In Marvel Studios' Black Panther (2018), the invisible shield protecting Wakanda evaporates as a hi-tech jet passes through it. Inside the ship, T’Challa (Chadwick Boseman) exclaims, "This never gets old.”
Through the cockpit window, Birnin Zana, the Golden City, materialises from the forest. A futuristic city spreads from the banks of a winding river and rises above the canopy, ringed by mountains. Space-age towers gleam among older monuments, a hover train darts between markets, and buildings brim with vegetation, a lush greenery knitted throughtout the city. Hidden from the world, Wakanda is a past, present and future untouched by colonialism and Western capitalism. In this future vision, African heritage and ingenuity has been able to thrive through a merger of advanced technology, traditional knowledges and nature. It’s the antithesis of cyberpunk’s decaying megacities and one of the few on-screen examples of solarpunk – a burgeoning subgenre of science fiction.
This video explores the prominence of solarpunk designs in Marvel Studios' movies.
What is solarpunk?
Solarpunk offers a hopeful vision of the future by focusing on environmental sustainability, renewable energy and living in harmony with nature and technology. Unlike dystopian futures, solarpunk imagines worlds where society overcomes environmental challenges through “ingenuity, generativity, independence and community”. Coined in 2008 on the blog Republic of the Bees, solarpunk was originally a reaction to steampunk, which features Victorian-era technology reimagined as futuristic. Early definitions were murky, but optimism quickly became central to the genre. As one writer on solarpunk.net stated in 2012, “We are starved for visions of the future that will sustain us, and give us something to hope for, ideas of life beyond the rusted chrome of yestermorrow or nightmare realms of radiated men eating the flesh of other radiated men”.
There's no cannibalism in solarpunk. Its societies sustain themselves on regenerative farming practices and a co-existence with the natural world, leading to enough resources for everyone. Powered by green technologies like wind turbines and solar panels, nature is integrated into these post-capitalist worlds – or those that have evolved adjacent to it, like Wakanda’s.
Tumblr user Olive Louise outlines solarpunk like this: “a plausible near-future sci-fi genre... based on updated Art Nouveau, Victorian, and Edwardian aesthetics, combined with a green and renewable energy movement to create a world in which children grow up being taught about building electronic tech as well as food gardening and other skills... A balance of sustainable energy-powered tech, environmental cities, and wicked cool aesthetics.”
In many ways, solarpunk grew out of online platforms like Tumblr, Medium and message boards, where an ecologically aware, positive community came together to resist the pessimism of the Anthropocene.
The solarpunk style
Visually, solarpunk draws inspiration from the Art Nouveau movement, with its organic shapes, flowing lines, and motifs of nature – vines, leaves and floral patterns. This aesthetic is often combined with futuristic architecture that integrates green energy into eco-friendly landscapes.
The architectural visions of futurist Buckminster Fuller, with his geodesic domes and emphasis on sustainable design, along with Paolo Soleri’s "arcology" concepts, contributed to the visual language of solarpunk. Their thinking and designs offered examples of how human-made structures could harmonise with nature.
Another key influence on solarpunk is legendary animator Hayao Miyazaki. The green cities imagined in Studio Ghibli films like Nausicaä of the Valley of the Wind (1984) and Laputa: Castle in the Sky (1986) pre-date the propagation of solarpunk by over 20 years.
Seeds of solarpunk
Though we can’t find as many solarpunk stories as we can cyberpunk (The Matrix, Minority Report, Elysium, Upgrade), there are solarpunk seeds sewn across screen culture. In 1993, Soleri’s ‘arcology’ idea appeared in the hi-tech ‘arcologies’ of Sim City 2000. (Arcology is architectural design principles for densely populated and ecologically low-impact human habitats.) As the most advanced structures in the world-building sim, they were the most prized, and visually interesting. Even their in-game info supports solarpunk ideals.
"The Forest Arcology is named for its attractive forest setting on the top level. Throughout the structure, citizens utilize recycling, operate ecologically sound industries, and maintain a rich verbal heritage that replaces television and radio.”
