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Virtual Sex

Through the increasing number of newer technologies and higher disposable incomes, it appears “popular culture has embraced the idea of artificial sexuality� (Springer, 1996: 50) – a term which branches off in two directions: virtual sex and interactive sex. It appears that the financial success and mainstream popularity of online pornography has provided society with an example of exactly how much money can be made from sexually oriented content.

Virtual sex is often referred to as the ‘sexing’ up of computer game characters or the presence of explicit scenarios within computer games. Grossing $200 million in sales, the “gun-toting, backpack-wearing action figure who favours a hormone-inflaming wardrobe� (Lane, 2000: 59) star of the Tomb Raider games and movies Lara Croft is a perfect example of how computer game characters are becoming more sexualised and more realistic. However, the success of such computer games relies heavily on the strength of one’s computer graphics, which as these graphics continue to improve sees “programmers [who are] increasingly tempted to push even further the limits of explicitness in the characters they create� (Lane, 2000: 60). Similar to online pornography, through the advertising of their sexualised characters, computer gaming sites are able to make somewhat of a profit from users of their content. Pixis, a computer gaming company responsible for the creation of a “super-hot sci-fi sex star� (Lane, 2000: 61) known as UltraVixen, sold seven day licenses on their website for the game from US$6.95 each, with the complete game on CD-ROM going for US$49.

Whilst interactive sex also charges usage rates, this form of artificial sex gives users “the power to command a real-time performance customised to suit [their] private fantasies� (Lubove, 1996: 58) – this demonstrating how virtually anything can be made possible through the presence of the internet. Viewed on a computer screen, a customer types in requests with the male or female in a studio in San Diego responding initially by message, which is then followed by the performance of the request in front of a closed circuit television. This is then fed back to the customer’s computer, all at a cost of US$5.99 per minute.

The company behind this creation is Virtual Dreams, who assert they are making profits close to US$1 million per month with expansion taking place through Virtual Dreams signing up distributors to market their service around the US. Online pornography, virtual and interactive sex owe their success to the presence of new media technologies like the internet.

Once more the internet plays a pivotal role in securing public interest in sexual content, whether it be online pornography, computer games and their characters or the possibility of being able to participate in sexual activity via an interactive link. A system that is used by millions of people around the world and that contains millions more pages of information and entertainment is the instigator behind sexually oriented ventures like these.

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References

Chang, Y. (2000) 'Was It Virtually Good For You?', Newsweek [Online], vol. 134, issue 26, pg. 71. Available: Proquest: ABI/Inform Global ID no: 47483715. [Accessed 19 Oct. 2004].

Crang, M., Crang, P. and May, J. (1999) Virtual Geographies, London: Routledge. ISBN 0415168287

Lubove, S. (1996) 'E-Sex', Forbes [Online], vol. 158, issue 14, pg. 58-60. Available: Proquest: ABI/Inform Global ID no: 10485180. [Accessed 19 Oct 2004].

Lane, F. (2000) Obscene Profits, London: Routledge. ISBN 0415920965

Maxwell, K. (1997) 'Sex in the Future: Virtuous and Virtual?', The Futurist [Online], vol. 31, issue 4, pg. 29-34. Available: Proquest: ABI/Inform Global ID no: 12723721. [Accessed 21 Oct. 2004].

Springer, C. (1996) Electronic Eros, London: Athlone. ISBN 485300788

Jessica Ong 15:07, 28 Oct 2004 (EST)