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5.0 von 5 Sternen Bitte nicht die Geschichte verfälschen!
William Gibson hat mit diesem Roman eine Stilrichtung der Science Fiction in Gang gebracht, die es ohne ihn zweifelsfrei nicht geben würde. Die Begriffe Cyberspace und Matrix wurden sehr wohl hier zum ersten mal in der Bedeutung gebraucht, wie sie heutzutage verstanden werden.
Als ich dieses Buch vor vielen Jahren zum ersten Mal gelesen habe, hatte ich immer das...
Veröffentlicht am 4. März 2006 von R. Cafagna

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2.0 von 5 Sternen Cyberpunk Hacker Epic in which the Hacker Never Programs
I read this expecting a lot, but there is that gaping hole in the book's heart because the Hacker non-hero never programs. He passively watches programs run. He watches Molly of the implanted shades and fingertip razors do her thing, and tell her sad story while slicing and dicing spear carriers right and left, and departs. And he does nothing. I'm baffled by its...
Am 7. Mai 1997 veröffentlicht


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5.0 von 5 Sternen Bitte nicht die Geschichte verfälschen!, 4. März 2006
Von 
R. Cafagna (Hannover) - Alle meine Rezensionen ansehen
(REAL NAME)   
William Gibson hat mit diesem Roman eine Stilrichtung der Science Fiction in Gang gebracht, die es ohne ihn zweifelsfrei nicht geben würde. Die Begriffe Cyberspace und Matrix wurden sehr wohl hier zum ersten mal in der Bedeutung gebraucht, wie sie heutzutage verstanden werden.
Als ich dieses Buch vor vielen Jahren zum ersten Mal gelesen habe, hatte ich immer das Gefühl, irgendwie nicht alles verstanden zu haben, was sicherlich auch mit der schlechten Übersetzung zu tun hatte. Da wird zum Beispiel "the Yakuza" mit "der Gängster" übersetzt, obwohl die Organisation Yakuza (so etwas wie die japanische Mafia) gemeint war.
Leider ist William Gibsons Literatur keine leichte Unterhaltung. Oftmals hat man am Ende der Geschichte das Gefühl, man sei jetzt genau so schlau wie vorher. Doch was mich an diesem Autoren so fesselt, ist seine stille und düstere Poesie und die Liebe zu seinen Figuren (und die Liebe, mit der er diese Figuren quält). Ich denke da zum Beispiel an den weiblichen Straßensamurai, Molly, die in der stümperhaften Verfilmung einer seiner Kurzgeschichten (Jonny Mnemonic), "Vernetzt" mit Keanu Reeves, so schändlich mißhandelt wurde. Aber das sei nur am Rande erwähnt.
Wer Science Fiction mag, und gerne wissen möchte, aus welchen Wurzeln Shadowrun, Neocron und natürlich auch die Matrix erwachsen sind, der sollte sich dieses Meisterwerk nicht entgehen lassen. Auch wenn es keine pure Unterhaltung ist.
Ich kann im Übrigen auch seine Idoru-Trilogie nur sehr empfehlen. William Gibson auf Urlaub so zusagen.
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2.0 von 5 Sternen Cyberpunk Hacker Epic in which the Hacker Never Programs, 7. Mai 1997
Von Ein Kunde
I read this expecting a lot, but there is that gaping hole in the book's heart because the Hacker non-hero never programs. He passively watches programs run. He watches Molly of the implanted shades and fingertip razors do her thing, and tell her sad story while slicing and dicing spear carriers right and left, and departs. And he does nothing. I'm baffled by its classic status. John Brunner's _Shockwave Rider_ preceded it by a decade, and his hacker actually programmed, and his actions made a difference. Stylistically, Alfred Bester's _The Demolished Man_ and _The Stars My Destination_ preceded it in the fifties, and they still read like they were written twenty years from now. And Vernor Vinge, with True Names, a hacker classic beats it. Delaney's _Nova_ has style and imaginative density and a protagonist who actually acts. Maybe the impotence of the protagonist strikes a nerve somewhere, amid all the post-modern imagery,and cluttered culture. Zelazny's _Today We Have Faces_ used the vivid image of the ringing phones to better effect. Ah well, tastes differ. For recent cyberpunk with style, wit, and a programmer hero who actually programs, and who matters to the outcome, try Stephenson's _SnowCrash_
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5.0 von 5 Sternen Prophecy or fiction? You pick!, 25. März 1997
Von Ein Kunde
Rezension bezieht sich auf: Neuromancer (Gebundene Ausgabe)
It took me some time to get started into this book--the
"imaginary" future Gibson has created is somewhat familiar,
yet bizarre enough to leave one grasping for understanding in the beginning pages. Once engrossed, I couldn't put it down! My constant back thought as I read was the absolute awe that I felt for Gibson's ability to envision a computer
world so 1990's true to life at a time when Apple had yet to
create their first Mac! Gibson's description of "jacking in" to the net, and "flipping" is so close to today's "logging on" and "quick-switching" that it gave me goosebumps each time he used the terms! Gibson was truly
touched by the muse of inspiration when writing "Neuromancer", and I'm sure we'll see more of his *prophecies* come to pass before the millenium.
