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"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 originator of the "Punk" genres, Cyberpunk is a Speculative Fiction 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 dark and cynical in tone, it borrows elements from Film Noir, hard-boiled Detective Fiction and postmodern deconstruction to describe the Dystopian side of an electronic society. It is often used as a synonym to the related trope "Techno Dystopia".

The plot will more than likely take place 20 Minutes into the Future in some City Noir, Industrial Ghetto or Crapsack World that tends to be marked by crime, cultural nihilism and bad weather, where cutting-edge technology is abused by everyone for the sake of selfish profit and pleasure. ("The street finds its own uses for things.")


Heroes are often computer hackers or rebels, antiheroes 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 States or multinational conglomerates led by powerful businessmen with a number of gun-toting Mooks and corrupt politicians (or even an entire nation) at their beck and call.

If the work dates from The '80s, there's a good chance that there will be a theme of East Asian economic dominance, with the evil corporations being sinister zaibatsu (possibly masterminded behind the scenes by yakuza) and Asian-sounding brand-names liberally scattered around. Examples from the Turn of the Millennium and beyond are likely to swap Japan out for China or Australia.


Expect the scientific philosophy of transhumanism to be a feature, what with Artificial Limbs and cable jacks in the skull that allow access to artificial realities. Artificial intelligences and artificial humans (sometimes corrupted) are everywhere, while Everything Is Online. 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 "What Measure Is a Non-Human?"

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 Speculative Fiction dystopia or Bad Future ever in the history of the genre, and does not need to always have an anvilicious Science Is Bad message to it.

Cyberpunk tends to be pretty hard on the Mohs Scale of Science Fiction Hardness, 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. William Gibson himself, considered the godfather of the Cyberpunk genre, has said 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 Neuromancer are laugh-inducing to a modern audience who consider eight gigabytes of RAM cheap and low-end — and even moreso to mid-2010's audiences who've already eschewed outdated MP3 players in lieu of smartphones that now integrate music playback features into their core systems, along with hundreds of gigabytes (of hard storage, with RAM "merely" in the 32gb range) now considered routine. Technology marches on, indeed.

Cyberpunk is also quite distinctive in its focus on Social stories in Asimov's Three Kinds of Science Fiction. 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 Post-Cyberpunk, 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.

This being said, cyberpunk has also seen a general increase in popularity and interest in The New '10s, especially toward the decade's back half. This was spurred on in part by many older, influential works in the genre getting new releases that brought them back into mainstream attention (such as Shadowrun Returns and Cyberpunk 2077), but also the ever-evolving sociopolitical environment; some people feel that a lot of the genre's predictions about how society would change with technological progress have proven to be eerily accurate, and a surprising number of social issues that early cyberpunk stories grappled with are very much still topical in modern times, prompting re-examinations of the movement that questioned whether it was truly outdated and what it still had to say.

See Cyberpunk Tropes and SoYouWantTo.Write A Cyberpunk Story for Cyberpunk's characteristic tropes and what sets it apart from other dystopias. The story may fall on the Romanticism end of the Romanticism Versus Enlightenment scale.

As a movement, it was the successor in some sense to the New Wave Science Fiction movement of the sixties and seventies. Related to Post-Cyberpunk and Cybergoth. Of course, several works fit on a continuum between the two tropes. See also Cyberspace, Dungeon Punk, Punk Punk. Compare also with Steampunk, which shares some similarities with cyberpunk, and Techno Dystopia, which can have overlap on the futurism side. See also Afrofuturism. For the Tabletop game series of the same name, check out Cyberpunk.

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Clear-Cut Examples

    Anime and Manga 
  • AKIRA is an extremely influential cyberpunk anime movie that takes place After the End 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.
  • Dominion Tank Police 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 cybercrimes which have gotten so out of hand, that it requires a police force outfitted like a small battalion to deal with it.
  • Armitage III is incredibly similar to Ghost in the Shell, 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 both tackle similar themes.
  • Battle Angel Alita, with the distinction that it's set in a far off future in which Earth is barely recognizable.
  • Serial Experiments Lain.
    • The characters who provide the "punk" element are all secondary, such as The Men in Black, the kids at 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. Well... at first, anyway. And depending on how you interpret the story...
  • Bubblegum Crisis and especially its spinoffs, AD Police and Parasite Dolls — in all its incarnations. The remake series, Bubblegum Crisis: Tokyo 2040 was criticized for being more clean-cut than the original, but both that and the original OV As have giant world-dominating megacorp, singularity level tech changes (what was hot tech last month is obsolete next month), and mixes in mecha, music, and a dash of Iron Man.
  • Texhnolyze: Thanks to deliberate use of Zeerust, this series borders on Diesel Punk, although cybernetic implants are a fairly important part of the story's world.
  • Psycho-Pass is another that straddles the line between Cyberpunk and Post Cyber Punk. 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.

    Comic Books 
  • Killtopia is one set in a MegaCity in future Japan where a whole sector of the city is swimming in Killer Robots called "Mechs", which are hunted by soldiers for hire called "Wreckers".
  • Tokyo Ghost by Rick Remender is so Cyberpunk that it hurts. It's all about how technology combined with humanity's worst impulses only leads to societal decay and disaster.
  • Old City Blues is about a special police force in the futuristic Greek city of New Athens. A TV adaptation is currently in the works.
  • O.M.A.C. is one of the more eccentric examples, being written and illustrated by Jack Kirby, 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 Deathlok The Demolisher: Including transhumanism and something akin to cyberspace.
    • Moench would revisit these topics ten years later at DC in the brilliant but obscure comic Electric Warrior.
  • Batman: Year 100 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.
  • Transmetropolitan features a number of cyberpunk elements, featuring a dystopian future society where transhumanism is rampant, technology is rapidly outpacing society's ability to assess its moral applications, and the government is thoroughly corrupt.

    Fan Works 
  • Alternative Gods is a Death Note 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 SpongeBob darkfic Cyberpunk: An underwater dystopia, as its name may suggest, has many elements of this genre due the setting takes place 4014 and thanks to humans using their location as nuclear testing site.

