William Gibson Has a Theory About Our Cultural Obsession With Dystopias by Abraham Riesman
This article has been published on the Vulture website. It begins:
Few authors have crafted more vividly realized future worlds than William Gibson. In timeless classics such as Neuromancer, Count Zero, and Mona Lisa Overdrive, he dreamed up environments filled with fantastical technology and innovative social arrangements. Those works are often held as seminal works of modern dystopian literature, but in his latest outing, Gibson explores the past, too. Along with co-author Michael St. John Smith and an array of artists, Gibson has created Archangel, a comic book published by IDW that follows a group of time travelers sent from an apocalyptic 2016 back to the smoking ruin of 1945 Berlin. Their mission is to avert world-ending catastrophe, though the contours of that catastrophe remain a mystery for much of the work. As part of Vulture’s Dark Futures week, we caught up with Gibson to talk about Archangel, but also about dystopian and apocalyptic literature in general.