Category Archives: Cyberpunk

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CD Projekt Red's Witcher series has passed a new sales milestone. As part of the company's newest earnings report today, it announced that the franchise--comprising The Witcher, The Witcher 2: Assassins of Kings, and The Witcher 3: Wild Hunt--has now passed 25 million units sold (via PC Gamer).

The Polish developer did not provide a specific unit sales breakdown by title. Whatever the case, this figure is up from the 20 million number that CD Projekt Red disclosed a year ago this month.

During a Q&A session as part of the briefing, CD Projekt Red management offered an update on Cyberpunk 2077, saying development progress is "quite advanced" at this stage. Management said the game is very ambitious and stressed that the developer will not rush the game to market.

Cyberpunk 2077 is scheduled to launch sometime in the 2017-2021 window. Don't expect to see more of it until CD Projekt Red can prepare an impressive showcase for it.

"Right now it's the end of talking about Cyberpunk until we can go out there and show stuff and say, 'Hey, here it is,' because that's how we do games," CD Projekt Red co-founder Marcin Iwinski said earlier. "There is too much talking about what it possibly could be, and how big, and...

"When we show it, we should show it and explain it. So I'm going to have people not read anything about Cyberpunk probably for the next... time, whatever the time will be."

The game is set in a dystopian future and is being made in partnership with Cyberpunk RPG designer Mike Pondsmith. Platforms have not been announced, but PS4, Xbox One, and PC seem likely.

In terms of financial specifics, CD Projekt Red's revenue and profit for 2016 dropped year-over-year. You can watch the CD Projekt Red earnings briefing above (it's translated from Polish to English), while you can read the full written report here.

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Witcher Series Passes 25M Units Sold, Cyberpunk 2077 Development "Quite Advanced" - GameSpot

Tuesday, 4 April 2017 10:20 GMT By Matt Martin

Devolvers latest will take you down hard.

Ruiner really nails the cyberpunk aesthetic, the cold inhumanity of technology, stylised oppression and brutal violence.

So I said to the dude at Devolver show me your most violent games and he did exactly that. I sat down and smashed heads in with a steel pipe.

In Ruiner, your job is to kill the boss of Heaven. Heaven seems to be a steel-cold, clinical, neon industrial escape from the trash city of Rengkok below. And really theres only one thing to do here: kill.

So I turn heads into lunch meat. And then I graduate to increasingly devastating firepower, although crucially the pipe remains shockingly effective long after the bullets have ran dry.

Ruiners hero is faceless, concealed inside a helmet that flashes single bite-size mission statements. Someones giving him orders but theres someone else trying to hack into his perception, to subvert commands. While you keep killing the cyberpunk story begins to unroll; a missing brother, manipulation by The Man, a mysterious girl. But really during the early stages of the game the point is to just keep killing. I like a game that gets on with things.

The violence is chained together as you combo deceptively simple moves. Although the first level feels big, its really just about moving from one area to another, pausing to kill before moving on again. Confrontations consist of linking a dash, shield and brutal attack as pre-emptive strikes or risk being overwhelmed. The shield and dash use energy, so the combos cant be infinite. But chain them together quickly and you can devastate multiple enemies before theyve fired off a shot. Then you try to avoid more goons as you pick the rest off. Rinse and repeat.

Confrontation is quick and almost clinically effective in its violence, triggering an adrenaline rush of relief and revulsion.

Its tough to begin with, but once you make the shift from single actions to timing combos together youre an effective killing machine. You zip across the screen leaving clouds of blood drifting in the air. Confrontation is quick and almost clinically effective in its violence, triggering an adrenaline rush of relief and revulsion. I took them all down, they didnt get back up again, and Im a heartbeat away from collapsing. Overwhelming odds are shattered if you keep moving and make every action count.

There are comparisons to Hotline Miami, but only in the swift violence. Hotline is more tactical, giving you options when it comes to tackling enemies and approaching rooms differently. In Ruiner in the first large level Ive played, at least theres only ever one way to go, and the goons approach you, boxing you in. Youll have to beat them down before moving on.

