In 1987, Max Headroom appeared on Sesame Street where he recited the alphabet. Catch the wave.

And if you're not hip to Max's cyberpunk stylings, the 1985 UK TV movie is where it all started:

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Cyberpunk is Marianne Tranche's 1990 documentary about the early cyberpunk scene. It features interviews with the likes of William Gibson, Scott Fisher, and bOING bOING patron saint Timothy Leary. While the brilliant Brenda Laurel appears, the film unfortunately missed many of the other badass female cyberpunks of the day like St. Jude Milhon (Mondo 2000), Lisa Palac (Future Sex), Tiffany Lee Brown (FringeWare Review), Stacy Horn (Echo), and of course bOING bOING co-founder Carla Sinclair!

As Dr. Tim said back then, "Turn on, tune in, boot up!"

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Objective Reality is a new VR installation from automato.farm, written by Bruce Sterling, in which you "play" one of a variety of inanimate objects: a rotating fan, a roaming Roomba, the electricity sparking from one outlet to the next; each object has an associated VR helmet that makes you look like your head is a giant appliance. Read the rest

Rudy Rucker writes, "'Return to the Hollow Earth' is my new steampunk novel of the Hollow Earth." Read the rest

In Patent 10049419, "Mobile law enforcement communication system and method," Motorola engineers describe "A communication system, comprising: a self-driving vehicle within which to detain a detainee by a law enforcement officer" that locks you up, administers a breathalyzer, reads you your rights, figures out who your counsel of record is, conferences you in with your lawyer, consults with a court on your bail, and lets you swipe your cards to bail out of the car. Read the rest

A small but vital genre of homebrew portable computers is the "cyberspace deck," in which hackers create DIY, special-purpose computers inspired by the ICE-breaking console-cowboy decks of William Gibson's Sprawl trilogy (Neuromancer, Count Zero, Mona Lisa Overdrive). Read the rest

It's always a treat to see someone unexpected embrace tabletop gaming. I just got the Netrunner: Revised Core Set, the latest edition of the popular and surprisingly immersive cyberpunk card game originally designed by Richard Garfield (who also designed of Magic: The Gathering). I decided to watch some videos on playing the game using the new set, as I haven't played in a while. I happened upon a series of videos by Muttnchop Piper, a YouTuber who runs a channel on pipe smoking and tobacco.

I was surprised by how good, and charming, these videos are. He talks about how the game brought him and his grown son closer together. His son is an artist, and growing up, wasn't into the typical things, like "hunting and fishing." His son introduced him to the game, and as you can clearly tell from the videos, Muttnchop Piper has really taken to it. He and his son play the game every Thursday.

In the videos, he describes the world of Netrunner, how to play one of the Corporations, how to play a Runner, and he runs through a sample game. There are a lot of how-to-play Netrunner videos out there, but I don't think there's a better intro series than the one from this unlikely of sources.

I also like this brief video explaining why you should play Netrunner. I love this game and think it evokes a cyberpunk world better than just about anything short of reading a novel in the genre. Read the rest

Tokyo designer Hiroto Ikeuchi creates amazing wearable cyberpunk assemblages out of scrap electronics and other odds and sods. Read the rest

Before Max Headroom shilled for Coke and collaborated with the Art of Noise (below), he starred in this fantastic and prescient 1985 UK TV movie about a dystopic future. This brilliant bit of cyberpunk science fiction feels even more relevant today than it did back then.

Previously: "Max Headroom, the full story"

(Thanks, UPSO!)

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Probably the best cyberpunk anime ad for stout ale in the world. [via Tim Soret] Read the rest

Every year, Bruce Sterling and Jon Lebkowsky take to The Well and conduct a weeks-long, wide-ranging "state of the world" discussion, trying to dig through to the zeitgeist's bedrock, taking questions from all comers (you don't need to be a WELL member to read, and you can send your questions in to Jonl). Read the rest

Game designer Chad Walker is crowdfunding his latest game: SIGMATA: This Signal Kills Fascists, shooting for USD10,000 in pre-orders to produce "a cyberpunk tabletop role-playing game about ethical insurgency against a fascist regime, taking place in a dystopian vision of 1980's America." Read the rest

In 1987, Jim Henson produced and directed this pitch reel for Inner Tube (aka IN-TV), a cyberpunk, culture-jamming series that just wasn't meant to be but did inform The Jim Henson Hour's MuppeTelevision segments. From Jim Henson: The Biography:

At the heart of IN-TV was a clever concept; each week, a live guest star would get sucked into the television set and would have to work his way back out again, usually by moving from one bad television channel to another. It was a fun idea, giving Jim an opportunity to satirize the seemingly endless parade of upstart cable channels and lame public access shows that were common in the early days of cable.

