IntroductionThe world of Cyberpunk is a violent, dangerous place, filled with people who'd love to rip your arm off and eat it. The traditional concepts of good and evil are replaced by the values of expedience-you do what you have to do to survive. If you can do some good along the way, great.But don't count on it.Individual selves trying to survive, maintain control and even to preserve honor and dignity in a threatening world.The dominant human emotions are greed and hatred. Positive emotions arise from experiencing. Strive for experiences : "It's the question that drives us, Neo."Aesthetic style permeates everyday life and high and low cultures implode in a commodity universe.In the future world of cyberpunk the Modern world has not died but ruthless capitalist-modernists still economically dominate the world of cyberpunk.What is human identity if it's programmable ?The rules :1) Style over Substance.2) Attitude is Everything.3) Always take it to the Edge.4) Break the Rules.AboutFew people still play Cyberpunk 2020. His publisher hasn't released new sourcebooks for ages and the old ones accuse their age. I attempt through this website to keep alive the genre. It gather an incalculable amount of knowledge gleaned from many websites (see credits). Similarities with these sites are obvious but there are hundreds of hours of work to correct errors and inconsistencies, rewrite parts, edit drawings, translating and above all recast it in a interface in PHP/MySQL.Last update : January 07, 2015CreditsCyberpunk 2020 is a registered trademark of R.Talsorian CorporationSome from SDEN, Blackhammer Cyberpunk Project, Datafortress 2020, Serena Dawn Spaceport and various others websites.Some artworks come from Masamune Shirow, Talsorian Games, Wizards of the Coast and various sources.Artworks are credited by name (example : CMax_-_Bandolero.jpg artwork from CMax...)All original material are properties of their respective owners.

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Cyberpunk 2021

A number of cyberpunk derivatives have become recognized as distinct subgenres in speculative fiction.[1] These derivatives, though they do not share cyberpunk's computers-focused setting, may display other qualities drawn from or analogous to cyberpunk: a world built on one particular technology that is extrapolated to a highly sophisticated level (this may even be a fantastical or anachronistic technology, akin to retro-futurism), a gritty transreal urban style, or a particular approach to social themes.

One of the most well-known of these subgenres, steampunk, has been defined as a "kind of technological fantasy",[1] and others in this category sometimes also incorporate aspects of science fantasy and historical fantasy.[2] Scholars have written of these subgenres' stylistic place in postmodern literature, and also their ambiguous interaction with the historical perspective of postcolonialism.[3]

American author Bruce Bethke coined the term "cyberpunk" in his 1980 short story of the same name, proposing it as a label for a new generation of punk teenagers inspired by the perceptions inherent to the Information Age.[4] The term was quickly appropriated as a label to be applied to the works of William Gibson, Bruce Sterling, John Shirley, Rudy Rucker, Michael Swanwick, Pat Cadigan, Lewis Shiner, Richard Kadrey, and others. Science fiction author Lawrence Person, in defining postcyberpunk, summarized the characteristics of cyberpunk thus:

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.[5]

The relevance of cyberpunk as a genre to punk subculture is debatable and further hampered by the lack of a defined cyberpunk subculture; where the small cyber movement shares themes with cyberpunk fiction and draws inspiration from punk and goth alike, cyberculture is much more popular though much less defined, encompassing virtual communities and cyberspace in general and typically embracing optimistic anticipations about the future. Cyberpunk is nonetheless regarded as a successful genre, as it ensnared many new readers and provided the sort of movement that postmodern literary critics found alluring. Furthermore, author David Brin argues, cyberpunk made science fiction more attractive and profitable for mainstream media and the visual arts in general.[6]

Biopunk emerged during the 1990s and focuses on the near-future unintended consequences of the biotechnology revolution following the discovery of recombinant DNA. Biopunk fiction typically describes the struggles of individuals or groups, often the product of human experimentation, against a backdrop of totalitarian governments or megacorporations which misuse biotechnologies as means of social control or profiteering. Unlike cyberpunk, it builds not on information technology but on biorobotics and synthetic biology. As in postcyberpunk however, individuals are usually modified and enhanced not with cyberware, but by genetic manipulation of their chromosomes.

Nanopunk refers to an emerging subgenre of speculative science fiction still very much in its infancy in comparison to other genres like that of cyberpunk.[7] The genre is similar to biopunk, but describes a world in which the use of biotechnology is limited or prohibited, and only nanites and nanotechnology is in wide use (while in biopunk bio- and nanotechnologies often coexist). Currently the genre is more concerned with the artistic and physiological impact of nanotechnology, than of aspects of the technology itself. Still, one of the most prominent examples of nanopunk is Crysis video game series. And much lesser famous examples is Generator Rex and Transcendence.[8]

As new writers and artists began to experiment with cyberpunk ideas, new varieties of fiction emerged, sometimes addressing the criticisms leveled at the original cyberpunk stories. Lawrence Person wrote in an essay he posted to the Internet forum Slashdot in 1998:

The best of cyberpunk conveyed huge cognitive loads about the future by depicting (in best "show, don't tell" fashion) the interaction of its characters with the quotidian minutia of their environment. In the way they interacted with their clothes, their furniture, their decks and spex, cyberpunk characters told you more about the society they lived in than "classic" SF stories did through their interaction with robots and rocketships.Postcyberpunk uses the same immersive world-building technique, but features different characters, settings, and, most importantly, makes fundamentally different assumptions about the future. Far from being alienated loners, postcyberpunk characters are frequently integral members of society (i.e., they have jobs). They live in futures that are not necessarily dystopic (indeed, they are often suffused with an optimism that ranges from cautious to exuberant), but their everyday lives are still impacted by rapid technological change and an omnipresent computerized infrastructure.[5]

Person advocates using the term "postcyberpunk" for the strain of science fiction he describes. In this view, typical postcyberpunk stories explore themes related to a "world of accelerating technological innovation and ever-increasing complexity in ways relevant to our everyday lives" with a continued focus on social aspects within a post-third industrial-era society, such as of ubiquitous dataspheres and cybernetic augmentation of the human body. Unlike cyberpunk its works may portray a utopia or to blend elements of both extremes into a more mature (to cyberpunk) societal vision. Rafael Miranda Huereca states:

In this fictional world, the unison in the hive becomes a power mechanism which is executed in its capillary form, not from above the social body but from within. This mechanism as Foucault remarks is a form of power, which "reaches into the very grain of individuals, touches their bodies and inserts itself into their actions and attitudes, their discourses, learning processes and everyday lives." In postcyberpunk unitopia 'the capillary mechanism' that Foucault describes is literalized. Power touches the body through the genes, injects viruses to the veins, takes the forms of pills and constantly penetrates the body through its surveillance systems; collects samples of body substance, reads finger prints, even reads the prints that are not visible, the ones which are coded in the genes. The body responds back to power, communicates with it; supplies the information that power requires and also receives its future conduct as a part of its daily routine. More importantly, power does not only control the body, but also designs, (re)produces, (re)creates it according to its own objectives. Thus, human body is re-formed as a result of the transformations of the relations between communication and power.[9]

The Daemon novels by Daniel Suarez could be considered postcyberpunk in that sense. In addition to themes of its ancestral genre postcyberpunk might also combine elements of nanopunk and biopunk.[10] Often named examples of postcyberpunk novels are Neal Stephenson's The Diamond Age and Bruce Sterling's Holy Fire. In television, Ghost in the Shell: Stand Alone Complex has been called "the most interesting, sustained postcyberpunk media work in existence".[11] In 2007, SF writers James Patrick Kelly and John Kessel published Rewired: The Post-Cyberpunk Anthology. Like all categories discerned within science fiction, the boundaries of postcyberpunk are likely to be fluid or ill defined.[12]

As a wider variety of writers began to work with cyberpunk concepts, new subgenres of science fiction emerged, playing off the cyberpunk label, and focusing on technology and its social effects in different ways. Many derivatives of cyberpunk are retro-futuristic, based either on the futuristic visions of past eras, especially from the first and second industrial revolution technological-eras, or more recent extrapolations or exaggerations of the actual technology of those eras.

The word "steampunk" was invented in 1987 as a jocular reference to some of the novels of Tim Powers, James P. Blaylock, and K. W. Jeter. When Gibson and Sterling entered the subgenre with their 1990 collaborative novel The Difference Engine the term was being used earnestly as well.[13] Alan Moore's and Kevin O'Neill's 1999 The League of Extraordinary Gentlemen historical fantasy comic book series (and the subsequent 2003 film adaption) popularized the steampunk genre and helped propel it into mainstream fiction.[14]

The most immediate form of steampunk subculture is the community of fans surrounding the genre. Others move beyond this, attempting to adopt a "steampunk" aesthetic through fashion, home decor and even music. This movement may also be (perhaps more accurately) described as "Neo-Victorianism", which is the amalgamation of Victorian aesthetic principles with modern sensibilities and technologies. This characteristic is particularly evident in steampunk fashion which tends to synthesize punk, goth and rivet styles as filtered through the Victorian era. As an object style, however, steampunk adopts more distinct characteristics with various craftspersons modding modern-day devices into a pseudo-Victorian mechanical "steampunk" style.[15] The goal of such redesigns is to employ appropriate materials (such as polished brass, iron, and wood) with design elements and craftsmanship consistent with the Victorian era.[16]

Dieselpunk is a genre and art style based on the aesthetics popular between World War I and the end of World War II. The style combines the artistic and genre influences of the period (including pulp magazines, serial films, film noir, art deco, and wartime pin-ups) with retro-futuristic technology[17][18] and postmodern sensibilities.[19] First coined in 2001 as a marketing term by game designer Lewis Pollak to describe his role-playing game Children of the Sun,[18][20] dieselpunk has grown to describe a distinct style of visual art, music, motion pictures, fiction, and engineering. Examples include the movies Iron Sky, Rocketeer, K-20: Legend of the Mask, Sky Captain and the World of Tomorrow and Dark City, and the games Crimson Skies, Greed Corp, Gatling Gears, BioShock and its sequel BioShock 2, The Legend of Korra and Skullgirls.[21]

There have been a handful of divergent terms based on the general concepts of steampunk. These are typically considered unofficial and are often invented by readers, or by authors referring to their own works, often humorously.

A large number of terms have been used by the GURPS roleplaying game Steampunk to describe anachronistic technologies and settings, including stonepunk, bronzepunk, sandalpunk, candlepunk, and transistorpunk. These terms have seen very little use outside GURPS.[22]

Stonepunk refers to works set roughly during the Stone Age in which the characters utilize Neolithic Revolutionera technology constructed from materials more or less consistent with the time period, but possessing anachronistic complexity and function. The Flintstones franchise and its various spin offs, Roland Emmerich's 10,000 BC, and the flashback scenes in Cro fall under this category. Literary examples include Edgar Rice Burrough's Back to the Stone Age and The Land that Time Forgot, and Jean M. Auel's "Earths Children" series, starting with The Clan of the Cave Bear.[23]

Clockpunk portrays Renaissance-era science and technology based on pre-modern designs, in the vein of Mainspring by Jay Lake,[24] and Whitechapel Gods by S. M. Peters.[25] Examples of clockpunk include The Blazing World by Margaret Cavendish,[26] Astro-Knights Island in the nonlinear game Poptropica, the 2011 film version of The Three Musketeers, the game Thief: The Dark Project, and the game Syberia.

