— Computer, engage slow-motion…. stop-action…. instant replay.
This reviewing, re-envisioning of each scene isn't possible on the outside, in the meat world. The “real” cup is followed on each flip by dozens of other cup-images, which take a moment to reassemble when the cup lands, to gather back, slinky-like, into the lead cup. The virtual waitresses, too, seem to de-solidify; when one pulls a pencil from her hair, Nguyen sees hundreds of pencils, a fan of yellow wood, following her hand. Sounds have trails, too. The distinctive ker-chink of Zanger's heavy diner-style Buffaloe-brand cup crashing on its orange-rimmed saucer is stretched out like a passing train or a recording at the wrong speed: kerrrrrr-ssshhhink. Nguyen notes the angle of Zanger's wrist, how his fingers collaborate under the saucer as a shock absorber when the cup lands. He'd never thought of that before now.
— Subroutine to THE NO-HANDS CUP FLIPPER ON THE HOLODECK ON ACID WITH SPAM (Stardate 9312.04)
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