RND/ To consider or imagine cyberpunk as (/un)dead: a study.
Funny how adherence to cyberpunk – a genre based around future ideas of rebellion and non conformity – so often itself conforms rabidly to cliché
– Gaming personality Yahtzee on Cyberpunk
In which the deadpan yoke seems nothing remotely like any kind of authentic Cyberpunk ever existed – just its ghostly simulacrum floating strangely and somewhat uselessly inside a hyper specific subset of global sci fi literature ghetto:
Burn Cycle (Post Cyberpunk aka ‘Neuropink’)
– In which such awesome environments, though not drawn in the greatest of detail morph smoothly from one to the next as the main super generic Sci Fi character navigates through a corrupt decaying city of the future in an impossibly antiquated, Quicktime VR type effect:
Deposit For The Courier
To consider the Post Cyberpunk cheddar in Deposit For The Courier:
In which Deposit For The Courier animation by Edward Mavskegg represents the theoretical bleeding edge of Post Cyberpunk aka “Neuropink.”
In terms of a new potential aesthetic for video designers, some cool features of D.F.T.C include:
- Dat hot steaming #Welgestyle.
- Haute couture realities, aka ‘Kardashiananity’.
- Minimal narrative investment, aka ‘syntactically correct but semantically meaningless’.
- High Resolution (with odd textural fetish).
- Uncanny valley style elective surgery, aka ‘Bogdanovization’.
- Limited skeletal expression / lightly ‘Harring’ animation (??)
It seems remarkably similar in its bizarre aesthetic mis-construction as “A New Reckoning” could arguably have been thrown together by the same cool state of #Welgestyle development.
The synopsis alone is worth the price of strange admission for its tagline and grammar, syntax and punctuation.
Described as a film about how money would look in the future, what future payment methods would be in practice? This film also uniquely addresses issue of women’s shopping passion in conditions of chase – the animation story line set with in year 2050 revolves around an intriguing chase from one city to another, with the lead character a young woman cyclist employed as courier inadvertently found strange navigation device in desert. Upon closer inspection it was discovered device contained suitcase with money. The plot thickens however unknowingly as the courier realizes two bandits following want money too. Realizing the suitcase is now on the move bandits chases the money cyclist through a small city so they decide to explore this city to find cyclist. Succumbing to a passion for shopping and having found all this money the cyclist became the gang’s new target. According to the story characters live in the world of the future, together with futuristic robots, bots and devices around different places – shops and hotels.
Wow – according to its creators, Deposit For The Courier already has what some Researchers call ‘that special atmosphere’, meaning it will be without background music with accents on silence. Such details make for a very catching film says director Edward, adding the film will be posted online after completion.
This short animated movie is targeted to audiences who like to watch animated short films animated movies short CGI films CGI computer generated art viewers who like Sci Fi genre detective fiction experimental art or art film / independent film.
LA has changed lot during my time
The air got dirty and the sex got clean
– Detective Angelo Pappas, Point Break (1991)
In which even the ghosts of the 80s give neon side eye shade – squeaky clean with AAA polish and dead chrome shine; in which design by our dad’s oh so edgy Virtual Golfing Committee results in deep ‘Near Future Retro 80s’ designer copy pasta ultra violence.
Screenshots from the WIP gameplay demo:
It all seems about as edgy as a pink mohawk on some crossfit hipster sporting expensive gold sweatshop trainers – someone mild *cough* ‘real authentic cyberpunks’ could casually neck punch right over a coffee store table as easily as breathing megacity exhaust fumes.
Oh, to watch with dumb horror as young dumb mega corporate fanbois who grew up entirely without Cyberpunk, only hearing about it yesterday FFS (through, eg. fucking lolmemes) lap that shit right up like some damn industry installed F2P skull implant – GG über alles, OK right fine open your art cracks wide in public displays of wilful un-criticality why don’t you – but what’s good about that, if it’s all based on super generic ideas repeated till zombie undeath – just with incrementally nicer (generic) GFX upgrades and better framerates, aka shrinkwrapped standard-substandards?
