Media, Technology, and Globalization: The New Gods of American Society in Neil Gaiman’s American Gods

Media, Technology, and Globalization: The New Gods of American Society in Neil Gaiman’s American Gods

Dr. Abinash Mohapatra

Assistant Professor, Manipal University Jaipur

DOI: https://doi.org/10.51244/IJRSI.2025.120500117

Received: 09 May 2025; Accepted: 26 May 2025; Published: 14 June 2025

ABSTRACT

Neil Gaiman’s American Gods (2001) presents a complex allegory where ancient deities clash with modern gods born from contemporary obsessions. This research examines how Gaiman’s new gods—Media, Technical Boy, and Mr. World—function as critical emblems of societal transformation in America, symbolizing the shift from traditional belief systems to consumer-driven worship. Through textual analysis and engagement with scholarly discourse on mythology, technology, and cultural theory, this paper argues that Gaiman employs these deities to critique the hollowness of modern forms of devotion. Media embodies the elevation of entertainment and celebrity to objects of worship; Technical Boy represents the uncritical veneration of technology; and Mr. World personifies the homogenizing forces of globalization. Together, they illustrate how contemporary society has replaced transcendent spiritual values with shallow consumption. This analysis reveals American Gods as not merely a fantasy narrative but a profound commentary on the commodification of belief in twenty-first-century America, offering insights into the spiritual and cultural costs of modernity.

Keywords: Neil Gaiman, American Gods, mythology, technology, media studies, consumer culture, globalization

INTRODUCTION

Neil Gaiman’s American Gods (2001) stands as a watershed text in contemporary fantasy literature, interweaving ancient mythology with the landscape of modern America. The novel presents a vision of the United States where gods from diverse mythological traditions, brought by immigrants throughout history, find themselves increasingly marginalized as society shifts its devotion toward new deities born from modern preoccupations. These “new gods”—personifications of media, technology, and globalization—derive their power not from traditional worship but from human attention, consumption, and engagement with contemporary systems. As Wednesday (an incarnation of Odin) explains to the protagonist Shadow: “People imagine, and people believe; and it is that rock solid belief, that makes things happen” (Gaiman 348). This statement encapsulates the novel’s central premise: gods are manifestations of collective belief, and as belief patterns change, so too does the pantheon.

At its foundation, American Gods examines the transformation of American spiritual and cultural identity in response to technological advancement, media saturation, and economic globalization. The clash between old and new gods serves as an allegory for broader societal shifts, reflecting what sociologist Zygmunt Bauman terms “liquid modernity”—a condition where traditional institutions dissolve into more fluid, individualized forms of social organization (Bauman 14). The new gods—Media, Technical Boy, and Mr. World—function as symbols of this transformation, embodying the forces that have reshaped American culture in the digital age.

This paper analyzes how Gaiman employs these new divine figures to critique the shift from traditional spiritual values to consumer-driven, technologically mediated forms of devotion. Drawing on scholarly analyses in cultural studies, media theory, and contemporary mythology, this study examines how each deity represents distinct aspects of modern American worship. Media embodies the cult of celebrity and entertainment; Technical Boy personifies digital technology and internet culture; and Mr. World represents the homogenizing forces of globalization and consumer capitalism. Together, they illustrate what religious scholar Robert Bellah describes as America’s “civil religion”—a set of beliefs, symbols, and rituals that function as de facto spiritual practices despite their secular appearance (Bellah 42).

Through close reading of the text and engagement with relevant scholarship, this paper argues that Gaiman’s portrayal of the new gods offers a profound critique of modern belief systems, exposing their essential emptiness compared to the depth and resilience of traditional mythologies. In doing so, American Gods raises important questions about what contemporary society values and worships, challenging readers to reconsider the nature of belief in an age dominated by consumption rather than communion.