  • Alita: Battle Angel features a fallen cyborg soldier who gets a second chance at life as a cyborg girl. The world is a kind of soft dystopia, sunny and solar punk/hopepunkish in the daytime and rainy and noirish at night. Law enforcement consists of robot enforcers and cyborg bounty hunters. The elite live in a 'sky city' which is part of a damaged space elevator while the hoi polloi live below in Iron City around the scrapyard of material dumped from the city of Zalem above.
  • Johnny Mnemonic was adapted from an eponymous William Gibson short story, 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 Mega-Corp conspiracy, implanted memories, cybernetic enhancements, assassins, outlaws, and so forth.
  • Strange Days 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.
  • Cherry 2000 features the urban cyberpunk elements of a Mega-Corp employee looking to replace his android sexbot, while the outlaw elements of the genre have a Desert Punk flavor.
  • RoboCop (1987) contains multiple elements of Cyberpunk fiction. An ordinary police officer, Alex Murphy, is reconstructed into a cyborg after being savagely gunned down in the line of duty. While Alex struggles with his own nature, being essentially brain dead and traumatized, and keeping the peace, the secondary plot details society's breakdown and lawlessness while powerful corporations and employees manipulate events for their own benefit.
  • Similarly, the early Terminator films (The Terminator and Terminator 2: Judgment Day) have a huge number of cyberpunk elements, to the point that you can make a pretty strong argument that the second film simply is a cyberpunk story outright: the films feature heroes who are disaffected outcasts (and often outright branded as criminals) and are hounded by the authorities at every turn while trying to at least survive and maybe even do some good (but, meanwhile, are willing to do very morally grey or even darker things to achieve their goals), authority figures (especially in law enforcement and corrections) are almost uniformly depicted as deeply malevolent at worst and at "best" as incompetent (and, symbolically, the primary antagonist in the second monie primarily utilizes the form of a police officer), the second film features corporate conspiracy and malfeasance for profit, and the films deal very deeply with the intersection of human and machine intelligence (with the second film heavily contrasting the T-800's developing morality with that of its human compatriots). T2 also features what is, in basically every meaningful sense, a run on a corporate facility akin to those featured in major genre classics. The only real strikes "against" it are the lack of Japan Takes Over the World, being set in sunny California instead of a place with "cyberpunk rain", and the computing hardware used is largely contemporary outside of the featured (time-traveling) robots.
  • Brainstorm: People create a means of allowing people to view each other's memories, complete with sensory feedback, and soon enough one of the scientists uses it to record a sex tape with his girlfriend and the military takes over once the project is completed, with the purpose of using the system as a means for training soldiers more efficiently and for a new brand of torture for intelligence gathering. The protagonist, one of the men who led the project strictly For Science!, wrecks the place by means of hacking the central mainframe.
  • Hackers: A noble attempt to inject a cyberpunk aesthetic into present-day (The '90s) society by portraying hackers as a subculture of edgy, irreverent punks who fight an evil Mega-Corp.
  • Minority Report. Although it's more Post Cyber Punk in terms of visual appearance, it nevertheless involves the moral complexities of a new method in which Big Brother Is Watching You and one of its top enforcers finding out that the road to creating this method was paved with blood and lies, then getting pursued by his fellow policemen because someone manipulated this method to frame him for (future) murder.
  • Freejack: A dystopian future where the world is run by super-wealthy corporate elites with a transhumanist plot to give themselves eternal life.
  • π, though it's set in the eighties, gives the protagonist's computer improbable powers that throw the story into cyberpunk territory.
  • Avalon includes a fully immersive computer reality, worlds-within-worlds, and a futuristic, dystopian setting.
  • Elysium: The elite live on a high-tech space station with casual cures for cancer, while Earth is a Crapsack World of poverty and squalor kept oppressed with robot police and cyber-enhanced thugs.
  • Ghost in the Shell naturally, being the Live-Action Adaptation 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 Post Cyber Punk themes of the original.
  • Nemesis is a quintessential example, with cybernetics-enhanced criminals, cops, and freedom fighters all battling in a future dystopia. It spawned three sequels.
  • The Car: Road to Revenge takes in the near future where crime is running rampant in a city suffering from serious urban decay. Cybernetic implants are available but are mostly illegal, and the Big Bad is an Evilutionary Biologist who feels he is elevating humanity to its next level of development.

