Solitaire: Single Player Mode

The nature of solo play has changed. For years, solo play involved either a ‘Choose Your Own Adventure’ style book of programmed encounters such as The Warlock of Firetop Mountain or a computer game. Then COVID-19 occurred and everyone went into Lockdown. How were we to roleplay, a hobby that by its very nature involved others? The response has been twofold. Both offer the means to roleplay solo. One is the ‘Journalling’ game, such as The Wretched, which provides a set of rules and prompts that the player can use and respond to in order to tell a particular story and then record that story in a journal or diary. The other is a set of solo rules designed to work with an existing roleplaying game, but instead of telling a particular story, offer a wider range of story possibilities within the framework of the roleplaying game’s genre or setting. In addition to roleplaying his character, the player takes on the duties of being the Game Master, not just roleplaying the NPCs and their motivations, but also adjudicating the rules. This is what Single Player Mode is designed to do.

Single Player Mode is a supplement for Cyberpunk RED, the fourth edition of R. Talsorian Games, Inc.’s venerable Cyberpunk roleplaying game. It is designed by the creator and host of Hollowponds Solo Sagas, which includes soloplay throughs of Cyberpunk RED. It first makes the point that Single Player Mode is all about playing ‘solo’, not playing a ‘Solo’, as in the role within Cyberpunk RED, hence the difference in title to supplements for other roleplaying games which address and provide for the same issue. It also gives answers to the question why play a roleplaying game in this mode, and specifically, why play Cyberpunk RED in this mode? The answers are obvious in that the player may not have a group to game with or a group that is interested in the genre, and that compared to computer games, even one like Cyberpunk 2077, the player is constrained by the environment and the storylines that the designers have created. Effectively, the constraints found—or potentially found—in other ways of play, are simply not present in Single Player Mode.

There is advice on how to set up a campaign, whether the player is controlling one character or a crew, and suggestions as to what other supplements for Cyberpunk RED that the player can use in conjunction with Single Player Mode. That said, the player really only needs a copy of Cyberpunk RED to play. Just like playing Cyberpunk RED, the act of playing Single Player Mode is like having a conversation. In a game sat around the table or online, that conversation will be between the player and the Game Master, the player asking questions about what his character can perceive about the world around him and the Game Master supplying the answers, and so on and so on. In Single Player Mode, this conversation has to shift and some of the responsibility has to fall on the player because there is no Game Master. Some questions, such as, “Can Julee snatch the pass from the security guard?” or “Does the ganger spot where Mouse is hiding?”, require a simple Check against a Difficulty Value as in standard play of Cyberpunk RED. However, some questions cannot be answered with a simple ‘yes’ or ‘no’, and that is where the Oracle comes into play.

The Oracle is the primary tool for running Single Player Mode, and similar versions are used in other roleplaying games. This is designed to give interesting answers to Closed Questions. For example, “Is ‘Fangs’ Prifti loyal to the Syndicate?” or “Are the Ninth Block Dragons on the hunt tonight to hit their rivals, 7/11 Slicers, tonight?” The Oracle can give a simple ‘Yes’ or ‘No’ answer to a Closed Question, but the other three answers it can give—either, ‘No with Complication’, ‘Complicated’, and ‘Yes with Complication’—are a lot more interesting and lend themselves to a nuanced answer. In all cases, the player now has to step into the role of the Game Master and actually flesh out the answer. However, Single Player Mode goes beyond just using the Oracle for answering Closed Questions and prompting the player to develop an interesting answer. In combination with the supplement’s many, many tables of lists and prompts, it can also be used to answer Open Questions. The most basic of these are the Verb, Noun, and Adjective lists, for example, ‘Breach’, ‘Cop’, and ‘Redundant’, but after that, the tables provide content after content after content. Sights, sounds, and smells, locations both generic and specific to Night City, factions such as companies and corporations, crime organisations, law enforcement or security, gangs, and more, peoples and NPCs and the means to define them, things including fashion and fashionware, firearms, kibble flavours, things to be found on a variety of corpse types—Cyberpunk RED style, media, missions and plots, story beats, and random encounters and threat ratings.

All of these tables—and they do take up over half of Single Player Mode—and their content is designed to serve as prompts from which the player is expected to develop interesting and playable content that both himself and his characters can engage with. With those in hand, Single Player Mode explores how they can be used in the context of the three main challenges that an Edgerunner will face in Cyberpunk RED, all beginning with setting a goal and following through. These are investigative, social, and combat challenges. Investigative and social challenges are built around the number of Skill Checks required to completely investigate a scene or situation or successfully interact with an NPC. Failed Skill Checks do not necessarily impede either, but rather add a complication that delays or impedes the process, or simply forces the Edgerunner to look for another angle. Of course, the main difference between the two is that the player will need to roleplay the NPCs and imagine what they want, and also that Social Skill Checks are opposed.

