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11[[quoteright:350:[[Anime/ACertainMagicalIndexMiracleOfEndymion https://static.tvtropes.org/pmwiki/pub/images/academy_city_night.png]]]]
12[[caption-width-right:350:[[SpaceElevator High tech]]. [[AWorldHalfFull High life.]]]]
13
14Post-Cyberpunk picks up where {{Cyberpunk}} left off. Whereas cyberpunk is/was a DarkerAndEdgier riposte to older ScienceFiction, intended to portray what might happen if we don't [[AfterTheEnd all destroy ourselves]], Post-Cyberpunk is intended to present a less pessimistic, more idealistic vision.
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16Where Cyberpunk is anti-corporate and anti-government, Post-Cyberpunk is willing to give both parties redeeming features. Where Cyberpunk portrays the future as a CrapsackWorld, Post-Cyberpunk posits society will probably be about the same, just with cooler gadgets and CrapsaccharineWorld aspects. Where Cyberpunk is futuristic, forward-thinking and on the cutting edge of technology... so is Post-Cyberpunk.
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18Post-Cyberpunk is the [[PostSomethingIsm reaction]] to the [[TooBleakStoppedCaring apathetically bleak]] setting of Cyberpunk. Of course, Post-Cyberpunk involves {{reconstruction}} of concepts Cyberpunk deconstructed, or deconstruction of CyberpunkTropes (such as [[DystopiaIsHard the Dystopia]]). The Cyberpunk genre itself was meant as a reaction to utopian fiction popular in the [[TheForties 1940s]] and [[TheFifties 1950s]] while exploring technology's possibility for abuse TwentyMinutesIntoTheFuture (e.g. tech from ''Franchise/StarTrek'' will just result in ''Literature/BraveNewWorld''), but as the genre itself got so Dark and Edgy that it became unrealistic, it was predictable that Cyberpunk itself would get a deconstruction.
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20What the old and new Cyberpunk genres share is a detailed immersion in societies enmeshed with technology. They explore the emergent possibilities of connectivity and technological change. What Post-Cyberpunk has that separates it from pure Cyberpunk works is an emphasis on positive socialization. In Lawrence Person's [[http://slashdot.org/features/99/10/08/2123255.shtml "Notes Toward a Post-Cyberpunk Manifesto"]] he describes typical Post-Cyberpunk protagonists as "anchored in their society rather than adrift in it. They have careers, friends, obligations, responsibilities, and all the trappings of 'ordinary' life." For this reason, character goals also differed characteristically, "Cyberpunk characters frequently seek to topple or exploit corrupt social orders. Post-Cyberpunk characters tend to seek ways to live in, or even strengthen, an existing social order, or help construct a better one."
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22In other words, there is a notable absence of 'punk' elements as found in most other PunkPunk genres. And in recent years several works that rely heavily on post-cyberpunk conventions and tropes and have a strong post-cyberpunk atmosphere managed to drop most of the 'cyber' aspects as well. (See ''Film/{{Inception}}'' and ''VideoGame/MirrorsEdge'' as examples.) Just like it's mentioned in the {{Cyberpunk}} article, Post-Cyberpunk heavily deals with ''Social'' sci-fi in accordance with AsimovsThreeKindsOfScienceFiction, but its portrayal of technology is more neutral than Cyberpunk's, and sometimes it's downright positive. While Cyberpunk focuses on technology going beyond our control and dooming us all, Post-Cyberpunk states that ''humans'' cause technology to go awry, and that responsible use of technology could actually bring us to a new age. Simply put, Post-Cyberpunk basically reins in Cyberpunk's excess and tries to give us a more open vision of the future.
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24Aside from this main difference, the two sister genres share many themes, tropes, and story elements to the point that many question the legitimacy of this genre as separate from Cyberpunk, and contend that Post-Cyberpunk is simply Cyberpunk expanded beyond its base and taken further logically. Purists, however, see a definite difference.
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26As with mainstream punk culture, the cyberpunk movement (and it really did start as a serious Anarchist socio/political movement as in the 1986 Cyberpunk Manifesto) got LostInImitation which emphasized stylish elements over substance. PopCulturalOsmosis pushed the visual aspects of cyberpunk over the deeper meaning of the cyberpunk movement. Ironically, ''Film/BladeRunner'', the film that established the UrExample of the cyberpunk look, did not have significant cyberpunk themes (such as hackers, cyborgs, and cyberspace). It was a futuristic noir film that approached the often-approached WhatMeasureIsAHuman theme. But the slick, cynical [[FilmNoir Neo-Noir]] style along with the background extras wearing mohawks, black leather, sunglasses, [[EverythingsBetterWithSamurai Asian fetish]], and other tropes that would eventually make it into ''Film/TheMatrix'' trilogy remain the chief identifiers universally associated with cyberpunk. While the actual subculture punks did don signature looks, they were [[PretenderDiss eventually outnumbered by posers who like to dress the part]][[note]]Often they will dress in a way that exaggerates the look of the real exponents who are typically far more subtle, at least in public[[/note]] but don't care about or understand the philosophy or lifestyle. The exponents of the original Anarchist cyberpunk movement were apparently not into costuming and insisted that a cyberpunk can and does look like anyone.[[note]]It is worth noting that the protagonist of Blade Runner (and the book it is based on), Rick Deckard, was not a punk or social misfit, but, being a police officer (or bounty hunter as in the book), an adult member of the conservative establishment.[[/note]]
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28The Post-9/11 ideological atmosphere of 21st-century America also saw a marked decrease in heroes who were decidedly anti-establishment. Despite the dystopian nature of cyberpunk settings, it was frequently assumed that race, gender, nationality, and sexual orientation would be non-issues in the future, the rationale being that the last generation that really cared would have almost died out by then (even racially homogeneous Japan is often depicted as a melting pot in the future). However, now that society is in the chronological era that the majority of cyberpunk depicted, issues surrounding identitarian politics are still not only alive but even more volatile than ever, threatening to make society more divisive.
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30As a result, Post-Cyberpunk is often required to shelve more futurist themes and focus on existing social issues that have carried over from the past millennium. Additionally, it is far more difficult (bordering on impossibility) to operate anonymously or in the shadows outside of the system (the "Punk" aspect of Cyberpunk) or under dual/false identities. The increase of security profiling, monitoring, hidden surveillance, and current forensics technology is making it less and less possible to move around without leaving fingerprints or footprints of some type, digital or otherwise. And today, there is now the understanding that there is no anonymity or privacy on the internet. But ironically, the cyberpunk revival of the late 2010s and early 2020s is post-post-cyberpunk, possibly indicating a CyclicTrope.
