do not understand why there is any value in taking one out of the narrative with second-rate, 10 second, repetitive music.
I was frustrated with other audiobooks but this one even has the music every chapter break.
I paid for the narrative not for someone else's music preference.
This seems like a more recent trend and one I hope ends soon.
It took me a while to get with the writing and narration, but once settled in, I found this to be pretty unusual, interesting, active, and involving.
Gee. Maybe a toned-down version of Ready Player One, which I really enjoyed, and it's available as an audible audiobook.
I'm not familiar with Davis, but based on this narration, I will be looking favorably on other titles employing him as narrator.
I don't know that the story has "continuation" possibilities, but the characters were all well drawn and if the writer is up to this task, I would encourage a follow-up title. I'd likely buy it.
This is my second time reading through Snow Crash, from the vivid world that Stephenson has created to the compelling characters I was hooked from page one. The new sci-fi fantasy starts here and it's a great ride
Self-employed autodidact. Recipient of an unconventional education. Be a "Generalist" and never have a dull moment!
It defined Cyberpunk, and has never been surpassed. Period.
That being said, the character of YT is not a three dimensional person, and she is utterly psychologically invalid as a 15 year old. I guess this can be partially explained by the absurd notion common in the 80s that teens would just keep getting more and more promiscuous at younger and younger ages. Good ol' Neal hadn't hadn't seen the pendulum swing back in the NeoVictorian direction yet (to borrow his own term from the Diamond Age, where YT does in fact play a small but important roll!)
Never the less, this is a thought provoking and FUN book. Well worth the time, and the reader here is spot-on perfect.
The book is a little difficult to follow at times since there is a lot of jumping around of characters and scenes. There are a very few instances where the audio seems as though it was recorded with a different microphone in a different location due to the quality being less than the overall audiobook's quality. Nevertheless, I found it enjoyable.
I think this started a little slow, mainly because you have to immediately get onboard with the main characters name actually being "Hiro Protagonist".... and he's delivering a pizza. O course, this all becomes more plausible as the story unfolds, and you get to see how things have changed in the future. Sovereign Companies leasing space in America with the actual government (e.g. "The Feds") being beholden to them? Ridiculous....... OR IS IT?
I think the story is enjoyable because it managed to keep just the right amount of tongue-in-cheekiness that draws some parallels (in my mind) to 2000 A.D. / Judge Dredd.
Its also notable for its well-drawn virtual world, which has been touted as both a prophesy of, and warning for, the internet nowadays.
Oh... and if you enjoy linguistics, pull up a chair. Because you have got some seriously thick back-story elements to slog through. But it does fit well within the story, and explains how a 'computer' virus might jump to a human host.
Overall, an entertaining audio book, though not game-changing enough for me to seek out Stephenson's other work (and there is a lot out there). But if you want to hear one of the 'classic' cyberpunk stories, this is it.
This is a great book and I make sure to reread it periodically. The audio book version is generally well done, however there is this annoying inter-chapter babble that I hate. I really wish you could remove it.
I really enjoyed the story. I have read it once previously. I was not to happy with the performance: the reader was excellent but the small audio clips in the breaks in the reading were annoying and numerous. Some I could understand: large scene change in the middle of a chapter. Some drove me nuts: between chapters (declaration of the chapter is sufficient break in the performance) and during scene changes with minimal difference (i.e. just because the author put in a break doesn't require a 3-4 second clip to break up the pace of the story).