The term was coined by the GURPS role playing system.[22]

Nowpunk is a term invented by Bruce Sterling, which he applied to contemporary fiction set in the time period (particularly in the post-Cold War 1990s to the present) in which the fiction is being published, i.e. all contemporary fiction. Sterling used the term to describe his book The Zenith Angle, which follows the story of a hacker whose life is changed by the September 11, 2001 attacks.[27]

Decopunk is a recent subset of Dieselpunk, centered around the art deco and Streamline Moderne art styles, and based around the period between the 1920s and 1950s. In an interview[28] at CoyoteCon, steampunk author Sara M. Harvey made the distinctions "shinier than dieselpunk, more like decopunk", and "Dieselpunk is a gritty version of steampunk set in the 1920s1950s. The big war eras, specifically. Decopunk is the sleek, shiny very art deco version; same time period, but everything is chrome!" Its fandom arose around 2008.[citation needed] Possibly the most notable examples of this are the first two BioShock games, and the cartoon Batman: The Animated Series which included neo-noir elements along with modern elements such as the use of VHS cassettes.

Atompunk (sometimes called "atomicpunk") relates to the pre-digital short twentieth century, specifically the period of 19451965, including mid-century Modernism, the Atomic Age, Jet Age and Space Age, Communism and concern about it exaggerated as paranoia in the U.S. along with Neo-Soviet styling, underground cinema, Googie architecture, Sputnik and the Space Race, early Cold War espionage, superhero fiction and comic books, the rise of the US military/industrial powers and the fall-out of Chernobyl.[29][30] Its aesthetic tends toward Populuxe and Raygun Gothic, which describe a retro-futuristic vision of the world.[29]

Cyberprep is a term with a very similar meaning to postcyberpunk. The word is an amalgam of the prefix "cyber-", referring to cybernetics and "preppy", reflecting its divergence from the punk elements of cyberpunk. A cyberprep world assumes that all the technological advancements of cyberpunk speculation have taken place but life is utopian rather than gritty and dangerous.[31] Since society is largely leisure-driven, while advanced body modifications are used for sports, pleasure and self-improvement. An example would be Scott Westerfeld's Uglies series.

Elfpunk is subgenre of urban fantasy in which traditional mythological creatures such as faeries and elves are transplanted from rural folklore into modern urban settings and has been seen in books since the 1980s including works such as War of the Oaks by Emma Bull, Gossamer Axe by Gael Baudino, and The Iron Dragons' Daughter by Michael Swanwick. During the awards ceremony for the 2007 National Book Awards, judge Elizabeth Partridge expounded on the distinction between elfpunk and urban fantasy, citing fellow judge Scott Westerfeld's thoughts on the works of Holly Black who is considered "classic elfpunkthere's enough creatures already, and she's using them. Urban fantasy, though, can have some totally made-up f*cked-up [sic] creatures".[32]

Catherynne M. Valente uses the term "mythpunk" to describe a subgenre of mythic fiction which starts in folklore and myth and adds elements of postmodern literary techniques. As the -punk appendage implies,[33] mythpunk is subversive. In particular, it uses aspects of folklore to subvert or question dominant societal norms, often bringing in a feminist and/or multicultural approach. It confronts, instead of conforms, to societal norms.[34] Valente describes mythpunk as breaking "mythologies that defined a universe where women, queer folk, people of color, people who deviate from the norm were invisible or never existed" and then "piecing it back together to make something strange and different and wild".[33]

Typically, mythpunk narratives focus on transforming folkloric source material rather than retelling it, often through postmodern literary techniques such as non-linear storytelling, worldbuilding, confessional poetry, as well as modern linguistic and literary devices. The use of folklore is especially important because folklore is "often a battleground between subversive and conservative forces" and a medium for constructing new societal norms. Through postmodern literary techniques, mythpunk authors change the structures and traditions of folklore, "negotiatingand validatingdifferent norms".[34]

Most works of mythpunk have been published by small presses, such as Strange Horizons,[35] because "anything playing out on the edge is going to have truck with the small presses at some point, because small presses take big risks".[33] Writers whose works would fall under the mythpunk label include Ekaterina Sedia, Theodora Goss, Neil Gaiman, Sonya Taaffe, Adam Christopher, and the anonymous author behind the pen name "B.L.A. and G.B. Gabbler". Valente's novel Deathless is a good example of mythpunk, drawing from classic Russian folklore to tell the tale of Koshchei the Deathless from a female perspective.[36]

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Cyberpunk derivatives - Wikipedia

Cyberpunk 2077 was announced all the way back in 2012, but with The Witcher 3, its expansions, and Gwent at the top of the order back then, we only heard scraps about CD Projekt REDs next open world RPG. All combined, though, the past six years of interview snippets paint Cyberpunk 2077 as a behemoth of a game, even bigger that The Witcher 3 and with possible multiplayer features on top of hundreds of hours of single-player roleplaying. And, as we've learned, first-person shooting.

The time has finally come for Cyberpunk to take the spotlight, beginning with a big cinematic trailer revealed at E3 2018 (scroll down a bit for that). We'll be updating this post with new details throughout E3 and beyond.

CD Projekt has mostly stuck with the "when its done" line, but we know that it plans to release Cyberpunk 2077 between 2017 and 2021, along with another, still unannounced RPG. Weve been hearing about Cyberpunk since 2012, so the expectation is that itll be the first of the two to release. Our guess, then, is that Cyberpunk 2077 will release in 2019.

This is backed up by comments from a March 2017 financial results conference during which CD Projekt developers said that progress on Cyberpunk is "quite advanced." That said, the "when it's done" motto is something CD Projekt is serious about (recall it delaying The Witcher 3). If it isn't ready in 2019, it could be 2020, or 2021. We'd be really surprised if it released this year, but anything's possible.

It's more playful than we expected, but also just as violent as we expected.

Yes, so long as you understand 'FPS' literally: first-person shooter. Cyberpunk 2077 is an RPG, as CD Projekt has been saying, but it is an RPG played from a first-person perspective with guns. There's cover, there's sliding, there's wall-runninglots of things we associate with, say, Titanfall 2. So while it's a big open world RPG with stats and dialogue, it's an FPS, too.

You will have a third-person view in vehicles and cutscenes, but other than that, this is a first-person game. That's a surprise!

Yep. You can play as a woman or a man, and also customize your look a bit, such as by choosing a hairstyle, tattoos, makeup, and clothing. There are also stats: strength, constitution, intelligence, reflexes, tech, and "cool," which as we understand it from the tabletop game is how you perform under pressure.

This is another departure from The Witcher seriesof course, those games were based on books, while this is based on a tabletop roleplaying game with its own rules and ideas.

However you customize your character, you're still one specific person: V. Not 'Vee.' Just V. You're a mercenary, and that's most of what we know so far.

While guns seem to be your primary weapons, we saw lots of cool abilities in the E3 gameplay demonstration we saw.

It shouldn't come as a big surprise that a giant open world shooter-RPG has cars. You can indeed drive in Cyberpunk 2077, from either a first or third-person perspective. There's vehicular combat, tooin the demonstration we saw, the player leaned out a window to shoot.

We haven't. But we did get to see a jam-packed gameplay demonstration at E3. The footage hasn't been made public yet, but you can read all about it here.

Back in September 2016, we learned that CD Projekt applied for grants which suggest Cyberpunk 2077 could feature a huge living city and seamless multiplayer.

Thats backed up by this story from 2015, in which we learn that Cyberpunk 2077 will be far bigger than anything else that CD Projekt Red has done before, including The Witcher 3. So, if we take CD Projekt RED at its word, Cyberpunk 2077 will be exceptionally large and, hopefully, full of sidequests.

We first heard about multiplayer features back in 2013, but CD Projekt RED clearly knew the word could agitate its fans. "It will be a story-based RPG experience with amazing single-player playthroughs," reassured managing director Adam Badowski in a 2013 talk with Eurogamer, "but we're going to add multiplayer features."

In 2017, CD Projekt CEO Adam Kiciski said that the multiplayer features would ensure Cyberpunk's "long-term success," which caused some concerns given the current kerfuffle over microtransactions, especially with Star Wars Battlefront 2's loot box progression system going over so poorly.

CD Projekt responded to the concerns with a tweet meant to reassure fans that they'll still be getting a Witcher 3-style singleplayer epic. "Worry not," it said. "When thinking CP2077, think nothing less than TW3huge single player, open world, story-driven RPG. No hidden catch, you get what you pay forno bullshit, just honest gaming like with Wild Hunt. We leave greed to others."

As of March of this year, they still weren't keen to talk much about it.

No. The E3 2018 trailer contains a little Easter egg which confirms that there will be no microtransactions in Cyberpunk 2077. (Enlarge the image and read the red text, in which CD Projekt responds to the question: "In a single player role-playing game? Are you nuts?")

The cover of the Night City sourcebook. Click here to enlarge.

Cyberpunk 2077 takes place in the year 2077which you probably didnt need us to tell youin the sandbox environment of Night City, a fictional city between San Francisco and LA (as described here, although if it's really in Del Coronado Bay it would be well south of LA) that already exists in the Cyberpunk pen and paper RPG created by Mike Pondsmith. Heres an except from the Night City sourcebook, describing Night City as it exists in Cyberpunk 2020:

"A planned urban community founded in 1994 by the late entrepreneur Richard Alix Night (1954 - 1998). Established at the head of the Del Coronado Bay (dredged to current capacity in 1999), and facing the Pacific Ocean to the west, Night City is a modern city of the twenty-first century. Its wide streets and ultra-modern towers are home to over a million people, with another four-and-a-half million living in the greater Night City areas of Westbrook, North Oak, Heywood, Pacifica, South Night City and Rancho Coronado.

An exciting and vibrant place to live, Night City is even more fun to visit; world famous for its slogan "The City on the Edge of Tomorrow," the area hosts almost nine million tourists, conventioneers and corporate travellers every year. A planned community with an advanced rapid transit system, its own Net LDL, and a Corporate Center boasting representatives from over a dozen of the world's most powerful megacorps, Night City is a shining example of Technology Triumphant over the Trouble of the Past."

Thats an optimistic description, of course, leaving out the mucky, nasty parts of Night City, as Pondsmith puts it in the video above. Punks and corporate stooges of all varieties wander these foggy, once Mob-ruled streets, and by 2023, corporations are openly warring for them. Cyberpunk 2077 will show us what happened to the city in the aftermath of that war.

People have wondered whats going to happen, there are clues and hintsif we told you more wed have to kill you, as usual, said Pondsmith during Cyberpunk 2077s reveal in 2012, which you can watch below. One of them is a big hint I left for everybody at the end of the fourth Corporate War, when I dropped a small pocket tactical nuke in the middle of the Arasaka Towers, and that left kind of a really large real estate space that were gonna be playing around with.

The event hes referring to happened in 2024 on the Cyberpunk timeline, which means we step into Night City a little over 50 years after part of the downtown was destroyed and, presumably, rebuilt.

The announcement video doesnt reveal much more, except that CD Projekt RED and Pondsmith are using Cyberpunks pen and paper combat systemthough exactly how thatll be implemented is unclearand inventing new weapons and technology for the year 2077.

In a 2017 interview with Rock Paper Shotgun, Pondsmith said that the CD Projekt developers "get it," which is why he's happy to work with them on the game, and explained a little about his approach to cyberpunk themes.

We expect to hear more as 2019 approaches, so drop by our hub of all things Cyberpunk anytime you're curious about the latest updates. There's also a newsletter signup on the official site.

Continued here:

Everything we know about Cyberpunk 2077 - PC Gamer

YouTube/Cyberpunk 2077 "Cyberpunk 2077," from CD Projekt Red, is one of the most anticipated video games in the world right now.

Fans finally got to see the latest trailer for "Cyberpunk 2077" at Microsoft's E3 press conference on Sunday after a 5-year wait since the last trailer and it was one of the highlights of the whole multi-day expo.

But unless you were physically in Los Angeles and attending E3, you didn't get to witness CD Projekt Red's apparently jaw-dropping 50-minute uncut gameplay demo of "Cyberpunk 2077" that was held behind closed doors and away from cameras. According to those who were there, the demo revealed several major aspects of the mysterious game and journalists from Eurogamer, Gamespot, and other outlets were there to take notes on what they saw. Here, we've gathered the most important details from those reports.