This is advised reading for all who wish to understand the
potential of the internet and the World Wide Web. Just take it slow, by osmosis you'll get the scenario, and by the final chapter--you'll know the concept. You'll be awestruck
too, I guarantee!
Can't wait to read Count Zero and Mona Lisa Overdrive!

you
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4.0 von 5 Sternen Important milestone, yet forgettable, 11. Februar 2000
Von 
Fallout Girl (Brooklyn, NY United States) - Alle meine Rezensionen ansehen
Rezension bezieht sich auf: Neuromancer (Gebundene Ausgabe)
Boy, I still can't believe I was disappointed by this book. I never ever expected this - I LOVE cyberpunk. And with all the hype surrounding this book, I was 99% sure I was going to love it. I was even ashamed it took me so long to buy it and get to reading it.
Well, the 1% took over, and I have to say - it didn't live up to my expectations. Apart from the interesting use of language and vivid descriptions of Gibson's unique world, the plot and the characters are lacking. While they're interesting characters, they're not interesting ~individuals~. By the end of if, I couldn't care less who was doing what, why and where. Sadly, it was incredibly hard to follow, for some reason. The only reason I'm giving it four stars is because this novel IS important for the genre of sci-fi. Leave along the sub-genre of cyberpunk, which it practically gave birth to.
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5.0 von 5 Sternen Gibson's work didn't cease to improve, but..., 3. Juli 2000
Von 
John M. Thompson (Albuquerque, New Mexico) - Alle meine Rezensionen ansehen
(REAL NAME)   
...this book breathes stylistic fire into a genre coasting on assumed scientific literacy. If the characters speak extensively in jargon adapted to technologies that don't yet exist, that's OK - in the present, shop talk not understood by general readership is a fact of any technical field, e.g. my mom browsing the magazine rack and struggling through paragraphs in _Wired_.
Besides, Gibson coined the term, "cyberspace," in this novel; most authors, even ones of talent, do not create words used commonly thereafter. To all the people who criticized him for using unique terminology, there's this great thing called context. Try using it.
One thing I have enjoyed about Gibson is his tendency to use protagonists and not heroes to view the events contained within his stories. I do not have any particular sympathy for the men and women who interact with Henry Dorsett Case in the course of his assigned task.
In the tradition of great noir fiction and film, there is no sense of resolution about anything. The characters who did not die return to their separate paths and continue about life in a world controlled through an invisible hand of corporate and technological pressures against traditional structures of power like government and organized crime. No great truths were revealed, and none were promised.
Have no doubt, Gibson is an original whether you enjoy his style or not. For an understanding of current trends in science fiction best reflected in the success of _The Matrix_, you can begin here and work your way through the other books.
