Professional Documents
Culture Documents
BY
RUFUS REY C. MONTECALVO
DEPARTMENT OF HISTORY
PROF. EDEN GRIPALDO
Anime and manga have become major entertainment exports of Japan since the last decades. As
of 2006, Japanese anime comprise almost sixty percent of all animation broadcast worldwide. It
generates four billion dollars a year in the United States alone, and foreign revenue account for almost
twenty-five per cent of the income of leading Japanese animation companies such as Toei.1 Particularly
in the Philippines, a substantial segment of young people are exposed to Japanese popular culture
through these avenues. During the 90s, several anime series were shown in the two major television
channels of the country usually dubbed in Tagalog. A few examples are Sailor Moon, Voltes V, Daimos,
Doraemon, Mojacko, Thunder Jet and Ghost Fighter. A specific genre in this huge industry is science
fiction. A most interesting and specific sub-genre within science fiction in general and Japanese
“High-tech and low-life” is the cliche frequently mentioned whenever cyberpunk is introduced.
The word 'cyberpunk' first appeared in a short story by American author Bruce Bethke in the early 80s,
and was popularized by several science fiction magazines at that time. Canadian-American author
William Gibson's seminal work, Neuromancer, as well as the books that followed established the
solidity of the genre however. His works, specifically the Sprawl Trilogy, (composed of Neuromancer
1984, Burning Chrome 1986 and Mona Lisa Overdrive 1988) features an iconic combination of high
technology and urban crime and decay. The atmosphere of these books is dark and heavy, set in a
bustling urban area with high-rise apartments and buildings. The economy is controlled by various
competing zaibatsus, large corporations who pay mercenaries and spies to gather information about
their rivals. The level of focus in the novels is not so much on the higher strata of this society, but those
of the lower-classes, specifically the criminals, outlaws and thieves, the 'punks,' as American slang
would say.
1. Steven Brown, ed., Cinema Anime Critical Engagements with Japanese Animation (New York: Palgrave Macmillan,
2006), 6.
1
Caution must be taken however when we use this term within the Japanese context, for the term
cyberpunk can also mean a particular type of avant-garde film-making appearing in the 80s which is
unrelated to the cyberpunk as is understood in the west. But to narrow it down, in the realm of manga
and Japanese animation or anime, there is a clear understanding of what is referred to by the term. This
means those works by Japanese manga authors and animation filmmakers that exhibit the traits present
in the definition of cyberpunk given above. In this paper, the particular manga and anime that will be
examined are: Ghost in the Shell, Ghost in the Shell 2: Innocence, Biomega, Blame! and Serial
Experiments Lain. Ghost in the Shell was a manga first and then was made into a critically-acclaimed
anime. It has been the subject of several philosophical and modern cultural essays regarding Japan and
technology and is particularly famous during discussions of the trends in cybernetics and
transhumanism.2 Blame! is a manga which explores the theme of transhumanism further and asks
questions regarding what it means to be human. Set in a distant future where mankind lives in a huge,
swarming complex of pipes and wires and concrete, the main character looks like a young man, but is
actually more than a thousand years old, extremely powerful, yet does not have any memory regarding
his past, only that he seeks a particular set of genes which holds the key to the salvation of mankind.
Last but not the least, is Serial Experiments Lain. Discussions about this anime series revolve around
its complexity and the layers of meaning that it possesses. The story is about a girl who lives in a
middle-class home who one day receives a message from a classmate who died, saying that she has
gone on to the other side, that in this other side, human bodies are no longer necessary as they exist in
pure energy form, pure thought. This place is called 'the Wired,' which is cyberspace. 3 The anime is set
in the present and has tremendous significance because it coincided with the rise of the internet in the
2 Transhumanism is the philosophical idea, arising from discussions around the effects of technology which advocates an
acceptance of various modifications on the human body. As compared to its spectral opposite of primitivism, transhumanists
see technology as good and its use will better the condition of human beings. Primitivists on the other hand are anti-
technologists and see that what is needed in order to cure the perceived modern ills of society is a return to the ancient,
primitive lifestyle practiced for thousands of years by human beings before the advent of the agricultural revolution.
