Linda Nagata, looked into the healing potential of nanotechnology. Currently, the genre is more concerned with the artistic and physiological impact of nanotechnology, than of aspects of the technology itself. For instance, Prey (2002) by Michael Crichton explores a potential doomsday scenario caused by nanotechnology. Still, one of the most prominent examples of nanopunk is the Crysis video game series; less famous examples include the television series Generator Rex (2010) and film Transcendence (2014). Postcyberpunk Postcyberpunk includes newer cyberpunk works that experiment with different approaches to the genre. Oftentimes, such works will keep to central futuristic elements of cyberpunk—such as human augmentation, ubiquitous infospheres, and other advanced technology—but will forgo the assumption of a dystopia. However, like all categories discerned within science fiction, the boundaries of postcyberpunk are likely to be fluid or ill-defined. It can be argued that the rise of cyberpunk fiction took place at a time when the 'cyber' was still considered new, foreign, and more-or-less strange to the average person. In this sense, postcyberpunk essentially emerged in acknowledgement of the idea that humanity has since adapted to the concept of cyberspace and no longer sees some elements of cyberpunk as from a distant world. As new writers and artists began to experiment with cyberpunk ideas, new varieties of fiction emerged, sometimes addressing the criticisms leveled at classic cyberpunk fiction. In 1998, Lawrence Person published an essay to the Internet forum Slashdot in which he discusses the emergence of the postcyberpunk genre: Person advocates using the term postcyberpunk for the strain of science fiction that he describes above. In this view, typical postcyberpunk fiction explores themes related to a "world of accelerating technological innovation and ever-increasing complexity in ways relevant to our everyday lives," while continuing the focus on social aspects within a post-third industrial-era society, such as of ubiquitous dataspheres and cybernetic augmentation of the human body. Unlike cyberpunk, its works may portray a utopia or to blend elements of both extremes into a relatively more mature societal vision. Denoting the postmodern framework of the genre, Rafael Miranda Huereca (2006) states: The Daemon novel series by Daniel Suarez could be considered postcyberpunk in this sense. In addition to themes of its ancestral genre, according to Huereca (2011), postcyberpunk might also combine elements of nanopunk and biopunk. Some postcyberpunk settings can have diverse types of augmentations instead of focusing on one kind, while others, similar to classic