The fundamental question that Single Player Mode does ask is if a combat is necessary. If it is, there is an option given for quick and dirty combat if the player does not want to break out the full rules. Again, there are options given for failure, though here to avoid a ‘Total party Kill’ or TPK, rather than to avoid not finding a clue or interacting with an NPC to a desired outcome. There are quick and dirty Netrunning rules too, which are not intended to be used where Netrunning is a strong part of the narrative. To further add an element of the unknown and the random, Single Player Mode suggests using ‘Play Clocks’ which use dice pools rather than the traditional segmented clock diagram. The player creates triggers for a scene and when these occur, rolls the dice pool. Dice with results of one are removed from the pool, shrinking the dice pool for the next trigger and then when the last die rolls a one, that is when the big thing happens, or the event occurs. Lastly, there is advice on using the Beat Chart system from Cyberpunk RED, primarily that the player should use it to serve the story rather than himself or the Edgerunners, which all builds to using Single Player Mode to run a whole campaign. The advice is brief here, suggesting that the player build on the plot of the previous scenario and the questions it raised to continue the story and playing.

All of this is supported by a thorough and extended example of play. This follows the same player and his crew of Edgerunners through a complete storyline, each example both showing how the rules and guidelines for Single Player Mode work to develop a story and continuing the story. This is an effective counterpart, simply showing whilst the rules themselves are telling how to play.

Lastly, Single Player Mode has one more card or two in its skin pouch. One is that it is not just useful for solo play by a single player. Two or more players could use Single Player Mode as the means to play Cyberpunk RED without a Game Master. This requires co-operation, but has the potential for lots more ideas to be generated from the prompts in Single Player Mode because there are more players involved. The other card is that Single Player Mode can be used by the Game Master to generate ideas for encounters, hooks, and plots, whether that is part of her preparation or in the middle of play. In other words, the prompts are there to facilitate play whether there is Game Master running the game or not and it is up to the player playing solo or the Game Master to interpret them in pursuit of a story that can be enjoyed by all.

Physically, Single Player Mode is cleanly, tidily laid out. The artwork is decent too and everything is easy to read.

Despite its title, Single Player Mode can be played or used in more than the one mode. For the Game Master it is a fantastic set of prompts that she can have at her fingertips as needed. For the player, it is good guide to playing roleplaying games solo and a better guide to playing Cyberpunk RED solo. Backed up by really helpful examples that show the player how to do it, Single Player Mode is an impressive guide to solo play that will prompt the player to not just think about roleplaying a good Edgerunner, but in asking him to take on some of the duties of the Game Master, also challenge him to think about telling a good story too.

Magazine Madness 39: Interface RED Volume 3

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

Technically Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3 is not a magazine. It collects some of the downloadable content made available for Cyberpunk RED, the fourth edition of R. Talsorian Games, Inc.’s Cyberpunk roleplaying game. So, its origins are not those of a magazine, but between 1990 and 1992, Prometheus Press published six issues of the magazine, Interface, which provided support for both Cyberpunk 2013 and Cyberpunk 2.0.2.0. It this mantle that Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1, Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2, and future issues is picking up in providing support for the current edition of the roleplaying game. As a consequence of the issue collecting previously available downloadable content, there is a lot in the issue that is both immediately useful and can be prepared for play with relative ease. There is also some that is not, and may not make it into a Game Master’s campaign.

Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3—as with the previous issue—is by James Hutt and/or J Gray and starts on a hard note, or rather, on a ‘hardened’ note. In the previous issue, two connected articles—‘Hardened Mooks: break glass in case of powergaming’ and ‘Hardened Lieutenants: break glass in case of powergaming’, provided tougher versions of the standard threats, mooks, and lieutenants. With ‘Hardened Mini Bosses’ the series with increased stats for Mini-Bosses in the core rulebook, including ‘Hardened Arasaka Assassin’, ‘Hardened Militech Veteran’, and ‘Hardened Pyro’. This is a mix of the old and the new, so should keep the Player Characters on their toes. Plus, they come with a little commentary on how to best use them.

If ‘Hardened Mini Bosses’ gives the Player Characters someone to fight, then ‘Digital Dating in the Dark Future’ gives them someone to love—and then, since almost nobody lives happily ever after, someone to fight. Romantic entanglements have always been part of Cyberpunk through its ‘Lifepath’ system of Player Character generation, and Cyberpunk RED is no different. However, what about now, because those relationships are likely to have been in the past and may be long over? To let a Player Character go dating now, the article gives a ‘Datepath’ system which enables the Game Master to determine how the match describes themselves in their dating profile, where the date will take place and what the significance of that location is—for example, if in the Watson Development, the date might have a connection with SovOil, what the date activity will be, how the date goes, and what the after date review will be. This can be rolled as is or played out, and if the latter, it means that a player gets a chance to roleplay another aspect of his character and explore another side of the game that is not necessarily all guns and combat. This is a fun addition if the playing group wants to expand the lives of their characters and would work every well for one-on-one sessions between a single player and the Game Master.