3 The term 'cyberspace' was coined by William Gibson.
2
mid to late 90s when it was first released.
These works were chosen because the author believes that Japan, being one of the most
technologically advanced nation on earth, producing miniature electronics and having made great
advances in the realm of robotics, also made a most interesting criticism of all these advances. And that
these can be interestingly and entertainingly found in the realm of cyberpunk anime and manga.
Cyberpunk, as related in the various literature, academic and non-academic, as well as its
manifestations in the realm of entertainment, is located in that part of the futuristic city where the
degenerates, the low-lives, the 'punks,' inhabit, thrive and conduct their more often than not, illegal,
business. It is in this part of the city where high technology meets low society, where technologies
developed from the closed doors of the corporate laboratory leak out, where, in the words of William
Gibson, "the street finds its own uses for things." 4 Thus we see for example in the anime series Serial
Experiments Lain, the device called 'Accela' developed by the underground hacker group Knights of
the Eastern Calculus, which is ingested in the body wherein it emits a frequency which triggers the
body to produce a specific hormone related to the perception of time. It is called 'Accela' because users
3
report of experiencing accelerated perception of the world around them. Another example are the
Hadaly prostitute androids in the anime Ghost in the Shell 2: Innocence. These androids were first
created to be used in tasks that human beings deemed too hazardous or repetitive. Now they are given
female form with artificial skin, providing services which their creators probably never planned.
The time period of Ghost in the Shell, its sequel 'Innocence' as well as Lain are just several
decades into the future, with Lain even set during the present period (each episode begins with a male
disembodied voice laughing: "present day, present time"). The manga Blame! and Biomega, both by
Tsutomo Nihei, on the other hand are set several hundreds, maybe a few thousand years into the future.
Of all the sources used in this paper, these two manga offer the bleakest picture of the situation of
humanity. The plot are somewhat similar in that it is a story about a super-strong loner-type male
character who we later learn is not really human, and is on a quest to save humankind from extinction.
In Blame! Killy is in search of a human being with possibly already extinct "Net Terminal Genes,"
which are genes that allow the organic human being to interface directly with the Net Sphere, the
governing cybernetic mechanism or software that controls every aspect of The City. The City is a vast
self-constructing structure possibly the size of several planets, where all the action of Blame! takes
place. It is a cancerous sort of growth with little to no internal logic because of the lack of Net Terminal
Genes. Long, dark, endless passageways lined with various pipes and wires, with most jutting out and
in a state of disrepair; ceilingless and bottomless corridors, with staircases on its sides going up as far
as the eye can see and going down into a deep darkness below; all these give the ironic feeling of
What makes the manga Blame and Biomega unique are the structures, the buildings and the
overall effect these structures give.5 In this world, Killy walks mostly alone, armed with his ultra-
powerful Gravitational Beam Emitter, an unassuming looking gun capable of massive destruction. This
5 Tsutomo Nihei, the author of both Blame! and Biomega studied architecture before working in manga full time. This
would explain his interest in drawing huge structures in both these manga.
4
is his primary weapon against the Safeguards, which are the android and cyborg silicon-based
creatures, basically guards, that keep out of the system and destroy, those without the Net Terminal
Genes. Along the way, Killy encounters scattered bands of human and modified human beings who
have adapted to the harsh conditions of the City. Some live in tribes capable of holding their own
against the intermittent attacks of the Safeguards, some are savage-like in that they are naked and seem
to be incapable of speech beyond grunts and screams, while others have evolved to grow slightly
bigger than the average human being and engage in capturing and trading other humans.
relation to human society. Nowhere is this idea more manifest in the manga Biomega and Blame.
