TL; DR: how do I start building a collection cheaply with versatile/staple cards?

A couple of friends have started playing Magic: The Gathering with a virtual tabletop, and while I have learned a lot from playing Arena and reading cards (and watching the Prof) there's just something not working for me in the digital space; Archidekt is tough for me to read through, and even something like Tabletop Simulator doesn't work for me for learning the game (or rather...it's not sticking). I know that I do pretty well with physical objects, so I wanted to get some physical cards to get the hang of the game but immediately ran up against the cost.
I don't know if you guys know this, but Magic: The Gathering is expensive. Way more expensive than I can justify for a hobby I've just started and haven't really gotten the hang of. My question is: how do I start building a collection without breaking the bank?

The things I know, but might need to be corrected on:
"Don't buy bulk"; apparently most boxes of bulk have a bunch of repeats and are generally the cards left over when the good ones have been extracted. I would love to be wrong about this, because even getting common/uncommon cards in enough volume to play in a physical space would be neat.
"Buy singles"; it seems like this is a good way to spend $50-$1000 blindly in the dark if you don't know what you're doing.
"Play what you enjoy"; I've played some jump-start decks and those are neat, but I haven't played enough to know what I like, making this difficult. I also haven't played enough to know the difference between what I enjoy because it's neat and what I enjoy because I won with it one time.
"Buy a precon deck"; from what I've read the commander precons would be a good way to get a lot of single cards, but I've read/heard mixed things about them: reviewers discussing how to "fix" them to be good.
"Buy jump start packs"; I would love to grab a bunch of the jump start decks to mess around with and find synergies, but how do you avoid getting repeats of the packs?
"Buy the Foundations Starter Collection"; Foundations Starter Collection is apparently sold out (or only being sold used/resold at a higher price?), but seems exactly what I'm looking for: a decent collection of classic/useful cards that you can build with and supplement as you learn the game.
"Look for garage sales or ebay for collections"; I'm pretty sure my chances of edging out an experienced card hunter on a good deal is slim to none, especially in my area.

I would, in an ideal world, like to have a small collection with 300-500 of the cards that "everybody knows" for kitchen table Magic (fake draft/jump start, casual commander, casual...modern?), but this seems out of reach. Any guidance would be appreciated!

Do you have any go-to mobile games for those moments where you just need to kill 10-20 minutes of time, without pausing a session to resume later? I'm on iOS but I'd imagine many are available on both iOS and Android.

Preferably without ads or in app purchases. (I'll consider a one-time payment if it seems to be a great fit.)

I discovered Rogue Words from someone here and I absolutely love it and am so happy to see it gaining popularity. But it fits into a different category of mobile game for me since I fall asleep too quickly! And I love Balatro and others that I consider full games (that have a PC version as well). But they're also too long for this use case!

I was recently thinking of a new way to describe to my spouse (and to myself) how my mind works when it comes to performing tasks. This is a regularly occuring conversation, as her needs and mine often run counter to each other and leave us both frustrated. I have trouble understanding even my own reactions to things, let alone hers, so I try to explain them in new terms occasionally to see if it makes things click.

Anyway, I came up with one that I found apt and kinda fun, if maybe a bit sad in places: a DnD 5e character sheet. For the purposes of this exercise, the sheet is for a sorcerer, not a wizard (learning new tasks happens slowly, almost at random) and the Frustration mechanic is effectively identical to Exhaustion in the PHB.

Here it is. I'm curious if any of you have thoughts on this or find it feeling familiar.

Spell list:

Cantrips:

Relax
Read
Eat
Get ready for bed ¹

1st level:

Choose to go to bed ²
Get ready to leave
Choose a meal
Prepare a meal
Work on dishes
Take out trash
Do laundry
Other chores
Do a favor (unasked)*

2nd level:

Do a favor (asked)*
Stifle frustration ³

3rd level:

Do a big favor (asked)*
Dismiss frustration ⁴

Feat - People Pleaser: When casting "Do a favor (unasked)", roll a d20. On a 15 or higher, cast as a cantrip instead. When casting "Do a favor (asked)", roll a d20. On a 5 or lower, add 1 level of frustration. When casting "Do a big favor (asked)", roll a d20. On a 10 or lower, add 1 level of frustration.

Feat - Desperate Times Call for Desperate Measures: Regenerate 1 spell slot of any level. Add 1 level of frustration.

Feat - Self Soothe: whenever casting a cantrip, roll a d20. On a 19 or 20, remove 1 level of frustration.

