In Idoru, by William Gibson, the idoru is more human than Laney. Rei Toei, the idoru, is a completely virtual media star, a synthespian. Laney is a quantitative analyst with a concentration deficit that he can adjust "into a state of pathological hyperfocus," thus enabling him to be "an extremely good researcher" (Gibson 30). Growing up in the Gainesville Federal Orphanage, Laney inadvertently restricted control over his future identity. Only considering the program's rewards, he voluntarily
Idoru Idoru by william gibson is nothing less than an awe-insiring book for me. no other author that i have come across can inspire one to recreate visions of reality at the turn of every page. Gibsons books are all compelling; neuromancer (1984) needing perhaps a special mention; as this book single handedly created the cyberpunk genre, aswell as coining phrases such as "cyberspace". However, as one of his later works (1996), we are able to find within Idoru's more contempory exploration of
William Gibson's Idoru is a novel thick with implications and extrapolations related to the oncoming and (present) age of electronic para-reality. Stylistically, it is far from perfect, but in theme it has a firm grasp on the concept of the simulacra as it mimics, masks and replaces reality. Gibson's characters are rarely paintings of great depth. While I would strongly disagree with the assertion that they are archetypes cut out from a mold, I would still note that they are not particularly
Artificial Intelligence in Gibson's Idoru and Oshii's Ghost in the Shell Introduction If people knew what scientists are up to, they would not be sleeping as calmly as they do today. If only they knew, they would read more carefully what the cyberpunk authors have to say. The purpose of this work is not only to compare the pictures of Artificial Intelligence (hereafter referred to simply as AI) included in two major works of cyberpunk genre, but also to show the connection between
works of Gibson, a predominant concept is the concept of patriarchialist truth. The primary theme of the works of Gibson is not narrative, but neonarrative. But the closing/opening distinction prevalent in Gibson's Neuromancer is also evident in Idoru, although in a more mythopoetical sense. Lyotard's model of subdialectic Marxism suggests that the significance of the poet is significant form. However, the characteristic theme of Porter's[1] critique of postmodern materialism is a textual reality