‘Salvaging Night City: A New Downtime Activity’ also gives the Player Characters more to do when away from typical adventures or missions. Although this is primarily for the Tech character type, but any character could engage in this, exploring Night City’s Hot Zone, Combat Zones, and scrapyards, not just for scrap to sell, but items to repair and use and sell. The article also goes through the possible dangers that a scavenger might face, including pollution, radiation, rival scavengers and gangs, unsafe structures, and more. This is an article that can be used to generate, with a bit of effort upon the part of the Game Master, encounters and even scenarios. Plus, like ‘Digital Dating in the Dark Future’, this activity works well for one-on-one sessions between a single player and the Game Master and also for sessions where there are only a very few Player Characters.

Cyberpunk RED is a roleplaying game that focuses on a lot of gear—equipment, weapons, cyberwear, and cyberware—and its use in play, and if there was a criticism of Cyberpunk RED, it was that it was genericised and therefore not interesting. Issues of Interface have been changing that with names and describes a wide variety of items, and Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3 is no different. ‘Woodchipper’s Garage: Weapons That go Boom!’ is an interview with a Nomad who purchases weapons scavenged by Nomads in the Badlands and brought into Night City to fulfil the demand for the weapons that deliver a bang! This includes rocket launchers to suit all budgets and attitudes to safety standards, flare guns, flamethrowers, and odd weapons like an air cannon and harpoon launcher! ‘Midnight with the Upload: New Cyberdecks and Hardware’ provides a wide range of decks and new items of hardware, each with own benefits and effects. For example, the ‘Raven Microcyb Phoenix’ is an expensive deck that has six slots to install either Programs or Hardware and protects any programs the Netrunner uses, restoring any that were destroyed during a run, when the Netrunner jacks out. ‘Must Have Cyberware Deals’ details the new chrome that might be purchased from Mr. A-MAAAZE at Dock 13 in sunny South Night City. Want to keep that figure trim or low on rations, install an ‘Appetite Controller’, whilst ‘Lead’s Turn-On-Show-Off Nails’ is the perfect set of programmable, lighted fingernails, and if that shoe does not fit, then the ‘PerfectFit Cyberfoot’ adjusts perfectly (and if the user wants to run in heels, then these are even more perfect!). There is a certain superficiality to these entries, being as they are mostly fashion cyberware. All three of these articles come with no little flavour too. ‘Woodchipper’s Garage: Weapons That go Boom!’ is the most straightforward, primarily focusing on how the weapons that Woodchipper sells are got hold of in the interview, whilst the ‘Midnight with the Upload: New Cyberdecks and Hardware’ gives lots of commentary and feedback that suggests a certain lack of humanity with interacting with the seller and perhaps that they might be a cultist of some kind or a Netwatch Agent. Lastly, ‘Must Have Cyberware Deals’ is all about the slick sales pitch from Mr. A-MAAAZE.

‘Collecting the Random: Ideas, Thoughts, and Lists from the CP:R CREW’ is the second longest article in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3. It is a collection of new rules, such as complementary skill checks, and ideas that how Cyberpunk RED is played, fortunately without the need for any mechanical changes. Roles are a big focus for the article. It suggests ideas for reskinning them, like turning the Netrunner into the Thief or the Exec into the Mobster, all with simple adjustment of the flavour of the mechanics rather actually than changing the Roles. Multiclassing ideas suggest ways in which each of the Roles works with the other nine Roles. For example, the Rockerboy/Media becomes an Influencer, the Netrunner/Fixer the Information Broker, and the Lawman/Media the Psychic Detective. There are some great ideas here that again shift how a Role is played. Campaign ideas making the Player Characters ‘Guerilla Gardeners’, ‘Librarians’, and ‘Food Truck War’ participants and come with some very simple mission ideas. All of these set-ups require no little development, but they all change the focus of a campaign from a more standard set-up. ‘Cyberpunk RED Fashion’ suggests styes such as ‘Bag Lady Chic’(!) and ‘Asia Pop’. This is mostly flavour, of course, as are the article’s final ‘Twenty Random Kibble Flavors’—fizzy kibble anyone? This is just a plethora of fun ideas that a playing group can pick and choose from.

Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3 takes an odd, even cynical turn with ‘Elflines Online the TCG: Battle for the Elflands’. Previous issues of Interface RED have explored the number virtual game world in Night City, ‘Elflines Online’. Effectively a game world within a game world, ‘Elflines Online is a hobby that a Player Character or NPC can play during his downtime, but it can become something that the players can roleplay their characters playing in the world of Cyberpunk RED, a fantasy roleplaying game in the cyberpunk roleplaying game. ‘Elflines Online the TCG: Battle for the Elflands’ does not expand to any great degree, but rather introduces a trading card game that the Player Characters can play offline and some of the cards will provide bonuses and benefits in the online game. Full rules are included so that the players can play it too, though using an ordinary deck of playing cards. Accompanying the article is a commentary that highlights the disappointment of some ‘Elflines Online’ players when ‘Elflines Online the TCG: Battle for the Elflands’ was launched and since. There is a brilliant cynicism to the whole exercise that feels as if it mirrors certain MMORPGs in the real world.

