Abstract

Research investigating female gaming has begun to emerge despite gaming being traditionally more popular with males. Research in the 21st century has drawn attention to the role of women in culture, society, and technology, and female gaming is one of the growing phenomena not to have been researched in depth. The aim of the present paper was to review female gaming (i.e., the role of females within video game culture) and identify any associated psychopathological symptomatology. The review adapted the Sample, Phenomenon of Interest, Design, Evaluation, Research (SPIDER) model in conducting a narrative literature review. A search of three scientific electronic databases yielded 49 papers for further evaluation. From a methodological perspective, studies had to fulfill the following criteria to be included: i) published between the years 2000 and 2018; ii) assessed female gaming or the female position within gaming culture, iii) contained quantitative, qualitative, or mixed methods approaches to produce empirical data or discuss theoretical implications through reviews, iv) be retrievable as a full-text peer-reviewed journal paper, and v) published in English, German, Polish, Spanish, Italian, Portuguese, or French. Four categories emerged from the papers: i) the benefits of female gaming, ii) why women might play video games less than men, iii) perceptions and realities of female characters within video games, and iv) women’s position in gaming culture. The main findings showed playing video games has benefits for women in terms of enhancing cognitive, social, and physical abilities. However, they are less encouraged to play video games due to negative expectations based on gender and/or experiences during game play. Video games are associated with stereotypical male characteristics, such as being overly aggressive, and frequently contain sexualized content. Female gamers appear to require coping strategies to handle online harassment. Females look for different things in video games, which are not often included in game designs thereby limiting their abilities. For instance, female avatar representation—which is exaggerated and hypersexualized—can prompt social comparisons and lead to feelings of decreased self-esteem, depression, and other impacts on well-being. Overall, there are still obstacles for women playing video games even though they comprise half of the gaming population.

Highlights

  • Over the past two decades, the number of female video game players has increased, and females today make up half of the gaming population according to both the Entertainment Software Association (ESA) (1) and the Interactive Software Federation of Europe (ISFE) (2)

  • A narrative review of the literature was undertaken to identify all of the relevant publications concerning female gaming, female gaming addiction, and the position of women within gaming culture

  • The following research questions where formulated: 1) What is the role of the female gamers in gaming behavior and gaming culture in contemporary society? 2) Which variables have an influence on the role of female gamers at an individual and community level?

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Summary

Introduction

Over the past two decades, the number of female video game players has increased, and females today make up half of the gaming population according to both the Entertainment Software Association (ESA) (1) and the Interactive Software Federation of Europe (ISFE) (2). There is no agreement on the prevalence of gaming addiction due to its conceptualization and methodological problems within the research that has been conducted to date This is because most research i) comprises surveys using nonrepresentative samples (i.e., instead of using randomized samples, or other methodological approaches, such as classic experiments or mixed methods research); ii) uses different scales to assess problematic gaming [e.g., Problem Video Game Playing Questionnaire (4) for offline and online video gaming, Internet Gaming Disorder Scale–Short-Form (5)]; iii) uses scales and screens based on different addiction criteria (e.g., substance use disorder criteria, gambling disorder criteria); iv) uses different cutoff scores even when using the same instrument; v) utilizes different conceptualizations of gaming [e.g., problematic gaming, addictive gaming, internet gaming disorder (IGD), online gaming disorder, offline gaming disorder]; vi) assesses gaming without taking into account the various technologies and devices (e.g., computers, consoles, smartphones, and tablets); and vii) does not tend to take into account the different game genres played [e.g., massively multiplayer online role-playing games (MMORPGs), multiplayer online battle arena (MOBA) games, etc.]

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