Media violence has been taken up as a public policy issue by a number of Western countries. Central to the debate has been the challenge of accommodating what may appear to be opposing principles—the protection of children from unsuitable media content and upholding the right to freedom of expression.
The video game sector is the fastest growing entertainment industry and second only to music in profitability. Global sales of video game software hit almost $17 billion U.S. in 2011. 
Digital media such as the Internet and video games have become increasingly important in the lives of children and youth. Even when young people are consuming other media, such as TV, music and movies, they are likely to be doing it through the Internet. As well, nearly all the media they consume, from TV shows to toys, have Web pages, virtual worlds, video games or other digital spinoffs associated with them.
Throughout the elementary years, parents are the main gatekeepers for their children. As such, they need to be actively involved in their children’s video game playing – selecting the games, managing how much time children spend playing, and talking to them about the values in the games they like.
For most teens, playing video games is just another recreational activity they enjoy with friends. The concern is when video game playing becomes an addictive or isolating activity.
Good-quality video games offer lots of benefits to children and teens.
How things have changed in thirty years: more than ever before, queer people have a media presence. No longer relegated to the realms of innuendo and secrecy, we now see lesbians, gays, bisexuals, and transgender people represented on television and in mainstream film. Queer people see their reflections on screen in a largely positive light: stable, employed, charming, attractive, well-liked, and successful. And yet, there remain many challenges. The following sections will examine how media produces and legitimizes or delegitimizes queer sexualities, as well as how queer media differs from its heterosexual counterpart. To begin, though, it is worthwhile to examine the trajectory of queer media criticism over the past thirty years.
As in other media, queer people have gained a greater and more widely visible presence within the advertising world, with ad agencies courting the “Pink Dollar”. This is not surprising, considering that the gay, lesbian, bisexual, and transgender community is a multi-billion dollar target audience, estimated to be worth around $835 billion.
Sixty-two per cent of Canadian gamers are male: and in a market targeted primarily at males, games that appeal to girls can be hard to find. Generally girls aren’t interested in the violent “first person shooter” games favoured by boys, and many of the girl-specific games promote stereotypical interests such as cooking and babysitting. (Industry representatives claim these topics are chosen based on their surveys of what female games want.)
Queer people have been involved in producing their own media for as long as alternative media has existed. This landscape has traditionally been dominated by print media such as zines (small-circulation, generally low-cost, publications) and pamphlets or queer film, but with the advent of the electronic age and cheaper and more accessible electronic devices for production, there’s been an explosion of queer-produced media of all kinds. The following section explores the ways that queer people have sought to claim space for themselves within media and culture.