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definitions of cyberpunk
definitions of cyberpunk
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Cyberpunk Through Shadowrun
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Cyberpunk has suffered through many definitions during its growth, from author Bruce Sterling's original assessment in the preface to Mirrorshades to his latest appraisal of the movement in his article, "Cyberpunk in the Nineties." Throughout its evolution, some consistent points have been made that one can mold together to form a definition of cyberpunk: a sense of bleakness, technology's dominant effect on the world, and a tendency to showcase the illegal points within the culture. If these three traits truly define the cyberpunk genre, then the Shadowrun Role Playing System, created by FASA Corporation in 1989, exemplifies these elements of cyberpunk.
Shadowrun and cyberpunk fiction are very similar in their view of the future world they present. As Sterling points out in "Cyberpunk in the Nineties," "There is much bleakness in cyberpunk, but it is an honest bleakness. There is ecstasy, but there is also dread"(Browning 6). An interesting point, but not one without merit. For indeed, cyberpunk does tend to forward the sentiment that the world spirals ever downward, to an end that no one can foresee. Tom Maddox's "Snake Eyes" embodies this point, with George's slow and continuous fall toward insanity as the machinery in his head attempts to control him. Shadowrun's chronology is very similar in this respect, from the physical plagues that rip through the world, thereby destroying over a third of the world population, to intense computer viruses that have the ability to kill people who access the data they protect. Many of the governments of the world have disbanded, including the United States -- who joins with Canada -- and Russia. Cities have become known as "sprawls" where only the strong survive, and even then it's a rough outing anytime you step out the door. The bleakness of the world plays into the hands of the shadowrunners, who live in the world of the `sinless,' those who are not registered in the world database. They find the world desolate and anarchistic, but still manage to find profit in it while keeping their skin in one piece. One quote from the Shadowrun sourcebook says, "If you did it and lived, then you probably did it right"(Shadowrun 54).
One way that shadowrunners find profit through their activities and survive is through the use of technologically superior tools. Technology, according to Sterling, is also a powerful part of the cyberpunk genre. As he states in Mirrorshades, ".
The film The Matrix, directed by Andy and Lana Wachowski, may seem to be a unique, original storyline to the untrained viewer, but the story of a totalitarian government and a hero who attempts to save the people is far from this. In reality, there are so many similarities that can be seen in other texts that were written and filmed before that it cannot be ignored. In particular, George Orwell’s 1984 has a similar government that controls its people and a “hero”, Winston, who is also searching for the truth. Winston lives Oceania where Big-Brother and “The Party” schedule your entire lives telling when to sleep, eat, and work and keep you under constant surveillance. This is similar in The Matrix, where most of the humans lived in a computer-programmed world which is also constantly surveyed by government authorities. The Wachowski siblings’ film, The Matrix, connects with the concept of dystopia as expressed in George Orwell’s novel, 1984, by referring to a totalitarian government and the lack of choices, which it accomplishes through the introduction of new surveillance technology, comparing two worlds, and a hero’s journey to liberate the people.
For the protagonist Cage and other cyberspace cowboys, reality lies only in the ?bright lattices of logic unfolding across that colorless void? (5). Cyberspace is where the biz is, and it is Cage?s life source. Jacking into a Sendai cyberspace deck, Cage can project his ?disembodied consciousness into the consensual hallucination that [is] the matrix? (5). Indeed, it is a hallucination, a means of escape from physical reality. While surfing through cyberspace, Case sometimes forgets to eat, and he resents having to use a catheter or having to put his virtual world on pause to use a physical toilet. Case?s physical body is merely a case for his mind which interacts with cyberspace. While jacking into the Net releases Case into an infinite world of possibilities, this means of virtual communications also renders him dead to the physical world. Case?s electroencephalogram readings are flat lines when he overexerts himself in cyberspace. Briefly brain dead, Case half-conscio...
In Snow Crash, a novel by Neal Stephenson, Stephenson examines how expanding technology affects a society. He introduces us to a world where a computer virus is altering people's minds, and where they have no control over themselves. He vividly describes how Hiro, the protagonist, must fight the virus to save the future of the world.
What makes this fictional society so fascinating, however, is its cunning transformation from utopia to dystopia, or from Heaven to Hell; each of these corrupt worlds is originally presented as a safer, more stable and efficient alternative to contemporary society. Atwood’s tale, for example, presents a portrait of a society, Gilead, which is superficially ideal: it is free of (visible) violence, hatred or suffering. Yet this apparent perfection comes with sacrifice, for all aspects of the population are controlled: social class and intellectual ability are all carefully regulated, with stability maintained at all costs. Similarly, Cameron’s “Terminator” presents members of modern-day (circa 1984) Los Angeles in a beneficial symbiotic relationship with machinery: as technology improves daily life for humans, so too do humans improve technology. Yet this techno-friendly society based on social alliance is jaded once the machines begin to overpower and out-wit humans; here the oppressive regime that threatens humanity is technology itself.
