Depends on a few factors, TitanFall 2 is going to be taking up majority of my gaming time.
"Cyberpunk 2077" (New DLC "Phantom Liberty" | (9/26)
- Thread starter banan
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Depends on a few factors, TitanFall 2 is going to be taking up majority of my gaming time.
rogue_riezo
Les Enfants Terribles
It's unlikely these 2 games will be released in the same 6 month period.
it's no telling.
rogue_riezo
Les Enfants Terribles
Lol, actually there is.
Titanfall 2 is due out 28 October 2016.
CD Projekt Red themselves said they are looking to have the game out within 4 years. So basically anytime between 2016 and 2020. There is no way they are going to wake up tomorrow and shyt the game out.
King Crimson
Member of a very exclusive gang
You liked the first one? shyt was boring.
i still play TF1, dope title. 2 the newer hotter shyt, bout to be litYou liked the first one? shyt was boring.
already know what this is gonna turn into.
Isn't this game coming out in like 4 years? No way it's getting released this year or next. CD Projekt takes their time (which is a good thing, as Witcher 3 is a top 10 game of all time)
Jonah
XBOT Suicide Prevention Squad
I used to be and still am really into the cyberpunk setting and the music that would define such a place.
stuff like this. hopefully similar music will be included. as it really gives cyberpunk vibes
stuff like this. hopefully similar music will be included. as it really gives cyberpunk vibes
I love this stuff.
King Crimson
Member of a very exclusive gang
Dope stuff. Can I hijack this thread for a minute and can we made this a cyberpunk thread? I've always loved the aesthetic. What are some must see movies/books/graphic novels etc...
I'd guess maybe Dec 2017 or Jan 2018.
Thieves demand ransom for stolen Cyberpunk 2077 internal documents
Avoid any info not from CD Projekt RED, says developer.
An unidentified individual or individuals have obtained access to a few internal files belonging to CD Projekt RED, including “old and largely unrepresentative” documents connected to early designs for the upcoming Cyberpunk 2077, CD Projekt RED said in a message published today.
Said individual or individuals is demanding ransom in exchange for keeping the files private, but CD Projekt RED will not be complying with their demands.
In the message, CD Projekt RED warned users looking forward to Cyberpunk 2077to avoid any information not coming directly from the company, as it would not be representative of the game, and that we’ll hear more about it officially “when the time is right.”
Here’s the full message:
Dear gamers,
An unidentified individual or individuals have just informed us they are in possession of a few internal files belonging to CD Projekt RED. Among them are documents connected to early designs for the upcoming game, Cyberpunk 2077.
A demand for ransom has been made, saying that we should not comply, the files will be released to the general public. We will not be giving in to the demands of the individual or individuals that have contacted us, which might eventually lead to the files being published online. The appropriate legal authorities will be informed about the situation.
The documents are old and largely unrepresentative of the current vision for the game. Still, if you’re looking forward to playing Cyberpunk 2077, it would be best for you to avoid any information not coming directly from CD Projekt RED.
When the time is right, you will hear about Cyberpunk 2077 from us — officially.
CD Projekt RED Team
Thieves demand ransom for stolen Cyberpunk 2077 internal documents - Gematsu
Avoid any info not from CD Projekt RED, says developer.
An unidentified individual or individuals have obtained access to a few internal files belonging to CD Projekt RED, including “old and largely unrepresentative” documents connected to early designs for the upcoming Cyberpunk 2077, CD Projekt RED said in a message published today.
Said individual or individuals is demanding ransom in exchange for keeping the files private, but CD Projekt RED will not be complying with their demands.
In the message, CD Projekt RED warned users looking forward to Cyberpunk 2077to avoid any information not coming directly from the company, as it would not be representative of the game, and that we’ll hear more about it officially “when the time is right.”
Here’s the full message:
Dear gamers,
An unidentified individual or individuals have just informed us they are in possession of a few internal files belonging to CD Projekt RED. Among them are documents connected to early designs for the upcoming game, Cyberpunk 2077.
A demand for ransom has been made, saying that we should not comply, the files will be released to the general public. We will not be giving in to the demands of the individual or individuals that have contacted us, which might eventually lead to the files being published online. The appropriate legal authorities will be informed about the situation.
The documents are old and largely unrepresentative of the current vision for the game. Still, if you’re looking forward to playing Cyberpunk 2077, it would be best for you to avoid any information not coming directly from CD Projekt RED.
