In an effort to catch up on this challenge, I am making my third post on the heels of my second. Hope no one minds! Anyhoo, here’s my third selection for the books that have inspired me the most.
But first, a little book keeping. Here are the rules of this challenge!
Thank whoever nominated you with big, bold print. If they have a blog, link to the post where you got tagged there.
Explain the rules.
Post the cover of a book that was influential on you or that you love dearly.
Explain why it was so influential to you.
Tag someone else to do the challenge, and let them know they’ve been tagged.
Thanks again to RAMI UNGAR for the nomination, and you can find him at ramiungarthewriter.com. And here’s my second selection for the challenge, the cyberpunk classic Neuromancer!
This book, which was published in 1982, is the first book in the SprawlTrilogy – so named because all three take place predominantly in the Boston-Atlanta Metropolitan Axis (BAMA). Also known as the Sprawl, this mega-city extends along the entire eastern seaboard and is contained by geodesic domes. The story takes place in a semi-dystopian 21st century where the world is controlled by multinational corporations, the Cold War continues, their is a massive divide between the rich and the poor, and the criminal underworld consists of cyberjockeys, cyberninjas and Yakuza assasins.
This book was immensely influential on me because it introduced me to the world of cyberpunk, with its combination of high tech and low life! I got an introduction to these elements from movies like Akira and Johnny Mnemonic (which is based on a short story by William Gibson, btw), but it was not until I read this book that I really got what it was all about. It also illustrated for me what Gibson brilliantly said (I’m paraphrasing): “All science fiction novels are about the period in which they are written.”
Also, interesting fact, William Gibson coined the term cyberspace in this novel. Yes, roughly a decade before the internet became a reality, Gibson predicted what a global network of free-flowing information would look like. And his vision was incredibly influential, as exemplified by the countless movies that pictured the internet as some massive virtual environment filled with neon icons and streaming lines of code (think Hackers, the Matrix, and any movie involving internet crime combined). As he described it in the story:
“Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts… A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding…”
I strongly recommend this book for anyone who would like to learn where many of the concepts that have become a staple of science fiction came from. And now for my nomination, I choose you, Phyllis Moore, aka. the MythRider!
One of the most interesting and speculative things to come out of the William Gibson’s cyberpunk series The Sprawl Trilogy was the concept of Simstim. A term which referred to “simulated stimulation”, this technology involved stimulating the nervous system of one person so that they could experience another’s consciousness. As is so often the case, science fiction proves to be the basis for science fact.
This latest case of science imitating sci-fi comes from Barcelona, where a group of interdisciplinary students have created a revolutionary VR technology that uses virtual reality and neuroscience to let people see, hear, and even feel what it’s like in another person’s body. The focus, though, is on letting men and women undergo a sort of high-tech “gender swapping”, letting people experience what it’s like to be in the others’ shoes.
Be Another Lab is made up of Philippe Bertrand, Daniel Gonzalez Franco, Christian Cherene, and Arthur Pointea, a collection of interdisciplinary artists whose fields range from programming and electronic engineering to interactive system design and neuro-rehabilitation. Together, the goal of Be Another Lab is to explore the concepts of empathy through technology, science, and art.
In most neuroscience experiments that examine issues of empathy and bias, participants “trade places” with others using digital avatars. If a study wants to explore empathy for the handicapped, for example, scientists might sit subjects down in front of a computer and make them play a video game in which they are confined to a wheelchair, then ask them a series of questions about how the experience made them feel.
However, Be Another Lab takes a different, more visceral approach to exploring empathy. Instead of using digital avatars, the group uses performers to copy the movements of a subject. For example, racial bias is studied by having a subject’s actions mirrored by a performer of color. And for something like gender bias, men and women would take a run at living inside the body of one another.
Bertrand and company have taken this approach to the next level by leveraging the tech of a paid Oculus Rift virtual reality headset, renaming it the Machine To Be Another. In the project, two participants stand in front of one another, put on their headsets, and effectively see out of one anothers’ eyes. When they look at each other, they see themselves. When they speak, they hear the other person’s voice in their ears.
But things don’t end there! Working together, the two participants are encouraged to sync their movements, touching objects in the room, looking at things, and exploring their ‘own’ bodies simultaneously. Bertrand explains the experience as follows:
The brain integrates different senses to create your experience of the world. In turn, the information from each of these senses influences how the other senses are processed. We use these techniques from neuroscience to actually affect the psychophysical sensation of being in your body.
In other words, in combination with being fed video and sound from their partner’s headset, by moving and touching things at the same time, the Machine To Be Another can actually convince people that they are in someone else’s body as long as the two partners remain in sync.
It’s a radical idea that Be Another Lab is only beginning to explore. Right now, their experiments have mostly focused on gender swapping, but the team hopes to expand on this and tackle issues such as transgender and homosexuality. The group is currently looking to partner with various organizations, experts and activists to help them further perfect their techniques.
It’s a unique idea, giving people the ability to not only walk a mile in another’s shoes, but to know what that actually feels like physically. I can foresee this sort of technology becoming a part of sensitivity training in the future, and even as education for sex offenders and hate criminals. Currently, such training focuses on getting offenders to empathize with their victims.
What better way to do that than making them see exactly what it’s like to be them? And in the meantime, enjoy this video of the Machine To Be Another in action:
In the course of becoming an indie writer, there is one aspect of the creative process which keeps coming back to me. To put it simply, it is the challenges and delights of world building – i.e. creating the background, context, and location in which a story takes place. For years, I have been reading other people’s thoughts on the subject, be they authors themselves or just big fans of literary fiction.
But my own experience with the process has taught me much that I simply couldn’t appreciate before I picked up my pen and pad (or in this case, opened a word doc and began typing). Ad lately, the thoughts have been percolating in my mind and I felt the need to write them out. Having done that, I thought I might share them in full.
For starters, being a science fiction writer presents a person with particular opportunities for creative expression. But at the same time, it presents its share of particular challenges. While one is certainly freer to play around with space, place, and invent more freely than with most other genres, they are still required to take into account realism, consistency and continuity in all that they do.
Sooner or later, the world a writer builds will be explored, mapped, and assessed, and any and all inconsistencies are sure to stick out like a sore thumb! So in addition to making sure back-stories, timelines and other details accord with the main plot, authors also need to be mindful of things like technology, physical laws, and the nature of space and time.
But above all, the author in question has to ask themselves what kind of universe they want to build. If it is set in the future, they need to ask themselves certain fundamental questions about where human beings will be down the road. Not only that, they also need to decide what parallels (and they always come up!) they want to draw with the world of today.
