The pervasive medium of videogames has the potential for ‘virtually conceiving and exploring alternative worlds and social possibilities’ (Dyer-Witherford & de Peuter 2009, 188), so why is dominant gaming culture regressing and defaulting back to tired and narrow representations of gender and sexuality within a heteronormative dynamic? The underlying misogyny reflected in games such as Rapelay demonstrate the ‘creative stagnation’ (Anthropy 2012, 12) within mainstream game production. As digital games create interactive experiences for players ‘rather than representations merely appearing on the screen for observation, female images in virtual spaces are behaviourally responsive’ (Fox & Bailenson 2009, 147), thus the capacity for games to be ideologically radical is certainly possible. It is the very crux of this essay that exemplifies why contemporary videogames have not yet ‘reached cultural maturity’ (Anthropy 2012, 4) nor resemble a radical text, since the highly misogynist and homogenous content does not reflect contemporary gender relations, in which women exist within a multitude of identities and spaces within private and public spheres.



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