings and beginnings but no middles?”

GO: Form matching content. That happens in all types of art, right? There was a piece on Hamilton which pointed out that, as the first half progresses, the Marquis de Lafayette’s rhymes get denser and faster, coinciding with him being in America and increasingly speaking English. The music reflects the plot.

TT: Form generating content, I would say. It’s a classical idea. Sometimes it’s done very explicitly, like with Oulipo. It can be super corny, but it’s a dependable source of inspiration.

It’s Tristram Shandy-levels of batshit.

GO: Going back to your idea for a game-writing website, were you imagining a place that just collected the kind of long-form writing you want to see, or were you also imagining a community that would be built around it?

TT: I am not too concerned with building community. The idea was simply to get critical essays on games­ — not fiction, poetry, reviews, or personal essays, but literary analysis. Like the essay I’m working on about the Metal Gear Solid series… So many of the male characters lose their hands and are sterile and have daddy issues and misinterpret the will of one female character, The Boss. Aside from the glaring Freudian overtones, what’s that about? This is not stuff that figures into the plot as it plays out, but is something that I think screams out for conversation.

GO: I was a Nintendo kid and then jumped to PC gaming, so I never got into the Metal Gear  games.

TT: It’s like the Infinite Jest of games. As far as I know, it’s the longest continuous scripted narrative in games. You can make a strained case for things like Zelda or Metroid , but this is the most sustained vision from an auteurist figure, Hideo Kojima, and it’s just bonkers. It’s Tristram Shandy -levels of batshit.

GO: Well, that sells it. I now have to ask the big, speculative question, since you just called it the Infinite Jest of games. What do you think David Foster Wallace’s writing would have been like, had he been obsessed with video games rather than television?

TT: This question is so enormously counterfactual it might as well be a novel. The guy was hugely tech-avoidant. He typed with one finger on an old computer. But games seem very contiguous with his concerns in Infinite Jest . Though who’s to say Virginia Woolf wouldn’t have also gotten equally invested in games? Wallace is a gimme because of the technological overlap, but to me the more interesting speculative question is, What would a game written by P.G. Wodehouse be like? I want to see an essay on  that .

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A few reasons why I'm thankful for video games

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Gaming has suffered a tough year of culture hate-mongers, self-serving corporations, death threat nutters, broken games and derivative designers.

So it's difficult to talk about gaming's sparkling orbs of goodness without sounding a tiny bit Pollyannaish.

Even so, this is Thanksgiving, and gaming really does offer a host of joyful, life-affirming moments that ought to be celebrated. These are mine.

GAMES ACTUALLY EXIST

Last night my wife went out for dinner with her friends, so I put the kids to bed and settled in to relax and do whatever I wanted. I thought about watching some HBO or reading a novel but in the end, I decided to play Powerstar Golf on my Xbox One.

It's not the greatest game ever made. It's not even the best golf game. But I like it. I shot my farthest drive and I putted from 30 yards and I levelled up and I bought some new clubs with in-game earnings. It was a happy hour-and-a-half. When my wife came home, we watched Nashville .

When I was about 10 years old, my mate's dad invited a few of us lads to his offices in  Luton . He showed us a computer. It was the size of a truck. It had a little screen with green writing. He talked about what the computer did. Something to do with engineering. I was bored. He showed us a text adventure on the computer. The computer reacted to the things I typed in. It was like the best magic show I'd ever seen.

The fact that an art-form and an entertainment exists in which there is an in-built expectation of audience participation, in which the quality of that participation is the defining factor in its worth, is a source of never-ending wonder.

Look! If I move this way, some corresponding, rational, intriguing thing happens on the screen. Amazing. It's something we take for granted, and yet it has only existed for a few years.

You know how it is when the cooler sort of old person looks at a video game and says, "I wish we had these when I was a kid". That's what I'm talking about.

OPEN WORLDS

Have you played Dragon Age: Inquisition yet? You should. It's great.

Like the sublime  Skyrim , Far Cry 4 and others of its ilk, it just lets you wander off into beautiful blue yonders, poking around at stuff, climbing up mountains to find a better view. There are quests and urgent things to do, of course, but half the fun is just stopping, turning around and going in that direction, just because you can.

Isn't this what we always wanted, alternative worlds where you get to dress up and pretend to be a mage or a warrior or a princess or a god and just do stuff? I like to stand in a little valley and gaze up at the rock formations and the pretty cottages and the swaying trees.

