'''Post-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 more optimistic and more realistic vision. Where 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. Where Cyberpunk is futuristic, forward thinking and on the cutting edge... so is Post-Cyberpunk.

Post-Cyberpunk is the [[PostSomethingIsm reaction]] to the DarknessInducedAudienceApathy of Cyberpunk. Of course, Postcyberpunk 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 (tech from ''Franchise/StarTrek'' will just result in ''Literature/BraveNewWorld''), but as the genre itself got so DarkerAndEdgier to the point of being just as ''unrealistic'', it was predictable that Cyberpunk itself would get a deconstruction.

What 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 Postcyberpunk 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 an 'ordinary' life." For this reason, character goals also differed characteristically, "Cyberpunk characters frequently seek to topple or exploit corrupt social orders. Postcyberpunk characters tend to seek ways to live in, or even strengthen, an existing social order, or help construct a better one." In 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 the post-cyberpunk conventions and tropes and have a strong post-cyberpunk atmosphere managed to drop most of the 'cyber' aspects as well. (see ''{{Inception}}'' and ''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 focused 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 reigns in Cyberpunk's excess and tries to give us a more open vision of the future.

Aside 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.

The Post-9/11 atmosphere of 21st Century America also saw a marked decrease in heroes who were decidedly anti-establishment. Also, of note that in the modern world, as opposed to TheEighties, 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.

Basically, 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.

Compare {{Cyberpunk}}, PunkPunk and {{Postsomethingism}}. See CyberpunkTropes for tropes found in PostCyberPunk works and shared with its cousin CyberPunk.


[[folder:Anime and Manga]]
* Though Shiro's less famous manga ''Manga/{{Appleseed}}'' starts with two soldiers scavenging for food [[ScavengerWorld in the wake of a nuclear holocaust]] fighting against gangs of mercenaries, they are soon taken to a city of CrystalSpiresAndTogas, where they are hired as paramilitary police officers.
* ''Anime/GhostInTheShellStandAloneComplex'' straddles the line between CyberPunk and PostCyberPunk. On the one hand, the world is recovering from devastating world wars, while governmental corruption, media control, excessive state security ([[AntiHero of which the heroes are one branch of]]), 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.
* ''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.
* ''DennouCoil'', which is best described as "''GhostInTheShell'' [[InTheStyleOf as done by]] Creator/HayaoMiyazaki".
* ''RealDrive'', which is basically "''DennouCoil'' as done by Shirow Masamune".
* ''Anime/KurauPhantomMemory ''
* ''Anime/{{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 real life. The only practical difference between then-modern 1988 and the 1998 in the shows are [[RealRobots 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.
* Perhaps the earliest example of PostCyberPunk [[UnbuiltTrope predates]] Cyber Punk itself - ''Manga/AstroBoy''. It has many of the themes present in PostCyberPunk 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, contemplate rebellion - but are ultimately integrated into society.
** Urasawa's {{Pluto}} fits the bill as well, essentially being a DarkerAndEdgier version of the original Astro Boy
* The ''Franchise/DotHack'' franchise.
* The ''Franchise/{{Digimon}}'' series 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 sentient computer programs capable of materializing in the physical plane. Also, there is a important focus on relationships as much as world saving.
* ''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.
* ''Anime/ErgoProxy'' straddles the line between classic Cyberpunk and PostCyberpunk
* 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 so-called Sibyl System.
* ''TimeOfEve''
* ''LightNovel/ACertainMagicalIndex''
* ''{{Paprika}}'', for the same reasons as ''Film/{{Inception}}'' below.
* ''SteinsGate''
* ''Manga/{{Until Death Do Us Part}}''
* ''{{Zegapain}}''

* ''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.
* ''Comicbook/TheSurrogates'' isn't bleak enough to qualify as CyberPunk and in the comic technology comes pretty close to solving all of society's problems, but even a society where (most) people can possess the perfect body and the worst crimes are damaging property has [[StepfordSmiler its own]] [[TheBeautifulElite flaws]].
* ''[[{{Wildcats}} Wildcats 3.0]]''. 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 GenreSavvy enough to be very aware of the implications. Even the two people who know the MegaCorp best wonder if a MegaCorp can actually be anything ''but'' malicious.

