Something was starting to surface. Several small subcultures were drifting together, and some of these esoteric groupings included those who were creating the next economy. Clearly, we were positioned to become the magazine of a slow baking gestalt.
From Freaks In The Machine: MONDO 2000 in Late 20th Century Tech Culture
by R.U. Sirius
Some time in 1988, we made a rash decision. Despite High Frontiers relatively successful rise within the ‘zine scene (where 18,000 in sales was solid), we decided to change the name of the magazine itself to Reality Hackers.
It was my idea.
We’d been hipped to cyberpunk SF and I’d read Gibson’s Neuromancer and Sterling’s Mirrorshades collection. Sterling’s famous introduction for that book, describing what cyberpunk was doing in fiction — seemed to express precisely what a truly contemporary transmutational magazine should be about. Here are some parts of it:
“The term, (cyberpunk) captures something crucial to the work of these writers, something crucial to the decade as a whole: a new kind of integration. The overlapping of worlds that were formerly separate: the realm of high tech, and the modern pop underground.
“This integration has become our decade’s crucial source of cultural energy. The work of the cyberpunks is paralleled throughout the Eighties pop culture: in rock video; in the hacker underground; in the jarring street tech of hip hop and scratch music; in the synthesizer rock of London and Tokyo. This phenomenon, this dynamic, has a global range; cyberpunk is its literary incarnation…
An unholy alliance of the technical world and the world of organized dissent — the underground world of pop culture, visionary fluidity, and street-level anarchy…
For the cyberpunks… technology is visceral. It is not the bottled genie of remote Big Science boffins; it is pervasive, utterly intimate. Not outside us, but next to us. Under our skin; often, inside our minds.
Certain central themes spring up repeatedly in cyberpunk. The theme of body invasion: prosthetic limbs, implanted circuitry, cosmetic surgery, genetic alteration. The even more powerful theme of mind invasion: brain-computer interfaces, artificial intelligence, neurochemistry — techniques radically redefining — the nature of humanity, the nature of the self. Read more “The Invention of Reality Hackers – A “Mutazine” (1988)”