Cyber-Dungeon Classics II: Do Cybernauts Dream of Electric Goblins?

Deep inside the Dark Web, a notorious programmer called the Electric Goblin has set himself up with a kingdom. Called ‘Uniqorn’, it is a classic fantasy world with a dungeon with traps, monsters, and NPCs. Only some of the NPCs are not digital NPCs, but the avatars who have received an innocent-looking invite to a fantasy-based video game called ‘Warriors of Uniqorn’ which when clicked on and accepted, delivers a technobio-virus direct to their frontal lobe. It causes encephalitis and puts them into coma, which when the Electric Goblin strikes, opening a back door in his victims’ brains and abducting their consciousnesses and using them to populate his personal fiefdom as more ‘life-like’ NPCs. In the real world, the victims’ symptoms have been identified as Aether Blight. The Player Characters are hired by a Fixer to traverse the WorldNet and descend below into the UnderNet to try and stop the Electric Goblin before Aether Blight spreads and becomes an even bigger problem. This is the set-up for Do Cybernauts Dream of Electric Goblins?, a scenario for Netcrawl, the cyberspace setting and supplement for use with the Dungeon Crawl Classics Role Playing Game and the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, both published by Goodman Games. Published by Horse Shark Games, it works with other third-party settings such as Cyber Sprawl Classics, Crawljammer, Umerica, Terror of the Stratosfiend, and Star Crawl Classics.

Do Cybernauts Dream of Electric Goblins? is a scenario for four to six First Level Avatars—as Player Characters are known in Netcrawl—and should take roughly two sessions to complete. The Player Characters, whoever they before they jack into the WorldNet, are hired by a Fixer to stop the Electric Goblin who then gives them the grid co-ordinates for the entrance to ‘Uniqorn’. Upfront , the virtual world is described as looking like “… [B]adly-rendered ‘90s website mixed with some early 16-bit polygon 3D graphics.” As soon they arrive, they are given an introduction to ‘Uniqorn’ by a goblin wizard, effectively meaning that the Player Characters get an introduction and then their Avatars do too. Then they are step straight into Starterton, described as “You are now in a quintessential fantasy village, simultaneously familiar and unsettling due to a retro low-resolution aesthetic. Imagine a town built out of oversized  brightly coloured LEGO bricks, rendered with the limited colour palette of a ‘’90s computer game.” This very much sets the tone the scenario, short of quest-givers with exclamation points above their heads! The Electric Goblin is firmly ensconced in his dungeon at the end of the virtual dungeon and scenario, but the Avatars need to find a way in. This involves picking up and completing various mini-quests in order to find the ‘Golden Dungeon Key’ that will unlock its entrance as well as following up clues dropped by various NPCs in their rather limited dialogue.

Outside of Starterton, the Avatars can explore haunted woods, a giant spider’s lair, a hangman’s tree, and a cemetery before being ready for ‘The Goblin’s Dungeon’. The dungeon is a decent mix of semi-random traps and puzzles, backed up with a decent set of random encounters or events. Individual locations are quite detailed and there are several puzzles that the Avatars will need to solve, echoing the text computer adventures of the previous era as much the ones from the nineties that Do Cybernauts Dream of Electric Goblins? are inspired by. The dungeon design is not linear, but it is not extensive and there are chokepoints where particular items are required if the Avatars want to progress. The worst of these is a deathtrap. Fortunately, if the Avatars have been thorough earlier, they may have a device which will resurrect one of them if he is killed by the deathtrap.

‘The Goblin’s Dungeon’ is the main part of Do Cybernauts Dream of Electric Goblins? and it does feel oddly anachronistic. Now part of this is intentional, it is meant to replicate the feel of a computer game dungeon from the nineties. Unfortunately, if ‘The Goblin’s Dungeon’ feels anachronistic, the scenario as a whole feels anachronistic and dissonant. The problem is that there are multiple levels of reality to Do Cybernauts Dream of Electric Goblins? First of the Player Characters in some unspecified future in which computer games like ‘Warriors of Uniqorn’ were played in the nineties; second of their Avatars entering a virtual world; and third, that virtual world not being a modern contemporary fantasy adventure or dungeon, but one that is decades old in terms of its design; and fourth, that they playing this virtual world/dungeon not as fantasy characters, but as computer avatars. This means that the Avatars are using their abilities, effectively highly advanced software, to overcome the problems of a faux fantasy world. The conceit at the heart of Do Cybernauts Dream of Electric Goblins? just feels belaboured.

Physically, Do Cybernauts Dream of Electric Goblins? is decently presented. The artwork, cartography, and writing are all good.

By no means is Do Cybernauts Dream of Electric Goblins? a bad scenario, either in terms of design or story. It is just that the conceit at the heart of the scenario is layered and the associated levels of unreality demand equal levels of buy-in by the players, their characters, and their Avatars.

[Free RPG Day 2026] Kaguya Protocol

Now in its nineteenth year, Free RPG Day for 2026 took place on Saturday, June 27th. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Unfortunately, due to vagaries of International Customs, Free RPG Day in the UK did not take place until Saturday, 22nd August.

This review is possible due to the generosity of Waylands Forge in Birmingham.

—oOo—

CBR+PNK—Cyber plus Punk—is a stripped down Cyberpunk roleplaying game, published by Mythworks, using a streamlined version of Forged In The Dark. The players take the roles of ‘Runners’—mercs, criminals, and activists who live on the edge of society, not legal, but not necessarily illegal, though whether made to earn money or done out of principle, their runs in the shadows always are. CBR+PNK is designed for one-shots and notably, its format consists of a series of four-panel pamphlets.

Kaguya Protocol, subtitled, ‘A Neon-Fantasy Tale of Glitches and Legacy’ is a two-part scenario that shifts the tone and feel of CBR+PNK. In Kaguya Protocol they are descendants of ancient Shinobi guardians in the year 20XX, not ‘cyberpunks’, but ‘cyber-shinobi’. They are descendants of ancient Shinobi guardians who are tasked with infiltrating the fortress island home of a Trillionaire tech-bro off the coast of Japan and recover a Sacred Relic that the Trillionaire has stolen and is exploiting its power to his own ends. Which of course, will unleash more evil into the world. In this case, mining BambooCoin crypto currency through an eldritch code!

The first part of the scenario is the infiltration of the island. This hampered by the implemented Security Protocol Threats which seemingly scramble the Trillonaire’s mansion layout. Once past this, the Runners can confront him-in both Meatspace and Cyberspace and eventually recover the Sacred Relic, which it turns is not an artefact, but a baby—Princess Kaguya! In the second half of the scenario, the Runners race to return her home to the Moon, chased across MegaTokyo to MegaTokyo Spaceport. If the Runners succeed, they will each receive a generous gift and change the world as Princess Kaguya ascends. The Player Characters get to decide what these are. 

Kaguya Protocol is based on the publisher’s forthcoming Onigami roleplaying game and is inspired by Japan’s classic fairy tale, The Tale of the Bamboo Cutter (animated as The Tale of the Princess Kaguya by Studio Ghibli), and when the Runners first find her, Princess Kaguya is a blank slate. During the second half of the scenario, as the Runners literally babysit her, she will witness their behaviour and actions and be influenced by them as she grows from a baby into a child and finally from a child into a teenager. This is tracked by the Game Master which will unlock powers and new aspects of her personality, giving her an interesting and rapidly changing NPC to portray.

The Game Master will still need CBR+PNK to run Kaguya Protocol and the players will need to create standard Runners. However, they have all accepted a deal with the Onigami (their players need to decide why) and instead of Augmentations, they receive an Artefact each. Five are listed, suggesting that Kaguya Protocol is best played with a maximum of five players and each has a power that can be activated and a Wicked Power that can be unleashed if it is pushed past its boundaries. This has its consequences. For example, the ‘Hōrai Tree Tattoo’ enables a Runner to stretch out like the branches of a tree, but its Wicked Power lets him teleport a short distance into concealment, though not without leaving behind an item of importance that he was carrying.

Kaguya Protocol is well presented. The only illustration is on the front cover. Otherwise, the pamphlet compacts a lot of information into a relatively small space. but it is accessible and easy to read.

