5. Historically, game companies have imagined an audience filled with ______.
a. young, White, and heterosexual males
b. young and multiethnic males
c. White males of all ages
d. young, White men and women
6. In many ways, #Gamergate is simply Internet business as usual; much of the vitriol
chronicled here is routinely found in other virtual places. Yet, and importantly,
#Gamergate made this kind of “ordinary” harassment newsworthy, calling our collective
attention to ______.
a. the idea that online spaces are much safer than traditional spaces, with people rarely
if ever being abused
b. the abuse people endure in sport games
c. the sustained abuse many people endure in order to participate in online spaces
d. the positivity of online spaces as spaces away from the harassment found in many
real day-to-day places
7. Gamergaters’ references to war create ______.
a. an exciting metaphor that will both engage people’s interest and cause them to think
about the situation differently
b. a feeling of intensity to keep the audience’s attention
c. an underlying message about the state of our society
d. a narrative framing to set themselves as “the good guys” on a quest for truths
8. According to the article, a new stage not previously identified was conceptualized and
called a ______, where donations, political action, and civil action are promoted and
enforced via cyberspace.
a. “demand for change”
b. “call for action”
c. “shift toward movement”
d. none of these