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[[quoteright:286:[[VideoGame/DeusExHumanRevolution http://static.tvtropes.org/pmwiki/pub/images/cyberpunk-dues-ex-hr-001_8065.png]]]]
[[caption-width-right:285:''"I never asked for this..."'']]

->''"Transhumanism is about how technology will eventually help us overcome the problems that have, up until now, been endemic to human nature. Cyberpunk is about how technology '''won't'''."''
-->-- '''Stephen Lea Sheppard of RPG.Net''', on the relation between transhumanism and cyberpunk

Cyberpunk is a SpeculativeFiction genre centered around the transformative effects of advanced science, information technology, computers and networks ("cyber") coupled with a breakdown or radical change in the social order ("punk"). A genre that is [[TheFutureIsNoir dark]] and [[SlidingScaleOfIdealismVersusCynicism cynical]] in tone, it borrows elements from FilmNoir, hard-boiled DetectiveFiction and {{postmodern}} {{deconstruction}} to describe the {{Dystopia}}n side of an electronic society.

The plot will more than likely take place TwentyMinutesIntoTheFuture in some CityNoir, IndustrialGhetto or CrapsackWorld that tends to be marked by [[WretchedHive crime, cultural nihilism]] [[ArsonMurderAndJaywalking and]] [[CyberpunkWithAChanceOfRain bad weather]], where cutting-edge technology [[GoneHorriblyWrong only ends up being used by everyone for the sake of selfish]] [[CorruptCorporateExecutive profit]] and [[BreadAndCircuses pleasure]] ("the street finds its own uses for things").

Heroes are often [[PlayfulHacker computer hackers]] or rebels, {{antihero}}es almost to a man. These characters -- "criminals, outcasts, visionaries, dissenters and misfits" -- call to mind the private eye of detective fiction. This emphasis on the misfits and the malcontents is the "punk" component of cyberpunk. On the other hand, major villains are almost inevitably {{Police State}}s or [[MegaCorp multinational conglomerates]] led by [[CorruptCorporateExecutive powerful businessmen]] with a number of gun-toting {{Mooks}} and {{corrupt politician}}s ([[OneNationUnderCopyright or even an entire nation]]) at their beck and call.

If the work dates from TheEighties, there's a good chance that there will be a theme of [[JapanTakesOverTheWorld East Asian economic dominance]], with the evil corporations being sinister ''zaibatsu'' (possibly [[DiabolicalMastermind masterminded]] behind the scenes by {{yakuza}}) and Asian-sounding brand-names liberally scattered around. Examples from the TurnOfTheMillennium and [[TheNewTens beyond]] are likely to swap Japan out for {{China|TakesOverTheWorld}}.

Expect the scientific philosophy of {{transhumanism}} to be a feature, what with ArtificialLimbs and [[BrainComputerInterface cable jacks in the skull]] that allow access to [[CyberSpace artificial realities]]. [[InstantAIJustAddWater Artificial intelligences]] and {{artificial human}}s (sometimes [[CyberneticsEatYourSoul corrupted]]) are everywhere, while EverythingIsOnline. This leads to a theme of "loss of distinction between real and artificial" on which philosophical and existential conflicts about transhumanism can arise, such as questions on the nature of identity and "WhatMeasureIsANonHuman."

The genre's vision of a troubled future is often called the antithesis of the generally utopian visions of the future popular in the 1940s and 1950s, but keep in mind that it is ''not'' a term that should be applied to every SpeculativeFiction dystopia or BadFuture ever in the history of the genre, and does not need to always have an {{anvilicious}} ScienceIsBad message to it.

Cyberpunk tends to be pretty hard on the MohsScaleOfSciFiHardness, usually lingering between a 4 and a 5. This makes it one of the more realistic genres of sci-fi, but also makes older stories be very prone to {{Zeerust}}. Creator/WilliamGibson himself, considered the godfather of the Cyberpunk genre, has said [[TechnologyMarchesOn that he was massively shortsighted on the advances in technology that would occur over the next three decades]]. The infamous "three megabytes of hot RAM" in ''{{Neuromancer}}'' are [[HilariousInHindsight laugh-inducing]] to a modern audience who consider an eight gigabyte MP3 player to be one of the cheap and low-capacity ones.

Cyberpunk is also quite distinctive in its focus on ''Social'' stories in AsimovsThreeKindsOfScienceFiction. It certainly has ''Gadget'' and ''Adventure'' stories within the genre as well, numerous in fact, but Cyberpunk is a genre that focuses heavily on the impact of technology on society itself, possibly more than any other genre of sci-fi. Given that it's a more cynical genre than others, it particularly focuses on the ''negative'' impact of technology on society, but with the emergence of PostCyberpunk, portrayal of societal impact of technology has become more neutral and sometimes even positive. It's hard to condemn speculative technology when it becomes actual technology and we realize that, hey, it's not so bad.

See CyberpunkTropes and SoYouWantTo.WriteACyberpunkStory for Cyberpunk's characteristic tropes and what sets it apart from other dystopias. The story may fall on the Romanticism end of the RomanticismVersusEnlightenment scale.

Not to be confused with the roleplaying game ''TabletopGame/{{Cyberpunk}}'', though that is an example. [[CaptainObvious Obviously.]]

