Editing Cyberpunk (section)

== Media ==
=== Literature ===
{{See also|List of cyberpunk works#Print media|Cyborgs in fiction}}

Minnesota writer [[Bruce Bethke]] coined the term in 1983 for his short story "[[Cyberpunk (novel)|Cyberpunk]]", which was published in an issue of ''[[Amazing Stories|Amazing Science Fiction Stories]]''.<ref>{{Cite web|title=Cyberpunk - a short story by Bruce Bethke|url=http://www.infinityplus.co.uk/stories/cpunk.htm|access-date=2022-12-29|website=www.infinityplus.co.uk}}</ref> The term was quickly appropriated as a label to be applied to the works of [[William Gibson]], [[Bruce Sterling]], [[Pat Cadigan]] and others. Of these, Sterling became the movement's chief ideologue, thanks to his [[fanzine]] ''[[Cheap Truth]]''. John Shirley wrote articles on Sterling and Rucker's significance.<ref>{{cite web|first=John |last=Shirley |author-link=John Shirley |title=Two Cyberpunks: Sterling and Rucker |year=1999 |url=http://www.darkecho.com/JohnShirley/jspunks.html |url-status=dead |archive-url=https://web.archive.org/web/20081231024409/http://www.darkecho.com/JohnShirley/jspunks.html |archive-date=2008-12-31 }}</ref> [[John Brunner (novelist)|John Brunner]]'s 1975 novel ''[[The Shockwave Rider]]'' is considered by many{{Who|date=January 2015}} to be the first cyberpunk novel with many of the [[trope (literature)|tropes]] commonly associated with the genre, some five years before the term was popularized by Dozois.<ref>{{cite book|last1=Blue|first1=Violet|title=Wetware: Cyberpunk Erotica|date=6 August 2015|publisher=Digita Publications|edition=First|url=https://www.amazon.com/Wetware-Cyberpunk-Erotica-Violet-Blue-ebook/dp/B013AFNGQG/|access-date=20 February 2016}}</ref>

William Gibson with his novel ''[[Neuromancer]]'' (1984) is arguably the most famous writer connected with the term cyberpunk. He emphasized style, a fascination with surfaces, and atmosphere over traditional science-fiction tropes. Regarded as ground-breaking and sometimes as "the archetypal cyberpunk work",<ref name="Person"/> ''Neuromancer'' was awarded the [[Hugo Award|Hugo]], [[Nebula Award|Nebula]], and [[Philip K. Dick Award|Philip K. Dick]] Awards. ''[[Count Zero]]'' (1986) and ''[[Mona Lisa Overdrive]]'' (1988) followed after Gibson's popular debut novel. According to the [[Jargon File]], "Gibson's near-total ignorance of computers and the present-day hacker culture enabled him to speculate about the role of computers and hackers in the future in ways hackers have since found both irritatingly naïve and tremendously stimulating."<ref>{{cite web|url=http://catb.org/esr/jargon/html/C/cyberpunk.html|title=Jargon File definition}}</ref>

Early on, cyberpunk was hailed as a radical departure from science-fiction standards and a new manifestation of vitality.<ref name="Brians">{{cite book |last=Brians |first=Paul |url=http://www.wsu.edu/~brians/science_fiction/neuromancer.html |title=Study Guide for William Gibson: Neuromancer |year=1984 |archive-url=https://web.archive.org/web/20061224081742/http://www.wsu.edu/~brians/science_fiction/neuromancer.html |archive-date=2006-12-24 |publisher=Washington State University}}</ref> Shortly thereafter, some critics arose to challenge its status as a revolutionary movement. These critics said that the science fiction [[New Wave science fiction|New Wave]] of the 1960s was much more innovative as far as narrative techniques and styles were concerned.<ref>James, Edward. ''Science Fiction in the 20th Century'', Oxford University Press, Oxford & New York, 1994. p. 197</ref> While ''Neuromancer''{{'}}s narrator may have had an unusual "voice" for science fiction, much older examples can be found: Gibson's narrative voice, for example, resembles that of an updated [[Raymond Chandler]], as in his novel ''[[The Big Sleep]]'' (1939).<ref name="Brians"/> 

Others noted that almost all traits claimed to be uniquely cyberpunk could in fact be found in older writers' works—often citing [[J. G. Ballard]], [[Philip K. Dick]], [[Harlan Ellison]], [[Stanisław Lem]], [[Samuel R. Delany]], and even [[William S. Burroughs]].<ref name="Brians"/> For example, Philip K. Dick's works contain recurring themes of social decay, artificial intelligence, paranoia, and blurred lines between objective and subjective realities.<ref>{{cite book|last1=Eiss|first1=Harry Edwin|isbn=978-1-4438-5636-2|title=Electric sheep slouching towards Bethlehem: speculative fiction in a post modern world|access-date=26 November 2016|url=https://books.google.com/books?id=HXYxBwAAQBAJ&pg=PR134|date=2014-03-25|publisher=Cambridge Scholars }}</ref> The influential cyberpunk movie ''[[Blade Runner]]'' (1982) is based on his book, ''[[Do Androids Dream of Electric Sheep?]]''.<ref>{{Cite news |last=Maustuad |first=Tom |date=1994-08-21 |title=Dark Vision lingers on 'Blade Runner' 15 years later |url=https://www.newspapers.com/article/asbury-park-press-blade-runner-legacy-re/93681716/ |access-date=2024-06-08 |work=[[Asbury Park Press]] |pages=75 |agency=[[Dallas Morning News]]}}</ref> Humans linked to machines are found in Pohl and Kornbluth's ''[[Wolfbane (novel)|Wolfbane]]'' (1959) and [[Roger Zelazny]]'s ''[[Creatures of Light and Darkness]]'' (1968).{{citation needed|date=February 2016}}

