Our most intense ragequit moments

Games confront us with failure all the time. It could be the famous YOU DIED message of Dark Souls, or the unfavourable scorecard at the end of a hard-fought round of Rocket League. In the heat of the moment calm Vulcan exteriors can crack. Curses are uttered. Innocent controllers are thrown out of windows. Things can get intense.

Some games induce rage more than others. A long game of Dota 2 squandered by one error will understandably leave some participants furious, but when we started writing about the games that made us quit in anger some surprises turned up. Even a serene adventure like The Vanishing of Ethan Carter or a strategy game like Civ can trigger a moment of total despair. Here is a collection of our ragequit stories. Share your own in the comments.

Rocket League and The Vanishing of Ethan Carter

Samuel Roberts

About ten years ago I used to break games, controllers and keyboards on a regular basis after losing at something (without going into it, losing my Ifrit card in Final Fantasy VIII’s Triple Triad to the game’s awful random rule ended up costing me £30). Then, in the last few years I thought I’d mellowed out, sailing through much of my twenties with only a vanquished 360 controller (vanquished by my foot—I don’t remember why) to show for it. Turns out, this was delusional and I’m still furious all of the time. Usually when I’m playing online.

Rocket League came out last year. I must’ve reinstalled that game about five or six times after having bad games and deleting it from my Steam library, and it’s always for the same reason—losing when I feel I didn’t deserve to, either because my teammate was rubbish or because I was (usually the latter). The worst time was when I turned my computer off at the wall after, probably, an own goal. I am a tit. I’m staying away from competitive games from now on, going back to my precious little bubble of mowing down NPCs in a bid to see the closing credits of story-based games because I’m too much of a baby to compete with other humans. Wah! In a similar vein, I also wasn’t massively keen on the time we lost an amateur match of Dota to a surprise team of experienced players, and my measured response was to never play Dota again.

I tend to have more moments of indescribable disappointment than ragequitting these days. This happened to me with The Vanishing of Ethan Carter, the first-person adventure released in 2014. I was enjoying the feeling of being in that world a lot, and while I loved a few of the individual, weirder moments I encountered in that world, I didn’t really like the story that much at all. I wandered into a mine, went down some stairs and a monster walked up to me and killed me without any explanation. I turned it off, uninstalled it and went to bed. It’s a very mellow form of ragequitting.

Now, I’ve been told there’s a very easy way to get past this bit by PC Gamer’s Tony Ellis, and I don’t doubt it. But there was something so crushing about this seemingly random death in a game about walking through an environment and absorbing story that I just had to leave it. I didn’t play games for an entire month after. I’m sure it’s not just Ethan Carter’s fault, but I found that moment so oddly depressing that I needed a month off from the entire medium. Still, I very much enjoyed the trees and the tense atmosphere, and maybe one day I’ll go back and activate the simple solution for getting past that monster. And then I’ll take another month off playing games.

Nuclear Throne

Wes Fenlon

A lot of things explode in Nuclear Throne. Barrels. The grenades and rockets you fire out of very dangerous weapons. Worm things. Frog things. Cars. I’ve died many times in Nuclear Throne, often due to one type of explosive or another. Usually that death comes swiftly and unexpectedly, and I sigh or go “UGH” and start up another round. But sometimes that death is annoying enough to make me mash the ESC key until I’m back on my desktop to cool off. And man, nothing in Nuclear Throne has managed to piss me off more than a stupid exploding car.

The cars are just environmental hazards to avoid or use to your advantage. Shoot ‘em and they can take out a good chunk of enemies. Stand near them when bullets are incoming, and you might be blown up yourself. Got it? Easy to understand. I never took damage from an exploding car. Until. UNTIL. Until I cleared out a level and the portal to the next level appeared near me with a boom, as it always does. ‘Near me’ also happened to be ‘near a car.’ And when a portal appears ‘near a car’ with a boom, that car explodes. And when you’re near a car and it explodes, even as you’re being dragged helplessly into the portal that whisks you away to the next level, you take damage. And, in my case, die. And, also in my case, mash the ESC key so hard it will forever fear the touch of an index finger.

Fuck you, portal. Fuck you, car.

I relaunched Nuclear Throne three minutes later.

Tomb Raider

Angus Morrison

I ragequit a series. One of my favourite series, in fact, but despite knowing that I burn with the self-righteous anger of a fanboy, I won’t go back to Tomb Raider. Each time I post about an impending Rise of the Tomb Raider release I secretly wish that Microsoft’s exclusivity deal had been that little bit more exclusive. I retreat to a dark corner so as to escape the vile glow of other people’s excitement.

I tolerated the new Tomb Raider, for a time. The blocky climbing frame formula of the previous games was ancient after all, and the series was due for a refresh, but Crystal Dynamics refreshed it so hard it became something else, namely an over-earnest story about a psychotic, angst-ridden gap year.

The open, choose-your-own-route environments had a dash of brilliance about them, but on every clifftop was a platoon to be mown down while teen Lara warbled about “Bastards!” in a comically bad British accent. And the actress is British! I got so sick of shooting things and failing QTEs that I left the main story in search of what I was led to believe would be a tomb to raid: The Tomb of the Lost Adventurer. It was in the name. What I got was a lone physics puzzle, but as I was willing to try anything to relive Lara’s glory days at that point, I gave it a crack anyway.