As a movement, it was the successor in some sense to the NewWaveScienceFiction movement of the sixties and seventies. Related to PostCyberPunk and CyberGoth. Of course, several works fit on a continuum between the two tropes. See also {{Cyberspace}}, DungeonPunk, PunkPunk. Compare also with SteamPunk, which shares some similarities with cyberpunk. See also NeoAfrica.
----

[[foldercontrol]]

!!Clear-Cut Examples

[[folder:Anime]]
* ''Manga/{{Akira}}'' is an extremely influential cyberpunk anime movie.
* ''Anime/GhostInTheShellStandAloneComplex'': Government censorship of the media, refugees are treated poorly and social welfare appears to be nonexistent. As well, members of the military appear to be able to issue orders to civilians (something which is not permitted in most democracies except under martial law).
** Also, assassinations are regularly ordered by the Prime Minister or other government officials (which, said the author of the original manga, Shirow Masamune, meant that there had been a massive failure in the political process).
** A lot of themes in ''SAC'' steer the series more towards PostCyberPunk, however. It's still a dystopia (especially given hints about how bad the rest of the world is), but it's a less severe dystopia then many settings, a more realistic in that not EVERYTHING is automatically as bad as it could be.
* ''Anime/ArmitageIII'' is incredibly similar to ''Franchise/GhostInTheShell'', and predated the movie (but not the manga) by a year. (Both series revolve around female robotic law enforcers solving crimes perpetrated by or against robots, and [[WhatMeasureIsANonHuman both tackle]] [[SlidingScaleOfRobotIntelligence similar themes.]]
* ''Manga/{{Gunnm}}'' or ''BattleAngelAlita'', with the distinction that it's set in a far off future in which Earth is barely recognizable.
* ''Anime/SerialExperimentsLain''.
** The characters who provide the "punk" element are all secondary, such as TheMenInBlack, the kids at [[CoolestClubEver Cyberia]], and Lain's sister. Lain herself is an innocent, in contrast to the usual convention of putting a scumbag in the spotlight of a cyberpunk story.
* ''BubblegumCrisis'' and especially its spinoff, ''AD Police'' -- in all its incarnations. The remake series, ''Bubblegum Crisis: Tokyo 2040'' was criticized for being more clean-cut than the original.
* ''Anime/ErgoProxy'': By the end of the series it looks like PostCyberPunk.
* ''Anime/{{Texhnolyze}}'': Thanks to deliberate use of {{Zeerust}}, this series borders on DieselPunk, although cybernetic implants are a fairly important part of the story's world.
%%* ''Anime/{{Genocyber}}''
%%* ''Anime/AngelCop''
%%* ''Anime/CyberCityOedo808''
%%* ''Manga/{{Appleseed}}''
%%* ''Manga/EdenItsAnEndlessWorld''
* ''Anime/{{Megazone 23}}'' combines this with {{Mecha}}.
* ''Anime/MacrossPlus'', first and only in the franchise. [[AIIsACrapshoot Troubles with artificial intelligence]] aside, its main message: is it really practical to make the human element obsolete?
%%* ''Anime/{{Vipers Creed}}''
* ''Anime/PsychoPass'' is another that straddles the line between Cyberpunk and PostCyberPunk. Japanese society is covered by a thin veneer of utopia, but as the show progresses, it gets rubbed away as we see the cost of said society. By the end, the viewer isn't even sure the bad guy is wrong in his goals of tearing society down.
[[/folder]]

[[folder:Comic Books]]
%%* ''Darkminds''
%%* ''ComicBook/FallOutToyWorks''
%%* ''Silent Dragon''
%%* ''Singularity 7''
* ''ComicBook/{{Ronin}}'' was perhaps the first hard CyberPunk mainstream comic.
%%* ''Utopiates''
* The entirety of the ''[[{{Marvel2099}} Marvel 2099]]'' lineup.
* ''Nikopol Trilogy'' by Enki Bilal merges European take on cyberpunk with some supernatural/extraterrestrial elements.
* ''{{OMAC}}'' is one of the more eccentric examples, being written and illustrated by JackKirby, but it hits just about every element of cyberpunk but cyberspace (which didn't exist as a concept in 1974). All-powerful corporations dabbling in criminal activity? Check. Sketchy world government using spy satellites and transhumanist super-soldiers to do their dirty work? Check. Nuclear threat looming in the distance? Decadent middle class unaware of what goes on beneath their feet? Plots dealing with memory and identity in a world where those things can be removed or reprogrammed? Check, check, and check.
* Also in 1974, over at Marvel, Rich Buckler and Doug Moench were covering all the cyberpunk tropes that ''{{OMAC}}'' '''''missed''''' in ''DeathlokTheDemolisher': Including transhumanism and something akin to cyberspace.
[[/folder]]

[[folder:Fan Works]]
* ''FanFic/AlternativeGods'' is a ''Manga/DeathNote'' cyberpunk AU. It has a strong emphasis on hacking and technology. You've got an evil corporation (Yotsuba) doing unethical experimentation, a noirish tone, colliding conspiracies, and "heroes" that are hackers, misfits, antiheroes, criminals, and visionaries (sometimes all at the same time; exhibit A--Light Yagami.)
* The SpongeBob darkfic [[http://www.fanfiction.net/s/8490979/1/Cyberpunk-An-underwater-dystopia Cyberpunk]], as its name may suggest, has many elements of this genre.
[[/folder]]

[[folder:Film]]

* ''Film/JohnnyMnemonic'' was adapted from an eponymous William Gibson short story (with a screenplay written by Gibson himself), but sadly fell victim to ExecutiveMeddling during production, with the final result sorely disappointing fans and creators alike.
* ''Film/StrangeDays'' is a unique example, being set only a few years in the future from when it was released, and featuring only a few pieces of futuristic technology.
* ''Film/{{Cherry 2000}}'' with elements of DesertPunk in the non-urban areas.
* ''Film/{{Brainstorm}}''
* ''Film/{{Hackers}}''
* ''Film/AScannerDarkly''
* ''Film/BabylonAD'', adapted from the book "Babylon Babies", and, much like ''Johnny Mnemonic'' before it, another victim of [[ExecutiveMeddling heavy-handed studio execs]].
* ''Film/TheyLive!''
* ''Film/MinorityReport''. Although it's more PostCyberPunk.
* ''Film/{{Freejack}}''
* ''Film/{{Pi}}'', though it's set in the eighties, gives the protagonist's computer [[MagicalComputer improbable powers]] that throw the story into cyberpunk territory.
* ''Film/{{Sneakers}}'' has all the markings of Cyberpunk, except for being set NextSundayAD, and thus lacking in the chrome.
%%* ''Film/{{Avalon}}''
* ''Film/{{Elysium}}'': The elite live on a high-tech space station with casual cures for cancer, while Earth is a CrapsackWorld of poverty and squalor kept oppressed with robot police and cyber-enhanced thugs.
[[/folder]]

