"Rebooting" as a concept didn't exist in the novel, so the show is breaking new ground with its Flynne/Cherise revenge plot.Depending on her veteran brother's benefits in a city where jobs outside the drug trade are rare, Flynne assists her brother's latest beta-test tech assignment only to uncover an elaborate murder scheme In the novel, Flynne returned to her life, albeit with a line to the future for advice on how to avoid the Jackpot, after she found out who killed Aelita. The show is setting up a wider conflict between Flynne and Lowbeer, the RI, the Klept, and Aelita's revolution that never took place in the book.
Needless to say, none of that takes place in the novel. Then she lets Connor kill her with a sniper rifle in her own world, so Cherise will believe that Lowbeer had her assassinated and will hopefully call off the attack on Flynne's town. Flynne breaks into the facility and starts a new stub that branches off from her world at approximately the same point in time where she currently exists. Lowbeer tells Flynne where the RI has hidden one of its installations used to create new stubs. With her back up against a wall, Flynne comes up with an intense plan that requires the help of Connor in her world and Inspector Ainsley Lowbeer in 2099's London. Major features of the world, like the haptic implants or 2099 London's air filtration towers, get explained in the first few episodes, so viewers aren't left scratching their heads for a large chunk of the season. Smith told Time that, when writing the show, he "allowed for a certain degree of confusion and trusted that other people involved in the elaborate production would speak up if anything was incomprehensible." The show doesn't entirely emulate Gibson's style, however. Rather than explaining the intricacies of Burton's haptic implants, Gibson lets readers piece things together through context clues for most of the book. Because Flynne and Wilf know their way around their respective futures, neither spends much time thinking about how things work on a technical level.
William Gibson doesn't do much hand-holding in his novel "The Peripheral." The book is told from the third-person point of view, but it's also very much coming from the perspective of its lead characters.
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