Curse - Temper: whenever casting a spell of 1st level or higher, roll a d20 with advantage. On a 2 or lower, add a level of frustration.

Curse - Social Anxiety: when interacting with another character, roll a d20. On a 5 or lower, burn 1 spell slot or add 1 level of frustration.

¹ Must be cast on the turn following casting "Choose to go to bed." Otherwise, this becomes a 1st level spell.

² After casting this spell, any spell other than a cantrip must be cast one level higher than usual (e.g., 1st level spells can only be cast using 2nd level spell slots).

³ Temporarily remove 1 level of frustration. It returns after d20X10 minutes.

⁴ Permanently remove 1 level of frustration.

Back in January I was tasked by my brother in law to create a murder mystery parlor game during our family reunion in an Irish castle. Well we just got back last night, and it ended up being one of the most fun vacations of my life.

This is a family of social over-achievers. Super engaged professionals and executives and teachers. A dozen of them would stay up every night drinking and laughing til 2am, sleep 5 hours, then do it all over again. I have trouble keeping up, so I'm glad the game I designed happened on one of the first nights. At first, the mastermind behind this whole trip only gave me 90 minutes for the middle of the day but he lost control of the schedule and I got my three hours in the dark as is proper for a game like this.

All 21 players absolutely committed, bringing vintage costumes and props across the Atlantic for this one night. I created a deck of character cards for each of them, as well as a number of other special prop and event cards, and as they were all getting dressed I texted them their roles.

This was the first hangup. The castle had very poor cell and wifi reception so the texts didn't go through. But all 22 of us had iPhones so I ended up AirDropping everyone's character and gave them personal, private notes. I wouldn't mention the tech glitch otherwise, but this absolutely changed my own strategy as the dead victim, Lord Reginald Springfield. I thought I would be in a kind of control room with my laptop receiving texts from the butler or others when they found certain props. But because they couldn't communicate like that, I had to shadow them through the rooms and sprint like the devil in anticipation of their next moves to certain parts of the castle and its grounds.

Having never done this, and certainly not at this scale, I was surprised by several of their own strategies. At the outset, the butler convened (most of) the group and announced the reading of the will. Then the cops showed up to tell everyone the will was missing, Lord Springfield was poisoned and dead in bed, and that they were all suspects. The Inspector and Constable then began interviewing the subjects one by one.

I'm aware that normal police procedure is to isolate suspects for interviews, specifically to compare notes and find the lies afterward. But I didn't think these two players were aware of that. Turned out I was wrong. Instead of interviewing everyone in front of each other, they squirreled each suspect away and gave them the business, taking copious notes that they shared with no one.

Taking their own cues from this, when the suspects began making their own conjectures and discovering clues, they shared them with absolutely no one unless forced. It was perfect game theory. I just didn't expect these competitive bastards to be so very competitive. It was fantastic. The chaos agents played their parts beautifully, muddying the waters, and the spiritualists spent all their time trying to find all seven of their number to convene a seance. Once they did, I raced into my room and put on a long white nightgown and drew a kind of kabuki corpse makeup on my face. They were racing around in the courtyard outside in the last of the sun and I tap...tap...tapped on the window until one of them saw me, an apparition in a castle window. Classic imagery. She pointed and screamed.

All seven spiritualists (except for the devilish Colonel, who only pretended to be one so he could eavesdrop on the seance) piled into the parlor and held hands. I started walking down the upstairs hall toward them moaning a very haunting melody line from an early Frank Zappa album over and over, then entered the parlor. They said their hair stood on end lol. I whispered my answers then disappeared and later, my widow Lady Eleanor found the burned note in the fireplace of that room.

Tremendous dramatic moment here: That's the note that revealed I wrote them all out of the will and left the entire estate to Madame DuBois. But Eleanor of all people found it and you could see her internal torment. Then she turned away from them all and didn't share it. For nearly another hour they labored to puzzle out the clues while she acted out very well the utter destruction of her life. Absolutely choice stuff.

The twist I had planned is that most of the clues pointed toward Vicar Atkinson and he himself only knew that he blacked out after an argument with the victim. So his card tells him that he is almost certainly guilty and if they accused him, to flee. The line of his card at the end is my personal favorite: But if they actually do accuse you, your only chance is to run. That Inspector is old and the Constable is a woman. How fast can she be? I don't think that Tyler (the vicar) knew that his west coast cousin Lena (Constable Wright) was a huge track star, 100 meters champion, crowned fastest girl in San Francisco two years in a row. I wanted to see her run his ass down like The Flash.