Kaguya Protocol is decent scenario which neatly combines Japanese folklore with the Cyberpunk genre for a good little one-shot. It has plenty of scope for player input and an interesting NPC for the Game Master to portray as Princess Kaguya grows up.

2016: Shadowrun: Anarchy

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

—oOo—

Shadowrun had a problem in 2016 with Shadowrun, Fifth Edition and it is a problem that continues today with Shadowrun, Sixth Edition. Originally published by FASA, Inc. in 1989, but now published by Catalyst Game Labs, the roleplaying game has always had a great setting and been a great combination of genres. Fantasy and Cyberpunk in a future in which man meets machine and magic, corporations are states unto themselves, dragons are CEOs and media personalities. The problem is with the mechanics. At their core, they consist of a dice pool mechanic determined by attribute, skill, and other bonuses, the aim being to roll as many successes—five or six on the dice—as possible, which is simple enough. Shadowrun though is a game of different character types—Adepts, Mages, Shamans, Deckers, Street Samurai, Riggers, and Technomancers—and effectively, the rules for each one is essentially a different subsystem. Which meant different rules for each player to master and a lot of different rules for the Game Master to understand. Plus, with different rules and different variations upon rules in each edition, no player or Game Master could quite agree upon which edition of the roleplaying game they preferred.

Published in 2016, Shadowrun: Anarchy was offered as an alternative ruleset to the then Shadowrun, Fifth Edition, notably a narrative driven ruleset which kept the core mechanics, but also simplified Shadowrunner creation. At its heart though, is the Cue System. This first appeared in the publisher’s pulp Sci-Fi roleplaying game Cosmic Patrol and then in the superhero roleplaying game, Valiant Universe Roleplaying Game. Both are storytelling games with some traditional mechanics, but unlike some storytelling roleplaying games, they do not forego a Game Master. Instead, in addition to roleplaying their characters, whether members of the Cosmic Patrol or superheroes in the Valiant Universe, the players take in turns to serve as the Game Master. Shadowrun: Anarchy uses the Cue System, but makes one significant change to it. Instead of each player being the Game Master for a scene, Shadowrun: Anarchy maintains the role of the Game Master as in traditional roleplaying games. The Game Master sets the brief and at the beginning of each scene narrates the situation, what the Shadowrunners see, smell, hear, and so on. Then the game play proceeds around the table with each player narrating what his character does. Each player’s narration ends when it is appropriate, either in terms of the story or the scene, or if the player needs to roll dice for his character, whether that is to attempt a particular objective or combat is initiated. A player is free to narrate his character’s actions in the scene and to develop the scene as long as any addition is not going to break it, usually inspiration from the ‘Cues’ or story or situational tags, that can either be ones the Game Master presents at the start of the scene or ones that are on the player’s character sheet.

The role of the Game Master here is to decide when a player needs to roll a Test for his character’s action, and then what Skill and Attribute are appropriate to the Test as well as what modifiers apply. She also roleplays the NPCs, rolls their Defence rolls, handles any rules difficulties, and decides when a player’s narration comes to end, either because it is too long or stretching the limits of credulity. The Game Master also needs to know the details of the Contract Brief, the scenario that she is running. When it is a player’s Narration, it is his role to keep the character’s opposition on its toes, to make his character stand out, to explore and highlight what is great about the Sixth World, and to work with the other players to make the story and the game better. When it is not his turn, it is the player’s duty to prepare for his next Narration, building on the Narrations of his fellow players, and to have his character interact with their characters in their Narrations. Lastly, the player is there, when needed, when need to make suggestions to his fellow players, in particular, if another player has difficulty creating Narration, again working from the Cues for the scenes and the Cues for the narrating player’s character.

Play proceeds like this through Scenes and Turns from the start of the ‘Contract Brief’ to its execution and its conclusion. However, Scenes can be broken by ‘Talk Time’, which is when conversations can take place—most typically with a Mr. Johnson—and when planning can take place. Both the Game Master and players have access to ‘Plot Points’. A Player Character starts play with three and can have at most five at any one time. More are awarded for great Narrations and certain Shadow Amps grant bonus Plot Points at the start of combat. A player can spend a Plot Point to ‘Live Dangerously’ to add a Glitch Die to a player’s roll (either their own or that of another player); ‘Shake it up’ by making a Narration and have his character take an action when it is not his Narration; ‘Double time it’ to take two movement actions; to add a ‘Surprise threat’, such as having unseen corporate security guards show up; carry out ‘First aid’ and heal a point of Physical or Stun damage; cause a ‘Malfunction’ in the spirits or devices of an NPC or another Player Character temporarily; ‘Take the hit’ if a weaker or injured character is successfully hit by a combat action; or deliver ‘A dish best served cold’ and immediately have his character take a free attack action against the NPC who just attacked him.

The Game Master starts a Contract Brief with a single Plot Point and earns more as the players spend them. She cannot spend her Plot Points to aid or hinder a Player Character, but can spend them to add a Glitch Die to an NPC’s action and also to change the turn order, whether that is in reverse or randomly! This is to shake up the play pattern and to keep the players on their toes.

In general, this is well explained and there is good advice on how to handle this switch to shared narration. Encouraging the players to build up, rather than tear down, encouraging a player to use all of his character’s options instead of using the most powerful, and where necessary, offer hints and recapitulating on the current situation, plans that the characters have already made, and twists already introduced. However, there are issues with the explanations in places. For example, the explanation never goes into how exactly a player rakes inspiration from a Cue, but worse, having told the Game Master and her players how to play a Contract Brief and thus Shadowrun: Anarchy, what it does not do is show them. There is no example of play anywhere in the book. Go back and read that again… Such an omission is a fundamental flaw in the design of any roleplaying game, but in a roleplaying game such as Shadowrun: Anarchy which is making a radical shift in its style of play, from traditional, simulationist to narrative, storytelling, this is worse. It is not a catastrophe in that its omission makes the game unplayable, but it hinders the learning of how the roleplaying game is run and played and it hinders the teaching of how the roleplaying game is run and played.

To be a little nuanced here, if the Game Master and her players have some experience of storytelling, narrative roleplaying games, this is much less of an issue. Even less of an issue if either has experience of the previous Cue System roleplaying games, Cosmic Patrol and Valiant Universe Roleplaying Game. If not, if the Game Master and her players are wanting to play Shadowrun for the first time or have played Shadowrun for a long time and are looking for a lighter ruleset, then it is a grave error of judgement upon the part of the designers.

In terms of the rules, Shadowrun: Anarchy starts with Shadowrunner creation. A Shadowrunner is defined by Attributes, Skills, Shadow Amps, Weapons, and Gear, plus Qualities and Cues. A Shadowrunner will also have a Metatype, either Human, Elf, Dwarf, Ork, or Troll. This Metatype provides various bonuses and adjustments. The Attributes consist of Strength, Agility, Willpower, Logic, and Charisma, which typically range between one and six for Humans, but can be higher or lower for different Metahumans. There is a wide range of Skills and a Shadowrunner will have some Skills in common with his colleagues—combat skills in particular—but specialise in a particular area, whether that is magic, vehicle use, hacking, or even combat. All skills have Specialisations, which increase the number of dice a player rolls when using them. Shadow Amps are what makes a Shadowrunner special. These can be Awakened so that the Shadowrunner can cast spells (the spells cost extra) or Emerged which gives the Shadowrunner access to Technomancer Amps. There are Amps for Adepts, Bioware and Cyberware, Matrix Amps for hacking, Drone Amps for the Rigger, Gear Amps, Social Amps, and Critter Amps. Installing too Bioware or Cyberware has its cost though, reducing a Shadowrunner’s ability to handle the effects of magic, including healing. Cues are often common phrases that a Shadowrunner might say or how he might react.

Qualities are the equivalent of advantages and disadvantages and a Shadowrunner has two positive Qualities and one negative Quality.

To create a Shadowrunner, a player assigns points to his Shadowrunner’s Attributes and Skills, purchases Shadow Amps, selects weapons and gear, and then creates Cues, at least two or three, and optionally add Tags, which give a quick ideas as the theme and style of the Shadowrunner. He also selects Qualities. The number of points the player has to spend on Attributes, Skills, and Shadow Amps, as well has many weapons and how much gear he has to select, will vary by game level, either Gang-Level, Street Runner, or Prime Runner. The rules allow for a player design the Shadow Amps he wants for his Shadowrunner, but the Shadowrun: Anarchy includes lots of off-the-shelf options which ease the creation process. The process overall is not difficult, except that is for coming up with Cues and Dispositions.

