The foremost example of its genre. Gibson reduces the supernatural powers in The Stars My Destination (1956) to the ambiguous holographic projections of Peter Riviera, and—brilliantly!—has no grand premiss to replace them. Like Bester’s work, Neuromancer contains very little science, and—again like Bester’s work—it still manages a little action on a cosmic scale. Bester’s Foyle travels to Aldebaran; Gibson’s Case hears of the liberated AI identifying an extrasolar peer.
Case, like Batty in Blade Runner (1982), has his Christian subtext, but Gibson does even this better than his predecessors. No flying cars or inexplicably unidentifiable androids here. Gibson’s future world made more sense than any other writer’s in his time.
Sleazy techno-thriller with a few big-name actors.
I’m somewhat surprised at how much they kept of the original short story, but in terms of pacing, this isn’t even on Gibson’s horizon. A lot of filler, repetition and budget-conserving tricks; not much happening.
Gibson has admitted to the superficiality of the Voodoo motif. Alas, it is a severe weakness, covering a failure to imagine or even decide what would happen as a consequence of the events in Neuromancer.