But alas, the real murderer, Hanne (Ingrid) is from Hamburg, Germany and although her card told her she had poisoned the victim while leaving no clues, and that all she had to do was keep a poker face and she was in the clear, she simply couldn't do it. Asking a proper German hausfrau to lie to the police, even in a FUCKING GAME, was too stressful for her and she broke down and confessed the entire thing. I'd hoped to finish this neat and tidy Agatha Christie affair with an accusation and arrest of the vicar, delighted by the idea that justice was NOT served and the wrong man was convicted. Very post-modern take on the whole thing. Two days later I shared all my notes as planned and that was when I'd expected them to realize they'd let the real killer slip away... But never count on duplicity from a Teutonic mind.

We took antique photos of everyone's insane costumes which I can't share for privacy. But they were perfect. It was an absolute smash hit, with people spending the rest of the week recounting the plots and sub-plots and attacking each other in character. The next night was a family trivia night. The following night was a filming of two musical scenes from Rocky Horror. The following night we rented a traditional Irish band and they gave us a concert in the 15th century hall. We took day trips to Dingle and Limerick and Cork and I hiked and biked and two days ago I was swimming in the Shannon River outside Killaloe.

An excellent trip all around. Thanks for reading. Happy to answer any and all questions and yeah now I guess I have a side hustle as a murder mystery game designer if anyone needs me.

I didn't see any mention of this board game here. I just played it with my brother and subsequently picked it up and played it with my wife, and I have to say, this is a great co-op board game. They've really nailed the fun of this where you get new things and meaningful decisions while the difficulty ratchets up nicely. It's hard for any one player to dominate because each character works differently, everyone is forced to work together.

Wondering what other fun new co-op board games people are playing these days? What have you not been able to put down?

A little over a week ago I picked up a 3x3 Rubik's cube after seeing a coworker mess with one. I love fidgety things either as a stimming activity or as a puzzle. Do any of you have other fidgety puzzles to recommend?

How do my fellow KH fans on tildes feel? I'm honestly kind of relieved. Gacha is an inherently predatory business model, and the game by all accounts was extremely unfun. It's still the first KH game to be outright cancelled mid development, so I'm still worried about what this means for the series.

I'm hoping that the devs never return to the mobile space.

There are two relevant articles, both of which provide insight into why these changes were made.; they are relatively lengthy, but I have provided summaries of the changes.

Commander Banned and Restricted Announcement – April 22, 2025

Summary: 5 cards have been unbanned and are now on the game changers list

• Gifts Ungiven
• Sway of the Stars
• Braids, Cabal Minion
• Coalition Victory
• Panoptic Mirror

Commander Brackets Beta Update – April 22, 2025

Summary: no major changes to the mechanics of how brackets function. Two cards have been removed from the game changers list and 18 cards have been added.

• Trouble in Pairs removed
• Trinisphere removed

The following cards have been added to the game changer list: Teferi's Protection, Humility, Narset, Parter of Veils, Intuition, Consecrated Sphinx, Necropotence, Orcish Bowmasters, Notion Thief, Deflecting Swat, Gamble, Worldly Tutor, Crop Rotation, Seedborn Muse, Natural Order, Food Chain, Aura Shards, Field of the Dead, Mishra's Workshop

Having received a jury summons, and with my mental health being how it is, I recently took a bus to the nearby used bookstore. The rule of buying secondhand books is this: You must pretend, while in the store, that your phone doesn’t exist; you must not come in looking for anything in particular; you must let yourself be guided by the titles and covers and the blurbs alone. So I followed my nose over to the “poetry and art criticism” shelf of the store (which, I am convinced, is to blame for my poor performance at parties) and started browsing.

There I found Critical Hits: Writers Playing Video Games and immediately developed a crush. Maybe it was the title, which seemed carefully engineered not to appeal to the general public. Or maybe it was the editor, Carmen Maria Machado, whose short story collection Her Body and Other Parties is a personal favourite. Either way, the anthology of nineteen pieces from nineteen authors about approximately nineteen games was in excellent condition, and had been marked down to eight dollars, so I added it to my little stack of purchases and wandered over to the checkout.

