Graham J. Murphy is Professor with the School of English and Liberal Studies (Faculty of Business) at Seneca College (Toronto). He co-edited Beyond Cyberpunk: New Critical Perspectives with Sherryl Vint (2010), co-authored Ursula K. Le Guin: A Critical Companion with Susan M. Bernardo (2006), and authored several articles that have appeared in numerous anthologies and peer-review journals. He is an Associate Editor for Journal of the Fantastic in the Arts and sits on the editorial advisory boards of both Science Fiction Studies and Extrapolation.Lars Schmeink is Professor of Media Studies at the Institut für Kultur- und Medienmanagement, Hochschule für Musik und Theater (Hamburg) and is currently the president of the Gesellschaft für Fantastikforschung (Association for Research in the Fantastic). He is the German section editor for media in the Open Library of the Humanities, the author of Biopunk Dystopias: Genetic Engineering, Society, and Science Fiction (2016), and has published in Science Fiction Studies, Science Fiction Film and Television and Journal for the Fantastic in the Arts.

• Scott BukatmanForeword: Cyberpunk and its Visual VicissitudesGraham J. Murphy and Lars Schmeink Introduction: The Visuality and Virtuality of Cyberpunk I: "Image/Text Concatenations"; or, From Literary to Visual Cyberpunk (and back again) Christian Hviid Mortensen Beyond the Heroics of Gonzo-Journalism in Transmetropolitan Timothy Wilcox Embodying Failures of the Imagination: Defending the Posthuman in The Surrogates Graham J. Murphy Cyberpunk Urbanism and Subnatural Bugs in BOOM! Studios’ Do Androids Dream of Electric Sheep? Stina Attebery and Josh Pearson "Today's Cyborg is Stylish": The Humanity Cost of Posthuman Fashion in Cyberpunk 2020 Pawel Frelik "Silhouettes of Strange Illuminated Mannequins": Cyberpunk’s Incarnations of Light II: "Tactics of Visualization"; or, From Visual to Virtual Cyberpunk (and back again) Christopher McGunnigle "My Targeting System is a Little Messed Up": The Cyborg Gaze in the RoboCop Media Franchise Ryan J. Cox Kusanagi’s Body: Dualism and the Performance of Identity in Ghost in the Shell and Stand Alone Complex Mark R. Johnson The History of Cyberspace Aesthetics in Video Games Stephen Joyce Playing for Virtually Real: Cyberpunk Aesthetics and Ethics in Deus Ex: Human Revolution Jenna Ng and Jamie Macdonald "We Are Data": The Cyberpunk Imaginary of Data Worlds in Watch Dogs III: "Emerging World Orders"; or, Cyberpunk as Science Fiction Realism Evan Torner1980s German Cyberpunk Cinema: Kamikaze 1989 and Nuclearvision Mark Bould Afrocyberpunk Cinema: The Postcolony Finds its own Use for Things Anna McFarlane Cyberpunk and "Science Fiction Realism" in Kathryn Bigelow’s Strange Days and Zero Dark Thirty Sherryl Vint Cyberwar: The Convergence of Virtual and Material Battlefields in Cyberpunk Cinema Lars SchmeinkAfterthoughts: Cyberpunk Engagements with Countervisuality

"Since its inception, cyberpunk has been haunted by the notion that it represents only a very brief moment of the science fictional imagination, a moment which quickly passed. Murphy and Schmeink's smart collection proves the opposite is true: cyberpunk never ended, and in fact its vast transmedia landscape of images, icons, visual artifacts, and technological apparatuses has completely taken over our world." -Gerry Canavan, Marquette University"The report of cyberpunk’s death was an exaggeration, clearly, as the essays in this vibrant collection demonstrate. The ambiguities, complexities and excitements of this intermedial genre are explored here in riveting detail: the legacy of Gibson’s ‘lines of light’ are demonstrated to be, indeed, unthinkably complex." -Stacy Gillis, Newcastle University"In addition to offering the fullest documentation to date of the range of visual media infiltrated by and responsive to the cyberpunk aesthetic, this collection offers bold new arguments about the relation between print and visual narratives and the convergent, cross-media character of contemporary science fiction in general." -Thomas Foster, University of Washington

