Guitar And Video Games

"Guitar and Video Games" is a poignant exploration of escapism, intimacy, and the rejection of superficial societal norms. At its core, the song celebrates the sanctity of a private world shared between two people—likely close friends or lovers—who find solace in each other's company away from the chaotic demands of the public sphere.

The recurring line about refusing to "follow the rules of fashion" serves as a synecdoche for all arbitrary social expectations. "Fashion" here represents the pressure to fit in, to mature in a specific way, or to value appearances over substance. By asking, "What if we refuse?", the narrator is proposing a radical act of non-conformity. The alternative they choose—"play guitar and video games"—is not just about leisure; it represents a return to innocence, creativity, and unpretentious joy. It highlights a desire to remain in a state of suspended youth where the only things that matter are the immediate connections and the simple pleasures that bring happiness.

The verses touch on darker themes of hiding and fear ("All these things we wondered how to hide"), suggesting that this retreat into video games and music is also a coping mechanism. The outside world is perceived as threatening or draining, and the "room" at the top of the stairs becomes a fortress. Ultimately, the song serves as an anthem for anyone who has ever felt out of place in the "adult" world and found refuge in the basement with a guitar, a console, and a best friend.

The song opens with an intimate recollection, placing the narrator and a companion in a private sanctuary, specifically 'at the top of my room.' This setting establishes a sense of seclusion and shared history. The narrator reflects on a time spent hiding from the outside world, grappling with fears and things they wished to conceal, suggesting a deep bond formed through mutual vulnerability and a desire to escape external pressures.

As the narrative progresses, the lyrics pose questions about feelings associated with running away or escaping. There is a sense of seeking peace but finding connection instead. The imagery shifts to 'mondrary fields' (a likely poetic or abstract creation) and the act of hiding from heavy concepts like death, emphasizing a desire to preserve innocence or a specific moment in time. The story is described as writing itself, implying that their journey was natural and unforced, a destiny unfolding as they moved through life together.

The chorus delivers the song's central manifesto: a rejection of superficial societal norms, explicitly the 'rules of fashion.' Instead of conforming to these external standards, the narrator proposes a return to simplicity and authentic joy—specifically, playing guitar and video games. This act serves as a metaphor for prioritizing genuine, perhaps youthful, connection over the complex and often performative demands of adult society. The song concludes with a reaffirmation of this bond, suggesting that as long as they have their shared, simple world, they are immune to the trivial judgments of the outside.

"Guitar and Video Games" was released in 1998 as the ninth track on Sunny Day Real Estate's third studio album, How It Feels to Be Something On. This album marked a pivotal moment for the band, as it was their first release following a significant breakup in 1995 and the subsequent reunion of original members Jeremy Enigk (vocals/guitar), Dan Hoerner (guitar), and William Goldsmith (drums). Bassist Nate Mendel did not return for this album, as he was fully committed to the Foo Fighters, so the bass duties were handled by interactions between the band members and producer, though Jeff Palmer played on the tour and Joe Skyward eventually joined.

The creation of the song—and the album as a whole—occurred under the shadow of the band's tumultuous past and the heavy expectations of the "emo" genre they helped pioneer. Unlike the raw, abrasive energy of their debut Diary, this track exemplifies the more polished, melodic, and textured sound the band developed during their time apart. The lyrics reflect a more mature, contemplative Enigk, whose solo work had explored orchestral and spiritual themes. The song's specific imagery likely stems from the band members' own experiences of bonding through music and hanging out in the grunge-era Seattle scene, finding sanctuary in their creative partnership.

The song largely follows an AABB or ABAB rhyme scheme in the verses, though the rhymes are often slant rhymes (e.g., room/works, hide/mud - depending on interpretation of Enigk's unique enunciation). The rhythm is in 4/4 time, providing a steady, marching beat that propels the song forward.

The lyrical rhythm is conversational yet urgent. Enigk often elongates vowels in the chorus ("refuse", "rules"), creating a soaring melodic arc that contrasts with the more clipped, rhythmic delivery of the verses. This shift in pacing reinforces the feeling of 'breaking free' during the chorus sections.

Musical: The song is built on a driving, mid-tempo groove that is straighter and more anthemic than the band's earlier, more math-rock influenced work. The interaction between Dan Hoerner's gritty, melodic guitar leads and Jeremy Enigk's rhythm playing creates a wall of sound that feels both heavy and uplifting. The song utilizes a dynamic build-up, starting with a steady verse that explodes into a cathartic chorus, mirroring the lyrical release of 'refusing' the rules.

Literary: Enigk employs rhetorical questions ("How is it you feel?", "What if we refuse...?") to engage the listener and prompt introspection. The lyrics use juxtaposition effectively, contrasting the high stakes of 'hiding from death' with the low stakes of 'video games,' validating the latter as a serious defense against the former. The vocal delivery is passionate and slightly strained, a trademark 'emo' style that emphasizes emotional authenticity over technical perfection.

While not a mainstream radio hit, "Guitar and Video Games" is a cult classic within the emo and indie rock communities. It is frequently cited by fans and critics as a highlight of the How It Feels to Be Something On album, which itself is critical in the timeline of emo music for bridging the gap between the raw, chaotic hardcore of the early 90s and the polished, radio-friendly emo-pop of the early 2000s.

The song's title and themes have resonated deeply with the 'introverted' archetype common in the genre's fanbase, validating the lifestyle of geek culture and music obsession before they were as mainstream as they are today. It remains a staple in the band's live setlists during their reunion tours.

The song utilizes distinct symbols to contrast the private self with the public facade:

• Guitar and Video Games: These serve as symbols of authentic self-expression and regressive comfort. Playing guitar represents creativity and voice, while video games represent play, rules that are fair and contained (unlike life's rules), and a safe, controlled environment. Together, they symbolize a sanctuary of 'pure' activity untouched by social climbing.
• Rules of Fashion: A metaphor for the social contract and the pressure to conform. It represents the arbitrary standards of coolness, adulthood, and success that the narrator finds exhausting and meaningless.
• Top of my room / Hiding: The physical elevation of the room symbolizes a separation from the mundane world below. 'Hiding' is a recurring motif that transforms from a cowardly act into a strategic protection of one's peace.
• Bottle of Mud/Rum: While the lyric is sometimes debated, the imagery of a 'bottle' suggests containment—trapping emotions or time—or a means of self-medication and escape common in the genre's lyrical tropes.

The phrase "Guitar and video games" is the central hook, repeated to emphasize it as the ultimate solution to the song's conflict. It acts as a mantra for the narrator's lifestyle choice.

The question "What if we refuse to follow the rules of fashion?" is another key motif. Its repetition transforms it from a hypothetical question into a declaration of independence. The motif of "hiding" or being "in the room" also recurs, grounding the song in a specific, intimate setting that anchors the abstract emotions.