History Main / CyberpunkForFlavor

* The ''Videogame/MegamanZero'' series is set in a post-apocalyptic sci-fi society that is covered by a thin veneer of utopia. [[spoiler:The government, led by a tyrant modeled after the original Megaman X, controls everything and attempts mass genocide of all reploids (except for themselves). Technology is quite advanced and plays a large role in the story as a recurring theme. Also, the main character joins the rebellion to overthrow the shady government, which is quite the recurring theme in cyberpunk stories.]] Then, after the events of the first game, technology plays an even larger role, as the second game's story is based around preventing an evil artifact that can control all reploids (all machines and electronics too, by extension) from falling into the wrong hands. The third and fourth games' story is slightly darker and a little more depressing, [[spoiler:because in the third game, another government, led by a crazy mad scientist who also happens to be a complete monster, takes the place of the old one and turns out to be even more evil than the previous tyrant from the first game, thus making Zero and the resistance's efforts seem almost null and void. The worst part is that this is a mad scientist we're talking about here, so he's got the advantage over the heroes due to being in his own element (cyberpunk IS a TECHNOLOGICAL sci-fi dystopia, after all...) and because he's much smarter than Zero and the resistance. In the fourth game, Zero [[HeroicSacrifice heroically sacrifices himself in the most badass way possible]] to stop the mad scientist and saves the world.]]

* ''VideoGame/{{Overwatch}}'' has some light cyberpunk elements. Ostensibly, the world is at peace since the end of the [[RobotWar Omnic Crisis]]. The truth, however, is that the world is teetering on the brink of another war. There are a handful of {{Mega Corp}}s, few of which have the people's best interest at heart: Vishkar is a prime example of this. The aesthetics also draw heavily on cyberpunk, with flying cars, various futuristic technology, and some characters who are cyborgs to varying degrees; from artificial limbs like [=McCree=] and Symmetra to full-body prosthesis like Genji.

** ''Android: Shadow of the Beanstalk'' is a spinoff RPG based off both that uses the Fantasy Flight house system, ''TabletopGame/{{Genesys}}''.

* ''VideoGame/{{Warframe}}'' presents Fortuna, a [[MegaCorp Corpus]] CompanyTown [[NeonCity lit in cyan-magenta-yellow]] under the surface of Venus, where Solaris workers operate machinery to regulate the climate on Orb Vallis to make it habitable so the insatiably greedy Nef Anyo can make thick Profit from the [[{{Precursors}} Orokin]] artifacts found there. The Solaris themselves are {{cyborg}}s who are introduced ([[WouldHurtAChild as children]]) to a lifetime of paying off debts --which are just Nef's thinly-veiled excuse to keep them as [[IndenturedServitude slaves in all but name]]-- by having their heads severed and reconnected using cybernetics, and then replaced with prosthetic ones for extra dehumanisation. Their dialogue is [[FutureSlang chock-full of specialist jargon]], especially when they are mercenaries undertaking high-risk jobs; and their environments are very utilitarian, looking starkly near-futuristic in what is otherwise a far-future SpaceOpera setting influenced by a long-fallen {{transhuman}}ist empire that [[CrystalSpiresAndTogas put great value on aesthetics and beauty]].

* ''Literature/ACertainMagicalIndex'' combines this and UrbanFantasy, where half of the franchise features high-tech technology and social conflict. It also involves some magic practitioners who try to have high technology destroyed. Though the mostly idealistic nature has it lean more towards PostCyberpunk.
* ''Anime/DotHackSign'', and [[Franchise/DotHack the franchise as a whole]], depending on [[AllThereInTheManual how much you know about C.C. Corp]]. The series is influenced by psychological and sociological subjects, such as anxiety, escapism and interpersonal relationships. The series focuses on a Wavemaster (magic user) named Tsukasa, a player character in a virtual reality massively multiplayer online role-playing game called The World. He wakes up to find himself in a dungeon in The World, but he suffers from short-term memory loss as he wonders where he is and how he got there.

* ''Anime/CowboyBebop'': Not as pronounced as other series, but there are elements of this. Technology has improved enough to allow for inter-planetary travel, but it's not as if life and society in general has sunken to a level where the technology is casually abused and taken for granted.
* ''Manga/{{Blame}}'' has its roots here. Monolithic megacorporations, TheGovernment inept or out to get you, {{antihero}}es, and {{transhuman}}ism that creates as many problems as it solves. Much like ''Film/TheMatrix'' description below, it takes the Cyberpunk genre to its extreme limits and ironically becomes ''less'' like traditional Cyberpunk as a result..
* ''Manga/GunslingerGirl'' features [[CyberneticsEatYourSoul cybernetic implants]], a ''very'' corrupt government willing to turn innocent little girls into assasins and [[GreyAndGrayMorality terrorists with some redeeming qualities]].

