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1%% Trope was declared Administrivia/NoRealLifeExamplesPlease via crowner by the Real Life Maintenance thread: %%https://tvtropes.org/pmwiki/crowner.php?crowner_id=3jrhy7wn
2%%https://tvtropes.org/pmwiki/posts.php?discussion=13350380440A15238800
3%%
4%% Administrivia/ZeroContextExample entries are not allowed on wiki pages. All such entries have been commented out. Add context to the entries before uncommenting them.
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8[[quoteright:300:[[WesternAnimation/WallE https://static.tvtropes.org/pmwiki/pub/images/everything-is-an-ipod-in-the-future_wall-e_1649.jpg]]]]
9[-[[caption-width-right:300:Mac OS background may or may not be included.]]-]
10
11->''"These keys say the Padré drove a Mercedes, or at least that's what they're passing off for a Mercedes these days. Modern cars, they all look like electric shavers."''
12-->-- '''Marv''', ''Film/SinCity''
13
14As TheAestheticsOfTechnology change, our [[TwentyMinutesIntoTheFuture vision of the future]] [[{{Zeerust}} does, too]]. RaygunGothic gave way to CrystalSpiresAndTogas, in turn supplanted by CassetteFuturism, UsedFuture, and CyberPunk (and ''then'' all kinds of PunkPunk). [[TheNewTwenties At the time of this writing]], the most common style for the future is a mix of all of the foregoing, plus... well, the [[IProduct iPod (or the iPhone, or iPad, or any iOS)]].
15
16Right now, being cutting-edge is all about plain black and white (maybe pastel colours if you're lucky), [[FantasticPlastic translucent plastic]], smoothed edges, screens that slide and flip out, touch screens, unobtrusive buttons, minimalist advertising and displays, [[DesignStudentsOrgasm lights that come out of nowhere]] and catchy little chimes when the devices start up. And of course, it's all small and convenient. For current evidence, look no further than the success of the iPod and the iPhone ranges, and the [[Platform/AppleMacintosh iMac]] style they were based on, their [[FollowTheLeader imitators]] and other things that have adopted the style, such as pretty much the entire range of the latest game consoles.
17
18EverythingIsOnline, and physical data storage either consists of an equivalent of a USB thumbdrive or doesn't exist at all, considering that computers are so small and compact you can carry them anywhere and transfer data wirelessly. Interfaces are designed to be soothing, easy to use and colourful, and if intelligent they'll probably be [[AnnoyingVideoGameHelper annoyingly helpful]].
19
20Of course, like every other "futuristic" visual style used in previous decades, this trope will probably be considered {{Zeerust}} after a while.
21
22This is on the shiny end of SlidingScaleOfShinyVersusGritty.
23
24Compare CrystalSpiresAndTogas. Contrast RaygunGothic, which is its opposite in a number of ways, and CassetteFuturism, which could be thought of as "Everything Is A Walkman In The Future". See also TransparentTech, HolographicTerminal, AsceticAesthetic. For when everything (in the future or otherwise) is actually made by Apple, see EveryoneOwnsAMac, as well as IPhony for direct parodies of Apple products.
25
26----
27!!Examples
28
29[[foldercontrol]]
30
31[[folder:Advertising]]
32* ''Advertising/DearAlice'': In the depicted futuristic farm, everything is monitored through sleek easy to read teal screens.
33[[/folder]]
34
35%%[[folder:Anime & Manga]]
36%%(ZCE)* The eponymous robot from ''Manga/{{Heroman}}''.
37%%[[/folder]]
38
39[[folder:Comics]]
40* In the 2005 ''Magazine/DoctorWhoMagazine'' comic strip "The Flood" (the final Eighth Doctor strip), the monsters are far-future Cybermen, who have been redesigned to look [[http://img3.wikia.nocookie.net/__cb20110720082636/tardis/images/thumb/d/df/Bowed.jpg/1000px-Bowed.jpg this]]. White? Check. Rounded, streamlined surfaces? Check. Glowy blue bits? Check.
41* The futuristic silver armor ComicBook/IronMan began sporting after ''ComicBook/{{AXIS}}'' was stated by many to have a distinct Apple influence, particularly with the color scheme and minimalist design. Marvel Editor-In-Chief Axel Alonso even referred to it as Tony's "Genius Bar costume" (a reference to the tech support stations inside most Apple stores).
42* The ComicBook/FantasticFour's black and white costumes from a few years back were clearly aiming at a Genius Bar aesthetic.
43[[/folder]]
44
45[[folder:Films -- Animation]]
46* ''WesternAnimation/DespicableMe1'' uses this to contrast Gru's classic MadScientist style villainy with the upstart, next-gen villain, Vector. Gru's base looks like something out of a ''Film/JamesBond'' film, Vector's looks like if Steve Jobs had designed an [=iFortress=].
