William Gibson, after a complex and exhausting process of writing what would be his first novel, decided to reward himself with a trip to the cinema to relax. In the prologue of the comic version of Neuromancer (Tom de Haven, Bruce Jensen, 1989), Jacinto Antón tells us an anecdote that Gibson himself told him (although it changes in nuances in Wikipedia, we take as a basis what was published in this prologue 1989 firsthand by Jacinto since, basically, they coincide in the essentials). Their mission is much more banal: deliver packages without asking questions. There Rania, that worker who has just arrived at Cloudpunk, a messaging agency that moves within the limits of legality, only hears the echoes of the great cybernetic exploits.
#CLOUDPUNK RESET ANDERSON FULL#
The mythical phrase that opens Neuromancer (William Gibson, 1984), the pillar novel of the Cyberpunk movement, already gives full prominence to the environment, to the city. The sky over the harbor was the color of a television screen tuned to a dead channel.
Newspeak that assimilates a population made up of human beings with cybernetic implants and androids fighting for a place in that sick society, all debtors of literary minds like Gibson’s or Sterling’s.
#CLOUDPUNK RESET ANDERSON SKIN#
There has come a time when the lives I save by fixing something are the same ones that are lost precisely by fixing it.Ĭloudpunk, developed by Ion Lands (perfect name to accompany a game like this in the credits), shows us the usual cyberpunk discourse: large corporations, an environment that is also a leading character, classic film noir tints and even blacker writing, uprooted characters who in turn unintentionally sink their roots in a city that devours its children absence of natural light in favor of fluorescent and neon, music of long synthesized notes indebted to Vangelis artificial intelligences as new gods, capitalism and social inequality at its best, street trades of artificial skin and the latest in synthetic drugs. Nivalis stands tall with duct tape and hope, says an engineer defeated by an impossible task. We are Rania, an inhabitant of the rural areas of the Eastern Peninsula, recently arrived in a city that is only solid and imposing in appearance. We gracefully dodge the black skyscrapers edged with big neon signs while cursing the busy traffic. We travel in our hovercraft through the eternal night under an eternal rain. How is it possible that a game that has this type of mission as its main mechanic does not kill us with boredom and, on the contrary, is able to keep us hooked from beginning to end? Welcome to Cloudpunk and its unlikely narrative.Ī megalopolis built on a raging sea by stacking voxels, as if Minecraft were dark and ornate rather than colorful and minimal. The reviled messenger missions are the impasse between two interesting moments, the television advertising that interrupts the film at the wrong time, the time-outs that break the rhythm of the game, the yawn from the routine before something happens in your life minimally interesting.
It also ensures that we kick the map from one side to another, that for something the developers have invested an indecent amount of work hours lifting a world. This resource so handy in sandboxes is usually implemented to fill the gaps in the main narrative and thus extend the overall game experience. You talk to a character, he gives you something to take from A to B, you make the delivery at the destination and back to the start to collect the fees. In the open worlds, if there is something that has always been criticized, it has been the messenger missions.
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