[OSSR]GURPS: Cyberpunk

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Ancient History
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Post by Ancient History »

Chapter 3: Technology and Equipment

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FrankT:

This chapter has one of the least enthusiastic lead-ins I've ever seen. The author assures you that generally speaking Cyberpunk settings are about TL 8 or 9, with Tech Level 9 advances being mostly medical in nature and reserved for rich people only. He then goes on to patiently point out that there are already GURPS books full of TL 8 and 9 gadgets, and you could jolly well go get one of them. It's like you're reading the author's passive aggressive whining to Steve Jackson about how he shouldn't have to write this chapter.
AncientH:

Last chapter was cybernetics, bionics, some specific positive qualities, yadda yadda. This is the actual equipment chapter for all the shit you’re not going to try and implant in your body.

In these days when you’re more likely to throw out your iPod when the internal battery expires than you ever are to replace it, dealing with shit like “power cells” can be a bit disconcerting. That’s not the most dated thing in this chapter, but it’s what it leads off with and is perhaps most iconic.

{Small aside: in GURPS Technomancer or whatever you have magic that actually can run off batteries, which yes means that you might need to carry around spare power cells for your TL8 wand of fireballs. There are times I love GURPS.}
FrankT:


The Power Cells rant is bizarre beyond belief. Everything runs on plutonium or antimatter or something. Figure it out your own damn selves. No recharging, no making antimatter bombs, final destination. I can't even figure out where the author was coming from here. If the author didn't want to bother thinking about how future devices were powered, why is there a half page tirade about how many inches tall a five pound power cell is (interesting fact: the D-cells listed here have a specific gravity of 11, which means that they weigh as much as if they were made of solid lead, while the B-cells have a specific gravity of 70, and are made out of fucking neutronium).

Ultimately it seems like a weird thing to take up half a page with. Surely, the power sources used in different cyberpunk worlds are different enough from what was in use in 1989 and from each other to warrant a discussion about their utility. But equally surely, the information given here is about the least useful possible rumination on the subject. This frankly seems like something that was copypastaed out of some eighties space opera to pad word count. The author really doesn't want to be writing this chapter – and it shows.
AncientH:

There’s a lot of shit in this chapter that other books would take for granted – like explaining that LASER is actually an acronym and spelling it out, or making a distinction between APS (armor piercing sabot) and APEX (armor piercing explosive) rounds for those old-fashioned chemical slugthrowers you insist on carrying around even those you live in a world of gauss needlers and laser pistols.

Speaking of which, laser pistols remain so rarely developed in fiction that these guys really shock you when they suggest various modifications for laser weapons – for $50, you can have a laser weapon modified to act as it’s own laser sight. Nifty! Still this entire chapterette could have been reduced to a one sentence “go look in GURPS Ultra-Tech” and that would have been sufficient.
FrankT:

Descriptions of equipment tell you both that you are in the eighties and also that this has been cribbed from something that is more space ship oriented than the nominal subject matter. You don't have “guns”, you have “chemical slug throwers”. Which is the kind of technobabble you would use if you were from the eighties and trying to talk as if you were from the far future space empire talking about the primitive boomsticks of the locals.
AncientH:

Star Wars still calls guns slugthrowers, for example.

Before Google Glass, there was the head’s up display (HUD):
A set of HUD goggles costs $500 and weighs 1/2 lb; it will run
off an A cell for a year, or can use the same power as other helmet or
suit systems.
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Pricing is ambitious, weight less so.
FrankT:

The choices of what to give writeups to (and by extension, what to leave unsaid) in this chapter are completely incomprehensible to modern archeologists. There's an entry for “attache case”. No, the cyberpunk future hasn't apparently made great strides in attache case technology, it just wants you to know you can buy one for eighty of those special future dollars this book throws around. This is I suppose the closest we get to a meaningful reference point as to what the money is actually worth. An odd choice is all, personally I'd have gone with the taco standard rather than having players set their monetary expectations by attache case pricing, but whatever.

ImageFat Stacks of Cash!
AncientH:

Yeah, this is 99% rock-standard “sci-fi” gear. You can equip Neal the Street Sam with durasteel longswords that cut Excalibur in two or opt to buy a vibroblade, a pair of anti-glare goggles costs $150 and a pair of light-intensifier contacts will set you back $300. There are a few stand-out items that are bizarre—electromagnetic mortar, spray-on ablative armor foam, a “biochemical” mist called Prism for disrupting laser attacks (have I mentioned lasers?), some Batman-style autograpnels which require Guns (Grenade Launcher) skill to use, scanlocks (electronic locks that are password or thumbprint/retinalprint/etc. encoded), electronic handcuffs that can be unlocked with a laser key from up to three yards away (what? Say it ain’t so, Cyberpig), a criminology kit (we would call this a CSI kit these days)…all kinds of stuff.
FrankT:

The chapter is largely a cut and paste job and really isn't edited that well. Outfitting a car to be remote operated costs $1 per ton (minimum $3000). Considering the relative lack of cars that weigh anything close to three thousand tons (that being seventy five cargo plane loads), I'm going to guess that's a typo. But due to how rudderless the costs and technology base is in this chapter (and indeed, this book), I really couldn't begin to tell you what the actual numbers are supposed to be.
AncientH:

I guess this is as good a time as any to really emphasize how tech-oriented that most cyberpunk RPGs tend to be. In D&D the solution to any given problem was combat, intelligence, or the right class-ability – often with a healthy dose of luck and dickishness necessary for good measure. In Shadowrun or Cyberpunk, a lot of the challenges were more skill-based, and a number of them really boiled down to what tech you had available. Cyberpunk characters in fiction were generally self-sufficient, skilled, knowledgeable individuals instead of combat monsters—they were their own spies because they had to be, and they’d end up proper fucked if they didn’t snoop when the snooping was good. The point is where a lot of D&D teams kit themselves out for an expedition, in a dungeon most of that shit goes to waste. In a general cyberpunk adventure, a lot of the incidental equipment might (arguably should) actually see use. Of course, there’s a lot of people that don’t play it that way…
FrankT:

The cyberpunk future was always envisioned as being clunkier and full of heavier stuff than the future actually ended up. The hand scanners that they use in airports apparently require you to chunk in an actual pound of batteries. It takes 3 seconds for a future password protected lock to verify your password and unlock. And of course, all of the measurements are in pounds, ounces, feet, and inches.
AncientH:

Don’t forget yards. The big thing about any given tech is generally size and speed; both are incredibly difficult to postulate very far in advance which gives a lot of cyberpunk tech nowadays a very retro feel. I mean come the fuck on, a Gibson-era cyberdeck is a behemoth compared to modern ultrabooks.
FrankT:

Yeah... why wouldn't you be able to flawlessly copy someone's mind and transfer it to a clone so as to create perfect mind and body duplication for like five thousand dollars? Frankly, I don't know why anyone would bother having children any more, considering how cheap it is to duplicate actual people. The book tries to pass itself off as generic cyberpunk most of the time, but the Braintaping thing really breaks that illusion. We've gone thoroughly off the reservation of what is normally considered “Cyberpunk” and are now talking about Cyteen. Which is a great book, and you should read it – but it's not Cyberpunk.
AncientH:

I will disagree in part with Frank on this point, since ROM constructs of people existed as far back as Neuromancer, and the general idea of uploading yourself remains a staple of cyberpunk-influenced works. That said, this is way more reminiscent of what became transhumanist literature and eventually found expression in cortical stacks in Altered Carbon and the Eclipse Phase RPG. It’s not that it doesn’t have a place in Cyberpunk, put this kind of “transcendence from the flesh” should arguably be rare, difficult, flawed, and/or made such that it brings into question important aspects of the character’s humanity (and definition of humanity)…in other words, the same way that upload-tech was used in cyberpunk fiction.

