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Real-world corporations aren't that interesting. Amazon, Facebook, or Google have nothing "culturally" or aesthetically on Hosaka, Arasaka or Sense/Net.
Which is really the tragedy of it all: we are getting the cyberpunk dystopia with none of the aesthetics that have made it a household word.
On aesthetics, the way the Hosaka is described is as the experience of touching and using it. The reader doesn't actually know what the aesthetics are, nor does the reader get a taste of what it's like to actually use. In stories, they don't show people having driver problems, or their microphone not working, or having to go to the bathroom (unless it's integral to the plot), which in some sense is similar to talking about lickable/fluid UI widgets and how material design is great and not mentioning that Hosaka moved the setting dialog again, you have to update drivers before jacking in, the sliver of "microsoft" inserted behind your ear makes you watch an ad before giving you access to live prices of antique art, or cyberspace now has a ribbon instead of a toolbar.
Their fictional counterparts don't bother.
People are reaching pretty hard if they don't see what we're dealing with here.
They may not be aesthetics you find cool, but clearly they appeal to a large number of others.
The scifi backdrop wasn't inherently cool. It was often soulless and dystopian. The crass commercialism and the teeming masses were often depicted as uncool, at least to the narrator's eye.
The coolness was found in the counter culture niches, in the urban underbellies, and in the little noir vignettes where the poets and rebels infiltrated.
Meanwhile in the real world we get Nvidia DGX Spark which has a front finished in beige carpeting, or Meta glasses which make you look like either a dork or a pervert.
The tech devices were also used as markers of uncool rich people. Symbols of excess disposable income, rather than carefully invested aesthetics.
In the seedy areas, the implants and augmentations were depicted across an array of cool and uncool characters. Some character were meant to think they themselves were cool, while the narrator or the main characters saw them as part of the uncool backdrop. Try-too-hards, wannabes, etc.
Arasaka types are rare, it’s mostly big blobs like DatAmerica.
Mmm, delicious
I know that "Idiocracy" gets thrown around all the time, but the reason I think it does is that they do have advanced tech but at the same time everyone is a blathering idiot. That's what gets me about our present reality - on one hand we supposedly have all the world's information at our fingertips, but the absolute dumbest, most bullshit theories get real traction and cause real damage.
When they had the UFC fight on the White House lawn I thought it couldn't be a better example of life imitating art.
As China rises to become the new gravitational center, it will be interesting to see how they reshape things in their image. On the one hand, they seem to be more engineering-brained than lawyer-brained, which bodes well (might be a more viable path to cyberpunk). But just as the west has been haunted by its history of white supremacy, China will be haunted by its history of Han supremacy, so I am not holding my breath that we net out to some sort of multi-cultural utopia.
I don't think you can just state something like that as some sort of axiom without providing any rationale. Obviously China has become much more powerful and important over the past 4 decades, but I highly doubt they will be the new "gravitational center", for two primary reasons.
First, their demographics are horrible - their population peaked 5 years ago and will continue to decline, meaning they will need to look inward to dedicate more resources to supporting their aging population. While fertility rates are well below replacement in nearly all of the developed world, the extreme ethnic homogeneity and near complete inability to assimilate immigrants long term make East Asia's demographics much more problematic.
Second, nobody wants a conformist autocratic society to be the "center of gravity" of the world. For decades following WWII, the US, despite all of its problems, really was looked up to as a beneficial force by many (yes, again, I know we did some extremely shitty things during the Cold War, but just looking at surveys of different countries' views of the US it was overwhelmingly positive in the Western world). Whereas today, despite China being essentially "the world's workshop", basically all of their trading partners look at them with suspicion and reticence.
I think we're looking at a near and mid-term future where there is basically no (or a crumbling) center of gravity. And this is basically what existed in the areas of the former Western Roman Empire for centuries after its collapse until the rise of Charlemagne, so I think your comparison to "decaying Roman Empire" phase is apropos.
