Daftar tokoh fiksi robot dan cyborg perempuan

Halaman ini berisiDaftar tokoh fiksi robot perempuan (Gynoid) dan cyborg yang diurutkan berdasarkan genre media dan nama karakter. Gynoids memiliki sinonim lain dalam pekerjaan fiksi, terutama dalam media berbahasa Jepang, contohnya sebagai cyberdoll, marionette, sexaroid, boomer (perempuan), dan persocom, meskipun yang terakhir ini adalah kata untuk komputer personal dalam bahasa Jepang.

Dalam film

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Dalam siaran televisi Amerika Serikat

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Dalam televisi internasional

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Dalam animasi

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Dalam literatur/komik/teater

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Dalam video games

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Dalam music/miscellaneous

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  • Hatsune Miku, mascot of the Vocaloid program.
  • Black Velveteen, dari song of the same name on Lenny Kravitz's album 5 (1998)
  • Electric Barbarella, dari the Duran Duran album Medazzaland, a tribute to the movie Barbarella whose video featured bandmates interacting with a robotic sex doll
  • Gynoid hand depicted on the cover of Autograph's album Sign dalam Please. A larger, clearer image of the same gynoid appeared on the album That's The Stuff. It also appeared dalam the music video for the song, Turn Up The Radio (1984, 1985)
  • Metropolis-style silver robot being bitten by a vampire on the cover of Y&T's album Down for the Count (1985)
  • Sorayama-style gynoid dari the cover of Aerosmith's album Just Push Play (2001)
  • Cyborg Noodle of the virtual band Gorillaz
  • Musician Janelle Monáe (2007 album, 2010 album) first introduced herself to the music scene with a conceptual EP, Metropolis: Suite I (The Chase), which gained her a Grammy nomination for her track "Many Moons".[1] The EP failed to make much of an impact commercially peaking at 115 dalam the United States.[2] dalam 2010 Monáe released her first studio album, The ArchAndroid (Suites II and III), a concept album sequel to her first EP. It was released to general acclaim dari critics and gained a Grammy nomination for Best Contemporary R&B Album; the song "Tightrope" was also nominated for "Best Urban/Alternative Performance". The album also made more of an impact commercially, peaking at number 17 on the US Billboard 200 chart.

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