For whatever reason, Africa seems to be the one place in fiction that never gets better as time goes on. On occasion, fiction decides to shake things up. Africa doesn't necessarily get better, but it catches up technologically. What happens to places as bad as third-world Africa with an advancement in technology but no reduction in widespread poverty?

{{Cyberpunk}}, and lots of it. At best, PostCyberpunk. The reason for its use is likely due to Cyberpunk's hyper-cynical, hyper-SocialDarwinist themes making the idea a DiscreditedTrope [[DeconstructedTrope when it's set in any other part of the world.]] Another common reason is Africa being an ideal place geographically to build a SpaceElevator. Despite this application of the setting, and probably due to the stereotypes of Africa's climate, CyberpunkWithAChanceOfRain is not so common with this trope.

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!!Examples:

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[[folder: Comics ]]

* Wakanda, home of the ComicBook/BlackPanther, is more scientifically and technologically advanced than the Western world, and has been for a long time. In addition to their most famous product, the rare metal vibranium (which CaptainAmerica's shield is made out of), they have a cure for cancer.
* ''ComicBook/{{Elephantmen}}'': The eponymous Elephantmen were created and trained by [[MegaCorp MAPPO]] at a huge lab/base somewhere in Northern Africa.
* The ''Pan-African Judges'' comics set in the ''Comicbook/JudgeDredd'' universe.

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[[folder: Literature ]]

* ''Literature/TheEarTheEyeAndTheArm'' takes place in Zimbabwe, in the year 2194.
* In ''Literature/{{Otherland}}'' the PostCyberpunk applies to everywhere in the world, but notable is that Renie and !Xabbu are from Durban, South Africa.
* Jon Courtenay Grimwood's ''Ashraf Bey'' books are set in an alternate universe North Africa. As cyberpunk as it gets.
* The Watekni subculture in a TwentyMinutesIntoTheFuture Kenya in IanMcDonald's ''Chaga''.
* ''Zoo City'' is a {{Cyberpunk}} novel with fantasy elements set in South Africa. It has an endorsement from WilliamGibson himself and has the same kind of grey market protagonist that Gibson's novels favor.
** Averted in some respects though, as Africa outside of the slums seems to be doing better, and the series is set in an AlternateUniverse after the 90's, the story taking place around 2010.
* Nero Manson's novel ''Literature/SexDrugsAndViolenceInTheFuture'' portrays Africa as a nightmarish hell hole where rape and child soldiers are commonplace.
* Creator/AlastairReynolds's novel ''Literature/BlueRememberedEarth'' is a subversion. While not everything is perfect in the African countries, they've become new economic and technological powers and the overall tone is quite optimistic. A PostCyberpunk sensibility is present, but it's mostly set dressing.
* Most of NnediOkorafor's books take place in a technologically updated future or alternate universe Africa that is also a MagicalLand. Some examples are ''Literature/ZahrahTheWindseeker'', ''Literature/TheShadowSpeaker'', and ''Literature/WhoFearsDeath''.
* Averted in Raphael Carter's ''The Fortunate Fall,'' a PostCyberpunk novel set in a 24th century where everywhere but Africa is a third-world crapsack. Africa, on the other hand, is the hypertechnological promised land where, in an inversion of the "one drop" rule, only those who prove via blood test to have African ancestry are allowed entry. And did we mention the possibly real/possibly cyber versions of the Egyptian gods?

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[[folder: Live Action TV ]]

* The South African/Canadian sci-fi series ''Series/CharlieJade'' involves [[AlternateUniverse three different universes]] in its storyline. One of them, the "Alphaverse", is dystopian and completely cyberpunk, including [[CyberpunkWithAChanceOfRain lots of rain]]. Its counterpoint is the ecotopian "Gammaverse" ([[NotSoDifferent unpolluted, but rife with political corruption and social engineering]]). The neutral one is the "Betaverse", which is our own early 21st century world. The whole series takes place in the Cape Town region and very little info about the rest of the world is ever given. According to the series's script, both the Alphaverse and Gammaverse are supposedly [[AlternateHistory alternate histories]] of the Betaverse, with a divergence occuring shortly after WWII or during the early ColdWar period.

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[[folder: Tabletop Games ]]

* The ''TabletopGame/{{Trinity}}'' roleplaying game subverts this; Africa is a leading force in 22nd century Earth, though not without its problems. It helps that Africa managed to avoid the worst damage of the Aberrant War, and the more modern Europe and North America got hit hard.
* ''TabletopGame/TranshumanSpace'' has a lot of preppy PostCyberpunk, but one of the biggest themes is that the degree of penetration is horribly uneven and the full benefits of the Fifth Wave of technological advancement are only available to the richest parts of the world. Africa is not one of the richest parts of the world, and it's straight {{cyberpunk}} if you're ''lucky''.

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[[folder: Video Games ]]

* ''{{Halo 2}}'', where New Mombasa in Kenya is a high tech city and spaceport. At least when the game begins, before there's lots of StuffBlowingUp...
* One of the campaigns of EmpireEarth 2: The Art of Supremacy takes place during [[TwentyMinutesIntoTheFuture the "Synthetic Age" (202X-204X)]] (featuring things like nanotech enhanced soldiers and giant mecha) in Africa, and deals with the poor native taking up arms against the exploitative [[MegaCorp megacorps]]. It ends with Africa becoming a technologically advanced world superpower.
* The People's African Union is one of the factions colonizing space in ''VideoGame/CivilizationBeyondEarth''.

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[[folder: Real Life ]]

* Social media was used during the 2011-2012 Egyptian revolution, as well as many other countries that were part of the Arab Spring. As one activist put it "We use Facebook to schedule the protests, Twitter to coordinate, and YouTube to tell the world." Looks like this trope might be becoming a reality.
** Critics of the above take the alternative view that the online use of websites was mostly incidental to traditional movements, in response to many media outlets implying the revolution was driven by social media.
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