Representations of violence are not new. In fact, violence has been a key part of media since the birth of literature: Ancient Greek poetry and drama frequently portrayed murder, suicide and self-mutilation, many of Shakespeare’s plays revel in violence, torture, maiming, rape, revenge and psychological terror, and some of the most popular books of the 19th century were “penny dreadfuls” that delivered blood, gore and other shocks to the lowest common denominator.
No one knows better than the communications industries that children and youth represent a huge market, due to both their own spending power and their influence on family spending decisions.
While parents may find certain representations of violence wholly appropriate for young people, there is a wide continuum of content that exists online and in the media. Anything from a cartoon cat having an anvil comically dropped on his head to video images of real life injuries and deaths can be accessed online by children and youth.
It is difficult to set down in a definitive way what effect media violence has on consumers and young people. There are a number of reasons for this, but the main issue is that terms like “violence” and “aggression” are not easily defined or categorized. To a child, almost any kind of conflict, such as the heated arguments of some talk-radio shows or primetime news pundits, can sound as aggressive as two cartoon characters dropping anvils on one another.
Generations of North American children have grown up watching “cowboys and Indians” films and TV shows and reading books such as The Adventures of Tom Sawyer and Little House on the Prairie. Popular films and novels reinforced the notion that Aboriginal people existed only in the past—forever chasing buffalo or being chased by the cavalry. These images showed them as destined to remain on the margins of “real” society. Such impressions and childhood beliefs, set at an early age, are often the hardest to shake.
It is called the “Highway of Tears”: an 800 kilometer stretch of highway in British Columbia where more than a dozen young women have disappeared since 1994. The same thing had happened before in the same place – almost twenty young women disappeared or were killed there between the late Sixties and the early Eighties – but until recently these crimes have received little media attention, perhaps because the majority of victims have been Aboriginal women.
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. 
As concerned adults, we also need to recognize when our anxieties about media violence are used to sell us on blanket censorship, ideology, and a variety of products.
For over a hundred years, Westerns and documentaries have shaped the public’s perception of Native people. The wise elder (Little Big Man); the drunk (Tom Sawyer); the Indian princess (Pocahontas); the loyal sidekick (Tonto)—these images have become engrained in the consciousness of every North American.
Questions about media violence have populated the headlines for almost as long as mass media has existed. Every few years, there’s a new line up of suspects: music, video games, television shows, and movies.