yazarlar:neuromancer
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yazarlar:neuromancer [2011/04/26 23:10] editor |
yazarlar:neuromancer [2013/03/30 23:39] televarolus [Yeni dalga bilim-kurgu edebiyatı içinde Neuromancer] |
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| To assuage his fears, Gibson sought a familiar narrative structure with which he would feel comfortable working. After some thought, he settled upon the gangster-heist plot, although he admits he "never had a very clear idea of what was going to happen in the end, except [that his characters] had to score big." (2) He also looked back to his short stories to discover what he felt had worked so far, and decided he would combine Molly's character from "Johnny Mnemonic" with the environment and general narrative outline from "Burning Chrome." "Very much under the influence of Robert Stone," he generated tough characters who maneuver at the fringes of a violent society filled with addictions and paranoid conspiracies. (3) Afraid of losing the reader's attention, he decided to make the book into "a roller-coaster ride" with "a hook on every page." (4) As he began his project, he stumbled upon another problem; he sensed a good deal of what he was writing was comprised of "shabbier coincidences." (5) To take care of this impression, he ended up reworking the first two-thirds of his manuscript a dozen times. Once he began to have a feel for the universe he was producing, and to be more confident of his technique, he also went back and made many stylistic changes. Over time, his manuscript became increasingly shorter, denser, and more complicated. | To assuage his fears, Gibson sought a familiar narrative structure with which he would feel comfortable working. After some thought, he settled upon the gangster-heist plot, although he admits he "never had a very clear idea of what was going to happen in the end, except [that his characters] had to score big." (2) He also looked back to his short stories to discover what he felt had worked so far, and decided he would combine Molly's character from "Johnny Mnemonic" with the environment and general narrative outline from "Burning Chrome." "Very much under the influence of Robert Stone," he generated tough characters who maneuver at the fringes of a violent society filled with addictions and paranoid conspiracies. (3) Afraid of losing the reader's attention, he decided to make the book into "a roller-coaster ride" with "a hook on every page." (4) As he began his project, he stumbled upon another problem; he sensed a good deal of what he was writing was comprised of "shabbier coincidences." (5) To take care of this impression, he ended up reworking the first two-thirds of his manuscript a dozen times. Once he began to have a feel for the universe he was producing, and to be more confident of his technique, he also went back and made many stylistic changes. Over time, his manuscript became increasingly shorter, denser, and more complicated. | ||
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| + | ==== Yeni dalga bilim-kurgu edebiyatı içinde Neuromancer ==== | ||
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| + | === Neuromancer vs Blade Runner === | ||
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| + | BLADERUNNER came out while I was still writing Neuromancer. I was about a third of the way into the manuscript. When I saw (the first twenty minutes of) BLADERUNNER, I figured my unfinished first novel was sunk, done for. Everyone would assume I'd copped my visual texture from this astonishingly fine-looking film. But that didn't happen. Mainly I think because BLADERUNNER seriously bombed in theatrical release, and films didn't pop right back out on DVD in those days. The general audience didn't seem to get it, relatively few people saw it, and it simply vanished, leaving nary a ripple. Where it went, though, was straight through the collective membrane to Memetown, where it silently went nova, irradiating everything from clothing-design to serious architecture. **William Gibson** (([[http://www.williamgibsonbooks.com/archive/2003_01_17_archive.asp|William Gibson, 2003]])) | ||
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| ===== Sinema ===== | ===== Sinema ===== | ||
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