Through all of this, they will be basically deciding what kind of message they want to be sending with their book. Because of course, anything they manage to dream up about the future will tell their readers lots about the world the author inhabits, both in the real sense and within their own head. And from what I have seen, it all comes down to five basic questions they must ask themselves…
1. Near-Future/Far Future:
When it comes to science-fiction stories, the setting is almost always the future. At times, it will be set in an alternate universe, or an alternate timeline; but more often than not, the story takes place down the road. The only question is, how far down the road? Some authors prefer to go with the world of tomorrow, setting their stories a few decades or somewhere in the vicinity of next century.
By doing this, the author in question is generally trying to show how the world of today will determine the world of tomorrow, commenting on current trends and how they are helping/hurting us. During the latter half of the 20th century, this was a very popular option for writers, as the consensus seemed to be that the 21st century would be a time when some truly amazing things would be possible; be it in terms of science, technology, or space travel.
Other, less technologically-inclined authors, liked to use the not-so-distant future as a setting for dystopian, post-apocalytpic scenarios, showing how current trends (atomic diplomacy, arms races, high tech, environmental destruction) would have disastrous consequences for humanity in the near-future. Examples of this include Brave New World, 1984, The Iron Heel, The Chrysalids, and a slew of others.
In all cases, the totalitarian regimes or severe technological and social regression that characterized their worlds were the result of something happening in the very near-future, be it nuclear or biological war, a catastrophic accident, or environmental collapse. Basically, humanity’s current behavior was the basis for a cautionary tale, where an exaggerated example is used to illustrate the logical outcome of all this behavior.
At the other end of the spectrum, many authors have taken the long view with their sci-fi world building. Basically, they set their stories several centuries or even millennia from now. In so doing, they are able to break with linear timelines and the duty of having to explain how humanity got from here to there, and instead could focus on more abstract questions of existence and broader allegories.
Examples of this include Frank Herbert’s Dune and Asimov’s Foundation series, both of which were set tens of thousands of years in the future. In both of these universes, humanity’s origins and how they got to where they were took a backseat to the historical allegories that were being played upon. While some mention is given to the origins of humanity and where they came from, little attempt is made to draw a line from the present into the future.
Instead, the focus is overwhelmingly on the wider nature of human beings and what drives us to do the things we do. Asimov drew from Gibbon’s Decline and Fall of the Roman Empire to make a point about the timeless nature of history, while Herbert drew on the modern age, medieval and ancient history, religion, philosophy, and evolutionary biology and ecology to investigate the timeless nature of humanity and what factors shape it.
For non-purists, Star Wars and Star Trek can also serve as examples of both tendencies in action. For decades, Star Trek used a not-too-distant future setting to endlessly expound on the human race and the issues it faces today. And always, this examination was done in the form of interstellar travel, the crew of the Enterprise going form world to world and seeing themselves in the problems, norms and social structure of other races.
Star Wars, on the other hand, was an entirely different animal. For the people living in this universe, no mention is ever made of Earth, and pre-Republic history is considered a distant and inaccessible thing. And while certain existential and social issues are explored (i.e. racism, freedom and oppression), the connections with Earth’s past are more subtle, relying on indirect clues rather than overt comparisons.
The Republic and the Empire, for example, is clearly inspired by Rome’s own example. The Jedi Code is very much the picture of the Bushido code, its practitioners a sort of futuristic samurai, and the smugglers of Tatooine are every bit the swashbuckling, gun toting pirates and cowboys of popular fiction. But always, the focus seemed to more on classically-inspired tales of destiny, and of epic battles of good versus evil.
And of course, whether we are talking near future or far future has a big influence on the physical setting of the story as well. Which brings me to item two…
2. Stellar or Interstellar:Here is another important question that every science fiction author has faced, and one which seriously influences the nature of the story. When it comes to the world of tomorrow, will it be within the confines of planet Earth, the Solar System, or on many different world throughout our galaxy? Or, to go really big, will it encompass the entire Milky Way, or maybe even beyond?
Important questions for a world-builder, and examples certainly abound. In the former case, you have your dystopian, post-apocalyptic, and near future seenarios, where humanity is stuck living on a hellish Earth that has seen better days. Given that humanity would not be significantly more adavanced than the time of writing, or may have even regressed due to the downfall of civilization, Earth would be the only place people can live.
But that need not always be the case. Consider Do Androids Dream of Electric Sheep? by Philip K Dick. In his dystopian, post-apocalyptic tale, Earth was devestated by nuclear war, forcing the wealthiest and healthiest to live in the Offworld Colonies while everyone who was too poor or too ravaged by their exposure to radiation was confined to Earth. Clearly, dystopia does not rule out space travel, though it might limit it.
And in the latter case, where human beings have left the cradle and begun walking amongst our System’s other planets and even the stars, the nature of the story tends to be a bit more ambiguous. Those who choose such a setting tend to be of the opinion that mankind either needs to reach out in order to survive, or that doing so will allow us to shed some of our problems.
Examples abound here again, but Alastair Reynolds’ Revelation Space universe seems like the ideal one here. In this series, humanity has access to near-light speed travel, nanotechnology, brain-computer interfacing, neural uploading, AI, smart materials, and has colonized dozens of new worlds. However, the state of humanity has not changed, and on many worlds, civil war and sectarian violence are common.
In either case, the setting also bears a direct relation to the state of technology in the story. For humans still living on Earth (and nowhere else) in the future, chances are, they are about as advanced or even behind the times in which the story was written. For those living amongst the stars, technology would have to advanced sufficiently to make it happen. Which brings me to the next point…
3. High-Tech or Low-Tech: What would a work of science fiction be without plenty of room for gadgets, gizmos, and speculation about the future state of technology? And once more, I can discern of two broad categories that an author can choose from, both of which have their share of potential positives and negatives. And depending on what kind of story you want to write, the choice of what that state is often predetermined.
In the former case, there is the belief that technology will continue to advance in the future, leading to things like space travel, FTL, advanced cyborgs, clones, tricorders, replicators, artificial intelligence, laser guns, lightsabers, phasers, photon torpedoes, synthetic humans, and any number of other fun, interesting and potentially dangerous things.
With stories like these, the purpose of high-tech usually serves as a framing device, providing visual evidence that the story is indeed taking place in the future. In other words, it serves a creative and fun purpose, without much thought being given towards exploring the deeper issues of technological progress and determinism. But this not be the case, and oftentimes with science fiction, high-tech serves a different purpose altogether.
In many other cases, the advance of technology is directly tied to the plot and the nature of the story. Consider cyberpunk novels like Neuromancer and the other novels of William Gibson’s SprawlTrilogy. In these and other cyberpunk novels, the state of technology – i.e. cyberpsace decks, robotic prosthetics, biotech devices – served to illustrate the gap between rich and poor and highlighting the nature of light in a dark, gritty future.
