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.

Synth Sedition

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. Despite the lack of a Human workforce to replace them, not everyone is happy with the use of Synths as what they see as slave labour, and some have taken this further with the Synth Liberation Front, which supports escaped Synths and protects them against the government’s ‘retirement agents’ as well as striking at manufacturers such as Villeneuve Robotics. This theme is explored in Interlinked | A Carbon 2185 Mission Book, a scenario for Cyberpunks—as Player Characters are known in Carbon 2185—of First and Second Level. It is designed to be easy to run and is suitable for both new players and new Game Masters and it would not be difficult to run it after the events of ‘Chow’s Request: A Carbon 2185 Adventure for 1st Level Cyberpunks’, the scenario in the core rulebook.

Interlinked | A Carbon 2185 Mission Book pulls the Cyberpunks deep into the underground conflict between the Synth Liberation Front, the government’s ‘retirement agents’, the corporations manufacturing and employing Synths, and the manufacturer’s own reclamation agents. Set in San Franciso, it is a five to six act affair, plus a prequel, that the Game Master can run in two or three sessions. It opens with ‘Road Block’, the short prequel which sets the Cyberpunks up against the villains of the piece, Villeneuve Robotics. It provides the players and their Cyberpunks with a solid selection of motives as why they would take a job against Villeneuve Robotics above and beyond the generous amount of money that the fixer is offering. It consists of the simple smash and grab of some corporate access codes from a tech support team on its way to a Villeneuve Robotics facility followed by the Cyberpunks having to break into the facility and download a data core. Everything seems set up for easy access to the facility as someone seems to have set it on fire, meaning that security and everything else is in an array! It is a simple affair, with lots of options and suggestions as to how the Cyberpunks might go about the mission.

The scenario proper, ‘Interlinked’ follows quickly on. The Cyberpunks’ employer, the Fixer  Rico ‘Replay’ Montoya gives them another job. They are to break into a Frisco’s Finest Production Facility where several popular lines of food are manufactured, upload some data, and get out, preferably without a loss of life. Unfortunately, there is no fire to distract corporate security, so the Cyberpunks need to find a way to get in on their own. What is common to both facilities is the use of Synths as a workforce and deployment of armed security, the latter actually bored with their duties at Frisco’s Finest. Again, various options are suggested as how they might get in and get out, the latter more detailed as the Cyberpunks have to succeed at four types of task to escape without alerting security.

In both ‘Road Block’ and the start of ‘Interlinked’, the Cyberpunks get to see the Synths put to work and plenty of evidence that they are treated as second or even third-class citizens—even if they can be classified as citizens. In the next part, the Cyberpunks are contacted by Kaito Tanaka, a local electronics restoration store owner, who asks them to find Thomas ‘Willy’ Williams, a Villeneuve Robotics employee who is unhappy with the treatment of Synths and wants to leave Villeneuve Robotics. Of course, Villeneuve Robotics is unhappy with this, and by the time the Cyberpunks catch up with Williams, Villeneuve Robotics security teams and mercenary squads in their employ, are close behind. The resulting encounter should ideally result in a chase and Interlinked | A Carbon 2185 Mission Book gives a quick and dirty means of running this (and again, if the Game Master needs to run another chase).

Depending upon the outcome of the previous encounters, the Cyberpunks may need to rescue Thomas ‘Willy’ Williams or even one of their own, if Villeneuve Robotics captures either. The scenario supports this possibility with details of the Villeneuve Robotics Reclamation Centre, which can also be used as a target for the Synth Liberation Front to employ the Cyberpunks to assault in an attempt to free the Synths there. In whatever way it is used, it effectively means that the Cyberpunks can see the creation of Synths in the first part of the scenario and the destruction of Synths in this part. This is another corporate facility, but one that the scenario makes clear is not much different to an abattoir, even if it’s a high tech abattoir. In the earlier part of the scenario, the players and their Cyberpunks will have seen signs of the poor, and even ill, treatment of Synths, but here they will be confronted with direct evidence that Synths are treated as tools, ones that are discarded and destroyed. Make no mistake, Interlinked | A Carbon 2185 Mission Book wants the players and their Cyberpunks to feel sympathy with the Synths and be on their side.