For me, Pokemon is like a wrapped up present that someone left at my house by mistake. I know it's for someone else. I know that if I open it, I'll find a set of hair-curlers or a Coldplay CD or a book about Jesus. It's not going to be for me. And yet, there is always the temptation to take a look inside.

I love that there are all these games that I probably won't get around to playing, but that other people really, really like. My colleagues all have gaming passions that I can admire, without being able to fully share them.

Griffin is super into Pokemon. Justin likes FMV games. Danielle enjoys fooling around with avant garde interactive fiction. Charlie is mad about flight sims. Owen plays American sports sims inside and out. Megan knows all about weird Japanese dungeon-crawlers. Mike is into fighting games.

All these genres are just waiting to be unwrapped. The fact that there is a whole multiverse of games out there that I might one day be into, just like my friends are, is something to sit back and enjoy. In the meantime, I'm going to take another look at my  pile of shame and pick one at random and just play it and see what happens.

Here's something that never used to happen: people who pay money to watch other people play video games.

Such is the complexity of games, such is the expertise demanded of their best players, that they are celebrated with all the trappings of stardom. We begin to recognize that being the best player of League of Legends or Call of Duty or  Hearthstone takes an immense amount of practice and skill and dedication.

Whether we choose to classify games as a "sport" or not is irrelevant, because e-sports have redefined what it means to root for someone doing that thing you really like, really, really well.

If video games were merely puzzles to be solved and monsters to be slayed, e-sports wouldn't exist. It's popular because certain games, played against humans, offer limitless potential for self-expression, invention and cunning. And unlike other spectator games like chess, they are very suited to the modern age and to those who like to stand in bars and holler for our favorites, because they move really, really fast.

For the past few weeks I've been playing this Xbox One game with my kids.  Chariot is a local co-op game, in which two players try to haul a great sarcophagus through a 2D maze of tunnels and platforms. It's challenging and frustrating and pure fun.

Through this game, my kids and I are on an equal footing of competence. We work together at figuring out the puzzles and executing the tricky manoeuvres. Sometimes my kids will see solutions that I completely miss. This is an immense pleasure to me.

Chariot is just one of those games that you get to play with (and against) other people, and through which you get to enjoy other people. The publishers like to talk about games as "social experiences," but beyond the servers and the leaderboards, there's nothing to beat sitting on a couch with the people you love most and just playing a game.

THE CRITICS

In the past year, a small number of people who took the time to investigate gaming's shortcomings, the areas where it can do a whole lot better, were rewarded with vilification, threats and harassment .

Yet, what the likes of  Anita Sarkeesian have done is offer a service of immense value. I have always understood that gaming's portrayal of women is crass and offensive, but I've never understood how , until someone with an understanding of broader feminist issues laid it all out.

As I've said before, I believe this work will have  an immense difference to the way games are made in the future, not because the makers of games feel shamed, but because they're better informed.

It's not just Sarkeesian and it's not just the treatment of women. It's the documentary-makers, reporters, YouTubers and commentators who are prepared to take on the many flaws currently in gaming and the many organizations that seek to exploit those flaws.

In 2014 you can turn on your computer or your console or your smart phone and press a button and start playing a game. Sometimes you can do it without paying any money.

Of course, we do not live in a digital utopia. There are times when games don't work or games are crappy or the game-makers keep bugging you with annoying requests for money.

But when that happens, lots of people get angry and the world knows about it, through forums and news posts and social media.

You can always choose to be informed enough to avoid that game and go and play a different game. You can always just never play that company's games again because they treated you badly or they tried to fool you. There is more choice now, more immediacy and more options to play games on a budget than there has ever been.

THAT DRAGON, CANCER

The greatest innovation in gaming right now is not about design or technology. It's about individuals of limited means being able to tell deeply personal stories through games. I don't know if That Dragon, Cancer is going to be the slickest game ever made, or the most fun. But I played it for an hour and found it deeply affecting. It's a story about a family who suffer a dreadful loss.

A confluence of game development tools, digital distribution, crowdfunding and social media is allowing individuals to share personal experiences and viewpoints through a medium that is only just beginning to be explored, as a deliverer of big emotional ooomph.

Games like  Depression Quest and Never Alone tell stories that literally no-one else was telling before, through this vast medium. Thank goodness it's possible for small organizations and for individuals to address us with their all their strangeness and their stories.

