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Press Start to Play: Stories Paperback – August 18, 2015
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You are standing in a room filled with books, faced with a difficult decision. Suddenly, one with a distinctive cover catches your eye. It is a groundbreaking anthology of short stories from award-winning writers and game-industry titans who have embarked on a quest to explore what happens when video games and science fiction collide.
From text-based adventures to first-person shooters, dungeon crawlers to horror games, these twenty-six stories play with our notion of what video games can be—and what they can become—in smart and singular ways. With a foreword from Ernest Cline, bestselling author of Ready Player One, Press Start to Play includes work from: Daniel H. Wilson, Charles Yu, Hiroshi Sakurazaka, S.R. Mastrantone, Charlie Jane Anders, Holly Black, Seanan McGuire, Django Wexler, Nicole Feldringer, Chris Avellone, David Barr Kirtley,T.C. Boyle, Marc Laidlaw, Robin Wasserman, Micky Neilson, Cory Doctorow, Jessica Barber, Chris Kluwe, Marguerite K. Bennett, Rhianna Pratchett, Austin Grossman, Yoon Ha Lee, Ken Liu, Catherynne M. Valente, Andy Weir, and Hugh Howey.
Your inventory includes keys, a cell phone, and a wallet. What would you like to do?
- Print length528 pages
- LanguageEnglish
- PublisherVintage
- Publication dateAugust 18, 2015
- Dimensions5.2 x 0.89 x 7.9 inches
- ISBN-101101873302
- ISBN-13978-1101873304
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"Even those who doubt the editors' claim that "video games have come to play a vital role in modern human civilization" will be enthralled by these 26 stories (most of which are original to this volume). . . . Wilson and Adams have assembled a provocative assortment of thoughtful stories, making a valuable contribution to ongoing conversations about the future directions of video gaming." —Publishers Weekly (starred review)
"Sci-fi fans will find [Press Start to Play] well worth their while” —Kirkus Reviews
About the Author
Daniel H. Wilson is a New York Times bestselling author and coeditor of the Press Start to Play anthology. He earned a PhD in robotics from Carnegie Mellon University in Pittsburgh, where he also received master’s degrees in robotics and in machine learning. He has published more than a dozen scientific papers, holds four patents, and has written eight books. Wilson has written for Popular Science, Wired, and Discover, as well as online venues such as MSNBC.com, Gizmodo, Lightspeed, and Tor.com. In 2008, Wilson hosted The Works, a television series on the History Channel that uncovered the science behind everyday stuff. His books include How to Survive a Robot Uprising, A Boy and His Bot, Amped, and Robopocalypse (the film adaptation of which is slated to be directed by Steven Spielberg). He lives and writes in Portland, Oregon. Find him on Twitter @danielwilsonPDX.
John Joseph Adams
John Joseph Adams is the series editor of Best American Science Fiction & Fantasy, published by Houghton Mifflin Harcourt. He is also the editor of many other bestselling anthologies, such as The Mad Scientist’s Guide to World Domination, Armored, Brave New Worlds, Wastelands, and The Living Dead. Recent and forthcoming projects include: Loosed Upon the World, Robot Uprisings, Dead Man’s Hand, Operation Arcana, Wastelands 2, and The Apocalypse Triptych, which consists of The End Is Nigh, The End Is Now, and The End Has Come. Called “the reigning king of the anthology world” by Barnes & Noble, Adams is a winner of the Hugo Award (for which he has been nominated eight times) and is a six-time World Fantasy Award finalist. Adams is also the editor and publisher of the digital magazines Lightspeed and Nightmare and is a producer for Wired.com’s “The Geek’s Guide to the Galaxy” podcast. Find him on Twitter @johnjosephadams.
Excerpt. © Reprinted by permission. All rights reserved.
Daniel H. Wilson
Memories. Nauseous snatches of infinity trickling in, thumbing into my forehead, pinning me to this flower-smelling bed. My fractured thoughts are bursting away with the cannon-shot split of glaciers, broken towers that knife into a sea of amnesia.
In all of the forgetting, there is this one constant thing.
Her name is Sarah. I will always remember that.
She is holding my right hand with her left. Our fingers are interlaced, familiar. The two of us have held hands this way before. The memory of it is there, in our grasp.
