History Main / PostCyberPunk

28th Apr '17 7:03:50 AM Koveras
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* The third edition of R. Talsorian's ''TabletopGame/{{Cyberpunk}}'' RPG is set in a Post-cyberpunk world. The irony of a post-Cyberpunk game called "Cyberpunk" is not lost on anyone.
** These thematic changes are also what caused fans of the game's previous editions to react negatively to this one. The fact that the corebook's artwork consisted entirely of Photoshopped images of posed action figures in ridiculous costumes didn't help, either.

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* The third edition of R. Talsorian's ''TabletopGame/{{Cyberpunk}}'' RPG is set in a Post-cyberpunk world. The irony of a post-Cyberpunk game called "Cyberpunk" is not lost on anyone.
**
anyone. These thematic changes are also what caused fans of the game's previous editions to react negatively to this one. The fact that the corebook's core book's artwork consisted entirely of Photoshopped images of posed action figures in ridiculous costumes didn't help, either.



* ''VideoGame/MirrorsEdge'': Both the plots and the visuals are straight from the core concepts of the post-cyberpunk genre. Yet there's no technology that hasn't been around for years, and neither technology nor science play any part in the plot or gameplay.
** The game actually sits right on the edge (no pun intended) of old-school cyberpunk and post-cyberpunk with the main character Faith being a member of the underground who resist the oppressive and authoritarian government who tries to rescue her sister, who is a police officer working for the very same corrupt politicians. As a kind of minor twist in the later parts of the game [[spoiler: most of the Runners realize that they are the only ones who still believe their world follows the conventions of cyberpunk, while everyone else has accepted that reality is much more like post-cyberpunk. With their feeble rebellion against the establishment being both futile and pointless, many chose to rejoin society rather than hiding from cops in air shafts all their life.]]

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* ''VideoGame/MirrorsEdge'': Both the plots and the visuals are straight from the core concepts of the post-cyberpunk genre. Yet there's no technology that hasn't been around for years, and neither technology nor science play any part in the plot or gameplay.
**
gameplay. The game actually sits right on the edge (no pun intended) of old-school cyberpunk and post-cyberpunk with the main character Faith being a member of the underground who resist the oppressive and authoritarian government who tries to rescue her sister, who is a police officer working for the very same corrupt politicians. As a kind of minor twist in the later parts of the game [[spoiler: most of the Runners realize that they are the only ones who still believe their world follows the conventions of cyberpunk, while everyone else has accepted that reality is much more like post-cyberpunk. With their feeble rebellion against the establishment being both futile and pointless, many chose to rejoin society rather than hiding from cops in air shafts all their life.]]
8th Apr '17 4:25:25 PM DrImpossible
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* ''Anime/{{Patlabor}}'' takes place in this sort of world, though the 'punk' side of things are portrayed to vastly different extents depending on the continuity (manga, TV, film, plus wherever the OVA series fits - but in all cases fairly mildly). The main characters are all police officers, the government is on solid ground, and the corporations clearly answer to ''it'' rather than the other way around as would be the case in real life. The only practical difference between then-modern 1988 and the 1998 in the shows are [[RealRobotGenre Labors]] and the Babylon Project that prompted their creation - and compared to other robot anime of the time, that the difference is so ''minor'' is astonishing.

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* ''Anime/{{Patlabor}}'' takes place in this sort of world, though the 'punk' side of things are portrayed to vastly different extents depending on the continuity (manga, TV, film, plus wherever the OVA series fits - but in all cases fairly mildly). The main characters are all police officers, the government is on solid ground, and the corporations clearly answer to ''it'' rather than the other way around as would be the case in real life.classic cyberpunk. The only practical difference between then-modern 1988 and the 1998 in the shows are [[RealRobotGenre Labors]] and the Babylon Project that prompted their creation - and compared to other robot anime of the time, that the difference is so ''minor'' is astonishing.
7th Apr '17 11:15:12 AM erforce
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* ''Literature/AgentG'' by C.T. Phipps is a series about a cyborg assassin set TwentyMinutesInTheFuture and chronicles how the world goes from being ''our'' world into a typical Gibsonian dystopia. Notable for also drawing elements from ''Film/{{Bladerunner}}'' and ''Film/TotalRecall''. A bit unusual in that it starts as a post-cyberpunk setting before falling apart to become a cyberpunk one.