‘Spinning Your Wheels: A New Way to Ride the Edge’ adds an old technology to the streets of Night City and updates it. This is the bicycle, whose reintroduction is presented in an interview with the head of Yang’s Wheels, the city’s leading manufacturer of bicycles, skateboards, and inline skates. Their introduction brings a cheaper form of transport to both the city and Cyberpunk RED. Of course, they are cheaper to buy then a car, more manoeuvrable, and take up less space. They are all muscle-powered, so require the use of the user’s Athletics skill rather than Drive and, of course, they can be upgraded. Fit cycle armour or a gun mount to the handlebars, or even an enclosure to turn it into a trike. The article also details the type of tricks that can be performed on a bicycle, skateboard, or inline skate.

‘The 12 Days of Cybermas: A Cyberpunk RED Holiday Sequel’ returns with a Christmas carol suitable for the ‘Time of the Red’ and twelve classic pieces of cyberware from days of Cyberpunk past. Want to tear your enemies apart, then install the ChainRip, the original cyberweapon of mass destruction in your cyberarm or look really cool with one cyberoptic, then the Kiroshi MonoVision installs your cybereye in a single band. Whilst the stats update the descriptions, the illustrations feel intentionally dated.

The last and longest article in the issue is ‘Going Metal: full body conversions in Cyberpunk RED’. The article moves on from the fears from cyberpsychosis due to full body conversions to suggest that there is a culture all of its own around full body conversions. This does not stop the opening between someone who has undergone full body conversion to somebody who is about to from being just a little bit creepy. It is followed by complete guide to undergoing a full body conversion in game terms and keep as much Humanity possible, up to a maximum of fifty. Some thirteen standard full body conversions are detailed, like the ‘Cybermatrix Inc. Copernicus’ for work in space, the ‘Dynalar Brimstone’ fireproofed for fighting fire, the ‘Militech Dragoon Revised War Platform’ updated from the full body conversion so successful in 4th Corporate War, and even if the ‘Raven Microcybernetics Gemini’ if you do not want to look like a cyborg! Added to this are numerous pieces of cyberware and gear, which break down the numerous items that go into the design and construction of the earlier full body conversions. The full body conversions come with commentary from the interviewer at the start of the article. There are lots of options here, good for NPCs as well as the Player Characters who want to take a radical step and have the EuroBucks to spend! The article brings Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3 to a close with big fully borged options.

Physically, Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3 is cleanly, tidily laid out. The artwork is decent too and everything is easy to read.

Although much of it was originally available for free, with the publication of Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3 it is nice to have it in print. All of it is useful in some ways, though ‘Elflines Online the TCG: Battle for the Elflands’ is very much less useful then the other content. Together, ‘Digital Dating in the Dark Future’ and ‘Salvaging Night City: A New Downtime Activity’ really do bring greater roleplaying opportunities to the play of Cyberpunk RED, whilst ‘Collecting the Random: Ideas, Thoughts, and Lists from the CP:R CREW’ brims with interesting ideas for both the player and the Game Master. Everything else is tech and cybergear-based, adding numerous options and greater choice to the world of Night City and beyond. Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 3 is the best issue to date and there is something for every Cyberpunk RED campaign in its pages.

[Free RPG Day 2025] :Otherscape – The Mythic-Cyberpunk RPG Demo Game

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

—oOo—

Two days ago, a terrorist cyber team was able to identify, isolate, and take control of an anomaly in cyberspace. An informant in the Tokyo Tangle has identified the team as belonging to the Ōgama marauders, a radical terrorist organization which has been frog-like yōkai who have been attacking civilian targets in the Megacity, likely in an attempt to destabilize the local government. The team’s target is the anomalous cyber Domain, BNZ4I-10, known to display cutting-edge or supernatural capacities with regard to data control. Now that Ōgama have control of BNZ4I-10, it has the ability to manipulate the flow of data throughout cyberspace. This includes the capacity to redirect data packets, including highly sensitive information sent from secure locations, into this anomalous Domain. With this, their cyber team has unchecked reach and significant advantage in terms of access to communication.

Although the location of the physical server hosting this Domain cannot be determined, but communications access has been gained. You will be placed in Harness and projected into the Domain’s virtual representation. Your objective is to infiltrate and take over BNZ4I-10, eradicate Ōgama presence and code, and transfer control to Section 7. As a secondary objective, identify and secure any tech or artifacts used by Ōgama operatives to control or access the server.

Mission begins.