The first level ends with a mini-boss fight but with added pressure. A timer counts down to zero and death. The only way to keep alive is to execute enemies, adding vital seconds back to the clock. So you need to balance time as you whittle down the boss but also quickly crush his goons to keep the clock in a safe zone. Dont get carried away pummeling the villain or youll aide your own death.

With the opening level finished, bathed in blood, youre introduced to Rengkok, a kind of hub where you can interact with a bunch of darkly comic citizens. Its like a snapshot of Mega City One or Geof Darrows Hard Boiled, used as a way of pushing you to the next level. If thats all it does then its a welcome break from the ultraviolence, but maybe itll offer more as the game opens up.

Ruiner really nails the cyberpunk aesthetic; the cold inhumanity of technology, stylised oppression and brutal violence all set to a heavy electro soundtrack. The action is quick and unforgiving and you can kill or be killed in a heartbeat. Every weapon picked up is bittersweet it will tear apart but only for a limited time so you need to tactically drop back and calculate your next victim before the last body even hits the floor. Its encourages you to play with confidence, ruthless efficiency and to not hesitate. Because to hesitate is to die.

Ruiner is out for PC this spring.

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Cyberpunk thriller Ruiner is here to smash you in the face - VG247

Space opera may be the current king of the science fiction filmic landscape, and post-apocalyptic mayhem tends to rule the darker parts of the genre. But nothing beats Cyberpunk when it comes to impact on andrelevance to our current society. The termcoined by writer Bruce Bethke as the title for his 1980 short story Cyberpunk (first published in 1983)immediately evokes images of grungy urban decay coupled with highly advanced, though often misused, technology. Stories in the cyberpunk genre are often referred to as high tech low life, and tend to make for some excellent films.

Writer William Gibson is often cited as the father of Cyberpunk thanks to his seminal 1984 novel Neuromancer. Cyberpunk has deep connections to hard-boiled detective fiction of the 1930s and 1940s; thus, the onscreen properties made in that style often employ the film noiraesthetic, but with a futuristic edge. One of the other major elements is the bleeding together of the organic and the synthetic, blurring the line between what is real and what isnta debate thathas only gotten more heated and nuanced as technology has advanced.

Perhaps one of the earliest examples of Cyberpunk in a feature film is also arguably the most famous1982s Blade Runner. Made before either Bethke or Gibson had written their books that birthed the term, Blade Runnerbased on the Philip K. Dick novel Do Androids Dream of Electric Sheep?was labeled with the genre term Future Noir to explain its mixture of post-World War II-style malaise and near-future techno-boredom.

Its plot concerns a lonely detective searching for escaped Replicants (advanced cybernetic lifeforms nearly indistinguishable from humans) who are deemed too dangerous to be given more than a brief lifespan. By the end of the film, we realize howinhuman and robotic the hero Deckard is (even if you dont believe the theory that he IS a Replicant), and that the villain Roy Batty is simply trying to prolong himself.

Other films made shortly thereafter continued the theme of rundown futurism and the blending of humans and machines. For example:David Cronenbergs 1983 film Videodrome, in which a pirate TV signal starts to turn a sleazy cable access producer into a warrior for the cybernetic revolution. His shouting of Death to Videodrome! Long live the new flesh! continues to haunt long after seeing it.

In 1987, a slightly more tongue-in-cheek take on the subject came out with Paul Verhoevens RoboCop, in which a murdered police officer is fused with a CPU and cybernetic body parts to become the ultimate enforcer, even if it erases his humanity in the process. He fights against his programming and ultimately remembers his family. In many ways, RoboCop is the Frankenstein for the Cyberpunk set.

It was inthe 1990s when Cyberpunk as a film subgenre really took hold, beginning with Richard Stanleys little-seen (but super awesome) Hardware. In the film, a woman is terrorized in her dystopian-city apartment by both stalkers using hidden camera technology and a runaway defense robot. More Cyberpunk films followed in the early 90s, such as Freejack, The Lawnmower Man, Johnny Mnemonic, and Judge Dredd admittedly, none of those were very good.

