Count Zero (Sprawl Trilogy)

Wonder why the stories in this series contain "voodoo" characters and references--more than a bit distracting with very little return on the energy required to integrate the references into the story. Most of the characters are developed just enough to be interesting and or compelling.

I imagine when this story was written, the plot concepts were amazing and innovative. With today's tech, the story is confusing as cyberspace did not turn out as the book describe s. Overall, the plot is hard to keep up with as the dialogue doesn't provide much context and jumps all over. I feel like if this book were rewritten today there is so much more that could have been done to improve this story.

I know that Count Zero isn't meant to be a 'sequel' to Neuromancer, but I read it right after Neuromancer and was a little frustrated with how much less cool this book is than its predecessor. Neuromancer was extremely stylish and fast paced from the beginning; this moved much more slowly through its three plot lines and much of the action was saved for the end. This book relies much less heavily on the cyberpunk vision laid out in Neuromancer, which was frustrating for me. In general, this plot made much less sense, the characters were much less interesting, and the mood was much less complete/engrossing. I feel like I have to read Mona Lisa Overdrive to complete the trilogy, but that's pretty much the only reason.

It's not bad, but it just had so much to live up to in my opinion. This book is just ok while its predecessor is really exceptional.

How not to compare this to neuromancer? Three plot threads and only held together tenuously. Everything seemed shallow. The title character more an observer and all of his actions brushed off as inexperienced posturing. At best only an echo of a prior masterpiece.

Descriptions of the interiors and exteriors of cyberspace in a world hovering between realities and non-realities are detailed and edgy. But after all the "jacking" and simstims and instant body-sews, bizarre flying machines (or nots), and bounces between Paris, New York, Barrytown, the Projects, and referenced Bogotas and somewhere in Japans, it is tough to get invested in the characters, and less so in story lines that rise, fall, and fade. Just when you are tired of the whole thing, it mercifully ends.

Count Zero by William Gibson - the second volume of the Sprawl trilogy

The quote is: "On receiving an interrupt, decrement the counter to zero."

Thus the second installment of Gibson's Sprawl trilogy. After the two artificial intelligence beings,Neuromancer and Wintermute, were joined together in book one of the trilogy - Neuromancer, strange things begin to happen in the Matrix, leading to the proliferation of what appear to be voodoo gods such as Ougou Feray and Danbala.

Josef Virek, an ultra-rich, reclusive being who wants his immortality and unlimited power, hires a small gallery owner in Paris, Marly Krushkova, to search a mysterious series of futuristic Joseph Cornell style boxes.

In Arizona, a mercenary by the name of Turner is hired by Conroy - another mercenary - to aid a brilliant researcher and biohacker, Christopher Mitchell, switch companies. The staging goes awfully wrong because Conroy sabotages the mission, and Turner escapes with Mitchell's daughter, Angela (Angie) Mitchell Her commits suicide to allow the safe passage of his daughter, after altering her nervous system so that Angie can access the Cyberspace Matrix directly, without a "deck" (a computer with an interface directly into the user's brain).

In Barrytown, New York a young amateur computer hacker, Bobby Newmark, self-named "Count Zero", is given a piece of black market software by some criminal associates "to test". When he plugs himself into the matrix and runs the program, it almost kills him. The only thing that saves his life is a sudden image of a girl made of light who interferes and unhooks him from the software just before he flatlines. This event leads to his working with his associates' backers to investigate similar strange recent occurrences on the Net.

After meeting Virek, Marly becomes very suspicious of her boss' intentions and decides to betray him. She goes to "the Kingdom," a place where cowboy Wigan Ludgate - the Wig - has been creating the famous cube works that Vireck is after and with the help of Bobby and Angie they kill Virek.

This is a very poorly written book. Narrated from the third person point of view, the author has trouble conveying who "she" or "he" are. All of the changes in the point of view are confusing, making it very hard to follow the story. The plot itself is confusing and very hard to follow - I recommend you read Wikipedia's information on the book before read it. Otherwise you will be so frustrated you'll probably not finish the work.

Really disappointed by Gibson's work....

Fans of "Neuromancer" will love the expanded cyberpunk world that Gibson continues here. Most interesting, perhaps, are the events centered around Turner, a hard-boiled corporate mercenary who reminds one of Takeshi Kovacs from Richard Morgan's later novels. Turner's experiences with the corporations, and with his brother, broaden our perspective of Gibson's creation. One of his overarching themes makes a comeback: The fact that an AI -- a manufactured personality who exists in a manufactured reality -- is behind most of this raises questions about how much the characters, or any human individuals, have control in this world. Indeed, technology may control humans, and one of the Cold War-era fears about computer-controlled nuclear weapons may be manifesting here, as it did in the movie "Wargames" from the same decade.

The expansion of this universe, plus some light tie-ins to 7-year-old threads from the narrative in "Neuromancer," will on their own probably carry a dedicated fan willingly to the end of this ride. Marly is also interesting, in that we may have to give Gibson credit for at least trying to create a female character with a believable inner life. As usual, his ear for dialogue is remarkable, and we hear these characters' distinct voices. However, at the same time, their diction is often opaque, their language inadequate to accurately describe events, and we often learn what really happened (if we can ever know that with Gibson) later on.

To read Gibson is sometimes like trying to trace a beam of light through a prism--backwards. We see separated individuals and storylines: Marly, Turner, and Bobby, the wannabe cowboy. Their stories unite in the end, despite various side characters pulling them in different directions along the way, but they don't seem add up to one central beam of penetrating insight. And that may be the point: "meaning" is elusive, slippery, and splintered. Tangential characters sometimes have more influence on events than these 3, who are all basically pawns.

The boxes, a central metaphor in the novel, make this point most clearly. In "Count Zero," we must connect Gibson's fractured threads and characters and impose our own overarching meaning, just as someone must make connections between the divided, separated items in the boxes. When we learn how the boxes are created, it is somewhat frustrating and disappointing, and undercuts an assumption about those works and really any artwork. Such is the nature of the reality Gibson presents us generally: There is an appearance of order, but in reality, it's chaos. The novel's structure and sometimes disjointed narrative makes this point. The medium is indeed the message.

In the end, perhaps even the all-powerful AIs -- artists assembling their own "boxes" with people and events -- are not totally in control, as events seem to prove in these first 2 Sprawl novels. And that thought should be unsettling: If an all-powerful AI with unlimited wealth cannot have complete control, who does? Maybe no one.

