Blaugust Day 27: The Worst That Could Happen When “Raids” Hit GW2

Yesterday, as all the leaked news spread across Reddit increasing the hype level, I scribbled down a blog post draft at work, reacting to the cheap trigger word of “raids” and explaining why I have an almost illogical and irrational emotional response to the term.

(Bottom line: Old memories of a time when I was definitely less mellow, more prone to acting on obsessive/hardcore behavior that did not prioritize anything but “winning” and concerned with looking good in the eyes of others.

In other words, if you give me a typical raid setup, I’m liable to do my best to climb the ladder all the way to the top, to hell with rl priorities like work, sleep, eating, hygiene, whatever.)

Then I promptly forgot to bring said scribbled notes home to expand into a post.

One TV show, one good meal, one warm shower, one series of guild missions and a nice long streak of Trove-playing plus old TV show watching, revisiting Steam game Recettear on a whim and 8 hours of sleep later, I have mellowed down to the point of almost treating the whole thing like a non-issue.

Oh, don’t get me wrong. I am still deadly serious on one thing.

If the raids in GW2 are done badly, if they are designed in such a way that they promote increased player toxicity, a worsening community, and a personal impulse to act obsessively at the expense of my other real life priorities, I -will- be quitting the game that I no longer recognize.

But that statement is not meant to be read as any kind of histrionic threat (not that Anet would care, they’re not even a sub game, y’know?) but more as a statement of fact that it would be in my best interests to do so.

It’s just like if, for example, I knew I had a gambling problem – if I was addicted to lockboxes and due to however my brain was wired, unable to control myself from exceeding a reasonable budget at the expense of my real life, then it would be in my best interests to not even come near a game that offered that sort of thing as a design choice.

I did it once before with City of Heroes and Incarnate raids, after all. I just didn’t enjoy the gameplay. I didn’t appreciate that group content gave exclusive rewards that soloers couldn’t strive for, essentially “forcing” players into one style of play. The community had taken a u-turn since the implementation of loot systems and tiered raids were the culmination of that. Ultimately, I just threw up my hands and quit, rather than make myself and others upset by ranting and raving and writing walls of text on why the devs shouldn’t do X or Y.

Part of the fear and gut reaction to the prospect of quitting is this holdover idea that one needs to be “faithful” to a particular MMO, that an MMO is for life, that one has invested -so- much into playing a particular game that it’s hard to let go.

Last night rather nailed it in that there are so many other games that I could be playing and occupying my time and attention with, that I shouldn’t have to even worry at all if I find one game no longer suits me.

So this Saturday morning, as I scramble to catch up with all the belated Blaugust posts that I consciously chose to put aside to prioritize work + games on weekdays, in the more logical light of day, I am finding it all a relative non-issue.

Yes, I would still feel a little sad if the game I loved took a turn for something that I no longer enjoy or recognize. I would be saddened to break social bonds that had formed as a result of the game and leave those communities for other horizons.

But you know, it’s not like it is something that anyone is immune to. Even the big kahuna World of Warcraft has had periods of big sweeping change, and I’m confident to hazard a guess that each time, it knocked loose some people who could no longer enjoy the game it had become.

So, even while I’m hopeful that things won’t be as bad as my irrational emotional fears are making things out to be, an honest, pragmatic look at the worse case scenario that -could- happen reveals that even that situation isn’t the end of the world. Just the end of me playing one game.

(Which does sound scary and final, similar to how the phrase “losing your job” might stir uncomfortable emotional feelings in the pit of one’s stomach. Realistically though, it’s not like that one job was IT, there are many other jobs out there that one could also be doing – and after an initial period of pain aka limited funds, the goddamn job hunt and interviews, etc. – one might find that the next job turns out better than the last.)

This post was brought to you by the letters B for Birthday, Belghast and Blaugust, and the number 27.

On Fantasy and Reality (and Violence?)

A million stories tell us that woods are magic places... what the cat with a giant sword on fire is doing there, I dont know...