Name: ‘Rávdos’

Metatype: Ork

Tags: Ork • Barrens Girl • Rat Shaman • Wet Behind the Ears

Cues: Oh shiny! • The darkness is my friend • I know a shortcut (if you’re squeezy enough) • You lost something? I can find it • The pack is family • Eyes most places

Dispositions: Twitchy • Not run to fight another day. Just run • The streets always deliver • Pack player

ATTRIBUTES

Strength 3 Agility 4 Willpower 5 Logic 4 Charisma 3 Essence 6

SKILLS

Agility: Athletics 1, Close Combat 2

Willpower: Conjuring 2, Sorcery 2

Logic: Knowledge (The Barrens 1, Greek 1), Tracking 1

Charisma: Negotiation 1

SHADOW AMPS

Awakened (2), Vermin Control (1), Analyse Truth (1), Clairvoyance (1), Natural Weapons (1)

QUALITIES

Mentor Spirit (Rat), Home Ground (The Barrens), Low Pain Threshold

WEAPON

Knife (STR/2+1)P

GEAR

Synthleather jacket: 6, Trauma Patches, Crowbar, Smoke Grenades

Mechanically, Shadowrun: Anarchy uses a dice pool system that will be familiar to players of Shadowrun. When a player wants his Shadowrunner to act, he forms a dice pool of six-sided dice consisting of Skill Dice and Attribute Dice, plus any Modifiers from the situation, Shadow Amps, and Qualities. This roll is made against the Game Master’s Opposing Dice pool. Results of five or six count as Hits and if the player rolls more Hits than the Game Master, his Shadowrunner succeeds, if not, he fails. Edge can be spent—and a Shadowrunner typically starts with a single point of Edge—to alter the results. If spent before the test, four, fives, and sixes count as Hits, but after the test, any results that are not five or six can be rerolled. A player can also spend a Plot Point to add a Glitch Die to a dice roll. This is a die of different colour. If the result of the Glitch Die is a one, bad luck has befallen the Shadowrunner, even if the result overall means that the Shadowrunner has succeeded. For example, a Close Combat attack could not only fail, but the attacker falls over as well; a gun could jam; a Hacking Test results in the Hacker deleting or downloading the wrong file; and so on. However, if the result on the Glitch Die is a five or six, then good luck has befallen the Shadowrunner, such as bypassing armour in a fight, finding something interesting on a Hacking mission, and so on. Again, this good luck will still occur if the overall result indicates that the Shadowrunner has failed.

Combat is more complex, though some elements, such as ammunition tracking, shots fired per turn, firing modes, reloading speeds, and so on, have been removed to simplify player choices and keep things moving. When a player wants his Shadowrunner to attack, he forms a dice pool of six-sided dice consisting of Skill Dice and Attribute Dice, plus any Modifiers from the situation, Shadow Amps, Qualities, and Weapon effects. For the opponents, the Game Master is rolling a dice pool formed from the Agility Dice and Logic Dice, plus any modifiers and Shadow Amp effects. If the attacker rolls more Hits than the defender, the difference is added to the damage of the attack. If fewer or none, the attack fails and no damage is inflicted. Armour is treated as ablative and reduces damage, but is damaged in the process, though it can be repaired. Damage can either be Phsyical or Stun and is applied to the appropriate track of a Shadowrunner’s Condition Monitor. As it is filled in, modifiers reduce the number of dice a player will roll on every Test. Eventually, a Shadowrunner will either be knocked out or killed.

Combat is slower than standard task resolution in Shadowrun: Anarchy. Although there is an optional rule for handling Mooks, that is being able to subdue or kill numerous opponents in one attack, it is not the default. The problem here is that adds an element of grit that otherwise is at odds with the cinematic simplification of some rules elsewhere, such as removing the need to reload or track ammunition use.

There is a brilliant piece of writing when it comes to ‘Attack Limits’. “A character can only take a single attack action during their Narration. What is an Attack action? An action that intentionally and directly damages another living being (including NPCs, critters, spirits, and whatever). Want to debate the meaning of Attack action beyond that? Have fun, and we’ll be here for you when you’re ready to play!” It is just saying, get on with it, because Shadowrun: Anarchy is not the kind of roleplaying game where that kind of detail should be causing any sweat. This is not to say that Shadowrun: Anarchy manages to avoid causing any sweat, but it is a point well made.

An interesting side effect of there being no Nuyen in Shadowrun: Anarchy is that a Shadowrunner cannot simply go out and buy new armour. A Plot Point can be spent repairing a single point, but for a full repair, the player has to pay a point of Karma (usually awarded at the end of missions and spent to improve a Shadowrunner) or promise a favour to the Game Master. This allows the Game Master to select the next Contact Brief—normally the players do it—and if multiple favours are owed, the players at least get to choose the order in which they do them. This adds a narrative wrinkle as an urgent job suddenly gets in the way of what their Shadowrunners might want to actually do!

Elsewhere, there is a lot of streamlining in Shadowrun: Anarchy compared to previous editions of Shadowrun. Nuyen and Lifestyle Costs are treated as abstract, narrative elements rather than players needing to track the numbers; weapons and gear are simplified for fast play; hacking in the Matrix is distilled to single rolls and reactions such as triggering alarms and the Overwatch Score are narrative elements; magic remains much like Shadowrun, but there is no Drain effect; and Technomancers have no Drain effect. In many ways, this is an improvement, often really simplifying quite complex subsystems in Shadowrun, such as the Matrix rules. This does come at a cost, in terms of limiting the number of spells a caster can have, the spirits that a summoner can bring into play, and the Complex Forms a Technomancer knows. Combat in the Matrix though, works exactly as it does in the real world. Optional rules do allow for hacking to be more detailed if desired, but that does add extra complexity. In comparison, the Rigger, the one role which would have benefited from streamlining is underserved by the lack of details for drones and vehicles, except some drones described in the NPC descriptions.

Shadowrun: Anarchy does give the Game Master and player with a lot of support. There is a solid introduction to the setting with some fiction, the characters from which appear as NPCs or potential Shadowrunners elsewhere in the book, and there is decent account of the history up until the year 2077 when Shadowrun, Fifth Edition is set. The Big Ten megacorporations from Ares Macrotechnology to Wuxing Incorporated are detailed, as well as organised crime, gang, the law, politics, major powers, and more, as well as a look at life in the Sixth World. Thirty sample Shadowrunners, including an Elf combat archaeologist, Dwarf parkour adept, Human ganger razorgirl, Troll face, and Ork reporter, are given full descriptions and character sheets, plus there are stats for twenty-three NPCs, though twenty-three definitely does not feel enough. There is a good guide to Seattle as well.

The star though of this support, is the twenty-five ‘Contract Briefs’, several of which are multi-part affairs. Each starts with ‘Mr. Johnson’s Pitch’ and then lists the objectives, the setting, and the plot scene by scene. There are suggestions as the NPCs for each scene and a list of Tags for the whole mission. There is even one called ‘Food Fight’, an obvious nod to the original scenario/encounter given in Shadowrun. Overall, the selection of ‘Contract Briefs’ is very good and will provide multiple session of play if the Game Master decides to use all of them. Most of them can be played through in a single session or two. Lastly, there are notes on Shadowrun: Anarchy and Shadowrun, Fifth Edition and on using source material from the latter as well as adapting Shadowrunners from one to the other or vice versa. These are serviceable.

Physically, Shadowrun: Anarchy is a good looking book. The artwork is excellent and the layout clean. However, it definitely needs another edit.

Unfortunately, Shadowrun: Anarchy is a book with problems. Not least of which is the fact that there is no map of Seattle and its environs in 2077, let alone North America or the world. There are places where rules could have been clarified, but either never are or are very later on, such as placing the ‘Anarchy Catalogue’ with its ready-pick Shadow Amps right at the end of the book rather than with the rules for Shadowrunner creation or rules for a particular in a ‘Contract Brief’ rather than in the general section for the pertinent rules or in the NPC section. The selection of NPCs or ready-to-play Shadowrunners is great, but not all of them are consistent in their design. So, if player or Game Master wants to use one, they need to be redesigned to make the costs balance.

