"Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphical representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the non-space of the mind, clusters and constellations of data. Like city lights, receding."The idea of a gateway to Another Dimension is quite old. Sometimes the dimensional gateway would appear to be a mirror or book. A computer is both of these. "Cyberspace" is the dimension it opens. Rather than go Down the Rabbit Hole into a Spirit World, the character puts on some VR goggles, plugs an Ethernet cable into his skull, or gets "digitized" into data. What do they see when they go online? A pretty nifty 3D world, designed as a Viewer-Friendly Interface made up of Holographic Terminals over a background full of Matrix Raining Code superimposed over Tron Lines. Not only is everything online, you can expect "surfing" from one site/database to another to be handled with all the aesthetic aplomb of a Design Student's Orgasm and to be completely lagless. One curious alternative idea that seems to infest many cyberspaces is travel time... The Metaverse of Snow Crash has people walking to the shops on The Internet. This could be seen as the illogical conclusion to the increasingly graphical user interface design evolution from the concise but user-unfriendly command line to drag-and-drop windows and pointers and presumably to the final stages where your avatar crumples up your virtual document and walks over to the virtual bin with it. People in the future clearly have a phenomenal amount of patience with their user interfaces. Essentially, Cyberspace is stylized into a simulation that's virtually indistinguishable from real life, and less of a recreational pastime or tool. If there are other webizens or hackers in cyberspace (not to mention AIs and ghosts), they will either be amorphous gobs of light, be completely outlandishly dressed (or have non-human avatars) because there are no physical limitations, or appear exactly as they would in real life (even wearing the street clothes they were wearing as they logged on). Sometimes, a Holodeck Malfunction turns Cyberspace outright dangerous — not just online, but in real life, because Your Mind Makes It Real. It may take an Orphean Rescue to get those trapped out. Frequently pops up in Cyberpunk and Post-Cyberpunk settings. See also The Metaverse, which is when society at large uses the Internet this way. Compare Platonic Cave. Also compare Hard Light, where Cyberspace can manipulate the physical world.
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- In Accel World, the cyberspace exists in a game known as Brain Burst, which is played by accelerating your brain's processing speed to insane levels. This induces a Year Inside, Hour Outside effect, where players can spend absurd lengths of time in the "Accelerated World" while time almost stands still on the outside.
- Corrector Yui is a Magical Girl in Cyberspace.
- The fictional town in Dennou Coil has a virtual reality accessible via glasses that's more or less this.
- The Digital Worlds in the anime Digimon Adventure and Digimon Tamers were Alternate Universes created when the first computer was made, according to the Official Backstory. The "what goes on there screws with technology outside" factor is greatly downplayed compared to most series that use this trope, but it exists.
- The world of Gamerz Heaven appears to be a virtual reality similar to the real world, but it's never really explained.
- Completely merging organic brains with digital technology is the central theme of Ghost in the Shell. Almost every every person who works in the government, law enforcement, management, and the technology sector can directly link his brain to a computer. At some points people voice their belief that a person can survive as a completely digital lifeform, leaving any organic body behind while still retaining their soul. And this was in 1989.
- The anime series Stand Alone Complex goes even further and implies that every person in East Asia receives such an interface in their early teens. The only exceptions seem to be young children under the age of 10. It also shows civilian chat rooms that use life-like three dimensional avatars, in addition to the very simple icons that represent a person in military and security software.
- The anime .hack//SIGN (and the .hack series in general) takes place in "The World", an MMORPG with a Cyberspace interface.
- Kagerou Project: Ene exists within cyberspace (one of her songs is even about her cybernetic journey to Shintaro's computer), but she used to be human. Later expanded on; her power allows her to jump from her human body into any electronic device with an internet connection.
- Ken Akamatsu has a way of depicting the internet as an endless ocean ala his first work A.I. Love You and later work Mahou Sensei Negima!. Tuna is a dos attack...
- The anime Mega Man NT Warrior had everything hooked up to a Cyberspace version of the Internet, as did the Mega Man Battle Network series it was based on.
- The Pokémon episode that centers around Porygon has the main trio loaded into a computer. Or it would if such an episode had been made.
- Masamune Shirow's Real Drive is all about this.
- The Wired in Serial Experiments Lain. It plays fast and loose with its concept of geography, and we never really find out what the characters are using to control their avatars, though there are implications.
