Ready Player One guy is coming out with his new book...

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That review is amazing:



Damn son
Also I said this on Twitter a couple days ago but I find this fascinating as an example of the idea of the unified set of "geek texts" across both genre and medium, which I think is honestly a post-2000 phenomenon, at least to this extent. (Okay actually maybe you can trace it to Clerks). Either way its the idea that "being a geek" means you are familiar with and appreciate a dispirate set of works, from Back to the Future to Lord of the Rings to Legebd of Zelda
 
My entire exposure from the author is watching him in that ET documentary, but his shtick made me really self-conscious of what pop culture is about nowadays. Just wrap all the things you loved as a kid around you like a big warm blanket, and just stay put in there because now they're selling you all of it all over again on repeat. It just seems disfunctional when you step back and look at it.

The manchild demographic is ripe with money they love to carelessly throw at "collectibles" and shit.

Which is exactly why this meme got popular.

Bn2GiwL.jpg



Also, intricate knowledge of obscure video games and cartoons is no substitute for a personality.
 
Is Snow Crash a good read?

Until the abrupt and unsatisfying ending, yes. I didn't mind the weak ending though, because getting there is a great ride, and it's so far ahead of its time in terms of seeing where online and gaming culture could go, it's amazing it was written when it was. Also you'll need to be able to overlook the fact that the hero and protagonist of the story is named Hiro Protagonist, which is just the most precious thing ever.
 
Did (Back to the Future) anyone else (Batman) feel like (Doctor Who) there were a bunch of (Spider-man) pop-culture references inorganically thrown in (MTV) where they didn't really fit (Call of Duty)?
 
Is selling nostalgia really that big a deal? If it's all someone consumes, sure, but it's fun to play around with your old toys now and then.

Besides, I thought the justification for why everyone in RPO was obsessed with 80's pop culture was fine enough: It's how you solve the puzzle. The guy who made it was basically a D&D obsessed Willy Wonka.

Is Snow Crash a good read?

Oh yeah, one of the cyberpunk greats.
 
Is selling nostalgia really that big a deal? If it's all someone consumes, sure, but it's fun to play around with your old toys now and then.

A bit of nostalgia is good, but some people cocoon themselves it in.

When you see someone scream "they ruined my childhood" when talking about a remake, for example, the subtext is that they're still living their childhood.


Also, nostalgia is severely oversold these days. When I was a teen in the '90s, or a young adult in the early '00s, we didn't pine for the cartoons of our childhood to the extreme that everyone seems to do today. There never was a "you know you're an '80s kid..." meme. We were too busy getting to know the wider world around us.
 
A bit of nostalgia is good, but some people cocoon themselves it in.

When you see someone scream "they ruined my childhood" when talking about a remake, for example, the subtext is that they're still living their childhood.


Also, nostalgia is severely oversold these days. When I was a teen in the '90s, or a young adult in the early '00s, we didn't pine for the cartoons of our childhood to the extreme that everyone seems to do today. There never was a "you know you're an '80s kid..." meme. We were too busy getting to know the wider world around us.

Yeah, but only 90s kids will understand. That's why you don't get it.

But seriously, it is a fairly insidious mindset to have. You're closing yourself off to new experiences just to maintain a facade of childhood happiness. Like no shit you probably think the world was better when you were a child. That's because you were a child, with a child's responsibilities, and the ability to be completely carefree most of the time. You were largely ignorant of what was going on in the world at large and your entire world consisted of nothing more odious than homework.
 
I finished RPO earlier today after seeing this thread pop up a few days ago...not sure how I feel about it. Some parts really make me cringe but eh.

Could've been worse I suppose.

Started Armada, so expectations are low.
 
Finished Steelheart this weekend. *Nods* It was pretty good. I'll have Armada by the 14th, but I think I'll be more preoccupied with Neal Stephenson's Seveneves and Firefight instead.

Eh, actually, I don't think I even wan't my Audible copy of Armada now :(

Can't wait to read the impressions here.
 
I finished RPO earlier today after seeing this thread pop up a few days ago...not sure how I feel about it. Some parts really make me cringe but eh.

