Hiro can't really afford the computer either, but he has to have one. It is a tool of his trade. In the worldwide community of hackers, Hiro is a talented drifter. This is the kind of lifestyle that sounded romantic to him as recently as five years ago. But in the bleak light of full adulthood, which is to one's early twenties as Sunday morning is to Saturday night, he can clearly see what it really amounts to: He's broke and unemployed. And a few short weeks ago, his tenure as a pizza deliverer - the only pointless dead-end job he really enjoys - came to an end. Since then, he's been putting a lot more emphasis on his auxiliary emergency backup job: freelance stringer for the CIC, the Central Intelligence Corporation of Langley, Virginia.
The business is a simple one. Hiro gets information. It may be gossip, videotape, audiotape, a fragment of a computer disk, a xerox of a document. It can even be a joke based on the latest highly publicized disaster.
He uploads it to the CIC database - the Library, formerly the Library of Congress, but no one calls it that anymore. Most people are not entirely clear on what the word "congress" means. And even the word "library" is getting hazy. It used to be a place full of books, mostly old ones. Then they began to include videotapes, records, and magazines. Then all of the information got converted into machine-readable form, which is to say, ones and zeroes. And as the number of media grew, the material became more up to date, and the methods for searching the Library became more and more sophisticated, it approached the point where there was no substantive difference between the Library of Congress and the Central Intelligence Agency. Fortuitously, this happened just as the government was falling apart anyway. So they merged and kicked out a big fat stock offering.
Millions of other CIC stringers are uploading millions of other fragments at the same time. CIC's clients, mostly large corporations and Sovereigns, rifle through the Library looking for useful information, and if they find a use for something that Hiro put into it, Hiro gets paid. A year ago, he uploaded an entire first-draft film script that he stole from an agent's wastebasket in Burbank. Half a dozen studios wanted to see it. He ate and vacationed off of that one for six months.
Since then, times have been leaner. He has been learning the hard way that 99 percent of the information in the Library never gets used at all.
Case in point: After a certain Kourier tipped him off to the existence of Vitaly Chernobyl, he put a few intensive weeks into researching a new musical phenomenon - the rise of Ukrainian nuclear fuzz-grunge collectives in L.A. He has planted exhaustive notes on this trend in the Library, including video and audio. Not one single record label, agent, or rock critic has bothered to access it.
The top surface of the computer is smooth except for a fisheye lens, a polished glass dome with a purplish optical coating. Whenever Hiro is using the machine, this lens emerges and clicks into place, its base flush with the surface of the computer. The neighborhood loglo is curved and foreshortened on its surface.
Hiro finds it erotic. This is partly because he hasn't been properly laid in several weeks. But there's more to it. Hiro's father, who was stationed in Japan for many years, was obsessed with cameras. He kept bringing them back from his stints in the Far East, encased in many protective layers, so that when he took them out to show Hiro, it was like watching an exquisite striptease as they emerged from all that black leather and nylon, zippers and straps. And once the lens was finally exposed, pure geometric equation made real, so powerful and vulnerable at once, Hiro could only think it was like nuzzling through skirts and lingerie and outer labia and inner labia…. It made him feel naked and weak and brave.
The lens can see half of the universe - the half that is above the computer, which includes most of Hiro. In this way, it can generally keep track of where Hiro is and what direction he's looking in.
Down inside the computer are three lasers - a red one, a green one, and a blue one. They are powerful enough to make a bright light but not powerful enough to burn through the back of your eyeball and broil your brain, fry your frontals, lase your lobes. As everyone learned in elementary school, these three colors of light can be combined, with different intensities, to produce any color that Hiro's eye is capable of seeing.
In this way, a narrow beam of any color can be shot out of the innards of the computer, up through that fisheye lens, in any direction. Through the use of electronic mirrors inside the computer, this beam is made to sweep back and forth across the lenses of Hiro's goggles, in much the same way as the electron beam in a television paints the inner surface of the eponymous Tube. The resulting image hangs in space in front of Hiro's view of Reality.
By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic soundtrack.
So Hiro's not actually here at all. He's in a computer generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse. It beats the shit out of the U-Stor-It.
Hiro is approaching the Street. It is the Broadway, the Champs Elysees of the Metaverse. It is the brilliantly lit boulevard that can be seen, miniaturized and backward, reflected in the lenses of his goggles. It does not really exist. But right now, millions of people are walking up and down it.
The dimensions of the Street are fixed by a protocol, hammered out by the computer-graphics ninja overlords of the Association for Computing Machinery's Global Multimedia Protocol Group. The Street seems to be a grand boulevard going all the way around the equator of a black sphere with a radius of a bit more than ten thousand kilometers. That makes it 65,536 kilometers around, which is considerably bigger than Earth.
The number 65,536 is an awkward figure to everyone except a hacker, who recognizes it more readily than his own mother's date of birth: It happens to be a power of 2 - 2^16 power to be exact - and even the exponent 16 is equal to 2^4 , and 4 is equal to 2^2. Along with 256; 32,768; and 2,147,483,648; 65,536 is one of the foundation stones of the hacker universe, in which 2 is the only really important number because that's how many digits a computer can recognize. One of those digits is 0, and the other is 1. Any number that can be created by fetishistically multiplying 2s by each other, and subtracting the occasional 1, will be instantly recognizable to a hacker.
Like any place in Reality, the Street is subject to development. Developers can build their own small streets feeding off of the main one. They can build buildings, parks, signs, as well as things that do not exist in Reality, such as vast hovering overhead light shows, special neighborhoods where the rules of three-dimensional spacetime are ignored, and free-combat zones where people can go to hunt and kill each other.
The only difference is that since the Street does not really exist - it's just a computer-graphics protocol written down on a piece of paper somewhere - none of these things is being physically built. They are, rather, pieces of software, made available to the public over the worldwide fiber-optics network. When Hiro goes into the Metaverse and looks down the Street and sees buildings and electric signs stretching off into the darkness, disappearing over the curve of the globe, he is actually staring at the graphic representations - the user interfaces - of a myriad different pieces of software that have been engineered by major corporations. In order to place these things on the Street, they have had to get approval from the Global Multimedia Protocol Group, have had to buy frontage on the Street, get zoning approval, obtain permits, bribe inspectors, the whole bit. The money these corporations pay to build things on the Street all goes into a trust fund owned and operated by the GMPG, which pays for developing and expanding the machinery that enables the Street to exist.