However, Kathryn Bigelows 1995 film Strange Daysabout a VR-experience dealer on the eve of the new millennium getting caught up in a murder plot by ruthless politiciansis genius, and perhaps one of the best examples of the Gibson-esque view of Cyberpunk. Like the genre itself in many ways, Strange Days was ahead of its time and was a commercial failure, though it has since been recognized for the achievement it is.

The big turning point for the Cyberpunk live-action movement is 1999s The Matrix and its two sequels, which brought in elements of anime, Kung fu cinema, and Hong Kong action flicks. The world inside the Matrix itself was sickly green, grimy, but still slick and stylish. The notion of the machines having already taken over and humanity having to fight back from the inside is an extreme take on the idea of automated control, which the Cyberpunk movement discussed at great length. Were such slaves to our devices and comforts that we eventually becomephysically trapped by them.

The usage of Asian cinema styles in The Matrix is no accident; Cyberpunk is deeply tied to Japan and Hong Kong in aesthetic and setting. Gibson is quoted as saying of Tokyo that modern Japan simply was cyberpunk. Ridley Scott, similarly, when discussing his visual style for Blade Runner called future Los Angeles Hong Kong on a very bad day. Its maybe because of this that Japanese live-action film and anime has taken Cyberpunk almost as its own, and done more to explore both the visual capabilities and the impact of human-like machines and machine-like humans. Arguably the best Matrix-related material is The Animatrix, after all.

While there were certainly films that came before, 1988s Akira blew the doors wide open for Cyberpunk and anime to fuse seamlessly. That film depicts a thrice-rebuilt Japan in the major city of Neo-Tokyo, which is a cesspool of crime and fascistic militarization, and the strange and deadly telekinetic powers that awaken inside a young ruffian who quickly begins to use his abilities for evil before finally losing himself to psionic energy and metal. Its an astounding film, one full of emotion and fear as is rarely seen in the oft-mechanically cold genre.

In 1989, the direct-to-video Japanese film Tetsuo: The Iron Man, written and directed by Shinya Tsukamoto, was let loose on the world. Taking elements of Cronenbergian body horror and Akira-esque loss of humanity, Tetsuo is an incredibly visceral and disturbing film thatdepicts metal fetishism and people violently turning into machines in the most painful way possible. Two sequels followed in 1992 and 2009, and J-Horror would utilize its intensity and grotesquery for decades after.

Cyberpunk has again returned to the height of the public eye because of successful movies like Ex Machina and Her, which now seem very prescient given how close AI is to becoming indistinguishable from organic intelligence. One of the biggest films in the genres history is the original Ghost in the Shell from 1995, which itself begatmany sequels and spinoff series. GITS seems to be the perfect keystone bridging Blade Runner-era and current views on AI; the film follows a police officer in a cybernetic body, with her consciousness in a mainframe somewhere else, and her efforts to stop a hacker terrorist.

As Ive written about elsewhere (read my thoughts on Akira, Ghost in the Shell, and Cyberpunks humanity HERE), Ghost in the Shell represents a society thats already taken over by technology, wherein nobody thinks twice about the loss of humanityexcept the synthetic beings. Its rare in that worldfor a police officer to be organic, for example, but if humanity is all consciousness, is everything that can think a human?

Well get to explore these elements more and more as the live-action Ghost in the Shell hits theaters on March 31, Blade Runner 2049 coming later this year, and the prospect of an Akira live-action movie becoming a reality growing. Though born from writings in the 80s and films in the 90s, Cyberpunk might become the most important sci-fi genre of the 21st Century as we near the singularity.

Whats your favorite film in the Cyberpunk genre? I clearly left out quite a bit of examples; which should people check out? Let me know in the comments below!