47* ''WesternAnimation/WallE'':
48** EVE is basically a floating sentient [=iProbe=] that appears to be made mostly of curves, folds up neatly, and is packed with numerous features. Makes sense, since her character design was done by Jonathan Ive, who designed... wait for it... the [=iPod=].
49** WALL•E himself, though his design is boxy and not sleek, makes a distinctive Platform/AppleMacintosh start-up chime when he powers up, indicating that he probably runs on some form of Platform/MacOS.
50** Everything aboard the Axiom and perhaps the exterior of the ship itself is indicative of this trope.
51*** And as a rather cool bonus feature, AUTO (the autopilot) itself is [[TheCameo voiced by]] [[http://en.wikipedia.org/wiki/Macintalk MacInTalk]] (Apple's old text-to-speech software).
52* Played with in ''WesternAnimation/BigHero6''. While the rest of San Fransokyo looks like early 21st century America, Baymax has an all-white body, minimalist design, and rounded surfaces.
53* The redesigned lab of New Island in ''Anime/MewtwoStrikesBackEvolution'' gives off this aesthetic, containing an array of holographic touch panels that still remain when Mewtwo rebuilds the lab.
54* [[DoomedUpgrade Zero]] from ''Anime/PatlaborTheMovie'' has some of this look about him, which is quite impressive, given that Yutaka Izubuchi designed him in the late '80s.
55[[/folder]]
56
57[[folder:Films -- Live-Action]]
58* The headquarters of ''Film/MenInBlack'' consists of featureless, rounded shapes, from the egg-shaped furniture (which Jay can't ''quite'' get the hang of) to the oval viewscreens. This is particularly amusing because the "Men In Black" organization is using technology built during the ''previous'' incarnation of this design style, the "space age" aesthetic of the early 1960s. It also shows up in ''Film/AClockworkOrange'' and the original ''Series/{{Star Trek|The Original Series}}''.
59* ''Film/StarTrek2009'' has a [[ProductPlacement Nokia system]] built into a vintage CoolCar. The new Enterprise itself is a mix of [[{{Zeerust}} stylistic throwbacks]] but the general design seems a lot smoother than remembered. It helps that the plain white and minimalism of the old series adapts fairly well.
60** Nokia was enlisted to help design the communicators as well.
61** It's probably worth noting that the Apple.com splash screen, when the second-gen aluminium [=iMac=] was released, had a frame from that movie on the [=iMac=]'s screen.
62** In many ways the closest resemblance to anything from the original ''Franchise/StarTrek'' franchise was the look of the ship in ''Film/StarTrekTheMotionPicture'', whose pastels and self-illumination now look ahead of their time. [[http://movies.trekcore.com/gallery/albums/tmp2/tmphd0388.jpg The uniform buckles]] [[HilariousInHindsight even look like iPhones or iPod Touches]].
63** Ironically, the pop-art bright colors in ''[[Series/StarTrekTheOriginalSeries The Original Series]]'' make more sense as it was supposedly designed to prevent cabin fever among the crew.
64** At the end of ''Film/{{Star Trek IV|The Voyage Home}}'', we very briefly see the NCC-1701-A ''Enterprise'''s bridge, which is just the STTMP bridge set [[http://movies.trekcore.com/gallery/albums/tvhhd/tvhhd2278.jpg painted completely white with black touchscreens]], anticipating the iPod style in 1986. However, the design of the bridge would be significantly changed in ''Film/{{Star Trek V|The Final Frontier}}''.
65** The first bridge set for the ''USS Excelsior'' used only in ''Film/StarTrekIIITheSearchForSpock'' is positively this style. Later variants of Excelsior-class bridges, including the ''Excelsior herself'', were replaced with less minimalistic bridge sets later on.
66* The Starship Heart of Gold and Marvin the Paranoid Android in ''Film/TheHitchhikersGuideToTheGalaxy2005''. The film's artbook actually almost outlines this trope word for word. It also refers to how the designers wanted the titular guide to look like the ''previous'' generation's iPod to the Heart of Gold's current gen model.
67* In ''Film/Cube2Hypercube'', instead of something out of hell with dark shadows, visible circuit boards, spinning door latches and rumbling elevators, the environment of the new tesseract cube is almost user-friendly with all white surfaces and touch-to-open panels.
68* The film ''Film/IRobot'' pulled this off in a TwentyMinutesIntoTheFuture setting. The latest line of robots are mostly plain, slightly transparent white, with visible blue and red lights, and [[SuperPoweredRobotMeterMaids very advanced]] (suspiciously so...). Even some of the other technology has a similar aesthetic; a security monitoring system consists of a thin strip of blue light.