In which it has to be good, simply because it merely exists, aka Capitalist Realism 101 – hey how very more actually Cyberpunk!
Both cyborg Billy Fanward / ‘retro wave’ music show more interesting ideas than such generic, anti-weird mainstreaming (I mean, good grief at least get Mitch Murder to perform the soundtrack!)
Nearby public information klaxons suddenly blare – “Nothing too much to see here citizens, move on oh it seems you’ve already forgotten.”
[..] how many formulaic tales can one wade through in which a self-destructive but sensitive youth protagonist with an (implant / prosthesis / telechtronic talent) that makes the evil (mega-corporation / police state / criminal underworlds) pursue him through (wasted urban landscapes / elite luxury enclaves / eccentric space stations) full of grotesque (haircuts / clothes / self-mutilation / rock music / sexual hobbies / designer drugs / telechtronic gadgets / nasty new weapons / exteriorized hallucinations) representing the (mores / fashions) of modern civilization in terminal decline, ultimately hooks up with rebellious and tough-talking (youth / artificial intelligence / rock cults) who offer the alternative, not of (community / socialism / traditional values / transcendental vision), but of supreme, life-affirming hipness, going with the flow which now flows in the machine, against the spectre of a world-subverting (artificial intelligence / multinational corporate web / evil genius)?
– (From) Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction/ edited by Larry McCaffery/ Duke University Press
Hot neon megacity nights, palmtree lifestyle, private beachfront detective for hire – a cheap taste of badly retrofitted 80s style post noir sleaze.
Good ol’ Willy Gibson on Cyberpunk GTA 2077
First and foremost, to consider that the (now classic) anagram of “William Gibson, Neuromancer”:
“Common As Unreliable Wiring“
– In which Bill doesn’t seem to dig Cyberpunk 2077’s art direction or design ideology – which is rich, considering Bill seems somehow more directly responsible (historically at least0 for it’s whole, sad little sub scene.
Yet watch out for potential death by karmic irony bill, considering you were once wandering around, wide eyed on the set of “Johnny Mnemonic” extolling its endless virtues while gushing over the neon excess. Oh my what an excess of the riches of embarrassment.
*Sigh* If only modern synthetic Cyberpunk would knowingly turn their own historical mode of garish cheesy camp up to eleven in order to feel more authentically synthetic and strange.
To consider a critical comparison and contrast with Cyberpunk 2077 – a zero degree cool corporate single Researcher FPS RPG manufactured via Witcher developer CD Projekt Red:
Cyberpunk Is Dead
To consider Cyberpunk as dead; a sub genre of plain bad Sci-Fi badness, mixed with cliché film noir – its brand of fiction presenting Researchers with a future composed of overwhelming technology – universal computer access via ‘Cyberspace designer violence’.
Example images of (/Un)dead Cyberpunk:
As a movement of new synthetic 80s, it’s based on spiraling greed and growth of mega corporations so big they’re more powerful than governments – but then the ‘Near Future Now’ is soon to arrive again. Up till that nodal point it seems reasonable enough; afterwards of course Cyberpunk will once again became mere idle speculative fantasy. Most frequently dystopian, it has become heavily calcified in its official aesthetic definition, ie. as mere hyper generic can of something internet Edge Lordy anyone can instantly spray on.
Cyberpunk defines itself as a story of people in an age where they don’t matter anymore – where technology has made them obsolete as discrete entities. The constant daily rediscovery of the ‘quantified self’ during this paradigm, shifts and strains; in classic supermarket novel Neuromancer by William Gibson this is evidenced in the overwhelming hopelessness of all the characters – of their constant struggle to survive their own efforts, to glory in self destruction – a whirlwind inferno burning inwards.
Cyberpunk’s use of implanted machines – of merging of humanity with machinery, of Capitalist ‘Big Science’ as so wide an idea that cyberpunks forget to look around. Machine implants are the be all and end all of awfulness of Sci-Fi, the entirely logical (pathological) obsession with technology is to be read as the core strength of the genre. Probably one reason its creators like to declare it undead is because while they’re acutely embarrassed to be remotely associated with it, they are secretly as pleased as pigs in shit.