  • Kieran Shea's EBK a.k.a the Koko series is a post-2010s cyberpunk trilogy involving retired mercenary Koko Marstellars who starts off running a tropical island resort that has a plenty of cloned rare animals for the wealthy to hunt and himbo male prostitutes to bang. The series fills most of the tropes except the Film Noir (the series is way too colorful), Twenty Minutes In The Future (its set far enough in the future that interplanetary travel and energy weapons are commonplace, with everything else advanced to the point that only the clothes resemble what we have today) and the Far East elements are largely downplayed (bits of it still exist). The series is largely played for laughs so the evil corporation, polluted hellhole, mercenary black ops warfare and punk elements are cranked Up to Eleven to the point where almost the entire Earth is a 3rd world country and even the trillionaires supplement their diet with soymeat.
  • Marc D. Giller's Hammerjack and its sequel Prodigal; both include virtually every trope associated with cyberpunk, but most notably the leather-clad "razor girls."
  • Bruce Sterling 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.
  • Neal Stephenson has been credited with founding the "post-cyberpunk" genre, stuffing his works with more "modern" ideas such as memes, the Internet, and computer cryptography. His most cyberpunk novel is Snow Crash. The Diamond Age notably features a Decoy Protagonist that is a deconstruction of a cyberpunk character.
  • Sex, Drugs & Violence (in the future) by Nero Manson depicts the gradual transformation of a present day just like ours into a cyberpunk dystopia with all the trappings, which itself eventually begins to shift into a post-cyberpunk society.
  • John Brunner's The Shockwave Rider invented the concept of an internet worm / virus long before the WWW, and it gave us a hacker hero long before WarGames. The other two books in Brunner's triptych - The Sheep Look Up and Stand on Zanzibar 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 ...
  • Many of Vernor Vinge's stories incorporate cyberpunk elements. The most notable is his 1981 novella "True Names", 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.
  • 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.
  • Richard K. Morgan's Takeshi Kovacs trilogy sits firmly in the Cyberpunk genre. Brain Uploading 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 quits to become a mercenary.
  • Frank Schätzing's Limit extrapolates China's current internet-surveillance and police-state tendencies 20 Minutes into the Future. The result is quite cyberpunkish.
  • Dan Simmons' Hyperion Cantos 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 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 the TechnoCore, the self-aware computers that seceded from humanity, decide that it's time to wage war against their biological creators.
  • An Orison of Sonmi 451 from Cloud Atlas plays out like a tribute to cyberpunk with its themes of consumerism, rebellion, and oppressive governments, a Crapsaccharine Society in the form of Nea So Copros, cloning and more. The film version takes it one step further, by mixing in references - both visual and theme wise - from other works such as Blade Runner, The Matrix (not surprising, considering who co-directed it) and 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.
  • K.C Alexander's SI Nless is a 2010s cyberpunk duology that cranks violence to near splatterpunk levels. The books are about Riko, a violent amoral girl with a bionic arm and can't recall the last 6 years of her life. Takes place on an Earth where holes in the ozone layer are so out of control that humans must live in shielded arcologies, mercenary warfare is so commonplace and accepted that the slums (which appear to be 80% of the planet) will get a daily dose of black op firefights and little kids carry machine pistols in the hopes of eventually joining. On top of that every person in the world is a cyborg with internet connection full of junk and enough nanites that they risk a bionic overload that'll cause a cyberpunk Zombie Apocalypse.
  • Ari Bach's 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.
  • C.T. Phipps' Agent G series follows the decades-long career of a Corporate Samurai Hollywood Cyborg assassin, who watches as the world goes from our present day world to a After the End dystopia where everything is secretly run by corporations and super technology is controlled by the elite.
  • Jim Bernheimer's wrote the novel Prime Suspects: A Clone Detective Mystery 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 Technomancer series is an Urban Fantasy 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 whose motives and intentions are shrouded in mystery.

    Live-Action TV 
  • Continuum is a Gray-and-Gray Morality time-travel story where the cyberpunk future is the Bad Future the cybernetically enhanced Supersoldier villains are trying to avert and the heroine is trying to save.
  • Dark Angel is about a genetically engineered courier in a dystopian future where an EMP has turned the United States into a third world country.
  • Dollhouse is about a memory-erasing brothel and the individuals who live inside and work there.
  • Two episodes of Ghost Writer feature Julia Stiles as a hacker seemingly airlifted from cyberpunk, some of which she actually references.
  • Kamen Rider Double fuses this genre with its predeceasing genre of Film Noir.
  • Max Headroom has TV networks that jack into people's brains, and "The System", its rather odd prediction of the Internet. It was also one of, if not the first example of the genre in the United States.
  • Person of Interest, an unusual example given it's not set 20 Minutes into the Future and it presents as a vigilante action/crime series. Despite this, it has Artificial Intelligence, universal surveillance, hacker battles, exploration of how technology (the Internet in particular) has changed the human experience, and the beginnings of Brain–Computer Interface stuff. Taken further in season 4, where the episode "Cold War" features a parley between a Benevolent A.I. trying to defend humanity and an evil A.I. trying to take over humanity.
  • Total Recall 2070, which is less a Total Recall (1990) spinoff and really more Blade Runner: The Series, actually has more cyberpunk themes than either of its inspirations. 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.
  • Mr. Robot is an example with absolutely no fictional technology, instead using a mix of mental health issues and extremely realistic hacking to cover the same themes as traditional stories of this type. It really shows that despite the warnings, reality is actually not that different from what cyberpunk authors predicted in the 1980s.
  • Westworld is initially set in a Western theme park where the creators made human-like robots called hosts that cater the human guests except these hosts slowly gain consciousness after they've been abused for many years with some of them eventually leaving to the world outside by the end of the second season. After these characters arrived in this new world, the setting in the third season shifts to cyberpunk where they discovered that there's an A.I. system capable of analyzing humanity's personal data, hampering their free will and becoming more dependent to technology. Meanwhile, those humans who are considered a threat to the system are forced into correction camps where they can be "edited". However, with the arrival of the hosts, the system is unable to predict them due to being a newly advanced species that no one ever suspected.

  • Death Grips: Their debut album, The Money Store, 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.
  • Sigue Sigue Sputnik: Mixing punk and electronic music in the style of Suicide, this band takes its inspiration from movies like Blade Runner, The Terminator, A Clockwork Orange, and Mad Max. 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.
  • The Protomen. When you're a Rock Opera about a dystopian version of Mega Man (Classic), it's rather unavoidable.
  • Fear Factory. In fact, most of their lyrical content is about struggling against the dangers of technology and surviving it.
  • Berlin "digital hardcore" (i.e. a fusion of Hardcore Punk and Hardcore Techno) band Atari Teenage Riot 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: Cyber Punk Is Techno
  •'s discography forms a connected plot of The Agency operative, Black, as he hunts down a group of rebel hackers. The Agency works to break into the rebel's creation, the Dreamweb, doing not particularly nice things in the process. The album covers and music videos employ a Deliberately Monochrome color palette, Cyberpunk with a Chance of Rain 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, "The Evolution", which outright depicts an underground resistance fighting against some sort of oppressive government or organisation which employs soldiers that resemble the Helghast from Killzone.
  • 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.
  • Amaranthe loves this trope. The Nexus is a Concept Album about technological transhumanism and has this written all over it, particularly in "Mechanical Illusion" and "Electroheart". "Trinity" and "Digital World" on MASSIVE ADDICTIVE echo this.
  • Billy Idol'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.
  • Harumaki Gohan's "Aster", featuring Hatsune Miku, takes place in a cyberpunk virtual world reminiscent of the '80s. It follows a teenaged Artificial Intelligence living in an abandoned, computerized city, wishing that she could meet with her absent parents (possibly her creators) again.

