{"version": "1.0", "type": "rich", "title": "The Year is 2017", "author_name": "kontextmaschine", "author_url": "https://kontextmaschine.com", "provider_name": "kontextmaschine", "provider_url": "https://kontextmaschine.com", "url": "https://kontextmaschine.com/post/156663738018/", "html": "

quoms:

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kontextmaschine:

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quoms:

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gayasscommie:

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gayasscommie:

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A wave of Neo-Fascists have been elected into government, people are desperate, they turn to the relationship that one Japanese video game maker has with his Danish lover, while in the meanwhile, a young girl\u2019s magazine calls for revolution\u2026

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How do these interact? Find out in Will Gibson\u2019s

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Emergent Actor

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Nah second thought this is totally a Neal Stephenson thing Will Gibson wouldn\u2019t write this schlock

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it can\u2019t be neal stephenson unless it gets pseudo-dickian and incomprehensible as fuck in the last act. what\u2019s the twist

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It\u2019s not Dickian, it\u2019s literally Victorian, Stephenson maximizes for thread elaboration like a by-the-word serializer and then ends things by exhausted abandon

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i mean philip-k-dickian in that the sense of fugue-state dissociation from \u2018reality\u2019 gets cranked way the fuck up out of nowhere. the basic structure of every stephenson book is established way back in the big u where the first half of the book is a funny light satire on dorm life at a land-grant college and by the end it turns out everyone might be mind-controlled by a fucking box fan

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The Baroque Cycle was an excuse to publish 3,000 pages of plot/commentary/cryptography before he had to improvise an ending

I suspect we’re aggressively agreeing with each other at this point

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