
Title: Everything to Play For: An Insider’s Guide to How Videogames are Changing Our World
Author: Marijam Did
Completed: Feb 2025 (Full list of books)
Overview: After hearing an interview with the author, I decided to check this out. I’m not a gamer but often feel like I should play more games because of the benefits they bring. This book looks at the intersection of games and leftist politics which was intriguing. It covers some of the history of digital gaming, the drift rightward before Gamergate and that acceleration after it, and a long list of diverse games covering a wide variety of topics. By the end, I’m still interested in learning more about some of the independent game studios and will continue to casually look for games that appeal to me, but didn’t read about any that I needed to download and start playing immediately. I tend to like puzzle games and games I can pick up/put down anytime. If you have a recommendation (especially if it’s from an independent game studio), please drop it in the comments and I’ll give it a try.
Highlights:
- global profits of the videogames industry became greater than those of the music and film industries combined.
- few parents get worried when their child is interested in a cultural medium other than gaming. Gaming is unique in that the entire industry and its way of operating are judged by its individual artefacts and the behaviour of single games companies or of its individual consumers. The world of gaming sorely lacks a multifaceted, refined assessment of its merits and faults.
- my father introduced me to Homo Ludens by Johan Huizinga. Released in 1938, the book unpacks the importance of play in culture and society. Ludus (play) is a primary and necessary (though not sufficient) condition for generating culture. The book is a foundational text for academic game studies. It establishes the significance of play as a cultural phenomenon and of play and contest as civilising functions, as well as the themes enveloping play and war, play and law, and even forms of play in philosophy. ‘We have to conclude, therefore, that civilisation is, in its earliest phases, played. It does not come from play like a baby detaching itself from the womb: it arises in and as play, and never leaves it.’
- Nothing was inevitable about gaming growing into its current state: a toxic, misogynist, imperial wasteland with few, albeit crucial, saving graces. In a few short decades, distinct actors made it that way. It could easily have turned out differently, and books like this one set out to inspire the imagination needed to make gaming completely different.
- In 1971, Computer Space, a coin-operated arcade device, became the first videogame to be released commercially. The game was presented in a curvy, futuristic fibreglass cabinet, which had been designed by Bushnell with modelling clay, built by a swimming pool manufacturer and painted in bright, glittery colours. Computer Space sold 1,000 units (a non-digital arcade game at the time might have sold around 2,000 units), which did not give Bushnell and Dabney the overnight success they had hoped for. Still, they felt sufficiently encouraged to incorporate themselves into a company called Atari
- in Britain, Joan Clarke worked closely with Alan Turing on the all-important Enigma machine, built in Bletchley Park. Many of the men who developed methods increasing the speed of double-encrypted messages had the techniques named after them. That was not the case with Clarke, whose contributions have been largely forgotten by history.
- The mass adoption of digital devices in offices and homes in the rest of the world lagged behind until the 1990s, when a shift was largely enabled by the more accessible (that is, more pirateable) Windows operating system.
- Awards aside, Myst was the best-selling PC game throughout the 1990s but, bizarrely, it achieved nothing near to the canon-defining honours that were attributed to Doom. Similarly, Barbie Fashion Designer (1996) nurtured an entire generation of gamers and outsold Doom, with half a million copies shipped.27 The game makers’ desire for violence somehow trumped even the market logic of sales.
- As is sadly common, urban areas that attract young people without parental supervision often also attract a disproportionate negative reaction by the state. Gaming arcades were swiftly viewed in the same way as gambling arenas. Local officials feared that arcades ‘would become a hang-out for teenagers who would cause problems for police’. Neighbourhood groups feared that ‘video game arcades located near residential neighbourhoods might introduce undesirable elements into the community.’
- Gamergate Some failed to see the expansion of narratives in games, and the diversification of the people making them, as a pie growing larger. To many long-term gamers, these changes felt not only like their share of the pie was decreasing, but as something even more personal. As feminist and racial justice causes altered the everyday realities of marriages, workplaces and even mainstream entertainment, gaming zones had felt exempt from these shifts, in a ‘safe space’, if you will, from the cultural turn towards the ‘woke’. No longer, many gamers feared. This pent-up tension was released in forums and message boards, expressing all the discontent over what gamers perceived as a major shift of attention from small and big games creators towards more politically correct, inclusive content. Gamers would not allow these changes to take place without a fight.
- The gaming sphere was the training ground for a form of online harassment that today seems ubiquitous.
- Click farming was, in fact, the business that Steve Bannon dabbled in before running Donald Trump’s election campaign. The right recognised and used spaces of gaming for their own ends, allowing the industry to be shaped into an integral part of the contemporary capitalist system, rather than offering an alternative to it.
- Mortal Kombat, launched in 1992, pulls no punches – broken bones, gore, pools of blood and scenes that are brutal to the point of exhibitionism glamorise violence. Governments around the world rushed in to condemn the game and attempt to ban its sale.6 Meanwhile, movies with similarly violent content were becoming cult classics.
- There is no escape: even the rejection of politics is political.
- In 2014, a team of three students from the University of South Wales crafted a virtual reality experience of rebuilding Fonthill Abbey. There is no trace left of this once-stunning Gothic revival mansion, as it was demolished in 1845 after the collapse of its gigantic ninety-metre tower.
- Gamergate and similar gaming communities, who instigate and support what amounts to acts of terror while still claiming to be apolitical.
- In the McCarthy era, there were calls to ban Robin Hood from the schoolbooks for perceived communist connotations.
