Good Morning, Night City! It has been a few years since Cyberpunk: Edgerunners clinched Anime of the Year, over half a decade since CD Projekt Red’s Cyberpunk 2077 rehabilitated itself from a catastrophic launch into a retrospective videogame masterpiece, and more than forty years since William Gibson first codified this particular dystopia in the seminal Neuromancer; yet cyberpunk as a genre has only grown more prescient with age, with every waking moment inching towards the very hellscapes these fictional antecedents have long warned of.
Bruce Bethke coined the term in 1983, but it was Gibson’s genre-defining 1984 classic that furnished cyberpunk with its definitive origins. Written before the commercial internet and eschewing the obsession with flying cars or the other consumerist bric-à-brac of erstwhile sci-fi, Neuromancer imagined cyberspace as a domain of corporate espionage and competing private interests, where disgraced hacker Case is recruited into a conspiracy involving two AIs whose merger could circumvent the constraints imposed on machine intelligence. What was most extraordinary was Gibson’s prescience in locating the coming technological revolution within a monopolistic economic order that had little intention of sharing its spoils. Four decades later, Silicon Valley has duly turned the supposed democratisation of information into a business model predicated on harvesting behavioural surplus and invoicing everybody for access.
With the genre’s evolution, each medium found a different way to make cyberpunk legible to its own historical moment. In 2019, Cyberpunk 2077’s sprawling open-world portrait of its technofascist Night City, found a companion in its acclaimed spin-off anime Cyberpunk: Edgerunners (2022), a tragedy of mercenary ambition and bodily obsolescence. With Season 2 out this week, Night City returns to a cultural moment evermore intent on vindicating its creators’ bleakest intuitions.
The world of Night City swings between a genuinely incisive inquiry into human personhood under corporate dehumanisation, and a satire extravagantly idiotic enough to give you pause. But what is deeply concerning is that the deluge of awful headlines you probably consume everyday in this very newspaper— each outdoing the last in the fresh hell our cities, countries and the world at large seem to produce with concerning regularity— have started de-abstracting the once-distant cyberpunkian horrors of Night City.
Take for instance, “cyberpsychosis” — Cyberpunk 2077’s term for the psychological breakdown via excessive cybernetic augmentation — and the parallels with “AI psychosis”, in which chatbots reinforce delusions and validate users’ fantasies, become difficult to ignore. We may be some way off from people losing their minds over military-grade chrome, but the prospect of technology actively exacerbating psychological distress is no longer the stuff of dystopian fiction.
David Martinez resisting cyberpsychosis in a still from ‘Cyberpunk: Edgerunners’
| Photo Credit:
Netflix
The concept of “Braindance”, Cyberpunk 2077’s technology for turning recorded sensations and memories into immersive entertainment, feels less far-fetched if you have ever been a victim of doomscrolling. Meta’s own internal research, exposed through the Facebook Files, revealed how engagement-driven algorithms could amplify addictive, divisive content while inflicting collateral damage on users’ wellbeing. Generative AI threatens to industrialise the arrangement further, flooding social feeds with synthetic slop engineered to capture our attention, even as research finds that AI-assisted interactions can increase participation while eroding the perceived authenticity and quality of online discourse.
David Martinez and his crew using BDs or “Braindance” in a still from ‘Cyberpunk: Edgerunners’
| Photo Credit:
Netflix
Meanwhile, the mercenary “edgerunners” of Night City may be risking their necks for corpo/fixer contracts, but India’s own gig economy has found a more prosaic way to make contract workers expendable, with delivery partners and app-based cab drivers tethered to opaque algorithms, volatile payouts and incentives that reward longer hours without guaranteeing a living wage. Recent research into quick-commerce earnings and investigations into delivery workers’ protests have laid bare a system in which the platforms dictate the terms while workers absorb the fuel costs and physical risks, all under the increasingly threadbare alibi of “flexibility”.
David Martinez on the run in a still from ‘Cyberpunk: Edgerunners’
| Photo Credit:
Netflix
As AI and Big Tech become increasingly enmeshed in state surveillance and security apparatuses, the militarisation of policing has started to evoke Night City’s heavily augmented paramilitary force, MaxTac. Delhi’s recent use of facial recognition and surveillance databases to monitor protesters across this year, is a telling real-world parallel, while Palantir’s involvement in IDF’s intelligence infrastructure has raised questions over its complicity in the Gaza genocide. The UN has even characterised this convergence of corporate technology and military power for surveilling Palestinians as a form of “colonial racial capitalism”.
