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Cr E D It S INTERFACE ZERO IS CREATED by WRITTEN AND CREDITS CREDITS INTERFACE ZERO IS CREATED BY David Jarvis, Hal McLean, Matt Conklin Jr, and Patrick Smith WRITTEN AND DEVELOPED BY Aaron Davidson, Curtis and Sarah Lyon, David Anderson Jr., David Jarvis, David Harriss, Darrin Drader, Hal McLean, James Cambias, Jason Blair, Jeff Ruiz, Joel Waalkens, Jonathan Thompson, John Dunn, Kenneth Spencer, Richard T. Balsley, Rob Weiland, Robin English-Bircher, Sean Bircher, Sean Huempfner COVER BY Ian Llanas GRAPHIC DESIGN Alida Saxon, David Jarvis, Karl Keesler LAYOUT David Jarvis, Thomas Shook ILLUSTRATIONS Adam Kuzcek, Vladimir Manyukhin, Eduardo Brolo, Jason Walton, Ian Llanas, Tan Ho Sim, Sam Manley EDITING & PROOFING Aaron Davidson, Andreas Parducci, Aric Wieder, Carinn Seabolt, David Harriss, Mable Friedman, Mathew Caron, Mike Zebrowski, Rasmus Hilander, Ron Blessing PLAY TESTERS Ashton Dickerson, James Domanico, Steven Domanico, Amanda Hughes, Matt Lyle, David Harriss, Sean Huempfner, Joel Waalkens VERY SPECIAL THANKS TO EVERYONE ON THE GUN METAL GAMES FORUMS FOR ALL OF YOUR FEEDBACK!! 1 CONTENTS Credits .........................................................................................1 INTRODUCTION ..............................................................6 CHAPTER ONE: BUILDING YOUR CITY.........................................8 THE CYBERPUNK GENRE.......................................................................8 CITY TRAPPINGS .............................................................................10 CORPORATE TRAPPINGS .....................................................................17 EXAMPLE CORPORATIONS ...................................................................22 ORGANIZATION TRAPPINGS .................................................................32 CHAPTER TWO: TOOLKITS ...................................................42 CORPORATE WARFARE ......................................................................42 ENVIRONMENTAL EFFECTS AND WEATHER . 44 HAZARDS OF THE WIDER SOLAR SYSTEM ...................................................47 LIFESTYLES ...................................................................................51 SAFE HOUSES.................................................................................54 SECURITY SYSTEMS...........................................................................64 VIRTUAL REALITY ............................................................................69 VR WORLDS ..................................................................................72 CHAPTER THREE: PLOT POINT CAMPAIGNS..................................80 TELLING THE STORY ..........................................................................80 Creating a Plot Point Campaign ................................................................80 CAMPAIGN THEMES..........................................................................86 BIO HUNTERS.................................................................................89 EVOLVE OR DIE ...............................................................................97 CYBERPUNKS ................................................................................118 HUNTING LEVIATHAN ......................................................................122 PROTECT AND SERVE........................................................................148 A FACTOR OF X..............................................................................161 2 CREDITS 3 4 CREDITS 5 INTRODUCTION he job of the game master can be daunting. the campaign world you have built. Most official TYou have a story to tell, and to do so, you Savage Worlds settings have them, and for the must wear many hats. You’re a storyteller, a world first time,Interface Zero 3.0 introduces three plot builder, a referee and more. While certainly a point campaigns you can play through. These are challenge, your job can be incredibly rewarding. There’s based off of the three core Campaign Themes; nothing like looking across the game table at a group Bio Hunters, Cyberpunks, and Protect and Serve. of players on the edge of their seats waiting to see what happens next; nothing like listening to them CHAPTER FOUR: SAVAGE TALES chat excitedly about a plan, wonder aloud what might happen next. On the other hand, there’s nothing so hapter four expands on the plot point nerve-wracking as like the “Dead Air” that comes when Ccampaigns, providing you with a glut of you have to constantly look up a particular rule or break savage tales you can run over the course of a the flow of the game to whip up some story element or campaign. Adventure generators for each Plot NPC that is missing from your game. This book is written Point Campaign are also provided. to help you avoid those types