If you're interested in reading about cyberpunk and why today it feels "dated" - or at least to me, how it didn't manage to reinvent itself and remains crystallized in time -, there's a wonderful article here: https://forums.insertcredit.com/t/what-was-cyberpunk-in-memo...
Peter Watts' Blindsight and Echopraxia are the 21st-century evolution of cyberpunk, IMO.[1] It's really too bad he seems to have decided not to continue writing in that fictional world.
[1] They're almost literally Bruce Sterling's corporations-would-turn-Frankenstein's-monster-into-a-product.
Related: Is there some place that collects the predictions, ideas, concepts from Scifi stories, without all the plot and character stuff?
Every time I try to read Scifi because I heard about some interesting parts, I have the feeling there's a 1 page thesis about the future and technology trying to escape, but buried under some mildly interesting generic storyline and tons of made up terminology and worldbuilding.
Ender's Game (1985) has a ton of spot on predictions of the future, if you haven't read that you might enjoy it (and the story and later universe are fascinating as well, with twists and turns, and the "two threads" storylines, where you can read the same events from two different characters in the plurilogies of books)
Some predictions in the first book:
- touch-screens in general and tablets in particular
- use of AI to adapt difficulty levels in games
- use of AI and virtual simulations for military training
- the Internet, and more specifically:
- the wide usage of forums, blogs, etc. (lots of references that kinda seem like social media, with propaganda spread, message control, etc.)
- the usage of sock-puppet accounts to influence elections and general political discourse (and the creation of "influencers" out of ... thin air)
The most fascinating detail here is that every piece of tech in Neuromancer is Japanese or German. Hitachi computers, Sanyo suits, Braun drones. Gibson was extrapolating from 1984 when Japan dominated consumer electronics and Germany led manufacturing.
Fast forward 40 years and we're having the exact same conversations about Chinese tech dominance. TikTok, DJI drones, BYD cars. Today's "future tech" assumptions mirror Gibson's perfectly. Makes you wonder what we're getting wrong about the next 40 years.
Also wild that he nailed AI and VR but completely missed that everyone would carry a supercomputer in their pocket. The big paradigm shifts are always the ones nobody sees coming.
> The Matrix Trilogy, Ghost in the Shell, [...]. Except Gibson did it first.
Ghost in the Shell started publication
around 1989, but it's author was writing cyberpunk in 1985 (Appleseed), with already many of the themes approached in it.
1985 is a tad later than Gibson's Neuromamcer, but given the timeline to start a series with the level of details Masamune Shirow uses, they're basically writing at the same time.
I wouldn't put Gibson as a direct influence, and in the Japanese scene Akira, started in 1982 would be way more influencial.
What really stroke me is how far the Japanese culture feels from a western perspective, when it had a very flourishing Cyberpunk scene that doesn't get much credit outside of manga/anime fans.
Do you know how the Japanese think of and/or talk about "Japanese Cyberpunk"; e.g. Tetsuo: The Iron Man? It's interesting to me that there is "Japanese cyberpunk" and then there is regular cyberpunk made by Japanese artists (e.g. Ghost in the Shell). Do the Japanese consider these completely separate genres? Variants of the same genre? Are most fans even aware that Westerners make the distinction?
I really hope they do it well. Some of the things that were new in Neuromancer are tropes these days. e.g. the payphone ringing, in the Matrix and more relevantly in Person of Interest.
It's going to be very hard to navigate between faithfulness to the book and still have it feel fresh.
That and inherent difficulty of taking Gibson's prose to the screen. Maybe it will be by voiceover.
You can't say he was prescient and use the future as justifications... 'he's prescient because virtual reality in his novel is just like how it's going to be in the future'. Also I don't think these (cybernetics, virtual reality) are uncommon enough predictions to be credited to him.
There's a podcast, "Shelved by Genre" that did a section on Gibson the year, reading Burning Chrome (short story collection, "world prequel" to Neuromancer) and the Neuromancer Trilogy (Neuromancer, Count Zero and Mona Lisa Overdrive).