When the time is right, you will hear about Cyberpunk 2077 from us — officially.
CD Projekt RED Team
Thieves demand ransom for stolen Cyberpunk 2077 internal documents - Gematsu
Lýba'rhaésheýun
Tha Blaq Lýba'rhaésheýun Nhetwerqq
I've been anticipating this game. I love Cyberpunk and Futuristic stuff but I wouldn't expect this anytime soon its one of those games those FF7 Remake, Half Life 3, Final Fantasy Verses, Dr Dre Detox Type games. the type that we speak of but don't see or never see for a loooong time 
They had Arabs that captured geralt in the dlc and to be fair the witcher takes place is old Europe ain't many of us or anyone other then white folk over there. so it does make sense.
Will it be another huge game with only cac characters?
They had Arabs that captured geralt in the dlc and to be fair the witcher takes place is old Europe ain't many of us or anyone other then white folk over there. so it does make sense.
Cyberpunk’s creator on helping CD Projekt Red stay true to the genre’s real meaning
Cyberpunk’s creator on helping CD Projekt Red stay true to the genre’s real meaning
By Adam Smith on July 12th, 2017 at 7:00 pm.
During my conversation with Mike Pondsmith, two people ask him to sign artwork from the Cyberpunk pen and paper game that he created. He tells me “it never stops being weird”, the fact that people want his autograph, but he gets it. Cyberpunk is cool, it’s rebellion, it’s sticking an augmented finger to the system. And it’s not just an aesthetic.
“At core, unless you have the meaning behind the black leather and the neon, you lose what cyberpunk is. That’s the problem with getting Cyberpunk made as a videogame; people don’t get it. They think it’s about action heroes quipping as they take down corporations.” Over the years, Pondsmith has made deals with companies to bring Cyberpunk to PC but says he’s glad that those deals “crashed” because now the real deal has arrived. CD Projekt Red, the studio behind The Witcher and upcoming Cyberpunk 2077, “get it”. “They’re actual fans and they know stuff about Cyberpunk that I’ve forgotten.”
The future’s looking bright then, even through the obligatory shades.
If I could have one person running an RPG campaign for me and my friends, it’d be Mike Pondsmith. He’s been living and breathing this stuff for years, and he’s a born storyteller. At one point, I mentioned that I’d been told he owned a lot of guns and he explained that he liked to fire guns because it’s important to know how they feel when figuring out combat mechanics. The guns, like the many books that he owns, are part of a library of information to be translated into world-building and systemic game design.
But they’re also weapons, and they’re not the only ones in the Pondsmith home.
“I wanted a house that was hard to find. On the web and in life, I don’t like to be traceable, so I wanted a place that people couldn’t look up very easily. It’s in the woods, you won’t find it on Google Streetview, and nobody has any reason to come by unless they know I’m there.
“One day I looked out of the window early in the morning and there was this guy out front. I kept an eye on him and he wasn’t moving. I didn’t know him so I figure he has no good reason to be here, so I got hold of a katana…”
We’d been talking for long enough at this point that the casual katana barely registered. Of course Mike Pondsmith would have a katana close at hand in case of intruders, I thought. The day I met him he had a Millennium Falcon stud through his ear. The day before there had been another favoured pop culture reference hanging from the lobe. Like Cyberpunk itself, Pondsmith is nerdy as heck but shot through with a slightly unhinged sense of cool that he carries well, even though his particular cool is either very forward-looking or a couple of decades out of date. In conversation, he’s part professor, part excitable enthusiast. He laughs a lot, often at his own lines, but is serious and sincere behind that.
He’d be a great person to have around an RPG table so, yeah, if I could have one person running an RPG campaign for me and my friends, it’d be Mike Pondsmith. But if I had to fight one RPG designer with a katana, it would be just about anybody else.
“I didn’t have to use it but I was prepared to,” he says when I ask how the encounter ended. “He had just got back from a tour in Afghanistan and had somehow managed to look me up online and wanted to tell me how he and some of the other guys had played Cyberpunk out there, and how much it meant to him.”
One of the stories I shared with Pondsmith was far more mundane but it helped me to get to the heart of what Cyberpunk means to him. We met at Gamelab in Barcelona and a couple of weeks earlier, right before E3, my phone had died. I had to buy a replacement in the airport before the flight out to Los Angeles and anyone who has been on the verge of a long trip and finds themselves suddenly without their most-treasured gadget can no doubt sympathise. Without it, I didn’t have access to maps, hotel details, contact numbers and emails for appointments, or even the boarding pass for my flight. It’s only when I’m suddenly without a phone that I realise how much I need it.
