How video games have improved players’ well-being during the COVID-19 pandemic

The following is an excerpt from a new paper, Playing Video Games During the COVID-19 Pandemic and Effects on Players’ Well-Being, published in Games and Culture. In the paper, we identify seven ways that video games have helped players cope with lockdown during the pandemic, three of which are discussed below: agency, normalisation, and socialisation.


“It is a welcome distraction from the news, there’s a feeling of control within the context and confines of the game.”

This theme brings together responses relating to feelings of competence and achievement: “It gives me a sense of purpose. Something to work towards and a sense of achievement” (P394); productivity: “The reward system gives the illusion of productivity” (P115); and, fulfillment: “It’s been a very stabilising influence – having a hobby where I can practice and improve is very fulfilling, and having something satisfying to work towards has been important” (P26). As noted elsewhere, games are here compared favourably with social media: “It’s something ‘productive’, in that I have missions that unfold into more objectives. It’s like a fun check list to do and it makes me feel like I’m doing more than just scrolling mindlessly on social media or something” (P624); and more passive entertainment: “ feels far more fulfilling than just watching something on Netflix” (P399). Players also gain an otherwise lacking feeling of being in control from playing games: “It’s helped provide a weird sense of accomplishment and control” (P196); “I feel a better sense of control” (P250).

Player agency is widely considered to be a significant property of video games, and an intrinsic aspect of their appeal (Frasca, 2001; Domsch, 2013). This appeal is rooted in the feelings of competence (or efficacy) and autonomy (or personal agency) that games are apt to produce. According to Self-Determination Theory (SDT), competence and autonomy are, along with relatedness, the three basic psychological needs that humans must have satisfied to ensure well-being (Ryan and Deci, 2000). SDT is frequently used to understand motivations for playing video games (Ryan et al., 2006) and to help explain some of the positive outcomes associated with well-being (Jackson et al., 2012; Adachi and Willoughby, 2017; Reer and Kramer, 2018). Certainly, the theory provides a useful means of understanding why participants here connect playing games with improved well-being: games are addressing basic needs that are otherwise not being satisfied under lockdown conditions.


Participants noted that continuing to play video games gave them a sense of normality: “Playing video games has brought a sense of normality to everything” (P18); “…being able to play them like normal with more time a day for them just lets me maintain a comfortable sense of normalcy” (P599). Players report that games provide structure and routine, too: “Animal Crossing gave me a sense of routine; a world to go to at particular times every day”; “The routine in [Stardew Valley] helped fill in where my personal routine was gone” (P224). Including games in the daily routine also helps demarcate work life from home life, in the absence of a normal routine or commute: “I play at the end of the working day, it helps separate work time from non-work, a separation that used to be marked by commuting home” (P219); “A different stimulus from the working from home routines” (P222).

The routine in Stardew Valley helped fill in where my personal routine was gone
“The routine in Stardew Valley helped fill in where my personal routine was gone”. Image:

In their guidance for coping with coverage of the coronavirus, the American Psychological Association suggests that “maintaining social networks can foster a sense of normality” (APA, 2020). Meanwhile, the U.S. Centers for Disease Control and Prevention state that citizens should “try to do enjoyable activities and return to normal life as much as possible” during a crisis (CDC, 2020). The social aspects of gaming are discussed below, but the emphasis on maintaining a sense of normality is clear in both pieces of advice. As well as providing a means of socialising, it is apparent that players also see playing games as a continuation of their normal lives, and an enjoyable experience, too.


“It has helped to keep me in touch with friends who I can’t see in person, and has kept me from being completely isolated at home. Some friends have started to play video games with our gaming group when they had not expressed an interest before. This has been very positive – it’s good to be able to share your hobby with people!”

Finally, the social nature of video games pervades the data relating to well-being: “…allows me to socialise with friends nearly every day” (P60); “It’s made it easier for me as I live alone. I can enjoy playing games online with family/friends and it’s a good way to stay social” (P200); “I’ve also been playing a lot of multiplayer games with friends […] and it’s helping everyone combat loneliness and isolation” (P18). Players also feel connected, or part of a community, e.g., “I felt connected to a community of people who I could talk to” (P21). Family cohesion is also enhanced: “Video games have had a really positive impact on our family relationships as we are playing a lot of games together” (P218); “I’ve also been gaming with my sibling, which we did not previously do regularly, and that weekly social contact has been very valuable for us.” (P29).

The social aspects of playing video games, while not always at the forefront of the public consciousness, are well documented in the literature. The social capital (Bourdieu, 1986; Putnam et al., 2000 accumulated through online multiplayer gaming, for example, has been associated with improved well-being, health, and happiness (Reer and Quandt, 2019). Game-based socialisation has also been found to be associated with reduced feelings of loneliness, as expressed by participants here (Kaye et al., 2017). Of particular relevance here is the finding that playing games online can provide both online and offline social support (Trepte et al., 2012).

Barr, M., & Copeland-Stewart, A. (2021). Playing Video Games During the COVID-19 Pandemic and Effects on Players’ Well-Being. Games and Culture.

Works Cited

Adachi, P. J. C., & Willoughby, T. (2017). The Link Between Playing Video Games and Positive Youth Outcomes. Child Development Perspectives, 11(3), 202–206.

APA. (2020, March). Five Ways to View Coverage of the Coronavirus. American Psychological Association.

Bourdieu, P. (1986). The Forms of Capital. In John Richardson (Ed.), Handbook of Theory and Research for the Sociology of Education (pp. 241–258). Greenwood Press.

CDC. (2020, July 6). Coping with a Disaster or Traumatic Event. Centers for Disease Control and Prevention.

Domsch, S. (2013). Storyplaying: Agency and Narrative in Video Games. De Gruyter.

Frasca, G. (2001). Rethinking agency and immersion: Video games as a means of consciousness-raising. Digital Creativity, 12(3), 167–174.

Jackson, L. A., Witt, E. A., Games, A. I., Fitzgerald, H. E., von Eye, A., & Zhao, Y. (2012). Information technology use and creativity: Findings from the Children and Technology Project. Computers in Human Behavior, 28(2), 370–376.

Kaye, L. K., Kowert, R., & Quinn, S. (2017). The role of social identity and online social capital on psychosocial outcomes in MMO players. Computers in Human Behavior, 74, 215–223.

Putnam, R. D., & Putnam, P. and I. M. P. of P. P. R. D. (2000). Bowling Alone: The Collapse and Revival of American Community. Simon and Schuster.

Reer, F., & Krämer, N. C. (2018). Psychological need satisfaction and well-being in first-person shooter clans: Investigating underlying factors. Computers in Human Behavior, 84, 383–391.

Reer, F., & Quandt, T. (2019). Digital Games and Well-Being: An Overview. In R. Kowert (Ed.), Video Games and Well-being: Press Start (pp. 1–21). Springer Nature.

Ryan, R. M., & Deci, E. L. (2000). Intrinsic and Extrinsic Motivations: Classic Definitions and New Directions. Contemporary Educational Psychology, 25(1), 54–67.

Ryan, R. M., Rigby, C. S., & Przybylski, A. (2006). The Motivational Pull of Video Games: A Self-Determination Theory Approach. Motivation and Emotion, 30(4), 344–360.

Trepte, S., Reinecke, L., & Juechems, K. (2012). The social side of gaming: How playing online computer games creates online and offline social support. Computers in Human Behavior, 28(3), 832–839.

Oscillate Wildly: Teaching Physics with Portal 2

While I’m more interested in incidental learning from video games, as opposed to teaching with them in more formal ways, I recently had the opportunity to go into a local school (through the STEM Ambassador programme) and try using Valve’s Portal 2 to teach Physics to a group of secondary school students.

The students were in year S2 (around 14 years old in Scottish schools) and were all girls: this was part of a ‘Girls into Physics’ event co-ordinated by the Institute of Physics. Such events are intended to help address the gender imbalance in Physics at all levels, from school through to university and into industry. The girls here were approaching the point where they must decide which subjects to pursue, and the event was designed to help ensure Physics is on that list of subjects.

Teaching Physics with Portal 2

My Portal 2 set-up. The projector would not have looked out of place in the game’s Aperture Laboratories.

The way the event ran was as follows. The students moved between demonstrators in groups of around 12 at 20 minute intervals. Aside from my own Portal set-up the event featured all sorts of interesting experiments and displays, each manned by suitably knowledgeable and enthusiastic demonstrators from the Institute of Physics and the STEM Ambassadors programme. I came prepared with an educational copy of Portal 2 already installed on my laptop and a lesson plan adapted from those offered by US-based Physics teacher Cameron Pittman on collisions, momentum, and oscillations (see My laptop was plugged into an impressive-looking projector and I awaited my first group of students.