During the reading the touch on origins and culture of Cyberpunk. The hosts are (I think) reasonably intelligent and well spoken and they tend to get a bit deeper into things around the books than other book podcasts I've listened too -- which seem to mostly just recount the plot.
I had read Neuromancer as a kid but not the other books, I think if you're a Cyberpunk fan you should at least give Burning Chrome a read. It's quite short and digestible seeing as its all short stories.
They also did the entire Book of the New Sun series by Gene Wolfe and some Le Guin (the Earthsea series, not any science-fiction).
Regarding the complicated, jargon-filled prose in most cyberpunk stories: If you were to read an actual report from the future, you also wouldn't understand everything. The future doesn't just have new stuff, but also new concepts and new language: Things that would be confusing and overwhelming for people from the past, but perfectly familiar and ordinary for people of the new present. Nobody in the future would bother to phrase things in a way that is digestible for people from the past.
I think this was one of the main contributions that cyberpunk made to science fiction. Get the language right, make the future feel like the actual future would feel for people from the past: confusing.
Exactly. I imagine something like “he glanced at his phone and saw he didn’t even have LTE”. The author wouldn’t be trying to make you think about the details of modern communication systems. They’d want you to infer that the subject of the sentence was barely on the edge of communications.
Ada Palmer makes this point. She teaches Renaissance history and tries to write her sci-fi as if she was trying to describe today to someone from the 15th century. Stanislaw Lem was also brilliant in describing his future worlds in ways that were hard to understand, as alien as he guessed they would actually be.
Of all the cyberpunk authors, Gibson, while one of the first, is probably the least interesting. Stephenson and Sterling are better writers and explore more complex ideas. Gibson has the occasional shadow of an idea that he explores with a few one dimensional characters. That said, I liked "Virtual Light".
Doctorow's late cyberpunk novels like "Down and Out in the Magic Kingdom" are also very good.
What I always appreciated with Neal Stephenson is the level of nerdy detail in his books. It's what makes re-reading his books very enjoyable. Which is something I do every few years or so. Gibson's Neuromancer is often recommended as a thing to read next. But to me that's a very different type of book. Basically, Gibson uses a lot of word soup to create a futuristic vibe and mood but in the end it's just a stylistic thing rather than a coherent view of the future and at this point it's a bit dated. As a vision it was all a bit dystopian and cool at the time. But not very coherent.
Stephenson's world building has a bit more depth to it. You can pick up the Diamond Age today and it still reads well and in a way a lot of stuff that is going on with LLMs make that a super relevant book right now. There are a lot of ideas and moral dilemmas that the book raises. What happens if you take the notion of a poor girl receiving a quality education from an AI and it starts subverting the child's mind with crazily addictive story telling, and adaptive behavior. What happens if you create an army of a quarter million girls with a copy of the same AI book.
The reality of an ipad like device that might have some beefed up version of chat gpt on it that starts bonding with a toddler and executing an educational agenda over years is not that unimaginable any more. A lot of kids know how to unlock their mom's phone before they learn to walk/talk these days. Not the same thing of course but the whole morals and ethics around the topic are exactly what Stephenson explored in the early nineties with that book.
A lot that is science fiction in that book still is; but some of it just became science fact. In the same way, Snow Crash is still pretty fresh. The whole Meta thing a few years ago was directly inspired by that book. And they made a mess of it. We still don't have proper VR. But the tech is definitely getting closer.
