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Gibson's prose has been analyzed by a number of scholars, including a dedicated 2011 book, William Gibson: A Literary Companion. [121] Hailed by Steven Poole of The Guardian in 1999 as "probably the most important novelist of the past two decades" in terms of influence, [54] Gibson first achieved critical recognition with his debut novel ...
"The Gernsback Continuum" is a 1981 science fiction short story by American-Canadian author William Gibson, originally published in the anthology Universe 11 edited by Terry Carr. It was later reprinted in Gibson's collection Burning Chrome, and in Mirrorshades, edited by Bruce Sterling.
Neuromancer has many literary progenitors. Detective fiction, like the work of Raymond Chandler, is frequently cited as an influence on Neuromancer. For example, critics note similarities between Gibson's Case and Chandler's Philip Marlowe: Case is described as a "cowboy" and a "detective" and is involved in a heist; [12] Molly, the novel's primary female character, has connections to the ...
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Burning Chrome (1986) is a collection of short stories written by William Gibson. [1] [2] Three of the stories take place in Gibson's Sprawl, a shared setting for most of his early cyberpunk work. Many of the ideas and themes explored in the short stories were later revisited in Gibson's popular Sprawl trilogy. [3]
A few years beforehand, Ashbaugh had written a fan letter to cyberpunk novelist William Gibson, whose oeuvre he had admired, and the pair had struck up a telephone friendship. [7] [8] Shortly after the project had germinated in the minds of Begos and Ashbaugh, they contacted and recruited Gibson. [2]
Cyberpunk 2020 was designed with the settings of William Gibson's writings in mind, and to some extent with his approval, [100] unlike the approach taken by FASA in producing the transgenre Shadowrun game and its various sequels, which mixes cyberpunk with fantasy elements such as magic and fantasy races such as orcs and elves.
The trilogy was commercially and critically successful. Steven Poole, writing in The Guardian, described "Neuromancer and the two novels which followed, Count Zero (1986) and the gorgeously titled Mona Lisa Overdrive (1988)" as making up "a fertile holy trinity, a sort of Chrome Koran (the name of one of Gibson's future rock bands) of ideas inviting endless reworkings".