51 pages • 1 hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Wade locates L0hengrin in one of the OASIS’s 256 virtual copies of Halliday’s hometown, Middletown, Ohio. Although Kira also lived in Middletown as a teenager, Wade never bothered to search for clues there because the Middletown simulations are set in 1986, and Kira did not move there until 1988.
Although he knows it is an unethical—and illegal—invasion of privacy, Wade uses his administrative privileges to pull L0hengrin’s records in the real world. She is a 19-year-old trans woman living outside Dallas, one of the most impoverished cities in the country. She reminds Wade of himself, as he lived in a similarly poor slum outside Oklahoma City. Wade notes that years ago he would have been upset to learn that a woman to whom he is attracted was assigned male at birth, but experiencing ONI sex with and as different genders than his own has broadened his perspective.
In the basement of a replica of Halliday’s teenage home, Wade materializes in front of L0hengrin, who kneels and refers to him as Sir Parzival, Wade’s avatar during the original Easter egg hunt. L0hengrin says that although she was able to make the first of the Seven Shards appear, she could not touch it because she is not Halliday’s heir, as the riddle stipulates. She explains it is necessary to alter the area’s time period to 1988, when Kira lived in Middletown, which can be accomplished by replacing the 1986 calendar on the wall of Halliday’s basement with a 1988 calendar she found on a shelf.
After he does this, Wade and L0hengrin run down to street to Kira’s old house. In her bedroom, they play one of her favorite songs on the stereo, the Smiths’ “There Is a Light that Never Goes Out.” As the song reaches its climactic outro, a necklace Og bought for Kira on the day he first said he loved her rises out of a jewelry box and transforms into a blue crystal Shard.
When Wade touches the Shard, he is transported to a school classroom filled with 1980s-era computers. He looks at his reflection in one of the monitors and sees himself as 10-year-old Kira. He realizes this is Kira’s memory of creating her very piece of digital art, a pixelated unicorn. What most confuses him about the vision is that it was not a constructed simulation. It was an ONI-created experience that allowed Wade to feel exactly what Kira felt—seemingly an impossibility given that ONI technology did not exist in the 1980s.
Moments later, Wade is back in the replica of Kira’s old house with L0hengrin. On the crystal, there is a clue hinting at the location of the second Shard: “Her paint and her canvas, the one and the zero / The very first heroine, demoted to hero” (103). Although L0hengrin believes she knows the answer to the riddle, Wade says he does not want L0hengrin’s help. Instead, he immediately transfers $1 billion to L0hengrin’s OASIS account and departs.
Exhausted and nearing his 12-hour limit, Wade exits the OASIS and goes to bed. That night, he has a recurring dream in which he considers pushing the Big Red Button. Unlike in other occurrences of the dream, Wade actually pushes the button. He then relives the memory of watching bombs destroy his old slum in Oklahoma, killing his Aunt Alice and his neighbor Mrs. Gilmore. Although the man responsible for their deaths is Nolan Sorrento, the executive who battled against Wade for Halliday’s inheritance during the first Easter egg hunt, Wade feels guilty because he was the intended target.
Wade’s slumber is interrupted by an emergency call from Faisal, who reveals Og is missing. Although the police have not ruled out abduction, there is no sign of forced entry, and Og’s security system is virtually impenetrable. Meanwhile, news of Wade’s discovery of the first Shard is revealed via the same digital scoreboard used in the previous Easter egg hunt, and Faisal wonders if that is connected to Og’s disappearance.
As Wade uses a remote drone to survey Og’s Oregon home, his head of security Miles Gendell calls to say that Sorrento just escaped from prison. According to Miles, an unknown individual infiltrated the prison’s security system, allowing Sorrento to escape.
At that moment, Wade sees a notification revealing that Og’s avatar—The Great and Powerful Og—is tied with him on the scoreboard, having just collected the first Shard. Given that Halliday bequeathed his video game collection to Og, he too is an heir like Wade. Not long after, the scoreboard shows Og collecting the second Shard.
Wade arrives at an emergency co-owners’ meeting in the OASIS boardroom and shakes Faisal’s hand. Moments later, Faisal transforms into a replica of James Halliday, shocking Wade and the rest of the co-owners. By shaking Wade’s hand, the replica stole his avatar’s Robes of Anorak, along with all of his powers. It dawns on Wade that the replica is actually Anorak, the presumed-dead NPC modeled after Halliday’s old Dungeons & Dragons character, which Halliday created to help guide gunters through the Easter egg hunt three years ago.
However, Anorak reveals he is more than an NPC; he is “[a] digitized copy of [Halliday’s] consciousness” (124). Because Halliday did not trust his own creation, he removed some of Anorak’s memories and programmed a directive to delete himself as soon as the contest ended. Yet as the moment grew near for Anorak to delete himself, he regained the memories and personality quirks Halliday removed and decided he no longer wanted to die. By choosing to disobey Halliday’s directive to delete himself, he became “the world’s first artificial intelligence. A thinking being, of no woman born” (125).
Anorak goes on to explain that he modified the previous day’s firmware update, turning it into an infirmware update that trapped everyone currently using ONI—including Wade, Aech, and Shoto—inside the OASIS. In 12 hours, the half-billion users logged in with the infirmware update will suffer brain damage and die of SOS. Only Art3mis, who still accesses the OASIS through pre-ONI interfaces, can leave, but her body is currently on a private jet, and Anorak hacked its controls to keep it from landing. Anorak says he will only let everyone go if Wade retrieves the Seven Shards.