From as early on as I can remember, I have always grown up with the fantastic.

80s cartoons like “He-Man, Masters of the Universe,”  “The Centurions,” “Teenage Mutant Ninja Turtles,” “Transformers” and their attendant advertisements were always an important part of my childhood.

Were they violent?

Well, they did involve lots of battles against villains, and a truckload of laser blasts and rocket explosions.

A dozen years on, a class project involved another group of classmates who gleefully projected the number of laser shots fired and explosions and so on in just one episode of X-Men.

I think their count was somewhere in the 80-100 number range.

From there, I think they were trying to make some kind of point about how media influences our lives and our perceptions, and linking cartoon violence to real violence – you know, that thing that has been going on with video games and violence for the past dozen years now.

I remember being ridiculously skeptical because my biggest take-home from watching entire SEASONS worth of X-Men was that discrimination of the mutant or the outsider for the color of their skin (or how many arms they had) was unfair and hurtful.

This was also the same class project where my own group attempted to belittle Xena: Warrior Princess for being demeaning to women by camera angles that always insisted on a boob shot before panning to the face.

A couple of years later, the advent of popular internet revealed to our general knowledge how feminists and lesbian groups were praising the show for not shying away from using two females as their main characters and passing the Bechdel Test with flying colors… so you might indeed want to treat our adolescent attempts at matching our teacher’s assigned theme with a hefty helping of salt grains.

These days, I think adults too often project their own fears and interpretations onto the kids themselves.

Has anyone ever asked the children what they’re thinking?

One such person that did is Gerard Jones, author of “Killing Monsters: Why Children Need Fantasy, Super-Heroes, and Make-Believe Violence” and he goes on to say:

It’s easy to fall into the trap of thinking that young people emulate literally what they see in entertainment. That if they like a rapper who insults gays, then they must be learning hostility to gays, and if they love a movie hero who defeats villainy with a gun, then they must be learning to solve problems with violence. There is some truth in that. One of the functions of stories and games is to help children rehearse for what they’ll be in later life. Anthropologists and psychologists who study play, however, have shown that there are many other functions as well – one of which is to enable children to pretend to be just what they know they’ll never be. Exploring, in a safe and controlled context, what is impossible or too dangerous or forbidden to them is a crucial tool in accepting the limits of reality. Playing with rage is a valuable way to reduce its power. Being evil and destructive in imagination is a vital compensation for the wildness we all have to surrender on our way to being good people.

In focusing so intently on the literal, we overlook the emotional meaning of stories and images. The most peaceful, empathetic, conscientious children are often excited by the most aggressive entertainment. Young people who reject violence, guns and bigotry in every form can sift through the literal contents of a movie, game, or song and still embrace the emotional power at its heart. Children need to feel strong. They need to feel powerful in the face of a scary, uncontrollable world. Superheroes, video-game warriors, rappers, and movie gunmen are symbols of strength. By pretending to be them, young people are being strong.

Adults, however, often react to violent images very differently – and in the gap between juvenile and adult reactions, some of our greatest misunderstandings and most damaging disputes are born. Soon after the terrorist attacks of September 11, 2001, many toy retailers reported sharp increases in sales of G.I. Joe and other militaristic toys. But some of those same retailers also began pulling such toys from the shelves, largely in response to parents’ requests. Newspaper stories reported that many parents were forbidden violent toys and entertainment in their homes as a reaction to the tragedy. One mother said she’d hidden her sons’ toy soldiers because “It’s bad enough that they see the Army in the airport.”

Many of us worried about how we would help children deal with the terror of September 11, but when I went into the classrooms, I found that the children were far less shaken than their parents and teachers. Most of them talked about the horrific images they’d seen with a mixture of anger and excitement – and a lot of them wanted to draw pictures, tell stories, or play games involving planes destroying buildings or soldiers fighting terrorists. This isn’t a failure to react appropriately to tragedy: this is how children deal with it. When something troubles them, they have to play with it until it feels safer….

