September 13, 2022 marked the premiere of the web anime series Cyberpunk: Edgerunners on Netflix. The anime series, produced by Studio Trigger, is based on the video game Cyberpunk 2077 developed by CD Projekt Red.
The synopsis of the show reads “a standalone episode story about a street kid trying to survive in a technology and body modification-obsessed city of the future”. Set in the Cyberpunk universe, the animated series serves as a prequel to the game. The series features an original script and a cast of characters unique to the show, although it continues to take place in Night City borrowed from the game.
Immediately upon its release, fans of the Cyberpunk merchandise have been eager to place the two works side by side to measure up how they stack up against each other. So far, the show Cyberpunk: Edgerunners boasts a 100% rating on Rotten Tomatoes “average tomatometer”, and 96% in average audience score. Meanwhile despite Cyberpunk 2077’s global popularity, the game has been receiving mixed reviews ever since its release, boasting a rating of 7/10 on Steam.
In one gamer’s review: “Cyberpunk 2077 often tries too hard to be too many things at once”. Despite its promise of cyberpunk aesthetic, body modifications, and deep philosophical themes, the level of technological sophistication simply did not hold up. The level of specialization players could select for their avatars were extremely limited, and the presence of many bugs greatly affected the gaming experience.
But even then, as an open-world game where players are free to approach objectives freely, surely it offers more freedom and agency than a show about cyberpunks — right?
As Canadian communication theorist Marshall McLuhan coins: “The medium is the message”. In the 1985 book Amusing Ourselves to Death: Public Discourse in the Age of Show Business, the educator Neil Postman agrees with McLuhan that “form determines content”. Postman contended that a particular medium is only capable of sustaining ideas on a particular level of depth. As such, the corrosive nature of television on our intellectual lives lies in its inability to communicate rational arguments, as it is a medium based on images.
To consider, what sort of content does the medium of video games command? What about animated series?
Moreover, if we assume that people’s tastes are consistent, will they be consistent across different genres? For instance, are fanatics of the cyberpunk genre more likely to adore both the game and the show? Or are fans of video games or fans of anime more likely to adore either the game or the anime?
Sources:
Amusing Ourselves to Death Book Summary: https://kadavy.net/blog/posts/amusing-ourselves-to-death-book-summary-neil-postman/
Cyberpunk: Edgerunner wiki: https://cyberpunk.fandom.com/wiki/Cyberpunk:_Edgerunners
Cyberpunk 2077 review: //culturedvultures.com/cyberpunk-2077-ps4-review/
The Medium is the Message: https://www.smashingmagazine.com/2011/07/the-medium-is-the-message/
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Hi Isabelle,
Thanks for the great recap on these issues! I think another interesting aspect is that sales of the video game have skyrocketed since the success of the anime series – will this start a new trend of game companies trying to use their IP rights in this way? Video game movies have traditionally been unsuccessful due to the difficulty in taking away player agency and decisions in a story, but potentially there is something that made this show special?
This even ties in with our discussions on game modifications since creators have been installing edge runner locations and character skins into the video game. CDPR seems to have little-to-no issue with this practice as it allows them to capitalize greatly on the hype and positive reviews of the series.
I think it’s interesting that a role-playing game is seen as more limited than a series that only unfolds in one way, but I think you’re right that it has to do with the expectations of players versus watchers. There is an active nature of playing games, but maybe that can be overcome through relatable characters and interesting plotlines to the point where viewers don’t mind being passive observers.