Penultimately, the Cyberpunks have one final job to do for Thomas ‘Willy’ Williams and a Synth that he wants to get out of San Francisco. This is to escort them onto the B.A.R.T.—or ‘Bay Area Rapid Transit’—and thus get them out of the city. The challenge here is not that Villeneuve Robotics has sent security teams after them, but that B.A.R.T. is neutral ground in the city and weapons are not allowed. B.A.R.T. enforces this arduously. So, when it comes to any confrontation, the Cyberpunks will have to rely on their fists and feet, on their ingenuity, and any cyberweapons that they have installed. This sets up the classic good guys versus the bad guys railway station confrontation scene seen in so many films. The nod to film scenes, and the Film Noir genre, continues with the aftermath of the scenario as it quickly becomes apparent that the Synth Liberation Front is not as morally pure as the Cyberpunks might have first thought and likely have been led to believe up that point. The end of the scenario is more open and player-led than the earlier more directed chapters.

Physically, Interlinked | A Carbon 2185 Mission Book could be tidier and better presented in places. It is lightly illustrated with decent enough artwork. The floor plans are also decent enough, in the main depicting corporate or factory locations, so there is an anodyne regularity to them. It would have helped had the maps been given a key to their locations for easy reference.

Carbon 2185: A Cyberpunk RPG is an interesting setting and Interlinked | A Carbon 2185 Mission Book provides reasonable, if unspectacular support for it. With its multiple factory style targets, it does feel monotone in its depiction of the Carbon 2185 future and the Game Master may want to run other short scenarios in between the chapters to add a little variety. Of course, Interlinked | A Carbon 2185 Mission Book can be used as source material for any Cyberpunk roleplaying game that the Game Master is running, but as is, it works well enough.

More Than A Carbon Copy

The year 2019 seems quite the year for the Cyberpunk genre, as we reach the year in which the genre classic film, Blade Runner, is actually set, and the classics of the genre in roleplaying see the release of either a new Starter Set and edition, for example, Shadowrun, Sixth Edition or Start Set with a new edition to come, for example, Cyberpunk Red. It is joined by Carbon 2185: A Cyberpunk RPG, a roleplaying game notable for being from a British publisher, Dragon Turtle Games, Ltd. and for its mechanics being derived from those used for Dungeons & Dragons, Fifth Edition. From the outset then, the designers of Carbon 2185: A Cyberpunk RPG were faced with the challenge of adapting a set of rules strongly identified with Dungeons & Dragons and the fantasy genre to model entirely different genre. The good news is that they have succeeded and appropriately enough in 2019, have done so with a Cyberpunk roleplaying game heavily influenced by Blade Runner.

Published following successful Kickstarter campaign, the setting for Carbon 2185: A Cyberpunk RPG is the Earth of 2185, specifically San Francisco—a possible nod to the setting of Do Androids Dream of Electric Sheep?, the novel on which Blade Runner is based. It is a future which begins literally tomorrow with climate collapse, resource depletion, and an ongoing refugee crisis as corporations begin expanding offworld, building orbital factories, searching for new resources, and supplying Earth with deuterium for the new coastal fusion plants. The discovery and manipulation of several wormholes which connected to other star systems resulted in ‘The Scramble for Stars’ in which the megacorporations raced to discover and exploit new worlds. Many were suitable for colonisation leading to a steady flow of those who could afford to pay or were prepared to work for corporations in return for their passage from Earth to “...[B]egin again in a golden land of opportunity and adventure.” On these new worlds, the megacorporations were able to conduct research and development free from Earth’s oversight, which would lead to the introduction of Neurolink technology, Synths or biological androids, and power cell technology.

San Francisco is surrounded by high walls to protect it against the rising sea levels  and has been long divided into five districts from the fortified and secure corporate zone of District 1 to the gang controlled, near slums of District 5. Debt and crime are rife and many prefer to spend their lives in Virtual Reality pods than the pollution drenched streets and tenements of the city. As ‘cyberpunks’, the player characters are rebels, wanting to live independently of the megacorporations, and in the given scenario in Carbon 2185: A Cyberpunk RPG, they are connected to gang which will give them a sense of family as well as employment.

