Cyberpunk is a subgenre of science fiction in a futuristic setting that tends to focus on a "combination of lowlife and high tech" featuring advanced technological and scientific achievements, such as artificial intelligence and cybernetics, juxtaposed with a degree of breakdown or radical change in the social order.
Much of cyberpunk is rooted in the New Wave science fiction movement of the 1960s and 1970s, when writers like Philip K. Dick, Roger Zelazny, J. G. Ballard, Philip José Farmer and Harlan Ellison examined the impact of drug culture, technology and the sexual revolution while avoiding the utopian tendencies of earlier science fiction. Released in 1984, William Gibson's influential debut novel Neuromancer would help solidify cyberpunk as a genre, drawing influence from punk subculture and early hacker culture. Other influential cyberpunk writers included Bruce Sterling and Rudy Rucker. The Japanese cyberpunk subgenre began in 1982 with the debut of Katsuhiro Otomo's manga series Akira, with its 1988 anime film adaptation later popularizing the subgenre.
Early films in the genre include Ridley Scott's 1982 film Blade Runner, one of several of Philip K. Dick's works that have been adapted into films. The films Johnny Mnemonic (1995) and New Rose Hotel (1998), both based upon short stories by William Gibson, flopped commercially and critically. The Matrix trilogy (1999-2003) were some of the most successful cyberpunk films. More recent additions to this genre of filmmaking include Blade Runner 2049 (2017), sequel to the original 1982 film, as well as Upgrade (2017), Alita: Battle Angel (2019) based on the 1990s Japanese manga Battle Angel Alita, and the 2018 Netflix TV series Altered Carbon.
Lawrence Person has attempted to define the content and ethos of the cyberpunk literary movement stating:
Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.
Cyberpunk plots often center on conflict among artificial intelligences, hackers, and megacorporations, and tend to be set in a near-future Earth, rather than in the far-future settings or galactic vistas found in novels such as Isaac Asimov's Foundation or Frank Herbert's Dune. The settings are usually post-industrial dystopias but tend to feature extraordinary cultural ferment and the use of technology in ways never anticipated by its original inventors ("the street finds its own uses for things"). Much of the genre's atmosphere echoes film noir, and written works in the genre often use techniques from detective fiction. There are sources who view that cyberpunk has shifted from a literary movement to a mode of science fiction due to the limited number of writers and its transition to a more generalized cultural formation.
The origins of cyberpunk are rooted in the New Wave science fiction movement of the 1960s and 70s, where New Worlds, under the editorship of Michael Moorcock, began inviting and encouraging stories that examined new writing styles, techniques, and archetypes. Reacting to conventional storytelling, New Wave authors attempted to present a world where society coped with a constant upheaval of new technology and culture, generally with dystopian outcomes. Writers like Roger Zelazny, J.G. Ballard, Philip Jose Farmer, and Harlan Ellison often examined the impact of drug culture, technology, and the sexual revolution with an avant-garde style influenced by the Beat Generation (especially William S. Burroughs' own SF), Dadaism, and their own ideas. Ballard attacked the idea that stories should follow the "archetypes" popular since the time of Ancient Greece, and the assumption that these would somehow be the same ones that would call to modern readers, as Joseph Campbell argued in The Hero with a Thousand Faces. Instead, Ballard wanted to write a new myth for the modern reader, a style with "more psycho-literary ideas, more meta-biological and meta-chemical concepts, private time systems, synthetic psychologies and space-times, more of the sombre half-worlds one glimpses in the paintings of schizophrenics."
This had a profound influence on a new generation of writers, some of whom would come to call their movement "Cyberpunk". One, Bruce Sterling, later said:
In the circle of American science fiction writers of my generation — cyberpunks and humanists and so forth — [Ballard] was a towering figure. We used to have bitter struggles over who was more Ballardian than whom. We knew we were not fit to polish the man’s boots, and we were scarcely able to understand how we could get to a position to do work which he might respect or stand, but at least we were able to see the peak of achievement that he had reached.
Ballard, Zelazny, and the rest of New Wave was seen by the subsequent generation as delivering more "realism" to science fiction, and they attempted to build on this.
Similarly influential, and generally cited as proto-cyberpunk, is the Philip K. Dick novel Do Androids Dream of Electric Sheep, first published in 1968. Presenting precisely the general feeling of dystopian post-economic-apocalyptic future as Gibson and Sterling later deliver, it examines ethical and moral problems with cybernetic, artificial intelligence in a way more "realist" than the Isaac Asimov Robot series that laid its philosophical foundation. This novel was made into the seminal movie Blade Runner, released in 1982. This was one year after another story, "Johnny Mnemonic" helped move proto-cyberpunk concepts into the mainstream. This story, which also became a film years later, involves another dystopian future, where human couriers deliver computer data, stored cybernetically in their own minds.
In 1983 a short story written by Bruce Bethke, called Cyberpunk, was published in Amazing Stories. The term was picked up by Gardner Dozois, editor of Isaac Asimov's Science Fiction Magazine and popularized in his editorials. Bethke says he made two lists of words, one for technology, one for troublemakers, and experimented with combining them variously into compound words, consciously attempting to coin a term that encompassed both punk attitudes and high technology.