- The central plot of Summer Wars revolves around Oz, a cyberspace communications network.
- The anime series Sword Art Online, originally a 2001 novel, revolves around the concept. It takes place in a Virtual Reality Massively Multiplayer Online Role-Playing Game (VR MMORPG), where thousands of players immerse their consciousness completely within a virtual reality, but remain trapped there for several years, being forced to adapt to the new virtual environment.
- In Transformers Armada episode "Chase", Sideways attempted to steal three of the Mini-Cons by dragging them and the kids into cybserspace. This episode also gave us our first glimpse of Unicron.
- In Arcanum, Cyberspace is a pocket dimension that exists due to the belief-fuelled nature of magic. As one character explains: "people have talked about info highways, web sites, and data blocks so much, some've begun to believe they physically exist. That belief became this pocket dimension."
- Being a sci-fi series that isn't TOO bothered by realism, Paperinik New Adventures has to have this, of course. Apparently, super-genius extraordinaire Everett Ducklair built an entrance to cyberspace in his basement to analyze his own programs from within. Paperinik uses it for some hands-on hacking, when necessary.
- The Day of Wonders in the Apocalypse film series takes place within a virtual reality program, mostly consisting of a white room with a Digital Avatar of The Antichrist in it to offer whoever enters it the Mark of the Beast, with the alternative being death, usually by decapitation.
- Ghost in the Machine: There are lots of visual graphics to show the killer travelling through cyberspace. Josh and his friend are also shown playing some sort of virtual reality First-Person Shooter in an arcade hall.
- Inception turns this trope on its head by using nearly every single trope related to Cyberspace that it can without any computers, because the characters are dream-hackers. You still have a dimension that can affect people's minds. There are dangerous security "systems" that can hurt people in the real world. You need a team of experts to pull off a typical hackers' Impossible Mission plot, part of which is getting to the "target system" in the first place. The environment can be "programmed" and cheated, and the setting straddles the line between Cyberpunk and Post-Cyberpunk. Oh, and there's a Haunted Technology subplot too.
- Also featuring Keanu Reeves, Ice-T, and a talking dolphin: Johnny Mnemonic.
- In the 1997 informative video The Kids Guide to the Internet it uses the term with graphics of the kids' heads flying around.
- The Lawnmower Man features this.
- The Matrix is about Earth's people in the future being tricked into thinking Cyberspace is actually normal present-day reality.
- Old Master Q: Incredible Pet Detective has the titular character, as well as Mr Chou and Big Potato and other characters. The first two get sucked in with a dog, swimming in a literal Digital Sea and the three end up looking like Neo, a T-800 and Darth Vader. It's that kind of movie.
- In The Singularity Is Near, the future story features a sentient AI and begins in Second Life and progresses through more and more advanced versions of cyberspace.
- The plot of the third Spy Kids film featured the title characters traveling inside a video game.
- In The Thirteenth Floor, humanity creates a computer-simulated reality so detailed that its denizens become self-aware. We then discover that our universe is itself only a computer-simulated reality run by the "next level up".
- The classic example, and Trope Codifier, would be the movie TRON, which was made before the Internet existed in its present form. Most modern cyberspace forms owe at least something to this depiction.
- In Accel World, the cyberspace exists in a game known as Brain Burst, which is played by accelerating your brain's processing speed to insane levels. This induces a Year Outside, Hour Inside effect, where players can spend absurd lengths of time in the "Accelerated World" while time almost stands still on the outside. Other than that, it works similarly to how it does in SAO, except there's no perma-death.
- The Legendary Moonlight Sculptor is about the main character Weed's adventure in the titled VRMMORPG. It is so realistic that those who advance beyond a certain stage in the cooking skill are said to be assured of a job for the rest of their life as any restaurant would welcome them as a professional chef. The game's system assists all combat and skills with tooltips the character can see, and players can let the game guide their actions at the penalty of decreasing the action's effect. The game thankfully does not suffer KilledOffForReal or other issues as a plot device like other VRMMORPG based stories often do. The focus is instead on the main character as he tries to earn money for his hospitalized grandma and college-bound younger sister through selling items for money.
- Sword Art Online: A VRMMORPG where players login to find that they can no longer logout. The creator of the game issues an ultimatum: complete the game by defeating the Final Boss on the 100th floor, and you will be allowed to log out. However, if your avatar dies, then the helmet used to play the game will unleash a pulse of microwave radiation that will fry your brain, killing you in real life. The game aspect is much like a Roguelike, the main virtual reality aspect is just the visual and audio realism... and the imminent death.