The issue with Shadowrun: Anarchy is threefold. First, it set out to address the crunch and mechanical complexity of Shadowrun, Fifth Edition that made it difficult to learn run, and whilst it can be argued that it very much did that, offering a streamlined, faster-playing system, in switching to the more narrative, player-involved Cue System, it asked player and Game Master alike to make a radical change in playing style, but did not explain it enough. How exactly does a ‘Cue’ work? Or a ‘Tag’ or a ‘Disposition’? It is possible for the Game Master and her players to grasp the fundamentals, but the nuances are lost they are not fully explained or given a full example of play, which if done right would have been the best teaching aid of all. Second, Shadowrun: Anarchy cannot decide who it is for. The old Shadowrun veteran who wants to try a simpler system for his favourite roleplaying game? Someone who is completely new to Shadowrun? Or someone who has played a Cue System roleplaying game and wants to try a Shadowrun roleplaying game? All three? It is unclear. Third, is the lack of development to make it coherent and have more of the pick-up-and-play aspect that you get the impression it is aiming.

Shadowrun: Anarchy is a great idea. A fast playing roleplaying game with narrative elements in one of the best developed and entertaining settings in the roleplaying hobby. In fact, it is not actually unplayable, but the lack of development, the underwhelming lack of presentation in terms of its idea, and its organisation make it almost as difficult to play as the then current version of the main roleplaying game, Shadowrun, Fifth Edition. Which misses the point of what it was intended to do.

Grey City Future

With its near future setting of a San Franciso ravaged by climate change and protected from the sea by seawalls, the bulk of its population having moved off-world  in ‘The Scramble for Stars’ to start again on the megacorporate-sponsored colonies, and the use of Synths or biological androids as a pliable workforce in their stead, Carbon 2185: A Cyberpunk RPG feels very much inspired by Blade Runner and Blade Runner 2049. Published two years after the latter film by British publisher, Dragon Turtle Games, Ltd., Carbon 2185: A Cyberpunk RPG is also noticeable for the fact that its mechanics are derived from those used for Dungeons & Dragons, Fifth Edition. Although San Francisco is the default city setting in Carbon 2185 and the one detailed in the core rulebook, there are other cities around the world. The cities of London, Manhattan, and Tokyo are detailed in the Carbon 2185 | Cities Sourcebook, mapping out their glittering highlights and grungy lowlifes, whilst Berlin 2185 explores what could be a brighter future.

The Berlin of Berlin 2185 is different to other cities of the late twenty-second century. Whilst their response to environmental collapse has been to cede control to the corporations and slide into a cyberpunk dystopia, the Berlin Mandate Group, at the direction and donations of the Philanthropist has instead sought to share the city’s wealth. To use to protect the city, preserving the old buildings for prosperity whilst constructing more sustainable ones; to introduce a Universal Income and eliminate homelessness; and to establish a drone-driven energy dome over the city, protecting its citizenry, flora, and fauna from the worst effects of UV radiation and other contaminants—effectively, cutting edge weather control. Free from corporate control and capitalist drives, Berlin has become both a scientific and technological paradise and powerhouse.

Another big difference between Berlin and the other major cities of the world is the limited presence of the big corporations—Tusk in particular. The anti-corporate attitude is not just Berlin Mandate Group policy, but deeply woven into Berlin society. In particular, its Punk scene, heavily influenced by the Punk scene in London, but given a German twist in the form of NuWave Punk. A popular slogan of the Berlin Punk movement is, “Keine Unternehmen mehr, keine Lügen mehr!” or “No more Corporations, no more lies!”. The music and associated underground scene are nicely detailed, noting the degree of crossover between London and Berlin whilst emphasising the differences, that it is more accepting of LGBTQA+ members and LGBTQA+ bands as the ‘Gay Capital of Europe’, and that the authorities in the city have a grater tolerance towards the scene than might be found in other cities.

In general Cyberpunk terms, the description of Berlin amounts to a paradise. It is well organised and divided along need, not greed, the roads are uniform, the public transport system non-obtrusive, there are actual trees growing in the city, and at night, one can see the see the stars—unlike any other city in 2185. So where then are the tensions that will bring the Player Characters—or Cyberpunks as they are known—to Berlin and help the Game Master create plots and stories for her campaign. Obviously, one scale there may be tensions one band and another in the city’s punk scene, but on another, the corporations, with their limited presence in the city, would like to know the secrets of Berlin Mandate Group and how the city is run so effectively, let alone steal the flora of the city found nowhere else quite so obviously. For the most part there are jobs that most of the roles in the city legitimately. Docs are in high demand in the city’s medical sector, whether in emergency response teams operating in the city or beyond it or in medical research; Enforcers can find work as bodyguards, and even do clandestine work for the Berlin Mandate Group; Hackers can find work protecting from net-based and Sphere-based corporate intrusion; and the net-based and the Berlin Mandate Group might even employ a Scoundrel.

Some of these tasks are reflected in the new character options included in Berlin 2185. They include a Public Enforcement Officer highly trained in de-escalation and non-lethal resolution, but also heavily scrutinised  by their precincts and the Berlin Mandate Group for wrongful use of violence, and then Media Officer, Scientist, and Agent for the Berlin Mandate Group. The Media Officer will be covering up details as well as presenting them to the press; the Scientist will have access to some of the most advanced technology on the planet; and the Agent does the dirty work that the Media Officer for the Berlin Mandate Group avoids doing. The others include the Eco-Punk Ganger—an environmentalist punk rocker, Drone Operator—much in demand in the skies above Berlin, Media Personality, and Construction Engineer. There is also a discussion of Origins for Cyberpunks appropriate to Berlin, of which Korporate Kids and Badlanders are rare and High Flyers and Sleekers uncommon. The most common are Regular Joes and Gutter Punks.

The various sectors of the city are also described, including a few notable locations, the feel of the place, what food and drink options are available, and what secrets are hidden there. This is followed by a table of encounters. For example, the feel of the Science Park is dominated by the smell of actual live plants and clean water in the fountains, there are vending machines from the city ubiquitous currywurst can be purchased, but few restaurants, and the area is home to Research & Development Labs, Tech Facilities, and the Berlin Mandate Group’s Science Division, as well as the Foresters Houses. The latter is where the city’s foresters live, their job to protect the city’s flora—with prejudice. The secrets here include the Berlin Mandate Group’s complex here, hidden by trees, and rumours of access to an old botanical garden from before Berlin was built over. Compare that to the Construction Sector with its Drone Stations, Barge Launches which launch the huge vessels that do the heavy construction across the site, often deploying massive 3D printers to manufacture on site whole buildings and parts of buildings, and the Observation Watches from their launch can be safely viewed. Its atmosphere is of low hum from all of the devices across the vast maintenance and construction complexes, the air filled with drones and transports. Food and drink are available via vending machines or at canteens, whilst alcohol is forbidden. There is a secret construction project going on here, one that requires printers and factories to operate day and night. All of the nine sectors come with a set of encounters that serve as prompts for the Game Master to develop.

Berlin 2185 does include a section on the Undercity, the dark underbelly of what is old and new Berlin in 2185. Out of the old buildings and tunnels formed through collapse and being built over, long poisoned and irradiated by war and pollution, a nascent organisation called the Cabal is trying to establish itself in the city above. It has corporate connections, but mostly consists of bully-boy asshole white-supremacist fanatics. The Undercity is the Cabal’s territory, but it is home to mutated plants and animals and former humans. (The supplement suggests appropriate monsters from Dungeons & Dragons, Fifth Edition.) It is quite a short section in comparison to the descriptions of the sectors in the upper city and the city as a whole. Plus, as  really only the main antagonist in Berlin 2185, it does lack advice on how to use it and on how to interface its plans with the upper world, as well as possible hooks that the Game Master could develop into something playable. It leaves the Game Master to handle that.

Another issue with Berlin 2185 is its treatment of its secrets. Some it does tell the Game Master what they are and others not. Whilst the main two threaten to change the nature of Carbon 2185 towards a more Science Fiction genre rather than a Cyberpunk one. It is never quite explicitly explained what they and certainly the ramifications of their discovery are never explored. This would not be so much of a problem if Berlin was not so much of paradise and had a bit more conflict that the Game Master could work from.