[[folder:Literature]]
* JohnMFord was an early pioneer his 1980 novel ''Web Of Angels''.
* John Shirley is considered another of the genre's founding fathers, with his novel ''City Come A-Walkin''' releasing around the same time as Ford's (see above). His later novels, in particular ''Black Glass'' and the Literature/EclipseTrilogy, cemented his reputation.
* K.W. Jeter could have launched the genre a decade early were it not for the publication of his novel ''Dr. Adder'' getting pushed back for twelve years (Jeter originally finished the manuscript in 1972, but no publishing company would accept it at the time due to its graphic violence and sexual content). It went unpublished until 1984, finding its way to shelves just in time to be completely overshadowed by a certain ''other'' book (see below).
* Creator/WilliamGibson is often referred to as the father of the genre; he created the word "cyberspace", and, despite his lack of technical knowledge, his novel ''Literature/{{Neuromancer}}'' was the prototype for much of what followed.
* Marc D. Giller's Literature/{{Hammerjack}} and its sequel ''Prodigal''; both include virtually every trope associated with cyberpunk, but most notably the leather-clad "razor girls."
* Creator/BruceSterling is another shaper of the genre; in fact, he is often considered its chief promoter. His works tend to be less bleak than Gibson's.
* Creator/NealStephenson has been credited with founding the "post-cyberpunk" genre, working with more "modern" ideas such as memes, the Internet, and computer cryptography. He tends to stuff a lot of ideas into his books, which become brilliant when it works and confusing when it doesn't. Most notable is probably ''Literature/SnowCrash''.
* [[Creator/NormanSpinrad Norman Spinrad]]'s ''Little Heroes'' ([[TheEighties published 1987]]).
* ''Sex, Drugs & Violence (in the future)'' by Nero Manson takes the reader gradually from present day, to cyberpunk, to post-cyberpunk.
* John Brunner's ''Literature/TheShockwaveRider'' invented the concept of an internet worm / virus long before the WWW, and it gave us a hacker hero long before ''WarGames''. The other two books in Brunner's triptych - ''The Sheep Look Up'' and ''Literature/StandOnZanzibar'' also form a major part of the foundation of what would be later called cyberpunk. Interestingly, Gibson noted the ''The Sheep Look Up'' is one of the few novels pre-to-post cyberpunk that came anywhere close to hitting the prediction nail on the head. And if you have read "Sheep" you realize this is not a good thing ...
* Pat Cadigan is also considered to be a genre co-founder and major influence, starting with her 1984 short-story "Rock On"; as well as the later novels ''Mindplayer'', and ''Synners'', the latter of which which expands on the story and themes of "Rock On".
* Many of Vernor Vinge's stories incorporate cyberpunk elements. The most notable is his 1981 novella "Literature/TrueNames", about a group of hackers who take on the US government -- until they encounter something online much, much worse. Unlike other cyberpunk writers of the time, Vinge was a computer scientist who had actually used the Internet and had some idea of what it could do. The story's focus on online anonymity remains relevant today.
* MichaelMoorcock's [[TheCorneliusChronicles Cornelius Quartet]] novels have often been described as early or proto-cyberpunk.
* Negative consequences of technological progress are a common theme in the works of Dutch author Tais Teng. The most intense example of cyberpunk is his short story ''Silicium Snelwegen'' ("Silicon Highways"), in which broken computer chips are repaired by nanomachines imprinted with the personalities of specialists. The story becomes horrific when the main characters, personalized nanomachines busy repairing a chip, discover that their originals have been erased and they now exist ''only as data.''
* Creator/GeorgeAlecEffinger sets a lot of his work in cyber punk worlds, especially his ''Literature/MaridAudran'' novels.
* PhilipKDick is a notable precursor to cyberpunk, and many adaptations of his work fit squarely into the genre.
* Elizabeth Bear's ''Jenny Casey'' trilogy.
* Creator/RichardKMorgan's ''Literature/TakeshiKovacs'' trilogy sits firmly in the Cyberpunk genre. BrainUploading technology has resulted in a class of super-rich immortal oligarchs, the UN Protectorate keeps off-world colonies firmly under their heel with sociopathic super soldiers, and the anti-hero is one of them who quit to become a mercenary.
* Frank Schätzing's ''Literature/{{Limit}}'' extrapolates China's current internet-surveillance and police-state tendencies TwentyMinutesIntoTheFuture. The result is quite cyberpunkish.
* Marianne de Pierres' ''ParrishPlessis'' trilogy.
* ''Literature/{{Daemon}}'' by Daniel Suarez. Its sequel, ''Freedom™'' is more PostCyberPunk.
* Dan Simmons' ''Literature/HyperionCantos'' series uses a lot of cyberpunk tropes, particularly Brawne Lamia's backstory--she's a very noir private eye, who joined the Hyperion Pilgrims after [[spoiler: a cyber-entity asked her to figure out who had tried to murder him while he had taken on a human body, and why.]] However, unlike many other cyberpunk stories, the Hyperion universe isn't actually all that dystopic-- at least not until [[spoiler: the [=TechnoCore=], the self-aware computers that seceded from humanity, decide that it's time to wage war against their biological creators.]]
* Jeff Somers' ''The Electric Church'' series.
* Creator/KimNewman, writing as Jack Yeovil's ''Literature/DarkFuture'' novels blended elements from {{Horror}} with CyberPunk, taking place in a near-future whose environment was ruined by corporate greed and cybernetics and genetics were predominantly used to enhance military and sexual capabilities.
* The ''Literature/RiftersTrilogy'' by PeterWatts is basically a modernized version of this trope.
* Maurice Dantec's ''Cosmos Incorporated''
* ''An Orison of Sonmi 451'' from ''Literature/CloudAtlas'' plays out like a walking tribute to cyberpunk with its themes of consumerism, rebellion and oppressive governments, a [[CrapsaccharineWorld Crapsaccharine Society]] in the form of Nea So Copros, cloning and more. The [[Film/CloudAtlas film version]] takes it one step further, by mixing in references - both visual and theme wise - from other works such as ''Film/BladeRunner'', ''Film/TheMatrix'' (not surprising, considering who co-directed it) and ''Film/{{Equilibrium}}''. There's even some references to {{Transhumanism}}, in the form of the tech that is in Hae Joo Chang and The Archivist's skin.
* Large swathes of the ''Literature/DoctorWhoNewAdventures'' embrace Cyberpunk concepts. Like, ''a lot''. To the point where some of the books might as well just have "[[{{Zeerust}} This was published in]] TheNineties" printed on every page.
* Both "Nexus" and "Crux" of Literature/TheNexusSeries by Ramez Naam are millennial updates of Neuromancer.
[[/folder]]