Like all anthologies, Critical Hits varies widely in quality across its component essays (and one comic). It starts strong: its introduction is a delight, with some of the best footnotes I’ve ever enjoyed. Likewise its first essay, Elissa Washuta’s “I Struggled a Long Time with Surviving,” an exploration of her experience with The Last of Us, pandemic, and intractable illness was deeply impactful and genuinely changed how I looked at the game. But this is par for the course with anthologies (at least, well-compiled ones) which know to dazzle you off the bat with their best material, so that you’re willing to endure their worst. Here, in my estimation, the worst is Anders Morson’s “The Cocoon,” which cites Brian Tomasik (one of those insufferable San Fransisco Rationalists) to argue that, in aggregate, it’s unethical to kill video game NPCs. Morson then goes on to list every Aliens game ever released, for six pages, with dazzling insights like “Aliens: Colonial Marines for PS3 Xbox (2013) is definitely an Aliens-y FPS.”

In aggregate, though, the anthology is more good than bad. Apart from “The Cocoon,” the worst essays here are mostly just mediocre, or meandering. And there are some true standouts here: Jamil Jan Kochai’s “Cathartic Warfare,” nat steele’s “I Was a Teenage Transgender Supersoldier.” And the reason I’m here, writing this essay of my own: Larissa Pham’s “Status Effect,” an exploration of depression, damage-over-time, and Genshin Impact.

Released globally in 2020 for PC and mobile devices, Genshin Impact is an action-adventure game which sees players assemble a four-person team from its extensive cast of characters and then wander out into its expansive open world to complete monsters, open quests, and kill chests (something like that, anyway). A live-service game, Genshin has seen regular map expansions and a remarkably stable playerbase for the last five years, and, like WoW before it, has spawned a wave of copycats hoping to take a bite out of the aging titan’s colossal corpus. Larissa Pham and I would have started playing Genshin at around the same time – she describes becoming obsessed with the game in the winter of 2020-2021; I first launched the game in February of 2021, in the icy depths of the pandemic, shortly after failing to kill myself, as something to do while waiting for the hospital bills to pour in.

In Status Effect, Pham recounts a minor controversy from the fall of 2021. Genshin’s meta had stagnated: a year into its lifespan, no one wanted to include healers on their team, when shielders were proactive and dodging was free. So the developers implemented a damage-over-time status effect called corrosion, inflicted by certain enemies and in certain phases of endgame content, which ignored shields and would wipe the whole team if not healed through. Genshin’s community was and is large enough that any kind of meta shift (however necessary) will spark outcry, controversy, and apocalypse prophets heralding doom (I was one of them: “What, am I just not supposed to use my Zhongli? No one’s gonna pull for fucking Kokomi”), but for Pham, that debuff gave her the language to think and speak about her depression more concretely.

Genshin has never given me the language I needed to think or speak about anything. Frankly, I don’t think the game’s story, which is consistently a mediocre slog (with a few bright spots) is capable at this point of doing anything interesting or novel. Even in Pham’s case, Genshin’s “corrosion” debuff might have been fungible with any damage-over-time debuff in any game – Pham just happened to be playing Genshin at the time when she needed it. But even saying this, even speaking as someone who cares about a game’s story more than any other element, I think Genshin is a fantastic game, in at least one major aspect: its exploration and world design.

Upon its announcement, Genshin was panned as “anime Breath of the Wild” a comparison enabled by its gliding and climbing and stamina meter and early-game monster designs and the shade of its grass. But cosmetic similarities aside, Genshin is actually doing something very different – very unique, I think. Genshin presents the player with an extremely large, colorful, and ever-expanding world, peppered with a truly mind-boggling amount of chests, environmental puzzles, and enemy camps. From any given point in the world, you can probably see several little leads to follow: a locked chest in a monster den; a blue faerie waiting to lead you to its court; a movement time trial; a floating elemental oculus. And once you pick one of those, and figure it out, you’ll once again be able to look around and see more chests to open, more stuff to collect, more things to do. So the world is incredibly dense with collectibles, but traversing it is surprisingly weighty. Climbing, gliding, running; all of these are either slow, or stamina-intensive, so you’ll move through the world at a light jog much of the time. This means that you can often see and plan a route to many different puzzle or collectibles before getting to them; it means that, instead of a constant stream of opening chests, each little dopamine hit is separated by a long breath, where you can appreciate the absolutely gorgeous world, and its stirring, melancholy music. And often, quests and puzzles and chests and collectibles will be laid out in a remarkably subtle web, designed to tug the player off the beaten path, towards some of the game’s most gorgeous sights, its most scenic vistas (of which there are plenty).

