This chapter investigates the ways sociology can theorise the video game industry, including an examination of the historical development and current economic and ideological power of the cultural form, as well as audience engagement and potential strategies for resistance. Similar to sport, video games are argued by critical scholars to have been fundamentally corrupted by the cultural industry and the imposition of commercial priorities on cultural production. The industry is reported to now pull in more money than Hollywood cinema, with major franchises such as Call of Duty being critiqued for the standardised nature of the product, along with the cynical limitations on manipulation rules and the ideological interpellation of the audience with Western imperialist ideas. However, the activity of gaming can also be argued to offer more active engagement in play than other cultural media, which in turn challenges determinist perspectives which typically originate from the Frankfurt School. This is demonstrated with a discussion of several different popular interactive games—including Minecraft and Grand Theft Auto—which offer greater environment manipulation by the player and, fundamentally, more choice and decision-making power. The discussion concludes with an examination of audience ‘modding’ as a popular form of resistance to the culture industry; while altering the narrative or adding new features to a game may be theorised as challenging the cultural hegemony, it is noted that there is a danger of further ‘playbour’ being undertaken, which again benefits corporations rather than the end-users.