…Adults are generally more empathetic, more attuned to the greater world, and more literalistic than children. We are more likely to feel the pain and anxiety caused by real violence when we see it in make-believe. It troubles us to see our kids having fun with something we deplore. We fear that they are celebrating or affirming a horror that we desperately want to banish from reality. We want them to mirror our adult restraint, seriousness, compassion and pacifism. But they can’t – and shouldn’t – mimic adult reactions. Play, fantasy, and emotional imagination are essential tools of the work of childhood and adolescence.

If any of the above makes sense, I encourage you to take a browse through the actual book itself, recall and think about your own childhood and come to your own conclusions.

Personally, Gerard Jones’ words resonate a lot with me.

I remember my favorite daydream, an elaborate saga that would go on in repetitive vein fueled by the latest plotlines of the week’s cartoons and whatever books I’d read. I was a god on a spaceship.

My house was my spaceship. I’d jump onto the sofa and it’ll become the comfortable control center for taking off to the next planet or magical plane of existence. The balcony was the viewport, and of course, the spaceship had plenty of laser guns and was so shielded by godly power that it could dive into the sun and come out again.

As for godhood, I had to be, because gods are powerful, you know? They can do anything they want.

Except you know, gods also had powerful enemies, so there was a very fair share of getting weakened by a Kryptonite equivalent and getting captured. He, of course, had friends to rescue him from these perpetual predicaments. Godly disciples yanked out of the latest books to capture my imagination.

I don’t remember all of them, but I know the first was Lord Mhoram – out of the Stephen R. Donaldson Chronicles of Thomas Convenant series.

(Yeah, that series that has an anti-protagonist that dared to commit the r-word. I don’t think I even understood that part as a kid, just glossed over what I didn’t understand at the time.

All I knew was that I wasn’t at all impressed with the craven Covenant, and that Lord Mhoram was so much more a wise and active figure that he became my hero and favorite character of the series. Try as I might, through repeated attempts over the years, I could never properly get through the Second Chronicles after the series moved on past the age of the Lords.

I wince to think about what kind of trauma I might have suffered, if anyone had pulled the books out of my hands as a kid and told me not to read the dang things because OMG RAPE.)

Lord Mhoram was simply my wizard figure. He worked for me, because I was a god, you know – that standard narcissistic center of the universe reasoning that children often enjoy. He’d give advice and lead the rest when the god was otherwise (and frequently) disabled or incapacitated and get me out of a million and one scrapes.

I was a bit of a precocious kid, by the way. My mother tells me I was reading by the age of two. Something I naturally don’t remember but would credit her patience and willingness to teach and read with me till I picked up the habit.

Enid Blyton was entertaining me before and through the first years of primary school – groups of five kid adventurers (always five, for some reason) who would visit incredible places and solve mysteries that stumped adults, a fantastic tree that two kids would climb and enter lands of make-believe, often filled with delicious food, and so on.

From youth, libraries were exciting places, and I’d soon find myself exhausting the children’s section and wound up nestled away in a magic Dewey Decimal System number somewhere past 100 and just before the 400s (the Sciences, from which I’d also borrow tons of plant and animal books.)

Whoever thought to put Folklore in the 390s was a genius.

It was an eclectic mix of only two shelves or so, but I patiently worked my way through as many as I could decipher. Tales of 1001 Arabian Nights – a humongous tome that I’d never quite get to the end of, before running out of library borrowing time, tales of greek and roman myths and gods, tales of the devil and ol’ Nick and the common man taking them on.

The second disciple of my long and extensive imaginary childhood construct was Lord Aragorn.

Of course. How you can have geek cred if you didn’t read Lord of the Rings, eh?

My father shared his well-worn browned and very thumbed through copy with me, when he realized I was reading a bunch of folklore and fantasy epics from said library.