The Concept of Gods in American Gods

In Gaiman’s cosmology, gods exist as manifestations of human belief, deriving their power and substance from worship, sacrifice, and remembrance. This conceptual framework establishes the novel’s central conflict: as patterns of belief shift, so too does the distribution of divine power. Mr. Ibis (the Egyptian god Thoth) explains this relationship: “Gods die when they are forgotten. People forget, and gods diminish, wither and die” (Gaiman 537). This reciprocal relationship between humans and deities forms the backbone of the novel’s theology, presenting gods as dependent on human attention rather than transcendent or omnipotent.

The old gods—figures like Odin, Anansi, Czernobog, and Easter—represent traditional mythological systems brought to America by waves of immigrants throughout history. Their power stems from ancient rituals, communal worship, and cultural memory. As Wednesday explains to Shadow: “We’ve been forgotten here in America. Gods are nothing without people to worship them, and these people came here and forgot us” (Gaiman 132). Their diminishing influence reflects real-world trends in American religiosity; according to the Pew Research Center’s “Religious Landscape Study,” traditional religious affiliation has declined significantly since the early 2000s, with nearly 23% of Americans identifying as religiously unaffiliated by 2014, up from 16% in 2007 (Pew Research Center). This shift away from organized religion creates what Peter Berger terms a “crisis of plausibility” for traditional belief systems in modern society (Berger 127).

In contrast, the new gods emerge from contemporary objects of devotion—television, internet, stock markets, and global corporations. These deities derive their power not from formal worship but from the time, attention, and resources that people invest in modern technologies and systems. As the Technical Boy tells Shadow: “Language is a virus, religion is an operating system, and prayers are just so much fucking spam” (Gaiman 53). This reframing of spiritual concepts in technological terms illustrates how modern worship has been reconfigured through digital metaphors, reflecting what media theorist Marshall McLuhan described as the way “the medium is the message”—technology shapes not only what we communicate but how we think (McLuhan 7).

The conceptual framework of gods as manifestations of belief allows Gaiman to examine how cultural values have transformed in modern America. Using conflict theory as an analytical lens helps illuminate how competing ideologies and belief systems shape cultural landscapes (Collins 38). In American Gods, this conflict manifests literally as a war between divine factions, but it symbolizes broader tensions between tradition and modernity, communal identity and individualism, and spiritual depth versus consumerist superficiality.

Religious studies scholar Catherine Albanese’s concept of “ordinary religion”—the everyday practices and beliefs that structure meaning in people’s lives—provides another useful framework for understanding Gaiman’s pantheon (Albanese 7). The new gods represent what Albanese might term the “ordinary religion” of contemporary America: devotion to screens, technology, and consumption that structures daily life and provides meaning despite lacking formal theological underpinnings. By positioning these modern obsessions as divine entities, Gaiman suggests that contemporary Americans have not abandoned worship but merely redirected it toward different objects.

Media as the Deification of Entertainment

Among the new gods, Media stands as perhaps the most immediately recognizable embodiment of modern American devotion. Appearing throughout the novel in the guise of iconic television personalities like Lucille Ball and Marilyn Monroe, Media personifies entertainment culture’s grip on the collective imagination. Her character represents what cultural critic Neil Postman termed “amusing ourselves to death”—the transformation of public discourse into entertainment that prioritizes spectacle over substance (Postman 4). When Media first appears to Shadow on a television screen as Lucy Ricardo, she offers a telling invitation: “Believe in what you watch… Believe in media” (Gaiman 175). This solicitation reveals entertainment’s quasi-religious function in contemporary society, demanding faith and devotion from its audience.

Media’s shapeshifting nature—her ability to assume the form of different celebrities—reflects the adaptability of entertainment culture to maintain relevance and appeal. As media scholar Rachel Thompson notes, “Celebrity worship has become a dominant form of secular devotion, complete with rituals of consumption, communities of fans, and deeply emotional attachments that mirror religious fervor” (Thompson 89). This parallel between celebrity culture and religious practice manifests explicitly in Gaiman’s characterization of Media, who presents herself as worthy of worship precisely because she provides pleasure and distraction. “They sit side by side, ignored little sister and big brother, imbibing my flickering blue light, wanting and fearing and consuming and hating,” she declares to Shadow, describing the millions glued to their screens (Gaiman 176).