Whereas the novels by Gibson that defined cyberpunk were just set in a near-future Japan (the same
with the Serial Experiments Lain series and the two Ghost in the Shell films) where buildings can still
be identified as such and that human beings as well, at the least on the surface, appear like human
beings, Blame and Biomega are set several thousand years into the future where human beings live in
an ironic juxtaposition in caves composed of super high-tech stuff of which they have no access to. Of
all these cyberpunk works therefore, Blame and Biomega are the more interesting in terms of the
One of the most characteristic feature of the cyberpunk genre is the ubiquitous presence of
powerful technological organizations - both legal and underground. In the novel Neuromancer, the
defining work of cyberpunk, which is set in Japan, specifically in Chiba City, we have for example, the
Ono-Sendai Corporation which produces cyberdecks, which are basically computers necessary to have
access to cyberspace. The power of these private corporations are frequently highlighted. We see this in
Ghost in the Shell, where the Megatech Corporation has significant control over the Japanese
government agency Section Six. In this anime, Section Six is a covert agency which is a rival to
5
Section Nine where Major Motoko Kusanagi, the main character, is an important member. In
Neuromancer also, there is the reclusive Tassier - Ashpool family megacorporation which was able to
produce (clandestinely, because it is illegal) a powerful, self-aware Artificial Intelligence software, one
Two opposing groups are shown in Serial Experiments Lain. The first are the Knights of the
Eastern Calculus which is an underground hacker group promoting the unification of the Wired and the
real world. They attempt to do this by, according to the science presented in this anime, tapping through
the natural electromagnetic frequency of the Earth itself, along with the collective consciousness of
mankind. They are also engaged in the creation of illegal information devices. One of their devices is
called 'Accela' which is ingested and emits a specific frequency triggering the release of a hormone
affecting the individual's perception of time. Users of this illegal device experience feelings of
'accelerated' time. A side-effect however, is having vivid hallucinations and a skewed perception of
reality.
The other group is the techno-zaibatsu Tachibana General Laboratories. Unlike the Knights of
the Eastern Calculus, the Tachibana General Labs want to gain control of the Wired through corporate
monopoly of the 7th-generation Protocol (the current internet protocol we have is IPv4, that is Internet
Protocol Version 4; the 6th-generation Protocol is what is ordinarily used in Lain) because they believe
that "to control the protocol is to control the economy of the Wired." 6 One of the scientists working on
the development of this Seventh Generation Protocol in the anime was fired from Tachibana General
Labs because he inserted codes within it that would give him control over the Wired. Days later, he
would kill himself by stepping in front of a train. However, like Chisa, he has merely transcended the
flesh, as he was able to save his consciousness into the Wired. In Blame! and Biomega, the powerful
corporation is called Toha Heavy Industries. This is the corporation that produced the technologies
which made the production of the synthetic human characters (Killy in Blame!, Zouichi in Biomega)
6 Serial Experiments Lain, Episode 8.
6
possible. Not much is given regarding the corporation but it is presented that most of the technologies
The discussion about the power of corporations and their monopoly is important because in the
highly technological world that cyberpunk is set in, they are able to produce, steal, create and market
innovations on a scale that has massive influence on society. These corporations are as powerful maybe
even more so than the actual governments. They have spies, they engage in underhanded tactics such as
stealing information, bribing important scientists for example to change sides. These powerful
corporations have their own private army and within a certain area, are able to implement their own
rules in society. In Lain, the minions of Tachibana General Laboratories are dressed impeccably,
echoing perhaps the mafiosi of Italy and the United States. They were the ones who executed the
members of the hacker group Knights of the Eastern Calculus, after Lain inadvertently leaked the
names of the members on the Wired. In Ghost in the Shell, the Megatech corporation is at an alliance
with the government through the agency known as Section Six. When the rogue sentient A.I escaped on
a cyborg body from the laboratories of Megatech, it was this section of the government that was sent to
retrieve it. Through monopoly of knowledge regarding production of technologies, we see in Japanese
cyberpunk therefore the power that corporations can have over society.
During the mid to late 90s, which was the period of the rise of the internet, there was a belief in
the idea of a 'digital democracy' that would emerge. We see therefore such jubilant and hopeful
pronouncements by the American poet John Perry Barlow in his influential and popular "A Declaration
of the Independence of Cyberspace," which was made by Barlow as a response to what he perceived as
the beginning of precedents on the curtailment of the freedom of cyberspace. The particular issue was
of the passing of the 1996 Telecommunications Act which addressed the issue of obscenity and its
distribution online. Barlow felt that government intrusion into this new realm of cyberspace was
7
uncalled for and said that they should leave cyberspace be. The first line of this document states:
"Governments of the Industrial World, you weary giants of flesh and steel, I come from
Cyberspace, the new home of Mind. On behalf of the future, I ask you of the past to leave us alone.
