CYBERPUNK ROLEPLAYING POWERED by the APOCALYPSE the Text of the Veil Is Licensed Under the Creative Commons Share-Alike 3.0 Unported (CC BY-SA 3.0)

Total Page:16

File Type:pdf, Size:1020Kb

CYBERPUNK ROLEPLAYING POWERED by the APOCALYPSE the Text of the Veil Is Licensed Under the Creative Commons Share-Alike 3.0 Unported (CC BY-SA 3.0) CYBERPUNK ROLEPLAYING POWERED BY THE APOCALYPSE The text of The Veil is licensed under the Creative Commons Share-alike 3.0 Unported (CC BY-SA 3.0). Some moves are either tweaked or lifted straight from Apocalypse World by Vincent Baker, and are used with his permission. Illustrations and all graphic elements in The Veil © 2016 Fraser Simons WRITING & DESIGN Fraser Simons ART Alessandro Rossi GRAPHIC DESIGN & LAYOUT Brennen Reece LINE EDITING Sarah Jane Keller ADDITIONAL THANKS Kyle Simons for development editing and creating the MC tools for question based campaign play. Jacob Rose for in-depth development editing of playbooks and mechanics. Kate Bullock for an inclusivity statement and for feedback that lead to making the Sway move sing, a much more inclusive game and the coolest look any protagonist could hope for. My eternal gratitude to the playtesters Thanks to Amber Hutchison, Jonathan Gallant, Kyle Simons, David Wyble Jr, Thomas Minser, Jacob Rose, Red Scare, Jake Currier, Ryan MacKay, Taylor Hall, Lawrence Hatez, Andrew Fish, Jojo Allen, Bob Bersch, Michael Kennedy, Kate Bullock, Rob Deobald, Rachelle Shelkey, Hannah McLean, Paolo Ian, Alex Dudka, Kai Poh, Ivan Tam, Nicholas Otomen Seoh, Edmund Wong, Joshua Nicholas Aeria, Navin Nathaniel Innasi, Luc Mahsun, Razzman Khaliff, James Ong, Ben “Flowers” Chong, Erik Isaac, the Technical Difficulties gaming podcast, and to anyone I may have missed, thank you! COMMUNITY SHOUTOUTS Special thanks to http://www.gauntlet-rpg.com community and podcast for creating a vibrant and inclusive community that talks about all games, including small press titles like this one. If you like to play tabletop games online, I encourage you to go play games with them, they’re wonderful! Once Upon a Game: https://goo.gl/pc6aGD Eric Vulgaris’s show where anyone can sign up and play with him live on Twitch! He’s also got an extensive library of actual play files filled to the brim with small press and indie tabletop games. CONTENTS PREFACE ...........................................................................7 Beliefs .............................................................268 Introductions .................................................270 INTRODUCTION TO THE VEIL ........................8 World Building ................................................271 What It’s All About ............................................12 Advancement ..................................................272 Why Play? ..........................................................13 Advancing Basic Moves ................................. 274 What You Need to Play .....................................14 The Tools At Hand ..........................................276 Terms ................................................................16 The Conversation ............................................20 THE MASTER OF CEREMONIES ...............278 Scenes ..............................................................21 Agenda ............................................................281 Hard Framing ....................................................22 Always Say… ...................................................282 What do You do? ..............................................23 The Principles ................................................ 284 Fictional Positioning ........................................23 The MC Moves ................................................293 Clarifying the Fiction ........................................24 Degrees of Moves ..........................................294 The X-Card ........................................................25 MC Basic Moves .............................................297 Moves Snowball .............................................307 BEFORE YOU GET GOING .............................. 26 Player Vs Player ..............................................308 Moves ................................................................28 Defining The Veil .............................................312 Making a Move .................................................32 Creating and Depicting NPCs ........................314 Forward .............................................................33 Motivations .....................................................315 Hold ...................................................................34 Fictional Flags ................................................320 Ongoing .............................................................35 Playbook Focuses...........................................322 Advantage/Disadvantage ................................36 Establishing Expectations..............................334 States ................................................................37 How to Begin ..................................................336 The Basic Moves ..............................................46 Keep It Simple ................................................338 Duels .................................................................66 Explaining The Veil .........................................340 Giri and Peripheral Moves ...............................72 One-Shots .......................................................341 Tags ...................................................................80 The MC First Session Sheet .........................343 Damage Types ..................................................85 After the First Session ...................................347 Cybernetics .......................................................86 Threats ............................................................348 Cred ...................................................................92 Creating a Threat ...........................................349 Emporium .........................................................96 Threat Types ...................................................350 Proxy .................................................................. 