Coincidentally, there is a new Ghost in the Shell anime that's premiering now on Amazon Prime Video. It's animation style and mood are closely aligned with the original 1989 manga, which is to say it's more cartoonish and light-hearted. I prefer the more adult oriented content the franchise was putting out up until about 2006, but the new anime series gives me hope that we might eventually see a follow-up animation of Shirow Masamune's Man/Machine Interface - what was once considered to be Ghost in the Shell 2 before Mamuro Oshii created Innocence.
Personally I think I'm done with GiTS at this point. How many times has it been rebooted, like a dozen times?
The last one I enjoyed watching was Arise but I lost track after that. I think the series has been done to death and I would love to see some completely new IP that is more reflective of the AI and economic upheavals we are experiencing in the 20s.
I don't think it will be animated any time soon due to Major not having much screen time, but if you haven't seen it, I would definitely recommend Human Algorithm[1] manga. It's a bit different art style than the original, more gritty and sterile, in a good way. For me personally that makes it a bit more cyberpunk feel. The first arc is a bit drag at a time but when all plot lines converge, the payoff is awesome.
It's not corruption. He has stated that there were projects going on behind the scenes, but most of them got scrapped before reaching production.
The most recent manga he involved with was Ghost Urn, which explores the world of GitS from a different protagonist. He did not do the drawing, but did most of the worldbuilding and mecha design.
A lot of mangaka have done that sort of thing, calling something normal in the industry "infamous" and "corrupting" seems overblown when Tatsuya Matsuki and Nobuhiro Watsuki are grooming children and collecting CP and every other mangaka seems to be shitposting racism.
I called it infamous not because I have a particular problem with it, but because of the way it's characterized by (Western, at least) fans. They snicker at and make jokes about the scenarios he apparently employs. (Admittedly, it doesn't sound like my thing, and I haven't looked too deeply into the material. It could very well be that I'm getting trolled.)
I agree that you can find genuinely disturbing things in the manga world and that Masamune's work is relatively benign (though some of his depictions of less-developed adult women might upset some). In general, I find the idea of commercialized erotica amusing, especially when coming from sources with more mainstream claims-to-fame. In these cases, I don't attach a connotation of moral bankruptcy or anything like that to the idea of them being "infamous", though maybe that's just me using the word wrong. I intend it more in the sense of, "Hahah, oh wow, THAT guy did THAT? That's crazy." Kind of like when we found out about Tezuka's softcore furry/snakewomen doodles.
He's always been a very horny creator and the original Ghost In the Shell movie (in fairness not directed by him) has the female main character need to get nude to use her stealth ability while the men can leave their clothes on.
Whatever narrative you've invented of Shirow changing over time is a stretch.
If you've seen the original movie, other than nudity there is very little horny in it. No sex, no banter about sex, no erotica. The female body, even if well endowed, is depicted clinically and emotionless. There are no lecherous characters, nobody chasing girls, etc. No romance even, though the relationship between Motoko and Batou is somewhat ambiguous.
Shirow's manga is horny though, partly why I dislike it.
The article author sure likes Ghost in the Shell. Almost every variant is listed.
The article only covers comics, manga, and graphic novels, not anime. So Bubblegum Crisis, which is half cyberpunk and half music videos, isn't listed. Nor is Cowboy Bebop.
(The site is now intermittently down, with "429 Too many requests".)
I see every version as a remix of the original material, each done with their own take and philosophy. They're not remakes or reboots.
The only version that didn't add anything new was the Hollywood movie, which was an entertaining but shallow derivative of Oshii's animes and not based on the manga at all.
I think the original material provides enough ideas to continue spinning off new remixes. It hasn't even been outdated by the recent advancements in AI. Quite the opposite.
I really like the art direction of the new GitS adaptation (I hope this retro style gets used more), but yeah it's completely different in tone from the '95 adaptation and most of what followed.
Fans of Shirow will probably lynch me, but I didn't like the manga all that much. Not even the art style, which the new animé seems to replicate.
To me, Mamoru Oshii's 1995 GitS is THE version, because I'm seldom in the mood for slapstick and I much prefer the introspective mood of the movie, and its cinematic visuals. And the music!
I haven't liked any other adaptations since. To me, the movie is almost perfect. I didn't like Innocence much though.
I liked Innocence for the overwhelm-of-ideas. I will say outright that 'i don't entirely get it' but I very much like that it exists and I rewatch it every couple of years to just sit under the waterfall of concepts, no matter how pretentious it all may be.
