The videogame as a modern gaming tool –perhaps the most remarkable one-, is harmed by the socio-cultural setting in which it is immersed. One of the ailments from which it suffers is an extreme process of rationalisation. Under the cloud of solemnity which the framework of systemic analyses attaches to games, from their formal characteristics as a procedural entity, we have witnessed the emergence of various forms of serious games, which collide head-on with the concept of the playful and the absurd. In the same sense and due to the privileged position which game designers have in this type of discussion, we suggest further considering the idea that certain productions of games in artistic and cultural contexts, which are sometimes presented under the guise of adopting a counter-hegemonic stance, with others presented as political or social proposals, may actually be serving to perpetuate creative models which are undemocratic, outdated, and late modernist in nature.