I would probably point this out as one of the main flaws of GURPS-style books, is that they do focus so much on giving you the mechanics to play however you want that they rarely address limitations—they throw a lot of shit at you and let the gamemaster decide what sticks in their game and what does not.

The chapter ends with cloning (forced-growth clones!), brain transplants (okay?), and lots of drugs with names like morphazine and my personal favorite for wackiness: Dryad.
Dryad is the street name for Di-radiochloride, a bizarre form of irradiated swimming-pool chlorine that was discovered in the late 1990s. It is available in both powder and tablet form. Each dose of Dryad weighs 1/4 gram and costs $10; the effects last 30 + 5d minutes. During this time, the user has the Overconfidence and Paranoia disadvantages. It also raises Speed by 1, but decreases DX (and all DX-based skills) by 1. If taken infrequently, Dryad is non-addictive. At the end of each week that a character has used Dryad more than once per day, he must make a Will roll to avoid Addiction. Dryad has no penalties on the withdrawal roll, and is a -5 point Addiction.
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Last edited by Ancient History on Wed Jun 05, 2013 11:22 pm, edited 1 time in total.
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Guyr Adamantine
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Post by Guyr Adamantine »

Dude, spoiler that pic.

EDIT: Thanks!
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Ancient History
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Post by Ancient History »

Yeah, sorry.
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Post by Surgo »

At what point is it considered that the cyberpunk genre was pretty dead as far as a literary genre? When did "post-cyberpunk" start? Is that still with us?

As far as literature goes, I really enjoyed the cyberpunk stories more than most others. Seems like it's pretty much dead nowadays though, which is a shame. It doesn't have to be married to a vision of a near technological future that didn't quite happen.
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Post by Ancient History »

Most people who know anything about it consider Cyberpunk proper to start with Neuromancer or Bladerunner and end with Snow Crash. That's a very loose pair of bookends however you cut it - look at Gibson's fiction (or any of that in Mirrorshades) and there's not much that hadn't been in place in science fiction in one form or another since the 1960s; Gibson just hit the right combination of style and attitude that seemed to gel the whole thing. (The term cyberpunk was actually invented by Bruce Bethke in a different story.) The end of cyberpunk is more nebulous, but Snow Crash usually stands out because it can strongly be read as a deconstruction of a cyberpunk novel or genre, and in Diamond Age Stephenson deliberately starts out with a cyberpunk protagonist and then kills him off early so he can move in a different direction.

But like I said, it's loose. There are plenty of works written before or after that people would recognize as cyberpunk, or influenced by cyberpunk. Hell, John Shirley released his "lost cyberpunk" novel Black Glass a couple (fuck, many) years back.

The thing is, as I said, cyberpunk was not a movement. It was a bunch of authors that were working on their own stuff influenced by New Wave science fiction and often touching on issues like implants, the growing influence of computers and corporations, projected ecological disasters, &c. The best of it touched on some profound aspects of human alienation from the tech-based world they were finding themselves in, or that they thought would come; the worst of it was a bunch of immature power fantasies about killer cyborgs rebelling against faceless evil megacorporations.

And the thing is, all of that has it's place. Marvel 2099 wasn't cyberpunk, but it drew on cyberpunk and was distinctly fresh and different when it came out. Ghost in the Shell wasn't terribly dissimilar to some of the other crazy pseudo-scientific stuff that Shirow puts out (Orion, anybody?), but it struck a chord with some people (and not just because of the guns on the cover). Gibson's never really understood technology when he was writing Neuromancer, and that's why his half-mystical take on it is ultimately so timeless, evocative, and long-lasting in a culture that seems to spend half of its life on an internet that looks nothing like the Tron-grid.

So yes, cyberpunk is dead, long live cyberpunk. You may not see a lot of authors attempting anything discretely cyberpunk-ish these days, but you see a lot of cyberpunk influence on the fiction of, for example, Charles Stross, Neal Stephenson, and Michael Chabon. (Not to mention all the old-school cyberpunks like Bruce Sterling, John Shirley, Pat Cadigan, Rudy Rucker, et al. who aren't dead yet).
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Post by Username17 »

I would actually say that the existence of Ghost in the Shell heavily implies that Cyberpunk is not dead. It's certainly different now. But to the extent that people can write up a top ten of Pop Punk bands for 2012 with a straight face, Cyberpunk is still a thing. The "punk" part may look more like Blink182, New Found Glory, or Green Day than the Sex Pistols or the Dead Kennedys, but it certainly still exists.

Ghost in the Shell is very indicative of where the genre has gone actually. The world is the same combination of environmental, political, and corporate dystopia that it always was in genre fiction, but now the characters who live in filth covered hovels with burger wrappers and rats to keep them company while they save up for a new body enhancement are no longer the protagonists. They are still there, they just aren't the POV characters for the most part.

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Post by Blade »

Cyberpunk has gone the way 50s sci-fi stories about how we would all live or go on holidays on the moon have gone.
Cyberpunk met two things: reality and new cultures.

Some of the things "predicted" in Cyberpunk became reality: an omnipresent global computer network, the rise of the multinationals, the fall of Nation States. Other didn't: Japan dominating the world, the zaibatsu model becoming the norm... Others are yet to come: direct neural interface and cyberware are still at an early stage.

Cyberpunk wasn't just about the tech and the stories, it also was about the atmosphere, like 20s Noir, like 50s space sci-fi, Cyberpunk had a cultural identity that was deeply linked to its decade. Some of that identity is still valid: concerns about pollution (even if they're not the same now), concerns about the power of companies. Some isn't as widespread as it was: punk culture being the most obvious.

So today, doing cyberpunk is different than doing it in the 80s/90s.
Some people play it straight, playing on the retro vibe. They'll write cyberpunk books where Japanese zaibatsus rule the world and people rush to public phones when they have to make a call.
Others made it evolve to keep with the time. That's what's called "post-cyberpunk". Ghost In the Shell is a good example. Its world is a more credible future than Neuromancer's, the vision of tech is more in line with today's culture and the "punk" in cyberpunk is a little less present, and has little to do with 80s punk culture.
And others have moved on to other universes, mostly transhumanism or techno-thrillers.
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Post by Chamomile »

I think the main reason cyberpunk lost its steam is that it ran into reality. Too much of what the genre was speculating about became actually true and therefore not much of an interesting concept anymore (writing about a world where corporations are more powerful than nations and computers worldwide are networked together allowing instantaneous global communication can't be the selling point of your setting anymore, because that is the real world), and most of the rest turned out to be actually kind of ridiculous. Software corporations are actually competing to be the most wacky place to work because Google murdered all the competition forever by hosting HALO tournaments every Tuesday, our real life cyberpunk protagonists Anonymous turned out to be more mischievous than deadly, and Japan turned out to be not much of a big deal. Basically the only thing left to the cyberpunk genre that isn't either reality or nonsense is the implants.
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Post by Almaz »

Cyberpunk still presents a novel and interesting way to reflect on (and these are the fundamental foci of the genre) our inner universe, how it is constructed by the environment (i.e. technology), and the difference between "user" and "used." The fundamental reason that the cyberpunk genre includes bionic implants is because it helps expose, via technology, the way in which people are turned into objects that can be used, and their abilities modified just like any object can be improved in its construction. Even today, we are still used to think of ourselves in terms of "user" so much, when the lines between "user" and "used" are not quite so clear. This part of cyberpunk is not dead, and is quite visible in, say, the actual dialogue of Neuromancer, for instance.

