Makers

by Cory Doctorow

  But there were people on the other end of that computer, human friends whom he could communicate with if only he could re-learn to use this tool that he’d lived with since he was old enough to sit up on his own.

  So laboriously, peck by peck, key by key, he learned to use it again. The machine had a mode for disabled people, for cripples, and once he hit on this, it went faster. The mode tried to learn from him, learn his tremors and mis-keys, his errors and cursing, and so emerge something that was uniquely his interface. It was a kind of a game to watch the computer try to guess what was meant by his mashed keystrokes and spastic pointer-movements—he turned on the webcam and aimed it at his eye, and switched it to retinal scanner mode, giving it control of the pointer, then watched in amusement as the wild leaping of the cursor every time a needle or a broken bone shifted inside his body was becalmed into a graceful, normalized curve.

  It was humiliating to be a high-tech cripple and the better the technology worked, the more prone it was to reducing him to tears. He might be like this for the rest of his life. He might never walk without a limp again. Might never dance. Might never be able to reach for and lift objects again. He’d never find a woman, never have a family, never have grandkids.

  But this was offset by the real people with their real chatter. He obsessively flew through the Brazilian mode, strange and wonderful but nowhere near what he loved from “his” variation on the ride. He could roll through all the different changes he’d made with his friends to the ride in Florida, and he became subtly attuned to which elements were wrong and which were right.

  It was on one of these flythroughs that he encountered The Story, leaping out of the ride so vividly that he yelped like he’d flexed his IV into a nerve again.

  There it was—irrefutable and indefinable. When you rode through there was an escalating tension, a sense of people who belonged to these exhibits going through hard changes, growing up and out.

  Once he’d seen it, he couldn’t un-see it. When he and his pals had started to add their own stuff to the ride, the story people had been giant pains in the ass, accusing them of something they called “narricide”—destroying the fragile story that humanity had laid bare there.

  Now that he’d seen it too, he wanted to protect it. But he could see by skimming forward and back through the change-log and trying different flythroughs that the story wasn’t being undermined by the goth stuff they were bringing in; it was being enhanced. It was telling the story he knew, of growing up with an indefinable need to be different, to reject the mainstream and to embrace this subculture and aesthetic.

  It was the story of his tribe and sub-species and it got realer the more he played it. God, how could he have missed it? It made him want to cry, though that might have been the meds. Some of it made him want to laugh, too.

  He tried, laboriously, to compose a message-board post that expressed what he was feeling, but every attempt came out sounding like those story mystics he’d battled. He understood now why they’d sounded so hippy-trippy.

  So he rode the ride, virtually, again and again, spotting the grace-notes and the sly wit and the wrenching emotion that the collective intelligence of all those riders had created. Discovered? It was like the story was there all along, lurking like the statue inside a block of marble.

  Oh, it was wonderful. He was ruined, maybe forever, but it was wonderful. And he’d been a part of it.

  He went back to writing that message-board post. He’d be laid in that bed for a long time yet. He had time to rewrite.

  IF YOU CAN’T BEAT THEM, RIP THEM OFF

  A new initiative from the troubled Disney Parks corporation shows how a little imagination can catapult an ambitious exec to the top of the corporate ladder.

  Word has it that Samuel R.D. Page, the Vice President for Fantasyland (I assure you, I am NOT making that up) has been kicked upstairs to Senior Vice President for Remote Delivery of Park Experience (I’m not making that up, either). Insiders in the company tell us that “Remote Delivery of Park Experience” is a plan to convince us to give The Mouse a piece of our homes which will be constantly refreshed via a robot three-dimensional printer with miniatures of the Disney park.

  If this sounds familiar, it should. It’s a pale imitation of the no-less-ridiculous (if slightly less evil) “rides” movement pioneered by Perry Gibbons and Lester Banks, previously the anti-heroes of the New Work pump-and-dump scandal.

  Imitation is meant to be the sincerest form of flattery, and if so, Gibbons and his cultists must be blushing fire-engine red.