I mentioned this to Pondsmith as we were talking about anxieties around reliance on technology and I used my former phone as a convenient example.
“But what did you do?” He asked.
“I bought a new phone. I had to.”
“That’s cyberpunk. It’s not just about the tech, it’s about the ubiquity of the tech. If augmentations are rare, if they make the people who have them special, that’s not cyberpunk. It has to be street level. It has to be everywhere and available to almost everyone.”
The phone anecdote might have triggered this central idea about cyberpunk, but before we dug into body horror, the ubiquity of tech, and real world social and political parallels, we spent some time discussing exactly what CD Projekt Red are doing with Pondsmith’s fictional future, and how he’s contributing to the game.
“What happened was, around four years ago they called us up and I’d never heard of them. I was imagining a tiny studio out in Poland that had done very little, and then I looked at The Witcher 2 and thought, “Wow. This is good. This is really good.” So I flew out to see them and realised they were genuine fans of Cyberpunk. What they didn’t realise is that I’ve worked in design on the videogame side as well as tabletop
“At the beginning of the project, I talked to them a lot, every week. For a long time they didn’t realise I’d worked in digital, but I’ve been doing pen and paper for 20 years and digital for fifteen. When I was explaining Cyberpunk to them, I was explaining the mechanics in a way that they understood and that helped them to realise I could contribute more to the actual design.
“Now I do a lot more meta-talk to the whole team, to make sure that they get the gag and they know what the touchstones are. From there I got involved more in actual gameplay mechanics; what can we get away with. We had a discussion at one point, for example, about flying cars. I have them in cyberpunk because they are a fast and efficient way of getting characters from one end of a ruined city to another. And trauma teams are there because we don’t have clerics.
“But what happens to these things in a digital, three- dimensional environment. Flying cars are cool but they’re not there for flying car gun fights. It’s not their place in the world. They’re a convenience in the design and like so many things in Cyberpunk they have a mechanical function rather than just being there because they’re cool.
“So a lot of the conversations we’ve had on the team are not “can we do this?” We can do just about anything. Instead, it’s me explaining why I did it in pen and paper, and then we figure out if we need it again, and whether it serves a different purpose in a videogame. I know why flying cars are there in the original but that’s not necessarily the same functionality we need in 2077. Everything is taken apart in terms of what it does to the game, how it differs from tabletop, and getting the right feel.”
It was news to me that Pondsmith was having this kind of input on Cyberpunk 2077, alongside his work on a new iteration of the tabletop game. The new pen and paper version, coincidentally codenamed Cyberpunk Red before any contact with CD Projekt Red had occurred, will be set in 2020, decades earlier in the timeframe. Because the two games are in the same continuity, there’s a back and forth about narrative aspects that need to match in a credible way. Pondsmith has had to tell the 2077 devs that certain characters they might want to use will be dead and forgotten by the time their story begins, although he smiles, saying “I do have ways to bring some of them back”.
But the tone and meaning of Cyberpunk 2077 is harder to capture than the specifics of individual characters.
“One of the things I love about cyberpunk as a genre is that there is a romanticism to it. There’s a sincerity. Even now, cities are romantic. Me and my wife were staring out over the chasm of the city one night and seeing the neon and hearing the sirens, and when you’re there, you’re aware of this whole manic aspect living underneath you. The addition of these new technologies just gives it a bigger impact.
“It’s about more than big guns and leather jackets. Walter Jon Williams wrote the book that really got me into this, Hardwired. It’s total whack-out fable of doomed romance against desperate stupid odds. You know it’s not going to work but you really hope that it does, and that’s what cyberpunk is all about.
“It’s constantly evolving though, as a genre and I don’t feel any ownership of it. Take Ghost in the Shell. The new movie is not Standalone Complex, which is not the original Ghost in the Shell. Then there’s something like Appleseed, which is what we will get if we manage to survive what’s going on in Ghost. They’re different kinds of cyberpunk – a lot of the Japanese works have made me feel more about what defines it. Believable technology and a callous universe of people more powerful than you who are so powerful they’re faceless. It’s about fighting for your piece of ground so you can have a life. Cyberpunk heroes aren’t trying to save the world, they’re trying to save themselves.”