By contrast, such post-cyberpunk novels as Neal Stephenson’s The Diamond Age took a different approach. While high-tech and its effects on society were explored in great detail, he and other authors of this sub genre chose to break with their predecessors on one key issue. Namely, they did not suppose that the emergence of high-tech would lead to dystopia, but rather an ambiguous future where both good and harm resulted.
And at the other end of the spectrum, where technology is in a low state, the purpose and intent of this is generally the same. On the one hand, it may serve as a plot framing device, illustrating how the world is in a primitive state due to the collapse of civilization as we know it, or because our unsustainable habits caught up with us and resulted in the world stepping backwards in time.
At the same time, the very fact that people live in a primitive state in any of these stories serves the purpose of commentary. Simply by showing how our lives were unsustainable, or the actions of the story’s progenitor’s so foolish, the author is making a statement and asking the reader to acknowledge and ponder the deeper issue, whether they realize it or not.
At this end of things, A Boy and His Dog and Mad Max serve as good examples. In the former case, the story takes place in a post-apocalyptic landscape where a lone boy and his genetically-engineered talking dog rove the landscape in search of food and (in the boy’s case) sexual gratification. Here, the state of technology helps to illustrate the timeless nature of the human condition, namely how we are essentially the products of our environment.
In Mad Max as well, the way roving gangs are constantly looking for gasoline, using improvised weapons, and riding around in vehicles cobbled together from various parts gives us a clear picture of what life is like in this post-collapse environment. In addition, the obvious desperation created by said collapse serves to characterize the cultural landscape, which is made up of gangs, tinpot despots, and quasi-cults seeking deliverance.
But on the other hand, the fact that the world exists in this state due to collapse after the planet’s supply of oil ran dry also provides some social commentary. By saying that the world became a dangerous, anarchistic and brutal place simply because humanity was dependent on a resource that suddenly went dry, the creators of Mad Max’s world were clearly trying to tell us something. Namely, conserve!
4. Aliens or Only Humans: Another very important question for setting the scene in a science fiction story is whether or not extra-terrestrials are involved. Is humanity still alone in the universe, or have they broken that invisible barrier that lies between them and the discovery of other sentient life forms? Once again, the answer to this question has a profound effect on the nature of the story, and it can take many forms.
For starters, if the picture is devoid of aliens, then the focus of the story will certainly be inward, looking at human nature, issues of identity, and how our environment serves to shape us. But if there are aliens, either a single species or several dozen, then the chances are, humanity is a united species and the aliens serve as the “others”, either as a window into our own nature, or as an exploration into the awe and wonder of First Contact.
As case studies for the former category, let us consider the Dune, Foundation, and Firefly universes. In each of these, humanity has become an interstellar species, but has yet to find other sentiences like itself. And in each of these, human nature and weaknesses appear to be very much a constant, with war, petty rivalries and division a costant. Basically, in the absence of an “other”, humanity is focused on itself and the things that divide it.
In Dune, for example, a galaxy-spanning human race has settled millions of worlds, and each world has given rise to its own identity – with some appearing very much alien to another. Their are the “navigators”, beings that have mutated their minds and bodies through constant exposure to spice. Then there are the Tleilaxu, a race of genetic manipulators who breed humans from dead tissue and produce eunuch “Face Dancers” that can assume any identity.
Basically, in the absence of aliens, human beings have become amorphous in terms of their sense of self, with some altering themselves to the point that they are no longer even considered human to their bretherin. And all the while, humanity’s biggest fight is with itself, with rival houses vying for power, the Emperor gaurding his dominance, and the Guild and various orders looking to ensure that the resource upon which all civilization depends continues to flow.
In the Foundation universe, things are slightly less complicated; but again, the focus is entirely inward. Faced with the imminent decline and collapse of this civilization, Hari Seldon invents the tool known as “Psychohistory”. This science is dedicated to anticipating the behavior of large groups of people, and becomes a roadmap to recovery for a small group of Foundationists who seek to preserve the light of civilization once the empire is gone.
The series then chronicles their adventures, first in establishing their world and becoming a major power in the periphery – where Imperial power declines first – and then rebuilding the Empire once it finally and fully collapses. Along the way, some unforeseen challenges arise, but Seldon’s Plan prevails and the Empire is restored. In short, it’s all about humans trying to understand the nature of human civilization, so they can control it a little better.
Last, but not least, their is the Firefly universe which – despite the show’s short run – showed itself to be in-depth and interestingly detailed. Basically, the many worlds that make up “The Verse” are divided along quasi-national lines. The core worlds constitute the Alliance, the most advanced and well-off worlds in the system that are constantly trying to expand to bring the entire system under its rule.
The Independents, we learn early in the story, were a coalition of worlds immediately outside the core worlds that fought these attempts, and lost. The Border Worlds, meanwhile, are those planets farthest from the core where life is backwards and “uncivilized” by comparison. All of this serves to illustrate the power space and place have over human identity, and how hierarchy, power struggles and divisiveness are still very much a part of us.
But in universes where aliens are common, then things are a little bit different. In these science fiction universes, where human beings are merely one of many intelligent species finding their way in the cosmos, extra-terrestrials serve to make us look outward and inward at the same time. In this vein, the cases of Babylon 5, and 2001: A Space Odyssey provide the perfect range of examples.
In B5 – much as with Stark Trek, Star Gate, or a slew of other franchises – aliens serve as a mirror for the human condition. By presenting humanity with alien cultures, all of whom have their own particular quarks and flaws, we are given a meter stick with which to measure ourselves. And in B5‘s case, this was done rather brilliantly – with younger races learning from older ones, seeking wisdom from species so evolved that often they are not even physical entities.
However, in time the younger race discover that the oldest (i.e. the Shadows, Vorlons, and First Ones) are not above being flawed themselves. They too are subject to fear, arrogance, and going to war over ideology. The only difference is, when they do it the consequences are far graver! In addition, these races themselves come to see that the ongoing war between them and their proxies has become a senseless, self-perpetuating mistake. Echoes of human frailty there!
In 2001: A Space Odyssey, much the same is true of the Firstborn, a race of aliens so ancient that they too are no longer physical beings, but uploaded intelligences that travel through the cosmos using sleek, seamless, impenetrable slabs (the monoliths). As we learn in the course of the story, this race has existed for eons, and has been seeking out life with the intention of helping it to achieve sentience.
This mission brought them to Earth when humanity was still in its primordial, high-order primate phase. After tinkering with our evolution, these aliens stood back and watched us evolve, until the day that we began to reach out into the cosmos ourselves and began to discover some of the tools they left behind. These include the Tycho Monolith Anomaly-1 (TMA-1) on the Moon, and the even larger one in orbit around Jupiter’s moon of Europa.
