Now, in 2053, "moldies" are the latest robotic advancement--evolved artificial lifeforms made of soft plastic and gene-tweaked molds and algae, so anatomically inventive and universally despised that their very presence on the planet has thrown the entire low-rent future into a serious tailspin. So the moon is the place to be, if you're a persecuted "moldie" or an enlightened "flesher" intent an creating a new, more utopian hybrid civilization. Of course up there, there are other intergalactic intelligences to contend with--and some not so intelligent--who have their own agendas and appetites.

This hilarious finale to the award-winning series offers more cutting-edge science, raucous social satire and deeply informed speculations from one of science fiction's wittiest writers (San Francisco Chronicle).

Software introduces Cobb Anderson as a retired computer scientist who was once tried for treason for figuring out how to give robots artificial intelligence and free will, creating the race of boppers. By 2020, they have created a complex society on the Moon, where the boppers developed because they depend on super-cooled superconducting circuits. In that year, Anderson is a pheezer — a freaky geezer, Rucker's depiction of elderly Baby Boomers — living in poverty in Florida and terrified because he lacks the money to buy a new artificial heart to replace his failing, secondhand one.

Set in 2030–2031, ten years after the events of Software, Wetware focuses on the attempt of an Edgar Allan Poe-obsessed bopper named Berenice to populate Earth with a robot/human hybrid called a meatbop. Toward this end, she implants an embryo in a human woman living on the Moon (Della Taze, Cobb Anderson's niece) and then frames her for murder to force her to return to Earth. After only a few days, she gives birth to a boy named Manchile, who has been genetically programmed to carry bopper software in his brain (and in his sperm), and to grow to maturity in a matter of weeks.