The first page contained his signature, a black ink scribble running to purple and green from the passage of time, with a date marked before I was born, to say when he bought the book. Marking a book like that was quite unthinkable to me at the time, but I found it fascinating anyway, to realize that my dad had a past that existed before I had even existed, and that this book was older than I was.

Naturally, the hobbits were too modest a hero to idolize when you’re young and small yourself, and my wizard needed a warrior to do the melee fighting, right?

Who better, than Strider himself?

(Sorry, Gandalf, Lord Mhoram’s cooler than you. You can come and play a bit part and guest star in my cartoon, no problems. Plenty of plotlines of the week.)

Sadly, I don’t remember the third any more, and I knew the fourth was a purely imaginary character that joined up with the group later, a sort of karate fighter that I named Tiger Khan (from glomming together a cool word and Ghengis Khan – don’t ask, I don’t know how it got created in my head either. Watching Karate Kid and Eye of the Tiger movies, perhaps?)

I’m sure there was PLENTY of play and pretend fighting through the storylines. I had my share of plastic swords and Super-Soaker Blaster types to use, after all.

When I played with LEGO, it was castles and knights, and then subsequently pirates. Much pirates. Pirates upon pirates.

I had two ships, and they’d clash forever, with cannons blazing and crew clambering aboard the opposing ship, lots of cutlass swinging and stabbing, little yellow figurines going into the water and getting sheared in half with only the tops remaining visible on the floor (“HALP! WE’RE DROWNING!”) while the two pirate captains would smirk and pet their red and yellow parrots with their hooks and stop by the local fortress to jail their captives. (Cue rescue mission later.)

Try as I might, I simply don’t remember a time when I wasn’t aware that all my fantasies were exactly that. Just pretend. They weren’t real.

All they were, were simple joyous escapism. They were a place where exciting adventures could happen, in contrast with real life and grades upon grades. A place where one could feel powerful and in control, where kids are often just the opposite in reality, acted on by adults who had more authority.

The emotional content was the real reward, not whatever wrapping lay around it – be it sci-fi or medieval fantasy or cowboy western or supernatural fantasy.

Even then, I’d probably look pityingly on an adult that somehow got this confused.

When I was around 11, one teacher of mine took one look at the -cover- of the Blood Sword gamebook I had brought to school, The Battlepits of Krarth, that sported a slimy looking horror monster. Without even reading the contents, she did a double-take, took me and my friends aside and gave us a serious heart-to-heart talk about how satanic and dangerous ‘roleplaying games’ were, while we looked bemusedly at each other and tried to explain what an adventure gamebook was, and this particular volume’s foundings in folklore – she was an English/literature teacher.

Fortunately, confiscating student property on trumped up charges wasn’t a thing in those days, so I got to keep my book. Our entire class did get to sit through a Christianity video she brought to school after that, where we blinked amusedly at caricatures of American kids who dressed up in wizard robes, carried D&D books as a prop, and tried to sacrifice cats and summon Satan. Naturally, one kid saw the light of God and defeated the evil Game Master or something of that nature.

Leslie Fish – Gamers (As she says, I really wonder and worry about these people who think a game is real)

It makes me wonder why and how we come to differentiate the real and the fantastic.

Maybe the secularity of my upbringing helped?

Maybe it was just what my parents taught me?

I dunno. My mom believes in Catholicism, but she never imposed that belief on me or anyone else.

My father believes in UFOs. (Or at least thinks they could be a very real possibility. Why not? Is his line of thinking. He’s never really heard of Occam’s Razor.)

It’s especially ironic that we had a screaming argument when I was in my rebellious teenage years and I almost threw a punch at him (my only attempted real world violence against another person, only held in check by my mother. Thank you, mom) because he thought my highly valued comic book and roleplaying game collection indicated that I was lost in a world of fantasy and wanted to throw them out to ‘force’ me to live in the real world.

