The beautiful contradiction of this article is that it's a Marxist critique of a game which represents a reality which is congruent with Marxist critiques of ou

The beautiful contradiction of this article is that it's a Marxist critique of a game which represents a reality which is congruent with Marxist critiques of our own. The issue is not that the game doesn't provide an opportunity for paradise but instead that the player inhabits the role of evil without an opportunity for reflection. Games can do this. Brenda Romero's Train is a well-known example where the player is unknowingly complicit in evil until the reveal. While I'm not a fan of the increasing politicisation of games, it seems to me that gamer's insistence of total amorality in gameplay is a barrier to games becoming a serious art-form.