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5.0 von 5 Sternen Login dringend empfohlen!, 28. Februar 2003
Es ist wohl kaum möglich, nachzuzählen, wie viele leider oft mittelmäßige Schreiberlinge und Filmemacher sich an Gibsons wirklich genialer Kreation "Neuromancer" vergangen haben wie Kleinkriminelle, die einen Ferrari ausschlachten. Cyberspace, Matrix, The Net, Künstliche Intelligenzen, alles beherrschende Konzerne, all das stand schon Anfang der 80er in "Neuromancer", und so ist es beim Lesen schon durchaus beeindruckend zu sehen, das beispielsweise der Film "Matrix" nahezu gänzlich auf Ideen aus diesem Roman basiert. Die Sache ist nur: Gibson braucht seine Story nicht mit Spezialeffekten zu überladen, denn all die o.g. Schlagworte sind hier nicht Selbstzweck, wie auch der Cyberspace als Setting gegenüber der brillant verwobenen Handlung in den Hintergrund tritt und der Entfaltung der Figuren nicht, wie in vielen der heutigen Sci-Fi-Machwerken, durch sein Übergewicht hinderlich ist, sondern ihnen, bei allen Gefahren, die eine komplett vernetzte Welt mit sich bringt, auch viele Möglichkeiten gibt, über sich selbst hinauszuwachsen (siehe "Datencowboy" Case). Gibson erzählt dabei so fesselnd und lässt seine Welt so vertraut erscheinen, als hätte er sich selbst gerade mal eben aus der Matrix ausgeloggt, um ein bißchen darüber zu schreiben.
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5.0 von 5 Sternen songs of rust and neon, 26. April 1999
Von Ein Kunde
It is saddening to see complaints about Neuromancer. Readers debating its genre or complaining that it doesn't make sense miss the fact that this exceeds SF. I was exited by the first paragraph of Gibson I ever read (Whole Earth Review) and have continued to enjoy his work since then. Bad SF authors tell dull stories with lasers. Good SF authors use their imagination. Gibson has used his.
He has cooked up a boulibasse (sp) of twentieth century culture, submitted it to the catalysts of time and possibility and served it up in beautiful beat influenced prose.
This seminal cyberpunk novel defies the dull limitations of mirrored shades and computerized nerd nihilism.The future may be darker than the "Jetsons" and "The shape of things to come" but it is not likely to be world of "Metropolis" and "1984". Those were all views of the future, imagined by people who saw their world taking a certain path into the future and imagined its progress.
Gibson lives in our world and sees our cultures path. His future is about corporations, globalization, information. All of which are aspects of a very likely future for us, in our time. Ironically, they are aspects of our time, which is what Gibson has always insisted he is writing about. As times change so do our views of the future. Gibson engaged his imagination and some world experience to make a projection a few steps ahead of the others.
Ultimately, however it is the beauty and poetry of his work that makes it special. He uses tools of poetry and description to summon up ghosts of emotion. Gibson doesn't really write science fiction, in some ways he does not even write speculative fiction. He writes fiction. He writes about people in situations that occur in every time. He writes "songs of time and distance" as the sculptor phrases it in "Count Zero". The lyrics of "Steely Dan" and William Burroughs mix with memories and bits of science fiction to portray an exotic world that springs forth from our own. Poetry about sunsets and meadows often don't connect for children of the internet. Descriptions of styrofoam chunks floating like icebergs in Tokyo Bay sometimes do. Gibsons world brings emotion to information and finds poetry in pollution. Retaining our humanity in the face of technology is the essential skill of the future and that is what Gibson does.
I first read Gibson because I liked Science fiction. I continue to read and reread Gibson because I like poetry.
(also try "Burning Chrome" and "Count Zero".)
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5.0 von 5 Sternen Neuromancer is a contemporary classic, 14. Januar 1999
Von Ein Kunde
An avalanche of thousands of new books from all over the world reaches bookstores every year. When a (then) non-genre novel succeeds in standing out from the crowd as much as Neuromancer does, chances are it has that certain, hard to pinpoint something that makes it resonate with the reader.Neuromancer is one of these rare books, and certainly one that will not be forgotten for a very, very long time. Among Neuromancer's many outstanding and mold-breaking qualities is Gibson's crystalline techno-prose. As soon as you open the first page, you are sucked into a vibrant and detailed future and an unpredicatable and unconventional plot that may well constitute the most original and modern use of the age old protagonist on a quest idea. Gibson's future is detailed, realistic and feels immensely three dimensional, written with such conviction, that it comes to life from page one and takes on a life of its own, with its own conventions, culture and even brandnames. Once you have read it for sheer pleasure, go back and look deeper into the sociological implications of Gibsons world as social commentary of the Information Society we are in the progress of becomming. Remarkable. It is true that the characters in Neuromancer are rather cartoony, and two dimensional but I personally have the feeling that this may well for once have been intentional. Refreshingly, the environment is more alive, detailed and intelligent than the characters that inhabit it, which also explains how and why Neuromancer has managed to free itself from the constraints of conventional plotting. Funnily enough, Neuromancer might be the one novel I can think of that could very well live without its plot, and work purely on the basis of the brilliant environment it has created.