I just can't get over how pretentious it is, and also I miss Motoko in it. I mean, the first movie (1995) also toyed with pretentiousness, but this was miraculously curtailed before it had a chance to bog the whole movie down [1], and its awesome mood, soundtrack -- much like with Blade Runner, another favorite of mine, I find it hard to separate the movie from its awesome soundtrack -- and visuals overpowered everything else. Motoko questioning if she was human, and what it mean to be human, it all worked for me. Maybe if she had spent the whole movie doing this, without any payoff, I'd like it less.
Innocence has great visuals too, I'll grant you this!
It might be skirting the edges of what is considered cyberpunk since it has Mecha elements but Patlabor is a fantastic manga/series that should have been included in this list [1]
It is especially strange not to see it in the list given GiTS is heavily featured (according to the comments, I can't access the page or web archive ATM).
Patlabor movie 2 was directed by the same director as the original 1995 GiTS animation movie. Both patlabor 1 / 2 have similar themes to GiTS, and are heavily cyber punk in themes and esthetics.
This is a bit of an idiosyncratic list. Two of my favorite additions from my own youth: Hard Boiled by Frank Miller and Geof Darrow and Batman: Digital Justice. The latter now reads like a bit of a corny cash grab for the early '90s cyber fad, but I still love the time capsule of some if its art.
It took me twice as long to read Hard Boiled as it should since I spent so much time looking at Geof Darrow’s intricately detailed art. Great story, but the illustrations are on another level.
It's not that idiosyncratic a list, those were the first two graphic novels that came to my mind when opening up the website. Geoff Darrow's art Hardboiled is incredible. I was a huge batman fan as a young teen and digital justice came out at peak Batman hype, and it was much hyped itself, but it wasn't very good.
The one I'd highlight from the list is Hiroki Endo's Eden: It's an Endless World, it's my favorite manga. It's beautifully drawn and incredibly grounded in tone and oddly relevant.
The overarching story is about a pandemic that starts as a backdrop and becomes more important and metaphysical and religious as the story goes on but the core of it revolves around crime bosses in Latin America, the lives of prostitutes, a Uyghur rebellion in Xinjiang, political conflict and organized crime all done in a very real way. It's completely devoid of any (manga) tropes.
also go read my comic about a robot lady with reality issues, http://egypt.urnash.com/rita/, it's got cover quotes from three people with seven Hugos between them.
Rich Veitch, he and Alan Moore. As Moore would later write:
"The One ... is a kind of landmark; a pulling together of obsessions and ingenious storytelling ideas into a coherent whole ... Its revisionist superheroics, while conceived at roughly the same time, predate Watchmen and Dark Knight in terms of publication, as does its packaging. Its political and humanist preoccupations were voiced before such sentiments became chic. Its deranged, culture-conscious humor offers an alternative and an antidote to today's rather gloomy trend of pessimistic, post-modern ultra-humans... Whatever it is that the comic books of the 1980s turn out to be remembered for, The One was right there in the thick of it, carving out a niche in the mainstream for dangerous ideas long before dangerous ideas became box-office certainties."
I did a pandemic project of reading Dredd from the start for as long as I could. I made it through about 25 case files volumes, which took me from 1977 to the late 90s (I think).
Is Judge Dredd cyberpunk? I don't care. It's an incredible run of comics, that touches on many of the same themes as cyberpunk.
There are many people involved in Dredd over the years, but I do think John Wagner has had the rare opportunity among work for hire creators to shepherd a fictional universe over decades of real and in universe time.
In Italy (and sometimes abroad, I recall dark horse translated it in English at some point) Nathan Never has been publishing as a monthly comic for a few decades.
So much of this space has been collapsed into homogenized entertainment. Nowadays, by the time a child is ten years old they have seen every form of the hero’s journey in the cartoons they watch, to the degree where there are tropes and nods to source material or even sometimes derivatives of source. Sci fi, fantasy and other genres are blended in as hooks because cartoons have to keep viewership and eye balls, so they throw everything they can find at it.
As a result, unfortunately, there is very little “new” material. The old material that took centuries to develop and longer has been flattened and duplicated, over and over again. I sound like a curmudgeon (I probably am), but I stopped watching movies entirely not too long ago because it became a farce of seeing cliche writing. Shows are even worse so as to not even warrant discussing.
