51 pages • 1 hour read
Ernest ClineA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Faisal tells the group that Anorak found a way to influence the OASIS’s NPCs. All across the virtual environment, NPCs are murdering users, taking their virtual belongings, and delivering it to Anorak. Those same NPCs form an army that is amassing outside Anorak’s Castle. Faisal also reveals that users no longer respawn after dying, and because they cannot wake up either, nobody knows what happens to their consciousness.
Wade tries to piece together the clues Og left on the Shard worlds. He figures out that the Ninja Princess high score and the appearance of the Babbitt brothers form an address in Columbus: 750 Babbitt Road. This, he believes, is where Og is being held prisoner.
At that moment, L0hengrin arrives with her gunter friends. On the Middletown planet, she found a Dungeons & Dragons adventure module Kira created called The Quest for the Seven Shards of the Siren’s Soul. The plot of the adventure involves an evil wizard who abducts the siren Leucosia—Kira's D&D character—and scatters the seven shards of her soul. Only when the shards are recovered is Leucosia restored. Wade theorizes that Anorak believes by gathering the shards, Kira herself—or at least a virtual version of her—will be resurrected.
Within the module, the group also finds a handwritten note from Og revealing the presence of a sword known as the Dorkslayer hidden in the OASIS. The Dorkslayer is the only weapon capable of defeating. Moreover, only Og’s avatar, The Great and Powerful Og, can wield it. So, to slay Anorak, the group must find the Dorkslayer and save Og in real life. L0hengrin and her friends agree to try and retrieve the sword while Art3mis—the only one who can leave the OASIS—will try to save Og. Wade, meanwhile, formulates his own plan for when he hands Anorak the Shards, though it is not described in the text.
With less than three hours left on their ONI timers, Wade, Aech, and Shoto travel to the Afterworld, a surreal rendering of downtown Minneapolis — Prince’s hometown and the setting of his 1984 film Purple Rain. As they approach Prince’s massive home studio, Paisley Park, a new clue appears on the Fourth Shard: a series of nonsensical symbols. Aech interprets them as meaning the group must recruit Prince’s colleagues, the band Morris Day & the Time, to defeat all seven incarnations of Prince from various stages of his career.
Aech moves quickly through the Afterworld, collecting Prince-themed power-ups to help them with the imminent battle. At one point, Shoto makes a joke at Prince’s expense, causing a purple bolt of lightning to strike him down and nearly exhaust his health bar. He uses healing spells to replenish it.
As she continues to retrieve power-ups, Aech talks about how hurt she was when Prince became a Jehovah’s Witness and disavowed the LGBTQIA+ community that supported him his entire career. Aech compares this to the pain she experienced when her mother disowned her after she came out as a lesbian.
The group successfully recruits Morris Day & the Time to join their fight by winning a Dance Dance Revolution contest.
After an intense battle against the seven incarnations of Prince, Wade and his friends are victorious. However, they lose Shoto, who is killed by a bolt of purple lightning after he makes another joke at Prince’s expense. This leaves him in a mysterious state of limbo, unable to respawn in the OASIS or wake up in the real world.
Wade touches the Fifth Shard, which transports him to Kira’s 40th birthday party. Og invited Prince, her favorite artist, to perform, and Prince sings “Happy Birthday” as Halliday sulks in the background.
Back on the Afterworld, an inscription appears on the Fifth Shard: “Win her hand through a feat of dark renown / The last two shards are set in Morgoth’s Crown” (286). Wade shudders, explaining that Morgoth, based on the main antagonist of J.R.R. Tolkien’s The Silmarillion, is an immortal and invulnerable NPC. He resides on Arda I, an OASIS planet devoted to the First Age of Middle Earth, the setting of Tolkien’s most beloved books.
On Arda I, Wade and Aech ride mystical horses to Morgoth’s lair in the Iron Mountains. Wade admits he is rusty when it comes to Tolkien lore, in large part because the books remind him of Art3mis. Aech never liked Tolkien much because of what she and others believe to be racist undertones in his work. Wade sends a message to Art3mis, hoping she can help.
Outside Morgoth’s lair, Aech tries to put a sleeping spell on a giant wolf named Carcharoth, but it fails. Carcharoth kills Aech and poisons Wade. As the wolf closes in on Wade, whose health bar is close to zero, Art3mis falls from the sky.
Art3mis sings a magical song to Carcharoth, lulling the wolf gently to sleep. She also sings a song to Wade that reverses his poisoned status and sets his health bar back to its maximum.
The two of them sneak into Morgoth’s chamber, where Art3mis sings another lullaby that puts the terrifying creature to sleep. Wade cuts out a jewel from the sleeping Morgoth’s crown.
The jewel transforms into the Sixth Shard. Upon touching it, Wade is transported to the replica of Rivendell, an idyllic valley from The Lord of the Rings, that Og built for Kira.
Back on Arda I, Wade has an epiphany. He believes that after Anorak revives Kira, the two of them will hijack The Vonnegut and live in ARC@DIA, Wade’s mini-OASIS Wade, as they travel the galaxy in a scenario reminiscent of the classic 1993 Star Trek: The Next Generation episode “Ship in a Bottle.”
Like Art3mis and John Hughes’s filmography, Aech has a complicated relationship with Prince. On one hand, his peak-era music celebrated love and sexuality in all of its forms, inspiring Aech to follow her own sexual awakening. On the other, Prince ultimately disavowed the LGBTQIA+ community when he became a devout Jehovah’s Witness. This was particularly gutting for Aech because her mother disowned her due to a similarly religious aversion to her daughter’s sexual orientation. Once again, fandom is portrayed here as a double-edged sword. Integrating a work of art so deeply into one’s identity creates an intimate connection, and any kind of betrayal of the fan’s values by the creator feels like a slap in the face.
As Wade and Aech ride toward Morgoth’s lair, the book revisits the notion that some of the most beloved pop culture commodities of the 21st century express racist ideas. Within Cline’s universe—and arguably nerd culture at large—few franchises loom larger than The Lord of the Rings and other Tolkien books set in Middle Earth. Yet Aech has little love for Tolkien, telling Wade shortly after their arrival on Arda I, “Let me guess. [The characters are] all white, right? White Elves. White Men. And White Dwarves. I bet everyone we encounter on this Tolkien planet is gonna be white, right? Except, of course, for the bad guys! The black-skinned Orcs” (288).
Like on Shermer, the characters gesture toward problems of representation in 20th-century pop culture without fully engaging with these issues. Wade seeks to avoid a thorough discussion, replying, “We don’t have time for literary criticism right now, Aech, valid though it may be!” (288). Contextually, many scholars point to explicit statements in The Lord of the Rings that express the perceived dangers of race-mixing; for example, the dark-skinned orcs are claimed to have been the result of miscegenation between the supposedly pure race of man and some evil race of others. University of Glasgow Tolkien scholar Dimitra Fimi characterizes the author’s depictions of orcs as “straight out of Victorian anthropology, linking mental qualities and physique” (Fimi, Dimitra. “Was Tolkien Really Racist?” The Conversation, 6 Dec. 2018, theconversation.com/was-tolkien-really-racist-108227.) Meanwhile, when evaluating Tolkien’s record on race outside of his texts, many scholars praise him, pointing to his antiracist attitudes with respect to Nazi racial theory and racism in South Africa.
By Ernest Cline