Her hand in mine. This is all that matters to me now. Here in the aftermath of the great forgetting.
I’m twenty. Studying abroad at the University of Melbourne in Australia, learning how to make video games. Today I’m riding on a crowded tram, south to St. Kilda Beach.
Sarah.
Another American mixed in among dozens of Aussie college kids in board shorts and bikinis, all of us packed into the heaving car, bare shoulders kissing as the heat rolls off sticky black plastic floorboards. We are headed to the beach on Christmas holiday.
Her hair is brown streaked with blonde. Her lips are red. Teeth white.
The tram pulls to a stop. Double doors open accordion-style and a cool salty breeze floods in. I’m watching her when she faints. Her eyes roll up and she falls and I try to catch her. But my grip isn’t strong enough. She’s beautiful and lean and tan under a sheen of sweat. She slips through my grasp and instead of saving her, I leave four bright-red scratch marks across her shoulder blades.
Her sun-kissed hair swirls as her head hits the floor.
Sarah is only unconscious for a few seconds. Then her brown eyes are fluttering open and I’m holding her left hand with my right, pulling her up toward me, apologizing to her for the scratches and never for a moment realizing that our lives have now been grafted together, forever.
I remember. I think I can remember.
This is the day that the stars disappeared.
For the rest of the day, Sarah is woozy from the fall. Bright light hurts her eyes, so I’m pulling the plastic rolling shade down over her small dorm window. Outside, downtown Melbourne is babbling to itself. Her room is tiny, just four white-painted concrete walls cradling a college twin-size bed across from a sink. Drawers are built into the wall. We haven’t stopped talking since I pulled her to her feet.
We sit together on sheets that smell like flowers. The sun falls.
Later, we lie whispering in the dark. My bare feet are pressed against the cool wall. Muffled sounds of the dormitory reverberate around us: laughter, slamming drawers, music, the slap of feet on tile floors.
Sarah and I are talking philosophy while the stars blink out one by one, billions of miles away. The rules of physics are splintering and the foundation of rational thinking is dissolving like a half-remembered dream.
Holding hands in bed, we talk.
I can remember now. If I try very hard.
Sarah studies English. I am in Melbourne to study how to build virtual worlds. She doesn’t blame me for the scratches I left on her back when she fell. She says I was only trying to hold on. Her teeth are so white. The sharp angles of her face are tanned and an unlikely round dimple is tucked into the corner of her cheek.
A few nights later, she leaves scratches on my back.
We are both trying to hold on.
“What’s beyond the mountains?” Sarah asks me.
I am building my video game world, hands sweaty on the controller. This is my honors project. I call it Synthesis. As I create this world, my point of view leaps across valleys and over mountains. I am gazing down on a fractally generated city and its myriad, faceless inhabitants.
“Nothing,” I say.
“Nothing?” she asks. “There must be something.”
“If it isn’t rendered by the computer . . . it doesn’t exist.”
“So . . . if you can’t see it, then it isn’t there?”
“Right,” I say.
“What if you look anyway?” she asks.
On the news, they can’t stop talking about how the stars are gone.
There are quiet classes and subdued parties and always Synthesis. I lose track. We are reassured that the loss above us is some trick of the universe. Got to be. It’s impossible for stars to all disappear from the sky at the same time. They’re different distances away. The light takes different amounts of time to reach us. To disappear at once, they’d all have to have gone supernova at different moments, based on how far away from Earth they were.
Which is impossible.
Another day and I’m creating the world again. Sarah tells me I should get a hobby. Play a sport. I tell her that I’m saving my body for old age. If I don’t use up my energy now, I say, then I’ll have it ready for later. Some people burn the candle at both ends, but I blew mine out. I am saving the wax.
She laughs and laughs.
In Synthesis, I float through walls. Putting things together, you’ve got to see all the moving pieces. Sarah sits cross-legged next to me on her bed, wearing knee-length yoga pants and watching me work. She says she likes seeing how the textures roll across the landscape. A flat plane sprouts into a tangled wilderness. A gray cube shivers and grows a brick skin studded with glinting windows.
This is called “God Mode.”
It’s the act of creation, she says.
