Triggers: 
This article covers games that in one way or another can be described as NSFW (not safe for work); this article includes pictures of a violent and gory nature and discusses subjects related to violence, sex, sexuality, suicide, depression, and rape.
Introduction
Last month, I wrote about the forms of representation that I’ve observed in games, as a part of that, I shortly mentioned how representation is under attack from political movements which are trying to repress LGBTQ+, and shortly after, games were removed/delisted from Steam and Itch due to pressure from payment processors. The justification given by the payment processors was that two stores sell NSFW games and material, and that the payment processors disagree with their services being used for this purpose. However, this removal of NSFW games had a significant impact on LGBTQ+ games, which are often tagged as NSFW, and even some which weren’t. It should go without saying that censoring art is bad, and that this recent crackdown is a blatant attempt at censoring art for being the “wrong” kind of art.
I am far from the first to point these things out, and other people have already talked about how this censoring unfairly targets games made by minority groups and that the whole policy from the payment processors themselves is a double standard. In this piece, I do not want to revisit those points; instead, I will be analysing how different NSFW aspects can enhance the experience of games.
Defining NSFW:
According to Wikipedia (2025) NSFW encompasses content which contain “Graphic violence, pornography, profanity, nudity, slurs, or other potentially disturbing subject matter” (Wikipedia, 2025), so it is clear that it is a rather broad term which covers many different aspects of media, this uncertainty in definition makes it useful for a marker of content because it gives a general sense for what the content may contain. Still, it is somewhat problematic when all games tagged as NSFW are delisted, because it makes it difficult to know exactly what is objectionable about the games apart from their NSFW status.
Instead of going through every aspect of NSFW, I will be focusing on the aspects which have been the most under attack in recent times, namely: Graphic violence, Pornography, nudity, and disturbing subject matter.
Graphic violence:
Games have long been under attack for their violence; that is nothing new, and there is likely nothing I can say about violence in games which haven’t been said before. Instead, I want to illustrate why it is sometimes necessary for the art form to have the correct impact in games.
One of the most infamous scenes in gaming is the white Phosphorus scene from Spec Ops: The Line (2012). In this part of the game, the player uses a white Phosphorus mortar to bomb what is first framed as a military encampment. It is revealed to be a refugee camp after the bombing, and the player is shown the following:
Now, this is definitely a graphically violent scene; it may not be the goriest scene in gaming history, but it is a scene which has burned itself into the memory of many players who played the game. It can be argued that the setup for the scene may not be entirely successful, as the player is given no choice but to use the white phosphor mortar, and there may be some players for whom the scene falls flat due to that dissonance. However, for many players, the scene works. One of the main reasons it works is that it shows the consequences of using white phosphorus in graphic detail, and by doing so, it shows the human cost of war on civilians as well as soldiers. Spec Ops: The Line rejects the idea of the military as a force of heroes and instead engages in the messy and inhumane effects of war, and its message would be ineffective without being able to show violence. A wholesale ban on graphic violence would, without a doubt, hit games like Spec Ops: The Line, and make it impossible to create art which imparts the same message as it did back in 2012.
Spec Ops: The Line is far from the only game which uses violence as a way of imparting a powerful message to players; other games which has attempted to do so include, but are not limited to:
- Bioshock Infinite (2013)
- The last of us (2013)
- The last of us Part 2 (2020)
- Hotline Miami (2012)

- SIFU (2023)
All of these games and more are at risk of disappearing in a world where violence in games are no longer acceptable.
However, it is not only the games which use violence as an artistic approach to inform and enhance a message that deserve to be saved; it is also essential to save all the games that use violence as a tool of frantic and hectic gameplay. Escapism is just as worthwhile as heavy artistic introspection.
Pornography:
One of the primary victims of the recent move to ban NSFW games is games which depict scenes of a pornographic nature. These games are easy victims, as pornography is already a controversial topic, and there is a long tradition of outrage against any material which is in any way pornographic. Furthermore, many pornographic games depict sexualities and kinks which are even more vilified than pornography in itself already is.
Firstly, I will repeat what I said at the end of the violence section of this post: Escapism is just as worthwhile as heavy artistic introspection. And these games provide an escape for many people for many different reasons. Many of these pornographic games offer a safe space to explore gender, sexuality and kink, which in and of itself is worthwhile, especially in a world where there is still a lot of hostility towards anyone who does not fit within strict societal norms of heterosexuality or gender. 
Furthermore, pornography can be used as an artistic statement. I am aware that many people think that the two are mutually exclusive and that many have made long arguments to that effect; however, personally, I subscribe to a more nuanced view, and I firmly believe that pornographic content can be used in an artistic context and that trying to exclude pornography from art is harmful for both categories, or as Hans Maes writes “The rejection of a strict art-Pornography divide is of vital importance not only for a proper critical appreciation of existing artworks but also for the production of future pornographic artworks.” (Maes, H & Levinson, J. 2012)
A great example of a game with clear artistic intent while containing pornographic content is Ladykiller in a Bind (2016), which explores subjects of consent and identity in an authentic but playful manner and uses its pornographic content in service of those subjects.