... technology to consider the possible consequences of their use. People may disagree with the claim that all cyberpunk writers have the goal of writing science fiction about the technological and sexual aspects of society, and the author acknowledges that his knowledge of the cyberpunk movement is limited. However, given the preponderance of sexual and technological material in the stories read, it may be construed that, on the whole, prose in the cyberpunk genre possess these elements.
Meyer, Chuck. ”Human Identity in the Age of Computers: Cyberpunk Identity.” April 1997. Retrieved November 20th, 2004. http://fragment.nl/mirror/Meyer/CyberpunkIdentity.htm.
In this book Sterling discusses three cyberspace subcultures known as the hacker underworld, the realm of the cyber cops, and the idealistic culture for the cyber civil libertarians. At the beginning of the story Sterling starts out with discussing the birth of cyberspace and how it came about. The Hacker Crackdown informs the readers of the issues surrounding computer crime and the people on all sides of those problems. Sterling gives a brief summary of what cyberspace meant back then and how it impacted society, and he investigates the past, present and future of computer crimes. For instance he explains how the invention of the telephone led to a world that people were scared of because the telephone was something that was able to let people talk to one another without actually being in the same area. People thought that it was so strange and so different because they didn’t understand all of the information behind it. Back then people thought of the telephone as a tool that allowed others to talk to them in a way that was so personal yet impersonal. Sterling then goes on to explain how “phone phreaks” played such an important part in relating the telephones to computer crimes and how they were so closely related back then.
When William Gibson's futuristic novel Neuromancer was first published, it seemed farfetched that technology could reach the level of sophistication he described. Science fiction movies have since repeated and expanded upon this theme, portraying corporate anxieties and paranoid fears of people to be controlled by aliens, man-made machines and artificial intelligence. Neuromancer takes us into the subculture of cyberpunk, a dystopia of an amoral society ruled by abstract powers. Gibson creates a world of fear and terror where technology permeates this futuristic world into its smallest detail and instead of serving humanity, rises to become its ruler and God.
The basic precepts of the cyberpunk genre consists of technology as hindrance to man, stories that are saturated in dark and dreary themes, and a character, ”Case,” that will either fail or conform to a structured society.
The Matrix. Larry Wachowski, DVD, Warner Brothers, 1999 Bruskman, Amy. "Finding One's Own in Cyberspace" Composing Cyberspace Edited by Rich Holeton, San Fransisco: McGraw Hill, 1998, 171-180 Rheingold, Howard.
thought a world like the one depicted would be unlikely to ever occur. But, this film may mimic today’s world, offering an eerie glimpse at the course of self-destruction humanity paves with its obsession for technology. As technology progresses, the gap between worlds, the Matrix and reality, draws ominously close.
3. “Video Games” by Chris Jozefowics. Published by Gareth Stevens Publishing 2010. Pleasantville, NY 10570-70000 USA. Produced by Editorials Directions Inc.
As technology advances, new and creative forms of entertainment immerge from these advancements. One form that has grown immensely in popularity over the past dozen years has been video games. Taking form nearly four decades ago, video games have been one of the major embodiments of the growth of entertainment technology. Today, video games have taken many shapes, from the general PC and console games to special applications that can be found on social networks and even millions of cell phones around the world.
In Conclusion William Gibson created a cyberpunk/ postmodernism tale that has blurred not only the physical state between mechanics and human anatomy, but has as well blurred the line between the natural and virtual world. He is making the reader contemplate how both software and hardware have influenced the natural world. Gibson’s fictional world would have not been possible without the existence of software and hardware, that is why the distinction between them is very crucial and play a different part within the text. Without these two things, the reader would not be able to comprehend and relate to Gibson’s view on how our society is interlocking with the advances of technology and the normality of today will no longer exist in the future.
In the video game Enter the Matrix, released in 2003, the players take on the role of supporting characters in the film sequel Matrix Reloaded. They play the side stories; those that not appear on screen in the film. The game is inspired by the world that is depicted in the film. Enter the Matrix displays distinct visual parallel between the film and the video game. The overlook of the film and video game is similar and distinguishable because the video game mimics the visual style of the film. It gets players satisfied with their purchase of the game. Playing the game is a different experience for the players because it connects them with the source material. It allows them to be part of the story and to feel to be the character of their franchise. Players are considered spectators too because there are some cinematic cut scenes that are shown in the game which makes them observe and do n...