Could've been worse I suppose.

Started Armada, so expectations are low.


Where is everyone getting the book? I thought it doesnt come out until Tuesday?
 
From the AV Club review, ha:

No one ever fails to get a reference, no matter their relative age or nationality. A Chinese player who speaks little English quotes They Live before rushing into battle. Lightman’s mom imitates Gandalf to keep him from retreating to his room. If just once someone had admitted to not having read Dune or seen Aliens it could have been a great opportunity to show the characters being excited to share something they are passionate about. The promise of sitting down to watch a movie together when the aliens stop attacking would have been far more poignant than the date Lightman plans with the book’s obligatory hot hacker chick.
 
My entire exposure from the author is watching him in that ET documentary, but his shtick made me really self-conscious of what pop culture is about nowadays. Just wrap all the things you loved as a kid around you like a big warm blanket, and just stay put in there because now they're selling you all of it all over again on repeat. It just seems disfunctional when you step back and look at it.

That was actually the best part of RPO, when he realizes there's more to life than the game at the end.
 
Even Tor's review, which seems to love all the nerd references, ends with this:
But accessibility isn’t Armada‘s biggest issue. Instead, this love letter to the pop culture that’s become so prevalent today is let down by a central character nowhere near as credible as Wade Watts was, a plot which pivots on a trio of twists so transparently telegraphed that they’re difficult to miss, and—one last nail in what was a very promising novel’s coffin—a truly dreadful ending. You might not regret reading Armada, but I bet you will forget it.
 
https://www.reddit.com/r/books/comments/3da3q3/im_ernest_cline_author_of_ready_player_one_and/

Ernest Cline just did an AMA at Reddit. He only answered six questions over three hours. He skipped all the actually hard questions (someone asked a question directly related to that Slate review right at the beginning and he just ignored it), and the closest we got to seeing how his brain works was this exchange:

Q: Cline - what do you say to critics that say geek culture has been reduced to route memorization and trivial knowledge, as opposed to a deeper understanding of a creative's work? Negative reviews of Armada have focused on the palpable usage of pop culture as not much more than a roll call of in-jokes and obscure references for their own sake, nothing deeper. I'd love to hear your reaction.

A: I personally don't see any difference between culture and pop culture. Pop culture is the culture I grew up in - the only culture I've ever really known. And if something isn't considered a part of popular culture, then what is it? Unpopular culture? Why would you make an unpopular culture reference, unless you're trying to be obscure? I view pop culture references as just one of the many tools I have as a writer to tell my story and convey meaning to the reader. But I also do my best to make sure the story still works for readers who aren't familiar with any of the things I reference, just as I did with Ready Player One. In the end, you can't write to please critics - you have to write the kind of story you enjoy telling in the way you want to tell it, and trust that other people with a similar sensibility will enjoy reading it.

"one of many tools I have as a writer," okay Cline, whatever you say.
 
I personally don't see any difference between culture and pop culture. Pop culture is the culture I grew up in - the only culture I've ever really known. And if something isn't considered a part of popular culture, then what is it? Unpopular culture? Why would you make an unpopular culture reference, unless you're trying to be obscure?

Errr, is he really this historically dumb? Pop culture stands in opposition to the original use of the term culture--what we sometimes call "high culture" now--entertainment products produced for the consumption of an elite (either socio-economically or in terms of education and engagement) class. Art existed for thousands of years, but mass-produced motel art only began to exist perhaps a hundred ago, coinciding with the popularity and availability of technologies that can reproduce products at a large scale and the growth of enormous commercial industries around selling cultural products. I'm not saying there's anything wrong with pop culture, but is he really not aware there's any other kind? Works can aspire to a wide audience--often at the expense of depth or resonance--or they can aspire to a narrower audience by challenging their audience even at the risk of alienating others. Popular culture often commoditized themes, expressions, and even characters and titles from high culture. I'm not being a snob here, pop culture is also worthy of highbrow analysis in many cases. For example, Tao of Pooh is a thing that exists. But there's more to the world than it, we shouldn't let our populist spirit teach us that there's no such thing as depth, there are no ideas that are not universally relevant, there are no experiences that haven't been felt by everyone, etc. 💩
 
He was too busy writing his new book which involves name dropping reddit and gaf.