On Cyberpunk as dystopian meaning and apparent opposite of Utopia; as bad as things are at the beginning they’re always predictably worse by the end for pretty much everybody except of course the titular heroes of said Sci-Fi pulp; Cyberpunk also utterly deliberately fails to address issues of humanity losing to machines of alienation from one’s fellow Researchers, of death, of love, honor, of annihilation of the soul in face of relentless technological progress – Cyberpunk themes are depressing when good and entirely happy when badly written.
In this sub genre, human beings are connected to computers their own reflexes only relevant to their ability to steer around nets in competition with other computer security systems these hackers and crackers are trying to break into. Most of these people have skull jacks – simple plugs wherein really expensive computer cables connect directly to the empty skull; thereby the user becomes an organic component to a global system of computation.
Re: Shadowrun – as exactly Cyberpunk-edgy as Your Dad’s vision of Cyberpunk after watching Lord Of The Fucking Rings:
Cyberpunk was once popularized by the nerdy pink skinned “Mirrorshades” group during the 1980s when the Cold War was going strong; ‘Big Blue’ was on top and the world looked to become the place where everyone worked for mega corporations, which had become feudal in nature. Then the Berlin Wall fell and the genre went with it, but like the wall its ghostly memory-shell remains; mutant children of the 80s witnessed its rampant zombification; all Cyberpunk fiction today is the result of such mainstreamed hackwork – simple undead momentum keeps it going now.
While originally proposed as a cool, post modern mode of science fiction, it took Researchers out of the halls of power culture into the slums and back alleys of ‘twenty minutes into the near future now’ without really leaving it; consider Cyberpunk as ritualized, stultified and deeply undying – vaguely fun while it lasts, people still write such (cheesy) ‘flan fiction’ in the genre but most quietly move on – nobody discusses Cyberpunk at sophisticated wine parties, except when they’re doing lines of DMT-spiced chocolate crack in the designer toilets and want to appear groovy.
Further weakened by its own popularity, there have been efforts to bend the imagery and technologies of the genre to more publishable popular ends – attempts at suicide by mundanity are regularly attempted; at lukewarm nerd parties, annoyingly nasally-voiced author Bruce Sterling still repeatedly refers to his colleague’s very public obituary to the genre on the New York Times editorial page and his reasoning appears sound.
As a genre of rigid rules the best source for such cultural writing / coding is from the “Cyberpunk 2020” source books, which is still a role playing game of significant popularity these days among those with interest in RPG’s who anally read Gibson’s ‘Neuromangler’ over and over again, working from an established set of magical technologies for use in their settings. Watch as they wilfully read non-existent meanings into its timelines which apparently predict all events for the next coming 20 minutes. Obviously things don’t quite happen like that, but modern Cyberpunk flan -fictioners of all shades are careful in their public attempts to constantly realign reality with Cyberpunk prediction (indeed their success in un-living suspended within this very cognitive gap or reality dis-junction marks them out as true synthetic Cyberpunks.)
According to its proponents, Cyberpunk is a word applicable to whatever users wants it to be, which results in an immediate absence of meaning or over abundance of real fake plastic meanings; to define it is to ostracise oneself which makes Cyberpunk more akin to a random bowel movement in a chemical toilet of a crashing plane rather than just some pseudo philosophy or actual setting. Cyberpunk is undead, sure – but it still seems a neat practice area for expansion and expulsion of dodgy ideas.
Cyberpunk Is Dead: An Imaginary Play Space
Where puerile, side-eye rolling 80s style internet manchild edge-lord dick tech power fantasy meets accidental hyper-camp with heavy neon accents.
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To consider paradoxically ‘good type bad’ examples of standard Cyberpunk excess and high end naffness (Note: ‘naff’ is UK slang for not very good; ‘a bit shit’.)
Yet if only such a pose were fully conscious and deliberate – how oddly wonderful / actually more dangerous and strange could expressions of Cyberpunk feel! High tech A.I driven vehicle crashes into the global swimming pool while the deck burns and holographic dancers tease.