He described the idea thus:
The kids who trashed my computer; their kids were going to be Holy Terrors, combining the ethical vacuity of teenagers with a technical fluency we adults could only guess at. Further, the parents and other adult authority figures of the early 21st Century were going to be terribly ill-equipped to deal with the first generation of teenagers who grew up truly “speaking computer.”
Afterward, Dozois began using this term in his own writing, most notably in a Washington Post article where he said "About the closest thing here to a self-willed esthetic “school” would be the purveyors of bizarre hard-edged, high-tech stuff, who have on occasion been referred to as “cyberpunks” — Sterling, Gibson, Shiner, Cadigan, Bear."
About that time, William Gibson's novel Neuromancer was published, delivering a glimpse of a future encompassed by what became an archetype of cyberpunk "virtual reality", with the human mind being fed light-based worldscapes through a computer interface. Some, perhaps ironically including Bethke himself, argued at the time that the writers whose style Gibson's books epitomized should be called "Neuromantics", a pun on the name of the novel plus "New Romantics", a term used for a New Wave pop music movement that had just occurred in Britain, but this term did not catch on. Bethke later paraphrased Michael Swanwick's argument for the term: "the movement writers should properly be termed neuromantics, since so much of what they were doing was clearly Imitation Neuromancer".
Sterling was another writer who played a central role, often consciously, in the cyberpunk genre, variously seen as keeping it on track, or distorting its natural path into a stagnant formula. In 1986 he edited a volume of cyberpunk stories called Mirrorshades: The Cyberpunk Anthology, an attempt to establish what cyberpunk was, from Sterling's perspective.
Bookending the Cyberpunk era, Bethke himself published a novel in 1995 called Headcrash, like Snow Crash a satirical attack on the genre's excesses. Fittingly, it won an honor named after cyberpunk's spiritual founder, the Philip K. Dick Award.
It satirized the genre in this way:
...full of young guys with no social lives, no sex lives and no hope of ever moving out of their mothers' basements ... They're total wankers and losers who indulge in Messianic fantasies about someday getting even with the world through almost-magical computer skills, but whose actual use of the Net amounts to dialing up the scatophilia forum and downloading a few disgusting pictures. You know, cyberpunks."
The impact of cyberpunk, though, has been long-lasting. Elements of both the setting and storytelling have become normal in science fiction in general, and a slew of sub-genres now have -punk tacked onto their names, most obviously Steampunk, but also a host of other Cyberpunk derivatives.
Primary figures in the cyberpunk movement include William Gibson, Neal Stephenson, Bruce Sterling, Bruce Bethke, Pat Cadigan, Rudy Rucker, and John Shirley. Philip K. Dick (author of Do Androids Dream of Electric Sheep?, from which the film Blade Runner was adapted) is also seen by some as prefiguring the movement.
Blade Runner can be seen as a quintessential example of the cyberpunk style and theme. Video games, board games, and tabletop role-playing games, such as Cyberpunk 2020 and Shadowrun, often feature storylines that are heavily influenced by cyberpunk writing and movies. Beginning in the early 1990s, some trends in fashion and music were also labeled as cyberpunk. Cyberpunk is also featured prominently in anime and manga (Japanese cyberpunk), with Akira, Ghost in the Shell and Cowboy Bebop being among the most notable.
Cyberpunk writers tend to use elements from hardboiled detective fiction, film noir, and postmodernist prose to describe an often nihilistic underground side of an electronic society. The genre's vision of a troubled future is often called the antithesis of the generally utopian visions of the future popular in the 1940s and 1950s. Gibson defined cyberpunk's antipathy towards utopian SF in his 1981 short story "The Gernsback Continuum," which pokes fun at and, to a certain extent, condemns utopian science fiction.
In some cyberpunk writing, much of the action takes place online, in cyberspace, blurring the line between actual and virtual reality. A typical trope in such work is a direct connection between the human brain and computer systems. Cyberpunk settings are dystopias with corruption, computers and internet connectivity. Giant, multinational corporations have for the most part replaced governments as centers of political, economic, and even military power.
The economic and technological state of Japan is a regular theme in the Cyberpunk literature of the '80s. Of Japan's influence on the genre, William Gibson said, "Modern Japan simply was cyberpunk." Cyberpunk is often set in urbanized, artificial landscapes, and "city lights, receding" was used by Gibson as one of the genre's first metaphors for cyberspace and virtual reality. The cityscapes of Hong Kong and Shanghai have had major influences in the urban backgrounds, ambiance and settings in many cyberpunk works such as Blade Runner and Shadowrun. Ridley Scott envisioned the landscape of cyberpunk Los Angeles in Blade Runner to be "Hong Kong on a very bad day". The streetscapes of Ghost in the Shell were based on Hong Kong. Its director Mamoru Oshii felt that Hong Kong's strange and chaotic streets where "old and new exist in confusing relationships", fit the theme of the film well. Hong Kong's Kowloon Walled City is particularly notable for its disorganized hyper-urbanization and breakdown in traditional urban planning to be an inspiration to cyberpunk landscapes.
