2. Id. (observing that "the adolescent reader, the typical reader of these fantasies," is most in need of money and "the power that money brings").

3. See, e.g., The Concise Oxford English Dictionary 334 (9th ed. 1995) (defining "cyberpunk" as "a style of science fiction featuring urban counter-culture in a world of high technology and virtual reality"); Merriam-Webster's Collegiate Dictionary 287 (10th ed. 1995) (defining "cyberpunk" as "science fiction dealing with future urban societies dominated by computer technology"); Random House Webster's College Dictionary 338 (rev. ed. 1996) (defining "cyberpunk" as "science fiction featuring extensive human interactions with supercomputers and a punk ambience").

4. Katie Hafner & John Markoff, Cyberpunk: Outlaws and Hackers on the Computer Frontier 9 (1991) (chronicling the extra-legal exploits of noted hackers); see also Merriam-Webster's Collegiate Dictionary, supra note 3, at 287 (defining "cyberpunk" as "an opportunistic computer hacker"); Random House Webster's College Dictionary, supra note 3, at 338 (defining "cyberpunk" as a "computer hacker").

5. William Gibson, Neuromancer 51 (1984).

6. See John Brunner, The Shockwave Rider 7 (1975) ("Cash didn't circulate much any more . . . except in the paid-avoidance areas, where people drew a federal grant for going without some of the twenty-first century's more expensive gadgetry, but activating a line to the federal credit computers on a Sunday, their regular down-time day, meant a heavy surcharge . . . ."); Pat Cadigan, Fools 24 (1992) (featuring cab-driver who will accept "fare strips and bearer chips" but not currency, because "I don't have an accounting system that works with it"); William Gibson, Count Zero 37 (1986) [hereinafter Gibson, Count Zero] (observing that protagonist had cash money, but could not pay for food with it, because although cash was not illegal, "nobody ever did anything legitimate with it"); Gibson, supra note 5, at 6 (discussing how protagonist's "total assets were quickly converted to New Yen, a fat sheaf of the old paper currency that circulated endlessly through the closed circuit of the world's black markets like the seashells of the Trobriand islanders," making it "difficult to transact legitimate business"); id. at 98 (noting that character buying cigarettes from a vending machine, "slotting the small dull alloy coins one after another, [is] vaguely amused by the anachronism of the process"); Bruce Sterling, Heavy Weather 272 (1994) (referring to a past "[w]hen money was still on engraved paper and money still meant something").

Guides for cyberpunk "role-playing games," whose participants manage the persona of a character in such a fictional scenario, typically emphasize that cash is archaic. See, e.g., Loyd Blankenship, GURPS Cyberpunk 27 (1990) (observing that "[i]n a cyberpunk world, most wealth takes the form of credit [and l]aw-abiding citizens . . . rarely touch cash at all"); Tod Foley, Cyberspace 71 (1989) (indicating that "[t]he entire idea of cash is looked down on in many places, where its use is seen as classless, boorish and ignorant").

7. See Pat Cadigan, Synners 148 (1991) (noting that hackers' work "kept them . . . in enough bearer chips to survive").

8. See Gibson, Count Zero, supra note 6, at 2 ("His credit chip was a rectangle of black mirror, edged with gold. People behind counters smiled when they saw it, nodded. Doors opened, closed behind him. Wheels left ferroconcrete, drinks arrived, dinner was served."); Richard Paul Russo, Destroying Angel 101 (1992) (referring to "credit chip" keyed to holder's biometric measurements, so someone else can "'[s]ell it back to the originating streetbank for two cents on the dollar'").

9. See Melissa Scott, Trouble and Her Friends 252 (1994) (describing "money in a thin stack of bearer cards").

10. See William Gibson, Virtual Light 25 (1993) (character uses "his new debit-card").

11. See Lisa Mason, Cyberweb 1-3 (1995) (downloading value through automated bank teller onto "credit disk").

12. See William Gibson, Idoru 59 (1996) (chronicling character's use of "Cashflow smartcard," the amount of which "represented the bulk of the Seattle chapter's treasury"); James Patrick Kelly, Wildlife 25 (1994) (describing transfer of value in the form of "smart chips," or "cash cards from the Swiss Volksbank, Zurich [that are n]egotiable anywhere"); id. at 144 ("The cash card was guaranteed by AmEx to be secure.").

13. See Blankenship, supra note 6, at 104 (offering descriptions, strikingly similar to those of modern stored value card, of "credit transactor" device, its method of operation, its levels of privacy and security, and its use by consumers); cf. Foley, supra note 6, at 71 (discussing operation of wrist-borne device that acts as debit card).

14. See William C. Deitz, Bodyguard 30 (1994) (electronic transfer of funds in cyberspace); Neal Stephenson, Snow Crash 394 (1992) (transfer of money by transfer of "hypercard" in cyberspace).

15. See John Betancourt, Rememory 27-28 (1990) (indicating narrator's reluctance to receive a large amount of credit, stating that "a cash transaction seemed much more appealing"); Mason, supra note 11, at 9 ("The exchange of any form of legal value was accounted for, traced, and regulated down to the last obsessive buck.").

16. See Gibson, supra note 12, at 170 (describing bills "[b]igger than American money" with "the comfortingly familiar logo of a [well-known] company"); Sterling, supra note 6, at 114 (discussing "global pirate banks that existed nowhere in particular and made up their own laws out of chickenwire dishes, encryption, and spit"); id. at 186-187 (stating that criminal organizations "were electronically minting their own . . . electronic, private cash, unbacked by any government, untraceable, completely anonymous, global in reach, lightning-like in speed, ubiquitous, fungible, and usually highly volatile" and noting that "even the governments of powerful advanced countries, had already lost control of their currencies to the rolling floodwaters of currency trading"); see also Neil Stephenson, The Great Simoleon Caper, in Seth Godin, Presenting Digital Cash 1 (1995) (envisioning, with humor, practical problems involved in encouraging consumers to use private electronic cash).

17. See David Brin, Earth 294 (1990) (indicating that main character "had witnessed many of the ways [in which] her cousins and uncles sheltered and moved money without letting it show up on the net"); Bruce Sterling, Islands in the Net 43 (1988) (identifying three major corporations as being "monetary banks as well . . . handy for laundering client funds, and a ready source of necessary bribes"); Walter Jon Williams, HardWired 179-81 (1986) (describ-ing laundering money electronically through series of international transactions over electronic networks); id. at 186 (discussing how "[a]stronomical amounts of private-issue currency flash through the files, pour down a thousand chutes, disappear into some nameless laundry and then reappear elsewhere, no clue as to their origin").

18. Gibson, Count Zero, supra note 6, at 39.

19. Gibson, supra note 5, at 162-63.