“We believe if you have a serious critique of capitalism and the state (along with the related oppressions they spawn), it might be wise to reclaim their fortresses-the cities. The cities are the home to modern capitalism and state power. They are the engines of the modern economy and the places where their devastating policies are made. We have to confront the enemy at their fortress, if we take away their fortresses they will cease to exist.
For too long, anarchists have surrendered where 3/4 of the world lives to these corrupt and corrupting powers. We believe urban anarchists must organize and create militantly radical infrastructure in the very belly of the beast, if we wish to have substantial victories. Retreating to the forests and wildernesses will not stop the dual juggernauts of capitalism and state power.”
Cyberpunk is a fascinating genre that doesn’t seem like it has much to do with environmental history at first glance. After all, the entire genre is about the negation of nature, the creation of soulless megalopolises and the heartless domination of corporations, tyrannical states, and ganglords.
Put that another way, however, and it’s obvious that cyberpunk is far, far better when informed by an ecological and historical framework. I’ve been working on a fun side-project in the last couple of weeks. I’ve been developing a cyberpunk RPG setting alongside a group of friends and have been responsible for laying the groundwork for the setting’s geography, culture, and overall history.
The setting, Los Angeles in 2067, is besieged by rising sea levels on one hand and the intensification of heat and smog on the other. Injustices committed by corporations and mercenaries affect not only the human beings in the city, but the aquatic and terrestrial life as well. Fish and seals die off in large numbers, feral dogs roam the streets, plants and trees warp and twist under the stress of the new environmental conditions. This is cyberpunk influenced by a view of human and animal bodies, and the cities they inhabit, as natural systems. Complexity, information, and a high level of entanglement define everyday life for the (thanks Donna Haraway) Chthonic denizens of the new world.
The city itself carries an air of melancholy, especially in quarters that haven’t be renovated into walled-off, antiseptic Arks designed to insulate the wealthy, white population from masses of climate refugees and furious locals. Urban zones are full of life struggling with the weight of machines, automation, and the jackboots of mercenaries for space and air. Every urban ecosystem, though, spites and outgrows the imaginary limitations put on it by engineers and design perfectionists. Groves of trees split abandoned bunkers in two, groups of citizens cultivate crops in now-desolate suburbs, fish and other aquatic beings recolonize flooded cityscapes. Cyberpunk today should be without hope, without the optimism of a final revolutionary cleansing, but also! fundamentally about people who struggle in harsh daylight and in the shadow of the capitalist nightmare for sustenance. Cyberpunk is about people who modify their bodies for pleasure, who steal every happy minute from ruthless employers or anti-loitering robocops. Cyberpunk is stripping away the comforting and deadening dream of North American imperialist capitalism.
Recently, to diverge from the topic slightly, the Network in Canadian History and Environment (NICHE) ran a miniseries about hope in environmental history. My field of environmental history is often decried for its “declensionism,” which in layperson’s terms means an obsessive focus on the declining state of ecosystems and the terrors humans have inflicted on the natural world. Many of the authors describe cases of limited environmental renewal and some ways that scholars of ecologies past can integrate hopeful narratives into their writing. For instance:
“Contemporary conceptions of hope as an expectation for an axiomatically better and brighter future are, of course, a historical construct. Hope’s progress-oriented cousins—optimism and expectation—should be seen as an outgrowth of an industrial society which assumes robust economic growth, the right to commoditize nature, and constant technological advance. This idea is embodied in E.F. Schumacher’s quip: “Just wait another minute—we shall all be rich and happy.”
I would argue that hope, optimism, and expectation are all tied into the same idea of potential miraculous deliverance or at least spontaneous victory over adversity. In my upbringing, hope was always connected to the miracle of the Resurrection and the expectation of the Second Coming. Though many people integrated this idea into a practice that cared for the world and hoped to heal its ills in the present, many used that hope/expectation as an excuse to throw the material sphere onto the trash heap and watch, sometimes gleefully, as it burned.
So, although cyberpunk is, I would say, often condemned to be fetishistic and oddly sentimental about its technologies of control and surveillance and its aesthetics (embodied by the weird nostalgia infecting products like the Shadowrun tabletop game), environmental history also has something to learn from a no-futurism like cyberpunk. At its best, cyberpunk is not dystopian, utopian, or even overly pessimistic. Instead, cyberpunk can be a logical extension of present-day issues in a more concentrated and antagonistic setting. It is speculation that arrives at the sobering conclusion that things will probably get harder and worse, but not to the point of absurdity. It shows that our lives constitute a struggle, a campaign of attack, defence, and retreat against systems of oppression, capitalist violence, cisheteropatriarchy, settler fascism, naïve techno-messianic hopes, and so on and so on. So environmental history informed by cyberpunk and other techno-pessimist projections is one that can embrace a certain degree of positivity while noting that, in the Cthulucene and Anthropocene/Capitalocene era, there are no technical solutions and the systems that degrade the resilience and health of ecosystems are only going to be better-armed and fiercer in the future.
Cyberpunk is something like an antibody, a way of looking at fiction and at the future that insulates us, makes us cynical where we ought to, and cherish the beauty of the world. It’s a reminder that, in order for us to continue to struggle and attack, and help each other, we all need lives worth living, and that we have a long list of networked and heavily armed and well-funded oppressors who stop us from having those lives. When writing environmental history, we should not only be critically hopeful, but be critical of hope as well as sentimentalized despair. We need to acknowledge that, as academics or as activists, our words will only reach some ears, and that it’s not our job to make hope. Hope happens in communities of resistance and struggle, in the deserts, cities, forests, and beaches, scrublands and marshes. We cannot summon it from words alone.