I'd argue that cyberpunk wasn't primarilly about the net or cyberwear, it was about: * a visual aesthetic * a "street" / punk / outsider aesthetic * a sense of rootless anomie Recall that Gibson was influenced by "Beats" : people who don't fit in and thus fall into intersticeshttps://twitter.com/DaddyWarpig/status/1205257697429352450 …
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4/ In the street scenes you see huge masses of people ... but our viewpoint character, Deckard, never speaks to them. He talks briefly to a noodle bar vendor, but they don't share a language and no communication occurs. Deckard is on crowded streets, but is entirely alone.
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5/ Deckard has no friends. No colleagues. His interactions with Bryant are cool. With Gaff, fraught with danger. All of his interactions have massive power imbalances, either up or down.
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6/ That sense of loneliness, alienation, and massive power imbalances - with the corporations towering over you with their billboards and the government with its blimps - seems to be the aesthetic heart of cyberpunk. /exeunt
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7/ For capturing pure loneliness, Dogfight by Gibson and
@MichaelSwanwick delivers the pure uncut stuff. https://twitter.com/PrisonIslandHed/status/1205259995689807872 …This Tweet is unavailable.Show this thread -
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It’s BOTH. Massive underpopulation - most anyone who could leave did - and crowding, because everyone is lonely, so they crowd in... but still know nobody. You see it in J Sebastian having an entire building to himself, D not talking to anyone, Tyrell living alone.
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We are starting to see this in reality, dwindling populations concentrating into small (acreage) cities, but they still don’t know their neighbors at all.
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Book vs movie: practically inverse of each other, yet tell the same story/message.
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