Here's what we learned from the "Cyberpunk 2077" gameplay demo held at E3 behind closed doors:

Go here to see the original:

Cyberpunk 2077: Full details from 50-minute gameplay demo ...

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Top 10 Cyberpunk Video Games - YouTube

If you havent seen it yet, heres a link to a very insightful behind-the-scenes material showing all the details and nuances that went into making of the Cyberpunk 2077 debut teaser trailer.

Jan17

City lights, fog, strangers passing by Watch Mike Pondsmith, the creator of the pen-and-paper RPG Cyberpunk 2020 and learn about his inspirations for creating a dystopian metropolis of Night City.

Read more

Jan14

The long-awaited video for Cyberpunk 2077 has finally arrived! You can watch it here in all its glory.

Jan11

Two weeks ago we asked you to share with us your favourite CyberPunk dish.The response was excellent, and there were some succulently lengthy posts. Read more

Dec7

Here at CD Projekt Red we are inspired by many different types of games, not only cyberpunk games. And INSPIRED is the key word here. Taking one feature from game A, another from game B and yet another from game C doesnt mean that final product will be a game of A+B+C quality. There is actually a high chance that if the process of adapting features wasnt done carefully or mixed properly, then the final game will be a disaster the sum of a bunch of things that do not work well together. And no one want to end up with Cyberpunk game like that, right?

Read more

Nov30

Continued here:

Cyberpunk Blog

Cyberpunk (de Cyber(netic) + punk) ou Cibernarquismo[1] um subgnero de fico cientfica, conhecido por seu enfoque de "Alta tecnologia e baixa qualidade de vida" ("High tech, Low life") e toma seu nome da combinao de ciberntica e punk.[2] Mescla cincia avanada, como as tecnologias de informao e a ciberntica junto com algum grau de desintegrao ou mudana radical na ordem social.[3] De acordo com Lawrence Person: "Os personagens do cyberpunk clssico so seres marginalizados, distanciados, solitrios, que vivem margem da sociedade, geralmente em futuros distpicos onde a vida diria impactada pela rpida mudana tecnolgica, uma atmosfera de informao computadorizada ambgua e a modificao invasiva do corpo humano."

Segundo William Gibson, em seu livro Neuromancer, o indivduo cyberpunk uma espcie de "pichador virtual" que se utiliza de seu conhecimento acima da mdia dos usurios para realizar protestos contra a sistemtica vigente das grandes corporaes, sob a forma de vandalismo com cunho depreciativo, a fim de infligir-lhes prejuzos sem, contudo, auferir qualquer ganho pessoal com tais atos.

O termo "Cyberpunk" tambm significa uma subcultura que focada na Cybercultura e se destaca pela preferencia por msica psicodlica e de gneros de fuso entre punk rock e msica eletrnica e por adereos de moda futuristas.

O estilo cyberpunk descreve o lado niilista e underground da sociedade digital que comeou a se desenvolver nas ltimas duas dcadas do sculo XX. Um mundo cyberpunk distpico chamado de anttese das vises utpicas de mundos de fico cientfica de meados do sculo XX, como tipificadas pelo mundo de Jornada nas Estrelas (Star Trek), embora incorporando algumas dessas utopias, principalmente na questo da separao entre corpo e mente, muito discutida na filosofia cartesiana.

Na literatura cyberpunk, muito da ao se ambienta virtualmente, no ciberespao - a fronteira evidente entre o real e o virtual fica embaada. Uma caracterstica tpica (ainda que no universal) desse gnero uma ligao direta entre o crebro humano e sistemas de computador.

O mundo cyberpunk um lugar sinistro, sombrio, com computadores ligados em rede que dominam todos os aspectos da vida cotidiana. Empresas multinacionais gigantes substituram o Estado como centros de poder. A batalha do excludo alienado contra um sistema totalitrio um tema comum na fico cientfica; entretanto, na FC convencional tais sistemas tendem a ser estreis, ordenados, e controlados pelo Estado. Em contraste a isso, no cyberpunk, mostram-se as entranhas da corporatocracia, e a batalha sisfica entre seu poder por renegados desiludidos.

As histrias cyberpunk so vistas como representaes ficcionais do presente a partir de uma extrapolao e especulao das tecnologias de comunicao, como por exemplo, a internet.

O argumento da escrita cyberpunk se centra em um conflito entre hackers, inteligncias artificiais, e megacorporaes, tendentes a serem postos dentro da Terra num futuro prximo, em oposio do futuro distante panorama de encontros galcticos em romances como a Fundao de Isaac Asimov ou Dune de Frank Herbert. As vises deste futuro tendem a ser distopias ps-industriais, mas esto normalmente marcadas por um fomento cultural extraordinrio e o uso de tecnologias em mbitos nunca antecipados por seus criadores ("A rua encontra suas prprias aplicaes pras coisas"). A atmosfera do gnero em sua maioria faz eco no cine negro e se utiliza pouco neste gnero tcnicas de romances policiais.[4] Entre os primeiros expoentes do gnero cyberpunk se encontran William Gibson, Bruce Sterling, Pat Cadigan, Rudy Rucker e John Shirley. As influncias do Cyberpunk se estenderam por outros gneros literrios, e so visveis, por exemplo, em traos da obra de Stephen King, como no livro O Concorrente, onde o mundo um cenrio Cyberpunk prximo temporalmente. O termo Cyberpunk se cunhou nos anos 80 e continua sendo atual.

Diferente da fico cientfica da New Wave, que importou as tcnicas e as preocupaes estilsticas que j existiam na literatura e na cultura, o cyberpunk se originou na fico cientfica primeiro, antes de incrementar a tendncia dominante de sua exposio. No comeo e meio dos anos 80, o cyberpunk se converteu num tema de moda nos crculos acadmicos, onde comeou a ser objeto de investigao do ps-modernismo. Neste mesmo perodo, o gnero ingressou a Hollywood e se converteu em um dos estilos da fico cientfica do segmento do cinema. Muitos filmes influentes tais como Blade Runner[4] e a trilogia de Matrix se podem ver como consequncias proeminentes dos estilos e dos temas do gnero. Os jogos de computador, os jogos de tabuleiro e os jogos de RPG, tais como Shadowrun, ou o apropriadamente nomeado Cyberpunk 2020, oferecem a mido roteiros que esto fortemente influenciados pelos filmes e a literatura cyberpunk. Iniciando os anos 90, algumas tendncias da moda e a msica foram etiquetadas como tal.

Enquanto que uma grande variedade de escritores comeou a trabalhar com conceitos do cyberpunk, novos sub-gneros emergiram, que se centravam na tecnologia e seus efeitos sociais de uma maneira diferente. Os exemplos incluem o steampunk, iniciado por Tim Powers, Kevin Wayne Jeter e James Blaylock, e o biopunk (ou alternativamente ribofunk), no qual Paul Di Filippo proeminente. Adicionalmente algumas pessoas consideram trabalhos tais como A era do Diamante de Neal Stephenson como o incio da categoria ps-cyberpunk.

Assim o escritor Bruce Sterling explica o que cyberpunk:

"Qualquer coisa que se possa fazer a um rato pode-se fazer a um humano. E podemos fazer quase tudo aos ratos. duro pensar assim, mas a verdade. E no vai desaparecer se cobrirmos os olhos. Isto cyberpunk."[5]

Em algumas obras do gnero, grande parte da ao se desenrola on line, no ciberespao, de modo que a linha que separa o real e o virtual fica borrada.

A narrativa cyberpunk muitas vezes ambientada em paisagens urbanizadas, artificiais, e a imagem das "luzes da cidade, afastando-se" foi usado por Gibson como uma das primeiras metforas do gnero, para o ciberespao e a realidade virtual.[9] As paisagens urbanas de Hong Kong [10] e Xangai [11] foram influncias importantes no ambiente urbano, na atmosfera e nas caractersticas de muitos trabalhos ciberpunk, como Blade Runner e Shadowrun. Em Blade Runner, Ridley Scott imaginou uma Los Angeles cyberpunk, como "Hong Kong num dia bem ruim".[12] As ruas de Ghost in the Shell>What is Ghost in the Shell. Cyberpunk 2021 tambm tiveram Hong Kong como fonte de inspirao. Segundo seu diretor, Mamoru Oshii, as ruas estranhas e caticas de Hong Kong, onde "o antigo e o novo coexistem numa relao confusa", adaptam-se bem ao tema do filme.[10] A Cidade murada de Kowloon, em Hong Kong, particularmente notvel por sua desorganizada hiper-urbanizao e degradao em termos do planejamento urbano tradicional, uma perfeita fonte de inspirao para paisagens ciberpunk.

Os protagonistas da literatura cyberpunk geralmente so hackers moldados frequentemente na ideia de heri solitrio que combate a injustia: cowboy, ronin, etc. Normalmente so pessoas desprivilegiadas, colocadas em situaes extraordinrias, que mais se adaptam ao perfil de cientistas brilhantes buscando avanos ou aventura do que aos de verdadeiros heris, (uma comparao conveniente pode ser a ambiguidade moral do personagem de Clint Eastwood na Trilogia dos dlares).

Um dos personagens prottipo do gnero cyberpunk Case, do romance Neuromancer de William Gibson. Case um cowboy do pc, um hacker brilhante, que trai seus scios do crime organizado. Roubado de seu talento por leso que o deixa incapaz de atuar como hacker, fruto de uma vingana por parte de seus scios criminosos, Case recebe uma inesperada e nica oportunidade na vida de ser curado com assistncia mdica avanada, contudo, em troca de sua participao em outra empresa criminosa com uma nova equipe. Como Case, muitos protagonistas cyberpunk so manipulados, postos em situaes onde tm pouca ou nenhuma opo, e ainda que eles podem ver-se nisto, no necessariamente chegam a estar mais longe do que previamente estavam. Estes anti-heris criminosos, prias, visionrios, desertores e inadaptados no experimentam o caminho de heri de Campbell como um protagonista da epopia homrica ou um romance de Alexandre Dumas. Eles em troca, traem memria o investigador privado do romance policial, que poderia solucionar os casos mais complexos, mas nunca receber uma recompensa justa. Esta nfase sobre os inadaptados e descontentes - que Thomas Pynchon chama o "pretrito" e Frank Zappa o "esquecimento da Grande Sociedade" - o componente "punk" do cyberpunk.

A literatura cyberpunk usada constantemente como uma metfora para as preocupaes atuais sobre os efeitos e o controle das grandes corporaes sobre as pessoas, a corrupo nos governos, a alienao e a vigilncia tecnolgica. O cyberpunk pode ser entendido como uma inquietude e um chamado ao. Isto sempre expressa um sentido de rebelio, sugerindo que poder-se-ia descrev-lo como um tipo de fico cientfica contracultural. Nas palavras do autor e crtico David Brin,

David Brin. The Transparent Society, 1998

As histrias cyberpunk so consideradas s vezes como prognsticos fictcios da evoluo da Internet. O mundo virtual aparece sempre sob vrios nomes, incluindo "Cyberespao", "a Rede" e "a Matriz". Nesse contexto importante observar que as primeiras descries de uma rede global de comunicaes vieram muito antes que a World Wide Web se incorporasse ao conhecimento popular, ainda que no antes de escritores tradicionais da fico cientfica, como Arthur Charles Clarke, e alguns crticos sociais, como James Burke, comearem a prever que tais redes seriam formadas.

O editor de fico cientfica Gardner Dozois geralmente conhecido como a pessoa que popularizou o uso do termo cyberpunk como um tipo de literatura. O escritor Bruce Bethke cunhou o termo em 1980 para seu conto "Cyberpunk", ainda que a histria no se publicou at novembro de 1983, em Amazing Science Fiction Stories, Volume 57, Nmero 4.

