Cyberpunk

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 asartificial intelligence and cybernetics, juxtaposed with a degree
of breakdown or radical change in thesocial 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 José Farmer and Harlan Ellison examined the impact of drug culture, technology and the sexual
revolution while avoiding the utopian tendencies of earlier science fiction. Released in 1984,
William Gibson's influential debut novel
Neuromancer would help solidify cyberpunk as a genre, drawing influence from punk subculture and early hacker culture. Other
influential cyberpunk writers included Bruce Sterling and Rudy Rucker. The Japanese cyberpunk subgenre began in 1982 with the
debut of Katsuhiro Otomo's manga series Akira, with its 1988 anime film adaptationlater 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.

Contents
Background
History and origins
Style and ethos
Setting
Protagonists
Society and government
Media
Literature
Reception and impact
Film and television
Anime and manga
Influence
Games
Music
Social impact
Art and architecture
Society and counterculture
Related genres
Trademark
See also
References
External links

Background
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
.

— Lawrence Person[6]

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
[10][11][12]
transition to a more generalized cultural formation.

History and origins

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-
[14]
worlds one glimpses in the paintings of schizophrenics."

This had a profound influence on a new generation of writers, some of whom would come to call their movement "Cyberpunk". One,
Bruce Sterling, later said:

In the circle of American science fiction writers of my generation — cyberpunks and humanists and so forth —
[Ballard] was a towering figure. We used to have bitter struggles over who was more Ballardian than whom. W
e knew
we were not fit to polish the man’s boots, and we were scarcely able to understand how we could get to a position to
do work which he might respect or stand, but at least we were able to see the peak of achievement that he had
reached.[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
, Cadigan, Bear."[17]
occasion been referred to as “cyberpunks” — Sterling, Gibson, Shiner

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:
[19]
The Cyberpunk Anthology, an attempt to establish what cyberpunk was, from Sterling's perspective.

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
ou know, cyberpunks."[20]
and downloading a few disgusting pictures. Y

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.

Style and ethos

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
[21]
was adapted) is also seen by some as prefiguring the movement.
Blade Runner can be seen as a quintessential example of the cyberpunk style and theme.[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]

Setting
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 Shibuya, Tokyo.[23] Of Japan's influence on the genre, William Gibson said,
action takes place online, in cyberspace, "modern Japan simply was cyberpunk."[24]

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.

Protagonists
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.

Society and government

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 filmBlade Runner[10] while other films reinforce stereotypes.[38]

Media

Literature
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 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
[42]
and hackers in the future in ways hackers have since found both irritatingly naïve and tremendously stimulating."

Early on, cyberpunk was hailed as a radical departure from science-fiction standards and a new manifestation of vitality.[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' works—often citing J. G. Ballard, Philip K.
Dick, Harlan Ellison, Stanisław 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'sWolfbane (1959) and Roger Zelazny's Creatures of Light and Darkness
(1968).

In 1994, scholar Brian Stonehill suggested thatThomas 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]

Reception and impact

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 ofpostmodernism, 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, 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
[52]
"proves that hardcore hackers, multimedia junkies, cyberpunks and cellular freaks are poised to take over the world."

Film and television

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.

Anime and manga

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 filmBurst City, the 1985 original video animationMegazone 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-suns—all that towering, animated crawl of commercial information—said, "You see? You
see? It is Blade Runner town." And it was. It so evidently was.[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 Evangelionand Psycho-Pass.

Influence
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 asKanye West, who paid homage toAkira 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 animationMegazone 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 adaptationAlita: Battle Angel.[72]

Games
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 variousShadowrun games).

Several RPGs called Cyberpunk exist: Cyberpunk, Cyberpunk 2020 and Cyberpunk v3, by R. Talsorian Games, and GURPS
Cyberpunk, published by Steve Jackson Games as a module of the GURPS family of RPGs. Cyberpunk 2020 was designed with the
settings of William Gibson's writings in mind, and to some extent with his approval
, unlike the approach taken byFASA 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 usesplaying cards instead of dice.

Music
Some musicians and acts have been classified as cyberpunk due to their aesthetic style
"Much of the industrial/dance
and musical content. Often dealing with dystopian visions of the future or biomechanical
heavy 'Cyberpunk'—recorded in
themes, some fit more squarely in the category than others. Bands whose music has been Billy Idol's Macintosh-run studio
classified as cyberpunk include Psydoll, Front Line Assembly, Clock DVA and Sigue —revolves around Idol's theme
Sigue Sputnik. Some musicians not normally associated with cyberpunk have at times of the common man rising up to
fight against a faceless, soulless,
been inspired to create concept albums exploring such themes. Albums such as Gary
corporate world."
Numan's Replicas, The Pleasure Principle and Telekon were heavily inspired by the
—Julie Romandetta[77]
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 nostalgicretrofuturistic revival of aspects of cyberpunk's origins.

Social impact

Art and architecture

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]

Society and counterculture

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 thedot-com bubble implosion of 2000.

Cybergoth is a fashion and dance subculture which draws its

inspiration from cyberpunk fiction, as well as rave and Gothic
subcultures. In addition, a distinct cyberpunk fashion of its own
has emerged in recent years which rejects the raver and goth
influences of cybergoth, and draws inspiration from urban
street fashion, "post apocalypse", functional clothing, high tech
sports wear, tactical uniform and multifunction. This fashion
goes by names like "tech wear", "goth ninja" or "tech ninja".
Important designers in this type of fashion are ACRONYM,
Demobaza,[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]

Related genres
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, Berlin's Sony Center
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 withinpostmodern literature.[84]

Trademark
Role playing game publisherR. Talsorian Games, owner of the Cyberpunk 2020 franchise, trademarked the word "Cyberpunk" in the
United States in 2012.[85] Video game developer CD Projekt, which is developing Cyberpunk 2077, bought the U.S. trademark from
[86][87]
R. Talsorian Games, and has filed a trademark in the European Union.

See also
Corporate warfare
Cyborg
 Japanese cyberpunk
Mirrorshades
Posthumanization
Transhumanism
Utopian and dystopian fiction

References
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External links
Cyberpunk on The Encyclopedia of Science Fiction
The Cyberpunk Directory—Comprehensive directory of cyberpunk resources
Cyberpunk Media ArchiveArchive of cyberpunk media
The Cyberpunk Project—A project dedicated toward maintaining a cyberpunk database, library
, and other
information

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