- The term "cyberspace" itself was coined by William Gibson in his 1982 short story "Burning Chrome", though it is indelibly associated with his later novel Neuromancer (quoted above). The setting in this story involves computer networks whose operating system is now a virtual reality simulation of a TRON-like "world in the computer". Interesting in that you don't "walk" through Gibson's cyberspace... you move across a grid more or less at will, assuming you know where you want to go. There is no slow walk or fly unless you want to admire the view.
- David Wingrove's Chung Kuo has the Shell, an entertainment system in its early stages.
- The Crystal Wind in Daniel Keys Moran's Continuing Time series is essentially the Internet, but is only accessed via agent software that is capable of filtering and organizing the sheer volume of data to present to the users in a coherent way. These Images can range from simple off-the-shelf software that runs on handhelds to custom Player-written powerful Image programs that are borderline Artificial Intelligence and interact with the Player via through trode headsets to direct brain implants.
- An interesting take on the trope in The History of the Galaxy book. The terms "cyberspace" and "virtual reality" are separated. Virtual reality is this trope, while cyberspace is something else. Only cybreakers (hackers with many brain implants who can interface with pretty much any device wirelessly) and mnemonics (the government/corporate counterparts to cybreakers). Both are able to perceive the world around them in a way that allows them to see any piece of electronics in the vicinity and try to access it using various wireless means (e.g. radio, infra-red). Virtual reality is fully immersive by allowing any person to use his or her implant (present since birth) to connect to the Interstar network. Certain genetically-engineered people are able to do the same by using a special IR-emitting and sensing organ (apparently, most computers in the 'verse have an IR port).
- The Idlewild series has Immersive Virtual Reality. Users can meet in common areas or build their own domains from scratch.
- The Urban Fantasy John Golden series from Ragnarok Publications plays with this. As a Debugger, John doesn't go into actual virtual reality but pocket-dimensions created by the fae in computer networks.
- Sergey Lukyanenko's Labyrinth of Reflections series revolves around "the Deep", a Cyber Space that allows full immersion through a series of hypnotic images that each user is subjected to before going online. The images put the user in a sort of trance where their brain "fixes" the imperfect virtual reality of the Deep by perceiving it as a photo-realistic space, allowing for full immersion. Normal People can't leave the trance on their own but some (aptly dubbed "Divers") can and their primary job is finding people who are stuck in Cyber Space and bail them out before they die of dehydration in Real Life.
- The MARZENA Series introduces the Glial-Net, an internet where websites are self-aware AIs, thanks to famous science writer Anika From Bremen teaching software programmers how to create true intelligence. Each AI has its own holo universe separated from the real world and with which it can cross to an extend using cameras to create a "Real Virtual Space," thus making them like ghosts.
- Tad Williams' Otherland books successfully combine Sci-Fi and Fantasy tropes by being set 20 Minutes into the Future, and creating Fantasy environments within the bounds of cyberspace. It's worth mentioning that travel time is normally nearly instantaneous, but specific virtual environments can be configured to simulate realistic movement, and this is considered something of a cachet of the eccentric and well-off.
- Ready Player One is focused on the virtual world of Oasis, originally conceived as a next-gen MMO game using a VR headset that uses low-power lasers to project the image onto the user's retina (thus making the user "see" everything without the tunneled way we see things on a computer screen) and haptic gloves that allow the user to control his or her character and receive touch feedback. Eventually, Oasis grew to contain thousands upon thousands of worlds, to the point where the terms "Oasis" and "the Internet" are interchangeable. The protagonist attends school exclusively through VR and loves it, especially since he doesn't have to deal with bullies in Real Life (the school planet is a non-PvP zone, meaning fighting is not allowed, so all bullies can do is hurl insults, but muting them is an easy counter).
- Alexander Besher Rim trilogy starts with an earthquake which traps thousands of people's consciousnesses in the virtual worlds run by the Satori Corporation. Later in the trilogy, avatars gain sentience.
- Neal Stephenson's Snow Crash is another notable example of the "cyberspace qua operating system" network and is the trope namer for The Metaverse. It's a particularly bad offender with respect to UI inconvenience... walking between sites in the metaverse takes time, and in one particularly unpleasant example a giant animated, unskippable intro flight sequence was required to visit a particular site. It also notes how inconvenient the general interface is; Hiro works in Flatspace (a plain 2D GUI like the one that you are probably using right now) when he gets serious.