  • Like the movie itself, Johnny Mnemonic is about surviving in a cyberpunk world with uplifted dolphins and cyberspace.
  • 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 Obsession Pinball is based on a female hacker fighting against a dystopian future.

    Tabletop Games 
  • The Old World of Darkness is fond of this trope.
    • In Mage: The Ascension, 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.
    • Werewolf: The Apocalypse has many of these elements, such as a bleak setting, corporate conspiracies, and ominous cities.
  • Savage Worlds, being a universal system, has Interface Zero as it's cyberpunk setting. Set in 2088, the game follows humans, both enhanced and not, bioroids, robots, and mutants.
  • Reality's Edge, published by Osprey Publishing, is a Neuromancer inspired skirmish game following Showrunners and their mercenary bands clashing in the rain-slicked Sprawl as deniable muscle for Mega-Corps.

    Video Games 
  • Observer (stylized as >OBSERVER_) is a cyberpunk 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 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.
  • Binary Domain, a game which stands out for being classic Cyberpunk in an era when Post-Cyberpunk 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...
  • Net Zone by Compro Games is set in a Cyberspace environment, hosting a company that has heavy shades of this as the game goes on.
  • The Syndicate series by Bullfrog puts you in the shoes of the typical evil, shadowy Mega-Corp in a cyberpunk world, chronicling your quest to achieve total world dominance through Corporate Warfare. Your henchmen are all cyborg killing machines that will get the job done no matter how many dead bodies it takes.
  • Satellite Reign, where you have the world ruled by corporations oppressing the underclass, the rainy neon-lit urban Hell right out of Blade Runner, the disaffected outsiders fighting the power for reasons and with methods that may not be benevolent, etc.
  • BloodNet, a 1993 RPG-adventure game by Microprose, is a Genre Mashup in which a typical cyberpunk protagonist's life in a corporate-controlled, VR-dominated society is disrupted by an encounter with vampires straight out of an old-school horror movie.
  • Dystopia is a Half-Life 2 mod that relies heavily on the idea of cybernetic implants and Cyberspace.
  • The Citadel is an indie first-person shooter that serves as a genre throwback to 90's first-person shooters, featuring a dark anime artstyle with biomechanic elements similar to the works of H.R. Giger.
  • Edge1993 for the PC-98 takes place in a futuristic city after most of the world was devastated by a gigantic magnetic wave.
  • Hard Reset, a 2013 PC-exclusive shooter. Set in the towering Bezoar City, the game takes place during an ongoing Robot War, 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 towering skyscrapers visible even on the higher levels, dreary, dark weather, as well as Fletcher wielding a two multi-purpose guns and a cybernetic eye.
  • The original Shin Megami Tensei I and its 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 play on this theme, although Shin Megami Tensei II played this trope straighter than the prequel.
  • Though not as obvious, the First Encounter Assault Recon 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 Mega-Corp 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."
  • E.Y.E.: Divine Cybermancy takes place far into the future, at a level one would expect Space Opera to take over, and has extensive and ancient Psychic Powers. However, the several urban environments 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. Sometimes they can hack you back.
  • Deus Ex: Human Revolution turns the Transhumanism Up to Eleven. This installment is also more "traditionally" cyberpunk than its predecessors, given it is set in 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, Deus Ex, which lacks the Transhumanism theme of Human Revolution but more than makes up for it with the theme of the Mega-Corp and the Police State controlling everything as the world rapidly falls apart.
      • Deus Ex's sequel Deus Ex: Invisible War, 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 State Sec and religious fundamentalists.
  • Cyberpunk 2077 obviously is set in the tabletop game world of Cyberpunk 2020, specifically the dystopia of Night City.
  • The 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 Adventure Game by Westwood Studios. Shares setting and some characters with Ridley Scott's movie, but follows a different plot. You can help the Replicants or take them down as a Blade Runner.
  • The first System Shock counts for this more than the second one (see the other video game section below), with a corrupt Mega-Corp and AI being very much a crapshoot.
  • Civilization: Beyond Earth 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 Call of Duty series, Call of Duty: Advanced Warfare, uses this for its setting, with the highly advanced technology being contrasted with the poor conditions of the populace, and a giant Mega-Corp 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 Predator: Concrete Jungle is set in Neonopolis, a 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 Borgia 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.
  • Metal Gear Rising: Revengeance: 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. After the fall of the Patriots, all their classified technology was up for grabs and the world has experienced a vast technological boom, at the cost of a deep global recession that has been cooking tensions between countries. 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. All of this just serves to enforce the ever-present war-economy fueled by creating disposable soldiers - in this case, they crossed a line by amputating children's brains and sticking them into immersive War Is Hell sims until they snap.
    • To a lesser extent, Hideo Kojima's other Metal Gear games also deal with cyberpunk themes, starting with Metal Gear 2: Solid Snake but becoming more prominent with Metal Gear Solid. The setting is most noticeable in Metal Gear Solid 2 as it deals with many Cyberpunk and Post Cyber Punk themes, especially its ending, which has its very own page here.
    • Metal Gear Solid V: The Phantom Pain deserves its own page of cyberpunk by creating a Zeerust version of the dystopian proxy wars and conflict zones of the 1980's. All the classified technology Diamond Dogs created, decades ahead of their time, were never released to the public but used to mow down soldiers and wage a secret war against the tyrannical rulers of the world. Venom Snake can equip hundreds of different guns, a prosthetic cyber-hand with electric powers and rocket fists, a holographic smartphone, a digital cigar, bullet-resistant cardboard boxes, and even pilot a tiny bipedal mecha. Meanwhile, rank-and-file soldiers need to die in droves before they can get any decent equipment other than a basic assault rifle, and the conflict zones are filled with daily poverty and genocide with no non-military technology more advanced than a radio.
  • Invisible, Inc.: With the mentally-damaging augmentations, ruthless Mega Corps, and flawed, Film Noir style heroes, it couldn't be anything else.
  • Downplayed but still clear cut in The Silver Case, especially in the Kamuidrome case which focuses on the Internet and resembles an episode of Serial Experiments Lain. 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.
  • 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).
  • Dex is a video game taking place in the city of Harbour Prime, 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.
  • Daraku Tenshi: The Fallen Angels is a Fighting Game example, with an After the End dystopian scenario and various Artificial Humans fighting to survive in a Wretched Hive isolated from the world.
  • Remember Me is set in a crime-ridden, cyberpunk Paris where people have the ability to access, and even alter, their memories via a digital implant (as well as the memories of others, which becomes a major plot point). The evil megacorp that runs everything even uses the threat of memory deletion to keep the populace in line.
  • Cytus II is set in a Crapsack World where people escape from problems such as gang violence, human trafficking, government censorship, etc. by logging into Cyberspace via an implanted chip.
  • Katana ZERO is absolutely dripping in Cyberpunk; neon everywhere, futuristic drugs, a crime-ridden City Noir, high skyscraper buildings, and a middle ground between newer and older technology.
  • Ghostrunner follows the reawakening of a subservient titular Ghostrunner twenty years after one of the city's founders killed the other after creating humanity's last bastion from a cataclysm known as The Burst. A civilian-led rebellion to overthrow the leader has failed, and the Ghostrunner is being guided by an AI clone of the fallen founder to ascend the Neon City and defeat the transformed tyrant.
  • Cloudpunk is set in the sprawling aerial metropolis of Nivalis, where newcomer Rania works as a pilot of hovercar making illicit deliveries to a wide variety of citizens across the world's last city. Urban segregation is widespread, and humans and androids live alongside each other in a crime-ridden city that is slowly falling into the ocean.
  • Sense A Cyberpunk Ghost Story is set in the dingy, neon-lit streets and abandoned hotels of the dystopic Neo Hong Kong, with multiple characters (including the protagonist, and police enforcers) having cybernetic enhancements.