[[folder:Live Action TV]]
%%* ''Series/{{Continuum}}''
%%* ''Series/DarkAngel''
%%* ''Series/{{Dollhouse}}''
* Two episodes of ''Series/GhostWriter'' feature Julia Stiles as a hacker seemingly airlifted from cyberpunk, some of which she actually references.
* ''Series/KamenRiderDouble'' fuses this genre with it's predeceasing genre of FilmNoir.
* ''MaxHeadroom'' has TV networks that jack into peoples brains, and "The System", its [[TechMarchesOn rather odd]] prediction of the Internet. It was also one of, if not the first example of the genre in the United States.
%%* ''Mann And Machine''
%%* ''VR5''
* The miniseries ''Series/WildPalms'' was something of a noir-cyberpunk hybrid dealing with virtual reality.
%%* ''Series/AlmostHuman''
* ''Series/PersonOfInterest''. Unusual in not being set TwentyMinutesIntoTheFuture, but [[spoiler:it does have an AI built to detect terrorists, universal surveillance, hacker battles...]]
[[/folder]]

[[folder:Music]]
* Music/DeathGrips: Their debut album, ''The Money Store'', [[DeconstructedTrope deconstructs]] hip-hop tropes ((violent lyrics, distrust of police, and namedropping of websites and contemporary subjects) and pairs them with computer-y, glitchy beats, giving the whole thing a bleak, dystopian, cyberpunk kind of feel.
* SigueSigueSputnik: Mixing punk and electronic music in the style of {{Suicide}}, this band takes its inspiration from movies like ''Film/BladeRunner'', ''Film/TheTerminator'', ''Film/AClockworkOrange'', and ''MadMax''. The band members dress in an outrageous fashion involving brightly coloured hair and lots of fishnets, and involve dystopic and post-apocalyptic themes in its songs, as well as many references to violent video games, high-tech sex (not necessarily with a human) and the suggestion they are from the future. They also play the evil corporation completely straight, by effectively being it.
* Music/TheProtomen. When you're a RockOpera about a dystopian version of VideoGame/MegaMan, it's rather unavoidable.
* FearFactory. In fact, most of their lyrical content is about struggling against the dangers of technology and surviving it.
%%* FrontLineAssembly.
* Berlin "digital hardcore" (i.e. a fusion of HardcorePunk and HardcoreTechno) band AtariTeenageRiot can be described as this fairly easily. The fact that they broke up in 2000 and reformed in 2010, by which point many of the themes of their music actually coming to life lead to their comeback album being entitled ''Is This Hyperreal?''. See also: CyberPunkIsTechno
[[/folder]]

[[folder:Tabletop Games]]
* ''TabletopGame/{{Shadowrun}}'' hits all the tropes but mixes in magic and typical Fantasy races.
* ''TabletopGame/{{Netrunner}}'' by Richard Garfield is basically "''{{Neuromancer}}'': the card game". The reboot by Fantasy Flight Game is set, as other cyberpunk games they produce, in their Android universe, but it stills look a lot like Neuromancer.
* ''TabletopGame/{{Cyberpunk}}'' of course.


[[/folder]]