While there’s a lot of slop out there that just exist to extract dollars, there are still some great movies being made every now and then. Don’t expect them to be the most popular high budget movies, you have to dig a little. The idea that there’s nothing new that’s worth watching though is clearly wrong and a typical bias that basically every person has to fight against as they age. You might even say it’s a cliche to think all new media is junk.
it’s been this way forever. the 50s, 60s, 70s, 80s, 90s, 00, etc… all had generic trash movies and music too.
stop getting recs from algorithms and the entire world will open back up to you. just like top40 music and generic movies from back in the day, you’re getting the lowest common denominator recs.
i read a book about the music industry in the 80s (it’s been a couple years and i can’t remember the name now) but people called the top40 music from back then formulaic. they were convinced record labels had formulas to make their pop music stars. what do you think algorithms are? they’re feeding you trash.
again, stop getting your recommendations from algorithms and the world will open back up. get your recs from actual film or music geeks. go to your local record store, look at their wall of employee recs, or *gasp* talk to them and ask them.
I understand your point, but it's slightly exaggerated. At least in Europe, any decently-sized city will have at least one of any of those. Not as many as there used to be, sure, but at least one.
I live in a big city. There are a few record stores, but if we're being honest, let's also not exaggerate by calling them mylocal store. And if I would opt for the journey, it's not like I would find this cool group of music nerds sharing secret gems. Vinyl is an expensive hobby and everything else is digital now. It's not like every niche artist got the means to press vinyl and the presumed cozy record store will hardly point you to bandcamp. Bit silly to pretend it's anything like it used to be in "your local record store".
At least in Germany, book shops and (small) cinemas are artificially kept alive through regulations (e.g. Buchpreisbindung) and public funding. Theaters got that too, techno clubs not so much. Lucky, when you still got a nice deal on rent, because without a solid business model, your new whatever scene experiment won't be in the city.
Recently, conservative politicians decided to attach ideological strings to the funding. Red scare is back, baby! What's a good book shop and what's a bad book shop gets intransparently decided by inland intelligence now. The stories our times need will get you demonetized. As we speak, lobbyists are relentlessly trying to push the compliance machinery onto our devices, so we're not tempted by anything outside of commercial supervision either.
It's all converging towards the brave new mainstream. Pretending like all these trends are just fads is wilful ignorance. Media attention may come and go, but the insects remain dead, temperatures unprecedented and art compliant.
We are hardly in need of cyberpunk fiction anymore, tho.
i think (safe guess) a plurality of hn users live in cities with most or all of these types of businesses. unless you're somewhere very rural, exurban or suburban, you owe it to yourself to at least try to find these places (and even if you are, you might be surprised at what's nearby).
I dunno, I've mostly lived in urban areas but I've always had record shops near to where I live. Sure, there are far less than there used to be, but the ones that made the cut appear to be on solid footing.
And yet. The other day I saw Dune described as this generation's LotR, which was that generation's Star Wars. Dune (and LotR, and SW) are all Hero's Journey stories (what isn't?), yet they're each pretty unique.
Granted, LotR and Dune were written in the 50's and 60's, respectively, with Star Wars following a decade later.
All I'm saying is that what is new depends on what generation you grow up in. And I suppose how much media you're exposed to. Speaking for myself, LotR was the second film I ever saw in the cinema so it was a whole new experience.
For the younger generations, these are old films, much like how idk, Spartacus and co was an old film for me.
tl;dr, the kids will be alright. Actually the kids also appreciate older media, there's a whole generation of late teenagers now rediscovering 2000's music / culture.
I'd also argue in LotR only Frodo has an archetypal Hero's Journey, but the novel itself is an ensamble piece with many other important characters that are not necessarily embarked on a steretypical Hero's Journey (Aragorn, Legolas & Gimli, Merry & Pippin, Gandalf).
Sidestepping the Hero's Journey for a second (which Dune actually subverts, one of its key points being that heroes are bad for mankind), Villeneuve's Dune is nowhere near a massive pop culture phenomenon of its time like Star Wars and LotR were of theirs, respectively.
I meant to write quite a long response to your comment, but let me just bring it down to a single question: How is your feeling different from melancholia?
There is and always will be mainstream, niche, the unknown and everything in between. There was always just very little new material and a lot of works just gained recognition when their zeitgeist was long overdue, too. I think experimentation is hard, and it's even harder to justify experimentation in the evolving economic climate.