In 1994, scholar [[Brian Stonehill]] suggested that [[Thomas Pynchon]]'s 1973 novel ''[[Gravity's Rainbow]]'' "not only curses but precurses what we now glibly dub cyberspace."<ref>{{Cite web|first=Brian |last=Stonehill |title=Pynchon's Prophecies of Cyberspace |url=http://www.pynchon.pomona.edu/gr/bsto.html|access-date=2022-12-29|website=www.pynchon.pomona.edu}} Delivered at the first international conference on Pynchon, the [[University of Warwick]], England, November 1994.</ref> Other important predecessors include [[Alfred Bester (author)|Alfred Bester]]'s two most celebrated novels, ''[[The Demolished Man]]'' and ''[[The Stars My Destination]]'',<ref>{{cite book |last=Booker |first=M. Keith |title=Monsters, Mushroom Clouds, and the Cold War:American Science Fiction and the Roots of Postmodernism, 1946–1964 |url=https://books.google.com/books?id=sbabLHqXbBgC&pg=PA60 |publisher=[[Greenwood Publishing Group]] |year=2001 |page=60 |isbn=978-0-313-31873-3}}</ref> as well as [[Vernor Vinge]]'s novella ''[[True Names]]''.<ref>{{cite book |last=Grebowicz |first=Margret |title=SciFi in the Mind's Eye: Reading Science Through Science Fiction |publisher=[[Open Court Publishing Company]] |year=2007 |page=147 |isbn=978-0-8126-9630-1}}</ref>

==== Reception and impact ====
Science-fiction writer [[David Brin]] describes cyberpunk as "the finest free promotion campaign ever waged on behalf of science fiction". It may not have attracted the "real punks", but it did ensnare many new readers, and it provided the sort of movement that postmodern literary critics found alluring. Cyberpunk made science fiction more attractive to academics, argues Brin; in addition, it made science fiction more profitable to [[Hollywood, Los Angeles, California|Hollywood]] and to the visual arts generally. Although the "self-important rhetoric and whines of persecution" on the part of cyberpunk fans were irritating at worst and humorous at best, Brin declares that the "rebels did shake things up. We owe them a debt."<ref>[[David Brin]], [http://www.davidbrin.com/matrixarticle.html Review of ''The Matrix''] {{webarchive|url=https://web.archive.org/web/20080322014437/http://www.davidbrin.com/matrixarticle.html |date=2008-03-22 }}</ref>

[[Fredric Jameson]] considers cyberpunk the "supreme literary expression if not of [[postmodernism]], then of [[late capitalism]] itself".<ref>{{cite book|last=Jameson|first=Fredric|title=Postmodernism, or, the Cultural Logic of Late Capitalism|publisher=Duke University Press|year=1991|page=419|url=http://fa.mayfirst.org/articles/Jameson_Postmodernism__cultural_logic_late_capitalism.pdf|isbn=978-1-61723-002-8|url-status=dead|archive-url=https://web.archive.org/web/20150402124654/http://fa.mayfirst.org/articles/Jameson_Postmodernism__cultural_logic_late_capitalism.pdf|archive-date=2015-04-02}}</ref>

Cyberpunk further inspired many later writers to incorporate cyberpunk ideas into their own works,{{Citation needed|date=January 2015}} such as [[George Alec Effinger]]'s ''[[When Gravity Fails]]''. ''[[Wired (magazine)|Wired]]'' magazine, created by Louis Rossetto and Jane Metcalfe, mixes new technology, art, literature, and current topics in order to interest today's cyberpunk fans, which Paula Yoo claims "proves that hardcore hackers, multimedia junkies, cyberpunks and cellular freaks are poised to take over the world".<ref>{{Cite news|last=Yoo |first=Paula |title=Cyberpunk - In Print -- Hacker Generation Gets Plugged Into New Magazine |work=The Seattle Times|url=https://archive.seattletimes.com/archive/?date=19930218&slug=1686110|access-date=2022-12-29 |date=1993-02-18 |page=G.3}}</ref>

=== Film and television ===
{{See also|List of cyberpunk works#Films|List of cyberpunk works#Television and Web Series|Japanese cyberpunk}}

The film ''Blade Runner'' (1982) is set in 2019 in a dystopian future in which manufactured beings called [[replicant]]s are slaves used on space colonies and are legal prey on Earth to various bounty hunters who "retire" (kill) them. Although ''Blade Runner'' was largely unsuccessful in its first theatrical release, it found a viewership in the home video market and became a [[cult film]].<ref>{{cite book |last=Kerman |first=Judith |title=Retrofitting Blade Runner: Issues in Ridley Scott's Blade Runner and Philip K. Dick's Do Androids Dream of Electric Sheep? |url=https://books.google.com/books?id=HAma4m3w38EC&pg=PA132 |publisher=Popular Press |year=1997 |page=132 |isbn=978-0-87972-510-5}}</ref> Since the movie omits the religious and mythical elements of Dick's original novel (e.g. empathy boxes and Wilbur Mercer), it falls more strictly within the cyberpunk genre than the novel does. William Gibson later revealed that upon first viewing the film, he was surprised at how the look of this film matched his vision for ''Neuromancer'', a book he was then working on. The film's tone has since been the staple of many cyberpunk movies, such as ''[[The Matrix (franchise)|The Matrix trilogy]]'' (1999–2003), which uses a wide variety of cyberpunk elements. A sequel to ''Blade Runner'' was released in 2017.

