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This Is Not a Game: A Novel, by Walter Jon Williams
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Once upon a time, there were four of them. And though each was good at a number of things, all of them were very good at games...
Dagmar is a game designer trapped in Jakarta in the middle of a revolution. The city is tearing itself apart around her and she needs to get out.
Her boss Charlie has his own problems -- 4.3 billion of them, to be precise, hidden in an off-shore account.
Austin is the businessman -- the VC. He's the one with the plan and the one to keep the geeks in line.
BJ was there from the start, but while Charlie's star rose, BJ sank into the depths of customer service. He pads his hours at the call-center slaying on-line orcs, stealing your loot, and selling it on the internet.
But when one of them is gunned down in a parking lot, the survivors become players in a very different kind of game. Caught between the dangerous worlds of the Russian Mafia and international finance, Dagmar must draw on all her resources -- not least millions of online gamers-- to track down the killer. In this near-future thriller, Walter Jon Williams weaves a pulse-pounding tale of intrigue, murder, and games where you don't get an extra life.
- Sales Rank: #2373064 in Books
- Published on: 2009-03-24
- Original language: English
- Number of items: 1
- Dimensions: 10.50" h x 1.25" w x 6.25" l, 1.30 pounds
- Binding: Hardcover
- 384 pages
From Publishers Weekly
Starred Review. Williams (The Rift) weaves intriguing questions about games, gamers and their relationships with real life into this well-paced near-future thriller. Game designer Dagmar specializes in creating alternate reality games that muddle the line between fantasy and reality. Trapped in riot-torn Jakarta, she reaches out to the gamer community for help. Once back in Los Angeles, Dagmar is caught up in a web of murders and financial manipulation that she begins to blend into her latest game, using the community of players to solve clues and sift through large amounts of data. The line between real life and the game blurs as the action builds to a satisfying and thoughtful conclusion. Though the technology talk occasionally becomes intrusive, it's convincingly written; the characters are realistic and absorbing, and the story deeply compelling. (Mar.)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
"Interstellar adventure has a new king, and his name is Walter Jon Williams." --- George R.R. Martin
"A spectacular far-future space opera." --- Locus on The Sundering
"This series is great fun to read, one of the most entertaining space operas in many years." --- SF Site on The Sundering
"[Williams'] meticulous inner eye creates a landscape so rich in concrete and metaphysical imagery that it alone is practically worth the price of admission." --- Scifi.com on City of Fire
About the Author
Walter Jon Williams has been nominated repeatedly for every major SF award, including Hugo and Nebula Award nominations for his novel City on Fire. His most recent books are The Sundering, The Praxis, Destiny's Way, and The Rift. Mr. Williams lives near Albuquerque, New Mexico, with his wife.
Most helpful customer reviews
22 of 24 people found the following review helpful.
William's best book in some time...
By Ian K.
I've been reading Walter Jon Williams since he wrote Hardwired and Voice Of The Whirlwind. But I have not found his recent work as good as the books he wrote all those years ago. For example, I thought that Implied Spaces was a weak book. I was pleasantly surprised by This Is Not A Game, which I found to be Williams' best book in some time.
The book is written in a three act form. The first part of the book is fascinating and sets the context for the moral issues that arise later in the book. Reading this book it seemed to me that Williams was "doing" an impression of William Gibson, picking up on some of the themes that Gibson has touched on. I enjoyed this, especially because Gibson hasn't been doing Gibson much these days (sadly his Spook Country was one of his weakest books). Nor do I see anything wrong with one artist being influenced by another.
This Is Not A Game is set in the relatively near future. One of the things I enjoyed about this book is its technological speculation. I am a computer scientist and I found most of the speculation reasonable. There was some suspension of disbelief required when it comes to the ability of software to "learn", but I didn't find that this detracted from my enjoyment of the story.
One way I judge a book is whether I'm still thinking about it after I've finished reading it. I keep thinking of bits and pieces of This Is Not A Game.
0 of 0 people found the following review helpful.
High Tech Plot Steals the Show
By Darth Dragonetti
"This is Not A Game" is a 2008 novel by science fiction writer Walter Jon Williams. It is not hard science fiction, but can rather be classified as a high-tech thriller.
It is rather tricky to describe the plot of "This is Not a Game" (TINAG). The plot revolves around the main character, Dagmar Shaw, who is a writer, or 'puppetmaster," for a type of game that is organized online, but involves elements that must be completed in the real world. The "game" can be thought of as an MMORPG (massively multiplayer online role-playing game) that requires players to get out into the world rather than playing the game 100 percent behind a computer screen. When one of Shaw's colleagues is mysteriously murdered, she solicits help from the players of her online games to help solve the mystery (and without telling them that the scenario is real). However, as the body count rises, Shaw finds herself neck-deep in a nefarious and high-tech plot that could have ramifications for the entire world.
Unfortunately, the main plot is very slow to get off the ground. The first third of the book almost seems like a different story entirely, though Williams connects it to the rest of the plot later on, and in a creative way. Even when the ball does get rolling, the plot doesn't move at the breakneck pace that one would expect of a modern thriller, and the chapters seem overly lengthy. However, the technology end of the plot is fascinating and it is difficult to discern where the real world ends and the fictions begins. The convincing use of technology is reminiscent of a Michael Crichton novel, a testament to Mr. Williams's strong grasp of where the future might take us.
The main characters are almost entirely Millennials. Readers in their 20s and 30s will understand the characters, but older readers might be turned off (and might find the gaming angle to be foreign to them). The characters are interesting and are realistically realized, but a lack of other types of characters makes the novel less interesting and less accessible.
TINAG is well-written and does a good job of straddling the line between sci-fi vs thriller. The dialogue seems real and believable, as does the obvious pain-staking research. However, there does seem to be a change of tone from part 1 of the novel to the rest of the novel, almost as if part 1 was originally conceived as a separate novel or story, and later combined with the rest of the novel.
Overall, TINAG is novel worth exploring, particularly if you enjoy a thriller with a high-tech plot.
In Summation:
The Good:
-believable, high-tech plot
-well-researched
-characters seem true to type
-effective marriage of thriller and sci-fi
The Bad:
-not fast paced enough
-part 1 doesn't fit
-lack of variety in characters
24 of 30 people found the following review helpful.
Brisk and readable, but a little obvious
By C. Claiborn
I like Williams' work, and both "Aristoi" and "Metropolitan" are favorites. "Game" is a couple of steps below those. The first (and best) segment, in which a Dagmar, game producer is forced to rely upon strangers on the Internet for help escaping a collapsed state, is tense and tightly-plotted. The second, longer segment, which tells the story of Dagmar's game and a few real-life murders that may or may not be attached to the game's events, works less well.
Part of the problem may be that Williams simply doesn't have anywhere to go: he introduces only four characters of any consequence, and one of them is the narrator, so any mysteries will be solved after the second murder. That limited scope is a feature of the work in general: although we're told about 3 million people playing the game, there can't be more than six or seven people named in the book. Williams keeps only a very narrow window open on the action. Because of this, the book flies by, but there aren't any surprises for the alert reader.
A couple of moments in the novel that don't amount to much--the inept Israeli security company, the kung-fu Muslims who save Dagmar--gave me the impression that this book might have been trimmed down from something longer. If that's the case, it's too bad; a little more flesh on the bones of this story might have made the second half of the novel feel less inexorable.
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