97 Custom Moves ................................................357 Creating New Tech ........................................... 97 Major Antagonist ............................................361 Creating/Customizing Weapons......................98 The Scenario Sheet ........................................362 Med-Tech ..........................................................99 The Questions That Drive Us ......................... 374 Harm ...............................................................100 An Example Scenario .....................................380 Additional Rules .............................................382 THE FIRST SESSION ..........................................106 Thoughts and Tweaks ....................................386 Inclusivity In The Veil ......................................110 BACKERS ......................................................................389 Choose a Playbook .........................................111 Elements of a Playbook .................................114 The Apparatus ...............................................119 The Architect ...................................................133 The Attached ..................................................147 The Catabolist ................................................159 The Dying ........................................................ 171 The Empath ....................................................183 The Executive .................................................193 The Honed ......................................................205 The Honorbound ...........................................219 The Onomastic ...............................................233 The Seeker ......................................................243 The Wayward ..................................................255 PREFACE YOU’RE HERE BECAUSE THERE’S SOMETHING WRONG with the world. The fact that it’s the future doesn’t matter. Not much has changed, but there’s still something here you can’t put your finger on, and it’s driving you mad. Everyone is connected through a technology called neurochips and it has pulled The Veil over everyone’s eyes. It is our new reality. Mixing our reality with the digital, we now traverse a new world. One where the digital and physical occupy the same space and interact with us as though they were one and the same. We see and feel our future emblazoned on our minds and on our skin as it holds or caresses or destroys the humanity we have left. Our reality is a hybrid one—full of possibility. Of more, yes; but, perhaps, of less too. When you wake. When you sleep. When you smell the air and when you taste your food. When you brush your teeth, when you strap your weapon to your hip, and, most of all, when you look into each other’s eyes; you can see it, lingering there. That feeling that the machines are out there, turning, using you for their own ends. Here’s the good news: you’re here to change it, and that’s what makes you different. There is no way to break free of the machine without becoming a threat to it—and make no mistake, you are. Whether you’re working against the system from the inside, upholding the only social contracts that keep us from tearing each other apart, pitting corporation against corporation, breaking into crystalline, technological towers full of secrets, diving directly into the digital world to put back what was broken, or searching for the only true words left in the world, you’re trying to break free and you’ll need help to do it. PREFACE 7 CHAPTER ONE: INTRODUCTION TO THE VEIL YOU WILL TAKE ON THE
Recommended publications
  • Cyberpunking a Library
    Cyberpunking a Library Collection assessment and collection Leanna Jantzi, Neil MacDonald, Samantha Sinanan LIBR 580 Instructor: Simon Neame April 8, 2010 “A year here and he still dreamed of cyberspace, hope fading nightly. All the speed he took, all the turns he’d taken and the corners he’d cut in Night City, and he’d still see the matrix in his sleep, bright lattices of logic unfolding across that colorless void.” – Neuromancer, William Gibson 2 Table of Contents Table of Contents ................................................................................................................................................ 2 Introduction ......................................................................................................................................................... 3 Description of Subject ....................................................................................................................................... 3 History of Cyberpunk .................................................................................................................................................... 3 Themes and Common Motifs....................................................................................................................................... 3 Key subject headings and Call number range ....................................................................................................... 4 Description of Library and Community .....................................................................................................