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5.0 von 5 Sternen Prophecy a'plenty, 31. Januar 1998
William Gibson seems to have channelled the future right back into the late 1980's, when he wrote this book. Knowing that the nerve splice is still nonexistant, but imminent, clues the knowledgeable reader to just how well Gibson interprets the world economy today, alongwith its inevitable affect on tomorrow. The world moves on, as another famous author reminds us, (SK) and it appears to me that Gibson has more of a handle on reality than many give him credit for.
The lost and somewhat illucid character of Case, alongwith the tussle-ready Molly, speak of a street sense learned the hard way. My favorite clip is where Molly slaps a captive who was causing trouble in his own weird way and tells him something like "...I can hurt you real bad, and not leave a mark on you...I LIKE to do that...". The book will grab and pull and color your emotions, making it a very quick and enjoyable read. Too quick, you ask me. I have reread it several times, and plan on doing so again. Palimpsest-like, the scenarios of the book truly reveal themselves through the minutiae of repitition. To me the book explains a lot, and says "Prepare...prepare for what we ourselves have wrought.
The worldwide AI race began around 1983, and was already fairly old news by time this book was written, but because of the scantiness of information on that subject, along with the myriad military applications inherent in AI, anyone must know that the reality far surpasses the false front of the technology brokers everywhere in the world. I was able to glean a little more about AI from this book, Though not as much as from "The God Project", and some others. The best is Feigenbaum and McCorducks "The Fifth Generation: Japans Computer Challenge to the world", 1983.
Gibson touches on the funny similarity between possible definitions of the term AI, and even goes so far as to stipulate it as "Alien Intelligence, as well as Artificial Intelligence.
The book is great, and will take you through a long flight or other trip with no problem at all. Definitely NOT a waste of time.
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5.0 von 5 Sternen A classic, like 1984, Brave New World, & The Time Machine., 5. Dezember 1997
Von Ein Kunde
Rezension bezieht sich auf: Neuromancer (Gebundene Ausgabe)
Few books have enjoyed a more enviable reputation than William Gibson's first novel, Neuromancer-possibly the ultimate cult novel. It's the only novel ever to win the science fiction triple crown: the Hugo, Nebula, and Philip K. Dick awards, science fiction's highest honors.
Early in the story Case, the hero, stares into a shop window at a display of shiriken, or ninja stars, deadly martial arts weapons that can be tossed like playing cards: "They caught the street's neon and twisted it, and it came to Case that these were the stars under which he voyaged, his destiny spelled out in a constellation of cheap chrome." Those words contain the essence of Gibson's writing style: in a single striking image, he transforms a flat metal object into a philosophical abstraction. Just as impressive is his phenomenal attention to detail. Gibson seems to know absolutely everything about metals, plastics, electronics, explosives, weapons, computers, physics, space travel, biosurgery, Japanese culture, spies, corporations, politics, governments, etc.
Yet, despite the astounding occurence of technological references that crowd every page of his novels, Gibson admits he fakes a lot of what he writes about technology. "This may be a suicidal admission, but most of the time I don't know what I'm talking about when it comes to the scientific or logical rationales that supposedly underpin my books."
Nevertheless, Gibson's technological landscapes are strangely compelling creations, as in this description from Neuromancer: "Cyberspace. A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light arranged in the nonspace of the mind, clusters and constellations of data. Like city lights receding. . . ."
