First, I'd like to note that your usage of "space opera" is arguably a relatively archaic usage of the term; while that meaning is still in use, there's a more

First, I'd like to note that your usage of "space opera" is arguably a relatively archaic usage of the term; while that meaning is still in use, there's a more contemporary meaning wherein "space opera" refers to a sort of setting. A setting of broad spatial scope (interstellar/galactic), a setting with war involving starships, a setting full of action. It is adventure, but it can be literary, and it can be hard SF. Neuromancer isn't just pioneering (which it was), it's incredibly well-written. But like other commenters, I disagree that it's xenophobic, and I don't think its success is rooted in xenophobia in the audience. I also disagree that Gibson's work portrays a "takeover" of Western culture; the ethic ruling the world of Gibson's novels is the ethic of the international mega-corporation, which is hardly a Japanese thing. And also there are lots of non-asian cultural bits: the Turing cops are Swiss, there's the whole cultural slant of Count Zero (not to spoil it for any who haven't read it), the Tessier-Ashpools are French/Australian, etc. Props for mentioning Cherryh, though. Cyteen is frigging fantastic. Indeed, Cherryh in general is fantastic, although some of her stuff is serious business and some of it is (good) fluff. As others have commented, hard SF is so very very not dead.