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"the [science fiction] writer should be able to convince the reader (and himself) that the wonders he is describing really can come true...and that gets tricky when you take a good, hard look at the world around you."
- Frederik Pohl
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| Virtual Reality Construct | ||
| A means of projecting a virtual reality experience without special headsets. |
Science fiction has presented many kinds of virtual reality technovelgy over the years; here is a very early (and perhaps the first) description of a completely immersive virtual environment.
| At once the cluttered children's room disappeared and they were surrounded by a wall of hot swirling gray and incandescent orange. It cleared...
And at once Forrester and the two children were seated in the bridge of a spaceship. The toys were gone, the furnishings replaced by bright metal instruments and flickering, whistling gauges. And outside crystal panels surged the devastating chromosphere of a sun. Forrester shrank back instinctively from the heat before he realized that there was none. It was illusion. But it was perfect. "By God!" he cried admiringly. "How was that done?" ...The calm voice of the joymaker replied at once. "The phenomenon you are currently inspecting, Man Forrester, is a photic projection on a vibratory curtain. An interference effect produces a virtual image on the surface of an optical sphere with the nexus of yourself and your companions as its geometric center..." |
| Technovelgy from The Age of The Pussyfoot,
by Frederik Pohl. Published by Ballantine in 1966 Additional resources -
|
In reading this, I'm strongly reminded of a real-world technology: the Heliodisplay, a device that projects an image on what appears to be a fine mist. I saw this at the Wired magazine NextFest exhibition in Chicago, and it really works.
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'There was nowhere on the planet where science and technology could not provide one with a comfortable home...'
'Most men updated their PIP on New Year's Day...'
'...a misshapen, many-tentacled thing about twice the size of a man.'
'He was in a high-ceilinged windowless cell with walls of glittering white porcelain.'