His best characters are three dimensional and, even more important, really interesting. Here's a description of the hero: "Case was twenty-four. At twenty-two, he'd been a cowboy, a rustler, one of the best in the Sprawl. He'd been trained by the best, by McCoy Pauley and Bobby Quine, legends in the biz. He'd operated on an almost permanent adrenaline high, a byproduct of youth and proficiency, jacked into a custom cyberspace deck that projected his disembodied consciousness into the consensual hallucination that was the matrix. A thief, he'd worked for other, wealthier thieves, employers who provided the exotic software required to penetrate the bright walls of corporate systems, opening windows into rich fields of data. He'd made the classic mistake, the one he'd sworn he'd never make. He stole from his employers. He kept something for himself and tried to move it through a fence in Amsterdam. He still wasn't sure how he'd been discovered, not that it mattered now."
From there, Gibson plunges the reader deeper into the gritty underworld of a future with seemingly no future-a civilization controlled by greedy corporate structures, devoid of natural beauty because the eco systems are all failing and ordinary animals, like horses, have become extinct to be replaced with virtual constructs of the horse. Gibson's future world is akin to Ridley Scott's vision of Los Angeles in the movie, Blade Runner. It seems likely that Scott's movie, which came out two years before the novel, had heavily influenced Gibson.
The characters in Neuromancer alter their appearance with surgery and implants and alter their consciousness with simstims, a kind of movie in which the viewer participates in the experience with all five senses, similar to the feelies in Huxley's Brave New World. The following is a typical example of a Gibson character who customizes his own nervous system: "Julius Deane was one hundred and thirty-five years old, his metabolism assiduously warped by a weekly fortune in serums and hormones. His primary hedge against aging was a yearly pilgrimage to Tokyo, where genetic surgeons re-set the code of his DNA, a procedure unavailable in Chiba. Then he'd fly to Hong Kong and order the year's suits and shirts. Sexless and inhumanly patient, his primary gratification seemed to lie in his devotion to esoteric forms of tailor-worship."
Gibson introduces some fascinating new technological cultural artifact on nearly every page. But he does it so smoothly that it never seems obtrusive. If people do things like wear computer jacks surgically implanted into their skulls so they can walk around in a virtual reality directly wired to their brains, it's always because it furthers the plot in some way. Case's girlfriend and sidekick, Molly, wears mirrored glasses permanently grafted into her skin, and she has razors hidden under her nails that slide out at will when she moves into combat.
For some reason, a mysterious personage has chosen Case to lead a corporate raid that twists and turns down a labyrinth-half virtual, half real-of cosmic significance. Even without the sci-fi plot, the novel works well as a mystery, an old fashioned adventure and love story, a road epic, a suspense thriller, and as a philosophical commentary on man's relationship to God. Case's adventures ultimately take him to Stray Light, a weird, almost medieval structure floating in space like a satellite around the planet where he comes face to face with an AI (artificial intelligence). In an earlier passage, Case is in a kind of space port where he first encounters the AI, Wintermute:
He fumbled through a pocketful of lirasi, slotting the small dull alloy coins one after another, vaguely amused by the anachronism of the process. The phone nearest him rang.
Automatically he picked it up.
"Yeah?"
Faint harmonics, tiny inaudible voices rattling across some orbital link, and then a sound like wind.
"Hello, Case."
A fifty-lirasi coin fell from his hand, bounced, and rolled out of sight across Hilton carpeting.
"Wintermute, Case. It's time to talk."
It was a chip voice.
"Don't you want to talk, Case?"
He hung up.
On his way back to the lobby he had to walk the length of the ranked phones. Each rang in turn, but only once, as he passed.
Gibson's one stylistic problem seems to be a certain vagueness that occasionally obscures the story. This defect is fairly common in science fiction writers for some reason, though his friend and collaborator, Bruce Sterling, never seems guilty of it. Taken individually, each sentence in Neuromancer is carefully sculpted and diamond clear, but taken together, they can occasionally add up to a lot of murk. The novel also leaves certain questions unanswered that may or may not come clear from repeated readings. For example, we never learn why Case was selected for the job when other, possibly better, "cowboys" could have been had for much cheaper. Gibson, like some European film makers, rarely crosses the i's and dots the t's.
So far, Neuromancer hasn't been made into a movie. From almost the first page, I realized that no living director could possibly do it justice like Ridley Scott, the world's greatest science fiction movie director. But Scott says he's tired of directing sci-fi movies and refuses to make them. I'd like to see him get interested in directing it before someone inferior botches the job. Does anyone out there know him personally?
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