My object is video games and my territory is philosophical aestheticism. The methodology I used was close textual analysis of primary and secondary texts across a wide range of mediums. I wanted to examine the parallels between contemporary games and early-to-mid 20th century avant-garde movements and analyse how gaming’s dynamic attributes could help them become more fully realised. To begin, I analysed the immersive sim genre to explore how consumers could become producers, and how this shift fits with Paris and Munich Dada’s goal of reducing egotism in art (as conceived by Jean Arp and Hans Richter). Then, I looked at how technological advancements and limitations could aid in the creation of both unpredictable realities and imaginative surrealities, respectively, as conceived by Yves Bonnefoy, John Cage, and Andre Breton. Finally, I touched on how experimentation within the medium subverted audience expectations and genre conventions to create a transgressive experience that breaks down the player’s self-contained character, as proposed by Georges Bataille and Paul Hegarty. I concluded by reaffirming the incredible potential within gaming to transform the nature of art through its unique toolset in a manner hitherto unimagined, owing to their symbiotic relationship with environmental factors such as technology and player input.