Images: Sony/Paramount/Warner Bros/Miramax//Orion/Japan Home Video/Tokyo Movie Shinsha/Kondansha

Kyle Anderson is the Associate Editor for Nerdist. He writes the weekly look at weird or obscure films in Schlock & Awe. Follow him on Twitter!

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The Incomplete Onscreen History of Cyberpunk | Nerdist - Nerdist

Scarlett Johansson Ghost in the Shell. Photograph: Jasin Boland/AP

Code streams across a computer screen; hackers bark at each other in techno-jargon and hammer at keyboards; the real world seamlessly shifts into the virtual, and back again. This is the sort of scene that is instantly recognisable as a cyberpunk film, the subgenre of sci-fi that meshes together technology and counterculture of which Ghost in the Shell, the live-action remake of the Japanese anime classic, is the latest high-profile example.

It is little surprise that cyberpunk has proved irresistible for many film-makers over the decades since the term was coined, by the author Bruce Bethke, in the early 1980s. With its visions of postapocalyptic futures, advanced technologies and virtual realms, they get to pack their films with visual effects to sweeten the (red) pill, while wrestling with weighty existential themes.

Yet, for all its enduring popularity which owes so much to Ridley Scotts 1982 classic Blade Runner cyberpunk has often proved a tough nut to crack on the big screen. Even the author William Gibson, a founding father of the genre on the page, struggled to bring its dystopian charms to the cinema. Gibsons first significant foray into film came in 1995 with Johnny Mnemonic an adaptation of his short story about a data courier with a chip implanted in his head and was an confused and poorly received flop, even if it did feature psychic dolphins. Gibson described the film as two animals in one skin constantly pulling in multiple directions.

He had identified a problem that would plague many cyberpunk films thereafter. A decade before Johnny Mnemonic was released, Gibson had written Neuromancer, a genre-defining novel that thrust readers into a noirish dystopia. Neuromancer, published in 1984, came at a time of change. Computers were yet to become ubiquitous, and a strange subculture of phreaks and hackers was brewing. Slowly, governments were realising that the kids tinkering in their bedrooms with soldering irons and motherboards could be capable of disrupting the status quo. Technology was becoming threatening, and even political. In short, great material for screenplays.

However, the resulting films over the last two decades have varied in quality, to say the least. The biggest hit at the box office has been the Wachowskis Matrix trilogy for which a controversial reboot is being planned. Then there are curios, like Abel Ferraras New Rose Hotel (based on another Gibson novel), which starred Christopher Walken, Willem Dafoe and Asia Argento. Theres Wim Wenders postapocalyptic odyssey Until the End of the World (five hours, if you manage to see out the directors cut), and Kathryn Bigelows Strange Days, a critically divisive film that explored the impact of virtual reality. More recently, weve had Carleton Ranneys lo-fi slow-burner Jackrabbit and David Cronenbergs unsettling short, The Nest. Cyberpunk has come to the small screen, too: Mr Robot is a modern incarnation, as was the TV show Orphan Black.

In truth, cyberpunk themes existed in film long before the phrase did. Fritz Langs 1927 film Metropolis envisaged wealthy elites, oppressed masses and a unnerving fusion of woman and machine all themes explored in the remake of Ghost in the Shell. That lineage can be traced through to Blade Runner, based on Philip K Dicks 1968 novel Do Androids Dream of Electric Sheep?, which was set in a smog-filled futuristic LA, dominated by the Tyrell Corporation, where Harrison Fords retired cop hunts replicant cyborgs while musing on humanitys metaphysical quandaries.

A turning point for cyberpunk in film came from an in 1988, with Katsuhiro tomos landmark anime Akira. A fusion of rebellious youth culture and groundbreaking animation, its story of teenage biker gangs in a postapocalyptic Tokyo became an international cult hit. The film paved the way for a wave of animations for adults that peaked in 1998 with Ghost in the Shell. That films arresting visuals, existential questions and a pared back, cat-and-mouse narrative was unlike anything audiences had seen before.

