My interest in combining philosophy and video games has developed throughout the last years of college, given that video games have been a part of my life since childhood. They have pushed me to feel various emotions, they also contain new ways of expression through digital art, but they are also fun, which is their most important characteristic. In the paper, I decided to connect three aspects of video games that have touchpoints. This is why the work consists of three main questions: Are video games an art form? How do video games affect emotions? How do video games affect morale? In the first part of the paper, I give an account of the discussion about whether video games are art and can be considered a work of art. I listed art theories that could be used to prove that video games are works of art, and then, using the cluster theory in a way that was used by Grant Tavinor (2009) I showed how works of art can be considered art. Given that there are examples of video games that could be considered a work of art, it was necessary to analyze below what form of art video games are. I believe that video games can be considered a form of interactive digital art, as indicated by Tavinor and Zachary Jurgensen (2018). In the next part of the paper, I explained how video games affect players' emotions. I have shown how philosophical theories of emotion can explain emotional reactions in players. To be able to analyze emotions in this way, I first explained the meaning of video games as interactive fiction and presented the paradox of fiction, which is the subject of numerous discussions in the philosophy of fiction and emotions. Jenefer Robinson (2005) provides a very good theory for discussing the paradox of fiction and is good for analyzing emotional reactions in video games as well. Robinson shows that if a work of fiction is skillfully created, our initial affective responses to events and characters can treat them as if they were real. Then we are emotionally engaged in a work of fiction and begin to bind our interests and desires to the work we read, watch or play. Based on our engagement in fiction, we make affective assessments of the work, and these assessments affect us physiologically and possibly create emotional memories. But as we do so, we are still aware that it is a work of fiction rather than real life, and we also enjoy a work of fiction. Next, I give examples of when I went through certain emotional experiences while playing certain video games. In the last part of the thesis, I analyze the ethical issues of video games. I presented examples of violent video game discussion and research addressing the impact of video games on player morale in the real world. Then I give examples of video games that contain a system of measuring morality in video games and a design for ethical reflection. I conclude that additional longitudinal research should be carried out in order to be able to determine the effect of violence in video games on the individual in reality, considering the problems in the methodology and for the reason that empirical research does not have sufficiently clear results. Given my own examples and gaming experience, I've come to the conclusion that my morals in real life don't change when playing video games, but they're a good way to test my moral judgments.