The TV series ''[[Max Headroom (TV series)|Max Headroom]]'' (1987) is an iconic cyberpunk work, taking place in a futuristic dystopia ruled by an oligarchy of television networks. Computer hacking played a central role in many of the story lines. ''Max Headroom'' has been called "the first cyberpunk television series".<ref name="Hague" />

The number of films in the genre has grown steadily since ''Blade Runner''. Several of Philip K. Dick's works have been adapted to the silver screen. The films ''[[Johnny Mnemonic (film)|Johnny Mnemonic]]''<ref name="ctheory1" /> (1995) and ''[[New Rose Hotel (film)|New Rose Hotel]]''<ref name="dvdverdict2000" /><ref name="nytimes1999" /> (1998), both based on short stories by William Gibson, flopped commercially and critically. Other cyberpunk films include ''[[RoboCop]]'' (1987), ''[[Total Recall (1990 film)|Total Recall]]'' (1990), ''[[Hardware (film)|Hardware]]'' (1990), ''[[The Lawnmower Man (film)|The Lawnmower Man]]'' (1992), ''[[12 Monkeys (film)|12 Monkeys]]'' (1995), ''[[Hackers (film)|Hackers]]'' (1995), and ''[[Strange Days (film)|Strange Days]]'' (1995). Some cyberpunk films have been described as [[tech-noir]], a hybrid genre combining [[neo-noir]] and science fiction or cyberpunk.

=== Anime and manga ===
{{main|Japanese cyberpunk}}
{{see also|List of cyberpunk works#Animation|List of cyberpunk works#Graphic novels and comics}}
<!-- Image with inadequate rationale removed: [[File:Gs026.jpg|right|thumb|A human shell in ''[[Ghost in the Shell]]''.]] -->
<!-- Image with incorrect description removed:[[File:lain hacker small.jpg|right|thumb|The hacker as hero: Lain from the cyberpunk anime series ''[[Serial Experiments Lain]]''.]] -->

The [[Japanese cyberpunk]] subgenre began in 1982 with the debut of [[Katsuhiro Otomo]]'s [[manga]] series ''[[Akira (manga)|Akira]]'', with its [[Akira (1988 film)|1988 anime film adaptation]], which Otomo directed, later popularizing the subgenre. ''[[Akira (franchise)|Akira]]'' inspired a wave of Japanese cyberpunk works, including manga and [[anime]] series such as ''[[Ghost in the Shell]]'', ''[[Battle Angel Alita]]'', and ''[[Cowboy Bebop]]''.<ref name="polygon">{{cite news |title=What is cyberpunk? |url=https://www.polygon.com/features/2018/8/30/17796680/cyberpunk-2077-history-blade-runner-neuromancer |work=[[Polygon (website)|Polygon]] |date=August 30, 2018}}</ref> Other early Japanese cyberpunk works include the 1982 film ''[[Burst City]]'', and the 1989 film ''[[Tetsuo: The Iron Man]]''.

According to [[Paul Gravett]], when ''Akira'' began to be published, cyberpunk literature had not yet been translated into Japanese, Otomo has distinct inspirations such as [[Mitsuteru Yokoyama]]'s manga series ''[[Tetsujin 28-go]]'' (1956–1966) and [[Jean Giraud|Moebius]].<ref>{{Cite web |title=Katsuhiro Otomo {{!}} PAUL GRAVETT |url=http://www.paulgravett.com/articles/article/katsuhiro_otomo |access-date=2023-12-03 |website=www.paulgravett.com}}</ref>

In contrast to Western cyberpunk which has roots in New Wave science fiction literature, Japanese cyberpunk has roots in [[underground music]] culture, specifically the Japanese [[punk subculture]] that arose from the [[Japanese punk]] music scene in the 1970s. The filmmaker [[Sogo Ishii]] introduced this subculture to [[Japanese cinema]] with the [[punk film]] ''[[Panic High School]]'' (1978) and the punk [[biker film]] ''[[Crazy Thunder Road]]'' (1980), both portraying the rebellion and anarchy associated with punk, and the latter featuring a punk [[biker gang]] aesthetic. Ishii's punk films paved the way for Otomo's seminal cyberpunk work ''[[Akira (franchise)|Akira]]''.<ref name="Midnight">{{cite web |last1=Player |first1=Mark |title=Post-Human Nightmares – The World of Japanese Cyberpunk Cinema |url=http://www.midnighteye.com/features/post-human-nightmares-the-world-of-japanese-cyberpunk-cinema/ |website=[[Midnight Eye]] |date=13 May 2011 |access-date=23 April 2020}}</ref>

Cyberpunk themes are widely visible in anime and manga. In [[Japan]], where [[cosplay]] is popular and not only teenagers display such fashion styles, cyberpunk has been accepted and its influence is widespread. William Gibson's ''Neuromancer,'' whose influence dominated the early cyberpunk movement, was also set in [[Chiba (city)|Chiba]], one of Japan's largest industrial areas, although at the time of writing the novel Gibson did not know the location of Chiba and had no idea how perfectly it fit his vision in some ways. The exposure to cyberpunk ideas and fiction in the 1980s has allowed it to seep into the Japanese culture.

