I’ve had a lifelong taste for Japanese things, it seems. I think Japan's early entrance into techno-modernity, after long artificial isolation, has resulted in something unique.

The “neoprimitives” of The Peripheral do that, or try to. There’s been some that around since the birth of the Industrial, probably earlier.

“Intrigued” isn’t the word. “Creeped the fuck out by” would the correct term of art.

[This is a terrible format for typos, btw] I giggle, mostly, and try my best to resist being bought dinner by people who want to believe that I know the future.

I can watch serious tv while I'm writing a book, so no.

“Trumping” will never quite ring the same way! I don’t think “voluntary transition” quite gets it. We have been, for instance, building prosthetic forms of memory since we daubed on cave walls. Not at all a “natural” thing to do.

Comics are their own form. Fascinating to experience the Venn overlap between prose and screenwriting and yet it’s *neither*.

I feel I’ve a professional responsibility to try to indulge in neither. To man a sort of agnosticism about outcomes.

I assume so, but wasn’t that conscious of it at the time.

I’d like to see a manifest destiny thing around the concept of our unfucking the bad shit we’ve been doing to the planet.

I think VR is a vision from prior to the everting of so-called cyberspace into the “real” world. All VR will eventually be AR, to wherever extent.

I’ve yet to demo anything that made me wake up in the morning eager to try it again.

Money. Assuming those all cost that.

Like the world minus that. See the British Empire, et al. Footprints remain.

The Bigend books were an experiment in using my sci-fi toolkit on the very recent past. Each is set in the year prior to its publication. I was recalibrating my sense of the now. The Peripheral was a test of that recalibration.

**test**