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Mona Lisa Overdrive 1ST Edition Signed Gebundene Ausgabe – 1988

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Produktinformation

  • Gebundene Ausgabe
  • Verlag: BANTAM BOOKS (1988)
  • ASIN: B0017P3O28
  • Größe und/oder Gewicht: 22,9 x 15,2 x 2,5 cm
  • Durchschnittliche Kundenbewertung: 4.2 von 5 Sternen  Alle Rezensionen anzeigen (19 Kundenrezensionen)

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1 von 1 Kunden fanden die folgende Rezension hilfreich Von Ein Kunde am 14. Oktober 1998
Format: Taschenbuch
This was the first Gibson book I ever read. After browsing through a local Sci-Fi bookstore, and having heard good things about Gibson from a friend, I spotted this in the used book section, and picked it up. Immediately thereafter, I was enthralled.
Gibson has taken the probable, the possible, and the fantastic, and woven them into a single, believable entity. Mona Lisa Overdrive is a worthy successor to Neuromancer, in every aspect. Such favorites as Sally (AKA Molly), and the Finn tie this into Neuromancer quite well, as do the references to Case and the union of the Rio and Berne AIs.
Gibson's style is such that it takes several readings to truly understand a book; even then, you're left wondering "what did he mean by that?" Mona Lisa Overdrive is no exception. Never having read Neuromancer previous to Overdrive, I was mystified by the events described in the book; once I read Neuromancer, many things were revealed.
The technology, the political intrigue, and the societies of Gibson's future are projections of current trends, plus the mystical dimension of "cyberspace;" the medium through which the majority of the world communicates. There is nothing new under the sun, and Gibson proves this with Mona Lisa.
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Format: Taschenbuch
I would have appreciated being told that without reading Neuromancer and/or count zero , I would have struggled my way through this book only to be left feeling a little lost and confused at it's conclusion . So I read the other two books and even though some aspects were confusing , that's a minor fault of an otherwise 'cool' book . I enjoyed being caught up in the angst and frustration of Slick Henry in his Factory amongst the desolate Dog Solitude . I kept flicking forward to catch the next mention of Sally or Molly . Among the supposed tuffgirls in the genre , I think that she wins it by a mile . How can you go wrong with someone athletic , intelligent , directed and with a kick ass attitude . Mona Lisa became a tad irritating and tiresome after a while . Does everything in her life need comparison to her mentor's advice ? Does she have to be in awe of everything that's new ( imagine how amazed her expression must have been when she was born -wow , air! ) ? Maybe I liked Molly too much . Colin's a nifty concept which reminded me of the days when I played marathon five-setters with my imaginary tennis opponent hidden in the brick wall . I won't forget including the count , Gentry , Cherry , Petal , Swain , Eddy , Prior and the rest of the future-minded cast . For some reason , I was able to picture this world without Gibson having explaining it to the grain patterns of each oak cabinet ( ala Tollkien ) . If you're expecting personal conflict and in -depth character development , forget about reading this book . It's all about action and the mechanics and politics of the matrix, the sprawl and whatever new-fangled device Gibson dreamed up .
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Von Ein Kunde am 26. Oktober 1998
Format: Taschenbuch
Gibson has both developed and regressed in this piece, which appears far from the noirish heights of Neuromancer, and yet somehow more mature. Mona Lisa Overdrive is a complex book, which tracks the overlapping stories of five characters, using neat chapter-size sections for each. He develops each character with startling skill, no mean feat for the man who filled Neuromancer's 300 pages with a host of electrifying descriptions, while failing to expand his main character's background beyond several brief paragraphs. The storyline, as per usual, is inane. The book is a cyberspace-Mafia thriller with Gibson's typical conspiratorial edge, and an ending that was meant to be profound - particularly to followers of the trilogy - but misses the spot. But it isn't the storyline which drives a Gibson novel, as any hardened fan will know. Gibson's true talent is growing his nebulous future world into new dimensions - this time into Japanese organized crime and the American 'urban refugee' scenario - and applying to it his extraordinary style; prose that has its roots in 30s detective fiction, yet, in my opinion, far exceeds the questionable efforts of Raymond Chandler and company. And this is where Gibson has failed this time around, inasmuch as he is capable of failing in the stylistic arena. Though in many ways it is a remarkable evolution from his uni-character, monologous works of the past, Overdrive is texturally thin. Unfortunately, Gibson shines mainly in his style, and so while he has stepped forward with this book, he has left many of his readers behind.
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Don't get me wrong, this is a great book. The book ends a great triligy on this future tale of the Sprawl, Chiba, and the Console Cowboys for hire. However, What made this a great tale was the densley packed Story. Like Blade Runner, the DUNE series, and the Original series of Max Headroom on TV, the novel's visionary feel is gritty and hard edged. OVERDRIVE becomes less detailed like the HEADROOM series after the first seaon on TV.Apparently, too many people found it too complex to follow. Personally, I feel Gibson was softening the edges to be more mass appealing, make the book easier to swallow. The problem is the book wasn't as rich as the first two novels, NEUROMANCER & COUNT ZERO. The show Max Headroom became quite boring. Dumbing down the book a notch shouldn't be the price, those who pay attention closely, should have to pay. I want to get involved with the books I read. Still, the novel gives the reader another peak into this web of Hightech adventure and futuristic age. Perhaps, Gibson was just cooling our processers before dumping the program, with this softer Neuromancer vision.
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