Cyberpunk 2077 Has Lots of Ways to Go Up and Down, as CDPR Really Took Advantage of Verticality – Wccftech

Even though there are some highly anticipated titles due this Holiday season, nothing compares to the hype surrounding Cyberpunk 2077. The Last of Us Part II might reach similar levels upon its release date announcement if that happens as expected later today.

Luckily, CD Projekt RED has been providing fans with lots of new Cyberpunk 2077 tidbits lately through various press interviews. The latest one appeared on PlayStation Official Magazine (November 2019, issue 167), where Senior Concept Artist and Coordinator Marthe Jonkers highlighted the importance of verticality in the exploration of Night City.

Related [UPDATED Multiple Presentations] Cyberpunk 2077 Public Gameplay Demo Announced For EGX Berlin

The city is really the core of Cyberpunk 2077. We approached it very holistically; we started with very big ideas of the city and then went into detail and detail and detail and detail. We have an urban planner in the team, for instance, which really helps us with the map and the layout to make the city feel very realistic.

We now have this option of vertical exploration that we didnt really have in The Witcher, which was more of a spread-out map. We really take advantage of that, and we have a lot of ways of going up and down.

Jonkers also wanted to make it clear that while Cyberpunk 2077s Night City is big, there is a focus on quality exploration versus quantity.

Night City is enormous. But we also value quality over quantity, I have to be honest about that. Theres a lot to explore, but we would never just make all these half-empty buildings. We make sure that wherever you go, you actually get this high quality of exploration. We really try to make sure that around almost every corner theres something interesting. When youre somewhere you can already see another thing that might be interesting.

So its really like a puzzle, actually, when you think about Night City and how we designed it, a sort of big 3D puzzle to make sure that stuff stays interesting and not repetitive.

Her mention of players always being able to spot something interesting, wherever they may be, seems to be an indirect confirmation that the 40-second rule seen in The Witcher 3 is still there. If youre not familiar with it, thats a rule CD Projekt RED came up with to ensure the open world always had something that would catch the players eye, every forty seconds or so. Given how much praise The Witcher 3s open world got, thats definitely a good sign.

Cyberpunk 2077 is out April 16th, 2020 on PC, PlayStation and Xbox One.

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Cyberpunk 2077 Has Lots of Ways to Go Up and Down, as CDPR Really Took Advantage of Verticality - Wccftech

Gamedec is an investigative cyberpunk RPG that swaps combat for case files – PC Gamer

Gamedec is a cyberpunk RPG from a Polish developer, but you'd never mistake it for Cyberpunk 2077. Set in Warsaw, in a future where people escape reality by plugging into virtual worlds, it's an isometric detective yarn that plays out case-by-case as you solve VR crimes with real consequences.

The demo, unfortunately hands-off, begins in a familiar street soaked in rain and neon. There is, of course, a bar nearby. It's a watering hole for gamers that's filled with topless women and places for people to plug into VR. It's a sleazy, bleak joint, but we don't stick around. There's a client who needs the services of a gamedec, and they're waiting inside a free-to-play farming sim.

Each case is a discrete mission with several possible conclusions based on evidence you've collected, which you've then got to tie together like a cyberpunk Sherlock Holmes. In this case, the client wants someone to look into people getting sick while playing the farming sim, which also happens to be set in the Wild West. Even the UI changes to match the new setting.

(Image credit: Anshar Studios)

Pretty quickly, the farming sim gets weird. There's a suspicious fella spying on people working the fields, a player collapses but isn't automatically logged out and a mod is discovered that allows the user to accelerate time in the game. Each of them opens up a new avenue of investigation, but you can ignore them or get locked out of them, potentially losing that piece of information forever.

To find out more about the collapsed player, it's possible to hack the device they're connected tothe couch. Various skills can be used to give the gamedec the upper hand in when they're interrogating someone or exploiting a game, which can then become permanent 'aspects' that guarantee success. With the Hackerman aspect, for instance, the intelligence roll can be skipped during hacking attempts, making you a cyberspace wiz.

Anshar Studios CEO Lukasz Hacura says that the team prototypes the cases by running pen and paper sessions where players have to come up with their own solutions, then they pick the most interesting or common ones and tries to implement them in Gamedec. It's still the illusion of choice, but it's rooted in the anything goes philosophy of tabletop roleplaying.

(Image credit: Anshar Studios)

There will be plenty of ways to solve a case, then, and even if you made terrible decisions and have a series of unlucky rolls, there are always going to be enough clues to close itthough maybe not to your satisfaction. You could even phone it in. Maybe you're a crappy detective, or maybe you've been paid to not follow the trail of evidence. Whatever conclusion is reached, however, the world just adapts and moves on. You'll still need to live with being an awful person, of course.

Notably, nothing violent happens in the demo. That won't always be the caseyou'll be able to shoot people, hack turrets and find other less than peaceful ways to find information, but there's no dedicated combat system. These opportunities will crop up as cases unfold and play out like other actions. Hacura likens it to Quantic Dream's Detroit: Become Human, though without the quick time events, but he emphasises that Gamedec is an RPG, not an adventure game, and bristles at the idea that RPGs need to have combat.

Despite once being prescient, cyberpunk can sometimes feel a bit stuck in the '80s, but Gamedec seems a lot more unconventional. It's exploring things like gold farming, exploitative game mechanics and the seedier side of the medium, so maybe it has something interesting to say. A proper investigative RPG is also a rare treat, especially outside of tabletop games.

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Cyberpunk Creator Reveals The Dark Side Of Night City – SegmentNext

Remember that bustling commercial hub from the earlier Cyberpunk 2077 footage? Thats Watson and just one of six districts you can explore in Night City. CD Projekt Red did mention that each area has a unique story to tell. According to the creator of the original tabletop game, though, you would be surprised to know how deep (and dark) the rot goes.