Genres are meant to be collapsed, or rather they should blend and dissolve into each other. The early (and good) seasons of The Simpsons are a poster child when it comes "flattening and duplicating old material". Almost every episode cites a movie or work of literature, and there was nothing wrong with it! It's part of why I understand the 90s as a cultural era of citations, and I had to grow up with that sentiment. It took me quite some time to understand that we moved past it.
Nowadays, we are fortunate enough that a lot of things from the past 10 decades have been digitized and are readily available on demand. That's amazing! Nothing is stopping me from asking myself some naive questions, like "What makes a good drama?" or "If Die Hard is considered to be a Christmas movie, why isn't Falling Down considered to be a summer movie?". I think there is still stuff to explore.
I'll just leave this unfinished thought with a recommendation to a niche movie I discovered recently: Sleep Has Her House (2017)[0]
When society is affluent enough, people say it will become corrupt and fall apart. But when society has truly deteriorated, stories of heroes come to mind. If you look back at the era when cyberpunk social critiques emerged, the world that led that movement was wealthy, with a thick middle class. But when society starts to become poorer, those kinds of stories become stressful for the public. When you have room to breathe, such macro-level critiques serve as a 'healthy amount of stress' for survival. But when survival itself is at stake, it becomes much harder to be tolerant of criticism.
That's why the countries where cyberpunk flourished were wealthy ones
I’ve toyed around with this hypothesis about dark music and edgy culture.
The roaring 90s were full of this: dark music exploring critical themes or things like depression and addiction, lots of social criticism, and edgy offensive humor. The mid to late 90s were an economic boom time for a broader segment of people and were optimistic in a way that’s hard to explain today.
I like to put it this way: it’s not that things were all better in the 90s. They weren’t. But people thought they were getting better.
Now people don’t want those things. They want light entertainment, either no criticism (the right) or only approved types via approved critical theories (the left), and offensive edgy stuff is out and may get you cancelled (which side cancels you depends on the content).
It seems like we think alike. I feel like the dark and critical themes of the 90s were ahead of their time back then. A lot of what they predicted actually turned out to be accurate. The cultural media of the 90s said things like 'this is what will happen if wealth becomes concentrated or corporations take over'—and it's actually playing out in a similar way.
But as our society has become more stratified by wealth and the vast majority have become poorer, people no longer have the mental space to think deeply. They've come to love clear, simple answers.
As you said, it's 'only approved types via approved critical theories.' As people lose their margin for error, they also lose the capacity to consider others' perspectives.
Cyberpunk specifically has also been outdated fast by real world developments, and other genres emerging with similar topics, but different design(?)-language. The whole cyberspace-element for example kinda died (or evolved) with the rise of the real internet, the Matrix-Movies and recently with stuff like VRMMO-stories from asia.
The overall concepts and elements are still around in some way, but the specific combination and language that makes cyberpunk are gone. At the end I would say they were a result of their time, and time has changed, so not it's just nostalgia and retro.
It's not really any more cyberpunk than, say, a crow collecting expended ammo casings because they're shiny. Just involving electronics technology doesn't make something cyberpunk.
Disagree, corvids collecting bullet casings because they are shiny is heavily Shadowrun/WoD/Hellboy coded aesthetically. Regular birds gathering fiber optic cables for nests is EXTREMELY CYBERPUNK are you kidding? The image evokes so much: capitalist excess, tech waste involving computers/internet/cybernetics, war bad, environmental degredation etc... the only part about this concept that isnt heavily cyberpunk is that the bird isn't sick, dying, or dead and is somehow happy to find such a workable and durable nest building material.
...What? It's waste from expended munitions. The Ukranian war isn't a corporate war, it's a war between sovereign nations. The drones were produced by and bought from corporations (I assume) but the result of the arms race for better measures and countermeasures would have been the same if each country had produced its own gear.
Again, something doesn't become cyberpunk just because it involves computers or electronics.
>war bad
I don't think cyberpunk is anti-war as a central feature. It's certainly compatible with that message, but you could write a cyberpunk story that is pro-war, as long that war is to counter the power of corporations.
>environmental degredation etc.
All in all, discarded fibers are more of a nuisance to people than to the environment, I think.
First, the bulk of the Russian forces are still armed forces personnel. Second, even if most of the Russian forces consisted of mercenaries, their pay and their tactical objectives would come from the Russian government, which also directs the strategic objectives. A cyberpunk corporate war is fought entirely between corporations, for corporate reasons.