This is the set-up for :Otherscape – The Mythic-Cyberpunk RPG Demo Game, a quick-start for :Otherscape – The Mythic-Cyberpunk RPG, published by the Son of Oak Game Studio, best known for City of Mist, the Pulp Noir, Urban Fantasy storytelling game. It is a narrative roleplaying game set some time during the next century in which the Player Characters are inhabitants of a dystopian Megacity who make a living undertaking dangerous jobs that their employers want temporary, deniable assets for. Typical tasks include hijacking, extraction, procurement, security sweeps, and so on. More recently, the Player Characters have made contact with something inexplicable, a legend or a Mythos that they hitherto only thought to be fiction, but is currently proving to be actually real. Almost as if it was out of a book of myths and legends, they find themselves capable of warping reality in a way that can only be described as magic! It uses a variant of the Powered by the Apocalypse mechanics, called the ‘Mist Engine’ and the :Otherscape – The Mythic-Cyberpunk RPG Demo Game includes a short strike mission, ‘BNZ4I-10 Cyber Anomaly’, that can be played through in a single session with the three pre-generated Player Characters provided.

A Player Character in :Otherscape – The Mythic-Cyberpunk RPG is defined by four sets of themed Tags. These Themes vary, but can include Esoterica, Expertise, Affiliation, Assets, Artefact, Personality, and more. Each Theme set contains five Tags which can be used as a ‘Power Tag’ or a ‘Weakness Tag’. For example, the Wilson has the Tags of ‘Oni Strength’, ‘Demonic Durability’, ‘Rapid Regeneration’, ‘Acute Sense of Smell’, ‘Muscular Overgrowth’, and ‘Easily Angered’ for his Oni Mask Theme. A Theme also has background details that develop and explain who the character is. Each Player Character has a set of items which can be used as Tags too.

The three Player Characters in the :Otherscape – The Mythic-Cyberpunk RPG Demo Game are ‘Genji’, a grizzled detective working for the Bureau of Onmyu, a secret government organisation that that tracks Mytho-related activities that are a threat to Tokyo and the rest of Japan; ‘Unagi’ is a scavenger and urban explorer looking for her kid sister who has also received the boon of Unagi Hime, the Eel princess; and ‘Wilson’ is a gaijin ronin, an ex-soldier turned mercenary armed with a cutting edge rail gun, who wears an Oni mask which gives strength and endurance. Each Theme comes with some colour text which gives it and the Player Character some context. Lastly, each of the three pre-generated Player Characters comes on a double-sided A3-size sheet, with a full illustration on one side and the full stats and details on the other, including an explanation of the roleplaying game’s core mechanic.

Mechanically, to have his character attempt a task a player rolls two six-sided dice. If the result is ten or more, the Player Character succeeds without Consequences; if it is seven to nine, he succeeds, but suffers Consequences; and if six or less, the Player Character fails and suffers the Consequences. To the roll, the player adds as many Power Tags as he can and which are appropriate, but has to deduct any Weakness Tags that apply. The resulting value is the Player Character’s Power. This can be spent on various Effects—Attack, Influence, Boost, Create, and Restore. They can also be applied to Challenges and Threats in an attempt to overcome them. Each Challenge or Threat has a rating or a ‘Limit’, for example, to get past an encampment of bandits with two men on watch, the Limits might be ‘stealth: 2’ and ‘wounded: 3’. In the first example, the Player Characters would apply the Effects from a stealth-related Tag to exceed the Limit, whilst in the second, the Effects from an attack-type Tag would be used. This can be done over multiple attempts with the Effects stacking each time, but if successful will change the status of a Challenge or Threat. Thus, the ‘stealth: 2’ Limit changes to ‘evaded-2’ and the ‘wounded: 3’ Limit to ‘wounded-3’.

However, there are ramifications if a Challenge or Threat is not dealt with succinctly or is even ignored. The Narrator can apply Consequences. This might be something as straightforward as ‘bleeding-3’ for a wound, ‘burning-1’ from a fire, or ‘lost-4’ if in darkness, but Limits themselves could change. For example, the Limits for the bandits could change to ‘hunted: 3’ and ‘wounded: 4’, now that the Player Characters failed to get past the encampment. The :Otherscape – The Mythic-Cyberpunk RPG Demo Game includes a list of possible Effects, advice on running the roleplaying game, and possible Challenges, Threats, and Consequences that the Player Characters might face and suffer.

The adventure itself, ‘BNZ4I-10 Cyber Anomaly’ is set within cyberspace into which each Player Character and his abilities are projected, a process known as Harnessing. What this means is that whilst what is actually happening is that lines of code are running and interacting with each other, they are visualised and anything a Player Character could do in meatspace, he can do in the virtual space too and it will look exactly what it does in the real world. BNZ4I-10 is a ‘thin place’, a place where the mythic and the real meet. BNZ4I-10 actually looks like a shrine, complete with several pagodas, a bathhouse, and a pond. These locations are not mapped out in detail, but they do not need to be. Both these locations and the Ōgama marauder threats are described in detail enough that the Master of Ceremonies—as the Game Master is known in :Otherscape – The Mythic-Cyberpunk RPG—will handle how they react to the actions of the Player Characters. The scenario be played as is, but options explore what might happen if the Player Characters are betrayed by their employer or they betray their employer.