Neuromancer never had that quality to me. It's alright as a book but ultimately a bit shallow.
comparing stephenson and gibson is interesting - gibson basically does no story-based exposition in a lot of his work, and stephenson can't help but dig into the nitty gritty details that support the world-building and story development to an almost obnoxious (but informative!) degree.
i used to really enjoy Stephenson (especially having not gone to college- i feel like i was exposed to some interesting ideas through his writing that i might not have otherwise).
now that i'm a bit older, i find him to be kind of a know-it-all blowhard, especially in light of his extremely-lucrative work with what are basically the precursors to the giant horrible corporations he wrote about so disparagingly.
i still enjoy snow crash, and i want to re-read cryptonomicon and anathem, but it's really hard to weigh the message he used to send against his more recent work in meatspace.
Stephenson's pre-cyberpunk first novel, Zodiac, is about an eco-warrior uncovering a chemical company pollution scheme. In Diamond Age, he talks about an air pollution crisis caused by dead nanobot swarms. From what I remember, most of his anti-corporate messaging was strongly tied to pollution but I don't even see that popping up in his later novels and I never really thought of anti-corporatism as a recuring Stephenson theme.
> People tend to vastly overestimate what will happen in 50 years and massively underestimate what will happen in the next two.
I like that we now also have "Amara's Law" [1] that makes the exact opposite point:
> We tend to overestimate the effect of a technology in the short run and underestimate the effect in the long run.
So either that "futurist" was an idiot, or this shows that with respect to future developments, really no one has any idea what they are talking about.
I got Neuromancer as a birthday gift earlier this year. I found it simultaneously very captivating but requiring a lot of effort to read through the dense terminology and try to accurately form a picture of what Gibson was trying to convey. Sadly I couldn't finish it since its the type of book that, if you stop reading for a week or longer, you'll have to start from the beginning.
This post gave me more appreciation of Gibson's impact and a boost to pick it up somewhen later in the year.
I first read Neuromancer in 1998 while I was at university, something like 6 months before I got my first mobile phone. My 2nd year group project was building a lounge/session discovery application for our University’s VR meeting software. (Using Java AWT!)
So Neuromancer felt like it was on a pretty accurate trajectory to me. I couldn’t put it down until I finished it.
Neuromancer makes more sense after reading remaining two books in the trilogy: Count Zero and Mona Lisa Overdrive. They are not as good as the first one, especially the last one, but make the story complete and more nuanced.
> Reading Neuromancer for the first time in 2025, I was struck by how eerily prescient Gibson was in so many ways—but also by what he didn’t anticipate.
It's the fate of all writers who create stories about the near future to eventually have time catch up with their imagination. It's sad, because many times their writing is often dismissed once their ideas don't seem so fantastic. Stories about upper class aristocrats in the 1800s still get movies made about them every year, but old science fiction novels lose their luster as time goes by.
Like the article said, the ideas from futurist authors are either incredibly prescient, or miss the mark in ways that make their predictions quaint in retrospect.
Jules Verne wrote about submarines and space travel. H.G. Wells wrote about lasers and military aircraft. Arthur C. Clarke predicted computer miniaturization and global telecommunications (including geosynchronous satellites). Douglas Adams predicted the smart phone and annoying Alexa responses. And on and on: Heinlein, Bradbury, Asimov, Huxley, Dick, Niven, and more.
And everyone has predicted the coming age of AGI. I think it's pretty exciting that I might get to see who called it correctly within my lifetime.
While some focus on the missed predictions like pocket supercomputers, I find Gibson's true genius lies in anticipating the conceptual shifts – how our very sense of self, reality, and freedom would become inextricably linked to, and perhaps even defined by, digital networks.
The real 'matrix' isn't just a virtual space we plug into; it's the increasingly complex, often invisible, interplay between our biological cognition and the predictive models that mediate our perception. We're already seeing early signs of 'cognitive debt' and the subtle erosion of our internal models as we offload more mental tasks to external systems. The challenge isn't just building smarter machines, but building anchors for consciousness in an increasingly fluid, data-driven existence.