So maybe in terms of its exploration philosophy Genshin is an open-world collect-a-thon, more similar to a Super Mario Odyssey than a Breath of the Wild. But really, it’s nothing like either game, or anything else I’ve played; so much could be said about the game’s combat, its world quests, its approach to rewards, the way the game’s levelling systems encourage diverse engagement with the open world. I’ll instead conclude with this: Genshin Impact has my favourite exploration experience of any game I’ve ever played, and nothing else really even comes close.

Early in the game’s lifespan (December 2020), the developers added the new Dragonspine region: a frozen mountain, home to the bones of dragons and the ruins of an ancient civilization, introducing lethal new mechanics as a way to shake up exploration. Arguably a precursor to corrosion, while in Dragonspine, a status effect called “sheer cold” would accumulate and, once maxed, drain your health at such a high rate that no shielding or healing could keep up. Getting wet would accelerate cold accumulation; eating hot foods, lighting fires, or standing near heat sources would slow or reverse it. It encouraged a different playstyle; beyond keeping a fire character on your team, sheer cold also encouraged players to explore more deliberately; to stay close to heat sources and not stray too far from the path.

In Dragonspine, the main plot involves restoring an ancient relic called the Skyfrost Nail – an enormous pillar, shattered. Beginning at a base camp at Dragonspine’s foot, you slowly ascend the mountain, fighting monsters, exploring ancient, sealed laboratories, and maybe getting distracted to grab a chest here or a crimson agate there. On the way up, you learn fragments of the story of the ancient civilization that dwelt on Dragonspine, before it froze over; you hear of their research in alchemy, and the celestial nail that was flung down by the gods – to stop their research, before they climbed too high? It was this nail that froze Dragonspine, and somehow corrupted it; it is this nail that you find in broken fragments at Dragonspine’s peak. Beset by truly diabolical monster encounters designed to freeze you fast and absolutely ruin your afternoon, you thaw these fragments and watch as they ascend, reforming the nail, the enormous pillar hanging high above Dragonspine, ready to fall once more. You can, at last, ride the wind currents all the way up to stand on the head of the nail, at what was at the time the highest point in all of Tevyat, to gaze at the world around. All the lands accessible: Liyue and its harbor; Mondstadt and its cathedral, and beyond them, those inaccessible, not yet implemented into the game, represent as abstract hills, mountain, and sea, rolling endlessly into the distant grey fog.

It was February of 2021, and I had failed to die. Had been released from the hospital into the slushy, wet aftermath of a winter storm, with enough medication to last two more weeks and (though I didn’t know it at the time) enough debt to last through to this very day – if only because I stubbornly refuse to pay it. I returned to my on-campus apartment to discover that I had no heating, no power. Hot water, at least, for tea and baths and thin, meatless soups. According to the thermostat, my poorly-insulated home was hovering around 51°F, so I dragged my mattress off the bedframe, into the corner where it was warmer, sealed myself under a mountain of blankets, and opened my laptop.

I had meant to start drafting emails to professors, to explain my weeks-long absence and ask for extensions, grace, and leniency (all would eventually give it, and I didn’t even have to use the s-word, or show the doctors’ notes I had so dutifully accumulated). But in that moment, my hands were shaking from the cold and the anxiety: the knowledge that my life could be ruined, my academic scholarship lost, if any of them declined. So instead, I opened the app store, downloaded Genshin Impact, and, after a couple days of sleepless, bloodshot gaming sessions, climbed the Skyfrost Nail in Dragonspine.

Genshin might not have been capable of giving me the language to understand my experience with depression, dysphoria, and suicide, but it was certainly there when I needed it – the unique, frictional experience it provided offering a strange resonance with my own. And I kept playing it for a long time, perpetually enchanted by its world, its music, the waves of nostalgia and grief that would wash over me at the strangest times.

In the summer of 2021, I wrote a poem, for a poetry class, which began with the lines, “The economy being how it is / Instead of finishing school / I took a job this autumn at the Indiana Dunes.” It was a narrative poem, the only type of poem I’ve ever been able to write. In it, the speaker wanders around on the sandy shores of Lake Michigan in the aftermath of a heavy storm, picking their way around shredded volleyball nets and desolate lounge chairs, all half-buried under wet, sandy drifts. They’re looking for their phone, probably hopelessly lost amidst the dunes, but in the end, climbing Mt. Baldy (a very tall dune; not actually a mountain), they find that what they were searching for was not actually their phone – was, instead, perspective. A broader view of the world’s beauty. “On a clear day, from there, you can see all the way to Chicago,” they think, before beginning the climb. But in the end, reaching the top, the day is not clear, so they are left to “feast [their] eyes on the endless expanse of grey water.”

