Is Neuromancer’s cyberpunk dystopia still thrilling in 2025?

Neuromancer
William Gibson (Orion Publishing (UK); Ace Books (US))

Neuromancer opens with an iconic line: “The sky above the port was the color of television, tuned to a dead channel.”
First published in 1984, when personal computing was still a luxury for most, Gibson famously penned the novel using a typewriter.
Yet, it vividly depicts a futuristic world where data is the new currency and business is done in an ethereal dimension called “cyberspace.”
But with innovation comes danger, as companies can also be hacked and robbed. In the background, powerful AIs loom, often beyond comprehension.

The release of Neuromancer generated a seismic shift in the science fiction genre, birthing the
cyberpunk phenomenon.
Now, over four decades later, it remains one of the most foretelling literary pieces ever created. With an adaptation in the works by Apple TV+,
I’ve delved into the novel once more to assess its relevance in an era dominated by smartphones and prevalent internet usage.

Initially, I struggled to get into the narrative after a two-decade hiatus. While the writing style is undeniably magnetic, the cramped depiction of a fallen hacker navigating the gritty underbelly of society felt far less engaging than I remembered.
Immediately, I questioned whether the narrative had aged poorly, especially as its themes and visuals have proliferated through various adaptations and our own technological advancements.

However, as I progressed, the plot captured my attention. One particularly chilling scene features our protagonist receiving a phone call in a hotel lobby,
only to find it’s an AI contacting him. This moment powerfully echoes the inspirations behind The Matrix and serves as a reminder of the
book’s lasting impact.

As the action unfolded further into the cosmos, I encountered the AIs more directly. It quickly became apparent that Gibson’s vast conceptual frameworks retain an astonishing relevance, even in contemporary discourse.
Notably, his illustration of a governing force, dubbed the “Turing,” that monitors AI activity resonates eerily with today’s conversations surrounding AI ethics and security.

By the conclusion of my reread, it became clear why prominent authors such as Adrian Tchaikovsky continuously revisit
Neuromancer. It requires a patient and attentive approach but ultimately reveals its brilliance as a literary masterpiece that still resonates
today. The lingering question remains: how did Gibson craft such a visionary work using only a typewriter?

Fortunately, Gibson has shed light on this creative process in the years since its publication. He once remarked,
“I was actually able to write Neuromancer because I didn’t know anything about computers,”
recounting how he deconstructed the technical vernacular spoken by early computer pioneers during his observations.

This led to some humorous moments in the book, such as when the protagonist exclaims, “Get me a modem! I’m in deep shit!”
It’s fascinating how Gibson’s limited understanding of technology led him to produce such a compelling narrative.

In summary, the novel proves exceptional. Let us hope the upcoming TV adaptation does justice to Gibson’s visionary creation.

Emily also recommends…

Burning Chrome
William Gibson (Orion Publishing (UK); Gollancz (US))

Gibson’s short story collection is astounding. It was one of my favourite books growing up, and it still sizzles today.

Emily H. Wilson is a former editor of New Scientist and the author of the Sumerians trilogy, set in ancient Mesopotamia. The final novel in the series, Ninshubar, is out now. You can find her at emilyhwilson.com, or follow her on X @emilyhwilson and Instagram @emilyhwilson1