DESERT ISLAND GAMES

We've all got them. A shortlist of games that we'd take to that fabled island, where we'd be stranded and alone. I'm not talking about games that tickle some nostalgic fancy, but games that you know you'd play for a very long time, over and over again. For me, I'd take  Defender ,  Civilization 5 and the latest  FIFA game . I'd also take a big RPG like Dragon Age and a puzzle game, like Candy Crush .

In a way, games themselves are desert islands where we get to escape from all the shit: the grasping corporations, the ranting ideologues, the endless wars, the grinding injustices and humiliations of real life. This is what we have to be thankful for: an infinite variety of other places where we can escape and hide.

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Let’s Plays are out. The gaming video culture essay is in

Over the last decade, long-form video essays have grown in popularity — arguably entering into a boom all their own . Viewers can easily look up a video essay on just about any topic they’d like to, from deep dives into filmmaking, theme park history, fashion, and everything in between. With such a large offering of video essays out there, one sub-genre that has found its own footing is that of the video game culture essay.

The draw of the video game essay

Niche topics in a not-so-new format, coexistence with traditional game reviews.

These particular gaming videos are a style of visual essay that offers both the creators behind them and viewers the space to explore video games in new ways that extend beyond what we’ve come to expect in a video game review. That flavor of video tends to dig more into a niche topic that the creator is most interested in — be that a theme, specific character, or even how artistic choices impact the game.

These gaming essays have managed to find their own foothold within the wider world of video game commentary while maintaining a pretty even coexistence with the traditional game review format. Both offer up individual thoughts and insight on video games while actively not detracting from the other.

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To better understand that foothold and coexistence, I spoke with two creators who have been making culture gaming essays. They explained what exactly drives them to share their unique perspectives through this format and what serves as a draw to both gaming essays and reviews for viewers.

Understanding what initially drives a creator to get started on making video game culture essays can give us insight into why they’ve found such a strong foothold in the gaming space to begin with. There’s something to be said for knowing the passion behind something. For both Maria (also known as eurothug4000 ) and Daryl Talks Games , the initial interest to discuss more niche topics related to video games stemmed from outside influences.

Maria, who has been creating videos on YouTube since 2018, shared that her background in studying art during her A-Levels helped serve as inspiration for the discussions around art direction and aesthetics that she has in her video essays.

“I had a very good teacher throughout those years,” Maria tells Digital Trends. “There was one exercise, in particular, she would make the class do when analyzing the works of artists, which would basically just be a good old brainstorm diagram. We would have the painting or photograph in the center and write anything that comes to mind as we looked at it — texture, mood, content, etc. This is something I do in my mind when looking at games. It’s just a natural process so deeply ingrained into my brain — I can’t help it!”

“Essays give both players and creators a chance to find beauty in the mundane, clarity in the intricacy …” 

Daryl Talks Games initially started out on YouTube in 2009. But as a long-time gamer with an interest in psychology, he knew that he wanted to get back to making videos eventually. Nowadays, he makes “essays that center around the “interaction between psychology, video games, video game design, and life.” His inspiration came from Mark Brown’s Game Maker’s Toolkit , a channel that takes deep dives into every aspect of game design.

“I was captivated by his ability to explain things I had never noticed in games and how fascinating it was to learn why games work from a design standpoint,” he tells Digital Trends. “I came across his channel during my last year of undergrad and since I was studying psychology, I found myself making connections between a lot of the points he was making and the things I was learning in class. I pretty much just said ‘Let me try the whole essay thing, but my gimmick will be psychology.’ Since I was uninterested in grad school and a bachelor’s in psychology pretty much only qualifies you to be a YouTuber, I just kept on making videos!”

Both creators approach their gaming essays through a new lens that gives them the ability to explore games in ways that go beyond the limits of standard criticism.

With the broad range of possible topics that creators can explore in their gaming essays, it’s no surprise that creators choose to look at hyper-specific things that catch their interest — such as the space in games that players encounter between a respawn point and the boss.

Niche topics offer viewers the chance to see what creators are seeing in a game that extends beyond just a cursory playthrough or answering the question that many turn to reviews for: Is this a game that I’d like to play?

“They’re just documentaries, but smaller, with more personality, and sort of, dialed-in to one very niche topic. I have a whole essay on the mental health of this one particular side character in Deltarune . Jacob Geller has an entire video exploring games that specifically save their most interesting bits for last,” Daryl Talks Games says. “I think both myself and others that do this enjoy it so much because creatively, the sky’s the limit. Essays give both players and creators a chance to find beauty in the mundane, clarity in the intricacy, and generally just a chance to enjoy games on a deeper level than if we had just played them and moved on.”