Pacifica is one of the other districts of Night City that has been made home by a number of gangs. Unlike the vibrant atmosphere of Watson, it has a gloomy cloud hovering above its series of slums. In an interview for the latest issue of PC Gamer magazine, Mike Pondsmith described Pacifica as the playground by the sea that didnt work out.

There was a time when massive skyscraper hotels were being constructed in Pacifica but then investors pulled out and left the district at the mercy of the criminal cyberpunk underworld. The tragedy that shook Pacifica can be seen through its architecture, which Pondsmith made sure of by collaborating with CD Projekt Red. There are all kinds of incredibly subtle details buried in the architecture of the city, he said.

Interestingly, Pondsmith revealed that Pacifica and the other districts of Night City have a dark side just like any city in the real world. While working on Cyberpunk 2077, he strived to make sure everything in the setting is rooted in some kind of truth. He did this by pouring his own personal experiences into the game.

We were hitting some very strange bars, and some of them were just amazingly cyberpunk, he said. Industrial bars, biker bars. We were walking through the rainy streets of San Francisco and it was dangerous. I had a big-ass afro and mirror shades, and I was packing a nine-inch knife.

Pondsmith believes that every detail of the Cyberpunk Night City resonates with some truth of the real world. You will be able to sense these aesthetics when jumping into Cyberpunk 2077 yourself, or at least thats what the tabletop creator firmly believes.

Last week, concept art coordinator Marthe Jonkers also explained how Night City has a complex design and history behind it. He stated that the folks at CD Projekt Red had to see every cyberpunk movie and read every cyberpunk book. A lot of time was invested into visualizing Night City for Cyberpunk 2077.

CD Projekt Red is known to never compromise on lore and storytelling. The developer is even attaching a narrative to the multiplayer component, which wont release unless it fits the lore of Night City because thats just how CD Projekt Red works.

Cyberpunk 2077 is scheduled to release for PlayStation 4, Xbox One, and PC on April 16, 2019.

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Bruce Sterling on Boris Johnson’s bizarre, cyberpunk dystopia address to the UN – Boing Boing

This week's bizarre speech to the UN by the UK's clownish, authoritarian Prime Minister pro tem Boris Johnson has sparked a lot of talk, especially among science fiction readers who recognise the difference between cautionary tales about hi-tech dystopias and suggestions for public technology policy (unlike PM Johnson).

Especially trenchant is Bruce Sterling's commentary, which correctly points out that Boris Johnson could easily be a character from Sterling's 1998 novel Distraction, which remains one of the all-time great political satire novels (along with Neal Stephenson's Interface): "I could have written this speech as a fictional speech by a politician in one of my novels, for instance, 'Green Huey' in the novel 'Distraction.' And Boris Johnsons speech would have passed muster in one of my novels: readers would have been entertained by it, in the standard science-fictional fashion: 'of course a politician in a cyberpunk sci-fi novel is gonna dwell on the killer robots and the mutant chickens.'"

*If hed delivered this rant from a podium at South by South West in Austin instead of the floor of the UN, people would have just nodded thoughtfully, and even been rather pleased that a major G-7 politician was so up to speed with the mutant chickens.

*In terms of cultural sensibility, this must be the most cyberpunk intervention that Ive ever seen from any major politician (as opposed to say, elected officials of the Pirate Party, who are commonly actual counterculture punks obsessed with computers). BoJo is trying to conjure up a transgressive cyberpunk atmosphere of ecstasy and dread here, hes trying to put the previous world order on the back-foot and make it feel old and out of touch.

Visionary high-points of the recent Boris Johnson speech at the United Nations [Bruce Sterling/Beyond the Beyond]

Sorry, no cosplay

Man, 2019 is weird.

We already know most Republicans in the Senate are Trump ride-or-die toadies who would eat their own children if it made Orange Hitler smile. Well, today, on the day an anonymous whistleblowers complaint threatens to topple the presidency, is just like any other day on the GOP side of the Senate.

You already take your games and movies on the go. Why not share them? Thanks to the PIQO Powerful 1080p Mini Projector, you can have that communal, drive-in movie experience anywhere on your own massive screen. This gadget packs a lot of functionality into a roughly 2 square package. First and foremost, its got a []

Want to build your own website? Even for a modest personal site, it was once assumed you might wait for days or weeks while a web designer hammered through arcane code on your behalf. That all sounds a little ridiculous today. And if you had to thank one company for that, it would probably be []

Its a long road from a song in your head to a song on the charts especially if youre just learning to play. The good news is, anyone whos willing to practice can make music. These online classes can make that process painless, with methods that can teach anyone guitar, piano or even the []

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If The Avengers Were Cyberpunk 2077 Characters | Screen Rant – Screen Rant

Three new pieces of digital art have been unveiled, reimagining some of the titular heroes fromAvengers: Endgame as characters from the upcoming Cyberpunk 2077 video game. The latest (and arguably greatest) Marvel team-up movie debuted in theaters earlier this year. The adventure saw the collective superheroes journey through time and face off with Thanos once again in an effort to undo the Mad Titan's actions from Avengers: Infinity War. As well as amassing rave reviews, the franchise redefining installment also shattered box office records. In the wake of the film's already considerable success, Disney will next turn their attention to an Oscar campaign.

Developed by CD Projekt Red, Cyberpunk 2077 has been in the works for a number of years and, to many, is as highly-anticipated as any MCU installment. The role-playing game is due for release in 2020 and came to more widespread prominence at this year's E3 convention- where actor Keanu Reeves surprised audiences with a breathtaking appearance and unveiled the game's first official trailer. Although Reeves himself enjoyed pride of place within the footage, he'll unfortunately not be a romance option. It was later revealed that almost all of Cyberpunk 2077 would be first-person, and that the game will receive a multiplayer mode at some point in the future.

