[pieds]

Gibson was obviously very inspired by Japan. The Matrix was also in part directly inspired by Ghost in the Shell, even creating The Animatrix at the same time. But Ghost in the Shell and Blade Runner was told from the inside. It is about the authorities chasing down rouge elements. Neuromancer and The Matrix is from the perspective of the outsiders.

Like someone else said in the comments here, cyberpunk is counterculture. It is in the name. Gibson moved to Canada to avoid getting drafted into the Vietnam war. Japan never really did counter-culture as mainstream as the US does. Considering the overlap between cyberpunk and anime, I would actually say that Japan is sometime given too much credit by being treated as the superior original with deeper meaning. When it is Western media that have explored more advanced and diverse interpretations.

A similar thing happened with Battle Royale. A niche movie. The same concept became a cultural phenomenon with The Hunger Games, and later Maze Runner and Divergent series. And then video games. Now made from the outspoken perspective of the teenagers.

So you should absolutely credit the US counterculture and environment for a large part of cyberpunk and dystopian, but also more utopian science fiction. I don't even like Hollywood much, but it still has a far wider catalog than anyone else. Who else could make Grand Theft Auto, Call of Duty: Modern Warfare or even Star Trek: Voyager? Disney made Andor by the way.

[Barrin92]

>Japan never really did counter-culture as mainstream as the US does.

"Mainstream counter-culture" is certainly a funny turn of phrase. That's largely the problem with it, there's a great book, The Rebel Sell[1], about how American counter-culture isn't the opposite, but the actual driver of American commercial culture. The Hunger Games is not authentically creating any kind of subversive message, to be a Hunger Games rebel is mainstream. Baudrillard, who is featured in the Matrix, used to remark that the the Matrix is the kind of movie the matrix would make to think you've won. The Wachowskis who are very American did not understand S&S.

Japan's counter culture has always been much more serious because it's always been much less interested in spectacle. There's very few things that stand out as much as Oshii's Patlabor II when it comes to genuine criticism of, in that case, the role of Japan during the cold war and the ways peace tends to be fake in many ways.

[1]https://en.wikipedia.org/wiki/The_Rebel_Sell

[disconcision]

> used to remark that the the Matrix is the kind of movie the matrix would make to think you've won. The Wachowskis who are very American did not understand S&S

to be fair this is explicitly a theme in the (imo unjustly maligned) sequels

[makeitdouble]

> Japan never really did counter-culture as mainstream as the US does.

I would put Akira in that bucket, but I see your point.

The way counter-culture is brought into mainstream is a lot more strategic in Japan, and the reader is expecting to do more deciphering work than in Blade Runner for instance.

E.g. Final Fantasy is overtly about fighting a Zaibatsu like corporate overlord that's depleting the vital resources of an environment. But what's promoted is gun-swords, spiky hairs and cute or sexy fighters.

Same way Reiji Matsumoto's Galaxy Express 999 is a 113 episodes long dissing of the corporate culture but it's all behind psychedelic tropes.

Those are arguably mainstream, given the money,an-hours and corporate weight invested in them and the general reception.

But none of them will put the main message up-front as much as Hunger Games would for instance, there is always a veil of flashiness that needs to be peeled to get to the substance.

(to note, SF live action is a lot harder to fund in Japan. I'd attribute that to the existence of anime which is so much more cost effective. With the budget for a live action Gundam you could make three TV series)

[Findecanor]

> Grand Theft Auto, ... Andor

Those were made in Britain by British creators.

[pieds]

The UK certainly have had its own counterculture. In some ways more than the US. That still doesn't take away from the franchises being published (and in parts made) by US companies with US culture in them.

The UK had an influence in punk music. But it was also banned by the BBC and bands were at times left to tour elsewhere. Japanese companies created most of the affordable electronic instruments. Yet, electronic music in jungle, drum and bass, UK garage and rave culture took off in the UK with influences from reggae, soul and R&B. Now with the help of BBC Radio 1. This style of music then made it into Japanese video games. With similar things happening in the US with jazz, hiphop and house music.