Cyberpunk anime and manga draw upon a futuristic vision which has elements in common with Western science fiction and therefore have received wide international acceptance outside Japan. "The conceptualization involved in cyberpunk is more of forging ahead, looking at the new global culture. It is a culture that does not exist right now, so the Japanese concept of a cyberpunk future, seems just as valid as a Western one, especially as Western cyberpunk often incorporates many Japanese elements."<ref>{{cite web |last=Ruh |first=Brian |url=http://www.animeresearch.com/Articles/LiberatingCels |title=Liberating Cels: Forms of the Female in Japanese Cyberpunk Animation |archive-url=https://web.archive.org/web/20070927232446/http://www.animeresearch.com/Articles/LiberatingCels/ |archive-date=2007-09-27 |website=AnimeResearch.com |date=December 2000}}</ref> William Gibson is now a frequent visitor to Japan, and he came to see that many of his visions of Japan have become a reality:

<blockquote>Modern Japan simply was cyberpunk. The [[Japanese people|Japanese]] themselves knew it and delighted in it. I remember my first glimpse of [[Shibuya, Tokyo|Shibuya]], when one of the young Tokyo journalists who had taken me there, his face drenched with the light of a thousand media-suns—all that towering, animated crawl of commercial information—said, "You see? You see? It is ''Blade Runner'' town." And it was. It so evidently was.<ref name="cyberpunk1"/></blockquote>

==== Influence ====
''[[Akira (manga)|Akira]]'' (1982 manga) and its [[Akira (1988 film)|1988 anime film adaptation]] have influenced numerous works in animation, comics, film, music, television and video games.<ref name="vice">{{cite web|url=https://www.vice.com/en/article/how-akira-has-influenced-modern-culture/|title=How 'Akira' Has Influenced All Your Favourite TV, Film and Music|work=[[Vice (magazine)|VICE]]|date=September 21, 2016}}</ref><ref name="filmschoolrejects">{{cite web |title='Akira' Is Frequently Cited as Influential. Why Is That? |url=https://filmschoolrejects.com/akira-influence-12cb6d84c0bc/ |website=[[Film School Rejects]] |date=April 3, 2017}}</ref> ''Akira'' has been cited as a major influence on [[Hollywood films]] such as ''[[The Matrix]]'',<ref name="gaeta-empire">{{cite journal|date=February 2006|title=200 Things That Rocked Our World: Bullet Time|journal=[[Empire (magazine)|Empire]]|issue=200|page=136|publisher=[[EMAP]]}}</ref> ''[[Chronicle (film)|Chronicle]]'',<ref>{{cite web|last=Woerner|first=Meredith|title=Chronicle captures every teen's fantasy of fighting back, say film's creators|url=http://io9.com/5881852/chronicle-is-a-movie-about-every-teens-fantasy-of-fighting-back|publisher=[[io9]]|access-date=25 May 2012|date=2 February 2012|archive-url=https://web.archive.org/web/20140226195315/http://io9.com/5881852/chronicle-is-a-movie-about-every-teens-fantasy-of-fighting-back|archive-date=26 February 2014}}</ref> ''[[Looper (film)|Looper]]'',<ref>{{cite web|title=Rian Johnson Talks Working with Joseph Gordon-Levitt on LOOPER, Hollywood's Lack of Originality, Future Projects and More|work=[[Collider (website)|Collider]]|url=http://collider.com/rian-johnson-reddit-ama/|date=2012-09-25}}</ref> ''[[Midnight Special (film)|Midnight Special]]'', and ''[[Inception]]'',<ref name="vice"/> as well as cyberpunk-influenced video games such as [[Hideo Kojima]]'s ''[[Snatcher (video game)|Snatcher]]''<ref>{{cite web|url=http://www.gamecritics.com/great-games-snatcher|title=Great Games Snatcher|work=GameCritics.com|first=Ben|last=Hopper|date=February 20, 2001|access-date=2011-08-24}}</ref> and ''[[Metal Gear (series)|Metal Gear Solid]]'',<ref name="polygon"/> [[Valve Corporation|Valve]]'s ''[[Half-Life (series)|Half-Life]]'' series<ref>{{cite news |title=Half-Life tiene varias referencias a Akira |url=https://as.com/meristation/2018/08/29/noticias/1535543681_545901.html |work=[[:es:MeriStation|MeriStation]] |publisher=[[Diario AS]] |date=August 29, 2018 |language=es}}</ref><ref>{{cite news |title=The most impressive PC mods ever made |url=https://www.techradar.com/news/the-most-impressive-pc-mods-ever-made |work=[[TechRadar]] |date=June 14, 2018}}</ref> and [[Dontnod Entertainment]]'s ''[[Remember Me (video game)|Remember Me]]''.<ref>{{cite news |title=Feature: "Life is Strange" Interview and Hands-on Impressions |url=https://www.crunchyroll.com/anime-feature/2015/01/28/feature-life-is-strange-interview-and-hands-on-impressions |work=[[Crunchyroll]] |date=January 28, 2015}}</ref> ''Akira'' has also influenced the work of musicians such as [[Kanye West]], who paid homage to ''Akira'' in the "[[Stronger (Kanye West song)|Stronger]]" music video,<ref name="vice"/> and [[Lupe Fiasco]], whose album ''[[Tetsuo & Youth]]'' is named after Tetsuo Shima.<ref>{{cite magazine|url=https://www.rollingstone.com/music/news/lupe-fiasco-is-avoiding-politics-on-tetsuo-youth-20131025|title=Lupe Fiasco's 'Tetsuo & Youth' Avoiding Politics – Rolling Stone|magazine=Rolling Stone|access-date=2 December 2014|url-status=live|archive-url=https://web.archive.org/web/20141117113659/http://www.rollingstone.com/music/news/lupe-fiasco-is-avoiding-politics-on-tetsuo-youth-20131025|archive-date=17 November 2014|date=2013-10-25}}</ref> The popular bike from the film, Kaneda's Motorbike, appears in ''[[Steven Spielberg]]'''s film ''[[Ready Player One (film)|Ready Player One]]'',<ref>{{cite web|url=https://www.inverse.com/article/42981-ready-player-one-anime-easter-eggs-gundam|title= 'Ready Player One' Anime Easter Eggs Include Gundam, Voltron and Much More|work= inverse.com|first=Eric|last=Francisco|date= 30 March 2018}}</ref> and [[CD Projekt]]'s video game ''[[Cyberpunk 2077]]''.<ref>{{cite news |title=Cyberpunk 2077 devs "will be significantly more open" |url=https://www.pcgamesn.com/cyberpunk-2077/cyberpunk-2077-announcement-future |work=[[PCGamesN]] |date=June 12, 2018}}</ref>