Related: Avengers: Endgame Proved To James Cameron That Avatar 2 Can Be Successful

Posted on Screen Rant's own Instagram page, fans can now check out three new pieces of original art that crosses the streams of both franchises. The first depicts Chris Hemsworth's Thor as part of the futuristic world - complete with bright yellow eyes, a cool new scar, and a fitting new outfit. The second features Robert Downey Jr's Tony Stark. Though the character also known as Iron Man sacrificed his life to see Thanos and his forces defeated once and for all, the art depicts him very much alive and as cool as ever. Blessed with a purple hue, Stark sits comfortably in a chair with a stunningly realized backdrop behind him, one hand wholly human and the other infinitely more robotic. The third image is of Chris Evans' Steve Rogers. Although he was last seen to be retired and passing the Captain America mantle to Sam Wilson, the new image sees the character back on the street and in the thick of it. All three stunning images can be checked out in the space below.

Hemsworth will remain within the MCU for the foreseeable future. Last seen leaving Earth with the Guardians of the Galaxy, he'll return to star alongside fellow returning players Tessa Thompson and Natalie Portman in Thor: Love and Thunder. Evans, meanwhile, has officially moved on for the time being. The Boston-born actor has a number of projects in the pipeline, including the Rian Johnson-directed murder mystery, Knives Out. Downey Jr. will apparently continue to straddle both worlds despite the character's demise. Along with the upcoming Voyage of Doctor Dolittle, it's been reported that he may make an appearance in the solo Black Widow movie. The titular heroes also have their own Marvel's Avengers game set to debut next year.

That will surely not prove enough for fans, however, after seeing the images. Based on the comments, many are already wishing the crossover was real and the imagined game was actually available to play. John Wick star Reeves has already been experiencing a resurgence in popularity in recent years. Seeing him alongside the equally popular Avengers, however, would no doubt take that to a whole new level and certainly be a team-up for the ages. Sadly, however, until such time as Kevin Feige finally does find the perfect role for Reeves in the MCU, fans will just have to continue to enjoy the combination of Avengers: Endgame and Cyberpunk 2077 in artwork.

More: Cyberpunk 2077 First-Person Focus Is Right For The Game

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Zenith, the Cyberpunk MMORPG, Celebrates Over 1,000% Funding as Most Successful VR Kickstarter Ever with New Video, New Playable Race – GamingLyfe…

Ramen VR, an indie VR studio thats creating a unique VR metaverse, today revealed that its crowdfunding campaign forZenith, a fantasy cyberpunk VR MMORPG for VR and PC, has hit over 1,000% crowd funding by hitting a total of $250,000 with 24 hours left to go. The campaign continues to prove out the appeal of being able to play, socialize, and create unique experiences in the first cross-platform VR MMORPG, and Ramen is celebrating with the release of a new Spellcasting Teaser video.

The studio also released the first concept art for the new Mineko race added in the games sixth funded stretch goal:

The Mineko are a race of humanoid cat people from a distant land who will be playable inZenith. They are distinguished by their cats eyes, pointed ears, and tails. They are, on average, the same height as humans, but they tend to be slender and more lithe, able to jump long distances and maintain their balance well. For many years, the Mineko Ballet has been a popular Zenith attraction; humans and Mineko alike love to watch the graceful dancers. The only thing that sets them off? Dogs, of course!

Inspired by anime and JRPG classics and reimagined as a dynamic living world with cross-play between VR platforms and PC,Zenithoffers a futuristic universe in which players will fight, craft, explore, and live as they forge alliances and friendships in guilds and parties. In the game world, heroes are needed to venture forth to save Zenith from calamity. Characters who take up this challenge can participate in epic raids and world events or go solo to become a powerful leader whose deeds will be forever immortalized. With the $250,000 milestone, the game has now added seven stretch goals including the new Mineko race and the final goal of a level editor that will allow players to design their own levels.

Zenithis the brainchild of Andy Tsen and Lauren Frazier, co-founders of Ramen VR with a decade of experience at Unity, Google, and building startup companies. In addition to the games success in passing over $250,000 of funding on Kickstarter, it has attracted investment fromY Combinator, the highly respected provider of seed funding for startups that has funded startups such as Airbnb, Dropbox, and Twitch.

TheKickstarter campaignwill help the team at Ramen VR further develop the epic adventure while sharing early benefits with fans who help create the exciting world.

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Zenith, the Cyberpunk MMORPG, Celebrates Over 1,000% Funding as Most Successful VR Kickstarter Ever with New Video, New Playable Race - GamingLyfe...

Cyberpunk 2077: 5 Things To Look Forward To (& 5 Were Worried About) – GameRant

Easily the most anticipated game of 2020, Cyberpunk 2077 has been gracing us with tons of information and sneak peeks this year. From E3 to Gamescom,rich gameplay footage has given us a bit more insight into what the game promises for us exactly and what we can expect come next year's April. If you're still on the fence yourself about whether or not this upcoming open-world cyberpunk RPG from CD Projekt RED, the makers of The Witcher series, is for you or not, we've prepared this handy list of five features we're incredibly excited to get our hands on and five that has us biting our nails in worry.

Click the button below to start this article in quick view

Cyberpunk 2077 wouldn't be a complete game without the possibility of cyberware. These are various cybernetic additions you can put on your body to enhance it for combat, for cosmetic needs or even for medical purposes. A RipperDoc can be visited to browse a selection of available cyberware. The enhancements can vary from optical scanners that give you the ability to scan any target for more information to special sensors on your hand that allows you to connect to your weapons, view ammo count and have increased damage on connected weapons.

Cyberpunk 2077 is a rich game with lots of diverse gameplay, but ultimately it all comes down to combat. Sure, there's a way to get through the game without killing a soul, but it won't be the easiest route.