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32Basically, if you have a CrapsackWorld modelled on ''Literature/NineteenEightyFour'' and/or [[JapanTakesOverTheWorld Japanese]] [[MegaCorp Zaibatsu]] where (most critically) technology is a method by which the power elite control the people, and the protagonists are entirely against said society, you have traditional Cyberpunk. If, however, you have a world that has ''some'' redeeming features, is not controlled by the State and/or MegaCorp, technology ''isn't'' screwing everything up, and the protagonists are trying to ''fix social problems from within'' rather than rebelling against society from without, you have Post-Cyberpunk. Of course, there is plenty of overlap.
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34In Japan, the tropes that would make up Post-Cyberpunk have been a part of their science-fiction worldview since as long as {{anime}} have existed, [[UnbuiltTrope predating Cyberpunk itself]]. The incredibly influential ''Manga/AstroBoy'' portrayed technology as having the potential for both great good and great evil from the very beginning, and the PunkPunk elements were largely imported later and were never quite as popular in Japan as they were in the United States.
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36Compare {{Cyberpunk}}, CyberpunkForFlavor, PunkPunk, and {{Postsomethingism}}. See CyberpunkTropes for tropes found in Post-Cyberpunk works and shared with its cousin {{Cyberpunk}}. Also compare to SolarPunk: both were created as reactions to Cyberpunk, but came to different conclusions -- Post-Cyberpunk says "the future sucks so we will redeem it", it accepts the world we live in and the systems that support it (industrialization, corporate globalism, and resource exploitation), but adapts them to be less harmful; Solar Punk says "the future sucks so we will replace it", it rejects the Cyberpunk vision entirely and presents a new vision built around small communities, sustainable ecology, artisan craftsmanship, and social anarchism. Unlike Cyberpunk, which may ascribe to ScienceIsBad, Post-Cyberpunk, and Solar Punk are more likely to ascribe to ScienceIsGood -- or at least, science ''can'' be good if not abused.
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38Not to be confused with PostPunk, which is a music genre based on NewWaveMusic. Soundtrack-wise, however, there is an overlap.
39----
40!!Examples:
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42[[foldercontrol]]
43
44[[folder:Anime & Manga]]
45[[index]]
46%%* The ''Franchise/DotHack'' franchise.
47* Though ''Manga/{{Appleseed}}'' starts with two soldiers [[ScavengerWorld scavenging for food in the wake of a nuclear holocaust]] and fighting against gangs of mercenaries, they are soon taken to a city of CrystalSpiresAndTogas, where they are hired as paramilitary police officers.
48* Perhaps the earliest example of Post-Cyberpunk [[UnbuiltTrope predates]] Cyberpunk itself -- ''Manga/AstroBoy''. It has many of the themes present in Post-Cyberpunk works, where technology causes massive social upheaval and change that is rough, but ultimately good and a symbol of hope as cyborgs and robots experience discrimination and contemplate rebellion but are ultimately integrated into society.
49* Though ''Literature/ACertainMagicalIndex'' is more slanted in the direction of urban fantasy, spinoff series ''Manga/ACertainScientificRailgun'' wears this trope as its central premise. The first season anime in particular toggles between being a slice-of-life series about the lives of young students living in a futuristic city (pictured above) and the plot which focuses on the social ramifications of said students being able to learn to have psychic powers. The Level Upper arc in particular is powered by the divisions between the haves and the have-nots.
50* ''Anime/CowboyBebop'' is mostly a SpaceWestern, but is an interesting case, since it also pulls from cyberpunk elements as well; on one hand, you have a futuristic Earth that was devastated by an experiment gone wrong, which resulted in a majority of the population pulling up their stakes and settling elsewhere in the solar system, which ''itself'' resulted in a massive spike in crime across the system due to the mass immigration stretching law enforcement organizations too thinly to be effective, which ''then'' resulted in the establishment of an old-fashioned bounty hunting system to combat crime. On the other, there's... not much else going wrong. Despite the hardship, life continues as usual elsewhere in the system, with megacorps and corruption serving minor roles, if any, in the series proper.
51%%* ''Anime/DenNohCoil'', which is best described as "''Franchise/GhostInTheShell'' [[InTheStyleOf as done by]] Creator/HayaoMiyazaki."
52* ''Franchise/{{Digimon}}'':
53** The franchise is perhaps an extreme example of Post-Cyberpunk characterization. The main heroes are just normal kids with families and friends, who happen to also restore order to the Digital World, not to mention forge unbreakable bonds of friendship with sapient computer programs. Also, there is a important focus on relationships as much as world saving.
54** ''Anime/DigimonTamers'' is closest to Cyberpunk, thanks to being written by the writer of ''Anime/SerialExperimentsLain''. There's a secret government conspiracy, monitoring everything and conducting dark experiments; the heroes are young streetwise punks who befriend what are, ''essentially'', rogue [=AIs=]. They end up subverting the government conspiracy and stopping more dangerous [=AIs=]. Philosophical questions about life arise. Granted, as it's part of a {{Mon}}s children's series, on the whole, it's not as grim as other examples here, but by the same coin, it's pretty heavy for a "[[ShonenDemographic shōnen]]" series.
55** ''Anime/DigimonUniverseAppMonsters'', although not as egregious as ''Tamers'', has ''applications and software turned into living AI and fighting each other'', among other things. Hackers are also present as well.
56%%* ''Anime/ErgoProxy'' straddles the line between classic Cyberpunk and Post-Cyberpunk.
57* ''Anime/GatchamanCrowds'' has a heavy emphasis on the internet and how it's changing the world. Unlike standard Cyberpunk, this is portrayed positively.
58* ''Anime/GhostInTheShellStandAloneComplex'' straddles the line between Cyberpunk and Post-Cyberpunk. On the one hand, the world is recovering from devastating world wars, while governmental corruption, media control, excessive state security ([[BigBrotherIsEmployingYou of which the heroes are one branch]]), and social division is at an all-time high. Yet at the same time, an ordinary middle class still exists, society and culture have not collapsed into mindless consumerism, and technology is portrayed neutrally. Most of all, the heroes may be ruthless agents, but ultimately are dedicated to [[MyCountryRightOrWrong protecting their country, even if it means pitting themselves against conspiracies that have emerged from their own government]]. Japan itself is visually depicted as fairly similar to its modern state (albeit with more advanced technology), rather than being a devastated WretchedHive.
59%%* ''Anime/KurauPhantomMemory''
60* ''Anime/TheOrbitalChildren'', by the creator of ''Den-noh Coil'', ultimately has an optimistic attitude towards space colonization and artificial intelligence.