Graham J. Murphy is Professor with the School of English and Liberal Studies (Faculty of Business) at Seneca College (Toronto). He co-edited Beyond Cyberpunk: New Critical Perspectives with Sherryl Vint (2010), co-authored Ursula K. Le Guin: A Critical Companion with Susan M. Bernardo (2006), and authored several articles that have appeared in numerous anthologies and peer-review journals. He is an Associate Editor for Journal of the Fantastic in the Arts and sits on the editorial advisory boards of both Science Fiction Studies and Extrapolation.Lars Schmeink is Professor of Media Studies at the Institut für Kultur- und Medienmanagement, Hochschule für Musik und Theater (Hamburg) and is currently the president of the Gesellschaft für Fantastikforschung (Association for Research in the Fantastic). He is the German section editor for media in the Open Library of the Humanities, the author of Biopunk Dystopias: Genetic Engineering, Society, and Science Fiction (2016), and has published in Science Fiction Studies, Science Fiction Film and Television and Journal for the Fantastic in the Arts.

• Scott BukatmanForeword: Cyberpunk and its Visual VicissitudesGraham J. Murphy and Lars Schmeink Introduction: The Visuality and Virtuality of Cyberpunk I: "Image/Text Concatenations"; or, From Literary to Visual Cyberpunk (and back again) Christian Hviid Mortensen Beyond the Heroics of Gonzo-Journalism in Transmetropolitan Timothy Wilcox Embodying Failures of the Imagination: Defending the Posthuman in The Surrogates Graham J. Murphy Cyberpunk Urbanism and Subnatural Bugs in BOOM! Studios’ Do Androids Dream of Electric Sheep? Stina Attebery and Josh Pearson "Today's Cyborg is Stylish": The Humanity Cost of Posthuman Fashion in Cyberpunk 2020 Pawel Frelik "Silhouettes of Strange Illuminated Mannequins": Cyberpunk’s Incarnations of Light II: "Tactics of Visualization"; or, From Visual to Virtual Cyberpunk (and back again) Christopher McGunnigle "My Targeting System is a Little Messed Up": The Cyborg Gaze in the RoboCop Media Franchise Ryan J. Cox Kusanagi’s Body: Dualism and the Performance of Identity in Ghost in the Shell and Stand Alone Complex Mark R. Johnson The History of Cyberspace Aesthetics in Video Games Stephen Joyce Playing for Virtually Real: Cyberpunk Aesthetics and Ethics in Deus Ex: Human Revolution Jenna Ng and Jamie Macdonald "We Are Data": The Cyberpunk Imaginary of Data Worlds in Watch Dogs III: "Emerging World Orders"; or, Cyberpunk as Science Fiction Realism Evan Torner1980s German Cyberpunk Cinema: Kamikaze 1989 and Nuclearvision Mark Bould Afrocyberpunk Cinema: The Postcolony Finds its own Use for Things Anna McFarlane Cyberpunk and "Science Fiction Realism" in Kathryn Bigelow’s Strange Days and Zero Dark Thirty Sherryl Vint Cyberwar: The Convergence of Virtual and Material Battlefields in Cyberpunk Cinema Lars SchmeinkAfterthoughts: Cyberpunk Engagements with Countervisuality

"Since its inception, cyberpunk has been haunted by the notion that it represents only a very brief moment of the science fictional imagination, a moment which quickly passed. Murphy and Schmeink's smart collection proves the opposite is true: cyberpunk never ended, and in fact its vast transmedia landscape of images, icons, visual artifacts, and technological apparatuses has completely taken over our world." -Gerry Canavan, Marquette University"The report of cyberpunk’s death was an exaggeration, clearly, as the essays in this vibrant collection demonstrate. The ambiguities, complexities and excitements of this intermedial genre are explored here in riveting detail: the legacy of Gibson’s ‘lines of light’ are demonstrated to be, indeed, unthinkably complex." -Stacy Gillis, Newcastle University"In addition to offering the fullest documentation to date of the range of visual media infiltrated by and responsive to the cyberpunk aesthetic, this collection offers bold new arguments about the relation between print and visual narratives and the convergent, cross-media character of contemporary science fiction in general." -Thomas Foster, University of Washington