[[File:Digital rain animation small letters shine.gif|thumb|An interpretation of digital rain, similar to the images used in ''[[Ghost in the Shell]]'' and later in ''[[The Matrix (franchise)|The Matrix]]'']]

''[[Ghost in the Shell (1995 film)|Ghost in the Shell]]'' (1995) influenced a number of prominent filmmakers, most notably [[the Wachowskis]] in ''[[The Matrix]]'' (1999) and its sequels.<ref name="silver-anime-2">{{cite interview |first=Joel |last=Silver |title=interviewed in "Making ''The Matrix''" featurette on ''The Matrix'' DVD}}</ref> ''The Matrix'' series took several concepts from the film, including the [[Matrix digital rain]], which was inspired by the opening credits of ''Ghost in the Shell'' and a sushi magazine the wife of the senior designer of the animation, Simon Witheley, had in the kitchen at the time,<ref>{{cite magazine | url=https://www.wired.com/story/the-matrix-code-sushi-recipe | title=The Matrix Code Sushi Recipe | magazine=Wired}}</ref> and the way characters access the Matrix through holes in the back of their necks.<ref name="uk">{{cite web | url=https://www.theguardian.com/film/2009/oct/19/hollywood-ghost-in-the-shell | title=Hollywood is haunted by Ghost in the Shell | work=The Guardian | access-date=26 July 2013|date=19 October 2009|last=Rose|first=Steve}}</ref> Other parallels have been drawn to [[James Cameron]]'s ''[[Avatar (2009 film)|Avatar]]'', [[Steven Spielberg]]'s ''[[A.I. Artificial Intelligence]]'', and [[Jonathan Mostow]]'s ''[[Surrogates]]''.<ref name=uk /> James Cameron cited ''Ghost in the Shell'' as a source of inspiration,<ref>{{cite news |title=Hollywood is haunted by ''Ghost in the Shell'' |first=Steve |last=Rose |newspaper=The Guardian |date=October 19, 2009 |url= https://www.theguardian.com/film/2009/oct/19/hollywood-ghost-in-the-shell |access-date=July 27, 2011 |archive-url= https://web.archive.org/web/20130308101232/http://www.guardian.co.uk/film/2009/oct/19/hollywood-ghost-in-the-shell |archive-date=March 8, 2013}}</ref> citing it as an influence on ''Avatar''.<ref>{{cite news |last1=Schrodt |first1=Paul |title=How the original 'Ghost in the Shell' changed sci-fi and the way we think about the future |url=https://www.businessinsider.com/original-ghost-in-the-shell-movie-influence-2017-3 |access-date=14 June 2019 |work=[[Business Insider]] |date=1 April 2017}}</ref>

The [[original video animation]] ''[[Megazone 23]]'' (1985) has a number of similarities to ''The Matrix''.<ref>{{cite web|title=Megazone 23 - Retroactive Influence|publisher=[[A.D. Vision]]|url=http://www.advfilms.com/titles/megazone/|access-date=2010-03-20|archive-url=https://web.archive.org/web/20050204175820/http://www.advfilms.com/titles/megazone/|archive-date=2005-02-04}}</ref> ''[[Battle Angel Alita]]'' (1990) has had a notable influence on filmmaker James Cameron, who was planning to adapt it into a film since 2000. It was an influence on his TV series ''[[Dark Angel (2000 TV series)|Dark Angel]]'', and he is the producer of the 2019 film adaptation ''[[Alita: Battle Angel]]''.<ref>{{cite news |title=Live-Action "Alita: Battle Angel" Finally Shows Its Hand |url=http://www.crunchyroll.com/anime-news/2017/12/08-1/live-action-alita-battle-angel-finally-shows-its-hand |work=[[Crunchyroll]] |date=December 8, 2017 |access-date=October 16, 2018 |archive-date=January 16, 2020 |archive-url=https://web.archive.org/web/20200116063802/https://www.crunchyroll.com/anime-news/2017/12/08-1/live-action-alita-battle-angel-finally-shows-its-hand |url-status=dead }}</ref>

