The ships are old junk heaps run on a shoestring by hard-bitten characters on the edge, seemingly held together with two pieces of string, chewing gum, and the will of God — the SF equivalent of the struggling Film Noir private eye, in other words.
Old parts, new parts or spare parts, you can shine no matter what you're made of!
This is a future in which, for the privileged, almost everything is home delivered, either virtually via streaming and cloud technology, or physically via driverless vehicle or drone, then screen “shared” on a mediated platform. It’s a future that employs far fewer teachers, doctors, and drivers. It accepts no cash or credit cards (under guise of virus control) and has skeletal mass transit and far less live art. It’s a future that claims to be run on “artificial intelligence” but is actually held together by tens of millions of anonymous workers tucked away in warehouses, data centers, content moderation mills, electronic sweatshops, lithium mines, industrial farms, meat-processing plants, and prisons, where they are left unprotected from disease and hyperexploitation. It’s a future in which our every move, our every word, our every relationship is trackable, traceable, and data-mineable by unprecedented collaborations between government and tech giants.
Em uma versão cyberpunk do Rio, Heitor é um jornalista fracassado que vive de postar notícias-Gif, mas sonha em finalmente conseguir uma grande reportagem. Quando ele encontra um misterioso HD com informações que poderiam comprometer a corporação Intercom, Heitor começa uma investigação pelo submundo do Rio, mas este “jornalista” pode não estar preparado para os rumos que sua “história” irá tomar.
"In the 1930s, if you were an engineer who really dug automobiles, you would do well to get a job at Porsche, where Nazi tanks would end up being developed. If the 2010s, if you are a hacker who really believed in networks, you would do well to get a job at a security company developing zero-day exploits for sale to authoritarian governments. This is where the aesthetic of our 'cyberspace' technology has led us. The cyberpunk has become a curtain, that looks like the future, but hides the truth of exploitation. The cyberpunks are still hackers, but they are not working against the corporations, but for them."
se liga aí, futuro da urbanitude. sou mais o pôr do sol no corcovado de Ubatuba.
Triste... gambiarras para a guerra. /via @bruces