This book germinated1 in a collaboration2 between me and the artist Tony Sheeder, the original goal of which was to publish a computer-generated graphic3 novel. In general, I handled the words and he handled the pictures; but even though this work consists almost entirely4 of words, certain aspects of it stem from my discussions with Tony.
This novel was very difficult to write, and I received a great deal of good advice from my agents Liz Darhansoff, Chuck Vernil, and Denise Stewart, who read early drafts. Other people subjected to the early drafts were Tony Sheeder, Dr. Steve Horst of Wesleyan University, who made extensive and very lucid5 comments on everything having to do with brains and computers (and who suddenly came down with a virus about one hour after reading it); and my brother-in-law, Steve Wiggins, currently at the University of Edinburgh, who got me started on Asherah to begin with and also fed me useful papers and citations6 as I thrashed around pitifully in the Library of Congress.
Marco Kaltofen, as usual, functioned in the same quick, encyclopedic way as the Librarian when I had questions about certain whys and wheres of the toxic-waste business. Richard Green, my agent in L.A., gave me some help with the geography of that town.
Bruck Pollock read the galleys7 attentively8, but with blistering9 speed, and made several useful suggestions. He was the first and certainly not the last to point out that BIOS actually stands for "Basic Input/Output System," not "Built-In Operating System" as I have it here (and as it ought to be); but I feel that I am entitled to trample10 all other considerations into the dirt in my pursuit of a satisfying pun, so this part of the book is unchanged.
The idea of a "virtual reality" such as the Metaverse is by now widespread in the computer-graphics community and is being implemented11 in a number of different ways. The particular vision of the Metaverse as expressed in this novel originated from idle discussion between me and Jaime (Captain Bandwidth) Taaffe -- which does not imply that blame for any of the unrealistic or tawdry aspects of the Metaverse should be placed on anyone but me. The words "avatar" (in the sense used here) and "Metaverse" are my inventions, which I came up with when I decided12 that existing words (such as "virtual reality") were simply too awkward to use.
In thinking about how the Metaverse might be constructed, I was influenced by the Apple Human Interface13 Guidelines, which is a book that explains the philosophy behind the Macintosh. Again, this point is made only to acknowledge the beneficial influence of the people who compiled said document, not to link these poor innocents with its results.
In a nice twist, which I include only because it is pleasingly self-referential, I became intimately familiar with the inner workings of the Macintosh during the early phases of the doomed14 and maniacal15 graphic-novel project when it became clear that the only way to make the Mac do the things we needed was to write a lot of custom image-processing software. I have probably spent more hours coding during the production of this work than I did actually writing it, even though it eventually turned away from the original graphic concept, rendering16 most of that work useless from a practical viewpoint.
Finally, it should be pointed17 out that when I wrote the Babel material, I was standing18 on the shoulders of many, many historians and archaeologists who actually did the research; most of the words spoken by the Librarian originated with these people and I have tried to make the Librarian give credit where due, verbally footnoting his comments like a good scholar, which I am not.
After the first publication of Snow Crash, I learned that the term "avatar" has actually been in use for a number of years as part of a virtual reality system called Habitat, developed by F. Randall Farmer and Chip Morningstar. This system runs on Commodore 64 computers, and though it has all but died out in the U.S., is still popular in Japan. In addition to avatars, Habitat includes many of the basic features of the Metaverse as described in this book.
1 germinated | |
v.(使)发芽( germinate的过去式和过去分词 ) | |
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2 collaboration | |
n.合作,协作;勾结 | |
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3 graphic | |
adj.生动的,形象的,绘画的,文字的,图表的 | |
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4 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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5 lucid | |
adj.明白易懂的,清晰的,头脑清楚的 | |
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6 citations | |
n.引用( citation的名词复数 );引证;引文;表扬 | |
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7 galleys | |
n.平底大船,战舰( galley的名词复数 );(船上或航空器上的)厨房 | |
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8 attentively | |
adv.聚精会神地;周到地;谛;凝神 | |
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9 blistering | |
adj.酷热的;猛烈的;使起疱的;可恶的v.起水疱;起气泡;使受暴晒n.[涂料] 起泡 | |
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10 trample | |
vt.踩,践踏;无视,伤害,侵犯 | |
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11 implemented | |
v.实现( implement的过去式和过去分词 );执行;贯彻;使生效 | |
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12 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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13 interface | |
n.接合部位,分界面;v.(使)互相联系 | |
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14 doomed | |
命定的 | |
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15 maniacal | |
adj.发疯的 | |
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16 rendering | |
n.表现,描写 | |
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17 pointed | |
adj.尖的,直截了当的 | |
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18 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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