While I had prepared the exercise, built a custom ‘test chamber’ in which to conduct experiments, and become familiar with the editing tools that ship with the educational version of the game, I was nervous about my lack of a Physics background. When I say I lack a background in Physics, I mean to say I haven’t studied it for nearly 20 years and even then it was competing with Chemistry and Maths for the coveted title of My Most Hated Subject. These fears were not entirely unfounded.

Portal 2 Companion Cube

A Portal 2 Companion Cube

Overall, the experience was fairly positive. Feedback from the students was good (they seemed to have fun, at least) but I have doubts about what the teachers thought of the endeavour. While I had crammed just enough Physics theory to get through the exercises, I feel I could have done more with a proper command of the subject. While 20 minutes seemed like a short amount of time to play with, both of my groups finished working through the lesson plan before time was up: a real Physics teacher could have used the few minutes that remained to ad lib a little, while I had essentially reached the limit of my knowledge of Science. As with most teaching, too, I think that I could have conveyed what little I did attempt to cover rather better if I had a deeper understanding of the material. You can almost always tell when a teacher is slightly winging it.

Another observation I would make is that my laptop and projector set-up was not ideal for a group activity of this sort. While the students for the most part were quite engaged with what was happening on screen, it was inevitable that those furthest from the keyboard and mouse would eventually feel somewhat disconnected. The more confident students were also able to dominate to some degree. We changed up who was ‘in the driving seat’ a number of times per session but in 20 minutes it is impossible to allow 12 people to get some hands-on time – especially when factoring in some time for each student to master the game’s controls. A better approach, hardware availability permitting, might be to have the students work on their own machines, probably in pairs. If I did something like this again, I’d probably also try and learn some more Physics in advance of the class or, better still, run it in collaboration with an actual physicist. Finally, while I did make the point that it took somebody with a grasp of STEM subjects like Physics and Maths to make a game like Portal 2 happen, I think I could make this point all the more convincingly if I allocated some time to talk about how these subjects relate to work in the video games industry. For example, a few words about the success of Kim Swift, lead designer on the original Portal, might be of particular interest to secondary school girls thinking about their subject choices.

The Smiths

The Smiths: not relevant to 14 year old girls in 2013?

An aside: my Portal 2 test chamber was entitled ‘Oscillate Wildly’. Turns out 2013’s 14 year old girls don’t pick up on references to The Smiths.

SimCity (2013) Review

Will Wright’s original SimCity (1989) and its isometric sequel, SimCity 2000 (1994), are perhaps the games that first made me consider the educational possibilities of my favourite pastime. The original SimCity I played somewhat vicariously over my Amiga-owning friend’s shoulder. SimCity 2000, however, I had all to myself and I played it for hours on end on our Mac at home. At school, my forward-thinking geography teacher also allowed me to install it on the department’s Mac. He could probably see the potential in it as a learning tool and certainly recognised that the game could engage the teenage me in a way that some of his colleagues could not. It was never going to find its way on to the curriculum, of course, but it was an exciting possibility for the future.

New Mattsville in 2013

New Mattsville in 2013

The 2013 version of SimCity marks the return of a series which has lain dormant since the release of SimCity 4 in 2003 (excluding spin-offs such as the Nintendo DS version, the less successful SimCity Societies and the myriad versions of the wildly popular The Sims franchise). At its core, SimCity is exactly what the name implies: a city simulator, wherein you assume the role of major, albeit with some unconventional leanings towards omnipotence not usually associated with City Hall. It’s a kind of civic sandbox, featuring all the toys with which a budding mayor might expect to be able to play. While this new iteration introduces a steady stream of mayoral objectives, the game has traditionally set few fixed goals. Instead, the player is free to craft their city as they see fit: adjusting taxes, investing in public services, building essential infrastructure such as roads, and so on. Perhaps the most important tool in your repertoire is that which allows you to designate areas of your city as residential, commercial or industrial zones, determining what your citizens – known as Sims – can build there.

Tinkering with your city and watching it grow is strangely addictive stuff. Like its predecessors, SimCity offers feedback to the player in countless forms, from the often quite beautiful picture the game paints of your living, breathing city, to the multitude of tables, reports and graphs you can pull up on your city’s finances, crime levels, educational performance and other social statistics. All of these feedback mechanisms, coupled with the ability to play the game at your own pace – both in the literal sense (you can slow and speed up time) and in the sense that there’s no real need to gallop ahead and build a sprawling metropolis if you’d rather cultivate a bustling hamlet – encourage the player to set their own personal goals. Because there’s nobody telling you what to do or when to do it as in, say, a school classroom, the motivation to meet these goals is entirely intrinsic.