What even is this argument? Why are you people wasting my and your time on this?
the bird's children may be crippled if it gets tangled in their feet while they're still developing, see https://en.wikipedia.org/wiki/Stringfoot (which is in general a common sight wherever pigeons can be found); when my flat's fibreoptic was being installed, the cable-layers made a big deal of collecting the cuttings where they spliced the cable and ensuring nothing would be in reach of any animals.
We do have some degree of it, but it's more on the realistic side of performance. The remaining body has to handle them after all, so it's hard to enhance performance beyond human limits for real. Maybe with some more decades of development.
But we've also learned that we don't need to change the body itself, when we can just enhance the tools we use. Smartphones are already seen as some sort of half-step towards humans becoming cyborgs. Similar have we now Exoskeletons, which are probably more practical than replacing a full limb.
I'd go the other way and say Cyberpunk was meant to be capitalism taken to its logical extreme (unregulated industries rife with corruption, with markets/regimes perturbed only through acts of violence and espionage).
As life begins to imitate art, we're met with a The Thick Of It type situation where the satire of reality is no longer applicable and would be further diminished by continuing it
> "Time and again, The Thick of It led and reality fell in behind."
Yeah, the issues of political critique that were key to early cyberpunk have largely been lost. It's partially the fault of the first Blade Runner movie, which exploded the genre while also sanitizing it of the harshest elements.
I always find it kind of funny that after Cyberpunk was coined "X-punk" (steam-punk, diseal-punk, etc) became a construction to denote a particular type of "retro-future", sci-fi as imagined from a past time period.
This wasn't initially true of the word cyberpunk, but over the intervening years its become true, as cyberpunk has more and more denoted the future specifically as seen from the perspective of the 1980s and early 90's. Its become "retro-actively retro".
I abandoned movies too, 5 years ago or so. There's little space for "art" (whatever that might be) when you need to invest giant sums and expect a return. There's still some good movies coming out, I'm sure. But I don't have the time or energy anymore to dig for it like I did in the past.
I think you are right for movies and TV shows, but not for "comics, manga and graphic novels" and I'll add books as well. Since those are much cheaper and easier to produce than TV shows and movies, they can be created independently, without the need to optimize for earning tons of money. Indie literature and comics are very diverse in the storytelling.
But I acknowledged (and dread a bit) that the audiovisual storytelling is such a strong force that any discussion about storytelling, even when specifically talking about literature/comics storytelling, is dominated by audiovisual references. Any creative writing workshop/course that include sci fi and fantasy genres will inevitably mention Star Wars as example for whichever technique. The more literary ones will mention some Oscar winning movie, etc.
I've noticed this as well and I'm rather concerned about it. Those cheap rip offs will ruin countless classics for her and it's really sad. I'm looking for the most boring stuff for her to watch just so she doesn't become fully jaded by age 18.
Side note: if you need new stories, I've found a lot of weird and fun stuff to read on Royal Road.
Funny for some reason the submission title summoned this manga in my mind even though I've never read it only a free chapter in a magazine I was obsessed with.
A recent (2023) finding: from Guillaume Singelin, Frontier [0]. Fitting it into "cyberpunk" may need a bit of a push, but since the limits are kind of blurry I don't really care. The narrative is not perfect perhaps falling into wanting to say a lot more than the page limit allows, but all in all it's a good enough read.
I'm vouching for Frontier as well, as well as "Carbon & Silicon" [0] from Mathieu Bablet. All of his work is gorgeous, I love his art.
If you liked Frontier's theme and are into video games I recommend you check out "Citizen Sleeper" [1] illustrated by Guillaume Singelin as well.
It's a 7 hour narrative text-based adventure that really hooked me one week-end. Your choices depend on how you "spend" your dice, dice that are cast at the beginning of every single day on the station so you get to pre-plan your actions somewhat.
Gameplay wise it's mostly reading, but I liked exploring the station they created.
I've honestly not ever considered Ghost in the shell to be under the cyberpunk genre. It's too clean and the characters too ingrained in the working of the system. And the system "works", it's not a sanitised depiction, gits society feels much like our own with a detailed techno-realism it's a society still at the transitional point to something more radical; exemplified by humans still doing very manual things - take for example that classic scene from the 1995 film, where the man uses multiple fingers to extremely fast into a terminal, this would seem impressive but pales in comparison to a direct cyberbrain connection, they still have terminals because this is a world still in transition. Another of my favourite but less known scenes is this scene from gitsac: https://paul.kishimoto.name/2017/01/barcodes/
But the point about the multi-finger fingers -xD- was not about transitional technology, but about explicitly avoiding direct brain connection as an additional layer of security.