Crucial to cyberpunk is a countercultural take on social issues, albeit often viewed though a Hollywood lens. As Iain Softley, the director of the tongue-in-cheek 1995 thriller Hackers, says: As far a cyber culture is concerned, it is this mixture of technological culture with underground movements. That appeals to younger audiences and that is also the appeal for film-makers.

Hackers, he says, was never about the technology. It was about the popular culture that it generated.

But how do film-makers ensure that the genre remains cutting edge? The remake of Ghost in the Shell, directed by Rupert Sanders, will be the first big-budget outing for cyberpunk since the Matrix films. Guillaume Rocheron, who worked on the film as a visual effects supervisor, says that while the original animation was a key source, the makers took a lot of inspiration from glitch art, various art installations inspired the architecture.

Rocheron explains that the films solograms (Solid volumetric projections of people and advertisements you see in our city shots) required them to develop a new camera system. This is a common feature of cyberpunk films: the pioneering of visual effects technologies to create new worlds, such as the bullet-time technique that was developed for The Matrix.

In todays increasingly technology-driven world where our work depends on connectivity, our leisure on social networks, our economy on digital information cyberpunk remains more pertinent than ever. News headlines are dominated by email hacks, the growing clout of mega-corporations, and rapid developments in AI and virtual reality. Cyberpunk remains a genre that pushes the boundaries, opening audiences eyes to the intersection of technology and humanity and the blurring lines between artificial and organic intelligence. The questions about what makes something real and who exactly is in control are left to us to work out.

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Digital love: why cinema can't get enough of cyberpunk - The Guardian (blog)

The Bees of Kiribati

By Warren Hammond

I spotted Detective Inspecteur Keo at the end of the corridor, his back against the wall, smoke snaking from the cigarette lodged between his fingertips.

Instinctively, I smoothed the wrinkles on my skirt before starting in his direction. My heels echoed in the empty corridor, but he didnt look my way, his lips moving in silent conversation with whoever was jacked into his head.

Stopping a couple feet away, I waited for him to end his conversation. When he did, I pressed my hands together in front of my chest and offered a slight bow of my head.

He took a quick drag before floating my name on a cloud of smoke. Kaikoa?

I nodded.

In Khmer, he asked, You speak Gilbertese?

Again, I nodded.

Come with me.

I followed him upstairs to the fourth floor of Phnom Penhs police headquarters, where we veered wide to pass a small group of foreigners speaking in somber voices. A teary-eyed white woman stepped forward, clearly intending to ask the detective a question, but he waved her off and led me into a small interrogation room that smelled of mildew.

I breathed deep of a stale afternoon breeze drifting through the open window. Who are those people out there?

They dont concern you.

I didnt appreciate his dismissive tone. I cant translate effectively if I dont know what this is about.

Inspecteur Keo answered with a single word. Murders.

Reprinted from Cyberworld: Tales Of Humanity's Tomorrow edited by Jason Heller and Joshua Viola with permission of Hex Publishing LLC. Copywrite (c) Hex Publishers, LLC 2016.

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Cyberpunk Returns With New Colorado Anthology - Colorado Public Radio

At its financial results conference this week, CD Projekt proudly proclaimed that it's sold more than 25 million copies of the Witcher games. Great news for Geralt, but CD Projekt's fans are starved for details on the upcoming Cyberpunk 2077, which barely earned a mention in the 2016 financial support. Luckily, someone asked about its next RPG during the financial results conference, which got us the tiniest tidbit of insight into the next game.

CD Projekt Red studio head Adam Badowski got on stage to say progress on Cyberpunk 2077 was "quite advanced," and that the studio's biggest team comprised of "several hundred people" was working on the game. "It's really good fun for us," he said.

CD Projekt president Adam Kiciski added "The project is very ambitious," pointing out that each of CD Projekt's games has been more successful than the last. "The ambitions are very voracious, so we would like to devote a lot of attention to Cyber, a lot of effort, and quite some time. So we still need some time before the game is ready."

Badowski again: "It's a new title for us, and it will accompany us for years, so it takes effort to prepare it properly."