69* The shiny areas of ''Film/MinorityReport'' qualify -- [[https://am21.mediaite.com/tms/cnt/uploads/2015/01/mtkvpzw4-1406819043.jpeg the clothes shop]] looks like a Apple Store (the first of whom was opened one year prior to the movie's release). The technology is also full of transparent equipment (though there, plastered with holograms) and smooth, rounded designs such as the [[https://en.wikipedia.org/wiki/Lexus_2054 a futuristic Lexus]] and [[https://lh3.googleusercontent.com/proxy/Cee_eEKp-EyuSK9kiCUnCYtT7rF4EFKpDSjeNGcdEGsHDZF-KVRzr6Z0CMvv7W3I8RsXSVlQxq9HvXxLUVL9zBik0m0KcNJyxnpp_xTGC7_Jq5xUV4_poU09FrBTLg-OPKJqna7M0uKlheIq the spider droids]].
70%%* The city in the 2015 movie Tomorrowland is easily one of the best examples of this trope.
71* The Work Pods and the interior of the ''Discovery'' in ''Film/TwoThousandOneASpaceOdyssey'', made in 1968. This inspired the design of the [=iPod=], hence the name. ("I'm sorry Dave, I can't play that...") In fact, Samsung has cited 2001's tablet-like devices as Prior Art to Apple's [=iPad=] in a patent struggle.
72* ''Franchise/StarWars'': This aesthetic style is very common, depending on the planet or area. The high class has this aesthetics, the low class has to settle for UsedFuture.
73** Kamino, the [[SingleBiomePlanet ocean planet]] with the extensive cloning facilities. The facilities are almost completely white and smoothly curved, although according to background material, the inhabitants' eyesight is adapted to a spectrum of light closer to the ultraviolet part of the spectrum, meaning that the environment looks varied to them.
74** Leia's ship that gets captured at the beginning of ''Film/ANewHope''.
75** Costume designer Michael Kaplan has said that the newer, sleeker Stormtrooper armors from ''Film/TheForceAwakens'' were inspired by Apple's [=iPhone=].
76** The Rebel Alliance (and later the Resistance) uses a mix of this, UsedFuture, and RaygunGothic designs to show their [[RagtagBunchOfMisfits being an alliance of different groups united by a common cause]]. Specifically, the Alliance's capital ships are all soft white and beige tones with smooth curves, but even some of the UsedFuture ships like Princess Leia's corvette have polished interiors befitting the status of their owners.
77* ''Film/{{Tron}}'', a film that takes place inside of a computer, uses this aesthetic, partly because of the limited CG technology of the time, but mostly because everything is supposed to look sleek and virtual. The video game sequel, ''[[VideoGame/TronTwoPointOh Tron 2.0]]'', modernizes it slightly. The film sequel, ''Film/TronLegacy'', is actually an interesting subversion -- when you consider that the OS that everyone uses was made by a hacker, it makes sense that all the computer use a Command Line Interface, making for something of a Linux future.
78* The control room for the Arena in ''Film/TheHungerGames'' [[TheFilmOfTheBook adaptation]] has an Apple-like aesthetic. All the Gamemakers' desks look basically like giant iPads.
79* ''Film/TotalRecall2012'' has lots and lots of touch screen technology to spare, while also mixing this with the darker, grittier style of traditional {{Cyberpunk}}.
80* The Bubble Ship from ''Film/{{Oblivion 2013}}'' in particular is a prime example, all sleek curves and shiny white surfaces. The drones are really '''really''' pissed-off iPods.
81* The buildings and other structures in the eponymous park of ''Film/JurassicWorld'' have this aesthetic in contrast to the jungle-y safari theme used for the one in ''Film/JurassicPark''.
82* The Yellowjacket armor in ''Film/AntMan1'' is described as looking like "Apple made an Ant-Man suit." This is in contrast to the suit worn by the protagonist, which was developed in the 60's and therefore looks rougher and more leathery.
83* ''Film/{{Predators}}'': The design of the super-Predators is meant to evoke this, with the filmmakers actually comparing the original Predator design to a Walkman and the new one to an [=iPod=]. Of course, since the super-Predators are villainous even by Predator standards, it comes off as this trope mixed with ObviouslyEvil.
84* The spaceship of Ego's human avatar in ''Film/GuardiansOfTheGalaxyVol2'' is round and white.
85* The Sphere from ''Film/IndependenceDayResurgence'' is a floating, white robotic orb.
86* The design and uniforms of PCL Labs in ''Film/PokemonDetectivePikachu'' give off this vibe, with special mention going to Dr. Ann Laurent's hazmat suit and the white stasis pods [[spoiler: used to contain the Pokémon for genetic experiments, including Mewtwo]].
87* Doctor Robotnik's drones from ''Film/SonicTheHedgehog2020'' are round, white, and have black monitors with [[RedEyesTakeWarning red glowing lights for eyes]]. Since they remind Sonic of eggs, he uses them as an excuse to call him "[[MythologyGag Eggman]]". In [[Film/SonicTheHedgehog22022 the sequel]], they keep the same visual look, though they're shaped more like traditional Badniks from the games.