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[ 2.7 ms ] story [ 50.8 ms ] threadThe last one I enjoyed watching was Arise but I lost track after that. I think the series has been done to death and I would love to see some completely new IP that is more reflective of the AI and economic upheavals we are experiencing in the 20s.
[1]: https://kodansha.us/series/the-ghost-in-the-shell-the-human-...
The infamy of his activities over the past few years should also be noted. (And maybe chuckled at if you have a bit of a dark sense of humor.)
His popularity may have corrupted him...
https://appleseed.fandom.com/wiki/Shirow_Masamune
The most recent manga he involved with was Ghost Urn, which explores the world of GitS from a different protagonist. He did not do the drawing, but did most of the worldbuilding and mecha design.
I agree that you can find genuinely disturbing things in the manga world and that Masamune's work is relatively benign (though some of his depictions of less-developed adult women might upset some). In general, I find the idea of commercialized erotica amusing, especially when coming from sources with more mainstream claims-to-fame. In these cases, I don't attach a connotation of moral bankruptcy or anything like that to the idea of them being "infamous", though maybe that's just me using the word wrong. I intend it more in the sense of, "Hahah, oh wow, THAT guy did THAT? That's crazy." Kind of like when we found out about Tezuka's softcore furry/snakewomen doodles.
Whatever narrative you've invented of Shirow changing over time is a stretch.
Shirow's manga is horny though, partly why I dislike it.
(The site is now intermittently down, with "429 Too many requests".)
The only version that didn't add anything new was the Hollywood movie, which was an entertaining but shallow derivative of Oshii's animes and not based on the manga at all.
I think the original material provides enough ideas to continue spinning off new remixes. It hasn't even been outdated by the recent advancements in AI. Quite the opposite.
- the first Oshii movie
- the two seasons of SAC + SSS
- this new one*
*so far
https://www.youtube.com/watch?v=shxS5YpyK04&list=PLyhSewr7ii...
I've enjoyed it so far.
https://www.theghostintheshell-anime.jp/
Did you get your manga the same place they sell the 15 minute long Tarantino movie Pulp Fiction?
To me, Mamoru Oshii's 1995 GitS is THE version, because I'm seldom in the mood for slapstick and I much prefer the introspective mood of the movie, and its cinematic visuals. And the music!
I haven't liked any other adaptations since. To me, the movie is almost perfect. I didn't like Innocence much though.
I just can't get over how pretentious it is, and also I miss Motoko in it. I mean, the first movie (1995) also toyed with pretentiousness, but this was miraculously curtailed before it had a chance to bog the whole movie down [1], and its awesome mood, soundtrack -- much like with Blade Runner, another favorite of mine, I find it hard to separate the movie from its awesome soundtrack -- and visuals overpowered everything else. Motoko questioning if she was human, and what it mean to be human, it all worked for me. Maybe if she had spent the whole movie doing this, without any payoff, I'd like it less.
Innocence has great visuals too, I'll grant you this!
[1] mostly because the movie ends :D
[1] https://en.wikipedia.org/wiki/Patlabor:_The_Movie
The new one (EZY) is amazing if you haven't seen it.
1. Patlabor The Early Days (88-89, 7 OVA) -> Patlabor (89, Movie) -> Patlabor 2 (93, movie)
2. Patlabor The TV Series (89-90, 47 eps) -> Patlabor The New Files (90-92, 16 eps) -> Patlabor EZY (26-27, 3 movies)
Patlabor movie 2 was directed by the same director as the original 1995 GiTS animation movie. Both patlabor 1 / 2 have similar themes to GiTS, and are heavily cyber punk in themes and esthetics.
The overarching story is about a pandemic that starts as a backdrop and becomes more important and metaphysical and religious as the story goes on but the core of it revolves around crime bosses in Latin America, the lives of prostitutes, a Uyghur rebellion in Xinjiang, political conflict and organized crime all done in a very real way. It's completely devoid of any (manga) tropes.
also go read my comic about a robot lady with reality issues, http://egypt.urnash.com/rita/, it's got cover quotes from three people with seven Hugos between them.
Anime counterpart to this article: https://shellzine.net/cyberpunk-anime/
OTOH, robocop is ok on the list, so probably it should be there too.
Is Judge Dredd cyberpunk? I don't care. It's an incredible run of comics, that touches on many of the same themes as cyberpunk.
