One of the most striking ideas from Cris Mayo’s presentation concerns how gender identity and representation are constructed through everyday cultural practices — including digital spaces. Mayo emphasizes that education and media are not neutral; they reproduce and challenge power structures simultaneously. This insight is especially relevant when examining the representation of women in online gaming, where gendered stereotypes persist despite claims of inclusivity and progress in the industry.

A pressing question about technology and gender emerges here: How do online games shape and reflect societal understandings of femininity and power? This question highlights the intersection between digital design, social norms, and the lived experiences of women in virtual spaces.

Historically, women in games have often been portrayed through hypersexualized or secondary roles, reinforcing the “male gaze” described by feminist theorist Laura Mulvey (Mulvey, 1975). For example, characters like Lara Croft in early Tomb Raider titles embodied both empowerment and objectification — celebrated for their strength but designed through male-centered aesthetics. More contemporary games, such as The Last of Us Part II or Horizon Zero Dawn, have introduced complex female protagonists like Ellie and Aloy, signaling a shift toward more nuanced and authentic portrayals. Yet, even as narratives evolve, women players continue to face harassment and exclusion in online gaming environments (Fox & Tang, 2017).

Online gaming communities often mirror broader gender inequalities. Studies show that women gamers are frequently subjected to sexist comments, doxxing, and gatekeeping, which discourages participation and self-expression (Gray, 2014). This hostile climate has implications for both digital citizenship and technological empowerment. If women feel unsafe or unwelcome in these spaces, their access to social and cultural capital in digital economies becomes restricted. Moreover, the lack of female game developers — only around 24% of the workforce, according to the IGDA Developer Satisfaction Survey, 2023 — limits the diversity of narratives and perspectives represented in games.

The implications are profound: online games are not just entertainment but cultural sites of meaning-making. When women’s voices are marginalized, digital culture perpetuates a narrow vision of gender that excludes diversity and equality. Conversely, inclusive representation — both in character design and community culture — can foster empathy, challenge bias, and inspire broader participation in technology fields.

In conclusion, revisiting Cris Mayo’s emphasis on how institutions (including digital platforms) reproduce gender norms helps us understand gaming not merely as a pastime, but as a political and educational space. By transforming how women are represented and treated in games, we move closer to a digital culture that values equity, creativity, and shared belonging.

References

Fox, J., & Tang, W. Y. (2017). Women’s experiences with general and sexual harassment in online video games. Journal of Broadcasting & Electronic Media, 61(2), 362–379.

Gray, K. L. (2014). Race, Gender, and Deviance in Xbox Live: Theoretical Perspectives from the Virtual Margins. NYU Press.

Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6–18.

International Game Developers Association (2023). Developer Satisfaction Survey. https://igda.org/resources/industry-research/