    [Show full text]
  • Sundiver Pdf Free Download
    SUNDIVER PDF, EPUB, EBOOK David Brin | 352 pages | 01 Nov 1996 | Random House USA Inc | 9780553269826 | English | NY, United States Sundiver PDF Book Either way, the answers lie past Mercury. Other editions. It is a fun adventure to the depths of our sun itself. Jul 16, Kara Babcock rated it liked it Shelves: science-fiction , read , read , own , mystery. Snorkel with Sundiver! He stumbles into some galactic political machinations some jockeying for control over humans, some fighting amongst themselves and using us as pawns which are muddying the waters around a research breakthrough regarding lifeforms residing in the outer layers of the sun. We loved riding on the upper deck. Unsourced material may be challenged and removed. View 2 comments. Any mistakes are due to the fact that my arms aren't quite long enough. Where to start? We try to include fresh fruits and greens and vegetarian selections. Humanity has uplifted two species dolphins and chimps before First Contact! With him on Mercury are: Helene deSilva, the attractive station commander with whom Jacob develops a relationship over the course of the book; Fagin; Pila Bubbacub, the library representative; his assistant Culla a Pring ; Dr. The protagonist in this book, Jacob, is tedious and unbelievable. No review Second reading review, April 23, In particular, his characters tend to suffer from having to carry so much around on their shoulders. Now they appear to have found--wait for it--sentient life on the Sun. Anyway, the 2nd book is the This is a classic that I have been meaning to read for a very long time now.
    [Show full text]
  • “There Is a Riddle Here”: Uplift Fiction and the Question of the Animal
    “There is a Riddle Here”: Uplift Fiction and the Question of the Animal Thesis Literatuurwetenschap Utrecht University Merel Aalders (4170954) Supervisor: Dr. Kári Driscoll Second Reader: Dr. Tom Idema July 2017 Contents Abstract ...................................................................................................................................... 3 Introduction ................................................................................................................................ 3 Humans, Animals and Machines .............................................................................................. 11 The Question of the Animal ................................................................................................. 11 Cyborgs and Companion Species ......................................................................................... 16 Anthropocentrism and Anthropomorphism .......................................................................... 18 Literary Analysis ...................................................................................................................... 21 Uplift Fiction ........................................................................................................................ 21 Bête ....................................................................................................................................... 24 Conclusion ...............................................................................................................................
    [Show full text]
  • The Odyssey Collection
    2001: A Space Odyssey Arthur C. Clarke Title: 2001: A space odyssey Author: Arthur C. Clarke Original copyright year: 1968 Epilogue copyright 1982 Foreword Behind every man now alive stand thirty ghosts, for that is the ratio by which the dead outnumber the living. Since the dawn of time, roughly a hundred billion human beings have walked the planet Earth. Now this is an interesting number, for by a curious coincidence there are approximately a hundred billion stars in our local universe, the Milky Way. So for every man who has ever lived, in this Universe there shines a star. But every one of those stars is a sun, often far more brilliant and glorious than the small, nearby star we call the Sun. And many - perhaps most - of those alien suns have planets circling them. So almost certainly there is enough land in the sky to give every member of the human species, back to the first ape-man, his own private, world-sized heaven - or hell. How many of those potential heavens and hells are now inhabited, and by what manner of creatures, we have no way of guessing; the very nearest is a million times farther away than Mars or Venus, those still remote goals of the next generation. But the barriers of distance are crumbling; one day we shall meet our equals, or our masters, among the stars. Men have been slow to face this prospect; some still hope that it may never become reality. Increasing numbers, however, are asking: "Why have such meetings not occurred already, since we ourselves are about to venture into space?" Why not, indeed? Here is one possible answer to that very reasonable question.