    Visual Novels 
  • Snatcher, by Hideo Kojima. Everything, down to the main character's design, screams "I wanna be Blade Runner." It even has the Gibson Shout-Out used by Centurions, in the form of a second Deckard-a-like who even sort of looks like Harrison Ford. 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 AKIRA.
  • VA-11 HALL-A is a retro-style, cyberpunk-themed Slice of Life 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.
  • Baldr Sky is set in a futuristic cyberpunk world jumping between two storylines, a present one and a past through the main characters memories. Things such as the internet have becomes pretty much as normal as breathing for many people, especially those called "Second gens", people with neurojacks allowing them to connect to the web through their minds. Additionally, the conflict between Pro-AI (People in favor of cybernetics, Artificial Intelligence's and similar technologies) and Anti-AI people (People in favor of the natural body as well as genetic engineering) is a central and recurring theme throught the narrative.

    Web Comics 

    Web Original 

    Western Animation 


Having Some Elements

    Anime and Manga 
  • Combined with Urban Fantasy is A Certain Magical Index, 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 Post-Cyberpunk.
  • Ghost in the Shell: Stand Alone Complex: 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 Post Cyber Punk, 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 than many settings, a more realistic in that not EVERYTHING is automatically as bad as it could be.
    • The sequel series Ghost in the Shell: SAC_2045 has even more Cyberpunk elements with the American Empire shown to be in a constant state of "sustainable war" where the elites living safely in gated communities manipulate the disenfranchised masses into fighting mercenaries for the sake of fueling the military-industrial complex.
  • In general, Digimon tends to be on the Post-Cyberpunk end of the spectrum. Digimon Tamers is closest to Cyberpunk, thanks to being written by the writer of 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 A.I.s. They end up subverting the government conspiracy and stopping more dangerous A.I.s. 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).
    • Digimon Universe: Applimonsters, 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.
  • Den-noh Coil goes a fair way toward exploring the social impact that Augmented Reality has on the world, for good and ill, but it's all rather lighthearted, with some episodes diving into Magical Realism.
  • Cowboy Bebop: Not as pronounced as other series, but there are elements of this. Technology has improved enough to allow for inter-planetary travel, but it's not as if life and society in general has sunken to a level where the technology is casually abused and taken for granted.
  • Blame! has its roots here. Monolithic megacorporations, The Government inept or out to get you, antiheroes, and transhumanism that creates as many problems as it solves. Much like The Matrix description below, it takes the Cyberpunk genre to its extreme limits and ironically becomes less like traditional Cyberpunk as a result.
  • Neon Genesis Evangelion has many of the classic tropes: corrupt government conspiracies planning to bring about The Singularity, cover-ups, "jacking in" (albeit into giant cyborgs), an Artificial Human who suffers from Cloning Blues, 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.
  • Gunslinger Girl features cybernetic implants, a very corrupt government willing to turn innocent little girls into assasins and terrorists with some redeeming qualities.
  • The sci-fi novel/anime Ai no Kusabi explores cyberpunk theme in a world ruled by a Master Computer. Artificial Humans are the ruling Elite and they look down on basic human emotions.
  • Psycho-Pass 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 Übermensch Big Bad who seeks to break the system entirely.
  • Ninja Slayer, being a Parody of '80s and '90s anime as seen by Americans, has elements of Cyberpunk in the form of Neo Saitama. With its bright neon lights, police brutality, and ninja turf wars, as well as a few cybernetic limbs.