Gaiman’s critique of media worship extends beyond mere entertainment to encompass news and information systems that shape public perception. Media claims power through her ability to control narratives: “I can give you new introductions, fresh starts, clean slates, and brand-new beginnings,” she tells Shadow, highlighting her capacity to rewrite reality through representation (Gaiman 177). This portrayal aligns with Jean Baudrillard’s concept of hyperreality, where mediated representations become more significant than actual events, creating what he terms “the precession of simulacra”—a condition where copies without originals dominate social experience (Baudrillard 1). In American Gods, Media’s power stems precisely from this ability to substitute representation for reality, offering simulated experiences that nonetheless generate genuine emotional and psychological responses.

The novel’s portrayal of Media also reflects what communication theorist James Carey describes as the “ritual view of communication,” where media consumption functions not merely as information transmission but as a ceremonial practice that reinforces social bonds and cultural values (Carey 15). When Shadow encounters Media in a hotel room, surrounded by television screens, he experiences what amounts to a religious visitation, complete with revelations and temptations. She offers him a place “on the winning side,” promising comfort and security in exchange for loyalty (Gaiman 177). This scene parallels traditional religious conversion narratives but replaces spiritual transcendence with the offer of celebrity and relevance—values central to media culture.

Literary scholar Lori Branch argues that Media represents “the commodification of desire itself,” transforming human longings into consumer impulses that can never be fully satisfied (Branch 112). This endless cycle of desire and temporary fulfillment creates what Branch terms a “secular sacrament”—ritualized consumption that mimics religious practice while serving commercial interests. Through Media, Gaiman suggests that modern entertainment offers “a kind of hollow validation” that keeps people engaged but disconnected from deeper truths or meaningful community (Williams 64). Unlike the old gods, whose worship involved sacrifice and commitment, Media requires only passive attention—a distinction that highlights the superficiality of modern devotion.

Technical Boy and the Rise of Technology

The Technical Boy embodies digital technology and internet culture, representing what has arguably become the most transformative force in contemporary society. Described as a “fat kid in a limo” in his first appearance, later evolving into a sleeker, more confident figure, Technical Boy personifies the rapid evolution of digital technology and its growing centrality in American life (Gaiman 31). His character reflects what technology scholar Sherry Turkle calls “the tethered self”—modern identity increasingly defined by constant connection to digital networks (Turkle 155). When Technical Boy boasts to Shadow that “we’ve got fucking fiber optics… We’ve got Wi-Fi. We’re going to fuck you people up,” he articulates the revolutionary confidence of technological determinism, the belief that technological progress inevitably reshapes society in its image (Gaiman 53).

Unlike the dignified gravitas of the old gods, Technical Boy exhibits the brash arrogance of new money, representing technology’s disruptive force in traditional power structures. His language is crude, his manner aggressive, and his understanding of history limited, reflecting what media theorist Douglas Rushkoff terms “present shock”—the collapse of historical perspective in digital culture, where only the immediate moment matters (Rushkoff 3). This temporal myopia contrasts sharply with the ancient wisdom of the old gods, who carry centuries of cultural memory. As Alex Carter notes in his study of digital mythology, “Technology has become a modern mythological system, complete with creation stories, heroic narratives, and eschatological visions, but it lacks the ethical dimensions and communal foundations of traditional mythologies” (Carter 78).

The Technical Boy’s power comes from humanity’s increasing dependence on digital systems—what philosopher of technology Albert Borgmann calls “device paradigm,” where technology becomes not merely instrumental but constitutive of human experience (Borgmann 35). In the novel, Technical Boy claims dominance based on this dependency: “My species… we’re the fucking future. We’re the ones who’ll matter going forward” (Gaiman 54). This statement reflects what media scholar Henry Jenkins identifies as “technological utopianism”—the belief that digital innovation will inevitably lead to social progress (Jenkins 23). However, Gaiman undercuts this confidence through Shadow’s skeptical response and the Technical Boy’s own limitations, suggesting that technological advancement alone cannot provide the meaning and purpose that traditional belief systems offer.