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* ''Literature/AgentG'' by C.T. Phipps is a series about a cyborg assassin set TwentyMinutesInTheFuture and chronicles how the world goes from being ''our'' world into a typical Gibsonian dystopia. Notable for also drawing elements from ''Film/{{Bladerunner}}'' and ''Film/TotalRecall''.''Film/TotalRecall1990''. A bit unusual in that it starts as a post-cyberpunk setting before falling apart to become a cyberpunk one.
1st Apr '17 4:47:22 PM CharlesPhipps
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%%* Creator/CoryDoctorow:
%%** ''Literature/DownAndOutInTheMagicKingdom''
%%** Also ''Literature/LittleBrother''
%%** and ''Makers''.


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* ''Literature/AgentG'' by C.T. Phipps is a series about a cyborg assassin set TwentyMinutesInTheFuture and chronicles how the world goes from being ''our'' world into a typical Gibsonian dystopia. Notable for also drawing elements from ''Film/{{Bladerunner}}'' and ''Film/TotalRecall''. A bit unusual in that it starts as a post-cyberpunk setting before falling apart to become a cyberpunk one.
30th Mar '17 3:07:38 PM Zaptech
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** ''VideoGame/DeusExHumanRevolution'' actually has the conflict between cyberpunk and post-cyberpunk as its core plot element. The most idealistic faction wants to give augmentation to the masses in the hopes of creating a better world, while the old guard is stirring up fears of oppression and abuse to justify regulating the technology. But others want to rid the world of it altogether. [[spoiler:Unfortunately, being a prequel, it is just as much a Shaggy Dog Story as the original; none of the endings change a damn thing.]]

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** ''VideoGame/DeusExHumanRevolution'' actually has the conflict between cyberpunk and post-cyberpunk as its core plot element. The most idealistic faction wants to give augmentation to the masses in the hopes of creating a better world, while the old guard is stirring up fears of oppression and abuse to justify regulating the technology. But others want to rid the world of it altogether. [[spoiler:Unfortunately, being a prequel, it is just as much a Shaggy Dog Story as the original; none of the endings change a damn thing.]]
22nd Dec '16 6:38:14 AM Wuz
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* 'VideoGame/WatchDogs2' is set in sunny San Francisco and the technology is used by the heroes and villains to achieve their own means.

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* 'VideoGame/WatchDogs2' ''VideoGame/WatchDogs2'' is set in sunny San Francisco and the technology is used by the heroes and villains to achieve their own means.
10th Dec '16 5:44:20 AM Ramidel
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* ''Film/MinorityReport''. It's a gritty noir tale set in 2054, and though it deals with cyberpunk themes such as BigBrotherIsWatching and SinisterSurveillance, its not a complete [[{{Dystopia}} dystopia]] and everything is actually quite shiny and clean. Washington, D.C. has the lowest crime rates in the country thanks to the Pre-Crime Division. There's some [[{{Irony}} irony]] for you...