One of the cyberpunk genre's prototype characters is Case, from Gibson's Neuromancer. Case is a "console cowboy," a brilliant hacker who has betrayed his organized criminal partners. Robbed of his talent through a crippling injury inflicted by the vengeful partners, Case unexpectedly receives a once-in-a-lifetime opportunity to be healed by expert medical care but only if he participates in another criminal enterprise with a new crew.
Like Case, many cyberpunk protagonists are manipulated, placed in situations where they have little or no choice, and although they might see things through, they do not necessarily come out any further ahead than they previously were. These anti-heroes—"criminals, outcasts, visionaries, dissenters and misfits"—call to mind the private eye of detective fiction. This emphasis on the misfits and the malcontents is the "punk" component of cyberpunk.
Cyberpunk can be intended to disquiet readers and call them to action. It often expresses a sense of rebellion, suggesting that one could describe it as a type of cultural revolution in science fiction. In the words of author and critic David Brin:
...a closer look [at cyberpunk authors] reveals that they nearly always portray future societies in which governments have become wimpy and pathetic ...Popular science fiction tales by Gibson, Williams, Cadigan and others do depict Orwellian accumulations of power in the next century, but nearly always clutched in the secretive hands of a wealthy or corporate elite.
Cyberpunk stories have also been seen as fictional forecasts of the evolution of the Internet. The earliest descriptions of a global communications network came long before the World Wide Web entered popular awareness, though not before traditional science-fiction writers such as Arthur C. Clarke and some social commentators such as James Burke began predicting that such networks would eventually form.
Some observers cite that cyberpunk tends to marginalize sectors of society such as women and Africans. For instance, it is claimed that cyberpunk depicts fantasies that ultimately empower masculinity using fragmentary and decentered aesthetic that culminate in a masculine genre populated by male outlaws. Critics also note the absence of any reference to Africa or an African-American character in the quintessential cyberpunk film Blade Runner while other films reinforce stereotypes.
Minnesota writer Bruce Bethke coined the term in 1980 for his short story "Cyberpunk," which was published in the November 1983 issue of Amazing Science Fiction Stories. The term was quickly appropriated as a label to be applied to the works of William Gibson, Bruce Sterling, Pat Cadigan and others. Of these, Sterling became the movement's chief ideologue, thanks to his fanzine Cheap Truth. John Shirley wrote articles on Sterling and Rucker's significance. John Brunner's 1975 novel The Shockwave Rider is considered by many to be the first cyberpunk novel with many of the tropes commonly associated with the genre, some five years before the term was popularized by Dozois.
William Gibson with his novel Neuromancer (1984) is arguably the most famous writer connected with the term cyberpunk. He emphasized style, a fascination with surfaces, and atmosphere over traditional science-fiction tropes. Regarded as ground-breaking and sometimes as "the archetypal cyberpunk work," Neuromancer was awarded the Hugo, Nebula, and Philip K. Dick Awards. Count Zero (1986) and Mona Lisa Overdrive (1988) followed after Gibson's popular debut novel. According to the Jargon File, "Gibson's near-total ignorance of computers and the present-day hacker culture enabled him to speculate about the role of computers and hackers in the future in ways hackers have since found both irritatingly naïve and tremendously stimulating."
Early on, cyberpunk was hailed as a radical departure from science-fiction standards and a new manifestation of vitality. Shortly thereafter, however, some critics arose to challenge its status as a revolutionary movement. These critics said that the SF New Wave of the 1960s was much more innovative as far as narrative techniques and styles were concerned. Furthermore, while Neuromancer's narrator may have had an unusual "voice" for science fiction, much older examples can be found: Gibson's narrative voice, for example, resembles that of an updated Raymond Chandler, as in his novel The Big Sleep (1939). Others noted that almost all traits claimed to be uniquely cyberpunk could in fact be found in older writers' works—often citing J. G. Ballard, Philip K. Dick, Harlan Ellison, Stanisław Lem, Samuel R. Delany, and even William S. Burroughs. For example, Philip K. Dick's works contain recurring themes of social decay, artificial intelligence, paranoia, and blurred lines between objective and subjective realities. The influential cyberpunk movie Blade Runner (1982) is based on his book, Do Androids Dream of Electric Sheep?. Humans linked to machines are found in Pohl and Kornbluth's Wolfbane (1959) and Roger Zelazny's Creatures of Light and Darkness (1968).
In 1994, scholar Brian Stonehill suggested that Thomas Pynchon's 1973 novel Gravity's Rainbow "not only curses but precurses what we now glibly dub cyberspace." Other important predecessors include Alfred Bester's two most celebrated novels, The Demolished Man and The Stars My Destination, as well as Vernor Vinge's novella True Names.
Science-fiction writer David Brin describes cyberpunk as "the finest free promotion campaign ever waged on behalf of science fiction." It may not have attracted the "real punks," but it did ensnare many new readers, and it provided the sort of movement that postmodern literary critics found alluring. Cyberpunk made science fiction more attractive to academics, argues Brin; in addition, it made science fiction more profitable to Hollywood and to the visual arts generally. Although the "self-important rhetoric and whines of persecution" on the part of cyberpunk fans were irritating at worst and humorous at best, Brin declares that the "rebels did shake things up. We owe them a debt."
