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Gender Representation In Video Games

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The plea for better LGBT representation in video games is not for video games to be “queered” but rather for the industry to recognize the place and problems surrounding gender representation in video games (Shaw, 2009). But since there is an evident lack of representation of the LGBT community in video games, there were also very few positive references to homosexuality. In a sense, this shows the oppression of the LGBT characters in video games. The characters tend to be boxed in the idea that they cannot be the “lead” and are always the subsidiary, or worse, the opponent characters in video games. For instance, if a homosexual male avatar is present in a video game, he is usually portrayed as flamboyant, feminine, and unable to fend for …show more content…

(2008). The first wave of research on gender on gaming focuses on the “narrow gender stereotypes” of games being produced in the commercial market. The studies are mostly about the lack of recognition that the female gaming community receives, especially in terms of having games and gaming experiences that are more suitable to them. From there, the second wave of gender studies emerged. The emphasis has shifted from the glaring sex stereotypes in games to more “real” life issues and social concern. The studies are now more focused on understanding more extensive socio-cultural contexts. Lastly, there is the third wave of gender studies which calls attention to understanding gender “at the intersections”. More current researches are also focused on the marginalized sex orientations and its presence in the gaming …show more content…

Some gender studies are done on the gaming industry itself such as studies on the concepts of gender studies in video games (Marcus, 2005; Heck, 2011; Richard, 2013), the effects of gaming to the gamers (Youngblood, 2012), and the gender of the gamers (MacCallum and Stewart, 2008; Jenson, 2010). There were also gender studies about the specific characters in the games. Some focus on all the genders (Albretchslund, 2007) while some center on the female characters of the games (Schroder, 2008; Jenson & de Castell,

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