61* ''Franchise/{{Patlabor}}'' takes place in this sort of world, though the 'punk' side of things are portrayed to vastly different extents depending on the continuity (manga, TV, film, plus wherever the OVA series fits -- but in all cases fairly mildly). The main characters are all police officers, the government is on solid ground, and the corporations clearly answer to ''it'' rather than the other way around as would be the case in classic cyberpunk. The only practical difference between then-modern 1988 and the 1998 in the shows are [[RealRobotGenre Labors]] and the Babylon Project that prompted their creation -- and compared to other robot anime of the time, that the difference is so ''minor'' is astonishing. ''Film/TheNextGenerationPatlabor'' continues the idea, except Labors are not seen anymore as being relevant and police and military forces are forced to keep them in working condition.
62%%* Urasawa's ''Manga/{{Pluto}}'' fits the bill as well, essentially being a DarkerAndEdgier version of the original ''Manga/AstroBoy''.
63* In ''Anime/PsychoPass'', the protagonists work for the system and technology has brought something close to utopia, but there are darker undertones in relation to how technology has affected humanity and the nature of the Sibyl System.
64%%* ''Anime/RealDrive'', which is basically "''Anime/DenNohCoil'' as done by Creator/MasamuneShirow."
65%%* ''Anime/TimeOfEve''
66%%* ''Manga/UntilDeathDoUsPart''
67* ''Anime/YuGiOh'' has elements of this. Corrupt corporations and conspiracies? Check. Cyberspace? Check. Normal kids fighting evil? Check. While fighting consist of card games instead of high-tech action, the characterization and goals match.
68%%* ''Anime/{{Zegapain}}''
69[[/folder]]
70
71[[folder:Comic Books]]
72* ''ComicBook/{{Firewake}}'' is a {{Magitek}} example of this. The titular character is a high-ranking police detective pursuing a powerful villain, and the corporations and governments are both aids and hindrances.
73* ''ComicBook/TheSurrogates'' isn't bleak enough to qualify as {{Cyberpunk}}, and technology comes pretty close to solving all of society's problems, but even a society where ([[TheBeautifulElite most]]) people can possess the perfect body and the worst crimes are damaging property has [[StepfordSmiler its own flaws]].
74* ''ComicBook/{{Transmetropolitan}}'': While science has brought great wonders to humanity, humans are still the same old assholes. The most popular fast food franchise of the future serves cloned human meat. This key factor is what makes ''Transmetropolitan'' Post-Cyberpunk: the technology does not alienate people; ''people'' alienate people. The bizarre transgenic modifications actively help to bring about social good and fight the apathy choking the system. There's a good argument technology alienating people versus people alienating people has never been a feature of cyberpunk.
75* ''[[ComicBook/WildCATSWildStorm Wildcats 3.0]]'' has a huge MegaCorp answerable to none buying out entire conglomerates, technological advances leading to social upheaval, and ineffective governments looking out for their own economic interests. All the elements of a {{Cyberpunk}} world, but with a twist; the MegaCorp is entirely altruistic. Interestingly, most of the characters are very aware of the implications. Even the two people who know the MegaCorp best wonder if a MegaCorp can actually be anything ''but'' malicious.
76[[/folder]]
77
78[[folder:Films -- Animated]]
79* ''Anime/Belle2021'' could best be described as "cyberprep" in the vein of ''Film/Her2013''. It features very few "punk" elements but uses many concepts that find their origin in {{Cyberpunk}}, including a virtual [[TheMetaverse metaverse]] and commonplace [[BrainComputerInterface brain-computer interfaces]] coexisting with more mundane technology like smartphones, motorcars, and trains.
80* ''WesternAnimation/BigHero6'' starts out looking like Cyberpunk, set in a city that's literally a mash-up between San Francisco and Tokyo, and opening with a semi-legal underground robot fight, and it looks like the villain is a CorruptCorporateExecutive who dresses in a black trenchcoat. But the protagonist spends maybe 15 minutes as a criminal before he's convinced that his robotics talents are better spent off at college, and it turns out to be not really a dystopia at all.
81* ''Anime/SummerWars'' is a shining example of this, what with the fact that a virtual world is the thing that connects everything together. Not to mention the NextSundayAD setting.
82[[/folder]]
83
84[[folder:Films -- Live-Action]]
85* Despite its Cyberpunk elements, ''Film/{{Alimuom}}'' actually isn't as pessimistic in its setting despite the heavy toll of pollution and environmental destruction and the existence of interstellar {{Mega Corp}}s -- in fact, as a film about the importance of farming and food security, ScienceIsGood (at least, the natural sciences are, anyway).
86* Although the late 1990s had a string of sci-fi movies that dealt with the PlatonicCave idea and virtual reality, ''Film/EXistenZ'' (which also contains aspects of BioPunk) is perhaps the only one to present the virtual reality as a good thing. As for the Cave, well... let's just say transcendence is no better than existence.
87* ''Film/Her2013'' features artificial intelligences that have the capacity to fall in love with natural-born humans and futuristic cities of glass and steel, which fulfils the "cyber" part, but very little in the way of "punk", other than the main character's boring corporate job. Many critics refer to it as "cyberprep".
88%%* ''Film/IRobot''
89* ''Film/{{Inception}}'' has some of the hallmarks of cyberpunk -- a burned-out protagonist and the powerful Japanese CorruptCorporateExecutive who hires him to brainwash a business rival -- but the Japanese guy turns out to be not so bad and is actually trying to ''prevent'' a monopoly, the protagonist gets better ([[MindScrew sort of]]), and the brainwashing plays out as EpiphanyTherapy. Extraction/inception itself is simply a different take on hacking in {{Cyberspace}}, only with dreams instead of computers. ''Inception'' mostly achieves post-cyberpunk status by avoiding the '80s-influenced ''look'' of cyberpunk, not the story and feel thereof.
90* ''Film/MinorityReport'' is a gritty noir tale set in 2054, and though it deals with cyberpunk themes such as BigBrotherIsWatching and SinisterSurveillance, it's not a complete {{Dystopia}} and everything is actually quite shiny and clean. Washington, D.C. has the lowest crime rates in the country thanks to [[PrecrimeArrest the Pre-Crime Division]]. An essay by Creator/DavidBrin asserted that when spider-bots flush into an apartment building to check people's eyes (in hopes of finding a pre-criminal), it's portrayed as a limited intrusion agreed to by the citizens, rather than an imposition from an unaccountable elite.