I own this book in paperback. Out of the bridge trilogy this one is my favorite. I was amused at the price of the used paperbacks. Take a look, they are higher than a lot of other mass markets. I don't know if that's because this one seems harder to find or if it is indeed the best of the three. I began reading Gibson's work after I saw The Matrix and I am glad that I did. His novels have a fun element to me, at least.

I was in my late teens when the Mitnick take down of AT&T happened, I was at work in fact, when our lines all went down. I enjoy being part of that history :) If you like cyberpunk stories, this one is really fun....

An enjoyable read. :)

This is an excellent book, even better than Neuromancer. Unfortunately, the copy I have looks like it was printed on an old dot matrix printer. Ace Books should be ashamed to release any book in this manner; it's a disservice to the reader and author. While I would recommend this book, I would NOT recommend this edition. Horrible reading experience.

[This book should only be read after reading the first novel in the triology! Do not read this book first or else you will be somewhat lost and confused about much that is important to both plot and characters.] I read this trilogy and the 3 related short stories contained in Burning Chrome in March-April 2011. Every few years I step back from more regular fiction to read some science fiction, which I loved as a youth in the 1970s. I'd long wanted to read this trilogy. It was well worth the wait. As for this second novel, Count Zero (CZ), I consider it the best one. Where Neuromancer (N) blows you away with the freshness of both Gibson's style of writing and the ideas expressed, CZ does what a great sequel does, builds on the universe you are now familiar with.

Here Gibson engages you with a more traditional action/suspense-style plot. I like it that CZ keeps you close enough but doesn't try to keep you too close to N. It is great going back up into orbit, where you meet some very interesting characters. Plot, characters, settings, and ideas expand a wonderful universe. CZ is set approximately 7 years after N. Everything about CZ feels familiar to anyone who has read N. Gibson's writing stye is comforting. He continues his use of short chapters: CZ 36; N 24. In CZ Gibson expands the plot, adds memorable chacters, and ramps up both action and suspense by creating separate story threads that finally, and most satisfyingly, converge. Part of the fun is knowing that things will come together and another part is seeing how Gibson makes it appear so natural when it all does. CZ has three major threads: Turner the mercenary & the child Angela, Bobby Newmark the console jockey (known as Count Zero), and Marly Krushkhova, the art historian. CZ benefits greatly from an outstandingly original and creepy villian, Josef Virek. CZ does create a voodoo-related matrix concept that I didn't find inherently understandable. It moves fast, never loses your interest, and delights you with each new character and revelation. Gibson is at the top of his game!

never finished the book. just didnt care what happened the key characters. i didnt get the theme and vision and though elderly, i am familiar with cyberscience. this is just a reflection of my personal likes/dislikes on literature and not a reflection of the author's skills.

I am an expert in computer malware and computer security. That's what I do for a living, is to be a pundit on these topics. The road that put me to this is a story unto itself, but let's just say the last twenty some years of my life are all about hackers, cybercrime, and malicious computer code. (bear with me here--there's a point to be made)

In 1986 I was working at Eagle Computer with my high school buddy, Keith. (Keith was one of those ultra competent people who could do whatever he set his mind to, and usually do it pretty dang well) Keith had gotten me into the computer industry for the second time, and we both read the works of William Gibson and smiled the secret smile of the insider.

You see, we knew hackers. Famous (infamous is probably closer to the fact) hackers of the 1980's, we had 'handles' on 'elite' BBS systems, we had copies of the Technical Reference Manual, the Pink Shirt book, and many other arcane reference.

And we read Gibson.

Count Zero describes a world so fully lit that it has nearly come to pass in reality. From the mincome arcologies of the sprawl, to the drug dealer transformed into an underground icon of the Finn. (Mister Gibson, we love the Finn!) to Bobby Newmark, whose own abilities are not as important as the protective guidance of eldritch computer gods and dumb luck. (this part of Count Zero is stark realism, we are all dependent on dumb luck or providence in most ways.)

The point of telling you who I am is this. I meet these characters wherever I go. The Bobbies...the Jaylenes, the Turners--THESE PEOPLE EXIST! In Moscow and Dubai and New York and San Francisco and Sydney and Kota Kinabalu, Sabah---the modern world is populated with the characters from Count Zero. Every Hat (white black gray or blue) I have met is one of these people. And it goes without saying that everyone in the world of computer security has read this book.

Monday I taught a class in malware taxonomy and basic principles in England (to new sales and marketing types in our UK office) and I gave away a copy of this book as one of a clutch of prizes.

Mister Gibson, if you read this review, can you give us an origin story on the Finn? Your other work is just as brilliant, each in it's own way, but this is the prime cut.

The best Science Fiction not only predicts the future, it invents it. The next time you encounter a botnet or identity thieving keylogger, think of this novel.

persevere,

It is interesting reading from the authors that sparked a new generation and quite possibly influenced a burgeoning technology. William Gibson is certainly one of those unique authors who have certainly earned their place in their genres. Count Zero is a continuation of a place, both online and in the physical place called The Sprawl. There is but one character found in both, The Finn, who played but a minor role, so the trilogy is a series only loosely.

The narrative style is a little flighty. Gibson focuses on three characters, with each represented by successive chapters: three chapters, three narratives, then loop again and again. It works in some ways because the reader isn't drowned in too many characters and can focus on the storyline, but at other times you are left wanting for of a specific scene or character, only to know that you now must wait. In the end this narrative style is only a minor nuisance that doesn't detract too much from the story.

I wish the book were longer, or that the Sprawl was described more, or that the "religious" deities were explained a little more, but who knows, maybe this will all come in the final book in the trilogy. Nonetheless Count Zero is a definite recommend.

4 stars.

In my opinion, outstanding cyberpunk with some ties/references to the previous plot and characters of "Neuromancer" but can stand alone as well.
Interesting development of apparently separate story lines which Gibson merges very well as the novel nears the end.
Recommended for readers who enjoy cyberpunk or speculative fiction, and especially those who enjoy William Gibson.

Gibson writes the genre better than anyone else. It isn't about glorified street samurai or ultraviolent/high-tech combat, it's about a tone - a gritty, future-noir feel that's not cinematic, but entirely evocative. There are explosions a-plenty, but really it's about the way the protagonists struggle through between explosions - that's what separates Gibson from the rest of the pack.

The second book in Gibson's seminal Sprawl sequence also posits an intriguing mix of cyberspace and voodoo.