Physically, Berlin 2185 is well presented with plenty of artwork to get across the idea that Berlin is a radically different, all but utopian city comparison to the others of Carbon 2185. Sadly, this leaves less room to depict the seamier side of the city where the Cyberpunks are likely to congregate. There is no map either and the layout is untidy.

Berlin 2185 presents something radically different for Carbon 2185. A city with a positive outlook and a sense of hope. The result is engaging, even fascinating in comparison to the other cities in this future, but it does leave the Game Master with a lot of work to develop content and story lines given the lack of conflict in Berlin. There is possibility in the well done section on Punk and the underground music scene, but the remainder feels as if the content could have been developed a bit more, made that bit more engaging. Berlin 2185 is a welcome addition to the Carbon 218 setting, but the Game Master is going to work harder to bring more than its utopia to life and tell interesting stories.

Cyber-Dungeon Classics I: Arcolgies

Zapped by a hi-res laser. Take the red pill. Plug in. Within seconds and the Player Characters are no longer in their world, but another. Somewhere in between, a liminal space of data and information, infinite realities and variations, where corporations hold and protect their data in fortresses and millions work, and even more flock to explore worlds that previously they could only imagine. They no longer are Player Characters, but ‘Users’, shifted out of ‘Reality’ and into ‘Cyberspace’ as ‘Avatars’. Inside this virtual world, this WorldNet, they face not I.C.E. or Intrusion Counter Electronics per se, but Intrusion Counter Entities. Their new world is not so much a virtual world as a cyberdungeon. ICE are not the only dangers the Avatars will face. There is a chance of being detected and worse being noticed by the deities that are the A.I.s. This is the setting for Netcrawl, the cyberspace setting and supplement for use with the Dungeon Crawl Classics Role Playing Game and the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, both published by Goodman Games. Published by Horse Shark Games, it works with other third-party settings such as Cyber Sprawl Classics, Crawljammer, Umerica, Terror of the Stratosfiend, and Star Crawl Classics. Plus, of course, it can simply be a roleplaying setting all of its own. Once zapped into this virtual world, what exactly does it look like?

Netcrawl: Arcologies is a supplement that attempts to address the infinite number of possibilities when it comes to what the virtual reality environments of Netcrawl and the WorldNet look like, what might be found there, and what threats that the Avatars might encounter. It is in effect a dungeon generator for a cyberpunk and virtual world setting that the Judge can use as prompts to develop the space into which the Avatars are cast and bring it to (virtual) reality. The first part of Netcrawl: Arcologies looks at its namesake with a set of tables for defining what a particular arcology is like. The generator determines an arcology’s tone and theme, functionality, appearance, and style, plus the primary form of travel to and within the arcology. So its tone might be disorientating or entertaining, its theme lines and vertices or grimy, functionality a beta release or fortified, and its appearance a polygon or shaped like a vehicle, and so on. In style it could be gridded or circuitry and if a polyhedral shape, a cylinder, cone, or rhomboid prism.

Thematically, one area that the supplement does not do is provide a means of determining who built the arcology and who runs it now. In the introduction, it acknowledges that an arcology can be run by numerous organisations, where that is corporate, governmental, or some other body, and that further this will suggest branding, function, and appearance. The inclusion of such details would have added further depth and detail to any arcology and help the Admin in the creation process.

The ‘System Raid’ tables set up a target and thus the basis of an adventure for Netcrawl. It sets the target as a random system building that is then layered into grids of nodes that are populated with agents or random I.C.E. These include connections, firewalls, agents, security portals, systems, and servers. This provides the target environment to be explored and worked through, but the look and feel of this space should be dictated by the previous Arcology Generator tables. Of course, the target can be determined wholly randomly by simply rolling on the tables, but the advice is to combine it with design choices. The process is not easy in part because although it is creating the equivalent of a virtual dungeon, it does not have the structure of a dungeon traditional to Dungeons & Dragons. So, it is harder to visualise.

The Admin can also personalise the A.I.s in charge of the arcology—or parts of it—with plans and personalities, and even give them hobbies to perhaps give them a weakness that can be exploited. Arcologies can further be populated by rolling the I.C.E. Generator that determines type, general appearance, colour, and form, and even allows for the possibility it could manifest in the outside world, from as ordinary a defence as a swarm of nanobots to a synthetic android.

The supplement takes the Admin to the seamier side of the virtual world with the Undernet, the equivalent of the Dark Web, but here treated like the back streets and alleys with a handful of encounters. Further, it is a bestiary of sorts, if the monsters and other threats are digital. There is Malware, virulent code that compromises a victim’s defences and can alter an Avatar’s appearance temporarily and even permanently reduce his stats, depending upon how badly the player fails his Avatar’s saving throw versus. Some of these are quite complex. For example, once installed, the reactive defensive code attack ‘Heartstopper’ automatically activates under certain circumstances and forces constant heart attacks on the victim, whilst ‘JOBE’ or ‘Joyous Omnipotent Brain Evolution’, grants a bonus to program activation checks and Wits check or Wits-based skill checks. However, if an Avatar succeeds by these bonuses only, it reduces his Hack stat and if reduced to zero, the sufferer is turned into a megalomaniac! In many cases, Malware can be removed with reversion control or quarantine.

The ‘Code’ rules get under the structure under AI, arcology, and Avatar, whilst ‘Exploits’ are malicious code that can be injected into an Avatar. Again, like the Malware, there are basic and more detailed versions. For example, ‘Couch Pirate 3000 (CP3K) – The Slacker Hacker’ is whispered about in encrypted chatrooms or foreshadowed by icons of a worn-out couch appearing on dead servers, and asks the question, “Why burn the system when you can break it lying down?” Sufferers are forced to lie down on the couch and lose all speed (moving 0#) and suffer a -4 penalty to their Hack. That said, the couch can be moved, so making the Avatar’s allies do yet more hard work! The ‘Zap Generator’ creates Zaps, virtual drug-like experiences that provide temporary boosts, but which can be addictive. They fit the setting, but they do feel like way to get drugs into the WorldNet, whereas ‘Abends’ enforce the weird nature of the setting, all being code written to crash in unusual ways, ending in critical errors and other unexpected ways. For example, ‘nessuna.tmp’ causes intense drowsiness and an hour-long dream state that renders an Avatar vulnerable. Effectively, ‘cybersleep’, it has transcendent effects that make many ciphomorph shamans actually infect themselves and gain prophetic abilities and access to ‘spirit’ realms. Mechanically, after waking up from this state, users are slowed to a zen-like state that means they go last in combat and are slowed to a single action, but do gain access to insight that grants a bonus to an action die, saving throw, or Armour class, which can be changed from round to round. There are only three of these Abends, but these add depth and feel to some of the software to be found in the WorldNet.

Rounding out Netcrawl: Arcologies is a ‘Guide to the WorldNet’ that further develops ideas for its many, many virtual reality environments. This gives tables of rumours, events, and news items to use across various ‘neighbourhoods’ of the WorldNet. They include locations such as ‘The Spine’, the main highway of the WorldNet; the hedonistic, yet upscale VR playgrounds known as ‘Les Loisirs’; and the ‘Nightzone’ is the always-on, always-dark, nightlife district. There are nine such locations, not so much detailed, as brought to reality through the rumours and news in their associated tables. These are full of lots of detail that will help the Admin bring them to life using the tables earlier in the supplement to give structure to her WorldNet.

Physically, Netcrawl: Arcologies is a vibrantly, neon affair. It is not illustrated, but the colours more than make up for it.

Netcrawl: Arcologies starts by selling itself as the equivalent of the dungeon generator for Netcrawl, but it is not as an expansive as traditional dungeon generators are for fantasy roleplaying. It is more focused on limited structures, though these can still be quite large. However, the supplement does not limit itself wholly to that, but adds general details and elements that can be brought easily into play and expand the setting. Ultimately, Netcrawl: Arcologies is more of a companion to NetCrawl providing general support rather just location-building, but that does not mean that it is bad support.