I must apologize for exposing you to my immature poetry, but the fact that I remember so many lines from that tiny, throwaway piece, from one of my least notable college classes, has always been suspicious to me. I suspect that it contains some sort of heartbreaking insight into my mindset at the time – a tragic longing for the picturesque (to quote a book I haven’t read). I played games where you climbed a mountain, wrote poems where the speaker climbed a dune; some nights, I walked a quarter mile to the parking garage near my apartment and climbed to the top level and leaned on the concrete railing and stared out through life-affirming chicken wire. I wanted to see in color, I suppose; to recapture the vividity of a world that I found increasingly exhausting, but mostly saw only greys: grey distance fog, grey water, and the grey existence of a college-town suburb, shining dully under the light-polluted grey sky.

In November of 2022, Genshin Impact released its 3.2 update “Akasha Pulses, the Kalpa Flame Rises,” which didn’t add any new regions to the map. Instead, it contained the concluding act of the Sumeru region’s main story quest, where the player teams up with a god, a couple academics, a dancer and a cop to fight the evils of the censored internet. For Genshin, this quest (and its preceding acts) were well above par, featuring (among other strengths) actual themes, and a plot that went beyond its gnostic inspirations. So, sure, 3.2 was a timely, relatively compelling update. It was also the update where I quit playing Genshin Impact – for good, I thought. There is simply only so much exploration, questing and combat that can be done in the same world, structure and systems before a work of art overstays its welcome. It wasn’t with any malice that I quit Genshin – I had simply had enough, and that was that.

My life had changed a great deal in the intervening period. I had finished college, moved cities, learned to cook, become a woman. Gotten a second dose of the COVID vaccine, the day before the move, and spent the entire ride to my new home feeling miserably ill because of it.

Around the same time, Carmen Maria Machado and J. Robert Lennon, compilers for Critical Hits: Writers Playing Video Games would have been working on their collection. It’s a collection that lives in the shadow of COVID-19 – almost every piece here, you can detect the pandemic’s penumbra (if it isn’t explicitly mentioned). For a lot of people, the pandemic was isolating, lonely, cold. For writers, it might have been that too, but we are solitary creatures, and the thing it gave us was, most of all, time: to play games, to write or fail to write, to think, to spiral.

Perhaps to counteract this spiral, Graywolf Press, a Minnesota-based not-for-profit publishing house, spent the pandemic hosting “cute mental health cocktail hours.” Lennon was there, Machado was there (my beloved Her Body and Other Parties was published by Graywolf) and it was there that Critical Hits was conceptualized.

“What we wanted to do was have a really diverse group of writers to provide a very diverse perspective of gaming, by writing about games however they want. We sort of gave them free rein,” Machado says, in an interview she and Lennon gave to Dazed Digital. “It was wild how people were like, ‘Oh my God, yes!’ Everything that came in was so good and so interesting and so different. It was a really extraordinary group of artists who had so many things to say.”

I don’t know how Larissa Pham, who wrote my favourite essay in the collection, first became attached to it. Shockingly, there aren’t that many interviews or monographs out there describing the creation process for Critical Hits: Writers Playing Video Games, a book with fewer than 500 ratings on Goodreads. Pham has written a smattering of fiction, nonfiction and creative nonfiction; essays, short stories, criticism. Avant-garde poetry, presented on an interactive github website. Kinky lesbian erotica. A cultural commentary about tradwives and baking. She also, at least for a while, played Genshin Impact, at the same time I and everyone else did. I am struck by the strange syzygy of our experiences. Pham graduated Yale; I went to a state school. She gets published; I post to Tildes. She teaches classes; I am constantly struck by how much I have to learn. But in the winter of 2020-2021, both of us, grappling with our respective illnesses, crossed paths with this game, and it was there for us when we needed it.

In January of 2025, I bought and read Critical Hits: Writers Playing Video Games. In early February, instilled with a sense of nostalgia for a game I hadn’t touched in years, and tired of playing Shadow of the Erdtree (another game with excellent exploration of a very different kind) I downloaded the HoyoPlay launcher and, with it, Genshin Impact.

