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Because if I can prove it can't be done, then I can use that to explain why people don't do it. Because if I can prove it can be done, then I can do it and gently show people how to politics better.
Because to me, "the existence of trans people" isn't propaganda any more than putting angels or nazis or bikers or forest rangers in a game is propaganda. Having things in a game does not imply support for those things, nor does it imply disapproval of those things. Having a larger palette makes for more options, which lets me make better games. And the more ways I can use parts of that palette, the better off I am.
Because it's a challenge.
So, to be sure I'm understanding: when you say "prove it can/'t be done," it seems like "it" here refers, not to including a trans character in a game--since you already know that trans characters have been included in games--but to creating either "trans characters that are never called attention to" or "characters that are an allegory for trans people."
In the case of the former, you are stuck on the "invisibility" problem: "The point of Uhura is that she is obviously black and nobody cares. But you can't have someone who's 'obviously successfully trans' - it's contradictory!" To this I can only respond that contradiction is the beating heart of transsexuality. If gender essentialism is true, then a male who is wired to pursue the Platonic Feminine will always fall short in some way (until we unlock transhumanist body-swapping in the tech tree); because males cannot bear children, there is no such thing as being "successfully" trans, only varying degrees of failure.
(Note that this is also true for infertile women, many of whom struggle emotionally with infertility and regard themselves at some level as failures as women. I observe in passing: how many pregnant women have you seen in video games? Conversely, does infertility strike you as like transsexuality in terms of how difficult it would be to depict in a video game "without calling attention to it?")
But if gender essentialism is false, then it's not even clear what being "successfully trans" can possibly mean, because there is no Platonic Feminine--there are only varying degrees of conformity or nonconformity to socially constructed gender expectations. Either a male who perfectly presents as feminine just is a woman by definition (if gender is inessential and divorced from sex, then there is no such thing as a "transwoman," just people behaving in ways that society arbitrarily dubs masculine or feminine) or there is no gender binary at all, no "men" or "women" in truth but only a whole bunch of people behaving in a diverse array of ways.
The contemporary practice of transsexuality can only even exist in a society that maintains a fairly strict gender binary but also makes sociolinguistic accommodations for people who transgress that binary. For a trans character to be a trans character, you either have to commit to gender essentialism and accept that "it can't be done," or you have to eschew gender essentialism and accept that "it can't be done," or you have to situate your character within a game setting where transsexuality is as explicitly noticeable as race but also never remarked upon. (This might be done, for example, through widespread use of neopronouns, or trans flags, or ubiquitous nudity.) But here I'm basically repeating myself: the disposition of a trans character will depend substantially on the trans-ness you put into your worldbuilding.
Allegories I think should be much easier, in part because queer theory is absolutely drowning in them. An intimately-told story of a woman's struggle with infertility could very easily be an allegory for transsexuality. There are also many, many stories of gender-norm violation throughout history, including women sneaking into Plato's Academy, women dressing as men in Shakespeare's plays, and so forth. "Are these characters actually trans?" is a common topic in writing in the humanities.
Whether any of this rises to the level of showing people "how to politics better" I leave an open question.
This seems like a bit of a motte to me, along the lines of "putting black people in a game (or movie) is not propaganda." Well, no, not all by itself. But there are settings where it makes more and less sense to do, and ways it can seem more or less like propaganda. Including a "successfully trans" character in your 21st century horror RPG is a very different thing than including a similarly-situated trans character in your 16th century open world samurai simulator (Uhura would also not go well in such a game!). Incongruously imposing 21st century American notions of sex and gender on historical settings is propaganda no matter how you might care to protest the contrary. Imposing those same ideas on a fantasy world of your own devising, much less so.
Again--if I've understood you--the "challenge" you have in mind does not seem to be the mere inclusion of trans characters in games, but the presentation of trans characters at the level of Uhura: visible, but unremarkable. What I think I am trying to suggest to you is that Roddenberry's artistic success in this regard (as distinct from his strategic success in the world we inhabit) was not his inclusion of the black Uhura character, but in his construction of a world where it makes sense for her blackness to pass unremarked. You have asked a character-crafting question when you are actually facing a worldbuilding problem.
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