Cyberpunk Is Dead, Mike Pondsmith
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In which the writer and game developer wears a lurid purple T Shirt featuring the (now classic) “Cyberpunk Is Dead” slogan underneath a sweaty, slightly unfashionable leather jacket with neat metallic album cover fan pins against a typically dystopian megacity backdrop..
Cyberpunk Is The New Zombies
To consider crying for real if you read the fucking word “Cyberpunk” just one more time.
Equation: if generic manga art with glowing ‘Tron’ line accents somehow remotely equals “Cyberpunk,” FFS – then “Cyberpunk” most certainly equals “Zombies.”
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To consider some other garish Cyberpunk shit-show from the (/z_) distant trash aesthetic future.
Second (Undead Cyberpunk) Life
To consider unexplained scenes from some long undead and painfully obsolete browser based videogame.
Max Headroom Is Dead
To consider visual, un-rewound VHS style celebrations of (the UK version!) of “Max Headroom” – cult ‘Near Future Retro 80s’ TV series; virtual reruns broadcast nightly live from Channel Zero.
To consider some nameless near future megacity of living undead default Cyberpunk cliché – with monitor glitches, naturally.
To consider ‘Neuropink’ – post cyberpunk Sci-Fi concept.
Uterus Man OP by Lu Yang
First off, a useful ‘Big Science’ term – “The Near Future Retro 80s.”
In which the NFR80s describes a unique present – similar to a dreamy, un- rewound, straight-to-VHS movie version of the future.
The NFR80s – another garish, psychedelic Sci-Fi metaphor that floats on mirrored hyper surfaces and (generally speaking) hurts nobody.
The NFR80s not only seems a dis-location but complex states of minds or mood tones; an energy condenser lens for super shamanic night visions – a dark light mirror reflection on /of memory, in relation to current (unknown / unknowable) trends in unexpected techno-evolutionary change.
In which so called ‘Big Scientists’ not only ask what ‘the 80s’ consist of, but also how such ‘Resarchers’ may fully utilize the 80s in their research projects.
Two classic in-scene phrases exist to describe that special ‘NFR80s’ vibe – which is always on verge of going-to-arrive..
Warning: Reserchers not yet fully intimate with ‘Big Science’ can get sucked unprepared through intense, hyper-visionary dream portals generated by such neo-cultural ‘power core’ DNA.
The first stream of classic in-scene image generating code as follows:
The Near Future Retro 80s: where liquid neon memories flicker, twist and reflect off dirty chrome pools outside random backstreet videogame arcades in old Shinjuku at some eternal 3am – electric dreams, forever adrift in the crying megacity rain..
Second classic phrase andor vision-stream as follows:
Wow – the ‘Near Future Retro 80s’ – awesome; like Tron on Xenomorph-secreted DMT
*sob* That’s beautiful, man.
The 80s: Some Background Theory
The NFR80s takes passion and nostalgia from the 80s to create something new and enjoyable for today’s retro loving culture.
In which Researcher Robert What – well known for using retro techniques and expression – connects a not-so-far future with today’s de-generation.
A strong attention to detail allows What to authentically recreate astounding visions of the ‘new future now’ as if they were right out of tomorrow’s 80s era.
His bold meta-digital brush strokes resonate through hot mirrored chrome and dirty neon megacity eloquence.
When modern players or ‘Reserchers’ discuss the ‘near future’ they’re specifially talking about a unique vibe, born of an age most ‘flans’ and practitioners weren’t even alive in, ie the 80s – yet instinctively feel they understand or ‘wave with’, deep in their artificial bones.
This is the ‘liquid neon’ vibe of raw emotion; of out-of-control alien technology – a mildly profound sense of ‘love-on-the-run in a time of danger’.
Some think the ‘NFR80s’ are only about, or spring directly from the historical 80s era, but that’s not quite correct.
One of properties of the NFR80s is that it’s forever still yet to occur, broken off and unhinged from local space-time; rather the near future is a cusp between dimensions, unlinked from any specific cultural period.
