Although I too have liked all of these things to a greater or lesser degree at some point in my life - I did, after all, grow up as a member of exactly the demographic in question - their extreme prevalence in the cultural ghetto about which I write has often left me searching, sometimes in vain, for games with a different set of values and antecedents.īut this article is not about one or more of those interesting cultural outliers. Computer games reflected the tastes of these boys and young men in other kinds of entertainment and leisure-time hobbies: Dungeons & Dragons, Star Wars, jet fighters, World War II, action movies, heavy-metal music, fast cars, and, when they could get a glimpse of them, fast women. Throughout the 1980s and 1990s, they were largely the province of a rather specific demographic indeed: single white males between the ages of ten and thirty from relatively privileged socioeconomic circumstances, with a bent toward intellectual rather than active pursuits - i.e., the stereotypical “nerds” of pop culture.
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For in any free market, the nature of production is dictated as much by the consumers as by the producers.Ĭertainly this is true of computer games. Yet it applies equally in the world of the arts and entertainment. That truism has been taken to heart by many in the time since - not least by our political classes. “Demography is destiny,” said the French sociologist Auguste Comte apocryphally in the nineteenth century.
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