Cyberpunk further inspired many professional writers who were not among the "original" cyberpunks to incorporate cyberpunk ideas into their own works, such as George Alec Effinger's When Gravity Fails. Wired magazine, created by Louis Rossetto and Jane Metcalfe, mixes new technology, art, literature, and current topics in order to interest today's cyberpunk fans, which Paula Yoo claims "proves that hardcore hackers, multimedia junkies, cyberpunks and cellular freaks are poised to take over the world."
The film Blade Runner (1982)—adapted from Philip K. Dick's Do Androids Dream of Electric Sheep?—is set in 2019 in a dystopian future in which manufactured beings called replicants are slaves used on space colonies and are legal prey on Earth to various bounty hunters who "retire" (kill) them. Although Blade Runner was largely unsuccessful in its first theatrical release, it found a viewership in the home video market and became a cult film. Since the movie omits the religious and mythical elements of Dick's original novel (e.g. empathy boxes and Wilbur Mercer), it falls more strictly within the cyberpunk genre than the novel does. William Gibson would later reveal that upon first viewing the film, he was surprised at how the look of this film matched his vision for Neuromancer, a book he was then working on. The film's tone has since been the staple of many cyberpunk movies, such as The Matrix trilogy (1999-2003), which uses a wide variety of cyberpunk elements.
The number of films in the genre or at least using a few genre elements has grown steadily since Blade Runner. Several of Philip K. Dick's works have been adapted to the silver screen. The films Johnny Mnemonic and New Rose Hotel, both based upon short stories by William Gibson, flopped commercially and critically. These box offices misses significantly slowed the development of cyberpunk as a literary or cultural form although a sequel to the 1982 film Blade Runner was released in October 2017 with Harrison Ford reprising his role from the original film.
In addition, "tech-noir" film as a hybrid genre, means a work of combining neo-noir and science fiction or cyberpunk. It includes many cyberpunk films such as Blade Runner, Burst City, Robocop, 12 Monkeys, The Lawnmower Man, Hackers, Hardware, and Strange Days.
The Japanese cyberpunk subgenre began in 1982 with the debut of Katsuhiro Otomo's manga series Akira, with its 1988 anime film adaptation later popularizing the subgenre. Akira inspired a wave of Japanese cyberpunk works, including manga and anime series such as Ghost in the Shell, Battle Angel Alita, Cowboy Bebop, and Serial Experiments Lain. Other early Japanese cyberpunk works include the 1982 film Burst City, the 1985 original video animation Megazone 23, and the 1989 film Tetsuo: The Iron Man.
Cyberpunk themes are widely visible in anime and manga. In Japan, where cosplay is popular and not only teenagers display such fashion styles, cyberpunk has been accepted and its influence is widespread. William Gibson's Neuromancer, whose influence dominated the early cyberpunk movement, was also set in Chiba, one of Japan's largest industrial areas, although at the time of writing the novel Gibson did not know the location of Chiba and had no idea how perfectly it fit his vision in some ways. The exposure to cyberpunk ideas and fiction in the 1980s has allowed it to seep into the Japanese culture.
Cyberpunk anime and manga draw upon a futuristic vision which has elements in common with western science fiction and therefore have received wide international acceptance outside Japan. "The conceptualization involved in cyberpunk is more of forging ahead, looking at the new global culture. It is a culture that does not exist right now, so the Japanese concept of a cyberpunk future, seems just as valid as a Western one, especially as Western cyberpunk often incorporates many Japanese elements." William Gibson is now a frequent visitor to Japan, and he came to see that many of his visions of Japan have become a reality:
Modern Japan simply was cyberpunk. The Japanese themselves knew it and delighted in it. I remember my first glimpse of Shibuya, when one of the young Tokyo journalists who had taken me there, his face drenched with the light of a thousand media-suns—all that towering, animated crawl of commercial information—said, "You see? You see? It is Blade Runner town." And it was. It so evidently was.
Cyberpunk themes have appeared in many anime and manga, including the ground-breaking Appleseed, Ghost in the Shell, Ergo Proxy,Megazone 23, Neo Tokyo, Goku Midnight Eye, Cyber City Oedo 808, Bubblegum Crisis, A.D. Police: Dead End City, Angel Cop, Extra, Blame!, Armitage III, Texhnolyze, Neon Genesis Evangelion and Psycho-Pass.
Akira (1982 manga) and its 1988 anime film adaptation have influenced numerous works in animation, comics, film, music, television and video games. Akira has been cited as a major influence on Hollywood films such as The Matrix, Chronicle, Looper, Midnight Special, and Inception, as well as cyberpunk-influenced video games such as Hideo Kojima's Snatcher and Metal Gear Solid, Valve's Half-Life series and Dontnod Entertainment's Remember Me. Akira has also influenced the work of musicians such as Kanye West, who paid homage to Akira in the "Stronger" music video, and Lupe Fiasco, whose album Tetsuo & Youth is named after Tetsuo Shima. The popular bike from the film, Kaneda's Motorbike, appears in Steven Spielberg's film Ready Player One, and CD Projekt's video game Cyberpunk 2077.
