There are separate stats for marital and extramarital sex however.Non-player characters (NPCs), on the other hand, have specifically encoded sexualities in ).
Specifically, a critical potential is lost when sexuality is treated as immutable, gender is a rigid binary that determines sexuality, and when fantasy is made “realistic” only when it comes to remarginalizing marginalized groups (non-heterosexual NPCs are few and far between in the game).
Espen Aarseth calls video games ergodic texts, which require nontrivial work in order for players/audiences to get through them.[i] Although there is a long history of debate between narratological approaches[ii] to games as cultural texts and the ludological approaches[iii] to games as rule-bound play spaces, I think it is fair to say that (but certainly not all) games scholars would accept that we can talk about both at the same time and that each is important.[iv] When it comes to analyzing representation in games, the interactive possibilities of the medium allows for a type of experience unavailable in most media: making the protagonist’s appearance and experience respond to player choices.
Many digital games give players the opportunity to create their own avatars/characters[v], make moral choices for their on-screen proxy, engage in a variety of romantic pairings, and choose dialog options that change the flow of the text.
Unlike in the first game, I can select a male or female character at the start of the game.
Gender choice in games is almost always binary and collapses gender and sex into a single entity.