Amadan na Briona

This is a book that, if you are approaching it for the first time, suffers from having been imitated so much that it seems derivative of its own successors. Neuromancer was genre-defining and it blew a million little geeky minds back in the day, but reading it in 2012, I failed to be enthralled by the goshwow factor. 'Cyberspace' is mainstream now, and stripped away of the novelty that made fans back in 1984 say "This is so fucking cool!" the book is kind of a techy-tech high concept thrill ride with cardboard characters.

So, Case is a 'cyberspace cowboy' who used to "jack in" to the Matrix and go on 'runs' (stealing data from big corporations, governments, etc.) in a near-future where the U.S. has fragmented into tribal/corporate nation-states, but the USSR is still around. (In the foreword to this edition, Gibson comments on his own prescience or lack thereof, acknowledging also all the other things he didn't get right which will strike modern readers, like the existence of payphones and the lack of cell phones.) He tried to steal from one of his employers, and in retaliation they poisoned him in a way that left him unable to jack into the matrix again. Now he's a down-and-outer in Chiba City (yes, there's a taste of 80s "Japan is so fucking cool!" weeabooism here) when he gets recruited for a job by a mysterious guy named Armitage who says he can fix him up. Case also meets Molly, a "razor girl" street samurai. With the rest of his motley crew, Case goes on an adventure that takes him into high orbit to the playground of the super-rich. There are futuristic ninjas, artificial intelligences, and your basic cyberpunk RPG adventure. Again, not really fair to dismiss it like that, because this book invented cyberpunk RPGing and cyberpunk everything else, but unless you really love all things cyberpunk and/or Gibson, you may find, as I did, that Neuromancer just doesn't quite live up to the hype it earned in 1984 with its Hugo and Nebula awards.

William Gibson's writing is superbly clever and descriptive, and boy does he spin ideas. But this is the third book of his I've read, and while I appreciate his craft on a technical level, his stories just don't do much for me. I don't care about his characters.

For SF fans, this may be a good book to read to be familiar with, you know, the "seminal" works of the genre, but I just don't feel compelled to go read the rest of the Sprawl trilogy.