* ''Literature/{{Paprika}}'', for the same reasons as ''Film/{{Inception}}'' below. ''Paprika'' may also be considered PostCyberpunk. In the near future, a newly created device called the "DC Mini" allows the user to view people's dreams. The head of the team working on this treatment, Doctor Atsuko Chiba, begins using the machine illegally to help psychiatric patients outside the research facility, by assuming her dream world alter-ego/other personality "Paprika".
* Interestingly, ''Anime/PuellaMagiMadokaMagica'' has several of the trademarks of CyberPunk, albeit with magic replacing technology. In spite of that, the show's themes of the [[MagicalGirl Magical Girls]] being essentially {{Transhuman}} beings, [[spoiler: complete with [[CyberneticsEatYourSoul magic literally eating their souls]], a shady scientific bureaucracy that manipulates them so that they can fulfil their energy production quotas, and a rebellious AntiHero, complete with a dark color motif, fighting against the higher ups]] are all very much CyberPunk flavoured. However, since the world is much cleaner, and with the show's magic being used for good purposes in addition to the bad, it doesn't fully fit.

* ''Anime/{{Zegapain}}'', though it may also be considered PostCyberPunk. Kyo Sogoru, a high school boy living in a city called Maihama, leads a normal life of school, romance, and the swim club. Kyo's life changes when he sees a beautiful girl, Shizuno Misaki, at the pool one day and discovers he is initially the only person who can see her. Agreeing to her request, Kyo is drawn into a world of fighting giant robots in a game-like world that he must save from Deutera Areas formed by aliens known as Gards-orm that threaten to destroy the earth. However, Kyo soon comes to realize that the world that he is living in might not even be real at all and begins to find that everything he is doing is strangely familiar.

* The ''Franchise/{{Alien}}'' franchise helped codify the evil megacorp for science fiction.

* ''Film/{{Brazil}}'' has all the plot elements, but with [[DieselPunk ductwork]] and [[SchizoTech teletype machines]] in place of the Internet. It even has a guerrilla plumber in place of a hacker.
* ''Film/TheCircle2017'' has elements of this, despite being ostensibly set in the present day. The titular circle is a MegaCorp with aspirations of manipulating elections, has a hand in the impeachment of a sitting senator, and whose goal is essentially [[BigBrotherIsWatching the surveillance of everybody]]. Technically, the monitor watches worn by Circle employees could be considered cybernetics, as some of them are even fitted with tracking chips inside their bodies that work in conjunction with it. Fittingly, [[https://www.youtube.com/playlist?list=OLAK5uy_n_tCTgvfpA_IcpNS09Vdw62RC3GmxTtMY the film's soundtrack]] sounds very much like a cyberpunk-style synthesizer.
* ''Film/CloudAtlas'': Neo Seoul in the film is this crossed with CrapsaccharineWorld. Androids work as abused slaves at a fast food restaraunt that punishes disbodience with death. The fact the androids are overly sexualized and abused in such a meaningless job as well as considered enemies of the state fully invokes the work.

* ''Film/ChildsPlay2019'': The powerful megacorp Kaslan aside, the film notable shows the dangers of smart technology if not kept in check, from Chucky raising an idiosyncratic thermostat to dangerous levels [[spoiler:to taking control of Kaslan toys in the climax.]]
* ''Film/DemolitionMan'' is an interesting example, in that although society is oppressive and totalitarian (featuring technological elements such as mandatory tracking implants and brainwashing of criminals), it's primarily portrayed in a benign PoliticalOvercorrectness way rather than violent suppression of thought and action.

* ''Film/TheGirlFromMonday'' has some aspects of this, though it's not really a straight example. It has a future US ruled by a huge corporation that constantly spies on the citizens, harshly punishes any dissent, actively tries to brainwash youths, and seeks to commodify everything. There's a plucky underdog resistance against it, with the protagonist being a jaded man who aided the state of affairs coming to pass but who now deeply regrets this. However, most new technology is only mentioned or briefly seen without it playing much of a role in the story. There's also less of the stereotyped atmosphere, and the change is more implied or mentioned than shown.

* ''Film/PacificRim'''s Bone Slums invoke this. They are overcrowded, impoverished, and technologically advanced with a constant threat of kaiju attack making their lives even more miserable.

* The sci-fi novel/anime ''Literature/AiNoKusabi'' explores cyberpunk theme in a world ruled by a MasterComputer. ArtificialHumans are the ruling Elite and they look down on basic human emotions.
* The ''Literature/CassandraKresnov'' series is essentially a PostCyberpunk storyline nested inside a MilitaryScienceFiction setting. Sandy is a female RidiculouslyHumanRobot built as a SuperSoldier, questing to make a life for herself in an urban cityscape after the GreatOffscreenWar ended. [[GovernmentConspiracy Government conspiracies]] and HollywoodHacking are very prominent, with Callay's planetary government ultimately taking Sandy's side against the Federation Intelligence Agency trying to capture her.

* The ''Literature/JohnGolden'' books from Creator/RagnarokPublications cross this with UrbanFantasy. John is a corporate mercenary who kills fairies possessing networks.
* Creator/RobertReed's novels and short stories often include elements of cyberpunk and post-cyberpunk genres. His second novel, ''The Hormone Jungle'' is the most clear-cut, taking place in a futuristic [[BalkanizeMe balkanized]] United States, where the protagonist - an exile from the pseudo-Luddite nation of Yellowknife - is hired to protect an android sexbot and is aided by a dead detective [[BrainUploading from within a server mainframe]]. The cover of the second edition even features a [[NoCelebritiesWereHarmed not-Arnold Schwarzenegger]] with a ''Film/BladeRunner''-esque skyline.