That and they're cool.
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Post by Ancient History »

Chapter 4: Netrunning

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FrankT:

At 36 pages, this chapter is the longest in the book. Heck, it basically is the book. And there are conflicting accounts of how much of this chapter had to be rewritten in a hurry because the T-Men didn't let them have all their data, so it's possible that a lot of the chapter's sloppiness. But be advised: there is a lot of sloppiness in this chapter. It actually feels like you're reading a Geocities page, with little text boxes on both sides of the main body filled with interjections, addendums, and off-topic musings. Truly ahead of its time, as incoherence of that particular sort wouldn't fill up the internets for like eight more years.

Since GURPS CYBERPUNK is all about being a toolkit, the author presents a number of options for how hacking (which is called “Netrunning”) might possibly work. The presented continuum runs from “realistic” to “mystical”. The “realism” of course needs finger quotes, because the ideas of some tech-savvy dude in 1989 about what was and was not technically feasible has long since been left in the dust. There is however an important insight right at the beginning that I want to highlight:
GURPS CYBERPUNK wrote:remember, cyberpunk is a genre defined by the struggle, not by the computers!
Words to live by.
AncientH:

Part of the clunkiness for this chapter is simply that the personal computer revolution, while well under way at this point, had not yet really entered mainstream consciousness. Today, we look back at Star Trek and Star Wars and marvel at how in the future we’re back to room-sized mainframes with spinning tape drives; we wonder where all the iPhones were. Well, this was written back when the closest thing to an iPhone was a Motherbox from Jack Kirby’s Fourth World. There was no World Wide Web yet, no hypertext. There was shit like telnet and it would cost a couple bucks to send a fax internationally. So a lot of the conventions of the internet like having a handle instead of using your real name actually had to be explained to people.

There’s a lot of sidebars in this chapter, so while Frank rants on about the main text I’ll try to cover some of the stuff he skips.
FrankT:


When two computers love each other very much, one becomes a terminal of the other. And that is where fanfic comes from. The basic setup of the computer types looks good at first (dedicated computers, personal computers, minicomputers, etc.), but then when you look at the fine print it all goes to crazy. Household computers that weigh 30 pounds and cost fifteen grand, office programs that cost two thousand bucks, that kind of thing.

The choice of cyber-lingo seems pretty poor. Tracing someone's meatspace location is apparently called “doing a GOTO”, which is a reference to computer languages that no one gives a single fuck about these days (except for those poor bastards who have to manage legacy devices). VR experiences are called “feelies”. And google alerts are called “News Daemons”, which sounds simultaneously much more awesome and much sillier than the actual terms people used. All in all, the author doesn't do a good job of writing future slang that sounds plausible. This is weird, considering that the actual cyberpunk books of the time were full of futuristic slang that sounded cool in the 80s – and a not inconsiderable portion of that jargon is still cool now.

The encryption/decryption thing is pretty weird. There is a bunch of die rolling, and it will probably take you a few days to break someone's encryption. What's really weird is that it supposedly takes an hour to decode data when you already have the key. Even by 1989 standards, that's fairly bizarre.
AncientH:

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What’s a megabyte indeed. This was a book written by people that had probably heard of Moore’s Law but hadn’t quite understood the implications. Some of the clunkiness can be explained by the fact that this is actually adapting the computer rules from GURPS Ultra-Tech, which was written even earlier and modern minicomputers really did weigh thirty pounds.
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A major WTF readers might have is reference to “tri-v” and holographic whatsits. Yes, in the 1990s everybody really did expect holograms to be a thing, right next to the fucking flying cars and jetpacks.
FrankT:

The grim future of TL 8 uses double sided DVDs for storage. Like, exactly double sided DVDs. They are described as being the size and shape of CDs, but holding about ten gigabytes of data. Which is an actual thing that was the actual standard... in 2005. Which is simultaneously disturbingly prescient and frustratingly myopic for a futurist at the end of the 1980s. Flash drives and Blurays are not on this horizon – I think Shadowrun was actually closer with its “Optical Chips”. Your other option is “ROM Decks”, which are one pound removable hard drives full of read only memory. That is the dumbest thing I've ever heard of, and it seems like that would have seemed cumbersome and stupid even in 1989. Yes, people used read-only compact discs with a straight face, but those things weighed fifteen grams, not a fucking pound. The author's desire to have batteries and memory storage be so bulky and dense that their weight was worth tracking is fairly mind boggling. That shit is no fun for an RPG and considering how little those things already weighed in the eighties it's really hard to make a realism argument for this shit. Mostly it seems like an excuse to try to force the players to spend a long time figuring out how many pounds and cubic yards and shit their peripherals take up. And even before the age of iPhones and Androids, that was just really obviously not the direction things were heading. It's like the author cut his teeth on Traveler and just couldn't fucking let go.
GURPS CYBERPUNK wrote:With storage media cheap and plentiful, a 5 megabyte per second data transmission can send the average compact disk in about 90 seconds.
Today of course, we would call that a “weak connection”. But I think it's interesting here that the comparison point is the compact disc, as opposed to the “double density compact disc” we think of when we talk about CDs today.
AncientH:

Publishing: The laser printer will become a standard accessory in the home, as prices continue to drop. The publishing market will boom as it becomes less and less necessary to actually print 100,000 copies of a book. Instead, the reader downloads the text to his laser printer where it is poured out and neatly bound (glue is cheap). If color technology continues to grow cheaper, the reader will even get a copy of the book's cover and interior color to go with it!
Bless their crooked little hearts.
Games: While there are several versions of online, interactive games available through commercial computer networks in the 1990s, these are characterized by limited graphics (usually based on text characters) and low sophistication. With the advent of wide-band interactive transmissions, new heights can be reached in simulation. Imagine a fantasy roleplaying adventure in which party members were players from around the country, each having a realtime display of the surroundings and the other characters transmitted into their living room (or directly into their brain, if neural interface technology is available!).
I think Blizzard is working on that last bit.
FrankT:

Much fuss is made over computer programs that give you bonuses to skills. In general, these cost a small four digit figure of cash and give you +1 to a skill. This is not a terrible implementation from a game mechanical standpoint, but I'm not really sold on the “Realism” end this is supposedly also supporting. I'm pretty sure software piracy was already a thing in 1989, and it's a fairly core conceit of cyberpunk literature. How is a monetary cost supposed to balance software for a group of cybernetic thieves?

Where we get into the realism is in the description of hacking things itself. This is where the author points out that “brute force” is actually trivially easy, because one in five accounts is “protected” by a simple variation on a common password like “secret” or “password”. Nevertheless, there is a strong disconnect between the fluff and the rules, because your chance of guessing a password is just a roll based on your Computer skill. And then that's followed up by a bunch of crazy bullshit unique subsystems where you roll a non-standard test to determine if the account you hacked is a “super user” account or not.
GURPS CYBERPUNK wrote:One of the most popular types of system on the net will be realtime conference centers — commonly called chat systems. These are nodes with a high number of incoming lines which allow users to communicate (both publicly and privately) with each other.
He's describing IRC, which was indeed going to be one of the most popular types of system on the net. It peaked in 2003, and has been fading ever since.
AncientH:

There’s actually a couple pages on guessing passwords, which is what counts as “realistic hacking.”