[[folder:Video Games]]
* ''VisualNovel/{{Snatcher}}'', by HideoKojima. Everything, down to the main character's design, screams "I wanna be ''Film/BladeRunner''." It even has the Gibson ShoutOut used by ''WesternAnimation/{{Centurions}}'', in the form of a second Deckard-a-like who even sort of ''looks'' like Creator/HarrisonFord. [[spoiler: Too bad this one dies a rather painful death early on, setting the game's events in motion.]] The game also borrows cyberpunk themes from ''Manga/{{Akira}}''.
** To a lesser extent, Hideo Kojima's other ''Franchise/MetalGear'' games also deal with cyberpunk themes, starting with ''VideoGame/MetalGear2SolidSnake'' but becoming more prominent with ''VideoGame/MetalGearSolid''. The setting is most noticable in ''VideoGame/MetalGearSolid2'' as it deals with many Cyber Punk and PostCyberPunk themes, especially its [[MGS2Ending ending, which has its very own page]] here.
* ''VideoGame/BinaryDomain'', a game which stands out for being classic Cyberpunk in an era when PostCyberpunk is much more common. Evil corporations, human-like robots, rebellion against authority, global economic and environmental collapse, deep separation between the haves and the have-nots...
* ''VideoGame/{{Syndicate}}'' and ''Syndicate Wars'' by Bullfrog.
* ''VideoGame/{{Spectre}} VR''. Overtly cyberpunk in theme and presentation, and was once sold in a bundle with ''SnowCrash''.
* ''[[VideoGame/SimCity Sim City Societies]]'': You can Create Your Own Cyberpunk City.
* ''VideoGame/BeneathASteelSky'': A British 1994 sci-fi PointAndClick AdventureGame initially released for DOS and Amiga. Underworld was its working title.
* The ''Franchise/JakAndDaxter'' series, from the second game onward.
* The Neo-Tokyo mod for ''VideoGame/{{Half-Life}}''
* The Neo-Tokyo level in ''[[VideoGame/TimeSplitters TimeSplitters 2]]''.
* ''Neuromancer'', a 1988 adventure game by Interplay Productions, loosely based on Gibson's novel.
* [[http://www10.caro.net/dsi/decker/ ''Decker'']] is an indie 'hacker simulation' that seems to be influenced by the ''Cyberpunk 2020'' RPG.
* ''VideoGame/{{Bloodnet}}'', a 1993 RPG-adventure by Microprose. It merges some essential cyberpunk themes with vampirism.
** And has a similar play style to the ''VideoGame/TexMurphy'' games, another cyberpunk-influenced series.
* ''VideoGame/{{Dystopia}}'' is a ''VideoGame/{{Half-Life 2}}'' mod that relies heavily on the idea of cybernetic implants and {{Cyberspace}}.
* ''VideoGame/{{Hard Reset}}''
* The original ''VideoGame/ShinMegamiTenseiI'' and its [[VideoGame/ShinMegamiTenseiII sequel]] both heavily involve cyberpunk themes. While the power of the authorities in both games are religious in nature rather than technological, they do use technology to communicate their message (it brings to mind the large television screens the Messians would use to broadcast propaganda. Beyond that, the grey featureless walls, the endless maze-like architecture and people dressed in rags with advanced technology at their side all plays on this theme.
* Though not as obvious, the ''FirstEncounterAssaultRecon'' series takes place in such a setting. Most of the cyberpunk elements are understated, as the series places greater emphasis on supernatural psychic phenomena, but most of the elements are there - advanced technology that does not necessarily benefit mankind, superpowerful MegaCorp as the primary villain, and a generally dark atmosphere. Transhumanist elements are touched on, though in this setting it is focused on the transformative effects of weaponized psychic technology rather than cybernetics. Cybernetic augmentations married with psychic technology are present, along with genetic experimentation, and characters like the Point Man, Paxton Fettel, Michael Beckett, and Alma are all considered transhuman due to their psychic abilities, with one character stating that they would be like "a god among men."
* ''VideoGame/EYEDivineCybermancy'' takes place far into the future, at a level one would expect SpaceOpera to take over, and has extensive and ancient PsychicPowers. However, the several urban enviroments you are sent to ''reek'' of cyberpunk. Lots of computers, several layers of grime, giant corperation Vindico, giant ads for either weapons or virtual prostitution, and almost everything can be hacked. [[HoistByHisOwnPetard Sometimes they can hack you back.]]
* ''VideoGame/DeusExHumanRevolution'' turns the Transhumanism UpToEleven. This installment is also more "traditionally" cyberpunk than its predecessors, given it is set in [[TwentyMinutesIntoTheFuture 2027]]; focuses on bionic augmentations (nanotech is in early stages of development); the fact that the protagonist, Adam Jensen, works for a corporation rather than a government agency and that the game plot focuses on corporate espionage and side quests are essentially cyberpunk film noir in all its glory.
** And, of course, its predecessor, ''[[VideoGame/DeusEx Deus Ex]]''
* CyberPunk2077 obviously.
* The ''VideoGame/{{Genocide}}'' series is set in a cyberpunk future where a supercomputer that was corrupted and given self-awareness decides to wipe out the human race, followed by an evil multinational company attempting world domination.
* ''Blade Runner'', the 1997 AdventureGame by Westwood Studios. Shares setting and some characters with Creator/RidleyScott's movie, but follows different plot.
* The first ''VideoGame/SystemShock'' counts for this more than the second one (see the other video game section below), with a corrupt MegaCorp and [[AIIsACrapshoot AI being very much a crapshoot]].
* ''VideoGame/CivilizationBeyondEarth'' has three technological affinities the factions can adhere to and one of them, Supremacy, clearly falls into this camp. They specialize in cybernetics, robotics and advanced artificial intelligence. To drive the point home the more a faction adheres to Supremacy the more their cities will turn dark, grey, and angular.
[[/folder]]

[[folder:Web Original]]
* ''Literature/AvalonsReign'' is a WebSerialNovel set in a world where corporations control almost everything and cybernetic augmentation is becoming common.
[[/folder]]

[[folder:Western Animation]]
* Perhaps the first Western cartoon to use cyberpunk motifs was the ''WesternAnimation/{{Centurions}}'' episode "Zone Dancer". The plot took elements from ''Film/BladeRunner'' and ''{{Neuromancer}}'', the dialogue actually used the word "cyberpunk," and as an additional ShoutOut, one of the guest star characters was a computer hacker named Gibson.
* ''WesternAnimation/{{Phantom 2040}}''. This futuristic series--based on ComicStrip/ThePhantom, a SuperHero from TheThirties--was a surprisingly thoughtful take on the genre.
%%* ''WesternAnimation/TronUprising''
[[/folder]]

[[folder:Other]]
* A web-ported version of the seminal Cyberpunk HyperCard work from the early 1990's is [[http://www.streettech.com/bcp/BCPgraf/4zones.html Beyond Cyberpunk!]]
[[/folder]]

!!Having Some Elements

[[folder:Anime and Manga]]
* ''Anime/{{Metropolis}}'' has several elements of cyberpunk in it, and would possibly be a straight example if it had more GrayAndGrayMorality in it.
* ''Anime/DotHackSign'', and [[Franchise/DotHack the franchise as a whole]], depending on [[AllThereInTheManual how much you know about C.C. Corp]].
* In general, ''Franchise/{{Digimon}}'' tends to be on the PostCyberpunk end of the spectrum. ''Anime/DigimonTamers'' is closest to Cyberpunk, thanks to being written the same writer of ''[[Anime/SerialExperimentsLain Lain]]''. There's a secret government conspiracy, monitoring everything and conducting dark experiments. The heroes are young streetwise punks who befriend rouge AIs. They end up subverting the government conspiracy, and stopping more dangerous AIs. Philosophical questions about Life arise. Granted, not as grim as other examples, but still heavy stuff for a shonen series.
* ''DennouCoil'' goes a fair way toward exploring the social impact that AugmentedReality has on the world, for good and ill, but it's all rather lighthearted, with some episodes diving into MagicalRealism.
* ''Anime/CowboyBebop'' to a certain extent especially in the episode ''Brain Scratch''.
* ''{{Blame}}'', much like ''Film/TheMatrix'' description below, 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.
* ''{{Paprika}}'', for the same reasons as ''{{Inception}}'' below. ''Paprika'' may also be considered PostCyberPunk.
* ''{{Zegapain}}'', though it may also be considered PostCyberPunk.
* ''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.
* ''GunslingerGirl'' features [[CyberneticsEatYourSoul cybernetic implants]], a ''very'' corrupt government willing to turn innocent little girls into assasins and [[GreyAndGrayMorality terrorists with some redeeming qualities]].
* 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.
* 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.
* ''Anime/PsychoPass'' has all the elements of cyberpunk: a decadent society, a blatantly dystopian government, constant surveillance, and {{Cyberspace}}. On the other hand the sympathetic protagonists are police officers working within the system; the punks and rebels are antagonists, especially the {{Ubermensch}} BigBad who seeks to break the system entirely.