I’m interested in the idea of faceless villains, though I’m not entirely sure ‘villains’ is the right word. Pondsmith uses Blade Runner as an example.
“We never see the face of power in Blade Runner. Instead, we see an errand boy, Gaff, but we never see the top level. And Deckard doesn’t think about what he’s doing, he doesn’t really question it. Some power that is tells him to kill replicants, who might well essentially be people, but the whole point when he leaves with Rachel is that he doesn’t save the replicants. He saves Rachel and goes away. That’s not a hero’s tale. That’s somebody saving his skin and the skin of someone he cares about, but it’s very cyberpunk. That idea of feeling that the chance that we have with each other, and the chance of a better life, is worth incurring the wrath of these unseen and mighty powers.”
But Blade Runner’s cyberpunk isn’t Pondsmith’s Cyberpunk. He likes Blade Runner though, which is more than can be said for a lot of the sci-fi movies we end up discussing. He likes internal consistency, particularly when it comes to tech and the ideas behind that tech, and it’s something he thinks writers often sacrifice for a thematic punch, or to move a plot. When it comes to games, he’s critical of Deus Ex, though not so much because of any specific aspect, but rather, I think, because it’s worryingly close to the game Cyberpunk might have become in the wrong hands.
“I like a lot of the things that are going on there but the main characters are special because of the technology so it’s very far from street-level cyberpunk. The tech shouldn’t make you a hero, it should just be a part of ordinary life.”
This bring us back to my dead phone and the ubiquity of technologies that were so recently unimaginably powerful.
“If you lose your phone, or it dies, then you just replace it.” Pondsmith says, waving around his own smartphone, which is currently pinging him real-time information about seismic activity somewhere in South America. “I’m plugged into the planet with this thing. That’s how amazing it is, but the tech is everywhere. It took me about an hour at most to re-establish everything that had been on my old phone on this one when I bought it. Information and preferences are easily transferable.”
I think there’s a deeper issue though: even if I can replace the phone, I don’t control the networks and the satellites that allow the phone to operate. So much of the power isn’t in the phone, it’s in the access that the phone has, and that is not replaceable. Not by me at any rate. If my provider cuts me off from data and telecommunications networks, I own a very expensive brick that can play match-3 games.
“Think of it in the context of net neutrality, which is really about corporations not wanting people to have access to other people. Within six to eight years of net neutrality crashing and burning, if that happens, we’ll end up with an alternate net. You might not be able to build it yourself, but somebody will create it and provide ways for you to access it. The upshot of the ubiquity isn’t just that you can buy a thing or access it through official channels, it’s that when those official channels are taken away, or censored or throttled or controlled, somebody will always replace them. People will make alternate forms. It even happens with currency. Look at Bitcoin; it’s money that the government doesn’t necessarily control.“
Cyberpunk’s creator on helping CD Projekt Red stay true to the genre’s real meaning
By Adam Smith on July 12th, 2017 at 7:00 pm.
During my conversation with Mike Pondsmith, two people ask him to sign artwork from the Cyberpunk pen and paper game that he created. He tells me “it never stops being weird”, the fact that people want his autograph, but he gets it. Cyberpunk is cool, it’s rebellion, it’s sticking an augmented finger to the system. And it’s not just an aesthetic.
“At core, unless you have the meaning behind the black leather and the neon, you lose what cyberpunk is. That’s the problem with getting Cyberpunk made as a videogame; people don’t get it. They think it’s about action heroes quipping as they take down corporations.” Over the years, Pondsmith has made deals with companies to bring Cyberpunk to PC but says he’s glad that those deals “crashed” because now the real deal has arrived. CD Projekt Red, the studio behind The Witcher and upcoming Cyberpunk 2077, “get it”. “They’re actual fans and they know stuff about Cyberpunk that I’ve forgotten.”
The future’s looking bright then, even through the obligatory shades.
If I could have one person running an RPG campaign for me and my friends, it’d be Mike Pondsmith. He’s been living and breathing this stuff for years, and he’s a born storyteller. At one point, I mentioned that I’d been told he owned a lot of guns and he explained that he liked to fire guns because it’s important to know how they feel when figuring out combat mechanics. The guns, like the many books that he owns, are part of a library of information to be translated into world-building and systemic game design.
But they’re also weapons, and they’re not the only ones in the Pondsmith home.
“I wanted a house that was hard to find. On the web and in life, I don’t like to be traceable, so I wanted a place that people couldn’t look up very easily. It’s in the woods, you won’t find it on Google Streetview, and nobody has any reason to come by unless they know I’m there.