Gaiman’s portrayal of the Technical Boy also addresses technology’s role in fostering alienation and fragmentation. Despite being connected to vast networks, the Technical Boy appears isolated, lacking meaningful relationships and emotional depth. This paradox aligns with sociologist Robert Putnam’s concept of “bowling alone”—increasing social isolation despite (or because of) technological connectivity (Putnam 19). The Technical Boy’s hollow confidence masks profound insecurity, suggesting that technology’s promise of connection often delivers only the simulation of community rather than genuine human bonds.

The evolution of the Technical Boy throughout the novel—from corpulent youth to sleek digital native—mirrors the rapid advancement of digital technology itself. As media scholar Lisa Nakamura observes, “Digital technology continually reinvents itself, creating cycles of obsolescence that force users into patterns of endless consumption and adaptation” (Nakamura 143). This constant reinvention contrasts with the enduring nature of the old gods, who maintain consistent identities despite changing contexts. The Technical Boy’s transformations suggest the instability of digital culture as a foundation for meaning and identity, highlighting what philosopher Bernard Stiegler terms “technological disorientation”—the psychological disruption caused by accelerating technological change (Stiegler 87).

Mr. World and the Forces of Globalization

Mr. World, the enigmatic leader of the new gods, personifies globalization and the consolidation of power in contemporary systems. Unlike Media’s glamour or Technical Boy’s brash confidence, Mr. World operates with subtle manipulation, representing what anthropologist Marc Augé terms “non-places”—standardized spaces of transience that lack distinctive identity or history (Augé 77). Described as unremarkable yet menacing, Mr. World embodies what sociologist George Ritzer calls “McDonaldization”—the process whereby local cultures and traditions are homogenized through standardized systems and practices (Ritzer 4).

When Mr. World first appears in the novel, he presents himself as a government agent conducting a census, symbolizing the bureaucratic systems that categorize and control populations. This persona reflects what philosopher Michel Foucault termed “biopower”—administrative mechanisms that regulate populations through statistical knowledge and surveillance (Foucault 140). Mr. World’s census-taker disguise represents what cultural theorist Fredric Jameson identifies as “the cultural logic of late capitalism,” where economic systems infiltrate every aspect of social life, including identity formation (Jameson 51).

Martin Andrews’ study on globalization in contemporary fiction provides context for this portrayal, noting that “literature often depicts global systems as unaccountable forces shaping human lives, creating tensions between local identity and homogenizing pressure” (Andrews 203). Mr. World embodies this tension, seeking to eliminate the diversity represented by the old gods in favor of standardized, controllable belief systems. His ultimate goal—revealed as the novel progresses—is not coexistence but absorption, reflecting what political economist Benjamin Barber termed “McWorld,” a condition where global commercial interests override local cultural differences (Barber 17).

Mr. World’s relationship with the other new gods reveals the hierarchical nature of global capitalism. While Media and Technical Boy function as the visible faces of modern worship, Mr. World operates behind the scenes, orchestrating events through networks of influence rather than direct intervention. This structure parallels what sociologist Manuel Castells describes as “the network society,” where power flows through decentralized systems rather than residing in identifiable individuals or institutions (Castells 22). When Mr. World finally reveals his true identity as Loki—the Norse trickster god—working alongside Wednesday (Odin), Gaiman suggests that even globalization itself may be manipulated by older, deeper forces of chaos and conflict.

The character of Mr. World also embodies what cultural theorist Jean-François Lyotard termed “the postmodern condition”—skepticism toward grand narratives and traditional forms of authority (Lyotard 25). By positioning Mr. World as simultaneously a new god and an ancient trickster, Gaiman complicates simplistic oppositions between tradition and modernity, suggesting that contemporary systems may reproduce ancient patterns of manipulation and control in new forms. As cultural scholar Thomas Foster argues, “American Gods presents globalization not as a rupture with the past but as a reconfiguration of mythic structures under new economic and technological conditions” (Foster 189).

