ALSO BY DAVID M. EWALT Of Dice and Men: The Story of Dungeons & Dragons and the People Who Play It An imprint of Penguin Random House LLC 375 Hudson Street New York, New York 10014 Copyright © 2018 by David M. Ewalt Penguin supports copyright. Copyright fuels creativity, encourages diverse voices, promotes free speech, and creates a vibrant culture. Thank you for buying an authorized edition of this book and for complying with copyright laws by not reproducing, scanning, or distributing any part of it in any form without permission. You are supporting writers and allowing Penguin to continue to publish books for every reader. Blue Rider Press is a registered trademark and its colophon is a trademark of Penguin Random House LLC Portions of this book were originally published in Forbes or on Forbes.com. Library of Congress Cataloging-in-Publication Data has been applied for. Hardcover ISBN: 9781101983713 Ebook ISBN: 9781101983737 Version_1 For my grandfather Michael E. Spinapolice, who bought my first computer CONTENTS Also by David M. Ewalt Title Page Copyright Dedication Prologue: THE SPARK 1. PYGMALION’S SPECTACLES 2. THE ULTIMATE DISPLAY 3. CONSOLE COWBOYS 4. INTO THE RIFT 5. TWO BILLION REASONS 6. TAKING HOLD 7. VR AND CODING IN LAS VEGAS 8. THE ONCOMING TRAIN 9. THIS IS REAL 10. WE’LL USE THE ORGASMATRON 11. MAGICAL THINKING Epilogue: THE AGE OF THE UNREAL Acknowledgments Notes Index About the Author Prologue THE SPARK I t’s 1894, and a twenty-year-old Italian aristocrat pushes a button on his desk, causing a bell to ring on the other side of the room. He wakes his mother in the middle of the night to show her what he’s created. He calls it a wireless telegraph. It’s 1927, and a twenty-one-year-old Utah farm boy transmits a live image from a camera, through the air, to a glowing screen. “That’s it, folks,” he announces. “We’ve done it—there you have electronic television.” It’s 2012, and a nineteen-year-old video game fan from California fits a lightweight plastic headset over his eyes, presses a button on a computer, and is transported to another world. “I am making great progress,” he tells his friends later in a post on an Internet forum. “Really excited about this.” We’ve already entered the age of virtual reality, though you probably haven’t noticed it yet. You’ve almost certainly heard of VR, seen the news stories and magazine covers, read about how it’s the hot new medium for 3-D movies and video games. It’s possible you’ve tried one of the basic VR viewers that use a phone for a screen. Or maybe you’ve played with or own a high-end VR headset that connects to a computer. But unless you’re one of the handful of people who live on the sharpest point of the cutting edge, you probably haven’t noticed that the release of those gadgets was the dawn of a whole new era. This isn’t just another beat in the accelerating tempo of technological progress; it’s the start of a brand-new song. At the very least, it’s a moment as significant as the birth of radio or television; quite possibly, it’s the beginning of a fundamental change in what it means to be human. No, seriously. I know that sounds crazy. But this technology gives us the ability to do crazy things. A virtual reality is a computer-generated environment that you can see things. A virtual reality is a computer-generated environment that you can see and hear, typically through the use of a high-tech headset, so that it appears you’re actually inside the simulation. Good VR even lets the user interact with and change the environment. Now think about that: Creating a whole new world that people can inhabit used to be something only deities could do. The ancient Greeks said Gaia gave birth to the heavens, the sea, and the mountains; in the twenty-first century, an engineer models them on their laptop. And think about what it means to inhabit one of these virtual worlds. You and I are bound to the physical world—we have to work with the body we have in the place where we are. But as virtual reality simulations get better, both of those limitations start to go away. Suddenly anyone can see what it’s like to stand on the peak of Mount Everest. Or a person who can’t walk can experience a marathon from the perspective of an Olympic champ. And if fantasy is indistinguishable from reality, why stop there? Take a walk across Mars—hell, take a walk across Narnia. Become a dragon and fly through the clouds. Crazy, right? I don’t know what it will do to humanity when we can experience our fantasies in a manner that’s indistinguishable from real life, but I do know that the invention of this technology is a pretty big deal. When we talk about VR, we’re not just talking about gadgets that play 3-D video games. — In the interest of transparency, I should admit that I’m exactly the type of person you’d expect to get overexcited about VR. When I was a child I was obsessed with fantasy literature, movies, and games. I memorized the maps in books like The Hobbit, knew the name of every obscure Star Wars character, and spent countless hours playing Dungeons & Dragons with my friends. I loved video games too, and I was interested in computer programming. In other words, I was a stereotypical 1980s nerd. Then I read William Gibson’s Neuromancer, and it blew my adolescent mind like a bolt of neon lightning. In this cyberpunk novel’s dystopian future, hackers transfer their consciousness directly into the Matrix, a virtual reality representation of a global computer network, and explore cyberspace the same way a team of adventurers might delve into a dungeon in one of my D&D games. Gibson’s “console cowboys” navigate traps, fight powerful security programs, and escape with stolen data treasure. A world where you can fight monsters and still be a computer genius? I would have moved there if I could.
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