=== Comics ===
In 1975, artist [[Jean Giraud|Moebius]] collaborated with writer [[Dan O'Bannon]] on a story called ''[[The Long Tomorrow (comics)|The Long Tomorrow]]'', published in the French magazine ''[[Métal Hurlant]]''. One of the first works featuring elements now seen as exemplifying cyberpunk, it combined influences from [[film noir]] and [[hardboiled]] crime fiction with a distant sci-fi environment.<ref>{{Cite web|url=http://moebiusodyssey.space/book/long-tomorrow/|title = The Long Tomorrow – Moebius Odyssey| date=30 August 2017 }}</ref> Author [[William Gibson]] stated that Moebius' artwork for the series, along with other visuals from ''Métal Hurlant'', strongly influenced his 1984 novel ''[[Neuromancer]]''.<ref>{{Cite book|url=https://books.google.com/books?id=W3LkLqQLvdcC&q=%22So+it%27s+entirely+fair+to+say%2C+and+I%27ve+said+it+before%2C+that+the+way+Neuromancer-the-novel+%27looks%27+was+influenced+in+large+part+by+some+of+the+artwork+I+saw+in+Heavy+Metal%22&pg=PA281|title = Futurescapes: Space in Utopian and Science Fiction Discourses|isbn = 978-90-420-2602-5|last1 = Pordzik|first1 = Ralph|year = 2009| publisher=Rodopi }}</ref> The series had a far-reaching impact in the cyberpunk genre,<ref>{{Cite web|url=https://blog.adafruit.com/2020/04/10/the-profound-influence-of-moebius-on-cyberpunk-art-and-aesthetics-cyberpunk/|title = The Profound Influence of Moebius on Cyberpunk Art and Aesthetics #cyberpunk|date = 10 April 2020}}</ref> being cited as an influence on [[Ridley Scott]]'s ''[[Alien (film)|Alien]]'' (1979) and ''[[Blade Runner]]''.<ref>{{Cite magazine|url=https://www.wired.com/1994/01/moebius-2/|title = Moebius|magazine = Wired|last1 = Frauenfelder|first1 = Mark}}</ref> 

Moebius expanded upon ''The Long Tomorrow'''s aesthetic with ''[[The Incal]]'', a graphic novel collaboration with [[Alejandro Jodorowsky]] published from 1980 to 1988. The story centers around the exploits of a [[detective]] named John Difool in various science fiction settings, and while not confined to the tropes of cyberpunk, it features many elements of the genre.<ref>{{Cite web|url=https://boingboing.net/2012/02/13/the-incal-classic-w.html|title = The Incal: Classic, weird-ass French space-opera comic drawn by Moebius, reprinted in English|date = 13 February 2012}}</ref> Moebius was one of the designers of ''[[Tron]]'' (1982), a movie that shows a world inside a computer.<ref name="boucher">{{cite news |last=Boucher |first=Geoff |date=2 April 2011 |title=Moebius on his art, fading eyesight and legend: 'I am like a unicorn' |work=Los Angeles Times |url=http://herocomplex.latimes.com/comics/moebius-on-his-art-fading-eyesight-and-legend-i-am-like-a-unicorn/}}</ref>

Concurrently with many other foundational cyberpunk works, [[DC Comics]] published [[Frank Miller]]'s six-issue miniseries ''[[Rōnin (DC Comics)|Rōnin]]'' from 1983 to 1984. The series, incorporating aspects of [[Samurai]] culture, martial arts films and manga, is set in a dystopian near-future [[New York City|New York]]. It explores the link between an ancient Japanese warrior and the apocalyptic, crumbling cityscape he finds himself in. The comic also bears several similarities to ''Akira'',<ref>{{Cite web|url=https://leviathyn.com/50440/ronin-review-frank-millers-samurai-demon-ai-run-amok-in-ny/|title=Ronin Review: Frank Miller's Samurai, Demon & AI Run Amok in NY|date=28 August 2013}}</ref> with highly powerful [[Telepathy|telepaths]] playing central roles, as well as sharing many key visuals.<ref>{{Cite web|url=https://johnpistelli.com/2018/12/11/katsuhiro-otomo-akira/|title = Katsuhiro Otomo, Akira|date = 12 December 2018}}</ref>

''Rōnin'' would go on to influence many later works, including ''[[Samurai Jack]]''<ref>{{Cite web|url=https://screenrant.com/samurai-jack-genndy-trivia-facts/|title = 15 Things You Didn't Know About Samurai Jack|website = [[Screen Rant]]|date = 17 February 2017}}</ref> and the ''[[Teenage Mutant Ninja Turtles]]'',<ref>{{cite web |url=http://metaltv.com/page.cfm?id=262 |title=Heavy Metal - the Illustrated Adult Fantasy Art Magazine |website=metaltv.com |access-date=11 January 2022 |archive-url=https://web.archive.org/web/20100103221806/http://metaltv.com/page.cfm?id=262 |archive-date=3 January 2010 |url-status=dead}}</ref> as well as video games such as ''[[Cyberpunk 2077]]''.<ref>{{Cite web|url=https://www.cbr.com/cyberpunk-2077-frank-miller-ronin-influence/|title = How Frank Miller's Ronin Influenced Cyberpunk 2077|date = 27 December 2020}}</ref> Two years later, Miller himself would incorporate several toned-down elements of ''Rōnin'' into his acclaimed 1986 miniseries ''[[The Dark Knight Returns]]'', in which a retired Bruce Wayne once again takes up the mantle of [[Batman]] in a Gotham that is increasingly becoming more dystopian.<ref>{{cite web| url = https://go.gale.com/ps/anonymous?id=GALE%7CA196442100&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=14497751&p=AONE&sw=w| title = Popular culture and the ecological gothic: Frank Miller's Batman: The Dark Knight Returns - Document - Gale Academic OneFile}}</ref>

[[Paul Pope]]'s ''[[Batman: Year 100]]'', published in 2006, also exhibits several traits typical of cyberpunk fiction, such as a rebel protagonist opposing a future authoritarian state, and a distinct [[Retrofuturism|retrofuturist]] aesthetic that makes callbacks to both ''The Dark Knight Returns'' and Batman's original appearances in  the 1940s.<ref>{{Cite web|url=https://www.theguardian.com/books/2007/mar/04/comics|title = Review: Batman: Year 100 by Paul Pope and Jose Villarrubia|website = [[TheGuardian.com]]|date = 4 March 2007}}</ref>