[[/folder]]

[[folder:Comic Books]]
* Adam Warren's comic version of the ''ComicBook/DirtyPair''; the original anime lacks this element, however.
* ''{{Transmetropolitan}}'' With a cyberpunk HunterSThompson-esque [[NoCelebritiesWereHarmed outlaw journalist]]!
* 'Comicbook/LastManStanding'' has a bit of [[BuffySpeak Cyber-punkism]] with the evil MegaCorp known as Armtech, but some of its fantastical elements make it not quite a clear cut case.
* A chapter in ''ComicStrip/PugadBaboy'' portrays some elements of Cyber Punk when some of the characters get transported to a 2078 Manila in a portal. The Chinese-Filipino community has a greater influence than the native Filipinos with parts of the city under poor conditions.
* Many ''ComicBook/TwoThousandAD'' strips, most notably ''ComicBook/JudgeDredd'' have cyberpunk themes, even before ''{{Neuromancer}}'' came out.
[[/folder]]

[[folder:Film]]
* ''Film/BladeRunner'' is often ''described'' as a cyberpunk film, but actually lacks most of the defining features of the genre. Computer systems and networks hardly feature, the impact of technology and ubiquitous information on society is not really a major theme, and none of the main characters are the hackers and information-underbelly characters who populate cyberpunk. However most people tend to agree that the film pretty much [[TropeCodifier codified]] the visual style of the cyberpunk future: polluted, overpopulated, overbuilt [[MegaCity mega-cities]] plastered with neon signs and video billboards, [[AlwaysNight where the sun never shines]] even [[CyberpunkWithAChanceOfRain when it isn't raining]].
** Heck, Creator/WilliamGibson, literary father of cyberpunk himself, was ''terrified'' when he saw the movie. Why? [[WordOfGod Man's own words]]:
---> "About ten minutes into ''Blade Runner'', I reeled out of the theater in complete despair over its visual brilliance and its similarity to the "look" of ''Literature/{{Neuromancer}}'', my [then] largely unwritten first novel. Not only had I been beaten to the semiotic punch, but this damned movie looked better than the images in my head! With time, as I got over that, I started to take a certain delight in the way the film began to affect the way the world looked. Club fashions, at first, then rock videos, finally even architecture. Amazing! A science fiction movie affecting reality!"
** The novel ''Film/BladeRunner'' is based on, ''Literature/DoAndroidsDreamOfElectricSheep'', is one of the major precursors of the cyberpunk genre. A lot of the more cyberpunkish elements were dropped from the movie in favor of focusing on the major plotline, since most of them were only peripherally linked to the actual plot and served more as background material. A lot of the dropped elements also were used in the novel to prove Deckard was human, which contradicts Creator/RidleyScott's interpretation that Deckard was a replicant.
* ''Film/{{Avatar}}'': The inhabitants of the Pandora can connect to a natural/organic version of the internet via neural connection fibers, who are being threatened by a mining corporation.
** Earth in ''Avatar'' is overpopulated and has technology and adverts everywhere, and looks a little like Los Angeles from Film/BladeRunner.
* ''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/{{Inception}}'': The film's certainly more [[FilmNoir noir]] but the dream-sharing technology (and its illegal uses) are pretty cyber, while the general theme of Corporate Espionage is very punk.
* ''Film/TheMatrix'' arguably takes the whole cyberspace theme to its most extreme conclusion, but perhaps ''too'' extreme to be considered truly CyberPunk, ironically enough. The quasi-religious symbolism and the idealism of the protagonists pretty much disqualify it too.
** ''Film/TheMatrix'' starts out cyberpunk, but then veers into PostCyberPunk after the heroes become accustomed to jacking in and out of the Matrix at will. Note the distinction seems to be that the heroes of ''The Matrix'' are messianic action heroes, with superhuman powers by dint of skill hacking into the Matrix; if they were underpowered rebels fighting a losing battle and Zion turned out to be a [[MindScrew Matrix Within A Matrix]], it would probably be considered CyberPunk.
%%* ''Film/TotalRecall1990''
%%* ''Film/TotalRecall2012''
%%* ''Franchise/{{Robocop}}''
* ''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.
* The Bone Slums evoke this image in ''Film/PacificRim''.
* ''RepoTheGeneticOpera'' is a cyberpunk musical.
* ''{{Sneakers}}'' an unconventional choice, as it's based on the (then) present and features only one technological wonder (the {{Macguffin}}), but it touches on several of the basic tropes and themes of cyberpunk and hacker cinema. There's a gang of genius quasi-criminals, shady .gov types, and this quote:
-->[[spoiler: Cosmo]]: [I] learned that everything in this world--including money--operates not on reality . . .
-->'''Martin Bishop''': [[YourMindMakesItReal But the perception of reality.]]
%%* ''Film/{{Tron}}'', and by extension, its sequel ''Film/TronLegacy''.
%%* ''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.
* DemolitionMan is a CrapsaccharineWorld take on the subject matter.
* 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 a much a gritty, cyberpunk location, with a seedy underworld and neon signs. A significant action scene also occurs here as well.
[[/folder]]