Ghost in the Shell (1989) influenced a number of prominent filmmakers. Its 1995 anime film adaptation inspired The Wachowskis to create The Matrix (1999) and its sequels. The Matrix series took several concepts from the film, including the Matrix digital rain, which was inspired by the opening credits of Ghost in the Shell, and the way characters access the Matrix through holes in the back of their necks. Other parallels have been drawn to James Cameron's Avatar, Steven Spielberg's A.I. Artificial Intelligence, and Jonathan Mostow's Surrogates.
The original video animation Megazone 23 (1985) has a number of similarities to The Matrix. Battle Angel Alita (1990) has had a notable influence on filmmaker James Cameron, who was planning to adapt it into a film since 2000. It was an influence on his TV series Dark Angel, and he is the producer of the 2018 film adaptation Alita: Battle Angel.
There are many cyberpunk video games. Popular series include the Megami Tensei series, Deus Ex series, Syndicate series, and System Shock and its sequel. Other games, like Blade Runner, Ghost in the Shell, and the Matrix series, are based upon genre movies, or role-playing games (for instance the various Shadowrun games).
Several RPGs called Cyberpunk exist: Cyberpunk, Cyberpunk 2020 and Cyberpunk v3, by R. Talsorian Games, and GURPS Cyberpunk, published by Steve Jackson Games as a module of the GURPS family of RPGs. Cyberpunk 2020 was designed with the settings of William Gibson's writings in mind, and to some extent with his approval, unlike the approach taken by FASA in producing the transgenre Shadowrun game. Both are set in the near future, in a world where cybernetics are prominent. In addition, Iron Crown Enterprises released an RPG named Cyberspace, which was out of print for several years until recently being re-released in online PDF form. CD Projekt Red is currently developing Cyberpunk 2077, a cyberpunk first-person open world RPG video-game based on the tabletop RPG Cyberpunk 2020. In 1990, in a convergence of cyberpunk art and reality, the United States Secret Service raided Steve Jackson Games's headquarters and confiscated all their computers. Officials denied that the target had been the GURPS Cyberpunk sourcebook, but Jackson would later write that he and his colleagues "were never able to secure the return of the complete manuscript; [...] The Secret Service at first flatly refused to return anything – then agreed to let us copy files, but when we got to their office, restricted us to one set of out-of-date files – then agreed to make copies for us, but said "tomorrow" every day from March 4 to March 26. On March 26 we received a set of disks which purported to be our files, but the material was late, incomplete and well-nigh useless." Steve Jackson Games won a lawsuit against the Secret Service, aided by the new Electronic Frontier Foundation. This event has achieved a sort of notoriety, which has extended to the book itself as well. All published editions of GURPS Cyberpunk have a tagline on the front cover, which reads "The book that was seized by the U.S. Secret Service!" Inside, the book provides a summary of the raid and its aftermath.
Cyberpunk has also inspired several tabletop, miniature and board games such as Necromunda by Games Workshop. Netrunner is a collectible card game introduced in 1996, based on the Cyberpunk 2020 role-playing game. Tokyo NOVA, debuting in 1993, is a cyberpunk role-playing game that uses playing cards instead of dice.
Some musicians and acts have been classified as cyberpunk due to their aesthetic style and musical content. Often dealing with dystopian visions of the future or biomechanical themes, some fit more squarely in the category than others. Bands whose music has been classified as cyberpunk include Psydoll, Front Line Assembly, Clock DVA and Sigue Sigue Sputnik. Some musicians not normally associated with cyberpunk have at times been inspired to create concept albums exploring such themes. Albums such as Gary Numan's Replicas, The Pleasure Principle and Telekon were heavily inspired by the works of Philip K. Dick. Kraftwerk's The Man-Machine and Computer World albums both explored the theme of humanity becoming dependent on technology. Nine Inch Nails' concept album Year Zero also fits into this category. Fear Factory concept albums are heavily based upon future dystopia, cybernetics, clash between man and machines, virtual worlds. Billy Idol's Cyberpunk drew heavily from cyberpunk literature and the cyberdelic counter culture in its creation. 1. Outside, a cyberpunk narrative fueled concept album by David Bowie, was warmly met by critics upon its release in 1995. Many musicians have also taken inspiration from specific cyberpunk works or authors, including Sonic Youth, whose albums Sister and Daydream Nation take influence from the works of Philip K. Dick and William Gibson respectively.
Vaporwave and synthwave are also influenced by cyberpunk. The former has been interpreted as a dystopian critique of capitalism in the vein of cyberpunk and the latter as a nostalgic retrofuturistic revival of aspects of cyberpunk's origins.
Media related to Cyberpunk cityscapes at Wikimedia Commons
Several subcultures have been inspired by cyberpunk fiction. These include the cyberdelic counter culture of the late 1980s and early 90s. Cyberdelic, whose adherents referred to themselves as "cyberpunks", attempted to blend the psychedelic art and drug movement with the technology of cyberculture. Early adherents included Timothy Leary, Mark Frauenfelder and R. U. Sirius. The movement largely faded following the dot-com bubble implosion of 2000.