91* ''Film/{{Replicas}}'' deals with a lot of the {{Cyberpunk}} themes, such as many technological developments often considered dangerous or controversial (brain uploading, cloning, robots) along with a huge nefarious corporation (plus the government it's working with) but treats using such technology as not inherently bad, just risky (partly due to their kinks, plus what people will do to have it). Though it isn't easy, with enough effort they can be used safely and lead to a happy ending. Meanwhile, the world looks exactly the same.
92* In ''Film/RoboCop2014'', [=OmniCorp=] [[spoiler:and its parent company OCP]] isn't an almighty 1980s-style MegaCorp, though the issue of automated drones, rising crime and SinisterSurveillance is touched on. On the other hand, Robocop is shown to be using many of those very same technologies for good.
93%%* ''Yesterday'' (aka the 2004 Korean movie)
94[[/folder]]
95
96[[folder:Literature]]
97[[AC:Examples by author]]
98%%* Creator/WilliamGibson:
99%%** ''Literature/BigendBooks'' moves the other {{Ur|Example}}-{{Cyberpunk}} author into this territory.
100%%** ''Literature/SpookCountry'' (written against the background of UsefulNotes/TheWarOnTerror) is on the [[SlidingScaleOfIdealismVersusCynicism bleaker end of the scale]], just not {{dystopian}}.
101* Creator/NealStephenson:
102** ''Literature/SnowCrash'', and to an extent, ''Literature/{{Cryptonomicon}}''. ''Snow Crash'' especially straddles the line between {{Utopia}} and {{Dystopia}} and is usually considered the {{Trope Maker|s}}.
103** To an even greater extent, ''Literature/TheDiamondAge'', [[spoiler:which begins with a typical cyberpunk character, the two-bit cyborg criminal Bud, who gets arrested, tried, and executed before the actual story begins, to show that such characters have no place in this world]]. The novel is set in a near-future where technological advance has wiped away nation-states and radically altered the entire global economy –- for most people, this turns out to be a good thing.
104* Creator/BruceSterling:
105** The 1988 novel ''Literature/IslandsInTheNet'' is one of the original Post-Cyberpunk works. Sterling tackles the problem of corporate power head on, envisaging Rizone, a highly networked multinational founded on "economic democracy".
106** Sterling's two interlinked short stories, "Maneki Neko" and "Bicycle Repairman", both published in his seminal collection meaningfully called ''Good Old-Fashioned Future'', arguably do an even better job at it, due to being written more than a decade later, when his ideas became clearer. But then, Sterling has always been [[SlidingScaleOfIdealismVersusCynicism ''less'' bleak]] than most of the {{Cyberpunk}} authors. In "Maneki Neko", the Japanese combination of gift economy and social networking on a large scale, backed by enormous (and anonymous) network support, appears not only wholly benevolent, but also much more convenient, friendly and ''efficient'' than your garden variety cyberpunk MegaCorp capitalism exemplified by the US agents. However, this system is not without its problems, some of which are explored in "Bicycle Repairman".
107* Creator/CharlesStross:
108** ''Literature/HaltingState'' and ''Literature/Rule34'' are both TwentyMinutesIntoTheFuture with a debatably amoral view of technology.
109** The first part of ''Literature/{{Accelerando}}'' also fits [[spoiler:(until the [[AIIsACrapshoot AI overlords]] turn [[TheSingularity the Solar system into computronium]])]].
110** ''Literature/TheRaptureOfTheNerds'' fits even more strongly, as it takes place in a world where TheSingularity ''already happened a while ago'', and while most people are unequivocally better off, they're mostly not actually very grown-up about it [[spoiler:until the aliens show up and force humanity to prove it can live harmoniously with others and not overrun its natural-resource limits. Humanity just about passes the test]].
111%%* Creator/WalterJonWilliams's more recent books (''This Is Not a Game'', ''Deep State'') are definitely in this genre (of the TwentyMinutesInTheFuture variety).
112[[AC:Examples by title:]]
113* ''Literature/Aeon14'' blends significant influence of post-cyberpunk into a SpaceOpera setting, with ArtificialIntelligence, BrainComputerInterface, and BioAugmentation as major parts of the setting and portrayed neutrally (and sapient [=AIs=] almost always counted solidly among the good guys). The world overall looks quite similar to what we have now on Earth, except in space.
114* ''Literature/ATLStoriesfromtheRetrofuture'' has {{cyberpunk}} subversions galore, to the point that the closest people to freedom fighters hacking their way to a better future are the Social Media Killer, a ''villain'' who "kills" public figures by revealing scandals [[spoiler:and is secretly a pretty high-schooler]], and the Cybermancer, a washed-up [[Franchise/TheMatrix Matrix]] reject. Both come out looking more pathetic than Morgan, [[TheSlacker which is quite a feat]].
115* The ''Literature/CassandraKresnov'' novels are post-cyberpunk with a MilitaryScienceFiction backdrop for flavor. The title character is an ArtificialHuman SuperSoldier who works for Callay's planetary police after gaining political asylum there, and Tanusha is portrayed as a mostly happy cosmopolitan city of shiny skyscrapers instead of a dingy, crime-ridden place.
116* ''Literature/TheCentenalCycle'' is about the idea of microdemocracy, with every population of 100,000 people developing their own government. The cyberpunk part mostly comes from Information, the hybrid of the UN and Google who run elections. The post-cyberpunk part comes from the fact that this system is largely an improvement on the current state of the world, and the question of whether something even better could replace it.
117* ''Literature/CyberpunkCity'' is about a hacker living in a bright NeonCity in the future that works for the megacorps rather than opposes them alongside his beautiful HollywoodCyborg ActionGirl companion. It has darker elements but is a great deal lighter and softer than the usual cyberpunk dystopia.
118* While ''Literature/{{Daemon}}'' is a {{cyberpunk}} techno-thriller, its sequel, ''Freedom[[superscript:TM]]'', deals with the establishment of a new social order in the aftermath of the first book's open class warfare.
119* ''Literature/DarkDestiny'' is a story about a young student activist working against OneNationUnderCopyright before time travelers start targeting him.
120* Pat Cadigan's ''Dervish Is Digital'' about cops working in AR (Artificial or Alternate Reality) which is basically treated like a frontier in desperate need of taming.
121* The ''Literature/FuturePunk'' series is a centuries-long struggle of various RagtagBandOfMisfits against corporations.