There are many people involved in Dredd over the years, but I do think John Wagner has had the rare opportunity among work for hire creators to shepherd a fictional universe over decades of real and in universe time.
https://en.wikipedia.org/wiki/Nathan_Never
Not all stories are cyberpunk, but many are.
Some are great.
Anche Lazarus Ledd (uno dei bonellidi più famosi) ha un certo numero di storie cyberpunk, alcune delle quali molto carine.
As a result, unfortunately, there is very little “new” material. The old material that took centuries to develop and longer has been flattened and duplicated, over and over again. I sound like a curmudgeon (I probably am), but I stopped watching movies entirely not too long ago because it became a farce of seeing cliche writing. Shows are even worse so as to not even warrant discussing.
At least we have houses like A24 which brings interesting content
their old catalog though, incredible. i’d say like 80+ percent of the movies they released were fucking amazing. but that has fallen dramatically.
neon is still going strong though!
stop getting recs from algorithms and the entire world will open back up to you. just like top40 music and generic movies from back in the day, you’re getting the lowest common denominator recs.
i read a book about the music industry in the 80s (it’s been a couple years and i can’t remember the name now) but people called the top40 music from back then formulaic. they were convinced record labels had formulas to make their pop music stars. what do you think algorithms are? they’re feeding you trash.
again, stop getting your recommendations from algorithms and the world will open back up. get your recs from actual film or music geeks. go to your local record store, look at their wall of employee recs, or *gasp* talk to them and ask them.
> go to your local record store, look at their wall of employee recs, or gasp talk to them and ask them.
What local record store?
What local cinema?
What local bookshop?
Congrats, if you're resistant to addictive algorithms and same-day delivery convenience, but it's ignorant to deny the new baseline.
At least in Germany, book shops and (small) cinemas are artificially kept alive through regulations (e.g. Buchpreisbindung) and public funding. Theaters got that too, techno clubs not so much. Lucky, when you still got a nice deal on rent, because without a solid business model, your new whatever scene experiment won't be in the city. Recently, conservative politicians decided to attach ideological strings to the funding. Red scare is back, baby! What's a good book shop and what's a bad book shop gets intransparently decided by inland intelligence now. The stories our times need will get you demonetized. As we speak, lobbyists are relentlessly trying to push the compliance machinery onto our devices, so we're not tempted by anything outside of commercial supervision either.
It's all converging towards the brave new mainstream. Pretending like all these trends are just fads is wilful ignorance. Media attention may come and go, but the insects remain dead, temperatures unprecedented and art compliant.
We are hardly in need of cyberpunk fiction anymore, tho.
https://apnews.com/article/independent-bookstores-expanding-...
https://www.theguardian.com/business/2026/apr/19/independent...
Granted, LotR and Dune were written in the 50's and 60's, respectively, with Star Wars following a decade later.
All I'm saying is that what is new depends on what generation you grow up in. And I suppose how much media you're exposed to. Speaking for myself, LotR was the second film I ever saw in the cinema so it was a whole new experience.
For the younger generations, these are old films, much like how idk, Spartacus and co was an old film for me.
tl;dr, the kids will be alright. Actually the kids also appreciate older media, there's a whole generation of late teenagers now rediscovering 2000's music / culture.
There is and always will be mainstream, niche, the unknown and everything in between. There was always just very little new material and a lot of works just gained recognition when their zeitgeist was long overdue, too. I think experimentation is hard, and it's even harder to justify experimentation in the evolving economic climate.
Genres are meant to be collapsed, or rather they should blend and dissolve into each other. The early (and good) seasons of The Simpsons are a poster child when it comes "flattening and duplicating old material". Almost every episode cites a movie or work of literature, and there was nothing wrong with it! It's part of why I understand the 90s as a cultural era of citations, and I had to grow up with that sentiment. It took me quite some time to understand that we moved past it.
Nowadays, we are fortunate enough that a lot of things from the past 10 decades have been digitized and are readily available on demand. That's amazing! Nothing is stopping me from asking myself some naive questions, like "What makes a good drama?" or "If Die Hard is considered to be a Christmas movie, why isn't Falling Down considered to be a summer movie?". I think there is still stuff to explore.