88* While its two predecessors both depict the future (always specifically in San Dimas, California), the one in ''Film/BillAndTedFaceTheMusic'' specifically has this aesthetic while the others do not, especially in architecture and the wholly redone design of time machines (replacing the phone booth model).
89* [[DeconstructiveParody Deconstructively parodied]] in ''Film/DontLookUp''. Peter Isherwell's spacecraft and visual technology looks impressively modern but seems to be about as reliable as the SchizoTech from Film/{{Brazil}}. Compared to the BoringButPractical UsedFuture NASA shuttlecraft that has ''zero'' failures and a predicted high chance of success, [[spoiler:two of Isherwell's spacecraft ''fail'' at launch and in the end did nothing to break up or deflect the asteroid as planned. As for his secret emergency plan to colonise another world with a SleeperShip for the world's elite, half of the cryopods fail completely (causing the deaths of the people inside) and the survivors have still aged enough to be unable to procreate and continue the species. And Isherwell [[TheSociopath cheerfully]] notes this outcome is ''better'' than all his predictions.]]
90[[/folder]]
91
92[[folder:Literature]]
93* The Chee in ''Literature/{{Animorphs}}'' are like this under their holograms: sleek ivory and steel androids that vaguely resemble two legged dogs. The Pemalite ship that powers them has a similar look.
94* In the ''Literature/TimeScout'' series, the tech is mostly normal. The incredibly expensive technology used by the time scouts is basically a battered tin/plastic case. Their satchels are just regular, battered leather satchels. In other words, averted.
95* Hoffmann's offices in ''Literature/TheFearIndex'' is described like this, where everything is sleek, clean and minimalistic.
96* The Thing in the ''Literature/NomesTrilogy''. Subverted since it can [[MadeOfExplodium explode]].
97* ''Literature/{{Starsnatcher}}'': Whether it's an MRI scanner, a radar screen, or even a factory; everything in the Seizer civilization is portable, user-friendly, and more often than not explicitly described as shiny and sleek. A lot of their gadgets are even shaped like iPods.
98[[/folder]]
99
100[[folder:Live-Action TV]]
101* In the 2007 Creator/DiscoveryChannel speculative docu-drama ''[[Series/TwentyFiftySeven 2057]]'', which can be viewed [[https://www.youtube.com/watch?v=5-px4MAKREs here]], most devices, vehicles, and buildings tend to have this aesthetic.
102* ''Series/DoctorWho'':
103** The inside of the TARDIS can be thought of as a version of this, in its original 1960s incarnation. The original set designer, Peter Brachacki, gave it a sterile white feel covered in a regular geometric pattern of circles with hints of neoclassical architecture to make it look "timeless", rather than deliberately futuristic. Due to the low budget, the control console in the middle of the room was covered with conventional buttons, dials, levers, and switches (Brachacki's original concept called for controls molded specifically to the pilot's hands), but the sterile white roundel-covered walls became iconic and continue to inform the design of the current TARDIS sets nearly 50 years on. Amusingly, attempts by subsequent less visionary designers to make the TARDIS look futuristic (especially with [[http://upload.wikimedia.org/wikipedia/en/0/0d/TARDIS_console_1983.jpg the console design in the 1980s,]] which looked like a giant [[http://en.wikipedia.org/wiki/BBC_Micro BBC Micro]]) dated at alarming speed.
104** In the 21st century revived series, the origin of the Cybermen in a [[Recap/DoctorWhoS28E5RiseOfTheCybermen parallel universe]] involved shiny rounded wireless silver earpieces called [=EarPods=] by Cybus Industries, inspired by contemporary technological trends. Apple would make actual wireless earbuds a decade later.
105* ''Series/StarTrekTheNextGeneration'' used [[DataPad iPad-like devices]] (called [[http://en.memory-alpha.org/wiki/PADD "PADDs"]]) back in 1987. The goal was to save on the prop budget by using replaceable painted glass "touch screens" that could be updated to suit the plot, rather than designing a new machine with buttons and dials every time one was needed. However, the pads appear to be specialized in the content and functions they offer, often requiring crew members to swap between multiple pads to achieve different functions or access different files.
106** The 32nd century Starfleet lives and breathes this trope in ''Series/StarTrekDiscovery''. The [[https://i2.wp.com/musingsofamiddleagedgeek.files.wordpress.com/2020/11/screen-shot-2020-11-17-at-6.58.18-pm-e1605668953647.png?ssl=1 interior]] of Federation Headquarters has enough cool blue-white lighting and sleek minimalist decor to make Steve Jobs blush.