That ability to explore and enjoy games a little deeper in gaming essays certainly offers viewers another way to look at and experience the games that they’re playing, almost peeling back certain layers in a sense. Some gaming essays tend to tread into lengthy territory as a result, often going over the 30-minute mark. Ladyknightthebrave has an hour and a half look at the Last of Us series , while some of Tim Rogers’ videos are about as long as an HBO miniseries.

Maria, who originally began producing game reviews, eventually figured out that she enjoyed making this style of gaming deep-dive more.

“A lot of the time I focus on the inspirations behind certain games that contribute to their art style,” Maria says. “For example, Demon’s Souls ‘ background in dark fantasy and its similarities to Frank Frazetta’s works, or the cultural aspects behind Resident Evil Village that I rarely see in games. In Kuon (PS2), even the saving mechanic is contextualized by having a small ritual involved instead of just a menu with a save button. While I love just how game worlds look, it’s really impressive to me when they can fit their mechanics into it as it makes me feel even more engaged.”

Gaming essays and game reviews have come to a rather unique coexistence. And while viewers and creators alike might prefer one form of gaming commentary over the other, both Maria and Daryl Talks Games honed in on the fact that both serve slightly different purposes at the end of the day — even as they both work to answer questions.

“They’re just documentaries, but smaller”

“A review, in my mind, is to inform someone whether they would want to purchase the game for themselves, or to simply see what other people generally thought about it,” Maria says. “A video essay can offer the same, but ultimately they’re about learning something new, whether that’s about the game, someone’s personal experience, or even something seemingly unrelated. A lot of my videos have got me researching all kinds of random topics. I’ve learned about Italian horror cinema, camp fashion, and even the origin of CPR dolls to name a few!”

“There are plenty of reviews for the game Omori out there, but I am definitely the only one offering a detailed analysis on how it illustrates dissociative amnesia.” Daryl Talks Game says.

That slight difference in overall purpose sets gaming essays and reviews apart from each other but also ties them together. Creators and viewers can easily pick and choose which of the two they’d like to create and watch respectively.

“We all see and play games differently which means that everyone gets their own experience,” Daryl says about the coexistence of gaming essays and reviews. “For some, the mechanics are more interesting, for others, it’s the music, for some it’s all of it! Just about any genre of gaming video will be important to someone out there and it will never be impossible for a person to only watch one type of gaming video.”

In a space that could easily have been dominated by one or the other, gaming essays have managed to find a unique coexistence alongside game reviews while maintaining their own individual draw. Creators like Maria and Daryl Talks Games find a lot of joy in the varied ways that they can discuss games in their essays, sharing special insight and discussions around topics that are important to them — all while deepening the collective toolkit we use to understand games.

Interview responses have been lightly edited for clarity.

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If there’s one video game presentation happening over the next week that has the most to prove, it’s the Xbox Games Showcase. Despite a strong start to the year with Hi-Fi Rush and a solid Developer Direct showcase, Microsoft’s gaming branch has floundered in recent months because of struggles with its acquisition of Activision Blizzard and the rocky launch of Redfall. With the Xbox Games Showcase and Starfield Direct Double Feature, Microsoft must reconfirm its commitment to gaming and to releasing high-quality first-party exclusives.

That said, Xbox is in an excellent position to do just that because of Sony’s underwhelming May showcase. As the first major gaming presentation of the summer, Sony had the chance to “win” the whole game reveal season early with its PlayStation Showcase. Ultimately, that live stream proved disappointing because of its focus on CGI reveal trailers and live service games.

Trying to pick the best video games of all time is a task defined by one word: hubris.

How could anyone possibly create a definitive list of gaming's greatest accomplishments when there’s such a wildly large variety of games to choose from? That’s a question we asked ourselves over and over when deciding to put together our own top 50 list. It was the kind of task we could slice up hundreds of ways, coming out with completely different lists every single time based on our preferred methodology. That’s a testament to the rich history of games, which offer countless diverse experiences worthy of praise.