Program prices are, to be fair, insane. Also rather restricted. Desktop publishing software “used to create and manipulate image and text files and to do simple grammar, spelling and usage checking” is $1,000 and Complexity 2. By that standard, Adobe’s Creative Suite would cost $50k and require a specialized mainframe, probably brought to sentience by magical elves. The app market wasn’t only not considered, it was simply beyond consideration.
FrankT:

GURPS CYBERPUNK wrote:So if computer systems are so easy to break into, how can the PCs keep their information away from prying eyes? The answer, of course, is that they can't. The same techniques they use to break into other peoples' systems can be used on theirs.
This is an extremely mature take on the hacking problem, and I'm really surprised to see it in a “realistic” hacking description. But basically, yeah, he's totally right. The reason why even expensive secure installations are constantly having their e-shit stolen is because impermeable security is simply not really workable. No Dunning-Kruger bullshit about how the truly l33t can keep their information safe and stuff gets hacked only because sheeple lack computer smartz or any of that shit. Just: goose, gander, equally good, get the fuck over it.

Then the author ruins the moment by suggesting that you can make yourself safer by putting your important information on floppy discs.
:mantears:
AncientH:

Given that computer networks aren’t quite the internet in GURPS Cyberpunk, it’s still not entirely clear what the fuck they’re there for. This basic struggle with “I’m online. Now what?” is still something the internet struggles with today, and the guys writing GURPS were too pussy or pure-minded to suggest filling ever-increasing segments of it with porn and shopping.

One of the sidebars deals with access levels, something that is an old standby for cyberpunk games. The concept is pretty intuitive—all users on a system cannot perform all actions and see all things. In practice, this again runs up hard against the internet; most users don’t even know what they are and are not allowed to do on their own computers, much less worry about it, and in real life access tends to be much more split—so just because you’re Vice President of Accounting doesn’t mean you can go and see what porn Jim in Engineering is browsing during lunch.
FrankT:

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The actual bit on cyberspace is batshit fucking insane. First of all, it looks like Tron. Fair enough, it's the eighties, everyone knew that cyberspace was going to look like Tron. But then they go to real crazy town with people paying fifty grand to have a command line interface installed in their head that they can interact with by subvocalizations. I... I really have no idea what the fuck. That doesn't seem like the semi-mystical alternate reality of Wintermute, it doesn't seem like the ice-breaking matrix ninjitsu of Dreams of Flesh and Sand, and it doesn't seem remotely plausible. I honestly can't figure out what the author was trying to accomplish here. It's futurism that seems myopic and bizarre while pointedly shitting on the source material it's supposed to be trying to emulate.

The actual mechanics of doing netrunning combat are essentially unplayable:
GURPS CYBERPUNK wrote:For every 0.1 subtracted from the SI, decrease the price by 10% (to a maximum discount of 50% price for an SI of 0.5. When computing the Phase length of a modified deck, round off to the nearest 100 milliseconds (e.g. 1,250 would round up to 1,300, while 1,249 milliseconds would round down to 1,200.)
Yes, really. They want you to keep track of 100 millisecond phase counts for the entire duration of the action. It's a nightmare of bookkeeping and bullshit.
AncientH:

Imagine a midnight-black void filled with shimmering pinpoints of light, each representing a nugget of data more precious than gold. Neon grid lines connect communication hubs, while glowing streamers of data reach into the stratosphere to link with chrome satellites.
Image

The false topology of networks has been a source of unending grief to a lot of people and roleplaying games over the years, and ultimately I think you have to blame electrical engineers—because this “nodes” stuff is all engineering talk borrowing vocabulary from circuit diagrams and shit, and a lot of it has nothing to do with the user experience. When this book was written, Windows 3.0 hadn’t even been released yet and so people were thinking of the Matrix as MUDs instead of…well, instead of your computer talking to another computer.

I’m going to take a moment here to put out that the idea of “putting your brain on the line” by being a netrunner with neural implants/jacks/whatever is an old but weird one. I guess it starts with Gibson and Neuromancer, but even Bruce Bethke in Headcrash makes a point that the idea of “lethal feedback” is super-retarded. You’re not plugging your brain into a power outlet, and even if they did somehow send 50,000 volts at you, the chances are the plug would melt before your frontal lobes did.
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FrankT:

Actual ice breaking is done by a bizarre game of Simon Says. Each type of ice has a unique type of icebreaker program that you have to fight it with. And if you don't have the right one, you make your hacking check at minus four, or sometimes a cyberdeck operation check at minus five. Hacking and Cyberdeck Operations are different skills, because fuck you. GURPS grades skill checks on a curve, so minus four is a lot. The list of ice and ice-breaking programs goes on for five pages and is filled with such fascinating banalities as how you use Shield to stop Sever and Crumble to attack Code Wall. There are little diagrams, but this section is only endurable if you read it in a Battle Beasts voice. “Wood! Wood beats Water!”

The hacking rules are based on the number of “hops” you have to go through to reach the topological location you are hacking in. And latency matters, because time times off 100 milliseconds at a go. This is a sign of the times, in that Shadowrun of the period was also trying to do dungeon crawls through network diagrams. It really is a terrible way to do things, but for whatever reason that is how people thought they were supposed to make hacking rules in the late eighties. I dunno.
AncientH:

If this sounds a lot like Cyberpunk 2013/2020 and Netrunner (which is based on Cyberpunk 2020)…uh…well, it’s pretty damn close. Practically a rip.

Proving that they paid attention to Pat Cadigan’s Synners and Gibson’s “Winter Market,” they also make provision for musicians with a neural interface just shitting music right out of their brain:
With the appropriate sequencers, digitizers and synthesizers, a musician can bring those sounds to life. As electronic instruments such as digital horns and keyboards proliferate, he will be able to control them by just thinking. In addition, by using digital-to-digital converters, a chiphead can listen to music by having it piped directly into his brain — without ever going through his ears. This means that finally, people will be able to listen to music as loud as they like without distortion, and never bother anyone else (or have to worry about nerve deafness)! It also means that either through the Net or a local area hookup, musicians can create, sequence, produce and "listen" to music that no one else can hear — an event known as a "closed circuit jam." Chip recordings of these jams sometimes sell for a pretty penny.
No iTunes, no tinnitus. Star Trek future again.
FrankT:

The chapter rounds itself out with a couple of sample networks and a sample netrunning combat. I don't know how anyone could have written that half page simplified example of play that takes up less than six seconds of real time and has only one hacker involved and not known that they had made an unplayable system. But considering that Shadowrun did the exact same thing nearly twenty years later, it seems that checking to see if your example of matrix play wasn't completely fucking unplayable is less obvious than I thought.
AncientH:

The GM will need to keep time in units equal to the shortest Phase in the combat — if Deck Wizard is using a deck with a 1,000-millisecond Phase to attack a system that has 500-millisecond Phases, the GM will have to keep track of time in half-second (500-millisecond) intervals, as the faster system will act twice for every action that Deck Wizard gets.
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It is a clusterfuck. A large part of it is that the Matrix is just treated as a Special Dungeon, and your character there treated like a regular character (sortof) with all sorts of bizarre limitations based on how gee whiz your cyberdeck. The speed thing is the most galling and complex part of it, and I think even at this point the guy writing the book realized this had turned into a real fucking slog of a subsystem, practically a minigame—and a solo minigame for the most part. So there is a sidebar which just reduced all this attack/defense rules bullshit down to a single opposed skill roll. It’s probably what they should have gone with in the beginning.

