Can stuplimity or states of flow be properly described as sublime affects? Flow states challenge subjective boundaries by encouraging a dissolution of self. However, they do this in a way that a way that suggests they are more properly associated with experiences of the beautiful than the sublime. For Kant, a beautiful object has a kind of purposiveness – it assists, from the side of the senses, in the formation of empirical concepts for the understanding. In this sense, the concept of flow, inasmuch as it proposes the game form as something that has been designed to assist human consciousness, offers a clear parallel with Kant’s notion of the beautiful. Perhaps more importantly, both stuplimity and flow imply uninterrupted ludic activity in which the technology itself – software and interface – disappears into functionality, and in which the merger between player, interface, and game content appears seamless. In neither case is the technology itself the direct source of the affective charge – instead, the latter is an effect of the gameplay experience. If we are to understand sublime affect in the ecological terms outlined earlier, then we need to look for it somewhere else – at those points in gameplay where the player becomes aware of the technology that lies beneath the game form, and where the consequences of this encounter present a challenge to the self.