I'm sure it is possible to gotcha the argument. Hollywood has still created far more interpretations of science fiction in media than anyone else. If you really want to argue for British dystopian science fiction movies then Children of Men is an excellent example. But it is also almost the only one of note.

A country with major influence on science fiction that often goes uncredited probably isn't Japan but Canada.

[tracerbulletx]

Tony Gilroy isn't British.

[throw4847285]

I read an interview in the back of one of the volumes of Gundam: Origin where original series creators Yoshikazu Yasuhiko and Yoshiyuki Tomino reflected on their history in the student protest movement of the 1960s. It was a fascinating read because I didn't know anything about the Japanese New Left, and all of a sudden it made Gundam click for me in a way that it hadn't before.

It also made me realize that my knowledge of Japanese history and culture was extremely limited, but because I consumed a lot of Japanese media I vastly overstated my own knowledge. These days I try not to make sweeping statements comparing our respective countries.

I would suggest you think about what you don't know.

[pyrale]

Fascinating how people can make "counterculture" into a contest between nation-states.

[psychoslave]

"my country counterculture is so much better" could be ridiculously funny if it wasn't so sad to consider a presumably intelligent adult could utter it in complete sincerity.

Producing more in quantity, with far biggest allocated budget, and even better quality on everything that can be measured at surface level, all that is no guarantee to reach a work that is deeper in spirit.

Those who don't question what's wrong in themselves due specifically to the culture they were fed with are not on the path to elude its sway.

[leoc]

Right: bascially, 1980s-vintage William Gibson is a post-New-Wave SF writer who's a fan of hard-boiled novels and of New Hollywood "outlaw" bohemianism, so his heroes are pimps, thieves and murderers. 1980s-vintage Shirow is a fan of military SF, so his heroes are paramilitary death squads. Now, that's a little jaded, but I think mostly simply accurate. I don't think that generalises well to a US/Japan distinction though. As others have said, Akira is surely more of an outsider story. (Beyond cyberpunk, have a look at the political backgrounds of senior Ghibli people like Isao Takahata, Kondo Yoshifumi and Hayao Miyazaki. I've read somewhere, but can't confirm, that people like that tended to end up in animation precisely because Communists were blackballed out from more respectable industries.) And the US is the land of Dirty Harry and Niven and Pournelle as much as Bonnie and Clyde and Blade Runner.

[KennyBlanken]

> Neuromancer and The Matrix is from the perspective of the outsiders.

The primary difference being that in the latter, it's an allegory about being trans, written by two trans women who had not yet come out. Which makes the most superficial interpretation of the movie's themes by toxic masculine types all the more hilarious...

It's buried enough to have kept Hollywood's morality police from killing it and if memory serves they never discussed this with Reeves until well after. There still had to be concessions; I believe Switch's character was originally more androgynous or outright trans, not just a butch woman with a male partner.

> Japan never really did counter-culture as mainstream as the US does.

...what? Bosozoku (for example) has its roots in WW2 veterans who struggled to integrate back into society. Japanese manga and anime is waaaaaay more diverse and counterculture. Christ, can you imagine a comic book and cartoon in the mid/late 80's about a character who repeatedly switches genders both by accident and on purpose?

[pja]

IIRC Switch was originally conceived as having one gender in the outside "real" world but another when incarnated in the Matrix (where your own self body image defines you). Hence their name - they switched.

This was all dropped at some point - the only surviving relic being the name of the character.

[gsf_emergency_2]

Ah..

Japanese media in general has poorer "production values", but they work very hard to draw (as accurately as possible) from global source, that's reflected in their mind boggling diversity. The less strange stuff get to inspire American versions.

It also seems that you have not asked any LLMs before posting this..

GTA "equivalent": https://en.wikipedia.org/wiki/Yakuza_(franchise)

[videogreg93]

I really don't think Yakuza games are anything like GTA besides "being in a city". Yakuza has none of the sandbox elements like GTA, the city is more like an elaborate menu to go from mission to mission/side quest/activity.

[loloquwowndueo]

Why would one want to ask an LLM and risk maybe being led in entirely the wrong direction?