* ''Literature/AnnoDracula 1999: Daikaiju'', despite being set twenty years in the ''past'' from time of writing, included many cyberpunk elements as fitting a "weird millennial Japan" setting. One of the main characters was an amoral hacker with a robot arm, while a VirtualGhost based on Brian O'Blivion from ''Film/{{Videodrome}}'' made an appearance as a MadProphet.
* ''Literature/TheExpanse'' novels, especially the first and second one have a dystopian science fiction setting with the Belters being exploited by the Earth and Martian governments while the majority of people on Earth aren't living very well themselves. The primary villain is a corporation that actually conducts lobotomies on their scientific workers in order to make sure they don't have any ethical complaints about what they do.

* ''Series/BlackMirror'', a sci-fi GenreAnthology series that focuses on the potentially negative uses of new technologies, often enters this with its future-set episodes.

** The ending of [[Recap/BlackMirrorTheWaldoMoment "The Waldo Moment"]] has [[spoiler:the titular cartoon bear Waldo being used as a mascot and mouthpiece by a [[ChinaTakesOverTheWorld Chinese-dominated]] [[OneNationUnderCopyright corporate plutocracy]], all while his now-destitute creator looks on in horror and fury at what his publicity stunt has turned into]].

* The Alphaverse in ''Series/CharlieJade''. And it gets worse; there's no rebellion there, just the cruel fact that DystopiaIsHard, which means the corporate-run state is on the verge of collapse [[GodzillaThreshold in ways that make an apocalypse almost welcome]]. Had the show not been cancelled, that's what would have happened at the end of Season 2.
* ''Series/DeadAt21'': An MTV series from 1994 in which a college student finds out he was implanted with a chip that makes him extremely intelligent but will kill him by the time he turns 21.
* ''Series/{{Firefly}}'' has shades of this as the Alliance Inner Worlds is a technological corporate-run dystopia in contrast to the SpaceWestern outer planets. This is most seen in "Ariel" and "Trash" where we see the unethical but wealthy hospital system as well as the super-rich living in luxury to contrast against the incredibly poor.
* ''Series/RedDwarf'' had its biggest homage to the genre with [[Recap/RedDwarfBackToEarth "Back to Earth"]] that was one long extended homage to ''Film/BladeRunner.''

* Music/MyChemicalRomance's ''[[Music/DangerDaysTheTrueLivesOfTheFabulousKilljoys Danger Days: The True Lives of the Fabulous Killjoys]]'', set in the not-so-far-off year of 2019 following a nuclear apocalypse and the unexplained disappearance of the island of Australia.
* A lot of Music/MachinaeSupremacy songs, such as "Dark City", "A View From the End of the World", and especially (and [[CaptainObvious blatantly]]) "Cybergenesis". This is only part of their sound, though, that tends to be more Gothic Metal.
* {{Vaporwave}} takes the inspiration from the aesthetics of famous cyberpunk works, [[NinjaPirateZombieRobot and combines it with '80s to '90s corporate muzak and remixes into]] [[{{Ambient}} ambient music]]... [[GenreBusting or not]].
* Similar to ''Film/{{Brazil}}'', the [[https://www.youtube.com/watch?v=6KxtgS2lU94 music video]] of Music/{{Bjork}}'s "Army of Me" has shades of this (technology and tone-wise) and DieselPunk (visually). Its retro-science fiction revolution.

** [[DeusEstMachina The God-Machine]] is an entity that runs reality and is described as a computer, and it creates angels that are sentient programs to carry out tasks. [[TabletopGame/DemonTheDescent Demons]] are renegades against the system, have a techno-organic aesthetic, and their powers are literal hacks in the rules that govern reality. The game also plays up spy tropes.
** [[TabletopGame/DeviantTheRenegades Deviants]] are people who have been experimented on by various conspiracies, and the default characters, Renegades, are those Deviants who want to get back at the system that created them. One of the major character splats, Invasives, can be literal cyborgs (though they don't have to be).
** The Cheiron Group from ''TabletopGame/HunterTheVigil'' is a thoroughly low-ethics mega-corporation that strips monsters down for parts to sell, Taskforce: VALKRYRIE is a secret government monster hit squad using bleeding-edge tech in their hunts, Null Mysteriis want to study the supernatrual to find rational explanations, and Network Zero are radical activists who want to expose the supernatrual to the masses.

* ''TabletopGame/PsionicsTheNextStageInHumanEvolution'' has some cyberpunk elements, such as government conspiracies controlling the media, being able to hack computers using psionic powers, and cybernetic implants.

