Time to Frolic Afield once again for my monthly article on The Cultural Gutter! As a fan of cyberpunk from the 1980s, I often wonder if there’s any decent example of the genre that makes sense in what is basically our post-cyberpunk reality. Cyberpunk for a Cyberpunk World looks at why cyberpunk didn’t survive, why it should have, and how David Louis Edelman’s Jump 225 trilogy is the best example of post-millennial cyberpunk literature
In the early 1990s, I read Neuromancer. I read it enthusiastically, devoured every word , and fell in love not so much with the story, which was good, but with William Gibson’s razor-sharp acumen with the written word, with his style, and above all, with his ability to articulately describe sensations and scenes in ways no one had ever thought of, and yet made absolute and perfect sense and conveyed exactly certain feelings and visions that could not, it would seem, ever have been described any other way. At least not effectively. And yet, despite my unbridled passion for the book, when I started talking about it to someone a few months ago during one of those late-night sessions where conversation devolves into fuzzy reminiscence about setting motherboard jumpers and using VAX terminals, I discovered that all I had were vague impressions. Besides the names of a couple characters and a thing about spacefarin’ Rastafarians, I remembered absolutely nothing about the book.
A storied writer, or possibly a drunk (oh, who am I kidding — there’s no difference), once said of a particular piece of writing that it was a mirror: when a monkey looked in, no philosopher looked out. While I’m sure Dr. Zaius would take umbrage at this gross generalization, the adage stands, at least for me, when it comes to the films of director Albert Pyun. I cannot hate them (well, except for Abelar: Tales of an Ancient Empire) no matter how bad they are, because when I look into them I see myself (a gibbering monkey). Albert Pyun has a magnificent, sprawling vision in his head. He has the drive to express this vision artistically — in his case, through the medium of film. And nearly every attempt at expressing this vision winds up a boring, biting reminder that sometimes the gap between our ability to envision something and our ability to execute that vision is insurmountably vast. Albert Pyun’s sundry failures are me — if I set out to recreate in film the lavish visions I have, they would wind up, I suspect, looking a lot like the films of Albert Pyun, except probably much worse.
Movies try to evoke a wide range of emotions and reactions from their viewers. Shock, delight, sadness, joy, despair — in the century or so that humans have been making movies, the bag of tricks film makers use to manipulate our emotions has become large indeed, and the range of emotions and experiences movies seek to simulate has grown to encompass pretty much everything we’re likely or unlikely to ever encounter in real life. There are, however, a few mental states and experiences that, while a movie could potentially ask us to invest ourselves in, it probably shouldn’t. At the top of my list of experiences I don’t need recreated for me by a movie would be the frustrating tedium of phone-based customer support.
By the time the 1990s rolled around, I think everyone had given up on Rutger Hauer becoming some awesome super cool megastar, and “everyone” included Rutger Hauer himself. On the one hand, that’s too bad, because there for a while, he was a genuinely cool dude, good looking and charming but with something cruel and disturbing about him. There was no wonder a lot of the spooky ladies (and a fair number of lads) with whom I hung out with back in the day were loopy for Rutger. I’m pretty sure we had plans, at some point, to make a movie featuring Roy Batty in his little leather booty shorts from Blade Runner teaming up with Sting’s Feyd Rautha in his little metal thong thingie to… I don’t know glisten as they traveled from town to town, solving people’s problems.
Back in the 1990s, I did a fanzine that was about as successful as I could hope for given my lack of financial resources. With nowhere to print it but an all-night copy shop manned by a guy named Fred the Bastard (who would let you make thousands of copies for the price of ten), I couldn’t really achieve any impressive sort of circulation. A couple hundred though. Not bad at the time, at least by my standards. It was a pretty standard type of zine for the time. Interviews with whatever punk rock bands had come through Gainesville int he past few months, record reviews, a bunch of random ranting, and of course assorted bits of collage art. Not having a layout program at the time, the whole thing was printed out in bits and pieces using a combination of my old Atari dot matrix printer and a newer HP DeskJet 500, and then I’d paste and tape it all together by hand. Part of the reason I have no photos from 1988-1994 despite having taken thousands is because I cut up almost all of them and pasted them into the zine layout. Double prints? Keeping track of my negatives? Who ever heard of such nonsense?
There are those in the world who write about the career of Rutger Hauer in much the same way that other people write about the film career of Elvis Presley, the general approach being one of “ain’t that a damn shame?” Hauer made a name for himself in America when he appeared in Ridley Scott’s seminal dystopian sci-fi masterpiece Blade Runner as Roy Batty, the leader of a gang of renegade androids being hunted down by Harrison Ford, presumably because they kidnapped his family or were on his plane without first obtaining the proper permissions. Hauer was already a familiar face to the ten non-Dutch people who watch Dutch films, and among that small population, the five fans of Dutch cinema who would actually watch Paul Verhoven films. When he appeared as a ruthless terrorist in Night Hawks, people started to take notice. Here was something interesting about the guy. And something scary. When a screenwriter told you Rutger Hauer was a murderous madman, you believed them.