This paper explores the rise and fall of Cyberpunk influences in California’s Silicon Valley and San Francisco Bay area circa 1988–93, in prevalent technologies, industry, by artists and in enthusiastic magazines thriving there. Attentive...
North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received sch...
This paper attempts to meditate upon the transpacific imagination of cyberpunk by reconstructing its literary and cultural heritage. Since the publication of William Gibson’s multiple award winning first novel, Neuromancer (1984), the concept of cybe...
Renaissance (2006) and Metropia (2009) are two illustrative examples of European cyberpunk cinema of the 2000s. This article will consider the films as representative of contemporary trends in European popular filmmaking. As digital animations aimed...
The genesis of cyberpunk criticism could well be dated to March 1987, when Stephen P [...]
Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro...
While cyberpunk is often described as a dystopian genre, the paper argues that it should be seen rather as a post-utopian one. The crucial difference between the two resides in the nature of the historical imagination reflected in their respective na...
Our future effects on the earth, in light of the Anthropocene, are all dire expressions of a depleted world left in piles of detritus and toxic ruin—including the diminished human as an assemblage of impoverished existence, yet adumbrating that...
This paper examines the various representations of ‘nature’ present in Decoder (1984), a German experimental cyberpunk film that was inspired by William S. Burroughs’ thoughts on utilising tapes as revolutionary weapons. Though Decoder is not a film...
This essay argues that William Gibson’s 2003 novel, Pattern Recognition, rejects the stylistic and formal trappings of cyberpunk that he himself helped create in the 1980s in order to reformulate the movement’s aesthetics of participation...
Video games have become important but understudied narrative media, which link into as well as perpetuate popular forms of cultural memory. They evoke and mediate space (or the illusion thereof) in unique ways, literally putting into play Doreen Mass...
Once a niche part of the cyber community, video games today represent one of the major industries and “the combination of technology and spiritualist narratives”. In the cyberspace dedicated to video game trivia, we can find intimate repo...
75.6% of land comprising Hong Kong remains undeveloped according to the special administrative region’s planning department. In turn, Hong Kong’s constricted real estate, now estimated to be the world’s costliest, has created eye-popping living arran...
In the last century, science fiction has become an incredibly powerful tool in depicting alternative social imaginaries, particularly those of the future. Extending beyond their fictious nature is a commentary on the stark realities of modern society...
The instances of privacy and security have reached the point where they cannot be ignored. There has been a rise in data breaches and fraud, particularly in banks, healthcare, and government sectors. In today’s world, many organizations offer t...