When I was a kid, my mom used to call my Nintendo the “anti-social idiot box.” The widespread assumption back then was that video games, in any format, were a new and particularly efficient way to waste time and money while also becoming an obsessed shut-in.

Over the course of the subsequent decades, video games have grown into both a multi-billion-dollar industry and a much more socially acceptable hobby. While gaming does attract its share of anti-social obsessives, just like any other form of media, I’ve found it’s much more common for people to meet and bond over their mutual enjoyment of the hobby.

Whether it’s friends you meet through MMORPGs or fighting games, finding stories and characters that deeply resonate with you, or discussing your latest game in a shared space like Bluesky or a message board, video games often have a positive impact on the people who play them. That impact simply doesn’t get a fraction of the press of gaming’s various downsides.

That ability is the focus of a new paper from the University of Washington, “’I Would Not Be This Version of Myself Today’: Elaborating on the Effects of Eudaimonic Gaming Experiences.” The paper, by Nisha Devasia, Georgia Kenderova, Julie A. Kientz, Jin Ha Lee, and Michele Newman, was the focus of a presentation this month at the Annual Symposium on Computer-Human Interaction in Play (CHI-PLAY) in Pittsburgh.

For the paper, the authors surveyed 166 respondents about the “meaningful experiences” they’d had as a result of playing video games, such as rich storytelling, becoming interested in specific skill development, or the experience of watching a narrative shift based upon the player’s in-game actions.

According to the paper’s abstract, “While much of the research in digital games has emphasized hedonic experiences, such as flow, enjoyment, and positive affect, recent years have seen increased interest in eudaimonic gaming experiences, typically mixed-affect and associated with personal meaningfulness and growth.”

Of the 166 respondents, 78% reported that they’d had meaningful, life-changing experiences from their time playing video games, the researchers said in a UW News story about the paper.

“We highlighted three conclusions drawn from modeling the data,” Devasia told UW News. “The first is that playing games during stressful times was strongly correlated with positive outcomes for physical and mental health. For example, during COVID, people played games they felt strongly improved their mental health, such as Stardew Valley.”

Devasia also noted that other respondents had developed new interests, such as sports, due to video games they’d played, or gained insight into themselves or their identities from the journeys undertaken by video game protagonists.

“Playing as a character and seeing your choices change the course of events is pretty unique to games, compared with other narrative media like novels or movies,” Devasia said.

“As researchers, we develop games for learning, for instance, for teaching people about misinformation or AI, or promote digital civic engagement, because we want to foster meaningful experiences,” Lee added. “But a lot of the existing research just focuses on the short-term effects of games. This study really helps us understand what actually caused a game to make a difference in someone’s life.”

It sounds obvious at first glance if you’re someone who grew up around video games. It’s almost a given that there’s at least one game that made a serious mark on you somehow, especially if you live in a heavily nerd-coded space like the greater Seattle area.

Anecdotally, that strikes me as an underexplored part of the hobby. If anything, there’s a strange critical drive in the space to deliberately treat gaming as disposable pop culture, without any real meaning or lasting value. If you read any op-ed in the gaming press that discusses the cultural or political meaning of a video game, someone will inevitably show up in the comments to accuse the author of overthinking something that isn’t meant to matter. It’s “just a game.”

Even so, modern video games have just as much ability to resonate with their audience as any novel or film, and people who’ve grown up with them will take lessons away from that. It’s something we don’t discuss often enough in the field; we’ll talk at length about how video games are fun or socially acceptable now or a surprisingly big business, but their influence as culture is less discussed.

“People have a tendency to treat technology as a monolith, as if video games are either good or bad, but there’s so much more nuance,” Kientz told UW News. “The design matters. This study hopefully helps us untangle the positive elements. Certainly, there are bad elements — toxicity and addictiveness, for example. But we also see opportunities for growth and connection.”

For the last two years, Microsoft’s video game division has been working to meet financial targets that are well in excess of the typical industry standard, which has led to waves of layoffs, canceled projects, and a general perception that the company is scrambling.

These allegations come from a new report from Bloomberg journalists Jason Schreier and Dina Bass, who reported that Xbox has been told it’s expected to work toward a profit margin of 30% across the board.

As far as can be told from outside Microsoft, this is significantly above Xbox’s profit baseline. A typical quarterly report from Microsoft only discloses revenue, but as noted by TweakTown, Xbox head Phil Spencer testified in court in 2022 that “the Xbox business today runs at a single-digit profit margin.”

It’s worth noting that even the biggest game studios usually maintain a profit margin of roughly 20% under typical circumstances. As an example, Xbox subsidiary Activision Blizzard, which runs some of the most popular games-as-a-service in the world today, “only” had a profit margin of 22-to-25% two years ago before Microsoft’s acquisition completed.

Even Sony, Microsoft’s primary competitor in the console space and the makers of the PlayStation 5, reportedly only runs at a 9.5% profit margin. Through that lens, any video game company that’s honestly eyeing a consistent 30% is living in a dream world.

The new financial target reportedly came directly from Microsoft CFO Amy Hood in the fall of 2023, which marked the start of a series of big decisions and policy reversals at Xbox.

Since then, Microsoft has drawn fire for multiple waves of layoffs; reorganized several subsidiaries such as Halo Studios; raised the base MSRP of the Xbox Series X twice so far this year; made moves to phase out physical media; officially ported many of its hit first- and third-party games to PlayStation and Switch; and canceled multiple highly-anticipated game projects such as Rare’s Everwild, a reboot of Perfect Dark, and ZeniMax’s MMO code-named Project Blackbird.

Earlier this month, Microsoft hiked the price of its Xbox Game Pass subscription service, claiming it was part of a significant “upgrade package.” Less relevantly to consumers, it has also allegedly raised the price of Xbox development kits by $500, blaming unspecified “macroeconomic” factors.

Some of that, to be fair, is due to circumstances outside Xbox’s control such as the ongoing chaos over tariffs. This year has been a rough time to be a hardware manufacturer.

Xbox is also apparently locked into at least one more console generation, according to recent interviews with Microsoft’s Sarah Bond. The phrase that keeps coming up is “very premium, very high-end curated experience.” If the recently-released Xbox Ally is any indication, the next-gen Xbox will be something more like an expensive, user-friendly Windows PC than what we’d currently recognize as a game console.

For a while now, though, Xbox has come off like its left hand doesn’t know what the right is doing, which made little sense in the wake of reports that the division was both growing and pulling in increased revenue. If it’s being forced to contend with unrealistic expectations from higher up at Microsoft, however, that would explain the overall sense of disorganization.

This is one of the most infamous types of “creative accounting” in the video game industry: issue an inflated revenue forecast, then blame developers/titles when their games fail to reach those numbers. Square Enix notoriously came under fire for this in the 2010s with releases like the 2013 reboot of Tomb Raider. It was a solid success (3.4 million copies sold), but its publisher wanted a blockbuster, so it regarded the game as a failure. History repeats.

In theory, Xbox ought to be one of the leading voices in video games as a hobby and medium right now, but it’s being forced to burn much of its time and effort in an attempt to meet a profit goal that no company on Earth could expect to reach.

If you’re inclined to believe the rumor that’s been in circulation in Seattle this year, that Microsoft’s current leadership would like to shut down Xbox entirely so it can use those resources for more AI research, this is more data for your theory.