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Virtual Light Taschenbuch – 1. Januar 1993

3.7 von 5 Sternen 40 Kundenrezensionen

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Kindle Edition
"Bitte wiederholen"
Taschenbuch, 1. Januar 1993
EUR 25,00
Hörkassette, Audiobook
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EUR 94,08
1 gebraucht ab EUR 25,00 1 Sammlerstück ab EUR 11,70

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Format: Taschenbuch
I make a point of reading this book every summer. The plot is straightforward enough--like almost all cyberpunk, it involves people getting their hands on forbidden data and being hunted by its rightful owners--but what I really enjoy is the human landscape that Gibson relates. The book is full of images that, for whatever reason, connected with me on a visceral level: the lonely back roads of future California, Skinner's bridgetop apartment, L.A.'s endless convenience stores and strip malls...Gibson keeps his characters moving, and successfully (at least in my case) replicates the strange, gut-level nervousness and odd euphoria of driving around an unfamiliar part of the country at nighttime. It's essentially a cyber-noir road trip story, and the journey is infinitely more significant (and fun) than the destination.
Gibson is cursed to forever take pot-shots from overhormoned teenagers for not rewriting NEUROMANCER again and again. And on rereading NEUROMANCER on the heels of reading VIRTUAL LIGHT, I noticed something for the first time: Gibson's original trilogy (NEUROMANCER/COUNT ZERO/VIRTUAL LIGHT) is missing a human heart at its center. Those books are totally concerned with looking sleek and sexy, full of meaningless sex and casual violence. Characters exist to do kewl things with gadgets and die unpleasantly. VIRTUAL LIGHT and its followups (IDORU and ALL TOMORROW'S PARTIES) are different. When violent things happen in these books, it's genuinely affecting because A) it's rare and B) we actually care about the people these things are happening to. Rydell, hero of VIRTUAL LIGHT, is a goofy and charming twentysomething guy from Memphis, Tennessee whose biggest ambition in life is to hold down a paying job. His problems are real, and if Gibson's readers were plunged into the world he writes about, I have a feeling we'd have a lot more in common with Rydell than with a sexy hacker superman like Case.
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Format: Taschenbuch
Virtual Light is very much a departure from the world of Neuromancer, showing instead an insidiously closer-to-home look at a possible near future. The grittiness and vivid bleakness are still there, but they make up a different picture: our own society, just a little bit worse. The result is a bit more believable, but neither better nor worse; it's just a slightly different perspective.
Similar in style to Neuromancer's sequels (yet with a bit more substance), the story is actually composed of several stories that meet up throughout the course of the book; each is important. Gibson manages to get a strong feeling of tension going as the characters become more deeply mired in their plight. The story's villain, Loveless, is creepier and more dangerous than expected, adding a sense that the stakes are higher than they seem and that nothing is predictable.
Idoru, set in the same universe as Virtual Light, I'd say is slightly better, but Virtual Light shouldn't be missed. No Gibson fan should pass this up; anyone new to his work should start with Neuromancer and read Virtual Light next.
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Format: Taschenbuch
I enjoyed Mona Lisa Overdrive but Virtual Light grew tiresome. The plot lacks substance and Virtual Light, lacks any virtual reality. I thought with the theft of the high tech specs, the book was going to be an interesting read.
Maybe I'm just tired of the quirky, "tongue and cheek" dialogue that Gibson and Science Fiction has unfortunately restricted it self to over the last couple of decades. The author thinks that he and the reader are sharing some inside joke throughout 350 pages and it gets old. Give me some of that "old fashioned" science fiction with plot development, characters and suspense, fear and challenges. The Science Fiction as well as Cyberpunk writers could learn something from James Patterson, Michael Crichton, or Arthur C. Clarke.
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Format: Taschenbuch
My first William Gibson novel was "Neuromancer," and I keep waiting for him to match it. "Mona Lisa Overdrive" came close. "Virtual Light" does not.
By this point in his career, Gibson was beginning to repeat himself. He had the flawed knight errant, Rydell (think of Case in "Neuromancer"); the tough street-girl, Chevette (Molly in "Neuromancer"); the sinister corporate interests. But this repetition is not the biggest flaw of this book.
Its biggest problem is sloppy construction. The plot runs out of gas; Gibson ties off the story with a flimsy, unsatisfying ending. The story turns on a pair of virtual-reality glasses, but their importance is never convincingly portrayed. Gibson introduces the character of a Japanese grad student,then all but gives up trying to use him in a meaningful way.
The book's virtues? Gibson still keeps me turning the pages, even when he's not at his best. He always brings in startling ideas and visions. His best in "Virtual Light" is the Golden Gate Bridge, closed due to an earthquake and taken over by squatters who now live on it.
Next up for me is "Idoru," and word is Gibson recovered some of his "Neuormancer" form with it. I hope so. "Virtual Light" entertained me, but I wasn't dazzled.
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Format: Taschenbuch
Chevette, the heroine in Virtual Light, is one of Gibson's finest creations, a bicycle messenger who lives on the Golden Gate bridge with a lot of other homeless people. She's a spunky, streetwise kid, sexy and vulnerable, who hasn't yet lost her innocence. Gibson is obviously a little bit in love with her, as any male would be who reads the novel.
Rydell, the hero, is a security cop assigned to San Francisco to help recover a pair of what appear to be sunglasses stolen by Chevette from an obnoxious masher who had been entrusted with them. Like all Gibson's heros, Rydell is both tough and sensitive, a kind of street samurai of the future.
Despite the charm of the leading characters, the central gimmick-dark glasses that show the wearer where new developments will be built in San Francisco-seems rather mundane in comparison with the cornucopia of technological wonders he created in earlier novels. Plus, the plot is the old one where villains, trying to learn where the city will build next, will kill anyone or do anything to get inside information because it means a lot of money.
The novel is a bit of a disappointment, though not a total loss. Gibson seems to have trouble with conclusions. The one to this novel involves an air strike by characters difficult to tell who they are, what they are doing, or why they are doing it. Yet, it's no worse than other popular thrillers, and it contains a fine cast of fascinating characters.
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