Your gamertag is your online identity, which of course is more important than your actual identity since you probably meet way more people online than you do on your rare visits outside. Just The Facts Calling yourself something original is almost impossible and will probably end in disaster. Remember putting a lot of speak in your name means you are totally awesome.
The same is true for over use of you CapS KEy.
All three facts are total bullshit. The Most Important Decision You Will Ever Make This is no over statement; despite being the pinnacle of the human race's advancement the internet is a backwards place.
On the internet, the international human rights movement never happened, people are immediately judged and abused for arbitrary reasons, and all the women are too busy travelling between the bedroom and the kitchen to play games. That being said, the people at the lowest rungs of the real-world social ladder are at the top when it comes to the world of online gaming. So, you would do well to masquerade as one of them. Here is an example using the authors own name: Karl Smallwood This would make a terrible gamertag.
Hell, it's even a terrible name no teenager can resist making the link between smallwood and small penis. So let's add a terrible pun in there and see how it looks: Karl BigWood That's looking a little better, although that's like saying being mugged is better than being stabbed.
Lets get rid of that first name since you would have to be an idiot to let people on the internet know your real name: Bigwood Now we're getting somewhere, although it's nowhere near blunt enough. What the hell does Bigwood mean? Are you selling some sort of new car?
People on the internet need to explicitly know you are talking about your penis.
Video Games Are Better Than Real Life
This is not a time for subtlety: Comment On the evening of November 9, having barely been awake to see the day, I took the subway to Sunset Park. My objective was to meet a friend at the arcade Next Level. In size, Next Level resembles a hole-in-the-wall Chinese restaurant. It does indeed serve food — free fried chicken and shrimp were provided that night, and candy, soda, and energy drinks were available at a reasonable markup — but the sustenance it provides is mostly of a different nature.
I had bonded with Leon, a graphic designer, musician, and Twitter magnate, over our shared viewership of online broadcasts of the Street Fighter tournaments held every Wednesday night at Next Level. It was his first time attending the venue in person and his first time entering the tournament. Like so many others, I played video games, often to excess, and had done so eagerly since childhood, to the point where the games we played became, necessarily, reflections of our being.
To the uninitiated, the figures are nothing if not staggering: And they play them a lot: According to a variety of recent studies, more than 40 percent of Americans play at least three hours a week, 34 million play on average 22 hours each week, 5 million hit 40 hours, and the average young American will now spend as many hours roughly 10, playing by the time he or she turns 21 as that person spent in middle- and high-school classrooms combined.
Which means that a niche activity confined a few decades ago to preadolescents and adolescents has become, increasingly, a cultural juggernaut for all races, genders, and ages. How had video games, over that time, ascended within American and world culture to a scale rivaling sports, film, and television?
Like those other entertainments, video games offered an escape, of course.
Inthe psychologist Peter D. Kramer published Listening to Prozacasking what we could learn from the sudden mania for antidepressants in America. A few months before the election, an acquaintance had put the same question to me about video games: The first of the expert witnesses at Next Level I had come to speak with was the co-owner of the establishment. As a demographic, they had replaced the lost work time with playtime spent gaming.
How had this happened? He proposed that by creating more vivid and engrossing gaming experiences, technology also increased the subjective value of leisure relative to labor. But the most striking fact was not the grim futures of this presently unemployed group.
It was their happy present — which he neglected to emphasize. The men whose experiences he described were not in any meaningful way despairing. In fact, the opposite. But they were also, it follows, giving players something, or some things, their lives could not.
The professor is nevertheless concerned.
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If young men were working less and playing video games, they were losing access to valuable on-the-job skills that would help them stay employed into middle age and beyond. At the commencement, Hurst was not just speaking abstractly — and warning not just of the risk to the struggling working classes. In fact, his argument was most convincing when it returned to his home, and his son, who almost seemed to have inspired the whole inquiry.
He told me so. He also played chess competitively. He schooled me in Starcraftlet me fiddle around on the PlayStation 2 he kept in his room while he worked or played on his PC.
