Editing Cyberpunk (section)

=== Literature ===
{{See also|List of cyberpunk works#Print media|Cyborgs in fiction}}

Minnesota writer [[Bruce Bethke]] coined the term in 1983 for his short story "[[Cyberpunk (novel)|Cyberpunk]]", which was published in an issue of ''[[Amazing Stories|Amazing Science Fiction Stories]]''.<ref>{{Cite web|title=Cyberpunk - a short story by Bruce Bethke|url=http://www.infinityplus.co.uk/stories/cpunk.htm|access-date=2022-12-29|website=www.infinityplus.co.uk}}</ref> The term was quickly appropriated as a label to be applied to the works of [[William Gibson]], [[Bruce Sterling]], [[Pat Cadigan]] and others. Of these, Sterling became the movement's chief ideologue, thanks to his [[fanzine]] ''[[Cheap Truth]]''. John Shirley wrote articles on Sterling and Rucker's significance.<ref>{{cite web|first=John |last=Shirley |author-link=John Shirley |title=Two Cyberpunks: Sterling and Rucker |year=1999 |url=http://www.darkecho.com/JohnShirley/jspunks.html |url-status=dead |archive-url=https://web.archive.org/web/20081231024409/http://www.darkecho.com/JohnShirley/jspunks.html |archive-date=2008-12-31 }}</ref> [[John Brunner (novelist)|John Brunner]]'s 1975 novel ''[[The Shockwave Rider]]'' is considered by many{{Who|date=January 2015}} to be the first cyberpunk novel with many of the [[trope (literature)|tropes]] commonly associated with the genre, some five years before the term was popularized by Dozois.<ref>{{cite book|last1=Blue|first1=Violet|title=Wetware: Cyberpunk Erotica|date=6 August 2015|publisher=Digita Publications|edition=First|url=https://www.amazon.com/Wetware-Cyberpunk-Erotica-Violet-Blue-ebook/dp/B013AFNGQG/|access-date=20 February 2016}}</ref>

William Gibson with his novel ''[[Neuromancer]]'' (1984) is arguably the most famous writer connected with the term cyberpunk. He emphasized style, a fascination with surfaces, and atmosphere over traditional science-fiction tropes. Regarded as ground-breaking and sometimes as "the archetypal cyberpunk work",<ref name="Person"/> ''Neuromancer'' was awarded the [[Hugo Award|Hugo]], [[Nebula Award|Nebula]], and [[Philip K. Dick Award|Philip K. Dick]] Awards. ''[[Count Zero]]'' (1986) and ''[[Mona Lisa Overdrive]]'' (1988) followed after Gibson's popular debut novel. According to the [[Jargon File]], "Gibson's near-total ignorance of computers and the present-day hacker culture enabled him to speculate about the role of computers and hackers in the future in ways hackers have since found both irritatingly naïve and tremendously stimulating."<ref>{{cite web|url=http://catb.org/esr/jargon/html/C/cyberpunk.html|title=Jargon File definition}}</ref>

Early on, cyberpunk was hailed as a radical departure from science-fiction standards and a new manifestation of vitality.<ref name="Brians">{{cite book |last=Brians |first=Paul |url=http://www.wsu.edu/~brians/science_fiction/neuromancer.html |title=Study Guide for William Gibson: Neuromancer |year=1984 |archive-url=https://web.archive.org/web/20061224081742/http://www.wsu.edu/~brians/science_fiction/neuromancer.html |archive-date=2006-12-24 |publisher=Washington State University}}</ref> Shortly thereafter, some critics arose to challenge its status as a revolutionary movement. These critics said that the science fiction [[New Wave science fiction|New Wave]] of the 1960s was much more innovative as far as narrative techniques and styles were concerned.<ref>James, Edward. ''Science Fiction in the 20th Century'', Oxford University Press, Oxford & New York, 1994. p. 197</ref> While ''Neuromancer''{{'}}s narrator may have had an unusual "voice" for science fiction, much older examples can be found: Gibson's narrative voice, for example, resembles that of an updated [[Raymond Chandler]], as in his novel ''[[The Big Sleep]]'' (1939).<ref name="Brians"/> 