Cybergoth is a fashion and dance subculture which draws its inspiration from cyberpunk fiction, as well as rave and Gothic subcultures. In addition, a distinct cyberpunk fashion of its own has emerged in recent years which rejects the raver and goth influences of cybergoth, and draws inspiration from urban street fashion, "post apocalypse", functional clothing, high tech sports wear, tactical uniform and multifunction. This fashion goes by names like "tech wear", "goth ninja" or "tech ninja". Important designers in this type of fashion are ACRONYM, Demobaza, Boris Bidjan Saberi, Rick Owens and Alexander Wang.
The Kowloon Walled City in Hong Kong (demolished in 1994) is often referenced as the model cyberpunk/dystopian slum as, given its poor living conditions at the time coupled with the city's political, physical, and economic isolation has caused many in academia to be fascinated by the ingenuity of its spawning.
As a wider variety of writers began to work with cyberpunk concepts, new subgenres of science fiction emerged, some of which could be considered as playing off the cyberpunk label, others which could be considered as legitimate explorations into newer territory. These focused on technology and its social effects in different ways. One prominent subgenre is "steampunk," which is set in an alternate history Victorian era that combines anachronistic technology with cyberpunk's bleak film noir world view. The term was originally coined around 1987 as a joke to describe some of the novels of Tim Powers, James P. Blaylock, and K.W. Jeter, but by the time Gibson and Sterling entered the subgenre with their collaborative novel The Difference Engine the term was being used earnestly as well.
Another subgenre is "biopunk" (cyberpunk themes dominated by biotechnology) from the early 1990s, a derivative style building on biotechnology rather than informational technology. In these stories, people are changed in some way not by mechanical means, but by genetic manipulation. Paul Di Filippo is seen as the most prominent biopunk writer, including his half-serious ribofunk. Bruce Sterling's Shaper/Mechanist cycle is also seen as a major influence. In addition, some people consider works such as Neal Stephenson's The Diamond Age to be postcyberpunk.
Role playing game publisher R. Talsorian Games, owner of the Cyberpunk 2020 franchise, trademarked the word "Cyberpunk" in the United States in 2012. Video game developer CD Projekt, which is developing Cyberpunk 2077, bought the U.S. trademark from R. Talsorian Games, and has filed a trademark in the European Union.
Akira (Japanese: アキラ Hepburn: Akira) is a 1988 Japanese animated post-apocalyptic cyberpunk film directed by Katsuhiro Otomo, produced by Ryōhei Suzuki and Shunzō Katō, and written by Otomo and Izo Hashimoto, based on Otomo's manga of the same name. The film had a production budget of ¥1.1 billion ($9 million), making it the most expensive anime film of its time.Set in a dystopian 2019, Akira tells the story of Shōtarō Kaneda, a leader of a local biker gang whose childhood friend, Tetsuo Shima, acquires incredible telekinetic abilities after a motorcycle accident, eventually threatening an entire military complex amidst chaos and rebellion in the sprawling futuristic metropolis of Neo-Tokyo. While most of the character designs and settings were adapted from the manga, the plot differs considerably and removes much of the last half of the manga.
Akira premiered in Japan on 16 July 1988 by Toho, and was released the following year in the United States by pioneering animation distributor Streamline Pictures. It garnered an international cult following following its theatrical and VHS releases, eventually earning over $80 million worldwide from home video sales. It is widely considered by critics to be one of the greatest animated and science fiction films of all time, as well as a landmark in Japanese animation. It is also a landmark film in the cyberpunk genre, particularly the Japanese cyberpunk subgenre, as well as adult animation. The film had a significant impact on popular culture worldwide, paving the way for the growth of anime and Japanese popular culture in the Western world as well as influencing numerous works in animation, comics, film, music, television and video games.Altered Carbon (TV series)
Altered Carbon is an American dystopian cyberpunk neo-noir science fiction action thriller web television series created by Laeta Kalogridis and based on the 2002 novel of the same title by English author Richard K. Morgan. The first season consists of ten episodes and premiered on Netflix on February 2, 2018.On July 27, 2018, the series was renewed for a second season of eight episodes.Biopunk
Biopunk (a portmanteau of "biotechnology" or "biology" and "punk") is a subgenre of science fiction that focuses on biotechnology. It is derived from cyberpunk, but focuses on the implications of biotechnology rather than information technology. Biopunk is concerned with synthetic biology. It is derived of cyberpunk involving bio-hackers, biotech mega-corporations, and oppressive government agencies that manipulate human DNA. Most often keeping with the dark atmosphere of cyberpunk, biopunk generally examines the dark side of genetic engineering and represents the low side of biotechnology.Biorobotics
Biorobotics covers the fields of cybernetics, bionics and even genetic engineering as a collective study.
Biorobotics may make robots that emulate or simulate living biological organisms mechanically or even chemically, or make biological organisms as manipulatable and functional as robots, or use biological organisms as components of robots. Biorobotics could use genetic engineering to create organisms designed by artificial means.Bruce Sterling
Michael Bruce Sterling (born April 14, 1954) is an American science fiction author known for his novels and work on the Mirrorshades anthology. This work helped to define the cyberpunk genre.Cyber City Oedo 808
Cyber City Oedo 808 (Japanese: サイバーシティ OEDO 808) is a 1990-1991 cyberpunk original video animation. It was directed by Yoshiaki Kawajiri. Set in the year 2808 in the city of Oedo (Tokyo), it tells the story of three criminals who are enlisted into fighting crime in exchange for reduced sentences. They are Sengoku, an anti-social maverick, Gogol, a mohawk wearing hacker, and Benten, an androgynous bishōnen.
