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Burning Chrome

"Burning Chrome" is a cyberpunk short story by American-Canadian author William Gibson, first published in the July 1982 issue of Omni magazine.^[1] Narrated by the hacker Automatic Jack, the novelette follows Jack and his partner Bobby Quine as they execute a high-stakes virtual heist against a powerful nightclub owner named Chrome, using sophisticated "icebreaker" software to infiltrate her digital domain, while exploring themes of technology, identity, and human connection in a dystopian near-future.^[2] The story is set in Gibson's expansive "Sprawl" universe, a gritty, neon-lit megacity where console cowboys "jack in" to the matrix—a consensual hallucination of data known as cyberspace, a term Gibson coined in this work to describe the immersive, non-physical realm of networked information.^[3] This concept of cyberspace, depicted as a vivid, three-dimensional construct accessible via neural interfaces, revolutionized science fiction and anticipated the development of the internet and virtual reality.^[4] "Burning Chrome" was nominated for the 1983 Nebula Award for Best Novelette, highlighting its immediate impact on the genre.^[1] As the title story in Gibson's 1986 collection Burning Chrome, published by Arbor House, the narrative exemplifies early cyberpunk aesthetics with its blend of high technology and low life, featuring elements like cybernetic enhancements, corporate intrigue, and underground hackers navigating a world dominated by megacorporations.^[5] The collection, which includes nine other stories, earned a second-place finish in the 1987 Locus Award for Best Collection and solidified Gibson's reputation as a pioneer of cyberpunk literature.^[6] Through its taut prose and innovative vision, "Burning Chrome" not only critiques the dehumanizing effects of advancing technology but also captures the exhilarating potential of digital frontiers, influencing subsequent works in science fiction and beyond.^[2]

Publication and background

Initial publication

"Burning Chrome" was originally published as a standalone short story in the July 1982 issue of Omni magazine, volume 4, number 10.^[7] Omni, founded in 1978 by Bob Guccione and edited by Ben Bova, was a prominent science and science fiction publication that blended cutting-edge scientific articles with innovative speculative fiction, attracting contributions from leading authors in the genre.^[8] The story appeared with interior artwork by Alan Magee and shared the issue with other notable fiction, including a piece by Frank Herbert.^[7] Gibson wrote "Burning Chrome" around 1981–1982, first reading it aloud at a science fiction convention in Denver in 1981 to a small audience of four before its magazine debut.^[9]

Context in Gibson's early career

William Gibson was born on March 17, 1948, in Conway, South Carolina, and spent much of his childhood in southwestern Virginia after his family relocated there. Following his mother's death in 1967 and amid the escalating Vietnam War, he dropped out of high school and emigrated to Canada that same year to avoid the military draft, initially settling in Toronto before moving to Vancouver in 1972. In these early years as an expatriate, Gibson immersed himself in countercultural scenes, attending the University of British Columbia sporadically while pursuing amateur writing; he contributed poetry and fiction to science fiction fanzines, honing his voice amid the era's bohemian and speculative communities.^[10]^[11] Gibson's transition to professional authorship began modestly in the late 1970s, with his debut sale being the short story "Fragments of a Hologram Rose" to the semi-professional magazine Unearth in 1977, followed by a handful of pieces in outlets like Omni. "Burning Chrome," published in Omni in July 1982, stood as one of his most significant early professional efforts, introducing key motifs that would define his oeuvre and appearing two years before his breakthrough novel Neuromancer (1984). This novelette not only showcased Gibson's emerging command of near-future speculative fiction but also earned a Nebula Award nomination for Best Novelette in 1983, signaling his rapid ascent and drawing attention from the science fiction establishment.^[12]^[13]^[10] At the time, Gibson's work reflected the ferment of 1980s counterculture, particularly the punk movement's raw, anti-establishment ethos and the dawning ubiquity of personal computing and digital networks, which he encountered through Vancouver's underground scenes and early hacker circles. These influences infused his narratives with a gritty, street-level perspective on technology's disruptive potential, positioning "Burning Chrome" as a pivotal step in his evolution toward cyberpunk's foundational voice.^[14]^[15]