I will admit that the number of games that manage to do this is few and far between, but that does not diminish their importance as games or pieces of art; rather, these games that manage to use pornography as part of their story and gameplay are important to analyse and improve upon instead of hiding away and banning. It’s essential to keep experimenting with what is possible in the medium within this particular subject.
Nudity
Nudity, like pornography, is a hotly debated topic with some critics who want to outright ban all, or most forms of nudity portrayed in media, and some even conflate nudity with pornography. However, nudity is in and of itself simply a portrayal of the human body in an unclothed manner, and can be used in many ways, both artistic, educational, and playful. Few would argue against the artistic merit of the many classical paintings that contain nudity, and I believe that games are just as capable of incorporating nudity as an artistic statement, as educational material, or as a playful exploration. Experiments like pussy palate (Joanna Rauhut, S & Várhidi, E 2024), as I wrote about in the last blog, were an experiment in how to use a game as a tool/toy for sexual communication, this toy does contain an image of a vulva which would fall under the category of nudity but it uses it as a way of easing communication and teaching about anatomy in a playful way.
Other games like Papers Please (2013) use nudity as a way of showing the dehumanising effect of border security.
In Papers Please, you have to inspect people's passports to see if they are allowed in, cross-referencing an increasing number of rules while dealing with increased document complexity. One of the tools given is a scanner, which is used to see if people have bombs or drugs strapped to them, or in some cases, if they match the gender given in their passport. The second case especially speaks to how not fitting within expected gender norms creates issues when interacting with society and can force you into intimidating and humiliating situations.
Disturbing content
This is the last and broadest aspect of NSFW, which is the potentially disturbing content aspect. So far, I haven’t seen these games under as much scrutiny as other games, which could be tagged as NSFW; however, that does not mean they are safe. Many of these games touch on subjects within the LGBTQ+ community and or neurodiverse community, both of which are under attack from some organisations and governments. Games like: He Fucked the Girl Out of Me (2022), Growth (2019), Get In The Car, Loser! (2021) and many others explore topics of rape, depression, suicide, anxiety, and a host of other topics using the medium of games and a lot of these games are made by and for LGBTQ+ and/or neurodiverse people who wants to share a part of their world and pain with others via the medium of games and It would be a huge loss if those voices gets silenced even more than they already are.
Final comments
I don’t want this blog post to be taken as a blanket defence of all NSFW games; some are tasteless, harmful, badly made, or even unethical in nature. However, the same can be said for non NSFW games and all art in general. The freedom to express ourselves is not a victimless freedom. It is impossible to agree about where lines should be drawn, and as such, it is best not to try to draw them in the first place. There are games I wish did not exist; however, I will never advocate for the outright censorship of those games, cause if we start censoring what we don’t like or disagree with, we simply make the world smaller and less varied, and we close ourselves off from being challenged in our worldview and to my mind, that would be a shame and a huge loss for all kinds of art.
Bibliography
Joanna Rauhut, Saskia, and Várhidi, Eszter (2024), Pussy Palette: A Playful Take on Voicing Sexual Desires, https://dl.acm.org/doi/pdf/10.1145/3656156.3665429
Maes, Hans, and Jerrold Levinson (eds)(2012), Art and Pornography: Philosophical Essays (Oxford, 2012; online edn, Oxford Academic, 24 Jan. 2013), https://doi-org.ez.statsbiblioteket.dk/10.1093/acprof:oso/9780199609581.001.0001, accessed 14 Aug. 2025. 
Wikipedia (2025) Not safe for work, link: https://en.wikipedia.org/wiki/Not_safe_for_work Accessed 25/08/2025
Ludography
Bioshock Infinite (2013) developed by Irrational Games, published by 2K.
Get In the Car, Loser! (2021) Developed and published by Love Conquers All Games
Growth (2019) developed by Morgan Swampcroft
He Fucked the Girl Out of Me (2022) developed by Taylor McCue
Hotline Miami (2012) developed by Dennaton Games, published by Devolver Digital
Ladykiller in a Bind (2016) developed and published by Love Conquers All Games
Papers, Please (2013) developed and published by Lucas Pope
SIFU (2023) developed by Sloclap, published by Sloclap & Kepler Interactive
Spec Ops: The Line (2012) developed by YAGER, published by 2K & Missing Link Games
The last of us (2013) developed by Naughty Dog, published by Sony Interactive Entertainment
The last of us Part 2 (2020) developed by Naughty Dog, published by Sony Interactive Entertainment


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