Games

Getting Burned Out on Games

How various people cope with too much gaming.

From videogame2play.com

Burn out in video games is something you learn to expect because most games require a greater time investment than the average book or film. As Jason Rohrer pointed out in his talk "Game and Other Four Letter Words," many people actually consider a game’s lasting appeal to be founded on how many hours of your life you can dump into it. Yet if someone handed you a DVD and told you that it would take 20 hours to finish, to some it could be considered a threat. People who play games professionally, as a hobby, or for work, all have to balance their love of the medium with the fact that sometimes it can be too much. An essay on how to overcome burn-out breaks the process down in several steps. First, figure out what’s making you upset. Then, get some sleep, take time to reflect on the issue, and maximize your free time by relaxing. Eat healthy foods and listen to soothing music. The article makes a point of saying that video games or surfing the net are NOT relaxing because you’re still mentally working and stressing yourself out. Which leads to an interesting problem for people who rely on games as a form of relaxation: when does the game stop being fun and start to feel like work?

From Final Fantasy Tactics Advance 2

I bounced an e-mail off several people from various parts of the industry concerning this issue. Chris Dahlen is a freelance journalist who does a lot of work outside of video games. For him, burn-out only comes when he has to work with a game that he doesn’t really care for. He comments, “I've never spent so much time with games that I got truly, gutwrenchingly sick of 'em. Family stuff and other hassles get in the way first. But when I'm reviewing a game I can't stand, it definitely feels like work. I get impatient. I stop hanging around and checking out the nuances. I keep jumping online to figure out how much longer I have left, how many missions I went through, how many hours it takes to finish.” That’s a sentiment that Michael Abbott echoes, who is a full time professor at Wabash College in addition to writing for PopMatters and running a video game blog. He writes, “Burnout rarely occurs because I usually play games as a respite from other hard, time-consuming things like teaching, parenting, and making theater. When I pick up a game to play, I'm nearly always looking forward to that activity well in advance of doing it, and carving out dedicated time to play probably makes me treasure that time even more. The only exceptions are the few times I've had to review games I don't enjoy.” The mark of burnout in two people who don’t work with video games fulltime is when they’re forced to work with a game they don’t like. Whereas a bad movie is over in an hour or two, a game requires a real investment. When that falls apart, everything else goes with it for the player.

From Lumines

Yet for some people it’s going to be games, games, and again games so that playing things that are appealing is not always an option. Kieron Gillen is a game journalist and comic book author who has worked with numerous publications for years. The tedium of games comes from an entirely different source for him. He explains, “I went well out of my way to avoid getting stuck as a specialist in any bloody genre as a reviewer. So for the job, stuff gets mixed up and I'm not stuck playing virtually identical RTS for weeks of my life. When I don't want to play, it's because of the culture around it. Nothing takes the fun out of a game than a thousand people calling you corrupt for liking it. That's the danger in being a games journalist.” Leigh Alexander is the news director for Gamasutra and also runs her own private blog on video games. For her, it’s the sheer volume of material that’s constantly outside her own preferences that she’s obliged to work with. A game critic has to stay informed in every genre and that includes titles that are often long epics. She writes, “How I cure burnout is I allow myself to do only what I want to for a bit. I might have this huge stack of brand new this and that, but I let it sit and play Lumines every night until the urge to do something else comes back. I have to take personal ownership of video games back away from my job before I can enjoy them again.”

From Cliffy B.

Yet another totally different take on burning out comes from Steve Gaynor who is a video game designer and is working on Bioshock 2 at the moment. As someone who plays, works on, and constantly reads about video games, the issue is one of quality instead of quantity. He writes, “As far as burnout goes, I honestly more often run into the opposite problem, wherein I wish I had an awesome game to be jamming on and there's just nothing exciting that's come out lately…I avoid burnout by having other compelling things going on most of the time, while also keeping up with plenty of game stuff in the background so I always have something to play when there's nothing else happening. I think it also helps that I don't have any kind of formal obligations compelling me to play anything, except my own desire to do so.” Such a comment brings the discussion back to that curious desire to not feel like one is being forced to play a video game. Tom Endo, an editor at The Escapist, makes himself read a book every night. He comments, “The thing that helps me is that I'm a videogame tourist. I'm really interested in all genres -- for at least an hour or two. Burnout is when I have to play some JRPG for 20+ hours.” Iroquis Pliskin also suggests engaging with a different form of media or finding a game that is critically praised by everyone. If you’re not working with a game that entices you to keep playing, try one that a lot of people did find engaging.

From Bejeweled 2

It’s interesting that in each of those explanations is the fear that when a game starts to feel like work it will cease to be fun. You could almost say that that is the difference between any person’s feelings towards a game, the perception of the activity defines what we get out of the experience. For those who get burned out playing games with a lot of grinding and development, the activity might be a little bit too close to what their day jobs are like. Having played games all my life, I think that most of the titles that I stuck with were a counter-point to my routine. When I worked in a hectic kitchen as a line cook, I mostly played slower games that were low on adrenaline and hand-eye coordination. When I was in college it was more cartoony and engaging games that were exciting escapes from the academic routine. Now with the dull monotony of school back I find myself drawn to action, competition, and the other things that I find myself missing in life. Perhaps the real key to preventing burning out on video games is to avoid the ones that you feel like you should be playing and try to stick with the ones that you need.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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