John Heeter

Meta's haphazard XR strategy has so poisoned "the Metaverse" as a term, I even advise virtual world clients not to use it (for now, at least). The *concept* of the Metaverse, however, remains vital and viable. I could explain how it already exists in nascent form, in massively successful platforms like Roblox and Fortnite, directly inspired by the Metaverse as first described in "Snow Crash" -- a vast immersive virtual world simultaneously accessible by millions of users through customizable avatars and powerful creation tools, integrated with the real world economy and external technology. But maybe it's better if I just introduce you to someone whose life it touched. Meet Mr. Charles Bristol, late bluesman from North Carolina. I first encountered him completely by accident, while preparing to give a talk to a group of LA architects interested in virtual worlds for prototyping applications. Showing them Second Life, I casually mentioned that many musicians performed live in the virtual world by streaming their mic and instrument through their computer, and teleported into a space made to resemble a ramshackle bar on the Louisiana bayou. Onstage, the avatar of a tall and regal old Black man was performing  resonant blues guitar while singing with a raspy voice. I assumed this was  just a random Second Life user who had customized their avatar this way for roleplaying reasons. Then I checked the real-life biography panel in his avatar profile, and my jaw dropped. He was, in fact, an elderly African-American blues master by the name of Charles Bristol, 87 years old at the time.  A much younger neighbor of his who also played blues (I later found out), learned they could earn a side income in Second Life, converting virtual currency tips into real dollars. The essential facets of the Metaverse made this all possible. The sense of "you are there" immersion makes virtual concerts appealing, for shows experienced by millions in Roblox and Fortnite, to 50-100 folks at a live show like Mr. Bristol's jams. Customizable avatars and content creation enable builders to instantiate a venue from the digital aether, and for Charles Bristol (with his friend's help), to create an avatar which evoked himself IRL. Integration with external technology enabled them to hook up their mics and musical instruments into the virtual world's audio stream. Integration with the real world economy enabled Mr. Bristol and pal to earn a nice side gig income. And for Charles Bristol -- too weary to perform at real-life venues as he once did -- to spend many of his remaining years playing the music he loved to hundreds of new fans from around the world. Meta may have poisoned the term for now. Meta leadership, I have since learned, knew little of what I just described about it, or just didn't care. But metaverse developers and creative metaverse *communities* keep the concept thriving -- together.

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