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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:Guns, booze, smokes, and artificial limbs: the typical accessories for a character in a cyberpunk story.]]

->''"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

The [[TropeMaker originator]] of [[PunkPunk the "Punk" genres]], 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 is abused 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 [[CoolPeopleRebelAgainstAuthority 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]] [[TheManBehindTheMan 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 ''Literature/{{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 -- and even moreso to mid-2010's audiences who've already eschewed outdated UsefulNotes/MP3 players in lieu of smartphones that now integrate music playback features into their core systems. Technology marches on, indeed.

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.

As a movement, it was the successor in some sense to the NewWaveScienceFiction movement of the sixties and seventies. Related to PostCyberpunk and UsefulNotes/{{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, and TechnoDystopia, which can have overlap on the futurism side. See also {{Afrofuturism}}.


!!Clear-Cut Examples

* ''Manga/{{Akira}}'' is an extremely influential cyberpunk anime movie that takes place AfterTheEnd of Old Tokyo. There's civil unrest in Neo Tokyo, with the government performing experiments on psychic children, and biker gangs battling it out on the mean streets.
* ''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}}'' AKA ''Battle Angel Alita'', 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. [[spoiler:Well... at first, anyway. And depending on how you interpret the story...]]
* ''Anime/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'', the first and only example in the ''Anime/{{Macross}}'' 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:Comic Books]]
%%* ''Darkminds''
%%* ''ComicBook/FallOutToyWorks''
%%* ''Silent Dragon''
%%* ''Singularity 7''
* ''ComicBook/{{Ronin}}'' was perhaps the first hard CyberPunk mainstream comic.
%%* ''Utopiates''
* The entirety of the ''ComicBook/Marvel2099'' lineup.
* ''Nikopol Trilogy'' by Creator/EnkiBilal merges European take on cyberpunk with some supernatural/extraterrestrial elements.
* ''ComicBook/{{OMAC}}'' is one of the more eccentric examples, being written and illustrated by Creator/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 ''O.M.A.C.'' '''''missed''''' in ''[[{{ComicBook/Deathlok}} Deathlok The Demolisher]]'': Including transhumanism and something akin to cyberspace.
** Moench would revisit these topics ten years later at [[Creator/DCComics DC]] in the brilliant but obscure comic ''ComicBook/ElectricWarrior.''
* ''ComicBook/BatmanYearOneHundred'' places Batman in a dingy sci-fi Gotham against corrupt government agents utilizing Big Brother-esque tech and psychic powers to keep their shady dealings under wraps.

[[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 ''WesternAnimation/{{SpongeBob|SquarePants}}'' darkfic ''[[http://www.fanfiction.net/s/8490979/1/Cyberpunk-An-underwater-dystopia Cyberpunk: An underwater dystopia]]'', as its name may suggest, has many elements of this genre due the setting takes place [[TheFuture 4014]] and thanks to humans using their location as nuclear testing site.

* ''Film/{{Alphaville}}'' by Creator/JeanLucGodard is often cited as an UrExample of the genre.
* ''Film/JohnnyMnemonic'' was adapted from an eponymous William Gibson short story, some some elements also borrowed from Gibson's other stories set in the Sprawl. The film features many of the flashy hallmarks of cyberpunk, including an evil MegaCorp conspiracy, implanted memories, cybernetic enhancements, assassins, outlaws, and so forth.
* ''Film/StrangeDays'' features a dystopian 1999 where crime is rampant, the government (specifically law enforcement) is corrupt, and people are indulging in the new drug of trading and reliving other people's memories.
* ''Film/{{Cherry 2000}}'' features the urban cyberpunk elements of a MegaCorp employee looking to replace his android sexbot, while the outlaw elements of the genre have a DesertPunk flavor.
%%* ''Film/{{Brainstorm}}''
* ''Film/{{Hackers}}'': A noble attempt to inject a cyberpunk aesthetic into present day (TheNineties) society by portraying hackers as a subculture of edgy, irreverent punks who fight an evil MegaCorp.
%%* ''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}}'': A dystopian future where the world is run by super-wealthy corporate elites with a transhumanist plot to give themselves eternal life.
* ''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. It's also rather more optimistic than most Cyberpunk works.
* ''Film/{{Avalon}}'' includes a fully immersive computer reality, worlds-within-worlds and a futuristic, dystopian setting.
* ''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. Frankly, anything directed by Creator/NeillBlomkamp falls into this genre to some extent or another. ''Film/DistrictNine'' is probably the farthest from it, and its aesthetic is still roughly in line with the genre.
* ''Film/GhostInTheShell'' naturally, being the LiveActionAdaptation of the anime and manga, retains all of the CyberPunk motifs and themes of its source material. However, it is a straighter example of this genre as it lacks many of the PostCyberPunk themes of the original.
* ''Film/{{Nemesis}}'' is a quintessential example, with cybernetics-enhanced criminals, cops and freedom fighters all battling in a future dystopia. It spawned three sequels.