After making contact with this monolith twice, first with the American vessel Discovery and then the joint Russian-American Alexei Leonov, the people of Earth realize that the Firstborn are still at work, looking to turn Jupiter into a sun so that life on Europa (confined to the warm oceans beneath its icy shell) will finally be able to flourish. Humanity is both astounded and humbled to learn that it is not alone in the universe, and wary of its new neighbors.
This story, rather than using aliens as a mirror for humanity’s own nature, uses a far more evolved species to provide a contrast to our own. This has the same effect, in that it forces us to take a look at ourselves and assess our flaws. But instead of showing those flaws in another, it showcases the kind of potential we have. Surely, if the Firstborn could achieve such lengths of evolutionary and technological development, surely we can too!
5. Utopian/Dystopian/Ambiguous: Finally, there is the big question of the qualitative state of humanity and life in this future universe. Will life be good, bad, ugly, or somewhere in between? And will humanity in this narrative be better, worse, or the same as it now? It is the questions of outlook, whether it is pessimistic, optimistic, realistic, or something else entirely which must concern a science fiction writer sooner or later.
Given that the genre evolved as a way of commenting on contemporary trends and offering insight into their effect on us, this should come as no surprise. When looking at where we are going and how things are going to change, one cannot help but delve into what it is that defines this thing we know as “humanity”. And when it comes right down to it, there are a few schools of thought that thousands of years of scholarship and philosophy have provided us with.
Consider the dystopian school, which essentially posits that mankind is a selfish, brutish, and essentially evil creature that only ever seeks to do right by himself, rather than other creatures. Out of this school of thought has come many masterful works of science fiction, which show humanity to be oppressive to its own, anthropocentric to aliens and other life forms, and indifferent to the destruction and waste it leaves in its wake.
And of course, there’s the even older Utopia school, which presents us with a future where mankind’s inherent flaws and bad behavior have been overcome through a combination of technological progress, political reform, social evolution, and good old fashioned reason. In these worlds, the angels of humanity’s nature have won the day, having proven superior to humanity’s devils.
In the literally realm, 1984 is again a perfect example of dytopian sci=fi, where the totalitarian rule of the few is based entirely on selfishness and the desire for dominance over others. According to O’Brien, the Party’s mouthpiece in the story, their philosophy in quite simple:
The Party seeks power entirely for its own sake.We are not interested in the good of others; we are interested solely in power. Power is in inflicting pain and humiliation. Power is in tearing human minds to pieces and putting them together again in new shapes of your own choosing. If you want a picture of the future, imagine a boot stamping on a human face — forever.
Hard to argue with something so brutal and unapologetic, isn’t it? In Orwell’s case, the future would be shaped by ongoing war, deprivation, propaganda, fear, torture, humiliation, and brutality. In short, man’s endless capacity to inflict pain and suffering on others.
Aldous Huxley took a different approach in his seminal dystopian work, Brave New World, in which he posited that civilization would come to be ruled based on man’s endless appetite for pleasure, indifference and distraction. Personal freedom and individuality would be eliminated, yes, but apparently for man’s own good rather than the twisted designs of a few true-believers:
Universal happiness keeps the wheels steadily turning; truth and beauty can’t. And, of course, whenever the masses seized political power, then it was happiness rather than truth and beauty that mattered… People were ready to have even their appetites controlled then. Anything for a quiet life. We’ve gone on controlling ever since. It hasn’t been very good for truth, of course. But it’s been very good for happiness. One can’t have something for nothing. Happiness has got to be paid for.
But even though the means are entirely different, the basic aim is the same. Deprive humanity of his basic freedom and the potential to do wrong in order to ensure stability and long-term rule. In the end, a darker, more cynical view of humanity and the path that we are on characterized these classic examples of dystopia and all those that would come to be inspired them.
As for Utopian fiction, H.G. Wells’ Men Like Gods is a very appropriate example. In this novel, a contemporary journalist finds himself hurled through time into 3000 years into the future where humanity lives in a global state named Utopia, and where the “Five Principles of Liberty” – privacy, free movement, unlimited knowledge, truthfulness, and free discussion and criticism – are the only law.
After staying with them for a month, the protogonist returns home with renewed vigor and is now committed to the “Great Revolution that is afoot on Earth; that marches and will never desist nor rest again until old Earth is one city and Utopia set up therein.” In short, like most Positivists of his day, Wells believed that the march of progress would lead to a future golden age where humanity would shed it’s primitive habits and finally live up to its full potential.
This view would prove to have a profound influence on futurist writers like Asimov and Clarke. In the latter case, he would come to express similar sentiments in both the Space Odyssey series and his novel Childhood’s End. In both cases, humanity found itself confronted with alien beings of superior technology and sophistication, and eventually was able to better itself by opening itself up to their influence.
In both series, humanity is shown the way to betterment (often against their will) by cosmic intelligences far more advanced than their own. But despite the obvious questions about conquest, loss of freedom, individuality, and identity, Clarke presents this as a good thing. Humanity, he believed, had great potential, and would embrace it, even if it had to be carried kicking and screaming.
And just like H.G Wells, Clarke, Asimov, and a great many of his futurist contemporaries believes that the ongoing and expanding applications of science and technology would be what led to humanity’s betterment. A commitment to this, they believed, would eschew humanity’s dependence on religion, superstition, passion and petty emotion; basically, all the things that made us go to war and behave badly in the first place.
Summary: These are by no means the only considerations one must make before penning a science fiction story, but I think they provide a pretty good picture of the big-ticket items. At least the ones that keep me preoccupied when I’m writing! In the end, knowing where you stand on the questions of location, content, tone and feel, and what your basic conception of the future, is all part of the creation process.
In other words, you need to figure out what you’re trying to say and how you want to say it before you can go to town. In the meantime, I say to all aspiring and established science fiction writers alike: keep pondering, keep dreaming, and keep reaching for them stars!
Given the sensation created by the recent release of Google Glass – a timely invention that calls to mind everything from 80’s cyberpunk to speculations about our cybernetic, transhuman future – a lot of attention has been focused lately on personalities like Steve Mann, Mark Spritzer, and the history of wearable computers.
For decades now, visionaries and futurists have been working towards a day when all personal computers are portable and blend seamlessly into our daily lives. And with countless imitators coming forward to develop their own variants and hate crimes being committed against users, it seems like portable/integrated machinery is destined to become an issue no one will be able to ignore.
And so I thought it was high time for a little retrospective, a look back at the history of eyewear computers and digital devices and see how far it has come. From its humble beginnings with bulky backpacks and large, head-mounted displays, to the current age of small fixtures that can be worn as easily as glasses, things certainly have changed. And the future is likely to get even more fascinating, weird, and a little bit scary!
