The term "Gamedec" came from the combination of two words: "game" and "detective". This is the profession of the main hero in Marcin Przybyłek's story: Torkil Aymore is a game detective who lives in Warsaw City, in Cotomou district at the three hundred and forty-second floor of the Stockomville ropescraper.

At the end of XXII century, the life in network is similarly developed to reality, and what is more, games are called "the worlds" and external world is just called "realium". There are thousands of games, virtual spaces where people have fun or live there. More and more people appear in network: these who were forced to it or these who consciously chose digital life. They are called zeonets. Their only connection with the organics' world are organic brains hanged in netombs or their bodies which are artificially kept alive. When the zeonet wants to get in "realium", he needs to 'enter' a mechanic body called motomb. This way the border between a robot and a human disappears and a paradox arises: so far humans entered the network, now the zeonets enter "realium" and often perceive it in a different way.

Virtual realities, gaining the high level of both technical and social complexity, generate problems. The system's rule says that it is difficult to notice its functioning for those who are enclosed inside it. That's why they need the outsider's help. They need Gamedec. Torkil receives commissions not only from private people or the companies but also from the forces that camouflage their identity. Sooner or later Gamedec will have to face the reality animators, not only virtual. In the meantime he enjoys the companion of friends, women and his own dreams.

Women are separate part of his life. He isn't a typical lady-killer. Simply, he can't stop loving. The perception of relationships on the threshold of digital and organic immortality is different from nowadays, that's why there is no wonder that Gamedec shares his heart between several ladies.

Real and virtual worlds do not fill entirely the area of Gamedec's perception. Some characters appearing in his life are difficult to define as material creatures, they aren't also digital beings. The common sense suggests they are hallucinations but can the illusion influence "realium"? Rather not. A demon Lee Roth, whom Torkil started to see after playing "The Chasm" game, saves his hide many times. The similar situation is with an angel Monica Wed whom he starts to see after his health crisis.

In Gamedec's world the reality pervades with illusions and sometimes the border between what is real and unreal disappears completely. The questions: what exists and what doesn't exist? what is real and what is an illusion?‌are losing sense. Because everything what exists‌ really exists.

In Gamedec's times, five large state organisms such as Free States of America (FSA), Free Europe (FE), Mother Russia (MR), African Union (AU) and the Pacific and Indian Ocean Federation (PIOF) rule the world. But this is only a cover, because the real force, like nowadays, are the corporations. Their fights are concealed and the average citizen of the planet knows nothing about them, but the truth is that they shape what Torkil can see through the window.

In spite of global technological development, humans lost control over the planet: an aggressive ecosystem, which turned against them. Flora, fauna and climate turned out to be dangerous. That's the reason why people take shelters in cities - cages: giant megapolises sustaining a stable climate thanks to the huge gravity barriers. The Out-of-city arteries and the tourist areas are surrounded by ABB barriers (Anti Bios Barriers). Being outside them is extremely dangerous and only qualified divisions of Out - Rangers can work there.

The reality presented in volumes "The Reality Border" and "The Steam Engines' Sellers" is dynamic and incessantly changing. New technologies are invented and the corporations are launching newer and newer inventions. The conquest of outer space turns out to be the matter of time; the only axiom is the change. And this is only... the beginning.

Grafika: Marcin Przybyłek, Marcin Jakubowski, Marek Okoń, Robert Letkiewicz.
Wykorzystano grafiki Tomasza Piorunowskiego, Marcina Trojanowskiego i Tomasza Marońskiego.
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