In tens, please (ten pound notes) <a href=" http://ngamgirl.net/art-therapy-thesis.pdf#fold ">admission essay</a> Video-game violence is, like all onscreen violence, an act of play. But the medium has a unique capacity to inveigle, and even implicate, its audience through its interactivity. When we watch a violent scene in a film or read a description of violence in a novel, no matter how graphic it is, we are merely spectators. In video games, whose stories are usually written in the second person singular&#8212;&#8220;you,&#8221; rather than &#8220;he&#8221; or &#8220;she&#8221; or &#8220;I&#8221;&#8212;we are active, if virtual, participants. Often the game&#8217;s story remains in stasis until we press the button to step off the sidewalk, light the cigarette, drunkenly turn the key in the ignition, or pull a yielding trigger. It is one thing to watch Gus Van Sant&#8217;s 2003 &#8220;Elephant,&#8221; a fictional film based on the 1999 Columbine High School massacre; it is quite another to inhabit the pixellated shoes of that atrocity&#8217;s perpetrators, Eric Harris and Dylan Klebold, as one does in the video game Super Columbine Massacre RPG.