“The abrupt jolt into another flesh. Matrix gone, a wave of sound and color…She was moving through a crowded street, past stalls vending discount software, process feltpenned on sheets of plastic, fragments of music from countless speakers.”
William Gibson’s Neuromancer has, thus far, left me with one motif/framework in mind. We discussed in class the idea of control, and I see it repeatedly in these last chapters. First with the device Case uses to experience the world from Molly’s body. It is a very strange concept, and a demonstration of how Molly loses a little bit of control. Molly is aware of what is happening, but she cannot do anything about it until Case decides to “leave.” Case, though, is the one who cannot respond to Molly. She can speak to him, but he is unable to answer back. So, the idea of control flip-flops because while Molly cannot get Case out of her body or her mind, Case cannot respond to anything Molly asks of him. This whole idea of telepathy controlled by technology is very interesting, and a new way to look at what technology could possibly be capable of.
“‘Wintermute,’ Yonderboy repeated, nodding, bobbing his crest of pink hair. His suit went matte black, a carbon shadow against old concrete. …Case closed his eyes, massaging them with numb fingers, leaning back against peeling brickwork. Ninsei had been a lot simpler.”
Another motif I became aware of was romance. Molly and Case grow increasingly closer as the story unfolds. The two are on adventures of sorts together, trying to investigate and figure things out. These adventures seem to be the cause of their growing bond. Control plays into this relationship as well, as they become determined to find out whom Armitage is working for. The tip that Wintermute is involved leads them on a further search. The two appear obsessed and express the desire to be in full control of what is going on.
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