What we're seeing is fundamentally nothing like idiocracy - the similarities are only surface deep, but the structures are vastly different. In Idiocracy, the nation is led by a person who cares about the well-being of all his constituents and seeks out the most capable person in order to improve the material state of his people. Despite his wrestling persona, President Comacho is far, far, FAR closer to Jed Bartlet from the West Wing, than Trump. People in the 2000s could not imagine the true nature of the 2020s.
What you're seeing is a sort of slow-motion civil war. The Trumpist Republicans fundamentally believe only they are allowed to rule and everyone outside their group is an enemy. They despise their enemies and wish to see them suffer, from denying disaster relief, to targeting cities with ICE, the more suffering there is the better. Sadly, reality turned out nothing like Idiocracy.
I'm convinced it was the similarity of their names which convinced Jean to read J.G's work.
The early works were generally overtly sci-fi, but mostly earthbound, fitting into the British New Wave of the 1960s, alongside John Brunner. The Drowning World and The Crystal World are both fantastic and unusual for the genre. The short stories are often excellent, and in my opinion some of his most original work is in this period.
The major transition came with The Atrocity Exhibition, a "cut up" novel that was more Cronenberg/Borroughs/Lynch than what came before, and magnified themes that had been emerging in his short stories. Alienation, pop culture fetishism, clinical descriptions of injuries, war (the book was originally called Love and Napalm), the horror lurking under placid suburban utopia. Crash, High-Rise etc. followed in that vein. Crash is probably the best from this period.
He wrote two autobiographical mainstream novels: Empire of the Sun is the famous one.
The late 90s/2000s novels like Super-Cannes are all rethreads of earlier stuff; the Freudian pop-psych view that we are basically animals denied the outlet of violence got a bit tired at this point. They're really well written, but I felt Ballard had lost his edge and didn't have anything insightful to add. His last novel is quite average.
So: The Atrocity Exhibition, Crash, maybe The Crystal World or the collected short stories.
Then I would read Empire of the Sun.
I can't see the dystopian music of John Foxx's Ultravox! (or Gary Numan for that matter) without seeing it through the Ballard/Crash Zeitgeist of the "New Romantics".
(Although I see now that "Crash" was published first in 1973—wow.)
It has some of his best sci-fi, and they're all under 50 pages. His longer fiction (Cocaine Nights, Empire of the Sun, etc.) is okay, but IMO short stories are where he really shined.
https://www.goodreads.com/book/show/70239.The_Best_Short_Sto...
A couple months back I had at a Chinese place in the western parts of Dublin (Ireland) and we could see the operating base of the Mana food delivery drones. Ireland was never known to get early issues of whatever the current dystopian future is being distributed, so it was an interesting sight - drones autonomously locating landing platforms and waiting to be loaded, and then launching to their next delivery.
"Man — despite his artistic pretensions, his sophistication, and his many accomplishments — owes his existence to a six inch layer of topsoil and the fact that it rains."
Gibson in particular nails this, especially in his original Sprawl trilogy. This sprawling mass is what he calls "biz." It's "just biz."
I sometimes wonder what's really happening here. Maybe with our large scale and large population we have exceeded Dunbar's number and the individual human cognitive "context window" so much that coherent social systems are no longer sustainable. Any kind of principle, rule of law, or sense of national or cultural identity requires that coherence. Without it the system dissolves into this random churning stew of scheming, money, and power.
On a personal level it means you have to find these things in your personal life and the family and community you build around you, and you should not look for or expect these things from larger scale social structures. They can't deliver them, and the reasons might not just be "corruption" or "people are assholes." They might not be able to deliver them because we have exceeded the scale on which human social structures can coherently operate.
Gibson depicts this too. His world of the Sprawl was bleak but there were pockets of people who had created what amounted to intentional communities within it. I'm thinking of the Afro-American-futurist arcologies in Count Zero or the orbital subcultures like the Rastafarians. Some of the subculture around the "console cowboys" also counts.