At the core then of Carbon 2185: A Cyberpunk RPG are rules and mechanics of Dungeons & Dragons, Fifth Edition. This means that it is a Class and Level roleplaying game, a twenty-sided die is rolled and bonuses added to determine success on an action, there are three Saving Throw types—Fortitude, Reflex, and Mind, and characters have Skill Proficiencies. There are changes, both minor and major, as you would expect. First off, instead of Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma, a character has the Abilities of Strength, Dexterity, Constitution, Intelligence, Technology, and People. Technology represents a character’s ability to deal with technology and People his ability to deal with people. Carbon 2185: A Cyberpunk RPG is primarily a humanocentric setting, so instead of Race it offers Origins, reflecting a character’s background. These are Badlander, who grew up in the heavily polluted regions between the Megacities where radiation has given the ability to see in the dark; the Gutter Punk, who grew up as street rats and in gangs; the Korporate Kid, orphans raised in corporate orphanages and are highly educated; and the Regular Joe. The two exceptions, are the Synth and the Wormer. The former is a cyborg manufactured offworld and indistinguishable from ordinary humans, but tougher and trained as warriors, companions, or labourers, whilst the latter is a  human born in one of the low-gravity offworld colonies, forced to come to Earth as a refugee. Some of the Origins may have Suborigins, but not all.

Carbon 2185 has six Classes. These are Daimyo, Doc, Enforcer, Hacker, Investigator, and Scoundrel. The Daimyo specialises in heavy weapons and leading teams, the Doc is a healer whose hand implant can inject healing nanobots into the injured, and the Enforcer is trained to provide military, law enforcement, or combat support. The Hacker breaks into computer systems to steal information, but can also control botnets to access the local electronic infrastructure or even mechs; the Investigator is a private eye or a journalist; and the Scoundrel is a thief, a smuggler, or a street thug. Of the six it is possible to map some of them back onto the archetypal Classes of Dungeons & Dragons, so the Daimyo with its Fury is a little like the Barbarian Class, the Enforcer like the Fighter, and the Scoundrel like the Rogue, but there are differences enough between them so that the similarities are not intrusive. All have just the ten Levels versus the twenty of standard Dungeons & Dragons, although a player character needs more Experience Points per Level and it does mean that campaigns are likely to be shorter.

To create a character, a player rolls his Abilities—on 2d6+5 rather than four six-sided dice and drop the lowest, with the effect of giving a slightly smaller range, but less deviation or by assigning the given array. Besides selecting an Origin and a Class, a player generates two further aspects of his character. The first is Vice, for example, “I am addicted to Crush. If I go more than 24 hours without it, I suffer withdrawals” or “I like to keep and look after synthetic animals.” They include beliefs, additions, fears, obsessions, and so on, and represent both a roleplaying hook for the player and a story hook for the Game Master. Between adventures they can be indulged in to gain temporary Hit Points, but exactly how that works will be up to the Game Master and player to determine. The second aspect is the character’s Background, essentially what he did between leaving education and becoming a Cyberpunk. This consists of a number of five-contracts, the player deciding how many contracts he wants his character to go through before retiring to life as a Cyberpunk. Each contract is five years long and trains the character in various skill proficiencies and languages as well as providing him with several thousand Wonlongs (the currency in 2185) and a parting gift. A character is free to stay in the same career or switch, the latter typically to gain access to a wider variety of skills. The only downside to the process is that there is a chance of injury in each contract period which will end the contract without payment and should the character take too many contracts, he will suffer the effects of aging. The contracts include Corporate Drone, Criminal, Entertainer, Explorer, Laborer, Law Enforcement, Merchant, Military Technician, and Unskilled Worker.  Overall, the Background generator feels like a simplified version of the terms used in Traveller and perhaps the only thing it could have done with, is some events to add further colour to the character’s background.