    Comic Books 

  • Blade Runner 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 codified the visual style of the cyberpunk future: polluted, overpopulated, overbuilt mega-cities plastered with neon signs and video billboards, where the sun never shines even when it isn't raining. William Gibson himself was alarmed that the film seemed to have beaten the aesthetic of his seminal work Neuromancer to the punch.
  • 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 Blade Runner.
  • Brazil has all the plot elements, but with ductwork and teletype machines in place of the Internet. It even has a guerrilla plumber in place of a hacker.
  • Inception: The film's certainly more 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 Post Cyber Punk.
  • The Matrix 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 Philip K. Dick.
  • Total Recall (1990): The dystopia with Mega-Corp elements put the film squarely in this genre.
  • Total Recall (2012) takes place in a Crapsack World in a grimy underbelly of society and the heroes go against a government conspiracy? Yes.
  • Metropolis is a mine of Unbuilt Tropes for science fiction films in general, and its massive split between The Beautiful Elite and the Morlock-like workers is not out of line for a cyberpunk dystopia.
  • Sneakers is an unconventional example, 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:
    Cosmo: [I] learned that everything in this world—including money—operates not on reality...
  • The Christian film series Superkids is about a group of children working against a Mega-Corp called N.M.E (pronounced "enemy"), which put out Darker and Edgier children's shows, by operating a pirate broadcast station. And occasionally fighting off giant robots.
  • Demolition Man is an interesting example, in that although society is oppressive and totalitarian (featuring technological elements such as mandatory tracking implants and brainwashing of criminals), it's primarily portrayed in a benign Political Correctness Gone Mad way rather than violent suppression of thought and action.
  • The Alien franchise helped codify the evil megacorp for science fiction.
  • A good chunk of Guardians of the Galaxy is set on a space station/city called "Knowhere", made of a dead Celestial's head. It's very much a gritty, cyberpunk location, with a seedy underworld and neon signs. A significant action scene also occurs here as well.
  • Big Hero 6 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 Corrupt Corporate Executive 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 spent off at college, and it turns out to be not really a dystopia at all.
  • Films Tetsuo: The Iron Man, 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, 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.
  • Mute is a mystery thriller set in a dystopic, cyberpunk Berlin. However, its storyline, about a mute bartender trying to find his missing girlfriend, plays out much more like a traditional noir than anything else. Indeed, it's easy to wonder why the film has a cyberpunk setting at all, given how little bearing it has on the plot - sure, there's mega corps, gangsters, and lots of tech, but the story ultimately boils down to a girl caught between the man she loves and her psycho ex-husband.
  • Child's Play (2019): The powerful megacorp Kaslan aside, the film notable shows the dangers of smart technology if not kept in check, from Chucky raising an idiosyncratic thermostat to dangerous levels to taking control of Kaslan toys in the climax.
  • The Girl From Monday has some aspects of this, though it's not really a straight example. It has a future US ruled by a huge corporation that constantly spies on the citizens, harshly punishes any dissent, actively tries to brainwash youths, and seeks to commodify everything. There's a plucky underdog resistance against it, with the protagonist being a jaded man who aided the state of affairs coming to pass but who now deeply regrets this. However, most new technology is only mentioned or briefly seen without it playing much of a role in the story. There's also less of the stereotyped atmosphere, and the change is more implied or mentioned than shown.
  • The Circle (2017) has elements of this, despite being ostensibly set in the present day. The titular circle is a Mega-Corp with aspirations of manipulating elections, has a hand in the impeachment of a sitting senator, and whose goal is essentially the surveillance of everybody. Technically, the monitor watches worn by Circle employees could be considered cybernetics, as some of them are even fitted with tracking chips inside their bodies that work in conjunction with it. Fittingly, the film's soundtrack sounds very much like a cyberpunk-style synthesizer.
  • Many parts of Idiocracy can be described as cyberpunk Played for Laughs, with an emphasis on the "low life" half of the equation taken to Lower-Class Lout levels. Technology more advanced than what we have in the present day does exist, but it's all falling apart because the Stupid Future People who make up the world have forgotten how to maintain it, and much of it has been directed towards enabling human laziness and creating an Advert-Overloaded Future. In short, it's the aesthetics of cyberpunk applied to trailer parks, with all of the attendant stereotypes, instead of urban slums.

  • Vernor Vinge's 1981 novella "True Names" anticipated most of the technical elements that became the hallmarks of Cyberpunk, including the shadowy hackers, Cyberspace, and the Digital Avatar. 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 John Golden books from Ragnarok Publications cross this with Urban Fantasy. John is a corporate mercenary who kills fairies possessing networks.
  • Robert Reed'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 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 from within a server mainframe. The cover of the second edition even features a not-Arnold Schwarzenegger with a Blade Runner-esque skyline.
  • The Instrumentality of Man stories of Cordwainer Smith include light-based and biologically-based computers, robot copies of dead people, robot police, the elimination of unhappiness by measures escalating to putting the terminally unhappy to death, an underclass of animal-people who are without rights, the immortality drug stroon, ornithopters, telepathic computer interfaces, and other proto-Space Opera and proto-cyberpunk tropes. The Instrumentality itself has several cyberpunk aspects in that it is a non-state body with the motto, "Watch, but do not govern; stop war, but do not wage it; protect, but do not control; and first, survive!"
  • Anno Dracula 1999: Daikaiju, despite being set twenty years in the past from time of writing, included many cyberpunk elements as fitting a "weird millennial Japan" setting. One of the main characters was an amoral hacker with a robot arm, while a Virtual Ghost based on Brian O'Blivion from Videodrome made an appearance as a Mad Prophet.

    Live-Action TV 
  • Dead at 21: 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.
  • The X-Files 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. Said satellite can manipulate the entire 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 William Gibson.
  • The Epitaph episodes of 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 Charlie Jade. And it gets worse; there's no rebellion there, just the cruel fact that Dystopia Is Hard, which means the corporate-run state is on the verge of collapse 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.
  • Almost Human revolves around a traumatized cop and his relationship with an android partner that he is forced to work with. The series is set 20 Minutes into the Future 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 Post-Cyberpunk.
  • Black Mirror, a sci-fi Genre Anthology series that focuses on the potentially negative uses of new technologies, often enters this with its future-set episodes.

  • My Chemical Romance's Danger Days: The True Lives of the Fabulous Killjoys, set in the not-so-far-off year of 2019 following a nuclear apocalypse and the unexplained disappearance of the island of Australia.