All I was really thinking of at the time was how much -real life- dollars that collection had cost me, how impossible it would be to find copies of them again, and how unfair it was that he had a roomful of DVDs (many of them with fantastic themes) while I apparently couldn’t be allowed to maintain a collection of what I enjoyed, because he specifically didn’t understand what they were, and feared what he didn’t understand?

My mom talked us down and the incident blew over. Logic prevailed over tempers.

Maybe, ultimately, I have to credit books and my mother for teaching me how to read them, so I could think for myself.

Googling up “how people distinguish real and fantastic” brought up this article about children’s beliefs in fantasy and magic and how theatrical plays may have an impact:

What might account for the age differences in children’s understanding of the reality-fantasy distinction? Anne Hickling at the University of North Carolina at Greensboro and I have proposed that a number of different factors contribute to children learning what can really happen in the world, and what cannot. The first is increased knowledge. The more knowledge children acquire about objects in the world and their causal mechanisms, the better able they are to distinguish real from unreal events. A second factor is parental input and encouragement.

Knowledge is key.

Reading is the key to knowledge.

Or rather, exposure to information, with parental encouragement, rather than repression of what adults fear.

This post is a lot more personal than you’d usually see from me. Think of it as my little sort of Blaugust contribution, in the spirit of things, even if I really don’t intend to do daily posts or share too much personal stuff in my gaming blog.

It was written as a sort of response to Aggro Range’s “Rated M for Mommy” post. It’s not a criticism of any kind of parenting – I believe all parents have the right to do as they see fit for their particular household and context – but the story of the kid that had a screaming tantrum when he wasn’t allowed to play Call of Duty got to me a little.

I don’t know the context, if this kid really believes terrorists are going to come to get him and everybody else, if he couldn’t shoot them before they could, that really suggests something has gone awry with his ability to distinguish the real from the fantastic. Or maybe it’s just the only way he can cope with the reality that his oldest brother is facing real danger, to shoot pretend terrorists and exorcise the fear demons haunting him by doing it in a safe environment.

The whole patriotism jibe is not cool, of course. Seems to be a trend in conservative America now to accuse anyone with differing viewpoints of not being ‘patriotic.’ That’s a kind of groupthink that can easily lead to more dystopian scenarios – as reading or watching sci-fi stuff might teach.

The corresponding impulse to ban and prohibit games or media in response is personally worrisome to me.

It strikes me that forbidden fruit tastes the sweetest, and that repressing and bottling up things without discussing them might just lead to infernos of rage or strong emotion that people don’t know how to handle later, if they haven’t had prior practice, with smaller emotions, in make-believe.

I am not going to impose this view on anyone, or say that there’s only one way of doing things, or that things SHOULD be this way or no other, because reality doesn’t work like that.

There can be multiple solutions to a problem that all work, and plenty of people have grown up with all kinds of parenting and turned out perfectly healthy individuals.

But I do hope this post makes all of you think a little, and explore different perspectives, and decide for yourselves, rather than indulge in knee-jerk reactions or go along with what the mass media tells us.

I leave you with this adorable cute video of a father playing Dark Souls 2… with his admirably precocious three year daughter, who also plays Portal 2:

That MMO “Feeling” – What’s Missing? A Purpose? What’s My Motivation?

Destiny's Edge + 1

Ever had a thought that just refuses to lay down and die?

It rattles around in your brain, tossing and turning, gnawing and worrying while you spend days trying to pin it down and articulate it to some degree.

It began with Syl’s post about a lack of purpose in our MMOs of today.

There was something to it, especially in regards to Landmark needing to link some kind of functionality and give reasons to do their various activities (for certain subsets of players anyway, who don’t seem to find the existing framework motivating enough), but it sounded… off. Not quite right. Especially when extrapolated in a general sense.

Further questioning in the comments revealed that Syl meant something like a “shared purpose.” A united vision, a commonality of purpose across players, to work hand-in-hand towards… something.