“One day I looked out of the window early in the morning and there was this guy out front. I kept an eye on him and he wasn’t moving. I didn’t know him so I figure he has no good reason to be here, so I got hold of a katana…”
We’d been talking for long enough at this point that the casual katana barely registered. Of course Mike Pondsmith would have a katana close at hand in case of intruders, I thought. The day I met him he had a Millennium Falcon stud through his ear. The day before there had been another favoured pop culture reference hanging from the lobe. Like Cyberpunk itself, Pondsmith is nerdy as heck but shot through with a slightly unhinged sense of cool that he carries well, even though his particular cool is either very forward-looking or a couple of decades out of date. In conversation, he’s part professor, part excitable enthusiast. He laughs a lot, often at his own lines, but is serious and sincere behind that.
He’d be a great person to have around an RPG table so, yeah, if I could have one person running an RPG campaign for me and my friends, it’d be Mike Pondsmith. But if I had to fight one RPG designer with a katana, it would be just about anybody else.
“I didn’t have to use it but I was prepared to,” he says when I ask how the encounter ended. “He had just got back from a tour in Afghanistan and had somehow managed to look me up online and wanted to tell me how he and some of the other guys had played Cyberpunk out there, and how much it meant to him.”
One of the stories I shared with Pondsmith was far more mundane but it helped me to get to the heart of what Cyberpunk means to him. We met at Gamelab in Barcelona and a couple of weeks earlier, right before E3, my phone had died. I had to buy a replacement in the airport before the flight out to Los Angeles and anyone who has been on the verge of a long trip and finds themselves suddenly without their most-treasured gadget can no doubt sympathise. Without it, I didn’t have access to maps, hotel details, contact numbers and emails for appointments, or even the boarding pass for my flight. It’s only when I’m suddenly without a phone that I realise how much I need it.
I mentioned this to Pondsmith as we were talking about anxieties around reliance on technology and I used my former phone as a convenient example.
“But what did you do?” He asked.
“I bought a new phone. I had to.”
“That’s cyberpunk. It’s not just about the tech, it’s about the ubiquity of the tech. If augmentations are rare, if they make the people who have them special, that’s not cyberpunk. It has to be street level. It has to be everywhere and available to almost everyone.”
The phone anecdote might have triggered this central idea about cyberpunk, but before we dug into body horror, the ubiquity of tech, and real world social and political parallels, we spent some time discussing exactly what CD Projekt Red are doing with Pondsmith’s fictional future, and how he’s contributing to the game.
“What happened was, around four years ago they called us up and I’d never heard of them. I was imagining a tiny studio out in Poland that had done very little, and then I looked at The Witcher 2 and thought, “Wow. This is good. This is really good.” So I flew out to see them and realised they were genuine fans of Cyberpunk. What they didn’t realise is that I’ve worked in design on the videogame side as well as tabletop
“At the beginning of the project, I talked to them a lot, every week. For a long time they didn’t realise I’d worked in digital, but I’ve been doing pen and paper for 20 years and digital for fifteen. When I was explaining Cyberpunk to them, I was explaining the mechanics in a way that they understood and that helped them to realise I could contribute more to the actual design.
“Now I do a lot more meta-talk to the whole team, to make sure that they get the gag and they know what the touchstones are. From there I got involved more in actual gameplay mechanics; what can we get away with. We had a discussion at one point, for example, about flying cars. I have them in cyberpunk because they are a fast and efficient way of getting characters from one end of a ruined city to another. And trauma teams are there because we don’t have clerics.
“But what happens to these things in a digital, three- dimensional environment. Flying cars are cool but they’re not there for flying car gun fights. It’s not their place in the world. They’re a convenience in the design and like so many things in Cyberpunk they have a mechanical function rather than just being there because they’re cool.
“So a lot of the conversations we’ve had on the team are not “can we do this?” We can do just about anything. Instead, it’s me explaining why I did it in pen and paper, and then we figure out if we need it again, and whether it serves a different purpose in a videogame. I know why flying cars are there in the original but that’s not necessarily the same functionality we need in 2077. Everything is taken apart in terms of what it does to the game, how it differs from tabletop, and getting the right feel.”
