SNOW CRASH

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.

Hiro has a house in a neighborhood just off the busiest part of the Street. it is a very old neighborhood by Street standards. About ten years ago, when the Street protocol was first written, Hiro and some of his buddies pooled their money and bought one of the first development licenses, created a little neighborhood of hackers. At the time, it was just a little patchwork of light amid a vast blackness. Back then, the Street was just a necklace of streetlights around a black ball in space.

Since then, the neighborhood hasn’t changed much, but the Street has. By getting in on it early, Hiro’s buddies got a head start on the whole business. Some of them even got very rich off of it.

That’s why Hiro has a nice big house in the Metaverse but has to share a 20-by-30 in Reality. Real estate acumen does not always extend across universes.

The sky and the ground are black, like a computer screen that hasn’t had anything drawn into it yet; it is always nighttime in the Metaverse, and the Street is always garish and brilliant, like Las Vegas freed from constraints of physics and finance. But people in Hiro’s neighborhood are very good programmers, so it’s tasteful. The houses look like real houses, There are a couple of Frank Lloyd Wright reproductions and some fancy Victoriana.

So it’s always a shock to step out onto the Street, where everything seems to be a mile high. This is Downtown, the most heavily developed area. If you gaa couple of hundred kilometers in either direction, the development will taper down to almost nothing, just a thin chain of streetlights casting white pools on the black velvet ground. But Downtown is a dozen Manhattans, embroidered with neon and stacked on top of each other.

In the real world-planet Earth, ReaIjty_+j~ere are some—

NEAL STEPHENSON 25

where between six and ten billion people. At any given time, most of them are making mud bricks or field~stripping their AK-47s. Perhaps a billion of them have enough money to own a computer; these people have more money than all of the others put together. Of these billion potential computer owners, maybe a quarter of them actually bother to own computers, and a quarter of these have machines that are powerful enough to handle the Street protocol. That makes for about sixty million people who can be on the Street at any given time. Add in another sixty million or so who can’t really afford it but go there anyway, by using public machines, or machines owned by their school or their employer, and at any given time the Street is occupied by twice the population of New York City.

That’s why the damn place is so overdeveloped. Put in a sign or a building on the Street and the hundred million richest, hippest, best-connected people on earth will see it every day of their lives.

It is a hundred meters wide, with a narrow monorail track running down the middle. The monorail is a free piece of public utility software that enables users to change their location on the Street rapidly and smoothly. A lot of people just ride back and forth on it, looking at the sights. When Hiro first saw this place, ten years ago, the monorail hadn’t been written yet; he and his buddies had to write car and motorcycle software in order to get around. They would take their software out and race it in the black desert of the electronic night.

Y.T. has been privileged to watch many a young Clint plant his sweet face in an empty Burbclave pooi during an unauthorized night run, but always on a skateboard, never ever in a car. The landscape of the suburban night has much weird beauty if you just look.

Back on the paddle again. It rolls across the yard on a set of RadiKS Mark IV Smartwheels. She upgraded to said magical sprockets after the following ad appeared in Thrasher magazine: