The video game is the cultural product that has had the greatest growth and diffusion in recent years. The consulting firm Newzoo in its 2019 report reports that the profits generated in the year by video games exceeded 152 billion dollars  worldwide; higher than the dividends of the film and music industries. Parallel to this, video games have evolved from being mass consumer entertainment products to start building new audiences, new narratives and new forms of representation.
One of the stereotypes around video games is that of a screen in which the predominant element is a weapon that shoots a series of enemies. Beyond this image, video games today are capable of representing different states and relationships of society and culture in complex ways (Flanagan & Nissenbaum, 2014) . Games like Spec Ops: The Line portray the complexity of the moral decisions of a warlike confrontation; there are also games that show the consequences of conflicts: This War of Mine does it with the Bosnian war and 1979 Revolution: Black Friday does the same with the Iranian revolution.
¿In what way can the potential of video games be used to represent elements of Colombian cultural identity?
But video games also explore other types of expressions, this is the case of Journey, which is about the spiritual conception of travel or Everything that investigates the concept that everything is connected. Topics such as love, heartbreak, loss of a loved one, social isolation, family, self-recognition, fears of adolescence, sexual identity are themes that are becoming more frequent in video games and that account for the possibilities of these as a means of expression. As a result of this, several authors such as Miguel Sicart have emerged who seek to explore the importance of the game (Sicart, 2014)  or there are also voices that say that they are capable of changing the world (McGonigal, 2011) .
With this background, questions arise about the use that is being given to video games in the local Colombian context: is their potential and scope being used as an instrument of appropriation and ultimately of identity construction? Is it possible in a video game to construct a representation of cultural identity?
 Flanagan, M., & Nissenbaum, H. F. (2014). Values at play in digital games. The MIT Press.
 Sicart, M. (2014). Play matters. The MIT Press.
 McGonigal, J. (2011). Reality is broken: Why games make us better and how they can change the world. Penguin Press.