Currently I am most thankful for region free hardware. I’m currently living in Japan, which makes a number of my consoles utterly worthless right now (as far as new content), but my PS3 and original DS are keeping me in the game. The DS library is drying up, but there are plenty of Japan exclusives I can still check out. I even brought my old Game Boy, perhaps the earliest example of region free hardware, and picked up a Japanese copy of Link’s Awakening (or “The Dreaming Island”) for $10!
On that note, I am very thankful for the abundance of inexpensive used games in Japan. I have a Japanese Super Famicom and there’s plenty of cheap, quality content readily available and in quite good condition. I’ve recently picked up Front Mission, Star Fox, and Fire Emblem, all boxed and with manuals, for under $10 each. If you’re into retro games this is a great country to be in.
In a more general sense, I may be most thankful for video game music. It makes up most of the soundtrack of my life, and has greatly influenced my taste in music. I think video games provide an excellent medium to challenge composers because they need to create music that sounds fresh even after it has looped dozens of times, and they often need to score lots of unique scenarios and stretch their horizons. Yasunori Mitsuda’s breakout work, Chrono Trigger, illustrates these points very well. The piece “Secret of the Forest” contains five unique sections in just over two minutes, so that by the time we return to the A section we’re ready to hear it again, and at least for me, this feeling has lasted for over five playthroughs of the game. Additionally, the soundtrack is about as varied as they come, necessitated and fueled by the sprawling, time-traveling nature of the story it accompanies. Video game music that succeeds in this way simply intoxicates me, and I find it hard to imagine what my iTunes library would look like without it.
Guess what? You got it for free. Are you proud of yourself?