It’s just a simulation, I say.
You can simulate a nuclear blast on a supercomputer and nobody gets blown up. You can simulate the birth of a universe, but that doesn’t make you a god. The simulation is convincing, but it doesn’t have the intrinsic quality of the real thing.
The real-realness just isn’t there.
“Right?” I ask.
Sarah is quiet for a long time. I have hurt her feelings somehow.
She scoots in behind me on the bed, wrapping her long legs around my waist. Now she settles her elbows onto my shoulder blades. When she speaks I can feel her lips brushing my neck.
“If you can see it, then it’s there,” she says. “Even if it’s only gray.”
After the lights are out, Sarah and I walk up to the roof. Laying beach towels over the scabby asphalt and pebbles, we lie on our backs and peer up into a nothing sky. There are no clouds. No light coming down. Just the light of the city going up.
Like our city is at the bottom of a black ocean.
I turn my head and my cheek touches Sarah’s. I can feel that her cheek is wet.
Sarah is crying silently to see it. This emptiness.
“It’s okay,” she says. “I’m just a little scared.”
“The scientists can explain it,” I say and I don’t sound convinced.
We don’t go back up to the roof again.
I do not want to see what’s beyond the mountains.
They don’t cancel classes right away.
The man on the news interviews scientists. They have theories to explain why the stars are gone. An invisible storm of electromagnetic energy reacting with the atmosphere to block the light. An envelope of gas engulfing the planet. A primordial cloud of matter has floated in from intersolar space and swallowed our solar system.
We cling to the explanations.
—
I’m from Oklahoma. Sarah is from Manhattan. I call home once a month. She calls her mom once a week. And then one day—no more calls.
There is a story about it in the last newspaper.
All the satellites have gone. The government advises people to stay calm and in their homes. Scientists are going to figure this out, they say. The headline is that Australia has lost contact with the other continents.
Classes are canceled after that.
Things are loud in the dormitories for a little while. The walls are so thin. Friends and couples argue. Doors bang open and closed. Bags are packed and dragged down hallways. Sarah and I sit on her bed and we whisper. She keeps the panic from surging up my throat. Her hand is in mine and we squeeze until our fingers are numb. After a little while, things are much quieter.
I bring all my leftover food and a trash bag full of clothes to Sarah’s dorm and I throw it in the corner. We both agree that I should stay here from now on. My roommate was already gone when I went back to my room. He left a note saying that he had decided to head down to the coast to see if there was any news off the boats that dock there.
I don’t remember ever seeing him again.
Sarah and I lie side by side in the dark. The black of no stars has been getting more gray lately. It has been hard to keep track of the time.
“Should we run?” I ask.
“Where would we go?” she asks. “Our families are on the other side of the planet. We’re stuck between the desert and an ocean.”
The normal things. They used to be so simple. Now it is so hard to keep track.
“I don’t feel hungry,” I say.
“Me neither,” she says.
“When did we eat last?”
“I don’t know,” she whispers, and I feel her fingers searching for my hand.
Did we run? Did Sarah and I take off across the continent, searching for an explanation?
I think . . .
I can’t remember.
It always comes back to the dormitory.
The most familiar things . . . they always come back to me in the end.
Product details
- Publisher : Vintage (August 18, 2015)
- Language : English
- Paperback : 528 pages
- ISBN-10 : 1101873302
- ISBN-13 : 978-1101873304
- Item Weight : 2.31 pounds
- Dimensions : 5.2 x 0.89 x 7.9 inches
- Best Sellers Rank: #1,409,420 in Books (See Top 100 in Books)
- #693 in Science Fiction Short Stories
- #3,293 in Science Fiction Anthologies (Books)
- #14,850 in Short Stories Anthologies
- Customer Reviews:
About the authors
Daniel H. Wilson is a Cherokee citizen and author of the New York Times bestselling Robopocalypse its sequel Robogenesis, and many other books, including How to Survive a Robot Uprising, Amped, and The Clockwork Dynasty. He earned a PhD in Robotics from Carnegie Mellon University, as well as Masters degrees in Artificial Intelligence and Robotics. His latest novel is The Andromeda Evolution, an authorized sequel to Michael Crichton's groundbreaking The Andromeda Strain. Wilson lives in Portland, Oregon.