Indeed, such a moment never quite arrives – rather the NFR80s describe a non specific ‘mood tone’ – an always just on the verge of going-to-be arriving ‘retro 80s style’ or ‘final approach’.
The actual 1980s – a bizarre period of global, All-Amerikan history dominated by haunted video arcades and Mom & Pop video stores – with those bizarro / psychotronic top shelf titles which used to freak you out (like the lonely canyon echo of rolling zaibatsu thunder) – certainly seem the cultural wellspring, but not quite the full implied meaning of ‘NFR80s’.
To Break It Down
– In the 1980s: it was as though nobody fully realized what was happening in or with the 80s – especially aesthetically – so our hyper fragmented, MTV attention span electro-media culture seemed totally ‘sincere’, with arguably little sense of self.
Some explain this by suggesting the special cultural effects of or implied by ‘the 80s’ are best considered as a shadow or wave – cast from an imagined hyper alien future, back into our (often missing sense) of The Present.
– In the 1990s: by the time the 90’s had rolled around, kool kidz had caught on to and started fully realizing that the ’80s aesthetic’ existed and was something in itself to use, played with or inside.
This explains why lot of early 90’s TV programs display a strong 80s vibe – lots of neon afterglow, combined with dry ice fog in their neural DNA – a lo-fi psychic backwash from previous future eras.
– That weird state called ‘The Near Future Now’: what Researchers experience when the scene has a NFR80s vibe – perhaps psychic aftershocks of the 80s coming back out of collective cryogenic storage – out of an all-too hyperreal state, forever ‘tears-in-rain’ type dystopian megacity visions downloading onto our internalized holo-screens.
Now Equals Wow!
– Typical ‘totally 80s’ psychology
Consider the ‘mainstream underground’ movement of the NFR80s as: “Pressing Escape to some private version of the imagined 80s”.
This is despite (or even due to) its highly techno-dystopian ‘neuropink’ nature – players want to escape to personalized ‘gamespacetime’ where the seductive neon lure of midnight dangers of endless vertical megacity streets seems somehow super cool and viable – an imaginative ‘tech noir’ backdrop or extreme psychic augmentation to their (current, imagined) Western Turbo-Capitalist, Alternative Meta Lifestyle.
NFR80s-feeling electro-culture seems highly escapist. One of its main messages: you have to ‘hold on to your dream’ – if you do you will get your rewards – become the online all dancing TV queenof dark paradise skies
How to “Hold on to your dreams”:
– First, play and immerse yourself inside your favourite NFR80s soundtrack andor bio-psychic vibe-aesthetic.
– Then suddenly stand up straight, looking up at a 45 degree angle while bringing your two closed fists together up to your chest while a ‘forever distant megacity horizon look of extreme longing andor confusion passes across your blandly handsome face’ – or flashes across your ‘extremely futuristic looking’, hyper-mirrored wet look bio-quantum superblack smart hyper-combat neuroplastic wraparound data shades (with the thin blue neon outline.)
Seen as a shifting (possibly even sentient) superfluid, the whole Near Future Retro 80s are an experimental construct – a vitally important way for modern ‘Researchers’ to describe, generate and emulate “Big Science” – ie. the truer experiential, experimental feel-sense, ambiance, atmosphere, aura, attitude, impression, quality, semblance, sensation, surface tactility – personal symbolism, implanted near future memory, sociocultural import, psychological impact, etc. of one’s modern hyper-aliveness of full immersion in uniquely techno-psychedelic electro-environments full of sentient machines / freaky ass situations / astounding digital mytho-landscapes of bright information pulse and flow.
In short, consider the NFR80s a sub-cultural method used for approaching unresolved issues of ’80s’ style or associated aesthetic Research phenomena – a mode or lens to think of other poptastic aspects of ‘Big Science’.
