Cyberpunk is all about the notion of a worn future, that is so antithetical to the notion of hygiene and futurism of 2001 and the Jetsons.
Let's be clear on this: the Jetsons are laughable. No doubt about it. But they are also endearing. You can't help but like them and what they represent which is a highly idealized form of perfect American Dream.
Even 2001 represents a departure from the Jetsons in that it presents you with a much colder and uncaring future and technology. The robotic housemaid in the Jetsons suddenly becomes a menacing deep red dot on a wall that speaks in a monotone.
The Jetsons represent all of our best hopes for the future, they are how we wish things would happen.
And that is why we are drawn to stuff like Cyberpunk or post-apocalyptia.
Because we see in them the leavings of this idyllic future. They are the cold hard mirrors of our hopes and dreams.
And that is why we are drawn to stuff like Cyberpunk or post-apocalyptia.
Because we see in them the leavings of this idyllic future. They are the cold hard mirrors of our hopes and dreams.
And we can't help but laugh and be cynical about the Jetsons, because we've all grown up and became just a bit more disillusioned. Enough to know that the Jetsons will never happen.
But whenever we see the old Coca-Cola ads in giant blimps in Bladerunner or the Nuka-Cola ads in billboards on destroyed highways in Fallout 3, we can't help but feel just a bit heartwarmed. Because those are the reminders of what could have been.
But whenever we see the old Coca-Cola ads in giant blimps in Bladerunner or the Nuka-Cola ads in billboards on destroyed highways in Fallout 3, we can't help but feel just a bit heartwarmed. Because those are the reminders of what could have been.
Things wouldn't feel quite as desolate or hopeless or bleak if the cozy outdated songs of the twenties weren't playing over the nuclear wasteland or the urban sprawl.
They are an essential part of it. Meaning that the Jetsons, and everything about the idea of them, need to have been a possibility that never happened, so that Cyberpunk and post-apocalyptia can work fully.
If you try to build Cyberpunk or post-apocalyptia without these elements of a could-have-been future that somehow became corrupted, you're not doing it right.
And in the end, Cyberpunk and post-apocalyptia come from, and represent, our fears about the future. They are, in fact, our way of dealing with these fears and face them. To make them manageable.
They are also a way to remind those in charge, and ourselves, that things can go sour very quickly.
They are also a way to remind those in charge, and ourselves, that things can go sour very quickly.
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