* Although the late '90s had a string of sci-fi movies that dealt with the PlatonicCave idea and virtual reality, ''Film/{{eXistenZ}}'' (which also contained aspects of BioPunk) was 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.
* ''Film/IRobot''
* ''Film/{{Inception}}''. It 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.
* ''Yesterday'' (aka the 2004 Korean movie)
* In the 2014, ''Film/RoboCop2014'' {{Remake}} [=OmniCorp=] [[spoiler:and its parent company OCP]] isn't an almighty 1980's-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.
* ''Film/MinorityReport''. It's a gritty noir tale set in 2054, and though it deals with cyberpunk themes such as BigBrotherIsWatching and SinisterSurveillance, its not a complete [[{{Dystopia}} dystopia]] and everything is actually quite shiny and clean. Washington, D.C. has the lowest crime rates in the country thanks to the Pre-Crime Division. There's some [[{{Irony}} irony]] for you...

* Creator/TadWilliams's ''Literature/{{Otherland}}'' tetralogy, which shares much of the tone and content with ''.hack'' despite being set in the late 21st century.
* Creator/NealStephenson:
** His novel ''Literature/SnowCrash'', and to an extent, ''Literature/{{Cryptonomicon}}''. ''Snow Crash'' especially straddles the line between {{Utopia}} and {{Dystopia}} and is usually considered the TropeMaker.
** 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.
** Stephenson's earlier work ''Literature/{{Zodiac}}'' is basically Ecopunk. The hero is a anti-heroic environmentalist fighting corrupt chemical companies in 1980s Boston.
* Creator/CoryDoctorow:
** ''Literature/DownAndOutInTheMagicKingdom''
** Also ''Literature/LittleBrother''
** and ''Makers''.
* ''Literature/HaltingState'' and ''{{Literature/Rule 34}}'' by Creator/CharlesStross both are TwentyMinutesIntoTheFuture with a debatably amoral view of technology.
** The first part of ''Literature/{{Accelerando}}'' also fits [[spoiler:(until the [[AIIsACrapshoot AI overlords]] turn [[TheSingularity the Solar system into computronium]])]].
** RaptureOfTheNerds 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.]]
* ReadyPlayerOne by Ernest Cline straddles between this and classic cyberpunk. [[MegaCorp IOI]] owns pretty much everything ''except'' [[TheMetaverse the Oasis]] which lets people escape from their hellish existence, although it can be 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 cent'', although it is an AllegedlyFreeGame. If IOI gets the egg, however, it'll become a clear-cut example of dystopian cyberpunk.
* Creator/BruceSterling:
** The 1988 novel, ''Literature/IslandsInTheNet'' is one of the original PostCyberpunk works. Sterling tackles the problem of corporate power head on, envisaging Rizone, a highly networked multinational founded on "economic democracy."
** His two interlinked short stories, ''Maneki Neko'' and ''Bicycle Repairman'', both published in his seminal collection [[MeaningfulName 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.
* Creator/WilliamGibson's ''Literature/BigendBooks'' (trilogy?) moves the other [[UrExample Ur]] CyberPunk author into this territory. Although, ''Literature/SpookCountry'' (written against the background of TheWarOnTerror) is on the [[SlidingScaleOfIdealismVersusCynicism bleaker end of the scale]], just not {{dystopian}}.
* Creator/VernorVinge's 1984 novel ''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.
* In Neal Asher's ''Literature/ThePolity'' novels, the protagonists 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.
* Creator/WalterJonWilliams's more recent books (''This Is Not A Game'', ''Deep State'') are definitely in this genre (of the TwentyMinutesInTheFuture variety).
* Arguably, ''Literature/{{Uglies}}'' by Scott Westerfeld.
* While ''Literature/{{Daemon}}'' by Daniel Suarez is a {{cyberpunk}} {{technothriller}}, 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.
* Elizabeth Bear's ''Jenny Casey'' trilogy.
* Creator/MattRuff's ''Literature/SewerGasAndElectric'' blends PostCyberPunk with a hefty dose of humor.
* Rudy Rucker's ''Postsingular ''jumps back and forth a bit, but ultimately ends on a post-cyberpunk note, with the characters fighting for freeware.
* Pat Cadigan's ''Dervish Is Digital'' about cops working in AR (Artificial or Alternate Reality) which is basically treated like a frotier in desperate need of taming.