Downtown Mattsville

Downtown Mattsville

This new SimCity, however, makes one significant departure for the series: it is designed to be played online as a multiplayer experience. This is important for a number of reasons. First, of course, it introduces the prospect of a rather more extrinsic form of motivation: competition. Second, because the game insists on connecting to servers operated by the game’s publisher, EA, every time you play – even if you have no intention of interacting with other players – those servers have to be up-and-running. However, in the few days since the US launch of the game, and to a lesser extent in the hours since it was released in Europe, EA’s servers have not been up to the task. Thousands of disgruntled would-be mayors cannot play the game for which they just paid around £40, after a decade-long wait, simply because the servers are unable to cope with the volume of people attempting to log in. The publisher’s motivation for this arrangement (known as ‘digital rights management’, or DRM) is to protect against piracy. Their servers, as well as proving the ability to save your game to the ‘cloud’, and, apparently, crunching some of the complex numbers required by the city simulation, are also used to check your copy of the game is legitimate.

This debacle has overshadowed the launch of the game to such an extent that it is impossible to ignore in any review. The rights and wrongs of DRM are better covered elsewhere, but the situation raises some significant questions about the game’s suitability for use in a classroom. First, online connectivity requires EA’s Origin software to be installed and able to connect to the internet, introducing an additional hurdle for getting the game installed on a school, college or university network in the first place. Second, if the servers are down when you are scheduled to teach a SimCity-based class, that class isn’t going to happen. Of course, it’s likely that EA will have remedied the server situation by the time the game filters into classrooms but there is a larger question here: what happens when EA turns the servers off? As players of many of the same publisher’s sports titles will know, once those servers become unprofitable to run, or there’s a new version of the title they want to push, the server that facilitates online play is canned. So, whereas a school that invested in 30 copies of SimCity 4 a decade ago can still use that software, there’s every chance that the same will not apply to the new game in 2023.

This is something of a dilemma for educators considering SimCity as a potential learning tool. On the one hand, the game’s publishers are actively courting the educational market – apparently drawing inspiration from Valve’s seemingly more altruistic efforts with the physics-based Portal 2 game – via the website, which offers lesson plans and other resources to kick-start teaching around the game. On the other, how many schools or colleges can afford to invest in multiple copies of a game that may become unplayable at the publisher’s whim? One must also add to the equation the cost of purchasing suitable hardware – the new SimCity is beautifully realised, to be sure, but it requires modern technology to render all of that stunning detail in real time.

In the end, and bearing in mind it’s only been out a day or two, it’s fair to say that SimCity will almost certainly gobble up what little spare time I can muster, and I’ll quickly forget my objections to what I consider to be Draconian DRM measures. From a learning point-of-view, however, I’ve yet to see anything in the game that couldn’t be done to some degree in its considerably more affordable predecessor, if not the version I showed to my geography teacher nearly 20 years ago. Either of these is rather more likely to run on the average school’s computers, which in some cases might actually be 20 years old.

This review was written as part of my coursework for the excellent Introduction to digital game-based learning course, headed up by Dr Hamish Macleod.

Bartle Test

Update: The GamerDNA version of the Bartle test is now offline, so I’ve implemented my own version here.

As part of my literature review, I am, inevitably, reading up on some of Richard Bartle’s work. Also inevitably, I became distracted by the prospect of taking the Bartle Test to determine which of the MUD co-creator’s four player types I most closely resemble. Turns out I am explorer at heart, with leanings towards being an achiever and something of a killer. In the context of multi-player games (and perhaps more generally!), I am not much of a socializer.

bartle_test_results_explorerInteresting that I fall under the category of perhaps the most ‘learning focussed’ player type. Here’s the full blurb (from

The Explorer:

It’s not so much the wandering around and poking about, but that euphoric eureka moment the Explorer strives for. The joys of discovery do not necessarily involve geography, real or virtual. They may derive from the mental road less traveled, the uncovering of esoteric or hidden knowledge and it’s creative application. Explorers make great theory crafters. The most infinitesimal bit of newness can deliver the most delicious zing to an Explorer.


