Maxine can imagine. Silicon Alley in the nineties provided more than enough work for fraud investigators. The money in play, especially after about 1995, was staggering, and you couldn’t expect elements of the fraudster community not to go after some of it, especially HR executives, for whom the invention of the computerized payroll was often confused with a license to steal. If this generation of con artists came up short now and then in IT skills, they made up for it in the area of social engineering, and many entreprenerds, being trusting souls, got taken. But sometimes distinctions between hustling and being hustled broke down. It didn’t escape Maxine’s notice that, given stock valuations on some start-ups of interest chiefly to the insane, there might not much difference. How is a business plan that depends on faith in “network effects” kicking in someday different from the celestial pastry exercise known as a Ponzi scheme? Venture capitalists feared industrywide for their rapacity were observed to surface from pitch sessions with open wallets and leaking eyeballs, having been subjected to nerd-produced videos with subliminal messages and sound tracks featuring oldie mixes that pushed more buttons than a speed freak with a Nintendo 64. Who was less innocent here?
Scanning Justin and Lucas for spiritual malware, Maxine, whose acquaintance with geekspace, since the tech boom, had grown extensive though nowhere near complete, discovered that even by the relaxed definitions of the time, the partners checked out as legit, maybe even innocent. It could’ve just been California, where the real nerds are supposed to come from, while all you ever see on this coast is people in suits monitoring what works and what doesn’t and trying to copy the last hot idea. But anybody adventurous enough to want to move their business from out there to New York ought to be warned—it would be unprofessional of Maxine, wouldn’t it, not to share what she knows of the spectrum of hometown larceny. So she kept finding herself, with these guys, slipping back and forth between Helpful Native and its more sinister variant, the kvetchy, spoon-waving source of free advice she lives in terror of turning into, known locally as a Jewish Mother.
Well, as it turns out, no worries—Lucas and Justin in reality are smarter cookies than the Girl Scout type Maxine was imagining. Somewhere back in the Valley, among those orange groves casually replaced with industrial campuses, they came to a joint epiphany about California vis-a-vis New York—Vyrva thinks maybe more joint than epiphany—something to do with too much sunshine, self-delusion, slack. They’d heard this rumor that back east content was king, not just something to be stolen and developed into a movie script. They thought what they needed was a grim unforgiving workplace where the summer actually ended once in a while and discipline was a given daily condition. By the time they found out the truth, that the Alley was as much of a nut ward as the Valley, it was too late to go back.
Having managed to score not only seed and angel money but also a series-A round from the venerable Sand Hill Road firm of Voorhees, Krueger, the boys, like American greenhorns of a century ago venturing into the history-haunted Old World, lost no time back east in paying the necessary calls, setting up shop around early ’97 in a couple of rooms sublet from a Website developer who welcomed the cash, down in the then still enchanted country between the Flatiron Building and the East Village. If content was still king, they got nonetheless a crash course in patriarchal subtext, cutthroat jostling among nerd princes, dark dynastic histories. Before long they were showing up in trade journals, on gossip sites, at Courtney Pulitzer’s downtown soirees, finding themselves at four in the morning drinking kalimotxos in bars carpentered into ghost stops on abandoned subway lines, flirting with girls whose fashion thinking included undead signifiers such as custom fangs installed out in the outer boroughs by cut-rate Lithuanian orthodontists.
“So . . .” some presentable young lady spreading her upturned palms, “warm and friendly here, right?”
“And after the stories we heard,” Lucas nodding, gazing amiably at her tits.
“I was in California once, I gotta say, you go out there expecting all those howdy-there vibes, it comes as a shock—talk about entitled? suspicious? Nobody here in the Alley’s about to snoot you the way you get snooted by those folks in Marin. Oh, I’m sorry, you’re not Well people, are you?”
“Hell no,” cackles Lucas, “we’re as sick as they come.”
By the time the tech market began its toiletward descent, Justin and Vyrva had enough squirreled away for a down payment on a house and some acreage back in Santa Cruz County, plus a little more in the mattress. Lucas, who’d been putting his money in places a bit less domestic, flipping IPOs, buying into strange instruments understood only by sociopathic quants, got hit way harder when tech-stock enthusiasm collapsed. Soon people were coming around inquiring, often impolitely, after his whereabouts, and Vyrva and Justin found themselves overditzing to deflect the unwelcome attention.
“Come on.” Leading Maxine up a set of spiral stairs to Justin’s workroom, an obsessive clutter of monitors, keyboards, loose discs, printers, cables, Zip drives, modems, routers, the only books visible being a CRC manual and a Camel Book and some comics. There’s custom wallpaper designed to look like a hex dump, in which Maxine out of habit searches for repeating cells but can’t find any, and some Carmen Electra posters, mostly from her Baywatch period, and a gigantic Isomac steampunk espresso machine in the corner, which Vyrva keeps calling the Insomniac.
“DeepArcher Central,” Lucas with one of those may-I-introduce armwaves.
Originally the guys, you have to wonder how presciently, had it in mind to create a virtual sanctuary to escape to from the many varieties of real-world discomfort. A grand-scale motel for the afflicted, a destination reachable by virtual midnight express from anyplace with a keyboard. Creative Differences arose, to be sure, but went strangely unacknowledged. Justin wanted to go back in time, to a California that had never existed, safe, sunny all the time, where in fact the sun never set unless somebody wanted to see a romantic sunset. Lucas was searching for someplace, you could say, a little darker, where it rains a lot and great silences sweep like wind, holding inside them forces of destruction. What came out as synthesis was DeepArcher.
“Whoa, Cinerama here.”
“Cute, huh?” Vyrva switching on a gigantic 17-inch LCD monitor, “Brand new, retails for about a thousand, but we got a price.”
“You’re assimilating.” Maxine meantime reminding herself that she has never had a clear idea of how these guys make their money.
Justin goes to a worktable, sits at a keyboard and begins tapping at it while Lucas rolls a couple of joints. Presently remotely linked window blinds close their slats against the secular city, and the lights go down and the screens light up. “You can get on that other keyboard over there too if you want,” Vyrva sez.
A splash screen comes on, in shadow-modulated 256-color daylight, no titles, no music. A tall figure, dressed in black, could be either sex, long hair pulled back with a silver clip, The Archer, has journeyed to the edge of a great abyss. Down the road behind, in forced perspective, recede the sunlit distances of the surface world, wild country, farmland, suburbs, expressways, misted city towers. The rest of the screen is claimed by the abyss—far from an absence, it is a darkness pulsing with whatever light was before light was invented. The Archer is poised at its edge, bow fully drawn, aiming steeply down into the immeasurable uncreated, waiting. What can be seen of the face from behind, partly turned away, is attentive and unattached. A light wind is blowing in the grass and brush. “Looks like we cheaped out and didn’t bother to animate much,” Justin comments, “but look close and you can see the hair rippling too, I think the eyes blink once, but you have to be watching for it. We wanted stillness but not paralysis.” When the program is loaded, there is no main page, no music score, only a sound ambience, growing slowly louder, that Maxine recognizes from a thousand train and bus stations and airports, and the smoothly cross-dawning image of an interior whose detail, for a moment breathtakingly, is far in advance of anything she’s seen on the gaming platforms Ziggy and his friends tend to use, flaring beyond the basic videogame brown of the time into the full color spectrum of very early morning, polygons finely smoothed to all but continuous curves, the rendering, modeling, and shadows, blending and blur, handled elegantly, even with . . . could you call it genius? Making Final Fantasy X, anyway, look like an Etch A Sketch. A framed lucid dream, it approaches, and wraps Maxine, and strangely without panic she submits.