Maybe it's some typical white guy that somehow combats the trolls of both forums, killing the evil white knights and corporate scum.
 
Errr, is he really this historically dumb? Pop culture stands in opposition to the original use of the term culture--what we sometimes call "high culture" now--entertainment products produced for the consumption of an elite (either socio-economically or in terms of education and engagement) class. Art existed for thousands of years, but mass-produced motel art only began to exist perhaps a hundred ago, coinciding with the popularity and availability of technologies that can reproduce products at a large scale and the growth of enormous commercial industries around selling cultural products. I'm not saying there's anything wrong with pop culture, but is he really not aware there's any other kind? Works can aspire to a wide audience--often at the expense of depth or resonance--or they can aspire to a narrower audience by challenging their audience even at the risk of alienating others. Popular culture often commoditized themes, expressions, and even characters and titles from high culture. I'm not being a snob here, pop culture is also worthy of highbrow analysis in many cases. For example, Tao of Pooh is a thing that exists. But there's more to the world than it, we shouldn't let our populist spirit teach us that there's no such thing as depth, there are no ideas that are not universally relevant, there are no experiences that haven't been felt by everyone, etc. 💩

True, but Ernest Cline isn't writing to an audience that gives a shit about any of that.
 
What is the normal amount of questions answered for an AMA that length of time? That seems like way too few.

Well, Brian Sanderson started an AMA like four months ago and I guess he's still answering questions in it as recent as a few hours ago.

Asa Akira did one a year ago, and she has upwards of 5+ pages of responses. What's interesting here is that she seems to have responded to questions like "What advice do you have for girls who want to get into adult films, but are scared of how their friends and family will react?" and "Why is your bunghole so nice?" with equal consideration.

Some guy who writes Star Wars books answered 47 questions in one AMA session. I don't know how to use Reddit well enough to find time stamps, but as far as I can tell it lasted a comparable amount of time to Ernest Cline's.

Margaret Atwood, an extremely prolific author who almost certainly has better things to do than waste time talking a bunch of jerk offs on Reddit, had two AMAs six months apart, and answered about ~25 questions in each of them.

So yeah, giving your core audience (who else is RPO for if not Redditors?) only six answers for three questions seems very low.
 
At work this morning, the only copy of this I sold was to a man that looked like Ernest Cline's cousin or something. The t-shirt, the hair, the beard...all of it. It just seemed surreal.

And, just for a joke, I flipped to random pages in the book to see if I could find any page without a pop culture reference. Of the six or seven times I tried, I always found one.

I really need to punish myself and read this to see if it is as bad as it seems to be.
 
A.V. Club review is out.

http://www.avclub.com/review/ready-player-one-authors-follow-armada-pale-imitat-221974

To no one's surprise, its the same thing under a different coat of paint but worse.

I understand that different reviewers reviewed this and RPO, across several different years, but almost nothing in the review establishes how merely being a retread of RPO and increasing evidence dude's a one-trick pony actually causes the book to tumble from an A to a D. I would like to see if the reviewer would agree with the RPO A, would have agreed at the time but came to sour on it due to post-release discussion about the former, or would have given RPO a poor grade as well.

I'm not accusing the author of hopping on a bandwagon. I read RPO in April so beyond knowing it was acclaimed I knew very little about the book's original reception. But I wonder if it's become fashionable to be embarrassed about the celebration of arrested development and geek insularity in a way that it wasn't a few years ago, when there was a little less geek culture in the world and we only had one terrible 9-figure shitfest cg superhero movie a year instead of 5.