* The ''TabletopGame/WorldOfDarkness'' is fond of this trope.
** ''TabletopGame/VampireTheMasquerade'' was originally influenced by ''TabletopGame/Cyberpunk2020'', with Mark Rein•Hagen believing that "Gothic Punk" (the ostensible genre of the first editions) would center on the conflict of the all-powerful, MegaCorp-like Elders (early-generation vampires) and elites against the scrappy Anarchs ("gothic-punks", so to speak), where magic would substitute for technology as the primary tool of oppression and resistance. However, the game quickly evolved in different directions with subsequent editions.

** ''TabletopGame/WerewolfTheApocalypse'' has many of these elements, such as a bleak setting, corporate conspiracies, and ominous cities. The primary villain, Pentex, is also a evil corporation that is unwittingly (or wittingly depending on the executive) helping the Wyrm destroy the world.

* The modern day framing story of ''Franchise/AssassinsCreed'' dabbles in this, with underground assassin cells and hacker groups facing off against an evil mega-corporation.

* The ''VideoGame/{{Borderlands}}'' franchise is set in a world where all the planets are now PrivatelyOwnedSociety and contains plenty of futuristic weapons, lasers, artificial limbs, and combat robots, but the game is more of a SpaceWestern than anything else.
* Many sci-fi games by Origin, including ''Bioforge'', ''[[VideoGame/{{CyberMage}} [=CyberMage=] ]]'', and ''[[VideoGame/{{Crusader}} Crusader: No Remorse and No Regret]]''. They incorporate cyberpunk themes and elements but aren't necessarily cyberpunk in world plot.

* The MMORPG ''VideoGame/CityOfHeroes'' has very literal Cyber Punks in the Freakshow, a powerful gang of drug-fuelled [[ExactlyWhatItSaysOnTheTin cyborg punks]] who have to be seen to be believed. They are pretty much the main comic relief faction of the game, while still managing to be a considerable threat in their own right. Case in point from a bank robber: "I'm gonna buy a sports car, then weld it to me!"
* ''VideoGame/DevilSurvivor'': It's an Atlus game set in ''modern urban Japanese society''! And it's Tokyo no less! However, without giving away any spoilers, the message is very much against cynicism.

* ''VideoGame/FearEffect'' combines BioPunk and UrbanFantasy with a bunch of sexy professional criminals.
* ''VideoGame/FinalFantasyVII'', definitely. It becomes rather obvious when your [[spoiler:bioengineered]] antihero protagonist battles an army of corporate thugs on a freeway, with a gigantic sword, [[Manga/{{Akira}} on a motorcycle]]. His initial companions include a cyborg terrorist and a bruiser. However, the game tones it down after escaping Midgar, as you leave the CityNoir and get to travel across the countryside, which is significantly poorer and less advanced and more or less DieselPunk. [[spoiler:Then cyberpunk bites back with its characteristic questions of identity, conflicts of Cyber Versus Eldritch, and of course, HumongousMecha that ''really'' hate the depths humanity has sunk to]].
* ''VideoGame/FinalFantasyVII: VideoGame/DirgeOfCerberus'' covers cyberpunk themes like virtual reality, consciousness transference, and is about a Noir-ish AntiHero battling a {{Transhuman}} who had put his mind into the Internet. It's much fluffier and more magically based than you would usually associate with cyberpunk, though, and never asks any really tricky questions about identity.
* ''VideoGame/FinalFantasyVIIRemake'' amps up the cyberpunk elements for Act I, giving more detail into a [[OneNationUnderCopyright mega-corporation ruled city]] which pretends to enshrine progress for the sake of its customers, but starves the slums of useful and cutting-edge technology while seeking greater ambitions that will leave the whole city to rot.

* ''VideoGame/{{Fracture}}'' has this as a main aspect of the Atlantic Alliance, who are opposed by the [[BioPunk Pacificans]]. The other factions, however, do not incorporate cyberpunk elements.
* ''VideoGame/GrandTheftAuto2'' is [[OddballInTheSeries unique in the series]] for its TwentyMinutesIntoTheFuture setting, which is distinctly influenced by cyberpunk and dystopian '70s/'80s sci-fi more broadly. The criminal organizations you encounter include the distinctly [[JapanTakesOverTheWorld Japanese-flavored]] [[MegaCorp Zaibatsu Corporation]] and the {{Yakuza}}. Other elements of its retro-future style, however, diverge from cyberpunk into broader sci-fi influences, most notably how the cars are based on vehicle designs from the '40s and '50s rather than the '80s.
* The ''VideoGame/HalfLife'' series, especially in the ''VideoGame/HalfLife2'' era of games, which take place in a dystopia controlled by a massive alien empire whose ranks and weaponry are made up of fusions of lifeform and machine.
* ''{{VideoGame/Hardwar}}'' incorporates some cyberpunk elements, but it's mainly a flight simulation game that takes place on Titan with space trading elements (but as mentioned earlier, does not actually take place in outer space).
* ''VideoGame/Hitman3'' has Agent 47 visit a cyberpunk-coded neon Chongqing, China in order to deal with the computer records of the ICA.
* ''VideoGame/HouseFlipper'' added some elements of this in the ''Cyberpunk Flipper'' DLC It gives a new tool for cleaning trash, [[PlayingWithFire the flamethrower]], and comes with a cyberpunk-inspired home to buy, the Hacker's Loft. It also added new options for player skins, the "Transhumanist" skins. Certainly not a coincidence that the DLC came out shortly before the release of ''VideoGame/Cyberpunk2077''.