Some of the concepts involved in hacking are so old most people won’t even make a lot of sense of them, like “piggybacking” where two users are jacked together and…well, it didn’t make a lot of sense then, and it is almost meaningless now.

There are also SOTA rules for programs, which are absolutely punishing for any campaign that last more than a month or three.
Note that a very secure system derives its security from physical protections. In most cases, it will not be connected to the worldwide Net at all.
Frank was probably exhausted before he could rant at this, but there’s a smidgen of justification to it—not only is it true, but again it featured in Neuromancer (sortof). Ideally they’d emphasize that not being able to hack a secure network rather invalidated the netrunner to a large degree. They also have an entire sidebar dedicated to hacking trashbins, which means they predicted the basic plot of Hackers several years early.

Artifical Intelligences are also covered in this chapter, and start out smarter than you (IQ 15) and for a couple million GURP$ (read: GURPS-bucks) can have an IQ of 22. Which is actually important for some things. There are a bunch of relatively high-TL spells in GURPS Magic where you can actually make a magical AI (conjure machine spirit or something) based on the Complexity of the computer, and it’s a way cheaper than that. I had a character with a head-computer that summoned a magical AI and bound it as their familiar. Good times, good times.
Last edited by Ancient History on Sat Jun 08, 2013 12:07 pm, edited 1 time in total.
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Post by nockermensch »

news daemons actually sounds plausible, and I'd not blink if the authors got the term from real life. A daemon is the UNIX term for code that runs on the background doing something for you.
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Post by tussock »

It's funny how no one realised hacking is where you get a hundred thousand other people's computers to all run the same brute-force attack program for you. When was the first worm anyway?

Weird, wikipedia sent me to some page about an obsolete taxon for slimy invertebrates.


Yeh, plenty of predictions in the 70's, a few actual self-propagating system file destroying viruses and worms in the late 80's (most against the Mac II). No persistent botnets until about 97, mostly used for spam. Who would've guessed mass advertising was the main channel for the underworld, only anyone who understood the black market?
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Post by kzt »

The program that Robert Morris wrote and released on Nov 2, 1988 as a Cornell student is generally credited as the first. In what is likely a total coincidence, his dad was an NSA employee.
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Post by Ancient History »

Chapter 5: World Design

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FrankT:

GURPS CYBERPUNK wrote:The GM of an ongoing campaign has two choices. He can use his favorite story background — or he can create his own cyberpunk world.
I would say this quote is basically the primary reason why GURPS CYBERPUNK is a footnote in history while Shadowrun and Cyberpunk 20XX are still reasonably well known. The hubris of telling people to just go use a setting from a story you liked and convert it your own damn self (or roll your own from scratch) is fairly offensive at the best of times. And for Cyberpunk, it's even worse. The big problem here is that Cyberpunk as a story genre is heavily into in media res stories. Simply reading a book or watching a movie does not give you enough information to do a cooperative storytelling exercise in that world, because very little world information is actually given.

For an example of how this works (or doesn't), let's turn to the greatest speech in Cyberpunk: the death of Roy Batty.
Roy Batty, Bladerunner wrote:I've... seen things you people wouldn't believe... [laughs] Attack ships on fire off the shoulder of Orion. I watched c-beams glitter in the dark near the Tannhäuser Gate. All those... moments... will be lost in time, like [coughs] tears... in... rain. Time... to die...
It's perfect. It's haunting, it's emotional. It implies the existence of a setting spanning many worlds and brings it down to a context that is deeply human while confronting core issues of mortality and meaning. If there is one moment that justifies the existence of Cyberpunk as art, it is that one.

And yet, what are you supposed to do with that in a cooperative storytelling context? The speech is so evocative, so haunting precisely because it doesn't tell the audience fuck-all about anything. Roy Batty's experiences are personal and not shared with other people. You don't know what the Tannhäuser Gate is, or whether it even exists anymore. Those moments really are lost like tears in rain, and the audience shares in that loss by being unable to put those words in context. And that is beautiful and deep, and it is totally fucking unhelpful if you want to run a game with multiple contributing people set in that universe.

The suggestions for making your own world aren't much better. Basically it directs you to a no-shit bibliography and tells you to mix and match ideas from various books and shit. You know, whatever. All in all, this makes this entire book only slightly more helpful for running a Cyberpunk game than any random cyberpunk technothriller you got at the used bookstore.
AncientH:

The closest GURPS ever came to an actual cyberpunk world was Shikaku-Mon from GURPS Alternate Earths, and that lacked large chunks of stereotypical cyberpunk settings like direct neural interface. In a way, the excessive general-ness of setting books like GURPS Cyberpunk is their weakest part—the GM is given a lot of material to pick and choose from, the setting is left mostly up to them.
FrankT:


Where the author does contribute is with a decent description of genre conventions and how they relate to the cooperative storytelling experience. Sure, many Cyberpunk worlds have various space stuff, but the action all takes place on Earth, because that's more familiar to the readers. And in the game, this means that when you say a place name, it provokes recognition, and when you need to go somewhere there are maps available.

This is actually pretty decent insight, especially for the Bush Sr. administration. You'll note that this is in fact exactly how it played out for Shadowrun over the next 23 years. There was always various “space stuff”, but you still got fans squealing like a stuck pig every time you mentioned actually doing anything with it, because they just got used to not thinking about it. To go back to the Bladerunner event a bit, that world totally has off-world colonies, and Roy Batty apparently was involved in space battles somehow. And yet, nothing actually happens out there. The events are grounded on Earth even when people get into flying cars. To many Shadowrun fans, the space stuff simply doesn't exist, because it's a part of the setting that never appears in the actual action. How many people think back on Bladerunner and don't even remember that the off-world colonies were mentioned?

It's certainly an interesting part of Cyberpunk literature and gaming, and it's equally interesting to see this book pull the man from behind the curtain and straight up tell you how it works.
AncientH:

Save the whales? Forget the whales. The last one died years ago.
Drugs, urban blight, organlegging, all the usual suspects here, with a couple weird variations—cyberghouls, clone families, that sort of thing. The section on economics talks about the death of physical currency and the (probable) rise of electronic credit, but speculates some restrictions on large (>$1000) transactions that are hilarious in hindsight. Also, they throw around shit terms like corporocracy, and techno-feudalism, which is just bizarre.
FrankT:

With 20 pages to fill in the chapter, and a Max Headroom-like attention span, this chapter reads at times like you're listening to a child with ADHD list off his favorite things. Ideas that are half- or even quarter-assed get thrown out in rapid fire format, with the onus on the GM to pick through it. The weirdest part though, is that the author's attempted tone is one of chin-scratching futurism. That this banal list of science fiction tropes is actually reasoned speculation about the coming future where... we have aristocrat families made entirely of clones and people who pass out on the street have their stomachs cut open in the hopes that there is resalable enhancements somewhere in the hobo blood piñata.

The fact that many of these tropes are not so much remotely plausible as literary devices used to critique failings of modern society – seems to have completely missed the authors.
AncientH:

The deeper you go down the rabbit hole, the deeper it gets. This chapter is just filled with chunk after chunk of information, half of it crazy. Case in point:
Class 4: While the device has many legitimate uses, it can also make some types of crime easier. Example: a high-speed modem, a data-encryption program.
Yes, that’s correct, a high-speed modem is considered quasi-illegal.

Bonus points for talking about stuff like “vat babies,” contract marriage (with renewable 3-5 year terms!), changing family structures, and samizdat.

