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.