And back to Kiciski: "The work is ongoing, and it's very intense. So it's not a comfortable situation because we know what it's like, we watch the game, but we can't tell you anything. This year belongs to Gwent. This year we'll be communicating Gwent."

That "accompany us for years" line seems to indicate more from Cyberpunk 2077 than a single game, but who knows if Badowski was referring to DLC or plans for sequels down the road. Either way, it doesn't sound like Cyberpunk 2077 will be a one-and-done game for CD Projekt.

Kiciski also talked briefly about CD Projekt Red planning to develop another game concurrently with Cyberpunk 2077, but offered no further details about what that game might be. Cyberpunk 2077 currently has around 300 developers working on it, and "The team will be growing, because Gwent will be serviced, Cyber will be developed, plus one more game," he said. "We already have [300 people on Cyberpunk 2077], at the very end it will probably be more, maybe 400 people."

When someone in the audience asked about CD Projekt recently hiring concept artists who would typically work on the beginning of a project, Badowski explained that those hires weren't specifically for Cyberpunk. "There are two processes. One, we are building teams. The Cyberpunk team is already complete. We are developing the studio. That is why we have these [job] items on our website, because quite often there are certain opportunity hires. We're looking for top talent on the market. That's why we're looking for concept artists. It's really hard to find the most talented concept artists, and we try to keep extending the team."

And that's everything they had to say about Cyberpunk 2077. Judging by CD Projekt's focus on Gwent, we don't expect to hear substantially more about their next RPG until Gwent is in full release later this year. Fingers crossed for more details before the holidays.

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CD Projekt calls Cyberpunk 2077 development 'quite advanced,' but release is still a ways off - PC Gamer

The term is already trademarked in several countries and aReddit post, claims thatCD Projekt have now filed a trademark claim in Europe. The request allegedly would only cover game titles and not prevent using the term to describe content.There has been no confirmation from CDP, however, so it may be wise to reserve judgement.

CDP wants to protect their game against infringement and they havealready trademarked the term in the USA.So far they have not acted on it but its existence creates limitations for other creators. Itcould potentially cause some problems forother developers wishing to use the term in their games and descriptions, fearing legal action. It also may hurt the genre.

Trademarking game titles is not an uncommon practice as user Vetinarius points out.There is an obvious gray area, however, when it comes to trademarking a word that describes a genre, especially when the termed was coined by another individual altogether. The term was originally used by writer Bruce Bethke as the title for a short story he wrote in 1980. It was later retroactively applied to a number of science fiction works.

CD Projekts title, Cyberpunk 2077, is a futuristic RPG game, larger than any of their previous titles such as The Witcher. It is still in early development,you can check out the concept art and a teaser trailer on the games website.

Do you think this is a reasonable request from CD Projekt? Are you excited about Cyberpunk 2077? Tell us what you think in the comments below on ourFacebookor Twitter.

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The Witcher Developer Wants to Trademark Term Cyberpunk ... - DVS Gaming (registration) (blog)

Seattle film director Robert McGinley endured a frantic 20-day shoot to make his new futuristic cyberpunk feature, Danger Diva, shot mostly in a Sodo warehouse. He coordinated principal actors, and up to 300 extras at a time, as he shot scenes involving physical stunts, vehicle stunts, and choreographed fights.

One of those principal actors, the lead singer of popular local band Thunderpussy, became a part of the production through good old-fashioned word of mouth.

McGinley cast Molly Sides after meeting with old colleagues from On the Boards Theater artistic director Lane Czaplinski, and managing director Sarah Wilke, who has since become the executive director of SIFF.

I asked them, If I were to make Danger Diva in Seattle, who would you say is the musical La Femme Nikita in town? McGinley recalled. They responded in unison: THUNDERPUSSY!

Danger Diva premieres Thursday, April 13, in a special multimedia show at the Egyptian Theatre, sponsored by SIFF. The film will be followed by a live show from Thunderpussy.

McGinley called the performances event cinema, an experience immersive both aurally, visually and communally. The director also plans to show props, photographs, costume video and sculptures created for the film.