The UK release of the OVA includes a completely new score by Rory McFarlane.Cyberdelic
Cyberdelic (a portmanteau word combining prefix "cyber-" and "psychedelic") is a term used to refer to either:
Immersion in cyberspace as a psychedelic experience.
The fusion of cyberculture and the psychedelic subculture into a new counterculture of the 1980s and 1990s.
Psychedelic art created by calculating fractal objects and representing the calculation results as still images, animations, music, or other media.
Rave dance parties where DJs and other performers play psychedelic trance music, with the accompaniment of laser light shows, projected images, and artificial fog. Attendees often use "club drugs".Cybergoth
Cybergoth is a subculture that derives from elements of goth, raver, and rivethead fashion. Unlike traditional goths, Cybergoths primarily listen to electronic music more often than rock music.Cyberpunk 2020
Cyberpunk, mainly known by its second edition title Cyberpunk 2020, is a cyberpunk role-playing game written by Mike Pondsmith and published by R. Talsorian Games in 1988. Because of the release in 1990 of the second edition, set in a fictional 2020, the first edition is often now referred to as Cyberpunk 2013, following the fictional year, 2013, in which the game was set when it was first released in 1988. The third edition, published by R. Talsorian Games in 2005, is referred to as Cyberpunk V3.0 and is set further along the same fictional timeline as the former editions, during the 2030s.Cyberpunk 2077
Cyberpunk 2077 is an upcoming role-playing video game developed and published by CD Projekt, releasing for Microsoft Windows, PlayStation 4, and Xbox One. Adapted from the 1988 tabletop game Cyberpunk 2020, it is set fifty-seven years later in dystopian Night City, California, an open world with six distinct regions. In a first-person perspective, players assume the role of the customisable mercenary V, who can apply experience points to stat upgrades to reach prominence in three character classes. V has an arsenal of ranged weapons and options for melee combat.
Cyberpunk 2077 is being developed by CD Projekt Red, an internal studio within CD Projekt, using the REDengine 4 game engine. They launched a new division in Wrocław and partnered with Digital Scapes to assist production. Over 400 development staff members were working on the game as of early 2019, exceeding the number that worked on The Witcher 3: Wild Hunt.Cyberpunk derivatives
A number of cyberpunk derivatives have become recognized as distinct subgenres in speculative fiction. These derivatives, though they do not share cyberpunk's computers-focused setting, may display other qualities drawn from or analogous to cyberpunk: a world built on one particular technology that is extrapolated to a highly sophisticated level (this may even be a fantastical or anachronistic technology, akin to retro-futurism), a gritty transreal urban style, or a particular approach to social themes.
One of the most well-known of these subgenres, steampunk, has been defined as a "kind of technological fantasy", and others in this category sometimes also incorporate aspects of science fantasy and historical fantasy. Scholars have written of these subgenres' stylistic place in postmodern literature, and also their ambiguous interaction with the historical perspective of postcolonialism.American author Bruce Bethke coined the term "cyberpunk" in his 1980 short story of the same name, proposing it as a label for a new generation of punk teenagers inspired by the perceptions inherent to the Information Age. The term was quickly appropriated as a label to be applied to the works of William Gibson, Bruce Sterling, John Shirley, Rudy Rucker, Michael Swanwick, Pat Cadigan, Lewis Shiner, Richard Kadrey, and others. Science fiction author Lawrence Person, in defining postcyberpunk, summarized the characteristics of cyberpunk thus:
Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.
