On The Cultural Gutter, Kungfu-Powered Afrocyberpunk Pulp is a look at Steven Barnes’ 1983 novel Streetlethal, which is sort of cyberpunk meets Mack Bolan starring Luke Cage in a story about magic orgy mushrooms.
On Cultural Gutter, I’m Neuromancin’ with Myself. The early 1990s was when I read Neuromancer. Into this maelstrom of personal evolution and conflicting feelings came Billy Idol’s Cyberpunk.
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
It is “the future,” but not too far in the future. Earth has been ravaged by nuclear war and a plague, leaving the place in tatters. The United States is a smattering of fortified cities isolated from the larger landscape of desolation.
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 1992’s Split Second, Rutger Hauer had either become so good at acting bored that he seemed totally bored with the movie, or he was totally bored with the movie.
Merrick and Marina betray Hauer’s Wade and shoot him dead, presumably over the lack of judgment he demonstrates in choosing his outfit from the Glenn Fry ‘Smuggler’s Blues’ collection.