Gibson makes an impassioned argument that voodoo, as a religion and as a way of thought, is perfectly adapted for the mercantile, dog-eat-dog world of the cyberpunk future. Gibson's cyberspace is filled with 'thrones and dominions' (a slightly mixed religious metaphor) - powers that do deals, take riders and move in mysterious ways.

This future is filled with sinister, machiavellian, self-interested powers - trading and politicking between them. The result is a fascinating, intricate novel from start to finish.

Great sequel to "Neuromancer," but the weakest in the "Sprawl" trilogy in terms of mood and characters.

PLOT:
"Count Zero" is as good, if not better, than "Neuromancer" in terms of its plot, pacing, and action. The story gets going much more quickly, and there are some fun action-packed fight-and-flight scenes. The story is extremely confusing, but it's a good follow-up to "Neruomancer." The events at the end of "Neuromancer" have had a strange impact on the Matrix in "Count Zero," which in turn has had an impact on society, giving rise to a cult of hackers who worship spirits they believe are floating around in cyberspace.

SETTING:
This sequel gives us more of the world Gibson showed us in "Neuromancer," showing it from the perspective of more ordinary people (as opposed to the criminal underworld seen in "Neuromancer"), and showing how that society has evolved a decade later. The only downside to this is that by showing the world from a more normal, middle-class perspective, Gibson loses much of the gritty mood that made "Neuromancer" so appealing.

CHARACTERS:
There's a fantastic cast of minor characters, but unfortunately, the three protagonists are the most disappointing part of this book.

Bobby Newmark is supposed to fill the snarky-hacker role that Case served in the first book; but while Case had a unique back-story and lived a truly gritty life that explained his bad attitude, Bobby is like a stereotype from an `80s high school movie--living with his mother and watching porn on his computer while daydreaming about becoming a big-shot hacker. Turner, a mercenary, serves as a gun-slinging action-hero, but has a little to no personality; of course as a soldier, he should act formal and serious, but he should still have a personality under that military composure. Marley, the female lead, is sympathetic enough, but like Turner, very dull. All three of these protagonists seem to be more like audience surrogates than complete characters. Wannabe nerds can imagine themselves as Bobby, other male readers can slip into Turner's shoes, and female readers can become Marley (if they're tired of being Bella Swan).

As mentioned above though, the minor characters are fantastic. The Finn, one of the best supporting characters from "Neuromancer," returns for one brilliant scene, more bitter and vicious than he was before. Turner rescues a strange girl named Angie Mitchell, who will return in the final book "Mona Lisa Overdrive" as a great protagonist. And Bobby joins a gang of eccentrics who worship the spirits they believe soar through cyberspace. All of the best lines come from these minor characters, and they're the ones who make "Count Zero" worth reading.

OVERALL:
"Count Zero" is a good read, but the first book and the next book, "Mona Lisa Overdrive," are much better.

Clearly, the visions presented within Gibson's books have been hugely inspirational for other writers. When this was written, The Sprawl was seen as a not too distant future for the North-American eastern seaboard, just as "Pugetopolis" was seen as a Pacific Northwest mini-sprawl following I-5, leading up to Vancouver.
I have seen the characters from Count Zero in countless other stories since then. In movie, in stories, they've had different names, and though it would be foolish to suggest that Gibson created these archetypes, he did have a big part in placing them in the hyper-networked distopian futureverse, where they will forever live, die, and rent time-share condos.
Dropping straight into the world of Count Zero might leave the reader a little confused: some of the economic realities are a little unclear. For instance, how dire is Marly's economic situation because she's been fired from her job? Is her survival at stake, or simply her career in her chosen field? Gibson never entirely makes it clear why her instincts are so crucial to her nearly omniscient employer.
The gaps in explanation are often irritating, especially as they seem to exist for the sole purpose of maintaining the tone of the environment, the characters, and the dialogue. I can't help but wonder if these things could have been explained without losing the art that is at the heart of the story. These issues become very important as the story draws to its conclusion.
Still, this is a very competent exploration of ambition, religion, and sacrifices made for friends and freedom. In that sense, it seems like an oddly relevant story these days.

Gibson holds high standards, so this makes for a fast-moving, engrossing read. There's the vastly wealthy but secretive tycoon, guiding events from behind the scenes with power and money. Net-surfers of the future run their scams and battles in an electronic underworld. A slightly naive art historian tracks mysterious artworks to an semi-abandoned space station. You know, the usual.

The memorable touch comes from reference to Joseph Cornell, a real-world artist. He created desktop glimpses into baffling worlds, some of most moving artworks I've ever experienced. The mysterious artworks in this plot echo Cornell's work. For me, that's plenty of reason to be obsessive about them.

So, it's the best of both. SF noir with style, and an homage to one of the most brilliant artists of recent times.

-- wiredweird

"Count Zero" pulls it off without being cheesey. I was surprised by how unstupid this futuristic setting was. I also thoroughly appreciate that Gibson does not write down to his audience... he acknowldeges our ability to understand the lingo and nuances of his future-world without having to explain it to us. His style is fresh and sharp.
The three main characters are flawed and written to be believable. There is little character development but that does not seem to be the point. It appears that the focus is more on us getting to know them- the real them. At first they are strangers and then they become more to the point where you HAVE to know that they will be ok in the end. Few authors have the capability to inspire such empathy. (My favorite part was when the Box Maker made a box for Marly.)
The story is capitvating. The pace moves along slowly at first and builds to a frenzy. Reading this book leaves you with the obvious impression that Gibson definately knew what he was doing when he wrote it. The story is a puzzle. You know that everything fits together somehow... but how exactly?
If you loved "The Matrix," take the time to read "Count Zero." You'll find similarities and you'll also find "Count Zero" to be a superior story. More sci-fi needs to be like this.

With Neuromancer, Gibson exploded onto the science fiction stage with his imagined future of Japanese hegemony, cyperspace cowboys and sentient computers. With Count Zero, he takes that world, revisits and expands on it.
He seems to have grown more confident as a stylist with this book. The prose is so baroque, each page so dense with ideas and textures, that it takes one's breath away. Gibson himself admits in interviews that fear of boring his reader makes him boil down his prose to bare essentials. We get where things are made, textures of materials not invented yet, cityscapes filled with superskyscrapers and Fuller domes, etc. And as always, his rock and roll Burroughs/Elmore Leonard prose is right there with us. Hyper-detailing, capturing the slang of the underworld cyber-criminals.
More ambitious in this outing, he takes on more characters and Dos Passos-like, spirals them all into a coalescent finale with a very assured hand. A tight, incredibly imaginative and detailed book - that will go by like the wind.