Secondary influences

  • Explorer Killers enjoy seeing the world, meeting interesting people…and killing them. EKs love all discovery, but finding an edge over the competition is best. Always seeking new opportunity, an EK likely knows the ten best places to find certain types of opponents, as well as ten different ways for taking them down.
  • Explorer Achievers have been there, done that and have the t-shirt…in fact they have a plethora of t-shirts, badges, trophies and other rewards. EAs are the completionists of the gamer world. They like to find new places, quests, easter eggs, unlocks, maps etc. and check them off as have, visited or beaten. Like real world travelers, EAs enjoy collecting memorabilia that helps them relive their experiences later.
  • Explorer Socializers are the glue of the online world. Not only do they like to delve in to find all the cool stuff, but they also enjoy sharing that knowledge with others. Explorer socializers power the wikis, maps, forums and theory craft sites of the gamer world.

Motto: “No stone unturned!”

Video games are juvenile, silly, and intellectually lazy

This is the conclusion of respected games developer (and creator of indie favourite, Braid), Jonathan Blow, as revealed in this article in The Atlantic magazine. The article itself is interesting, featuring interviews with Blow himself – who has, in the past, been labelled somewhat pretentious (you can decide for yourself after reading the Atlantic piece) – and actually offers a more balanced take on the “video games as art” debate than the introductory blurb might suggest. The article also serves as a rather eloquent piece of promotional material for Blow’s upcoming exploration/puzzle game, The Witness

In response to the arguments put forth in the article, however, The Brainy Gamer has undertaken to produce a catalogue of “smart games”, comprising those titles that meet Blow’s own criteria for being artistic or intellectually sophisticated”. The catalogue is off to a great start (and looks as though it will provide some excellent ideas for my own work…), but is actively seeking user contributions. If you can think of a game that might meet the above requirements, head on over to the catalogue to submit it.

Norwegian terrorist ‘trained’ for shooting attacks by playing Call of Duty

I’m not sure what to make of this, and I’m loath to give this man any sort of publicity, however minor. That said, there is no doubt that rather more well-read websites than this will jump on the opportunity to highlight the horrendous implication that someone like Breivik could ‘learn’ to kill using a video game.

A World of Warcraft wedding

A World of Warcraft wedding - while the MMORPG has been responsible for its fair share of marriages and divorces, it does not seem like a training ground for mass murderers.

I confess that Call of Duty, which Breivik claims to have used to “develop [his] target acquisition”, is not to my tastes but to suggest that it could be in some way responsible for what happened in Norway (as some quarters of the press seem to imply) is ridiculous. Breivik’s interest in the fantastical World of Warcraft is also dredged up, as if playing a game featuring orcs, gnomes and night elves could somehow prepare him for the very real and truly horrifying act of mass murder. That the 10 million other WoW subscribers aren’t using the game as some sort of murderous training simulator suggests that it has little to do with the actions of an evil, deluded man.

[Via The Guardian]


Learning with Sam & Max: Who’s John Muir?

Some early ’90s video game humour, which serves mainly to highlight the apparent preposterousness of the idea of learning from video games, or ‘edutainment’ as this unholy alliance was referred to at the time.

Sam & Max Hit the Road

You really shouldn't tell fibs about dead animals, Max

Of course, this is LucasArts‘ legendary 1993 point and click adventure, Sam & Max Hit The Road, based on the characters created by Steve Purcell. The ‘edutainment’ (I don’t seem able to type that without the scare quotes) dig is just one of many brilliant jokes to be found in this classic game’s script (delivered, for the first time, entirely by voice actors). Still, I didn’t know who John Muir was until I was inspired to look him up after enjoying this clip. What a nin-cow-poop!

[Via Kotaku]

Nostalgia, and learning from video games

There are some slightly problematic statements in this article, but it’s interesting none-the-less.

An American sophomore student (presumably at college) makes this comment regarding Assassin’s Creed:

“It’s set in Renaissance Italy. The attention to detail is so great you honestly pick up the layout of Florence and interacting with real historical figures and real events that happened.”

Assassin’s Creed II

Assassin’s Creed II does, indeed, feature impressive reconstructions of Renaissance Italy. Also, killing people.

Now, it’s not clear from this slightly vague statement what – of value – the student feels he has learned from playing Assassin’s Creed, but it’s clear he believes he has gained something from the experience. What might be interesting to find out is whether he subsequently sought any more authoritative information on the “historical figures and real events” encountered in the game, from alternative sources.

The rest of the article deals mostly with Pokémon (presenting the series of Manga-inspired games as something of a Nineties phenomenon, although a Western-friendly version of the game was not released in the US until the tail end of the decade). I had not considered the educational value of Pokémon until now (it’s one of the few Nintendo franchises I’ve never really become obsessed with), but perhaps it warrants some investigation. From the article:

“Marquez [the student in question] said there’s a lot of intelligence and patience that goes into Pokémon games. He researches stats, some of which involve complex math equations, before compiling a Pokémon team.”