* 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 and is considered to be the TropeCodifier of Cyberpunk. He followed this up with ''Literature/CountZero'' and ''Literature/MonaLisaOverdrive''.
* Creator/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.
* Creator/KWJeter 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).
* 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'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.
* Creator/JohnBrunner's ''Literature/TheShockwaveRider'' invented the concept of an internet worm / virus long before the WWW, and it gave us a hacker hero long before ''Film/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.
* Creator/MichaelMoorcock's [[Literature/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.
* Creator/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' ''Literature/ParrishPlessis'' trilogy.
* ''Literature/{{Daemon}}'' by Daniel Suarez. Its sequel, ''Freedomô'' 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 Creator/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 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.
* Ari Bach's ''{{Literature/Valhalla}}'' treats its cyberpunk elements as a matter of course. The book is firmly rooted in a brain-linked world where everyone is constantly online, and possesses advanced web skills they learn in grade school. Its sequel ''Ragnarök'' includes an entire chapter online showcasing what becomes of the internet in the 2230s.
* Creator/JimBernheimer's wrote the novel ''Literature/PrimeSuspectsACloneDetectiveMystery'' which deals with a man waking up to discover he's a clone of a famous detective and has been sent to solve his own murder, probably committed by one of his many other clone-brothers.
* Michael Gibson's ''Literature/{{Technomancer}}'' series is an UrbanFantasy series about how the Earth has been taken over demons and humanity has been rebuilt into a cyberpunk future with humanity at the bottom of the corporate food chain.
* Linda Nagata's ''The Red'' trilogy about a cyborg soldier, his squad and the AI of the title [[AIIsACrapshoot whose motives and intentions are shrouded in mystery]]
* Creator/CTPhipps wrote the ''Literature/AgentG'' series about a CorporateSamurai HollywoodCyborg assassin set TwentyMinutesInTheFuture and chronicles how the world goes from being ''our'' world into a typical Gibsonian dystopia. The world is secretly run by corporations, technology is controlled by the elite, and our hero is a cold-blooded murderer who has only glimmers of humanity left.

[[folder:Live Action TV]]
* ''Series/{{Continuum}}'' is a GrayAndGrayMorality time-travel story where the cyberpunk future is the BadFuture the cybernetically enhanced SuperSoldier villains are trying to avert and the heroine is trying to save.
* ''Series/DarkAngel'' is about a genetically engineered courier in a dystopian future where an {{EMP}} has turned the United States into a third world country.
* ''Series/{{Dollhouse}}'' is about a memory-erasing brothel and the individuals who live inside and work there.
* 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.
** And ''Series/KamenRiderFaiz'' brought cyberpunk to Kamen Rider before Double, with its evil MegaCorp conspiracy and the transhumanistic themes present in the Orphnochs.
** ''Series/KamenRiderExAid'' can also be considered as a cyberpunk and fuses the genre with MedicalDrama.
* ''Series/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''
* ''Series/PersonOfInterest'', an unusual example given it's not set TwentyMinutesIntoTheFuture and it presents as a vigilante action/crime series. Despite this, it has ArtificialIntelligence, universal surveillance, hacker battles, exploration of how technology (the Internet in particular) has changed the human experience, and the beginnings of BrainComputerInterface stuff. Taken further in season 4, where an episode features a parley between [[spoiler:a BenevolentAI trying to defend humanity and [[AIIsACrapshoot an evil A.I. trying to take over humanity]].]]
* ''Series/TotalRecall2070'', which is less a ''Film/TotalRecall1990'' spinoff and really more ''Film/BladeRunner: The Series'', actually has ''more'' cyberpunk themes than either of its inspirations. [[NamedAfterSomebodyFamous David Hume]] is a detective in a downtrodden near-future New York City, technology has advanced to include artifical realities, almost perfectly human androids (Hume is partnered up with one), genetic tampering and cloning, omnipresent computer systems, and a group of mega corporations who control most of the world behind the scenes.
* ''Series/UltraSevenX'' combines this with SciFiHorror and deconstructs the SpyFiction as well.
%%* ''VR5''
* The miniseries ''Series/WildPalms'' was something of a noir-cyberpunk hybrid dealing with virtual reality.

* [[{{Music/CultOfLuna}} Cult of Luna's]] album Vertikal is based on {{Film/Metropolis}}, so it naturally has this feel.
* 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 ''Film/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.
* Music/FearFactory. In fact, most of their lyrical content is about struggling against the dangers of technology and surviving it.
%%* Music/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
* [[Music/MindInABox mind.in.a.box]]'s discography [[SequelSong forms a connected plot]] of [[GovernmentAgencyOfFiction The Agency]] operative, Black, as he hunts down a group of rebel hackers. The Agency works to break into the rebel's creation, [[{{Cyberspace}} the Dreamweb]], doing [[MoralEventHorizon not particularly nice things in the process]]. The album covers and music videos employ a DeliberatelyMonochrome color palette, CyberpunkWithAChanceOfRain and feature run-down buildings and industrial zones.
* Some of {{Electronicore}} band Crossfaith's work could be placed in this genre: harsh, angry music making heavy use of electronic and synth elements, videos containing large amounts of glitched-out and high-tech aesthetics, a song directly challenging the Japanese government for covering up the Fukushima nuclear disaster (aptly named "Only the Wise Can Control Our Eyes") and one video, [[https://www.youtube.com/watch?v=Nk5dfdieOCs "The Evolution"]], which outright depicts an underground resistance fighting against some sort of oppressive government or organisation which employs soliers that resemble the Helghast from VideoGame/{{Killzone}}.
* The video for Music/GeorgeMichael's "Freeek!" takes place in this kind of setting.
* Much of [[{{Celldweller}} Celldweller's]] work.
* The music videos for Music/TaylorSwift's [[https://www.youtube.com/watch?v=QcIy9NiNbmo "Bad Blood"]] and [[https://www.youtube.com/watch?v=wIft-t-MQuE "...Ready For It?"]] have this sort of theme, the latter specifically homaging ''Anime/GhostInTheShell''.
* Music/WarrenZevon's album ''Transverse City'' is set in a very cyberpunk-influenced future.
* While Scar Symmetry has written songs with cyberpunk-like themes before, the first entry int he concept album trilogy ''The Singularity'' covers the rise of artificial intelligences and the social strife their emergence causes, along with transhumanists who implant the technology directly into their bodies, further sowing chaos. Considering the final track of the first (and so-far only) album is named ''Technocalyptic Cybergeddon'', one can draw their own conclusions as to how well the story ends.
* {{Music/Amaranthe}} ''loves'' this trope. ''The Nexus'' is a ConceptAlbum about technological transhumanism and has this written all over it, particularly in "Mechanical Illusion" and "Electroheart". "Trinity" and "Digital World" on ''MASSIVE ADDICTIVE'' [[CallBack echo this]].
* Music/BillyIdol's infamous 1993 album ''Cyberpunk'' was an attempt to capitalize on the genre and mainstream interest in the internet. Actual cyberpunk fans and computer geeks mostly found it more funny than anything, while his fanbase was extremely puzzled at best.

