Wired has a three-part interview with William Gibson where he talks about a whole lot of things, from how sci-fi speculations about reality are almost always wrong (and how that's a good thing); to the pointless pleasure of learning how to fix antique watches; and the global spread of punk rock in the pre-internet era. Every time I read his interviews (here's another), he kindles my enthusiasm to pursue a hobby, and know a lot about one thing (anything), and at least something about everything. His conversations are always fascinating and can sustain in many living rooms.
In some ways, he shapes some of what I appreciate in popular and counter culture. Like him, I see science-fiction as being rooted in reality; and even when it is not, I like working out at what point it veers off from reality and takes an imaginary, somewhat realistic alternate path; and then I wonder what our lives might have been like if we had taken that path. Sometimes, we correctly speculate a future phenomenon (example 1, example 2), but may not be able to accurately predict the means we used to arrive at that phenomenon, because they don't always follow a linear path or happen by intention. It's like we choose a different right, from many possible rights! And then, even if some of the rights ultimately lead to the same end, the manner in which they do it becomes important and critical to determining the course of the future. It's like how Acetaminophen (paracetamol) and Ibuprofen both relieve pain, but they have two very different mechanisms of action, where in one sends a message to our hypothalamus and increases our threshold to pain, and the other inhibits the release of hormones (prostaglandins) that trigger pain, and encourages endorphins to flow freely and relieve pain. They therefore come with different side effects, which you want to keep in mind when you decide which one might suit your physical makeup. Likewise, the means to arriving at a phenomenon comes with its set of contingent properties, and they in turn trigger other actions, thereby unfolding many new paths that the future can possibly take off in.
Science fiction writers don't usually look to be accurate in their speculation, as much as imagine another reality, with a willingness to entertain the possibility of the impossible (eg: time travel, parallel universes, gene therapy, advanced AI, etc). However, nine times out of ten, my quest to figure out what is real, what will be real, what is speculative, and what is completely made up, ends up revealing how much more outlandish our reality is in comparison with some of the most outlandish science fiction there is! Few authors manage to break away from what has already been done and create new imaginary worlds. On the flip side, few outlandish things in reality seldom reveal themselves to us immediately, and when they do, they don't seem far out anymore. One such example in our real life is virtual reality, our more intangible counterpart-reality, which has allowed us to experience many realistic interactions and other benefits, and sometimes more realistic than in our physical world, but, it still ceases to be considered palpably real. It has a non-real, fictional component to it that is dependent on our imagination, and is therefore cheated of legitimacy. At the same time, it is so useful that we just can't wish it away.
I think of the virtual world's palpability as being analogous to Aerogel, or frozen smoke; the ultralight solid that is 96% air, and so light that if you hold it in your hand, you can barely see it or feel it. When you put a flower on top of the aerogel, the flower appears to have levitated; and if you suspend the aerogel over burner, with the flower on top of it, the flower won't go up in smoke and appears to defy nature! It supports 4000 times its weight, can withstand a direct blast from two pounds of dynamite;
There were online communities, and virtual worlds forty years before people began to reckon with Facebook and Second Life, and speculate how virtual worlds are affecting our lives. Even in the 1970s, people interacted with each other in fictitious worlds, each with their own subculture driven by both players' imaginations and evolving conventions that became solidified as more worlds evolved and more people became invested in them. But, before the mass of millions caught on to it and it was only limited to a mass of thousands, it became more popular in science fiction, so much that many believed it to be a speculation of the future. Even today, we think of virtual worlds as a present-day phenomenon that's still in its early stages, and are trying to understand how it might impact our life. And now this is reality because we don't know any other reality, and because it is a multiple-reality that we don't fully understand, we have extended our existentialist philosophies and world views to it.
In real life, there is a line between work and play that is clearly defined. Unless you are a sportsperson or an entertainer, and in fact, even if you are a sportsperson or an entertainer, a game is not the centre of your existence. However, in the virtual world the line between work and play is imaginary. Notwithstanding our biological needs, we can do almost everything in the virtual world that we can in the physical world, except here all real life implications happen under the pretext of a game, but can impact our lives just as they do in the physical world! We can run businesses that can make or break our economy, enroll in school, join a religious cult, socialize and play. The metaphorical game of life in the physical world is literally the game of life in the virtual world.
Summer Wars depicts how seamlessly integrated the virtual and real worlds have become. It is a visually explosive fictional drama based on reality. Every frame is like a spectacular painting, and it is only in that that it differs from reality; Such eye-candy is unfortunately in short supply in both our real and virtual worlds, but I can speculate that this caliber of aesthetic will soon take over at least our virtual world, for real.