Narrative elements

Plot summary

The story is narrated by Automatic Jack, a seasoned console cowboy operating out of Night City, who specializes in hardware for cybernetic intrusions. Alongside his partner, Bobby Quine, a talented but restless software expert, Jack recounts their scheme to execute a high-stakes hack against Chrome, a notorious criminal figure whose wealth is safeguarded in a fortified digital financial system.^[2] To prepare, Jack travels to New York to acquire a rare piece of software from the Finn, a shady dealer in black-market tech. The item turns out to be a Russian military icebreaker, a killer-virus program designed to attack American intrusion countermeasures electronics (ICE). Meanwhile, Bobby introduces Rikki, a young woman aspiring to break into the simstim industry, into their lives after meeting her at the Gentleman Loser bar; she temporarily stays with them, providing a grounding element amid their preparations.^[2] The heist unfolds as Jack and Bobby jack into cyberspace—a hallucinatory landscape of glowing data constructs and neon grids representing global information flows. Approaching Chrome's virtual domain, depicted as a towering black pyramid pulsing with defensive ICE layers that manifest as razor-sharp barriers and lethal algorithms, they deploy the icebreaker. The icebreaker aggressively consumes the protective layers, allowing them to penetrate the core; inside, they navigate surreal sensory overloads, including hallucinatory echoes of Chrome's opulent club and her digitized presence—a eerie, childlike avatar with unblinking eyes. They siphon funds from her interconnected accounts, transferring vast sums while systematically dismantling her digital empire by overwriting key data constructs.^[2] The hack succeeds, netting them a fortune that they partially redistribute, including a share for Rikki to upgrade her vision with high-end Japanese optics. In the aftermath, Chrome's real-world operations collapse, her club the House of Blue Lights shutters, and her influence evaporates. Rikki, seizing the opportunity, departs for Chiba City to pursue her simstim career, leaving Jack to watch her plane vanish into the sky from a distance. Jack reflects on the emptiness left behind, as Bobby retreats into isolation and their partnership frays amid the score's hollow victory.^[16]

Characters

Automatic Jack serves as the narrator and a hardware expert, distinguished by his prosthetic myoelectric arm fitted with Duralumin fingers and carbon-fiber sheathing, a remnant of a hang-gliding accident over Kiev. He is portrayed as a loyal yet cynical hacker, practical in his approach to life and skilled in technical repairs, content with modest existence while supporting his partner's ambitions.^[16] Bobby Quine is the software specialist and console cowboy, characterized by his thin, pale build, dark glasses, and a young-old face marked by experience beyond his 28 years. Ambitious but showing signs of inexperience in sustaining motivation without external drives, he is deeply infatuated with Rikki, often interpreting women as omens in his high-stakes endeavors.^[16] Rikki, Bobby's girlfriend, is an aspiring simstim artist in her late teens, tall and freckled with amber-brown eyes, half-blond hair, and a style featuring faded camouflage fatigues and rose sandals. Her determination to break into the simulated sensory entertainment industry drives her, leading her to pursue professional opportunities in Chiba City.^[16] Chrome functions as the antagonist and nightclub owner, a razor-girl whose body has been grotesquely augmented through black-market surgeries involving hormones and serums, resulting in a childlike face with cold gray eyes that evoke deep-sea depths. Her ruthless nature and ties to organized crime underscore her powerful, feared presence in the underworld.^[16] The Finn operates as a fence and information broker from a cluttered loft overflowing with junk and holographic projections, his appearance likened to a genetic experiment designed for burrowing. He supplies the icebreaker essential to the hackers' efforts, embodying the shadowy network of black-market dealings.^[16]