Glad I'm not the only one just getting around to reading Neuromancer in 2025! The shocking thing about the story is how very few screens there are in the world, and how ungrounded "cyberspace" is in physics. Cyberspace's mechanics are vague, and in fact are inconsistent with the other extent communication technologies. e.g. Case never seems to worry about getting a signal for his deck, and yet does worry about getting signals for, e.g. fax machines on space ships. It feels like the fabric of cyberspace must be ESP or telepathy (which is consistent with its description as a "shared hallucination". Gibson seems to be wrestling with new technology in a similar way to the authors of "Wierd Science" - where basically computers are magic. (And IIRC Gibson famously doesn't use computers IRL).
The other gobsmacking thing about Neuromancer is space. Near-Earth space feels fully-colonized and space travel is only slightly more exotic than air travel. In a similar vein, post-human biological modification is rather mundane, at least in our hero's circles. This is another area where real-world advances don't measure up. In these two areas I find the book to be quite a lot more optimistic than reality has turned out.
If you hold up Neuromancer to modern society to judge us on our engineering accomplishments, you'll find us coming up very short in every area other than pure software engineering. The irony is that in that particular area Neuromancer veers from science fiction squarely into fantasy. And yeah, it's still great.
Interesting article. As somebody who is an unapologetic, raging Neuromancer fan, it's always fun to read about someone experiencing the book for the first time.
The one nitpick I have about the article is just this:
But even by 1984, dead channels were a thing of the past: 24-hour news had been around since 1980, and MTV had been alive and kicking since 1981
OK, while cable and 24-hour news were indeed around by 1984, cable wasn't ubiquitous yet in 1984. Maybe in big cities, but in the rural area where I grew up we didn't even have cable TV service available until about 1989 or 1990 or so. And beyond that, even people who grew up with cable would have seen shots of "televisions tuned to dead channels" in movies and other TV shows and what-not. I'd venture that not many Gibson readers in 1984 were even slightly confused by the "The sky above the port was the color of television, tuned to a dead channel" line.
One thing that Gibson nailed is the story of Operation Screaming Fist, which eerily reminds me of what's going on in Ukraine. From the Neuromancer wiki:
"Corto was a member of "Operation Screaming Fist," which planned on infiltrating and disrupting Soviet computer systems from ultralight aircraft dropped over Russia. The Russian military had learned of the idea and installed defenses to render the attack impossible, but the military went ahead with Screaming Fist, with a new secret purpose of testing these Russian defenses. As the Operation team attacked a Soviet computer center, EMP weapons shut down their computers and flight systems, and Corto and his men were targeted by Soviet laser defenses."
One thing that I found remarkable about Gibson is how a-technical he was at the time: "When I wrote Neuromancer, I didn't know that computers had disc drives. Until last Christmas, I'd never had a computer; I couldn't afford one. When people started talking about them, I'd go to sleep. Then I went out and bought an Apple II on sale, took it home, set it up, and it started making this horrible sound like a farting toaster every time the drive would go on. When I called the store up and asked what was making this noise, they said, "Oh, that's just the drive mechanism—there's this little thing that's spinning around in there." Here I'd been expecting some exotic crystalline thing, a cyberspace deck or something, and what I'd gotten was something with this tiny piece of a Victorian engine in it, like an old record player (and a scratchy record player at that!). That noise took away some of the mystique for me, made it less sexy for me. My ignorance had allowed me to romanticize it." (https://www.jstor.org/stable/20134176)
Clearly, this helps make works of sci Fi/speculative fiction/cyberpunk and related genres relevant far into the future.
If you try to extrapolate current tech 50 years into the future, you'll probably get it wrong and people reading your books during the time it's set in will think it quaint.
When you have to invent new future tech, it still feels mysterious and interesting.
I find that very believable, since Neuromancer isn't at all about computers. The computers involved are little different from what you might have seen on Star Trek. They are story engines -- except for the ones that are really just people.
This is not a negative. Sci fi is always about people.
Just goes to show, if you want to write romantically about something, it’s best to have little or no idea what you’re talking about, so that your imagination can take over. Shouldn’t be too hard for some people on hackernews, they do it everyday!
