Maybe too obvious but on a recent reread of both the spawl series and burning chrome jonney m is a prequel.

Molly is presented with a backstory and explicitly references her time with Johnny

So I've just finished Part Three, with case getting busted by Turing in his hotel room. I'm amazed by the speculative tech in the book, but I've been wondering about one thing: is Cyberspace wireless? I understand users must be physically jacked into their cyber-decks, and the deck is then connected to something else like Case's Hosaka. But there's been no mention, so far, of it being connected to something external, and the only time a modem has been mentioned is when Case hooks his Hosaka to the ship's modem to give it telephone access.

At one point Case even jacks in from the inside of a ship, and has normal access to the Matrix. So are all computers and matrix-linked data-centers connected wirelessly? Since he can access Earth-side grid-points from anywhere in the Archipelago, even from inside a ship, I'd think so, but every search engine online is telling me that no, the Matrix is definitely wired, although they give me no source for that claim other than saying that users need to jack into their decks, which doesn't really answer the question I'm making.

No spoilers beyond Part Three, please!

I like the retro esthetic but it would need great care and skill

But in street culture kept that esthetic with a lot of retro but many generations as if cobbled together and then the corporate esthetic were recognized modern with some of near future enhancements of modern works .y hope would go through the roof.

The teaser hints they just might grok the sprawl and the series and gibsons vision

Hope this isn’t against the rules. Wanted to use this as a phone wallpaper. Credit goes to the owners.

https://youtu.be/cklHnFrhzl8?is=BgpnZtklNutx5H7C

Saw this from one of my favourite YouTube creators.

Compare and contrast to the last Apple teaser.

Or does being flatlined prevent that?

While waiting for the TV show to drop, I built an entire album inspired by the original book. The tracklist flows chronologically with the story, and the song titles give away subtle hints about the exact scenes they depict. Give it a listen!

https://aleksandardimitrijevic.bandcamp.com/album/impressions-of-neuromancer

https://open.spotify.com/album/17OVea2vnnjF5cwTUr5yIj?si=iIQbJZ29QmSxBggVb7JQOg

In the latest teaser, it shows an image that is obscured by television static. I asked AI to remove the static and here is the output.

I started making collage zines out of bargain comics a few months ago as an offline creative outlet. In a recent batch of comics, I noticed there was a big promo spread designed to mimic a television tuned to a dead channel.

So, naturally, I had to pay homage to my favorite novel of all time.

I wouldn’t call this my most exciting set of pages, but I recently did a busier cyberpunk spread so I wanted to keep this one simple. If you’re interested to see the other one it’s in my recent post history.

P.S. the same comic also had an ad for the kickass 90s movie Hackers, which is where the skull came from.

The are those moments in Gibson’s prose where suddenly a chapter, or even a run of paragraphs, is forming a capsule inside the novel that feels like a perfectly crafted independent short story. I just experienced this in chapter 15 of Mona Lisa Overdrive.
Are there other such moments that you noticed ? What are your favorite ‘stories inside stories’?

Obviously, Neuromancer was written more than 40 years ago. That raises the question of how the TV series will be designed. The most recent teaser suggests to me that they will go for a retro-futurism or cassette-futurism style.

I can see why they would make that decision. Gibson himself said he was inspired by the implied world of Alien, and the cyberpunk aesthetic is still inspired by Blade Runner, which in turn was inspired by noir film and lesser-seen works like World on a Wire and Alphaville.

The retro-futurist style has the advantage of not being lapped by reality. Works that deliberately avoid the "futuristic" look (e.g. Gattaca, eXistenZ, etc) hold up better over time. Works like Johnny Mnemonic or The Matrix paradoxically feel more dated, tied to the late 90s aesthetic.

On the other hand, the cassette-futurism style is, IMHO, getting played out. It's like Cyberpunk 2077, still mired in the world of giant buildings and flying cars and scary Japanese corporations. I hope that whoever designs the Apple TV Neuromancer can come up with an original visual style.

just want to share a quick visual i made for my literary class

As someone who read Neuromancer in the mid-90s, I have always hoped for a movie adaptation helmed by a visually virtuoso moviemaker.

Beyond the heist story, Mancer is full of WARNINGS about what may make most of the world go in the toilet.

More than a how-to-guide it may be a how-not-to-guide going into the future.

Mancer would have gotten great attention in the 2000s - 2010s I believe.

Part of me believes that even if Apple won't butcher the original material, 2026 MAY be a tad too late in delivering warnings.

Much of the world seems to be gliding towards a somewhat Gibson future, and may feel that as a WARNING, Mancer may have changed more minds in the 2010s than today.

On July 1, 1984, William Gibson published Neuromancer,

the novel that defined cyberpunk as a genre and cultural phenomenon. This release is a dark, cinematic soundtrack imagined for the film that never existed - a tribute to Gibson’s vision and the culture it inspired.

