Tag: SoCal

Idoru!

The second installment in William Gibson’s “The Bridge” Trilogy. Looking back, I don’t feel like I did the first book justice with the rather short review I gave it. Not to say that my overall opinion of the book has changed, but I feel like there were elements and angles that I should have delved into a little more. But since this book took place within the same general framework as the first, I shall rectify that here! So much better than re-editing old posts, don’t you think?

Idoru:
What can I say about Gibson’s second “Bridge” novel? Well, for starters, I liked it! It was much more developed and intriguing than the first, to be honest. While Virtual Light was concerned with the sense of post-millennial shock, the disintegration of California and the US and the massive privatization thereof – calling to mind other books by Gibson and Stephenson’s Snow Crash – Idoru dealt mainly with the concept of celebrity and the nature of modern media. Although it is set just a few years after the events in the first novel, far less attention is given this time around to either the Pacific west coast or Japan’s experience of the big earthquake. It’s still there, just operating in the background and popping up on occasion to set the scene.

In addition, Kowloon’s Walled City makes an even bigger appearance this time around. In the first book, it is listed as the inspiration for The Bridge – aka. the Golden Gate Bridge that has become a community unto itself. This time though, it has matured into a cyberspace VR construct where people port in and live out their lives in a virtual environment. Like the original Walled City, it is a place for hackers, Otaku, and cyberpunks, people who live on the fringes of society in this day in age. In keeping with all of Gibson’s pre-Bigend novels, this is indicative of the disappearance of the middle class and the emergence of cyber communities as a form of resistance. This tribalistic behavior, taken into the digital realm, is not so much political as it is cultural.

This is best exemplified by the character Chia Pet McKenzie, a teenager who also happens to be a member of the Lo/Rez fan club. Lo/Rez is a Japanese band, a clever pun on Low-res (i.e. low resolution), and the fan site is an international community that communicates via cyberspace. The concept of “nodal points” is also introduced via the character of Laney, a man who is apparently adept at finding these nodes in information patterns. After leaving a company named SlitScan, a media giant renowned for ruining celebrities by exposing their secrets, he is hired because his unique abilities make him useful to anyone looking to find these patterns. These two characters and the plot strands that involve them come together when Rez, half of Lo/Rez, announces he wants to marry Rei Toei, the Idoru (Japanese for Idol). The Idoru is a virtual creation, a holographic person, who is apparently achieved a measure of sentience. Laney is hired to find out, via Lo/Rez’s info, why he could be doing this and/or if anyone is manipulating him (like the Idoru’s people). Chia is similarly flown to Japan to determine the cause of this as well, but on behalf of the fan club. In any case, the two finally find a way to consummate their union by obtaining nanotechnology, apparently so they can fashion her a physical body. This, however, is left open, we never see if they pulled it off or not.

All of this calls to mind several familiar Gibson themes. For starters, the concept of data mining, which makes an appearance in many of his novels. According to Gibson, the character of Laney is a fictitious rendering of himself, his ability being a metaphor for what Gibson dose on a regular basis in order to predict the future. This seems clear enough given that the theme has come up again and again in Gibson’s works (Cayce Pollard, another main character, did much the same thing in Pattern Recognition). Also, there is the concept of AI’s, digital sentience, and the increasingly blurred line between artificial and authentic. In addition, the influence of the mass media, the culture of celebrity, and the massive influence these two things plays on our society is featured throughout this book. In short, it asks the question of why people are obsessed with celebrities, want to be them, what it takes to be one, and why we want to ruin them so badly! It is also quite Warholian in how it addresses how fame has changed over time and how it is the industry that seems to determine who is famous, why, and for how long.

Selling Points:
Overall, I could see why this book was hailed as the book that cemented Gibson’s reputation. There’s a lot going on in this book! One can see many layers of technological, cultural and social commentary, punctuated as always by Gibson’s love of sub-culture, street life, and cutting edge things. In fact, this book was quite influential in the way it predicted virtual personalities, which is something that became quite big in Japan on or around the time of the book’s publication. It was also rather prescient in the way it delved into the kinds of tribalism that have become incredibly common with the internet. On top of all that, his delving into the world of media, celebrity and the dividing line between what is real and fake (exemplified by the marriage of Rei Toei) was executed with his usual subtle genius. That was one of the things I liked best about this novel. At no point was someone saying “You can’t marry a program! It’s immoral, unnatural!” Nor was anyone arguing in favor of it by saying “Look at the world today! There IS no line between real and fake anymore!” Everyone was concerned, most people thought he’d either lost his mind or was being manipulated, but no one came right out and ANNOUNCED it. This is something that people like the makers of S1mOne, who were clearly imitating Gibson, did do (just look at that title! What an obvious binary reference!).