The first paragraph of this book sets the narrative tone for the rest of the work, indeed, it is the trademark style of William Gibson and his growing body of science fiction work. Turner is a mercenary in a not-to-distant future earth civilization. In this networked world, multinational mega-corporations, with names like Maas Biolabs and Hosaka wield enormous power especially over the network and the cyberspace world it encompasses.
In these corporations, genius scientists have lifetime contracts. They are well-paid prisoners of these giant enterprises. One such scientist, Christopher Mitchell, a man credited with creating the biochip, a replacement for the silicon chip, wants to leave his current employer Mass Biolabs and join rival Hosaka. The latter commissioned a reconstituted Turner with the job of bringing Mitchell safely out. "It took the Dutchman and his team three months to put Turner together again," the author writes. "They cloned a square meter of skin for him, grew it on slabs of collagen and shark-cartilage polysaccharides. They bought eyes and genitals on the open market. The eyes were green."
Count Zero is the second in a trilogy Gibson has created based on a networked society. The three books explore the notion of information as a life force unto itself that can be stored, manipulated, and evolved into different life forms. In the telling of his tales, Gibson introduces the reader to a rich assortment of unforgettable characters.

"They plot with men, my other selves, and men imagine they are gods."

Several years have passed since Molly and Case freed the AI who calls himself Neuromancer. Neuromancer's been busy and now his plots have widened to involve several people whom we meet in Count Zero:

Turner is a recently reconstructed mercenary who's been hired by the Hosaka Corporation to extract Christopher Mitchell and his daughter Angie from Mitchell's job at Maas Biolabs. Mitchell is the creator of the world's first biochip, and he's secretly agreed to move to Hosaka. Extracting an indentured research scientist is a deadly game, but Turner is one of the best.

Bobby "Count Zero" Newmark, who wants to be a console cowboy, has just pulled a Wilson (that means he majorly screwed up) on his first attempt at running an unknown icebreaker. He nearly died in the matrix but was saved by a girl he'd never seen before. Now he's freaked out, on the run, and buildings are exploding behind him as he's being hunted by a mysterious helicopter with a rocket launcher.

Marly Krushkova lost her art gallery after her boyfriend tried to sell a forgery. Now she's been hired by Joseph Virek, the world's richest man, to find the artist who's creating and selling some strange shadowboxes. These expensive and enigmatic objets d'art seem like collections of random pieces of junk, but they speak to Marly. Using her intuition, and Joseph Virek's money, she hopes to find the unknown artist.

Other memorable characters are the voodoo priests and priestesses, The Finn, Tally Isham the Sense/Net celebrity, the prophet Wigan Ludgate who thinks God lives in the matrix, a bar owner named Jammer, and a whole mob of Gothicks and Kasuals. All of their stories eventually collide as we discover who's haunting cyberspace.

Count Zero is the first sequel to William Gibson's cyberpunk classic Neuromancer. If you haven't read Neuromancer yet, you'll probably be lost because Gibson just drops you into his world without instructions, explanations, or technical support. Even though you think you've been to his world before (it's Earth after all), you haven't, and Gibson never tells us what happened to make it unrecognizable. It appears that large biotech companies are in control (or maybe I should say they're out of control) and there are no authorities to check their ruthless behaviors. What happened to the U.S. government? Why are so many cities ruined and abandoned? What is "the war" that people keep referring to? Where is the middle class? There are still rich people who buy art, wear stylish clothes, and set trends for the masses, but many of those who try to keep up are illiterate, addicted, and without electricity and clean water. They escape their lives with designer drugs and by plugging into cheap simstim fantasies.

It's partly these questions, which are never answered, that make Neuromancer's sequel work so well. Many sequels feel pallid because the world and the characters are no longer new and exciting, but Gibson avoids sequel stagnancy by creating a gaudy and grueling world that we feel like we should understand, and making us desperate for more information (but rarely delivering it).

It also helps that in each book of the Sprawl trilogy, we have new characters to get to know. And you have to admire Gibson's characters. Not as people, perhaps, but as characters. For example, Bobby (Count Zero) is a total loser. He's like that obnoxious kid in high school who was always trying so hard to make people like him. Gibson gets this just right, never explaining Bobby to us, but letting us gradually figure him out just by listening to him talk or by seeing things from his perspective. This is carefully and cleverly done for every character.

The plot of Count Zero is fascinating, unique, and unpredictable as Gibson finally brings together all of these weird and colorful events and characters. There are some answers in the end, and the story's connection to Neuromancer is eventually made clear. But there are many questions left to answer, so after you finish Count Zero, you'll want to have Mona Lisa Overdrive, the concluding novel of the Sprawl trilogy, ready to go.

I listened to Brilliance Audio's version of Count Zero which was read by one of my favorite voice actors, Jonathan Davis. He is always wonderful and his grimy and jaded male voices are perfect for this kind of novel. My only issue is one I've had with Davis before: he has essentially one female voice. I have listened to so many books read by Mr. Davis that I actually feel like this one woman is showing up in all these different novels. (Hey, what are Thecla and Agia and Vlana and Ivrian doing in the Sprawl??) Count Zero has only a few female characters who don't overlap much, so Davis does well with this story, but I'll be listening for Angie and Marly next time I'm in Lankhmar.

"Count Zero" is an extremely good fiction novel. In fact, I thought it was even better than "Neuromancer" (also by Gibson). It is more concrete, and more easily understood, in it's concepts. Don't get me wrong, it's still got all the abstract ideas and goings ons that are in "Neuromancer". It's got all the action, all the technology, and all the wonderful characters. It wouldn't be a Gibson novel without them. They are quirky and fascinating at the same time. I think the characters are humanized a little more too. For all these reasons, I really liked the novel.
Don't skip "Neuromancer" due to this though. You'll enjoy "Count Zero" even if you haven't read "Neuromancer" yet. They are both good novels and deserve to be read in order. Plus "Count Zero" brings in little snippets from "Neuromancer". I can't wait to start on "Mona Lisa Overdrive", the next in the series.