Gibson is such a unique sci-fi author because his fundamental interest is fashion (he’s said this himself) - his worlds are beautiful, but completely skin deep, and he’s a master of using one word or phrase to evoke an entire world or backstory, but you scratch at what he’s written and it’s all vibes. Bruce Sterling is similar, although maybe less of a fashion native - they’re both looking at people and at trends and treating the technology like an extension of that, not as the point.
(Compare that to someone like Neal Stephenson, who also helped define cyberpunk, but whose deep, deep geekiness about his subject is so unavoidable as to occasionally grind the books to a halt…)
I don't think there's anything skin deep about Gibson. The words are in a certain style that splits a room, but the worldview, statements about the human condition, about existing in a world where power has become arbitrary an capricious? Never more relevant.
What you're missing in his writing is plausible sci-fi stuff: he doesn't care about the details of how biotech or AI will become tools of oppression, he just knows they will.
Stephenson is a good writer too, but he's pandering to an audience: the technical details are fleshed out and the good guys win an unambiguous victory via the virtues of being a nerd.
I'd like to live in Stephenson's world, but that one is made up.
has 3 main themes: 1) Gibson talking about Americana because he had a captive audience (the director) who promised to listen. 2) Gibson being self-deprecating because he promised the director he’d answer questions about himself. 3) Lots of other writers explaining what an experience it was to read Neuromancer when it first came out.
Yes that is something special. The only reason star wars successfully created cute robots is because of a complete lack of technical knowledge.
And the only reason every tech based scifi story is interesting is because nobody bothers to consider that all tech leads to absolute fascism and tracking of every living being in existence way way before the creation of the really powerful interesting stuff
> I found that Gibson’s prose felt almost identical to the placeholder Lorem Gibson text I had used—so dense with jargon and terminology that my mind kept slipping off the sentences.
This is why, despite being great conceptually and story-wise, ultimately I did not like Neuromancer. Plenty of other novels have tons of in universe jargon but don't feel as exhausting to read as Neuromancer. For instance, Tolkien invented multiple fictional languages and his books tend to have 100+ pages of appendices explaining everything, but his prose flows so naturally.
Perhaps Neuromancer would benefit from an ebook edition incorporating a recent CRPG video game innovation, where in universe terms in text are highlighted and you can click/tap on the highlighted terms to get a little tooltip box explaining what the term is.
the exhaustion is the point. Gibson is great because he turned the essence of the genre, media oversaturation, into a prose style. Cyberpunk is all about everything being in your face. Things are flashing by, too fast, too dense, you're disoriented, etc.
You aren't supposed to understand or put every term under a microscope, you should feel as disoriented as the characters. One of the strongest aspects of the book is how successful he is at making you feel as if you're hooked into something running on 120% speed.
Not unlike Gene Wolfe in the Book of the New Sun, where Wolfe recombines words and invents language as the conceit is that the narrator is translating from a future work into contemporary English, having to make use of words that don't yet exist. You're not supposed to grab the dictionary and try to figure out what each term means, you're supposed to take it in as you go on.
I want to recommend Vernor Vinge's books to anyone looking for some new sci-fi... I've read A Deepness in the Sky and A Fire upon the Deep. They were exemplary to the kind of logical structure of SciFi and made some relevant predictions which I won't spoil. The guy was a professor of computer science (RIP)
"True names and the opening of the cyberspace frontier" is a very nice edition with essays (Tim May's is very good) plus the novella of True Names, worth checking out!
Since we're talking about cyberpunk specifically here, the Vinge recommendation that needs to be at the top of that list is https://en.wikipedia.org/wiki/True_Names. As literary quality goes, it's not as good as his later works, but it's still written by a computer scientist who clearly understands and loves what he does - not just as technology, but also as culture - and it shows. Features ARPANET, VR cyberspace, and hackers ("warlocks") vs NSA.