of situations. CHAPTER FIVE: THREATS CONTENT OVERVIEW s a GM, you need non-player characters, n this book you’ll find an array of elements Amooks and other interesting creatures and Idesigned to help you create memorable challenges for your players. Chapter five also games in the Interface Zero setting. takes a look at the largest corporations, gangs, and organized crime rings, and finally, gives you a CHAPTER ONE: BUILDING YOUR CITY biohorror generator and a npc generator you can use to make your own creatures and characters. his chapter is all about ways you can create a city. TMuch of this is accomplished by using trappings CHAPTER SIX: 2095 REVISITED to quickly define an area of a city, like suburbs, corporate enclaves, or slums. Similarly, we also look at hapter six takes a deeper look at the world. The organizations such as gangs, major corporations, and CPlayer’s Guide to 2095 provided a wealth of organized crime rings and give them trappings you information about the world and the greater solar can use to define their scope and influence in 2095. system. In the GM’s Guide to 2095, we take another look at the setting, this time with an eye for elements and plot CHAPTER TWO: TOOLKITS hooks you can use to create adventures for your players. hapter two gives a variety of components CHAPTER SEVEN: OTHER WORLDS Cyou can use to enhance your campaign. You’ll find rules for engaging in corporate warfare, n the final chapter, we introduce a number extreme weather, lifestyles and more. Iof possible spinoffs offInterface Zero’s setting, including a Fantasypunk campaign framework CHAPTER THREE: PLOT we call Cybercanum. In Cybercanum, it’s all real. ON POINT CAMPAIGNS Magic, creatures of myth and legend all exist in TI this futuristic alternate earth and have been here UC hapter three takes a deeper look at the since the dawn of time. Cybercanum provides D Cthree core campaign themes and gives you new takes on fantasy races such as dwarves, elves, O some advice for creating your own. Here, we also and orcs, as well as providing two new variants on introduce our plot point campaigns. Plot point myth and legend: dragonkin and jotunn-blooded. TR campaigns are a great way to introduce players to N I 6 CREDITS 7 CHAPTER ONE: BUILDING YOUR CITY uilding the megasprawl you’re going to at times to the destruction it has wrought in Bbase your cyberpunk campaign in can its wake. Whole species and habitats have been be a challenge. Not only are you responsible driven to extinction as have human cultures, for creating locations, people, and other story societies, and health. Humanity has become elements, but you must also develop the one with its technology, integrating it into the underlying structure of your world and figure fabric of its being via pharmaceuticals, cybertech, out what makes it all tick. Cyberpunk settings are and personal micro-computers like the Tendril easier than most other settings because the world Access Processor. The destabilizing effect—the you create is—for the most part—the same one sheer culture shock—drives many to tradition you see every day. and religion in search of some deeper meaning Still, the cyberpunk genre is just as speculative to what deep down many see as a meaningless, as any other kind of game you might play. We existence in which mankind is slave to the make assumptions about what life on this planet technology it has birthed. might be in a not-so-distant future using our Life in this world is cheap, while living life for knowledge of the present-day world we live in. most is intolerably expensive. Here, the adults Nobody can predict the future, but Interface Zero have all sold out or become bitter and cold like looks at existing trends in the world, speculates as the walking dead, while the newest generation, to what might happen if these trends continue, with no obvious future path, rebel against their and then assumes the worst possible outcomes. destined inheritance and live their life to the But that’s Interface Zero. You may not want to fullest like torches, most of whom will burn out play in our world, and that’s perfectly fine. This is, all too soon. after all, why this book was written—to give you the tools you need to create the cyberpunk game CHOOSING A SUB-GENRE you want to play. So, let’s get to it. Y nterface Zero can be played using many IT THE CYBERPUNK GENRE Idifferent genre styles. Here, we discuss the most popular ones. C R t the core of the cyberpunk experience is a Afeeling of hopelessness and apathy born of ANIME disenfranchisement, the idea that the systems we know (government, progress, technology, and uch of the early cyberpunk ethos was built capitalism) are broken and out of control and Mon—and continues to thrive in—anime; a NG YOU NG barreling down the tracks like a runaway train.
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