Thematic content

Cyberspace and hacking

In "Burning Chrome," William Gibson coined the term cyberspace, depicting it as an "electronic consensus-hallucination" experienced collectively through computer networks, representing an immersive digital realm where data manifests visually.^[17]^[16] This virtual space is depicted as an infinite, transparent three-dimensional grid, akin to a "3-D chessboard," populated by towering constructs of information that glow with bright primary colors against a void, connected by horizontal lines in blues and pinks.^[16] These neon-like grids and architectural forms symbolize the abstracted, geometric nature of global data flows, transforming abstract computing into a navigable, perceptual landscape central to cyberpunk's exploration of human-machine interfaces.^[18] Hacking in the story operates through sophisticated software tools designed to breach protective barriers known as Intrusion Countermeasures Electronics (ICE), portrayed as impenetrable "walls of ice" that defend corporate data vaults.^[16] Attackers deploy icebreakers, such as a Soviet-derived "killer-virus program," to dismantle these defenses, which can include lethal "black ice" capable of delivering fatal neural feedback to intruders.^[16] The process mimics a high-stakes digital intrusion, where customized code mimics legitimate access protocols before unleashing disruptive algorithms to shatter ICE structures, highlighting the adversarial, militarized dynamics of early cyber intrusions.^[19] During the virtual heist, navigation through the target's system unfolds as a descent into a vast, cathedral-like expanse within the matrix, with "gray cathedral spaces" separating luminous data towers that resemble vertical freight trains.^[16] Here, hackers siphon streams of core data by interfacing directly with these constructs, extracting value in a fluid, almost architectural traversal that underscores cyberspace's spatial metaphors for information theft.^[16] Characters occasionally enhance immersion via simstim decks, which simulate sensory inputs to deepen perceptual engagement with the matrix.^[16] Gibson's portrayal draws from 1980s computing culture, including the era's nascent personal computers and networked systems, which he observed without deep technical expertise.^[18] A key inspiration was the intensity of players in video arcades, where Gibson noted their rapt absorption into screen worlds during a walk in Vancouver, evoking a vivid image of technology as an experiential escape rather than mere hardware.^[20] This limited firsthand experience with computers allowed him to conceptualize cyberspace intuitively, prioritizing sensory and visual analogies over precise mechanics.^[18]

Technology's impact on human relationships

In "Burning Chrome," simstim technology enables users to experience empathetic virtual immersions by recording and replaying sensory stimuli from performers, fostering a form of indirect emotional connection that blurs the boundaries between self and other. Rikki, the romantic interest of protagonist Bobby, embodies this aspiration, obsessively consuming Tally Isham's simstim recordings and investing her savings in premium Zeiss Ikon eyes to launch a career as a simstim artist, viewing the medium as a pathway to fame and altered identity. This pursuit illustrates how such technology reshapes personal ambitions and relational dynamics, prioritizing simulated empathy over unmediated human bonds.^[16] Augmentation's dehumanizing consequences are starkly portrayed through Chrome, a powerful figure in the Sprawl's underworld whose body bears the scars of failed surgical enhancements and implants, transforming her into a commodified object of horror that exploits the flesh for status and control. Maintained artificially youthful by serums and hormones, her childlike face clashes with a distorted, mismatched physique resulting from back-alley procedures, symbolizing the erosion of human integrity under technological commodification. This bodily violation underscores the story's critique of how enhancements, intended for empowerment, often reduce individuals to fragmented, marketable entities devoid of wholeness.^[16]^[21] The pervasive isolation of the Sprawl's hackers further strains human relationships, as immersion in cyberspace via neural jacks creates a profound detachment from physical and social realities, leaving characters like Bobby and Automatic Jack ensconced in a "monochrome nonspace" of data flows. This technological withdrawal contrasts sharply with the transient intimacy of Bobby and Rikki's romance, which provides momentary emotional grounding amid the heist's chaos but unravels when Rikki departs for Hollywood to chase her simstim dreams, highlighting the fragility of connections in a world dominated by virtual escapes. Cyberspace thus functions briefly as an escape mechanism from the Sprawl's gritty alienation.^[16]^[22] Gibson's narrative encapsulates grassroots resistance to corporate technological dominance through the adage "the street finds its own uses for things," referring to the repurposing of clinical vasopressin for intense memory enhancement among street users, which democratizes elite tools but intensifies personal alienation and identity fragmentation in interpersonal spheres.^[16]