When I read RPO, I read it on a vacation with no internet access, so I wasn't looking up what other people were saying. I do remember that the AVClub had given it an A and that it got pretty wide acclaim and buzz around release and was successful. I did know it was a tribute to video games. As I read it, I felt it was, on a positive side, somewhat page turny. I thought there were occasionally interesting worldbuilding elements. I thought there were parts of the plot that seemed generally coherent. Around the point where P4rziv4l enters the first dungeon, the book starts to take a dive and becomes increasingly hyperactive, arbitrary, and nonsensical. The whole way through, the characters are very thin, the prose is abominable (especially the diction: Cline has a very narrow vocabulary and uses the same few expressions endlessly; cheshire cat smile rubenesque curves), every character has the exact same voice. Frankly, it read like a first stab at a self-published novel by a mildly creative author in bad need of restraint. I was surprised to find out that this was not self-published, later on. Nearer to the end when the book becomes an orgy of animu power level believe in your heart nonsense, the flaws become even more loud. Probably the only thing that feels at all human on any level I related to in the entire book was the brief discussion about the falling out between Ogden Morrow and James Halliday.

The Tor review says:
this love letter to the pop culture that’s become so prevalent today is let down by a central character nowhere near as credible as Wade Watts was

How on earth was Wade Watts credible? We had a Simple Plan level "no one understands me" lash-out against his Dustley cartoon villain caretakers in his slum town. The book glosses over his school attendance. His devotion to geeky stuff is, I guess, relatable but we never seem him talk about themes or understanding. I can't remember exactly what is referenced and what isn't but as a hypothetical, he doesn't learn from LOTR the value of friendship and the importance of protecting yourself from your own worst influences; rather, he learns to quote the script verbatim. He finds some sort of secret nerd cave paradise in the slums where he can work on his video games and not have to put up with his family, which I guess is supposed to be relatable to kids who found spots they could play in the woods by their subdivision or something? Then his whole city gets ultra-nuked and we get about a paragraph where he reflects on the death of everyone he's ever known before moving on. Then he gets ultra-rich and sits in his spartan space age apartment where he uses special shampoo that removes his... wait, body hair, what? So he just sits around with no eyebrows??? Errr, okay... and gets buff from using a robo workout machine until his eGirlfriend gets mad at him???

Here's a key example of why Wade Watts is not credible: I do not believe that there is a world where memorizing Ferris Bueller will help you save the world. But given the fact that there is such a world, I do not believe EvilCorp or whatever it was called would be unable to hire someone who has memorized Ferris Bueller. We are literally never told what makes Wade the hero, what qualifies him. We're given 50-odd pages of how he's a schlub who gets made fun of because he has low-level equipment, we're led to believe there are hundreds of millions of full-time oo-logists, and all the friendly characters we meet seem to be at least as skilled as Wade is at the nonsense people are expected to be skilled in... but yet Wade is the most powerful king nerd... because... uh??? Well I guess because that's how the book was written.

Can someone lay out a simple case for how Wade Watts could be described as credible. Ideally if someone could give me other examples of credible and non-credible protagonists. I'm not a very well-read guy so maybe I'm missing thing, but this is not my understanding of a credible protagonist at all. Do I not understand the word credible?
 
I read that as "relatively credible with the benefit of the doubt for a debut book".
 
I think that someone else in this thread mentioned that Cline's worldview of gaming comes from an era where the biggest thing was having your initials on top of your local arcade's leaderboard. Of course nobody thinks like this anymore, because we have no arcades, and the internets blew up this idea of being "the best." I can play Geometry Wars 2 for hundreds of hours and I would still probably be ranked around 75,000 overall (note I haven't played GW2 in years so I don't know what the score tables are like; it's just the most arcade-like game I can think of right now). I can console myself by being better than my friends, but I'm not just competing against local schlubs at the pizza shop anymore.

But Cline doesn't seem to realize this. That's why the protagonist of the book is "the best" even though, as you point out, he is competing with literally millions of people who have been studying the same cultural artifacts as he has been for a long time.
 
Having been reading it, I think my only nitpick is that there is no real reason that so many of the characters are into 80s stuff. Or even just pop culture stuff.

in RPO, it had a reason why everyone was into 80s culture.

I mean there was a solid reason in the plot for everyone to know about the pop culture stuff that everyone was throwing around.