* ''VideoGame/TheLongestJourney'', ''VideoGame/DreamfallTheLongestJourney'', and ''VideoGame/DreamfallChapters'' feature Stark, the world of logic and technology, which functions as the typical cyberpunk dystopia, as being this as a [[{{Pun}} stark contrast]] to Arcadia, which rely more off of magic and fairy tale tropes, and functions like a fantasy world. They aren't placed in the "Clear-cut Examples" due to Arcadia.

* ''Franchise/MassEffect'' occasionally dabbles in the genre, despite otherwise landing firmly in the trappings of the SpaceOpera and/or the SpaceWestern. Most notable is Omega, the WretchedHive space station from ''VideoGame/MassEffect2'', which drew ''heavy'' inspiration from ''Film/BladeRunner'' visually. Noveria in ''VideoGame/MassEffect1'' and the Silversun Strip in ''VideoGame/MassEffect3'' also have strong CyberPunk influence; Noveria is a laissez-faire charter planet owned by a shady MegaCorp who lease out labs to other corporations so they can perform [[PlayingWithSyringes questionable scientific experiments]], while the Silversun Strip is a neon drenched entertainment hub with connections to organized crime.
* All four of the ''Videogame/MegamanZero'' games. It's set in a post-apocalyptic sci-fi society that is covered by a thin veneer of utopia. [[spoiler: The government, led by a tyrant modeled after the original Megaman X, controls everything and attempts mass genocide of all reploids (except for themselves). Technology is quite advanced and plays a large role in the story as a recurring theme. Also, the main character joins the rebellion to overthrow the shady government, which is quite the recurring theme in cyberpunk stories.]] Then, after the events of the first game, technology plays an even larger role, as the second game's story is based around preventing an evil artifact that can control all reploids (all machines and electronics too, by extension) from falling into the wrong hands. The third and fourth games' story is slightly darker and a little more depressing, due to the fact that [[spoiler: in the third game, another government, led by a crazy mad scientist who also happens to be a complete monster, takes the place of the old one and turns out to be even more evil than the previous tyrant from the first game, thus making Zero and the resistance's efforts seem almost null and void. The worst part is that this is a mad scientist we're talking about here, so he's got the advantage over the heroes due to being in his own element (cyberpunk IS a TECHNOLOGICAL sci-fi dystopia, after all...) and because he's much smarter than Zero and the resistance. In the fourth game, Zero [[HeroicSacrifice heroically sacrifices himself in the most badass way possible]] to stop the mad scientist and saves the world.]]

* ''VideoGame/{{Neofeud}}'' is set in America of 2033, where the hyper-rich have outright re-established feudalism and rule the world from their floating cities. Mechanical augmentations are widespread (though they often fail to work) and the humanity is joined en-masse by both Sentient Machines and gene-spliced hybrids, and yet poverty remains prevalent, with huge segments of all three sentients surviving entirely on government handouts.

* ''VideoGame/{{Overwatch}}'' has some light cyberpunk elements. Ostensibly, the world is at peace since the end of the [[RobotWar Omnic Crisis]]. The truth, however, is that the world is teetering on the brink of another war. There are a handful of [[MegaCorp Mega Corps]], few of which have the people's best interest at heart: Vishkar is a prime example of this. The aesthetics also draw heavily on cyberpunk, with flying cars, various futuristic technology, and some characters who are cyborgs to varying degrees; from artificial limbs like [=McCree=] and Symmetra to full-body prosthesis like Genji.
* ''VideoGame/ResidentEvil'' series combines this with BioPunk as the primary antagonist for the early part of the series was the world's largest pharmaseutical firm and the government corruption propping it up. Biotechnology and pharmaseuticals get repurposed for war with seemingly no end to it.
* Racing game ''RGX Showdown'' (and it's mobile game progenitor ''Rival Gears'') uses this setting as a backdrop. Cybernetics abound, pollution rates have skyrocketed and [[AutomatedAutomobiles self-driving econoboxes]] with [[FlyingCar antigrav technology]] have become the (government enforced) standard means of transportation, while street punks have taken to scavenging the shells of early 21st century vehicles and "hot rodding" them with high-tech computers and jet engines to race against each other.

* The Terran society in ''VideoGame/{{Starcraft}}'' is a crossover between this and SpaceWestern. Huge old money families rule over the dystopian dictatorship of the planet until the rebels manage to overthrow it. Then they become even worse. It's all very Pre-Firefly, Firefly.