Literary style

Narrative techniques

"Burning Chrome" employs a first-person narration from the perspective of Automatic Jack, immersing readers in his subjective experience of the gritty, neon-drenched underbelly of the Sprawl while interweaving vivid, poetic depictions of cyberspace as a hallucinatory digital frontier.^[23] This intimate viewpoint allows for a raw portrayal of the protagonist's technical expertise and emotional undercurrents, contrasting the tactile realism of physical spaces—like rain-slicked streets and crowded bars—with lyrical evocations of virtual immersion, such as "a silver tide of phosphenes boiled across my field of vision."^[24] The story's structure adapts the classic heist genre to a science fiction context, featuring an extended setup phase of preparation and reconnaissance, a high-stakes execution in the matrix, and a resolution tinged with ambiguity and consequence.^[23] Non-linear elements enhance this framework, as flashbacks to the six-week planning process with contacts like the Finn interrupt the real-time tension of the eight-minute "burn," creating a layered temporal rhythm that mirrors the disorienting fusion of past preparations and present peril.^[24] Pacing intensifies during cyberspace sequences through sensory overload, where Gibson bombards the reader with fragmented, kinetic descriptions of data flows and defensive "ice," building relentless suspense akin to a vault breach under duress.^[23] This technique culminates in a bittersweet denouement, underscoring the heist's pyrrhic victory without resolving all threads, a hallmark of Gibson's economical yet evocative storytelling in the short form.^[24]

Terminology and innovations

In the opening of "Burning Chrome," William Gibson coined the term "cyberspace," first appearing as a reference to the "Cyberspace Seven" matrix simulator deck. The concept was elaborated in his 1984 novel Neuromancer as "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."^[16] This influential definition envisioned cyberspace as a vivid, three-dimensional representation of information networks accessed via direct neural interfaces, establishing a foundational metaphor for virtual reality in science fiction.^[25] Gibson introduced several other terms that became staples of cyberpunk vocabulary, including "console cowboy," referring to skilled hackers like protagonist Bobby Quine who "jack in" to navigate the matrix as digital burglars.^[16] "ICE," short for Intrusion Countermeasures Electronics, denotes aggressive security protocols in cyberspace, depicted as impenetrable "walls of ice" that defend corporate data fortresses.^[16] Similarly, "simstim" describes simulated stimulus technology, allowing users to experience recorded sensory inputs, such as those from celebrity Tally Isham, blending virtual and physical sensations.^[16] These terms, applied in the narrative to depict a heist in the digital realm, enriched the genre's lexicon for portraying human-technology interfaces. The terminology from "Burning Chrome" permeated popular culture, influencing depictions of virtual worlds in media like the 1999 film The Matrix, where the Wachowskis drew on Gibson's cyberspace as a visual and conceptual template for the simulated reality grid.^[26] Gibson's innovations helped popularize cyberpunk aesthetics, with terms like cyberspace entering mainstream discourse to describe the internet and virtual environments by the 1990s.^[27] Gibson achieved authenticity by fusing technical jargon—such as references to "Kuang Grade Mark Eleven" viruses—with gritty street slang, like "cowboy" for hackers, creating a vivid, hybrid dialect that mirrored the story's dystopian underbelly of the Sprawl.^[16] This stylistic blend not only grounded speculative elements in a believable future but also set a precedent for cyberpunk's linguistic innovation.^[25]