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Look it up.
FrankT:

While the computer section basically read like they were describing the grim dark future of 2003, the transportation and medicine ruminations sound more like 2083. Cloned people, indefinite life extension, high speed maglev trains, mach 2 passenger jets, and so on. The ruminations on the environment are primitive even for the time. Sure, cap and trade measures stopped the onslaught of acid rain in the nineties, but that sure as fuck hadn't happened in 1989. The book presents the main ecological dilemma as being whether nuclear power becomes cheap and ubiquitous after the safety issues are ironed out, or whether the rush to build more nuclear power ends up with more nuclear disasters and large tracts of unusable land. I remember environmentalist discussions in the eighties, and I remember the environment as portrayed in Cyberpunk literature, and it was a lot more horrible in a lot more different ways than that.
AncientH:

The major problem with this chapter of the book is that in and of itself, none of the changes/tropes/whatevs it talks about are necessarily good or bad—okay, maybe the last whale dying years ago is bad, but it’s a bit like Marvel 2099, where yes the world is ruled by megacorporations but holy shit flying cars. Cyberpunk futures depend a great deal on emphasizing general fucked-up-ed-ness; they live in the grungy corners of the AppleStore future.

Speaking of which, a word on fashion:
Retropunk/Metallist — a mixed look drawn from the punk rock groups of the 1970s and the heavy-metal bands of the 1980s and 90s. This is a very popular look in the rougher parts of town, as black leather not only serves as crude armor, but doesn't show blood. Chrome and rhinestone studs, with broad leather belts and razor-sharp buckles, abound. Outrageous earrings are displayed, and hair is either waist-length or in a spiky mohawk.
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I don’t care what people say or how many times people wear bellbottoms, the 80s are not coming back.
FrankT:

The governments list reads more like a wikipedia list than it does like a role playing supplement. The author (un)helpfully informs you that a Theocracy is rule by a religious elite. No real effort is made in tying that in to how this would possibly matter in a Cyberpunk setting. Sure, there are many theocracies in Cyberpunk source materials, but the entire description is merely that it “ is rule by a religious elite”. Seriously, that's the whole paragraph.
AncientH:

Prayerware
With computers pervading the households of the world, it is only natural that they will begin to be used in religious observances in day to day life. Simple programs might do nothing more than sound the call to prayer five times a day for an Islamic family, or help a Mormon do genealogical research. By the mid-1980s, several versions of the Bible were available on computer disks. But what about interactive software? A devout Catholic could say several hundred Hail Marys per second if plugged into a fast enough computer with the appropriate software. There would also be a great demand for behavior chips (see p. 38) of a "proper" member of the church. And how much could you get for a braintape of someone who claimed to have spoken to an angel or a god?
This is both something that people really would want and an example of something that for whatever reason…hasn’t quite taken off. I mean, it’s out there, but it’s not ubiquitous. Again, you have to remember that this was before the Web, when people just put the Bible up there and you could search through it whenever you wanted to. So this is from the period when the high water mark for religious technology in science fiction was the Orange Catholic Bible from Dune.
FrankT:

Some of the stuff in sidebars is adventure hooks, and some of it is rules. It really brings home the “you are reading a Geocities page in print format” feel. Anyway, the rule of law (or lack thereof) is based on a “Control Rating”, which runs from 0 (Anarchy) to 6 (Total Control). The weird bit is how 1 is “Very Free” and 5 is “Repressive”. Apparently the author is some sort of libertarian nutjob who thinks that government is bad all the time. Having stronger and more effective laws comes with heavy regulation of photocopiers, liberal use of the death penalty, and harsh and unfair taxation. The entire “Control Rating” simply runs on a continuum from “Thunderdome” to “North Korea”. That might have made sense to include as a tongue-in-cheek rant about how you're playing fucking Cyberpunk so society is always bad. But it's presented as if this was reasoned political theory instead, which makes it all weird.

The legality rating system that goes hand in hand with it really doesn't make a lot of sense. It has seven classes of legality for equipment, and literally the entire chart is dedicated to explaining how high taxes have to be before you aren't allowed to own a high speed modem. Really. I know these guys had their modem seized by the T-Men, but they had to understand on at least some level that that situation was not particularly typical.
AncientH:

Similarly, the whole Net Mysticism thing has failed to draw a crowd. You can find websites chock-full of bullshit love spells, but you don’t have a lot of cults on the ‘net preaching that the AIs are out there and want to fill you with their hard, steaming love. Like porn-on-the-web, it’s a bit of a stare into the abyss moment—when you get down to what people imagined would happen with computer networks and what has really happened, the results are both incredibly banal and amazing in ways that are hard to describe, but enhanced spirituality is just not one of the things on the menu.

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People do not see spirits on the ‘net. At worst, they see Slender Man. And that is something no one could predict.
FrankT:

In the dark future, the underground voice will be heard... through desktop published fanzines! Wow. That's so eighties it's hard to wrap my mind around. The fact that the terminology used is from the Soviet Union's underground press (not former Soviet Union), just makes it even more eighties. Considering that the previous chapter ranted about how in the dark future we'd all be on IRC, I don't actually understand how that didn't immediately go to “and now we use chat rooms to spread dissident materials”. Seems really obvious. Not just retrospectively, but even from the time. How many people who knew what a BBS was didn't think that dissident materials were going to be spread that way in the future?

Comes with a sidebar about how 80s fashion will never die and in the dark future we'll all be drawing lines between Glam and Retro-Metal.
AncientH:

Okay, Frank and I have veered out of sync again, let’s catch up.
FrankT:

The final section is on how there will be emerging superpowers in the future and different cultures will be dominant. Reasonable enough of course, but it's a weird weird list. The suggestions are a powerful United Germany, a big Capitalist Russia, and a New Mexican Empire. Considering that this was 1989, I am really surprised to not see fucking Japan mentioned. And of course, India, Brazil, and China are all simply forgotten. Potential emerging powers like Arabia, Korea, and Nigeria are less surprisingly overlooked considering the time period, but the lack of Japan and China as powerhouses to contemplate in the dark future is just very very weird. Even in context. No, especially in context.
AncientH:

Pretty much they just assumed that Japan already was a major player back then. Again, massive 80s overdose for most of these bits:
Assuming Gorbachev survives the internal turmoil that is ripping the Soviet Union apart as this goes to press, Russia might emerge in 10 or 20 years as the largest capitalist nation on Earth. Once the Russian workers have gotten a taste of the free market, it is unlikely that they will settle for any half measures.
Ironically, I think one thing they never really took into account was the proposed breakup of superpowers like the United States (still a sci fi favorite!), or the idea that Scotland might spin itself off as an independent country like in Charles Stross’ Halting State.

So, the take home: this chapter is not a shopping list to go through when making your own cyberpunk setting, it is a dartboard full of ideas and concepts to consider, not all of them as well thought out as they might be. I can empathize with that, because it’s basically what I do every fucking day.
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Post by Ancient History »

Chapter 6: Campaining

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A campaign is like a one shot followed by another one shot.
FrankT:

Yes, seriously. It's spelled “Campaining”. Like you were taking handheld video of someone's agony. I have no idea whether that is simply because spell checkers hadn't been invented yet or if it was an attempt at a clever pun. No idea at all.
AncientH:

I’m gonna go with lack of spellcheckers. As should be obvious, now that you have your cyberpunk setting full of cyberpunk tropes, now it’s time to plan out your cyberpunk campaign. And this chapter is full of helpful ideas for gamemasters looking to do that. Most of these are fairly general—stuff that can apply to any campaign—but there are a few specifics that are worth looking at.
FrankT:


The classic “cinematic versus realistic play” question gets brought up here. You get the basic idea before you've even read it: in “realistic” play, people die when they are killed. However, there is a somewhat unique take on all this, which takes things a little into the insanity direction.
GURPS CYBERPUNK wrote:Firefights will often be over in seconds, as explosions level buildings and beams punch through stone walls
That is the description of “Realistic” games!