O termo foi rapidamente acolhido como uma etiqueta aplicada aos trabalhos de William Gibson, Bruce Sterling, John Shirley, Rudy Rucker, Michael Swanwick, Pat Cadigan, Lewis Shiner, Richard Kadrey e outros. Destes Sterling iniciou o movimento, liderando a ideologia, graas a seu fanzine Cheap Truth.

Os elementos cyberpunk esto presentes nos Hyperion Cantos de Dan Simmons; o planeta Lusus possui muitas caractersticas do mundo distpico de Neuromance e os nveis cibernticos da vida e a existncia da inteligncia artificial tem bvias influncias dos trabalhos de Gibson.

William Gibson com seu Neuromancer, provavelmente o mais famoso escritor conectado com o termo. O estilo enftico, a fascinao com a superfcie e a aparncia e sensao de futuro, e a atmosfera j tradicional na fico vista como a ruptura e s vezes como o trabalho arquetpico do cyberpunk. Neuromancer foi agraciado com os prmios Hugo, Nbula e Philip K. Dick. De acordo com o arquivo do jargo A total ignorncia de Gibson sobre computadores a cultura hacker atual o permitiram especular sobre o RPG dos computadores e hackers no futuro de modo que ambas so desde ento irritativamente ingnuas e tremendamente estimulantes.

Cedo o cyberpunk foi aclamado como uma ruptura radical dos padres da fico cientfica e uma nova manifestao de vitalidade, mas pouco tempo depois, surgiram muitos crticos para mudar seu status a movimento revolucionrio. Estes crticos dizem que a fico cientfica new wave dos anos 60 era muito mais inovadora quanto ao estilo e tcnicas narrativas. Alm disso, enquanto o narrador de Neuromancer pde ter uma voz inusual para fico cientfica, se podem encontrar muitos outros exemplos anteriores a este: a voz narrativa de Gibson, por exemplo se assemelha do atualssimo Raymond Chandler em seu romance The Big Sleep (1939). Outros consideram que os rasgos considerados nicos do cyberpunk, de fato se podem encontrar em trabalhos mais antigos de outros escritores, dos que podemos citar James Graham Ballard, Philip K. Dick, Harlan Ellison, Stanislaw Lem, Samuel Delany e inclusive William Burroughs.[13] Por exemplo os trabalhos de Philip K. Dick contm temas recorrentes de decaimento social, inteligncia artificial, paranoia e linhas ocultas entre a realidade e uma espcie de realidade virtual; o filme Blade Runner est baseado num destes livros Do Androids Dream of Electric Sheep?.[14] Humanos vinculados com maquinas so o cimento do romance "Wolfbane de Frederik Pohl" , "Cyril M. Kornbluth (1959)" , "Creatures of Light and Darkness" de Roger Zelazny (1986).

Em 1994 o acadmico Brian Stonehill insinuou que o romance "Gravity's Rainbow" de Thomas Pynchon: no s insulta seno que plagia aos precursores do cyberespao.[15] Outros importantes predecessores incluem dois romances muito celebrados de Alfred Bester, The Demolished Man e The Stars My Destination,[16] assim como a novela True Names de Vernor Vinge.[17]

O escritor de fico cientfica David Brin descreve o cyberpunk como a campanha de promoo gratuita mais fina empreendida a nome da fico cientfica. Este pode no haver atrado aos verdadeiros punks , mas este atraiu a muitos novos leitores, e isto disps a classe de movimento que a literatura ps-modernista buscava comentar.(Uma ilustrao disto o "A Cyborg Manifesto" de Donna Haraway, uma tentativa de construir um mito poltico usando cyborgs como metforas da realidade social contempornea). O cyberpunk fez mais atrativa a fico cientfica pros acadmicos, argumenta Brin, alm disso, fez a fico cientfica mais lucrativa para Hollywood e as artes visuais em geral. Ainda quando sua importncia retrica e queixas de perseguio da parte dos aficcionados cyberpunk era irritante no pior e cmico no melhor dos casos, Brin declara que Os rebeldes puseram as cosas de pernas pro ar, lhes temos uma dvida []. Mas, ele pergunta Foram eles originais?.

O futuro cyberpunk inspirou a muitos escritores profissionais que no se encontravam entre os cyberpunks originais ao incorporar ideias cyberpunk em seus prprios trabalhos, tais como Walter Jon Williams com "Hardwired" e "Voice of the Whirlwind", e George Alec Effinger com sua obra "When Gravity Fails". Enquanto novos escritores e artistas comearam a experimentar com ideias cyberpunk, novas variedades de fico emergiram, s vezes manejando o mesmo nvel de crtica que as histrias do cyberpunk original. Lawrence Person escreveu em um ensaio publicado no frum de Internet Slashdot:

O ensaio de Person advoga usando o termo ps-cyberpunk para etiquetar os novos trabalhos que estes escritores produzem. Nesta viso, as histrias tpicas do ps-cyberpunk continuam enfocando-se numa atmosfera de dados ubqua de informao computarizada e o aumento ciberntico no corpo humano, mas sem assumir a distopa. Bons exemplos podem ser "A era do diamante" de Neal Stephenson ou "Transmetropolitan" de Warren Ellis e Darick Robertson. Como todas as categorias includas na fico cientfica, os limites do ps-cyberpunk so suscetveis de mudar ou serem mal definidos. Para complicar o assunto, h um mercado contnuo de romances cyberpunk puros fortemente influenciados pelo trabalho precoce de Gibson, tal como "Carbono Alterado" de Richard Morgan.

O filme Blade Runner (1982), adaptado do livro "Sonham os andrides com ovelhas eltricas?" de Philip Kindred Dick, se centra em uma distopia futura na qual seres manufaturados chamados replicantes so usados como escravos em colnias do espao, na Terra presa de vrios caadores de recompensas, os quais se encarregam de aposent-los (mat-los). Ainda que Blade Runner no foi um xito em seu lanamento, encontrou um grande nicho no mercado de aluguel de filmes. Posto que o filme omite os elementos religiosos e msticos do livro de Dick (e.g, caixas de empatia e Wilbur Mercer) cai mais estritamente dentro do gnero cyberpunk que a obra. William Gibson revelaria depois que a primeira vez que viu o filme, se havia surpreendido muito de como a aparncia deste filme era similar a sua viso quando estava trabalhando em Neuromancer.

Segundo o mencionado anteriormente, a srie de TV "Max Headroom" tambm expandiu o cyberpunk, qui com um xito mais popular que os primeiros trabalhos escritos do gnero.

O nmero de filmes deste gnero, ou pelo menos de um de seus elementos h crescido constantemente desde Blade Runner. Vrios dos trabalhos de Philip Kindred Dick se ho adaptado telona, com elementos cyberpunk chegando a ser tipicamente dominantes, os exemplos incluem Screamers (1996), Minority Report (2002), Paycheck (2003) e A Scanner Darkly (2006). Mas infelizmente pro argumento original, o filme Johnny Mnemonic (1995) foi um fracasso, comercialmente e para crtica. Os fs de Gibson reclamam que o argumento se desviou substancialmente do trabalho original, ainda quando o mesmo Gibson escreveu o roteiro final.

O diretor Darren Aronofsky direciona sua obra-prima (1998) em uma Nova York atual, mas construiu o livreto com influncias da esttica cyberpunk. De acordo com comentrios do DVD, ele fez esta produo usando deliberadamente mquinas antigas (como o diskete de 5- de polegada), imitando o estilo tecnolgico de "Brazil" (1985), para criar una sensao cyberpunk. Aronofsky descreve o Chinatown, onde se dirige o filme, como a vizinhana cyberpunk depois de Nova York.

A srie Robocop se ajusta mais ao futuro prximo onde h pelo menos uma corporao, Omni Produtos de Consumo, que uma empresa toda-poderosa na cidade de Detroit. At o fim do mundo (1991) mostra outro exemplo onde o cyberpunk o tema de fundo, e uma estratgia de argumento, para v-la de outro modo e dirigir o personagem da histria. Gattaca (1997) dirigida por Andrew Niccol um filme negro futurista cujo empapado modo distpico provem um bom exemplo do biopunk.

A srie Matrix, que iniciou em 1999 com "The Matrix" (conformada tambm por Matrix Reloaded, Matrix Revolutions e Animatrix) usam uma ampla variedade de elementos cyberpunk.

Mais atualmente, com temas que tambm englobam elemenos do universo cyberpunk, temos o filme Ghost in the Shell, lanado em 2017.

O estilo cyberpunk e o desenho futurista so encontrados tambm com uma vasta exposio no anime e no mang, incluindo "Akira" (1 referente anime do gnero), "Cowboy Bebop", "Gunnm - Battle Angel", "Bubblegum Crisis", "Ergo Proxy", "Armitage III", "Blame!", e outros mangs da mesma srie o "Noise" e "Biomega", "Silent Mbius", "Serial Experiments Lain", "Texhnolyze", Psycho-Pass ,"Eat-Man" "Boogiepop Phamtom" e "Ghost in the Shell", sendo esta ltima a que mais tem influenciado a juventude contempornea japonesa que vive com uma relativa proximidade ambientao da srie, que mostra um Japo com tecnologias de ponta e que adverte sobre os riscos que pode causar isto ante uma possvel perda de identidade humana.

O anime tambm h proporcionado exemplos do sub-gnero steampunk, particularmente em muitos dos trabalhos de Hayao Miyazaki, em "Full Metal Alchemist", e tambm notavelmente em "Last Exile", de 2003, criado pelo estdio "GONZO" e dirigido por Koichi Chigira, que oferece uma curiosa mescla de sociedade vitoriana e batalhas futursticas entre naves areas. Tambm notvel "Steamboy" (2004) dirigido por Katsuhiro Otomo e mais recentemente "Ergo Proxy" produzida por Manglobe.

O termo msica cyberpunk pode referir-se a duas categorias pouco superpostas, como denotar a ampla gama dos trabalhos musicais que os filmes cyberpunk utilizam como trilha sonora. Estes trabalhos variam em gnero desde a msica clssica e o jazz usados em Blade Runner, e que por outra parte evoca o ambiente do cine negro- e a msica eletrnica. Tipicamente os filmes fazem uso do eletrnico, msica industrial, futurepop, rock alternativo, rock gtico, chiptunes e intelligent dance music para criar a sensao apropriada. O mesmo princpio aplica aos videogames. Naturalmente, enquanto os trabalhos escritos no esto associados a trilhas sonoras com tanta frequncia como os filmes, a aluso a trabalhos musicais usada pro mesmo efeito. Por exemplo o romance grfico "Kling Klang Klatch" (1992), uma fantasia obscura sobre um mundo de brinquedos vivos, onde um urso de pelcia amargado tem uma atrao pelo acar e uma paixo pelo jazz.

O Nine Inch Nails, por exemplo, criou toda uma atmosfera futurstica e apocalptica no seu lbum conceito Year Zero, que revela um mundo totalmente desmoronado pelo capitalismo, onde a pobreza, a censura e o militarismo impera. No contexto da histria tambm se destaca um grupo de "guerrilheiros hackers" que fazem parte de uma resistncia artstica, conspirando contra o governo com sabotagens virtuais, atravs de fruns e websites fictcios. Outro grupo musical, Atari Teenage Riot, tambm ficou conhecido por ser uma banda de anarco-punk totalmente eletrnica, incitando o terrorismo potico, o ativismo e a revoluo.