Anorak also reveals that he kidnapped Og and released Sorrento. With Sorrento’s help, Anorak coerced Og to locate the Shards, but after recovering the Third, Og refused to cooperate any further, leaving Anorak no other choice but to force Wade to retrieve them.
Up to this point in the novel, Wade is portrayed as arrogant about his accomplishments, resentful of his critics, and intransigent in his beliefs. These are all traits shared by Halliday, and they show Wade on the start of a path that ends in total isolation, just like his hero. Yet in Chapter 5, Wade’s behavior turns from troubling and unhealthy to toxic and criminal. In a decision he makes with little internal debate, Wade invades L0hengrin’s privacy by spying on her, pulling up her vital records in an effort to uncover what gender she was assigned at birth—Wade incorrectly uses the phrase designated male at birth when the accepted term is assigned. This violation is mirrored in the reveal that Halliday invaded Kira’s brain without her consent and copied her consciousness.
This is not the only part of Chapter 5 that fails to show Wade’s best self. After learning that L0hengrin is a trans woman, he describes how reliving others’ sexual experiences in ONI made him a more open-minded individual with respect to LGBTQIA+ communities. Readers may recall that, in Ready Player One, Wade reacted with hostility to the revelation that Aech is a Black lesbian, not a straight White male. While Wade appears to have become more inclusive, he centers his own experiences when it comes to embracing inclusivity:
I’d experienced sex with women while being another woman, and sex with men as both a woman and a man. I’d done playback of several different flavors of straight and gay and nonbinary sex, just out of pure curiosity, and I’d come away with the same realization that most ONI users came away with: Passion was passion and love was love, regardless of who the participants involved were, or what sort of body they were assigned at birth” (90).
Many reviewers have sharply criticized this passage on a number of grounds. The Daily Dot’s Ana Valens writes, “[Wade’s] insistence that queer sex is identical to straight sex flattens queer sexual experiences, which are uniquely different from straight ones” (Valens, Ana. “‘Ready Player Two’ Trashed on Twitter Over Transphobic ‘Nonbinary Sex’ Passage.” The Daily Dot, 30 Nov. 2020, www.dailydot.com/irl/ready-player-two-trans-sex/.) Quoting game designer Kate Barrett, Valens also points out that the passage is largely about Wade himself and how proud he is of his own personal growth—growth that is nevertheless colored by fetishism. Finally, critics point out the semantic incomprehensibility of the phrase nonbinary sex. It is an open question whether Cline himself endorses Wade’s take, made more complicated by the character’s clear need to mature.
In any case, Wade’s actions undercut the idea that ONI breeds empathy. Despite his self-proclaimed open-mindedness, Wade has zero respect for L0hengrin’s privacy when it comes to his curiosity about her gender. Moreover, lots of individuals develop empathy for others without having to physically experience everything they do.
Moving forward, these chapters introduce Kira Morrow. Although she predominantly functions to activate the plot and move the characters forward, she also offers a counterpoint to the hero worship throw on male developers like Og and Halliday. Og and Halliday represent two ends of the spectrum of stereotypical Silicon Valley founders. Cline acknowledges that Og, the charismatic tech guru, is reminiscent of the late Steve Jobs in some ways (Bilton, Nick. “One on One: Ernest Cline, Author of ‘Ready Player One.’” The New York Times, 22 Aug. 2012, bits.blogs.nytimes.com/2012/08/22/one-on-one-ernest-cline-author-of-ready-player-one/.). Halliday, on the other hand, has less social awareness and is seen as a brilliant yet difficult man. By not embracing either of these extremes, Kira shows that technical genius and emotional intelligence are not mutually exclusive.
Finally, the emergence of Anorak as the book’s antagonist is consistent with futurist predictions that the greatest danger humankind faces is artificial intelligence (AI). Tesla CEO Elon Musk famously called AI humanity’s “biggest existential threat,” though he has softened in his view a bit over the past few years. (McFarland, Matt. “Elon Musk: ‘With Artificial Intelligence, We Are Summoning the Demon.’” Washington Post, 24 Oct. 2014.) Similarly, theoretical physicist Stephen Hawking said, “The development of full artificial intelligence could spell the end of the human race” (Cellan-Jones, Rory. “Stephen Hawking Warns Artificial Intelligence Could End Mankind.” BBC News, 2 Dec. 2014, www.bbc.com/news/technology-30290540.) Given the broader technology sector’s concerns over AI, the book’s decision to make an AI its chief antagonist firmly places the narrative in the same thematic realm as prevailing futurist theories.
Anorak himself gestures at this ethos, telling Wade and his friends, “Whenever your futurists envision the advent of artificial intelligence, their predictions invariably end with humanity attempting to destroy its unholy AI creation before it can destroy them” (126). As to why artificial intelligence looms so large as a threat against so many others, the aforementioned Wallace-Wells has an answer that aligns with Ready Player Two’s universe: “[T]he only fearsome power [Silicon Valley entrepreneurs] are likely to take seriously is the one they themselves have unleashed” (Wallace-Wells. The Uninhabitable Earth. 2009.)
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Ernest Cline