Cyberpunk, the Postglobal and the Posthuman

The Replicant Question

In Blade Runner (1982) replicants are the robotic human-like creations that live amongst humans in this cyberpunk future. In Blade Runner the main character, Deckard, is tasked with “retiring” four replicants (meaning kill them) as they have escaped from an off-world planet back to Earth to find their maker. Through his journey to find the replicants however, Deckard begins to question something about replicants that he has never questioned before: their humanity. When Deckard meets replicant Rachel, the assistant to the CEO of a replicant making company, his view on replicants completely shifts as they begin to develop a romantic relationship. As the movie progresses, we see a gradual change in Deckard’s attitudes about replicants. At the beginning of the movie, it is clear that he does not think twice about whether or not they have humanity and should have the considerations that humans do. Starting when he meets Rachel throughout the rest of the movie, he begins to see that replicants are more similar to humans than he previously believed. In this movie, humanity is tested through the Voight-Kampff test which attests humanity to pupil dilations, heart rate, and respiration while being asked a series of questions. This reduces being human to the ability for your body to function in a specific way, not based on emotion, reasoning, or desires, of which many believe makes us human. Replicants are able to pass this test, underscoring that humanity is not based on what your body can or cannot do, but something deeper. It is also clear that the replicants have a desire to live, something also attributed to humanity mainly. It is from this that the watchers begin to question what it means to be human themselves. If the replicants exhibit the same traits as humans, how can we not consider them human?

The Cyberspace Question

In Neuromancer by William Gibson, the question of humanity is present in a similar way as Bladerunner. I will say, however, that humanity is more nuanced in Neuromancer than in Blade Runner because in this cyberpunk world almost everyone either has access to or has done technological modifications to their bodies. There is no test to see who is human by their bodily reactions because it is null and void. In this world, AI’s can think and feel in the same way that humans can, and constructs preserve memories of those long gone and create new personhoods for those who want to forget their past. In this world humanity is complex, not defined by an overall understanding or agreement on what it is, but rather defined by the individual and if they view themselves as human. Even Case, the main character, applies humanity to the AI’s who many do not consider human by calling Wintermute “he” instead of “it”. Neuromancer explores self outside of the physical body, bringing in an intoxicating complexity to our central question of what it means to be human.

The Humanity Question

Both works feed off of each other to understand our central question. If feel as though, however, in a way that Blade Runner is the beginning of trying to understand this question while Neuromancer is the future in which there is already an understanding that humanity cannot be defined by something as arbitrary as physical capabilities. Though Neuromancer feels more advanced than Blade Runner in this aspect, the thing that ties them together is that the question remains unanswered. There is still confusion about what the boundaries of humanity are and what that means for the way we treat human-adjacent beings. In both works we see characters forming connections with the beings that are not considered human, as well as seeing the non-human beings having thoughts, feelings, and desires that make them more human than not. Both leave us with a question, not how are these beings human, but what is humanity overall.

I, Aaliyah Bailey, attest that there was no AI usage in any portion of this work. All ideas, planning, and executions were of my own hand.

References Gibson, W. (1984) Ace Books. Scott, R. (1982). Blade Runner: The Final Cut. In vudu.com. https://www.vudu.com/content/movies/details/Blade-Runner-The-Final-Cut/129093

More Human Than Human? Cyberpunk’s Obsession With the Edges of Humanity

Two Cyberpunk Classics, One Shared Question

In both Ridley Scott’s 1982 film Blade Runner and William Gibson’s 1984 novel Neuromancer, cyberpunk confronts a central and unsettling question: what does it mean to be human when technology can imitate, exceed, or even rewrite humanity itself? This genre really makes us question how “artificial” beings, whether they’re replicants or advanced AI, force us to rethink the boundaries we once assumed were solid. When we look at these two foundational works side by side, we can feel a shared worry about how fragile identity becomes in a world where memories can be created from scratch, consciousness can be transferred, and even the idea of who counts as a person isn’t guaranteed.