City in the RED

Almost all of the famous cities in roleplaying are fantasy cities. Waterdeep, the ‘City of Splendours’ from the Forgotten Realms, and Sigil, the City of Doors from Planescape, both for Dungeons & Dragons from Wizards of the Coast; Freeport: The City of Adventure from Green Ronin Publishing; and Pavis in Glorantha for RuneQuest from Chaosium, Inc. Conversely, famous cities in roleplaying in the Science Fiction genre are few and far between. Both come from the Cyberpunk genre. One, of course, is the real world city of Seattle in the Sixth World of Shadowrun, whilst the other is the fictional Night City of Cyberpunk 2013, Cyberpunk 2.0.2.0., and Cyberpunk RED. Night City began life as Coronado City, incorporated in the early nineties and envisioned as a planned urban community by Richard Night on the coast of northern California. After his murder, it was renamed in his honour, but crime moved in and the city was dominated by mob wars for a decade, before corporate interests disrupted the activities of the various criminal organisations. Night City became notorious as a battleground between Militech and Arasaka during the Fourth Corporate War, which came to a head with the detonation of nuclear device atop Arasaka’s Night City headquarters which devastated the city’s Corporate Centre, allegedly placed by the famous Rockerboy, Johnny Silverhand. The reconstruction efforts, led by Richard Night’s widow and corporate interests, under a new charter, have been ongoing now for twenty-five years, disrupted by an earthquake, a terrorist attack by cultists who believe the nuclear detonation is sacred, and a near-war between Nomad groups that run the transport of passengers and goods in and out of the city. None more so than in the ‘Hot Zone’, the site of the city’s original corporate centre where the bomb went off. It is 2045, the Time of the Red, and Night City remains a heavily armed, corporate-run city-state in the south of the Free State of Northern California, a Free Port serving as the gateway to the Pacifica Confederation that consists of Northern California, Oregon, Idaho, Washington, and British Columbia.

Night City 2045 is an update of the Night City supplement, covering its history and current status for use with Cyberpunk RED. It is comprehensive guide to the city, an in-world handbook for the tourist or other visitor which they could purchase and download to their Agent called An Outsider’s Guide to Night City, compiled by independent Medias, each describing one of the city’s different districts. As the introduction makes clear, what this means is that the not all of the information in the supplement is true, so the players and their Edgerunners cannot wholly rely upon it and the Game Master is free to determine the veracity of any one detail or another. In terms of timeframe, apart from it being set in the year 2045, Night City 2045 is set during the events of Tales of the RED: Street Stories and Tales of the RED: Hope Reborn. This does mean that there will be spoilers present. The reader will also spot locations from other supplements such as Danger Gal Dossier – A Faction and NPC Guide for Cyberpunk Red and also elements from the computer game, Cyberpunk 2077. For example, players will recognise the Tyger Claws gang which they will encounter early in the computer game and will recognise the Royal Blue Radio, The Dirge, and Night FM radio stations. Long-time fans of Cyberpunk will recognise some of the in-jokes too, such as the descriptions of the Petrochem Plastics Plant and the SovOil Plastics Plant being all but identical—two sides of the same coin.

Besides a history and timeline of Night City, there is a guide to its weather, how to gain its citizenship (including a State Identification Number or SIN), getting there and getting around the city and how much that costs (including getting a driving licence and registering vehicles at the DMV), government, legal framework (justice tends to be summary, the arrested are presumed to be guilty, The Judge is an A.I., and fines can be reduced by public flogging(!) with an electro whip), public services from 911 (also A.I. run) and Backing to medical care and education, utilities and their provision, and media. There is a complete guide to the city’s factions—gangs, criminal organisations, and security providers. Be sure to avoid the Bozos, the faction-driven clown gang whose pranks are deadly; never busk without the Julliard Guild’s permission; and go to the Piranhas if you want the best party in the city. All of the factions have their badges or patches on show and these are used to mark their territory on the supplement’s maps.

There is also a full set of maps for the whole of Night City which show the various elements of the city are. These include its NCART and Rail Lines, bars, brothels, casinos and clubs, housing sites, and medical vendors and markets, with each map also serving as an index of sorts.

Two fifths of Night City 2045 is devoted to mapping and detailing its twenty-four districts from Little Europe, Upper Marina, and the Old Combat Zone on the Island and the Pacifica Playground and Rancho Coronado in the South Side. Each follows the same format. An introduction by a noted Media who provides an overview of the district, followed by details of its city manager and his politics, security provider, recent history, then its locations, and lastly personalities. It is rarely for any location to be given a simple, one paragraph description, most of them are fairly lengthy, and in cases of locations such as markets and high-rises, expanded to give the businesses and persons working and selling out of them. Similarly, the ‘McCartney Field Stadium’ details all of the teams and franchises based in its facilities. The descriptions are written in character, so Leon Vetti, writing about Downtown tells you that whilst ‘Europa Meatworks’ might be the best artisanal butcher’s shop in the city, beloved of foodies and sometimes offering some exotic cuts of meat, he wonders where the meat comes from, offering several suggestions in a conversational tone, whilst next door, ‘Folio’, might feel like a genuine fortune tellers, but that is all drug-laced herbal tea, laser-focused cold reading, and Garden Patch research! Nearby, ‘Goosetopia’ sells collectible vinyl models of geese in different costumes in limited editions. Utterly absurd of course, but in each these there is enough detail that a Game Master can develp a hook or plot. Maybe someone wants to know where ‘Europa Meatworks’ is sourcing its raw cuts, someone’s grandmother is spending too much money at ‘Folio’, and how far will a collector go to complete his collection of vinyl geese? And that is just from a single page. Just about every location description suggests something that a Game Master can develop.

Of course, there really is too much to go through in Night City 2045, but one district that most readers and Game Masters will be interested in is the ‘Hot zone’, what is left of the corporate zone shattered and irradiated by the Fourth Corporate War. So bad its Utility Code is 10. At the heart is the crater where the Araska headquarters once stood, surrounded by buildings in various states of disrepair, some barely standing, others shedding parts and materials like deadly rain. On the edge stands ‘Dark Zone One’, a black zone where any drone flown over it cannot record any footage, snipers shoot anyone who enters, and the urban explorers steer clear; ‘The Dump’ where cleared wreckage from the district is stored (and unofficially picked over by scavengers); and Father Grace, a pastor for the ‘Global Church of Elvis’, lives in ‘Graceland Medical’, out of which he operates an armoured mobile clinic, dispensing healthcare to the nearby scavenger camps for free. The district description is shorter than most, but it is the most different and environmentally at least, the most dangerous.

Night City 2045 does not confine itself solely to within the city boundaries. It goes beyond them to detail the Outskirts where the ‘Municipal Landfill’, ‘Night City Spaceport’, and ‘Militech Ballistics and Explosives Range’ are all located. Night City 2045 finishes on a wacky note, one that presents ‘The Happiest Place in Night City’. This is ‘Playland by the Sea’, a theme pack not part of the city, but just off the coast and with ‘Six Lands of Happiness’. It gives the kitsch banality of a theme park a sharped-edged twist of being run in the dark future of 2045, with the Piranhas gang running security and dealing drugs because anything else would be worse! Its six zones, such as Lovers Lane, Haunted Woods, and Grand Junction with its recreation of San Francisco in 1851, all lend themselves to some weird places to business or simply just run some downtime on a day out! The map of ‘Playland by the Sea’ is a really great, just getting its slightly cheesy feel right.

What does surprise about Night City 2045 is the lack of new rules or mechanics. The two primary additions handle security response to alerts or difficult situations and the service status of the local utilities. Every district in Night City 2045 and every building is given a Security Code. This gives a number representing the likelihood of designated security—appointed or self-appointed—responding to an alert, the faction (gang, Night City Olice Department, or security contractor) which will respond, and an Intensity descriptor—‘Light’, ‘Medium’, or ‘Medium’—which indicates the degree of that response. A Utility Code indicates whether or not the location or district has working access to power, water, and CitiNet, the latter the city’s information network. A Utility Code is given per district rather than per location. When narratively appropriate, the Game Master can roll against the Utility Code to see if the utilities are working, and of course, this can the situation the Edgerunners are in either easier or more difficult. The Security Code is the same whether the Edgerunners want to avoid security entanglements or alert local security. Both mechanics are incredibly simple and easy to use.