=== Video games ===
{{see also|List of cyberpunk works#Video games||List of cyberpunk works#Role-playing games}}

There are [[:Category:Cyberpunk video games|many]] cyberpunk [[video game]]s. Popular series include the ''[[Megami Tensei]]'' series, Kojima's ''[[Snatcher (video game)|Snatcher]]'' and ''[[Metal Gear]]'' series, ''[[Deus Ex (series)|Deus Ex]]'' series, ''[[Syndicate (series)|Syndicate]]'' series, and ''[[System Shock]]'' and its [[System Shock 2|sequel]]. Other games, like ''[[Blade Runner (1997 video game)|Blade Runner]]'', ''[[Ghost in the Shell (video game)|Ghost in the Shell]]'', and the ''[[The Matrix (franchise)#Video games|Matrix]]'' series, are based upon genre movies, or [[role-playing game]]s (for instance the various ''[[Shadowrun]]'' games).

Several [[role-playing games|RPGs]] called ''Cyberpunk'' exist: ''Cyberpunk'', ''[[Cyberpunk 2020]]'', ''Cyberpunk v3.0'' and ''Cyberpunk Red'' written by [[Mike Pondsmith]] and published by [[R. Talsorian Games]], and ''[[GURPS Cyberpunk]]'', published by [[Steve Jackson Games]] as a module of the [[GURPS]] family of RPGs. ''Cyberpunk 2020'' was designed with the settings of William Gibson's writings in mind, and to some extent with his approval,<ref name="cpinfluence">{{cite web |url=https://www.dicebreaker.com/categories/roleplaying-game/feature/cyberpunk-red-rpg-almost-killed-us-mike-pondsmith-interview |title='Making Cyberpunk Red almost killed us': Mike Pondsmith on the return of the tabletop RPG, catching up with 2020's future and Cyberpunk 2077 |last=Allison |first=Peter Ray |date=26 February 2020 |website=Dicebreaker |access-date=23 May 2020 |quote=Although many assume William Gibson’s Neuromancer was a source of inspiration for Cyberpunk, it was only much later that Pondsmith read Gibson’s groundbreaking novel. Instead, the designer cites his own key reference points for the game as the film Blade Runner and the novel Hardwired by Walter John Williams, who also helped playtest the RPG. |archive-url=https://web.archive.org/web/20200713191348/https://www.dicebreaker.com/categories/roleplaying-game/feature/cyberpunk-red-rpg-almost-killed-us-mike-pondsmith-interview |archive-date=13 July 2020 |url-status=dead }}</ref> unlike the approach taken by [[FASA Corporation|FASA]] in producing the transgenre ''[[Shadowrun]]'' game and its various sequels, which mixes cyberpunk with [[fantasy]] elements such as magic and [[fantasy races]] such as [[orcs]] and [[elves]]. Both are set in the near future, in a world where [[cyberware|cybernetics]] are prominent. [[Iron Crown Enterprises]] released an RPG named ''[[Cyberspace (role-playing game)|Cyberspace]]'', which was out of print for several years until recently being re-released in online PDF form. [[CD Projekt Red]] released ''[[Cyberpunk 2077]],'' a cyberpunk [[open world]] [[first-person shooter]]/[[role-playing video game]] (RPG) based on the [[Tabletop role-playing game|tabletop RPG]] ''[[Cyberpunk 2020]]'', on December 10, 2020.<ref>{{Cite news|url=https://www.pcgamer.com/everything-we-know-about-cyberpunk-2077/|title=Everything we know about Cyberpunk 2077|work=pcgamer|access-date=2018-06-16}}</ref><ref>{{Cite web|url=https://www.gamespot.com/articles/e3-2018-heres-why-cyberpunk-2077-had-to-be-a-first/1100-6459843/|title=E3 2018: Here's Why Cyberpunk 2077 Had To Be A First-Person Game|last=Fillari|first=Alessandro|date=2018-06-14|website=GameSpot|language=en-US|access-date=2018-06-16}}</ref><ref>{{cite web|url=http://www.ign.com/articles/2012/10/18/cyberpunk-2077-is-cd-projekt-reds-next-game|title=Cyberpunk 2077 is CD Projekt Red's Next Game|date=2012-10-18|website=IGN.com|access-date=2012-11-05}}</ref> 

In 1990, in a convergence of cyberpunk art and reality, the [[Steve Jackson Games, Inc. v. United States Secret Service#Raid|United States Secret Service raided Steve Jackson Games's headquarters]] and confiscated all their computers. Officials denied that the target had been the ''[[GURPS Cyberpunk]]'' sourcebook, but Jackson later wrote that he and his colleagues "were never able to secure the return of the complete manuscript; [...] The Secret Service at first flatly refused to return anything – then agreed to let us copy files, but when we got to their office, restricted us to one set of out-of-date files – then agreed to make copies for us, but said "tomorrow" every day from March 4 to March 26. On March 26 we received a set of disks which purported to be our files, but the material was late, incomplete and well-nigh useless."<ref>{{Cite news|author-link=Steve Jackson (US game designer) |last=Jackson |first=Steve |date=19 April 1990 |work=Roleplayer: The GURPS Newsletter |title=SJ Games Raided! A Reality Check on GURPS Cyberpunk|url=http://www.sjgames.com/gurps/Roleplayer/Roleplayer19/Raid.html|access-date=2022-12-29}}</ref> Steve Jackson Games won a lawsuit against the Secret Service, aided by the new [[Electronic Frontier Foundation]]. This event has achieved a sort of notoriety, which has extended to the book itself as well. All published editions of ''GURPS Cyberpunk'' have a tagline on the front cover, which reads "The book that was seized by the U.S. Secret Service!" Inside, the book provides a summary of the raid and its aftermath.