But in Armada it just seems odd that so many people reference the stuff they do. Even the LotRs stuff seems out of place, at least in the amount they use it.

Then again I'm not an 18 year old kid anymore. Im sure I had passionate nerdy debates back in the day.

I don't know.

All the pop culture stuff fit in the world created for RPO, in Armada it just seems forced.

Still loving it though.
 
I read that as "relatively credible with the benefit of the doubt for a debut book".

I buy that, like I said part of my reaction is surprise that this was not self-published. Certainly I'm not equipped to live up to my own critical standards were I to write prose. But we're not talking about a self-published, timid attempt to speak to 200 fans and build confidence for a serious effort or get some beer money. We're talking about something published by Random House with a 6-figure print run that received at least moderate critical acclaim and wide audience response. Whether we blame Cline or their obvious lack of editorial oversight, I don't think they should skate.

Side-bar: when a publisher backs something like this, doesn't it undermine their entire raison d'etre? Why are publishers gatekeeping at all? Publishing something so bad but commercially viable seems to justify criticism that publishers are revenue-maximizing parasites rather than helpful hands acting in an editorial capacity.
 
I buy that, like I said part of my reaction is surprise that this was not self-published. Certainly I'm not equipped to live up to my own critical standards were I to write prose. But we're not talking about a self-published, timid attempt to speak to 200 fans and build confidence for a serious effort or get some beer money. We're talking about something published by Random House with a 6-figure print run that received at least moderate critical acclaim and wide audience response. Whether we blame Cline or their obvious lack of editorial oversight, I don't think they should skate.

Side-bar: when a publisher backs something like this, doesn't it undermine their entire raison d'etre? Why are publishers gatekeeping at all? Publishing something so bad but commercially viable seems to justify criticism that publishers are revenue-maximizing parasites rather than helpful hands acting in an editorial capacity.
They need those revenue-maximizing books to help offset the critical darlings.

Of course, with books the critical darlings usually take off eventually once word gets out. Those are all about legs, not the quick bestseller.
 
I really, really loved Ready Player One. It's probably the only book I've read in the last decade that I literally stayed up half the night to complete, once I got close to the end.

I do think a lot of the criticism I've seen on GAF and elsewhere is valid, though. It can get a little cringe-worthy at times - "I pulled in in my DeLorean with the Goonies soundtrack blaring, my lightsaber ready to go, and my vintage Pac-Man belt buckle gleaming..."

What I think a lot of people miss is the same thing they miss in something like Fight Club. The cringiness of those references is deliberate. The heroes of the stories are huge nerds.

I think the average Ready Player One reader is supposed to oscillate back and forth between smiling at all the nostalgic references, and then be a little put off by a character that is so into some specific aspect of the era.

Anyway, new book sounds... remarkably similar to RPO, ha. I'm down. It'll probably be the first First Edition hardcover I've bought since Harry Potter ended.
 
People who hated Ready Player One sure are gonna hate this book especially if you hate the pop culture references because it jam-fucking-packed, at least the first 6 chapters.

Listened the first 6 chapters on audible while re-bag and boarding comics for a couple of hours and was completely hooked i plan on spending my day off tomorrow just relaxing in my sun room and listening.
 
Side-bar: when a publisher backs something like this, doesn't it undermine their entire raison d'etre? Why are publishers gatekeeping at all?

Oh, they're basically betting on the next big thing. It's not about quality, but commercial volatility.

Exhibit A: Supernatural YA boom pending Twilight's mainstream success. Yes, there was an assload. Yes, I read some of it.

Exhibit B: Dystopian YA boom pending Hunger Games' mainstream success. Again, this became the new hot thing in YA. Werewolves and vampires are old hat now. It's all about rebelling against Totalitarian Regimes.

RPO tapped into that segment of the market that's eating up all the retro reboots saturating the industry entertainment these last few years. That's why (in my opinion) it was published.

Stump, because I'm a sadist, I would like to recommend to you The Name of the Wind, by Patrick Rothfuss.
 
I really, really loved Ready Player One. It's probably the only book I've read in the last decade that I literally stayed up half the night to complete, once I got close to the end.