107** The entire ''[[Franchise/StarTrek Star Trek]]'' franchise's predilection for this aesthetic can probably be traced to the fact that Gene Roddenberry had obtained a plastic-spraying machine for coating miscellaneous TV props with a sleek-looking and rounded layer of plastic. The fact that much of the real world's modern technological aesthetic can be traced back to ''Star Trek,'' and in turn to the fact that Roddenberry had this simple gizmo for making TV props cheaply, is rather amusing.
108* Despite ''Series/ICarly'' being something of a rip-off of the 'iPod Generation', the actual tech they used is completely opposite. The "Pear" Pods are literally shaped like pears, they're very colorful, and their laptops avert the typical white Macbook color scheme. The Pear "Pad" is a massively exaggerated version of the iPad that's about as big as most common LCD computer monitors.
109* ''Series/{{Andromeda}}'' computers are rather like this.
110* The interiors of Moonbase Alpha on ''Series/Space1999'', and the Alphans' Rudi Gernreich-designed uniforms (particularly during the first season, when they were more unisex).
111* Present in ''Series/BlackMirror''. The future technology seen is generally sleek, white/gray, and lacks features like visible buttons.
112
113[[/folder]]
114
115[[folder:Music]]
116* The spaceship appearing in the music video for [[Music/MichaelJackson Michael]] and Music/JanetJackson's "Scream".
117* The [[{{Robosexual}} lesbian robots]] in Music/{{Bjork}}'s "All Is Full of Love" video.
118* Music/LaOrejaDeVanGogh: The computers in the video for [[https://www.youtube.com/watch?v=mNbF4N3_xgI "Europa VII"]], with a bit of RaygunGothic mixed in for variety.
119[[/folder]]
120
121[[folder:Tabletop Games]]
122* One of the aesthetics in ''TabletopGame/GeniusTheTransgression'' is called "Pod People." The corebook mentions an editorial cartoon in a Genius-run magazine supposedly depicting the standard Pod People DeathRay: its description sounds like an iPod with its controls replaced by a single button labeled "KILL."
123* In ''TabletopGame/PrincessTheHopeful'', the most common aesthetic for modern Ambassadors to the Machine is the "[=iPrincess=]" look, with sleek, hard white clothing and TechnicolorEyes, hair and skin. The aesthetic competes with {{Steampunk}} {{Wrench Wench}}es, and some older Princesses stick to a {{Zeerust}} look that was popular when they first got into the Embassy.
124* The Tau Empire in ''TabletopGame/{{Warhammer 40000}}'' combine this with CrystalSpiresAndTogas (at least [[EmpireWithADarkSecret on the surface]]).
125* ''TabletopGame/{{Traveller}}'' fits this to a T with illustrations of computers looking almost exactly like twenty-first-century ones. Justifiable in that, after you have miniaturized past a certain level, user-friendliness, fashion and aesthetics become priority. Maybe you can someday put several terabytes into a datadisk the size of a dime, but a human still needs to interface with it comfortably, so it is hard to picture computers designed to communicate directly with a human being smaller than a palmtop without being inconvenient. Wristwatch-sized computers -- "datacloths", which seem to be flexible paper-thin screens -- and multitudes of other arrangements are available, however pictures and descriptions, one of the most popular arrangements seems to be a Kindle-like DataPad.
126* ''TabletopGame/EclipsePhase'' has this, because any object not physically implanted or worn has to be usable by everything from ordinary humans to uplifted squid. As a result, everything is palm-sized, made of smooth cream-coloured plastic, lacks corners or sharp edges, and more than likely doesn't even have buttons since you can operate most things mentally.
127[[/folder]]
128
129[[folder:Video Games]]
130* This is true of the Sheikah Slate in ''VideoGame/TheLegendOfZeldaBreathOfTheWild''. [[SufficientlyAdvancedBambooTechnology Though it superficially looks like something from the Jomon period]], the moment you turn the slate on it shows a modern touch screen interface exactly like a DataPad. It's no wonder that [[https://www.youtube.com/watch?v=TQ6jisr1Nlk&list=PLSQLREUw9vwlh8bzgvZCt_WS8615trN5H the fans have taken to calling it 'Link's Ipad'.]]
131* ''VideoGame/{{Portal}}'': Aperture Science product design borrows heavily from Apple, especially with the turrets. In fact, one of the turrets from ''Portal'' was used to represent a Macintosh computer in a "Steam for Mac" ad, with a ''VideoGame/TeamFortress2'' Sentry representing the PC. Continued in the sequel, ''VideoGame/Portal2'', albeit with a few more exposed mechanical parts.
132** ''VideoGame/SarmaCube'' is even more Ipad-styled than Portal.
133** ''VideoGame/PortalReloaded'': Aperture Science still has the same aesthetic.
134* A literal example in ''VideoGame/MechQuest''. The player character's PDA is an [[PunnyName Eye-Pad]].
135* The city in ''VideoGame/MirrorsEdge'' is like [[http://jollyjack.deviantart.com/art/How-to-play-Mirror-s-Edge-115382910 living in an iPod]].