    [Show full text]
  • The Mutual Influence of Science Fiction and Innovation
    Nesta Working Paper No. 13/07 Better Made Up: The Mutual Influence of Science fiction and Innovation Caroline Bassett Ed Steinmueller George Voss Better Made Up: The Mutual Influence of Science fiction and Innovation Caroline Bassett Ed Steinmueller George Voss Reader in Digital Media, Professor of Information and Research Fellow, Faculty of Arts, Research Centre for Material Technology, SPRU, University University of Brighton, Visiting Digital Culture, School of of Communication Sussex Fellow at SPRU, University of Media, Film and Music, Sussex University of Sussex Nesta Working Paper 13/07 March 2013 www.nesta.org.uk/wp13-07 Abstract This report examines the relationship between SF and innovation, defined as one of mutual engagement and even co-constitution. It develops a framework for tracing the relationships between real world science and technology and innovation and science fiction/speculative fiction involving processes of transformation, central to which are questions of influence, persuasion, and desire. This is contrasted with the more commonplace assumption of direct linear transmission, SF providing the inventive seed for innovation– instances of which are the exception rather than the rule. The model of influence is developed through an investigation of the nature and evolution of genre, the various effects/appeals of different forms of expression, and the ways in which SF may be appropriated by its various audiences. This is undertaken (i) via an inter- disciplinary survey of work on SF, and a consideration the historical construction of genre and its on-going importance, (ii) through the development of a prototype database exploring transformational paths, and via more elaborated loops extracted from the database, and (iii) via experiments with the development of a web crawl tool, to understand at a different scale, using tools of digital humanities, how fictional ideas travel.
    [Show full text]
  • Fifty Works of Fiction Libertarians Should Read
    Liberty, Art, & Culture Vol. 30, No. 3 Spring 2012 Fifty works of fiction libertarians should read By Anders Monsen Everybody compiles lists. These usually are of the “top 10” Poul Anderson — The Star Fox (1965) kind. I started compiling a personal list of individualist titles in An oft-forgot book by the prolific and libertarian-minded the early 1990s. When author China Miéville published one Poul Anderson, a recipient of multiple awards from the Lib- entitled “Fifty Fantasy & Science Fiction Works That Social- ertarian Futurist Society. This space adventure deals with war ists Should Read” in 2001, I started the following list along and appeasement. the same lines, but a different focus. Miéville and I have in common some titles and authors, but our reasons for picking Margaret Atwood—The Handmaid’s Tale (1986) these books probably differ greatly. A dystopian tale of women being oppressed by men, while Some rules guiding me while compiling this list included: being aided by other women. This book is similar to Sinclair 1) no multiple books by the same writer; 2) the winners of the Lewis’s It Can’t Happen Here or Robert Heinlein’s story “If This Prometheus Award do not automatically qualify; and, 3) there Goes On—,” about the rise of a religious-type theocracy in is no limit in terms of publication date. Not all of the listed America. works are true sf. The first qualification was the hardest, and I worked around this by mentioning other notable books in the Alfred Bester—The Stars My Destination (1956) brief notes.
    [Show full text]
  • Das Universum Des William Gibson Und Seine Mediale Rezeption“
    DIPLOMARBEIT Titel der Diplomarbeit „Das Universum des William Gibson und seine mediale Rezeption“ Verfasser Benjamin Schott angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Ao. Univ.-Prof. Dr. Rainer Maria Köppl Inhaltsverzeichnis 1. Einleitung .............................................................................................................. 4 2. Biografie von William Gibson .............................................................................. 5 3. Das Genre Cyberpunk ......................................................................................... 10 3.1. Die Geschichte des Cyberpunks .................................................................. 10 3.2. Charakteristika ............................................................................................. 14 3.2.1. Postmoderne Zukunft in einem urbanen Handlungsort .................... 15 3.2.2. Einfluss von Technologie auf die menschliche Gesellschaft ............ 16 3.2.3. Verbindung zwischen Mensch und Maschine .................................. 17 3.2.4. Dezentralisierter Zugriff auf Informationen - (Cyberspace, Matrix) .................................................................................................... 18 3.2.5. Globlisierung oder: Die von Konzernen bzw. Organisationen angestrebte Weltherrschaft ............................................ 21 3.2.6. Underground, High-Tech und
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Crafting Women’s Narratives The Material Impact of Twenty-First Century Romance Fiction on Contemporary Steampunk Dress Shannon Marie Rollins A thesis submitted for the degree of Doctor of Philosophy (Art) at The University of Edinburgh Edinburgh College of Art, School of Art September 2019 Rollins i ABSTRACT Science fiction author K.W. Jeter coined the term ‘steampunk’ in his 1987 letter to the editor of Locus magazine, using it to encompass the burgeoning literary trend of madcap ‘gonzo’-historical Victorian adventure novels. Since this watershed moment, steampunk has outgrown its original context to become a multimedia field of production including art, fashion, Do-It-Yourself projects, role-playing games, film, case-modified technology, convention culture, and cosplay alongside science fiction. And as steampunk creativity diversifies, the link between its material cultures and fiction becomes more nuanced; where the subculture began as an extension of the text in the 1990s, now it is the culture that redefines the fiction.