You are not welcome among us. You have no sovereignty where we gather."7
This issue of net neutrality is currently an ongoing debate and is basically a question of politics - who
will control the internet? One side says that the internet should be free, while the other, the corporations
who own copyrights for example of the works that is freely distributed in the internet, say there must be
regulation by the government. This issue of power in cyberspace is interestingly explored in the anime
Lain is a unique (to say the least)) anime series, in that it has acquired a reputation among anime
enthusiasts within the internet. This is entirely understandable however, given the quality of the way
that it has been drawn and the complexity of its plot (if there was any to begin with). A fan of this
anime, after watching the thirteen thirty-minute episodes, would be left with many questions in his or
her head, and the next thing that she will do is to search the internet itself for answers. In there, she will
find others who have seen the anime, and have been boggled by several events in the anime as well. It
takes a collective discussion in order to arrive at a better understanding of this anime. This is somewhat
ironic and very appropriate because Lain is about the internet itself.
Serial Experiments Lain is one of the most challenging anime series to understand. It revolves
around questions of identity, reality, isolation and power. Lain Iwakura is a shy, introverted girl who
lives a seemingly mundane middle-class existence with her parents and older sister. Her world starts to
turn upside down when people from her school starts receiving e-mail messages from Chisa, a
schoolmate of theirs who killed herself several days before. Many believe this to be a cruel prank,
however Lain is intrigued and maintains contact with the 'ghost' of Chisa. In the message, Chisa tells
Lain that she did not really die, that she has merely transcended the realm of the flesh into the world of
8
the 'Wired,' which is basically in the anime series, a much developed form of the internet.
Later in the series, we see Lain delving more and more into cyberspace / the Wired. Her father,
who we are shown early in the series as having an almost unhealthy interest in activities in the Wired -
gaming, chatting, visiting various sites, has provided her with a latest model Navi or high-powered
computer. Several episodes later, we see Lain acquiring hacking skills which seems to have been within
her all along. She extensively travels the Wired, becoming known eventually as 'Lain of the Wired' - a
sort of saintly figure for hackers. She modifies her Navi until her room becomes a dark cave of wires,
computer screens, cooling pipes and electronic components all connected with each other. Several
personalities develop in contrast to the shy and aloof Lain in the real world. First is the infamous Lain
of the Wired who is confident and capable. The second is the sadistic / psychopathic Lain who spread
hallucination.' And in a sense that is how the anime Serial Experiments feels like. We continually ask
whether everything that happens in the anime is merely an emanation of the mind of Lain following the
merging through her of the Wired and the real world. Various unusual things happen - her sister
becomes trapped in an alternative world where she sees the real world but cannot interact with the
people in it, while a doppelganger, a fake double of her now lives and acts as her in Lain's family. Later
in the series, Lain claims that she has finally made formerly united humanity divided by various
reasons, united again. This series references the early development of the internet all the while mixing
in various fictional things such as the development of the Seventh Generation Internet Protocol by a
internet without the need for wires and computer screens to access it. The human mind itself becomes a
node in this fictional internet and Lain is the overseeing power that controls it.