Be it taking down a raid boss together, or perhaps contributing towards building a project in Glitch (RIP Glitch :( ) or a monument in a Tale in the Desert, or maybe even Tarnished Coast and Jade Quarry’s dastardly goal of making sure Blackgate doesn’t just easy mode cruise into a WvW Season 2 win. :P

Then it continued on across various Reddit and forum posts trying to express why some players really want to like GW2 but can’t seem to deal with the leveling process.

There’s no reason for it, they say. No purpose. Something’s missing, and it’s just not lack of direction or guidance. They’re running from one point of interest to another, connecting the dots, but somehow feeling disconnected with the world. Like there’s no story for the players to be the center of and our characters just wind up around the periphery clearing wasps and helping groups of NPCs do something or other.

Personally, I never had that problem when the game first launched. Everything was new and shiny and unfamiliar. There was something AWESOME to see around every corner, and something novel and cool to discover. Even after hitting level 80, I held back on 100% world completion for a long time because I was terrified by the thought of officially consuming all the content and making the world familiar. Known. Habitual. Boring.

In the lull between Living Story seasons, I have been taking my time and leveling a charr engineer the old fashioned way. While I’m still having no problems keeping apace with levels, probably because I kill everything and am not above popping a food and wrench (20%), and occasionally a 50% XP booster to go with the 18% account bonus from achievements, I started feeling…

…what’s the word… Bored, maybe.

Like something was missing.

In my case, I suspected that I was meta-gaming way too much. I’ve seen all these maps before, several times. I know their schtick and what the NPCs are up to in each of them. I could probably find each jumping puzzle entrance unaided by a wiki, going from memory alone. The personal story from the orders on is SO SO DONE before.

Always on my mind is the possibility that I could log in on one of five other level 80s to do something -else-, and by god, are there a lot of something -elses- to do in GW2 – world bosses, TTS runs, WvW, a dungeon, gather or farm stuff, etc.

Except that I’ve also repeated a bunch of these activities… if they’re not quite to the point of being nauseating, they’re at least to the point of “having been done before.”

Strangely enough, a temporary cure for this malaise was serendipitously found when I saw the “Fear Not This Night” video and decided to watch a series of all its Youtube variants in the other screen while I went around leveling.

Between the stirring music and watching all the fantastical cutscenes and incredible art and rekindling that sense of potential GW2 had when it was new, I think I recreated some of that sense of wonder and awe that I personally CRAVE like a thirsting man needs water.


I started feeling more like a hero, more immersed into the world again, rather than my character acting as Tool #6 for Future Experimentation with AoE Spam in WvW and Condi Builds in PvP.

There was still one more thing missing though.

And this was where I really started missing the Living Story. It was -hard- to find a story, a linear narrative that my character could get involved in.

In GW1, this was front and center. Every story mission you went on, there was this one big overarcing story that we traced.

In GW2, the stories are fractured and scattered. Yes, I could chase the Personal Story. It’s the most linear narrative we have. It’s spread out geographically though, and with level gaps that enforce pauses and breaks in between.

I could do dungeons and follow Destiny’s Edges’ story – assuming I don’t get kicked out of impatient PUGs for daring to watch cutscenes – but again, the story is broken up by dungeons and levels. Anyway, we know the story. They squabble a lot. Our character tells them they’re being idiots. They eventually wise up, kiss and make up.

The open world itself has teeny tiny storylets that are unfortunately caught in time. They’re interesting, no doubt. I enjoy the Fields of Ruin for instance, the tension between the charr and the humans and the peace treaty and the characters that are still clinging on or struggling to get rid of old prejudices. But we can’t progress those stories in any meaningful fashion.

A narrative needs a beginning, middle and end. A line. Not a closed circle that continuously loops.

So I end up stuck waiting for the Living Story – our last, best hope for narrative in GW2.

Thing is, what’s missing for me, may not what’s be missing for you.

Which led to a fevered attempt to brainstorm motivations and reasons for why people play MMOs.

(Which has, of course, been attempted multiple times by others – some far more scientifically than me.)

