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The ability to assume a role, rather than simply witness actions, is part of the medium’s great (if woefully unexplored) potential, enabling us to inhabit the lives of people who don’t necessarily share our beliefs, values, or systems of behavior. In the award-winning 2008 game Braid, for example, the player becomes a suit-wearing stalker chasing down an ex-lover. In the 2013 independent game Papers, Please, you play as a zealous immigration inspector at a border checkpoint for a fictitious Eastern-bloc country, refusing entry to refugees. In the recent game Cart Life, you play as one of three downtrodden protagonists working a low-paying job in America. An enormously effective game that reflects the struggle of many people who live on the poverty line, it’s essentially a fictionalized documentary that illuminates the subject in a way that is possible only in a video game, compelling the player to experience the forces and choices that someone earning minimum wage struggles with. In this way, game designers, like novelists or filmmakers, can create truly transgressive works. A skillfully designed game might use this participatory perspective for artistic purpose—offering profound, affecting statements about the human condition. As in a film, this means that there’s the potential for a kind of onscreen violence that is not merely permissible but valuable. Unfortunately, it’s still a rarity: much scripted violence in games is psychopathically repetitive and presented without broader commentary or consequence. But the opportunity for a courageous designer is there.
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