Expert hacker Henry Dorsett Case is at the bottom of his luck when offered the opportunity to regain his lost purpose and livelihood in exchange for his services to a figure and cause shrouded in mystery and danger. Drug-infused and wildly suspenseful, Neuromancer follows Case and his fellow underworld insurgents as they navigate consciousness, cyberspace, and artificial intelligence that blurs the lines between riveting literature and borderline psychosis. Relentlessly driven by vivid details and captivating cerebral conflict, Case’s journey across the planes of reality ends in success, drugs, and hyperreal version of “happily ever after.”
One would think that summarizing a plot in three sentences would be fairly easy, but when the plot of the story is driven by drugs, violence, and cyberspace, three sentences becomes almost as deadly as a mycotoxin to the bloodstream. But despite it’s challenge, it made me really appreciate just how many conventions are being utilized by Gibson in his telling of Case’s adventures within the matrix and beyond. As pointed out by the other blog posts, most of our discussions in class, and most every scholar on the subject, it is the incredibly hyperspecific nature of detail within the story that gives it much of it’s charm. One can practically feel the story as it’s being described within the pages of the books, truly submerging a reader into everything- characters, plot, setting… even abstract consciousness.
I agree with my classmates in the Gibson’s plot is far more driven by details than perhaps that of Le Guin, who’s Left Hand of Darkness tracks more conceptual thematic elements that drive the plot rather than the incredibly descriptive nature of what the figures of the book are experiencing. Neuromancer truly is one of a kind.