Marquez continues:

“I will sit down with a pen and paper… and make sure my team is well-balanced. You can breed Pokémon to battle.”


Pokémon: it's educational!

My main issue with the article, however, probably lies with the fact that late-Nineties games such as Pokémon are considered retro. Contrary to what the seems to sophomore think (and I may be reading more into his comments than is strictly sane), his is not the first generation of adults (if we can be called that) to have grown up with video games.

When Gaming Is Good for You

The findings of research by cognitive neuroscientist Daphne Bavelierat at the University of Rochester, New York, have appeared in a number of media outlets recently, including the Wall Street Journal.

According to the article, the research has found that those who played ‘action-based’ video games demonstrated a 25% increase in decision-making speed, with no loss in accuracy. Bavelierat is quoted as saying “These are not the games you would think are mind-enhancing”, suggesting that even the rather violent games so beloved of “the kids” (such as Call of Duty, Assassin’s Creed, or Animal Crossing) might have some beneficial side-effects.

Also from the Wall Street Journal article:

Scientists also found that women—who make up about 42% of computer and video game players—were better able to mentally manipulate 3D objects, a skill at which men are generally more adept.


FemShep: less able to mentally manipulate 3D objects than her male equivalent?

This is an interesting generalisation, of course. As a man (of sorts), I readily concede that my wife – a woman, no less – is generally better at “3D manipulation”, which I’m assuming refers to skills such as driving a car, hanging a picture, and the like. She also plays significantly fewer video games than I.

Anyway, I’m unsure if these recent stories originate from any newly-published work (Bavelierat has worked and published in this area extensively in the past, and is well worth reading, in my opinion) but I’ve asked the WSJ if they can direct me towards the source for this particular article, in case there’s a new paper I’ve missed.

In the mean time, I thought it might be fun to post this sort of thing, in case my potential PhD supervisor was to read it. I imagine he’d have an opinion…

UPDATE: The original paper by Bavelier et al ‘Brains on video games’) can be found here:

Gamers are people too

One of my areas of interest is how commercial video games – not the educational efforts you remember playing on the BBC Micro at school, but the big “triple A” commercial releases such as Civilization and Assassin’s Creed – have already helped make us better-educated, well-rounded people. For this view to be accepted, however, it often feels as though the image of video games, and that of the people who play them, must first be defended, and explained.

My office colleagues, for example, provide some not inconsiderable evidence for the defence, and certainly don’t fit the image of the borderline sociopathic, culturally myopic Neanderthals so often associated with “gamers” in the media, and in the eyes of deluded, corrupt politicians. In an office of four, three of us are men (or, at least, very large boys) in our thirties, who have grown up with video games. Like the current generation of ‘digital natives’, for whom Google, Wikipedia and Facebook are part of the furniture, our generation is arguably that of the ‘gaming native’.

Weaned on the Nintendo Entertainment System, Sinclair Spectrum and Acorn Electron – and still playing today on our PS3s, Xbox 360s and Wiis – we’ve pretty much turned out, well, alright. We all hold down jobs in academia and between us have degrees in Law, English, Geology and Information Technology, plus one PhD almost in the bag and another about to begin. We all have partners, children, mortgages and a slight propensity for beer. We’re pretty normal, and officially Not Sociopathic.

One of our number, who admits to learning what the Manhattan Project was from Civilization*, is something of an oracle on all things historical and cultural – particularly when it comes to the Classics. He’s also equally comfortable with the idea of decapitating a Goblin Warlord in Oblivion, or shooting a fleeing suspect in the back in L.A. Noire. The second of my officemates, one of the most erudite gentlemen you’ll ever meet, is equally adept at explaining binary translation technologies as he is recounting the bloody demise of some on-screen foe, or contributing to the body of online Dark Souls knowledge. These two sets of skills complement one another: possessing both has not yet resulted in bloody violence spilling over into our research activities.

And what of that fourth colleague, so far unaccounted for? Well, she has learned to tolerate the game-related office chat, and become quite adept at filtering out the admittedly inane discussions that focus on the merits of a +5 Drake Sword versus the +4 Lightning Spear. One could argue that video games, however indirectly, have blessed her with an understanding of the art of selective listening.

* He’s keen to stress that he learned this as a teenager, who shouldn’t necessarily have known the de facto name of the nuclear programme that gave the world atomic bombs.