Our brilliant Harvard symbologist Robert Langdon-so dive time into the world of the Freemasons. A mysterious villain kidnaps Langdon's friend who is a senior Freemason, and blackmailed Langdon to go for it on a search for an equally mysterious pyramid, on which in turn is a mysterious map that supposedly the even more mysterious hideout of allergeheimnisvollsten "Ancient Mysteries "to lead. Who wants to have the villain, because he hoped it the key to accomplish its own transformation into a powerful demon. Aha.
Then there is the mysterious director of a mysterious CIA department into play, which is willing to give the bad guy what he wants, and for even the lives of Langdon entführtem friend and sacrificing the Langdon himself. The reason is said to be the fact that a lot more is at stake than just the secrets of Freemasonry and the lives of people ess, but - drum roll - a mysterious national security crisis!
The trouble is that the reader learns only towards the end of the book, which is supposed to be for a crisis because. Dan Brown disregarded completely here the first principle of power generation, the reader needs to know what is at stake. However, Brown also has every reason to consider anyway, because when finally comes out, what is going on with the "crisis" in itself, it turns out to be a non-starter. More than a moderate PR crisis it is in fact not really. If Brown really no longer had on the pan, it perhaps was in fact still the best to delay the declaration of bankruptcy as long as possible.
Speaking of Revelation: Of course in "The Lost Symbol" again the Dan Brown typical surprising turn to page 448. Only they surprised because, unfortunately, no one left. The reader has seen that is coming already at least since page 221.
The same problem exists at the turn Dan Brown typical puzzle games that normally are indeed one of the features that make the most fun of his books. But here they are so intimately simply that the question why Langdon always takes so long to figure it out (and why you for ever a Harvard symbologist needs), yet the most enigmatic thing about it is. Some solutions jump one formally in the face, and then you have to still by a dozen pages torment until Langdon has finally buckled it. Perhaps the professor should gradually think of emeritus.
The biggest shortcoming of the book is that it actually consists of only "McGuffin" - so called Hitchcock empty set pieces in a story (such as the briefcase with "secret documents" in "39 Steps"), which function as tension members only so long as long as no one asks what it actually has with them up. In "The Lost Symbol" always leads only a McGuffin to the next, the content of the "suitcase" never comes to light. Can he not also, because there are none. Only at the very end, when actually everything is already over, Brown sees itself compelled to leave around stir in the thin mystical-philosophical soup by "tapping the untapped potential of the human mind" his hero a little - again just a set piece.
Until then, the reader is certainly boredom so befuddled that he might no longer asks the question, what should it be been so secrecy worthy of this stunning revelation.
"Angels and Demons" was a really good, intelligent thriller. "The Da Vinci Code" was indeed content silly, but if you zukniff one eye and pretending you know nothing about church history, after all, quite exciting. In "The Lost Symbol" is Dan Brown, that he can not only be silly, but also get bored.
