In Virtual Pedophilia Gillian Harkins traces how by the end of the twentieth century the pedophile as a social outcast evolved into its contemporary appearance as a virtually normal white male. The pedophile's alleged racial and gender normativity was treated as an exception to dominant racialized modes of criminal or diagnostic profiling. The pedophile was instead profiled as a virtual figure, a potential threat made visible only when information was transformed into predictive image. The virtual pedophile was everywhere and nowhere, slipping through day-to-day life undetected until people learned how to arm themselves with the right combination of visually predictive information. Drawing on television, movies, and documentaries such as Law and Order: SVU, To Catch a Predator, Mystic River, and Capturing the Friedmans, Harkins shows how diverse U.S. audiences have been conscripted and trained to be lay detectives who should always be on the lookout for the pedophile as virtual predator. In this way, the perceived threat of the pedophile legitimated increased surveillance and ramped-up legal strictures that expanded the security apparatus of the carceral state.

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve the issue. Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies.

It is commonplace for fictional content to depict immoral activities: the kidnapping of a politician, for example, or the elaborate theft of a national treasure, or perhaps the gruesome proclivities of a sadistic murderer. These and similar depictions can be found across a range of media, and in varying degrees of detail and realism. Fictional Immorality and Immoral Fiction examines potential conditions for transforming fictional immorality into immoral fiction, in order to establish what makes a depiction of fictional immorality and/or one’s engagement with it immoral. To achieve this aim, Garry Young analyzes fictional content, its meaning, one’s motivation for engaging with it, and the medium in which the fiction is presented (such as film, literature, theatre, video games) using philosophical inquiry. The end result is a systematic examination of fictional immorality, which contributes toward debates on the morality of depicting and engaging with fictional immorality, as well as the reach of censorship and other forms of prohibition, especially when the act depicted is of the kind that would be most egregious if carried out in reality.

The Nether, a daring examination of moral responsibility in virtual worlds, opens with a familiar interrogation scene given a technological twist. As Detective Morris, an online investigator, questions Mr. Sims about his activities in a role-playing realm so realistic it could be life, she finds herself on slippery ethical ground. Sims argues for the freedom to explore even the most deviant corners of our imagination. Morris holds that we cannot flesh out our malign fantasies without consequence. Their clash of wills leads to a consequence neither could have imagined. Suspenseful, ingeniously constructed, and fiercely intelligent, Haley’s play forces us to confront deeply disturbing questions about the boundaries of reality.

The internet is so central to everyday life, that it is impossible to contemplate life without it. From finding romance, to conducting business, receiving health advice, shopping, banking, and gaming, the internet opens up a world of possibilities to people across the globe. Yet for all its positive attributes, it is also an environment where we witness the very worst of human behaviour - cybercrime, election interference, fake news, and trolling being just a few examples. What is it about this unique environment that can make people behave in ways they wouldn't contemplate in real life. Understanding the psychological processes underlying and influencing the thinking, interpretation and behaviour associated with this online interconnectivity is the core premise of Cyberpsychology. The Oxford Handbook of Cyberpsychology explores a wide range of cyberpsychological processes and activities through the research and writings of some of the world's leading cyberpsychology experts. The book is divided into eight sections covering topics as varied as online research methods, self-presentation and impression management, technology across the lifespan, interaction and interactivity, online groups and communities, social media, health and technology, video gaming and cybercrime and cybersecurity. The Oxford Handbook of Cyberpsychology will be important reading for those who have only recently discovered the discipline as well as more seasoned cyberpsychology researchers and teachers.

This authoritative and comprehensive second edition summarizes and integrates advances in assessing and treating pedophilia and preventing sexual offending against children. It synthesizes current research and offers evidence-based recommendations for practice and policy reform.

Simulating Good and Evil shows that the moral panic surrounding violent videogames is deeply misguided, and often politically motivated, but that games are nevertheless morally important. Videogames should be seen as spaces in which players may experiment with moral reasoning strategies without inflicting real harm.