You can visit his website at www.danielhwilson.com
John Joseph Adams is the series editor of BEST AMERICAN SCIENCE FICTION AND FANTASY, as well as the bestselling editor of more than thirty anthologies, including WASTELANDS and THE LIVING DEAD.
Recent books include A PEOPLE’S FUTURE OF THE UNITED STATES, WASTELANDS: THE NEW APOCALYPSE, COSMIC POWERS, WHAT THE #@&% IS THAT?, OPERATION ARCANA, PRESS START TO PLAY, and LOOSED UPON THE WORLD. He is also a co-editor of The Apocalypse Triptych and his latest project, with Hugh Howey and Christie Yant, is The Dystopia Triptych anthology series.
Also with Christie Yant, he is the owner of Adamant Press, the publisher of the award-winning digital magazines NIGHTMARE and LIGHTSPEED.
Called “the reigning king of the anthology world” by Barnes & Noble, John is a two-time winner of the Hugo Award (for which he has been a finalist twelve times) and an eight-time World Fantasy Award finalist. He also served as a judge for the National Book Award.
In addition to his work in short fiction, John is also the editor of John Joseph Adams Books, a science fiction and fantasy imprint from Houghton Mifflin Harcourt, where he’s published books such as the New York Times bestselling CHOSEN ONES by Veronica Roth; MACHINE LEARNING by Hugh Howey; the Philip K. Dick Award-winning BANNERLESS by Carrie Vaughn, the forthcoming THE UNFINISHED LAND by Greg Bear, and many others.
To learn more about any of the above, visit johnjosephadams.com and @johnjosephadams.
Hugh Howey is New York Times and USA Today bestselling author of WOOL, MACHINE LEARNING, SAND, BEACON 23, and many others. His works have been translated into over 40 languages with millions of copies sold around the world. WOOL has been adapted into Silo, a TV show from AppleTVPlus. A show based on BEACON 23 is due out in 2023 from AMC. Hugh lives between New York and the UK with his wife, Shay.
Charlie Jane Anders is the author of Victories Greater Than Death, the first book in a new young-adult trilogy. Up next: Never Say You Can’t Survive, a book about how to use creative writing to get through hard times; and a short story collection called Even Greater Mistakes.
Her novel The City in the Middle of the Night came out in 2019—it won the Locus Award for Best SF Novel, and was named one of the year's best books by the Guardian, Den of Geek, Polygon and Autostraddle, among others, and was optioned for television by Sony and Mom de Guerre Productions. Her 2016 novel, All the Birds in the Sky, was #5 on Time Magazine's list of the year's 10 best novels, and won the Nebula, Locus and Crawford awards. Her first novel, Choir Boy, won a Lambda Literary Award and was shortlisted for the Edmund White First Novel Award.
Charlie Jane was a founding editor of io9.com, a blog about science fiction and futurism, and went on to become its editor in chief. Her fiction and journalism have appeared in the New York Times, the Washington Post, Slate, McSweeney's, Mother Jones, the Boston Review, Tor.com, Tin House, Teen Vogue, Conjunctions, Wired Magazine, the Magazine of Fantasy and Science Fiction, Asimov's Science Fiction, Lightspeed Magazine, Catamaran Literary Reader, ZYZZYVA, and numerous anthologies and "best of the year" collections. Her novelette "Six Months, Three Days" won a Hugo Award, and her short story "Don't Press Charges and I Won't Sue" won a Theodore Sturgeon Award.
Charlie Jane also won the Emperor Norton Award, for "extraordinary invention and creativity unhindered by the constraints of paltry reason."
Her TED Talk, "Go Ahead, Dream About the Future" has been viewed more than two million times.
She hosts the long-running monthly reading series Writers With Drinks, in which she makes up fictional bios for the authors (and nobody's sued yet.) Charlie Jane also organizes the Bookstore and Chocolate Crawl, which brings a mob of people to local bookstores to buy tons of books, and eat chocolate along the way. And during the covid-19 crisis, she also helped to organize a series of online fundraisers for local bookstores, at welovebookstores.org. She also helps to organize and co-host the monthly Trans Nerd Meet Up.
