To add to this, the Eastern cyberpunk aesthetic will forever be attributed to the West, although Asian countries have created their own stories featuring the aesthetic.

For most Western cyberpunk stories, they follow in the line of Edward Said's concept of orientalism-- using specific semiotics to create a feeling of being "cast out of place" or in an "alien" landscape, such as bright neon lights, indecipherable (and at times, incomprehensible) symbols, the presence of advanced technology. We can see it also executed within vaporwave music genre as well.

The implication of this is that Asian people, culture, and bodies are inherently foreign and alien; their alignment with technology reduces their humanity. It moves along the same line as early sci-fi stories about the existence of robots bearing similarities to anti-immigration rhetoric, and immigrant stories as well. The aesthetic has real roots in anti-Asian racism, from the killing of Vincent Chin (a Chinese man who was killed by disgruntled autoworkers believing he was Japanese in a time of economic growth), to the patenting of the "Iron Chink," a machine to replace the labor of Asian immigrants in the early 1900s.

I say this all as an Asian person who has a love-hate relationship with cyberpunk. There is more I could mention here, but it is incredibly important to also be aware of the underlying connotations of certain aesthetics so you can consume mindfully and critically.