Weak Points:
For one, the open ending. That applied to more than just whether or not Rez and Rei Toei ever achieved a physical union. That much I could understand given that it was the idea of it that was important, the exploration of whether or not it would ever be possible for a human and digital person to cross that boundary. But it also applied to other aspects of the story as well. For one, Laney’s ex-boss shows up deep into the story to blackmail him, and she is apparently disappeared by Lo/Rez’s head of security. We never find out if he really did anything to her or if he just scared her off. The plot thread involving her just disappears like it had become inconvenient and Gibson wanted to get rid of it. Perhaps it comes up in book three, but here, it was like a final act cut-off. This is something this book has in common with Stephenson too, ironically enough; the quick, choppy endings!

And of course, some familiar old patterns also emerge in this book and have become apparent in this trilogy as well. The first pattern is one I’ve seen in every Gibson book I’ve read yet: having one man and one woman as main characters and either hooking them up, or pairing them off with secondary characters. Some examples include Chase and Molly in Neuromancer (who hooked up with each other), Hollis and Milgrim in Zero History (who had separate hook-ups), Chevette and Rydel in Virtual Light (together), and now Laney and Chia (separate). Mind you, I’m not calling this a weakness. In fact, most people would call it a convention; interesting stories need some degree of romance to keep them from being totally dry! But it does seem just the slightest bit repetitive this time around. He also switches main characters in the second book in this trilogy, which he did with the Bigend Trilogy too, but not the Sprawl one for some reason.

Overall, a good book and a fun, fascinating read. I definitely recommend it for anyone interested in classic sci-fi or who, like me, is interesting in charting the course of cyber/post-cyberpunk literature. You see? This is the kind of treatment Virtual Light should have gotten! I’ll be sure to be this thorough from now on!

Of Kowloon’s Walled City and “Virtual Light” (by Gibson)

Just finished reading Gibson’s first installment in the “Bridge Trilogy”, and was reasonably impressed with it. In addition to being a good intro to his pre-Bigend series, it also gave me some insight into the writer himself and his inspirations. For starters, and I urge everyone to go look this up, I’d never heard of Kowloon’s Walled City before, nor did I know that was what inspired The Bridge for which the trilogy is named.

In short, this city began as a Chinese fort but became part of Britain’s mandate after they acquired Hong Kong in the lease of 1898. Since that time, it evolved into a massive squatter community, a place for refugees, migrants, drug dealers, thugs, and the poor and downtrodden. Although it had a reputation for being a den of crime, gambling and prostitution, it was also home to over 33,000 people. At least, until the Hong Kong government decided to demolish it in 1993. It took over a year to complete the process, and only after a very intense eviction process.

After reading about all this, I could see where Gibson got the idea for “The Bridge”, which is the center point of Virtual Light and other stories in the trilogy. Set in San Francisco in 2005, the Golden Gate bridge has become a squatter city of its own. This was due mainly to the fact that San Fran was devastated by the “Little Grande” (aka. the Big One), and this and other factors had a dramatic impact on the city. Like many of his other works, the US and North America have become fragmented shadows of their former selves, and private companies enjoy ridiculous amounts of power.

And, as usual, the main characters are freelance people who get caught up in a scheme that is far bigger than themselves. Add to that some cooky religious cult and an interesting side story about Shapely, a man who inadvertently cured AIDS and became a sainted figure, and you’ve got Gibson’s usual take on America of the future, a gritty, dirty place, marked by polarized wealth, private contractors, high-tech assassins, and corporate scheming. It was fun, enjoyable, and the concept of the Bridge was both novel and entertaining.

Now for the weak points. For starters, I really didn’t feel the whole “post-millennium shock” thing. While it was a very interesting idea, it was not as well developed or convincing as I was hoping. In addition, the techno-angle, not as intriguing as I would have hoped. The glasses, which are the MacGuffin of the story, were interesting enough, but really didn’t blow my mind the way some of his other works have. And the story’s setting just doesn’t seem realistic given that it was set only a decade from when he wrote it. It seemed far-fetched that nanotechnology and the disintegration of America could have happened in such a short time.

Perhaps that was why I felt unconvinced throughout, the fact that it was all taking place in 2005. Too soon to seem real! I was also thrown by the rather striking resemblance this book bore to Neal Stephenson’s “Snow Crash”, which had been published a year prior. The stuff about privatized America, cooky religious sects, hacker communities, and corporate plotting, not to mention how the lead female is a messenger; these were all the same! I’m a sucker for all that stuff, but perhaps that added to the whole “unconvinced” thing. I’d seen it done before, and frankly… better. Sorry William! This round goes to Stephenson.

Incidentally, I’m kind of sad that the Kowloon Walled City no longer exists. Rather than demolishing the place, I think the Hong Kong authorities ought to have preserved it as a museum. It was a living piece of history, after all! And let’s not forget that the place was the result of neglect by many generations of civil authorities, so razing it wasn’t exactly a smart (or particularly sensitive) solution! Look it up, the photo galleries are immense and very cool to look at. Here’s a few links I happened to find:

Kowloon Walled City, Cross-Section
“Kowloon Walled City: The Modern Pirate Utopia”, Coilhouse Magazine
Kowloon Walled City Park: Official Webpage