Connections and legacy

Links to other Gibson works

"Burning Chrome" establishes the Boston-Atlanta Megalopolis, commonly referred to as the Sprawl, as a sprawling, dystopian urban landscape dominated by corporate power and advanced technology, serving as the core setting for Gibson's subsequent Sprawl trilogy—Neuromancer (1984), Count Zero (1986), and Mona Lisa Overdrive (1988). This megalopolis, characterized by decaying infrastructure, holographic advertisements, and pervasive cybernetic enhancements, provides a consistent backdrop that unifies the trilogy's narratives of hacking, corporate intrigue, and human augmentation. The story's depiction of the Sprawl as a "massive super-city made up of the United States’ largest East Coast cities" lays the groundwork for the expansive world-building in the novels, where similar environments host interstellar conspiracies and AI-driven plots.^[24] A key recurring element is the character known as The Finn, who debuts in "Burning Chrome" as a seedy, rat-like technology peddler operating out of a cluttered shop in the Sprawl, dealing in illicit software and hardware. In Neuromancer, The Finn evolves into a crucial informant and black-market fence who aids the protagonists Case and Molly, providing access to restricted tech and intelligence; his role extends across the trilogy, where he even appears as a digital construct in later installments. This continuity underscores Gibson's practice of weaving minor figures from short fiction into pivotal supports within his novel-length works, enhancing the interconnectedness of his early cyberpunk oeuvre.^[24] The story's protagonists prototype archetypes central to the Sprawl trilogy: Bobby Quine's novice hacker persona and his daring cyberspace incursions prefigure the jaded console cowboy Henry Dorsett Case in Neuromancer, both embodying the thrill and peril of matrix navigation as a form of digital rebellion against corporate control. Likewise, Rikki Wildside, Bobby's ambitious girlfriend aspiring to simstim stardom and navigating the underbelly of the Sprawl, echoes the archetype of the resilient, cybernetically enhanced female operative later realized in Molly Millions—a recurring figure known for her razor-sharp implants, lethal skills, and unyielding independence across Neuromancer and beyond. These elements in "Burning Chrome" function as narrative and thematic prototypes, testing motifs of virtual immersion and gendered survival in high-tech environments that Gibson refines in the trilogy.^[24] Chronologically, the events of "Burning Chrome" occur early in Gibson's expansive fictional timeline, predating the core conflicts of the Sprawl trilogy while sharing motifs of technological saturation and urban decay that indirectly link to the Bridge trilogy (Virtual Light , Idoru , All Tomorrow's Parties ) through a broader shared universe. Although not directly sequential, the trilogies overlap in conceptual "universe" elements, such as evolving information economies and prosthetic identities, allowing Gibson to explore parallel futures without rigid continuity. This placement positions "Burning Chrome" as a foundational piece that prototypes the serialized mythology of Gibson's cyberpunk bibliography.

Reception and adaptations

Upon its publication, "Burning Chrome" garnered critical acclaim for pioneering key elements of the cyberpunk genre, including its vivid portrayal of hackers navigating a high-tech, low-life future.^[28] The story's innovative fusion of noir aesthetics with computer-mediated realities was highlighted by its nomination for the Nebula Award for Best Novelette in 1982.^[29] The narrative's cultural legacy endures through Gibson's introduction of the term "cyberspace," first used to describe a hallucinatory, consensual digital realm accessed via neural interfaces, which rapidly entered mainstream lexicon for virtual environments in technology and media.^[30] This breakthrough helped propel Gibson's career, paving the way for his 1984 novel Neuromancer—set in an expanded version of the same universe—to win the Hugo Award for Best Novel in 1985 and the Nebula Award for Best Novel in 1984.^[31] Adaptations of "Burning Chrome" have been limited but notable. In the late 1980s, Gibson penned an unproduced screenplay for a film version intended to be directed by Kathryn Bigelow, known for her work on Near Dark.^[32] The BBC Radio 4 Extra aired a two-part audio dramatization in October 2007, featuring actor Adam Sims as narrator and emphasizing the story's cyberspace sequences.^[33] In modern scholarship as of 2025, "Burning Chrome" retains enduring influence on virtual reality depictions, serving as a foundational text in discussions of immersive digital spaces and their societal implications.^[34]