I'll just leave this unfinished thought with a recommendation to a niche movie I discovered recently: Sleep Has Her House (2017)[0]
[0]: https://scottbarley.com/Sleep-Has-Her-House
That's why the countries where cyberpunk flourished were wealthy ones
The roaring 90s were full of this: dark music exploring critical themes or things like depression and addiction, lots of social criticism, and edgy offensive humor. The mid to late 90s were an economic boom time for a broader segment of people and were optimistic in a way that’s hard to explain today.
I like to put it this way: it’s not that things were all better in the 90s. They weren’t. But people thought they were getting better.
Now people don’t want those things. They want light entertainment, either no criticism (the right) or only approved types via approved critical theories (the left), and offensive edgy stuff is out and may get you cancelled (which side cancels you depends on the content).
But as our society has become more stratified by wealth and the vast majority have become poorer, people no longer have the mental space to think deeply. They've come to love clear, simple answers.
As you said, it's 'only approved types via approved critical theories.' As people lose their margin for error, they also lose the capacity to consider others' perspectives.
I think you explained it better than I did.
The overall concepts and elements are still around in some way, but the specific combination and language that makes cyberpunk are gone. At the end I would say they were a result of their time, and time has changed, so not it's just nostalgia and retro.
...What? It's waste from expended munitions. The Ukranian war isn't a corporate war, it's a war between sovereign nations. The drones were produced by and bought from corporations (I assume) but the result of the arms race for better measures and countermeasures would have been the same if each country had produced its own gear.
>tech waste involving computers/internet/cybernetics
Again, something doesn't become cyberpunk just because it involves computers or electronics.
>war bad
I don't think cyberpunk is anti-war as a central feature. It's certainly compatible with that message, but you could write a cyberpunk story that is pro-war, as long that war is to counter the power of corporations.
>environmental degredation etc.
All in all, discarded fibers are more of a nuisance to people than to the environment, I think.
Citation needed.
https://en.wikipedia.org/wiki/Wagner_Group_activities_in_Ukr...
What even is this argument? Why are you people wasting my and your time on this?
If municipal emergency services in yout area don't cover ambulance rides, that subscription service might not be a bad idea.
But we've also learned that we don't need to change the body itself, when we can just enhance the tools we use. Smartphones are already seen as some sort of half-step towards humans becoming cyborgs. Similar have we now Exoskeletons, which are probably more practical than replacing a full limb.
As life begins to imitate art, we're met with a The Thick Of It type situation where the satire of reality is no longer applicable and would be further diminished by continuing it
> "Time and again, The Thick of It led and reality fell in behind."
This wasn't initially true of the word cyberpunk, but over the intervening years its become true, as cyberpunk has more and more denoted the future specifically as seen from the perspective of the 1980s and early 90's. Its become "retro-actively retro".
A recent one I enjoyed was Rabbit Trap, a modern take on faerie lore.
I’ve enjoyed some horror for its tendency to subvert tropes: hero to villain, villain is really hero, everybody dies, etc.
But yeah. I can only watch blockbusters if I’m in a certain kind of mood where I want light entertainment with no thought.
But I acknowledged (and dread a bit) that the audiovisual storytelling is such a strong force that any discussion about storytelling, even when specifically talking about literature/comics storytelling, is dominated by audiovisual references. Any creative writing workshop/course that include sci fi and fantasy genres will inevitably mention Star Wars as example for whichever technique. The more literary ones will mention some Oscar winning movie, etc.
Side note: if you need new stories, I've found a lot of weird and fun stuff to read on Royal Road.
In particular: is anyone personally using a device that's as practical for .cbr files as kindle is for regular ebooks?
[0] https://www.magnetic-press.com/frontier/
If you liked Frontier's theme and are into video games I recommend you check out "Citizen Sleeper" [1] illustrated by Guillaume Singelin as well.
It's a 7 hour narrative text-based adventure that really hooked me one week-end. Your choices depend on how you "spend" your dice, dice that are cast at the beginning of every single day on the station so you get to pre-plan your actions somewhat.
Gameplay wise it's mostly reading, but I liked exploring the station they created.
[0] https://www.magnetic-press.com/carbon-and-silicon/
[1] https://store.steampowered.com/app/1578650/Citizen_Sleeper/
The Ghost in the Shell: The Human Algorithm features one story by LRNZ. His work Geist Maschine (in italian only) is amazing.
Among the Cyberpunk 2077 comics, Big City Dreams is also very good.
It is by the same illustrator as Thorgal, Grzegorz Rosiński.
(PS. in Rosiński's home land, Poland, those comics have been know under the name "Yans" because Hans was too German for that time)