A msica cyberpunk tambm descreve os trabalhos associados com a tendncia da moda que emergiu do desenvolvimento da fico cientfica. O livro "Future Shock" de Alvin Toffler desenhou influncias tanto pro grupo techno de Detroit Cybortron, que surgiu nos incios de 1980, como pros pioneiros europeus do synthpop Kraftwerk, produzindo canes que evocam um claro modo distpico. Nos anos 90, a cultura popular comeou a incluir um movimento na msica e na moda que chamaram tambm cyberpunk e que chegou a ser particularmente associada com as sub-culturas rave e techno. Com o novo milnio chegou um novo movimento de bandas que faziam msica de porttil. Punks e invasores sem lar se armaram com equipe digital e fundiram a tecnologia com sons de rua. A sub-cultura hacker documentada em lugares como o arquivo da gria contempla este movimento com sentimentos encontrados, desde os autoproclamados cyberpunks que esto frequentemente inclinados ate o couro negro e o cromo os quais falam entusiasmados de tecnologia em lugar de aprender ou ver-se envolvidos nisto. (A atitude no substitui a capacidade, entrada do Arquivo).

Certos gneros musicais como o "drum and bass" foram diretamente influenciados pelo cyberpunk, inclusive gerando um subgnero completo chamado neurofunk.

Os games frequentemente usam o cyberpunk como fonte de inspirao, alguns destes como Blade Runner ou Enter the Matrix, so baseados nos filmes do gnero, enquanto outros como Deus Ex e System Shock, Final Fantasy VII, Snatcher e as sries de Metal Gear so trabalhos originais.

Existem vrios jogos de RPG de mesa chamados Cyberpunk: Cyberpunk 2013, Cyberpunk 2020 e Cyberpunk V.3 de Talsorian Games[18] e GURPS Cyberpunk, publicado por Steve Jackson Games como um mdulo do sistema GURPS. Cyberpunk 2020 foi desenhado com o argumento dos escritos de William Gibson em mente, e at certo ponto com sua aprovao, diferente da aproximao (qui mais criativa) feita pela FASA na produo do jogo Shadowrun.[19] Ambos jogos se ambientam num futuro prximo, num mundo onde a ciberntica proeminente. Netrunner um jogo de cartas colecionveis introduzido em 1996, baseado no jogo de RPG Cyberpunk 2020; foi lanado junto a um popular jogo de realidade virtual chamado Webrunner, que permite aos jogadores ingressar ao mainframe duma perversa organizao futurista.[1] Em adio Iron Crown Enterprises lanou o RPG chamado Cyberspace, agora fora de edio.

Em 1990, em uma inusual unio entre a realidade e a fico do cyberpunk, o Servio Secreto dos EUA chegou s instalaes de Steve Jackson Games e confiscaram todos seus PCs baixo a Operaao Sundevil, que foi um massivo golpe aos hackers e crackers de PC. Isto se deveu a que supostamente o livro de GURPS Cyberpunk poderia ser usado para preparar crimes via PC.[20] Esta, por efeito, no foi a principal razo para blitz, mas trs o evento j foi muito tarde para corrigir a impresso do pblico. Mais tarde Steve Jackson Games ganhou o processo contra o Servio Secreto, ajudados pela Electronic Frontier Foundation, de mente mais ampla. Este evento alcanou algo de notoriedade, o que se estendeu tambm ao livro. Todas as edies publicadas de GURPS Cyberpunk contm, uma citao na capa que diz O livro que foi confiscado pelo Servio Secreto dos EUA!. Em seu interior o livro exibe um resumo da blitz e suas consequncias.

2004 trouxe numerosas publicaes novas de RPGs cyberpunk, destaque entre elas Ex Machina, um jogo mais cinematogrfico com 4 cenrios completos e focado em atualizar o lado divertido do gnero a temas correntes dentro da fico cyberpunk. Estas mudanas incluem um maior ngulo poltico, transferindo o alinhamento do gnero e inclusive incorporando temas trans-humanos. 2006 viu a largamente esperada publicao de Cyberpunk V.3 de Talsorian Games, a sequela de Cyberpunk 2020, mas muitos a viram mais como uma edio trans-humanista ou ps-cyberpunk que realmente cyberpunk.

Os jogos de RPG tambm ho produzido uma das mais originais tomadas do gnero na forma das sries de jogos Shadowrun de 1989. Aqui, o cenrio um distpico futuro prximo; Mas tambm incorpora elementos da fantasia e literatura, como magia, espritos, duendes e drages. As facetas cyberpunk de Shadowrun foram modeladas em grande parte baseadas nos escritos de William Gibson, e a FASA, que o publicaram originalmente, ho sido acusados por alguns de copiar o trabalho de Gibson sem sequer mencionar sua influncia. Gibson, enquanto tanto, h mostrado seu desagrado pela incluso de elementos de fantasia dentro dos cenrios que ele ajudou a desenvolver. Mas Shadowrun h introduzido muitos ao gnero, e segue sendo popular entre os jogadores.

O jogo de RPG Torg, publicado por West End Games tambm incluiu uma variante do cenrio (ou cosmos) cyberpunk chamado Cyberpapacy. Este cenrio foi inicialmente uma distopia religiosa medieval que repentinamente sofreu um surgimento tecnolgico. Em vez de corporaes e governos corruptos, o Cyberpapacy foi dominado pelo Falso Papado de Avignon. Em lugar da Internet, os hackers navegam pela GodNet, uma red comum de computadores com simbolismo religioso, lar de anjos, demnios e outras figuras bblicas. Outro cosmos a parte do jogo Torg foi Nippon Tech, o qual incorporava outros aspectos do cyberpunk como corporaes dominantes com assassinos profissionais, mas no inclui redes de computadores como parte fundamental do cenrio.

O cyberpunk tambm h sido usado em jogos de aventura para computadores, destacam o agora freeware Beneath a Steel Sky, publicado por Revolution Software, Neuromancer, publicado por Interplay em 1988, Bloodnet, publicado por MicroProse em 1993 e Hell: A Cyberpunk Thriller, por Gametek em 1994, o jogo Dystopia (2008) para PC, jogo de ao e aventura Neuromancer est baseado diretamente no romance, incluindo Chiba City, alguns dos personagens, hacking de bases de dados e plataformas cyberespaciais.

Original post:

Cyberpunk Wikipdia, a enciclopdia livre

SJ Games vs. the Secret Service

On March 1, 1990, the offices of Steve Jackson Games, in Austin, Texas, were raided by the U.S. Secret Service as part of a nationwide investigation of data piracy. The initial news stories simply reported that the Secret Service had raided a suspected ring of hackers. Gradually, the true story emerged.

More than three years later, a federal court awarded damages and attorneys' fees to the game company, ruling that the raid had been careless, illegal, and completely unjustified. Electronic civil-liberties advocates hailed the case as a landmark. It was the first step toward establishing that online speech IS speech, and entitled to Constitutional protection ... and, specifically, that law-enforcement agents can't seize and hold a BBS with impunity.

On the morning of March 1, without warning, a force of armed Secret Service agents accompanied by Austin police and at least one civilian "expert" from the phone company occupied the offices of Steve Jackson Games and began to search for computer equipment. The home of Loyd Blankenship, the writer of GURPS Cyberpunk, was also raided. A large amount of equipment was seized, including four computers, two laser printers, some loose hard disks and a great deal of assorted hardware. One of the computers was the one running the Illuminati BBS.

The only computers taken were those with GURPS Cyberpunk files; other systems were left in place. In their diligent search for evidence, the agents also cut off locks, forced open footlockers, tore up dozens of boxes in the warehouse, and bent two of the office letter openers attempting to pick the lock on a file cabinet.

The next day, accompanied by an attorney, Steve Jackson visited the Austin offices of the Secret Service. He had been promised that he could make copies of the company's files. As it turned out, he was only allowed to copy a few files, and only from one system. Still missing were all the current text files and hard copy for this book, as well as the files for the Illuminati BBS with their extensive playtest comments.

In the course of that visit, it became clear that the investigating agents considered GURPS Cyberpunk to be "a handbook for computer crime." They seemed to make no distinction between a discussion of futuristic credit fraud, using equipment that doesn't exist, and modern real-life credit card abuse. A repeated comment by the agents was "This is real."

Over the next few weeks, the Secret Service repeatedly assured the SJ Games attorney that complete copies of the files would be returned "tomorrow." But these promises weren't kept; the book was reconstructed from old backups, playtest copies, notes and memories.

On March 26, almost four weeks after the raid, some (but not all) of the files were returned. It was June 21, nearly four months later, when most (but not all) of the hardware was returned. The Secret Service kept one company hard disk, all Loyd's personal equipment and files, the printouts of GURPS Cyberpunk, and several other things.

The raid, and especially the confiscation of the game manuscript, caused a catastrophic interruption of the company's business. SJ Games very nearly closed its doors. It survived only by laying off half its employees, and it was years before it could be said to have "recovered."

Why was SJ Games raided? That was a mystery until October 21, 1990, when the company finally received a copy of the Secret Service warrant affidavit at their request, it had been sealed. And the answer was ... guilt by remote association.

While reality-checking the book, Loyd Blankenship corresponded with a variety of people, from computer security experts to self-confessed computer crackers. From his home, he ran a legal BBS which discussed the "computer underground," and he knew many of its members. That was enough to put him on a federal List of Dangerous Hoodlums! The affidavit on which SJ Games were raided was unbelievably flimsy ... Loyd Blankenship was suspect because he ran a technologically literate and politically irreverent BBS, because he wrote about hacking, and because he received and re-posted a copy of the /Phrack newsletter. The company was raided simply because Loyd worked there and used its (entirely different) BBS!

As for GURPS Cyberpunk, it had merely been a target of opportunity ... something "suspicious" that the agents picked up at the scene. The Secret Service allowed SJ Games (and the public) to believe, for months, that the book had been the target of the raid.

The one bright spot in this whole affair was the creation of the Electronic Frontier Foundation. In mid-1990, Mitch Kapor, John Barlow and John Gilmore formed the EFF to address this and similar outrages. It's a nonprofit organization dedicated to preserving the Constitutional rights of computer users. (For more information, look at the EFF web site, or write them at 454 Shotwell St., San Francisco, CA 94110.) The EFF provided the financial backing that made it possible for SJ Games and four Illuminati users to file suit against the Secret Service.

Two active electronic-civil-liberties groups also formed in Texas: EFF-Austin and Electronic Frontiers Houston, which have since merged to become Electronic Frontiers Texas.

And science fiction writer Bruce Sterling turned his hand to journalism and wrote The Hacker Crackdown about this and other cases where the law collided with technology. A few months after it was published in hardback, he released it to the Net, and you can read it online.

In early 1993, the case finally came to trial. SJ Games was represented by the Austin firm of George, Donaldson & Ford. The lead counsel was Pete Kennedy.

And we won. The judge gave the Secret Service a tongue-lashing and ruled for SJ Games on two out of the three counts, and awarded over $50,000 in damages, plus over $250,000 in attorney's fees. In October 1994, the Fifth Circuit turned down SJ Games' appeal of the last (interception) count ... meaning that right now, in the Fifth Circuit, it is not "interception" of your e-mail messages when law enforcement officials walk out the door with the computer holding them.

See the rest here:

SJ Games vs. the Secret Service - Steve Jackson Games

Cyberpunk 2077 is an upcoming role-playing video game developed and published by CD Projekt.