Graham J. Murphy is Professor with the School of English and Liberal Studies (Faculty of Business) at Seneca College (Toronto). He co-edited Beyond Cyberpunk: New Critical Perspectives with Sherryl Vint (2010), co-authored Ursula K. Le Guin: A Critical Companion with Susan M. Bernardo (2006), and authored several articles that have appeared in numerous anthologies and peer-review journals. He is an Associate Editor for Journal of the Fantastic in the Arts and sits on the editorial advisory boards of both Science Fiction Studies and Extrapolation.Lars Schmeink is Professor of Media Studies at the Institut für Kultur- und Medienmanagement, Hochschule für Musik und Theater (Hamburg) and is currently the president of the Gesellschaft für Fantastikforschung (Association for Research in the Fantastic). He is the German section editor for media in the Open Library of the Humanities, the author of Biopunk Dystopias: Genetic Engineering, Society, and Science Fiction (2016), and has published in Science Fiction Studies, Science Fiction Film and Television and Journal for the Fantastic in the Arts.

• Scott BukatmanForeword: Cyberpunk and its Visual VicissitudesGraham J. Murphy and Lars Schmeink Introduction: The Visuality and Virtuality of Cyberpunk I: "Image/Text Concatenations"; or, From Literary to Visual Cyberpunk (and back again) Christian Hviid Mortensen Beyond the Heroics of Gonzo-Journalism in Transmetropolitan Timothy Wilcox Embodying Failures of the Imagination: Defending the Posthuman in The Surrogates Graham J. Murphy Cyberpunk Urbanism and Subnatural Bugs in BOOM! Studios’ Do Androids Dream of Electric Sheep? Stina Attebery and Josh Pearson "Today's Cyborg is Stylish": The Humanity Cost of Posthuman Fashion in Cyberpunk 2020 Pawel Frelik "Silhouettes of Strange Illuminated Mannequins": Cyberpunk’s Incarnations of Light II: "Tactics of Visualization"; or, From Visual to Virtual Cyberpunk (and back again) Christopher McGunnigle "My Targeting System is a Little Messed Up": The Cyborg Gaze in the RoboCop Media Franchise Ryan J. Cox Kusanagi’s Body: Dualism and the Performance of Identity in Ghost in the Shell and Stand Alone Complex Mark R. Johnson The History of Cyberspace Aesthetics in Video Games Stephen Joyce Playing for Virtually Real: Cyberpunk Aesthetics and Ethics in Deus Ex: Human Revolution Jenna Ng and Jamie Macdonald "We Are Data": The Cyberpunk Imaginary of Data Worlds in Watch Dogs III: "Emerging World Orders"; or, Cyberpunk as Science Fiction Realism Evan Torner1980s German Cyberpunk Cinema: Kamikaze 1989 and Nuclearvision Mark Bould Afrocyberpunk Cinema: The Postcolony Finds its own Use for Things Anna McFarlane Cyberpunk and "Science Fiction Realism" in Kathryn Bigelow’s Strange Days and Zero Dark Thirty Sherryl Vint Cyberwar: The Convergence of Virtual and Material Battlefields in Cyberpunk Cinema Lars SchmeinkAfterthoughts: Cyberpunk Engagements with Countervisuality

"Since its inception, cyberpunk has been haunted by the notion that it represents only a very brief moment of the science fictional imagination, a moment which quickly passed. Murphy and Schmeink's smart collection proves the opposite is true: cyberpunk never ended, and in fact its vast transmedia landscape of images, icons, visual artifacts, and technological apparatuses has completely taken over our world." -Gerry Canavan, Marquette University"The report of cyberpunk’s death was an exaggeration, clearly, as the essays in this vibrant collection demonstrate. The ambiguities, complexities and excitements of this intermedial genre are explored here in riveting detail: the legacy of Gibson’s ‘lines of light’ are demonstrated to be, indeed, unthinkably complex." -Stacy Gillis, Newcastle University"In addition to offering the fullest documentation to date of the range of visual media infiltrated by and responsive to the cyberpunk aesthetic, this collection offers bold new arguments about the relation between print and visual narratives and the convergent, cross-media character of contemporary science fiction in general." -Thomas Foster, University of Washington