Logging in, I was greeted with an embarrassment of little red exclamation marks, attached to almost every UI element, there to helpfully explain what I had missed, what was new, and all the crazy exciting retention-driving bonuses the game would give me to help me catch up. According to the huge new blank spaces on the map, I had many more regions to explore; according to the quest log, many more mediocre stories to sit through. According to my backpack, enough saved-up resources from before I had quit to immediately acquire and build the 5-star character Arlecchino, the only female character in the game – out of some sixty, now – who could plausibly be described as handsome (her vest buttons on the left). Perhaps I should have been overwhelmed. But sinking back into Genshin’s loop felt like coming home. Swimming through the new undersea regions, Fontaine and the Sea of Bygone Eras, offered a welcome twist to what was still a fundamentally fantastic exploration loop. Quests like “The Dirge of Bilquis” and “Masquerade of the Guilty” might not have been brilliant, but featured gorgeous locations, entertaining set pieces, and even an excellent VA performance or two.

Apparently, I was coming back at a bad time. Shortly before I collected my Arlecchino, a new character had been released: Mavuika. I never got around to playing the quests where she was featured, but apparently she was poorly written and presented a real problem for Genshin’s balance. Mavuika, you see, has a magical motorbike that a). Doesn’t really fit with Genshin’s usual magitech aesthetics and b). Removes all discernible friction from exploration, with its ability to drive super fast, climb walls, ride on water, and even, for a short time, fly. I was slightly scandalized when I heard about her, frankly.

“Sure,” I thought, “This doesn’t affect me, I’m never going to use her. But if a new player spends their limited resources to get Mavuika (a smart decision; she is, in addition to everything else, a very strong DPS, powercreeping Arlecchino) won’t that ruin the game for them? Won’t her ability to bypass all the exploration challenges in the game take away the one thing that makes it so special?” It felt like the game jumping the shark, releasing a broken character to make a quick buck at the expense of its long-term health. But truthfully, I was a tourist in Genshin this time, coming back to gawk at how it had changed after years of absence. I have no real stake in its balance. I don’t really recommend anyone play it. What happens to the meta and monetization of this game I once loved terribly is now water off a dyke’s back.

Things that I used to get very up-in-arms about no longer really bother me. I’m sometimes unsure whether that’s a result of healing or hypernormalisation.

I had jury duty at the Seattle Municipal Court that month, a boxy building downtown. Had to report in at nine in the morning, riding the bus, shaking slightly from the cold and the anxiety. Of course, it’s not yet illegal to be a transsexual in one of the most wonderfully LGBT-indifferent cities on the planet, but the current political climate lends itself to overthinking.

Potential jurors are to report to the eleventh floor, to an airy, high-ceilinged, window-walled space crammed with chairs and tables and an attached kitchenette – the vending machines offering instruction on how to contact the county for reimbursement. We were to be paid twenty-five dollars per day (plus transit and food costs, if applicable). We were to watch informational videos, fill out cursory forms, and read quietly until called. It was all terribly adolescent, terribly bland. I found myself ruminating on the abstract sculpture pieces hanging from the ceiling, wondering whether their creators had intended them for this space, or whether they had been sentenced to hang here – as a punishment for reckless driving, maybe? What kind of cases even get tried in municipal court? Eventually, I went out onto the rooftop terrace, with only my coffee to protect me from the chilly, cloudy February weather.

To the west, I could see out the Port of Seattle, its great cranes priestly in their red and white liveries, their still solemnity. A container ship lay still in the bay, making no progress to its destination. And nearer: a sliver of downtown. An empty pit, filled with the refuse of aborted construction, bags of trash, tiny blue dumpsters. Graffiti, content indiscernible. Brown brick buildings; a yellow taxi (!) threading between them. A whole city, half asleep, stirring amid the late morning fog. It started to rain, a miserable spitting drizzle, and I scurried inside to protect my book and my temperamental hair.

This February, on my last day playing Genshin Impact, I received a DM from a random, low-level stranger named Quentin. “HELP!!” it said. I joined his world in co-op mode.

Quentin was exploring Dragonspine. When I arrived, his shiny new (low-level) Mavuika was frozen solid by an ice mage, a couple steps away from drowning in a nearby pool, like my own characters had been four years ago. There are some challenges, it seems, that even the most broken character cannot bypass.