122** ''Literature/AgentG'' is a series about a cyborg assassin set TwentyMinutesInTheFuture and chronicles how the world goes from being ''our'' world into a typical Gibsonian dystopia. Notable for also drawing elements from ''Film/{{Bladerunner}}'' and ''Film/TotalRecall1990''. A bit unusual in that it starts as a post-cyberpunk setting before falling apart to become a cyberpunk one.
123** ''Literature/TheCyberDragonsTrilogy'' has all the elements of classic {{Cyberpunk}} with a StreetSamurai protagonist and a dystopian corporate run CityNoir but it is due to a natural disaster, the corporations aren't the ultimate evil, and it eventually gives way to a DistantFinale where humanity visits the stars.
124** ''Literature/MoonCopsOnTheMoon'' is about how the end of the Cyberpunk Age transitions into a SpaceOpera setting. The moon is the last place where the {{Mega Corp}}s and crime syndicates rule, serving as a WretchedHive compared to the rest of the Sol system.
125%%* ''Literature/HcSvntDracones'', being a spinoff of the tabletop game mentioned below.
126%%* Elizabeth Bear's ''Jenny Casey'' trilogy.
127* Richard Kadrey's ''Metrophage'' sits uneasily midway between Cyberpunk and Post-Cyberpunk -- it was published relatively early in the cyberpunk era but is far more concerned with political and social issues than most of its contemporaries.
128* ''Literature/{{Murderworld}}'' posits a mostly functional American democracy, although one tainted by corporate influence, economic classism, and a societal propensity for simulated violence that spills over into the real world and its politics.
129%%* Creator/TadWilliams's ''Literature/{{Otherland}}'' tetralogy shares much of the tone and content with ''Franchise/DotHack'' despite being set in the late 21st century.
130%%* ''Literature/{{Paprika}}'', for the same reasons as ''Film/{{Inception}}'' above.
131* ''Literature/ThePeaceWar'' has both dystopian and Utopian themes. The Peace Authority is a strange semi-Stalinist state; authoritarian, yet antipathetic towards any government outside their own small territories. They are challenged by a free-spirited "hacker" community, the Tinkers.
132* The protagonists of ''Literature/ThePolity'' are loyal to a benevolent autocratic government controlled by advanced artificial intelligence, and the universe is coming close to TheSingularity. Essentially, the series takes the scope of SpaceOpera (with particular influence of ''Literature/TheCulture''), but gives it the gritty tone of Cyberpunk.
133* ''Literature/{{Postsingular}}'' by Creator/RudyRucker jumps back and forth a bit, but ultimately ends on a post-cyberpunk note, with the characters fighting for freeware.
134%%* ''Literature/SewerGasAndElectric'' blends Post-Cyberpunk with a hefty dose of humor.
135* ''Literature/{{Railhead}}'': The general "vibe" of the Network Empire. Sure, there's poverty, greedy {{Mega Corp}}s and self-aggrandizing A.I.s, but life for most ordinary folks isn't too bad and mostly untroubled, and none of the advanced technology has had the chance to GoHorriblyWrong. The Imperial family is [[HegemonicEmpire far too interested in hunting, partying and internal power games]] to bother with CrushingThePopulace, and indeed one of the things the [[DeusEstMachina Guardians]] seem to be best at is breathing down the necks of the Corporate Families to ensure they get as few people killed in their squabbles as reasonably possible.
136* ''Literature/ReadyPlayerOne'' straddles between this and classic cyberpunk. [[MegaCorp IOI]] owns pretty much everything ''except'' [[TheMetaverse the Oasis]] which lets people escape from their hellish reality. Wars, poverty, disease and climate change are rampant in the real world, so people spend as much time as possible inside the OASIS, which leads to it being abused so that it consumes your life. Then again, it allows the protagonist to meet his best friends throughout the book, it lets people be who they want to be, lets impoverished people get more opportunities, and ultimately helps give meaning to one's life. OASIS also gives such a huge, realistic universe to people for a ''single quarter'', although it is an AllegedlyFreeGame. If IOI gets the egg, however, it'll become a clear-cut example of dystopian cyberpunk.
137* ''[[https://en.wikipedia.org/wiki/The_Transhumanist_Wager The Transhumanist Wager]]'' focuses on Jethro Knights, a Transhumanist philosopher who travels around the world by boat to spread the message about Transhumanism. He returns to what ''was'' [[FallenStatesOfAmerica the United States]] as Christian terrorists begin taking control of the government, turning it into TheTheocracy and [[NoTranshumanismAllowed targeting all Transhumanists]]. This results in Mr. Knights creating a utopian floating city-state named 'Transhumania', designed to be free from [[EvilReactionary governments that fear and hate radical science]].
138%%* Arguably, ''Literature/{{Uglies}}'' by Scott Westerfeld.
139* ''Literature/TheUpgrade'' asks the question about how the world might end up under the control of corporations and what sort of people would be inclined to oppose them. Unlike regular cyberpunk, the answer is not a bunch of anti-establishment rebels but white-collar idealists and trained soldiers.
140* While ''Literature/YouCanBeACyborgWhenYoureOlder'' contains the CrapsackWorld and StreetSamurai of classic 1980s cyberpunk, the protagonists are all Young Adult novel heroes and heroines trying to save their OrphanageOfLove. The job of being a corporate mercenary and status of being cyborgs is also treated as being awesome by the protagonist.
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143[[folder:Live-Action TV]]
144* ''Series/AlmostHuman'' is this, because despite the rampart hi-tech crime, the good guys (a [[DefectiveDetective traumatized cop]] and his [[AndroidsAndDetectives android partner]]) actually often save the day. There are also instances of hi-tech criminals genuinely repenting and corporations honestly cooperating with law enforcement.
145* ''Series/BabylonFive'' dips into this genre from time to time, especially in the first few seasons, with various things like the Changeling Net[[note]]allowing one character to impersonate another[[/note]], genetic, physical, and cybernetic modifications[[note]]trying to make better telepaths, adding such features as gills for breathing alien atmospheres, or turning people into assassins or walking recording devices, [[BodyHorror or worse.]][[/note]].As the series continued and the MythArc took off, many (but not all) of these elements were overshadowed or quietly forgotten.
146%%* The Russian series ''Better Than Us'' (''Luchshye Chem Lyudi'') has shades of this.
147* ''Series/{{Continuum}}'', due to some of the technological benefits to everyone in the North American Union and that Kiera is trying to do her duties despite the [=NAU=] being under the rule of corporations.