References

[1]
William Gibson - Free Speculative Fiction Online
Stories currently online: · Burning Chrome (HTML) (Omni, July 1982) · With John Shirley: The Belonging Kind (Shadows Anthology #4, 1981) · Thirteen Views of a ...
[2]
A Summary and Analysis of William Gibson's 'Burning Chrome'
'Burning Chrome' is a 1982 short story by the author William Gibson, who is widely considered the father of cyberpunk.
[3]
William Gibson | - Nebula Awards
William Gibson coined the word cyberspace in his story “Burning Chrome,” expanding on that concept two years later in the novel Neuromancer. He forged a ...
[4]
William Gibson On Coining The Word "Cyberspace" - KUOW
Dec 4, 2012 · Science Fiction Novelist William Gibson first coined the term “cyberspace” in his short story “Burning Chrome.”
[5]
William Gibson - | Lapham's Quarterly
He coined the term cyberspace in his science fiction story “Burning Chrome.” With the publication of his debut novel Neuromancer in 1984, he became a leader ...
[6]
Title: Burning Chrome - The Internet Speculative Fiction Database
Publications ; Burning Chrome, 1987-10-00, William Gibson ; Cyberspace, 1988-02-00, William Gibson ; Burning Chrome, 1988-04-00, William Gibson ; Burning Chrome ...
[7]
Omni, July 1982 - Publication
$$2.50Editor Title: Omni - 1982 • [Omni Magazine] • (1982) • edited by Ben Bova and ... 73 • Burning Chrome • interior artwork by Alan Magee; 78 • Enter: Tron ...Missing: details | Show results with:details
[8]
Omni - SFE - SF Encyclopedia
Omni also made popular the concept of Cyberspace – the word was first coined by William Gibson in his story "Burning Chrome" in the July 1982 Omni, and the ...<|separator|>
[9]
Burning Chrome | William Gibson Wiki - Fandom
"Burning Chrome" is a collection of short stories written by William Gibson. ... first published in Omni in July 1982. Gibson first read the story at a ...Missing: initial | Show results with:initial
[10]
William Gibson | Biography, Books, & Facts | Britannica
After dropping out of high school in 1967, he traveled to Canada and eventually settled there, earning a B.A. (1977) from the University of British Columbia.
[11]
William Gibson: One Tough Zeitgeist - Locus Magazine
Aug 12, 2019 · William Gibson was born March 17, 1948 in Conway SC and grew up in Virginia, attending boarding school in Arizona. He went to Canada in 1967 ...
[12]
Finding his Own Uses for Things: The Short Fiction | William Gibson
After the uneasy diffidence of “Hinterlands,” Gibson displayed renewed energy—even joy—in returning to the Sprawl with his sixth story, “Burning Chrome” (1982), ...Missing: anecdotes | Show results with:anecdotes
[13]
Best Novelette - Nebula Awards
Nominated for Best Novelette in 1983 · “Blind Shemmy” by Jack Dann ... “Burning Chrome” by William Gibson, published by Omni. Nominated for Best ...
[14]
Cyberpunk - MIT
The cyberpunk movement in American science fiction first took shape in the early 1980s in the fiction of such figures as Bruce Sterling, William Gibson, Rudy ...
[15]
William Gibson's digital thumbprint from Neuromancer to Interstellar
Nov 14, 2014 · He coined the term “cyberspace” (a word that is starting to feel almost twee) and is well known for popularising the cyberpunk genre, along with ...
[16]
Burning Chrome Summary and Study Guide | SuperSummary
In “Burning Chrome,” Automatic Jack and Bobby Quine are hackers who hatch a plan to steal money from the accounts of a mysterious figure known as Chrome.
[17]
[PDF] Burning Chrome - MITH Archive
Jul 17, 2000 · It was hot, the night we burned Chrome. Out in the malls and plazas, moths were batting themselves to death against the neon, but in Bobby's ...
[18]
"Cyberspace" Popularized - History of Information
A consensual hallucination experienced daily by billions of legitimate ... Gibson coined the term cyberspace in his short story, Burning Chrome (1982).