Sword of Damocles (1968): Developed by Ivan Sutherland and his student Bob Sprouli at the University of Utah in 1968, the Sword of Damocles was the world’s first heads-up mounted display. It consisted of a headband with a pair of small cathode-ray tubes attached to the end of a large instrumented mechanical arm through which head position and orientation were determined.
Hand positions were sensed via a hand-held grip suspended at the end of three fishing lines whose lengths were determined by the number of rotations sensed on each of the reels. Though crude by modern standards, this breakthrough technology would become the basis for all future innovation in the field of mobile computing, virtual reality, and digital eyewear applications.
WearComp Models (1980-84): Built by Steve Mann (inventor of the EyeTap and considered to be the father of wearable computers) in 1980, the WearComp1 cobbled together many devices to create visual experiences. It included an antenna to communicate wirelessly and share video. In 1981, he designed and built a backpack-mounted wearable multimedia computer with text, graphics, and multimedia capability, as well as video capability.
By 1984, the same year that Apple’s Macintosh was first shipped and the publication of William Gibson’s science fiction novel, “Neuromancer”, he released the WearComp4 model. This latest version employed clothing-based signal processing, a personal imaging system with left eye display, and separate antennas for simultaneous voice, video, and data communication.
Private Eye (1989): In 1989 Reflection Technology marketed the Private Eye head-mounted display, which scanned a vertical array of LEDs across the visual field using a vibrating mirror. The monochrome screen was 1.25-inches on the diagonal, but images appear to be a 15-inch display at 18-inches distance.
EyeTap Digital Eye (1998): Steve Mann is considered the father of digital eyewear and what he calls “mediated” reality. He is a professor in the department of electrical and computer engineering at the University of Toronto and an IEEE senior member, and also serves as chief scientist for the augmented reality startup, Meta. The first version of the EyeTap was produced in the 1970’s and was incredibly bulky by modern standards.
By 1998, he developed the one that is commonly seen today, mounted over one ear and in front of one side of the face. This version is worn in front of the eye, recording what is immediately in front of the viewer and superimposing the view as digital imagery. It uses a beam splitter to send the same scene to both the eye and a camera, and is tethered to a computer worn to his body in a small pack.
MicroOptical TASK-9 (2000): Founded in 1995 by Mark Spitzer, who is now a director at the Google X lab. the company produced several patented designs which were bought up by Google after the company closed in 2010. One such design was the TASK-9, a wearable computer that is attachable to a set of glasses. Years later, MicroOptical’s line of viewers remain the lightest head-up displays available on the market.
Vuzix (1997-2013): Founded in 1997, Vuzix created the first video eyewear to support stereoscopic 3D for the PlayStation 3 and Xbox 360. Since then, Vuzix went on to create the first commercially produced pass-through augmented reality headset, the Wrap 920AR (seen at bottom). The Wrap 920AR has two VGA video displays and two cameras that work together to provide the user a view of the world which blends real world inputs and computer generated data.
Other products of note include the Wrap 1200VR, a virtual reality headset that has numerous applications – everything from gaming and recreation to medical research – and the Smart Glasses M100, a hands free display for smartphones. And since the Consumer Electronics Show of 2011, they have announced and released several heads-up AR displays that are attachable to glasses.
MyVu (2008-2012): Founded in 1995, also by Mark Spitzer, MyVu developed several different types of wearable video display glasses before closing in 2012. The most famous was their Myvu Personal Media Viewer (pictured below), a set of display glasses that was released in 2008. These became instantly popular with the wearable computer community because they provided a cost effective and relatively easy path to a DIY, small, single eye, head-mounted display.In 2010, the company followed up with the release of the Viscom digital eyewear (seen below), a device that was developed in collaboration with Spitzer’s other company, MicroOptical. This smaller, head mounted display device comes with earphones and is worn over one eye like a pair of glasses, similar to the EyeTap.
Meta Prototype (2013): Developed by Meta, a Silicon Valley startup that is being funded with the help of a Kickstarter campaign and supported by Steve Mann, this wearable computing eyewear ultizes the latest in VR and projection technology. Unlike other display glasses, Meta’s eyewear enters 3D space and uses your hands to interact with the virtual world, combining the benefits of the Oculus Rift and those being offered by “Sixth Sense” technology.
The Meta system includes stereoscopic 3D glasses and a 3D camera to track hand movements, similar to the portrayals of gestural control in movies like “Iron Man” and “Avatar.” In addition to display modules embedded in the lenses, the glasses include a portable projector mounted on top. This way, the user is able to both project and interact with computer simulations.
Google Glass (2013): Developed by Google X as part of their Project Glass, the Google Glass device is a wearable computer with an optical head-mounted display (OHMD) that incorporates all the major advances made in the field of wearable computing for the past forty years. These include a smartphone-like hands-free format, wireless internet connection, voice commands and a full-color augmented-reality display.
Development began in 2011 and the first prototypes were previewed to the public at the Google I/O annual conference in San Francisco in June of 2012. Though they currently do not come with fixed lenses, Google has announced its intention to partner with sunglass retailers to equip them with regular and prescription lenses. There is also talk of developing contact lenses that come with embedded display devices.
Well, that’s the history of digital eyewear in a nutshell. And as you can see, since the late 60’s, the field has progressed by leaps and bounds. What was once a speculative and visionary pursuit has now blossomed to become a fully-fledged commercial field, with many different devices being produced for public consumption.
At this rate, who knows what the future holds? In all likelihood, the quest to make computers more portable and ergonomic will keep pace with the development of more sophisticated electronics and computer chips, miniaturization, biotechnology, nanofabrication and brain-computer interfacing.
The result will no doubt be tiny CPUs that can be implanted in the human body and integrated into our brains via neural chips and tiny electrodes. In all likelihood, we won’t even need voice commands at that point, because neuroscience will have developed a means to communicate directly to our devices via brainwaves. The age of cybernetics will have officially dawned!
Like I said… fascinating, weird, and a little bit scary!
Yeah, apparently there’s this new thing making the rounds known of late. Lord knows this here internet is filled with memes, but when you get tagged as part of a new one, you gotta go play. My thanks to Casey Sheridan for being the one to tag me, and now I go on to spread the word! Of course, it behooves me to post the rules of this particular meme. Here they are:
Give credit to the person/blog that tagged you (already done!)
Post the rules for this hop (in progress!)
Answer these ten questions about your current WIP (Work In Progress) on your blog
Tag five other writers/bloggers and add their links so we can hop over and meet them.
And now, here are the author questions which I shall begin to answer in sequential order:
What is the working title of your book? Data Miners
What genre does the book fall under? Thriller/suspense, but with some clear science fiction elements since a lot of it is speculative
Which actors would you choose to play your characters for the movie rendition? C.S. Lee (who plays Vince Masuka on Dexter) as Yamal Pradchaphet, Lyndsy Fonseca as Agent Righetti, and Mila Kunis as Angela Thompson.