[[folder:Live Action TV]]
* ''Series/BabylonFive'' dipped 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.
* ''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.
* ''Series/{{Person of Interest}}'', because of the redeeming use of the Machine by Finch, Reese and his allies.
* ''Series/{{Almost Human}}'' 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.


* MachinaeSupremacy has a lot of songs made of this trope.

[[folder:Tabletop Games]]
* ''Fates Worse Than Death'' 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}}).
* ''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!
* The third edition of R. Talsorian's ''TabletopGame/{{Cyberpunk}}'' RPG is set in a Post-cyberpunk world. The irony of a post-Cyberpunk game called "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 corebook's artwork consisted entirely of Photoshopped images of posed action figures in ridiculous costumes didn't help, either.
* ''TranshumanSpace'' is a post-cyberpunk setting for {{GURPS}}. Although the Broken Dreams sourcebook lends itself to a more classic cyberpunk feel.
* ''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]]).
* ''TabletopGame/{{Shadowrun}}'' 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.
* ''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.

[[folder:Video Games]]
* ''[[VideoGame/{{Transistor}} Transistor]]'', which eschewed cliché production design and interleaved cyberpunk tropes with romanticism and humanism. [[spoiler:ThePowerOfLove wins. [[BittersweetEnding Kind of...]]]]
* The ''MegamiTensei'' series has many cyberpunk and post-cyberpunk elements.
* The storylines of the VideoGame/DeusEx franchise 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.
** ''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]], [[AncientConspiracy or controlled by a "democratic" group of rich old men]], [[ResetButton or not controlled at all by anyone but as a side-effect technology takes some dramatic steps back.]]]]
** ''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.]]
** ''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. [[spoiler:Unfortunately, being a prequel, it is just as much a Shaggy Dog Story as the original; none of the endings change a damn thing.]]
* The ''Franchise/DotHack'' video games.
* ''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.
** Add all-encompassing Wi-Fi connectivity, angst, and aliens attracted to loneliness and you get ''VideoGame/MegaManStarForce''.
* ''VideoGame/MegaManZX'' takes place after the post apocalyptic ''VideoGame/MegaManZero'', where humans and reploids live side by side and are rebuilding society a new.
* The ''Franchise/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=].
* ''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.]]
* ''ChaosHead'', and especially its successor ''SteinsGate''.
* ''AceCombat3Electrosphere''
* The Caldari State in ''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).
* ''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.

* ''[[{{Webcomic/ClaudeAndMonet}} Claude & Monet]]'' 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....''
* ''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.

[[folder:Web Original]]
* ''ChaosFighters II-Cyberion Strike'' and ''ChaosFighters: Cyber Assault-The Secret Programs''. However, [[spoiler:the guardians (similar to Navis in MegamanBattleNetwork) are originally designed as virtual humans, but due to crimes the research project switched its focus to develop fight able guardians so that the crimes can be solved quickly.]]

[[folder:Western Animation]]
* ''{{WesternAnimation/Futurama}}''!
* Would it be [[IncrediblyLamePun truly, truly, truly outrageous]] to suggest that ''{{Jem}}'' had a PostCyberPunk narrative and theme?
* ''SonicSatAM'' can be seen as this.

[[folder:Real Life]]
* So, how are we doing? Certainly, technology may be getting annoying but it's far from the leading cause of social problems. Post-Cyberpunk itself is basically what happened to the genre when some things from Cyberpunk came true in real life, but not others.
** In addition, humanity seems to be quite GenreSavvy about Cyberpunk and dystopia, making humanity more conservative about technology in general.
* bOING bOING.net - "Media culture brainwash for now people" & a "directory of wonderful things."
* Creator/DavidBrin's ''TheTransparentSociety'' is an attempt by the author to convince the world that we have a choice between technology creating a utopian society or dystopia. The first can only be brought about by embracing technology and making it available to all. The second by attempting to fight technology, because the technology is so useful that it cannot be resisted, attempting to limit its availability to proper authority means that it will be available only to proper authority and to the rich and powerful and to the criminal class that knows how to access and use it illegally. Essentially, it straddles the divide between CyberPunk and PostCyberPunk and argues that the two are the inevitable result of our choices now.