Cyberpunk 2077 is a role-playing video game played from either a first-person or third-person perspective.[1][2] It is set in an open world metropolis called Night City. The game will feature non-English-speaking characters. Players who do not speak the languages can buy translator implants to better comprehend them; depending on the advancement of the implants, the quality of translations will vary, with more expensive implants rendering more accurate translations.[3][4][5][6] "Braindance", a digital recording device streamed directly into the brain, allows the player character to experience the emotions, brain processes and muscle movements of another person as though they were their own.[7]

Along with the single-player story, Cyberpunk 2077 will include a multiplayer component.[4]

Around the time of pre-production, approximately fifty staff were working on Cyberpunk 2077.[8] Developer CD Projekt Red later devoted a team larger than that of its previous title The Witcher 3: Wild Hunt.[9] CD Projekt Red started upgrading its REDengine 3 game engine for the game around the time The Witcher 3: Wild Hunt was released.[10] Mike Pondsmith, who created the original tabletop game Cyberpunk 2020, is consulting on the project.[11] Marcin Przybyowicz was chosen to write the music.[12]

A funding application for the Polish government, granting CD Projekt Red US$ 7 million, noted that the release could potentially take place in 2019 and confirmed the employment of REDengine 4.[13] In June 2017, CD Projekt Red issued a statement explaining that data containing early designs had been stolen and threatened to release it to the public. The developer refused to comply with the ransom demand.[14][15]

Cyberpunk 2077 was announced in May 2012.[8] On 10 January 2013, the teaser trailer was released online.[16] It received the People's Choice award for Best Animation at the 2013 FITC Awards,[17] the award for Best Trailer at the 2013 Machinima Inside Gaming Awards,[18] and a nomination for Best Video Game Trailer at the 2013 Golden Trailer Awards.[19] The game has been confirmed for Microsoft Windows, with PlayStation 4 and Xbox One cited as probable platforms.[20]

Read more here:

Cyberpunk 2077 - Wikipedia

Like many great Make: ideas, the centerpiece of the latest issue, an homage to Mondo 2000s iconic R. U.a Cyberpunk? poster (located in the forthcomingMake: Vol 62, page 24), all started in the Video Lab.Make:s Senior Video Producer Tyler Winegarner and I like to sit around and bounce ideas off of each other, and sometime around last Christmas, we had begun making jokes about EDC (Every Day Carry) circuit boards and what kinds of things makers had in their bags at all times (safety glasses, specific gauge wire, paracord, etc.). Running across the poster again sparked an idea: what would a modern cyberpunk look like, and what would they have in their bag? With a powerful net-connected computer in almost everyones pocket these days, what differentiates todays cyberpunk from the masses? And where was the cool scene art that would inspire todays kids to become the makers and hackers the way I was inspired?

As Tyler and I started pitching the idea back and forth we formulated the basis of a piece: an updated spread of the latest gear and gadget must-haves that any self-respecting/deprecating cyberpunk wouldnt be caught without.

With the relaunch of Mondo 2000, I had been revisiting a lot of the art that impacted a much younger me. I dont even know where I first came across the R.U. a Cyberpunk poster; its just a piece of media that has always been present in my pop culture awareness. It did however, have an immediate and permanent effect on my worldview: the idea of on-the-go computing mixed with the ability to really get inside your electronics fundamentally changed the way that I interacted with the world. Even though this piece was intended as a gentle self-parody at the time, the ideas it inspired were real. From becoming an early adopter of the Sidekick (former Danger Hiptop) with which I finally embraced permanent connectivity, to my love of breakout boards, micro cameras, and electronics, I credit that piece with encouraging and instigating an early love of technology, making, and breaking.

Make: contributor (and former Mondo writer) Gareth Branwyn connected us with the mysterious Mondo 2000 editors, who gave us their blessing to pursue the piece and helped track down Chris Hudak, the digital nomad tech journalist who had crafted the original writeup. Skype convos and late night texts ensued as he worked on the story from an undisclosed overseas location in true cyberpunk style.

Putting together the list of items was easier than expected. Todays cyberpunk carries on the same ethos as in the past, so tools that facilitate intrusion both digital and analog, with an emphasis on style. I knew I wanted a well-rounded set of hardware penetration tools, like the JTAGulator, the Bus Pirate, and the DSO Nano along with signal tools like the Hack RFOne and a cell jammer. Erring on the side of prankster versus malicious, we chose to include the Malduino, a Macchina, and several Make: builds like the Rasperry Pirate Radio. The most important items for me to get were the Pi-Top and the Dieselpunk Cellphone.You might use off-the-shelf gear for mundane communications, but good opsec demands full access to all parts of your hardware. On the style side things like LED work gloves, 3D printed TSA keys, and an amazing ErgoDox split keyboard with a custom harness were includes so that we had the look of the cyberpunk, as well as the feel.

The location had to be the perfect mix of grimy and cool, and American Steel Studios in Oakland, California seemed the logical choice with its long history of Bay Area artistic contributions. Diversity has been a huge focus for Make: and I wanted this modern update to show a new representation of cyberpunk as well as reflect the diversity found in the maker scene. Having someone comfortable with the aesthetic who also is technology familiar and a part of the maker community was extremely important. Melissa Lamoreaux was my immediate pick for the subject, she teaches coding and Arduino robotics to middle schoolers, and is constantly creating beautiful inspiring projects for family and friends. She has previously modeled Anouk Wipprechts 3D printed dresses, and is also someone who still lives the daily cyberpunk lifestyle.

Cyberpunks and spies share a common motivation, unauthorized secret access to information, so as our piece came together it started to influence the style of the section. Once it grew in scope, we got the go ahead to shoot it for the cover as well. This shoot has been the culmination of an aesthetic photography dream that I have been pushing around in my brain for my entire career. As we go forward into the cyberpunk real world from our childhood dreams, I hope you enjoy this update to maker spycraft and the high-tech lowlife.

Special thanks to the production team: Jun Shna, Brian Ford, Amy Martin, and Pedram Navd.

Reader Input 05Notes from readers like you.

Made on Earth 06Backyard builds from around the globe.

Mechanical Masterminds 12The awe-inspiring Les Machines de lIle are planning incredible surprises.

Rural Radio 18Open source toolkit RootIO is helping communities create their own micro radio stations.

Tech Trends 20Keep an eye on these emerging developments.

Spies Like Us 23The hackers, phreaks, and cyberpunks from the dawn of the internet can give us a glimpse into the future.

R.U. Still a Cyberpunk? 24Heres our modern update on the classic Mondo 2000 poster.

Jeepers Creepers 26Hidden cameras abound! Be aware of what might be peeping on you.

Hide and Seek 28Make these clever devices and get your covert career underway.

Invisible Touch 30Build a magic frame that turns any surface into a giant touch interface.

Urban Ore 34Fill your parts bin with valuable scraps, freely available to those in the know.

Light Security 36Perfect your evasion skills with this laser-armed maze.

Craft a Creeper 38Build a motorized mob robot and attached controller.

Go, Dog. Go! 443D print a custom wheelchair for a pet in need.

Toy Inventors Notebook:Vari-Tone Mini Cajon 47Make this bass box drum with a wah-wah effect.

Corgi Keyboard 48How I designed and sewed my first musical plushie.

Dragonfly Helicopter 52Scratch-build a wind-up flyer that darts into the sky.

Curing Cuteness 56Embed and embellish electronics in molded resin to craft adorable accessories.

Sup Brows 58Ping your bud with the lift of your eyebrows.

Novel Nails 60Modernize your manicure with twinkling LEDs.

A Good Sign 62Create inexpensive, suspended LED signage for your makerspace.

Power Ranger 64Get notified by SMS when the electricity goes out.

Remaking History:Gimme Shelter 66Build a model Mayan-style structure to learn how lime was used to construct buildings in ancient times.

1+2+3: Simple Succulents 69Brighten your home with these easy to make, zero-maintenance paper plants.

Brace Yourself 70Learn about melding electronics and leather with this light-up project.

Meddling with Metal 74Customize your work with a variety of finishing techniques.

Fab Fillets 76Get up to speed on designing the most common joints for CNC construction.

Toolbox 78Gear up with reviews of the latest tools and kits for makers.

SHOW & TELL

Show & Tell 80Dazzling projects from inventive makers like you.

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Reinventing Cyberpunk for the #TwentyTeens | Make:

Neal StephensonBornNeal Town Stephenson(1959-10-31) October 31, 1959 (age58)Fort Meade, Maryland, United StatesPen nameStephen Bury(with J. Frederick George)OccupationNovelist, short story writer, essayistNationalityAmericanPeriodSince 1984GenreSpeculative fiction, historical fiction, essaysLiterary movementCyberpunk, postcyberpunk, maximalismNotable awardsHugo Award, Prometheus AwardWebsitenealstephenson.com

Neal Town Stephenson (born October 31, 1959) is an American writer and game designer known for his works of speculative fiction.

His novels have been categorized as science fiction, historical fiction, cyberpunk, postcyberpunk, and baroque.

Stephenson's work explores subjects such as mathematics, cryptography, linguistics, philosophy, currency, and the history of science. He also writes non-fiction articles about technology in publications such as Wired. He has also written novels with his uncle, George Jewsbury ("J. Frederick George"), under the collective pseudonym Stephen Bury.

Stephenson has worked part-time as an advisor for Blue Origin, a company (funded by Jeff Bezos) developing a manned sub-orbital launch system, and is also a cofounder of Subutai Corporation, whose first offering is the interactive fiction project The Mongoliad. He is currently Magic Leap's Chief Futurist.

Born on October 31, 1959 in Fort Meade, Maryland,[1] Stephenson came from a family of engineers and scientists; his father is a professor of electrical engineering while his paternal grandfather was a physics professor. His mother worked in a biochemistry laboratory, and her father was a biochemistry professor. Stephenson's family moved to Champaign-Urbana, Illinois, in 1960 and then in 1966 to Ames, Iowa. He graduated from Ames High School in 1977.[2]

Stephenson studied at Boston University,[2] first specializing in physics, then switching to geography after he found that it would allow him to spend more time on the university mainframe.[3] He graduated in 1981 with a B.A. in geography and a minor in physics.[2] Since 1984, Stephenson has lived mostly in the Pacific Northwest and currently lives in Seattle with his family.[2]

Stephenson's first novel, The Big U, published in 1984, was a satirical take on life at American Megaversity, a vast, bland and alienating research university beset by chaotic riots.[4][5] His next novel, Zodiac (1988), was a thriller following the exploits of a radical environmentalist protagonist in his struggle against corporate polluters.[4] Neither novel attracted much critical attention on first publication, but showcased concerns that Stephenson would further develop in his later work.[4]

Stephenson's breakthrough came in 1992 with Snow Crash, a comic novel in the late cyberpunk or post-cyberpunk tradition fusing memetics, computer viruses, and other high-tech themes with Sumerian mythology, along with a sociological extrapolation of extreme laissez-faire capitalism and collectivism.[5][6] Snow Crash was the first of Stephenson's epic science fiction novels. Stephenson at this time would later be described by Mike Godwin as "a slight, unassuming grad-student type whose soft-spoken demeanor gave no obvious indication that he had written the manic apotheosis of cyberpunk science fiction."[7] In 1994, Stephenson joined with his uncle, J. Frederick George, to publish a political thriller, Interface, under the pen name "Stephen Bury";[8] they followed this in 1996 with The Cobweb.

Stephenson's next solo novel, published in 1995, was The Diamond Age: or A Young Lady's Illustrated Primer, which introduced many of today's real world technological discoveries. Seen back then as futuristic, Stephenson's novel has broad range universal self-learning nanotechnology, dynabooks, robotics, cybernetics and cyber cities. Weapons implanted in characters' skulls, near limitless replicators for everything from mattresses to foods, smartpaper, air and blood-sanitizing nanobots, set in a grim future world of limited resources populated by hard edged survivalists, an amalgamation hero is accidentally conceptualized by a few powerful and wealthy creatives, programmers and hackers.

This was followed by Cryptonomicon in 1999, a novel concerned with concepts ranging from computing and Alan Turing's research into codebreaking and cryptography during the Second World War at Bletchley Park, to a modern attempt to set up a data haven. It has subsequently been reissued in three separate volumes in some countries, including in French and Spanish translations. In 2013, Cryptonomicon won the Prometheus Hall of Fame Award.

The Baroque Cycle is a series of historical novels set in the 17th and 18th centuries, and is in some respects a prequel to Cryptonomicon. It was originally published in three volumes of two or three books each Quicksilver (2003), The Confusion (2004) and The System of the World (2004) but was subsequently republished as eight separate books: Quicksilver, King of the Vagabonds, Odalisque, Bonanza, Juncto, Solomon's Gold, Currency, and System of the World. (The titles and exact breakdown vary in different markets.) The System of the World won the Prometheus Award in 2005.