"'Launch' Arcologies were nicknamed for their resemblance to modern orbital launchers. The resemblance is not entirely coincidental, as sophisticated methods of biological support were necessary to oxygenate and feed the thousands of inhabitants.”
Though set in a post-apocalyptic, post-fossil fuel world, Tank Girl (1995), based on the comic, was an early dystopian story that highlighted the importance of optimism – all through an edgy 90s punk ethos.
Two years later, another woman took up arms to defend the environment – San in Princess Mononoke (1997). Raised by wolves, San fights to protect the forest from Iron Town’s encroaching industry. In one scene, she confronts Lady Eboshi, the leader of Iron Town, asserting, “You can’t kill the forest!” That forest is more than just a landscape. Creatures like the Kodama (tree spirits) and the boar god Okkoto, reinforce the interconnectedness of life, echoing solarpunk's emphasis on biodiversity and ecological balance.
But Lady Eboshi, despite being framed as the villain, isn’t only a villain. Despite her disregard for the forest spirits, she does champion community and is dedicated to improving the lives of marginalised people. "We’re not just going to take the forest, we’re going to make a place for ourselves,” she explains. By grappling with this complexity, the film challenges us to consider the balance between progress and preservation – a key aspect of solarpunk and its vision of a balance between tech and nature.
Still, the 1990s and early 2000s are mostly a wasteland of solarpunk stories on screen. But as the effects of the climate crisis become more apparent in our lives, so do on-screen examples of solarpunk. In 2009, James Cameron's Avatar highlighted the importance of a relationship with nature. On the moon Pandora, indigenous knowledge, ecological balance and a spiritual connection to the landscape are central to life. It’s a lush, almost untouched planet, where the Na’vi live in harmony with their environment. Of course, this is threatened by the extractive operations of the on-the-nose named Resources Development Administration (RDA), a government agency that wants to mine the world to save earth from ecological collapse. The RDA is an obvious stand-in for colonial forces – like the Americans in Pocahontas, which Avatar basically is.
Indigenous futurism and solarpunk
According to Sam Paul of Feminist Book Club, who has outlined a literary solarpunk 101, solarpunk often centres people and communities who have faced oppression and honours societies with a deep connection to nature. Through solarpunk novels, Indigenous voices are uplifted, showing how long-standing practices – from communal ways of living to traditional methods of caring for the land – can inspire pathways to a better future. In The Future & Other Fictions, we can see this not only in Marvel Studios' Black Panther (2018) and its sequels, but also NEOMAD, the three-part comic series by Sutu, The Love Punks and Satellite Sisters. This award-winning comic and live-action short series brings First Nations voices to the forefront through a blend of traditional storytelling, futuristic landscapes and repurposed technology. It upholds the values of solarpunk by celebrating community and Indigenous culture – it was created by forty Ngarluma and Yindjibarndi young people, aged seven to 14, from the Ieramugadu (Roebourne) community.
Small screen solarpunk
Even in the midst of dystopian visions, we can find blossoms of solarpunk thinking. The sleeper sci-fi hit The Expanse highlights the importance of resource management, showing challenges like water scarcity and food production in a multi-planetary society – and the need for innovative solutions. Technological advancements, such as sustainable energy and life-support systems, reflect a future where technology enhances ecological balance. In an interview with Syfy, the show's creators spoke about capturing the fragility of ecosystems in the show, illustrating how the collapse of one element, like a food web, can trigger a cascade of failures in a system, echoing solarpunk’s concern for sustainability. Alongside the space fights and politicking, The Expanse calls for a collaborative approach to our environmental and social structures, highlighting the ongoing need to actually build the future we want.
Similarly, Station Eleven focuses on rebuilding through community – in its case, a roving theatre troupe called the Travelling Symphony. After an avian flu wipes out much of humanity, the show follows survivors who build new lives, focusing on art, culture and connection rather than technological advancement or domination. The Travelling Symphony finds beauty in nature and prioritisess local, cooperative ways of living.
