![]() ![]() He is responsible for most of the innovations that have become, regrettably, the fixtures of the almost-cliched-by-now generic cyberpunk story. ![]() Gibson was the point man for what is now known as cyberpunk as soon as his writing hit the light of day. He has smashed a hole through the moribund haze of the science fiction subculture like nothing since the New Wave of the late ’60s. Gibson’s stuff is the reactor-core steam of all tomorrow’s parties breathing down your neck today. To a large degree, this is due to William Gibson, whose writings- Neuromancer, Count Zero, Burning Chrome, and the new Mona Lisa Overdrive-have taken the mainstream’s assumptions about science fiction (nerdy, reactionary, desexed) and rotated them 180 degrees on their vertical axis. It has acquired all the sinuous grace and breathless, sweaty eroticism of the finest rock’n’roll it kicks in with visceral urgency that smacks of addiction. In the last couple of years, science fiction has tossed off the little-green-men albatross and turned overnight into a sleek, well-oiled, dangerous thing-a matte-black Stealth bomber constructed of words. This article originally appeared in the December 1988 issue of SPIN. ![]()
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