I'd never read a book that started with a bang quite like this one, with the hero of the novel caught in a lethal blast on page one. The story continues foward from there. This is one of the seminal works of the cyberpunk movement; you can be rebuilt more handsome and more dysfunctional.
Like the protagonist, the book's perspecive is shattered here, whirling away in fragmentary views of the action that follows from a handful of different characters who know nothing of each other until they all fall into place at the end and all, or most, is made clear. It's a literary style that Gibson uses for every work after this one, but never with quite the same perfection as this first time.
It's hard to not see this work in the shadow of Neuromancer. It's also tempting to see it in the light of the Star Wars Trilogy. (Yes, of course I'm talking about the original trilogy.) If Neuromancer is the captivating first work that could have started a genre all by itself, and Mona Lisa Overdrive is the somewhat dissappointing finale that you love anyway for the series it was in, then Count Zero is the edgy piece in the middle. It's the one that's brimming with the promise of everything that came before and after, and in the end, rewards rereading again, and again.
Am i making sense here? No? Well, perhaps you should read the book and decide for yourself then...

Let's face it: Neuromancer was so good and its effects so widespread that anything coming along after it could easily suffer in comparison. So, don't compare. Neuromancer was Neuromancer and that was a really great story and well told. If you want another Neuromancer, you're just going to have to keep reading it over and over.
Count Zero, on the other hand, is a fine story all by itself. It's not a continuation of Neuromancer or just a precursor to Mona Lisa Overdrive and you haven't already read this one.
The action moves pretty fast in Count Zero and there are a pretty interesting group of characters. Some of the characters will be familiar to readers of Neuromancer although sometimes only in reference (Molly, for instance, who was so central in Neuromancer is only vaguely referred to once early on and again later as ' a girl with mirrors for eyes'). Still, it's fun to remember our earlier heroes while picking up a whole new crew; you won't be disappointed.

William Gibson gets all sorts of credit for "Neuromancer", but for whatever reasons I like this one better. I think the characters work for me more, I got more engaged with them. It's set in the "Neuromancer" universe but this book has nothing to do with it. It has three separate 'threads' which, surprisingly for this genre, complement each other nicely. I especially liked the parts with the black-medical research sections. Compelling and gritty without being nihilistic.

Neuromancer uses an intentionally somewhat mystifying prose style to give the reader a feeling of the spectacular hyper-reality the characters inhabit. Count Zero, the followup, is easier to follow - maybe the sprawl is just more conprehensible the second time through or maybe Gibson figured the same trick wouldn't work twice. So, this book can't hang it's hat on literary style: the story has to deliver. And when the plot comes to a climax, it turns out the theme, if not the action itself is based on a metaphoric reference to the work of the brilliant/wierd American artist Joseph Cornell. I was floored by this: that a book aiming for the bestseller lists would throw in its lot with a fairly obscure art-world figure. I thought this was a brave risk by Gibson and it really made the book pay off for me by adding depth and resonance to it. Cornell's work is filled with mystery and pathos, and it is the most personal and humanist of art - worthless/precious found objects assembled into handmade wooden boxes that he made for friends with their individuality in mind. If a machine, could replicate Cornell's genius, his sadness, his joy...

As another reader said years ago, you'll appreciate this book a lot more if you know something about Cornell. There was a nice review eaay in the New Yorker a couple years ago, and the best collection of Cornell boxes is in the Art Institute of Chicago. Many of them are hard to appreciate due to the way they're displayed, but they have a whole room arranged the way Cornell wanted them displayed, and that really gives you the idea.

I have read this masterpiece (together with the other two of the Sprawl series: NEUROMANCER and MONA LISA OVERDRIVE) during my university years, about a decade ago. Since then I have re-read it countless times.

Of the three this is my favorite: good and evil voodoo legbas as AI cyberspace avatars; life in the Sprawl comes into focus, sharply. The eye-watering smog and the ozone smell of new electronics surround a storyline that moves on deserted highways with the assurance of an armored hovercraft..

Even reading only some pages brings up powerful imagery, unforgettable prose...

Start with NEUROMANCER. Then this one. And then MONA LISA OVERDRIVE.

A Masterpiece Trilogy!!! Own them all!!!

I actually like Count Zero far better than either Neuromancer or Mona Lisa Overdrive, the two books that bookend it in the seminal cyberpunk trilogy. The opening scene is a killer, of course (in more ways than one), and there is just so much lovely writing in here ("A chunk of memory detached itself from the ceiling and fell on him"). The characters are more sympathetic than the ultra-cool testosterone cowboys of Neuromancer or the sad, broken people of Overdrive. The plot, or plots, is intricate and surprising.
I love this book. I'm torn about recommending it without recommending Neuromancer and Overdrive. My advice would be to read them all, in order. I bet you'll prefer this one in the end.

A corporate mercenary on a dangerous mission, a young woman investigating mysterious art objects for a wealthy employer, and a teenager with dreams of becoming a cyberspace cowboy gradually converge as their separate adventures all turn out to involve aspects of the next great evolutionary change in artificial intelligence. William Gibson's characters struggle to retain human dignity and self-worth in a future that seems increasingly capable of running itself without significant human involvement. His prose style, which recalls classic noir detective fiction, is the perfect choice to give a familiar feel to this world of wild invention.

I am a huge William Gibson fan and am headed to a signing this year. This First Edition, First Print was the perfect addition to my library. I contacted the seller to inform them of my plans and they kindly rushed the order for no extra charge. The book itself is a gritty tale set in Gibson's gripping vision of our cyberpunk future. As continuation of the "Night City" trilogy this book is an exceptional follow up to the critically acclaimed "Neuromancer". I recommend Gibson's books to anyone who likes capers, spy stories, or film noir. Not being a fan of SciFi novels I was blown away by Gibson's vision and writing style. To this day he remains not only my favorite author, but the only SciFi in my rather extensive library.

(Cyberpunk is dead, long live cyberpunk...)
The best of Gibson's trilogy, Count Zero combines taut suspense, technomythology and a certain heightened sense of art and biology--bringing to the sophomore story a sophistication to go with its noir edge. More importantly, though, it manages to combine three distinct viewpoints (more complex than the one-shot Neuromancer, without the mired mass that is Mona Lisa Overdrive) and bring them all together for a surprise ending.
Gibson's "diamond-hard prose" and mastery of the postmodern setting have never been more effective. Even without the manic energy of the first volume and the powerful conclusion of the third, Count Zero still triumphs as concept and as art in its own right.