The relevance of cyberpunk as a genre to punk subculture is debatable and further hampered by the lack of a defined cyberpunk subculture; where the small cyber movement shares themes with cyberpunk fiction and draws inspiration from punk and goth alike, cyberculture is much more popular though much less defined, encompassing virtual communities and cyberspace in general and typically embracing optimistic anticipations about the future. Cyberpunk is nonetheless regarded as a successful genre, as it ensnared many new readers and provided the sort of movement that postmodern literary critics found alluring. Furthermore, author David Brin argues, cyberpunk made science fiction more attractive and profitable for mainstream media and the visual arts in general.Japanese cyberpunk
Japanese cyberpunk refers to a genre of underground film produced in Japan starting in the 1980s. It bears some resemblance to the 'low life high-tech' cyberpunk as understood in the West, however differs in its representation of industrial and metallic imagery and an incomprehensible narrative. The origins of the genre can be traced back to the 1982 film Burst City, before the genre was primarily defined by the 1989 film Tetsuo: The Iron Man.Japanese cyberpunk also refers to a subgenre of manga and anime works with cyberpunk themes. This subgenre began in 1982 with the debut of the manga series Akira, with its 1988 anime film adaptation later popularizing the subgenre. Akira inspired a wave of Japanese cyberpunk works, including manga and anime series such as Ghost in the Shell, Battle Angel Alita, Cowboy Bebop, and Serial Experiments Lain. Cyberpunk anime and manga have been influential on global popular culture, inspiring numerous works in animation, comics, film, music, television and video games.List of cyberpunk works
This is a list of works classified as cyberpunk, a subgenre of science fiction. Cyberpunk is characterized by a focus on "high tech and low life" in a near-future setting.Megacorporation
Megacorporation, mega-corporation, or megacorp, a term popularized by William Gibson, derives from the combination of the prefix mega- with the word corporation. It has become widespread in cyberpunk literature. It refers to a corporation (normally fictional) that is a massive conglomerate (usually private), holding monopolistic or near-monopolistic control over multiple markets (thus exhibiting both a horizontal and a vertical monopoly). Megacorps are so powerful that they can ignore the law, possess their own heavily armed (often military-sized) private armies, be the operator of a privatized police force, hold "sovereign" territory, and even act as outright governments. They often exercise a large degree of control over their employees, taking the idea of "corporate culture" to an extreme. Such organizations as a staple of science fiction long predate cyberpunk, appearing in the works of writers such as Philip K. Dick (Do Androids Dream of Electric Sheep?, 1968), Thea von Harbou (Metropolis, 1927), Robert A. Heinlein (Citizen of the Galaxy, 1957), Robert Asprin (The Cold Cash War, 1977), and Andre Norton (the Solar Queen novels). The explicit use of the term in the Traveller science fiction roleplaying game from 1977 predates Gibson's use of it.Neal Stephenson
Neal Town Stephenson (born October 31, 1959) is an American writer known for his works of speculative fiction.
His novels have been categorized as science fiction, historical fiction, cyberpunk, postcyberpunk, and baroque.
Stephenson's work explores subjects such as mathematics, cryptography, linguistics, philosophy, currency, and the history of science. He also writes non-fiction articles about technology in publications such as Wired. He has also written novels with his uncle, George Jewsbury ("J. Frederick George"), under the collective pseudonym Stephen Bury.
Stephenson has worked part-time as an advisor for Blue Origin, a company (founded by Jeff Bezos) developing a spacecraft and a space launch system, and is also a cofounder of Subutai Corporation, whose first offering is the interactive fiction project The Mongoliad. He is currently Magic Leap's Chief Futurist.New Rose Hotel (film)
New Rose Hotel is a 1998 American cyberpunk erotic drama film co-written and directed by Abel Ferrara and starring Christopher Walken, Willem Dafoe and Asia Argento. It is based on William Gibson's story of the same name.Tech noir
Tech-noir (also known as future noir and science fiction noir) is a hybrid genre of fiction, particularly film, combining film noir and science fiction, epitomized by Ridley Scott's Blade Runner (1982) and James Cameron's The Terminator (1984). The tech-noir presents "technology as a destructive and dystopian force that threatens every aspect of our reality."Cameron coined the term in The Terminator, using it as the name of a nightclub, but also to invoke associations with both the film noir genre and with futuristic sci-fi.Twilight of the Dark Master
Twilight of the Dark Master (支配者の黄昏, Shihaisha no Tasogare) is a Japanese manga by Saki Okuse, and an anime film adaptation. The film was produced by Masao Maruyama, directed by Akiyuki Shinbo, and the screenplay was written by Duane Dell'Amico. The film was distributed and licensed in 1997 by Urban Vision.William Gibson
William Ford Gibson (born March 17, 1948) is an American-Canadian speculative fiction writer and essayist widely credited with pioneering the science fiction subgenre known as cyberpunk. Beginning his writing career in the late 1970s, his early works were noir, near-future stories that explored the effects of technology, cybernetics, and computer networks on humans—a "combination of lowlife and high tech"—and helped to create an iconography for the information age before the ubiquity of the Internet in the 1990s. Gibson notably coined the term "cyberspace" in his short story "Burning Chrome" (1982) and later popularized the concept in his acclaimed debut novel Neuromancer (1984). These early works have been credited with "renovating" science fiction literature.
After expanding on Neuromancer with two more novels to complete the dystopic Sprawl trilogy, Gibson collaborated with Bruce Sterling on the alternate history novel The Difference Engine (1990), which became an important work of the science fiction subgenre steampunk. In the 1990s, Gibson composed the Bridge trilogy of novels, which explored the sociological developments of near-future urban environments, postindustrial society, and late capitalism. Following the turn of the century and the events of 9/11, Gibson emerged with a string of increasingly realist novels—Pattern Recognition (2003), Spook Country (2007), and Zero History (2010)—set in a roughly contemporary world. These works saw his name reach mainstream bestseller lists for the first time. His more recent novel, The Peripheral (2014), returned to a more overt engagement with technology and recognizable science fiction concerns.
In 1999, The Guardian described Gibson as "probably the most important novelist of the past two decades," while the Sydney Morning Herald called him the "noir prophet" of cyberpunk. Throughout his career, Gibson has written more than 20 short stories and 10 critically acclaimed novels (one in collaboration), contributed articles to several major publications, and collaborated extensively with performance artists, filmmakers, and musicians. His work has been cited as an influence across a variety of disciplines spanning academia, design, film, literature, music, cyberculture, and technology.
|Literature and poetry|
|Cinema and theatre|
|By movement |
|By demographic groups|