In 1997 I was 13 and decidedly not a gamer. I liked film, music and Stephen King novels – but I had been “blessed” with two parents who believed video games rotted your brain. They did, however, invest in a home PC, seemingly under the impression I would be drawn only to its educational functions.

Their faith was misplaced when I discovered Blade Runner (1997), an adventure game based on the 1982 Ridley Scott film that I had not seen. Before, I had understood games as “collect coins, jump on enemies, avoid spikes, get a high score”. Now I was a detective conducting something called a Voight-Kampf test. I was scouring crime scenes, analysing CCTV footage and piecing together the narrative of a crime that kept escalating the more I proceeded.

By the end I was grappling with whether to turn my character’s back on every part of their life, whether their memories were their own, whether they were even human and the broader question of how a person can act morally when they cannot be certain of themselves – or their perception of reality.

This was my entry point into a lifelong love of video games. I’m still enamoured with their ability to directly involve you in the story, to challenge your decision making and values, knowing the consequences would play out in front of you, affecting situations and characters you had become emotionally invested in.

There is growing evidence that factors such as burnout from passive streaming culture are increasingly encouraging people towards video games – and yet many people still feel excluded from them. If you’re among that group, you may assume games are all too violent, too juvenile, too technical, or simply “not for you”.

The great shame here is that games tell deep and immersive stories and present beautiful worlds in ways that are wholly unique to the medium. If you don’t engage with games, you’re increasingly missing out on meaningful new stories and aesthetics.

Here are three different kinds of potential player and the video games I would prescribe for each one.

1. The aesthetic wanderer

Potential player one is an “aesthetic wanderer”. If this is you, you love music, immersive visual arts, installations and exhibitions. You find yourself are drawn to places, whether urban or nature, that evoke mood and feeling.

Aesthetic wanderers are driven by the sensory pleasure of atmosphere and the personal meaning they extract from interpretation of art and environment. They likely perceive video games to be loud, time-pressured, visually oppressive and goal-obsessed.

If this sounds familiar, then your route to video games should be through titles that prioritise exploration, the autonomy of self-pacing and a beautiful – or possibly disgusting – world. So long as it’s evocative.

Try playing Journey (2012), a wordless traversal across a desolate yet beautiful landscape, with flowing character movement that blends interaction with music, sound and atmosphere – offering an immersive, resonating and contemplative experience.

Alternatively, Firewatch (2016) offers a slowly unfolding mystery wrapped in a summer trek in the Wyoming wilderness, emphasising reflective presence in a lonely landscape and a narrative revealed naturally through a dialogue.

A more involved, but equally beautiful classic is Shadow of the Colossus (2018) – an at times deafeningly silent world in which you are drawn into conflict with vast, awe-inspiring creatures and are confronted with moral unease in your actions.

2. The pre-digital native

Potential player two is the pre-digital native. If you’re in this camp then you grew up before video games became established. You may be intrigued by games but believe you have missed the proverbial boat. You may view games as juvenile, a distraction from “genuine” pursuits, or even morally questionable.

Your love of cinema and literature is based in story over spectacle, and you also appreciate opportunities for growth and personal reflection. You may also be concerned that video games present a risk to your perceived competence, not in a cognitive or cultural sense, but in the fiddly physical controls that may require precise and immediate motor actions.

If you fit into this player type, seek out games that emphasise cognitive capability over motor-skills, with critical thinking over fast reactions. You could consider contemporary detective games, such as Her Story (2015) and Return of the Obra Dinn (2018).

3. The cultural sceptic

Lastly, potential player three is the cultural sceptic. If you’re in this group, you might believe video games were simply not made for you. You may observe a deluge of games targeting young men, with male protagonists, aggressive competition-based mechanics and even hostile exclusionary communities. You are interested, but feel the need to culturally protect yourself.

The cultural sceptic values autonomy and growth through new experiences. You may especially value relatedness, seeking credible characters that you can connect with. You are drawn to opportunities to collaborate, and you particularly enjoy art as a shared experience.

If this sounds like you, consider games that feature cooperative multiplayer experiences like It Takes Two (2021), a puzzle platformer about a couple on the brink of divorce who find themselves trapped in the bodies of two of their daughter’s dolls. Here narrative and gameplay are inseparable as the game explores matters of relationship breakdown but also reconciliation and perspective through cooperation.

You may also find yourself drawn to games built around themes that fall outside of the “guns, gore and muscles” trope, such as Gone Home (2013), a first-person exploration game in which the player-protagonist uncovers journals to follow her sister’s journey to understanding and accepting her sexuality.

Alterntively, What Remains of Edith Finch (2017), a collection of interwoven stories in which the player inhabits the final moments of Finch’s relatives in a way that demonstrates how interactive experiences can explore a genuinely wide range of themes, and can tell stories in ways that would be impossible in any other medium.

If explored openly, there is no demographic barrier to all video games. A few months ago, I introduced my partner to the farming simulation game Stardew Valley (2016), a game I have been playing for about five years. She enjoys ballet, romantic fantasy novels and Sabrina Carpenter. She hadn’t played a game since the mid-90s. Her farm is now better than mine. A lot better.

For you, my potential player, this is an invitation and not a lecture. I’d love you to take the opportunity to engage with video games on your own terms, to challenge your initial assumptions and perhaps discover a new cultural love.

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