- In the McCarthy era, there were calls to ban Robin Hood from the schoolbooks for perceived communist connotations. The self-righteous use of this rebellious imagery, pitting David against Goliath, is remarkably effective, even among individuals who espouse socially conservative views.
- The scenarios and commonly agreed scripts as to what can or cannot take place on a street are exposed by a gentle warping of these expectations. In this case, gaming serves as a tool for introducing an astonishing variety of new purposes to our social and urban experiences. Similarly to Situationist writings (minus the corporate angle, of course!), this app does turn a lamppost into a meeting place, or a random car park into a sought-after destination; a straight road can now offer a variety of meaningful stops and the pavement a map of treasures.
- Mark Coreth created a life-sized sculpture of a polar bear at the COP 15 climate summit in 2009. Just how much energy was required to freeze nine tonnes of ice or to create the 500-kilogram bronze cast of the skeleton is unknown, but the World Wildlife Fund, which funded the sculpture (along with consumer electronics manufacturers Panasonic and Nokia), still advertised it as ‘art in service of the environment’.
- One should never mistake good intentions for strong art. Political commitment is a beginning, not an end, as generous ideas can sometimes lead to a reactionary artwork, contradicting those original intentions. Art has to start changing the world through questioning its own conditions of production and diffusion.
- In his performances, Hsieh commits to spending exactly a year in extreme circumstances. In one instance, he spent a year in New York City without entering any space that had a roof. In his artistic collaboration with fellow artist Linda Montano, they spent a year connected to each other by a two-and-a-half-metre piece of rope – after which the two never spoke again. In his most pivotal and extreme performance to date, Hsieh photographed himself putting a card into a punch clock every hour for a year. That meant he could never sleep longer than fifty-nine minutes at a stretch or go any distance beyond an approximate thirty-minute radius of the punch clock.
- In a similar vein, Lose/Lose (2009), a shoot-em-up art videogame released for Mac OS by the American designer Zach Gage, invites the player to control a spaceship and shoot an alien in their path, with little to no difficulty. However, with every felled alien, the game permanently deletes a random file on the player’s actual Mac machine, resulting in a potentially corrupted operating system. The game became notorious for its Russian-roulette-type mechanic and the coveted leaderboard: how long could players last before their computers were permanently disabled?
- Workers with discretionary leisure income pay to be entertained, to be compensated for the boredom of their working lives. Collectively hallucinating and preoccupied with survival instead of overthrowing the structures that engender our suffering, we are stuck in pockets of culture as the only space we have any chance of controlling. In the absence of material autonomy, enclaves of entertainment and popular culture stand in as arenas where irrelevant people can get at each other or command the admiration so often lacking in our everyday alienated experiences.
- Studio workers say that crunch is increasingly factored into production schedules: it is becoming the rule, rather than an exception. Developers rarely complain – their passion for games and game making is taken for granted. The presence of table tennis, foosball tables and beer fridges in the offices, as well as occasional free merch for the title they worked on, are meant to keep the workers feeling special and in no need of protection from the darker parts of the industry.
- While much of the prevalent moral discourse around videogames is stuck in banal anxieties about their potential to turn people violent, a much more urgent and consequential movement is taking place. The consolidation of game companies into a few mega conglomerates will affect consumers and creators alike, but – most importantly – it will fuel all of the dodgiest practices already cultivated by this industry. The PR and lobbying campaigns behind the 2023 Activision Blizzard buyout by Microsoft have been effective in convincing regulators to accept this move.
- From uniforms to stage design, stream editorial choices, music, sponsors and casters (commentators),* the ruling aesthetic mimics those of non-digital sports, with an added layer of pubescent imitation of a man-cave, adorned with plastic and neon lights. Almost without fail, professional tournaments feature individuals wearing highly synthetic ‘uniforms’ – clothing that is not there for reasons of enhanced movement, but more of a loose-fitting space for sponsors to place their ads.
- For an entertainment strand so varied and so full of distinctive personalities and traditions, it is regrettable to see it reduced to a hyper-capitalist image of heavy electronic music, energy drinks, booth babes and adverts, adverts, adverts.35 Esports tournament organisers might believe that the artistic choices in their events will attract maximum popularity with their ‘neutral’ or ‘universal’ aesthetic, but these events simply maintain the status quo, rather than provide a well-researched, nuanced approach on how best to showcase skill, speed and grace. There is a particular joy in spectating an athletic event – the participatory thrill, the communal experience – but the styling of such events is often exclusionary and directed at a very limited audience.
- The trendy, well-off game devs of the Global North are seemingly the only cohort considered to be worthy of the prestige, security and salaries that come with working in games; the silenced populations of gaming hardware manufacturing workers, whose blood, sweat and tears enable game creators to enjoy their hip and profitable careers, are systematically overlooked. Even in the incredibly important game workers unionisation movement, few express solidarity with and recognise the crucial contribution made by the teams of people in mines in DRC or factories in Foxconn – as the colleagues who deserve our support and attention – not to mention take any action to collaborate with them in unionisation efforts.
- AI is killing the game experiences themselves, too, with bots outnumbering real players on servers in multiplayer games, creating a loop of artificiality and eventual rejection by real communities.
- I am inspired by how an alternative could look, in a miniature way, when an online acquaintance sends me pictures of their set-up of a solar-powered Raspberry Pi (an ethically sourced and manufactured computer).12 What would a mass version of such manufacturing ethics look like? How could we have computer operating systems and other software that would somehow not perpetuate capitalist practices?
- To quote my beloved Raymond Williams, ‘to be truly radical is to make hope possible rather than despair convincing.’