What is the one-sentence synopsis of your book? A second-rate programmer by day and hacker by night finally stumbles onto a real-life conspiracy that is ten years in the making.
Will your book be self-published or represented by an agency? Self-published to begin with, with the intent that it will be represented at some later date
How long did it take you to write the first draft of your manuscript? Three y
What other books would you compare this story to within your genre? If pressed, I’d say Neuromancer, Cryptonomicon, and Fierce Invalids Home From Hot Climates, the works that most directly inspired it.
Who or What inspired you to write this book? Reading plenty of William Gibson and other thrillers about technological trends, cryptology and espionage.
What else about your book might pique the reader’sinterest? The book explores the mysteries of the human mind, with inspirations from Arthur Koestler, B.F. Skinner, and Gilbert Ryle; the concept of digital immortality; and several ongoing questions about what really happened to the Stealth Fighter that was shot down during the Kosovo War.
And last, but certainly not least, are the five people I want to tag next. Naturally, this is 100% volunteer participation, so if you can’t join, don’t worry about it:
Welcome back! As promised, the second half of my nostalgic, cult classic favorites for you to peruse! Let me know what you think, and feel to add some contenders of your own. Cult hits are nothing if not personal, and what constitutes a classic is open to interpretation. Okay, six to ten, here goes:
2001: A Space Odyssey: Yes, this movie deserves top billing for being a classic! And yet, the movie really doesn’t seem to garner much appreciation from audiences, not unless they are self-professed film buffs or hard sci-fi fans. Not sure I qualify for either, but I loved this movie for the simple reason that it was packed full of mind-blowing themes. Much like Akira, it was chock-full of things that got my young mind thinking and completely shaped my outlook on science fiction.
Sure, there are those who complain that this movie is boring and esoteric, but I found all that a fitting price for the kick-ass subject matter, not to mention the mind-blowing climax. You got a mystery, speculations about human evolution, ancient aliens, space exploration, and existential singularities! All the while, the weight of the philosophical implications are weighing at your mind…
And let’s not forget how inspiration this movie proved to be. Today, the concept of ancient astronauts, aliens who came to Earth millions of years ago and tampered with human evolution, has become all the rage. From Star Trek to Stargate,Battlestar Galactica to Prometheus, the concept of ancient astronauts has played out. And frankly, 2001 has them all beat! Between Kubrick and Clarke, their concept of the aliens and how they altered the course of evolution on Earth was the most realistic I have ever seen.
But I think what I liked best about was the fact that the movie was the subtle nature of the whole thing. At once speculative, philosophical, and visually stunning, this movie was characteristic of Kubrick, who preferred to convey things visually rather than coming out and telling people what was going on. You never really quite knew what happened during that eye-popping final scene, but those who love sci-fi and imaginative filmaking were sure to have ideas!
Alien: Granted, this movie wasn’t exactly under-appreciated, but compared to the lavish attention the rest of the franchise has garnered- even though it was all downhill after Aliens – this first installment truly was the diamond in the rough. Not only did it have a cool concept, awesome set designs and a kick-ass back story, the direction and cinematography captures the story’s sense of dread and claustrophobia perfectly.
Little wonder then why this movie spawned an entire franchise, because it really did have everything. You had your blue-collar peeps working for the major interstellar company (Weyland-Yutani), a frightening discovery made on an uncharted planet, a mysterious derelict belonging to an unknown race, and a terrifying creature awakened from its slumber. And not just any kind of creature, but a complex symbiote that was designed for and possessed of a single purpose.
Or as Ash put it: “Perfect organism. Its structural perfection is matched only by its hostility.” He had a point didn’t he? In fact, all structures in this movie were pure genius, whether it was the Nostromo, the Derelict, or the Facehugger and Chestbuster combo. As with everything Scott does, attention to detail and the careful construction of a universe was paramount. Every set was richly detailed, well shot, and clearly made to elicit the right feel and impressions on the audience.
Much of the credit for this goes to H.R. Giger as well, the surrealist artist who brought Lovecraftian horror to the alien concept and set of the alien ship. Years later, I still find myself tuning in just to get a glimpse of that Gothic reconstruction, or to see the Space Jockey sitting in its chair, the tell-tale hole punching through its chest. Few movies have managed to capture that same sense of awe and wonder for me, with the possible exceptions of 2001 and Akira
Johnny Mnemonic: Some people might think I’m crazy for listing this movie as a personal classic, but it can’t be helped! And my reasons are pretty simple. On the one hand, this movie kind of has that “so bad, it’s good” thing going on, but at the same time, I also felt it possessed some real signs of quality. Sure, the acting was pretty wooden, the fight choreography total crap, and the low-budget nature apparent throughout. But it was still a pretty faithful adaptation of Gibson’s work and introduced to that world at a still-young age. Hence why I come back to it every few years just to see it again.
Filmed in the mid-90’s, this movie is an adaptation of the short story by William Gibson and previewed a lot of what he wrote in Neuromancer. For example, you’ve got the big bad corporations, the cyberspace jockeys, freelance assassins, Yakuza, and the character Molly Millions. Things are also set in “The Sprawl”, the megapolis that stretches from Boston to Atlanta and is contained in geodesic domes, and the look and feel is definitely of the cyberpunk variety.
Into all this, Gibson introduced the revolutionary concept of mnemonic couriers, people who have “wetwire” implants in their brains that allow them to carry vast quantities of data from point A to point B. Basically, these couriers are the answer of what to do in a world where information is the most precious commodity, and all databases are vulnerable to hacking and protected by “Black ICE” – hostile Intrusion Countermeasure Electronics (aka. viruses)
And, in keeping with Gibson’s style, the story involves a titanic corporation that is fighting to maintain its monopolistic grip, while freelancers, smugglers and assorted little people are fighting to undermine them and distribute the information freely. Naturally, the main character of Johnny is an unlikely hero who is forced to take a break from looking out for number one and help others for a change. Might sound cheesy, and a little cliche, but it works and delivers on Gibson’s style. At the very least, it’s a guilty pleasure flick for me.
Screamers: Now here’s a movie that’s high on the pleasure, low on the guilt. While a low-budget sci-fi flick that was (like Johnny Mnemonic) produced and filmed entirely in Canada, it had many signs of quality that immediately made it a cult hit. There’s the post-apocalyptic setting, the frightening tone, and the Cold War feel of the thing, updated for the 90’s. All the while, there is the knowledge that this is an adaptation of Philip K. Dick’s Second Variety, which sort of makes it a must-see of PKD fans.