It was news to me that Pondsmith was having this kind of input on Cyberpunk 2077, alongside his work on a new iteration of the tabletop game. The new pen and paper version, coincidentally codenamed Cyberpunk Red before any contact with CD Projekt Red had occurred, will be set in 2020, decades earlier in the timeframe. Because the two games are in the same continuity, there’s a back and forth about narrative aspects that need to match in a credible way. Pondsmith has had to tell the 2077 devs that certain characters they might want to use will be dead and forgotten by the time their story begins, although he smiles, saying “I do have ways to bring some of them back”.
But the tone and meaning of Cyberpunk 2077 is harder to capture than the specifics of individual characters.
“One of the things I love about cyberpunk as a genre is that there is a romanticism to it. There’s a sincerity. Even now, cities are romantic. Me and my wife were staring out over the chasm of the city one night and seeing the neon and hearing the sirens, and when you’re there, you’re aware of this whole manic aspect living underneath you. The addition of these new technologies just gives it a bigger impact.
“It’s about more than big guns and leather jackets. Walter Jon Williams wrote the book that really got me into this, Hardwired. It’s total whack-out fable of doomed romance against desperate stupid odds. You know it’s not going to work but you really hope that it does, and that’s what cyberpunk is all about.
“It’s constantly evolving though, as a genre and I don’t feel any ownership of it. Take Ghost in the Shell. The new movie is not Standalone Complex, which is not the original Ghost in the Shell. Then there’s something like Appleseed, which is what we will get if we manage to survive what’s going on in Ghost. They’re different kinds of cyberpunk – a lot of the Japanese works have made me feel more about what defines it. Believable technology and a callous universe of people more powerful than you who are so powerful they’re faceless. It’s about fighting for your piece of ground so you can have a life. Cyberpunk heroes aren’t trying to save the world, they’re trying to save themselves.”
I’m interested in the idea of faceless villains, though I’m not entirely sure ‘villains’ is the right word. Pondsmith uses Blade Runner as an example.
“We never see the face of power in Blade Runner. Instead, we see an errand boy, Gaff, but we never see the top level. And Deckard doesn’t think about what he’s doing, he doesn’t really question it. Some power that is tells him to kill replicants, who might well essentially be people, but the whole point when he leaves with Rachel is that he doesn’t save the replicants. He saves Rachel and goes away. That’s not a hero’s tale. That’s somebody saving his skin and the skin of someone he cares about, but it’s very cyberpunk. That idea of feeling that the chance that we have with each other, and the chance of a better life, is worth incurring the wrath of these unseen and mighty powers.”
But Blade Runner’s cyberpunk isn’t Pondsmith’s Cyberpunk. He likes Blade Runner though, which is more than can be said for a lot of the sci-fi movies we end up discussing. He likes internal consistency, particularly when it comes to tech and the ideas behind that tech, and it’s something he thinks writers often sacrifice for a thematic punch, or to move a plot. When it comes to games, he’s critical of Deus Ex, though not so much because of any specific aspect, but rather, I think, because it’s worryingly close to the game Cyberpunk might have become in the wrong hands.
“I like a lot of the things that are going on there but the main characters are special because of the technology so it’s very far from street-level cyberpunk. The tech shouldn’t make you a hero, it should just be a part of ordinary life.”
This bring us back to my dead phone and the ubiquity of technologies that were so recently unimaginably powerful.
“If you lose your phone, or it dies, then you just replace it.” Pondsmith says, waving around his own smartphone, which is currently pinging him real-time information about seismic activity somewhere in South America. “I’m plugged into the planet with this thing. That’s how amazing it is, but the tech is everywhere. It took me about an hour at most to re-establish everything that had been on my old phone on this one when I bought it. Information and preferences are easily transferable.”
I think there’s a deeper issue though: even if I can replace the phone, I don’t control the networks and the satellites that allow the phone to operate. So much of the power isn’t in the phone, it’s in the access that the phone has, and that is not replaceable. Not by me at any rate. If my provider cuts me off from data and telecommunications networks, I own a very expensive brick that can play match-3 games.
“Think of it in the context of net neutrality, which is really about corporations not wanting people to have access to other people. Within six to eight years of net neutrality crashing and burning, if that happens, we’ll end up with an alternate net. You might not be able to build it yourself, but somebody will create it and provide ways for you to access it. The upshot of the ubiquity isn’t just that you can buy a thing or access it through official channels, it’s that when those official channels are taken away, or censored or throttled or controlled, somebody will always replace them. People will make alternate forms. It even happens with currency. Look at Bitcoin; it’s money that the government doesn’t necessarily control.“