Cyberpunk has also inspired several [[tabletop game|tabletop]], [[miniature wargaming|miniature]] and [[board game]]s such as ''[[Necromunda]]'' by [[Games Workshop]]. ''[[Netrunner]]'' is a [[collectible card game]] introduced in 1996, based on the ''[[Cyberpunk 2020]]'' role-playing game. ''[[Tokyo NOVA]]'', debuting in 1993, is a cyberpunk role-playing game that uses [[playing cards]] instead of dice.

''[[Cyberpunk 2077]]'' set a new record for the largest number of simultaneous players in a single player game, with a record 1,054,388 playing just after the December 10th launch, according to [[Steam (service)|Steam]] Database. That tops the previous Steam record of 472,962 players set by ''[[Fallout 4]]'' back in 2015.<ref>{{Cite web|last=Dent|first=Steve|date=11 December 2020|title='Cyberpunk 2077' sets a Steam record with one million concurrent players|url=https://www.engadget.com/cyberpunk-2077-beats-steam-record-for-concurrent-players-121942545.html|access-date=2020-12-15|website=Engadget|language=en}}</ref>

=== Music ===
{{See also|List of cyberpunk works#Music}}
{{Quote box
 | quote =Much of the industrial/dance heavy "Cyberpunk"—recorded in [[Billy Idol]]'s Macintosh-run studio—revolves around Idol's theme of the common man rising up to fight against a faceless, soulless, corporate world.
 | source =—Julie Romandetta<ref name="Romandetta">{{cite news |title=Cyber Sound: Old Fashioned Rock Gets a Future Shock from New Technology |first=Julie |last=Romandetta |newspaper=Boston Herald |location=Boston, Mass. United States. |date=1993-06-25 }}</ref>
 | width =30%
 | align =right
}}

Invariably the origin of cyberpunk music lies in the [[synthesizer]]-heavy scores of cyberpunk films such as ''[[Escape from New York]]'' (1981) and ''Blade Runner'' (1982).<ref>{{cite web | url=https://shellzine.net/cyberpunk-music-origins-and-evolution/ | title= Cyberpunk Music: Origins and Evolution | publisher=shellzine.net | date=December 26, 2019 | access-date=February 10, 2020 }}</ref> Some musicians and acts have been classified as cyberpunk due to their aesthetic style and musical content. Often dealing with dystopian visions of the future or [[Biomechanical art|biomechanical]] themes, some fit more squarely in the category than others. Bands whose music has been classified as cyberpunk include [[Psydoll]], [[Front Line Assembly]], [[Clock DVA]], [[Angelspit]] and [[Sigue Sigue Sputnik]].{{Citation needed|date=January 2015}}

Some musicians not normally associated with cyberpunk have at times been inspired to create concept albums exploring such themes. Albums such as the British musician and songwriter [[Gary Numan]]'s ''[[Replicas (album)|Replicas]]'', ''[[The Pleasure Principle (Gary Numan album)|The Pleasure Principle]]'' and ''[[Telekon]]'' were heavily inspired by the works of Philip K. Dick. [[Kraftwerk]]'s ''[[The Man-Machine]]'' and ''[[Computer World]]'' albums both explored the theme of humanity becoming dependent on technology. [[Nine Inch Nails]]' concept album ''[[Year Zero (album)|Year Zero]]'' also fits into this category. [[Fear Factory]] concept albums are heavily based upon future dystopia, cybernetics, clash between man and machines, virtual worlds. 

[[Billy Idol]]'s ''[[Cyberpunk (album)|Cyberpunk]]'' drew heavily from cyberpunk literature and the [[cyberdelic]] counter culture in its creation. ''[[1. Outside]]'', a cyberpunk narrative fueled concept album by [[David Bowie]], was warmly met by critics upon its release in 1995. Many musicians have also taken inspiration from specific cyberpunk works or authors, including [[Sonic Youth]], whose albums ''[[Sister (Sonic Youth album)|Sister]]'' and ''[[Daydream Nation]]'' take influence from the works of Philip K. Dick and William Gibson respectively. [[Madonna]]'s 2001 [[Drowned World Tour]] opened with a cyberpunk section, where costumes, asethetics and stage props were used to accentuate the dystopian nature of the theatrical concert. [[Lady Gaga]] used a cyberpunk-persona and visual style for her sixth studio album [[Chromatica]] (2020).{{Citation needed|date=January 2015}}

[[Vaporwave]] and [[Synthwave (2000s genre)|synthwave]] are also influenced by cyberpunk. The former has been inspired by one of the messages of cyberpunk and is interpreted as a dystopian<ref name="allmusic">{{cite web | url=http://www.allmusic.com/album/exo-mw0002387718 | title=Exo - Gatekeeper | website=[[AllMusic]] | access-date=January 3, 2015 | author=Ham, Robert}}</ref> critique of [[capitalism]]<ref name="stylus1">{{cite web | url=http://www.stylus.com/hzwtls | title=Vaporwave: Soundtrack to Austerity | publisher=Stylus.com | date=January 29, 2014 | access-date=February 8, 2014 | author=Ward, Christian}}</ref> in the vein of cyberpunk and the latter is more surface-level, inspired only by the aesthetic of cyberpunk as a nostalgic [[retrofuturistic]] revival of aspects of cyberpunk's origins.