    [Show full text]
  • Polish Journal for American Studies Yearbook of the Polish Association for American Studies
    Polish Journal for American Studies Yearbook of the Polish Association for American Studies Vol. 12 (Autumn 2018) Special Issue (Re)Examining William Gibson Edited by Paweł Frelik and Anna Krawczyk-Łaskarzewska Polish Journal for American Studies Yearbook of the Polish Association for American Studies Vol. 12 (Autumn 2018) Special Issue (Re)Examining William Gibson Edited by Paweł Frelik and Anna Krawczyk-Łaskarzewska Warsaw 2018 MANAGING EDITOR Marek Paryż EDITORIAL BOARD Izabella Kimak, Mirosław Miernik, Paweł Stachura ADVISORY BOARD Andrzej Dakowski, Jerzy Durczak, Joanna Durczak, Andrew S. Gross, Andrea O’Reilly Herrera, Jerzy Kutnik, John R. Leo, Zbigniew Lewicki, Eliud Martínez, Elżbieta Oleksy, Agata Preis-Smith, Tadeusz Rachwał, Agnieszka Salska, Tadeusz Sławek, Marek Wilczyński REVIEWERS Katherine E. Bishop, Ewa Kujawska-Lis, Keren Omry, Agata Zarzycka TYPESETTING AND COVER DESIGN Miłosz Mierzyński COVER IMAGE Photo by Viktor Juric on Unsplash ISSN 1733-9154 eISSN 2544-8781 PUBLISHER Polish Association for American Studies Al. Niepodległości 22 02-653 Warsaw paas.org.pl Nakład 160 egz. Wersją pierwotną Czasopisma jest wersja drukowana. Printed by Sowa – Druk na życzenie phone: +48 22 431 81 40; www.sowadruk.pl Table of Contents Paweł Frelik Introducing William Gibson. Or Not ...................................................................... 271 Lil Hayes The Future’s Overrated: How History and Ahistoricity Collide in William Gibson’s Bridge Trilogy ............................................................. 275 Zofia Kolbuszewska
    [Show full text]
  • The Evantropian Project in Young Adult Dystopias
    ANNA BUGAJSKA Engineering Youth THE EVANTROPIAN PROJECT IN YOUNG ADULT DYSTOPIAS Ignatianum University Press Krakow 2019 3 TABLE OF CONTENTS Acknowledgements 7 Introduction 9 CHAPTER 1 HUMAN ENHANCEMENT AND THE EVANTROPIAN PROJECT 29 1. Introduction 29 2. Evantropia: the history of the idea 32 3. The history and culture of transhumanism 42 4. Types of human enhancement 63 5. Bioethics of human enhancement 80 6. Summary 91 CHAPTER 2 BUILDING A LITERARY EVANTROPIA: FROM HUXLEY TO THE PRESENT 93 1. Introduction 93 2. Eugenic dystopia: the origin 99 3. From medical fairy tales to ribofunk 107 4. Towards a literary evantropia 131 5. Evantropia in young adult dystopias 141 6. Summary 163 5 ENGINEERING YOUTH CHAPTER 3 HUMAN ENHANCEMENT IN YA DYSTOPIAS 165 3.1. Physical Enhancement and Immortality 165 1. Introduction 165 2. Morphological freedom 167 3. Hybrids 178 4. Superhumans 184 5. Immortality 192 6. Summary 199 3.2. Subjectivity Enhancement 202 1. Introduction 202 2. Cognitive enhancement 205 3. Emotional enhancement 212 4. Moral enhancement 219 5. Summary 226 Conclusions 229 Bibliography 243 Index of names 273 6 ACKNOWLEDGEMENTS I would like to express my deepest gratitude to all of the people in- volved in the process of the creation of this work. They were not only my colleagues, but also students, friends and relatives; people from all walks of life and of different ages: from Shakespearean scholars through civil engineers to big data specialists; from make-up artists through software programmers to Tatra mountain guides; from Christians to atheists; from 10-year-olds to those in their eighties.
