Or, What I Learned from Hours Spent Playing Stardew Valley During a Global Pandemic (While Getting Divorced and Laid Off)
From the start, Stardew Valley was more than a game to me. Choosing to download the seemingly innocuous app was a deliberate act of rebellion. Perhaps this stems from my childhood, where my game-averse parents considered any time spent in front of a screen – that is, time that wasn’t doing homework – as time wasted. So gaming became something covert. Something I did at friends’ houses or on borrowed systems where I could engage in entertainment-as-defiance. Anytime I got a hit of Duck Hunt, Mario Brothers, the Sims, Guitar Hero, or even wholesome Oregon Trail, it smacked with the thrill of insubordination.
Then there’s my own long history of believing in focusing on activities that are productive and meaningful. I’m right there with Jeff Sutherland, a co-creator of Scrum, that “Time makes up your life, so wasting it is actually a slow form of suicide.” I’m the kind of person who thrives on to-do lists – my desk is covered in post-its and stickie notes – and who takes visceral enjoyment in crossing items off.
Until everything changed. My marriage had been disintegrating long before COVID-19. When the pandemic hit, in many ways it became yet another disruption in my life which had already felt increasingly unfamiliar and disorienting. My best efforts couldn’t salvage the floundering relationship. And I certainly couldn’t take on a public health crisis of global proportions on my own.
Like millions around the world, I could only wait. Stay home, and wait, and hope for better days ahead. And thus my belated encounter with Stardew Valley was launched. I’d heard about the game from a friend, who’d read about it in a book. The perfect experiment, I thought. How would I respond to intentionally engaging in an activity that served only my own amusement? In those strange days, could I teach myself to be OK with “wasting time”?
Of course a kid and teenager messing around on Nintendo or Playstation is acceptable, if not always encouraged. But adults aren’t supposed to play games. Adult women in particular, unless it’s killing time on our commute with CandyCrush or Angry Birds, or doing board game nights with bougie friends.
So the first hurdle was in my own head. I had compulsively repainted a bathroom, donated to the local food bank, moved thousands of files from my ancient PC onto my new-ish MacBook, and dealt with a dozen other niggling tasks. I had to convince myself that I’d done enough to earn permission to do something that was supposed to be fun. But at last I was ready.
Lesson 1: Surprise and Delight Does Exist
I took the plunge. Having heard hype about the game but with no idea what it looked like, I wasn’t quite sure what to expect. And my first reaction was confusion. Being suddenly thrown into a world made of cutesy, pixelated visuals seemed strangely archaic. This can’t be right, I thought. But Stardew Valley soon lured me past my misgivings. I related to and relished the escape from the soulless corporate entity of JoJa Corporation to the rural environs of valley. It was true during the pandemic, and true today: Is there anyone on the planet who doesn’t want to get away from something right now? Adulthood be damned. I was in.
Eric Barone has built a world we can get lost in. And it is a thing of beauty. There are games within a game, singing mermaids, and an adorable sim cat who sleeps on your sim bed. There are mysteries to explore and quests to complete. Even swinging a scythe through swathes of grass and seeing the vegetation get cleared away is winningly satisfying. I found myself smiling, laughing, and feeling that elusive feeling that experiences often strive for but rarely deliver: delight.
The game isn’t perfect. I spent many of my first hours being perpetually confused on what I could interact with and what I couldn’t. I missed seeing my first Dance of the Midnight Jellies because I didn’t know I had to speak to the mayor in order to kick the whole thing off. It just appeared to be a bunch of people standing around on the boardwalk at night, looking at the water. Underwhelmed, I went back to the farm.
There were other disappointments, too. A bewildering array of tools that required trial-and-error to figure out. A night of getting lost in the woods and nearly not finding my way back to the farm. Townspeople who seem inscrutable (more on this later). Still I stayed. Because here was a world where I could actually do something.
Lesson 2: The Thrill of Victory and the Agony of Defeat
Maybe it’s a sign of the times, but I feel a disproportionate responsibility for everything. In Stardew Valley, I found myself getting wildly agitated over the welfare of my farm animals. When one of my new baby chicks was reported as “looking a little thin,” I freaked out. Could sim animals starve? How could I get her food? And was there a way to make sure she was eating? I frantically amassed the raw materials needed to construct a silo, which was needed to house the animal feed, which had to exist in adequate quantities to be brought into the coop. It was exhausting. And every morning until the project was complete, I was afraid I’d find a dead baby sim chicken.
But Daisy the chicken lived. And I went on to acquire an adorable baby bunny who now is a healthy, happy adult rabbit. I bought myself a fancy tiara and I’m making decent progress romancing the local villagers.
Yet when I make mistakes, they hit hard. I’m pretty lousy at most of the games-within-the-game. I’ve lost more fish than I caught. I accidentally took a pickaxe to the first melon I grew, which delayed my filling a neighbor’s request by an entire year. I passed out in the mines. I had to research how those stupid fishing poles worked. But I kept at it.
Here was a world where I could win. And achievements, even virtual ones, still hold an allure.
Lesson 3: Jerks Are Everywhere
For a game in which much is driven by relationship-building – whether that’s working your way into the town’s good graces, befriending locals, or finding a romantic partner – navigating the interpersonal dimensions of Stardew Valley is excruciating at times. Almost without exception, dialogs are one-sided. When approached, NPCs spew out a couple comments but it’s nearly impossible to tell when the conversation is over, and if the player is supposed to respond to anything. It drives me nuts. It triggers all my triggers on the perpetual emotional labor that women often undertake, and with equally little return.
Then there’s the sh*t that some of the eligible bachelors say. Many others have written about gender and the gaming industry; I’ll leave the broader topic in their capable hands and restrict my examples to the context of Stardew Valley.
There are the statements from male NPCs that are merely eyerolling (“If I just disappeared would it really matter?”); some that are cringe-inducing (“I have to brush my hair daily, or else it’ll clump up into messy knots. It’s a lot of work. I’m surprised I haven’t just shaved it off in a fit of passion. I suppose I am too vain.”); and others that make me want to immediately donate to Planned Parenthood (“Hey, it’s farm girl. Did you get new pants? You’re doing something right.”). I wonder when a qualified therapist is going to move into town to help these guys sort out their issues. And I wonder why it’s the job of the player to engage in interactions that serve mainly to rehabilitate others’ bad behaviors.
It’s a game. I know, I know. But games are worlds, too. And there is crossover between what we live and how we play. The elusive yet strangely intriguing Sebastian is exactly the kind of bad boy I would have gone after in high school and college, if I’d had the nerve. He exasperates and fascinates me in turn. I leapt at the chance to take a ride on his motorcycle under the Stardew Valley moon. I remind myself that I owned a motorcycle IRL – a Harley-freakin-Davidson – and that I don’t need to put up with moody nonsense generated by pixels and bytes. Yet in-game, I experiment with how far things will develop with Sebastian while also running a flirtation with aspiring novelist Elliot. Elliot is sensitive and while he can be self-absorbed, also seems genuinely interested in building a connection. He dedicated his novel to me, which is flattering. I ask myself if it may make putting up with some of his more inane comments worth it.
The experiences are simulated but in the best games, the emotions are real. The escape is real. My trips to Stardew Valley are journeys to somewhere where there is no pandemic, no failures of leadership, no economic collapse.
When I’m not working at my day job, I write novels. And it occurs to me that the storyteller and the game creator have much in common. We each call into existence a world that is different from the one that we have. We invite others to join us and slide into a reality that is better or kinder or more exciting than the one we inhabit. Where monsters can be vanquished, love sometimes wins, and none of the chickens starve.