Maybe I should read the book again making notes like the author did. I finished it understanding how novel this would have been when it was released and impressed with how much worldbuilding was fit into a relatively short book, but ultimately pretty disappointed by the plot itself. Without giving away too much, I feel that there were a few segments that fell pretty flat for me (to be specific, with minor spoilers: the new recruit around the middle of the book and the hacking subplot towards the end).
Man, I loved Neuromancer when I read it as a kid. Yes, it's a tough book to read, especially today where there are too many distractions as well as too many works of art built on the sci-fi ideas of that era.
Neuromancer is the first installment of the Sprawl trilogy, followed by Count Zero and Mona Lisa Overdrive.
So trying not to spoil too much: Count Zero asks questions about / describes how AI could have influence over religious/spiritual life of humans.
Will we see AI preachers having a real influence on human religious life? ChatGPT the prophet? Maybe this is the real danger of today's nascent AI tech?
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[ 3.3 ms ] story [ 115 ms ] threadBe advised it's quite long
[1] They're almost literally Bruce Sterling's corporations-would-turn-Frankenstein's-monster-into-a-product.
Every time I try to read Scifi because I heard about some interesting parts, I have the feeling there's a 1 page thesis about the future and technology trying to escape, but buried under some mildly interesting generic storyline and tons of made up terminology and worldbuilding.
Some predictions in the first book:
- touch-screens in general and tablets in particular
- use of AI to adapt difficulty levels in games
- use of AI and virtual simulations for military training
- the Internet, and more specifically:
- the wide usage of forums, blogs, etc. (lots of references that kinda seem like social media, with propaganda spread, message control, etc.)
- the usage of sock-puppet accounts to influence elections and general political discourse (and the creation of "influencers" out of ... thin air)
Later in the series we also get:
- Cryptocurrencies
- AIs in control of financial systems
Also wild that he nailed AI and VR but completely missed that everyone would carry a supercomputer in their pocket. The big paradigm shifts are always the ones nobody sees coming.
To go straight to the nitpicks:
> The Matrix Trilogy, Ghost in the Shell, [...]. Except Gibson did it first.
Ghost in the Shell started publication around 1989, but it's author was writing cyberpunk in 1985 (Appleseed), with already many of the themes approached in it.
1985 is a tad later than Gibson's Neuromamcer, but given the timeline to start a series with the level of details Masamune Shirow uses, they're basically writing at the same time.
I wouldn't put Gibson as a direct influence, and in the Japanese scene Akira, started in 1982 would be way more influencial.
What really stroke me is how far the Japanese culture feels from a western perspective, when it had a very flourishing Cyberpunk scene that doesn't get much credit outside of manga/anime fans.
It's going to be very hard to navigate between faithfulness to the book and still have it feel fresh.
That and inherent difficulty of taking Gibson's prose to the screen. Maybe it will be by voiceover.
During the reading the touch on origins and culture of Cyberpunk. The hosts are (I think) reasonably intelligent and well spoken and they tend to get a bit deeper into things around the books than other book podcasts I've listened too -- which seem to mostly just recount the plot.
I had read Neuromancer as a kid but not the other books, I think if you're a Cyberpunk fan you should at least give Burning Chrome a read. It's quite short and digestible seeing as its all short stories.
They also did the entire Book of the New Sun series by Gene Wolfe and some Le Guin (the Earthsea series, not any science-fiction).
I think this was one of the main contributions that cyberpunk made to science fiction. Get the language right, make the future feel like the actual future would feel for people from the past: confusing.
Doctorow's late cyberpunk novels like "Down and Out in the Magic Kingdom" are also very good.
Stephenson's world building has a bit more depth to it. You can pick up the Diamond Age today and it still reads well and in a way a lot of stuff that is going on with LLMs make that a super relevant book right now. There are a lot of ideas and moral dilemmas that the book raises. What happens if you take the notion of a poor girl receiving a quality education from an AI and it starts subverting the child's mind with crazily addictive story telling, and adaptive behavior. What happens if you create an army of a quarter million girls with a copy of the same AI book.