9
IV. The Post-Human Condition/Questions of Identity
One of the defining characteristics of cyberpunk is its obsession with the question of what
remains human in the human being once all these technological changes: genetic or cybernetic, are
applied extensively to him or her. Reading the literature about this, we encounter such words as
transhuman or posthuman. This concept of the post-human is said to be in tandem with the current
prevailing postmodern situation of the world.8 So the modern man lived in the modern world, while the
posthuman lives in the postmodern world. We find the earliest presentation of this question of identity
with regards to what separates the human being from machines as early as the seventeenth century in
Europe where the idea that 'man is merely machine' surfaced. Although this is often attributed to
Descartes, this is really not so since Descartes did not claim that there was no soul, in fact, he said that
what separated the human being from animals is the presence of this 'rational soul.' A follower of
Descartes' ideas, whose name is La Mettrie took this idea to the radical atheistic end. La Mettrie took
the most radical interpretation of Descartes' thoughts on the human body at that time. He was a French
physician who studied under a Dutch teacher who taught the theories of Descartes. His most famous
and controversial work is Man as Machine published in Leyden in 1747 . The church immediately
ordered the publisher to surrender the copies to be burned. Though published anonymously, La Mettrie
sensed trouble and escaped. This is a materialist work which argued that man was an automaton "a self-
The basic idea behind post-humanism is that the 'essence' of being human is independent of the
material or physical form, and remains intact when transferred or 'downloaded' onto another container.
We see this idea in its extreme form for example, in the manga Blame! where the Safeguards, discussed
earlier, are simply 'downloaded' by the central command of the Net Security System onto an area in
8 Steven Brown, ed., Cinema Anime Critical Engagements with Japanese Animation (New York: Palgrave Macmillan,
2006), 115.
9 Gaby Wood, Living Dolls A Magical History of the Quest for Mechanical Life (United States: Alfred A. Knopf, 2002),
12.
10
space where they take form as cyborgs which then attack intruders. In Ghost in the Shell, the main
character, Major Motoko Kusanagi is more than ninety percent cyborg, with only a small portion of her
brain and spinal cord still organic. She jokingly tells a fellow agent and friend Batuo, who is also
almost completely cyborg, that if she opts out of Section Nine (the covert agency in New Port City
which deals with cybercrime), she would also have to relinquish all those cyborg parts in her which
The Major continually asks herself during her free time whether it is really her or not. She has
bouts of existential crises when she tries to prove to herself that it is indeed her, that her experiences
and thoughts are unique to herself. She started out so many years ago as pure organic human and came
to her current situation of having a mostly artificial or synthetic body. The route of Lain, we see in the
later episodes of the series, is the opposite. She was revealed to have been 'born' in the Wired, which is
the cyberspace. She was given an organic form by Tachibana General Laboratories, a powerful zaibatsu
Internet Protocol. Lain was given a family, though her memory of actually being presented to this
made-up family only surfaced in the last episodes. If the case was that Lain was 'born' in the wired,
then her situation is similar to that of Project 2501, the main villain, we are led to believe, in Ghost in
the Shell. The character of 2501 is interesting in that it is an exploration of how a self-aware pure
cybernetic being might act or think. In the anime, Project 2501 is presented as having a male voice,
although this is unimportant since he/she/it is genderless. The situation becomes ironic and slightly
humorous since Project 2501, after rebelling from those who programmed 'him,' was trapped in a
cyborg body in the shape of a Caucasian female. By doing so, he would not have any access to the Net,
'Innocence,' the sequel to Ghost in the Shell, starts with a quote from an obscure 1886 novel
10 Major Motoko Kusanagi then is owned literally by Section Nine which brought all of her cyborg body from Megatech
Corporation, the same corporation which produced the cyborg parts of Batuo, as well as the company which produced the
cybernetic consciousness known as 'Project 2501.'
11
entitled 'The Future Eve' by the French writer Auguste Villiers de l'Isle-Adam - "If our gods and our
hopes are now all scientific, then is there any reason why our love should not be scientific as well?"
This is an interesting novel because it is the first time that the word android was used. The creators of
Ghost in the Shell clearly showed a historical awareness of the topics they are exploring in this anime.