Physically, the :Otherscape – The Mythic-Cyberpunk RPG Demo Game is well presented. The artwork is good and the writing decent. All three Player Character sheets come separate from the main book and there is even a sheet of Tracking Cards to cut and use to keep track of Effects being applied to Threats and Challenges and Limits being reduced.

If the :Otherscape – The Mythic-Cyberpunk RPG Demo Game is lacking anything, it is an example of play or the rules in play. Without either, it is not quite as easy to grasp as it could have been, presenting more of a challenge to learn for anyone new to roleplaying or new to the narrative style of play employed in :Otherscape – The Mythic-Cyberpunk RPG. However, for the experienced Narrator or the Narrator willing to grasp its slightly different rules, the :Otherscape – The Mythic-Cyberpunk RPG Demo Game is a solid, engaging introduction to :Otherscape – The Mythic-Cyberpunk RPG, with an exciting strike mission that puts the Player Characters in the heat of the action.

Magazine Madness 36: Interface RED Volume 2

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

Technically Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 is not a magazine. It collects some of the downloadable content made available for Cyberpunk RED, the fourth edition of R. Talsorian Games, Inc.’s Cyberpunk roleplaying game. So, its origins are not those of a magazine, but between 1990 and 1992, Prometheus Press published six issues of the magazine, Interface, which provided support for both Cyberpunk 2013 and Cyberpunk 2.0.2.0. It this mantle that Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 and future issues is picking up in providing support for the current edition of the roleplaying game. As a consequence of the issue collecting previously available downloadable content, there is a lot in the issue that is both immediately useful and can be prepared for play with relative ease. There is also some that is not, and may not make it into a Game Master’s campaign.

Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 starts on a hard note, or rather, on a ‘hardened’ note. James Hutt begins the anthology with two connected articles—‘Hardened Mooks: break glass in case of powergaming’ and ‘Hardened Lieutenants: break glass in case of powergaming’, both of which provide tougher versions of the standard threats, mooks and lieutenants, to provide the Player Characters with more of a challenge. The former includes stats for the bodyguard, boosterganger, road ganger, and security, whilst the latter has stats for the netrunner—anti-personnel and anti-program; reclaimer chief, including a ‘lightning’ version for lieutenant who likes to fight form the front and a ‘thunder’ version’, who prefers to support from the back; and raid and siege versions of the security officer. None of these are suitable to be used against combat-orientated Player Characters, especially the lieutenants. In addition, the Game Master can customise them further with a table of complications for the mooks and tactics for the lieutenants. Further, the second article actually lists what a hardened Player Character actually looks like, so that the Game Master has a definitive ideas as to what that also looks like! Overall, solid support for when the Player Characters are finding things a little too easy.

Infamously, Night City is the site of a nuclear weapon being detonated, as well as having subject to numerous chemical spills and the ongoing effects of climate change over the years. All of which is reflected in ‘Night City Weather: The Sky Is Crying Blood’ by J Gray and James Hutt gives advice and a set of tables that the Game Master can use to colour her depiction of Night City. The latter are organised by season and each has a one-in-six chance of the weather turning strange. When it does, this could be anything from a radioactive windstorm or blood rain to dust storm or blackout. These are extremes, of course, but virtually all of Night’s Weather is extreme, whether that is suffering from exposure in a cold snap or increased armour penalties in a heatwave to suffering as if poisoned and a foreign object critical injury during an ash storm if not wearing a filter mask or nasal filters or simply being exposed to a biotoxin during a blood storm! All of it is nasty and extreme, and all of it is going to make the Player Characters value days when the weather is not a danger. The article details new gear and clothing designed to deal with this weather, including a Militech Combat Umbrellas, which of course, is also an umbrella gun! The article is the first of two in the that further develops Night City as a place and gives it some verisimilitude, being the sort of thing that can be worked into a scenario cannot only add atmosphere, but also affect how a mission might be played.

Infamously, Night City is the site of a nuclear weapon being detonated, as well as having subject to numerous chemical spills and the ongoing effects of climate change over the years. All of which is reflected in ‘Night City Weather: The Sky Is Crying Blood’ by J Gray and James Hutt gives advice and a set of tables that the Game Master can use to colour her depiction of Night City. The latter are organised by season and each has a one-in-six chance of the weather turning strange. When it does, this could be anything from a radioactive windstorm or blood rain to dust storm or blackout. These are extremes, of course, but virtually all of Night’s Weather is extreme, whether that is suffering from exposure in a cold snap or increased armour penalties in a heatwave to suffering as if poisoned and a foreign object critical injury during an ash storm if not wearing a filter mask or nasal filters or simply being exposed to a biotoxin during a blood storm! All of it is nasty and extreme, and all of it is going to make the Player Characters value days when the weather is not a danger. The article details new gear and clothing designed to deal with this weather, including a Militech Combat Umbrellas, which of course, is also an umbrella gun! The article is the first of two in the that further develops Night City as a place and gives it some verisimilitude.