[19]
William Gibson: 'I was losing a sense of how weird the real world was
Jan 11, 2020 · His 1982 short story “Burning Chrome” is credited with popularising the term “cyberspace” (“A consensual hallucination experienced daily by ...
[20]
William Gibson: Burning Chrome - The Cyberpunk Project
Oct 1, 2000 · William Gibson's book Burning Chrome ... Black ice. Dont think about it. Black ice. Too many stories in the ...
[21]
An Interview with William Gibson - The Cyberpunk Project
Prior to the publication of Neuromancer, Gibson had published only a half- dozen stories (since collected in Burning Chrome [1986b]). ... will read into it ...
[22]
The Body and Materiality in William Gibson's Burning Chrome
Dec 5, 2014 · This paper explores the interplay between technology and the body in William Gibson's "Burning Chrome", emphasizing the cultural ...
[23]
The Body and Technology in William Gibson's Cyberspace Trilogy
In Gibson's texts this lack of autonomy often takes the form of human beings' physical and mental addiction to technology.Missing: impact | Show results with:impact
[24]
Burning Chrome - William Gibson - Google Books
Tautly-written and suspenseful, Burning Chrome collects 10 of his best short stories with a preface from Bruce Sterling.
[25]
[PDF] The Many Paths of Cyberspace: William Gibson's The Sprawl as ...
May 1, 2015 · Gibson went on to follow these trends, coauthoring The Difference Engine as a steampunk novel and Virtual Lights as a representation of near- ...
[26]
March 17, 1948: William Gibson, Father of Cyberspace | WIRED
Mar 16, 2009 · Most importantly, the story "Burning Chrome" marked the first appearance of the term cyberspace -- which Gibson would later describe in No ...
[27]
7 classic sci-fi influences on the original The Matrix - SYFY
Aug 28, 2019 · The biggest and perhaps most famous influence on The Matrix is William Gibson's genre-transforming 1984 novel Neuromancer.
[28]
William Gibson and Neuromancer: the man who saw tomorrow
Jul 28, 2014 · The Wachowskis made The Matrix by mashing Gibson's vision together with that of French philosopher Jean Baudrillard. Stieg Larsson's Lisbeth ...
[29]
Nicola Nixon- Cyberpunk: Preparing the Ground for Revolution or ...
Sterling's desire to represent cyberpunk as a radical subgenre within SF—one which prompts him, in his introduction to Gibson's Burning Chrome (1986), to ...Missing: horror augmentation
[30]
Burning Chrome | - Nebula Awards
“Burning Chrome”. by William Gibson (Published by Omni). Nominated for Best Novelette in 1982. Also Nominated. “Understanding Human Behavior” by Thomas M. Disch ...
[31]
William Gibson Coins the Word Cyberspace - History of Information
In July 1982 American-Canadian writer William Gibson Offsite Link coined the word "cyberspace" in his story, Burning Chrome Offsite Link , published in Omni ...Missing: initial | Show results with:initial
[32]
Neuromancer | - Nebula Awards
Winner, Best Novel in 1984 The future blazed into existence with each deliberate word that William Gibson laid down. The winner of Hugo, Nebula, and Philip K. ...
[33]
William Gibson: Our 1988 Interview - SPIN
Aug 31, 2019 · William Gibson, whose writings—Neuromancer, Count Zero, Burning Chrome, and the new Mona Lisa Overdrive—have taken the mainstream's assumptions ...
[34]
BBC Radio 4 Extra - William Gibson - Burning Chrome, Episode 1
Two cyberpunks go for the big score by hacking a vicious criminal. Adam Sims reads the novel that coined the term 'cyberspace'. Show more.
[35]
Virtual reality, cyberspace, and embodiment: a historical debate with ...
Apr 4, 2025 · William Gibson is often credited with coining the word, using it to refer to a 3D immersive dataspace in his 1982 short story Burning Chrome and ...