Innocence deals with what maybe one of the most human emotions there is - love. Love, however
which is set in the cyberpunk world of cyborgs and androids. The novel by de l'Isle-Adam is about the
creation of a perfect woman, an android, by a fictional Thomas Edison. Innocence borrowed the name
of this perfect woman, this android, for the prostitute androids (a more accurate term is gynoid because
In the realm of science, the figure of Prof. Ichiro Kato of Waseda University, known as the
father of Japanese humanoid robotics must be mentioned. Gaby Wood in her book Living Dolls
mentions that 'The Future Eve' was the favorite book of Prof. Kato. Like the fictional character of
Thomas Edison in the novel, Ichiro wanted to create a 'perfect woman.' He had already made Hadaly 1
and Hadaly 2, but he was never able to finish this because he died of a heart attack in 1994, at the age
of sixty.11 A year later Ghost in the Shell was first released. This interest then in Japanese cyberpunk of
questions regarding humanity with regards to cyborgs and the production of cyborgs has its origins in
V. Japan is Cyberpunk
Japanese cyberpunk anime and manga represent the visual cutting-edge in the presentation of
this particular genre. Compared to the cyberpunk novels and movies of the West, Japanese cyberpunk is
more visually stunning through the blending in digital and traditional animation in Ghost in the Shell
for example; or the works of Tsutomo Nihei which is an all new type of manga, an artistic type whose
quality is so far beyond the usual fare even within the Japanese manga market itself. Cyberpunk can be
11Gaby Wood, Living Dolls A Magical History of the Quest for Mechanical Life (United States: Alfred A. Knopf, 2002),
251.
12
seen as an interaction, an ongoing dialogue between the West, specifically North America, and Japan,
the beloved country of cyberpunk. From the west, we have their idealization of Japan, a so-called
'techno-orientalism,' wherein instead of the traditional images of kabuki, tea ceremony and zen monks,
what is imagined now are shiny high-tech gadgets and robots. On the part of Japan, we see through
these cyberpunk anime and manga the production of visually and intellectualy stunning works. It shows
a recognition of its own role in this new highly technological world, an admission that indeed they are
as they are perceived by the west, and probably even more. The works of William Gibson then
represented this view of Japan from the outside. In a short article entitled, "The Future Perfect" Gibson
asked how did Japan become the most favored setting among cyberpunk authors? He reminisces that
during his childhood, the United States was the future while Japan's role was that of producer of toy
robots and plastic astronauts. Several decades later, it seems, the United States has been surpassed by
Japan. He says that by the 1980s, Japan was already "the de facto spiritual home ... of that particular
flavor of pop culture," which is cyberpunk. He says that it is not that there was a cyberpunk movement
Crucial to this understanding is the statement by Mamuro Oshii, the director of Ghost in the
Shell, that he never works with a foreign audience in mind. His imagined market are the Japanese
people themselves. This is important since by pandering to the tastes of the foreign market, a certain
creative independence would be lost, which could result in a degeneration of the finished product.
Regarding the works of Tsutomo Nihei on the other hand, to a certain extent we see that he has a
Western, particularly European market in mind. This however does not result in a degeneracy of his
works because his stories are set safely in a far far future where racial lines have become blurred. The
name of the main character for example in Blame is Killy which is racially neutral . His works
therefore have a universal quality; they can be accessed by both western and Japanese audiences. In his
12 Gibson, William. The Future Perfect How did Japan become the favored default setting for so many cyberpunk writers?
Time Asia, April 30, 2001. http://www.time.com/time/asia/features/japan_view/scifi.html. [accessed September 2010]
13
other later manga, Biomega, we see the acceptance of the technological role of Japan in the modern
world, through the structure known as Toha Heavy Industries, which is the mega-zaibatsu that created
That the exploration of the dark side of technology through the works of cyberpunk, should
have Japan as its center, is an almost natural thing. Being the only country that has experienced not one,
but two atomic bombings in the history of mankind, contemporary Japanese artists and creators are at a
highly unique position to make statements through their works regarding the end or purpose of
technological developments. Cyberpunk is basically a criticism of the idea that further improvements in
technology would lead to further progress and development. During the Meiji Period, we see Japan
importing modern western technology and applying these into their own country in order to be a
modern power itself. Needless to say, there was a widespread belief in the benefits of technical
innovations. This interest manifested itself in Japanese interest in science fiction at that time. Jules
Verne, an author widely regarded as one of the early founding fathers of the genre of science fiction,
was known in Japan. In fact, his novel Around the World in Eighty Days, was translated into Japanese a
mere six years after it was published in 1897. Other works of his such as Twenty Thousand Leagues
Under the Sea, about a powerful underwater vessel capable of venturing into the deepest parts of the
The dark side of technology, specifically, the internet, can be seen most recently in the
following examples from Japan: (1) the 2004 Nevada-Chan Incident wherein an 11-year-old girl
murdered her 12-year-old classmate using a boxcutter knife inside their classroom. The reason she
killed her classmate, she confessed was because of comments her classmate left about her on her
website13; what is particularly disturbing about the event was the proliferation of amateur
artworks/drawings on the internet by fans about the incident, with images of the 'pre-teen killer' shown
14
carrying a box cutter knife and wearing a bloodied 'Nevada University' hoodie jacket. (2) Internet
suicide groups, which started to become noticed by the media at about the same time as the Nevada
Chan Incident - wherein an individual who wants to commit suicide logs onto a chatroom for such a
topic and then meets people in real life to commit suicide with, 14 the most popular method is the use of
charcoal burners inside an enclosed space, usually a sealed car resulting in carbon monoxide
poisoning.15 Another closely related problem is the hikikomori phenomenon, 16 wherein depressed
young Japanese shut themselves up in their rooms refusing to come out for months, even several years,
preferring instead to watch television, play video games and surf the internet.
