History Main / CyberpunkForFlavor

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[[caption-width-right:350:''Blood Dragon'' is a [[{{Pun}} far cry]] from the others.]]

** [[DeusEstMachina The God-Machine]] is a reality-warping emergant entity that creates sentient Angels to program reality according to its whims. [[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. Demon also plays up spy tropes.

* 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 GreatOffscreen lWar 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.

* [[Creator/IsaacAsimov Asimov's]] novel ''Literature/TheCavesOfSteel'' anticipates the dystopian urban decay and the bland foods made from yeast. As seen in one scene in Lije's home it's a luxury to eat actual chicken with your family, let alone eat it in the comfort of your own home.

* The ''Literature/CassandraKresnov'' series is essentially a Post Cyberpunk storyline nested inside a Military Science Fiction setting. Sandy is a female Ridiculously Human Robot built as a Super Soldier, questing to make a life for herself in an urban cityscape after the Great Offscreen War ended. Government conspiracies and Hollywood Hacking are very prominent, with Callay's planetary government ultimately taking Sandy's side against the Federation Intelligence Agency trying to capture her.

* ''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.

%% Image removed per Image Pickin' thread: https://tvtropes.org/pmwiki/posts.php?discussion=1626047443047477700

* ''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 {{Mascott}} that is one of the enemies. However, it takes place in the "present" and the satire is deliberately shallow fun.

* 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.]]
* In general, the ''Franchise/MegaMan'' franchise has cyberpunk elements all over the series: In ''Videogame/MegaManClassic'' the robots are being made to make easier the human life, but various of them went reprogammed to be evil by [[MadScientist Dr. Wily]]; in ''Videogame/MegaManX'' there're the Reploids, RidiculouslyHumanRobots that overpassed human population (which Dr. Cain is one of the few humans we see in the series) and can make their own decisions as well becoming rogues by themselves; and ''Videogame/MegaManLegends'', a group of scavenger robots in an AfterTheEnd scenario, in which cybernetics are so widespread in this world that it's impossible to tell for sure who is a robot and who is a human.

* 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.

* The ''{{VideoGame/Fallout}}'' series is deeply rooted in atompunk, though it has some Cyberpunk influences, specially regarding the Institute and the Synths. ''VideoGame/FalloutNewVegas'' also adds implants that boost the player character's capabilities.
* ''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]].
* ''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/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).

* 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.

* Combined with UrbanFantasy is ''LightNovel/ACertainMagicalIndex'', 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/{{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.

* ''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]].
* 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.

%%* The Bone Slums evoke this image in ''Film/PacificRim''.
%%* ''Film/RepoTheGeneticOpera'' is a cyberpunk musical.
%%* ''Film/WarGames''
%%* The French CG/live-action film ''Film/{{Immortal}}'' has cyberpunk elements in addition to a wild number of other genre influences.
* The Christian film series ''Superkids'' is about a group of children working against a MegaCorp called N.M.E (pronounced "enemy"), which put out DarkerAndEdgier children's shows, by operating a pirate broadcast station. And occasionally fighting off giant robots.
* The ''Franchise/{{Alien}}'' franchise helped codify the evil megacorp for science fiction.
* 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.
* ''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.
* ''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/{{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]].
* ''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/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/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.
* Many parts of ''Film/{{Idiocracy}}'' can be described as cyberpunk PlayedForLaughs, with an emphasis on the "low life" half of the equation taken to LowerClassLout levels. Technology more advanced than what we have in the present day does exist, but it's all falling apart because the StupidFuturePeople who make up the world have forgotten how to maintain it, and much of it has been directed towards enabling human laziness and creating an AdvertOverloadedFuture. In short, it's the aesthetics of cyberpunk applied to trailer parks, with all of the attendant stereotypes, instead of urban slums.
* ''Film/{{Outland}}'' is a science fiction SpaceWestern taking place on a moon of Jupiter where the locals are frequently committing suicide due to their overreliance on a FantasticDrug that the corporation is feeding them. The protagonist swiftly finds that no one actually cares and the system benefits from the feed.

%%* [[Creator/TheBeatGeneration Beat writer]] Creator/WilliamSBurroughs wrote several books that would later have an influence on the genesis of cyberpunk fiction, despite Burroughs not really being thought of as part of the science-fiction canon of writers.

%%* ''Anime/DotHackSign'', and [[Franchise/DotHack the franchise as a whole]], depending on [[AllThereInTheManual how much you know about C.C. Corp]].

* ''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.
%%* The first half of ''Mythic Quest''. The second half turns into HeroicFantasy.
%%* ''Literature/{{Paprika}}'', for the same reasons as ''Film/{{Inception}}'' below. ''Paprika'' may also be considered PostCyberPunk.
%%* ''Anime/{{Zegapain}}'', though it may also be considered PostCyberPunk.

%%* Many ''ComicBook/TwoThousandAD'' strips, most notably ''ComicBook/JudgeDredd'' have cyberpunk themes, even before ''Literature/{{Neuromancer}}'' came out.
* Creator/{{Dark Horse|Comics}} has ''ComicBook/BarbWire'' from the ''ComicBook/ComicsGreatestWorld'' imprint. Although occurred in TheNineties, the city of Steel Harbor looks like a post-apocalyptic wasteland as seen in ''Film/MadMax'' and ''Manga/HokutoNoKen'' in which the strongest survive, and the eponymous Barb Wire is an ActionGirl who's also a BountyHunter. Also one of her allies, The Machine, is a transhuman with mechanical parts.