* The Cybrans from ''VideoGame/SupremeCommander''. Every ''cybran'' is a ''cyborg''.
* The Mishima Zaibatsu and G Corporation's presences as mega-corporations whose use of robotics and bio-technology have made the world of ''Franchise/{{Tekken}}'' a worse place definitely read as cyberpunk, but it all still coexists with explicitly supernatural and wacky elements. ''VideoGame/Tekken4'''s attempts at DoingInTheWizard and overall aesthetic make it the closest to straight Y2K-era cyberpunk.
* Cyberden in ''VideoGame/TimeSplitters'' certainly fits here. In fact, the entire series as a whole actually borrows many Cyberpunk themes; The Machine Wars, Robot Factory, etc. The Neo-Tokyo level in ''VideoGame/TimeSplitters2'' also qualifies.

* ''VisualNovel/DanganronpaV3KillingHarmony'' may very well be one of the biggest FridgeHorror examples of this genre, especially with the game's [[OncePerEpisode Once Per Game]] CruelTwistEnding: [[spoiler:the entirety of the [[DeadlyGame Killing Game]] is experienced through the lens of sixteen teenagers caught in a kill-or-be-killed situation until either the Mastermind behind the game is ousted or someone wins the game by getting away with the murder of a fellow student. Then when the Mastermind ''is'' cornered at last, [[ConsumateLiar Tsumugi]] [[LoonyFan Shirogane]] reveals that the ''[[TrumanShowPlot entire game]]'' was the [[{{Metafiction}} then-present franchise]] being turned into an ImmoralRealityShow that went on for no less than ''[[LongRunner 53 Seasons]]''... all in the name of relentless profit due to the show's massive popularity of the show, which owes to humans achieving world peace and [[HumansAreBastards needing a vent for their violent tendencies in fiction]]. The end result is a relentless maelstrom of FridgeHorror, especially with participants in the game being equally jaded and sick as the show itself before being brainwashed into completely different characters. Combined with this [[{{Deconstruction}} relentless meta-attack]] on [[CashCowFranchise Cash Cow Franchises]] and unfettered greed is also the highest level of tech the series has seen, complete with a robot participant in the 53rd Killing Game and other high-level examples of technology throughout the school, further lending credence to the theory. Now what Tsumugi says in itself is part of the AmbiguousEnding, but if [[UnreliableNarrator Tsumugi's]] to be believed, depending on when Danganronpa transitioned from a normal franchise into the dehumanizing bloodsport it is now, then upwards of ''49'' seasons with at least '''686 deaths''' were caused from this show. That, of course, is where the FridgeHorror ''really'' comes into play of the setting likely being {{Cyberpunk}}; if the show is so lethal and inhumane, what does it say about the society that has enabled such a show?]]

* ''[[http://www.outrunnerscomic.com/ The Outrunners]]'' has many cyberpunk elements, including a hyper-regulated [[PoliceState police state]] plagued by gang violence.

* The last about thirty years of the ''Literature/ChaosTimeline'' definitely have this vibe going on, courtesy of the Logos (hackers) and the more earlier achieved advanced state of computer technology and networks than in our history.
* Website/SomethingAwful parodied this in their "Great Authors Series", imagining what classic authors would write if they stepped wildly outside their comfort zone, with [[http://www.somethingawful.com/news/gibson-neuromancer-twitter/ a piece]] imagining what it would look like if Creator/WilliamGibson wrote about a present-day (2013) kid looking for {{doujinshi}}. The omnipresence of Japanese {{otaku}} culture, the [[OnlyElectricSheepAreCheap "electric cigarettes"]] and five-hour energy drinks, the information traveling in from far-flung Shinjuku, Toronto, and Dallas in the blink of an eye, a Dell laptop running the fancy-sounding Chrome operating system, and social media are described in terms straight out of cyberpunk... with only the last sentence ruining the illusion:

* ''ComicBook/BuckyOHareAndTheToadWars'': It's subtle, but definitely present.
** Bruiser, Deadeye and, on a bad day, Jenny, all fall quite squarely into the AntiHero mould (Deadeye is a barely ReformedCriminal, Bruiser is an unrepentant BloodKnight and Jenny definitely has her own agenda, though the series was cancelled before exactly what it was could be explored).
** At least two {{Cyborg}}s show up in the series (Toadborg, who is a mechanical body controlled by a BrainInAJar and Kamikaze Kamo, who sports two not very armlike mechanical appendages in lieu of two of his arms).
** BigBad KOMPLEX is a sapient MasterComputer [[AIIsACrapshoot gone haywire]].
** Pollution, rampant consumerism, and environmental destruction are hallmarks of Toad culture.
* The ''WesternAnimation/{{Centurions}}'' episode "Zone Dancer" takes plot elements from ''Film/BladeRunner'' and ''Literature/{{Neuromancer}}''.
* ''WesternAnimation/{{Futurama}}'' has some elements, including at least one recurring antagonist MegaCorp, though the government is more comically inept than corrupt, and it's all PlayedForLaughs. The heroes are just getting by, doing their jobs, and occasionally saving the universe.

