[that very simplicity suggesting extreme complexity]

Molly as the prevailing strong female character in the novel.

"He said--" But her hand came up in the jive for silence. 

"Get us some crab," she said. (69)

 -Molly exercises the ease with which she exemplifies that she is the one who "wears the pants" in this relationship.

Molly took his place, extruded the blade from her index finger, and speared a grayish slab of herring. Case wandered aimlessly around the room, fingering the scanning gear on the pylons as he passed. (70) 

-Molly's actions seem to be full of purpose-- she is constantly at work. Meanwhile, Case seems more akin to a child in a strange new world.

Two hours later, Case fell beside Molly on the slab and let the temperfoam mold itself against him. (79)

-This is just one example of Molly's constant, prevailing presence in Case's daily life. She is constantly referenced to despite Case being the protagonist of this story-- even when she is doing something as trifle as sleeping.

Case watched her pack. There were dark circles under her eyes, but even with the cast on, it was like watching a dance. No wasted motion. His clothes were a rumpled pile beside his bag. (82)

-This again pits Molly and Case against each other in a very effective foil. Case frequently observes her in awe, she is depicted as the more "collected" of the two-- especially emphasized the last sentence of this excerpt.

"Wake up, baby," Case said. "Biz."

"I've been awake an hour already." The mirrors turned. (85)

-Whether this is simply an act of affection or, quite literally, Case "babying" Molly-- she isn't taking it.

"I want to know about the implants," she said, massaging her thigh, "I want to know exactly what he can do." (86)

-Gibson inserts the afterthought that Molly is massaging her injured and obviously aching thigh, reiterating her "toughness"-- still able to get right down to business despite physical pain.

"In Turkey, women are still women. This one..."

The Finn snorted. "She'd have you wearing your balls for a bow tie if you looked at her cross-eyed." (87) 

-Another example of Molly being so "kick-ass."

Molly stepped out of the shadows, all in black, with her fletcher in hand. (89)

-This adds to the mysterious aura that seems to surround Molly.

"Never mind. Let's go back to Beyoglu and find something like breakfast. I gotta busy night again, tonight. Gotta collect his stuff from the apartment in Fener, gotta go back to the bazaar and buy him some drugs...." (92)

-Molly is again taking charge of things in her relationship with Case. All the while, she is truly "caring" for the members of the team. Whether it is reminding Case to eat or making sure Riviera gets his drug fix.

On the THY liner to Paris, they sat together in First Class, Molly in the window seat, Case beside her, Riviera and Armitage on the aisle. (99)

-Gibson chooses to address first were Molly is seated and merely places Case in relation to where she is.

He was numb, as they went through customs, and Molly did most of the talking. (119)

-Molly, once again, acting as the backbone of the group.

Molly was sleeping when he returned to the Intercontinental. (129)

-It may just be something as simple as fatigue, but Molly always seems to be fast asleep whenever Case is returning from being out. There is a somewhat prevalent image of a wife waiting up for her husband to come home late from work-- with his dinner ready, etc. Molly is the antithesis of this.

[the color of television]

Gibson immediately solidifies the setting to Neuromancer in the opening sentence.  The sky above the port was the color of television, tuned to a dead channel. My initial thoughts are of the phenomena known as “white noise” and the take-over of technology. Instantly, in a single sentence, we are familiarized with what much of this story will be about. Likening the sky to such a thing as the “color of television” further evokes the sense of this somewhere-in-the-somewhat-distant-future place being engulfed by technology. There is then the paradox of there being color of television, despite being “tuned to a dead channel.” A dead channel should imply that indeed there is no color. This emphasizes the lifelessness that surrounds the port; one is reminded of the dull, possibly mind-numbing sound of a dead channel as well. All of this, with a single, 15-word sentence.

There is much to be deduced when it comes to the clinic where Case has his second operation done. The clinic was nameless, expensively appointed, a cluster of sleek pavilions separated by small formal gardens. First and foremost, the clinic itself is dubbed nameless. The readers are not provided with a name, and neither is Case. This deals a good amount of ambiguity to the clinic, and raises suspicion. There is also that the clinic was “expensively appointed.” This tells us that there are big powers at work here, that Armitage and whoever else is behind this scheme are being funded in someway. We then get the sense that the clinic’s exterior is tranquil and inviting, right before experiencing Case’s painful, furtive operation two pages later. An anonymous, deceitful, albeit seemingly welcoming clinic.