148* ''Series/KamenRiderZeroOne'' is a complete inversion of {{Cyberpunk}} ideals: radical technology has benefited humanity rather than diminished it, hackers are dangerous terrorists rather than free-thinking rebels, and the MegaCorp and the military try to make life better for people. The whole reversal is exemplified in the hero: in ordinary Cyberpunk stories, it would be a street-smart mercenary -- here, it's the ''[=CEO=]'' of the {{Megacorp}} who goes out and fights to protect everyone in the hope that humans and [[RidiculouslyHumanRobots HumaGears]] can coexist.
149* ''Series/MrRobot'' has most of the hallmarks of cyberpunk: a malicious MegaCorp (actually referred to as ''Evil Corp'' in-universe), heroic anarchist hackers, a threat from the East ([[TheCracker the Dark Army hacker group]] in this case), however it takes place in the modern world instead of the future, and the plot is actually a {{Deconstruction}} of the kind of anti-establishment rebellion story seen in Cyberpunk. The main hack intended to destroy Evil Corp ends up making the situation in the world worse. The protagonist realises the mistake, and the corporation gets dealt with by removing individual evil people from positions of power, not trying to take down the whole behemoth.
150* ''Series/PersonOfInterest'' has the setup for a traditional CyberPunk series but is post-cyberpunk in execution. The Machine is an ArtificialIntelligence created for government surveillance of the entire world (ostensibly in order to prevent terrorist attacks or acts of treason, but the agency operating it, codenamed Northern Lights, has no problem [[KilledToUpholdTheMasquerade killing innocents to keep the secret]]). However, Finch and Reese use it to prevent mundane violent crimes, taking down organized crime and {{Dirty Cop}}s among other threats, and because Finch wanted to protect people's privacy as well as provide security, he deliberately hobbled the Machine so that it was a complete BlackBox: all somebody on the outside gets is a Social Security number as a clue to lead them to the threat.
151[[/folder]]
152
153%%[[folder:Music]]
154%%* Music/MachinaeSupremacy has a lot of songs made of this trope.
155%%[[/folder]]
156
157[[folder:Tabletop Games]]
158* The ''TabletopGame/{{Android}}'' setting is portrayed this way in the ''Worlds of Android'' setting book and ''Shadow of the Beanstalk'' roleplaying rulebook. While the games heavily lean on cyberpunk tropes of off-the-grid runners fighting against malevolent megacorporations, the setting as a whole is portrayed very neutrally, with good and bad existing in all factions, most people just trying their best to make a living (even if it's impossibly tough for most), with even the heartless actions of the megacorporations being an unfortunate but natural consequence of their size and scope as often as malice or conspiracy. The roleplaying game in particular presents all walks of life (including both oppressed and privileged) as equally viable options for a protagonist in character creation, and offers advice for a wide range of stories in the setting.
159* ''TabletopGame/CthulhuTech'' is very much a post-cyberpunk setting, and despite the [[CosmicHorrorStory nature of the universe]], has a government that despite its flaws is trying to save humanity, an economy which is approaching post-scarcity with nanofactories and the D-Engine, and themes of transhumanism (though not of the kind that you [[BodyHorror necessarily like]]).
160* The third edition of ''TabletopGame/{{Cyberpunk}}'' is set in a Post-Cyberpunk world. The irony of a Post-Cyberpunk game titled "Cyberpunk" is not lost on anyone. These thematic changes are also what caused fans of the game's previous editions to react negatively to this one. The fact that the core book's artwork consisted entirely of Photoshopped images of posed action figures in ridiculous costumes didn't help, either.
161* ''TabletopGame/EclipsePhase'' straddles the line between cyberpunk and {{Transhumanism}}. On the one hand, many people do wind up with a totally different understanding of culture, life, and even humanity, and on the other, there are even more trying to keep the old forms of government and commerce alive... often as a means to control others. Also, from the outside, the more transhuman beings usually appear horrifying and incomprehensible.
162* ''TabletopGame/FatesWorseThanDeath'' features a setting where cyber isn't quite as popular, and implants help, but don't turn you into a {{Chrome Champion}}. Corporations are powerful, but not omniscient, and guns are tightly controlled, leaving more space for switchblades. Above all, everyone has a place in society, including gang members! Actually, especially gang members, as gangs are less of crime groups and more of mutual protection societies when the government isn't willing to keep the order and safety (which is how many gangs started anyway in the real world, making this {{Older Than Feudalism}}).
163* ''FreeMarket'' (based on ''Literature/DownAndOutInTheMagicKingdom'') is bright and shiny and just plain awesome about how future technology will be. It does really crank up the "humans will be humans" aspect with an entire social structure/economy based around how much people like you, similar to Facebook. Viva la adhocracy!
164* ''TabletopGame/HcSvntDracones'' straddles the line. Yes, {{Mega Corp}}s [[OneNationUnderCopyright literally]] rule the solar system, however the standard of living is still higher than the modern day, and in the backstory, it's stated that people willingly left governments behind for Corptowns, and the nation-states launched the first nukes in the war that glassed Earth... [[WrittenByTheWinners Or maybe not]]. And losing humanity from augmentation is a null issue since humanity has been extinct for 700 years and everyone is either a genetically engineered Vector or a robot (Cog). On the other hand, player characters are apparently usually freelancers who might be hired to hit rival Corps.
165* ''TabletopGame/NeuroSpasta'' is a post-cyberpunk setting similar to ''Franchise/GhostInTheShell'' or ''Manga/{{Appleseed}}''. The default premise is that the characters are members of the Division of Public Safety, a counter-terrorism unit that protects Archon, a technologically advanced city-state built and governed by the United Nations in international waters. They will usually be opposed by national governments and terrorist groups that view the city as the first step towards a global police state -- a fear that is not completely unfounded.
166* ''TabletopGame/{{Shadowrun}}'' also straddles this, having evolved along with the genre. The original 1989 game was a typical Cyberpunk dystopia, with evil megacorps running things. By the 4th edition, the corps are generally more neutral and there are far greater threats than them. While still dystopian, it's far less so than the earlier edition. 5th edition rolled things back, however; now the megacorps have re-tamed the Matrix and the game is about badass shadow mercenaries fighting corporate wars again.
167* ''TabletopGame/SufficientlyAdvanced'', a game almost entirely about how far-flung future technologies effect society and how ideas change the world, has so much hope and wonder at what science can achieve that even the more disturbing cultures, like those that use meshes to make everyone a willing slave of everyone else, are able to sit down with the rest and have a civil discussion about why their way of life is the most moral and correct.
168%%* ''TabletopGame/TranshumanSpace'' is a post-cyberpunk setting for ''TabletopGame/{{GURPS}}'', although the Broken Dreams sourcebook lends itself to a more classic cyberpunk feel.
