The Genre of Cyberpunk
Cyberpunk is, as its authors would have it, a revolutionary new genre. The Movement is made up of radical new authors breaking from traditional SF ideology and prose. The style evokes a sense of fear and paranoia while overloading the reader with information. Aside from these indefinable feelings evoked by the genre, cyberpunk contains several concrete, identifiable themes in every story. The central theme is about fringe characters -- outsiders -- living in a grimy, seedy world ruled over by huge, all-encompassing megacorporations. The megacorps permeate the world of these characters with an impersonal, hopeless aura. One can either work for them as a wage-drone in mediocrity, or against them as against gods in a pitiful fight to outwit them. The cyberpunk world is completely overwhelmed, infused, and inundated by corporate technology such as decks, the Matrix, "prosthetic limbs, implanted circuitry, cosmetic surgery, genetic alteration" (Sterling xiii), and artificial intelligences. The megacorporate philosophy that everything can be bought and sold, like the technology that is bought and sold, makes human life cheap and worthless. Technology has replaced humans, much like machines today have already replaced workers on the assembly line.
The Girl Who Was Plugged In is an exquisite example of cyberpunk, although it was published about a decade before the Movement. The story examines characters on the fringe of society; characters who are unaccepted and unaccepting of mainstream society. In the tradition of Gina and Rickenharp the rock-and-roll dinosaurs, Mona the prostitute, and Case the burned-out decker, P. Burke is a prime example of such an outcast. In her original and final form, Burke is "the ugly of the world" (Tiptree 45). She does actually worship the corporate gods and comes to love living in the luxury of society, but she would gladly throw it all away for Paul. Although born into the corporate hierarchy/family, Paul is as much an outsider as Burke. He's a revolutionary fighting the good fight against the megacorporate entity of GTX with the corp's own equipment, making shows "pregnant with social protest. An underground expression" (Tiptree 66). This fits with Sterling's comment that cyberpunk is due to the "overlapping of worlds that were formerly separate: the realm of high tech, and the modern pop underground" (Sterling xi).
If Burke and Paul constitute the punk archetypes of the story, then the high tech, the cyber, elements of the story are everywhere to be seen.
Have you ever had the thought that technology is becoming so advanced that someday we might not be able to think for ourselves? There is no questioning the fact that we live in a society that is raging for the newest technology trends. We live in a society that craves technology so much that whenever a new piece of technology comes out, people go crazy to get their hands on it. The stories that will be analyzed are The Time Machine by H.G Wells and The Veldt by Ray Bradbury. These stories offer great insight into technologies’ advancements over time that will ultimately lead to the downfall of human beings. These two stories use a different interpretation of what will happen when technology advances, but when summed up a common theme appears. In the story, The Time
The technological landscape plays a primary role in the characters lives of J.G Ballard’s Crash. Ballard depicts a very constructed world around the characters, and arguably all of society. The world of Crash is organized by technology through its structures, objects, and even people. In a general overview on the environment of information, the Online Computer Library Center states that “increased investments in technologies and standards … allow organizations to bring structure to unstructured data” (De Rosa 35). This is a fitting metaphor at play in Crash. The technological landscape is pressed into the foreground throughout Crash, and I view the characters of the novel as unstructured data trying to escape the technology that is attempting to structure them. The characters attempt to escape technology by adopting neo-posthuman and philobatic personalities, but only deepen their dependence on the technological landscape that literally consumes them.
Different genres of literature are particular responses to society; therefore, cyberpunk, as a genre, is a response to our contemporary society, known as the information age. One of the attributes given the genre is that it has an apocalyptic or post-apocalyptic tone, warning the reader of the perils of technology, while at the same time celebrating the possibilities of technology, usually through a strong character in the novel. In Greg Bear's Blood Music, technology is seen as having a destructive and creative forces as it reshapes the world biologically, and incorporates every living thing, including a slow girl named Suzy, into the system. Blood Music demonstrates the perils and benefits in a world full of diverse technology, typical of the cyberpunk genre, responding to frightening and powerful possibilities in the secrets of technology which are just on the brink of discovery.
In Bruce Sterling's article, "Cyberpunk in the Nineties," he explained how public opinion had defined himself, Rucker, Shiner, Shirley, and Gibson as the cyberpunk "gurus" in the 1980's. Because of being labeled cyberpunk "gurus," the public had come to understand the definition of cyberpunk as "anything that cyberpunks write." To break this definition of cyberpunk established by popular public opinion, I will pursue giving cyberpunk a more definite definition. After reading numerous cyberpunk fiction stories, I noticed reoccurring themes in these stories. I believe these themes can form a criteria under which a story can be defined as cyberpunk. These criteria are total enhancement and integration of everyday life by technology, some degree of pleasure (by the author) in explaining this technology, cyber-lingo, and some degree of global connectiveness.