Aside from the characters, solarpunk ideals are seen in the production design and world-building, with nature reclaiming urban spaces and people living in non-residential structures like airports. The details of the production design also highlight sustainability. The Travelling Symphony’s stage is made from car parts – torches are exhaust pipes and stage lights are truck mirrors.
This emphasis on rebuilding through creativity and human values mirrors solarpunk’s optimism. Instead of leaning into dystopian despair, the series offers moments of hope and healing.
There was something hopeful and whimsical and kind of positive that we wanted to show.
Solarpunk in games
Following on from Sim City, city-building game Anno 2077 allows players to choose between developing sustainable, eco-friendly cities or exploiting resources for industrial growth. If you opt for the sustainable path and focus on clean energy, green architecture and regenerative urban design, you can play with Solarpunk ideals in mind. Of course, you can also create a cyberpunk megacity if you’re that way inclined.
Die Gute Fabrik’s Saltsea Chronicles (2023) imagines a future after a climate crisis where communities thrive by staying connected to nature and each another. The game showcases sustainable living across vibrant islands with wind turbines and solar panels powering eco-friendly technology. It's bright colour palette and picture-book style, inspired by Risograph print techniques, present an optimistic post-apocalypse.
Through a unique game mechanic called ‘Issues,’ players manage relationships, emphasising the importance of collaboration in overcoming crises. Instead of a single hero, the game focuses on teamwork. Players choose a diverse team of characters working together to find their ship’s missing captain. This narrative design highlights cooperation in tackling ecological challenges.
Another game released the same year lets players build their own solarpunk world. Aptly titled Solarpunk, this cosy survival game allowed players to construct buildings, grow food, craft gadgets and hop airships to explore distant islands in the sky. Including airships harks back to Miyazaki’s airships in Studio Ghibli films, which first appeared in 1984’s Nausicaä of the Valley of the Wind. The enduring influence of Studio Ghibli’s style (and airships) on solarpunk can also be seen in a 2021 commercial for Chobani yoghurt. The Line's “Dear Alice” ad is perfect solarpunk but its popularity reveals the lack of solarpunk stories on screen. Concept artists Jessica Woulfe amd Raja Nandepu, whose work features above, did background art on "Dear Alice".
Solarpunk and digital culture
The solarpunk movement solidified online, and digital spaces continue to be fertile ground for solarpunk imaginings. Illustrators and concept artists like Woulfe and Nandepu create and share their visions of a solarpunk future, while community members, including writers and activists, discuss the real-world implications, and social and environmental justice.
Instagram is full of vivid solarpunk imagery, including green cities, vertical farms and eco-architecture. Artists and illustrators use #solarpunk and #ecotopia to showcase their work, while others share practical eco-tips and lifestyle inspiration. Twitter (X), by contrast, is home to discussions on the philosophy and feasibility of solarpunk ideas. Users like @SolarpunkMag often share speculative fiction, think pieces and insights on renewable energy and community resilience.
On Reddit (r/solarpunk) people brainstorm solutions to environmental issues, share DIY projects and debate solarpunk’s social implications. Tumblr and Pinterest are visually focused, with mood boards, art and architectural ideas inspiring sustainable lifestyle changes. Tumblr users, in particular, explore solarpunk’s connections to mutual aid and decolonisation, while TikTok features quick videos on low-waste tips, renewable technology and small-scale eco-friendly projects.
Online communities are making solarpunk both a visual style and an active movement, using social media to explore how a sustainable, community-oriented future might look and function. This organic interest, complemented by the increasing visibility of solarpunk ideas in film, TV and games, shows an underlying optimism beneath our endless doom scrolling.
There might not be many positive post-apocalypses, but solarpunk looks for light in the darkness, giving real-life communities the option to come together and imagine a brighter future.
As Paul writes on Feminist Book Club: “Solarpunk doesn’t just offer a world, it offers a worldview. It doesn’t give us a roadmap to a better, kinder, more inclusive and sustainable planet, but it reminds us that one is possible.”