* Website/SomethingAwful parodied this in their "Great Authors Series", imagining what classic authors would write if they [[GenreAdultery stepped wildly outside their comfort zone]], with [[http://www.somethingawful.com/news/gibson-neuromancer-twitter/ a piece]] imagining what it would look like if Creator/WilliamGibson wrote about a present-day (2013) kid looking for {{doujinshi}}. The omnipresence of Japanese {{otaku}} culture, the [[OnlyElectricSheepAreCheap "electric cigarettes"]] and five-hour energy drinks, the information traveling in from far-flung Shinjuku, Toronto, and Dallas in the blink of an eye, a Dell laptop running the fancy-sounding Chrome operating system, and social media are described in terms straight out of cyberpunk... with only the last sentence ruining the illusion:

* ''Anime/NeonGenesisEvangelion'' has many of the classic tropes: corrupt government conspiracies [[spoiler:planning to bring about TheSingularity]], cover-ups, "jacking in" (albeit into giant cyborgs), an ArtificialHuman who suffers from CloningBlues, pessimistic/miserable protagonists in a grimdark setting, existential questioning, and technology being used for ''very'' shady dealings. However, the series gradually becomes less tech-based and more mystical as it goes on.

* ''WesternAnimation/GetEd'' started out as an animated action show about futuristic couriers. As it went on, episodes became more character-driven, stories began to focus on a CorruptCorporateExecutive with an army of [[CloningBlues clones]] and robots at his disposal wanting to take control over the city. The main heroes have to try and one-up the baddie with superior tech-savviness and impromptu inventions. The series [[BittersweetEnding ended bittersweetly]] with the heroes [[spoiler:thwarting the [[BigBad Big Bad]]'s apocalypse brought about via technology]] at a heavy cost. Had the series not been ScrewedByTheNetwork, the second season would have gone even more deeply into DarkerAndEdgier CyberPunk territory.

* ''VideoGame/FinalFantasyVII'', definitely. It becomes rather obvious when your [[spoiler:bioengineered]] antihero protagonist battles an army of corporate thugs on a freeway, with a gigantic sword, [[Manga/{{Akira}} on a motorcycle]]. His initial companions include a cyborg terrorist and a BoobsOfSteel bruiser. However, the game tones it down after escaping Midgar, as you leave the CityNoir and get to travel across the countryside, which is significantly poorer and less advanced and more or less DieselPunk. [[spoiler:Then cyberpunk bites back with its characteristic questions of identity, conflicts of Cyber Versus Eldritch, and of course, HumongousMecha that ''really'' hate the depths humanity has sunk to]].

* The Mishima Zaibatsu and G Corporation's presences as mega-corporations whose use of robotics and bio-technology have made the world of Franchise/{{Tekken}} a worse place definitely read as cyberpunk, but it all still coexists with explicitly supernatural and wacky elements. Tekken 4's attempts at DoingInTheWizard and overall aesthetic make it the closest to straight Y2K-era cyberpunk.

* VideoGame/Hitman3 has Agent 47 visit a cyberpunk-coded neon Chongqing, China in order to deal with the computer records of the ICA.

** ''TabletopGame/VampireTheMasquerade'' was influenced ''TabletopGame/Cyberpunk2020'' with Mark Rein Hagen believing Gothic Punk would be all powerful Elders and elites fighting against the scrappy Anarchs. Magic would substitute for technology as the primary tool of oppression. It quickly moved in its own direction.

* ''Franchise/MassEffect'' occasionally dabbles in the genre, despite otherwise landing firmly in the trappings of the SpaceOpera. Most notable is Omega, the WretchedHive space station from ''VideoGame/MassEffect2'', which drew ''heavy'' inspiration from ''Film/BladeRunner'' visually. Noveria in ''VideoGame/MassEffect1'' and the Silversun Strip in ''VideoGame/MassEffect3'' also have strong CyberPunk influence; Noveria is a laissez-faire charter planet owned by a shady MegaCorp who lease out labs to other corporations so they can perform [[PlayingWithSyringes questionable scientific experiments]], while the Silversun Strip is a neon drenched entertainment hub with connections to organized crime.

''VideoGame/SaintsRowTheThird'' had you face down a group of cyberpunk hackers with their own VR world, ''Series/RedDwarf'' had an [[Recap/RedDwarfBackToEarth entire special]] that was one long homage to ''Film/BladeRunner'', and ''Series/{{Firefly}}'' once took a break from being a SpaceWestern to deal with an evil MegaCorp.

* ''LightNovel/ACertainMagicalIndex'' combines this and UrbanFantasy, where half of the franchise features high-tech technology and social conflict. It also involves some magic practitioners who try to have high technology destroyed. Though the mostly idealistic nature has it lean more towards PostCyberpunk.

* ''Literature/{{Paprika}}'', for the same reasons as ''Film/{{Inception}}'' below. ''Paprika'' may also be considered PostCyberPunk. In the near future, a newly created device called the "DC Mini" allows the user to view people's dreams. The head of the team working on this treatment, Doctor Atsuko Chiba, begins using the machine illegally to help psychiatric patients outside the research facility, by assuming her dream world alter-ego/other personality "Paprika".

* ''LightNovel/NinjaSlayer'', being a Parody of '80s and '90s anime as seen by Americans, has elements of CyberPunk in the form of Neo Saitama. With its bright neon lights, police brutality, and ninja turf wars, as well as a few cybernetic limbs.