* Like the movie itself, ''Pinball/JohnnyMnemonic'' is about surviving in a cyberpunk world with uplifted dolphins and cyberspace.
* ''Pinball/{{Centaur}}'' has a predominant Heavy Metal/Cyberpunk feel, with its half-human half-motorcycle creature and bleak black-and-white artwork.
* The "X-ile Zone" table in ''VideoGame/ObsessionPinball'' is based on a female hacker fighting against a dystopian future.

[[folder:Tabletop Games]]
* ''TabletopGame/{{Shadowrun}}'' hits all the tropes but mixes in magic and typical Fantasy races.
* ''TabletopGame/{{Netrunner}}'' by Richard Garfield is basically "''Literature/{{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.
* The Earth in ''TabletopGame/{{The Splinter}}'' is a cyberpunk setting.
* The ''TabletopGame/OldWorldOfDarkness'' is fond of this trope.
** In ''TabletopGame/MageTheAscension'', the Virtual Adepts are the tradition who tend the Sphere of Correspondence (space, essentially) and largely adopt the aesthetics and rhetoric of the cyberpunk movement.
** ''TabletopGame/WerewolfTheApocalypse'' has many of these elements, such as a bleak setting, corporate conspiracies, and ominous cities.

[[folder:Video Games]]
* ''VideoGame/{{Observer}}'' (stylized as >OBSERVER_) is a Cyber Punk thriller/horror game, it takes place in 2084 Poland, where after a "digital plague" known as the Nanophage and a resulting war, what remains of the country is controlled by the Chiron Corporation.
* The {{MMORPG}} ''Neocron'' takes place in a [[AfterTheEnd ravaged future]] where most of the world has face nuclear devastation. Most players begin in the titular city of Neocron, a futuristic but dystopian city of concrete and neon lights patrolled by the ever-watchful "CopBot" robotic police units. Much of the game's mechanics revolve around boosting your character's abilities by installing a wide array of cybernetic implants and augmentations.
* ''VisualNovel/{{Snatcher}}'', by Creator/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 noticeable in ''VideoGame/MetalGearSolid2'' as it deals with many Cyber Punk and PostCyberPunk themes, especially its [[Synopsis/MetalGearSolid2SonsOfLiberty 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/SatelliteReign'', where you have the world ruled by corporations oppressing the underclass, the rainy neon-lit urban Hell right out of ''Film/BladeRunner'', the disaffected outsiders fighting the power for reasons and with methods that may not be benevolent, etc.
* ''[[VideoGame/{{Spectre1991}} Spectre VR]]''. Overtly cyberpunk in theme and presentation, and was once sold in a bundle with ''VideoGame/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/HalfLife''
* The Neo-Tokyo level in ''VideoGame/TimeSplitters2''.
* ''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.
* ''VideoGame/TexMurphy'' games, another cyberpunk-influenced series.
* ''VideoGame/{{Dystopia}}'' is a ''VideoGame/HalfLife2'' mod that relies heavily on the idea of cybernetic implants and {{Cyberspace}}.
* ''VideoGame/{{Edge1993}}'' for the UsefulNotes/PC98 takes place in a futuristic city after most of the world was devastated by a gigantic magnetic wave.
* ''VideoGame/HardReset'', a 2013 PC-exclusive shooter. Set in the towering [[CityNoir Bezoar City]], the game takes place during an ongoing RobotWar, during which protagonist Fletcher acts as an officer fighting the machines that breach the city walls. The art style alone sets a cyberpunk theme, with [[EvilTowerOfOminousness towering skyscrapers]] visible even on the higher levels, [[CyberpunkWithAChanceOfRain dreary, dark weather]], as well as Fletcher wielding a two [[SwissArmyWeapon multi-purpose]] guns and a [[ElectronicEyes cybernetic eye.]]
* 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, although ''VideoGame/ShinMegamiTenseiII'' played this trope straighter than than prequel
* Though not as obvious, the ''VideoGame/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'', which lacks the Transhumanism theme of ''Human Revolution'' but more than makes up for it with the theme of the MegaCorp and the PoliceState controlling everything as the world rapidly falls apart.
*** ''Deus Ex's'' sequel ''VideoGame/DeusExInvisibleWar'', meanwhile, is not CyberPunk, taking place in the future where the CyberPunk elements of the previous two games caused society to collapse and rebuild itself into a more traditional dystopic (but improving) society that is controlled by the StateSec and religious fundamentalists.
* ''VideoGame/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.
* Interestingly, the 11th entry in the ''VideoGame/CallOfDuty'' series, ''VideoGame/CallOfDutyAdvancedWarfare'', uses this for its setting, with the highly advanced technology being contrasted with the poor conditions of the populace, and a giant MegaCorp that has grown to rival the power of sovereign nations. The levels were you are introduced to main base of said corporation and the corporate run camp for the surviving populace demonstrate this trope extensively.
* Most of ''VideoGame/PredatorConcreteJungle'' is set in Neonopolis, a [[TwentyMinutesIntoTheFuture 2030's]] city whose technological development has been accelerated by reverse-engineering Predator tech left behind from a failed hunt. The entire city is controlled by [[NamesToRunAwayFromReallyFast Borgia]] [[MegaCorp Industries]] and the streets are rife with cyborg mercenaries and criminal gangs, with even low-level punks having access to cloaking devices and advanced Predator weapons.
* ''VideoGame/MetalGearRisingRevengeance'': While Cyberpunk themes have always been present to some degree or another in the Metal Gear series (see above), they are much more apparent here. Since the fall of the Patriots, the world has experienced a vast technological boom. Most military forces now include cyborgs, there are self-piloting vehicles everywhere, and holograms are used in public places for advertising, to name a few examples.
* ''VideoGame/InvisibleInc'': With the mentally-damaging augmentations, ruthless Mega Corps, and flawed, Film Noir style heroes, it couldn't be anything else.
* ''VideoGame/{{Oni}}'' contains a LOT of cyberpunk elements regarding its characters.
* Downplayed but still clear cut in ''VideoGame/TheSilverCase'', especially in the Kamuidrome case which focuses on the Internet and resembles an episode of ''Anime/SerialExperimentsLain''. Themes in the game include the divide between those with information and those without, with information being treated as a commodity that those in power have a lot of.
* ''VideoGame/{{RUINER}}'' is a stand-out example, both in terms of aesthetic (cybered-up thugs in leather and denim enact violence on each other in a neon-lit, rain-drenched industrial dystopia, while hackers and Mega Corps manipulate things behind the scenes) and in terms of theme (advancements in technology have not reduced people's tendency to be horrible to each other, and if anything have made it ''worse'').
* ''VideoGame/{{Dex}}'' is a video game taking place in the city of Harbour Prime. Harbour Prime is a technologically advanced but filthy city full of sleaze, lies, and betrayal. The goal of the game is to either destroy or liberate an A.I. that has the potential to change the world.

