Narrative Flaws As Big As My Balls: Sterile Corporate Storytelling In Cyberpunk 2077

RND/ to consider narrative design in Cyberpunk 2077 the nuanced storytelling equivalent of (Say) Escape From L.A

This, from a medium constantly claiming to be the final word in.. whatever

To imagine possible minor improvements to narrative / storytelling technique in Cyberpunk 2077 – whose gameplay demo sounds designed by people called Meredith Stout with joyless faces of corporate convent nun’s cats – who seem to get ir tryhard ideas about futuristic storytelling from listening to LOLtube comments left by edgelords

Cyberpunk is Dead, part n

“Why do you sound like a badly written 2D character from an oldskool videogame?”

Consider Cyberpunk as expressed in 2077 as simple vat clone of contemporary global Capitalism – only with wack visible seam lines in faces – but with exact same awful cheesy speech one merely puts up with like anal warts – merely ‘passable’ rather than actually good

cyberpunk-2077-joyless-corporate-narrative-agent
Joyless Corporate Narrative Agent

Where such amazingly hammy dialogue sounds like prerequisite for communication in this universe – as though one can only express meaning via commonly accepted cliche and poorly directed acting – all subtlety / nuance seems positively outlawed

2077 feels like two fish in tank who don’t know or care that very synthetic air ir breathing consists of vast network of information / capital – strictly fiscal universe built from groundless ground up for nothing but (brain stunningly big) business

Scenes from Cyberpunk 2077 Gameplay reveal:

Perhaps x this willful ignorance of social context – ie ideology – that allows or rather forces ey to blindly mill around ir sterile megacity like utter wankers – call ey flatheads – brainless fashion models out of some awful reality-invading reality-tv show/ strutting around like remote controlled robotic peacocks on catwalks – trippin

Where are actually ugly people – even ones with extreme body mods look nicely presented – clean dirt carefully applied to bad actors faces

Just take look at ey – x like ey dont have clue or even look like ey remotely feel need to go look for one – oh except for ir two titular laughably swaggering cold-pressed antiheros who through take control of ir financial destiny for better tomorrow via same simple fiscal based force used by inherently evil near future mega corporations

Simply because ey do what ‘corpse’ does on smaller daily scale – dirty schemes / scams / common / garden holdups / data muggings done dirt cheap – this apparently / automatically gives ey upper moral handedness – heck ir just another economic hit team in all but name eg. “Murda R Us”

Note ironic symbolism: people in 2077 refer to money as ‘eddies’ – in other worlds tiny whirlpools of chaos with violently unpredictable patterns of movement / growth

Despite flash / dash / hype on this Cyberpunk train to nowhere – x just more of same material conditions of monetary virtuality ey see today just amped up on bad designer media steroids – like some top floor executive producer saw gameplay footage and said “It’s fine I guess – just er make it a bit Darker/TM

Thing is, modern Cyberpunk seems about as dark as a Cybergoth Dance Party:

Incidentally, ‘Dark’ just means “Oh wow cool! Another futuristic jerkoff scenario where I grow up to be the biggest version of the hateful cyber-hole I am already and get to do whatever the hell I want [/without mommy telling me off]”

“Your Cyberpunk Moms”

To imagine if someone street NPC were to gaze off longingly in middle distance to state “I miss the memory of trees” or “I hate working. I just want the chance to live” or “My boss is an asshole and ey want you to quietly spatterkill him” – but no/ people here are simply raw human resources – material for coldly calculating (death) dealing machines to process into resellable consumption units

Small yet meaningful (in terms of relationship) things could drastically improve such a deserted narrative blandscape

  • if one of the main characters sniffed and then rubbed ir nose slightly
  • if they blinked as though thinking/ indeed if they didnt just say their lines straight from beginning to end but paused for effect: “-And *you*.. you positively *reek* of Militech”
  • if ey asked if someone else had a stick of pineapple gum
  • if ey seemed remotely concerned for ir partner in rhyme acting like big brother or sister figure
  • “You really like those spicy noodles, huh.. I can’t eat em they give me gas”
  • if there was some 24/7 feeling of weariness resulting from living in city built entirely of crime
  • about how racism / tribalism is still a problem
  • if someone robbed an obvious out of towner tourist of ir smart phone
  • if someone were told to hurry up or move
  • if someone were on the street alone homeless and crying/ expressing social problems generally
  • long term side effects of constant drug use of all kinds – chemical or informational
  • if players are forced to infer indirect information

Indeed relationship / friendship is all ey have – not ott guns or cool jackets that give ‘street cred‘ *pfff* – whats ir intimate inner relationship to others – fellow megacity dwellers – as expressed through careful and deliberate narrative choices / queues – or is it all just unceasing automated ‘dance of biz’ as gibson states

no-mean-city-rodney-matthews
We love tourists here: “No Mean City” by Rodney Matthews

Rather than some / yet another effortlessly / narratively cringy [CYBERCRINGE?] hyper generic gunporn power fantasy/ to consider x about relationships to “in-world relationships expressed as things” – responses both emotional / aesthetic – which delicately signal to players about whose skin ey currently inhabit

// how to play big science