  This is cheap irony, Disney-style. After all, it’s only been a month since the company launched ten separate lawsuits against various incarnations of the ride for trademark violation, and it’s now trying to duck the punishing countersuits that have risen up in their wake.

  Most ironic of all, word has it that Page was responsible for both ends of this: the lawsuits against the ride and the decision to turn his company into purveyors of cheap knockoffs of the ride.

  Page is best known among Park aficionados for having had the “foresight” to gut the children’s “Fantasyland” district in Walt Disney World and replace it with a jumped up version of Hot Topic, a goth-themed area that drew down the nation’s eyeliner supply to dangerously low levels.

  It was apparently that sort of “way-out-of-the-box” “genius” that led Page to his latest round of disasters: the lawsuits, an abortive rebuilding of Fantasyland, and now this “Remote Delivery” scam.

  What’s next? The Mouse has already shipped Disney Dollars, an abortive home-wares line, a disastrous fine-art chain, and oversaw the collapse of the collectible cel-art market. With “visionaries” like Page at the helm, the company can’t help but notch up more “successes.”

  Death was deep into the story now. The Brazilians had forked off their own ride—they’d had their own New Work culture, too, centered in the favelas, so they had different stories to tell. Some of the ride operators imported a few of their scenes, tentatively, and some of the ride fans were recreating the Brazil scenes on their own passes through the ride.

  It was all in there, if you knew where to look for it, and the best part was, no one had written it. It had written itself. The collective judgement of people who rode through had turned chaos into coherence.

  Or had it? The message-boards were rife with speculation that The Story had been planted by someone—maybe the ride’s creators, maybe some clan of riders—who’d inserted it deliberately. These discussions bordered on the metaphysical: what was an “organic” ride decision? It made Death Waits’s head swim.

  The thing that was really doing his head in, though, was the Disney stuff. Sammy—he couldn’t even think of Sammy without a sick feeling in his stomach, crashing waves of nausea that transcended even his narcotic haze—Sammy was making these grotesque parodies of the ride. He was pushing them out to the world’s living rooms. Even the deleted rides from the glory days of the goth Fantasyland, in time-limited miniature. If he’d still been at Disney Parks, he would have loved this idea. It was just what he loved, the knowledge that he was sharing experience with his people around the world, part of a tribe even if he couldn’t see them.

  Now, in the era of the ride, he could see how dumb this was. How thin and shallow and commercial. Why should they have to pay some giant evil corporation to convene their community?

  He kept trying to write about The Story, kept failing. It wouldn’t come. But Sammy—he knew what he wanted to say about Sammy. He typed until they sedated him, and then typed some more when he woke up. He had old emails to refer to. He pasted them in.

  After three days of doing this, the lawyer came back. Tom Levine was dressed in a stern suit with narrow lapels and a tie pierced with some kind of frat pin. He wasn’t much older than Death, but he made Death feel like a little kid.

  “I need to talk to you about your Internet activity,” he said, sitting down beside him. He’d brought along a salt-water taffy assortment bought fro
m the roadside, cut into double-helix molecules and other odd biological forms—an amoeba, a skeleton.

  “OK?” Death said. They’d switched him to something new for the pain that day, and given him a rocker-switch he could use to drizzle it into his IV when it got bad. He’d hit it just before the lawyer came to see him and now he couldn’t concentrate much. Plus he wasn’t used to talking. Writing online was better. He could write something, save it, go back and re-read it later and clean it up if it turned out he’d gone off on a stoned ramble.

  “You know we’re engaged in some very high-stakes litigation here, right, Darren?”

  He hated it when people called him Darren.

  “Death,” he said. His toothless lisp was pathetic, like an old wino’s.

  “Death, OK. This high-stakes litigation needs a maximum of caution and control. This is a fifteen-year journey that ends when we’ve broken the back of the company that did this to you. It ends when we take them for every cent, bankrupt their executives, take their summer homes, freeze their accounts. You understand that?”