It’s safe to say that the cozy game genre has come into its own in the last few years. Also known as wholesome games, the emerging genre typically offers a slower story pace and a more relaxed style of gameplay, dropping the fast action found in other genres. More low-key and self-guided games like Animal Crossing: New Horizons, Harvest Moon, and Spiritfarer have always existed, but they’ve only really established themselves as a separate genre recently. There’s an entire cozy tag on Steam and even an entire industry event, Wholesome Direct, dedicated to showcasing new games annually.  A quick search on Google will reveal a number of game developers who have happily taken up the mantle of creating these chill games for players.

But cozy gaming has blossomed beyond just the games themselves, much as the larger video game space has over the last 15 years. Players have begun to take their love for gaming and channel it into other forms, making use of platforms like Twitch, YouTube, TikTok, and Instagram to create a variety of unique content. Content creators have taken to streaming, video making, and other forms of content such as sharing photos on Instagram to discuss, play, and share their love for the genre.

Home — Essay Samples — Entertainment — Video Games — Video Games Have Benefits

Video Games Have Benefits

• Categories: Video Games Violence in Video Games

About this sample

Words: 625 |

Published: Jan 30, 2024

Words: 625 | Page: 1 | 4 min read

Table of contents

Cognitive benefits, social benefits, emotional benefits, counterarguments and refutations.

• Green, C. S., & Bavelier, D. (2006). Effect of action video games on the spatial distribution of visuospatial attention. Journal of Experimental Psychology: Human Perception and Performance, 32(6), 1465–1478.
• Bavelier, D., Green, C. S., & Dye, M. W. G. (2010). Children, wired: For better and for worse. Neuron, 67(5), 692-701.
• Granic, I., Lobel, A., & Engels, R. C. M. E. (2014). The benefits of playing video games. American Psychologist, 69(1), 66-78.
• Baldwin, T. (2013). The impact of adolescent online gaming and social networking. Journal of Youth and Adolescence, 42(8), 1185-1198.
• Chapin, L. A., & Shah, M. (2017). Video game playing and stress reduction:Gaming preference, favorite games, and symptoms of stress. Journal of Counseling and Development, 95(3), 226-235.
• Ferguson, C. J., & Kilburn, J. (2010). Much ado about nothing: The misestimation and overinterpretation of violent video game effects in Eastern and Western nations. Journal of Psychiatric Research, 43(1), 58-76.

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The Modern Love Issue

Can a Sexless Marriage Be a Happy One?

Experts and couples are challenging the conventional wisdom that sex is essential to relationships.

Credit... Tonje Thilesen for The New York Times

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By Amanda Montei

• Published April 17, 2024 Updated April 18, 2024

Will and Rose met online 10 years ago. His screen name was professorparsley, and he looked the part — tall and thin, with glasses, features that Rose found attractive. On their first date, Rose learned that Will was a college student living with his mother, and his handle came from a nickname given to him by a child at an art camp where he worked. They laugh about it now, as they do with most things. Will thought Rose was exciting and direct. He grew up in suburban Ontario, and she was from Southern California, which was like another world to him. Right away, what they loved about each other were their differences.

Listen to this article, read by Julia Whelan

Rose was drawn to how stable Will seemed — so unlike the other men she had dated, who dreaded commitment. Their relationship survived multiple moves, about a year of long-distance dating and the challenges of finding time to be together while living with parents and roommates. Now, seven years into their marriage, they have their own place: a one-bedroom apartment in Los Angeles, where Rose sees Pilates clients. Will is gone during the day, teaching, and at night they cuddle in bed and watch television. “It’s my favorite part of the day,” Rose says. (Rose and Will are middle names. All subjects asked to be referred to by their first names, middle names or a nickname, out of concerns for their privacy.)

As much as Will grounds her, Rose feels that the familiar calm of their relationship also shuts her down sexually. They go months without sex, but they don’t lack intimacy. They have a policy of never refusing a hug, something they instituted to resolve the minor disagreements that inevitably crop up in any relationship. They have also talked candidly about how, for her, the safe predictability of their marriage — the quality she loves about their lives together — dulls her sex drive. She knows that can be confusing, even frustrating, for Will, but she doesn’t like the idea of forcing herself to have sex. Rose’s mother, now divorced, felt obligated to have sex with Rose’s father once a week. That’s not the kind of relationship Rose wants.

To get into a sexual mood, Rose relies on a set of rituals to help build anticipation — doing her hair and makeup, shaving her legs, having a glass of wine over dinner or, when their schedules allow, going on vacation to break out of their routines. Will doesn’t need to do anything to feel ready for sex, and Rose sees this as another way in which they’re different. Over the years, they have accepted that this is what their sex life looks like, and will look like, if they want to be together, which they do.