Back in the day, Charlie Jane created the satirical website GodHatesFigs.com, which received many "best of the web" awards. She was also part of the editorial staff of Anything That Moves, the influential bisexual magazine, and helped out with many other queer publishing projects including Black Sheets/Black Books. And she also organized tons of events such as the notorious Ballerina Pie Fight—plus an event in a hair salon where people got their hair cut while reading stories about haircuts to an audience.
With Annalee Newitz, Charlie Jane co-hosts a podcast about the meaning of science fiction called Our Opinions Are Correct. The podcast has been going strong for two years, and won a Hugo Award for Best Fancast. Anders and Newitz also collaborated on io9, plus an anthology called She's Such a Geek: Women Write About Science, Technology & Other Nerdy Stuff, and a magazine called other magazine.
Charlie Jane hugs trees, and keeps a British penny in her left shoe at all times.
S R Mastrantone is a writer and musician from Birmingham, now living in Oxford. His short stories have been published or are forthcoming in places like The Fiction Desk (where he has won their Writer's Award), Shock Totem, Lamplight and carte blanche.
He is currently working on his first novel.
Micky Neilson is a two-time New York Times best-selling author whose graphic novels, Ashbringer (#2 on the list) and Pearl of Pandaria (#3) have both been published in six languages. As one of the first writers at Blizzard Entertainment, he has more than two decades of experience in the cutting edge of the gaming industry. In 2017 Micky was tapped to write The Howling: Revenge Of The Werewolf Queen, a comic book continuation of the beloved 1981 Joe Dante horror film The Howling. In 2018 Micky co-wrote the graphic novel The Invisible Empire: Madge Oberholtzer And The Unmasking Of The KKK, as well as the illustrated novel Strange Highways. Most recently Micky has worked with Frost Giant Studios doing worldbuilding and narrative direction for their new game Stormgate. Micky lives in beautiful Washington State with his wife and daughter where he enjoys life's essentials: movies, comic books, chocolate and sushi.
Austin Grossman is the author of three novels: SOON I WILL BE INVINCIBLE, YOU, and CROOKED.
In 2007 he published his first novel, SOON I WILL BE INVINCIBLE, a hilarious, literary psychologically acute take on the superhero genre in the vein of Alan Moore's Watchmen, which the New York Times called "Imaginative and, at times, achingly real." It was nominated for the Center for Fiction's John Sargent, Sr. First Novel Prize.
His second novel, YOU, is another literary take on a genre - a mystery that takes you inside the world of video games and profesional game development - the Boston Globe calls it "a razor-sharp comedy" and Harper's Magazine writes, "Some of the most startling, acute writing on video games yet essayed."
CROOKED is the story of how Richard "Tricky Dick" Nixon stumbled into the hidden supernatural truth behind what we know as the Cold War, a conspiracy to weaponize the Lovecraftian beings and forces that lie beneath our world. Trapped in a double life, he struggles to save his presidency, his marriage, and the country itself. We learn that America's worst president may perhaps have been its greatest.
Along the way, Grossman earned a Master's in Performance Studies at NYU, and is currently ABD at the University of California, Berkeley, in English Literature.
After graduating from Harvard in 1992, he failed to get a job in publishing and found a job at a small computer game company, Looking Glass Studios, which was already become a legendary center of talent and innovation in the gaming world. Grossman went on to write and design for games such as Ultima Underworld 2, System Shock, Jurassic Park: Trespasser, Deus Ex, Disney's Epic Mickey, and most recently, Dishonored.
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The stories are divided into groups, which can be divided into two supergoups: those that occur before Half-Off Ragnarok, and those that occur after. The first supergroup mostly concerns the early backstory of the Healy/Price family in the USA. The post-Half-Off Ragnarok stories are about the present-day (more or less -- 21st century) Prices and cryptids. It is this second group that I'm reviewing here. BE WARNED: spoilers for Half-Off Ragnarok follow.
