“Monocultures are risky business, diversification a useful hedge in times of change, and women’s dollars are as good as men’s. In particular, the traditional commodities of geekery – comic books, cult TV series and video games – are going through a complete and painful transition in business model under the pressure of digital distribution, the normalization of copyright infringement and the increasing ill-health of their direct retail channels. Meanwhile, the successes claimed by geeks over the dominant culture – such as the billion-dollar successes of this year’s Avengers and (soon) Batman films – have come by expanding audiences out of the core demographic. Geeks inherit the Earth when they learn to talk to other people on it – whether they are selling movie IP or operating systems.
In the face of this insecurity, ‘fake geek girls’ are the equivalent of Communist sleeper agents in the uncertain ’50s – the number of women who have no interest in geek culture but want geek attention at a personal level is vanishingly small, but their phantom is used to justify prejudice more generally, with the aim of keeping an unknown quantity out of the clubhouse.”
— Forbes contributor Daniel Nye Griffiths, wading into recent dust-ups in in comic book and video game circles about “fake geek girls”
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