Shifting Dynamics of Belief, Power, and Influence

The interaction between old and new gods in American Gods illustrates the complex relationship between belief, power, and cultural influence in contemporary America. Unlike traditional theological systems, where divine authority derives from transcendent sources, Gaiman presents a materialist theology where gods gain power through human attention and sacrifice. This framework allows the novel to explore how cultural power shifts as belief patterns evolve, reflecting what sociologist Pierre Bourdieu terms “symbolic capital”—non-financial assets that generate social power (Bourdieu 103).

The war between old and new gods represents what cultural theorist Raymond Williams calls “residual” and “emergent” cultural forms—traditional practices that persist from earlier periods versus newly developing modes of expression and belief (Williams 121-127). However, Gaiman complicates this binary by revealing that Wednesday and Loki have orchestrated the conflict to generate sacrifice and attention, suggesting that opposition itself may be a form of symbiosis. This twist aligns with media theorist Neil Postman’s argument that supposedly opposing cultural forces often reinforce rather than challenge each other’s fundamental assumptions (Postman 136).

The commodification of belief appears throughout the novel as both old and new gods attempt to market themselves to potential worshippers. Media offers entertainment and distraction, Technical Boy promises innovation and relevance, and Mr. World sells security and standardization. Even Wednesday markets nostalgia and tradition as he recruits old gods for his cause. This commercialization of spiritual values reflects what sociologist Zygmunt Bauman terms “liquid modernity”—a condition where all values, including religious ones, become subject to market logic (Bauman 76).

Evelyn Jackson’s analysis of consumerism notes that “modern belief systems prioritize fleeting satisfaction over lasting fulfillment,” a theme central to Gaiman’s critique (Jackson 114). This emphasis on immediate gratification contrasts with traditional religious practices that often demand patience, sacrifice, and deferred rewards. The new gods offer what religious scholar Vincent Miller calls “commodified transcendence”—spiritual-like experiences packaged for easy consumption without ethical or communal obligations (Miller 225).

The novel suggests that despite their current dominance, the new gods lack the cultural depth and resilience of their predecessors. As anthropologist Clifford Geertz might observe, they provide information but not meaning—technical systems rather than cultural symbols that address fundamental human questions about purpose and identity (Geertz 89). When Shadow asks Wednesday why people would worship old gods when new ones offer more immediate benefits, Wednesday responds: “Because they’re the gods we believe in…And they might make you feel small, but they don’t make you feel irrelevant” (Gaiman 351). This distinction between relevance and meaning captures the novel’s central critique of modern belief systems—their inability to provide the existential significance that traditional mythologies offer.

However, some scholars argue that Gaiman’s opposition between old and new gods oversimplifies complex cultural dynamics. As cultural theorist Donna Haraway suggests, contemporary identity increasingly involves hybridity rather than purity, blending traditional and modern elements in what she terms “cyborg” consciousness (Haraway 149). Characters like Bilquis—an ancient love goddess who adapts to digital dating platforms—represent this hybridization, suggesting that adaptation rather than opposition may characterize the relationship between tradition and innovation. This perspective aligns with what religious scholar Robert Orsi calls “lived religion”—the messy, improvisational ways people actually practice faith, combining elements from multiple sources rather than adhering to idealized theological systems (Orsi 172).

The Symbolic Landscape of America

Beyond individual deities, American Gods explores America itself as a mythological space—what cultural geographer Yi-Fu Tuan might call a “mythic geography” where physical locations acquire symbolic significance (Tuan 85). The roadside attractions that function as “places of power” in the novel represent what folklorist Kent Ryden terms “vernacular sacred spaces”—locations invested with meaning through popular rather than official religious practices (Ryden 64). When Wednesday explains that these attractions were built “where people would stop and wonder why they’d been moved to build a model of the world’s largest ear of corn” (Gaiman 106), he points to an intuitive spiritual impulse that persists despite secularization.

