The corporate response to the dominance of 'boy culture' in mass distribution computer games has tended to be to incorporate an active 'girl' in the cast of shoot-rem-up characters, such as Tomb Raider's impossibly curvaceous Lara Croft, or to market a 'girl culture' computer product in the pink aisle of Toys R Us, such as Mattei's phenomenally successful Barbie, Fashion Designer. Running alongside these products, however, are more sophisticated approaches to including girls in popular computer culture, involving boundary-crossing, 'neutral' or queering game spaces. This book explores and critiques the emerging 'girl game' market in the United States by bringing together perspectives from academic theorists, university-based game developers, industry interviewees from large corporations (Mattei, Sega). high-profile independent companies (Purple Moon, Chop Suey, Girl Games) and game players.