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171[[folder:Video Games]]
172%%* ''VideoGame/AceCombat3Electrosphere''
173* ''VideoGame/ANNOMutationem'': The story is set in a post-cyberpunk metropolis with multiple cities mixed with (pre-dominantly) influence, complete with {{Virtual Celebrity}}s, robots, futuristic cars. While there are some darker elements, such as [[UnwillingRoboticisation the Mechanika Virus]] that caused peoples bodies to be turned metallic and robotic, and [[spoiler:an EldritchLocation that's unknown to the world as an NGOSuperpower studies it to find the means of destroying it]], the setting is often times brightly lit with vibrant colors, making it veer far from the dystopian-type scenarios.
174* ''VideoGame/AzureStrikerGunvoltSeries'': [[VideoGame/AzureStrikerGunvolt The first game]] is initially not this, as it's about a LaResistance vs a MegaCorp. ''VideoGame/AzureStrikerGunvolt2'' and ''[[VideoGame/AzureStrikerGunvolt3 3]]'', on the other hand, veer into this, as they're about maintaining peace between humans and adepts while fighting against those who dare disturb said peace. [[spoiler:The post-''[[VideoGame/LuminousAvengerIX iX]]'' saga follows this principle after Demerzel has been dealt with.]]
175* ''VideoGame/BeyondASteelSky'': Subverted. While [[VideoGame/BeneathASteelSky the original game]] was heavily based on Cyberpunk, Saviour Joey's restructuring since then has led to a more positive outlook of technology's impact on society -- on the surface, anyway.
176* The storylines of the ''Franchise/DeusExUniverse'' essentially explore the transition between cyberpunk and post-cyberpunk: individuals gain control of the technologies society uses to oppress them, and use them to change the world.
177** ''VideoGame/DeusEx'' is incredibly dystopian; disease and class war abound. But the heroic characters and their goals? So very much aimed at improving the existing system. The endings are pretty bleak, though; [[spoiler:humanity is either [[BigBrotherIsWatching controlled by a powerful AI as a benevolent world dictator]], or controlled by [[AncientConspiracy a "democratic" group of rich old men]], or not controlled at all by anyone, but as a side-effect, [[ResetButton technology takes some dramatic steps back]]]].
178** ''VideoGame/DeusExInvisibleWar'' is even more so; the previous game [[spoiler:turned out to be a ShaggyDogStory because ''all three endings happened'' -- the uber-AI was born crippled, the Ancient Conspiracy returned to power, and the world was reduced to a series of high-tech enclaves in a ruined wasteland]]. But again, the heroic characters have the opportunity to change things for the better -- and to decide what "better" is for themselves; [[spoiler:give everyone enhancements and voting control over an AI overlord, resurrect the old democracies, get rid of all the crazy technology, or let the chaos give birth to {{Transhuman}}s who will colonize the universe without fear]].
179** ''VideoGame/DeusExHumanRevolution'' actually has the conflict between cyberpunk and post-cyberpunk as its core plot element. The most idealistic faction wants to give augmentation to the masses in the hopes of creating a better world, while the old guard is stirring up fears of oppression and abuse to justify regulating the technology. But others want to rid the world of it altogether.
180%%* The ''Franchise/DotHack'' video games.
181* The Caldari State in ''VideoGame/EveOnline'' is themed after Cyberpunk stories, but it's actually closer to Post-Cyberpunk in how it works. The society is controlled by megacorps, but the corporations aren't really evil, and while they compete amongst each other (sometimes violently) and often engage in questionable practices, they still stand united against any external threat to the State. The society is meritocratic, so people who work hard will get into good positions, and the average citizens have fairly comfortable and productive lives (but those that can't keep up with the system are pretty much screwed since there is no such thing as social security).
182* Chapter 4, Season 2 of ''VideoGame/{{Fortnite}}'' introduced Mega City, which both has cyberpunk aesthetics and seems to be a good place to live, and the plot of that season's missions is that a saboteur is trying to disturb the peace and prosperity there rather than something about a corrupt megacorporation or dangerous technologies.
183* ''VideoGame/HiFiRush'' is a game with the very standard Cyberpunk setup of a young man who joins a resistance movement after getting a faulty cybernetic arm from a MegaCorp. It's also a very colorful, stylised and cheerful game that runs on ThePowerOfRock.
184* In ''VisualNovel/InvisibleApartment'', the setting probably leans more this way than towards traditional cyberpunk. On the one hand, it's highly regulated and involves powerful people covertly using technology for their own interests. On the other hand, people who aren't on the government's wanted lists don't seem to have as bad as a typical cyberpunk dystopia, and there are people on the inside who try to do the right thing.
185* ''Franchise/MegaMan'':
186** ''VideoGame/MegaManBattleNetwork'' takes place in an EverythingIsOnline world where Internet browsing is accomplished by using sentient programmes called [[RobotBuddy Network Navigators]] (also known as Net Navis, or just Navis). While the world is generally bright and cheery and the protagonist and companions never stray into [[AntiHero antiheroism]], viruses, which serve as the game series' Mooks, are horrifically common and cyber-crime is a very real threat.
187** Add all-encompassing Wi-Fi connectivity, angst, and aliens attracted to loneliness and you get ''VideoGame/MegaManStarForce''.
188** ''VideoGame/MegaManZX'' takes place after the post-apocalyptic ''VideoGame/MegaManZero'', where humans and reploids live side by side and are rebuilding society anew.
189%%* The ''VideoGame/MetalGear'' series (with the exception of ''[=MGS3=]'', which takes place in the 1960s) features a lot of post-cyberpunk themes and technology, and it becomes really strong with the introduction of the Patriots in ''[=MGS2=]''.
190* ''VideoGame/MirrorsEdge'': Both the plots and the visuals are straight from the core concepts of the post-cyberpunk genre. Yet there's no technology that hasn't been around for years, and neither technology nor science play any part in the plot or gameplay. The game actually sits right on the edge (no pun intended) of old-school cyberpunk and post-cyberpunk with the main character Faith being a member of the underground who resist the oppressive and authoritarian government who tries to rescue her sister, who is a police officer working for the very same corrupt politicians. As a kind of minor twist in the later parts of the game [[spoiler:most of the Runners realize that they are the only ones who still believe their world follows the conventions of cyberpunk, while everyone else has accepted that reality is much more like post-cyberpunk. With their feeble rebellion against the establishment being both futile and pointless, many chose to rejoin society rather than hiding from cops in air shafts all their life]].