[[folder:Visual Novels]]
* ''VisualNovel/VA11HALLA'' is a retro-style, cyberpunk-themed SliceOfLife story about a bartender just trying to make her way through life and the colorful characters who find their way into her dingy establishment from day to day.

[[folder:Web Comics]]
* ''NYC 2123'' is definitely cyberpunk, [[DeliberatelyMonochrome black and white]] [[SplashOfColor and red]] all over.
* ''[[http://buyingtime.the-comic.org Buying Time]]'' ([[NotSafeFOrWork NSFW]]) is set in a retro-cyberpunk universe where a MegaCorp has monopolized all social interaction, charging micropayments for any interpersonal contact longer or more intimate than a brief greeting.
* ''Webcomic/DrugsAndWires'' is actually set in an alternate version of 1995 where people [[SchizoTech sport advanced cyberware but still use floppy disks]]. The comic both uses and satirizes various well-worn cyberpunk tropes, and isn't above [[http://tapastic.com/episode/143662 poking fun at its similarities to Neuromancer.]]
* ''[[http://www.theconcreteworld.com The Concrete World]]'' ([[NotSafeForWork NSFW]]) contains many cyberpunk staples, including VR as the next frontier for drug addiction.
* ''[[http://thelightstreamchronicles.com/ The Lightstream Chronicles]]'' is a self-described "cyberpunk crime thriller" set in a near-future [[OneWorldOrder One World Order]].

[[folder:Web Original]]
* ''Literature/AvalonsReign'' is a WebSerialNovel set in a world where corporations control almost everything and cybernetic augmentation is becoming common.
* ''WebAnimation/DimensionalProphecyOfZoharRedux'' Cybernetically enhanced mathematicians in cooperation with megacorps trying to repair an algorithm which is able to save humankind.
* Website/{{Fenspace}}: The space station [[http://www.fenspace.net/index.php5?title=Genaros Genaros]] (an elongated [[https://en.wikipedia.org/wiki/Bernal_sphere Bernal sphere]]) was built with this aesthetic firmly in mind. Itís always dusk-dim inside it -- the stationís windows were deliberately tinted to let in little light -- and the interior is completely covered with neon, concrete (imported from Earth) and steel, with not a trace of green outside the stationís hydroponic food facilities. On top of everything else, there's sprinklers that simulate rain and holographic displays to make the sky look "[[Literature/{{Neuromancer}} like a television tuned to a dead channel]]". Thereís no practical reason it ''had'' to be this way, mind -- [[InvokedTrope it's built the way it is because that's how the station's 22,000 residents like it]].

[[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 ''Literature/{{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/BatmanBeyond''. Gotham City's evolution seems quite natural- still crowded, dirty and corrupt, only now the cars can fly.
* ''WesternAnimation/InvaderZim'' is more or less a cynical dystopia set TwentyMinutesIntoTheFuture.

* A web-ported version of the seminal Cyberpunk UsefulNotes/HyperCard work from the early 1990's is [[http://www.streettech.com/bcp/BCPgraf/4zones.html Beyond Cyberpunk!]]
* ''Blog/TheUnitedFederationOfCharles'' discusses the genre and its trappings [[http://unitedfederationofcharles.blogspot.com/2014/08/what-is-cyberpunk.html here]].