  Death hadn’t really understood that. It sounded pretty tiring. Exhausting. Fifteen years. He was only nineteen now. He’d be thirty-four, and that was only if the lawyer was estimating correctly.

  “Oh,” he said.

  “Well, not that you’re going to have to take part in fifteen years’ worth of this. It’s likely we’ll be done with your part in a year, tops. But the point is that when you go online and post material that’s potentially harmful to this case—”

  Death closed his eyes. He’d posted the wrong thing. This had been a major deal when he was at Disney, what he was and wasn’t allowed to post about—though in practice, he’d posted about everything, sticking the private stuff in private discussions.

  “Look, you can’t write about the case, or anything involved with it, that’s what it comes down to. If you write about that stuff and you say the wrong thing, you could blow this whole suit. They’d get away clean.”

  Death shook his head. Not write about it at all?

  “No,” he said. “No.”

  “I’m not asking you, Death. I can get a court order if I have to. This is serious—it’s not some funny little game. There are billions on the line here. One wrong word, one wrong post and pfft, it’s all over. And nothing in email, either—it’s likely everything you write is going to go through discovery. Don’t write anything personal in any of your mail—nothing you wouldn’t want in a court record.”

  “I can’t do that,” Death said. He sounded like a fucking retard, between talking through his mashed mouth and talking through the tears. “I can’t. I live in email.”

  “Well, now you’ll have a reason to go outside. This isn’t up for negotiation. When I was here last, I thought I made the seriousness of this case clear to you. I’m frankly amazed that you were immature and irresponsible enough to write what I’ve read.”

  “I can’t—” Death said.

  The lawyer purpled. He didn’t look like a happy-go-lucky tanned preppie anymore. He looked Dad-scary, like one of those fathers in Disney who was about to seriously lose his shit and haul off and smack a whiny kid. Death’s own Pawpaw, who’d stood in for his father, had gone red like that whenever he “mouthed off,” a sin that could be committed even without opening his mouth. He had an instinctive curl-up-and-hide reaction to it, and the lawyer seemed to sense this, looming over him. He felt like he was about to be eaten.

  “You listen to me, Darren—this is not the kind of thing you fuck up. This isn’t something I’m going to fuck up. I win my cases and you’re not going to change that. There’s too much at stake here for you to blow it all with your childish, selfish—”

  He seemed to catch himself then, and he snorted a hot breath through his nose that blew over Death’s face. “Listen, there’s a lot on the line here. More money than you or I are worth. I’m trying to help you out here. Whatever you write, whatever you say, it’s going to be very closely scrutinized. From now on, you should treat every piece of information that emanates from your fingertips as likely to be covered on the evening news and repeated to everyone you’ve ever met. No matter how private you think you’re being, it’ll come out. It’s not pretty, and I know you didn’t ask for it, but you’re here, and there’s nothing you can do to change that.

  He left then, embarrassed at losing his temper, embarrassed at Death’s meek silence. Death poked at his laptop some. He thought about writing down more notes, but that was probably in the same category.

  He closed his eyes and now, now he felt the extent of his injuries, felt them truly for the first time since he’d woken up in this hospital. There were deep, grinding pains in his legs—both knees broken, fracture in the left thigh. His ribs hurt every time he breathed. His face was a ruin, his mouth felt like he had twisted lumps of hamburger glued to his torn lips. His dick—well, they’d catheterized him, but that didn’t account for the feelings down there. He’d been kicked repeatedly and viciously, and they told him that the reconstructive surgeries—surgeries, plural—would take some time, and nothing was certain until they were done.

  He’d managed to pretend that his body wasn’t there for so long as he was able to poke at the computer. Now it came back to him. He had the painkiller rocker-switch and the pain wasn’t any worse than what passed for normal, but he had an idea that if he hit it enough times, he’d be able to get away from his body for a while again.

  He tried it.

  Hilda and Lester sat uncomfortably on the sofa next to each other. Perry had hoped they’d hit it off, but it was clear after Lester tried his Yoko joke again that the chemistry wasn’t there. Now they were having a rare moment of all-look-same-screen, the TV switched on like in an old comedy, no one looking at their own laptop.