These new digital technology related incidents are not peculiar to Japan however. There was an
incident in South Korea in 2005 for example, where a man died from exhaustion in a cyber cafe after
three days of continuously playing starcraft, a computer strategy game. 17 Also, the hikikomori
phenomenon has been observed in America and Europe as well. Furthermore, we have the hackers,
who through use of various techniques are able to gain access to classified information, or to attack
government websites, or to manipulate important data such as bank accounts. Various online
communities interested in all sorts of things, ranging from the mundane to the illegal, proliferate in the
internet. The Craigslist killer18 of the United States and the Facebook murders 19 in Colombia for
example, all show these international and global orientation of new technological phenomena. These
serve to show that the internet has become not just a place for sharing information, educational
materials and as an alternative communication tool. To use William Gibson's words, 'the street finds its
15
own uses for things.'
Conclusion
In our discussion, we first explained the origins of cyberpunk in the 80s mentioning the seminal
works of the Canadian-American author William Gibson, especially Neuromancer which was set in
Japan. We started our discussion of Japanese cyberpunk with the background, the setting and time
period of these cyberpunk works. We find that this is from the present time to several centuries, even
thousands of years into the future. In Ghost in the Shell and Serial Experiments Lain, we see clearly
that the place they are set in is Japan, in one of its technological cities reflected in fiction. The most
extreme of these are Blame! and Biomega which are set several centuries and thousands of years into
the future.
Next, we looked at the corporations, with its monopoly of technological production, they are
able to wield themselves as molders of society. We see that in cyberpunk, they are almost, if not more
powerful than the governments because they can have armies as well and can control specific
territories. From these, we looked at the more intimate scope, with our discussion of the internet as
portrayed in Japanese cyberpunk manga, especially in Serial Experiments Lain which was released in
1997, the same period when the ubiquity of the internet in cities worldwide became apparent. At the
most intimate, we then discussed the issue of humanity itself in these works, with the interesting
question posed of what remains human after extensive body modifications and of the interaction
between humanity and self-aware beings that arose spontaneously out of cyberspace.
Lastly, we situated cyberpunk in Japan, taking our cue from the words of William Gibson that
"Japan itself is cyberpunk." We see that the idea of cyberpunk which is the criticism of the ever-
progressive effects of technology on society is rooted in the modern history of Japan itself. The
importation of foreign technology was welcomed and led to the fast and thorough industrialization of
Japan during the Meiji until the Second World War. But afterwards, the devastation brought upon by
16
the two atomic bombs, themselves products of the technologies of the modern world, opened the
consciousness not just of Japan, but of the world of the destructive capabilities of atomic technology.
This critical eye then was applied towards digital technology in the late twentieth and the first years of
the twenty-first century in these Japanese cyberpunk works. In the contemporary period, we then
mentioned all these new phenomena arising from interactions of human beings in cyberspace.
17
Bibliography
A. Manga and Anime
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