There are many others, including a hotel sign which reads “HO,” followed by two Japanese kana which resemble the letters “T” and “L” but are logically nonsensical. Seven of them objectified women in some way, while the eighth depicted a fat man on the toilet. At one point, I stepped into an elevator with eight adverts. We see further adverts that feature phallic champagne bottles (spraying froth on a woman’s face and chest), phallic snakes (a poster which reads “wide open” and shows the snake slithering to a woman’s bare buttocks), and phallic drinks (several, one of which sees a woman licking the shaft, another that shows a faceless woman holding it between her breasts while dogs lick her stomach). Another, similar poster features the tagline “Too good to waste” and depicts a nearly naked woman seductively licking liquor off the floor. From the angle of the arm, she appears to be kneeling, this hand firmly in control of her. A poster for Dynalar, with the tagline “It’s all about the touch,” shows a topless woman whose hair is being roughly grabbed by an arm that disappears off-screen. Others are less comical in this marriage. It’s a pink phallic gun, with the tagline “It ain’t the gun that squirts!” The poster also depicts a beautiful woman shooting herself in the head with an explosion of pink goo, while she masturbates with her other hand. Perhaps the most cartoonish marriage of sex and violence is the advert for the Squirtaquisitor 7000. There are far too many individual posters in Cyberpunk worthy of analysis, but just taking a handful highlights the exploitative nature of Night City’s world. While Cyberpunk 2077 presents the posters in the background without comment, they are so ever-present and shocking that the game can be seen to support the ideas behind these images.
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