During the pandemic, the couple went more than a year without having sex, but they savored their extra time together. Rose used to spend hours driving in traffic to different workout studios, coming home late, not seeing her husband much. Stuck at home, they took walks around their neighborhood. They talked constantly. They started taking online yoga classes together, a hobby that stuck. Will appreciates these smaller opportunities to connect. Rose thinks she’s not the nurturing type, but Will disagrees. “She’s not stingy in spirit or time,” he says.

Sometimes they shower together and hold each other naked, without any expectation of sex. Though Will remains hopeful that these moments will lead to something else, he doesn’t push it.

Cultural attitudes about the role sex plays in a marriage have evolved significantly over time. Where once marital sex was primarily a means for bearing children, in recent decades, the conventional wisdom was that frequent sex was integral to a happy union. During the 1990s, a new wave of sex positivity coincided with the ascendancy of different forms of therapy, including couples counseling. Experts coached couples on how to strengthen their marriages, often relying on the belief that healthy relationships included consistent sex with partners. By the 2010s, appointment sex had become one popular method for maintaining intimacy and, somewhat implicitly, safeguarding against separation.

In more recent years, however, both relationship experts and couples themselves have been gradually dismantling some of these commonly held views, working to destigmatize the unconventional approaches that some take to stay together. Online groups have sprung up for couples who challenge basic assumptions that spouses should share a bedroom or even a home. Sharon Hyman, who runs a Facebook group called Apartners for couples who have chosen to live separately, told me that many of the members in her community find their sex lives improve when they don’t spend every minute together. “My goal is to show that there are healthy options for relationships,” Hyman says. “No one size fits all.”

One effect of the ever-changing sexual climate is that many couples today are simply less willing to tolerate what the psychotherapist Esther Perel calls “boredom” in the bedroom. Perel has made a career of articulating how domestic overexposure saps eroticism, which requires some intrigue, mystery and unfamiliarity. That’s not to suggest that long-term love and desire are impossible, but according to Perel, keeping sexual interest alive requires getting creative. In her podcast, “Where Should We Begin?” Perel helps couples explore and articulate their fantasies, honor each other as individuals and experiment with new approaches to fulfilling their desires together.

For Perel, as for many other relationship experts, that sometimes means re-examining investment in another foundational premise of marriage: monogamy. The advice columnist Dan Savage, too, has argued that monogamy isn’t entirely plausible, or pleasurable, for everyone, and is critical of Americans’ obsession with moralizing infidelity. He encourages married people to be honest with each other about how hard it is to carry the responsibility of fulfilling their partner’s sexual and emotional needs for decades on end.

While some are questioning the standard of monogamous sex in marriage by exploring polyamorous and open relationships, others are pushing back against the pressure to have sex at all. In fact, Americans on the whole are having less sex than they used to — across race, gender, region, educational level and work status. One study found that American adults born in the 1990s are having less sex than older generations; they are in fewer steady partnerships, and those who are partnered are also having less sex. The 2021 General Social Survey found that about 50 percent of all adults polled had sex once a month or less , with half of those people reporting they hadn’t had sex for a year. Researchers have speculated about the reasons for this 30-year sexual low, from isolation caused by technology to cultural conversations about consent.

Many younger women, for instance, shaped in part by the #MeToo movement, are engaging in intentional abstinence. There are trends on TikTok about going “boysober,” a word coined by the comedian Hope Woodard, who says that taking a break from sex can be empowering for women who previously altered their desires to accommodate men. The digital feminist 4B movement, which originated in South Korea but has spread globally through social media, advocates a rejection of childbearing, as well as heterosexual dating, marriage and sex. “Platonic life partners,” meanwhile — friends who commit to owning a home and even raising children together — insist that sex and romance are not necessary to lifelong unions.

The sex educator and researcher Emily Nagoski is resistant to the idea that frequent sex should be a chief component of every committed relationship. Nagoski — who has been open about her own hiatus from marital sex — doesn’t endorse obligatory sex, nor does she encourage aiming for any sexual base line in terms of regularity or behavior. Drawing on the work of the Canadian sexologist Peggy Kleinplatz, Nagoski believes that low desire can sometimes be evidence of good judgment. “It’s not dysfunctional not to want sex you don’t like,” Nagoski says.

