In works created in The Eighties
, The Nineties
, and occasionally The nills,
the fashion, architechture, and technology will have a certain...aesthetic. Whether it be the loud, bright colors and geometric shapes, the tendency towards stark plainness,
or the the lack of powerful computers and cell phones,
it is clear that this is neither The Raygun Gothic
of days past nor the Everything Is an iPod in the Future
aesthetic that would follow, but a bridging point that contains elements of both styles.
Contrast Everything Is an iPod in the Future
. Compare to Retraux
, Retro Universe
and Raygun Gothic
- This [adult swim] Gold Commercial.
- The store in Back to the Future 2 is an in-universe example.
- Regular Show has a very '80s feel to it, despite being set in the present day. (One episode had the characters time travel to the actual 1980s.) All video graphics are 8-bit, the music is mostly Hair Metal, and some episodes ape early-MTV music video techniques.
- Several skits on Tim and Eric Awesome Show, Great Job!:
- Puppeteer and Cloudcuckoolander David Lied Hart holds a giant VHS cassette with a "VHS for sale" sign nearby.
- Uncle Muscles show sketches feature 1980s and '90s icon "Weird Al" Yankovic, and feel like a warped version of a bad '80s cable access show. The "special effects" look like they were ripped right from old Genie analog editing consoles.
- One sketch is made to look like an ad for a Midi file organizer.
- One sketch is made to look like an ad for "The Internette" (all contained on one CD!) and reeks of this trope. You have to see it to believe how deep into this trope it really is. (season 2 episode 8)
- Its Spin-Off counts as well.
- The Fifth Element has a distinctive aesthetic that looks like a lot of '90s music videos. It's deliberately futuristic looking but also quite campy.
- Babylon 5 featured lots of curved CRT screens disguised as flatscreens.
- Space: Above and Beyond also had lots of CRT screens (not disguised) as well as CDs and other mid-nineties tech.
- Cowboy Bebop has a very 1970s aesthetic, including computer files that look like long-playing records, which is appropriate since it is set in the '70s- the 2070s.
- The Fallout franchise uses this aesthetic deliberately, creating an Alternate Timeline where the transistor was never invented and society's development froze in The Fifties (until the Great War), with nuclear technology the only thing really advancing. As a result, the cars are powered by nuclear reactors but use Fifties styling, data are stored on magnetic tapes, and all the computers have vacuum tubes, phosphor-dot monitors and no graphical user interface.
- William Gibson's Sprawl Trilogy features things as complex as human memories recorded on tape. Not to mention that three megabytes of hot RAM is apparently valuable enough to kill for.
- Max Headroom, the TV movie and subsequent series. Even though it's the Trope Namer for Twenty Minutes into the Future, there's no flat-screen digital HDTV, no internet, computer graphics have a distinctly pre-Windows appearance and TV shows are still recorded on tape.
- Johnny Mnemonic has an Internet that resembles this. Though the computing technology was updated a bit from the Sprawl verse short story in that Johnny's implant has a capacity of 80 gigabytes rather than the hundreds of megabytes in the original that was written in the '80s (as opposed to the '90s).
- A Clockwork Orange uses Brutalist architecture, which features stark, blocky and concrete shapes, to represent the future. Fashions are also very bizarre, with colorful wigs and bodysuits being fairly common. Alex plays music on a microcassette.
- Strange Days is set Twenty Minutes In The Future, in a dystopian society that was only a few years away from the time of filming. The future aesthetic is mostly conveyed with loud, shiny clothing and punk stylings amongst the hip and degenerate crowd. Information is distributed by hand on discs, without any mention of the internet.