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The paper argues that games shape players' imaginaries of surveillance. Their visual and mechanical depictions can either normalize questionable monitoring practices or make distributed surveillance visible.
This paper examines how surveillance is depicted in digital games and evaluates those depictions from an ethical and epistemological standpoint. Its central argument is that games shape players' imaginaries of surveillance, and that the ways they present surveillance, both visually and through their mechanics, can either normalize questionable practices or make complex, distributed forms of monitoring visible and open to critical reflection. The authors situate games as "playgrounds" where players can explore encounters with and resistance to surveillance, and they present their work as the first results of a funded research project.
The authors propose a framework for analyzing surveillance imagery along two dimensions: visual aesthetics and ludic (rule-based) embedding. On the visual side, they identify recurring motifs such as the wall-mounted or "eye in the sky" camera, the scan lines and glitches that mark the player's own gaze, and the blue and green overlays, binary code, and database annotations used as shorthand for invisible digital surveillance. On the ludic side, they argue that interactive agency can produce a false sense of empowerment, since many games, including those ostensibly critical of surveillance, reward players for hacking cameras or data mining in consequence-free minigames. By contrast, titles such as Papers, Please and Telling Lies depict monitoring as laborious and error-prone, offering a more critical account of the limits of big data.
The scope of the analysis is qualitative and interpretive, drawing on select case studies of commercial titles spanning roughly 2007 to 2022 across multiple genres, including stealth, role-playing, and puzzle games. The paper does not report survey data or quantitative sampling. Its evidence rests on close readings of games and on a theoretical engagement with image ethics, epistemic injustice, and surveillance studies. The authors conclude that analyzing these representations contributes to a critical understanding of contemporary surveillance culture and offers guidance for developers seeking to design games that prompt reflection on hidden power structures.
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