- Vernor Vinge's 1981 novella "True Names" is an early, pre-Cyberpunk exploration of the idea that is still considered one of the most realistic and plausible depictions, based on video game concepts. Complete with travel time, which is justified, as it's part of the game. The game was designed by hackers, however, and provides access to sites across the broader network—it's a game/hacking tool. Vinge was quite knowledgeable about the networking technology available at the time, and it shows.
- Thomas Holden's Void Forge follows a group of game developers trapped in a VR world they helped create.
- The 100 has the City of Light, a shared virtual reality that anyone who has taken one of A.L.I.E.'s computer chips can enter by meditating, or choose to remain in permanently even after their physical body has died.
- The show Andromeda gives you brightly-lighted tubes, electronic sounds, all sorts of crap zooming around, and a Godzilla-sized avatar for the titular ship's AI.
- Although we never see it from his perspective, Moloch in Buffy the Vampire Slayer deliberately mixes cyberspace with this trope's pre-digital roots. A demon imprisoned in the pages of a cursed book, Moloch is accidentally transferred into cyberspace when the book's pages are scanned. Though he's technically still not free, the demon finds being "trapped" in the Internet to be far more empowering.
- The Doctor Who story The Deadly Assassin, set on the Doctor's home planet, Gallifrey, had the Doctor venturing into a cyber dreamscape called the Matrix.
- The Matrix of "The Deadly Assassin" is unique in that it's not meant for a living person to go into AT ALL. It's basically a library of dead Time Lords' neural impulses, which are used to forecast future events and figure out how to deal with them. It only serves the "alternate dimension" function because the Master has tampered with it big-time.
- Fat Guy Stuck in Internet portrays cyberspace as the other dimension form of this trope.
- Ghost Whisperer unexpectedly brought Melinda into cyberspace in the episode "Ghost in the Machine", in the context of the fictional social network/MMORPG/sandbox Virtual Life. You see, there was a ghost who was in the game itself for complicated reasons... and she can "enter" the game, too, which of course is never going to be touched on again... and, um... Jennifer Love Hewitt in a stripperiffic avatar outfit!
- In RoboCop: The Series after Diana is murdered and her brain used to control traffic lights (and other things too) in Delta City her consciousness is trapped in one of these. We occasionally see it when she's affected with viruses or when other characters use VR equipment.
- Superhuman Samurai Syber-Squad (based on a show called Denkou Choujin Gridman by Tsuburaya Productions) centered around this.
- VR Troopers featured virtual reality as an Alternate Universe, so things created in VR (such as Mecha-Mooks, supervillain forms, and a Monster of the Week for every occasion) could be brought into reality. "Virtual Reality" tends to resemble the BBC Quarry in most episodes.
- The Warehouse 13 episode Don't Hate The Player involves a stereotypical rescue mission into an Artefact-enhanced VR computer game. Pete takes the opportunity to be a gladiator, Leena gets enhanced with an impressive pair of... wings, and Claudia is horrified to discover that her image has been used for an insipid princess. Oh, and the VR sequences are rotoscoped.
- The "Cybergirl" table in Epic Pinball is ostensibly about this.
- Gottlieb's Gladiators casts the player as a virtual warrior in an abstract grid-lined environment with simple pyramid mountains.
- Appears in Johnny Mnemonic, matching the film. The player even gets to control a pair of virtual-reality gloves to manipulate The Matrix in the game.
- TRON: Legacy, as befitting the license.
- In Alternity, the Internet, radio, TV, the telephone networks, etc., have all been replaced by a single network known as "The Grid". While most people just connect with PDAs, "Grid Pilots" link their brain to it and walk around inside websites set up as 3D worlds.
- Cyber Hero by Hero Games. Travel and combat in cyberspace used almost the same game mechanics as in the real world.
- R. Talsorian Games' Cyberpunk 2020.
- The Netrunner card game using the same setting (at least in its original incarnation).
- Cyberspace by Iron Crown Enterprises (I.C.E.).
- Genius: The Transgression has The Grid, a strange realm made from people's perception of the Internet as this trope. More specifically it's a Bardo, an alternate dimension formed by the discrediting of a widely held scientific view.