Much like in the original story, the plot of the film involves a race of self-producing, self-upgrading machines that are designed to infiltrate enemy territory and eliminate all combatants. But of course, things begin to go awry when the people who produced them realize that they have upgraded to the point where they can impersonate human beings. And whereas the original story was set on Earth and took place between the US and Russia, the updated story takes place on Sirius 6b, a pining planet that became the front line between a the political-economic entity known as the NEB and those who chose to resist its rule.
Personally, I felt the updated version works. Not only does the conflict seem more relevant, being between a mega-corporate entity and a coalition of workers and dissenters, but the off-world setting also feels more realistic. Perhaps it was the fact that in the post-Cold War world, nuclear war between two superpowers didn’t seem a likelihood anymore. Or it could just be that the whole NEB angle was reminiscent of Weyland-Yutani and Alien. All I know is, I liked it!
What’s more, a good deal of attention went into creating the setting and modelling the Screamers – aka. the automated machines that kill people. Designed to be the perfect terror weapons, they emit a high-pitched “scream” before making their attack, and can toy with their targets for some time before moving. This concept, combined with some good shooting, really created a sense of tension which is felt throughout. And of course, the paranoia which is engendered by the appearance of human-like machines was a very nice touch! A good movie, and a fitting adaptation which managed to capture PKD’s cautionary tale about the dangers of runaway progress.
Time Bandits: And last, here is the classic time traveling tale that I first saw in my childhood. Recently, my wife was told by a coworker that she should ought to see it, and my memory was jogged! Yes, this is indeed a cult classic, and one which is deserving of plenty of kudos and praise. Well cast, well written, witty and poignant, it’s one of those quintessential 70’s movies which has been rediscovered by several generations of film buffs and sci-fi fans.
The story opens with an imaginative and historically-minded child who lives in an overly-bourgeois neighborhood with his materially-possessed family. But upon realizing that there is a time-portal in his wall and that people from the past and future can come through it, his world is turned upside down. Quickly, he become the unwitting companion in a group of dwarves who are traveling through time, stealing precious artifacts, and being pursued by both the “Supreme Being” and an evil sorcerer.
Immediately, one can see the layered and inspired plot taking shape here. On the one hand, you have some decidedly Judea-Christian elements, plus a tale of childhood imagination and escapism. The dichotomy of the Supreme Being who possesses the power of time travel and the sorcerer who wants it for himself are representative of God and Lucifer, after a fashion. The dwarves who stole this power for themselves are a sort of Icaran allegory, or possibly Adam and Eve once they ate from the tree of knowledge. And ultimately, the way they are saved in the end from evil represents their redemption.
All the while we are left wondering if the boy is merely dreaming, or if what he is experiencing is real, which is an element that is intrinsic to all tales of childhood fantasies. On the one hand, the protagonists flights of fancy are seen as a weakness and immaturity to those around them, whereas we tend to see as it a rare gift to see past the surface. Should it all be a fantasy, then the story is left without a formal sense of resolution; but if it is real, then the hero has been vindicated and proven right. Appropriately, the movie plays with the two possibilities, going back and forth, but then giving strong hints at the end that it was in fact real. So really, you have a story that is inspired, imaginative, and also suspenseful!
Well, that’s my top ten list for the best cult classic movies of all time. What’s yours? I know I have a few in common with some people ’round these parts, and I also know that a few were previously unheard of. Hence why I want to here from others. I have a feeling there are some which I need to see and would very much enjoy. Already, I’m poised to watch Sunshine, A Boy and His Dog, and a few others which I’ve heard good things about. And I hope that in the course of swapping lists, I might be able to find a few more I’d like to see. Take care, and enjoy the rest of the long-weekend, those of who are reading this in Canada. As for the Yanks in the audience, and the rest of the world for that matter, enjoy the work week 😉
Welcome back to the BAMA*! At long last, I’ve come to the end of William Gibson’s Sprawl Trilogy. For those who don’t remember, this began with Neuromancer and Count Zero many months ago. I had hoped to include this third and final review in short order, unfortunately other books got in the way. And by other books, I mean a tall stack that I’ve been reading, reviewing, and putting down to make room for even more! I tell ya, being a sci-fi reader/writer/reviewer can really burn your brain somedays!
Luckily, I concluded the book just yesterday and am ready to comment on it at last. And let me begin by saying that it’s very interesting, having read every novel that Gibson has written up until this point, to look back and see how his writing began and evolved over the years. It is also interesting to see how certain thematic elements which would appear in later trilogies – i.e. The Bridge and Bigend trilogies- made their first appearances.
Elements common to cyberpunk, such as high-tech and low liing, were common to all three books in this series, but were also an intrinsic part of Virtual Light, Idoru and All Tomorrow’s Parties. The stark divide between rich and the poor and the transformative power of wealth, so important to the Bigend Trilogy, was also to be found in these earliest works. And of course, stories focusing on freelancers who find themselves in the employ of enigmatic figures, and the power plays that go on behind the scenes between various brokers, were present in all of his novels to date.
However, after completing this novel, I can honestly say that I felt let down. Prior to reading it, I was told that it was the greatest of the Sprawl Trilogy, and the reviews claimed that it was Gibson’s “most engrossing story to date”. I came away feeling that it was less than engrossing and definitely not the best of the three. For one, it seemed lacking in much of the cool elements that made Neuromancer and Count Zero so very fun and intriguing.
However, before I get into all that, I should summarize what this book is about. Here goes…
Plot Synopsis: The story, much like all of Gibson’s works, contains multiple threads that are interrelated and come together in the end. In the first, we see a Japanese girl named Kumiko, the daughter of a Yakuza boss who has decided to send her to London in the midst of a war between the various crime families.Her only companion is a construct named Colin, a personality that inhabits a portable Maas-Neotek biochip.
Once there, she makes the acquaintance of a freelancer named Sally Shears (aka. Molly Millions) who has been hired out by her father’s people to keep her safe. In addition, Sally is being blackmailed by Swain, the head of the London mob, who has ordered her to kidnap the famous simstim star Angie Mitchell and replace her with the a body double.
In thread two, we meet the intended double, a 16-year old prostitute named Mona from Florida who travels to New York with Eddie (her pimp) after he closes some lucrative deal. However, when they arrive, Eddie is killed and Mona is forced to undergo the surgery that will make her look exactly like Angie, whom she knows from all her simstim movies and admires greatly. Angie’s back story, about how she was the daughter of the man who invented biochips and placed bioenhancements in her brain (all of which takes place in Count Zero) is all recounted, as is her failed relationship to Bobby (aka. “The Count”).
In thread three, we learn that Angie has returned from rehab after developing an addiction to a designer drug her company was supplying. After a brief stay in Malibu, she learns that it was someone in her inner circle who was giving her the drug in the hopes that it would alter her brain chemistry, thereby disrupting her ability to access cyberspace and communicate with the AI’s now living there (the lao, or Voodoo god personas the AI’s had taken on).