These are the stories in question:
Verity Price and Dominic De Luca:
The Ghosts of Bourbon Street, free download from McGuire's web site
Snake in the Glass, free download from McGuire's web site
Swamp Bromeliad, free download from McGuire's web site
Waking Up In Vegas, free download from McGuire's web site
Antimony Price:
Blocked, free download from McGuire's web site
Bad Dream Girl, in the Anthology Glitter & Mayhem
Jammed, in the Anthology Games Creatures Play
Survival Horror, in the Anthology Press Start to Play
Sarah Zellaby and Arthur Harrington
IM, free download from McGuire's web site
Istas and Ryan
Red as Snow, in Anthology Hex in the City
Black as Blood, free download from McGuire's web site
White as a Raven's Wing, free download from McGuire's web site
Eliza
Balance, in Anthology Urban Enemies
The Verity and Dominic stories all take place after Half-Off Ragnarok and reflect the state of things as they were left at the end of that book. Half-Off Ragnarok had two main consequences for the future of the Incryptid world: Dominic De Luca is now irrevocably committed to Verity and severed from the Covenant. In fact, the Covenant believes he is dead, thanks to the extraordinary efforts of Sarah, who damaged herself modifying the memories of the participants in Half-Off Ragnarok. So, there are the promised spoilers: Verity and Dominic are now a couple (this will come as a surprise to precisely no one), and Sarah has hurt herself badly.
Verity and Dominic are driving from New York to Portland in a rented U-Haul truck so that Dominic can be introduced to Verity's family. They are driving because Verity has a colony of Aeslin mice to transport -- not easily accomplished by air. Also, Verity is taking the scenic route, to introduce Dominic to various folks. The first story in this series, The Ghosts of Bourbon Street, is a crossover, in that it also belongs to McGuire's Ghost Road series -- you meet Rose Marshall, the main character of those books. Some other old friends show up: the Carmichael hotel in Chicago, and the Swamp Bromeliad in Buckley Township, Michigan. This series of stories ends as intended, with Verity introducing Dominic to her family in Portland.
Most of the Antimony stories have no obvious relation to the events of Half-Off Ragnarok. One may suppose they occur before that. If you have read the first three Incryptid novels you have sort-of been introduced to Antimony, because she features heavily in Verity's recollections of growing up, as the annoying little sister who excelled in such Price family staple skills as extreme survival, setting traps, and demolition. Now, introduced to Antimony in person, we see that she has complementary memories of Verity and Alex as the older siblings who her parents (in Antimony's view) always seemed to value more than her. Antimony becomes a roller-derby skater in these stories. A word about the anthologies: I read only one non-McGuire story. Several reviewers of Glitter & Mayhem, mentioned the story about the dancing princesses, so I read that on, too. It was OK. Jammed appeared in Games Creatures Play, which appears to be out of print. I couldn't easily get a copy, so I listened to the audiobook version. Survival Horror is in the Anthology Press Start to Play -- I read none of the other stories. The Antimony stores were a fun intro to Antimony, whom I now look forward to encountering in the novels. They also introduce her cousin Elsinor Harrington, whose father is an incubus, making Elsie a succubus.
That brings us to Antimony's other cousin, Elsie's brother Arthur (Artie). We have actually heard quite a bit about Artie in the novels because he and Sarah are hopelessly in love, and Verity also tends to phone Artie when she needs geek skills. IM is really all about whether Sarah is going to recover.
Istas is a kind of fun character. We met her in the Verity Price novels, where she works as a cocktail waitress at the place where Verity works, and fights at Verity's side. She's a sort of werewolf/werebear (as is her main squeeze Ryan). But what's fun about her is her very direct, uncomplicated way of thinking and speaking.
The final story, Balance, is about a cuckoo who, as far as I know, appears nowhere else in the Incryptid world. I didn't enjoy this story as much as the rest.
In summary, these stories are a good way to meet the Price/Harrington families. I give them four stars, except for Balance, which rates only three.
“It’s dangerous to go alone! Take this.”
The words jumped out at me as I meandered through the bookstore. It is a phrase every self-respecting gamer who had grown up with the video games medium from its nascent Golden Age on through the present day knows by heart. It is arguably among the most famous lines in the last thirty years of gaming, right up there with “The cake is a lie” and “Your princess is in another castle” (story of my life).