- Similarly, Mage: The Ascension had the Digital Web, a spiritual reflection of cyberspace heavily patronized by the Virtual Adepts.
- Server Crash, a 4chan-made pen and paper game, is about all of humanity being trapped in cyberspace forever.
- Shadowrun has the Matrix, which plays this to its conclusion as nerds obviously would. Systems can use the default Tron-inspired iconography, but can be programmed to be anything; libraries with books for files and librarians for security to overgrown jungle ruins with treasures for files and angry natives for security. Deckers in turn can be anything from underage wizards with wands and glasses to BFG-toting commandos. Which leads to the awesome possibilities of Rambo clones getting their asses kicked by librarians or teenage wizards disabling angry natives with butterscotch syrup.
- Werewolf: The Apocalypse has the Cyberrealm, which is pretty much the same as the Digital Web except the latter is exclusive to Mages, whereas Cyberrealm is a playground for Glass Walkers and other tech-savvy Werewolves.
- The eponymous Electrosphere in Ace Combat 3: Electrosphere is some sort of virtual reality underlying the physical realm, which only AIs (such as Nemo) and "sublimated" humans (such as Dision and Cynthia) can enter, however.
- In The Adventures Of Rad Gravity, the second half of Cyberia has you going inside a supercomputer to shut it down.
- Beneath a Steel Sky sees you revisit a Cyberspace environment as a number of different users to gain clues for the "real world" adventure.
- Often visited in the cyberpunk game BloodNet. It's depicted as a sort of a purple, empty space where the cyberspace surfers (taking the form of gold humanoids) travel from "node" to "node", and collect files in the form of geometric shapes.
- Never a gameplay element but the Nod ending of Command & Conquer: Tiberian Dawn has Nod's Netwarriors infiltrate the GDI Ion Cannon control and destroy a major landmark of the player's choice.
- The lair of the demonic news reporter Bob Barbas in DmC: Devil May Cry has this aesthetic. Bob's demonic form is a holographic-looking head composed of translucent data cubes, and he attacks Dante with rectangular blasts of electricity.
- Dystopia, which has a Cyberpunk setting, features Cyberspace as an significant part of gameplay.
"Your cyberdeck implant renders the network archive in a visual form, easier for your brain to interpret."
- Your Commander during the tutorial justifies the techy-ness by saying:
- In the interactive fiction game Frederik Pohl's Gateway (loosely based on the Heechee Saga) Virtual Realities are fairly common and play an important part in the story. Typically, the player will have to break the VR they're in somehow - for example, by causing it to run out of memory or doing something that confuses the simulation.
- The final segment of I Have No Mouth and I Must Scream involves the Chinese and Russian supercomputers teleporting AM's victims the number of which, vary according to how well you helped them out; into AM's "RAM-space". It resembles a huge cerebral landscape pockmarked with shards of broken glass lodged in the tissue, occasional bits of machinery, and huge columns representing AM's primary components.
- Ansem the Wise from Kingdom Hearts II was obsessed with Cyberspace, as many of his inventions seen in game revolve around it.
- Roxas is trapped in a digital copy of Twilight Town where he can live as a normal teenager. He and everyone else enter the data-world physically though, not mentally, and apparently everything in that world can be brought into the real world, solid and everything. As the journal says that Ansem used ENCOM technology to build the virtual Twilight Town, and the movie TRON used a laser scanner to physically teleport Flynn in and out of cyberspace, this does make sense.
- Later, Sora enters a copy of the virtual world from TRON (the only case in the series where a Disney world is explicitly stated to be an alternate universe from that of the movie), which functions in a similar manner as the movie. However, like in the Data Twilight Town, items made in the computer world can be removed. The MCP even manages to use Hollow Bastion's Heartless Factory to materialize The Heartless from Cyberspace.
- In Final Mix+, Sora can visit the Cavern of Remembrance, where he can fight data simulations of the members of Organization XIII. Kingdom Hearts coded takes place in Cyber Space and stars a digital copy of Sora.
- And finally, Kingdom Hearts 3D: Dream Drop Distance allows Sora and Riku to enter The Grid, which is the computer world based on TRON: Legacy. Unlike the other computer worlds, The Grid can be directly selected from the "World Selection", though in this case, it's because of it's a Dream World. This is the only time in the series where a program (Quorra) actually gets to leave their computer world.