Apart from these two rules, Night City 2045 only includes stats for various NPCs found in particular districts. For example, Biotechnica Guards and Night City University Guards in University District, Night City Plaza Busker in The Glen, Combat Cabb Driver in South Night City, and Forklift Driver in Port of Night City. Many of these could appear elsewhere, the Night City Plaza Busker on a street corner or the Forklift Driver in any warehouse, for example.

As much information as there is in Night City 2045—and there is a lot—the supplement is not perfect. The problem is with the maps. The issue is that the orthographic maps in the original Night City supplement were great, whereas in Night City 2045 they are not. They are not terrible maps and they are serviceable, but anyone expecting more will be disappointed.

Physically, Night City 2045 is tidily presented. The artwork is used to depict each district at the head of each chapter and so capture some of the flavour described later. The maps are clear and simple, if unexciting.

Whether it is places where they live, places they want to go, places they have to go, Night City 2045 provides the Game Master with details and descriptions that she can use to bring the experiences of the Edgerunners to life. There are plenty of hooks too, which the Game Master can winkle out and develop, or perhaps let lie for the players and their Edgerunners to discover when perusing An Outsider’s Guide to Night City on their Agents. Versatile and packed full of lore, Night City 2045 is a supplement that the Cyberpunk RED Game Master will find very useful.

A Cyberpunk Conjuncture

The year is 2119. Following an environmental collapse precipitated by a limited nuclear exchange, humanity survives in eleven metropolises, great conglomerates encompassing whole cities and former countries, of which the largest is New Europe. Sitting in the centre of Europe, New Europe is a gigantic sprawl that takes in the former Germany, France, Belgium, and Luxembourg, as well as parts of Poland, Switzerland, and the Czech Republic, its environment maintained by great atmospheric processors. New Europe is governed by Gaia, an Artificial Intelligence developed by Hansor Innovations, which dedicates itself to the safety, health, and well-being of new Europe’s citizens. This has been brought about by tighter control of food production, increased surveillance, and roboticised law enforced with limited artificial intelligence. Gaia has also accelerated technological innovation and this has led to the development of cyberware, miniaturised power sources, and the information network known as the Core. Despite the intentions of Gaia, New Europe is no utopia, but a battleground. Outside of the safe zone communes, everyone has access to firearms and the streets are a warzone, if not necessarily one of open warfare. Crime and violence are rife, whether between criminal gangs, criminal gangs and law enforcement, law enforcement and radical protest groups, radical protest groups and corporations, corporations and other corporations, and corporations and mercs. The latter are hired mercenaries—ex-military and ex-law enforcement turned Operators, Core Hackers, Bio Hackers able to tap into the Neural Frame of other users, Parameds, Cyberdocs, MilTechs, Tech Traders, Data Dealers, and so on—that take contracts that further the aims of one corporation over another. Mercs give the corporations deniable assets, enabling them to continue rivalries without the need for open warfare. Yet the strangest aspect of this dystopia is that humanity is not alone. It is only eight years since the Vampires revealed their existence in frenzy of bloodletting, but eventually some asked for acceptance and the development of an artificial blood substitute in return for an end to their preying on humanity. Whether the very human-like Vril or the monstrous Norl, most Vampires have accepted the new situation, but some have not, hunting and preying upon humanity at the fringes of New Europe. Also revealing themselves at the same time were the Ferals, often weaker and suffering from more genetic defects than humanity, but otherwise identical except for the ability to Meld with another animal, such as a dog, cat, or rat, though in more recent times, some have melded with rarer, recreated, and cloned species. Both Vampires and Ferals, as well as the roboticised law enforcement and cyberware proponents are often the targets of radical pro-human groups and protestors.

This is the set-up for The Gaia Complex – A Game of Flesh and Wires, a Cyberpunk roleplaying game of street violence, espionage, vampiric uprisings, and overzealous A.I. governance, published by Hansor Publishing. It feels like a very traditional Cyberpunk roleplaying game, though with an obvious European bias, and with the oddity of the addition of the supernatural in the form of Vampires and Ferals. Of course, this is not the first time that Vampires and Cyberpunk have been brought together. Night’s Edge, published by Dream Pod 9 and Ianus Publications in 1993, brought vampires to Cyberpunk 2.0.2.0. from R. Talsorian Games Inc.. That though was an extra option, whereas here in The Gaia Complex, vampires are part of the setting and they add an element of the supernatural and horror to the fringes of that setting. In comparison, their inclusion is not as radical an addition to the Cyberpunk genre as fantasy is ShadowRun. Plus, they are not available as a Player Character options and should a vampire turn a Player Character, he becomes an NPC. It is possible to play a Feral though. They are not as physically strong as the average human, they have allied companion beasts, and their blood is actually poisonous to Vampires!

A Player Character in The Gaia Complex is Merc. He is either a Human or a Feral, and will have a Character Role. The ten Character Roles are Operator, Core Hacker, Bio Hacker, Paramed, Cyberdoc, MilTech, Mech, Tech Trader, Data Dealer, and Handler. Each Character Role sets a Player Character’s Favoured Stats, Core Skills, Starting Items, and a Trait, the latter, a special ability which kicks in under certain circumstances. For example, the Operator has the Favoured Stats of Brawn, Guts, and Reflexes; Core Skills of Firearms, Melee Weapons, Strategy, and Tracking; a Starting Item of a firearm or melee weapon; and the Trait of ‘Combat Readiness’, which grants an Operator a bonus to initiative, able to identity threats and respond to them faster. The Handler has the Favoured Stats of Allure and Perception; Core Skills of Animal Handling, Awareness, Meld, and Tracking; a Starting Item of an animal companion; and the Trait of ‘Feral Mind’, which represents the Feral’s honed mind and senses with a modifier to Awareness skill tests and the capacity to spend Grit to automatically pass a Meild skill test. The Player Character has seven stats—Brawn, Reflexes, Guts, Brains, Allure, and Perception—each rated between one and ten and each having six associated skills. Skills do not have a rating; a Player Character either has the skill or not. The seventh stat is Grit, which is a pool of points that can be spent to ensure success during play. A Player Character also a Disconnect score, which measures his biological functions versus the amount of cyberware he has installed.

Creating a Player Character is a matter of selecting a Character Role and applying its bonuses, dividing twenty-five points between the stats, and picking twelve skills in addition to those granted by the Character Role. This gives him a total of sixteen skills and two of them must be Specialisations. Lastly, the Player Character receives some clothing, somewhere to live, enough food to last a week, and a budget to spend on starting equipment and cybernetics. The process is quite straightforward; the most complicated part being making the choices in terms of equipment and cybernetics.

Name: Ottilie Harsholm
Character Role: Core Hacker
Trait: Digital Life

STATS
Brawn 3 (Unarmed Combat)

Reflexes 6 (Firearms, Pilot Drone, Stealth)
Guts 5 (Gambling, Streetwise)
Brains 8 (Electronics, Hacking, Mechanical, Programming)
Allure 4 (Barter, Deceive, Persuasion)
Perception 5 (Awareness, Lock Pick, Surveillance)
Grit 4

HIT POINTS
Endurance 9 Pressure 24
Morale 10 Disconnect 78
CYBERWARE
NVI ProKL Neural Frame, NVI Flashline Neural Rig, THD Drone Remote, DrillBit Mk.2, Transplant

Mechanically, The Gaia Complex uses what it calls the 12.3 System. To have a Player Character undertake an action, the appropriate Stat is first compared against the difficulty, ranging from one for very easy to almost impossible for eleven. If the appropriate Stat is equal to, or less than, the difficulty, the Player Character automatically succeeds and no roll is required. If a roll is required, the player rolls two twelve-sided dice and compares the result against the Stat. A success is generated if the result is equal to, or less than, the Stat.

If the Player Character has the appropriate skill, only one Success is required, but if the Player Character does not have the skill, a Success is required on both dice. If the task is still difficult, the Game Master can also apply a Complexity Modifier to the roll. If the skill is marked as a specialisation, a player can reroll any single die that did not roll a twelve. Grit can be spent to reduce the result rolled, each point spent, reducing the result on both die by one for each point spent—though not if a twelve was rolled. If the test is failed and either die rolled a twelve, the result is a critical failure. This can result in the loss of Endurance or Morale, inability to undertake the task again, gaining the wrong information, equipment failing, and so on.