There is some fairly universal advice about how games change based on the prospective duration. I don't think it's bad advice, but it also really has little to do with cyberpunk as a genre or as a trope to work into a cooperative storytelling medium. Bonus weirdness points though for considering a one-shot adventure to be a “campaign”. That creates the need for rather more talking around the points than should have been necessary.

One of the main problems here is that the author forgets to mention what the actual point of all this is. In fantasy, your goal is to save the world, kill monsters, acquire gold, and win the affection of creatures with lady parts, and not necessarily in that order. But in Cyberpunk, goals are more fluid than that. Maybe a character wants to get rich, or advance a political agenda, save their drug addicted sister, or maybe just survive another day. And these agendas necessarily imply that the characters will respond differently to proposed adventures.

By not putting the character motivations front and center, and merely hand waving the idea that players will be incentivized by something. It's not really well explained. Like the author hadn't really considered the idea that the characters would be simply uninterested in pursuing the GM's plot if it didn't cater to their life goals at all. The idea that the GM would have to tailor the adventures to the skill sets of the characters is gone over in decent detail, but the idea that the adventures would have to also motivate the characters to begin and complete the adventure seems like it didn't even cross their minds.
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AncientH:

They’re still pushing the cyberprep thing, but this time as a campaign: what if instead of the future being all dark and grim with skies the color of a television tuned to a dead channel, it was…well, nice? Clean. Not antiseptic, but fun! Why the fuck is this bit even in here, I don’t know.
FrankT:

GURPS CYBERPUNK wrote:Netrunners are integral to the genre, but can be boring for other players to watch in action; if the GM isn't prepared to do one-on-one role-playing with the netrunner while the rest of the players are idle, he might want to have the group's netrunner be an NPC.
If you find yourself writing this, you should consider the null hypothesis: that you have written shitty rules.
AncientH:

The most notable sidebar is on “Cross-Genre Cyberpunk,” for your genre-mishmash pleasure.

Cyberpunk/Space
This is the most obvious crossover. Just push the timeline ahead by 50 years or so. Actually, this is the most realistic way to do a space campaign, though not the most familiar. The far future will probably be much more like, for instance, Vacuum Flowers than it will be like a Doc Smith space opera. Future society probably won't be anything like the 1940s and 1950s, and technology will change a lot more than the way people get from place to place and the kind of pistols they carry.
You’d think they would have taken this advice to heart before penning the glamrock comeback. Anyway, I both agree and disagree—as Frank pointed out, cyberpunk already had space, so it’s sort of intrinsic in the setting even if it doesn’t see a vast amount of use on the ground. On the other paw, cyberpunk has little to do with Space! in the way people normally think about: Star Trek, Star Wars, Green Lantern Corps, etc. That’s not to say that it isn’t possible to have cyber-augmented aliens and netrunning down at the old cantina, but you don’t see much like that outside of, say, Punktown.

Cyberpunk/Special Ops
This is basically running down through the list of GURPS products, and SpecOps is less a setting in and of itself than a campaign style. It’s playing government cyberninjas instead of street samurai. Not that there’s anything wrong with that.

Cyberpunk/Time Travel
It it's possible to explore past history. The obvious agent to send is the man (or woman) whose outwardly-normal body conceals incredible powers. Even the time machine could be built in. And a technology that can travel in time should have no trouble with infrared eyes, razor claws, and even pop-out navel shotguns.
Keep in mind, this isn’t Doc taking the Delorean for a spin. The big deal about GURPS Time Travel was that instead of moving forwards or backwards in time, you were moving sideways into alternate timelines which may or may not synch up with your own. So, you could totally be the group of T800s that your homeline is sending to Germany to kill an up-and-coming tyke named Hitler before he gets involved with the Nazis in that parallel—or you could slide into a world where your cyberarm shotgun is considered an antique. Of course, you might also slide into a magic parallel…

Cyberpunk/Fantasy
There are two ways to play this. The first is the approach taken by Shadowrun —Elves 'n' Orcs in a cyberpunk background. No problem; just take all your standard fantasy races and give them guns, Mohawk cuts and an attitude.

An alternative approach is to keep the attitude (and maybe the mohawks) but drop the technology. Imagine a fantasy background rim with the cyberpunk ethos… with magic taking the place of bionics and the Net as the "source of power." Wizards aren't sages or merchants; they're hard-edged, alert businessmen.

They and their bodyguards have all the magical augmentations that money can buy… Dark Vision instead of IR eyes, amulets of increased strength and dexterity, and so on. Anything that cyberpunk technology can do, magic can do as well.

Now think about the fantasy version of the cyberpunk society… stratified, ruthlessly mercantile. For "megacorporations," read "merchant houses." For "Net entities," read "demons."
I’ve never really seen magicpunk done well. You get caught up in some of the Clarke’s Law corollaries:

Clarke’s Third Law: “Any sufficiently advanced technology is indistinguishable from magic.”

Corollary: “Any sufficiently advanced magic is indistinguishable from technology."

Niven’s Corollary: “Any technology distinguishable from magic is insufficiently advanced.”

Sterling's Corollary to Clarke's Law: “Any sufficiently advanced garbage is indistinguishable from magic.”

Foglio’s Corellary: ““Any sufficiently analyzed magic is indistinguishable from Science!"

The point being, at some point it becomes obvious that you’re just using magic as a stand-in for tech, and once people realize you’re aping X with Y, it becomes a question of why you’re aping X with Y instead of doing something more interesting with X and Y.

Cyberpunk/Horror
This can work. See Alien and Aliens.

Cyberpunk/Supers
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This can be done. The tricky bit is doing it well. There are many reasons for this, but I’ll break it down into two: power levels and hacking.

The big problem is that cyberpunk-style implants generally are not sufficient to go toe-to-toe with most 4 color supers. You either need special rules or something to get cyborg characters up to the stats they need to actually play at Justice League Jr. levels. In a sufficiently low-level supers campaign this is less obvious, and cyberpunk might work better. That said, Reed Richards had better be useless or the megacorps are going to kill him. It’s a huge balancing act to try and keep the cyberpunk and supers mentalities going in a campaign, and that’s part of what killed Marvel 2099.

The other part of what killed Marvel 2099 and what makes life difficult for a cyberpunk/supers campaign is the lack of a Matrix. Comic books tend to make up what VR hacking looks like on the fly, but generally they’re set in the now and hacking looks like shit on NCIS where people are just plugging away at their keyboards until story points pop out. It’s more like grinding a skill in WoW than being part of the adventure, and that’s a major hurdle to overcome. Not impossible…but it is something that needs to be thought about. Especially when it comes to the extremely vague area of “super hacking,” where hacking is your superpower. Good fucking luck with that one. It’s been tried before in various flavors, and it almost always sucks.
FrankT:

There is a section on “Backstabbing” and a section on “Lonewolves and Groups”. These are functionally much the same, and it is as if the author or authors merely submitted multiple versions of this section and the editor or editors just ran both columns because it's all in Geocities format anyway. The idea is that despite the fact that many Cyberpunk stories have single protagonists with multiple levels of betrayal, you're playing a fucking cooperative storytelling game, and you have a long-term ensemble cast whether you like it or not.

