On Gaming

The Vietnam “War”, better described as a stage of psychological and economic domination (enslavement) of East Asia by the West by means of industrial massacre, entered popular American consciousness in the mid 1960s. In 1955 Allen Ginsberg’s angry “Howl” threw unhappiness on an ostensibly happy country. In 1966 began the Society for Creative Anachronism, which rejected the power plays of the 20th century that caused so much devastation in favor of Middle Ages (read, prior to the Nuclear Age and the Industrial Revolution) role playing.

Drugs are to the biological human what Games are to the social human. Ginsberg and Timothy Leary with his “turn on, tune in, drop out” set the stage for video games, where humans drop out from the real world in favor of countless alternate realities.

As the dangers of drugs became more well known, video games stepped in to offer a “safer” alternative. By “safer” we mean of course that games are an utter waste of time and the body wastes away while doing them, but that unlike drugs no direct poison enters the body. However, very much unlike drugs games offer a potentially eternal escape from reality and are therefore far more dangerous.

“Social” gaming like MMOs attempt to have one’s cake and eat it too, by means of obscuring the nature and historical reality of video gaming through offering “alternative socialization” to face-to-face traditional human contact.

The Occupy Movement is more of a threat to gaming than it is to the elite. The elite can always just harass, arrest, injure, and kill enough people to instill enough fear in them to get them to stop being a threat (the movement can still defeat them, however). What the movement really threatens is the “turn on, tune in, drop out” mentality of gamers, by offering a positive space for people to engage with the traditional world.

Of course, gamers are a largely “middle class” bunch by which I mean they are ridiculously wealthy by global standards and often support the elite, so support the elite’s goal of having them waste their lives away in front of a computer screen.

There’s far more to say on this of course, such as how weightlifters escape their own impotence into a fantasy world of the maximization of muscles, how superheroes escape impotence into a fantasy world of the maximization of their moral goodness, righteousness, and power, etc. But just one more thing to sum it up:

As Roland Orzabal, Michael Andrews, and Gary Jules might say, “It’s a Mad World”. In a world out of control where no one (who’s in a position to do anything good about it) has any power we encourage children to murder 3,000 people in a video game in order to bring order to a fake world. We fool ourselves into believing this is empowering.

In the world of video games, noone has the freedom to be a monster. Not even if they have the decency to move away from humans and live in the depths of the earth. There’s a word for this lack of freedom: totalitarianism.

When we look into the undead, haunted, manic, messianic eyes of the Gamer we might find that being a monster is preferable. Anders Breivik thinks so.


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