I’ll admit, there are some issues that arise with this whole theory. Game developers are extremely adept magicians. They create the illusion of choice, making the player believe he has the ultimate authority in a game. The limitations in place range from the obvious (Wander can’t build skyscrapers in Shadow of the Colossus) to the subtle (Valve often speaks of its clever level design that keeps the player advancing toward the right direction in Half-Life 2’s game commentary).

Ultimately, we must clarify that no game currently in existence, no matter how advanced, is yet capable of perfectly mirroring a deep and meaningful existence, with the potential to enact any physically possible action. Even a game as complex and rewarding as The Elder Scrolls: Oblivion, with its seemingly endless amount of books to read and plants to cultivate and places to explore (not to mention the deep and long-lasting interactions the player can make with NPCs and the world around him), cannot match the level of intricacies that the world we inhabit exhibits. The workforce and technology required to produce such a place is beyond the scope of the human imagination. Instead, we’ll note that the model games are built upon and the fundamental principles behind their design are what reflect our existence.

Since the beginning, games have been considered entertainment. As they’ve continued to grow and gain mainstream appeal, countless scholars have grappled with the issue of whether or not they’re art. Now, I’d like to think that games will soon be considered the perfect alternate reality.

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An editorial by Editor-in-Chief Alex Petraglia