Now those same iconic words were boldly adorning the back cover of a prominently displayed paperback, flanked by stylishly-rendered 8-bit flames. Like Luke upon hearing the equally famous “Help me Obi Wan Kenobi,” I had to know the rest of the message. I read on.
“You are standing in a room filled with books, facing a difficult decision. A distinctive cover catches your eye. It is a groundbreaking anthology of short stories from award winning writers and game-industry titans who have embarked on a quest to explore what happens when video games and science fiction collide… Your inventory includes keys, a cell phone, and a wallet. What would you like to do?”
>_
<Look at cover>
I am of course well aware of the phrase “Never judge a book by its cover,” but this one had already proved creative and compelling, and what I read next even more so. Ernest Cline (author of Ready Player One, one of my favorite novels in recent years). Andy Weir (author of The Martian, the adaptation of which proved among the best films of the year). Catherynne M. Valente (whose prose style surpasses that of any living author, the best since George MacDonald himself). With that I was sold.
>_
<Buy book>
Over the past several years, the short story has overtaken the novel as my personal preference in consuming fictive literature. Experience has taught me that the number of worthwhile pieces in any anthology will always be outnumbered by the worthless ones, or if not worthless than at least not worth my time. In the best anthologies the ratio of these two categories approaches 50%. This is not among the best anthologies.
There are a few true gems, to be sure. Save Me Plz, despite the worst title of the collection, is easily the best of the bunch, with regards to having both the most engaging narrative and the most relevant musings on the nature of games. A particularly poignant excerpt reads:
“What’s real is just an accident. No one designed reality to be compelling… But a
world is so designed… It’s the world as it should be, full of wonder and adventure. To privilege reality simply because it is reality just represents a mental parochialism.”
The Clockwork Soldier and The Fresh Prince of Gamma World similarly combine sharp prose with a clear love of the games medium and genuine respect for the players who engage in it. All three are exactly what this anthology promise: classic science fiction aimed at video game enthusiasts.
Such is not the case for many others in the collection. Far from the exploration of humanity and its future through the speculative lens of fringe science and emerging technologies, as per Asimov and Dick and Stapleton and Wells and many others more, much of modern science fiction is merely the appropriation of its tropes and trappings in service of climate, gender, and racial politics. This is not to discount the importance our society’s ongoing conversations about such topics, nor to deny fiction’s preeminent power to slip ideas “past watchful dragons.” The problem is two-fold: 1) stories centered on post-colonialist racial politics and feminist gender politics have become so ubiquitous in modern science fiction as to drown everything else out, and 2) their presence in this particular collection reduces video games to a mere pretext, a trojan horse instead of a central theme. Of particular guilt in this regard are Outliers, All the People in Your Party Have Died, Anda’s Game, and Stats.
On the spectrum between the extreme ends of outstanding to awful outlined above falls the rest of the collection, ranging from genuinely good stories which merely fall short of the authors’ proven potentials (Killswitch and Twarrior) to others which would barely merit a passing grade in an entry level Creative Writing class in undergrad (Respawn, Survival Horror, <end game>, and Coma Kings).
Below is a short summery of each story, sans spoilers.
God Mode by Daniel H. Wilson
A love story set against a strange apocalypse in which most of the “assets” to the supposed reality a being deleted one by one, beginning with the stars overhead.
NPC by Charles Yu
The first of several second person point of view stories in this collection, “you” are a generic non-player character who gains volition and begins to live the glamorous life of a player character.
Respawn by Hiroshi Sakurazaka
Upon being murdered a Japanese man learns that his memories and consciousness transfer to the first person to come across his dead body.
Desert Walk by S. R. Mastrantone
An atmospheric horror story with clear inspirations from “The Ring” that slowly pulls back the mystery on a seemingly innocuous retro game.
Rat Catcher’s Yellow by Charlie Jane Anders
Taking its title from a fictive degenerative disease reminiscent in some ways of autistic savants, the atypical neurology unique to those who’ve contracted it leads to novel engagement with the ludic systems of a particular game, proving to have huge potential benefits for society.
1UP by Holly Black
While attending the funeral of an online friend a group of mourners discover a text-based game on the deceased teen’s computer, the completion of which promises answers to his mysterious passing.
Survival Horror by Seanan McGuire
An awkward admixture of pop-culture callouts and supernatural elements, a succubus and his cousin get trapped inside a cursed video game.