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* ''Film/MinorityReport''. It's a gritty noir tale set in 2054, and though it deals with cyberpunk themes such as BigBrotherIsWatching and SinisterSurveillance, its not a complete [[{{Dystopia}} dystopia]] and everything is actually quite shiny and clean. Washington, D.C. has the lowest crime rates in the country thanks to the Pre-Crime Division. There's some [[{{Irony}} irony]] for you...An essay by Creator/DavidBrin asserted that when spider-bots flushed into an apartment building to check people's eyes (in hopes of finding a pre-criminal), it was portrayed as a limited intrusion agreed to by the citizens, rather than an imposition from an unaccountable elite.
10th Dec '16 5:24:53 AM Ramidel
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In Japan, the tropes that would make up Post-Cyberpunk have been a part of their science-fiction worldview since as long as {{anime}} have existed, [[UnbuiltTrope predating Cyberpunk itself]]. The incredibly influential ''Manga/AstroBoy'' portrayed technology as having the potential for both great good and great evil from the very beginning, and the PunkPunk elements were largely imported later and were never quite as popular in Japan as they were in the United States.
2nd Dec '16 12:29:48 PM avon
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The Post-9/11 atmosphere of 21st Century America also saw a marked decrease in heroes who were decidedly anti-establishment. The glut of patriotism and the War on Terror have also decreased public resistance to corporate greed and uncontrolled capitalism. Despite the dystopian nature of cyberpunk settings, it was frequently assumed that race, gender, nationality, and sexual orientation would be non-issues in the future, the rationale being that the last generation that really cared would have almost died out by then. However, now that society is in the chronological era that the majority of cyberpunk depicted, issues surrounding identitarian politics are still not only alive, but even more volatile than ever, threatening to make society more divisive. As a result, post cyberpunk is often required to shelve more futurist themes and focus on existing social issues that have carried over from the past millennium. Additionally, it is far more difficult (bordering on impossibility) to operate anonymously or in the shadows outside of the system (the "Punk" aspect of Cyberpunk) or under dual/false identities. The increase of security profiling, monitoring, hidden surveillance and current forensics technology is making it less and less possible to move around without leaving fingerprints or footprints of some type, digital or otherwise. And today, there is now the understanding that there is no anonymity or privacy on the internet.

to:

The Post-9/11 atmosphere of 21st Century America also saw a marked decrease in heroes who were decidedly anti-establishment. The glut of patriotism and the War on Terror have also decreased public resistance to corporate greed and uncontrolled capitalism. Despite the dystopian nature of cyberpunk settings, it was frequently assumed that race, gender, nationality, and sexual orientation would be non-issues in the future, the rationale being that the last generation that really cared would have almost died out by then.then (even racially homogeneous Japan is often depicted as a melting pot in the future). However, now that society is in the chronological era that the majority of cyberpunk depicted, issues surrounding identitarian politics are still not only alive, but even more volatile than ever, threatening to make society more divisive. As a result, post cyberpunk is often required to shelve more futurist themes and focus on existing social issues that have carried over from the past millennium. Additionally, it is far more difficult (bordering on impossibility) to operate anonymously or in the shadows outside of the system (the "Punk" aspect of Cyberpunk) or under dual/false identities. The increase of security profiling, monitoring, hidden surveillance and current forensics technology is making it less and less possible to move around without leaving fingerprints or footprints of some type, digital or otherwise. And today, there is now the understanding that there is no anonymity or privacy on the internet.
2nd Dec '16 12:25:56 PM avon
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The Post-9/11 atmosphere of 21st Century America also saw a marked decrease in heroes who were decidedly anti-establishment. Also, of note that in the modern world, as opposed to TheEighties, it is far more difficult (bordering on impossibility) to operate anonymously or in the shadows outside of the system (the "Punk" aspect of Cyberpunk) or under dual/false identities. The increase of security profiling, monitoring, hidden surveillance and current forensics technology is making it less and less possible to move around without leaving fingerprints or footprints of some type, digital or otherwise. And today, there is now the understanding that there is no anonymity or privacy on the internet.

to:

The Post-9/11 atmosphere of 21st Century America also saw a marked decrease in heroes who were decidedly anti-establishment. Also, The glut of note patriotism and the War on Terror have also decreased public resistance to corporate greed and uncontrolled capitalism. Despite the dystopian nature of cyberpunk settings, it was frequently assumed that race, gender, nationality, and sexual orientation would be non-issues in the modern world, as opposed future, the rationale being that the last generation that really cared would have almost died out by then. However, now that society is in the chronological era that the majority of cyberpunk depicted, issues surrounding identitarian politics are still not only alive, but even more volatile than ever, threatening to TheEighties, make society more divisive. As a result, post cyberpunk is often required to shelve more futurist themes and focus on existing social issues that have carried over from the past millennium. Additionally, it is far more difficult (bordering on impossibility) to operate anonymously or in the shadows outside of the system (the "Punk" aspect of Cyberpunk) or under dual/false identities. The increase of security profiling, monitoring, hidden surveillance and current forensics technology is making it less and less possible to move around without leaving fingerprints or footprints of some type, digital or otherwise. And today, there is now the understanding that there is no anonymity or privacy on the internet.
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