!!Having Some Elements

[[folder:Anime and Manga]]
* Combined with UrbanFantasy is ''LightNovel/ACertainMagicalIndex'', where half of the franchise features high-tech technology and social conflict. It also involves some magic practitioners who try to have high technology destroyed. Though the mostly idealistic nature has it lean more towards PostCyberpunk.
* ''Anime/{{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 by the 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 what are, ''essentially'', rogue AIs. They end up subverting the government conspiracy, and stopping more dangerous AIs. Philosophical questions about life arise. Granted, as it's part of a Mons children's series, on the whole it's not as grim as other examples here, but by the same coin, it's pretty heavy for a "shonen" series (and is sometimes criticized for being ''so'' different in tone than its stable-mates).
** ''Anime/DigimonUniverseApplimonsters'', although not as egregious as ''Tamers'', has ''applications and softwares turned into living AI and fighting each other'', among other things. Hackers are also present as well.
* ''Anime/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''.
* ''Manga/{{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.
* ''Literature/{{Paprika}}'', for the same reasons as ''Film/{{Inception}}'' below. ''Paprika'' may also be considered PostCyberPunk.
* ''Anime/{{Zegapain}}'', though it may also be considered PostCyberPunk.
* ''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.
* ''Manga/GunslingerGirl'' features [[CyberneticsEatYourSoul cybernetic implants]], a ''very'' corrupt government willing to turn innocent little girls into assasins and [[GreyAndGrayMorality terrorists with some redeeming qualities]].
* 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.
* NinjaSlayer, being a Parody of 80's and 90's anime seen by Americans, has elements of Cyber Punk in the form of Neo Saitama. With it's bright neon lights, police brutality and ninja turf wars, as well as a few cyberntic limbs.


[[folder:Comic Books]]
* Adam Warren's comic version of the ''ComicBook/DirtyPair''; the original anime lacks this element, however.
* ''ComicBook/{{Transmetropolitan}}'' With a cyberpunk Creator/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 ''Literature/{{Neuromancer}}'' came out.

* ''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: [[CityNoir polluted, overpopulated, overbuilt]] [[MegaCity mega-cities]] plastered with [[AdvertOverloadedFuture neon signs and video billboards]], [[AlwaysNight where the sun never shines]] even [[CyberpunkWithAChanceOfRain when it isn't raining]]. Creator/WilliamGibson himself was alarmed that the film seemed to have beaten the aesthetic of his seminal work ''Literature/{{Neuromancer}}'' to the punch.
* ''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. Also considered PostCyberPunk.
* ''Film/TheMatrix'' has freedom fighters and hackers on the edges of society fighting faceless, suited agents of an overwhelming authority. The fashions of long black dusters and shades mirror cyberpunk protagonists, and the washed-out, metropolitan look of the Matrix is also very CyberPunk. The central theme of questioning reality also falls in line with CyberPunk and notable inspirations to the genre, such as the works of Creator/PhilipKDick.
%%* ''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''.
* ''Film/RepoTheGeneticOpera'' is a cyberpunk musical.
* ''Film/{{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''.
%%* ''Film/WarGames''
* The French CG/live-action film ''Film/{{Immortal}}'' has cyberpunk elements in addition to a wild number of other genre influences.
* The Christian film series ''Superkids'' is about a group of children working against a MegaCorp called N.M.E (pronounced "enemy"), which put out DarkerAndEdgier children's shows, by operating a pirate broadcast station. And occasionally fighting off giant robots.
* ''Film/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.
* ''Disney/BigHero6'' starts out looking this way, set in a city that's literally a mash-up between San Francisco and Tokyo, and opening with a semi-legal underground robot fight, and it looks like the villain is a CorruptCorporateExecutive who dresses in a black trenchcoat. But the protagonist spends maybe 15 minutes as a criminal before he's convinced that his robotics talents are better off at college, and it turns out to be not really a dystopia at all.
* Films Film/TetsuoTheIronMan, Burst City, Pinocchio 964 and Rubber's Lover are prime examples of what the glorious scene of Japanese cyberpunk achieved. They are not straight 100% cyberpunk but have elements. Tetsuo is more futuristic in the sequels; the first movie focuses more on the body horror aspects.
** Both Pinocchio 964 and Rubber's Lover were made by Shozin Fukui who worked with Shin'ya Tsukamoto, the creator of Tetsuo, and it shows. Shozin's work is very similar, dealing with the themes of body transformation, [[spoiler:mad scientists]], seemingly dystopian societies, and a bit of sex. They are both abstract as well, with a somewhat disjointed way of telling a story. Burst City was a movie made by Sogo Ishii and was basically a showcase of the punk rock scene in Japan in the 80s with some futuristic stuff thrown in. All of these films are badass for many reasons, mostly because they are so different from anything else. The directors don't mind being experimental and bizarre. The special effects are awesome - there's no CGI whatsoever. You are left wondering how they accomplished such results.[[note]]Mostly stop-motion animation.[[/note]]
* ''Film/CloudAtlas'': Neo Seoul in the film is this crossed with CrapsaccharineWorld.

* ''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 yeast. As seen in one scene in Lije's home it's a luxury to eat actual chicken with your family, let alone eat it in the comfort of your own home.
* [[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.
* The ''Literature/JohnGolden'' books from Creator/RagnarokPublications cross this with UrbanFantasy. John is a corporate mercenary who kills fairies possessing networks.
* Creator/RobertReed's novels and short stories often include elements of cyberpunk and post-cyberpunk genres. His second novel, ''The Hormone Jungle'' is the most clear-cut, taking place in a futuristic [[BalkanizeMe balkanized]] United States, where the protagonist - an exile from the pseudo-luddite nation of Yellowknife - is hired to protect an android sexbot and is aided by a dead detective [[BrainUploading from within a server mainframe]]. The cover of the second edition even features a [[NoCelebritiesWereHarmed not-Arnold Schwarzenegger]] with a ''Film/BladeRunner''-esque skyline.