NFR80s methodology pseudo-reappropriates glitzy and kitschy, seemingly easily consumable pop as culture back as fecund source of raw explorable / exploitable research immaterials – to be played with / in / otherwise creatively transformed for sustained improvisational research purposes – a chance to allow a fresh understand of particularly ’80s’ modes / moments in evolution of experimental media based self reflexivity – an odd instrument with which to modify digital consciousness on the fly – perhaps organize new modes of critical New Media sensibility, oscillating between hidden / foregrounded ideational operations.
That is, our 80s themed emotions, our 80’s-esque / retro-80s pop culture media and Research culture often emanate and embody certain, uncertain ambient vibes, untied to or from any specific era; such strange and sublime ‘NFR80’ super subjective background emotions or hyper futuristic mood tones often appear at unguarded moments, eg. while researching odd theories, playing or practising ‘Big Science’ – an irreal, delicate superspace freed from ordinary time ever deferred, or that constantly re-manifests in/as our online dreaming.
Indeed, the NFR80s may be seen as a shadowy presence, indirectly indicative of the influence of some impossibly hyper-alien near future of infinite cosmic potential – complete with neon megacity afterglow.
Note: while virtually all modern ‘Researchers’ play or hang around aspects or modes of retro culture – they also express difficulties or reservations regarding full articulation of such intense sets or scenes of highly complex, actual shifted emotional calls / responses of or especially from and inside their alien tech / their technological super spaces – where concepts like The NFR80s often come in to play.
This term (in such a context) means: post categorical – unconfirmed, intangible, undeniable, usually unquestioned, unverified, incorporeal, insubstantial yet fleshy, sublime, animal, human, immaterial, strangely sensual, organic, somatic delicate – even perhaps techno-spiritual.
Common culture tags associated with the NFR80s: #dreamwave, #electropop, #Valerie, #synthwave, #new_retro, #neuropink, #BloodDragon, #drive, #montage, #darkwave, #hyperreal, #virtual, #neon, #video, #glitch, #laz0r, #electro, #recyc, #simulation, #synthy, #vision, #flux.
Neuropink: free theoretical outline for open, Post Cyberpunk concept – v1.0.
Note: consider this as virtual code which needs self compiling.
In which Neuropink refers to psychedelic / psychological science fiction that can be applied to many different kinds of interactive media.
Consider the general symbolic coordinates of Neuropink; a Post-Cyberpunk ‘Visual (/Reality) Language’ for “Big Scientists “- a fuzzy network of modular co-evolving elements; for example.
- Contrapoints: for the aesthetic
- Lawrence Lek’s Sinofuturism
- Polyhedral Soap
- King City
- Reality coding in dark light liquid scanning mirror
- UHF dimensional test transmissions from/to aether
- Bio-quantum pulses from missing present colour of anamnesis vision superstrings
- Uncreative W/Riting on tight /planetary schedule
- Imprecise yet deadly velocity of lime green lawn furniture
- Slippery crushing love of giant baby squid by self elective c section of mutant oversoul
- Sleeping meditations under deep data snow drifts on holy mountain
- Close quarters dance routines with ontological night fever
- Black wishing stones from a river in Uapan
- Self andor identity as just another technique: only as postmodern as required
- Making understandable unseen automated dramas of advanced social networking
- Xenomorphic / superflat corrosives, eg. Bake meets The New Aesthetic while skydiving backwards into the near future now
- Artificiality as intelligence; bio computational polyversality, holographic ‘source equals open’ everything
- Baboon Television – it bites: multiple eyes of hybrid jungle hive mind projecting chameleonic / shamanic predator dreamstates
- Exploring the omega maze: contemplative labyrinthine pathways through collective post Jungian neural hyper-matrix
Notable Neuropink programmers / states
- Jean Moebius Giraud: for senses of cosmic life infinite