* ''Film/{{Metropolis}}'' is a mine of {{Unbuilt Trope}}s for science fiction films in general, and its massive split between TheBeautifulElite and {{the Morlock|s}}-like workers is not out of line for a cyberpunk dystopia.

%%* ''Film/{{Tron}}'', and by extension, its sequel ''Film/TronLegacy''.

[[quoteright:350:[[Series/{{Firefly}} https://static.tvtropes.org/pmwiki/pub/images/hands_of_blue_2.jpg]]]]
[[caption-width-right:350:High tech corporate goons in your SpaceWestern.]]

!!Examples of this trope:

* 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]].]]

* The Cybrans from ''VideoGame/SupremeCommander''. Every ''cybran'' is a ''cyborg''.

* ''VideoGame/MarioKart7'' features Neo Bowser City as a Star Cup track. The course has lots of futuristic skyscrapers crowded together, a plethora of neon lights and giant screens [[{{Egopolis}} with Bowser's face plastered on them]], lots of rain, and even ''Blade Runner'' style advertising blimps.
* ''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/{{Flashback}}'' has you playing a government agent who must stop an alien invasion. New Washington is a delightfully dystopian WretchedHive, and at one point you must [[DeadlyGame compete in a televised deathmatch for money]].
* 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 Deckers in ''VideoGame/SaintsRowTheThird'' are a gang of hackers themed this way, down to their "[[UsefulNotes/CyberGoth Neo-Cyberpunk]]" clothing. The city of Steelport itself in the game has shades of a cyberpunk city. It's a WretchedHive of a city covered in neon where drugs, sex, and guns flow freely. At the beginning of the game it's controlled by a [[TheSyndicate ruthless criminal organization]] (of which the Deckers are a part) that has [[PlayingWithSyringes genetically engineered]] abominations as shock troops.
* ''VideoGame/InfernoMOO'' has heavy cyberpunk influences, including all-powerful corporations, cybernetic implants, futuristic weaponry, laser weapons, and much more.
* 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.
* 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.

* ''VideoGame/{{killer7}}'' gets into this in the target Alter Ego. Although it starts off being about a comic book author, by the end it's about underground gamers playing on the illegal private internet. One might surmise from this that ''killer7'' in general might take place in a cyberpunk world even though the work itself only sometimes brushes with the genre.
* ''VideoGame/{{Scrapland}}'' is set on a planet Earth that's been polluted to the point it can no longer sustain life, and abandoned by humanity. The robots stayed behind, and formed their own society out of the junk and scrap the humans left behind, ultimately renaming the planet "Scrapland".

* ''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''.
* 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 ''WesternAnimation/TinyToonAdventures'' episode "Real Kids Don't Eat Broccoli" is a parody of ''Film/BladeRunner''. Buster Bunny plays the Deckard role and is dealing with a number of fake Toons in the movie parody.
* ''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.
* ''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.

* Music/MyChemicalRomance's ''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".

%%* 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).

%%* Many sci-fi games by Origin, including ''Bioforge'', ''Cybermage'', and ''[[VideoGame/{{Crusader}} Crusader: No Remorse and No Regret]]''.

%%* ''[[VideoGame/MarioStrikers Super Mario Strikers]]'', and especially its sequel ''Mario Strikers Charged'', which combines this with ''Franchise/SuperMarioBros'' characters and soccer!

%%* ''VideoGame/{{Fracture}}'' has this as a main aspect of the Atlantic Alliance, who are opposed by the [[BioPunk Pacificans]].

* ''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.

* ''TabletopGame/{{GURPS}}'' has guidelines on how to make a cyberpunk campaign with options for both realistic hacking and cinematic cyberspace, as well as the (now out-of-print) horror crossover ''GURPS Cthulhupunk.'' It also received an unusual bit of "reality testing" when the U.S. Secret Service [[http://www.sjgames.com/SS/ carried off the original ''GURPS Cyberpunk'' manuscript in a raid]].

* While earlier edition mixed it with [[TheWildWest American Old West]] themes, ''TabletopGame/{{Necromunda}}'' is one of the better examples of the cyberpunk aesthetic, with gangs of stimm-altered thugs, cyborgs and maniacs fighting each other [[CorporateWarfare to expand the business opportunities of their House]], in the [[LayeredMetropolis ruined industrial depths]] of a MegaCity. It does lack many of the CyberSpace elements of the genre, however.

* ''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/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 Epitaph episodes of ''{{Series/Dollhouse}}'' have strong elements of this, as well as biopunk. Mag and Zone's survival gang and Victor's tech-heads especially embody the attitude and aesthetics.
* 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.

%%* Iron Crown Enterprise's ''Cyberspace'' RPG.

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* ''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 an entertainment hub with connections to organized crime.

* ''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 [[http://www.handytips.info/wp-content/uploads/2013/04/Mass-Effect-3-Citadel-DLC-review-02-Silversun-Strip.jpg neon-drenched]] entertainment hub with connections to organized crime.