136* The entire city of Esthar in ''VideoGame/FinalFantasyVIII'' looks like an [=iMac=]: everything has a sleek, rounded design and is built in translucent jewel colors, primarily sky blue, bright pink, and green.
137* The Gamecube game ''Videogame/{{PN 03}}'' takes place mostly in a colony that employs the Mac design philosophy.
138* The shinier locales in ''Franchise/MassEffect'', like Illium or the Citadel, tend towards smooth white walls and blue {{Holographic Terminal}}s. Both of the Normandy ships also have a sleek, minimalist aesthetic in their interior.
139* Terran ships and stations in the ''[[VideoGame/{{X}} X-Universe]]'' are an example of this in sharp contrast to both other races and Argon (human LostColony) ships which are instead [[IsoStandardHumanSpaceship gray, blocky and have more exposed machinery]].
140%%* The Empire of the Rising Sun in ''[[VideoGame/CommandAndConquer Command & Conquer: Red Alert 3]]''.
141* Aeon technology in ''VideoGame/SupremeCommander'' is like this, in contrast to the utilitarian UEF look or the Cyberpunk Cybrans.
142* ''VideoGame/PuttPutt Travels Through Time'' predicted the future would take place on {{Floating Continent}}s, with teleportation being possible, having food makers for all living creatures, libraries where you could print your own stories, museums where calculators are ancient mathematics artifacts, and [[ArtisticLicenseEconomics there is no such thing as money.]]
143* The Parasites from ''VideoGame/GratuitousSpaceBattles''. Their ships consist entirely of white metal hulls with brightly colored, transparent accents, and sleek weapons.
144* To "[[RevenueEnhancingDevices commemorate]]" the public beta release of ''VideoGame/LeagueOfLegends'' for the Mac, [[http://riot-web-static.s3.amazonaws.com/images/news/March_2013/03_01_2013_-_iBlitz_release/Blitzcrank_i_Splash.jpg iBlitzcrank]] was introduced.
145* The near-future world of ''VideoGame/LostEcho'' features this trope both in- and out-universe, since the game is made for iPod and iPad.
146* ''VideoGame/{{Simcity}}'''s expansion ''Cities of Tomorrow'' uses this design philosophy for its cleaner, more utopian structures. The dystopian ones are more [[SlidingScaleOfShinyVersusGritty gritty]] in design.
147* ''VideoGame/PlanetSide 2'''s Terran Republic employs the [=iPod=] aesthetic for most of their equipment; in contrast to the [[MegaCorp New Conglomerate's]] philosophy of "[[OurWeaponsWillBeBoxyInTheFuture we don't believe in 'the curve']]" and the [[MachineWorship Vanu Sovereignty's crab]] aesthetic, TR equipment is made of simple swooping and straight lines, and regular circles. While NC equipment is unpainted metal and VS are [[HighTechHexagons hexagonal ceramics]], TR uses large amounts of plastics and carbon-fiber.
148* In ''VideoGame/GalaxyOnFire II'', [[ResearchInc Deep Science]] ships definitely have this aesthetic. One looks like an [=iPod=] version of the RealLife Predator drone.
149* With the ''Rising Tide'' expansion for ''VideoGame/CivilizationBeyondEarth'', the overall aesthetic of the Purity/Supremacy hybrid affinity is this - the ideology celebrates humanity's status as the "tool user", using science and technology to overcome any obstacle. [[http://blog.gameagent.com/wp-content/uploads/2015/09/hybrids_003.jpg Here]] is a released image showing the progression of the basic infantry unit.
150* In ''VideoGame/{{Warframe}}'', Cephalon technology embodies this aesthetic. Weapons and tools have streamlined shapes with minimal decoration beyond some [=LED=] trim and suspended holograms. Apparently even [=AIs=] can have a taste in fashion.
151* ''Franchise/{{Fallout}}'':
152** The in-universe explanation for {{avert|edTrope}}ing this trope is a worldwide petroleum shortage that has made the manufacture of commercial plastics very expensive, hence why, among other examples, the go-to construction material for rifle stocks is wood or metal over plastics, home appliances are made of metal, and everything generally [[RaygunGothic looks like the pre-plastic world]].
153** The Institute has this going on very straight in ''VideoGame/{{Fallout 4}}''. A stark contrast to everything else in the franchise, as their energy weapons and armor are sleek and clean-looking (and also less powerful than the bulkier, dirty Pre-War equipment they're derived from), while the Institute itself is very futuristic looking with clean white walls, decorative fountains, sleek doorways, and transparent walkways.
154* Maliwan banks heavily on this in ''VideoGame/{{Borderlands 2}}''. Their gear is all smooth lines with very few sharp angles, their gun magazines look more like battery packs, their sights are holographic projections and their sniper scopes display what look almost like a full HUD on the rear lens, and all their guns are elemental, a technological cut above most of the competition. Funnily enough, they're the one company in the game that goes the biggest lengths to avert SightedGunsAreLowTech.