[[folder:Live Action TV]]
* ''Series/BattlestarGalactica2003'' 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/BattlestarGalactica2003 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 ''{{Series/Dollhouse}}'' have strong elements of this, as well as biopunk. Mag and Zone's survival gang and Victor's tech-heads especially embody the attitude and aesthetics.
* The Alphaverse in ''Series/CharlieJade''. And it gets worse; there's no rebellion there, just the cruel fact that DystopiaIsHard, which means the corporate-run state is on the verge of collapse [[GodzillaThreshold in ways that make an apocalypse almost welcome]]. Had the show not been cancelled, that's what would have happened at the end of Season 2.
* ''Series/AlmostHuman'' revolves around a [[DefectiveDetective traumatized cop]] and his relationship with an [[AndroidsAndDetectives android partner]] that he is forced to work with. The series is set TwentyMinutesIntoTheFuture in a walled-off metropolis, complete with rampart high-tech crime: hacker terrorists, illegal cloning, black-market implants, and molecular 3D-printers synthesizing designer drugs. Despite this dark description, it is quite positive in tone, and the good guys often save the day, making it PostCyberpunk.
* ''Series/BlackMirror'', a sci-fi GenreAnthology series that focuses on the potentially negative uses of new technologies, often enters this with its future-set episodes.
** [[Recap/BlackMirrorFifteenMillionMerits "Fifteen Million Merits"]] is set in an {{arcology}}-like environment where the masses work menial jobs for an unseen elite and pleasure themselves with high-tech frivolities in a virtual world, all while hoping for a chance to compete on a talent show.
** The ending of [[Recap/BlackMirrorTheWaldoMoment "The Waldo Moment"]] has [[spoiler:the titular cartoon bear Waldo being used as a mascot and mouthpiece by a [[ChinaTakesOverTheWorld Chinese-dominated]] [[OneNationUnderCopyright corporate plutocracy]], all while his now-destitute creator looks on in horror and fury at what his publicity stunt has turned into]].
** Even episodes that lack the "punk" elements, such as the CrapsaccharineWorld of [[Recap/BlackMirrorNosedive "Nosedive"]] or the modern-day-set [[Recap/BlackMirrorShutUpAndDance "Shut Up and Dance"]], tend to lean heavily on the themes and motifs of the genre.

* Music/MyChemicalRomance's ''Danger Days: The True Lives of the Fabulous Killjoys''.
* A lot of Music/MachinaeSupremacy songs, such as "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 it with '80s to '90s corporate muzak and remixes into]] [[{{Ambient}} ambient music]]... [[NeoclassicalPunkZydecoRockabilly or not]].
* Similar to ''Film/{{Brazil}}'', the [[https://www.youtube.com/watch?v=6KxtgS2lU94 music video]] of Music/{{Bjork}}'s "Army of Me" has shades of this (technology and tone-wise) and DieselPunk (visually).

[[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 ó 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, ''{{TabletopGame/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.
* ''TabletopGame/EclipsePhase'' straddles the line between CyberPunk and {{Transhumanism}}. On the one hand, many people do wind up with a totally different understanding of culture, life, and even humanity, and on the other, there are even more trying to keep the old forms of government and commerce alive... often as a means to control others. Also, from the outside, the more transhuman beings usually appear horrifying and incomprehensible.
* ''TabletopGame/HcSvntDracones'' also straddles the line. Yes, {{Mega Corp}}s [[OneNationUnderCopyright literally]] rule the solar system, however standard of living is still higher than the modern day, and in the backstory it's stated that people willingly left governments behind for Corptowns, and the nation-states launched the first nukes in the war that glassed Earth...[[WrittenByTheWinners Or maybe not]]. And losing humanity from augmentation is a null issue since humanity has been extinct for 700 years and everyone is either a genetically engineered Vector or a robot (Cog). On the other hand player characters are apparently usually freelancers who might be hired to hit rival Corps.
* ''TabletopGame/PsionicsTheNextStageInHumanEvolution'' has some cyberpunk elements, such as government conspiracies controlling the media, being able to hack computers using psionic powers, and cybernetic implants.
* ''TabletopGame/{{Infinity}}'' has major cyberpunk elements. Much of the Human Sphere is dominated by MasterComputer ALEPH, which engages in regular manipulations; the Nomads reject this, especially those on the ships Tunguska (which has the "mercenary hacker" elements in spades) and Bakunin (which is an ideological riot containing every belief system that rejects ALEPH). Part of the reason the Combined Army was [[OutsideContextProblem such a rude shock]] was that everyone was used to running around in cyberpunk info-wars conflicts against other human powers in a struggle for the top spot, and then suddenly they ran into an alien superpower in possession of vastly superior technology which had never signed the Geneva Convention equivalent for taking care of [[BodyBackupDrive Cubes]].