* ''Series/TheXFiles'' episode "Kill Switch" revolves around a gang of literal cyberpunks (computer geeks with a bad attitude and certain tastes in clothing) trying to stop a government spy satellite that became self-aware. Said satellite can manipulate the entire Internet for its own purpose and kill anyone it deems dangerous with inescapable laser-driven wrath from above. This episode was actually written by no less than Creator/WilliamGibson.

* The sci-fi novel/anime ''LightNovel/AiNoKusabi'' explores cyberpunk theme in a world ruled by a MasterComputer. ArtificialHumans are the ruling Elite and they look down on basic human emotions.

* Many sci-fi games by Origin, including ''Bioforge'', ''[[VideoGame/{{CyberMage}}]]'', and ''[[VideoGame/{{Crusader}} Crusader: No Remorse and No Regret]]''. They incorporate cyberpunk themes and elements but aren't necessarily cyberpunk in world plot.

* Many sci-fi games by Origin, including ''Bioforge'', ''[[CyberMage]]'', and ''[[VideoGame/{{Crusader}} Crusader: No Remorse and No Regret]]''. They incorporate cyberpunk themes and elements but aren't necessarily cyberpunk in world plot.

* Many sci-fi games by Origin, including ''Bioforge'', ''Cybermage'', and ''[[VideoGame/{{Crusader}} Crusader: No Remorse and No Regret]]''. They incorporate cyberpunk themes and elements but aren't necessarily cyberpunk in world plot.

* ''Film/{{Mute|2018}}'' is a mystery thriller set in a dystopic, cyberpunk Berlin. However, its storyline, about a mute bartender trying to find his missing girlfriend, plays out much more like a traditional noir than anything else. Indeed, it's easy to wonder why the film has a cyberpunk setting at all, given how little bearing it has on the plot - sure, there's mega corps, gangsters, and lots of tech, but the story ultimately boils down to [[spoiler: a girl caught between the man she loves and her psycho ex-husband]].

* A good chunk of ''Film/GuardiansOfTheGalaxy'' is set on a space station/city called "Knowhere", made of a dead Celestial's head. It's very much a gritty, cyberpunk location, with a seedy underworld and neon signs. A significant action scene also occurs here as well.

* The ''VideoGame/HalfLife'' series, especially in the Half-Life 2 era of games, which take place in a dystopia controlled by a massive alien empire whose ranks and weaponry are made up of fusions of lifeform and machine.

* While the world of ''VideoGame/{{Splatoon}}'' generally has little to do with the genre, ''VideoGame/Splatoon2: Octo Expansion'' introduces us to a far more cyberpunk-influenced world lying beneath the surface. The expansion is set in a gritty, run-down, neon-lit subway system that features retro computing hardware as background elements, and an [[CyberPunkIsTechno electronica soundtrack]] echoing throughout. The [[HellBentForLeather tight black leather-clad]] protagonist of the expansion, Agent 8, was apparently subjected to [[BioAugmentation biotech experimentation]] (by a [[MegaCorp shadowy corporate entity]], no less) and [[YouAreNumberSix shackled with a number rather than a name]]. Agent 8 is under [[SinisterSurveillance constant surveillance]] within the subway and has a [[ExplosiveLeash remote-controlled kill device]] strapped to their back at all times. At the same time, they use advanced technology like the smartphone-like CQ-80 device, which can pull up a projected map of the subway system, and their VoiceWithAnInternetConnection Marina hacking into the facility mainframe is both a gameplay mechanic and a plot beat in a few cases. To top it all off, [[spoiler:the facility is run by a [[AIIsACrapshoot rampant AI]] that intends to destroy all life on Earth with a [[GeneticEngineeringIsTheNewNuke bioweapon death ray]].]]

* Interestingly, ''Anime/PuellaMagiMadokaMagica'' has several of the trademarks of CyberPunk, albeit with magic replacing technology. In spite of that, the show's themes of the [[MagicalGirl Magical Girls]] being essentially TransHuman {{Transhuman}} beings, [[spoiler: complete with [[CyberneticsEatYourSoul magic literally eating their souls]], a shady scientific bureaucracy that manipulates them so that they can fulfil their energy production quotas, and a rebellious AntiHero, complete with a dark color motif, fighting against the higher ups]] are all very much CyberPunk flavoured. However, since the world is much cleaner, and with the show's magic being used for good purposes in addition to the bad, it doesn't fully fit.

* ''VideoGame/SunsetOverdrive'' is a game where you play a young punk in a city run by a sinister soda megacorporation. There's even a malevolent AI giant soda {{Mascot}} that is one of the enemies. However, it takes place in the "present" and the satire is deliberately shallow fun.

* ''Film/DemolitionMan'' is an interesting example, in that although society is oppressive and totalitarian (featuring technological elements such as mandatory tracking implants and brainwashing of criminals), it's primarily portrayed in a benign PoliticalCorrectnessGoneMad way rather than violent suppression of thought and action.

* VideoGame/Hitman3 has Agent 47 visit a cyberpunk coded neon Hong Kong in order to deal with the computer records of the ICA.