If Ridley Scott wondered where we were headed 35 years ago, then Denis Villeneuve’s breathtaking sequel roots itself firmly in the now to show where we ended up. The film doesn’t provide many concrete answers, but time does. Is Deckard human or machine? Will Rachael live or die? Can our world be improved, or is it too late?
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It’s a movie filled with questions and potentiality. The strength of its worldbuilding is in how speculative it is audiences in 1982 were unsure of the future for a myriad of reasons, and Blade Runner’s bleak, techno-urban decay isn’t quite apocalyptic as much as it teeters on a precipice. Įven though cyberpunk frequently uses the circumstances of the now to imagine the future, there’s an uncertainty about how the original Blade Runner frames its narrative.
The genre owes a debt to countless pioneers and ancestors, but there is arguably no singular piece of cyberpunk fiction more recognizable than Ridley Scott’s Blade Runner.
John Brunner’s The Shockwave Rider, Katsuhiro Otomo’s Akira, and William Gibson’s Neuromancer all consolidated the aesthetics of hacker culture with the sensibilities of the punk rock movement, predicting social trends and scientific advancements in the process. At the dawn of the 1980s, the architects of the budding artistic movement that would become cyberpunk had no idea they were doing the work of modern oracles.
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