Others noted that almost all traits claimed to be uniquely cyberpunk could in fact be found in older writers' works—often citing [[J. G. Ballard]], [[Philip K. Dick]], [[Harlan Ellison]], [[Stanisław Lem]], [[Samuel R. Delany]], and even [[William S. Burroughs]].<ref name="Brians"/> For example, Philip K. Dick's works contain recurring themes of social decay, artificial intelligence, paranoia, and blurred lines between objective and subjective realities.<ref>{{cite book|last1=Eiss|first1=Harry Edwin|isbn=978-1-4438-5636-2|title=Electric sheep slouching towards Bethlehem: speculative fiction in a post modern world|access-date=26 November 2016|url=https://books.google.com/books?id=HXYxBwAAQBAJ&pg=PR134|date=2014-03-25|publisher=Cambridge Scholars }}</ref> The influential cyberpunk movie ''[[Blade Runner]]'' (1982) is based on his book, ''[[Do Androids Dream of Electric Sheep?]]''.<ref>{{Cite news |last=Maustuad |first=Tom |date=1994-08-21 |title=Dark Vision lingers on 'Blade Runner' 15 years later |url=https://www.newspapers.com/article/asbury-park-press-blade-runner-legacy-re/93681716/ |access-date=2024-06-08 |work=[[Asbury Park Press]] |pages=75 |agency=[[Dallas Morning News]]}}</ref> Humans linked to machines are found in Pohl and Kornbluth's ''[[Wolfbane (novel)|Wolfbane]]'' (1959) and [[Roger Zelazny]]'s ''[[Creatures of Light and Darkness]]'' (1968).{{citation needed|date=February 2016}}

In 1994, scholar [[Brian Stonehill]] suggested that [[Thomas Pynchon]]'s 1973 novel ''[[Gravity's Rainbow]]'' "not only curses but precurses what we now glibly dub cyberspace."<ref>{{Cite web|first=Brian |last=Stonehill |title=Pynchon's Prophecies of Cyberspace |url=http://www.pynchon.pomona.edu/gr/bsto.html|access-date=2022-12-29|website=www.pynchon.pomona.edu}} Delivered at the first international conference on Pynchon, the [[University of Warwick]], England, November 1994.</ref> Other important predecessors include [[Alfred Bester (author)|Alfred Bester]]'s two most celebrated novels, ''[[The Demolished Man]]'' and ''[[The Stars My Destination]]'',<ref>{{cite book |last=Booker |first=M. Keith |title=Monsters, Mushroom Clouds, and the Cold War:American Science Fiction and the Roots of Postmodernism, 1946–1964 |url=https://books.google.com/books?id=sbabLHqXbBgC&pg=PA60 |publisher=[[Greenwood Publishing Group]] |year=2001 |page=60 |isbn=978-0-313-31873-3}}</ref> as well as [[Vernor Vinge]]'s novella ''[[True Names]]''.<ref>{{cite book |last=Grebowicz |first=Margret |title=SciFi in the Mind's Eye: Reading Science Through Science Fiction |publisher=[[Open Court Publishing Company]] |year=2007 |page=147 |isbn=978-0-8126-9630-1}}</ref>

==== Reception and impact ====
Science-fiction writer [[David Brin]] describes cyberpunk as "the finest free promotion campaign ever waged on behalf of science fiction". It may not have attracted the "real punks", but it did ensnare many new readers, and it provided the sort of movement that postmodern literary critics found alluring. Cyberpunk made science fiction more attractive to academics, argues Brin; in addition, it made science fiction more profitable to [[Hollywood, Los Angeles, California|Hollywood]] and to the visual arts generally. Although the "self-important rhetoric and whines of persecution" on the part of cyberpunk fans were irritating at worst and humorous at best, Brin declares that the "rebels did shake things up. We owe them a debt."<ref>[[David Brin]], [http://www.davidbrin.com/matrixarticle.html Review of ''The Matrix''] {{webarchive|url=https://web.archive.org/web/20080322014437/http://www.davidbrin.com/matrixarticle.html |date=2008-03-22 }}</ref>

[[Fredric Jameson]] considers cyberpunk the "supreme literary expression if not of [[postmodernism]], then of [[late capitalism]] itself".<ref>{{cite book|last=Jameson|first=Fredric|title=Postmodernism, or, the Cultural Logic of Late Capitalism|publisher=Duke University Press|year=1991|page=419|url=http://fa.mayfirst.org/articles/Jameson_Postmodernism__cultural_logic_late_capitalism.pdf|isbn=978-1-61723-002-8|url-status=dead|archive-url=https://web.archive.org/web/20150402124654/http://fa.mayfirst.org/articles/Jameson_Postmodernism__cultural_logic_late_capitalism.pdf|archive-date=2015-04-02}}</ref>

Cyberpunk further inspired many later writers to incorporate cyberpunk ideas into their own works,{{Citation needed|date=January 2015}} such as [[George Alec Effinger]]'s ''[[When Gravity Fails]]''. ''[[Wired (magazine)|Wired]]'' magazine, created by Louis Rossetto and Jane Metcalfe, mixes new technology, art, literature, and current topics in order to interest today's cyberpunk fans, which Paula Yoo claims "proves that hardcore hackers, multimedia junkies, cyberpunks and cellular freaks are poised to take over the world".<ref>{{Cite news|last=Yoo |first=Paula |title=Cyberpunk - In Print -- Hacker Generation Gets Plugged Into New Magazine |work=The Seattle Times|url=https://archive.seattletimes.com/archive/?date=19930218&slug=1686110|access-date=2022-12-29 |date=1993-02-18 |page=G.3}}</ref>