Video gamer who fought ISIS credits skills to Call of Duty Daily Mail Online
An older brother and oldest child, I had always wanted an older brother of my own, and in this regard, Y, tolerant and wise, was more or less ideal.
Then, two days before Thanksgiving, a game called World of Warcraft was released. Situated on the sprawling plains of cyberspace, the world of World of Warcraft was immense, colorful, and virtually unlimited. It was only natural that Y would dive in headfirst. There was too much to absorb.
He started skipping classes, staying up later and later. Now, it seemed, the lights in his room were on at all hours. Soon he stopped attending class altogether, and soon after that he left campus without graduating.
Despite having begun my freshman year as he began his senior one, and despite my being delayed by a yearlong leave of absence, I ended up graduating two years ahead of him. He did finally graduate, and today he works as a data scientist.
But for several years he was lost to the World, given over totally and willingly to a domain of meanings legible only to other players and valid only for him. Depression feels like an absence of meaning, but as long as he was immersed in the game, I believe that his life was saturated with meaning. He definitely knew what to do, and I would bet that he was happy. The truth is, as odd as it might sound, considering his complete commitment to that game, I envy this experience as much as I fear it.
What did the game offer that the rest of the world could not? To begin with, games make sense, unlike life: As with all sports, digital or analog, there are ground rules that determine success rules that, unlike those in society, are clear to all. The purpose of a game, within it, unlike in society, is directly recognized and never discounted.
You are always a protagonist: Unlike with film and television, where one has to watch the acts of others, in games, one is an agent within it. And unlike someone playing sports, one no longer has to leave the house to compete, explore, commune, exercise agency, or be happy, and the game possesses the potential to let one do all of these at once.
The environment of the game might be challenging, but in another sense it is literally designed for a player to succeed — or, in the case of multiplayer games, to have a fair chance at success. In those games, too, players typically begin in the same place, and in public agreement about what counts for status and how to get it.
In other words, games look like the perfect meritocracies we are taught to expect for ourselves from childhood but never actually find in adulthood.
And then there is the drug effect. Clune is alert to the rhetoric and logic of the binge; he recognizes prosaic activities where experience is readily rendered in words and activities like gaming and drugs, where the intensity eclipses language. Games possess narratives that have the power to seal themselves off from the narratives in the world beyond it. The gamer is driven by an array of hermetic incentives only partially and intermittently accessible from without, like the view over a nose-high wall.
Pairing plush orchestration with a languid, serpentine delivery, the song evokes an atmosphere of calm, luxurious delight where fulfillment and artifice conspire to pacify and charm. The composite image that opens this story was built by Laspiur from these images.
Javier Laspiur Of course, it was not video games generally that removed Y from school but, allegedly, one specific and extraordinary game. In much the same way that video gaming subsumes most of the appeals of other leisure activities into itself, World of Warcraft fuses the attractions of most video games into a single package. Set in a fantasy universe influenced by Tolkien and designed to support Tolkienesque role-playing, the game, digitally rendered, is immeasurably more colorful and elaborate than anything the Oxford don ever wrote: If The Lord of the Rings books are focused on a single, all-important quest, World of Warcraft is structured around thousands of quests raids, explorations that the player, alone or teaming with others, may choose to complete.
Whether greater or lesser, the successful completion of these quests leads to the acquisition of in-game currency, equipment, and experience points. There is little to be gained by remaining at a low level in WoW, and a great deal to be lost.
The marginal social status of the gamer IRL has been a commonplace for some time — even for those who are, or whose families are, relatively well-off.
What a game as maximalist and exemplary as WoW is best suited to reveal is the degree to which status is in the eye of the beholder: There are gamers who view themselves in the light of the game, and once there are enough of them, they constitute a self-sufficient context in which they become the central figures, the successes, by playing.
At its peak, WoW counted When you consider how tightly rationed status is outside the game, how unclear the rules are, how loosely achievement is tied to recognition, how many credentials and connections and how much unpleasantness are required to level up there, it seems like a bargain.
Of course, there are other games, and other reasons to play beyond achieving status. Richard Bartle, a British game-design researcher and professor, constructed a much-cited taxonomy of gamers based on his observations of MUD, an early text-based multiplayer game he co-created in