The lone physics puzzle bugged. The body of a crashed plane I had to topple to make a bridge just hung in the air devoid of support. The sole remnant of Tomb Raider’s heritage as a puzzler was inexplicably borked. I’m done.

Super Hexagon

James Davenport

Sometimes I wonder what it would take for a video game to kill a person. During my senior year of college, I found Super Hexagon. I dabbled with the mobile version between classes, but didn’t get serious until I could sit across from 50 inches of warping, pulsing, spiraling shapes on an obscene TV via my PC. Games rarely hold my attention for more than their running length or the first few times I hit a difficulty wall. There are just too many other interesting games to try out, and I get anxious about missing something special.

Super Hexagon consumed me. I spent hours and hours trying to beat my friends’ high scores on every level, and eventually unlocked the final stage, Superhexagonest. At first, it seemed impossible to survive for 60 seconds, the requirement to ‘win’ a given stage. During a weekend visit back home, I ignored my family for a day, working to hit that sweet 60. Hours of attempts didn’t even net a close run. Sleep was difficult that night.

Immediately after waking up, I booted up the game, still not entirely conscious. It was magic. Like some kind of sleepyboy superhuman, I hit 45 seconds with ease and kept going. Suddenly aware of my nearly perfect run, I started to wake up. 55 seconds, still going. My hands start shaking. 57 seconds and the sweat rolls in. 58 and I nearly cry out. 59 and I fuck it. Without a word, I got dressed, packed up the dogs into the pickup and drove up Elk Ridge, a mountainous forested area ten miles out of town. I brought headphones and set Boards of Canada on shuffle. My dogs were excited for the impromptu walk, and started peeing on every tree and bush they could. This was something I could control, something I could win. So I peed on their pee until my place in our little hierarchy was made clear. We walked for a while, spooked a black bear, sat on a log, and then went home. I didn’t touch Super Hexagon for months.

Spelunky

Chris Livingston

Not only is Spelunky the rare game that makes me ragequit, it’s the only game that always makes me ragequit. I never finish on a high note: if I have a good run but die, I always play again to try to best it. If I have a terrible run, I keep playing until I have a better one, but then after that better run, as I said, I keep pushing until I have another terrible one. It doesn’t help that I’ve never once successfully beat the game, which means every single session has ended in disappointment or frustration. And we’re talking about over a thousand sessions.

What’s more frustrating is that the rage is directed at myself rather than the game, as my deaths are pretty much always caused by a mistake, a stupid risk, or an error brought on by trying to be overly cautious due to a previous mistake or stupid risk. Spelunky is harsh but generally fair: I’ve learned how everything works so there are no real surprises. I love it, but stink at it, and the only way I see not ragequitting it is to beat it, which I just can’t seem to do. I hate you, Spelunky. Never change.

Civilization V

Tyler Wilde

When I was a kid, a friend mercilessly pummeled me at Street Fighter 2 and then said I was a “gaylord,” so I threw the controller at him and power-walked out of his house. They called me “sensitive” back then. I don’t really get too mad in competitive games anymore, though. I’ve spit angry half-words at Rocket League teammates here and there, because what are they even doing, but I do it with my mic off, because I’m not a jerk. I’ve never left in the middle of a match, except once when my roommate started uploading a YouTube video and my ping went to hell and so I had to go throw the controller at him.

What really gets to me is Civilization V. When I’ve got a sweet little empire going, and I’m just about to realize my master blueprint of roads and port towns and cozy, defensible foothill settlements, some bastard like Alexander the Great rolls up to my capital with a bunch of siege engines. I’ve been tinkering with trade routes and figuring a military can come later, trying to make a pretty civilization before a toothy one, and Alexander just has to pop in and kick over my sandcastle. I play this way almost every time, even though I know better. I probably Alt-F4 half the time I play Civ these days. I wonder if I wouldn’t prefer to play without any other civilizations. Just me, alone, slowly covering the world with little buildings.

Dark Souls

Tom Senior

Ragequit moments are deliberately built into Dark Souls. As you push into a new location you steal souls from hollowed corpses that Alt-F4’d out of existence long ago. With each new difficulty spike Dark Souls dares you join them. It's clever, but it doesn't make me feel any better when things go wrong.

In fact, knowing this only makes me angry about my own anger. I'm playing right into their hands. When the Four Kings' homing purple missiles of hot bullshit one-shot me, a noise like a strangled moped emerges from my throat. I throttle my pad and grimace like a Sith lord on the bog. Sometimes I say "whyyyyyy" out loud. It is very undignified.

The burning fury in my soul can only be resolved by blaming things. I blame my ageing Xbox 360 controller, with its stunted insensitive shoulder bumpers. I blame FromSoft, for everything. I blame the laws of chance, for some reason, even though damage in Dark Souls is metered out through blows and counter-blows without need for dice rolls. I blame the bus-wide butt-cheeks of the Demon Firesage for blocking the camera during a deadly area-of-effect attack. Screw it all. Turn it off.

I’ve had a stuttering relationship with Dark Souls, then. I was left so exhausted by the descent through Blight Town that I stopped playing for a few months. I put it down after attempting the opening section of Anor Londo, which has you running up and down buttresses under heavy arrow fire that knocks you to your death. But looking back, it was a broadly positive experience. Dark Souls’ infuriating moments are matched by euphoric highs. Even in the throes of agonising frustration, at least Dark Souls made me feel something. Few games put me through the emotional wringer in such a way.

Fuck the Bed of Chaos forever, though.