The reality of an ipad like device that might have some beefed up version of chat gpt on it that starts bonding with a toddler and executing an educational agenda over years is not that unimaginable any more. A lot of kids know how to unlock their mom's phone before they learn to walk/talk these days. Not the same thing of course but the whole morals and ethics around the topic are exactly what Stephenson explored in the early nineties with that book.
A lot that is science fiction in that book still is; but some of it just became science fact. In the same way, Snow Crash is still pretty fresh. The whole Meta thing a few years ago was directly inspired by that book. And they made a mess of it. We still don't have proper VR. But the tech is definitely getting closer.
Neuromancer never had that quality to me. It's alright as a book but ultimately a bit shallow.
i used to really enjoy Stephenson (especially having not gone to college- i feel like i was exposed to some interesting ideas through his writing that i might not have otherwise).
now that i'm a bit older, i find him to be kind of a know-it-all blowhard, especially in light of his extremely-lucrative work with what are basically the precursors to the giant horrible corporations he wrote about so disparagingly.
i still enjoy snow crash, and i want to re-read cryptonomicon and anathem, but it's really hard to weigh the message he used to send against his more recent work in meatspace.
I like that we now also have "Amara's Law" [1] that makes the exact opposite point:
> We tend to overestimate the effect of a technology in the short run and underestimate the effect in the long run.
So either that "futurist" was an idiot, or this shows that with respect to future developments, really no one has any idea what they are talking about.
[1] https://en.wikipedia.org/wiki/Roy_Amara
This post gave me more appreciation of Gibson's impact and a boost to pick it up somewhen later in the year.
So Neuromancer felt like it was on a pretty accurate trajectory to me. I couldn’t put it down until I finished it.
It's the fate of all writers who create stories about the near future to eventually have time catch up with their imagination. It's sad, because many times their writing is often dismissed once their ideas don't seem so fantastic. Stories about upper class aristocrats in the 1800s still get movies made about them every year, but old science fiction novels lose their luster as time goes by.
Like the article said, the ideas from futurist authors are either incredibly prescient, or miss the mark in ways that make their predictions quaint in retrospect.
Jules Verne wrote about submarines and space travel. H.G. Wells wrote about lasers and military aircraft. Arthur C. Clarke predicted computer miniaturization and global telecommunications (including geosynchronous satellites). Douglas Adams predicted the smart phone and annoying Alexa responses. And on and on: Heinlein, Bradbury, Asimov, Huxley, Dick, Niven, and more.
And everyone has predicted the coming age of AGI. I think it's pretty exciting that I might get to see who called it correctly within my lifetime.
The real 'matrix' isn't just a virtual space we plug into; it's the increasingly complex, often invisible, interplay between our biological cognition and the predictive models that mediate our perception. We're already seeing early signs of 'cognitive debt' and the subtle erosion of our internal models as we offload more mental tasks to external systems. The challenge isn't just building smarter machines, but building anchors for consciousness in an increasingly fluid, data-driven existence.
https://dmf-archive.github.io/docs/posts/net-anchor-has-arri...
The other gobsmacking thing about Neuromancer is space. Near-Earth space feels fully-colonized and space travel is only slightly more exotic than air travel. In a similar vein, post-human biological modification is rather mundane, at least in our hero's circles. This is another area where real-world advances don't measure up. In these two areas I find the book to be quite a lot more optimistic than reality has turned out.
If you hold up Neuromancer to modern society to judge us on our engineering accomplishments, you'll find us coming up very short in every area other than pure software engineering. The irony is that in that particular area Neuromancer veers from science fiction squarely into fantasy. And yeah, it's still great.