In July 1984, a broke writer in Vancouver handed his publisher a paperback original he was convinced would embarrass him. He'd written it on a manual typewriter, knew almost nothing about computers, and had spent a third of the book certain he'd already been beaten to his own idea — he'd just seen the first twenty minutes of Blade Runner and assumed every critic would accuse him of theft. The book was Neuromancer. The writer was William Gibson. And the embarrassment never came: instead, it became the only novel in history to sweep the Hugo, the Nebula, and the Philip K. Dick Award - science fiction's triple crown, won once, by a debut. Neuromancer didn't invent cyberpunk outright - the word itself came from Bruce Bethke a year earlier, and Gibson had already been testing the chrome and static of his world in short fiction like "Burning Chrome," the story where he first coined cyberspace. But it's the book that gave the genre its grammar: the Sprawl, the matrix, ICE (Intrusion Countermeasures Electronics), the jacked-in body split from the mind riding the wire.

Critics still argue whether Gibson lit the fuse or just happened to be standing where the genre was already about to go off. Either way, everything downstream - Ghost in the Shell, The Matrix, Akira, Cyberpunk 2077, and a Sprawl's worth of neon-lit imitators - owes him the blueprint. He wrote a future built from 1980s anxieties about corporate power and data as capital, and forty-two years later it still reads less like prediction than diagnosis. What makes Neuromancer a strange artifact, though, isn't just that it founded a genre. It's that for almost four decades, no one could put it on a screen. Hollywood tried, repeatedly, and failed in almost cinematic fashion. There were scripts from directors as different as Chris Cunningham and Chuck Russell that never got past the page - Gibson himself reportedly believed Cunningham was the only one who might have actually cracked it. In 2007, Joseph Kahn was attached, with Milla Jovovich rumored for Molly. By 2010 it was Vincenzo Natali's turn, fresh off Splice. A year later, distribution rights changed hands again. Each version dissolved before a camera rolled. The novel got tagged, again and again, with the same word: unfilmable - too interior, too fragmented, too dependent on a hacker's inner monologue and a vision of cyberspace that no two decades of visual effects technology agreed on how to render.

It is only now, in 2026, that the unfilmable is finally being filmed - as a ten-episode Apple TV+ series, with Gibson himself involved in the writers' room, forty-two years after the book first found its readers. An entire generation of directors orbited this material and never landed. That's the part worth sitting with if you're building a 23-track album - the cinematic version of this story sat in development hell for almost the entire span of your own lifetime. Long before any camera caught it, this world already had a visual language - neon bleeding into rain, HUD overlays, the sick fluorescent glow of a Chiba City back alley - that existed only in the reader's head, assembled from Gibson's prose and whatever your own imagination supplied. Every reader for forty years has been the film's only audience, running their own private, unfunded adaptation in their skull. I was one of them. I first read it on a Samsung C270 in the mid-2000s - a cheap little screen with no real internet to speak of, scrolling Gibson's sentences a line at a time in a font built for text messages, not novels. Real hi-tech, low-life: the phone barely qualified as either, and that was exactly the point. Cyberspace was already rendering itself in my palm, decades before any studio could afford to render it on a screen. Sound got there first, in a way film couldn't. A soundtrack doesn't need a greenlight, a VFX budget, or a studio's nerve. It can live entirely in the register Neuromancer actually operates in - atmosphere, dread, sensation, the hum of a system you're jacked into but can't fully see - without ever needing to resolve the unfilmable problem of putting cyberspace on a screen. An album can be cyberspace, briefly, for the length of a track, in a way a director spent decades trying and failing to fake with a camera. That's the gap Neuromancer sits in: not an adaptation in the literal sense, but a transmission from the same dead channel Gibson tuned into back in 1984 - arriving by a different signal, on a medium that never needed Hollywood's permission to exist.

I decided that I want to read more. I have been intimidated by books for literally years because I have a tendency to be immediately discouraged if I don’t understand something, and I’m kinda remembering why now.

I love sci-fi as a genre, so I got neuromancer. I started reading it a few days ago, and I’m feeling very very stupid now. I’m thinking maybe reading just isn’t something I’m very good at.

what does "mouth touched with hot gold as a gliding cursor struck sparks from the wall of a skyscraper canyon" mean? I feel like I can’t move past this because I’m just reading it over and over and over and I can’t figure out what it means? Am I just too stupid for this book? I got post it notes to write stuff down but I don’t even understand what I’m reading to be able to form an opinion 😂 thanks in advance!

Have I found a typo in my Penguin Galaxy edition of William Gibson's "Neuromancer"?

I have the impression that the highlighted sentence from page 77 of this edition of the book should read "Travel is a meat thing" instead of "...is a neat thing..." given Case's disdain for the "flesh and all it wants" stated earlier in the book. Am I wrong??

Austin Abrams as Henry Dorsett Case

Carly Chaikin as Molly Millions

Lee Pace as Armitage/Corto

Robert Pattinson as Peter Riviera

Bonny Cannavale as the Finn

Walton Goggins as Dixie Flatline

Joey Bada$$ as Maelcum

Anya Taylor Joy as Lady 3Jane

Mark Dacascos as Hideo

Lakeith Stanfeild as Lonny Zone

Keith David as Julie Deane

David Harbour as Ratz

Here's a link to the rest of the collection on Imgur, and a link to the same collection on Dropbox.

These covers were created by removing the "Only on Audible"/"Nur bei Audible" band and other obscuring elements from the German book and audiobook covers. No AI was used, only pure Photoshop edits using the original photos by Steve Roe. I'm sharing them here for others to have and enjoy.

I also edited other cover versions, you can find them all in the full collection I posted here.