The road trip structure of the novel reflects America’s self-conception as a land of movement and reinvention, what cultural historian Richard Slotkin identifies as the “regeneration through violence” mythology central to American identity formation (Slotkin 5). Shadow’s journey across the American landscape parallels traditional hero quests in world mythology, as identified by Joseph Campbell’s concept of the “monomyth” (Campbell 30). However, instead of fighting monsters, Shadow navigates competing belief systems and cultural narratives, seeking to understand rather than conquer the forces shaping his world.

America appears in the novel as both battleground and prize—a contested space where diverse mythological traditions compete for cultural dominance. This portrayal reflects what historian Jon Butler calls “the pluralism problem” in American religious history—the challenge of maintaining cohesive national identity amid radical religious diversity (Butler 273). When gods from African, European, Asian, and Middle Eastern traditions interact on American soil, they enact what religious scholar Thomas Tweed terms “crossing and dwelling”—the process whereby religious traditions adapt to new environments while maintaining connections to their origins (Tweed 123).

The novel’s representation of American landscape contains what environmental philosopher Edward Casey calls “place-memory”—the way physical locations retain traces of past events and beliefs (Casey 186). When Shadow encounters the buffalo-headed man in dreams, this figure represents what Carl Jung might term the “collective unconscious” of the American landscape—primal forces that precede even the oldest gods (Jung 42). This presence suggests that beneath the conflict between old and new gods lies a deeper, indigenous spiritual reality connected to the land itself, raising questions about cultural appropriation and colonization that the novel does not fully resolve.

CONCLUSION

Neil Gaiman’s American Gods presents a profound meditation on the transformation of belief in contemporary America through its portrayal of new gods—Media, Technical Boy, and Mr. World. These deities function as critical emblems of societal change, symbolizing the shift from traditional spiritual values to consumer-driven forms of devotion. Media embodies the elevation of entertainment and celebrity to objects of worship; Technical Boy represents the uncritical veneration of technology; and Mr. World personifies the homogenizing forces of globalization. Together, they illustrate how contemporary society has replaced transcendent values with what philosopher Charles Taylor calls “the malaise of modernity”—a condition characterized by individualism, instrumental reason, and the loss of moral horizons (Taylor 10).

By contrasting these new gods with ancient deities, Gaiman highlights the spiritual and cultural costs of modernity. The old gods, despite their violence and moral ambiguity, possess depth, history, and connection to fundamental human experiences. In contrast, the new gods offer spectacle without substance, innovation without wisdom, and connection without community. This distinction reflects what sociologist Philip Rieff terms “the triumph of the therapeutic”—the replacement of moral frameworks with psychological adjustments in contemporary culture (Rieff 232).

However, the novel’s conclusion suggests possibilities for synthesis rather than mere opposition between tradition and modernity. Shadow’s ultimate rejection of both Wednesday’s manipulation and the new gods’ promises points toward what philosopher Charles Taylor calls “sources of the self”—authentic wellsprings of meaning that transcend both blind tradition and shallow innovation (Taylor 495). The revelation that Wednesday and Loki orchestrated the divine conflict for their own purposes reinforces the novel’s skepticism toward authority figures of all kinds, advocating instead for what theologian Paul Tillich might call “the courage to be”—authentic engagement with existential questions despite uncertainty (Tillich 67).

American Gods ultimately challenges readers to examine their own objects of devotion, questioning what modern American culture values and worships. The novel suggests that while traditional religious frameworks may have lost cultural dominance, the human need for meaning, community, and transcendence remains. As media scholar Lynn Schofield Clark observes, “The decline of traditional religion has not eliminated religious impulses but redirected them toward new objects and practices” (Clark 205). Through its fantastical premise, American Gods offers a powerful lens for examining very real transformations in contemporary belief systems, inviting readers to consider what forms of worship might offer genuine fulfillment rather than hollow distraction.

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