I do think a lot of the criticism I've seen on GAF and elsewhere is valid, though. It can get a little cringe-worthy at times - "I pulled in in my DeLorean with the Goonies soundtrack blaring, my lightsaber ready to go, and my vintage Pac-Man belt buckle gleaming..."

What I think a lot of people miss is the same thing they miss in something like Fight Club. The cringiness of those references is deliberate. The heroes of the stories are huge nerds.

I think the average Ready Player One reader is supposed to oscillate back and forth between smiling at all the nostalgic references, and then be a little put off by a character that is so into some specific aspect of the era.

I don't think so. RPO plays it totally straight. The characters are badasses of the OASIS because they know all these references and uncovered all these puzzles. There is no insight about how sad and pathetic it is to live in a world where the fucking 1980s are the pinnacle of culture. I mean, Cline says as much in the AMA.
 
I really, really loved Ready Player One. It's probably the only book I've read in the last decade that I literally stayed up half the night to complete, once I got close to the end.

I do think a lot of the criticism I've seen on GAF and elsewhere is valid, though. It can get a little cringe-worthy at times - "I pulled in in my DeLorean with the Goonies soundtrack blaring, my lightsaber ready to go, and my vintage Pac-Man belt buckle gleaming..."

What I think a lot of people miss is the same thing they miss in something like Fight Club. The cringiness of those references is deliberate. The heroes of the stories are huge nerds.

I think the average Ready Player One reader is supposed to oscillate back and forth between smiling at all the nostalgic references, and then be a little put off by a character that is so into some specific aspect of the era.

Anyway, new book sounds... remarkably similar to RPO, ha. I'm down. It'll probably be the first First Edition hardcover I've bought since Harry Potter ended.


See, I can't buy this because Ernest Cline has now written two books where the protagonists have been immensely rewarded for being deep into nerd culture. If Ernest Cline was actually interested in providing meaningful commentary on how becoming obsessed with pop culture is a waste of time and can be "off putting" he wouldn't have made his two protagonists parley their knowledge of The Last Starfighter into scoring with hot babes.
 
What I think a lot of people miss is the same thing they miss in something like Fight Club. The cringiness of those references is deliberate. The heroes of the stories are huge nerds.

Everything is deliberate; authors choose what words to write and when they are ready to release their book. When people say something is deliberate in characterization, prose, or storytelling, they typically mean in service of some broader theme or in order to enable some particular story to be told. As I said above, a serious problem with RPO is that every character sounds the exact same (like Ernest Cline). This is deliberate in the sense that he wrote the words and was comfortable with them when he released the book, but it's not in service of anything, it's just a function of his inexperience, lack of ambition, or lack of skill as a writer. Mostly the point seems to be: "the stuff we like is pretty radical, and I'll show you for telling me to get a real job"

I'm not entirely sure what your exact comparison is in Fight Club (and haven't read it in maybe a decade or so), but to the extent that anything was cloying about the prose or the world constructed in Fight Club, it's in service of the themes: anticonsumerism, conspicuous consumption, identity as performance, ego-death, masculinity in modernity, resistance, anarchy, sincerity, psychosis and the nature of reality, therapy. I'm not going to say Palahniuk is highly literary or high-brow, but he is clearly grappling with ideas that matter.

What are the ideas in Ready Player One? Well, uh, if there's commentary on consumerism, it's clearly not much more than "epic swag r00lz". There's maybe a bit of environmentalism that comes through in the imagery of the towering slums. There's a pass at corporate control of culture versus information wants to be free. But Cline says very little about any of these things. If I had to guess whether he was making a point about them, or aping them as scenery dressing from books he read and movies he saw, I'd probably guess the latter. Not grappling with any ideas is a symptom of a lot of lousy genre fiction. Speculative fiction is great when it shines a mirror on questions of humanity (which a lot of early science fiction did, from Asimov onwards, and which a lot of canonical fantasy did going back as far as Narnia or Tolkien or E. H. White), and rancid when it's nerds playing in make-believeland because reality means crippling social phobia and hungryman dinners again.
 
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