Following this, Stephenson published a novel titled Anathem (2008), a very long and detailed work, perhaps best described as speculative fiction. It is set in an Earthlike world (perhaps in an alternative reality), deals with metaphysics, and refers heavily to Ancient Greek philosophy, while at the same time being a complex commentary on the insubstantiality of today's society.

In May 2010, the Subutai Corporation, of which Stephenson was named chairman, announced the production of an experimental multimedia fiction project called The Mongoliad, which centered around a narrative written by Stephenson and other speculative fiction authors.[9][10]

Stephenson's novel REAMDE was released on September 20, 2011.[11] The title is a play on the common filename README. This thriller, set in the present, centers around a group of MMORPG developers caught in the middle of Chinese cyber-criminals, Islamic terrorists, and Russian mafia.[12]

On August 7, 2012, Stephenson released a collection of essays and other previously published fiction entitled Some Remarks: Essays and Other Writing.[13] This collection also includes a new essay and a short story created specifically for this volume.

In 2012, Stephenson launched a Kickstarter campaign for CLANG, a realistic sword fighting fantasy game. The concept of the game was to use motion control to provide an immersive experience. The campaign's funding goal of $500,000 was reached by the target date of July 9, 2012 on Kickstarter, but funding options remained open and were still taking contributions to the project on their official site.[14] The project ran out of money in September 2013.[15] This, and the circumstances around it, has angered some backers.[16] There has even been talk, among the backers, of a potential class action lawsuit.[17] The project to develop the game ended in September 2014 without the game being completed. Stephenson took part of the responsibility for the project's failure, stating, "I probably focused too much on historical accuracy and not enough on making it sufficiently fun to attract additional investment".[18]

In late 2013, Stephenson stated that he was working on a multi-volume work of historical novels that would "have a lot to do with scientific and technological themes and how those interact with the characters and civilisation during a particular span of history". He expected the first two volumes to be released in mid-to-late 2014.[19] However, at about the same time, he shifted his attention to a science fiction novel, Seveneves, which was completed about a year later and was published in May 2015.[20] On June 8, 2016, plans were announced to adapt Seveneves for the screen.[21]

In 2014, Stephenson was hired as Chief Futurist by the Florida-based company Magic Leap.[22] Magic Leap claims to be developing a revolutionary form of augmented reality, not too different from technologies Stephenson previously has described in his science fiction books.

In May 2016, as part of a video discussion with Bill Gates, Stephenson revealed that he had just submitted the manuscript for a new historical novel a time travel book co-written with Nicole Galland, one of his Mongoliad coauthors.[23] This was released as The Rise and Fall of D.O.D.O. on June 13, 2017.[24]

In his earlier novels Stephenson deals heavily in pop culture-laden metaphors and imagery and in quick, hip dialogue, as well as in extended narrative monologues. The tone of his books is generally more irreverent and less serious than that of previous cyberpunk novels, notably those of William Gibson.

Stephenson's books tend to have elaborate, inventive plots drawing on numerous technological and sociological ideas at the same time. This distinguishes him from other mainstream science fiction authors who tend to focus on a few technological or social changes in isolation from others. The discursive nature of his writing, together with significant plot and character complexity and an abundance of detail suggests a baroque writing style, which Stephenson brought fully to bear in the three-volume Baroque Cycle.[25] His book The Diamond Age follows a simpler plot but features "neo-Victorian" characters and employs Victorian-era literary conceits. In keeping with the baroque style, Stephenson's books have become longer as he has gained recognition. For example, the paperback editions of Cryptonomicon are over eleven hundred pages long[26] with the novel containing various digressions, including a lengthy erotic story about antique furniture and stockings.

View original post here:

Neal Stephenson - Wikipedia

By Hope Corrigan

CD Projekt Red says its upcoming Cyberpunk 2077 RPG to be more ambitious than The Witcher 3.

PC Gamer reports CD Projekt Red briefly discussed Cyberpunk 2077, comparing it to the company's critically acclaimed RPG from 2015 The Witcher 3, in a video during Pareto SecuritiesGaming Seminar.

"Cyberpunk is our new Witcher 3, but even more ambitious," CD Projekt CEO Adam Kicinski said. "Our goal is to establish a new blockbuster franchise from the beginning. We work [in a] new universe, futuristic universe. We believe it's very appealing to players, not only RPG players but this is [a] true RPG, like Witcher, like Witcher 3, for mature audiences. It's handcrafted, detailed, of course open-world, with open-ended gameplay."

"Great game, more ambitious than Witcher 3, and we believe that we can aim [at] more ambitious business goals as well of course, still having gamer-centric focus and quality focus as a main priority," he explained.

While huge in scope, these claims aren't too surprising given more developers have been working on Cyberpunk 2077 than there were on The Witcher 3 in it's most intensive month.

At the seminar, he also shot down anyhopes for a Witcher 4, a sentiment CD Projekt has expressed before.

"We can't create Witcher 4, because that was a trilogy from the beginning," he said. "No one said that one day we won't decide to develop something in the Witcher universe. But now we're focusing on Cyberpunk and Gwent."

Speaking of Gwent, Kicinskitouched on the success of the Witcher 3 digital card game spinoff Gwent and sales on the GOG platform.

"Recently, in the first half of 2017, we enjoyed a really huge increase of our own internal sales via GOG distribution channel," Kicinski said. "A big part of that was coming from the Gwent project."

Hope Corrigan is an Australian freelancer who misses Geralt but couldn't be more excited for Cyberpunk 2077. You can follow her onFacebook,Twitter, andTwitch.

Originally posted here:

Cyberpunk 2077 Is 'More Ambitious' Than Witcher 3, CD Projekt ...

What is cyberpunk?

A genre of science fiction and a lawless subculture in an oppressive society dominated by computer technology and big corporations. Hmmm...It feels like the world we live in today.

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Cyberpunk - High Tech, Low Life. r/Cyberpunk

Cyberpunk has traditionally been dominated by male characters and the male perspective. After all, the works of proto-cyberpunkAlfred Besters The Stars My Destination (1957) and the movie Blade Runner (1982), based on the book Do Androids Dream of Electric Sleep? by Philip K. Dickwere all written by men and feature male protagonists. These were influences for William Gibsons Neuromancer (1984), the book that defined a genre, and whose console cowboy main character is a man named Case. And yet even with the influential precursors there was always a female presence, and Neuromancer plays into this with a memorable supporting character Molly, the first of the razorgirls.

Jump ahead a little over 30 years later, and Annalee Newitzs Autonomous is the answer to a male-dominated genre. Not only is it written by a woman, it stars two female leads, Jack and a robot named Paladin that is complex in her gender, who both blur the lines of sexuality and identity. Once the Editor-In-Chief of Gawker-owned media venture io9 and Gizmodo after that, she is as of 2016 the Tech Culture Editor at the technology site Ars Technica and prior to Autonomous had written five non-fiction books covering technology. So her book sees the combination of her identity as a woman and predilection towards futurism.Contrast that against Neuromancer, its influence on cyberpunk and the legacy that followed it.

Cyberpunk in of itself is a very male-centered genre. It has a cynicism and nihilism that takes its lead from noir, the form of fiction that sprung out of the Great Depression. Noir tends to focus on male leads, private detectives or criminals that find themselves pulled into a greater world, usually contrary to their intentions. In the face of this world theyre overwhelmed with the daunting abyss. Authors such as Dashiell Hammett and Raymond Chandler dealt with this, and years later Gibson would apply that mood. Prior to Neuromancer science fiction tended to be more inspirational, with a view toward a future in which man overcomes his worst impulse. With cyberpunk, however, its a decaying world of anxieties over corporations and xenophobia over invading businesses, especially by Japan, and especially of the negative consequences of technology. At the center of this is Case, a low-level hustler that has had his nervous system destroyed with a mycotoxin. Case is offered a cure, however, in exchange for doing a job, and the first thing Molly does after he is cured is initiate sex with him.

What Newitz brings, however, is not just her technical knowhow, but a fresh take on female characters and the implications of technology on gender.

Now Molly is a fascinating character. Introduced in the short story Johnny Mnemonic from Gibsons collectionBurning Chrome (1986), she makes several appearances across his many books and goes by a few different names. In Mona Lisa Overdrive(1988) she goes by Sally Shears, and in Neuromancer shes just Molly without a surname. Shes an enhanced bodyguard/mercenary cyborg known as a razorgirl because she has razor-sharp retractable blades underneath her fingernails. She wears mirror-shade sunglasses, creating an aviator-like cool, but cant take them off as they are actually sealed to her face. This all certainly contributes to her being a strong and intimidating figure, but it keeps her at a distance and more idealized than anything.

The works that would take influence from Gibson were similarly hesitant to position a female as the main character. Neal Stephensons Snow Crash, released in 1992, could arguably be said to be a two-hander between Hiro Protagonist and Y.T. (Yours Truly), but again, only the male character gets any introspection or flaws while the female is a mysterious badass. In Y.T.s case shes a skateboard-riding courier thats too cool for school. Similarly The Matrix, arguably the only movie to really pull off the cyberpunk aesthetic and attitude, shies away from Trinitys perspective after it opens focused on her. She steps aside to let Thomas Anderson, aka Neo, step into the role as audience surrogate. In retrospect this is, of course, fascinating because the Wachowskis were men at the time but later transitioned into women, so its hard to say what perspective they brought to making the movie and releasing it in 1999.

Cyberpunk burned fast and bright, with Snow Crash being labeled in some circles as post-cyberpunk due to its satirical bent, and The Matrix adapting the whole genre after the fact. These days the genre has all but gone away, with a few late bloomers attempting to adapt to a world that more and more is looking like the future that was predicted. Richard Morgans Altered Carbon, released in 2002 and just this year adapted to a Netflix television series, has an urban sprawl setting not unlike its predecessors and attempts to tackle the question of the soul, with people downloading their consciousness into cloned bodies to avoid death. Its one of the few modern attempts to play the material straight, and even leans hard into the noir angle with the main character investigating a murder, while Cory Doctorows Down and Out in the Magic Kingdom, released in 2003, mostly pokes holes in the ridiculous way people interact with technology and engage with nostalgia. Not coincidentally it also has people achieving immortality through hard copies of the human mind.

But again, those were all written by men. The same can be said of male creators in relation to ancillary cyberpunk works like manga and anime such as Akira (1988) and Ghost in the Shell (1995), and even creators that adopt the tropes of cyberpunk on occasion, such as Christopher Nolan with Inception (2010) and Ernest Cline with Ready Player One (2011). A quick perusal of Wikipedia only comes up with a few female cyberpunk authors, namely Pat Cadigan (Mindplayers, Synners) and Melissa Scott (Trouble and Her Friends). Looking at the few collections of cyberpunk short stories, Mirror Shades: The Cyberpunk Anthology (1986) and Hackers (1996), only Cadigans name makes an appearance. Needless to say, its a male-dominated genre, and that certainly could be said of a lot of science fiction.

Fast-forward to 2017, and the world has caught up to cyberpunk. The Internet and social media dominate our lives, drones fly over our heads, and our eyes and attention are constantly glued to hand-held computers that are so much more than just phones. As much as Blade Runner prioritized a revolution in energy rather than communication, with flying cars and space travel but little in the way of portable devices, the cyberpunk that followed it could only predict so much. William Gibson, after all, coined the phrase world wide web, but he and Stephensons conceptions of the Internet seem antiquated in retrospect.

