Ready Player One - Ernest Cline [97]
The rest of the room was dominated by my OASIS immersion rig. I’d invested every spare cent I had in it. Newer, faster, or more versatile components were always being released, so I was constantly spending large chunks of my meager income on upgrades.
The crown jewel in my rig was, of course, my customized OASIS console. The computer that powered my world. I’d built it myself, piece by piece, inside a modded mirror-black Odinware sphere chassis. It had a new overclocked processor that was so fast its cycle-time bordered on pre-cognition. And the internal hard drive had enough storage space to hold three digitized copies of Everything in Existence.
I spent the majority of my time in my Shaptic Technologies HC5000 fully adjustable haptic chair. It was suspended by two jointed robotic arms anchored to my apartment’s walls and ceiling. These arms could rotate the chair on all four axes, so when I was strapped in to it, the unit could flip, spin, or shake my body to create the sensation that I was falling, flying, or sitting behind the wheel of a nuclear-powered rocket sled hurtling at Mach 2 through a canyon on the fourth moon of Altair VI.
The chair worked in conjunction with my Shaptic Bootsuit, a full-body haptic feedback suit. It covered every inch of my body from the neck down and had discreet openings so I could relieve myself without removing the entire thing. The outside of the suit was covered with an elaborate exoskeleton, a network of artificial tendons and joints that could both sense and inhibit my movements. Built into the inside of the suit was a weblike network of miniature actuators that made contact with my skin every few centimeters. These could be activated in small or large groups for the purpose of tactile simulation—to make my skin feel things that weren’t really there. They could convincingly simulate the sensation of a tap on the shoulder, a kick to the shin, or a gunshot in the chest. (Built-in safety software prevented my rig from actually causing me any physical harm, so a simulated gunshot actually felt more like a weak punch.) I had an identical backup suit hanging in the MoshWash cleaning unit in the corner of the room. These two haptic suits made up my entire wardrobe. My old street clothes were buried somewhere in the closet, collecting dust.
On my hands, I wore a pair of state-of-the-art Okagami IdleHands haptic datagloves. Special tactile feedback pads covered both palms, allowing the gloves to create the illusion that I was touching objects and surfaces that didn’t actually exist.
My visor was a brand-new pair of Dinatro RLR-7800 WreckSpex, featuring a top-of-the-line virtual retinal display. The visor drew the OASIS directly onto my retinas, at the highest frame rate and resolution perceptible to the human eye. The real world looked washed-out and blurry by comparison. The RLR-7800 was a not-yet-available-to-the-plebian-masses prototype, but I had an endorsement deal with Dinatro, so they sent me free gear (shipped to me through a series of remailing services, which I used to maintain my anonymity).
My AboundSound audio system consisted of an array of ultrathin speakers mounted on the apartment’s walls, floor, and ceiling, providing 360 degrees of perfect spatial pin-drop sound reproduction. And the Mjolnur subwoofer was powerful enough to make my back teeth vibrate.
The Olfatrix smell tower in the corner was capable of generating over two thousand discernible odors. A rose garden, salty ocean wind, burning cordite—the tower could convincingly re-create them all. It also doubled as an industrial-strength air conditioner/purifier, which was primarily what I used it for. A lot of jokers liked to code really horrific smells into their simulations, just to mess with people who owned smell towers, so I usually left the odor generator disabled, unless I was in a part of the