[[folder:Literature]]
* ''Literature/NineteenEightyFour'', TropeCodifier for {{Dystopia}}, has the general theme of technology as a tool of slavery for [[TheMan Big Brother]], with [[BigBrotherIsWatching surveillance cameras, computer networks and telescreens dominating every aspect of life and rendering privacy non-existent]]. The only means of communication is through said computer networks which, besides surveillance and BlackMail, also serve as a PropagandaMachine. The dystopian setting also features the class contrast and stratified hierarchy between the [[VastBureaucracy Party bureaucracy]] with no freedom whatsoever because they are under total control and surveillance by the Big Brother computer networks, and the [[WorkingClassPeopleAreMorons Proles]] who live in decadent polluted {{Wretched Hive}}s with nonexistent social welfare and have the freedom of not being watched by Big Brother, but [[ApatheticCitizens don't care about politics and the system's abuse of said computer networks]] since they degenerated into hedonists who waste their lives on mindless entertainment such as porn. All it needs is a brotherhood of shady telescreen hackers living in the Prole ghettos for a proto-Cyberpunk story.
* ''Literature/BraveNewWorld'' (one of the first deconstructions which featured the proto-Cyberpunk concept of a techno-utopia being a dystopia) has the punk, misfit Savage put in contrast with the corporate World State where consumerist mass production is prevalent in every aspect of life (including engineering 90% of humans into a Caste System of healthy but hedonistic DesignerBabies).
* Creator/RayBradbury's ''Literature/{{Fahrenheit 451}}'', another notable dystopia. Extremely high-tech [[labelnote:*]]The first time Guy opens the door of his house, he ''[[TechnologyPorn sticks his hand into a glove, which reads his entire handprint, and then unlocks and slides open]]''[[/labelnote]], but then again, it takes place in a future hedonistic world dominated by HDTV entertainment but where AntiIntellectualism is the norm and books are considered both obsolete and a criminal source of unhappiness.
* Creator/PhilipKDick's works influenced the cyberpunk genre, including titles like ''Do Androids Dream of Electric Sheep'' (which was adapted into the movie ''Blade Runner'') and ''A Scanner Darkly''.
* Jeff Noon's "Vurt", "Nymphomation" and "Automated Alice" have many elements of Cyberpunk, heavily influenced by Creator/LewisCarroll (so there's a lot of MindScrew).
* Creator/AlfredBester's ''Literature/TheDemolishedMan'' and ''Literature/TheStarsMyDestination'', written in 1953 and 1956 respectively, include many of the tropes characteristic of Cyberpunk. Both involve [[AntiHero amoral, anti-heroic protagonists]], [[MegaCorp megacorporations]] and alpha-societies with seedy underbellies. ''The Stars...'' explicitly describes cyberware, including the [[BulletTime enhanced reflexes]] so beloved of Cyberpunk TabletopGames, and a backstreet 'Freak Factory' for extreme biological body modifications.
* [[Creator/IsaacAsimov Asimov's]] novel ''Literature/TheCavesOfSteel'' anticipates the dystopian urban decay, and the bland foods made from algae.
* [[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.
* Creator/VernorVinge's 1981 novella "Literature/TrueNames" anticipated most of the technical elements that became the hallmarks of Cyberpunk, including the shadowy hackers, {{Cyberspace}}, and the DigitalAvatar. Just about the only things missing were the tone and the urban decay. The protagonist, Mr. Slippery, is pure cyberpunk, as are characters like DON.MAC and the elusive and mysterious character known only as The Mailman. All a year before Gibson finally published "Burning Chrome".
* The lifestyle and technology in the novel ''Literature/{{Theatrica}}'' reflect cyberpunk themes, such as the techno raves, the intranet system, and the barcodes on the back of people's necks.
[[/folder]]

[[folder:Live Action TV]]
* ''Series/{{Battlestar Galactica|Reimagined}}'' (2003) is ''mostly'' a DarkerAndEdgier SpaceOpera DeconstructorFleet, but it openly is inspired by ''Film/BladeRunner'' and other cyberpunk. Unlike its SpaceOpera tropes, which it loves to {{subvert|edTrope}} or {{deconstruct|edTrope}}, these tropes are usually played very, very (sometimes painfully) straight.
* ''Series/{{Caprica}}'': The prequel to the [[Series/BattlestarGalacticaReimagined above]] aims to focus much more on this aspect of the mythos.
* ''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. Oh, and said satellite can manipulate the whole freaking 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 ''{{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.
[[/folder]]

[[folder:Music]]
* MyChemicalRomance's ''Danger Days: The True Lives of the Fabulous Killjoys''
* A lot of MachinaeSupremacy songs, for example Dark City, A View From the End of the World, and especially (and [[CaptainObvious blatantly]]) Cybergenesis.
* {{Vaporwave}} takes the inspiration from the aesthetics of famous cyberpunk works, [[NinjaPirateZombieRobot and combines with 80s to 90s corporate muzak and remixes into]] [[{{Ambient}} ambient music]]... [[NeoclassicalPunkZydecoRockabilly or not]].
[[/folder]]

[[folder:Tabletop Games]]
* The art, style, and language of ''[[http://misspentyouthgame.com/ Misspent Youth]]'' by Robert Bohl are full of cyberpunk tropes. It's a game where you play teenage punks in a sci-fi Dystopia, out to smash the Man. The system includes group world creation, so a cyberpunk game is not always guaranteed, but the game is designed to address all the same themes of technology as oppression. In fact, in the world creation step, you make Systems of Control — sci-fi-based social or technological ways The Authority (the GM-like role and group-generated in-fiction antagonist) has to oppress and ruin the lives of the Youthful Offenders; the "player character" role.
* ''TabletopGame/{{GURPS}}'' has guidelines on how to make a cyberpunk campaign and at one point had the awesome but sadly discontinued Cthulhupunk.
* ''TabletopGame/{{Shadowrun}}'' is half cyberpunk, and half DungeonPunk.
** ''Shadowrun'' borrows blatantly and shamelessly from Creator/WilliamGibson's work, right down to a big chunk of the terminology used (Matrix, Street Samurai, etc). Gibson reportedly dislikes ''Shadowrun'' due to the magical aspects.
* R. Talsorian Games' ''TabletopGame/{{Cyberpunk}} 2013'', its second (''Cyberpunk 2020''), and (to a lesser extent) third editions are more "traditional" cyberpunk games.
** The third edition's shift of focus from gritty future-noir to transhumanist adventure actually makes it closer to PostCyberPunk, which is one of the main (numerous) problems fans of the previous editions have with this version.
* And of course, ''{{Rifts}}''. It mixes elements of pretty much every genre in the world, Cyberpunk not least.
** In the introduction of the original Rifts core book, there's a paragraph remarking on how when the game was being developed, it would be Palladium Book's answer to Cyberpunk. Kevin Siembieda admits that there are quite a few Cyberpunk elements.
* Iron Crown Enterprise's ''Cyberspace'' RPG.
* ''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.
[[/folder]]