I loved Neuromancer and was happy to find that it was made into a sort of trilogy, but I was quite disappointed with Count Zero. I think it is a combination of the writing style, characters, and overall plot.
As part of a trilogy, it does not have all that much in common with Neuromancer other than the world it is set in. None of the main characters from Neuromancer appear except for the Finn but it's only a cameo appearance here. We get the impression that the Wintermute AI sort of split into multiple entities at some time between the stories, which is suggested to be a few years.
As for the characters, none of them really appealed to me the way the ones from Neuromancer did. The main protaganists are underdeveloped and rather bland at the end. They just weren't that sympathetic and I couldn't really get myself to care about them.
Then there is the writing style. While Neuromancer was written entirely from Case's point of view, Count Zero is seen through the eyes of three different people who take different paths throughout the story. At the end of the book the paths converge but they do so in a rather sudden and Deus-Ex-Machina like way that is hard to swallow. It felt to me like Gibson was running out of pages and had realized that he needed to tie all these plot threads together. The book could have used a couple more chapters to straighten everything out, rather than having the non-ending it has like Neal Stephenson's Snow Crash (a small flaw in an otherwise phenomenal book.) This writing style however, has become common in Gibson's later novels, though fortunately in Virtual Light he learns to tie the three characters together better and in Idoru he sticks to only two main protagonists, which makes it easier to follow.
Overall, I would only recommend reading Count Zero if you intend to read Mona Lisa Overdrive (final book in the trilogy) as it takes off shortly from the end of Count Zero with some of the same main characters and developes them more. In the big picture, Count Zero doesn't stand very well on it's own and mainly bridges the gap between the beginning and the end.

I found Zero ten times more interesting than Neuromancer. The characters are more fleshed out and the action is a lot more intense. The best part is that even though Zero is the second installment of Gibson's "Sprawl" trilogy (Neuromancer - Zero - Mona Lisa Overdrive) you need not have read Neuromancer beforehand.

Gibson is the granddaddy of cyberpunk and his books are worth reading if only to see where this type of sci fi came from but if you want die hard cyberpunk then taken to the max then read Morgan's Takeshi Kovacs books or even Stephenson's Snow Crash. You get more bang for your buck, IMO.

Count Zero is one of three novels that set Gibson a world apart from most of us authors. He is one man whose praise I am happy to sing. Reading this novel and some of his other works got me through more than five years of suicidal depression due to a failing marriage. Ironically, the tone of these novels is often less than happy, and certainly far from perfect, as in this... life is largely risk and disappointment, met with occasional moments of glory.

The angst, hopelessness, humor, and endurance of his characters felt so real that I could identify with them. These are like real people walking on pages. Each scene is so alive that you find yourself looking around Los Angeles, New York, or Tokyo trying to find the settings. This novel gives one a feel like no other, as though you're living it while you read.

The console cowboys of Count Zero are as alien to any of us as a real alien would be, and yet we find ourselves drawn into the corporate hacker culture as readily as a puppy to liver. Gibson makes it all accessible, understandable, and impossible to stop reading.

Count Zero extends Gibson's elaborate description of cyberpunk technology with a suspenseful story line that explores many future possibilities for an even more gripping story than its predecessor Neuromancer. By reaching out to new characters in the degenerate Sprawl, Gibson follows many unrelated characters through a series of suspenseful plots which work ultimately to a common good.
Some characters and locations are familiar from Neuromancer although some play a bigger role than others. The Finn is instrumental in marketing software to cowboys in the Sprawl. Molly and Case are mentioned vaguely and the Tessier-Ashpools influenced several aspects of the story. The remnants of Freeside remain in orbit and have become almost deserted.
Three separate plots follow three new main characters through their attempts to survive their dangerous lives. Turner, a business mercenary, is introduced in the story as a target for a bombing and barely survives the blast. The wonders of medical science in this time are able to reconstruct his body and reload his mind from a simstim construct. Bobby Newmark enters a run for his life when detected attempting to hack a company's mainframe with a new icebreaker. Marly Krushkova, an out of work art gallery owner, interviews with Joseph Virek for a job after struggling to make ends meet after being disgraced for mistakenly trying to sell a forgery. Virek hires Marly to find the maker of the artistic boxes that he has been collecting and makes his immense wealth available to her in her efforts to do so.
These plots become more and more complicated for the characters as they continue to run into snags and attacks throughout the book. Count Zero will keep you reading to find out just how they will get through the growing difficulties encountered. Gibson in develops each separate plot well and brings them together in the end for an incredible finish.
Well worth the read

I think I like this book even better than Neuromancer, the award-winning novel that preceded it, though I missed Molly the mirrorshaded razor girl. Tightly plotted, with likeable characters and great dialogue, it is rich in Gibson's trademark technopoetry, his knack for the telling image, the gleaming detail. In this novel he deepens his exploration of his favorite themes: the culture and politics of cyberspace, the look and feel of artificial intelligence, the perversity of extreme wealth, and the morphing of everything from relationships to art by technological change. One of Gibson's finest achievements (so far).

When reading Gibson, prepare yourself for complete confusion during the first 50 pages. Just accept it. With techno-babble, slang, half-filled descriptions ... you're going to be lost. Oh, it's a good lost, but it's still lost.

However, once past that threshold, he does bring it all together. Suddenly the verbiage makes sense. The characters start congealing. Then it takes off with a rush.

This novel works on that same level, though I felt the ending seemed stilted. The complicated build-up fell apart in the last 20 pages or so. That's too bad. The middle part of this book is excellent.

Picking up where Neuromancer left off, I can understand why Count Zero was Gibson's favorite of the Sprawl series. He continues to combine cyberpunk with a sense of biopunk, capturing the reader from page one with a description of doctors rebuilding an agent from a description and body parts bought on the black market.
We then watch as three seemingly separate story lines unfold, wait to see how Gibson is going to bring them all together. This book deals with everyone from rising cowboy, to top Hosaka agent, to struggling artist, to super rich vat dweller. I felt that the ending could have maybe been a little better, but did pull all three story lines and almost every major character together for one dynamic finish.
I love to watch the interaction of Gibson's characters, as he is always creating dark and different characters that are often hated by the readers. I guess that is what I like about them. They're real characters they one would expect to find in the slums of the Sprawl, or working for Neotech, not just stereotype heroes.
Throwing in hot cyberdecks, double-agents, lots of drugs, more awesome biotechnology, combined with Gibson's unique characters, this book is a must read for any fan of Neuromancer, Gibson, or Cyberpunk.

Retrieval, via mercenary and loser.

