llafnwod said:
There is not (to my knowledge) a particularly high proportion of gay gamers, so I don't really see a reason for it.
I would bet that it's about the same proportion as LGBT individuals to heterosexuals in the general populace. Whether that's high or not, I leave up to other surveys to indicate.
@whyhalothar: What's love got to do with it?
Don Alejandro, while to some extent I agree with you, the passive versus interactive experience in plays/novels versus videogames has to be accounted for. There are some games where the character is intentionally set apart from the player, and it is easier to deal with controlling the character in what may be foreign situations. Other games invite the player to project themselves onto the character. Those situations might be a little bit stranger to deal with, if the character you're playing is significantly different from the player. Gordon Freeman remains a blank slate, throughout all of the games, for us to project ourselves onto. Gordon Freeman is me, and everyone else that plays him. If the storyline starts forcing sexual preference onto that blank slate, it is no longer a blank slate for projection, but a template that you have to match to fully meld.
Not sure entirely where I'm going with this, but essentially, in a case where the player has control over the character's sexuality, I think you'll see a lot of experimentation, and role-playing just for fun. If the game chooses for you, but wants you to feel like the character, then there's potential for a mismatch, and non-immersive gameplay. If the game intentionally makes the character fully fleshed, and distinctively NOT the player, then you can really do whatever you want, because the character is not the player.
One last thought: this all goes back to the age old issue of destroying immersion by taking control away from the player, during cut scenes, etc. It's like an Escher drawing, where you're in control, and everything looks one way (I am the dude holding the gun, I just stormed the compound), and then a cutscene hits, and suddenly everything turns itself inside out (Joanna is the babe holding the gun, she just stormed the compound). It's hard to get 100% emotional buy-in without giving the player control, and it's hard to tell a convincing worthwhile story without taking some of the control away.