Quentin and I summited Dragonspine together. I was shocked to discover that, even after four years, I still remembered the climb almost perfectly. Still remembered the jagged ruins; the wind currents; the terrifying monsters that had killed me over and over again. I hadn’t resorted to messaging strangers to defeat them, but it’s pretty common to do so – new players almost always struggle with Dragonspine. And so there I was, the helpful stranger this time, jogging forward, activating waypoints, lighting fires, killing chunky minibosses with a single unbuffed normal attack while Quentin stood behind me and put motivational stickers in the chat (stickers are the de facto mode of communication in Genshin co-op, as it’s never a surety that any two players will share a language). Quentin was there – why else? – to repair the skyfrost nail. Sure, his Mavuika could motorbike faster than my characters could climb, but still he slowed down so that we could make the ascent side-by-side. And when he seemed to struggle with the light puzzling involved in thawing the nail fragments, I sat my Arlecchino down next to important clues that he was missing and posted slightly stern stickers until he noticed.

At the end of the cutscene where the pillar at last rises into the sky, Quentin and I climbed and ran and rode the wind currents up to stand on the head of the Skyfrost Nail. We couldn’t stay long; sheer cold accumulates fast up there, and neither Quentin nor I had brought a healer or a portable stove. But we still stayed, as long as we could, staring out over Teyvat.

Over the course of over four years of updates, scenery that had once been indistinct rolling hills and sea, fading into fog, had been replaced by new regions, sprawling far beyond our view. Quentin and I could just make out, in the distance, the towering Inazuman mountains, crested by the blossoming sacred sakuras of the Grand Narukami Shrine. The curving tree-city from which sprouts the Sumeru Akadeymia. The baroque arches and elevated crystalline waterways of the Court of Fontaine. And more besides – landmarks I had explored, that Quentin might one day explore: a view onto the entire world with all its colors and its vistas, chests and quests and every artifice of gameplay erased by distance.

Quentin teleported away to warmer pastures and I remained standing there, struck still and wordless, once again, by the syzygy.

He and I will never interact again (shortly, he would say, “Thank you Father” – a title often used for Arlecchino – and then kick me from the world). But for that brief moment, our experiences came into alignment with Genshin Impact, across time and very possibly national borders. I know even less about Quentin than I do Larissa Pham, but he and I at the very least got to share that moment of awe and wonder at the top of the world. I wonder what it meant to him.

In the prologue to Critical Hits, Carmen Maria Marchado writes about her experiences being introduced to new games by friends and partners: “As I keep writing I am struck… by the intimacy of the form; the way the experience of it is specific, even erotic. What did it mean to receive someone’s tutelage? To let yourself be watched? To open yourself up to new ways of understanding? To die over and over again?” Perhaps Critical Hits’ greatest strength, its most distinct quality as an art object, across almost every piece within, is that peculiar intimacy. To watch writers and critics open themselves up to games; then, through those games, open themselves up to you. In much the same way Quentin did by inviting me into his world, Pham and Villarreal and Adjei-Brenyah and Washuta and, yes, even Morson invite us into their worlds, show us how video games refracted their experiences to help them understand themselves with new vividity and clarity.

I feel a little guilty to have, once again, dedicated so much time and mental energy to Genshin Impact, a game which arguably does not deserve it. While playing it this year, and since then, I have played Signalis and Lies of P and 1000xResist and (fellow gacha game) Reverse:1999, have read Borges and Dillard and Ian Reid – artists and works that are considerably more unified and artistically compelling than Genshin. But none of them hit me quite as hard as this 2020 open-world live-service Chinese gacha game; none came at just the right moment, to connect with my particular experiences, my past; to color my vision.

My name didn't get called for jury duty, so at 3PM I rode the bus home (stopping briefly for bread and doughnuts at the bakery in order to earn the approval of the women I live with). Genshin Impact no longer lives on my computer. Once again, I got what I needed out of it, and then let it go. Having finished writing this piece, Critical Hits will be put on my bookshelf, probably never to be touched again. But as we move forward into an uncertain future, these small, impactful experiences, insignificant though they were, will continue to live with me. And if you read through this entire meandering essay, maybe some small fragment of them can live with you, too: proof of our shared essence, an invitation into my world.

I really love being able to see all sorts of stats -- number of games played, wins/losses, leaderboard rankings, even obscure stats.

I also love word, card, and puzzle games. Games like solitaire, for example, would be PERFECT candidates to lean heavily into the stats, but I just haven't been able to find a good one yet.

What are your favorite games in these categories? Bonus points if they have an emphasis on keeping records and stats.