Replicants, AIs, and the Fragility of the Human Script

Blade Runner introduces this question immediately through its replicants; biologically engineered beings capable of emotion, creativity, pain, and desire. They are indistinguishable from humans except for slight emotional delay, which is tested through the Voight-Kampff empathy exam. The test functions as a gatekeeping script for humanity. When Rachel asks Deckard, “Have you ever retired a human by mistake?,” the film quietly suggests that the line the test claims to measure may already be lost. Replicants are “more human than human,” as the Tyrell Corporation proudly declares, meaning that the very category of “human” is defined not biologically, but politically and economically. Gibson’s Neuromancer takes this crisis even deeper. Through AIs like Wintermute and Neuromancer, the novel really breaks down the idea that consciousness only belongs to living, biological beings. These AIs can shape human memories, talk with an almost personal closeness, and act in ways that feel surprisingly emotional. When Wintermute tells Case it was “born to know,” we’re pushed to ask whether things like curiosity, longing, or growth are truly human traits or if digital minds might have a claim to them too. Together, these works insist that humanity is not a fixed essence but a contested category shaped by corporate power, technological evolution, and narrative control.

Memory, Identity, and the Crisis of Authentic Selfhood

One transformative boundary both works interrogate is memory. In Blade Runner, Rachel’s memories are implants, borrowed from Tyrell’s niece. Yet the emotional weight of these memories still shapes her identity. The film asks: if our experiences can be coded, edited, or inserted, is authenticity even measurable? Neuromancer mirrors this theme through the digital realm of cyberspace, where memories can be stored, modified, or accessed like files. Case’s neurological damage is his inability to “jack in” after losing access to cyberspace, which shows that his sense of self is tied not to his biology but to his digital consciousness. For both Case and the replicants, identity becomes inseparable from the technologies that shape their perception of the world. Examined side by side, both works suggest a radical cyberpunk idea: humanity is not defined by origin but by experience, and when corporations control the production of those experiences, they control the meaning of being human.

Why These Two Works Still Matter

When we look at Blade Runner and Neuromancer together, it becomes clear that cyberpunk is deeply worried about what actually counts as “human.” The genre shows that this boundary isn’t fixed at all—it’s political, fragile, and easily rewritten by technology. Both works warn that once identity can be engineered, whether through bio-designed replicants or highly advanced AI, society is forced to rethink who deserves rights, protection, and recognition. And this isn’t just a fictional concern; the prompt reminds us that cyberpunk is really pushing us to think about real issues like digital identity, bodily autonomy, and the ethics of new technologies. Read side by side, these texts show a genre that wants us to see how technology reshapes personhood—and how those changes can strengthen corporate power while leaving individuals more vulnerable. Cyberpunk’s warning still feels real today: the future of humanity may depend on who gets to decide what “being human” actually means.

References

Gibson, W. (1984). Neuromancer. Ace Books. Scott, R. (Director). (1982). Blade Runner [Film]. Warner Bros.

#### The Moment When Technology Becomes Like Us

The distinction between people and robots continues to blur as technology advances. AI can already write articles, respond to inquiries, and even mimic human emotions. This raises a crucial question: what precisely constitutes humanity? What does it mean to have a body, memories, feelings, or anything else? William Gibson's Neuromancer (1984) and Blade Runner (1982) examined these issues long before today's artificial intelligence gained popularity. Both works contend that experience, memory, and moral responsibility, rather than just biology, define humanity. Taken together, they reveal that cyberpunk is more about who should be considered fully human than about amazing technology.

In Blade Runner, Replicants Contest Human Power

Although replicants are made to serve humans in Blade Runner, many of the individuals who chase them end up acting more "human." Rachael and Roy Batty are examples of characters who experience love, fear, confusion, and despair. According to Turkle (2011), contemporary technology alters people's perceptions of relationships and emotions. Humans start to depend on technology for emotional connection as robots get better at expressing emotion, which makes it harder to distinguish between manufactured and real emotions.

