This book is a collection of essays that considers the continuing cultural relevance of the cyberpunk genre into the new millennium. Cyberpunk is no longer an emergent phenomenon, but in our digital age of CGI-driven entertainment, the information economy, and globalized capital, we have never more been in need of a fiction capable of engaging with a world shaped by information technology. The essays in explore our cyberpunk realities to soberly reconsider Eighties-era cyberpunk while also mapping contemporary cyberpunk. The contributors seek to move beyond the narrow strictures of cyberpunk as defined in the Eighties and contribute to an ongoing discussion of how to negotiate exchanges among information technologies, global capitalism, and human social existence. The essays offer a variety of perspectives on cyberpunkOCOs diversity and how this sub-genre remains relevant amidst its transformation from a print fiction genre into a more generalized set of cultural practices, tackling the question of what it is that cyberpunk narratives continue to offer us in those intersections of literary, cultural, theoretical, academic, and technocultural environments.

Within the expansive mediascape of the 1980s and 1990s, cyberpunk's aesthetics took firm root, relying heavily on visual motifs for its near-future splendor saturated in media technologies, both real and fictitious. As today's realities look increasingly like the futures forecast in science fiction, cyberpunk speaks to our contemporary moment and as a cultural formation dominates our 21st century techno-digital landscapes. The 15 essays gathered in this volume engage the social and cultural changes that define and address the visual language and aesthetic repertoire of cyberpunk - from cybernetic organisms to light, energy, and data flows, from video screens to cityscapes, from the vibrant energy of today's video games to the visual hues of comic book panels, and more. Cyberpunk and Visual Culture provides critical analysis, close readings, and aesthetic interpretations of exactly those visual elements that define cyberpunk today, moving beyond the limitations of merely printed text to also focus on the meaningfulness of images, forms, and compositions that are the heart and lifeblood of cyberpunk graphic novels, films, television shows, and video games.

This book traces developments in cyberpunk culture through a close engagement with the novels of the 'godfather of cyberpunk', William Gibson. Connecting his relational model of 'gestalt' psychology and imagery with that of the posthuman networked identities found in cyberpunk, the author draws out relations with key cultural moments of the last 40 years: postmodernism, posthumanism, 9/11, and the Anthropocene.

A collection of engaging essays on some of the most significant figures in cyberpunk culture, this outstanding guide charts the rich and varied landscape of cyberpunk from the 1970s to present day.

Comprised of five chapters, Neoliberalism and Cyberpunk Science Fiction is guided by four central themes: biopolitics, intensification, resilience, and accelerationism. The first chapters examine the political possibilities of cyberpunk as a genre of science fiction and introduce one kind of neoliberal subject, the self-monitoring cyborg. These are individuals who join fitness/health tracking devices and applications to their body to "self-cultivate". Here, Alphin presents concrete examples of how fitness trackers are a strategy of neoliberal governmentality under the guise of self-cultivation. Moving away from Foucault's biopolitics to themes of intensity and resilience, Alphin draws largely from William Gibson's Neuromancer, Neal Stephenson's Snow Crash, Richard K. Morgan's Altered Carbon, along with the film Blade Runner to problematize notions of neoliberal resilience. Alphin returns to biopolitics, intensity, and resilience, connecting these themes to accelerationism as she engages with biohacker discourses. Here she argues that a biohacker is, in part, an intensification of the self-monitoring cyborg and accelerationism is in the end another form of resilience.

Simians, Cyborgs and Women is a powerful collection of ten essays written between 1978 and 1989. Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as creatures which have had a great destabilizing place in Western evolutionary technology and biology. Throughout this book, Haraway analyzes accounts, narratives, and stories of the creation of nature, living organisms, and cyborgs. At once a social reality and a science fiction, the cyborg--a hybrid of organism and machine--represents transgressed boundaries and intense fusions of the nature/culture split. By providing an escape from rigid dualisms, the cyborg exists in a post-gender world, and as such holds immense possibilities for modern feminists. Haraway's recent book, Primate Visions, has been called outstanding, original, and brilliant, by leading scholars in the field.

In this companion, an international range of contributors examine the cultural formation of cyberpunk from micro-level analyses of example texts to macro-level debates of movements, providing readers with snapshots of cyberpunk culture and also cyberpunk as culture.