McGinley pegged his early fascination with film to his childhood in the suburbs of Chicago, watching 16 mm reels shot by his grandfather. The reels were simple -- home movies of his own father playing football.

Nevertheless, the experience was formative. He went on to study film and theater at school in Indiana, and then Los Angeles.

He arrived in Seattle after a spell in the tiny town of Tenino, Washington, selling encyclopedias and working on a horse farm ... bucking hay and shoveling manure.

Eventually he became involved in the arts scene at Evergreen State College, in Olympia, where he briefly taught contact improv dance. He moved to Seattle in 1978 with a group of other artists, and they started On The Boards, where McGinley served as artistic director for 12 years.

McGinley sees Danger Diva as the last film of a trilogy, preceded by Shredder Orpheus (1989) and Jimmy Zip (2000). Those two films were modeled on classical Greek mythologies of bold, brave artists who responded to challenging quests.

But Danger Diva, moves away from Greece toward Hindu mythology, notably tales surrounding Kali, the goddess of death and rebirth; and Devi, the Divine Feminine, Mother Of All Things.

What emerged was a musical cyberpunk thriller about a hard-rocking singer, coerced to become an electronically enhanced diva by her high-tech billionaire patron. Her singing voice is used to control and energize the brains of employees farmed out as living computer processors for the corporations high-tech clients. Referred to as Brain Cattle, the workers operate in a digital sweatshop processing binary algorithms, and functioning musically as a chorus for Sides diva.

The Sodo warehouse was Danger Divas primary shooting location, but McGinley also made use of the Rendezvous Tavern in Belltown, and the Broadway Performance Hall at Seattle Central College just across Pine Street from where the film will premiere at the Egyptian.

McGinley said he was incredibly grateful for the tenacity of his crew.

Brian Faker, in addition to producing the film, also served as casting director. It was Faker who found the films other principal cast members, Tim Gouran (Stanley), Ray Tagavilla (Calvin), Amy Thone (Adrian) and Conner Neddersen (Scattering Flynn).

He also thanked director of photography Chris Tufty, production designer Tania Kupczak and editor Howard Flaer for their ability to pull rabbits out of the hat.

On an independent production, the entire crew needs to be that way, McGinley said. They often surprised me with great ideas and problem solving.

McGinley said his gratitude came to a head as he watched Molly Sides perform on the last night of Danger Divas shooting schedule.

I wont give away the scene but her performance was awesome, he said.

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Robert McGinley combines cyberpunk, myth and rock in 'Danger Diva' - Capitol Hill Times

New York Post

You'll enjoy this cyberpunk wonderland if you turn off your brain New York Post Like its synthetic heroine (Scarlett Johansson), the live-action Ghost in the Shell is a feast for the eyes. With its killer-robot geishas, Godzilla-size hologram ads and nearly nude fighting gear, it's a cyberpunk wonderland but there isn't much ... Johansson clones cyberpunk spiritdailytelegraph.com.au Film review: Ghost in the Shell - a cyberpunk look into AI and mind hackingNetGuide NZ Ghost in the Shell is pretty, but not nearly as smart as it thinksVox ClickLancashire -Business Insider -Daily Herald all 607 news articles »

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You'll enjoy this cyberpunk wonderland if you turn off your brain - New York Post

Forbes

'Ghost In The Shell: Deluxe Edition' Manga Review: An Excellent Re ... Forbes Before the anime adaptations of 'Ghost in the Shell', there was the original manga by Masamune Shirow and it changed the world of cyberpunk fiction forever. The Futility of Remaking Ghost in the ShellPaste Magazine 'Ghost in the Shell' live-action remake nears debut, fans continue to critiqueNewsday Captain Comics: Deciphering mystifying 'Ghost in the Shell' trailersArkansas News CNET -IGN -MarieClaire.com all 82 news articles »

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'Ghost In The Shell: Deluxe Edition' Manga Review: An Excellent Re ... - Forbes