Another good cyberpunk novel by Gibson, throwing another whole pile of stuff at you that you see other authors echo later, like Walter Jon Williams, or Richard Morgan, for the voodoo elements in virtuality.

The corporations here are nasty, and if they decide to deal with you, they hire guys like one of the protagonist warriors in this book, preferably without them knowing what is going on given they have woken up in a new body.

I think I enjoyed Neuromancer and Mona Lisa Overdrive more, but still a good read. Still interesting of course to think about when this was written, and while there are some anachronisms, much of it is still viable. Neuromancer of course (1984) was written on a typewriter and the author had no computer.

I really, really, really expected (and wanted) to love this book. When I first curled up with it, I was very anxious to dive right in. I love geeky techno-fi, sci-fi, and Gibson, as a general rule. But something just didn't work for me in Count_Zero.

I think it was not so much the story, which was satisfying, as much as the jerky cadance of Gibson's style in this book that was off-putting. I do not remember having to work so hard with the prose of Neuromancer. This was a significant issue for me, in that Count_Zero quickly became so fragmented and disjointed in its delivery that I struggled to remain in the flow. This, in turn, nearly ruined the otherwise enjoyable experience for me.

I would recommend Count_Zero - with a dash of trepidation. Sadly, I feel as if I missed something. I look at all these great reviews and I have to shrug my shoulders: it could very well just be me. Or maybe my expectations were out of whack. Or, I wasn't in the right mood. Or, Neal Stephenson has really spoiled me (similar to what happens to music in general after being exposed to Steely Dan). Or, most likely, I should have just read this immediately upon the heels of Neuromancer.

Count Zero is the second book in William Gibson's so called "Sprawl"-thrilliology. When the first book - Neuromancer - only consisted of one plot, Count Zero has several. It's a cyberpunk type of book. The story mostly takes place in a desert, in a city and in a satellite orbiting earth. The book starts in a funny way. One of the main characters gets blown to pieces. However, soon after he is put back together again. The second plot is about Bobby, alias Count Zero. He is a hacker wannabe. Does some stupid stuff, tries to break some black ICE with a military icebreaker he got from some other console cowboy. Then he gets in trouble. The last plot is about Marly Krushkhova. She is an unemployed art-store owner. When the book begins she is heading to Josef Wirek for a job-interview.
All the parallel stories may sound a bit confused, and Gibson isn't really able to tie everything up in the end. Either he should have skipped two of the plots and only kept one, or he should have made the book a whole lot longer. The climax of the story never really appears, and it feels like he is just cutting the whole thing off slightly too abrupt. It's like the way I usually do when I'm supposed to write some short story in school. It begins well but loses speed towards the end, and eventually comes to a complete halt too soon.
I think the characters are good. The description of the degenerated society is great. William Gibson really manages to get the gray and pessimistic atmosphere over. This is well-worth the read.

So, it is not very durable! I mean if a book can not handle being dropped into the tub, left in the sun for a week and not turn brittle and yellow. Is it worth the price?
Well, yes...yes it is. I was only on my third or fourth time through it. So, a few years later I bought it from the store to read again. And yes... I do watch movies over and over again...
I would tell you all of the same things everyone else has written, but Gibson books are very worth the read.

Someone in the bookstore asked Gibson which book of his he liked best. He said it was this one.
I can't say I agree. I definitely like Neuromancer and Mona Lisa Overdrive better. The beginning sounds really good. I thought after reading the first two pages that the book would be really great. But some of the elements of the book aren't interesting. I don't find the book that cohesive, since it has three independent plot lines, and they don't ever seem to be leading together.

I don't know why I keep doing this to myself. I run across a William Gibson novel, this time Count Zero. It's cyberpunk, so I know I like the genre. I remembered long ago liking Neuromancer. But then I check back on my last ten years of reading logs and find that I've consistently given Gibson 2's and 3's on a scale of 1 (low) to 5 (high). But I'm sure it'll be different this time... And once again, the answer is no. Love the writing, love the images, and am absolutely and totally lost when it comes to the plot (or what passes for one). I guess I'm just not sophisticated enough to "get it".

This mercenary is brought back into play by an agent to recover a coveted scientist from a rival company. The mercenary is actually "regrown" as he was blown to bits in a prior mission. But now he's back and pretty much a new person. But at the time the scientist is supposed to rendezvous with the extraction team, things go to pieces. And instead of the scientist, he actually sent out his daughter. Meanwhile in plotline #2, a woman is hired by an extremely rich individual to trace down the maker of a certain art item... a box of seemingly random items. But the rich guy is actually kept alive in an ever-expanding vat of chemicals while he apparently tries to figure out a way to inhabit a healthy body. And plotline #3 involves some guy who is a cowboy hacker and nearly gets killed running an online incursion using some unfamiliar security software that a friend asked him to try out. During his escape, he lost the software in his software deck when he was mugged. And now a number of murky characters really need to get that software back before bad things happen. And somehow, all three of these plotlines come together at the end. Just don't ask me to explain it, as it was beyond me...

Gibson can paint a cyperpunk scene better than nearly anyone. His contraptions and constructs aren't always explained, so you often have to keep reading, assuming that you'll piece it together later. Where I consistently come up short with his writing is with the story-line. As in, I don't get them, they're extremely obtuse, and you have to be either way smarter than I am or a complete sci-fi geek to understand. I'll admit to not doing "subtle" well, but "subtle" would be a step up in clarity for this book. I kept reading as I loved the imagery, but I knew about halfway through that I wasn't going to understand one of the plots at all, nor was I likely to get the ending, whatever it may turn out to be. I was right...

I won't argue with the conventional wisdom that Gibson is a master of the cyberpunk genre. I'm just sorry that, at least for me, the story-lines don't match up with the quality of the imagery.

Let me be clear. I read Gibson for atmosphere, not plot. On that basis, this is his best book by far. He writes so well that you can almost feel and touch his near-future world. If you like reading about ninjas raised in vats with thumbs that pop off to reveal micro filament which can cut through you like a knife, dead space stations with robots that make small boxes filled with detritus that are high art on earth, images of rain-soaked Paris, and digital avatars dressed in Victorian garb whom you meet in lonely parks, then Gibson is for you.