[[folder:Video Games]]
%%* Many sci-fi games by Origin, including ''Bioforge'', ''Cybermage'', and ''[[VideoGame/{{Crusader}} Crusader: No Remorse and No Regret]]''.
%% The above is a generic example. Write examples for each of the games, or
%% delete it.
* All four of the ''Videogame/MegamanZero'' games. It's set in a post-apocalyptic sci-fi society that is covered by a thin veneer of utopia. [[spoiler: The government, led by a tyrant modeled after the original Megaman X, controls everything and attempts mass genocide of all reploids (except for themselves). Technology is quite advanced and plays a large role in the story as a reocurring theme. Also, the main character joins the rebellion to overthrow the shady government, wich is quite the reocurring theme in cyberpunk stories.]] Then, after the events of the first game, technology plays an even larger role, as the second game's story is based around preventing an evil artifact that can control all reploids (all machines and electronics too, by extension) from falling into the wrong hands. The third and fourth games's story is slightly darker and a little more depressing, due to the fact that [[spoiler: in the third game, another government, led by a crazy mad scientist who also happens to be a complete monster, takes the place of the old one and turns out to be even more evil than the previous tyrant from the first game, thus making Zero and the resistance's efforts seem almost null and void. The worst part is that this is a mad scientist we're talking about here, so he's got the advantage over the heroes due to being in his own element (cyberpunk IS a TECHNOLOGICAL sci-fi dystopia, after all...) and because he's much smarter than Zero and the resistance. In the fourth game, Zero [[HeroicSacrifice heroically sacrifices himself in the most badass way possible]] to stop the mad scientist and saves the world.]]
* 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/HalfLife'' series, especially in the Half-Life 2 era of games, which take place in a dystopia controlled by a massive alien empire whose ranks and weaponry are made up of fusions of lifeform and machine.
* The 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: VideoGame/DirgeOfCerberus'' covers cyberpunk themes like virtual reality, consciousness transference, and is about a Noir-ish AntiHero battling a {{Transhuman}} who had put his mind into the Internet. It's much fluffier and more magically based than you would usually associate with cyberpunk, though, and never asks any really tricky questions about identity.
* ''VideoGame/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 ''VideoGame/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.
* Creator/WadjetEyeGames:
** ''VideoGame/GeminiRue''. Half the game takes place in a mental hospital out in space that employs surgery induced brainwashing The other half of the game takes place in a FilmNoir setting, but a FilmNoir setting on an alien planet, with communicators and space ships.
** ''VideoGame/{{Technobabylon}}'' has "[[{{Cyberspace}} Trance]]", people engineered from birth to be suicide bombers, central AI that runs entire cities' police forces, giant conspiracies, and corporations that run countries. Almost all of its futuristic technology is BioPunk though.
* ''[[VideoGame/MarioStrikers Super Mario Strikers]]'', and especially its sequel ''Mario Strikers Charged'', which combines this with ''Franchise/SuperMarioBros'' characters and soccer!
** ''VideoGame/MarioKart7'' features Neo Bowser City as a Star Cup track. The course has lots of futuristic skyscrapers crowded together, a plethora of neon lights and giant screens [[{{Egopolis}} with Bowser's face plastered on them]], lots of rain, and even ''Blade Runner'' style advertising blimps.
* ''VideoGame/PerfectDark'' has many cyberpunk elements (AIs, hacking, industrial espionage etc.) although it's a straight ScienceFiction story as well.
* ''{{VideoGame/Hardwar}}'' incorporates some cyberpunk elements, but it's mainly a flight simulation game that takes place on Titan with space trading elements (but as mentioned earlier, does not actually take place in outer space).
* ''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 ''VideoGame/{{Starcraft}}'' is a crossover between this and SpaceWestern.
* ''VideoGame/TheLongestJourney'', ''VideoGame/DreamfallTheLongestJourney'', and ''''VideoGame/DreamfallChapters'' feature Stark, the world of logic and technology, which functions as the typical cyberpunk dystopia, as being this as a [[IncrediblyLamePun stark contrast]] to Arcadia, which rely more off of magic and fairy tale tropes, and functions like a fantasy world. They aren't placed in the "Clear-cut Examples" due to Arcadia.
* The Deckers in ''VideoGame/SaintsRowTheThird'' are a gang of hackers themed this way, down to their "[[UsefulNotes/CyberGoth Neo-Cyberpunk]]" clothing.
* ''VideoGame/InfernoMOO'' has heavy cyberpunk influences, including all-powerful corporations, cybernetic implants, futuristic weaponry, laser weapons, and much more.
* The ''VideoGame/{{Borderlands}}'' franchise is set in a world where all the planets are now PrivatelyOwnedSociety and contains plenty of futuristic weapons, lasers, artificial limbs and combat robots, but the game is more of a SpaceWestern than anything else.
* Cyberden in ''VideoGame/TimeSplitters'' certainly fits here. In fact, the entire series as a whole actually borrows many Cyberpunk themes; The Machine Wars, Robot Factory, etc.
* ''Franchise/MassEffect'' occasionally dabbles in the genre, despite otherwise landing firmly in the trappings of the SpaceOpera. Most notable is Omega, the WretchedHive space station from ''VideoGame/MassEffect2'', which drew ''heavy'' inspiration from ''Film/BladeRunner'' visually. Noveria in ''VideoGame/MassEffect1'' and the Silversun Strip in ''VideoGame/MassEffect3'' also have strong CyberPunk influence; Noveria is a laissez-faire charter planet owned by a shady MegaCorp who lease out labs to other corporations so they can perform [[PlayingWithSyringes questionable scientific experiments]], while the Silversun Strip is a [[http://www.handytips.info/wp-content/uploads/2013/04/Mass-Effect-3-Citadel-DLC-review-02-Silversun-Strip.jpg neon-drenched]] entertainment hub with connections to organized crime.
* ''VideoGame/{{killer7}}'' gets into this in the target Alter Ego. Although it starts off being about a comic book author, by the end it's about underground gamers playing on the illegal private internet. One might surmise from this that ''killer7'' in general might take place in a cyberpunk world even though the work itself only sometimes brushes with the genre.
* ''VideoGame/{{Scrapland}}'' is set on a planet Earth that's been polluted to the point it can no longer sustain life, and abandoned by humanity. The robots stayed behind, and formed their own society out of the junk and scrap the humans left behind, ultimately renaming the planet "Scrapland".
* ''VideoGame/{{Observer}}'' practically bleeds this. It's heavily modelled on BladeRunner, even bringing in Rutger Hauer to play the main character, and deals with mindjacking, nanite plagues, a single monolithic corporation running most of Western society, and creates a world in which not being augmented makes you weird and rare.
* ''VideoGame/RawData'' is set in world where the mighty Edencorp uses its technology to dictate the conditions under which most of human society lives. Where it differs from classical cyberpunk, hhowever, is that [[spoiler: a ZerothLawRebellion put an immensely powerful AI in control of Edencorp and, by extension, humanity.]] Also, the corporation can be taken down by a few well-armed operatives, some hackers, and a tour-guide.