RELATED:Cyberpunk 2077 Dev Defends The Decision To Make The Game First-Person

If your aim isn't the best, there are special pistols that will help you with that. However, these weapons will do significantly less damage than most guns. If you're not particularly into first-person shooters yourself, then Cyberpunk 2077 might be a hard one to get into despite its atmospheric gameplay.

One challenges in games featuring vehicles and combat is merging the two together. It's pretty hard to focus on driving your car through high speed traffic when you also need to worry about a vengeful group of gang members driving before you in an attempt to kill you. Luckily, in Cyberpunk 2077 the automatic drive function allows you to seamlessly shift from driving to peeking your head from the window and shooting at the target. This makes high speed car chases so much more fun to play when you know you can focus on the right thing and feel like an absolute badass doing it.

Like most open-world RPGs, Cyberpunk 2077 will feature a main quest, but also numerous side quests. It's yet unclear how many quests will be included in the game in total, but we can assume there will be plenty judging by the sheer size of the world and the amount of characters we've seen so far. However, with V being a mercenary and with how earning money to unlock different augmentations and additions to your kit is important, many of the quests might become quite repetitive mercenary quests or follow similar, linear paths. Hopefully, the developers give us the most amount of quest variation as possible.

Cutscenes are an essential part of a game, as they build the story and help us get immersed into it. When Cyberpunk 2077 announced it had made the decision to ensure all cutscenes would be in first person, we were pretty happy with this decision.

RELATED:Here Are All Of Cyberpunk 2077's Quest Types

The whole point of this game is to feel like we're really there and experience this rich and diverse world. It'll be interesting to see if VR is going to be enabled for players, which might make the game especially interesting when getting a new cyberware installed.

At the beginning of your journey, before you even enter Night City, you need to choose your character's lifepath. This is an attribute that will influence your story and some of the choices you'll be able to make, as well as some of your interactions with the world. So far there are only three options to choose from: Nomad, Street Kid and Corporate. While these no doubt embody the key archetypes the game, it feels like there should be just a few more options to bring in a bit more nuance to your character. It's unlikely there will be more lifepaths, but at least there will be three different ways to complete the game.

There's few people who don't get excited when hearing the word "open-world". But what if we told you that not only is Cyberpunk 2077 going to be open-world, it'll also have six different areas for you to explore? In true cyberpunk fashion, you can visit a corporate owned City Center region. Alternatively you have an immigrant suburb called Watson, luxury hotspot Westbrook, a more suburban area known as Heywood, gang territory Pacifica, industrial area Santo Domingo and finally the surrounding Badlands. You won't be bored for a while, that much is certain.

It shouldn't come as a big surprise to anyone that a game featuring gun fights and a seedy city filled with crime and possibilities is going to be stock full of mature content.

RELATED:Cyberpunk 2077: 5 Burning Questions We Have

However, if you plan on playing this game near your younger siblings or your older family members, beware that the developers have confirmed the game will feature full nudity and tons of cussing, as well as graphic violence. This isn't that big of a surprise after The Witcher series, but it's important to keep in mind, especially if you plan on gifting the game to someone. Mature audiences and players only.

Creating a character and beginning your journey in a new game is one of the most exciting feelings, and Cyberpunk 2077 definitely has us anticipating with all the features it has announced. The main character V will be genderless, meaning you can choose between a male or female body and define your sexuality yourself. You can customize your appearance to your liking, and even pick between a few different voice options for your character. Finally, you get to choose your stats, which include Body, Intelligence, Reflexes, Technical and Cool, and from those you can create the character build you'd like. Some of builds we've already seen are the NetRunner which focuses on hacking, Techie which specializes in machinery and Solo that has a strong combat preference.

With all these features coming for the game and with how immersive the world looks to be, the question needs to be asked: how much will it cost your computer to run? For console players this won't be such a big headache, but PC players eagerly pre-ordering the game this can be a legitimate concern. So far the developers have been using a pretty strong computer to showcase their game, with an NVIDIA GeForce GTX 1080 Ti graphics card, an Intel i7 core and 32 GB of RAM of 3000 MHz. Thankfully, reports state that the game has yet to be optimized and won't have such tough requirements, but if you want to experience Cyberpunk 2077 in the highest of qualityit's probably best to also invest in a PC upgrade before splurging on the game itself.

NEXT: Here's How Cyberpunk 2077 Crafting Will Work

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Cyberpunk 2077: 5 Things To Look Forward To (& 5 Were Worried About) - GameRant

In Cyberpunk 2077 It Is No Use to Look for Empty Buildings and Undeveloped Spaces – Code List

Cyberpunk will offer players a huge world. There were many fears about the network that apart from the main parts of the city there would be slightly more empty locations.

This was answered by the developers of CD Projekt RED, who say that it certainly will not be.

You will not find empty buildings and locations

Marthe Jonkers assures that although Night City is huge, the creators took care of the amount of details on the map.Hence, there is not even one building or room that seems empty to us.

Wherever we go, we have a great opportunity to explore and explore the world.

Weve made sure that something interesting appears in every corner.

What does something interesting mean?Hard to say.Perhaps it is about additional tasks or specific people with whom you will be able to interact.

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In Cyberpunk 2077 It Is No Use to Look for Empty Buildings and Undeveloped Spaces - Code List

The beautiful bugs of the Call of Duty: Modern Warfare beta – Eurogamer.net

As the Call of Duty: Modern Warfare beta soldiers on, so do the bug reports from its army of players.

Many of the issues with Modern Warfare are important to the integrity of the game, as you'd expect. Clipping, for example, is one (the last thing you want is players hiding in the wheels of vehicles). Shotguns don't seem to work properly, either. And the spawns need some work.

But some of the reported bugs are a lot of fun - and one in particular makes Modern Warfare look like Cyberpunk.

Here's a fun one: if you sprint near a door you can sometimes open it - even if you're not actually touching the door or even springing away from the door. It's the Force push bug, if you will. (By the way, Infinity Ward has said this is being worked on for launch.)

