It is perhaps an all too common occurrence to encounter those who would seek to use the medium of video games as a means of exploring the complex and multifaceted theories of Theodor Adorno, particularly his ideas surrounding aesthetic theory and the ways in which it relates to the perpetuation of neoliberal hegemony. While it is certainly true that video games, like any other cultural form, can be analyzed and interpreted through various theoretical lenses, it is important to recognize that such an approach is ultimately futile, as it fails to take into account the complex and nuanced nature of both video games and Adorno's theories.

To begin with, it is essential to acknowledge the fact that video games are a highly diverse and multifaceted medium, encompassing a wide range of genres, themes, and gameplay mechanics. As such, it is impossible to explore the aesthetic theories of Adorno in any meaningful way through the lens of "wholesome" video games alone, as these games represent only a small fraction of the medium as a whole. To truly understand the ways in which Adorno's ideas might be relevant to the medium of video games, one would need to consider a much broader range of games, including those that might be considered more "edgy" or "provocative" in nature.

Furthermore, it is important to recognize that Adorno's theories, particularly those related to aesthetic theory, are highly complex and nuanced, and cannot be fully understood or appreciated through a superficial analysis of any single cultural form. Adorno's ideas are rooted in a deep and critical engagement with the broader social, cultural, and economic context in which they were developed, and to truly understand their relevance and significance, one must consider these broader contexts as well.

Finally, it is essential to acknowledge the fact that video games, like any other cultural form, are not inherently political or ideological, and that they can be used to convey a wide range of ideas and perspectives. While it is certainly possible to analyze the ways in which video games might reflect or challenge existing power structures and ideologies, it is important to approach this analysis with a critical and nuanced understanding of the context in which the games are produced and consumed. To suggest that the medium of video games can be used as a means of exploring the intricacies of Adorno's aesthetic theory and the ways in which it relates to neoliberal hegemony is to oversimplify and misunderstand both the medium and the theory in question. So, in conclusion, it is ultimately futile to attempt to explore the aesthetic theory behind neoliberal hegemony through the medium of so-called "wholesome" video games, as such an approach fails to take into account the complex and multifaceted nature of both the medium and the theory in question.