Name: PRV-1967-47 (Pierce)
Origins: Korporate Kid
Suborigins: High Flyer
Age: 38
Vice: I am careful and meticulous with my bonsai trees. Nothing distracts me when I am dealing with them.
Background: Contract Drone (4)
Languages: English, Japanese, Mandarin

Armour Class: 16 (DR/2)
Hit Points: 9

Strength 08 (-1)
Dexterity 16 (+3)
Constitution 12 (+1)
Intelligence 18 (+4)
Technology 16 (+3)
People 13 (+1)

Fortitude: 14 Reflex: 18 Mind: 20

Proficiency: +2
Skill Proficiencies: Bureaucracy, Computing, Deception, Engineering, Hacking, Persuasion, Sense Motive 
Armour Proficiencies: Helmets, Light Armour
Weapon Proficiencies: Melee Weapons, Pistols, SMGs, Shotguns
Saving Throw Proficiency: Mind
Exploits: Computer Interface, Hack Mech
Abilities: Healing

Equipment: Advanced Comms, Concealable Ballistic Vest
Augmentation: ZA Korp Enhanced Aiming MK. II

Mechanically, Carbon 2185 is basically the same as Dungeons & Dragons, Fifth Edition, but it includes a number of rules additions to make it emulate the Cyberpunk genre. For example, in combat, armour not only provides an Armour Class value, but a Damage Resistance value against ballistic damage. This protects against most firearms—there being no energy weapons in 2185—but not melee weapons like vibro knives and some ammunition types. The rules allow for major injuries to be suffered when a character is reduced to zero Hit Points by a critical hit and instead a player rolling to attack when his character fires a gun in automatic mode, the defendants in the target area make a Reflex saving throw to avoid being hit. This neatly places the emphasis on the defendants trying to not get hit and keeping their heads down rather than on the attacker having to roll for each person. 

Of course, the two signature aspects of Cyberpunk genre are Hacking and Cyberware. Both are very different to most other roleplaying games of the genre. In many of them, the Hacker character would have to play out sneaking into a network, overcoming the ICE, defeating the defending SysOp, and so on, all but a sub-game that none of the other players and their characters could participate. Further, all of that time spent in the computer network actually only took a few seconds in game time, but several minutes in real time. More contemporary approaches to the genre, as with Carbon 2185, simply have the Hacker be on the spot alongside his fellow Cyberpunks and his player making simple rolls to hack the local network, device, or mech. The one element of 2185 not discussed in Carbon 2185 is the nature of computer networks, but essentially the roleplaying game focuses on the local networks and leaves it up to the Game Master to decide that nature.

Cyberware is a bit more complex, but again different. In most other roleplaying games of the genre, installing cyberware detracts from your humanity or empathy—and in ShadowRun your capacity to cast magic—but that was never all that easy to roleplay. In Carbon 2185, cyberware, or augmentations, do not degrade your empathy; they poison you. Or rather, the power cells that power them do, leaking toxins and radioactivity into the blood. There are certain drugs which will counter both, but they are expensive and they have a limited effect, meaning that they need to be taken on a regular basis. Augmentations are arranged into tiers, the higher the tier, the greater its toxic effect, equal to its tier rating. Those on Tier 0, like Neurolink or an Enhanced HUD have no effect and the body can cope with them, but beyond that, from the Tier 1 Enhanced Aiming to the Tier 5 Supercharged Hidden Blade, and the augmentations begin poisoning the body. The base limitation or Blood Toxicity Limit is equal to twice a character’s Constitution modifier, so a character can have augmentations that add up to that before he considered to be poisoned. There are other limitations on augmentations. They can only be installed in seven locations—Neural, Eyes, Right Arm, Left Arm, Torso, Skin, and Legs—and only one augmentation can be installed per location. So they cannot be stacked in a location, but in general higher Tier augmentations are more powerful. There are also legal limitations, augmentations of Tier 3 requiring a licence, Tier 4 being reserved for the military and illegal for civilians to install, and Tier 5 being experimental. Of course, this does not mean that they are unavailable, but rather that they require certain Influence to acquire and they are expensive. The list of cyberware or augmentations is not extensive in Carbon 2185 as in other roleplaying games of the genre and some may be disappointed by the choice.