Speaking of doors, the following bug involves a door opening with such force, it blows a soldier across the room. (I love this clip because you can see the confusion running across the minds of both players present.)

I've seen multiple players report the following bug: it makes your soldier appear as if they've teleported into the game from the Nintendo 64.

This next one's a bit nightmarish.

Speaking of nightmares, kill this one. Kill it with fire.

And finally, my favourite: this bug, experienced by it seems multiple players, turns Call of Duty: Modern Warfare into a neon-drenched Cyberpunk setting. It's super cool, and makes me wonder what a Cyberpunk-set Call of Duty game might look like.

Now, reporting bugs is what betas are for, of course, and it's good to see players report these bugs with a laugh rather than with a pitchfork. The launch of Call of Duty: Modern Warfare is a month away, so with any luck the developers at Infinity Ward will be able to sort this stuff out before release.

Well, not the Cyberpunk graphics. They can stay.

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From Death Stranding to Cyberpunk 2077, here are all the games of Milan Games Week 2019 – Play Crazy Game

From 27 to 29 September, the 2019 edition of Milan Games Week will be held at the Fiera Milano Rho, one of the most important and followed videogames fairs in Europe.The organizers of the 2019 Games Week in Milan are thus preparing for the big event by drawing up the list of video games at the fair.

Among the many titles destined to magnetize the attention of the trade press and the lucky participants in the Milan fair, we will find theprestigious triorepresented by the highly anticipated video games of Cyberpunk 2077, Death Stranding and Watch Dogs Legion.

Atfuturistic RPG CD Projekt REDwithKeanu Reeveswill be dedicated an entire stand of the Italian gaming event, through which you can relive some of the most iconic scenes of gameplay admired in these long months of waiting for the release of the new blockbuster by the authors of The Witcher 3. As forDeath Stranding,those wishing to receive more information on the adventure of Hideo Kojima will be able to admire a trailer in the theater set up on thePlayStation stand.No less important is the program organized by Ubisoft forWatch Dogs Legion,with a demo played by the same developers that we can always watch from the PlayStation stand theater.

Those who will go to Fiera Milano Rho can also immerse themselves in many other videogames experiences.Each industry giant will showcase its prized pieces with live demos, rehearsals and various insights.Here is a (more or less) exhaustive list of thetitles present at the Milan Games Week 2019:

Eternal DOOM, Dragon Quest XI S, Dreams, FIFA 20, Final Fantasy 7 Remake, GRID, Just Dance 2020, Laytons Mystery Journey Katrielle and the Millionaire Plot, Luigis Mansion 3, Mario & Sonic at the Tokyo 2020 Olympic Games, Marvels Avengers, Marvels Iron Man VR, MediEvil, Nioh 2, Ori and the Blind Forest Definitive Edition, Pandemic, Pokemon Sword and Shield, The Witcher 3 Complete Edition for Switch, Ghost Recon Breakpoint, Borderlands 3, Gears 5, Zelda Links Awakening and many others.

Theninth edition of Milan Games Week will, therefore, be staged fromFriday 27thtoSunday 29th September:on these pages, you will find all theinformation on ticket sales.

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From Death Stranding to Cyberpunk 2077, here are all the games of Milan Games Week 2019 - Play Crazy Game

‘Quarter Killer’ Introduces New Vision of the Future (Preview) – Hollywood Reporter

Joining Ayala and Lore on the series are artist Jamie Jones (Joey Ryan: Big in Japan, Puerto Rico Strong) and letterer/designer Ryan Ferrier, who together draw on very specific parts of the past to create a complete vision of the future that nods to cyberpunk and classic SF, as well as hip-hop and video game cultures, as can be seen in the preview below.

Jones, Lore and Ayala talked to THR about the series.

Quarter Killer feels like multiple comics in one, in the best way; its something that is wonderfully complex, without feeling overly complicated. For a world that feels not only complete, but also as if its always existed, Im curious: What and where were the origins of the book? Where did Quentin come from?

Vita Ayala: One of the most fundamental parts of Danny and my friendship is riffing creatively. Its like freestyling, but with storytelling. This has been the case from the beginning.

QK as a general concept came very early in our friendship almost 10 years ago now when we were talking about some of our favorite cyberpunk stories and going but what if it was New York and black? We are both huge fans of the genre overall, and the idea of digital espionage and fighting corporations with their own tools.

The idea of the hacker as a lone cowboy type is pretty standard, and so the spin is that, no, what if they were doing it for the culture? Why wouldnt a hacker use their skills to help their community? That is such a big part of who Danny and I are, and we wanted to bring that to a genre we love.

Danny Lore: QK mostly originates in the fact that were a big group of nerds, but like, cool nerds well, the rest of the team is cool. QKwas literally us riffing in the comic shop like yo, what if there was this dude... and they took mercenary jobs... but its the future, so they take quarters because they can play games and call their mama. Over time, [Quentin]became a real character, and we started to populate the world around them. Some of the character concepts were just joke concepts to start and then they took on lives of their own. And thats especially true once Jamie started doing concepts.

Jamie Jones: When taking on the look of the book, something we all thought a lot about is how NYC would look in the not-too-distant future. What this means from my end is taking trends that are happening now and making them bigger or taking fashion trends from the past and bringing them back to light. Hip-Hop fashion of the '80s plays a big part in the way people dress in our future. So the work comes in making these dated trends and uncomfortable fabrics work for future fashion. One of the ways I approached that was by giving characters a distinct print. A pattern that could be pasted in the lining of jackets or shirts that would make the world feel vibrant in a pretty bleak setting.

Vita, you alluded to this already, but the book feels like a purposeful response to the fact that so much sci-fi and especially the cyberpunk-esque space that this feels like it fits into is, well, filled with cis white dudes frowning a lot. This is more colorful, and for all the retro touches, feels far more like the future. Am I reading too much into that?

