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* ''ComicBook/TokyoGhost'' is so Cyberpunk that it hurts. It's all about how technology combined with humanity's worst impulses only lead to societal decay and disaster.

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* ''ComicBook/TokyoGhost'' by Rick Remender is so Cyberpunk that it hurts. It's all about how technology combined combininy with humanity's worst impulses only lead to societal decay and disaster.

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* ''ComicBook/TokyoGhost'' is so Cyberpunk that it hurts. It's all about how technology combined with humanity's worst impulses only lead to societal decay and disaster.

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*''Anime/DominionTankPolice'' is set in a dystopian city that's blanketed beneath a perpetual smog cloud. So its citizens have to wear masks to avoid inhaling the pollutants. But the bigger threat is the prevalence of cyber crimes which have gotten so out of hand, that it requires a police force outfitted like a small battalion to deal with it.

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* ''VideoGame/{{Overwatch}}'' has some light cyberpunk elements. Ostensibly, the world is at peace since the end of the [[RobotWar Omnic Crisis]]. The truth, however, is that the world is teetering on the brink of another war. There are a handful of [[MegaCorp Mega Corps]], few of which have the people's best interest at heart: Vishkar is a prime example of this. The aesthetics also draw heavily on cyberpunk, with flying cars, various futuristic technology, and some characters who are cyborgs to varying degrees; from artificial limbs like [=McCree=] and Symmetra to full-body prosthesis like Genji.


* 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.

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* The {{MMORPG}} ''Neocron'' ''VideoGame/{{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.

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* While earlier edition mixed it with [[TheWildWest American Old West]] themes, ''TabletopGame/{{Necromunda}}'' is one of the better examples of the Cyber Punk aesthetic within ''TabletopGame/Warhammer40000'' canon with gangs of stimm-altered thugs, cyborgs and maniacs fighting each other for [[CorporateWarfare to expand the business opportunities of their House]], in the [[LayeredMetropolis ruined industrial depths]] of a MegaCity. It does lack many of the CyberSpace elements of the genre however.

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[[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.
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* SigueSigueSputnik: Mixing punk and electronic music in the style of {{Suicide}}, this band takes its inspiration from movies like ''Film/BladeRunner'', ''Film/TheTerminator'', ''Film/AClockworkOrange'', and ''MadMax''. The band members dress in an outrageous fashion involving brightly coloured hair and lots of fishnets, and involve dystopic and post-apocalyptic themes in its songs, as well as many references to violent video games, high-tech sex (not necessarily with a human) and the suggestion they are from the future. They also play the evil corporation completely straight, by effectively being it.

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* SigueSigueSputnik: Mixing punk and electronic music in the style of {{Suicide}}, this band takes its inspiration from movies like ''Film/BladeRunner'', ''Film/TheTerminator'', ''Film/AClockworkOrange'', and ''MadMax''.''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.

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* ''Film/CloudAtlas'': Neo Seoul in the film is this crossed with CrapsaccharineWorld.


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 NeoAfrica.

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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 NeoAfrica.{{Afrofuturism}}.

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* ''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.


* 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 ShinMegamiTenseiII played this trope straighter than than prequel

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* 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 ShinMegamiTenseiII ''VideoGame/ShinMegamiTenseiII'' played this trope straighter than than prequel


** 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]]

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** 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]]animation.[[/note]]


** 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 modification, mad scientists, 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.

to:

** 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 modification, mad scientists, 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]]


** 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 modification, mad scientists, dystopian societies, and a bit of sex. They are both abstract as well, with a somewhat disjointed way of telling a story. And 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. It's bad ass.

to:

** 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 modification, mad scientists, dystopian societies, and a bit of sex. They are both abstract as well, with a somewhat disjointed way of telling a story. And 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. It's bad ass.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.

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