They Both Die at the End

The novel is set in an alternate dystopian version of New York City in 2017, and the features of this dystopia—all revolving around death and Death-Cast—are a recurring motif throughout the novel. The advent of Death-Cast had such a profound effect on American culture that it affects every aspect of this society. For example, as Rufus notes when he receives his call from a Death-Cast herald named Victor, the Death-Cast “company line” is now essentially a trope in film and TV: “At the end of the call Victor gives me that company line I’ve grown used to hearing from all the new TV shows and movies incorporating Death-Cast into the characters’ day-to-days: ‘On behalf of Death-Cast, we are sorry to lose you. Live this day to the fullest’” (20). Death-Cast is woven so deeply into the fabric of this new society, a new language emerges to talk about the phenomenon and its byproducts (i.e. Deckers, End Day, herald, etc.).

There is also the commercial culture, which commodifies the Decker experience: There are various products, services, and discounts that all cater to Deckers. There is Make-A-Moment in Chapter 33 and the World Travel Arena in Chapter 59, two virtual reality services that seek to provide a variety of experiences for Deckers who will not otherwise have the chance on their End Day.