EDIT:
Another gigantic correct prediction of Gibson that nobody remembers is that he predicted that the AIs would make art. As far as I know he's the only one to predict this. The usual depiction of AI in pretty much all other sci-fi was as only logical, whether benevolent (Lt. Cdr Data, Enterprise's AI, droids in Star Wars) or malevolent (Colossus, Skynet, Dune's prehistory).
Data painted and performed music: https://memory-alpha.fandom.com/wiki/Data#The_arts
To be fair, his motivation was to become more human. But at least he did have intrinsic motivations that didn’t appear to come from some training.
That aside, there are many examples that long predate Gibson:
Kurt Vonnegut’s EPICAC (1950): https://en.wikipedia.org/wiki/EPICAC_(short_story). It also has the motive of a human passing off the AI’s artistic creation as his own.
C. M. Kornbluth’s “With These Hands” (1951): https://www.gutenberg.org/ebooks/51531
Roald Dahl’s “The Great Automatic Grammatizator” (1953): https://en.wikipedia.org/wiki/The_Great_Automatic_Grammatiza...
Incidentally, J. G. Ballard’s “Studio 5, The Stars” (1961): https://jamesdavisnicoll.com/review/some-dance-to-forget
Once the concept of “electronic brains” was there, the idea that they might also produce art like a human brain can wasn’t far.
I'm in the same boat - I wanted to re-read, but couldn't find my copy of Neuromancer (which was a chore to get through the first time I read it years ago), so I've started Mona Lisa Overdrive - same thing. Everything is desribed in some dense street subculture patois or as some Sony or Mitsubishi future-product. I guess if the point is "things are recognizable, but this is now a well-established 'different' culture" - mission accomplished. As mentioned though it is a chore. An unrelenting chore. Once you're done though, it's satisfying to reflect on it.
Plenty of forebears here. Orwell's 1984 has mass-produced trash novels generated by a machine. Stanislaw Lem''s Cyberiad has a poetry generator.
It could be an allegory for some artistic types who go on a sort of creative bender and work compulsively, nearly suppressing their regular personality and lives. The machine is somehow a tortured, artistic soul. But it could also just be some ironic malfunction, or could itself be an art installation built intentionally but anonymously out of orbital scrap.
That orbital machine certainly is tuned in a way that tickles Easter eggs in the human mind. But it also just seems to loop endlessly, like a forgotten, automated factory.
There is another similarly ambiguous scene, where an artificial construct represents the knowledge and speaking style of a deceased hacker. It is hooked to a doorbell to respond to visitors, but the narrator tells us it also scans the empty alley as snow falls. The scene is poetic, but it does not tell you whether the construct has a mind and is appreciating the snow versus just being triggered by motion and just trying to localize a potential visitor. Any answer you have there, you brought yourself. The book isn't telling.
That ambiguity seemed like half the point with Gibson. And it also seems prescient for our current LLM-meets-humanity moment too.
I think it's worth asking whether "nobody really believes anything" is itself the cynical manipulative play, one that occurs in the real world and affects how us as we sit here judging how "today" compares to past dystopias.
In particular I'm thinking of how certain regimes encourage a kind of "everybody is lying" nihilism, because it mentally exhausts their victims and deters organizing among those who believe things quite strongly.
In other words, a dystopia may show a moral-fog as something that simply exists among the hive of scum and villainy... but in the real world, perhaps we should be checking for some beekeepers with smoke-pots.
I think we might just not have run out of money yet. A lot of debt (social, structural, technical, financial, cultural, etc) is going to hit us like a freight train if AI turns out to not be the magic cure people desperately hope it is going to be.
The power of "the biz" rests on cash not running out. Certainly not on loyalty of the workers.
Sounds unlikely to me without the caveat "within this particular brand of politics and socioeconomics".