    [Show full text]
  • David Brin- October 2017
    Science Fiction Book Club Interview with Author David Brin- October 2017 Today we are joined by award-winning author David Brin. David shines as one of the brightest minds in an industry filled with brilliant authors. His scientific education, which includes a Ph.D. in physics, blends seamlessly with his ability to craft amazing stories that challenge, entertain, and inspire. David treads the pathways of discourse as a contrarian, though some label him an optimist. Evidence of his remarkable gift to touch readers both intellectually and emotionally can be found in his long list of awards. David has won three Hugos, a Nebula, three Locus, a Campbell, and the Freedom of Speech Award. His vivid understanding of the past and present coupled with his vision of the future elicits great respect from all levels of society. David frequently speaks on the future and science, adding a touch of humor to his inspirational viewpoint. He has been invited to lecture by organizations such as NASA, Microsoft, the American Astronomical Society, IBM, MIT, the CIA and the White House (OSTP). His novels have appeared on The New York Times Bestsellers list, and they should appear on every science fiction fan’s reading list. Beth McCrea- Omg I am so excited! I love him. I'd love to know which one of his books is his favorite? David Brin- Which of your children is your favorite? It is like that! Glory season is my brave, indomitable daughter. The Postman is my courageous, civilization-saving son. Earth is the child who combined science and nature to become a planet.
    [Show full text]
  • Burning Chrome” and Inception
    “And down now, down…”: the Wildernesses of “Burning Chrome” and Inception Casey Smedberg English From the genesis of the American Gothic genre, the wilderness has been a point of personification for human fear and anxiety. Though this wilderness “contains fabulous wonders and treasures,” it is also “a gothic realm of terror and metaphysical disorientation,” where “the pursuit of dreams often turns to a grotesque nightmare” (Mogen 103). Despite lacking any natural, organic wilderness, William Gibson’s 1982 short story “Burning Chrome” reproduces these characteristics through its portrayal of cyberspace. Unlike the traditional American frontier wilderness, cyberspace is created entirely by man, and is thus itself an extension of man. Seen as “mankind’s extended electronic nervous system” (Gibson 181), cyberspace, as a product of multiple individuals, functions as a connecting space that links those who contribute to this space. This man-made wilderness both allows for the pursuit of dreams and “offers unlimited opportunities to recreate or edit one’s own dreamscapes and to display them to anyone willing to watch” (Packer 52)—an opportunity that becomes literal in Christopher Nolan’s Gibson-indebted 2010 film Inception. However, while “Burning Chrome” expresses anxiety concerning cyberspace’s tendency to make one vulnerable to infiltration by the wilderness, Inception assumes that this infiltration is inevitable for anyone participating in a technologically-driven shared space. As a result, Inception’s dream structure forgoes any buffer zone between minds and instead combines these 1 minds directly, thereby also combining the wildernesses within each dreamer, and reformatting these wildernesses into a shared space that underpins the communal dream.
    [Show full text]