In the fourth and final thread, we are introduced to three residents who live together in an abandoned factory located in “The Solitude”, an uninhabited area in the Sprawl. Gentry is the defacto owner of the place, a cyberspace jockey preoccupied with the way it has changed since events in Neuromancer where AI’s began to permeate it. Slick is his roommate, a robotics enthusiast who builds giant battledroids with the help of his friend redneck friend Bird.
Things for them become interesting when Slick’s associate, Kid Afrika, drops off a man who’s permanently jacked into cyberspace and asks them to take care of him. He leaves the man (Bobby Newmark) and a registered nurse (Cherry) with instructions to keep them safe. After examining the aleph (a biochip with immense capacity) that he’s plugged into, Gentry learns that it is an approximation of the whole data of the matrix.This is where he has been living for the past few years after breaking up with simstim star Angie Mitchell.
In the course of the story, we also learn that Lady 3Jane has died and now inhabits the aleph as a construct. At some point, Bobby stole the aleph and now inhabits it with her. After checking in with her jockey friend, Tick, in London, Molly learns that 3Jane is behind the plot to kidnap Angie Mitchell and replace her, and begins to work to unravel these plans. She travels to New York to meet with the Finn, himself a construct now, and learns that since her operation to Straylight, things have been changing drastically in cyberspace.
Now, 3Jane is looking for revenge, and Angie is intrinsic to that plot. After recruiting Swain and key members of Angie’s entourage to help her, she attempts to conduct the kidnapping while Angie is in New York. However, Molly intervenes and grabs Angie and Mona, who is being set up to replace her, and begins to travel to the Solitude. Angie, under the influence of the lao, is directed to Factory to reunite Angie with Bobby.
Meanwhile, Kumiko, who is alone in London, goes to find Tick and find out what’s going on. Ever since Molly left, she is advised by her Maas-Neotek construct Colin to seek refuge from Swain. When she finds him, she too learns about how cyberpsace is changing and how a massive data profile has entered into the matrix (which turns out to be the aleph). When they jack in, they are pulled into the aleph with 3Jane who attempts to hold them prisoner.
Things come together when Molly arrives in the Factory and Sense/Net mercenaries begin to show up to take Angie back. Meanwhile, in the aleph, Colin comes to their rescue by neutralizing 3Jane’s control over the construct. He also reveals 3Jane[‘s motivations. In the wake of her death, after a life of pettiness, greed and obsessive control, she has become jealous of Angie Mitchell and her abilities. Molly, since they know each other from the Straylight run, is pretty much on her shit list as well!
In the end, Angie Mitchell and Bobby die together, but not before their personalities come together in the aleph, to be forever joined by 3Jane and the Finn. Mona is picked up Kid Afrika who assumes that she’s Angie Mitchell, and is taken off to take over her starlet life. Molly takes the aleph and travels off into the distance while Slick and Cherry get together and head off to start a new life together. And finally, Gentry, who refused to leave Factory, stays behind to contemplate the matrix’s growing complexity.
Meanwhile, a final mystery is resolved. Inside the aleph, Angie, Colin and Bobby are picked up by the Finn who explains how and why the Matrix changed. After Neuromancer and Wintermute at the end of the first novel, the combined AI indicated that there was another like him, a construct similar to the Matrix in Alpha Centauri. Apparently, after he went there, he came back changed and divided into the lao, and the Matrix itself changed. Now, the Finn is taking them there, to meet the alien cyberspace and all the mysteries it holds…
As I may have said already, this book was my least favorite of the Sprawl Trilogy. That is not to say that I didn’t enjoy it, mind you. But it was diminished in that Gibson’s usual dark, gritty, and decidedly cyberpunk style – which ranges from opulent to gothic in its appraisal of technology and its impact on society – seemed to be watered down by a much cleaner narrative. In the end, it felt more like reading from the Bigend Trilogy, in that the settings and feel were quite similar.
Aside from taking place largely in London and New York, there was also a lot of buildup and not much in the way of action. And of course, the diversions into the fields of fashion, mass media and the cult of personality; these too felt like they would have been much more at home in the Bigend Trilogy. That was the trilogy that dealt with all these elements, whereas the Sprawl was all about the nitty-gritty, about cool gadgets, mercenaries, cyber-ninjas, deck jockeys, corporate bad guys, high-tech and low-life.
To top it all off, the ending felt quite abortive. Gibson is somewhat notorious for this, but whereas Neuromancer and Count Zero contained plenty of gun-toting and cyberspace runs, this book kept all the action til the very end. And at that point, it was complicated by a rather odd narrative structure and some pretty weak explanations. After learning that 3Jane was pulling all the strings and determined to wreak revenge, it seemed weak that it was all for the sake of punishing Angie out of jealousy.
If anything, I thought her motivations had to do with the Straylight run. That after fifteen years of waiting and plotting, she finally found Molly and decided to kill her and anyone else involved in changing the Matrix. To know that it was motivated by her jealousy of Angie’s abilities just rang hollow. In addition, I thought the usual motivations, like how the wealthy are constantly trying to cheat death, might have been a fitting motivation. I seriously thought at one point that her true intentions were to find herself a vessel, and Angie Mitchell proved to be the perfect choice due to the veves in her hand. Through these, 3Jane could simply download herself, provided she had her in custody and hooked up to the aleph… or something.
However, there was plenty of interest in between all that. While many chapters kind of dragged for me, I did enjoy the scenes where the history of the Tessier-Ashpool clan were reconstructed. The revelation about the Alpha Centauri matrix, which was only hinted at at the very end of the Neuromancer was also very cool. And the detailing of the lao and the evolution of the Matrix since Wintermute and Neuromancer came together, that too was interesting. In the end, I just wished there had been more of this.
And given that this novel did wrap up the previous two novels and brought closure to the whole Sprawl trilogy, I would highly recommend it. Regardless of whether or not it was the best or weakest of the three books, it is the final chapter and contains many important explanations and resolutions, without which the series would never be complete. On top of all that, it is hardly a weak read, and I know for a fact that many people consider it to be better than the others. So who am I to stand in anyone’s way of reading it?
Kudos to you William Gibson. I have now read every novel you wrote. I now move on to Burning Chrome and Johnny Mnemonic, plus any other bits of short fiction and thoughtful essays I can get my hands on. Despite all the little things I have come to criticize about your work, you remain one of the best and most important writers in this reader’s bookshelf! And if I really didn’t like you, why the hell do I model so much of my work on your prose? Like Aeschylus said of Homer, any work of mine dealing in cyberpunk and high-tech is pretty much the crumbs from your table!