Sudacópolis is a game, with its own rules, where everything happens and nothing happens. It is a real, parallel, or virtual universe, self-conceived without disorder because it needs no order. It had no past and will never have a future. And as its rules say: "It could be your town, city, or country, but it isn't. It encompasses everything and understands nothing. It is perfect. It has no problems, so it doesn't seek solutions. It simply is what it is."

In Sudacópolis, I sought to focus reflection on the potential for community social identity contained in the naturalization of different types and modalities of violence, as different processes intervene (habituation, familiarization, classification, categorization, labeling, domination, marginalization, exclusion, naming, and explanation) that allow us to accept the strange and negative as the natural way of doing and being in the world.

Some South American authors of community social psychology point out that this mechanism of naturalizing harm—and violence in particular—can be conceived as responsible for the maintenance and acceptance of essential pernicious aspects that can make human life unbearable.

Using the "do it yourself" concept and applying an irregular imprint to easily identifiable objects—which conceal their origin but do not hide it—I built an ecosystem of twelve games that depend on a macro game that—as a welcome—anticipates its voracious power.

Thus, these games with obvious dynamics—familiar and/or repetitive—address everyday and mundane spheres according to the underlying hypothesis that early games contribute to an individual's initial development, thereby naturalizing their representations to their adult identity.

After all, do harmless children's games mask violent adults?