Sony Entertainment’s upcoming PlayStation 4 video game “Detroit: Become Human,” a futuristic action-adventure title, recently game under fire for some rather dark and mature content. A specific part of the game was attacked for showcasing an abusive relationship between a ruthless father and his vulnerable young daughter, whom the player can save or fail to save from the father’s murderous wrath.

This portion of the story was heavily criticized by several individuals as being a glorification of domestic violence against children. Consequently, it has been suggested that this game could have negative social and psychological repercussions.

“Abusers will get off on this stuff and the other thing we know beyond question is that video games end up being played by children...why not tackle it constructively rather than sensationalise and make money out of it,” said Peter Saunders, founder of the National Association of People Abused in Childhood, in an interview with Daily Mail.

It’s a touchy topic that’s led me to consider something: is there a line when it comes to the kinds of content video games can show? This is by no means a new topic for the gaming community, yet it is one that continues to rear its ugly head.

I do believe there is a line. After all, we can’t very well have “KKK Simulator 2017” up on store shelves, can we? But the problem facing “Become Human” is nothing of that sort. What we have here, I think, is another game being attacked for trying to handle a controversial topic.

For me, one of the first things that come to mind when discussing the gaming industry’s focus is story. From the late 90s to today, countless games have shown that story can give context, weight and purpose to an otherwise nebulous and faceless set of gameplay mechanics. Interactive movies are what many video games are today, and in the case of games like “Become Human,” truer words cannot be spoken.

These story-driven games have, over the years, become quite bold in their narrative strides. Just this year, Atlus’ role-playing game “Persona 5” approached many relevant themes regarding adolescents, including sexual harassment and suicide. What critics fail to realize is that there is a reason why these kinds of topics keep showing up--and it has nothing to do with money.

Story matters in games now more than ever because many players want investment. They want to know that their choices and decisions mean something; what better way to do that than to immerse the player in a story that, despite any flights of fancy at hand, is grounded and realistic?

Video games and their narratives often make the effort to realistically handle issues like the folly of war, the evil of political corruption, and even topics like the benefits of being comfortable with one’s sexual orientation. Video games are becoming more mature because, like it or not, the world is a place where maturity and a world-weary eye are needed to make informed decisions and express informed opinions.

I don’t mean to imply that video games are instructors or teachers. Rather, they are instructed and taught by our realities--just like literature and film. As landmark games like “Metal Gear Solid” or “Mass Effect” have proven, video games are a medium through which effective and meaningful storytelling is possible, with the added marvel of interactivity.

They’re not murder simulators nor glorifiers of violence. That’s simply propaganda and fear talking, not a careful analysis of what these games are actually doing, which is trying to deliver an engaging, interactive story.

Gamers are growing up, and fast. So let our games grow up too.