    Tabletop Games 
  • The art, style, and language of 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 — 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.
  • GURPS has guidelines on how to make a cyberpunk campaign with options for both realistic hacking and cinematic cyberspace, as well as the (now out-of-print) horror crossover GURPS Cthulhupunk. It also received an unusual bit of "reality testing" when the U.S. Secret Service carried off the original ''GURPS Cyberpunk'' manuscript in a raid.
  • Shadowrun is half cyberpunk, and half Dungeon Punk. It borrows shamelessly from William Gibson'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' 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 Post Cyber Punk, which is one of the main (numerous) problems fans of the previous editions have with this version.
  • And of course, 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.
  • Eclipse Phase 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.
  • Hc Svnt Dracones also straddles the line. Yes, Mega Corps literally rule the solar system, however the 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...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.
  • Psionics: The Next Stage in Human Evolution has some cyberpunk elements, such as government conspiracies controlling the media, being able to hack computers using psionic powers, and cybernetic implants.
  • Infinity has major cyberpunk elements. Much of the Human Sphere is dominated by Master Computer 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 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 Cubes.
  • While earlier edition mixed it with American Old West themes, Necromunda is one of the better examples of the cyberpunk aesthetic, with gangs of stimm-altered thugs, cyborgs and maniacs fighting each other to expand the business opportunities of their House, in the ruined industrial depths of a Mega City. It does lack many of the Cyber Space elements of the genre, however.

    Video Games 
  • While the world of Splatoon generally has little to do with the genre, Splatoon 2: Octo Expansion introduces us to a far more cyberpunk-influenced world lying beneath the surface. The expansion is set in a gritty, run-down, neon-lit subway system that features retro computing hardware as background elements, and an electronica soundtrack echoing throughout. The tight black leather-clad protagonist of the expansion, Agent 8, was apparently subjected to biotech experimentation (by a shadowy corporate entity, no less) and shackled with a number rather than a name. Agent 8 is under constant surveillance within the subway and has a remote-controlled kill device strapped to their back at all times. At the same time, they use advanced technology like the smartphone-like CQ-80 device, which can pull up a projected map of the subway system, and their Voice with an Internet Connection Marina hacking into the facility mainframe is both a gameplay mechanic and a plot beat in a few cases. To top it all off, the facility is run by a rampant AI that intends to destroy all life on Earth with a bioweapon death ray.
  • All four of the Megaman Zero games. It's set in a post-apocalyptic sci-fi society that is covered by a thin veneer of utopia. 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 recurring theme. Also, the main character joins the rebellion to overthrow the shady government, which is quite the recurring 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' story is slightly darker and a little more depressing, due to the fact that 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 heroically sacrifices himself in the most badass way possible to stop the mad scientist and saves the world.
    • In general, the Mega Man franchise has cyberpunk elements all over the series: In Mega Man (Classic) the robots are being made to make easier the human life, but various of them went reprogammed to be evil by Dr. Wily; in Mega Man X there're the Reploids, Ridiculously Human Robots that overpassed human population (which Dr. Cain is one of the few humans we see in the series) and can make their own decisions as well becoming rogues by themselves; and Mega Man Legends, a group of scavenger robots in an After the End scenario, in which cybernetics are so widespread in this world that it's impossible to tell for sure who is a robot and who is a human.
  • Both System Shock 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 Survival Horror than most examples of this genre. It has more in common with Dead Space that does with other examples. The first one could count as this.
  • While it is a space sim, Black Market shows a long list of Cyberpunk influences, from implants to megacorps.
  • The Half-Life 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 City of Heroes has very literal Cyber Punks in the Freakshow, a powerful gang of drug-fuelled 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!"
  • The Fallout series is deeply rooted in atompunk, though it has some Cyberpunk influences, specially regarding the Institute and the Synths. Fallout: New Vegas also adds implants that boost the player character's capabilities.
  • Final Fantasy VII, definitely. It becomes rather obvious when your bioengineered antihero protagonist battles an army of corporate thugs on a freeway, with a gigantic sword, on a motorcycle. His initial companions include a cyborg terrorist and a Boobs of Steel bruiser. However, the game tones it down after escaping Midgar, as you leave the City Noir and get to travel across the countryside, which is significantly poorer and less advanced and more or less Diesel Punk. Then cyberpunk bites back with its characteristic questions of identity, conflicts of Cyber Versus Eldritch, and of course, Humongous Mecha that really hate the depths humanity has sunk to.
    • Final Fantasy VII: Dirge of Cerberus covers cyberpunk themes like virtual reality, consciousness transference, and is about a Noir-ish Anti-Hero 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.
    • The Remake amps up the cyberpunk elements for Act I, giving more detail into a mega-corporation ruled city which pretends to enshrine progress for the sake of its customers, but starves the slums of useful and cutting-edge technology while seeking greater ambitions that will leave the whole city to rot.
  • Mirror's Edge. Although it's set in a Shining City, it nevertheless has cyberpunk features like rebellious, marginalized heroes opposing an oppressive government, and information running is the key aspect of the story.
  • Devil Survivor: 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 Supreme Commander. Every cybran is a cyborg.
  • The DS version of Drawn to Life: 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.
  • Wadjet Eye Games:
    • Gemini Rue. 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 Film Noir setting, but a Film Noir setting on an alien planet, with communicators and space ships.
    • Technobabylon has "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 Bio Punk though.
  • Mario Kart 7 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 with Bowser's face plastered on them, lots of rain, and even Blade Runner style advertising blimps.
  • Neofeud is set in America of 2033, where the hyper-rich have outright re-established feudalism and rule the world from their floating cities. Mechanical augmentations are widespread (though they often fail to work) and the humanity is joined en-masse by both Sentient Machines and gene-spliced hybrids, and yet poverty remains prevalent, with huge segments of all three sentients surviving entirely on government handouts.
  • Perfect Dark has many cyberpunk elements (A.I.s, hacking, industrial espionage etc.) although it's a straight Science Fiction story as well.
  • 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).
  • The Longest Journey, Dreamfall: The Longest Journey, and Dreamfall Chapters feature Stark, the world of logic and technology, which functions as the typical cyberpunk dystopia, as being this as a 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 Saints Row: The Third are a gang of hackers themed this way, down to their "Neo-Cyberpunk" clothing.
    • The city of Steelport itself in the game has shades of a cyberpunk city. It's a Wretched Hive of a city covered in neon where drugs, sex, and guns flow freely. At the beginning of the game it's controlled by a ruthless criminal organization (of which the Deckers are a part) that has genetically engineered abominations as shock troops.
  • InfernoMOO has heavy cyberpunk influences, including all-powerful corporations, cybernetic implants, futuristic weaponry, laser weapons, and much more.
  • The Borderlands franchise is set in a world where all the planets are now Privately Owned Society and contains plenty of futuristic weapons, lasers, artificial limbs, and combat robots, but the game is more of a Space Western than anything else.
  • Cyberden in TimeSplitters certainly fits here. In fact, the entire series as a whole actually borrows many Cyberpunk themes; The Machine Wars, Robot Factory, etc.
  • Mass Effect occasionally dabbles in the genre, despite otherwise landing firmly in the trappings of the Space Opera. Most notable is Omega, the Wretched Hive space station from Mass Effect 2, which drew heavy inspiration from Blade Runner visually. Noveria in Mass Effect and the Silversun Strip in Mass Effect 3 also have strong Cyberpunk influence; Noveria is a laissez-faire charter planet owned by a shady Mega-Corp who lease out labs to other corporations so they can perform questionable scientific experiments, while the Silversun Strip is a neon-drenched entertainment hub with connections to organized crime.
  • 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.
  • 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".
  • Overwatch has some light cyberpunk elements. Ostensibly, the world is at peace since the end of the Omnic Crisis. The truth, however, is that the world is teetering on the brink of another war. There are a handful of 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.
  • Observer practically bleeds this. It's heavily modelled on Blade Runner, 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.
  • Raw Data is set in a 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, however, is that a Zeroth Law Rebellion 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.
  • Racing game RGX Showdown (and it's mobile game progenitor Rival Gears) uses this setting as a backdrop. Cybernetics abound, pollution rates have skyrocketed and self-driving econoboxes with antigrav technology have become the (government enforced) standard means of transportation, while street punks have taken to scavenging the shells of early 21st century vehicles and "hot rodding" them with high-tech computers and jet engines to race against each other.
  • House Flipper added some elements of this in the Cyberpunk Flipper DLC It gives a new tool for cleaning trash, the flamethrower, and comes with a cyberpunk-inspired home to buy, the Hacker's Loft. It also added new options for player skins, the "Transhumanist" skins. Certainly not a coincidence that the DLC came out shortly before the release of Cyberpunk 2077.