  The tension was thick, and Perry was sick of it.

  He reached for his computer and asked it to find him the baseball gloves. Two of the drawers on the living-room walls glowed pink. He fetched the gloves down, tossed one to Lester, and picked up his ball.

  “Come on,” he said. “TV is historically accurate, but it’s not very social.”

  Lester got up from the sofa, a slow smile spreading on his face, and Hilda followed a minute later. Outside, by the cracked pool, it was coming on slow twilight and that magic, tropical blood-orange sky like a swirl of sorbet.

  Lester and Perry each put on their gloves. Perry’d worn his now and again, but had never had a real game of catch with it. Lester lobbed an easy toss to him and when it smacked his glove, it felt so right, the sound and the vibration and the fine cloud of dust that rose up from the mitt’s pocket, Christ, it was like a sacrament.

  He couldn’t lob the ball back, because of his busted wing, so he handed the ball to Hilda. “You’re my designated right arm,” he said. She smiled and chucked the ball back to Lester.

  They played until the twilight deepened to velvety warm dark and humming bugs and starlight. Each time he caught a ball, something left Perry, some pain long held in his chest, evanesced into the night air. His catching arm, stiff from being twisted by the weight of the cast on his other hand, unlimbered and became fluid. His mind was becalmed.

  None of them talked, though they sometimes laughed when a ball went wild, and both Perry and Lester went “ooh,” when Lester made a jump-catch that nearly tumbled him into the dry pool.

  Perry hadn’t played a game of catch since he was a kid. Catch wasn’t his dad’s strong suit, and he and his friends had liked video-games better than tossing a ball, which was pretty dull by comparison.

  But that night it was magic, and when it got to full dark and they could barely see the ball except as a second moon hurtling white through the air, they kept tossing it a few more times before Perry dropped it into the pocket of his baggy shorts. “Let’s get a drink,” he said.

  Lester came over and gave him a big, bearish hug. Then Hilda joined them. “You stink,” Lester said, “Seriously, dude. Like the ass of a dead bear.” />
  That broke them up and set them to laughing together, a giggling fit that left them gasping, Lester on all fours. Perry’s arm forgot to hurt and he moved to kiss Hilda on the cheek and instead she turned her head to kiss him full on the lips, a real juicy, steamy one that made his ear-wax melt.

  “Drinks,” Hilda said, breaking the kiss.

  They went upstairs, holding the mitts, and had a beer together on the patio, talking softly about nothing in particular, and then Lester hugged them good night and then they all went to bed, and Perry put his face into the hair at the back of Hilda’s neck and told her he loved her, and Hilda snuggled up to him and they fell asleep.

  A GAME OF CATCH

  Pop-quiz: Your empire is crumbling around your ears. Your supporters are hospitalized by jackboot thugs for sticking up for you.

  The lawsuits are mounting and fly-by-night MBAs have determined to use your non-profit, info-hippie ride project to get right by embarking on 20 years of litigation.

  What do you do?

  Well, if you’re like Perry Gibbons, Lester Banks and Hilda Hammersen, you go out into the backyard and throw a ball around for a while, then you have a big cuddle and head inside.

  The pictures shown here were captured by a neighbor of the cult leaders last night, at their palatial condos in Hollywood, Florida.

  The three are ring-leaders of the loose-knit organization that manages the “rides” that dot ten cities in America and are present in fifty cities in Brazil. Their project came to national attention when Disney brought suit against them, securing injunctions against the rides that resulted in riots and bloodshed.

  One supporter of the group, the outspoken “Death Waits,” a former Disney employee, has been hospitalized for over a week following a savage beating that he claims resulted from his Internet posting about the unhealthy obsession Disney executive Samuel R.D. Page (see previous coverage) bore for the ride.

  Everyone needs to unwind now and then, but sources at the hospital where Death Waits lies abed say that he has had no visits from the cult leaders since he took his beating in their service.