(Muppet Wiki and r/ObscureMedia)

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Cyberpunk dystopia lifts from the reality and fantasy of contemporary Asian cities and cultures, but rarely reflects these sources in its human inventory. Sarah Emerson writes about the genre's fetish for Asia without the Asians, most recently on display in the curiously whitebread future of Blade Runner 2049.

neon kanji billboards. Neander Wallace's yukata, and Joi's cheongsam. The busy Chinatown. The interactive wall of anime apps. K's rice-filled bento box. The dual Japanese-English text on everything. All signs that point to a vibrant, multicultural city, but somehow devoid of non-white characters.

If Asians shaped this cyberpunk future, where are they?

Blade Runner and 2049 are like Orientalist art. Gorgeous, albeit skewed, depictions of "other" cultures meant to justify colonialism with their backwardness.

The people making the mistakes seem completely oblivious. They can pretend to get it when something egregious blows up, but then soon coast's clear they go back to casting Robert Downey Jr as Indira Gandhi or some other nonsense. Even when they do hire Asian actors for their exotic Asian hellscapes, they're liable to mess it up! Remember Cloud Atlas? About four fifths of it was brilliant, but the remainder was so hard to look at that the movie left my head the moment I left the theater.

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William Gibson's 2014 novel The Peripheral was the first futuristic book he published in the 21st century, and it showed us a distant future in which some event, "The Jackpot," had killed nearly everyone on Earth, leaving behind a class of ruthless oligarchs and their bootlickers; in the 2018 sequel, Agency, we're promised a closer look at the events of The Jackpot. Between then and now is Archangel, a time-traveling, alt-history, dieselpunk story of power-mad leaders and nuclear armageddon.

William Gibson's 2014 novel The Peripheral was the first futuristic book he published in the 21st century, and it showed us a distant future in which some event, "The Jackpot," had killed nearly everyone on Earth, leaving behind a class of ruthless oligarchs and their bootlickers; in the 2018 sequel, Agency, we're promised a closer look at the events of The Jackpot. Between then and now is Archangel, a time-traveling, alt-history, dieselpunk story of power-mad leaders and nuclear armageddon that will be in stores on October 3.

A few years ago, I started seeing evidence of the beginning swells of a nostalgia wave for the iconic 90s "cyberdelic" magazine Mondo 2000 and all things early 90s cyberpunk/cyberculture. One person on Facebook unearthed an old copy of Mondo, photographed it, and gushed all over it in a post. They asked (something like): "What could be cooler than a slick art magazine about virtual reality and cyberpunk, hacking, drugs and mind-alteration, weird art and high-weirdness?" I loved being able to respond: "Writing for it."

I also noticed, in 2014, when I published my writing collection, Borg Like Me, a lot of the focus in reviews was on the pieces reprinted from that era, from Mondo, bOING bOING (print), and my own zine, Going Gaga. People waxed nostalgic about that birth-of-cyberculture era, the creativity and promise that infused it, and the revolutionary dreams it inspired. Several reviews said: We need to bring some of this back. Stat!

It is perhaps that rising sentiment that has prompted Mondo's equally iconoclastic creator, RU Sirius, to resurface Mondo 2000 as an online blogazine. RU tells Boing Boing about the launch:

It seemed like time. What the world needs now is MONDO sweet Mondo. I mean, it’s the only thing that there’s just too little of…. aside from wealth distribution, attention spans, and lots of other stuff.

So far, I've found what RU has posted a surprisingly satisfying mix of reprints of old magazine content, summaries/commentaries on the print magazine (and its predecessors, High Frontiers and Reality Hacker), and new content, including new music from RU Sirius and friends. Read the rest