    Visual Novels 
  • DRAMAtical Murder 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 electronic music as BGM. Then there's Rhyme itself). Though the usage of modern technology is mostly for the people (although not exactly good), and by the time the good endings and re:connect came, it shifts into Post Cyber Punk.
  • Danganronpa V3: Killing Harmony may very well be one of the biggest Fridge Horror examples of this genre, especially with the game's Once Per Game Cruel Twist Ending: the entirety of the Killing Game is experienced through the lens of sixteen teenagers caught in a kill-or-be-killed situation until either the Mastermind behind the game is ousted or someone wins the game by getting away with the murder of a fellow student. Then when the Mastermind is cornered at last, Tsumugi Shirogane reveals that the entire game was the then-present franchise being turned into an Immoral Reality Show that went on for no less than 53 Seasons... all in the name of relentless profit due to the massive popularity of the show, whose is popularity is due to humans achieving world peace and needing a vent for their violent tendencies in fiction. The end result is a relentless maelstrom of Fridge Horror, especially with participants in the game being equally jaded and sick as the show itself before being brainwashed into completely different characters. Combined with this relentless meta-attack on Cash Cow Franchises and unfettered greed is also the highest level of tech the series has seen, complete with a robot participant in the 53rd Killing Game and other high-level examples of technology throughout the school, further lending credence to the theory. Now what Tsumugi says in itself is part of the Ambiguous Ending, but if Tsumugi's to be believed, depending on when Danganronpa transitioned from a normal franchise into the dehumanizing bloodsport it is now, then upwards of 49 seasons with at least 686 deaths were caused from this show. That, of course, is where the Fridge Horror really comes into play of the setting likely being Cyberpunk; if the show is so lethal and inhumane, what does it say about the society that has enabled such a show?

    Web Comics 

    Web Original 
  • The last about thirty years of the Chaos Timeline 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.
  • Something Awful parodied this in their "Great Authors Series", imagining what classic authors would write if they stepped wildly outside their comfort zone, with a piece imagining what it would look like if William Gibson wrote about a present-day (2013) kid looking for doujinshi. The omnipresence of Japanese otaku culture, the "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 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. A comedian had just made a rape joke."

    Western Animation 
  • Futurama has some elements, including at least one recurring antagonist Mega-Corp, though the government is more comically inept than corrupt, and it's all Played for Laughs. The heroes are just getting by, doing their jobs, and occasionally saving the universe.
  • Get Ed 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 Corrupt Corporate Executive with an army of 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 impromptu inventions. The series ended bittersweetly with the heroes thwarting the Big Bad's apocalypse brought about via technology at a heavy cost. Had the series not been Screwed by the Network, the second season would have gone even more deeply into Darker and Edgier Cyberpunk territory.
  • Bucky O'Hare and the Toad Wars: It's subtle, but definitely present.
    • Bruiser, Deadeye and, on a bad day, Jenny, all fall quite squarely into the Anti-Hero mould (Deadeye is a barely Reformed Criminal, Bruiser is an unrepentant Blood Knight and Jenny definitely has her own agenda, though the series was cancelled before exactly what it was could be explored).
    • At least two Cyborgs show up in the series (Toadborg, who is a mechanical body controlled by a Brain in a Jar and Kamikaze Kamo, who sports two not very armlike mechanical appendages in lieu of two of his arms).
    • Big Bad KOMPLEX is a sapient Master Computer gone haywire.
    • Pollution, rampant consumerism, and environmental destruction are hallmarks of Toad culture.
  • Love, Death & Robots: The episodes Sonnie's Edge & Blind Spot are predominantly set in a cyberpunk world.

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