Real by Django Wexler
A reclusive former developer and current drunk is tracked down and divulges the the horrific secrets behind a series of deaths related to his popular alternate reality game.
Outliers by Nicole Feldringer
A self-righteous heiress-turned-bohemian further estranges herself from her family as she rises through the leaderboards of a gamified crowd-sourced analysis of climate models till she begins to take issue with the underlying algorithms.
<end game> by Chris Avellone
A horror story inspired by classic text-adventure games.
Save Me Plz by David Barr Kirtley
A perfect blend of real world touchstones, familiar game tropes, and philosophical explorations of real scientific concepts, all of which cohesively feed into one another. These perfect opening lines set the tone for a story you need to read for yourself: “Meg hadn’t heard from Devon in four months, and realized that she missed him. So on a whim she tossed her sword and scabbard into the backseat of her car and drove to campus to see him.”
The Relive Box by T. C. Boyle
A widower spends an increasing amount of time in his life living in the past after purchasing a console-like device that allows one to re-experience old memories with perfect recall.
Roguelike by Marc Laidlaw
Another second person story, “you” are multiple characters throughout, all short-lived and experiencing a deadly gauntlet reminiscent of Roguelike games.
All the People in Your Party Have Died by Robin Wasserman
A closeted lesbian during her first years teaching elementary school in the mid-‘80s begins an affair with the computer lab instructor who introduces the former to an Oregon Trail analog.
Recoil! By Micky Neilson
A would be game designer alpha testing a friend’s new shooter is forced to pick up an actual gun when the plot of Die Hard begins to play out at the game developers’ offices.
Anda’s Game by Cory Doctorow
Ender’s Game, albeit instead of precocious children fighting bugs from space, in this story a clan of powderpuffs engaging in the slaughter of gold farming child slaves from third world sweatshops, bringing awareness to a real world problem through poor prose and unlikable characters.
Coma Kings by Jessica Barber
The top-player of a game called Coma seeks reconciliation with her vegetative sister after the latter hardwired herself into the game.
Stats by Marguerite K. Bennet
A ham-fisted story about empathy sees the stereotypically evil, privileged white man experience the everyday hardships of various minorities as his body undergoes drastic changes.
Please Continue by Chris Kluwe
An autobiographical account by a former NFL player using terminology reminiscent of esports.
Creation Screen by Rhianna Pratchett
The soliloquy of an avatar in a massive multiplayer game to the player, beginning with character creation and eventually exhorting the player/reader to quest in his real world.
The Fresh Prince of Gamma World by Austin Grossman
A fascinating exploration of the experience open world games offer players to seemingly live in two worlds simultaneously, this wonderfully written work is especially timely as the titular Gamma World draws obvious inspirations from the imminent Fallout 4, being the irradiated remains of an alternate history Boston.
Gamer’s End by Yoon Ha Lee
Of the numerous stories in this collection in which the seemingly real stakes a revealed to be a simulation, this is the least accessible as it takes place in a dense science-fiction universe fleshed out in the author’s other writings.
The Clockwork Soldier by Ken Liu
Two stories, one of an intergalactic bounty hunter and her princely captive, the other of a fairly-tale princess and her clockwork companion, beautifully parallel each other in a fascinating meditation on sentience, free will, and artificial intelligence.
Killswitch by Catherynne M. Valente
The brief history of a game with true perma-death, which deletes itself after a single failed attempt, and has gone decades without ever being beaten.
Twarrior by Andy Weir
A former hacker gets a mysterious message from a strange benefactor with ties to his college days.
Select Character by Hugh Howey
A husband is delighted to learn that his wife has taken up his favorite shooter during maternity leave, watching from the couch as she plays the game in an unintuitive manner.
> Recommend book?
>_
<No>
Top reviews from other countries
It's not so consistently good as some other collections, (I skipped a couple of stories after a couple of pages as I just didn't care "8deadlywords"). But worth reading
I think the Andy Weir one was my favourite because I loved the humour, however, there are many amazing stories to pick from here!
Je conseil vivement à tous ceux qui s'intéresse à la narration dans le jeu (et en dehors du jeu)