I've given this a little more thought after reading your comment. And I was wrong. The point of games is drama.
Drama in music comes from an anticipated causality from A->B and either the fulfillment or denial of that causality. Romantic-era music strives for maximum drama by injecting as many fulfillment/denial moments as possible, with denials that are stretched to the limit of the implicit rules of the cultural context / musical system.
Minimalist music does something entirely different, by first breaking the expectation of resolution, and then becoming the flame that we stare into; it begins within a known system and then subverts it through stasis.
Can you imagine saying to any reasonable person, "do you want to skip all the boring parts and get to the final note?" Or, "yeah, ok, I don't want to see or even know what happens in the movie, just tell me what the final shot is."
In games, the drama of the "game part" is in exploring the edges of a system, with the added engagement of partial agency towards "resolution" (in a musical sense).
I still can't imagine any reasonable person thinking the "point" of a game is to win. Winning is the objective, not the point. Whether or not employing agency from outside the system is appropriate for a game is up for negotiation among the players, but without some level of adherence to an agreed system, it ceases to be a multiplayer game and becomes a game of solitaire where the rules are whatever the cheater decides.
I can appreciate that there is drama in that, and perhaps the drama of avoiding being caught is more satisfying than the drama of performing "the perfect game" for some people. In that situation, though, I think I'd still describe games as "a safe place for the mutual exploration of systems."