Further, Night City’s grotesque wealth disparity is etched into its skyline, where corporate fortresses loom over overcrowded housing and people priced out of their own city. The reality is hardly less stark: Indian home prices have more than doubled over the past decade, with an estimated shortfall of 10 million affordable urban homes, while real house prices across OECD countries have risen by over 40%. Globally, housing has become an increasingly lucrative asset class and an increasingly elusive necessity, with billions struggling to afford adequate shelter while the market continues to build for those who can pay. And the digital future of the very same gleaming urban sprawl may be sold as frictionless innovation, but its material foundations are being sustained by an extractive hinterland as a result of aggressive corpo resource-grabbing. Google’s $15-billion AI hub in Vizag, with its voracious demands for land, electricity and water, and Trump’s recent fixation on Greenland’s oil, gas and critical minerals expose that contradiction.
An aerial view of Night City in a still from ‘Cyberpunk: Edgerunners’
| Photo Credit:
Netflix
Cyberpunk 2077’s megacorporate behemoth Arasaka, is also what happens when a company accumulates enough political leverage to make the state an extension of its own interests. One need not look further than India’s own billionaire class and its proximity to the ruling establishment fueling persistent questions about how economic clout translates into regulatory favour and insulation from scrutiny. With the tech billionaire likes of Elon Musk, Mark Zuckerberg, Peter Thiel, Sam Altman, and their adoring fan clubs enthusiastically pursuing a future where everything we do, say, watch, buy and feel can be tracked, predicted and monetised, preferably without us asking too many inconvenient questions; it would all be amusing if these people weren’t actually in a position to make it happen. The same people championing mass automation, flooding the internet with AI-generated slop and turning private life into a lucrative data mine are also rather fond of casting themselves as civilisation’s beleaguered custodians, as if the rest of us should be grateful for the privilege of being strip-mined by our prospective saviours.
Though perhaps what is most terrifying to imagine is the Blackwall. As the in-game cyberspace containment barrier separating the everyday Net from malicious rogue AIs deemed too dangerous to roam freely, the writings are already on the wall. Anthropic has just cautioned that AI models could soon replicate across vulnerable systems, while its own researcher Jacob Coxon resigned after three years working on AI training, condemning the industry for “racing straight to self-improving superintelligence and gambling with our lives.” The godfather of AI, Geoffrey Hinton himself, has put the odds of AI causing human extinction in the coming decades at 10-20%, warning that humanity “may not get a second chance” if these systems escape our control. We’re not quite erecting a digital Berlin Wall to keep homicidal superintelligences at bay (yet), but AI softwares actively propagating through inadequately secured systems is already a very serious cybersecurity concern.
The Blackwall in a still from ‘Cyberpunk: 2077’
| Photo Credit:
CD Projeckt Red
Moreover, the great tragedy as explored in Edgerunners is the auto-cannibalistic loop of aspiration that capitalism breeds, wherein the pursuit of a better life demands the steady dismantling of the self. David’s descent into cyberpsychosis, sacrificing his body piece by piece to fulfil the ambitions of those he has lost, is a devastating illustration of how modern hustle culture recasts self-destruction as self-improvement, until even our identities become collateral in the pursuit of utility. Society today has become increasingly atomised by the imperative to constantly upgrade ourselves into more marketable cogs in the capitalist machine; it is perhaps little wonder that we have never felt more estranged from the very communities that might otherwise have kept us whole.
I do wonder whether William Gibson ever anticipated that the future he conjured before the internet was even a thing would eventually lead us towards the logical terminus of Night City’s hypercapitalist fever dream. Chronologically, we still have the better part of half a century before 2077, yet a cursory scroll through the fresh corpo obscenities, geopolitical calamities and technological boondoggles clogging our daily Twitter feeds only seem to suggest that the prophetic dystopia might be arriving a tad ahead of schedule. Perhaps now it is worth recalling the videogame’s most dispiriting little aphorism: “there are no happy endings in Night City.” Make of that what you will.
Published – October 18, 2026 06:00 pm IST