Although the Voight-Kampff test is meant to distinguish humans from replicants, it merely assesses responses rather than genuine emotions. However, the film demonstrates the flaws in this style of thinking. Rachael thinks that because she has memories and feelings, she is human. Roy demonstrates profound contemplation and knowledge of life and death in his farewell address. It is morally immoral to treat replicants as things if they are capable of thought, emotion, and suffering. This makes viewers wonder if people truly deserve to be considered "superior."

Neuromancer's Cyberspace and Escaping the Body

Neuromancer is about computerized brains, whereas Blade Runner is about mechanical bodies. Cyberspace is where Case feels most alive and detached from his physical body. He even refers to the actual world as "meat," indicating that he considers his body to be a burden. According to Hayles (1999), identity is no longer only connected to the physical body in a digital culture. Instead, networks, data, and virtual worlds are how individuals see themselves.

Wintermute and Neuromancer are AI systems that plan intricate activities, deliberate methodically, and influence humans. They behave like intelligent creatures in many respects. They are, however, under corporate control, demonstrating how power even controls intelligence. This implies that being "smart" does not equate to freedom in a technologically advanced environment. AIs and humans alike are ensnared in profit-driven systems. This supports Hayles's (1999) contention that while technology changes human identity, it does not always free people.

Power, Memory, and Who Gets to Matter

A significant similarity between the two pieces is the significance of memory. In both pieces, memory plays a significant part. Even though they are not genuine, Rachael's manufactured memories influence who she is. His digital encounters alter Case's perception of himself. These illustrations demonstrate how both real and virtual experiences shape identity. Bostrom (2014) cautions that humans will no longer be able to govern artificial intelligence as it develops. Highly intelligent systems can behave in ways that are inconsistent with human ideals. This worry reflects what occurs in Neuromancer, where businesses, not moral values, dominate strong AI systems. In total, Neuromancer and Blade Runner both demonstrate how corporations control society. Artificial or human intellect is viewed as a commodity by the Tyrell Corporation and other influential tech firms. This calls into question who oversees knowledge and who gains from advancements in technology.

Why This Discussion Is Important Today

According to some, AI will enhance human existence by boosting productivity, enhancing healthcare, and advancing education. Others fear that moral duty and empathy will be weakened by technology. Turkle (2011) contends that genuine human connections deteriorate when individuals rely too heavily on technologies to provide them with emotional connections. However, Bostrom (2014) cautions that if strong AI systems are not properly managed, they may turn deadly.

Neuromancer and Blade Runner demonstrate that technology is neither good nor harmful in and of itself; it all depends on how it is utilized. Humanity may suffer if society prioritizes efficiency and profit over compassion and accountability. These tales serve as a reminder to readers that ethics must drive technical advancement.

Conclusion

Neuromancer and Blade Runner together ask readers to reconsider what it means to be human in a technologically advanced society. They contend that moral responsibility, memory, and emotion, rather than just biology, are what characterize humanity. These pieces caution that, in the absence of moral guidance, technology might erode human values through the use of artificial bodies and digital brains. Cyberpunk encourages society to responsibly create the future rather than merely forecasting it.

Sources

Gibson, W. (1984). Neuromancer. Ace Books.

Scott, R. (Director). (1982). Blade Runner [Film]. Warner Bros.

Bostrom, N. (2014). Superintelligence: Paths, dangers, strategies. Oxford University Press. Retrieved from https://en.wikipedia.org/wiki/Superintelligence%3A_Paths%2C_Dangers%2C_Strategies

Hayles, N. K. (1999). How we became posthuman: Virtual bodies in cybernetics, literature, and informatics. University of Chicago Press. Retrieved from https://en.wikipedia.org/wiki/How_We_Became_Posthuman

Turkle, S. (2011). Alone together: Why we expect more from technology and less from each other. Basic Books. Retrieved from https://en.wikipedia.org/wiki/Sherry_Turkle

AI Attestation: AI was used to create the image used in this post. https://chatgpt.com/share/6986bd3f-98bc-800d-8103-c931d965fce4