155* ''VideoGame/AceCombat3Electrosphere'', the one installment of ''VideoGame/AceCombat'' set in TheFuture proper of [[AlternateUniverse Strangereal]] instead of TwentyMinutesIntoTheFuture, has this aesthetic to its plane designs, even the real life ones are future-ized versions with similar sleek curves, lack of canopies and predominantly white paintjobs. Being a game from 1999, they are more in-line with the [=Y2K=] futurism and "blobitecture" aesthetic.
156* ''VideoGame/EndlessSpace'': The key aesthetic of the BadassAdorable Sophons, [[https://www.youtube.com/watch?v=-SAas2hs7Fg see for yourself]].
157* ''VideoGame/XCOMEnemyUnknown'': The aliens' tech is mostly made of sleek curvy shapes with TronLines, especially the {{plasma|Cannon}} weaponry they tote. [[HumansAdvanceSwiftly When XCOM repurposes their highest-end technology]], they also adopt this look, as especially visible on the plasma SniperRifle and the heavier armors[[labelnote:*]]although for the latter, it's possible to customize the deco of all but the [[JetPack Archangel armor]] so it's bulkier and less sleek[[/labelnote]]. There's one aspect where this affects gameplay, and that is when boarding the scout ships, the roundest and sleekest of all [=UFOs=] – the angled walls make breaching from the open sides risky due to the lack of visibility, so it's not a bad idea to circle around and go in through the front; it also works in XCOM's favor once inside, as any aliens outside tend to go in through the closest entrance, and lateral entrances make for great funnels for Overwatch traps.
158* Ships used by TheEmpire in ''VideoGame/EliteDangerous'' very much follow this aesthetic, with curvy flowing shapes and defaulting to bright white paint. TheFederation, on the other hand, tends towards the blocky and angular StandardHumanSpaceship, and the ships of TheAlliance more or less hold a middle ground.
159* The [[MegaCorp Alterra Corporation]] in ''VideoGame/{{Subnautica}}'' uses this trope as their primary design motif, with extensive use of curved, shiny surfaces on all of their products, from tools to submersibles.
160* ''Franchise/{{Pokemon}}'' examples:
161** The Pokédex interface and physical design has increasingly gone this way from Generation V onward. ''VideoGame/PokemonBlackAndWhite'' and ''VideoGame/PokemonBlack2AndWhite2'' used a design that resembles an iPod combined with a slider phone. ''VideoGame/PokemonXAndY'' had one resembled a contemporary smartphone from that time. ''VideoGame/PokemonSunAndMoon'' and ''VideoGame/PokemonUltraSunAndUltraMoon'' introduced the Rotom Dex, which is essentially a flying iPad with Rotom acting as a companion akin to Siri. The redesigned Kanto Pokédex in ''VideoGame/PokemonLetsGoPikachuAndEevee'' also resembles a tablet, and ''VideoGame/PokemonSwordAndShield'' outright merges Rotom with the smartphones of people taking the gym challenge, including those of the heroes.
162** Generation VII also features the Aether Foundation, with the white color scheme of their uniforms and Aether Paradise resembling the motif of a nature preserve combined with an Apple Store.
163** Possible gen IX spoilers: [[spoiler:The Future forms of most Pokémon in ''[[VideoGame/PokemonScarletAndViolet Pokémon Violet]]'' that got one can be considered this, them being robotized versions of said Pokémon. A funny thing about this is that those forms, apart from being robotic and "sleek", are also smaller than their original counterparts, likely paralleling how slimmer modern devices are compared to previous iterations]]
164* ''VideoGame/{{Overwatch}}'' takes place TwentyMinutesIntoTheFuture and has all sorts of incredible technology of varying aesthetics, [[DownplayedTrope so perhaps it's not "everything"]], but it is present in a few notable places.
165** The Vishkar Corporation is one of the most powerful (and corrupt) tech corporations in the world, and it heavily involves itself HardLight construction [[LightIsNotGood that manifests its technology as white, sleek, and comforting.]] Symmetra -- its representative playable hero -- has an [[ArtificialLimb artificial arm]], [[RayGun Photon Projector weapon]], and other devices like sentry turrets and teleporters that all incorporate the aesthetic.
166** [[DittoFighter Echo]] was designed to be a constantly-evolving robot and is considered by the game's creators as ''the'' most advanced piece of technology in the entire setting. Not surprisingly, she's also heavily evocative of the look despite being created by [[HeroesRUs Overwatch]], not Vishkar, and sort of looks like if EVE from ''{{WesternAnimation/WallE}}'' had grown up and was also made to lightly resemble [[FlyingFirepower a fighter jet]], being white, pristine, curvy, and pleasantly-voiced.