Donna Haraway’s 1984 “A Cyborg Manifesto” is an enduring essay unceasingly analyzed, critiqued, and adored by scholars and students. The piece, in which Haraway uses the cyborg as a metaphor to scrutinize hegemonic problems and refuse the binary, claims that “the boundary between science fiction and social reality is an optical illusion.” In other words, like the cyborg who cannot distinguish whether it is a machine or an organism, in society there is no difference between male and female; rich and poor; black and white. There is only gray, and there are countless shades of it. “A Cyborg Manifesto” is an influential essay that has been relevant to the past and is still relevant to the present. Hence, it is no surprise that it has inspired
Film scholars around the world agree that all genres of film are part of the “genre cycle”. This cycle contains four different stages that a specific genre goes through. These stages are: primitive, classic, revisionist, and parody. Each stage that the genre goes through brings something different to that genre’s meaning and what the audience expects. I believe that looking at the horror genre will be the most beneficial since it has clearly gone through each stage.
Ray Bradbury is a well-known author for his outstanding fictional works. In every story he has written throughout his career, readers will quickly begin to notice a repeating pattern of him creating an excellent story revolving around technology. However, unlike how we perceive technology as one of the greatest inventions ever created and how much they have improved our everyday lives, Bradbury predicts serious danger if we let technology become too dominant. “Marionettes Inc.” and “The Veldt” are two short stories written by Bradbury that use multiple literature elements to warn society the dangerous future if technology claims power. In “Marionettes Inc.” two men, Braling and Smith explain to each other the hardships they must deal with their
In the novel Ender’s Game and the movie The Matrix, the society that they are living in have their entire lives revolved around technology to a point where it has become uncontrollable and has more negative impacts than positive ones. Both protagonists, Ender and Neo, are in a society where technology is drowning them. Respectable programmer and hacker in the year 2171, Neo, is faced with the task to challenge the AI (artificial intelligence) technology who is holding his society’s feeling in their captivity. The further Neo tries to fight, the more flaws he finds about technology. From being a tech-savvy person himself, he is supposedly “the one” to free his society from the dangers and captivity of technology. As for Ender, he too relies extensively on technology to a certain degree where he is unable to recognize the difference between what is reality and what is a game. While trying to grasp the concepts of what harm technology really has on their society, it has also affected their social _______.
Gibson, William. "Johnny Mnemonic." Writing About Cyberpunk. Ed. Tonya Browning. The University of Texas at Austin, Fall 1995.
Tash captured the devotion and noble sentiment of love struck teenager Graham, whose life intertwines with geek culture,
Characterization plays an important role when conveying how one’s personality can disintegrate by living in a restrictive society. Although Kat is slowly loosing her mind, in the story, she is portrayed as a confident woman who tries to strive for excellence. This can be seen when she wants to name the magazine “All the Rage”. She claims that “it’s a forties sounds” and that “forties is back” (311). However the board of directors, who were all men, did not approve. They actually “though it was too feminist, of all things” (311). This passage not only shows how gender opportunities is apparent in the society Kat lives in, but also shows the readers why Kat starts to loose her mind.
Maybe Stephenson was also trying to tell us something about the use of technology and how it can also have negative effects. Today, technology is getting stronger and smarter every day. Someone who can manipulate the power of technologies and abuse it can be a threat to society and many innocent people. “Snow Crash” was the name of the drug in the book, which transmitted computer virus that was able to infect the computer systems of unknown hackers. It also transmitted a disease to the user in real life outside of Metaverse, and affected their central nervous system. It’s not possible that this sort of thing can happen to us, but it does show signs of the negative uses of technology. The closest thing I can imagine, is a cyber-thief or a hacker in real life, stealing personal data of someone else. That personal data can turn out to be credit card information, which than the thief can use to purchase things in real life and externally hurt the victim. It may not be bad as a disease, but the person can have a financial loss. We also get to see Ng, who is a Vietnamese security contractor. Ng, unlike others, is almost like a cyborg. With technology associated with his human body, he is half-robot, half-human. We are pretty far from making cyborgs, but you never know if this prediction can also come true. It’s crazy to think that Neal Stephenson had predicted most of the
In conclusion, technology has evolved and influenced our society drastically when it comes to human interaction. William Gibson’s Burning Chrome is a postmodernism/cyberpunk story that blurs the boundaries between what is being human. The story also blurs the line between the physical and the virtual that a human being interacts. The advances we had made with our technology have gotten to the point where it has entwined with human anatomy. Gibson’s novel was partly based on how our civilization is more and more coming together with technology. Another thing Gibson portrayed was how a person’s mind is transferred into a whole new world with the use of our modern devices. In the end, our society’s interaction with both machines and humans is getting to the furuturistic virtural world that Burning Chrome depicts in its text.
In the latter half of the twentieth century society, culture and science evolved visions and capability around the common prefix ‘cyber’. It took on several virtual, computational, functional, scientific, sexual and criminal connotations. In the 21st Century, many computational notions have been replaced by ‘e’ to mean ‘of computer’ - however ‘cyber’, represented in music, words and films emerging at this time, which communicate the content of culture at the time, not simply technology – have not become ePeople, eMusic or eFilms, but remained postulated in cyberculture.
Thompson, Michael. "The memories of our future: Steampunk in gaming." Ars Technica, 2008. Web. 5 Jan 2014. .