Influence represents a character’s standing and social cachet. It is measured on two tracks, Influence: Corporate and Influence: Street. Rated between one and twenty, at Influence: Corporate 1, a character gains access to the city’s auction houses or the black market for Influence: Street 1. At higher levels, a character can gain informants and access to higher augmentations. It will rise or fall depending upon the Cyberpunks’ actions, so kill an important member of a rival gang and Influence: Street will rise, but kill an important member of your own gang and it will probably fall. The Influence mechanic is fairly broad and open system with latitude for interpretation and nuance—and even expansion should the Game Master want to track the player characters’ Influence with multiple organisation.

As well as giving a timeline for its future of 2185 and describing the setting of San Francisco, Carbon 2185: A Cyberpunk RPG also includes tables of encounters district by district and a mission generator. It details the various corporations operating in the city, the many gangs—many organised along ethinic lines such as the Snakehead Tong, Aizutachi Yakuza, Diablos Eléctrico, and the Bratva, and groups of interest. The latter includes The Church of the Machine Bound God, fanatics obsessed with augmentations; The Enigma Collective, elusive hackers dedicated to toppling the corporations; The Synth Rebellion, which supports escaped Synths and protects them against the government’s ‘retirement agents’; and Villeneuve Robotics, a small, but ruthless synth design and manufacturing company. A number of NPCs are also detailed, ready for the Game Master to add to her game along with a wide range of enemies and villains, from Challenge 0 up to Challenge 11. They include civilians, gangsters, Wesleys—Crush addicts, spiderbot, mechs, synthdogs and canine mechs, retirement officers, cyberninja, liberated AI, spider tanks, and more. 

Rounding out Carbon 2185 is the scenario, ‘Chow’s Request: A Carbon 2185 Adventure for 1st Level Cyberpunks’. The cyberpunks are asked by a gang leader to retrieve some stolen property from a rival gang. Various hooks are given as to why the cyberpunks might want to get involved, including being indebted, wanting to join the gang, and being an undercover law enforcement officer. It is decent enough scenario, basically a snatch and grab and its consequences, primarily focused combat. It would have been nice to see some options for the Hacker Class for example.

Physically, Carbon 2185: A Cyberpunk RPG is a stunning looking book with a great cover and plenty of full colour artwork inside—although only in the first two thirds of the book. The layout tidy and looks impressive on its stark white pages. Unfortunately, dig a little deeper and there are one or two issues with the book’s production values. It does another edit, but the main problem is one of organisation in that a lot of the rules for actually creating a cyberpunk are in the rules section in the middle of the book rather than at the beginning and then the rules section comes after the one on combat. So expect to be flipping back and forth with Carbon 2185, especially when creating cyberpunks. None of this is helped of course, by the lack of index, an absurd omission in 2019, let alone 2185.

As solid a design as Carbon 2185: A Cyberpunk RPG is, it does feel slightly lacking in places. There is lack of commercialisation in its depiction of 2185, in that every item will have a brand and the brand you use matters in the Cyberpunk genre. The corporations are mentioned, but not the make and model of the items they sell. The presence of the media in the San Francisco feels underdeveloped and for any Game Master wanting not to set his campaign in the Golden City, there is only limited information about the world beyond its walls. Unfortunately, there is no advice for the Game Master on running Carbon 2185: A Cyberpunk RPG or the genre, and sadly, there is no bibliography either (although it could be said that Carbon 2185 wears its influences like adverts on your neurolink display). Thus no advice on the types of games that the Game Master could run, whether that is gang warfare on the streets of San Francisco, hunting down Synths as retirement officers, attempting to bring down the corporations, and so on. Hopefully a supplement specifically aimed at the Game Master will address these issues. 

If you are looking for a Cyberpunk or Science Fiction roleplaying game after playing Dungeons & Dragons, Fifth Edition, then absolutely, Carbon 2185: A Cyberpunk RPG is a good choice. Equally, it is a good choice if you are looking for a Cyberpunk or Science Fiction roleplaying game, the core mechanics of Dungeons & Dragons, Fifth Edition likely to be familiar and easy to handle, with the new rules and changes nicely emulating aspects of the Cyberpunk genre without disrupting the core rules and mechanics. Overall, Carbon 2185: A Cyberpunk RPG does an impressive job of showcasing the adaptability of the mechanics of Dungeons & Dragons, Fifth Edition whilst being solid take upon the Cyberpunk genre.