- Paul Laffoley: for working time machines
- Chris Cunningham: for post digital fx
- Ian Francis: for endless neuro-smeared summer
- Redline: for when Funkyboy also destroys Roboworld
- Warframe: ninjarific
- Mahakala: for unquenchable radiance of supreme emptiness
- Ray Ogar: for technical glitched precision
- Jean Michel Jarre: for his exoplanetary senses
- Roy Batty: for his midnight megacity poetics
- Captain Blood on the Amiga 500 / Atari ST: for alien communication
- Shandra Manaya, Argon Queen: for raking virtual video flesh now gone
- The Future Sound Of London: for the impossibilities of lifeforms
- Cephalopods: for ir hyper surface manifested thoughts
- Alex Colville / Eric Fischl: for stark alienation / violent haunted potentiality
- Sentionauts: for being beyond the black rainbow
- Horse Ebooks: for meta surrealist daring
- Galaucus Atlanticus: for grand oceanic form
- Geek City: for cool cats
- Thumper: for entomological mytho narrative
- Shinya Tsukamoto: for psychological character intensity
- Elias Koteas as Vaughan from Crash: for that R&D drive
- Bruce Sterling’s Artificial Kid: for instant grasp of emergent media
- Yo Landi Vi$$er: for zef rats in the walls of the worlds
- Laurie Anderson: for her Big Science
- David Shields: for poking at leaky literary dams
- Haikasoru / Kurodahan: for delicious sci flavours
- SCP Foundation: for databases of the aggressively unexplainable
- Reza Negarestani: for geo traumatic sensors and theory-fiction
- Robert Smithson: for Hyper-Ballardian mind spirals
- Dr Hans Reinhardt: for grand dinners / ego blinkers
- Blue Cube from Mulholland Drive: for acute ontological disruption
- Tetsuo Shima from Akira: for extreme psychic deformation
- Tetsuo II: for the body hammer
- Killy from Blame!: for tardigrade toughness
- Raiden from Metal Gear: for hammy dialogue
- Hyung Tae Kim: for long shiny legs
- Visual Kei: for that raw Cyberpunk-era style embarrassment
- Nordic LARP: for traversing narrative at oblique angles
- Insilico roleplayers: for grace under information pressure
- Fist Of The North Star: for flawless technique
- Quantum Cathedral: for hardcore oldskool cyber gothics
- Stephen Shaviro: for metaphysical theory laz0rs
- Mark Leyner: for the menthol of autumn
- Omni Magazine: for that immense vertical vision
- Mariko Mori: for bioquantum colors of combine dropship carapace
- Kenji Siratori: for the raw fucknam
- Baden Pailthorpe: for military hyper aesthetic space drone critique
- Simulacra Syndicate: for aesthetic hyper specificity
- Max Capacity: for transgressive glitch aesthetics
- Zoran Rosko Vacuum: for dedicated reviews
- Future Interfaces: for more input
- Hatsune Miku: for hyper-virtual tonality
- Kidmograph: for animated near future
- Kilian Eng: for the details
- Theo Kamecke: for the polish
- Rob Hardin: for fistic hermaphrodites
- International Journal of Baudrillard Studies: for the lean clean blade
- Vaporwave: for Windows 95
- 3D Additivism: for plastic extrusion into other
- Unknown Fields Division: for research in wild
- Berserker Powerup / Soul Cube: for the sudden metallo-clang
- WonABC: for hyper detailed undead
- Pussykrew: for the corporate aesthetics
Consider any sufficiently advanced biotech as indistinguishable from postmodern metaphysics
– Freelance Amateur Postmodern Internet Theorist Robert What
Update Patch: Neuropink coding guide – initial outline
- Deep systems rather than charismatic individuals
- Full spectrum neural remix rather than heroic pinky-whites
- Algorithms rather than attitude
Example Neuropink Logos
A .xsy-fi seared ‘humalian’ space-ape brain unit.
Cyberpunk Died Last Night
File under: in which any toxic product press equals good .net press:
Stills from video via Secil B; if tokyo was dead megacity Cyberpunk even back in 80s then does modern cyberpunk merely re represent yet more sad attempts at obsolete jerry rigged retro futurism?
Failed Cyberpunk Crowdfunding Campaigns
In which requests for hard virtual cash to initiate bad cyberpunk projects have been met with resounding howls of deafening apathy:
- In which CD Projekt Red tweet enacts an apology
- A Cyberpunk Movie
- A study of the dead-vision of Cyberpunk Cities
// how to play big science