In her new book, “Come Together,” Nagoski urges couples who want to explore their sexualities and deepen their sexual bond to begin by figuring out what each person wants when they want sex. For many, sex represents freedom from the ordinary, but what it takes to get there will look different for every couple and is likely to change over time. After all, desires don’t always align, or they evolve in unexpected ways.

Michelle and John met in 2005 at a party, and in the early years of their relationship, they couldn’t keep their hands off each other. Four years ago, however, after experiencing what she calls a “traumatic” childbirth, Michelle began to worry that intercourse would cause her pain.

She and John did not have sex for a year after they became parents. Now they can go months without it. Friends of theirs, too, seem to be experiencing new chapters in their own sex lives and opening up their marriages, which has sparked conversations between Michelle and John about the possibilities for reinvigorating their sex life. But they don’t always agree on what they want, or what they’re comfortable with.

John knows, however, that having sex outside the marriage is a red line for Michelle. She witnessed infidelity tear apart her parents’ relationship. “I think there’s a big fear about ‘I have an urge that may be resolved in a minute or two,’ but the sense of what could be broken is not worth the risk,” John says.

Love, for both, is about much more than fulfilling those momentary desires. After almost two decades together, they consider themselves best friends and “soul mates.” When they first began dating, Michelle was reeling from the loss of her brother, who died in a car accident. She talked with John about the experience on an early date, and they were inseparable after that. John thought she was beautiful and wanted to spend as much time with her as he could. Michelle thought he was a welcome distraction, someone who could lift her out of her grief. They went to concerts. He made her mixtapes. But there were also times when she broke down crying, and he was there for her.

John used to try to comfort Michelle by saying he understood how she felt, but when he lost his own brother in 2012, he realized how wrong he had been. As he mourned, Michelle “just knew what to do in the unspoken moments — whether it was knowing when to give me space, or knowing when I needed a hug, or I just needed her to be next to me,” John says. Today, Michelle remains the “central piece” of his happiness.

Michelle and John share a one-bedroom with their daughter, and while they get some privacy during the day, they’re busy working from home. Now, most days, Michelle masturbates in the morning, while John takes their daughter to preschool. He masturbates at night in the bathroom, while watching porn on his phone. For John, it’s merely a physical release, but for Michelle, pleasuring herself serves a different purpose: She is trying to figure out what makes her feel good. Exploring her changed body alone eliminates the guilt she has when she can’t climax with her husband. She doesn’t want him to think it has anything to do with him. “I want to get there, but it’s not getting there,” she says.

Of the more than 30 married people I interviewed, many, like Michelle, told me that becoming parents irrevocably changed their sex lives. Camille, who lives in California, felt her marriage was the most solid and caring relationship she had ever experienced, but becoming a mother distanced her from her desire. “It feels like something I can’t quite touch, like in another room, or another part of me that I don’t know how to access,” she says.

Other mothers started to see sex as one more chore, another line item on their list of responsibilities. Keti, a mother of a neurodivergent child who craved being held, found that sex with her husband had become “robotic” as she began to see it as “one more demand.” Her husband was doing everything he could to support her, but she felt an obligation to get back to their old sex life, even though she wanted “desperately to go into a forest and just lie down and not hear anyone or anything.”

Lilien, who has two kids, says becoming a mother was a turning point for her. She had to leave her previous career and didn’t know who she was or what she wanted. “My identity was totally eviscerated,” she says. “I was really confused about what my worth was.” Her history of sexual assault also resurfaced in profound ways. She thought she needed to be “permeable” to nurture her children. She didn’t have the capacity to extend that physical openness to her husband. She couldn’t stand soft caresses from him, which felt like the tickling of her child’s hands.

Lilien’s husband, Philip, never pressured her to be intimate, for which she is grateful. “The most important thing for me was to maintain a place where the sex you have is very positive, very consensual, very understood and mutually enjoyed,” he says. Five years later, Philip knows she is still coming to terms with everything motherhood has brought into her life. Recently they started having more sex, about once every other month. Lilien loves her husband’s firm back rubs, which he’s happy to give.

Other couples, much like Rose and Will, confessed to feeling sexually misaligned with their partners as their desires shifted in different directions. Jean, a 38-year-old mother living in Virginia, told me that her husband’s interest in sex has dropped off gradually over the course of their 13-year marriage. She, on the other hand, experienced what she called “a secondary puberty” as her kids grew older and became less dependent on her. She felt “so sexually charged” that she visited her gynecologist to confirm she wasn’t having a hormonal issue. She’s now trying to figure out how to navigate her husband’s low desire. “I feel like I’m living in the upside-down a lot of the time,” she says. “My friends complain about their husbands grabbing their butt while they wash dishes, and I think, Wow, I would love to feel wanted like that.”