167* ''VideoGame/MetroidDread'' features the robotic EMMI, with a sleek design and [[RedEyesTakeWarning singular red photoreceptor]], serving as major antagonists of the game. The first one seen in the trailer is even white, though others in the game come in different colors.
168* ''VideoGame/SonicRidersZeroGravity:''
169** Monopole, the city of the future where the story starts and ends, is filled with facilities and vehicles that are clean, streamlined, shiny, and almost barren of color.
170** While the Megalo Station track located here has a bit of color, the Aquatic Capital racetrack shares the [=iPod=] aesthetic, as does the Crimson Tower as seen in cutscenes.
171** The SCR-GP robots that serve as generic enemies during races are all {{transforming|Mecha}} {{monowheel|Mayhem}}s with an [=iPod=] shell. Their KingMook, the SCR-HD, shares this aesthetic, [[spoiler:as does its OneWingedAngel form Master Core: ABIS]].
172[[/folder]]
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174[[folder:Web Animation]]
175* ''WebAnimation/{{RWBY}}'': Scrolls are sleep collapsible devices that functions as a phone, messenger (email, text and video), camera, portable computer, video game controller and holographic projector. They can connect to any wi-fi or IT device simply by touching it, such as interfacing with the surface of an academy headmaster's desk, slotting into terminal ports, or sharing ID by holding the device up to a scanner. No matter what technological task is required, a scroll is almost always up to the task of doing it. They can even monitor Aura levels for Huntsmen, both individuals and entire teams. Everyone from children to adults uses scrolls, making them extremely accessible and ubiquitous. Atlas, the technological innovator of the world, takes this one step further by making all of its technology sleek and interactive; this even includes its battle droids, which are overhauled in Volume 2 to specifically include the ability to add a "human" touch by giving them sleeker, smarter and friendlier aesthetics. Atlas' poor sister city, Mantle, however, subverts this by being a decaying, dystopian cyberpunk setting to emphasis how the Kingdom of Atlas splits its wealth.
176[[/folder]]
177
178[[folder:Webcomics]]
179* [[RobotBuddy Winslow]] in ''Webcomic/QuestionableContent'' is basically a very large, self-aware [=iPod=] with arms, legs and a video-screen "face", supposedly made by Apple. His PC and Linux-based counterparts have somewhat more physical faces that can change expression.
180* In ''Webcomic/AMadTeaParty'', 200 years in the future, there are iPad-like things for breaking into cars and checking medical files on the internet.
181* ''Webcomic/DomainTnemrot'': Tempest has a computer that looks and acts like an iPad. This is explained in the [[WordOfGod notes]] as almost all tech in the future being based around the touch screen.
182* In ''Webcomic/CommanderKitty'', [[http://www.commanderkitty.com/2010/10/17/not-for-internal-use/ the inside of Zenith Central evokes this aesthetic]], down to the egg chair-turned-escape pod CK and Nin Wah ride in on. Taken more literally earlier, [[http://www.commanderkitty.com/2009/10/18/cliffhanger/ when the iKnow device is advertised through a parody of Apple commercials.]]
183[[/folder]]
184
185[[folder:Web Original]]
186* ''Literature/FloatingPoint'' features living [[ArtificialIntelligence A.I.]] Programs who are essentially walking smartphones, with their own self-installed Apps, making this trope somewhat literal.
187* ''Literature/IlivaisX'' follows this design, with cities being futuristic bubbles held above the land, and the HumongousMecha typically being very sleek and advanced. The Avespias are the only units to even have any kind face, as the Ilivais prototypes have curved wedges with a sensor web, and the Espadas are piloted from within a shoulder-mounted sphere.
188* In ''Podcast/ShuffleQuest'', when the heroes visit the high-tech world of ''Men in Black'', Terok Nor's spellbook transforms into a literal iPad - which Terok uses to consume the wildest conspiracy nonsense the Internet has to offer.
189[[/folder]]
190
191[[folder:Western Animation]]
192* ''WesternAnimation/TheAmazingWorldOfGumball'': In "[[Recap/TheAmazingWorldOfGumballS4E12TheUpgrade The Upgrade]]", Gumball and Darwin take Bobert the robot to be fixed at the Bobert Store, where everything is bright white, even the employees. They end up buying a new Bobert -- and while the original was already white and rather sleek, the new model is shiny black and even sleeker.
193* SpaceshipGirl Aya in ''WesternAnimation/GreenLanternTheAnimatedSeries'' is basically a humanoid EVE with emerald energy highlights. The ''Interceptor'' itself has the same design.
194* Parodied in the ''WesternAnimation/SpongeBobSquarePants'' episode "[[Recap/SpongeBobSquarePantsS1E14SB129KarateChoppers SB-129]]", in which everything in the future is chrome. They even have guys who drive around in vans spray-painting everything that's not already chrome.
195[[/folder]]

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