- In Mass Effect 3, Shepard end up entering the Geth consensus, in which they witnesses a first-hand account of the Geth-Quarian war.
- The Matrix: Path of Neo very obviously seeing it's got The Matrix in the title.
- Also Enter the Matrix for the same reasons.
- Mega Man X 4 features Cyber Peacock's level set in cyber space, X5 had the "Zero Space" final levels and the Trope Namer Zero series had cyberspace as the parallel world where Cyber Elves and reploid souls live, which is essentially the source code of reality, such that Cyber Elves do their magic by hacking cyberspace.
- The Mega Man Battle Network Series however takes this trope and runs with it, as it is an alternate telling of Mega Man where the net is the height of technology, not robotics.
- Sheep Man's stage in Mega Man 10 resembles some form of cyberspace: the walls and floor contain green dancing binary on a black background, and one recurring enemy is a *mouse cursor* that "draws" little blue panels into existence, which then fly at you!
- PlanetSide and its sequel have virtual training areas for soldiers to try out all available equipment without endangering their fellow soldiers. In the first game, Our Graphics Will Suck in the Future and all objects in the virtual training area have thick outlines, with wireframe terrain. In the second game, everything looks normal up close but everything past a few hundred meters fades out to black-and-white wireframe.
- Pokémon: Porygon and its upgraded forms were designed to be able to enter and move freely here.
- Remember Me had the Ego Rooms, which are small regions of Cyberspace created for especially rich and powerful people, where they conjure up anything they want. The battles against Madame Voorhees and the Final Boss take place in these, and feature environment altered on the fly as well as digital versions of SABRE Enforcers and security robots summoned to assist the bosses.
- Rez (pictured), an on-rails shooter/rhythm action game for the Dreamcast, PS2 and the Xbox 360 based entirely around the process of of hacking into a Master Computer that is doubting her existence. Very much an example of Hollywood Hacking via Extreme Graphical Representation - the obligatory vector graphics are present and correct. But the main character could also be a virus.
- The video game Ripper makes heavy use of a VR-type Cyberspace; they even call it as such, and it's a major plot point throughout the game.
- In Saints Row: The Third, the final mission against the Deckers gang involves entering the Decker mainframe via virtual reality. Both Kinzie Kensington and Matt Miller have fun with this at your expense, with Kinzie initially making your avatar a toilet and a blow-up doll and Matt putting you through a Text Adventure and inducing Interface Screw whenever he can.
- Saints Row IV takes place within a computer simulation of Steelport designed by Zinyak to break the Boss's mind. The Boss, however, figures out how to take advantage of the fact that they're in a virtual reality to gain superpowers. One activity in the game involves hacking into stores to gain access to them after Zinyak locks them out.
- The episode "Reality 2.0" of Sam & Max takes place partly in cyberspace. Actually, Sam and Max are wearing VR goggles and navigate cyberspace by physically moving to the same locations in Real Life (i.e. they're walking around like idiots wearing strange-looking eyepieces). One example involves them trying to access a distant server by spoofing a firewall, by outfitting their virtual car with decals that match the required checksum. All objects carried in the inventory become their virtual counterparts in cyberspace, although the gun (a Zeerust blaster in cyberspace) is still pretty much useless. You may also mess with virtual rules by affecting their respective controllers.
- Later on, you find yourself in a beta-version of cyberspace called Reality 1.5, which is a text-based version.
- The levels Digital Circuit and Mad Matrix in Shadow the Hedgehog are set in the Internet and the computer network in Eggman's base.
- The Techno Base Zone in Sonic Advance 2, and its equivalent Cyber Track Zone in Sonic Advance 3 also fit this. Though the former is Tron-ish, while the latter feels more like the physical insides of a giant computer.
- Just like the tabletop-game they were adapted from, some of the Shadowrun video-games feature a Matrix that can be entered by characters.
- In the Sly Cooper series, Bentley "hacks" miscellaneous devices by playing a retro-style shoot 'em up.
- Space Quest: There's a part in the 6th game where Roger enters Virtual Reality to dig up some dirt on Big Bad Sharpei. It resembles an abandoned construction site crossed with an ill-maintained archive of musty paperwork and Microsoft Windows.
- System Shock frequently requires the player to log into a cyberspace representation of the Citadel Station network in order to retrieve passwords and disable door locks while fighting against security programs. And eventually take down SHODAN herself.