Combat uses the same mechanics. Initiative is a simple roll of one die plus Reflexes or Perception and during each three second Combat Round, a combatant can perform one action—either Movement, Supporting, Close Combat Attack, or Ranged Attack. Any attack action requires a successful roll, again against the appropriate Stat. However, there is a greater range of Complexity Modifiers which can apply to the actual roll. For example, in close combat, charging adds a +1 Complexity Modifier and a +2 Complexity Modifier is added if the target is actively dodging, whereas in ranged combat, an aimed shot grants a -1 Complexity Modifier, a snapshot adds a +1 Complexity Modifier, and cover adds a variable Complexity Modifier depending upon how heavy it is. Burst allows a single damage die for the gun to be rerolled, any result of an eleven becomes a twelve, whilst suppressive fire applies a -1 Complexity Modifier, all damage dice to be rerolled, and any result of ten or eleven becomes a twelve. Each weapon has its own profile in terms of damage and effect, as well as background. A Player does need to keep track of how much ammunition has been used.

In terms of Hit Points, a Player Character has both Endurance and Pressure. Endurance represents his physical health and Pressure his mental health. Weapons inflict Endurance damage, typically 3d3+1 for a handgun, whilst attacks from programs in the Core or some

vampire abilities reduce Pressure. There are serious side effects if either Endurance or Pressure are reduced to five or less and if Endurance is reduced to zero, the Player Character is dead, and if Pressure reduced to zero, the Player Character is either brain dead or insane. There are also EMP weapons that can affect electronics and cybernetics. Armour will Endurance damage by a random amount, in some cases can be stacked, and optionally, can be damaged when it stops incoming blows. Other optional rules allow for knockdowns, hit locations, bleeding, and morale. Overall, the combat system is brutal.

As a Cyberpunk roleplaying game, The Gaia Complex includes a wide range of cyberware. Cyberarms and legs with storage comparts, magnetic plates, pop-up weapons, toolmate and TASER fingers; cybereyes with X-ray scanners, UV options, and targeting systems; cyberears with improved hearing range; cyberjaws with lockjaws and sharpened canines; titanium ribs and spinal replacement; neural frames and rigs for accessing the Core, storing data safely, and operating drones remotely; and more. Bioware options add improved hearts and lungs, whilst other implants include nasal filters, chip ports, and cable jacks, and exo-skeletons have their options. Many of the items of cyberware are available from legitimate CyberDocs where the newly installed devices will be legally recorded and also from backstreet CyberDocs who install ‘Hackjob’ versions of the devices, as functional, but often clunkier and more obvious, though without it being reported to the authorities. Either way, installing any device reduces the Player Character’s Disconnect. This starts out typically at about ninety, but is reduced for each item or upgrade. When Disconnect drops below fifty, the Player Character begins to suffer deleterious effects. ‘Hackjob’ versions tend to incur a greater Disconnect loss than legitimate versions.

The treatment of Hacking in The Gaia Complex is kept surprisingly short, just four pages long. Physically, it requires a Hacking Rig, Neural Frame, or Jack sockets and leads, and access can be found all across the city. Mechanically, it uses the Hacking skill and asks the player to define the objectives and the Game Master the number of layers of security that a hacker must penetrate or bypass to find the data he wants, access the permissions he wants, or plant the data he wants. The Game Master places countermeasures, such as a Data Wall, Cortex Trap, or Watch Dog, in these layers as challenges and threats that the Hacker has to overcome. All of this is played out in abstract fashion rather than mapping it necessarily, primarily relying on roleplaying to handle the narrative. The confrontations and encounters in the Core take roughly two to three seconds each, so that a Hacking attempt can be run alongside combat, although the Hacker can only focus on the attempt and finds it difficult to communicate.

Bio Hacking is treated in a similar fashion and length. Where Hacking involves electronically breaking into data systems and servers, Bio Hacking involves breaking into someone else’s mind, whether through the Core and into his Neural Frame or by directly jacking into the target’s systems via a port. Once inside, instead of experiencing the consensual network of neon and structure of the Core, the Bio Hacker finds himself in a void dotted with colourful nodes representing the target’s memories and the functions of his Neural Frame. It is extremely disorientating as the Bio Hacker constantly feels as if he is falling in a loop over and over, and it takes some getting used to. However, whilst in the target’s mind, the Bio Hacker can do a number of things. One is to steal desires, knowledge, memories, and secrets from the target, another is to plant thoughts, and even completely dominate the target to place them in forced servitude. As with Hacking, Bio Hacking is to be run in an abstract fashion, emphasising roleplaying with the Game Master setting up Bio Hacking Countermeasures for the Player Character to overcome.

As you would expect, The Gaia Complex includes an extensive list of arms, accessories, armour, clothing, hacking gear and accessories and programs, drones, accommodation and property, and more. Of course, it adds a range of animals for the Ferals’ Meld ability.

The non-Cyberpunk aspects of the setting of New Europe get their own sections, detailing in turn the world and cultures of the Ferals and the Vampires. Ferals have spent much of history as loners, drifters, and outsiders, and for the most part, still do in 2119. They simple lives, tend to avoid the use of cyberware, and when they do become Mercs, often follow their affinity for and love of animals to act against Sephron Corp, wanting to free the animals it clones. Feral culture continues to be street-based, the most notable organisation being the Circadian Network which operates throughout New Europe, managing a hidden surveillance and data trafficking network. Vampires, being non-human, receive more mechanical detail. What happens if someone is turned and becomes a Vampire, the special abilities that they can gain such as Deathtouch, Exsanguinate, Regeneration, Telekinesis, and Telepathy, and the rules of their survival, as well as their leading figures and corporations, like the Un-Set Corp; the vampire-operated investment firm, and Belvoit Media, a human/vampire co-run media firm specialising in urban advertisements.

There are details too, of the various corporations operating in New Europe, and in the wider world, New Europe and the other metropolises. Here there are descriptions of each of the districts of New Europe, all of the city or country sized, giving a bit of flavour and background so that the Game Master has reason to get her Player Characters there and feel enough to describe it to her players. Less useful are the descriptions of the other ten metropolises around the world since environmental effects have limited contact and travel between them for decades. Although the metropolises do feel reminiscent of the world of Judge Dredd from the pages of 2000 AD, their inclusion does give the Game Master a greater feel for the world. More useful perhaps is the information on the major corporations operating in New Europe as they provide at least a set of potential employers and targets.

There is decent, if brief, advice for the Game Master along with three data seeds—extended plot outlines—and good advice on inclusivity and safety. However, the last fifteen pages of The Gaia Complex is devoted to ‘The Truth Behind The Screen’. This gives the real history of the future of New Europe, shifting the setting in a radically unexpected direction and potentially changing what the roleplaying game setting purports to be. It includes an actual timeline that encompasses everything, which is slightly annoying because there is no timeline without those changes earlier in the book for the players’ benefit. As welcome as this new and expanded background and timeline are, it is of limited use. The problem is that there is no accompanying advice on how to use this extra timeline and background details, on how to bring it to the attention of the Player Characters, and how they might learn of it, and what they might do if they learn of it. So, at best, the Game Master can run the setting as is, as a more or less straight cyberpunk roleplaying game, but with supernatural elements, and perhaps begin work in the esoteric elements of the deeper background if she wants to and is confident enough to do so. Either that or wait for a supplement that brings it into play, because otherwise, the secret background is interesting, but just not yet relevant on the strength of the core rulebook alone.

Physically, The Gaia Complex is well presented. The artwork is excellent, but the cartography is serviceable at best and the book is slightly overwritten in parts. Every chapter is prefaced with a piece of colour fiction that helps to bring the setting to life.

The Gaia Complex – A Game of Flesh and Wires is a surprisingly light roleplaying game for the Cyberpunk genre, at least mechanically. In terms of setting, it feels very much like a standard Cyberpunk dystopia, complete with widespread violence, gangs, feuding corporations, and overbearing A.I. directed governance, though one with a European emphasis and one with a view of weirdness and horror with the inclusion of the Ferals and Vampires. The European emphasis gives it a certain freshness of a long history upended and a less traditional setting for the genre, whilst the horror and the weirdness give it an unexpected, if slight bite.