Thanks for the elaboration, Michael.
CP2020, as tabletop games go, was very popular in Poland at one point, by pure happenstance. It was one of the first published tabletop games in Poland alongside AD&D and WFRP, and many older players know it because of that - when the hobby was being introduced here in 1980s and early 1990s, people played and knew the few games that someone happened to publish here. And the decisions to publish one game over another were often rather arbitrary.
CD Projekt being a Polish developer, I'm like 90% sure that CP2077 as a game was created because many people in the company are nostalgic for an old RPG from their youth
from what I understand, the game was never that popular in gaming circles in the West, it was niche at best.
I've heard that after Poland's 'colour revolution' (no idea how Poles call it, sorry), there was a time when there was an appetite for stories featuring 'detached, apolitical professional heroes' of the Geralt of Rivia type? (I don't remember the source, and it was in the context of a discussion of Sapkowski's books & CDPR's game, so ... it
could contain a certain degree of retconning). If so, it'd be no wonder that Poles took to Cyberpunk during that time - that's half the aesthetic of the damn' genre.
I don't know whether people in the West
TM weren't as eager for the Cyberpunk thing - Gibson is American-Canadian, Mike Pondsmith is American, nevermind Neal Stephenson and Bruce Sterling ... and there was enough of an appetite for them to make a good living off it. What is probably true is that Cyberpunk never really came to be a dominant cultural paradigm, instead simmering kind of in the background for decades. Just like Punk never went mainstream, but never truly went away, either. It probably didn't help that Gibson was an extremely reluctant posterboy for the 'movement', and he has that horror of revisiting past ideas, which seems a bit of a handicap for the elaborate world-building needed for an RPG.
Also, there's the fact that people in the West
TM are positively
crazy for 'Eastern' games and SF-aesthetics, as evidenced by the success of CDPR, or the the STALKER games (and those were some of the buggiest shit seen in years, defended by the most hostile PR-people to ever harangue a customer to boot

).
IDK - I have soft spot for SF & Fantasy from 'the East' (*). Sometimes there's elements that are familiar, but somehow, there always an angle I've never seen before, and an
authenticity that I feel many of 'our' authors have lost to a degree.
(*) Sorry for lobbing everyone from one side of the former Iron Curtain into one box here. I know it's probably even more wrong than the alleged cultural homogeneity implied in 'The WestTM' - what I'm aiming at is the fact that a certain set of people where exposed to Western CultureTM very suddenly at roughly the same point in time in the early 90s. And how I think this may help explain the 'somhow familiar, but brandnew at the same time'-feeling I often get enjoying their creations.