Following mass shootings in Ohio and Texas, President Donald Trump attributed the violence to the “glorification of violence in our society”—a claim often directed at video games. This is a well-worn argument, frequently countered by gamers and their supporters with facts. There is no evidence to support a causal link between video games and violence; while some studies have identified a correlation between violent video games and aggression—which is distinct from criminal violence—the effect is negligible.
Yet, beyond the research, this line of reasoning misses a crucial point. While some video games are indeed filled with gratuitous, mindless violence, many others explore the subject with nuance, situating violence within a social context and offering players the chance to grapple with moral dilemmas they would never encounter in their own lives.
Like many other art forms, video games serve as a narrative medium that both reflects and critiques the society in which we live. What sets games apart is their capacity for deep, immersive engagement, allowing players to directly influence the world around them.
At times, this entails a thoughtful, nuanced exploration of the contexts, characters, and motivations that give rise to violence—a standard that our national discourse has yet to reach. In the globally popular Grand Theft Auto IV, Niko Bellic, a recent immigrant, gradually descends into the life of a hired gun—a path that mirrors his past experiences in Europe. If this alone does not constitute a potent social commentary, the tragic consequences of his criminal life—which, depending on the player’s choices, may result in the death of his own cousin or his beloved—certainly do.
The Uncharted series critiques treasure hunter Nathan Drake’s increasingly destructive obsession with his own fame, as well as his inability to walk away from a profession that endangers both himself and those he holds dear. In Uncharted 4: A Thief’s End, players are immersed in Drake’s internal conflict: he is simultaneously enthralled by the thrill of his latest adventure and consumed by guilt over lying to his wife. The game’s interactive nature encourages players to empathize with Drake’s inner state, fostering a deeper understanding of the obsession that drives a wedge between him and his wife—and even leads to the kidnapping of his mentor and father figure.
While some games use moral dilemmas primarily to construct their narratives, others are built upon complex ethical systems that directly inform gameplay. These titles confront players with a series of difficult choices, compelling them to examine the context and justifications behind their own violent actions. The most compelling ethical systems move beyond a simple binary of good versus evil, ensuring that players truly feel the weight of the consequences resulting from their decisions.
In the psychological thriller Heavy Rain, players are tasked with hunting down a serial killer who kidnaps and drowns young children. One of the four playable characters is the father of one of the victims; to save his son, he must endure a series of grueling trials set by the killer—including a scenario that requires the player to take the life of an unsuspecting man. The game features 17 different endings, ranging from capturing the killer and the protagonist’s son surviving, to total failure—and everything in between.
While Heavy Rain allows players to make choices based on their own personal values—without steering them in any particular direction—other games operate within their own ethical frameworks, encouraging players to adopt those perspectives. In Undertale, the player takes on the role of a child who falls into the Underground—a secluded realm inhabited by monsters exiled from the surface following a war with humanity. Encounters with these monsters can be resolved either through combat or by choosing mercy; the game’s design actively encourages players to pursue peaceful resolutions. This becomes a particularly challenging choice when facing adversaries like Undyne, a guardian who constantly goads the player into physical confrontation. Ultimately, the game prompts us to reflect on how we navigate conflict, especially in the context of how we treat vulnerable groups.
Fallout: New Vegas introduces an intriguing innovation to its morality system by employing both “Reputation” and “Karma” as metrics for the player, placing the two in a state of tension. Set primarily in a post-apocalyptic Nevada, the game pits various rival factions against one another. Eliminating members of an opposing faction might lower your Karma, yet—much like in the harsh reality of our own world—such actions will almost certainly boost your Reputation among your allies, as your use of violence serves their interests.
No other medium compels an audience to directly consider how we justify violence quite like video games. If we want Americans to think seriously about this issue, perhaps encouraging more people to play video games would be more effective.