威廉.吉布森（William Gibson）是如何評價黑客帝國三部曲（The Matrix）的？

這是在他的個人網站上看到的一篇日誌：

I was, as you can probably imagine, prepared not to
like THE MATRIX. A friend finally dragged me to see it in Santa Monica,
when I was taping NO MAPS FOR THESE TERRITORIES.

I liked it a lot. I even went back to see it a second time in theatrical release, which is unusual for me.

I
thought it was more like Dick』s work than mine, though more coherent,
saner, than I generally take Dick to have been. A Dickian universe with
fewer moving parts (for Dick, I suspect, all of the parts were, always,
moving parts). A Dickian universe with a solid bottom (or for the one
film at least, as there』s no way of knowing yet where the franchise is
headed). It』s thematically gnostic, something NEUROMANCER isn』t.

Whatever
of my work may be there, it seems to me to have gotten there by exactly
the kind of creative cultural osmosis I』ve always depended on myself.
If there』s NEUROMANCER in THE MATRIX, there』s THE STARS MY DESTINATION
and DHALGREN in NEUROMANCER, and much else besides, down to and
including actual bits of embarrassingly undigested gristle. And while I
was drawing directly from those originals, and many others, the makers
of THE MATRIX were drawing through a pre-existing 「cyberpunk」 esthetic,
which constituted as much of a found object, for them, as 「science
fiction」 did for me. From where they were, they had the added luxury of
choosing bits from, say, Billy Idol』s 「Neuromancer」 as well.

When
I began to write NEUROMANCER, there was no 「cyberpunk」. THE MATRIX is
arguably the ultimate 「cyberpunk」 artifact. Or will be, if the sequels
don』t blow. I hope they don』t, and somehow have a hunch they won』t, but
I』m glad I』m not the one who has to worry about it.

The other
thing I』m glad of is that a film of NEUROMANCER, whatever else I might
want it to be, definitely doesn』t, now, have to be THE MATRIX, or even
anything very much like it.

AN END TO CYBERPUNK?

Someone asks if I might please put an end to it.

Would
that I could, but it just doesn"t work that way. "Cyberpunk", which
you"ll note I put in quotes or not, as the irony level in my bloodstream
fluctuates, has a life of its own. Has in fact been possessed of a
stubborn vitality since it first hove into view circa 1981. At this
late stage of the game, though, my belief is that, outside of a certain
narrow discourse in literary history, its best use today is as an
indicator of a particular generic flavor in pop culture. In the way that
"cowboy" functions in "cowboy boots", which generally has nothing to do
with anyone, particularly the wearer of the boots in question, being
any kind of cowboy. "That"s kind of a cyberpunk video." We all know
what the speaker means.

吉布森大爺被朋友拖去看了這部電影（黑客帝國），然後表示自己還是很喜歡它的，甚至跑去影院去重看了。

接著大爺謙虛地表示：如果說《黑客帝國》中能看到《神經漫遊者》的影子，那麼《神》中同樣也會有《群星，我的歸宿》（阿爾弗雷德·貝斯特）和《戴爾格林》（賽謬爾·德蘭尼）的影子存在。就像他在寫這些賽博朋克作品的時候，從之前的科幻小說里拿來了很多東西，《黑客帝國》的創造者同樣也從也已存在的賽博朋克美學中汲取養分。

大爺甚至認為黑客系列可能會是賽博朋克藝術的終極形態——如果續集不爛掉的話。

但是大爺也表示，他想像中的《神經漫遊者》電影不會是黑客帝國這樣的，甚至連很像都不會。

最後談到賽博朋克已死的話題，大爺表示賽朋作為一個科幻文學類型的時代已經結束，現在它存在的最好的語境是作為流行文化中的一種特定的審美風格。