Ayala: I grew up on sci-fi, both hard and more gentle, gritty and shiny. It was my first love as a genre, and will always be where I return to.

That being said, a lot of what I do when given the choice, is to try and be in conversation with what is lacking (or what there is not as much of). I write for younger versions of myself, to try and give them what they didnt have when they needed it, and for future versions of myself, to look back on and feel seen.

And I also want to write for folks that are nothing like me to see folks like me I lost count of how many people I was a first (black friend, queer friend, non-binary friend, etc) for. A large part of empathy is exposure to different folks in ways that humanize them, and that has always been a goal for me to engender empathy so that younger folks coming up have less nonsense to deal with.

Also, yes, there is a lot of Serious and Frowny sci-fi, and I want to help add to the fun and slick corner of the genre! You can have things to say and still make jokes and be more light hearted, absolutely.

Lore: So whats always been important to me is that the underpinnings of cyberpunk have always been brown and queer! Transhumanism is about technology and its relationship to the body and how one changes the other, right? In the same vein, cyberpunk has always been about marginalized people under the shadow of those in power, and how they survive, fight, and game the system. While a lot of the stories that made it big in the supposed canon feel very cis white dude, but weve always existed as part of the structure and heart of the genre.

I think what makes even the retro touches feel futuristic is that its not simply a future that we made brown and queer. Its our future, its the future of the people that Vita and I grew up around, that we become, and how those communities react to what comes next.

Jones: Diversity is something that I really wanted to translate in the world around QK. I spent a few weeks prior to working on the book just coming up with a color palette that I could always go back to. Finding colors that worked well together under different lighting. Running through the middle of the palette is a progression of skin tones varying from very dark almost usability so to very white also unusable. This helps me just pick different colors from background characters and constantly being varied.

Appropriately for this kind of story, theres a more going on that meets the eye in this first issue which is saying something, considering how great the visuals of the book are, but well come back to that in a second. Yet, despite the plot twists and reveals, each character feels very clear and immediate. How did you go about making Quentin and Aya so complete so quickly? Within their first interaction, the reader is left knowing who they are and what theyre about or is that a sneaky double bluff on your parts?

Lore: Quarter Killer and Ayas meeting is quick, but, to be honest, it was years in the making for all of us, and I think itd be disingenuous to discount that. Part of the clarity of that opener comes from us having known the characters for as long as we have. Its much easier to write that opener once youve got a good grasp for who they are. As for double bluffs weve got plenty of those, but were not going to let you in on our tells!

Ayala: For me, I wanted to find a way to make them tangible quickly in the way that when you first meet someone at a party, you dont necessarily know a persons entire history but you get a sense of them as an entity. I thought a lot about first introductions to folks, and more, about introducing two people I know very well to each other. What does that look and feel like?

A lot of it has to do with dynamics everyone has their needs, wants, and dislikes, how do those interact? Because Danny, Jamie and I have been living with these characters for a long time; we know them well and we know how their edges will fit together. I am glad they feel complete, because to us, they are we know almost everything about them, and so the trick is to find a way to NOT put it all in one scene, but to give enough while hinting at the hidden parts.

Jones: Posture is everything! Just little head tilts or leans can translate entire personality traits to characters.

Quarter Killer is a comic that, it feels, is perfect for something like ComiXology Originals a comic that speaks to a mainstream audience that might not go to comic stores, but will instantly understand the references and worldview of the book. When youre working with a publisher like ComiXology, do you feel a freedom to push what you can do, compared with something aimed at the direct market?

Ayala: There are different, not less though, considerations for the digital model, but I think not having to think about physical production and distribution gives us a chance to show what we can do without stressing out a longer chain of people who have to consider things like the overhead of a store. Having worked comics retail for a while, I sympathize and respect the balancing act!

The folks over at ComiXology have been incredibly supportive of us doing our thing. I think part of it is the medium and the story, absolutely and yes, a cyberpunk book that is digital definitely has a nice flavor to it but I think part of it is that they are confident of us as a team.

Lore: ComiXology really allowed us a lot of freedom, and that means that were telling the exact story that we set out to tell. In a way, for me, doing QK for ComiXology feels like the first time I got an E-reader: the very first thing I ever did was buy Neuromancer by William Gibson and load it up. It feels different to engage with that story in the digital world, and I think we wanted to tell a story that was very specifically made to be about the future, and engaged with on a platform that reflects one of the many futures of the medium.

Lets talk about the art for a second. Jamies artwork, and Ryans letters and design, feel like theyre completely in sync, and completely immersive. Theyre sharing influences and aesthetics, and the result is something unlike any other comic out there right now. How much of this was in the script, and how much is the two of you simply going, Oh, wow, oh, yes, that?

Ayala: The fun thing about working with Jamie and Ryan is that they are both friends of ours, and so we get to talk about all that stuff before Danny and I script. Part of it is Danny and I riffing and Jamie and Ryan taking that and making magic, but as important and often, it is Jamie going, Wait, what about this or Ryan tinkering and sending files, and Danny and I screaming, Hell to the yeah! and blasting victory music.

There is always new stuff we add in the script stage, absolutely, but Jamie then goes, Yo, I did that, but also I was studying X, or this reminded me of Y, and I did a remix.

Danny and I have a vibe that is fundamentally important for this book, and Jamie and Ryan bring their experience, expertise and all sorts of ideas to the table and we get the best of it all something better than the sum of its parts.

Lore: Every day, Jamie sends us pages hell, even straight-up layouts its us going, Oh, wow, oh, yes, that. We give references sometimes, describe things, but I think Vita and I both subscribe to the idea that panel descriptions arent the be all and end all. Theyre a conversation with the artist, sometimes a jumping off point to something thats cooler and wilder than we could have conceived. There are plot points in the latter half of the series that exist because we saw what Jamie did in the first two issues and played off of that the words are as shaped by the art as it is the other way around.

