Yes, Cyberpunk 2077 has something to say

cyberpunk 2077 has been subjected to a tsunami of complaint. a whole lot of this is valid and truthful—the bugs and technical problems, the antiquated open international design, and the underwhelming rpg mechanics are all genuinely identifiable flaws. there's one accusation being made of the sport, but, that i locate completely baffling, and this is the belief that cyberpunk has not anything to say.

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that is a commonplace grievance among critics and gamers alike. npr's scathing review of cyberpunk hinges almost entirely on the notion that cyberpunk is thematically empty, whilst eurogamer's (commonly awesome) overview states "a lot power has been directed at the query of cyberpunk 2077's parable. of what it says. it says not anything."

in my opinion, i find this a abnormal commentary to make closer to any sport. all art has something to mention about the arena in which it was created, whether it intends to or not. but the idea that cyberpunk has nothing to say is mainly atypical, because it almost screams its message from every skyscraper-packed street corner.

i assume those criticisms stem from a more wellknown thematic weariness. the haven of company materialism that cyberpunk affords us with has been explored exhaustively each in broader cyberpunk fiction and videogames themselves. aesthetically, night metropolis is a pastiche of gibson's sprawl and scott's l. a., a vision of the future this is itself 4 many years vintage. in the meantime, from syndicate to fallout to bioshock to grand robbery vehicle, video games have satirised and philosophised approximately capitalism for many years, with various stages of achievement, and varying degrees of hypocrisy.

and it's true that cyberpunk's metropolis is shallow, but it is not meant as a parody. at least, not ordinarily. the whole lot in night town is surface. you may tell by searching at a person what gang they are affiliated with, what corpo they work for, what cyberware they are wearing. reminiscence too can be externalised in night metropolis, able to be recorded, edited, and played returned in the form of "braindances", used as reasonably-priced amusement for the hundreds. its maximum advanced generation, locked away in arasaka tower, can even suck the soul out of someone and stick it on disc.

in other words, cyberpunk's global does now not permit a person an internal existence. anywhere you look, night time metropolis desires to reach inner you and pull something's in there out for anyone to see. in an surroundings wherein your recollections can be edited and your personality digitised, who you're will become a critical query.

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it is this query cyberpunk's tale seeks to reply. that is maximum evident in the sport's protagonist, v. in the first 1/2 of the game, v's simplest goal is to make a name for themselves, to emerge as more than simply an edgerunner doing small-time jobs for the city's diverse fixers. v's want is granted via the threat to tug off an bold heist, stealing a slice of that soul-sucking tech from the arasaka organisation.

v efficaciously pulls off the heist, however at substantial value. their exceptional pal jackie is killed, and so is v. that is, till the silverhand construct v stole brings them back to life. but the construct's reasons are egocentric—it wishes v alive so it could pretty literally overwrite their memory with that of keanu reeves' rockstar terrorist.