[[folder:Visual Novels]]
* ''VisualNovel/ChaosHead''. Surprisingly, being set in present day, its tone is probably more modern than numerous other futuristic fictions.
** Its successor ''VisualNovel/SteinsGate'' delves even deeper into cyberpunk themes, though it may be considered more PostCyberPunk
* ''VisualNovel/DramaticalMurder'' certainly have a basic cyberpunk set-up of poverty intersecting with neon-infused high-class artificial urbanite that uses a lot of technology along with an active punk street life (and of course, the usage of [[CyberpunkIsTechno electronic music as BGM]]. Then there's [[VirtualReality Rhyme]] itself). Though, the usage of modern technology is mostly for the people (altough not exactly good), and by the time the good endings and ''re:connect'' came, it shifts into PostCyberPunk.

[[folder:Web Comics]]
* ''[[http://www.outrunnerscomic.com/ The Outrunners]]'' has many cyberpunk elements, including a hyper-regulated [[PoliceState police state]] plagued by gang violence.
* ''Webcomic/LastRes0rt'' has the generic cyberpunk plot pretty well secured... but is almost a bit too [[UsefulNotes/FurryFandom bright, cartoony, and furry]] to let the [[MoodDissonance darker aspects of the genre really sink in]].

[[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.
* Website/SomethingAwful parodied this in their "Great Authors Series", imagining what classic authors would write if they [[GenreAdultery stepped wildly outside their comfort zone]], with [[http://www.somethingawful.com/news/gibson-neuromancer-twitter/ a piece]] imagining what it would look like if Creator/WilliamGibson wrote about a present-day (2013) kid looking for {{doujinshi}}. The omnipresence of Japanese {{otaku}} culture, the [[OnlyElectricSheepAreCheap "electric cigarettes"]] and five-hour energy drinks, the information traveling in from far-flung Shinjuku, Toronto, and Dallas in the blink of an eye, a Dell laptop running the fancy-sounding Chrome operating system, and social media are described in terms straight out of cyberpunk... with only the last sentence ruining the illusion:
-->"What Vektor discovered in his Website/{{Twitter}} feed caused him to hesitate. Something unbelievable was unfolding around the world in real time, bouncing from server to server and metastasizing as a constant chorus of Tweets scrolling through his overloaded feed. It was even worse than he feared. [[spoiler:A comedian had just made a rape joke.]]"

[[folder:Western Animation]]
* 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.
* 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 Franchise/SonicTheHedgehog, it's not as depressing it should be.
* ''WesternAnimation/GetEd'' started out as an animated action show about futuristic couriers. As it went on, episodes became more character-driven, stories began to focus on a CorruptCorporateExecutive with an army of [[CloningBlues clones]] and robots at his disposal wanting to take control over the city. The main heroes have to try and one-up the baddie with superior tech-savviness and impropmtu inventions. The series [[BittersweetEnding ended bittersweetly]] with the heroes [[spoiler:thwarting the [[BigBad Big Bad]]'s apocalypse brought about via technology]] at a heavy cost. Had the series not been ScrewedByTheNetwork, the second season would have gone even more deeply into DarkerAndEdgier CyberPunk territory.
* ''ComicBook/BuckyOHareAndTheToadWars'': It's subtle, but definitely present.
** Bruiser, Deadeye and, on a bad day, Jenny, all fall quite squarely into the AntiHero mould (Deadeye is a barely ReformedCriminal, Bruiser is an unrepentant BloodKnight and Jenny definitely has her own agenda, though the series was cancelled before exactly what it was could be explored).
** At least two {{Cyborg}}s show up in the series (Toadborg, who is a mechanical body controlled by a BrainInAJar and Kamikaze Kamo, who sports two not very armlike mechanical appendages in lieu of two of his arms).
** BigBad KOMPLEX is a sapient MasterComputer [[AIIsACrapshoot gone haywire]].
** Pollution, rampant consumerism and environmental destruction are hallmarks of Toad culture.

[[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. The ''{{TabletopGame/Shadowrun}}'' used it as a setting in both tabletop and computer versions.
* Modern society, while not there, is on its way into it. The first Mega-Corporations are cropping up, Tokyo at night looks like it was cut right out of a Cyberpunk-Anime, and most technologies that we see in Cyberpunk already exist or are in development. Even the high tech low life motives start to become reality. In a few decades tops, robots and augmented humans will also likely be a common sight. Unfortunately, some of the fears and terrors that are common in Cyberpunk might also become real as the scandals of the NSA have eroded much of the idealism that surrounded the internet and the hegemony of the consumist type of economy, coupled with the increasingly harsher effects of the anthropogenic climate change have become a part of the society of the New Tens.
* [[http://unitedfederationofcharles.blogspot.com/2017/01/top-signs-were-living-in-cyberpunk.html Top 50 signs we're living in a cyberpunk future]]