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  • Gebundene Ausgabe
  • Sprache: Englisch
  • ISBN-10: 0399144250
  • ISBN-13: 978-0399144257
  • Größe und/oder Gewicht: 50,8 x 50,8 x 50,8 cm
  • Durchschnittliche Kundenbewertung: 3.3 von 5 Sternen  Alle Rezensionen anzeigen (49 Kundenrezensionen)

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Einleitungssatz
After Slitscan, Laney heard about another job from Rydell, the night security man at the Chateau. Lesen Sie die erste Seite
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Kundenrezensionen

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2 von 2 Kunden fanden die folgende Rezension hilfreich Von Ein Kunde am 1. März 1999
Format: Taschenbuch
Take a look in the ISBN section of this book and you''l understand what makes it so clever, not only is it listed as science fiction but also under Rock-star psycholgy. At first when I read both Idoru and Virtual Light I was worried Gibson was loosing his touch, but as time goes on and I get a chance to reflect more on both books I begin to them as the phenomenl triumphs they are. The story is eesentially about reality and identity in the future. Colin Laney can take any random bits of data about an individual and recreate their entire life (proably in real science this is just silly, but it sounds really plausible doesn't it?), but colin himself has no idea who he really is. He just wanders from job to job trying to survive. Then of course you of the charecter of Lo-Rez, who has become so disenchanted with modern day life the he has fallen in love with an artificial creation. That really just the surface but I sugest that all the reader who have described this book as "light" and "silly go back re-look at at the story and see how much of your own life looks back at you.
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1 von 1 Kunden fanden die folgende Rezension hilfreich Von Peter T. Winters am 13. Juli 2000
Format: Taschenbuch
Now, when I have finally finished the future I will certainly live in, it seems to me as one of the best book I've ever read. (The last of the best books being 'Burning Chrome', which, in it's short-story-esque way, seems to tell the truth better and with stonger emotions than any novel could.) 'Idoru' is deep, virtual/real, and it's firmly intertwined with my own ideas of our near-future.
I remember taking it up about six hours ago and reading the first page, and realizing that I'm back in the Realm of Gibson, in the realm of highly crafted sentences, in the realm of subtle references, in the realm of true feelings hidden between the black&white lines on the paper... I recognized almost instantly the branches that the sprouts of our modern technology had become. Recognized the things I will be able to do in the Net in the future that are currently merely suggested by the last reformations. Recognized the origins of idoru as a healthy motley of holograms, AI, and Ananova.com.
Gibson seems to dissect all aspects of our present-day pop culture in this book. He probes the artificial minds of tomorrow's computers to find evidences of humanity. He burrows deeply into various layers of stardom in search for the hustling power behind it, never underestimating the force of contemporary fan-base. He understands completely the multicultural society we're becoming. And he seems to place all the right details to where they belong, no matter how remote.
After reading 'Idoru' it hit me that I had actually seen and felt it all in the Sony ad-mag I flipped through the other day, in the first big-credit anime 'Ghost in the Shell', in the last Wired issue in my inbox... And I knew that reading the lines on the paper was more visual than 'Matrix' ever would.
P.S. It still amazes me, though, how Gibson managed to overlook the doubel n in Tallinn in his constant drive towards accuracy.
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Format: Taschenbuch
My first foray into the mind of William Gibson began with 'Neuromancer'. A novel, and an experience I'll never be able to quite put into context. How else can you describe what it's like reading a novel that's a miasma of futurism, design, and language that's slowly entreaching intself into our very own society? Gibson is a stylist , a genius, and perhaps even a madman. Not in the sense of insanity, but simple that it's difficult to see one man responsible for coining the terms: virtual reality and cyberspace.
Which leads me to 'Idoru', a story that's a lot more contemporary. At least, by Gibson's standards. 'Idoru' takes place in the not-so-distant future in which Tokyo, brought to near ruin by an earthquake, is rebuilt through the use of nanotechnology. The idea of nanotechnology is nothing new to me. Yet, Gibson seems to to use it here very liberally. Nanotech is responsible for the rebirth of an entire metropolis.
Enter 'Lo-Rez': a member of one of the hottest rock groups in the world. Rez makes a decision to head to Tokyo (I feel the need to refer it to 'Neo-Tokyo' for some bizarre reason) and marry Rei Toei, the most recognized idol singer in Japan. There's just one catch: Rei isn't real. Rei Toei is the 'idoru', and she doesn't exist. Along with data-miner, laney, Rez travels through the seedy underbelly of the Tokyo underworld in order to find the idoru, and make his fantasies come true.
It's certainly not one of the deepest of plots, but it doesn't downplay the novel to much. I enjoy Gibson for his stylistic flourishes, and the way he develops the world in which his characters exist. The counter-culture bar, and the 'west' world are some of the places that Gibson lays down for the reader. I enjoyed reading some, and dread sloshing through others.
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Von Mike Varela am 10. September 1997
Format: Taschenbuch
After reading IDORU, I found that WG had, once again, written a completely incomprehensible story. He evidently likes scribbling lots of descriptive easy-peasy-japanesee crap, as it's flash painted in the book; and the characters are listless twits to boot. Which is not too pallatable a menu to feed off on, if you wanna know my take on it. For Instance: WG instilled in me a real interest in how the security guard (the only character with real character) was going to handle Laney's ex-boss; but instead of getting a nice hard conclusion, WG delivers a flaccid closure as evidenced from a vague questioning session between Laney and the other news station character. Also, WG went limp again in another vignette that required closure, namely the conclusion as to what happened to the IDORU (as if anyone gives a damn what happens to that artificial character either); specifically, in connecting the DNA generator with the IDORU software. I wish he did! Then at least his drivel would make sense! Though perhaps that's the tradition that's being created in cyberpunk lit. -- vague and flaccid endings/closures. If that's what WG intends to promulgate within the SF Lit-world, then he should seek professional help. He should also get off the pot so that others can have a chance with the literary stream! However, should he ever, ever, ever get off the pot, he shouldn't epoxy the lid to the seat with these vague endings (like in VIRTUAL LIGHT as well) or something equally incomprehensible, so that the chiclet-minded SF editors won't get the impression that he's trying to cement vagueness in cyberpunk fiction, then demanding that this become a trendy literary criteria that must be followed for everyone else who wishes to get their own stories published.Lesen Sie weiter... ›
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