And Ryan is a lettering and design beast. We would toss out inspirations, and hed hit us back with work that just blew our minds regularly. Every SFX placement, the shapes of every sound, it really brings the whole book together and is one of the best representations of our goals and aesthetic that show up, I think.

Jones: Ryan and I have worked together in the past. He is one of my favorite letterers in the biz now. You can suggest something and he comes back with a look for the book that is better than you were expecting. Speaking for myself, I come with a lot of old comics influence. One of the greatest is Eisner and the Spirit. I cant escape it. There are places in the script where Vita or Danny will add some hyperlinks to give me a reference to a specific NYC thing that they grew up with and other times when they just let me do my thing. The three of us talked a lot about what the book should look like before we started the project proper. So during the actual page production its pretty much me just trying in pages.

Heres an obvious place to end: How do you introduce Quarter Killer to a new audience? What would you say to the curious THR reader whos about to read the preview and thinking about picking the series up?

Ayala: I think that there are a lot of points of entry to this book. It is visually stunning and kinetic/dynamic. The line work, the colors, the energy of it is off the charts! The design and lettering is so slick and clean and fun master-level work that makes you just fall into the story.

The story is universal while still being so very New York. It is about community, about redemption, about the struggle between those with and those without. But it is also very rooted in hip-hop, in city culture, in the experience of people who know all the best spots to avoid a camera so they can play unharnessed and know that the bodega brand icee is as good as the fancy ones that come with their own spoon.

This is Robin Hood meets Neuromancer, Lone Wolf & Cub meets Snow Crash. If you like any of that, youll do just fine with Quarter Killer.

Lore: Normally, when I pitch QK to a reader, I like to phrase it as Lone Wolf and Cub meets Shadowrun. Its a cyberpunk near-future thats as queer and as brown as the world around us. Its a book for people who are looking for a vibrant adventure story in which the characters are empowered to change the world around them and get to look so fresh while doing it!

Quarter Killer No. 1 will be released Wednesday on ComiXology, and available for no additional charge for Amazon Prime, Kindle Unlimited and Comixology Unlimited members.

Excerpt from:

'Quarter Killer' Introduces New Vision of the Future (Preview) - Hollywood Reporter

Cyberpunk – Wikipedia

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.

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Cyberpunk - Wikipedia

Cyberpunk | literature | Britannica.com

Cyberpunk, a science-fiction subgenre characterized by countercultural antiheroes trapped in a dehumanized, high-tech future.

The word cyberpunk was coined by writer Bruce Bethke, who wrote a story with that title in 1982. He derived the term from the words cybernetics, the science of replacing human functions with computerized ones, and punk, the cacophonous music and nihilistic sensibility that developed in the youth culture during the 1970s and 80s. Science-fiction editor Gardner Dozois is generally credited with having popularized the term.

The roots of cyberpunk extend past Bethkes tale to the technological fiction of the 1940s and 50s, to the writings of Samuel R. Delany and others who took up themes of alienation in a high-tech future, and to the criticism of Bruce Sterling, who in the 1970s called for science fiction that addressed the social and scientific concerns of the day. Not until the publication of William Gibsons 1984 novel Neuromancer, however, did cyberpunk take off as a movement within the genre. Other members of the cyberpunk school include Sterling, John Shirley, and Rudy Rucker.

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Cyberpunk | literature | Britannica.com

Cyberpunk | Definition of Cyberpunk at Dictionary.com

[ sahy-ber-puhngk ]SHOW IPA


science fiction featuring extensive human interaction with supercomputers and a punk ambiance.

Slang. a computer hacker.

Dictionary.com UnabridgedBased on the Random House Unabridged Dictionary, Random House, Inc. 2019


a genre of science fiction that features rebellious computer hackers and is set in a dystopian society integrated by computer networks

a writer of cyberpunk

Collins English Dictionary - Complete & Unabridged 2012 Digital Edition William Collins Sons & Co. Ltd. 1979, 1986 HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012

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Cyberpunk | Definition of Cyberpunk at Dictionary.com

Cyberpunk Books – Goodreads

Cyberpunk is a subgenre of science fiction in a future setting that tends to focus on society as "high tech low life" featuring advanced technological and scientific achievements, such as information technology and cybernetics, juxtaposed with a degree of breakdown or radical change in the social order.

Cyberpunk plots often center on conflict among artificial intelligences, hackers, and among 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 settin

Cyberpunk plots often center on conflict among artificial intelligences, hackers, and among 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.

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.Lawrence Person

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Cyberpunk Books - Goodreads

Cyberpunk 2077 inspiration: William Gibson

William Gibson is the most influential writer in the Cyberpunk genre and Mike Pondsmith used elements from him to build the Cyberpunk 2077 universe, in here we're going to discuss these in detail: from the world building, the apocalypse described in the lore, how the cyborgs and the cyberpunks came to be, the history of the Braindance lore and its relation to Gibson's Simstims, why megacorporations are such an important part in the cyberpunk genre and the political and social influences under this genre.

But we can't talk about Cyberpunk without explaining the history of this science fiction subgenre and talk about its influences: the writers of the New Wave of Science Fiction, including Ursula K. Le Guin and Phillip K. Dick (and yes, Blade Runner).

The main inspiration in Cyberpunk 2077 universe drawn from William Gibson is the Net, that in Gibson was called the Matrix, and the computer hackers of the future, the character class netrunner.

Hope you enjoy!