The one nitpick I have about the article is just this:
But even by 1984, dead channels were a thing of the past: 24-hour news had been around since 1980, and MTV had been alive and kicking since 1981
OK, while cable and 24-hour news were indeed around by 1984, cable wasn't ubiquitous yet in 1984. Maybe in big cities, but in the rural area where I grew up we didn't even have cable TV service available until about 1989 or 1990 or so. And beyond that, even people who grew up with cable would have seen shots of "televisions tuned to dead channels" in movies and other TV shows and what-not. I'd venture that not many Gibson readers in 1984 were even slightly confused by the "The sky above the port was the color of television, tuned to a dead channel" line.
"Corto was a member of "Operation Screaming Fist," which planned on infiltrating and disrupting Soviet computer systems from ultralight aircraft dropped over Russia. The Russian military had learned of the idea and installed defenses to render the attack impossible, but the military went ahead with Screaming Fist, with a new secret purpose of testing these Russian defenses. As the Operation team attacked a Soviet computer center, EMP weapons shut down their computers and flight systems, and Corto and his men were targeted by Soviet laser defenses."
Clearly, this helps make works of sci Fi/speculative fiction/cyberpunk and related genres relevant far into the future.
If you try to extrapolate current tech 50 years into the future, you'll probably get it wrong and people reading your books during the time it's set in will think it quaint.
When you have to invent new future tech, it still feels mysterious and interesting.
This is not a negative. Sci fi is always about people.
(Compare that to someone like Neal Stephenson, who also helped define cyberpunk, but whose deep, deep geekiness about his subject is so unavoidable as to occasionally grind the books to a halt…)
What you're missing in his writing is plausible sci-fi stuff: he doesn't care about the details of how biotech or AI will become tools of oppression, he just knows they will.
Stephenson is a good writer too, but he's pandering to an audience: the technical details are fleshed out and the good guys win an unambiguous victory via the virtues of being a nerd.
I'd like to live in Stephenson's world, but that one is made up.
has 3 main themes: 1) Gibson talking about Americana because he had a captive audience (the director) who promised to listen. 2) Gibson being self-deprecating because he promised the director he’d answer questions about himself. 3) Lots of other writers explaining what an experience it was to read Neuromancer when it first came out.
And the only reason every tech based scifi story is interesting is because nobody bothers to consider that all tech leads to absolute fascism and tracking of every living being in existence way way before the creation of the really powerful interesting stuff
This is why, despite being great conceptually and story-wise, ultimately I did not like Neuromancer. Plenty of other novels have tons of in universe jargon but don't feel as exhausting to read as Neuromancer. For instance, Tolkien invented multiple fictional languages and his books tend to have 100+ pages of appendices explaining everything, but his prose flows so naturally.
Perhaps Neuromancer would benefit from an ebook edition incorporating a recent CRPG video game innovation, where in universe terms in text are highlighted and you can click/tap on the highlighted terms to get a little tooltip box explaining what the term is.
the exhaustion is the point. Gibson is great because he turned the essence of the genre, media oversaturation, into a prose style. Cyberpunk is all about everything being in your face. Things are flashing by, too fast, too dense, you're disoriented, etc.
You aren't supposed to understand or put every term under a microscope, you should feel as disoriented as the characters. One of the strongest aspects of the book is how successful he is at making you feel as if you're hooked into something running on 120% speed.
Not unlike Gene Wolfe in the Book of the New Sun, where Wolfe recombines words and invents language as the conceit is that the narrator is translating from a future work into contemporary English, having to make use of words that don't yet exist. You're not supposed to grab the dictionary and try to figure out what each term means, you're supposed to take it in as you go on.
Neuromancer is the first installment of the Sprawl trilogy, followed by Count Zero and Mona Lisa Overdrive.
So trying not to spoil too much: Count Zero asks questions about / describes how AI could have influence over religious/spiritual life of humans.
Will we see AI preachers having a real influence on human religious life? ChatGPT the prophet? Maybe this is the real danger of today's nascent AI tech?