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Fuck that indeed.

This highlights an important problem of translating Cyberpunk to the realm of table top gaming. But it doesn't really provide you with much meat. The author straight up says: “If every player picks his favorite cyberpunk archetype, and they all meet in a bar, good roleplaying will almost require a shootout.” He then goes on to mention that there are several solutions, but neglects to actually discuss what those solutions might actually be, or what the advantages and disadvantages of different approaches might be. It starts, we are told, with players making characters that could work together. But the ending, the part where we actually play a fucking game is left to your imagination. And your frustrating trial and error in the face of an admittedly difficult problem you are being tasked to tackle with virtually no guidance.
AncientH:

People die. In cyberpunk, people die a lot. Players should be aware of this point. If a player has a tendency to get deeply attached to characters, then cyberpunk may not be the best genre for him!
The thing about a high lethality game is that character death does not have to mean the end of the game. As long as you let people know that ahead of time, I think they’re generally okay with their characters dying when they do something stupid or the dice are against them. It encourages a general level of paranoia and caution (sometimes) that is generally useful. Not always, though.
FrankT:

Taking up space in a chapter ostensibly about running a campaign is a section on what music you should be playing in the background. I can't fault wanting to listen to Motörhead or The Circle Jerks while playing a Cyberpunk game, the suggestion to take some time off to slam dance a bit seems weird even for this book. This was the eighties of course, so what we think of as electronica hadn't really happened yet, but it's weird to have someone describe Devo as a high-tech sound. Really, name checking any band was bound to date the piece, and this subsection name checks a lot of bands. Still, was there ever a time Skinny Puppy was regarded as a Punk band?

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I can't believe I used to like these guys.
AncientH:

The soundtrack was made up before cyberpunk music was a thing. Hell, Billy Idol released an album called Cyberpunk, but that was three years after this book.
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Also, Technorock was never a thing. Electronic music. Avant garde stuff. That’s where it was. Just point them toward the fucking Vangelis soundtrack for Bladerunner! No one wants to set a game session against fucking Phillip Glass!
FrankT:

Sure, the glossary is full of crazy, dated things, but the thing that really blows my mind is the fact that a bunch of words have asterisks on them. These asterisks are there to show you which words were coined by William Gibson in 1984's Neuromancer, which we are reminded is the start of the genre. Leaving aside the fact that as previously noted, Bladerunner hit the silver screen in 1982 and Bethke's Cyberpunk was published in 1983, some of these selections are hilarious. I think it's hard to overestimate Neuromancer's impact on the genre, but I really don't know how far your tongue needs to be up Gibson's asshole before you start thinking he invented the word “Biz”. Even a casual internet search shows the word used in American English at least eighty six years before Gibson was even born.

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The part where it gets weird is the part where the author thinks that every thing the author first read in Neuromancer was also first written in Neuromancer.
AncientH:

This does say a lot for the cultural impact of Neuromancer. Most of this bibliography is really just general science fiction, but there’s a couple gems – the Borderlands anthologies edited by Terry Windling (I take it back, this is a magicpunk setting), John Brunner, Rudy Rucker, Max Headroom, Zelazney’s Lord of Light (not at all cyberpunk, but damn good), the Mirrorshades anthology (classic), Vernor Vinge…Akira, American Flagg!, Bubblegum Crisis, Shatter (the first digital-art comic book!)…I’d probably stay away from most of the rest of the “cyberpunk” comics because they were awful and Ghost in the Shell wasn’t out yet…the movie list is just awful, but bonus points for including Videodrome (“Long live the new flesh!”) and points subtracted for including Cherry 2000 (why Meg Ryan, why!?)
FrankT:

And that is the book.
AncientH:

Almost. The index was a little spare so they decided to liven it up with some medallions with pseudo-circuity designs on them. They did shit like that back before watermarks became the rage. There’s also a “GURPS CYBERPUNK CAMPAING PLAN” document in the back, proving spellchecking was their fatal weakness. But I suppose it’s bound to happen when the Secret Service jacks your shit.

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angelfromanotherpin
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Post by angelfromanotherpin »

Ancient History wrote:The closest GURPS ever came to an actual cyberpunk world was Shikaku-Mon from GURPS Alternate Earths, and that lacked large chunks of stereotypical cyberpunk settings like direct neural interface. In a way, the excessive general-ness of setting books like GURPS Cyberpunk is their weakest part—the GM is given a lot of material to pick and choose from, the setting is left mostly up to them.
GURPS did have an actual 'original' cyberpunk world. It had its own setting book: GURPS Cyberworld. That setting was also the starting point for the Cthulhupunk book. I think Cyberworld had a really short print run or something, because I never even saw a print copy, but it did exist.
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Post by Ancient History »

This is a fair point. I should have been more specific; Shikaku-Mon was the one that survived from 3rd to 4th edition.
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Post by rasmuswagner »

angelfromanotherpin wrote: GURPS did have an actual 'original' cyberpunk world. It had its own setting book: GURPS Cyberworld. That setting was also the starting point for the Cthulhupunk book. I think Cyberworld had a really short print run or something, because I never even saw a print copy, but it did exist.
Cyberpunk was a flaming turd. Even SJG makes a few shit books. CyberWorld was just forgettable. CtulhuPunk was pretty damn sweet.
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Post by Username17 »

The bibliography does in fact rant about how Cyteen is awesome, even though it also admits that the book isn't fucking Cyberpunk. So I think I was totally right about the origin of the Braintaping tirade.

The weird thing is how much this book isn't about running a game in the Cyberpunk genre. The book flits with a mayfly's attention span between various things that are not Cyberpunk that you could conceivably hammer in edgewise to a Cyberpunk game, without ever getting down to the nuts and bolts of how to actually run a game that is in the Cyberpunk genre.

There isn't even a sample character or plot flowchart.

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Post by Ancient History »

I think overall GURPS Cyberpunk is not the best GURPS book. GURPS Vikings is probably a better book than GURPS Cyberpunk. Historically it is important because of the Secret Service raid - which was retarded - and it goes to show that if you do the research, you will pay the price for it. Unlike Shadowrun and Cyberpunk 20XX, which just stole gleefully and made shit up.

And I think it is telling that the book, even all 128 pages of it, is incomplete. It feels incomplete next to other GURPS books. It lacks the easy utility of GURPS Ultra-Tech or any specific setting info. Large chunks of it are just too general, and the artsy, gritty atmosphere of cyberpunk just doesn't come through. GURPS Cyberworld and Shikaku-Mon don't win any prizes, but at least they're a bit more substantial in giving a cyberpunk world to play in.
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Post by Voss »

And google alerts are called “News Daemons”, which sounds simultaneously much more awesome and much sillier than the actual terms people used.
Actually, it wasn't at all sillier than what people actually used: they just cribbed it from Mailer Daemon.
It was the standard error process for undeliverable email in UNIX mail programs (particularly PINE and ELM), and was in common use at the time Gurps: Cyberpunk was written.

http://en.wikipedia.org/wiki/Mailer_Daemon
Last edited by Voss on Tue Jun 11, 2013 12:14 am, edited 2 times in total.
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Post by Surgo »

Oh man, Videodrome! Great movie, but a bit of an odd inclusion in such a bibliography. Not because it doesn't have an admirably dystopian view of technology in some sense, but I'm not sure how that process of self-discovery could translate into or inspire a tabletop game at all.
Last edited by Surgo on Tue Jun 11, 2013 8:02 pm, edited 1 time in total.
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