- It's also used as tutorial levels in the sequel. And at the end, SHODAN hijacks the Von Braun's Faster-than-light drive to create a portal into cyberspace that has a reconstruction of Citadel Station's first level, still under construction. A passage inside that leads to the second takedown of SHODAN. It goes away when she's defeated...although she's not fully dead yet.
- The final level of Thunder Force V, where you enter the satellite ship Judgement Sword to finish the Guardian super computer.
- Befitting the franchise, most of Tron 2.0 was set here. The plot involved a greedy rival corporation planning to explolit the digital world by digitizing a squad of mercenaries to steal and manipulate everything from state secrets to global finance in a bid to Take Over the World.
- The Virtua Fighter spinoff Virtua Quest takes place in a virtual world called "Nexus". The player character, Sei, goes galavanting around in the abandoned corners of Nexus, looking for lost data. The cast of the fourth Virtua Fighter appear as ghost data called Virtua Souls, and bestow Sei with knowledge of their fighting techniques.
- A Virus Named TOM has the titular character, a computer virus, dwelling in cyberspace.
- Happens twice during the T260G's scenario in SaGa Frontier; once during a story mission and another which is the Point of No Return.
- Like everything else, this trope is used in a very tongue-in-cheek way as the setting of World of Goo's fourth chapter, "Information Superhighway". All the levels are monochromatic green-and-black until you turn on the world's Graphical Processing Unit.
- Electric Wonderland depicts a future where the Internet has become a physical world. People can change forms with Digital Avatars, and the laws of physics no longer limit occurrences and abilities.
- In Metroid: Third Derivative when Samus seeks JD's help to fix her Varia Suit, he has to upload her mind to his computer so that he can fix the suit. To help her pass the time, JD asks Samus to take on the Space Pirate training program.
- The Non-Adventures of Wonderella: "If I know my pseudo-science, this VR helmet will let me enter the Internet to see what's up."
- Suspicious Links has Interspace, where Id Electronica, the being who dragged the main heroine into Interspace, lives.
- Very prominent in the Chaos Timeline (of course, only towards the end, since it starts in 1200).
- DC Nation used this during the "J" plot. Jericho had been trapped in there for a decade with a crazy Technopath. When Jericho tried to get help, Oracle mistook him for a hacker. Queue Joey's powers misfiring and bringing Barbara into cyberspace. And then Babs realizes that there's no interface to bother with and that she's no longer in a wheelchair, making her twice as scary as she was as either Batgirl or Oracle...Babs describes it as a cross of TRON and The Matrix.
- In the Whateley Universe, being able to dive into cyberspace is Merry's best power. It turns out she's not the only one who can do it, though, and one of the others is trying to kill everyone...
- Parodied in "The Code" episode of The Amazing World of Gumball, where Gumball and Darwin go into the internet to get inside their neighbor's computer. Turns out they were simply imagining it and were just making fools of themselves.
- Code Lyoko. Especially the Digital Sea in Season 4.
- An episode of The Fairly OddParents! is set in one.
- Cyberchase on PBS. The entire series takes place inside a world actually named Cyberspace, where sentient computer programs act like people, which is similar to...
- Some episodes of Freakazoid! feature cyberspace, including his origin story.
- Futurama has the future Internet depicted as a classic cyberspace set-up, with a huge skyscraper as Google's home page, and all the porn sites in the red light district.
- Quest World in Jonny Quest: The Real Adventures.
- ReBoot is a variation; it has the actual computer data/programs/whatnot as characters, with the mysterious, capricious, and destructive "User" as the only sign of humans. Though there are some to believe the User to be a myth.
- On Regular Show, Mordecai, Rigby and Pops end up inside the internet while trying to make a viral video. There the find the Warden of the Internet, an old woman on a screen who acts as a Moral Guardian, punishing those who clutter up the web with silly videos by trapping them within their own videos.
- In TMNT: Back to the Sewers, the Turtles spent a lot of time in cyberspace searching for pieces of data to reconstruct Splinter.
- In the Toonami TIE Trapped In Hyperspace, TOM has to go into the Absolution's system to try and get rid of a virus that's infected them. Not like Swayzak (the virus) could be seen as a threat...
- Twipsy is about a courier who delivers e-mails in the Internet. About half of the show takes place in the Internet, rendered in 3D CGI graphics. It can be entered by humans as well.