and Sarah Hoyt. (As an aside, you might think it a little precious that the writer of Snowcrash, which depics an unpleasant post-rational kind of world, would complain about dystopias - much like the creator of Beavis and Butthead complaining in the excellent Idiocracy about the dumbing-down of America - but Snowcrash was a criticism of a genre more than a culture.)
Old-school techno-optimism. I was into this before it was cool.
In his pointer to Hoyt's article, Marshall Maresca recognizes that her manifesto is a list of thou-shalts rather than thou-shalt-nots (though this makes them no less effective as criticisms), and one of the shalts applies more broadly to fiction in general: if you're too opaque, and if feels too much like a chore to read it, you're doing it wrong.
A lot of the "darkness" in SF films was inspired by Blade Runner which admittedly is one of my favorite movies ever. In part, it was supposed to be SF film noir, which wasn't dystopian, it just had a certain cinematic tone. In truth, Blade Runner's 2019 Los Angeles isn't actually that terrible. Okay, it's densely populated, and dark and rainy all the time, and there's a lot of Asian people and culture and technology everywhere, so there must have been some strange shift that turned L.A. all year into San Francisco in February. ZING! Note that they still have flying cars!
Hence, the increasing unapologetic irritation with the more attention-needy members of the litfic canon like Faulkner (sorry, the Sound and the Fury is just damn annoying) and especially Joyce. Gene Wolfe sometimes spends too much time at the incomprehensibility frontier although he clearly wants you to get it; Joyce himself admitted that this wasn't true for him.