Violence in Video Games: Between the Press, Censorship, and Reality
In recent decades, video games have become one of the most popular and influential forms of entertainment worldwide, sparking an increasingly heated debate regarding the violent content present in certain titles. Violence in video games is a divisive issue: on one side, there are those who argue that these games can negatively impact the behavior of young people, fueling aggression and violent behavior; on the other side, there are those who defend the medium, pointing out how violence in video games is often distorted by media perception and political concerns that fail to take into account the playful and narrative context in which it is embedded.
Violence in Video Games: Sensationalism and Pseudo-Analysis
The press, particularly traditional media, has often treated violence in video games with a sensationalistic approach. The most controversial titles are often selected as examples to give voice to concerns that, while legitimate, end up misrepresenting the entire phenomenon. One emblematic case of this distortion is the video game Rule of Rose, a title released in 2006 that became the subject of a true media scandal in Italy. The media coverage portrayed the game as one in which the goal was to “bury a child alive,” without contextualizing that it was a non-interactive sequence, part of a narrative nightmare, and not a central action in the gameplay. Despite this clear distortion of the facts, the title was labeled as dangerous and violent, fueling moral panic and attracting the attention of politicians and institutions.
This example is just one of many where misleading narratives from the press have contributed to building a distorted image of violence in video games. Unfortunately, many media outlets tend to ignore the difference between fiction and reality when it comes to video games, applying judgment criteria that are not compatible with a medium that, by nature, is inherently fantastical.
When violence appears in video games, it often follows a logic that has little to do with the real world. The game dynamics involving violence are structured as part of a narrative or challenge system, not to promote violent behavior. Violence in games, in fact, is often a mechanism of progression within a plot, allowing players to explore extreme scenarios without real-life consequences.
The Role of Censorship: Balancing Protection and Creative Freedom
Censorship in video games is another topic that has sparked numerous debates. In many cases, concerns about violence in games have led to calls for intervention by institutions that have sought to limit access to violent content, particularly for younger audiences. The PEGI (Pan European Game Information) rating system was established to provide guidance for parents and consumers, helping them navigate content suitable for different age groups. However, despite these self-regulation tools, institutional responses have sometimes been excessive.
A historical example of arbitrary censorship is Grand Theft Auto: San Andreas and the controversy surrounding the presence of a hidden sexual mode in the game, which led to its removal from sale. In such cases, censorship has only served to fuel public debate, highlighting a game that would otherwise have gone unnoticed, and reinforcing the idea that video games are dangerous. This disproportionate reaction had the opposite effect of what was intended: instead of protecting consumers, it increased media attention on the title, sparking a controversy that is still discussed years later.
Context and Interpretation: Violence as a Narrative Element
Violence in video games is not inherently bad, but an element that, like other complex themes, needs to be handled with awareness. In recent years, many video game developers have begun to explore more mature and complex themes, using violence as a narrative tool to tell powerful stories that reflect inner conflicts, moral struggles, and extreme situations. Titles like The Last of Us and Spec Ops: The Line not only present violence but also explore its psychological and moral consequences, showing how violent conflict can affect the lives of characters and those around them.
In this sense, video games can be seen as an art form that, like cinema or literature, uses violence to convey deeper messages. Violence in video games, therefore, is not always gratuitous; it is often a means of expressing complex concepts or generating emotions and reflections in players. When properly contextualized, its presence can stimulate critical thinking and awareness of the themes being explored, offering an opportunity for reflection that is not always possible in other media.
Conclusion: A Necessary Dialogue Between Media, Public, and Institutions
The debate about violence in video games is complex and multifaceted. On one hand, video games are entertainment tools that, like other media, deserve to be analyzed and discussed within the context of the society in which we live. On the other hand, there is a need for a balanced approach, one that does not resort to unjustified censorship, but instead takes into account the specifics of the medium and its various levels of engagement. It is essential that the press, institutions, and the public learn to treat video games with the same seriousness and awareness that they approach other forms of art and communication.
Violence in video games is not, in and of itself, an element to be demonized, but a theme that must be understood within the narrative and gameplay context in which it is embedded. In an increasingly connected and interactive world, it is crucial that the public has access to accurate and balanced information, enabling them to separate the fictional world of games from reality and fully understand the role of violence in video games. Only through open and informed dialogue can we dispel myths and prejudices, promoting a culture of video games that is truly mature and conscious.
Written by Ismail Nasry