These days Black Mirror is the science fiction work that is tapped into the vein of disruptive technology, and thats the landscape Annalee Newitzs Autonomous appears in, but with a unique focus: the pharmaceutical industry. Set in the 22nd century, the novel focuses on Jack Chen, a pirate raging against patent law. Within her private submarine she develops and distributes free drugs and passes them on to the poor. Theres an obligatory evil corporation, however, called Zacuity, that has released a drug for productivity that turns out to be addictive and leads to peoples deaths. Jack has reverse-engineered this patented pharma, having missed the ill effects, and accidentally created an epidemic. While she enlists allies in order to find a cure and out the machinations of Zacuity, shes pursued by two International Property Coalition agents, a man named Eliasz and a robot named Paladin, with the latter more interested in the former than their mission.

Newitz brings expertise from her io9 days to her prose. Theres an incredible authority to how she tackles the health care industry and late-stage capitalism, building on the bleak criticisms of previous cyberpunk works while injecting an exigent sense of legitimacy. This understanding of the effects of our current world on the future feels authentic in a way that is horrifying and inevitable. Of course, thats probably what people felt when reading Neuromancer in 1984.

Whats even more important is the rare-for-sci-fi perspective Newitz brings to Jack and Paladin. Jack is fierce and intelligent, and unapologetically sexual. She falls into a physical relationship with Threezed, an indentured servant of sorts, early on that is mutually beneficial, and flashes back to relationships not just with men but with women from her past.

Then theres the compelling complexity of Paladin. A military-grade robot, for the first half of the novel Paladin allows herself to be called he by Eliasz. Paladin does have a human brain, but at first is unaware of her origins. After a brief but intense physical experience with Eliasz, she senses that he is sexually attracted to her, but he resists any discussion of the matter, claiming hes not a faggot, showing that there is still this kind of prejudice in the future. Further research reveals to Paladin that her brain came from a woman, and telling Eliasz this suddenly makes him comfortable enough to admit his sexual attraction to the robot. Paladin, however, only accepts the pronoun of she to make Eliasz happy, and grapples with this question of self throughout the rest of the book.

A male author writing in the wake of cyberpunk could craft a science fiction book that shines such a light on Big Pharma and the destructive effects of capitalism. What Newitz brings, however, is not just her technical knowhow, but a fresh take on female characters and the implications of technology on gender. Hopefully Autonomous sets the kind of precedent for representation in science fiction that William Gibson did with Neuromancer when he created a whole new genre.

Author: Annalee Newitz

Price: $15.99

Publisher: Tor Books (2018)

Binding: Paperback, 304 pages

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Annalee Newitzs 'Autonomous': Cyberpunk from the Female ...

What is going on with Cyberpunk 2077? How will it compare to The Witcher franchise?

For a long time now, gamers have been eagerly awaiting information about Cyberpunk 2077, the next game from CD Projekt Red. However, despite the wait, theres been very little information. But, now, we are getting a clearer picture as to the scope of the game. During a gaming seminar (see below), the team did say some things about the title, including how it will compare to its other famous franchise, The Withcer.

Cyberpunk is our new Witcher 3, but even more ambitious, CD Projekt CEO Adam Kicinski said. Our goal is to establish a new blockbuster franchise from the beginning. We work [in a] new universe, futuristic universe. We believe its very appealing to players, not only RPG players but this is [a] true RPG, like Witcher, like Witcher 3, for mature audiences. Its handcrafted, detailed, of course open-world, with open-ended gameplay.

Great game, more ambitious than Witcher 3, and we believe that we can aim [at] more ambitious business goals as well of course, still having gamer-centric focus and quality focus as a main priority, he explained.

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Cyberpunk 2077 To Be "More Ambitious" Than Witcher Series

How thirsty are we for a Cyberpunk 2077 release date? Or any scrap of news? If you remember Januarys famous *beep* tweet, you know the answer is VERY thirsty. Want more proof? Now a 90-second clip from a soporific financial lecture is making headlines and hyping up fans. As first reported by PC Gamer, CD Projekt CEO Adam Kicinski told the Pareto Securities Gaming Seminar that (hold on to your butts here) he thinks Cyberpunk 2077 is going to be good and big and good at being big.

"Great game, more ambitious than Witcher 3, he said. And we believe that we can aim at more ambitious business goals as well [while] still having gamer-centric focus and quality focus as a main priority.

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He explained the Cyberpunk 2077 team is 3 times larger than the team working on CD Projekts most recent release, Gwent, a CCG based on the popular minigame in The Witcher 3 . Kicinski thinks the Cyberpunk 2077 will be the new Witcher 3, which is exactly what fans are hoping for and god help him if it disappoints. But he told the PSGS it will be a true RPG aimed at capturing some of the non-RPG player audience.

The slide heard round the world. CD Projekt

"Our goal is to establish a new blockbuster franchise from the beginning. A new universe, futuristic universe. We believe it's very appealing to players, not only RPG players, he said. It's handcrafted, detailed, of course open-world, with open-ended gameplay.

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This all sounds good, but the big question is when is the Cyberpunk 2077 release date? The best info to date is a report that surfaced on neoGAF, which has some production details as part of a disclosure relating to an investment from the Polish government (the thirrrssssttttt) that puts an end date of June 2019 on the project. Its unclear if that is a hard stop, as CD Projekt can file an extension. Still, it seems a fair bet that if we dont get Cyberpunk 2077 next year, we will likely get an update on a release. Or another scintillating financial document to pour through.

Finally, Kicinski told the crowd that there would not in fact be a Witcher 4, as the series was conceived as a trilogy, but left open the possibility of returning to the world itself.

"No one said that one day we won't decide to develop something in the Witcher universe. But now we're focusing on Cyberpunk and Gwent," he said.

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If a new Witcher project does materialize, its safe to assume it will release before 2077.

Are you excited for Cyberpunk 2077, or do you hate amazing, ambitious projects from talented teams with a proven track record of both gameplay quality and customer loyalty? Let us know in the comments!

This article was first written by Newsweek

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Cyberpunk 2077 Will Be "More Ambitious Than Witcher 3"

Fans of CD Projekt Red and its games are no doubt starving for any morsel of information about the upcoming Cyberpunk 2077. And while the studio has yet to truly reveal the game and its plans for it, CD Projekt Red did address it at a recent gaming seminar, giving listeners an outline of this ambitious title and confirming that it will be available through both GOG and Steam.

Our goal is to establish a new blockbuster franchise from the beginning, the studio said. We work [in a] new universe, futuristic universe. We believe its very appealing to players, not only RPG playersbut this is [a] true RPG, like Witcher, like Witcher 3, for mature audiences. Its handcrafted, detailed, of course open-world, with open-ended gameplay.

Even for how little we know about this game (including its alleged multiplayer capacity), Cyberpunk 2077 is an incredibly hot property these days. Dragon Age Game Director Mike Laidlaw said in an interview that he would join the development team in a heartbeat if given the chance: Cyberpunk would certainly pull me in for the most part. Moving to Poland and moving my family, and that kind of stuff, would be exceptionally challenging but cyberpunks always had a draw.

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Cyberpunk 2077 prepares fans for a blockbuster franchise ...

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CD Project Red have confirmed that their next major project, Cyberpunk 2077, will be coming to Steam. In a presentation given at the Pareto Securities Gaming Seminar, the studios CEO Adam Kiciski confirmed that the game would not be exclusive to GOG.

Here's everything we know about Cyberpunk 2077.

Its not exactly surprising that the game is coming to Steam as well as CDPRs own GOG, as The Witcher 3 and all of its DLC were available on both platforms, and it would be a surprise if they changed tack so abruptly. That said, Microsofts recent decision to make Age of Empires: Definitive Edition exclusive to the Windows Store at launch might mean Kiciski thought it better to clarfiy.

Kiciski also says that Cyberpunk is even more ambitious than the teams previous RPG, describing it as the new Witcher 3, but even more ambitious, and stating that its a true RPG, that will take place in a hand-crafted, detailed open-world with open-ended gameplay. A project that grand obviously needs a lot of staff behind it, which is exactly what CD Projekt Red have - Kiciski confirmed that the team includes over 300 staff, three times more than are working on Gwent.

Kiciski wouldnt say when the company would start actively showing Cyberpunk off. When asked when wed get a look at the game, he answered simply the campaign will start one day, and you will see it. Rumours circulated last month that CyberPunk 2077 will be playable at this years E3, but CDPR are yet to lend any credence to that idea.

You can watch Kiciskis section of the seminar in the video above, beginning at the 3:34:04 mark.

Excerpt from:

Yes, Cyberpunk 2077 is definitely coming to Steam | PCGamesN

According to Kicinski, the developer wants to build a new blockbuster franchise, and called it a "true RPG". Read on to learn more about Cyberpunk 2077 and what we know so far about this upcoming release.

"Great game, more ambitious than Witcher 3", he said.

After blowing up to such a staggering degree, it's no surprise to hear CD Projeckt Red talk about ambition for Cyberpunk 2077. Due to a decision made by the studio's management, the staff originally designated to work on the futuristic title were reassigned to work on the in-house REDengine 3 alongside the third installment of the Witcher series.

It was the first activity on the Cyberpunk 2077 Twitter account in four years. Considering how much time CD Projekt Red has sunk into this project, I've got a good feeling that the end result is going to help establish the studio as a powerhouse for any genre that passes through their development team. Then Kicinski has some bad news for you.

People are not impressed with the new Samsung GalaxySamsung has always been a dominant player in the mobile market of India and China and continues to rule for upcoming decades. Videos can also be captured in super-slow-motion video at 960 frames per second and have an 8MP front-facing camera .

This is one of the rare games that will be true-to-form to the role-playing format. "For the most part, moving to Poland and moving my family, and that kind of stuff, would be exceptionally challenging but Cyberpunk's always had a draw". We learned about Cyberpunk 2077 coming to Steam from the developer of the game, and they are doing this so that they do not alienate some of their fans.

One thing about CD Projekt Red is that it is now becoming a more popular company.

During a presentation at the Pareto Securities Gaming Seminar last week, CD Projekt Red's Adam Kicinski had the following to say: "Cyberpunk is our new Witcher 3, but even more ambitious. It's handcrafted, detailed, of course open-world, with open-ended gameplay", he said.

Six years after the initial announcement, we still don't have a release date, no full trailer, and no real details other than knowing what it is based on and the small tid-bits left here and there.

Originally posted here:

Developer promises Cyberpunk 2077 is 'more ambitious' than ...

CD Projekt Red developed a historically great title in The Witcher 3. However, their next outing is one that they are hoping will top its predecessor. The studio has said that their next project, Cyberpunk 2077, is even more ambitious than what they strived for in the past.

CEO of CD Projekt Red, Adam Kicinski, spoke recently at the Securities Gaming Seminar. During his discussion, he stated multiple times that his team plans to develop CD Projekt Red into a blockbuster franchise, just as they did for The Witcher:

Cyberpunk is our new Witcher 3, but even more ambitious. Our goal is to establish a new blockbuster franchise from the beginning. We work [in a] new universe, futuristic universe. We believe its very appealing to players, not only RPG players but this is [a] true RPG, like Witcher, like Witcher 3, for mature audiences. Its handcrafted, detailed, of course open-world, with open-ended gameplay.

Kicinski continued, doubling down on the more ambitious plans for Cyberpunk 2077:

Great game, more ambitious than Witcher 3, and we believe that we can aim [at] more ambitious business goals as well of course, still having gamer-centric focus and quality focus as a main priority.

This makes sense, as reports came in early in the games development that stated Cyberpunk 2077 had more staff dedicated to it than The Witcher 3 ever did.

News wasnt completely uplifting at the event though. Later in his conversation, CD Projekt Reds CEO confirmed the prior news that there will never be The Witcher 4:

We cant create Witcher 4, because that was a trilogy from the beginning. No one said that one day we wont decide to develop something in the Witcher universe. But now were focusing on Cyberpunk and Gwent.

Cyberpunk 2077 was initially unveiled back in May of 2012. So the game has been in some form of development for over six years. With CD Projekt Red working full steam ahead, lets hope well be visiting Night City at some point soon.

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Cyberpunk 2077 More Ambitious than The Witcher 3