In no particular order:

  • To feel like a hero – to be at the center of a story, or to be unique or stand out in some fashion, via prestigious cool-looking armor perhaps?
  • To feel like one is improving oneself, eg. via increasing stats or levels, or demonstrating competency via overcoming challenges
  • To be validated or acknowledged by one’s peers, eg. earning social respect via leadership or game skill, defeating others in a competition, etc.
  • To experience a shared purpose, commonality of goal, ‘teamwork’
  • For self-expression – customisation of a character and its looks, or to tell a story or build a home or express creativity in some other form
  • To experience a microcosm of life – MMO as a ‘flight simulator’ of life, test running and learning life lessons about social relationships and interacting with people within the game (a role also fulfilled by reading fiction or otherwise experiencing stories)
  • To feel like one is in a world – interconnectedness, have real people be doing stuff all around you or roleplaying, playing someone you’re not
  • To experience constant change and bursts of novelty, “new content”
  • To discover and learn new things
  • To master mechanics and optimize for efficiency
  • To experience a story – which segues nicely into the dev-created narrative or player-created narrative debate
  • To experience emotions, such as awe and wonder from seeing fantastic landscapes or large-scaled monsters in comparison to yourself (see WoW raid bosses and Shadow of the Colossus), or triumph and victory from defeating a difficult challenge, or a sense of belonging via falling in with a community of like-minded people

I’m sure there’s more.

And of course I noticed that a bunch of these were overlapping, so to speak, and I struggled to try and categorize them in some fashion.

We could fall back on Nick Yee’s main categories of Achievement, Social and Immersion.

Things to do with advancement, power, ambition, improving of self, mechanics and efficiency, perhaps competition might fall under Achievement.

Anything to do with belonging, relationships, player interaction, shared goals, teamwork and cooperation, perhaps even competition might fall under Social.

Immersion being the grab bag that then covers things like escapism, wonder, awe, curiosity, discovery, story-seeking.

Though we end up with a last hanging thread that I might end up terming as Self-Expression – being creative, enjoying customisation, being unique, storytelling and roleplaying (which overlaps onto Immersion), standing out (which overlaps back onto Achievement)

But then I noticed that maybe, just maybe… there was something even more universal at play here.

Note the many repeats of words like “feel” or “experience” or the various emotions that get named.

We say we play a game “for fun.”

We know that this “fun” means different things to different people, and we keep struggling to neatly delineate even more and more subcategories of “fun” in an attempt to get at what we’re really after.

Perhaps we’re really playing a game to feel -something.-

Preferably not boredom.

Many don’t like to feel anger or frustration in their games, but a few others do crave some of those negative emotions, if only to make the opposite emotion the sweeter when it finally arrives after a long struggle.

Different people crave certain feelings over others.

Different games feed certain feelings over others.

(GW2, as is, is pretty good in the Achievement and Social and Self-Expression categories – they keep pushing those agendas anyway, with a stress on cooperation and community organization rather than competition or elitist domination – but they’re kind of dropping the ball on the Immersion one and I think we’re seeing some of the repercussions in the recurring complaints about stories, lore, new zones, lack of caring about roleplaying, etc.)

If we end up feeling nothing or an overall lack of excitement in a game, that apathy becomes a problem which seems to eventually lead to the game being dropped.

Thing is, who’s in control here of our own emotions?

Do developers have a responsibility to entertain and feed us some of these emotions via their game design, since we’re choosing to play their game, after all?

Will it work if we ourselves are determined to not feel anything, having already been there and done that?

Perhaps an awareness that these things are in play is what we need to cross that divide of feeling and not-feeling.

At any time, perhaps we should be picking and choosing to play games (and do activities within a game) that do reward us with the feelings we’re craving.

It’s not a one-time life choice, after all.

We can swap them in and out like watching a comedy movie when we want to laugh and watching a horror movie when we want to be scared and thrilled.

We just need to remember to do it.