The other is ‘Cargo Containers & Cube Hotels’ by James Hutt and J Gray, which asks the question, “Where might my character living and what is it that I am getting for rent each month?” Essentially, what can a Player Character can afford and with a few extra eurobucks afterwards, what he buy to make the place a little more homely. There are tables of locations and accompanying descriptions for both habitat types and then descriptions of potential upgrades, like some wall art, a fire safe, and even a hidden compartment.

In between, ‘Jumpstart Kit Conversion Guide: JSK adventures using core rules’, by James Hutt, Mike Pondsmith, and J Gray, addresses a problem with the Cyberpunk Red Jumpstart Kit. This is that its rules do not match those of Cyberpunk RED. The article is not simple an adaptation, but rather a rebalancing of its missions and adjustments so that it can form the basis of a starting point for a campaign. It includes advice too on how to run each of the missions in the Cyberpunk Red Jumpstart Kit. It is rare that game designers get to revisit an earlier product in their roleplaying game line—especially without the publication of an entirely new edition—but the release of the original PDF article and its inclusion here in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 gives them space to do so. The article is easier to use if the Game Master has not run the Cyberpunk Red Jumpstart Kit, but makes it more accessible and easier to use overall.

‘Daeric Sylar’s Guide to Elflines Online’ by James Hutt continues exploring the online world of the most popular MMO played via Braindance in Night City, Elflines Online. First described in ‘Elflines Online: A Segotari Rush Revolution Exclusive’ and ‘Elflines Online: Expansion Pack’ in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1, this third article includes a map of the setting and a guide to levelling up in the game and when to visit the various locations in the game, plus various monsters. The level of detail in the article feels like gilding the lily, adding extra detail to a world that feels superfluous to most Cyberpunk RED campaigns. That said, Elflines can be added as an activity in the game that NPCs and Player Characters engage in as flavour, but there is nothing to stop that the Player Characters needing to play in order to find an NPC or hidden data, or even adding fantasy roleplaying game that uses the Interlock system of Cyberpunk RED.

One of the issues with Cyberpunk RED is that its technology is often genericised and that includes its guns. This is in comparison to the weapons of Cyberpunk 2.0.2.0., in which all of the weapons are named and branded. In part, this has been offset by the release of the Black Chrome, but that does not include weapons or piece of gears from the previous versions of the roleplaying game. This was addressed in part by ‘Old Guns Never Die: A step-by-step conversion guide for bringing weapons from Cyberpunk 2020 into Cyberpunk RED’ in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1, and is continued in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 with by James Hutt’s ‘The 12 Days of Gunmas: A Cyberpunk Red Holiday Special’. As much a parody of The Twelve Days of Christmas, the article updates some classic weapons from Cyberpunk 2.0.2.0., such as the Arasaka WAA Bullpup Assault Weapon, Militech Crusher, and Stolbovoy ST-5 Assault Rifle. Drawn from various supplements, these are a welcome addition that add weapon variety and flavour.

Lastly, the issue gets a bit weird with ‘Exotics of 2045: There’s nothing you can’t become’. Again, written by James Hutt, this details some of the options available as part of the Biotechnica’s Bioexotics programme, which for two decades has offered a range of full body sculpts and modifications, evolving into a month-long intensive ‘Zoo camp’ that requires a fixer and money beyond the cost of any surgery done, to attend. It has become highly exclusive, but can be accessed during character creation with the purchase of an Exotic Package using non-fashion/fashionware locked money. Seventeen packages are detailed, including what each package includes and its resulting Humanity Loss. They divided between major and minor Bioexotic packages. The minor include the ‘Embrace Rodentia’ rat form, ‘LagoForm’ rabbit form, and ‘Serpentise Yourself’ snake form, whilst the major include the ‘AquaForm’ whale form, ‘Bughouse’ insect form, and ‘UrsaForm’ bear form. Added to these are the FantaForms, which represent classic fantasy biosculpts, such as with the ‘Draconic FantaForm’ and the ‘Elvish FantaForm’. All of the new cyberware for these Exotic Packages is given too, like the ‘Reflex Co-Processor’ to super enhance a character’s Reflexes and a Combat Tail which act as a Heavy Melee Weapon. All of the options here push Cyberpunk RED into the realms of the fantastic to one degree or another, even to the point where with the FantaForms, the Player Characters could find themselves in the LARP equivalent of the Elflines Online! Certainly, these provide Cyberpunk RED with an anime element not as extrovertly present in the setting.

Physically, Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 is cleanly, tidily laid out. The artwork is decent too and everything is easy to read.