Another mother, Emily, says that sex gradually became less important over the course of her 34-year marriage. When her kids were little, intimacy with her husband stalled briefly, but as their children grew older, they had a “revival of a good sex life,” Emily says. Now she is 59 and has had several operations resulting from a battle with cancer, including a hysterectomy and mastectomy. As a result, her desire lessened, and sex began to feel like “vacuuming the house” — something she did to make her husband happy. And he noticed. “If you are used to somebody responding to you in a certain way, you can tell when they are acting,” she says. “I wasn’t the same person.”

One night in bed, about 10 years after she went on a hormone treatment for her cancer that put her into early menopause, they had a frank conversation about their sex life. “We discussed my lack of desire, and he said that if I’m not turned on, then he’s not either,” Emily says. He admitted that his sex drive had dipped, too. So they decided not to force it. She feels there’s some cultural pressure for older people to keep up their sex lives into their 80s. She’s read, with skepticism, articles claiming that maintaining sex later in life is healthy. “Is it?” she said. “I don’t know.”

Emily feels their marriage has progressed naturally: They experienced decades of passion, and while they remain affectionate outside of the bedroom, their relationship now transcends sex in many ways. It’s about the life they’ve built together. “We’ve been in a sexless relationship for years now,” Emily says. “We get along great, but we’re more like best buds than lovers.”

Despite their insistence that sex isn’t essential in their marriages, most of the couples I spoke with still keep track of how often they have sex. They also appear haunted by how far they deviate from perceived norms. John, for instance, hopes he and his wife can work back up to having sex two or three times a week, but admits he has no idea where that figure came from.

Numbers, Nagoski believes, can be a counterproductive metric. It’s impossible to hear such statistics and not judge one’s relationship against them. Numbers also don’t account for whether participants are enjoying the sex they are having. “You’re comparing yourself — you’re judging yourself as OK or inadequate — compared to a whole bunch of people you’re not having sex with, who are not having sex with you,” Nagoski says.

For couples measuring themselves against what Nagoski calls the “fictions” of sex, or for those worried that their relationship is on the line whenever they enter the bedroom or don’t meet some monthly number, there may be too much pressure for sex to be enjoyable. It’s more important that couples establish what kind of sex is worth having.

‘There are people who tell you all the sex they’re having. I feel like it’s a lot more common that a lot of people are not.’

Rose admits to feeling the weight of societal expectations. Recently she decided that since she and Will were rarely having sex, she would have her birth-control implant removed from her arm. During the procedure, the nurse intimated there was something wrong with Rose’s marriage. Rose felt shamed and angry. The idea that she should be living in a constant state of arousal with her husband after a decade together is, to her, ridiculous, but also part of a facade she thinks many married couples maintain.

“There are people who tell you all the sex they’re having,” she says. “I feel like it’s a lot more common that a lot of people are not.” With the help of her therapist, Rose is exploring whether her A.D.H.D. may play a role in her need to seek new stimuli — not because she sees it as a problem but because she is interested in understanding her desire more fully. “Apparently the partner fatigue I experience is not so uncommon because our ‘special’ brains are always seeking out what’s new,” she says.

Will sometimes turns to Buddhist writings on restraint to explore his sexuality. He jokes there may be some confirmation bias at work, but he thinks his wife’s self-awareness — and her unwillingness to force herself into sex that she doesn’t want to have — has matured him. For Will, intimacy is less about completion and more about connection. “I’ve learned, even just about the act of sex itself, the ending is not always the best part,” Will says. “There’s pleasure throughout the spectrum.”

In March, for Rose’s 40th birthday, they took a trip to Hawaii. She switched off her phone for hours as they sprawled out by the ocean. Will remembers turning toward his wife and staring at her, watching her relaxing, her body loose. In that moment, he wasn’t thinking about sex or how beautiful Rose looked under the sun. He was thinking about how similar they actually are. More than anything, they want to enjoy themselves in their own way, to savor the small moments when they can let the rest of the world fade away.

Amanda Montei is the author of “Touched Out: Motherhood, Misogyny, Consent and Control.” She is based in California.

Read by Julia Whelan

Narration produced by Anna Diamond and Tanya Pérez

Engineered by Joel Thibodeau

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