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The progression of the genre mirrors how society in RealLife viewed technology. In [[TheEighties the 1980s]], some people argued that the dystopian future of CyberPunk was probable, that technology was not going to improve life; instead it was going to help 'The Man' institute a world similar to that feared by the likes of [[Literature/NineteenEightyFour George Orwell]], only with more consumerism, mindless hedonism and porn advertising. [[BigBrotherIsWatching Surveillance and computer networks would create Big Brother and make privacy obsolete]]. [[MegaCorp Megacorporations]] were going to stomp out individual rights and enslave creativity for the sake of [[CorruptCorporateExecutive Profit]]. And [[JapanTakesOverTheWorld Japan was going to take over the world]]. In the 1990s and 2000s RealLife, the Internet averted its expansion into Big Brother, on the contrary becoming the manifestation of the First Amendment, allowing free press and ordinary people the freedom and resources to express themselves and share ideas like never before. Giant corporations were still extremely powerful, but they didn't become the big bad guys, and the Internet essentially allowed the masses to watch over Big Brother. Additionally, the open-source movement provided a grassroots technological base to ordinary people, who in turn embraced some key open software.
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The progression of the genre mirrors how society in RealLife viewed technology. In [[TheEighties [[The80s the 1980s]], some people argued that the dystopian future of CyberPunk was probable, that technology was not going to improve life; instead it was going to help 'The Man' institute a world similar to that feared by the likes of [[Literature/NineteenEightyFour George Orwell]], only with more consumerism, mindless hedonism and porn advertising. [[BigBrotherIsWatching Surveillance and computer networks would create Big Brother and make privacy obsolete]]. [[MegaCorp Megacorporations]] were going to stomp out individual rights and enslave creativity for the sake of [[CorruptCorporateExecutive Profit]]. And [[JapanTakesOverTheWorld Japan was going to take over the world]]. In the 1990s and 2000s RealLife, the Internet averted its expansion into Big Brother, on the contrary becoming the manifestation of the First Amendment, allowing free press and ordinary people the freedom and resources to express themselves and share ideas like never before. Giant corporations were still extremely powerful, but they didn't become the big bad guys, and the Internet essentially allowed the masses to watch over Big Brother. Additionally, the open-source movement provided a grassroots technological base to ordinary people, who in turn embraced some key open software.
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In the science fiction genre, PopCulturalOsmosis has labelled any dystopian futures as cyberpunk, even going as far as to retro-label films like ''Franchise/{{Alien}}'', ''Film/{{Outland}}'' or any work employing tropes such as UsedFuture, CrapsackWorld, SpaceTrucker, PostApocalyptic, or [[FilmNoir Future Noir]] as such, due to sharing similar tropes along with an explicitly darker, cynical, nihilist, or otherwise non-idealistic mood. However, cyberpunk proper tends to restrict its setting to near future Earth. Although, as in ''Film/BladeRunner'', offworld presence is mentioned, these offworld locations tend to not be the focus and are usually suggested to be less developed than Earth, keeping with the idea that colonization of space (if it really exists at all) is still in its infancy. Interstellar travel and an interstellar community open up new cultural and social paradigms that should lie outside traditional cyberpunk as it suggests a more distant future where today's cultural, social, political, and economic philosophies are obsolete. Traditional cyberpunk is typically set not much more than TwentyMinutesIntoTheFuture where their issues are a direct extension of today's issues, just like offerings from TheEighties reflected the zeitgeist of that period. It is also worth noting that the protagonists of the above three mentioned movies were not social outcasts, disenfranchised misfits (punks), or [[HackerCollective underground hacker types]], but were adult professionals and denizens of the conservative establishment, either company employees, soldiers, or police officers.
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In the science fiction genre, PopCulturalOsmosis has labelled any dystopian futures as cyberpunk, even going as far as to retro-label films like ''Franchise/{{Alien}}'', ''Film/{{Outland}}'' or any work employing tropes such as UsedFuture, CrapsackWorld, SpaceTrucker, PostApocalyptic, or [[FilmNoir Future Noir]] as such, due to sharing similar tropes along with an explicitly darker, cynical, nihilist, or otherwise non-idealistic mood. However, cyberpunk proper tends to restrict its setting to near future Earth. Although, as in ''Film/BladeRunner'', offworld presence is mentioned, these offworld locations tend to not be the focus and are usually suggested to be less developed than Earth, keeping with the idea that colonization of space (if it really exists at all) is still in its infancy. Interstellar travel and an interstellar community open up new cultural and social paradigms that should lie outside traditional cyberpunk as it suggests a more distant future where today's cultural, social, political, and economic philosophies are obsolete. Traditional cyberpunk is typically set not much more than TwentyMinutesIntoTheFuture where their issues are a direct extension of today's issues, just like offerings from TheEighties The80s reflected the zeitgeist of that period. It is also worth noting that the protagonists of the above three mentioned movies were not social outcasts, disenfranchised misfits (punks), or [[HackerCollective underground hacker types]], but were adult professionals and denizens of the conservative establishment, either company employees, soldiers, or police officers.