[[folder:Video Games]]
* Many sci-fi games by Origin, including ''Bioforge'', ''Cybermage'', and ''[[VideoGame/{{Crusader}} Crusader: No Remorse and No Regret]]''.
* Both ''VideoGame/SystemShock'' games are about as cyberpunk as you can get with hacker protagonists, corrupt megacorporations, and the technology LITERALLY oppressing you. However, the second one is set on a space ship and is more SurvivalHorror than most examples of this genre. It has more in common with ''VideoGame/DeadSpace'' that does with other examples. The first one could could count as this.
* While it is a space sim, ''VideoGame/BlackMarket'' shows a long list of Cyberpunk influences, from implants to megacorps.
* The ''VideoGame/{{Half-Life}}'' series also features elements of CyberPunk.
* 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/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]]. However, it tones it down for the rest of the game, so it's not a straight example.
** ''VideoGame/FinalFantasyVII: 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.
* ''ChaosHead''. Surprisingly, being set in present day, its tone is probably more modern than numerous other futuristic fictions.
** Its successor ''SteinsGate'' delves even deeper into cyperpunk themes, though it may be considered more PostCyberPunk.
* ''VideoGame/MirrorsEdge''. Although it's set in a ShiningCity, it nevertheless has cyberpunk features like rebellious, marginalized heroes opposing an oppressive government, and information running is the key aspect of the story.
* ''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.
* The Cybrans from ''VideoGame/SupremeCommander''. Every ''cybran'' is a ''cyborg''.
* The DS version of ''DrawnToLife: The Next Chapter'' has a quasi-Cyberpunk world called the Galactic Jungle. It features an authoritarian Council that make many unneeded rules, like no sneezing.
* ''VideoGame/{{Technobabylon}}'' comes complete with {{Cyberspace}} in the form of the "Trance," people engineered from birth to be suicide bombers, and on and on
* ''[[VideoGame/MarioStrikers Super Mario Strikers]]'', and especially its sequel ''Mario Strikers Charged'', which combines this with ''Franchise/SuperMarioBros'' characters and soccer!
** ''VideoGame/MarioKart 7'' 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.
* ''PerfectDark'' has many cyberpunk elements (AIs, hacking, industrial espionage etc.) although it's a straight ScienceFiction story as well.
* ''{{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/{{Fracture}}'' has this as a main aspect of the Atlantic Alliance, who are opposed by the [[BioPunk Pacificans]].
* ''VideoGame/{{Watch Dogs}}'' is heavily influenced by the genre's tone and emphasis on technology enabling oppression, however it isn't exactly a clear-cut example of Cyberpunk due to being set somewhere between the modern day and TwentyMinutesIntoTheFuture (hewing closer to the former than the latter.)
* ''VideoGame/{{Flashback}}'' has you playing a government agent who must stop an alien invasion. [[WretchedHive New Washington]] is delightfully dystopian, and at one point you must [[DeadlyGame compete in a televised deathmatch for money]].
* The Terran society in ''{{Starcraft}}'' is a crossover between this and SpaceWestern.
* ''VideoGame/TheLongestJourney'' and ''VideoGame/DreamfallTheLongestJourney'' feature Stark, the world of logic and technology, as being this as a [[IncrediblyLamePun stark contrast]] to Arcadia, which rely more off of magic and fairy tale tropes. They aren't placed in the "Clear-cut Examples" due to Arcadia.
[[/folder]]

[[folder:Web Comics]]
* ''Webcomic/LastRes0rt'' has the generic cyberpunk plot pretty well secured... but is almost a bit too [[FurryFandom bright, cartoony, and furry]] to let the [[MoodDissonance darker aspects of the genre really sink in]].
* ''NYC 2123'' is definitely cyberpunk, [[DeliberatelyMonochrome black and white]] [[SplashOfColor and red]] all over.
[[/folder]]

[[folder:Web Original]]
* 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.
[[/folder]]

[[folder:Western Animation]]
* ''WesternAnimation/BatmanBeyond''. Gotham City's evolution seems quite natural- still crowded, dirty and corrupt, only now the cars can fly.
* The ''WesternAnimation/TinyToonAdventures'' episode "Real Kids Don't Eat Broccoli" is a parody of ''Film/BladeRunner''.
* ''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/InvaderZim''
* Coming off the heels of TheEighties, it's no surprise that ''WesternAnimation/SonicSatAM'' featured these themes. The show has industry and technology radically transforming society and the world. The world has become a ugly place, with youths revolting against a corrupt government. However, being a Saturday morning cartoon featuring SonicTheHedgehog, it's not as depressing it should be.
[[/folder]]

[[folder:Real Life]]
* The notorious Walled City of Kowloon was aesthetically ''very'' cyberpunk, with lax building regulation, and weak law enforcement pushing it into dystopia territory for some. It was demolished between 1993-1994, however, so the amount of cyber was limited.
* England's dependent states, such as Guernsey and particularly Sark, the former of which is run primarily by the owners of locally operating firms (who put all public construction through their firms, thus making the MP expenses look like nothing, and resulting in schools that are just refurbished warehouses, built for profit margin rather than a decent environment.) and English corporate employees (who abuse the island's tax status and purchase houses, perform routine maintenance and then sell them on at an inflated rate, meaning the average small house costs well over three times what it'd be worth in London), while the latter island recently repelled an attempt by the Barclay Brothers to put corporate sponsored politicians in power, effectively trying to annex the island as their personal corporate enclave. Following their failure, they pulled their investments from the island, collapsing its economy and causing the unemployment to rise to over 50%.

[[/folder]]

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