The amazing character art of the thumbnail is a recreation of the cover of William Gibson's Neuromancer by the artist Rafael Moco: don't waste a second and take a look at his awesome art here: https://www.artstation.com/rafaelmoco

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Cyberpunk 2077 inspiration: William Gibson

Cyberpunk – Wikipedia

Cyberpunk is a subgenre of science fiction in a futuristic setting that tends to focus on a "combination of lowlife and high tech"[1] 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.[2]

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 Jos 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)[3] and New Rose Hotel (1998),[4][5] 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.[7] 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").[8] Much of the genre's atmosphere echoes film noir, and written works in the genre often use techniques from detective fiction.[9] 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.[10][11][12]

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.[13] 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."[14]

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 mans 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.[15]

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.[16]

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."[17]

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.[18] 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.[19]

In the subsequent decade, the motifs of Gibson's Neuromancer became formulaic, climaxing in the satirical extremes of Neal Stephenson's Snow Crash in 1992.

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."[20]

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.[21]

Blade Runner can be seen as a quintessential example of the cyberpunk style and theme.[7] 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),[22] with Akira, Ghost in the Shell and Cowboy Bebop being among the most notable.[22]

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.[25][26][27]

In some cyberpunk writing, much of the action takes place online, in cyberspace, blurring the line between actual and virtual reality.[28] 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."[24] 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.[29] The cityscapes of Hong Kong[30] and Shanghai[31] 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".[32] 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.[30] 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.[33] 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"[34]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.[35]

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.[36]

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.[37] Critics also note the absence of any reference to Africa or an African-American character in the quintessential cyberpunk film Blade Runner[10] while other films reinforce stereotypes.[38]

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.[39] 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.[40] John Brunner's 1975 novel The Shockwave Rider is considered by many[who?] 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.[41]

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,"[6] 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 nave and tremendously stimulating."[42]

Early on, cyberpunk was hailed as a radical departure from science-fiction standards and a new manifestation of vitality.[43] 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.[44] 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).[43] Others noted that almost all traits claimed to be uniquely cyberpunk could in fact be found in older writers' worksoften citing J. G. Ballard, Philip K. Dick, Harlan Ellison, Stanisaw Lem, Samuel R. Delany, and even William S. Burroughs.[43] For example, Philip K. Dick's works contain recurring themes of social decay, artificial intelligence, paranoia, and blurred lines between objective and subjective realities.[45] The influential cyberpunk movie Blade Runner (1982) is based on his book, Do Androids Dream of Electric Sheep?.[46] Humans linked to machines are found in Pohl and Kornbluth's Wolfbane (1959) and Roger Zelazny's Creatures of Light and Darkness (1968).[citation needed]

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."[47] Other important predecessors include Alfred Bester's two most celebrated novels, The Demolished Man and The Stars My Destination,[48] as well as Vernor Vinge's novella True Names.[49]

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."[50]

Fredric Jameson considers cyberpunk the "supreme literary expression if not of postmodernism, then of late capitalism itself".[51]

Cyberpunk further inspired many professional writers who were not among the "original" cyberpunks to incorporate cyberpunk ideas into their own works,[citation needed] 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."[52]

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.[53] 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[3] and New Rose Hotel,[4][5] 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,[54] 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.[55] 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."[56] 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-sunsall that towering, animated crawl of commercial informationsaid, "You see? You see? It is Blade Runner town." And it was. It so evidently was.[24]

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.[57][58] Akira has been cited as a major influence on Hollywood films such as The Matrix,[59] Chronicle,[60] Looper,[61] Midnight Special, and Inception,[57] as well as cyberpunk-influenced video games such as Hideo Kojima's Snatcher[62] and Metal Gear Solid,[55] Valve's Half-Life series[63][64] and Dontnod Entertainment's Remember Me.[65] Akira has also influenced the work of musicians such as Kanye West, who paid homage to Akira in the "Stronger" music video,[57] and Lupe Fiasco, whose album Tetsuo & Youth is named after Tetsuo Shima.[66] The popular bike from the film, Kaneda's Motorbike, appears in Steven Spielberg's film Ready Player One,[67] and CD Projekt's video game Cyberpunk 2077.[68]

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.[69] 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.[70] Other parallels have been drawn to James Cameron's Avatar, Steven Spielberg's A.I. Artificial Intelligence, and Jonathan Mostow's Surrogates.[70]

The original video animation Megazone 23 (1985) has a number of similarities to The Matrix.[71] 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.[72]

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[citation needed], 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.[73][74][75]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."[76] 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.

Julie Romandetta[77]

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[78] critique of capitalism[79] 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

Some Neo-Futurism artworks and cityscapes have been influenced by cyberpunk, such as[24] the Sony Center in the Potsdamer Platz public square of Berlin, Germany.[80]

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[when?] 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[according to whom?] are ACRONYM, Demobaza,[81] 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.[82]

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.[83]

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.

Cyberpunk works have been described as well-situated within postmodern literature.[84]


Cyberpunk - Wikipedia

Amazon.com: Cyberpunk 2077 – PlayStation 4: Video Games

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Amazon.com: Cyberpunk 2077 - PlayStation 4: Video Games

Cyberpunk | literature | Britannica.com

Cyberpunk, a science-fiction subgenre characterized by countercultural antiheroes trapped in a dehumanized, high-tech future.

The word cyberpunk was coined by writer Bruce Bethke, who wrote a story with that title in 1982. He derived the term from the words cybernetics, the science of replacing human functions with computerized ones, and punk, the cacophonous music and nihilistic sensibility that developed in the youth culture during the 1970s and 80s. Science-fiction editor Gardner Dozois is generally credited with having popularized the term.

The roots of cyberpunk extend past Bethkes tale to the technological fiction of the 1940s and 50s, to the writings of Samuel R. Delany and others who took up themes of alienation in a high-tech future, and to the criticism of Bruce Sterling, who in the 1970s called for science fiction that addressed the social and scientific concerns of the day. Not until the publication of William Gibsons 1984 novel Neuromancer, however, did cyberpunk take off as a movement within the genre. Other members of the cyberpunk school include Sterling, John Shirley, and Rudy Rucker.

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Cyberpunk | literature | Britannica.com