191* ''VideoGame/NinjaPizzaGirl'' follows the tropes of CyberPunk but breaks with tradition by being, for the most parts, [[LighterAndSofter quite upbeat and optimistic.]] Living in an overgrown, [[CyberPunkWithAChanceOfRain rain-soaked]] maze of a city dominated by soulless [[MegaCorp megacorporations]] has not ruined people's ability to stay cheerful and care for their friends and family. Or to enjoy a really great pizza, for that matter.
192* ''VideoGame/{{Overwatch}}'' takes place [[TwentyMinutesIntoTheFuture sixty years in the future]]. Despite a robot uprising and the presence of large and powerful megacorporations, the world isn't a dystopian CrapsackWorld. Several playable characters have cybernetic limbs, but none of them (except Genji) have any sort of crisis about whether it makes them less human. In Genji's case, his existential crisis is mostly about feeling like an outcast among both humans and robots, and less about having a partially robotic body in the first place.
193* ''VideoGame/{{Rollcage}}'' is set in a heavily technological future world a few centuries in the future. Overall, things don't seem very grim, as there are pleasant seaside resorts with lots of greenery, some cool futuristic architecture and hovering billboards, as well as highly advanced and dense, but well-lit and tidy (rather than dystopian) megacities, and even pretty hospitable and busy colonies on Mars. Everything seems to be powered by clean propulsion technology and hovertech is pretty widespread. Add to that the fact the game revolves around a few thrill-seeking daredevils practicing street racing with nigh-indestructible super-fast cars that have no issues with riding upside down, since both their upper and lower halves are identical.
194%%* The ''Franchise/ShinMegamiTensei'' series has many cyberpunk and post-cyberpunk elements.
195* ''VideoGame/SystemShock2'': While the first ''VideoGame/SystemShock'' was set in a rather standard cyberpunk world, with the villains being a CorruptCorporateExecutive and an evil insane AI, and the hero a hacker pressed into service after being caught by the MegaCorp's security forces, the sequel is set some 40 years later. In the meanwhile, events of the first game caused a backlash against the corporations that led to the establishment of a quasi-socialist world government locked in a sort of a cold war with the remnants of {{MegaCorp}}s. While the plot of the game is mostly removed from politics, they make an impact on the story at several points.
196* ''VideoGame/{{Transistor}}'' eschewes cliché production design and interleaved cyberpunk tropes with romanticism and humanism. [[spoiler:ThePowerOfLove wins. [[BittersweetEnding Kind of.]]]]
197* ''VideoGame/WatchDogs2'' is set in sunny (but also appropriately foggy) San Francisco and the technology is used by the heroes and villains to achieve their own ends. ''VideoGame/WatchDogsLegion'' is a step towards original Cyberpunk, but the ending shows that there is plenty of room for a free and just society.
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200[[folder:Visual Novels]]
201%%* ''VisualNovel/ChaosHead'', and especially its successor ''VisualNovel/SteinsGate''.
202* In ''VisualNovel/VA11HALLA'', Glitch City is a Cyberpunk dystopia where rich corporations control just about everything, the White Knights police force is openly corrupt, and cybernetic enhancements are the norm. Even so, the game manages to be more idealistic than standard cyberpunk fare. Its main message is that [[RousseauWasRight people are basically good, and even in a dystopia like Glitch City, they'll look out for each other]]. Stella even says that despite the Zaibatsu Corporation having a large hold on everything, it's definitely improved peoples' lives. [[spoiler:Plus, the corpos aren't heartless monsters, either. When the White Knights go rogue, the Zaibatsu Corporation activates a failsafe in their armor to prevent them from killing any more people.]] All of it is framed through the eyes of a single bartender who [[HeroOfAnotherStory is just an ordinary woman, trying to live her own life]].
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205[[folder:Webcomics]]
206* ''Webcomic/ClaudeAndMonet'' takes place in a future that's just as retro as it is futuristic, yet at the same time also feels like the problems and solutions of the present have also crept in. In other words, ''plus ça change''.
207%%* ''Webcomic/LeavingTheCradle'' appears to be this [[JustForFun/RecycledInSpace In Space]].
208* ''Webcomic/QuestionableContent'': On the surface, it looks like a story about a group of friends just going about their daily lives and being snarky. And then you see the [=AnthroPCs=], which are basically {{robot}}s that function as pets and home computers, although it's not always clear just how that's supposed to work. The [=AnthroPC=] characters run the range from CuteMachines and RobotGirl to EatingMachine and at least one KillerRobot. There is even a chart showing the MechanicalEvolution of the setting.
209[[/folder]]
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211[[folder:Web Originals]]
212* In ''Literature/ChaosFighters II-Cyberion Strike'' and ''Literature/ChaosFighters: Cyber Assault-The Secret Programs'', [[spoiler:the guardians (similar to Navis in ''VideoGame/MegamanBattleNetwork'') are originally designed as virtual humans, but due to crimes, the research project switched its focus to develop fight-capaable guardians so that the crimes can be solved quickly]].
213* The setting of ''WebVideo/HPlus'' is implied to have been this before [[TheEndOfTheWorldAsWeKnowIt human civilization]] crashed due to a virus infecting a {{nano|machines}}-cybernetic implant that nearly the whole human population wore.
214[[/folder]]
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216[[folder:Western Animation]]
217* Despite its seemly Cyberpunk-themed Paris, France, ''WesternAnimation/CodeLyoko'' and its live action sequel ''Series/CodeLyokoEvolution'' share a Post-Cyberpunk-ish style (In terms of technology and fashion) due to the show actually being set [[TurnOfTheMillennium mid-Turn of the Millennium]], and the majority of episodes are set in [[CyberpunkWithAChanceOfRain lightly rainy day/night]] all of the time.
218* ''WesternAnimation/GetEd'' is a prime example, as society is technologically advanced, and the world seems to be in good shape, with the exception of [[BigBad Bedlam]] and his empire.
219* Synergy from ''WesternAnimation/{{Jem}}'' is a UrExample of Post-Cyberpunk with its aesthetic and advanced technology that projects itself with a more nicely and useful personality than other [=AIs=] from Cyberpunk in [[TheEighties that time]].
220* In ''WesternAnimation/SouthParkPostCovidTheReturnOfCovid'', while ThePlague still occurred, China's still a superpower, and tech is still very advanced in the new timeline, the world managed to make the first point easier to handle, while everyone (sans Cartman) is living happier lives.
221* ''WesternAnimation/TransformersAnimated'' shows a future with big megacorporations and police drones everywhere, but for the most part, it's portrayed as a pretty upbeat and optimistic setting; Detroit's even experiencing a new economic boom thanks to the rise in robot manufacturing.
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224[[/index]]

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