He'd made the classic mistake, the one he'd sworn he'd never make. He stole from his employers. He kept something for himself and tried to move it through a fence in Amsterdam. He still wasn't sure how he'd been discovered, not that it mattered now. He'd expected to die, then, but they only smiled. If course he was welcome, they told him, welcome to the money. And he was going to need it. Because -- still smiling -- they were going to make sure he never worked again.
They damaged his nervous system with a wartime Russian mycotoxin.
Strapped to a bed in a Memphis hotel, his talent burning or micron by micron, he hallucinated for thirty hours.
The damage was minute, subtle and utterly effective.
For Case, who'd loved for the bodiless exultation of cyberspace, it was the Fall. In the bars he'd frequented as a cowboy hotshot, the elite stance involved a certain relaxed contempt for the flesh. The body was meat. Case fell into a prison of his own flesh.
Early Gibson vs late Gibson begs the question -- What's more punk? Unfocused but incandescent adolescent rage or technically executed vicious critique?
That sounds like comparing Sex Pistols to Porcupine Tree.
Only one of those sounds like punk...
I don't remember much rage or viciousness in Gibson, early or late - my overwhelming impression is of cool capers and if anything a general optimism about the future.
It’s the premise. Everything that happens after that is the actual plot.
Ex-hacker is in desperate situation, agrees (reluctantly) to perform one more hack in exchange for getting out of said desperate situation, is the Neuromancer-ripped plot of many a bad hacker movie (Swordfish and Blackhat certainly qualify). Take away the tech and you have a pretty standard heist-film plot going back before Neuromancer.
Is this not the plot of Neuromancer?