Few genres are as steeped in nihilism as cyberpunk. Often set in near-future worlds, the books, films, and games of the cyberpunk genre often examine the intersection between high technology and the fringe of society. Characters aren’t simply confronted with the oppression of society; they also must battle against the feelings of alienation in an environment that is increasingly dominated by technology. In some cases, this technological domination extends as far as the bodies of the characters. As a genre, cyberpunk does not want for conflict.
Introduction:
First coined by the author Bruce Bethke as a short story title in 1983, cyberpunk is a strain of science fiction in which cybernetics and information technology are blended with dystopian elements. Whether the dystopia arises out of a nuclear holocaust, a biological event, or the advent of revolutionary piece of technology, the society shown in cyberpunk media is often characterized by distinct social strata with a particular emphasis on the lowest elements of society. According to Lawrence Person’s article Notes Toward a Postcyberpunk Manifesto:
Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.
Although many authors have written books that are classified as cyberpunk, the two most prominent are William Gibson and Neal Stephenson. As is widely known, Gibson originated the word “cyberspace” in his novel Neuromancer. Influential as the novel was, the most widely-read work of cyberpunk may actually be Stephenson’s Snow Crash. Even prior to the introduction of the term, authors like Harlan Ellison, Philip K. Dick, and Stanislaw Lem could be described as creating works in the cyberpunk genre.
In cinema, the grit of the cyberpunk culture is often highlighted with elements of noir. Films like Blade Runner, Dark City, and The Matrix employ cinematic chiaroscuro to emphasize the segmentation of society between the light (the favored) and the dark (the lost). As with any genre that is featured in many films, cyberpunk has its fair share of representatives in the gaming universe.
Just for the sake of the weary reader who has tired of my gushing over the universe of Shadowrun, I’ll simply note that it fits squarely in the cyberpunk genre (albeit with fantastical elements) and point out that there have been three games based in that world, one on the SNES, one of the Genesis, and a depressing SKU on the Xbox 360.
Deus Ex (2000):
One of those rare first person shooters with RPG elements, especially back in 2000, Deus Ex followed the adventure of JC Denton in the 2050s. As a member of an elite anti-terrorist organization, Denton becomes enmeshed in a multi-layered conspiracy as the Illuminati, Majestic 12, and triads all vie for power in the chaotic world. In this globe-hopping game, Denton tracks down leads in New York, Hong Kong, Paris, and other international locations.
Throughout the game, the player is confronted with many different paths to a specific goal. Stealth may be the most effective method of approaching a particular scene, but it is just as possible for a player with more points in combat skills to take on the enemies as a one man army. The direct control over the abilities of an avatar seen through the first-person perspective gives the player a heightened sense of immersion in the environment.
When this game out, my roommate and I spent many, many hours playing this game. We took turns with one person watching over the other’s shoulder as we played. We played on my computer in my dorm room, and when class compelled me to go to sleep, I often woke up with my roommate still playing.
It maintains a Metacritic rating of 90, and it was re-released in a Game of the Year addition to take advantage of the many awards heaped upon it.
It only sold 91K in 2001, but based on the strength of the IP, a sequel was made, and a third installation in the series was recently announced.
Syndicate (1993):
Originally released on the Amiga and PC, this tactical shooter featured a squad of cyborgs who take control of territories and tax the populace like the mafia might. As the player takes control of more territories, he is able to upgrade the weapons of his team of cyborgs. The player builds this influence to further the goals of his corporate or religious masters. As with many cyberpunk games, the governments have become overshadowed by corporations.
This classic game was expanded into a series with an expansion as well as a sequel. Peter Molyneux stated:
Aside from the licensing complications, some sort of next-gen online version of Syndicate would certainly be popular with gamers.
It certainly inspires feelings of nostalgia in a lot of gamers.
System Shock (1994):
In some ways, this is the game that sparked the cyberpunk genre in games. It was set in 2072 and featured a hacker as the main character and a malevolent artificial intelligence as the main antagonist. The fact that the game occurs on a space station is rather beside the point. A first-person shooter with true 3-D environment, the game is very much the model for Deus Ex with the main character installing hardware through his neural implant to add new abilities. This is of course something that BioShock used to great effect, and Ken Levine has commented that
the spirit of System Shock is player-powered gameplay: the spirit of letting the player drive the game, not the game designer.
The atmosphere of the game is tense and riveting, even after all these years. Its influence can be seen in games like BioShock and even Portal (Hello, GLaDOS). It is the model upon which many subsequent first-person shooters built upon.
Though it only sold 170,000 copies, the game eventually received a sequel based on all the critical acclaim it received.
Final Fantasy VII (1997):
I’ll bet you thought I could make it through a feature without a reference to Final Fantasy. You were wrong.
There is no government to speak of in FFVII; the Shinra Corporation is the closest to a universal power that exist. Our protagonist, Cloud, may wield a sword, but he’s accompanied by two gun-wielding companions, Barrett and Vincent. As I mentioned in my FFVII retrospective, the entire city of Midgar is extremely reminiscent of the setting of Dark City. The game even begins in the Slums, and an argument can be made that the adventure doesn’t truly begin until a segment upper portion of Midgar collapses on top of the slums beneath. The division between the haves and have-notes, the dark and the light, could not be more clearly drawn.
9.72 million in sales. That’s pretty much all you have to say. It transformed Japanese RPGs from a niche genre in the U.S. into a force to reckoned with.
Hellgate: London (2007):
I know what you’re thinking: really? Hellgate: London? But there are demons! And Hell!
Set in the near future (2038), there is a blend of technology and mystical powers very much in the style of Shadowrun with both a single player mode and online multiplayer. To borrow the description from Hellgate‘s website:
A post-apocalyptic London has been overrun by hordes of terrifying demons, leaving the city desolate and scorched by hellfire. Those who were unlucky enough to survive now gather in the only sanctuary left, the Underground, banding together in order to gain a foothold against the minions of darkness and ultimately save the bloodline of humanity.
It is no surprise that these sole survivors come from three of society’s most elite factions, each of whom are masters of a robust number of skills and weapons essential to demon-thrashing.
The Templar, a secret society preserving the rites of the original Knights Templar, mix futuristic technology with ancient artifacts to create powerful weapons and armor perfect for short-ranged and melee attacks.
The Cabalists are students of the dark arts and edges of science which often leaves them standing right on the line between good and evil. Their mystifying spells make them suited for mid-range combat.
The Hunters are mysterious, highly trained ex-military operatives who lay waste to their foes with hyper-advanced weapons that blend theoretical science and the latest in technology – and their bullets can come from almost any distance.
While it might not be a corporation, world domination by demons neatly creates that dystopian dynamic of the haves and have-nots. The setting of the game in the Underground emphasizes the power of the high versus the low and the power of darkness over a population. If one wanted to extend the metaphor a bit, the automatically generated dungeons places the player squarely in the position of being ill-informed and kept in the dark.
While it has a Metacritic rating of 71, the game has been criticized for early problems with glitches and inconsistent multiplayer.
No sales figures have been released for Hellgate: London, which typically does not bode well for a game.
Conclusion:
Aside from Final Fantasy VII, this genre is dominated by low-selling, critically acclaimed games. Thankfully, despite the sales figures, the gaming community recognizes the power of this genre and games continue to be developed for it. Movies like Blade Runner aren’t always box office successes, but they often go on to become cult classics. Any genre that allows the creator to explore sociological disparities should stay around for as long as possible.