As a avid reader of cyberpunk, i can say with all confidence that this is one of the most entertaining cyberpunk novels I have had the priviledge of reading. William Gibson takes three seemingly unrelated stories, and blended them together in a wonderful story that grabs you by the throat and takes you on a high speed journey through Gibson's bleak world of the future. Whether it be the story of Turner, the corporate bodyguard for hire, Bobby, the budding cyberspace cowboy, or Marly, the down on her luck art critic, all the characters in the novel are well developed and each with their own personalities. The only real problem I had with this book was the ending, which was rather abrupt and left this reader wanted more. All in all, it is an excellent, well-written novel. William Gibson does it again.

I had the odd advantage to read this book in both english and greek translated version. It is awesome how such a futurustic book discribing the Neo-World reads so fantastic even in an ancient laguage. Neuromancer started everything, this one sealed the tomb on cyberpunk. No body can attemp to write cyberpunk without sounding like Gibson.

William Gibson does an excellent job in this installment of his Sprawl series. He carefully weaves threads of Neuromancer into this novel without taking anything away from the story of Count Zero. Gibson did an exceptional job at creating an original story while at the same time bringing back some of the favorite quirks. Such as the Hosaka decks and the various cowboys roaming the matrix.
Gibson's ability to construct three seemingly completely different story lines into one novel and then wonderfully bringing them together in the end is outstanding. One immediately gets drawn into the lives of each of the characters simpathizing instantaneously with thier plights. The diversity with which each of his characters is faced makes for nonstop action throughout the book.

I read Neuromancer and LOVED it...so of course I had to finish the trilogy. Count Zero was a good read, but didn't have enough new techno gadgets to satisfy me. Also, I didn't think the characters were as empathetic as Molly and Case were. Still, you definitely have to read it before you get to Mona Lisa Overdrive since MLO is pretty much a direct continuity from Count Zero.

This book takes a strange and violent look into the future. Some of the tech talk is confusing but you pick up on it really fast. The story itself is equally distributed between 3 characters, you know who the next chapter will focus on. It is a pretty quick read and poses alot of theological questions.

The second book in William Gibson's Sprawl trilogy (NEUROMANCER, COUNT ZERO, MONA LISA OVERDRIVE), Gibson deftly brings together three stories, mixing voodoo and high technology into a fast-paced tale. Almost as brilliant as Gibson's NEUROMANCER, COUNT ZERO is, nonetheless, a thoroughly entertaining read. Less heavy that NEUROMANCER, the book has definite foundations in cyberpunk, but will probably appeal to a much wider audience.
Slightly slow in beginning, but accelerating to a heart-pounding finish, COUNT ZERO is a book that should be read by Gibson fans, cyberpunk fans, and anyone who enjoyed NEUROMANCER.

Good read but not quite as good as Neuromancer. This time there seemed to be more focus on the action and less on the futurism, and one cannot help thinking that this book was aimed at a slightly younger audience than Neuromancer. However, the way the 3 seperate plots weave into one, is masterful storytelling.

three superb stories through the book all merge into one great cyberpunk fantasy. Gibsons five minutes into the future world is completley beleivable, full of rich characters, with a scary ability of you making you think "is this how its going to be". True Gibson quality.

I first read this book (many years and many rereads ago) with low expectations. I'd been told that Gibson was a one book wonder, that he'd never managed to pull off a second book nearly as good as his brilliant first novel, NEUROMANCER. Gibson beat that rap, of course, with masterpieces like IDORU and PATTERN RECOGNITION. But somehow COUNT ZERO has always gotten ever so slightly lost in the shuffle.

Well, I'm here to tell you that everyone, starting with Publishers Weekly, got it wrong. COUNT ZERO is no mere repeat of Neuromancer. It's a different beast altogether. It's older, subtler, and stranger. It's Neuromancer's hard-boiled street chic all grown up and with grown-up-sized problems. The characters are real, complex, and unforgettable. And the central image of the book - though I can't describe it without giving much of the plot away - generates one of the most hauntingly beautiful moments in all of science fiction.
If you're one of those Gibson fans who hasn't quite gotten around to reading COUNT ZERO, you're in for a rare treat.

As mentioned in an earlier review, Gibson tries some really crazy writing here, and I feel that he pulls it off. A lot better than one would think, because you're more likely concentrating on the story than the mechanics of the writing. A real jewel of prose on our modern outlook, and introducing characters that truly illustrate what a hero of today thinks.
and the violence is damn good.

What a book! William Gibson writes about an artificial intelligence which expresses itself by building Joseph Cornell boxes! Read about Joseph Cornell first (and look at some of his boxes... try MOMA, or search the store), then read this book! Wow.

This is my second Gibson novel behind Neuromancer, and I'm just as impressed as I was with the first. Excellent writing, although the fragmented sentences do get annoying. Nonetheless, I'm always taken by his mastery of the language, and how well Gibson can take you away to another world.
My one problem lies with the publisher, Ace Books out of New York. The paperback I purchased was falling apart withing a few days, and pages detaching by the time I was through reading. I will never purchase a book in their name again.

This was my first exposure to Gibson and I was blown away. The tight prose and graphic imagery was intoxicating. Think of that..Gideon's Fall: When You Dont Have a Prayer, Only a Miracle Will Do

With this work and subsequent novels, Gibson has molded our thoughts of what the future would hold for the computer generations.

We watch as Gibson spills for more tales of the virtual world and the lives that it touches. A must read for all Martix fans, and nearly any one that uses a computer.

Not one of Gibson's best. As usual, he starts off a bit too chaotically and the various threads are pretty impenetrable. That being said, stick with it and they do start to make individual sense before coming together towards the end. This second part of the trilogy is nowhere near as groundbreaking as the first instalment, but worth a read if for no other reason than to get you to the start of the next one.

This book, the second of Gibson's Neuromancer trilogy, is a high speed tale of people living in a dark future. Gibson makes interesting characters and fascinating locales come to life in this novel. As a follow up to the ground-breaking Neuromancer, I say Count zero is right on par with it's predecessor.

Cutting edge science fiction with great ideas on how the future interaction of humans and the internet will evolve. My motto is now "If you are jacked in, you are likely to get jacked up ....." I will keep my online interaction visual and tactile, thank you.

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the end is here.

Jamaican warriors, that's what Gibson's trilogy was about. & virtual reality. & viral art projects released by cyberpunks too pure for money.

A true blue patriot: william gib son.

esoteric memory games.

a bit intimidated by all the indentifications triggered upon the hacker populous. but they'll have fun reading
code.

two clicks: name t
hen
A. dress

one of the best books I've ever read, all I can do is attempt
a
tribute.
left
stag

growling.