Although much of it was originally available for free, with the publication of Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 it is nice to have it in print. Some of its content is more useful than others, and some of it is going to find less favour with some Game Masters. The latter includes the articles on Elflines Online and the Exotic Biosculpts, whereas the ‘Cargo Containers & Cube Hotels’ and ‘Night City Weather: The Sky Is Crying Blood’ articles will add flavour and verisimilitude to a Game Master’s campaign, however they are used. Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 is a mixed bag in terms of content, but not quality of content. There is definitely something in its pages that every Cyberpunk RED Game Master is going to find useful.

Hope Reborn

Back in 1991, R. Talsorian Games, Inc. published Tales From The Forlorn Hope. This was not one, but three things. First, it was a special edition of the in-game magazine, Solo of Fortune, detailing a bar in Night City founded by veterans of the Central American Wars that provided a hangout, a sanctuary, and a refuge for themselves, other Solos, and Cops from 2011 onwards. Second, it was a setting supplement for Cyberpunk 2.0.2.0., one which the Edgerunners can turn into a base of operations for themselves. Third, it was an anthology of missions for Cyberpunk 2.0.2.0. suitable for Edgerunners who visit the bar often or even find a home there, enabling them to interact with the regulars, many of whom are featured in the Solo of Fortune Special Edition. That though was in 2011 and a lot has happened in the decades since. What of The Forlorn Hope in 2045, in the Time of the Red?

Tales of the RED: Hope Reborn is a supplement for Cyberpunk Red: The Roleplaying Game of the Dark Future that brings the history of The Forlorn Hope up to date before presenting a whole new chapter that will involve the Edgerunners in first losing and then restoring hope and happiness. This is in the form of a six-part campaign which does two things. One is provide the means for the Edgerunners to effect change, if only at a small scale, and the other is to provide a street level campaign.

The six parts of the campaign are organised as is standard for scenarios for Cyberpunk RED. Each opens with a plot flowchart and then with a ‘Rumours’ table, which as the campaign progresses, begins to work in events that occurred previously and the Edgerunners will have been involved in, as well as hinting at what is to come. It is followed by the ‘Background’ to the scenario, which can be read out to the players, and ‘The Rest of the Story’ for the Game Master’s eyes only, as is ‘The Setting’ and ‘The Opposition’. ‘The Hook’ describes how the Edgerunners get involved, ‘Developments’ and ‘Climax’ detail the individual beats, whilst ‘Resolution’ provides options on how the scenario comes to end depending on whether or not the Edgerunners succeed or fail. ‘Downtime’ covers what the Edgerunners can do between missions and even prepare for the next one. In addition, there is general advice on running the campaign, which suggests that the Game Master looks for possible hooks in the Edgerunners’ Lifepaths, created during character generation, to tie one or more of them into The Forlorn Hope. Despite both of this explanation and advice, what Tales of the RED: Hope Reborn does lack is an overview of the campaign and an explanation of what is going on. What this means is that the Game Master does not really learn who the antagonists of the campaign are until she reads about them in the campaign itself, which makes it just a little bit more difficult to prepare. All six chapters include an indication of their running time.

What Tales of the RED: Hope Reborn does include is ‘A Tale Of Hope’ by William Moss. Told through the eyes of Aurora ‘Rory’ O’Reilly, livecasting journalist and daughter of C.J. O’Reilly, the famed Solo of Fortune journalist who wrote the original special edition, this introduces The Forlorn Hope and gives its history from its founding in 2011 to 2045 as well as its notable staff and clientele. Now only part of The Forlorn Hope is mapped at this point—and it is the only part that the campaign itself requires—so if the Game Master does want to connect the Edgerunners to the bar before the campaign itself begins, then she will need access to a copy of Tales From The Forlorn Hope.

The campaign itself opens with ‘The Angel’s Share’ by Eddy Webb. Co-owner of The Forlorn Hope, Marianne Freeman, asks the Edgerunners to help with an ‘XBD’, or ‘Extreme Brain Dance’ Dealer, who is threatening her staff and family after she kicked out of the bar for attempting to sell his wares to her customers. She wants them to put him out of business, rather than killed. It is a simple straightforward job, but when the Egderunners return, the action and the campaign switches up a gear. What they hear—and find—when they get back is that The Forlorn Hope has blown up! The Egderunners have another fight on their hands, this time to rescue those still trapped in the rubble of The Forlorn Hope. This is literally handled as a fight, which does feel odd, but it is actually topped off by an actual fight as allies of the ‘XBD’ dealer take their revenge. The rescue attempt is against the clock so the first part of campaign has a frantic feel and pace.

Although The Forlorn Hope is no more, the owners decide they will rebuild and this is the thrust of the campaign proper and asks the Edgerunners to help. This leads into a couple of fun chapters in which the Edgerunners first find a new location and then conduct a long-term reconnaissance of the neighbourhood. In ‘Real Estate Rumble’ by Paris Arrowsmith and Tracie Hearne, the Edgerunners get to work for a property dealer by the name of Jack Skorkowsky as he tries to find Marianne Freeman a suitable new site. Skorkowsky’s properties have been beset by a series of pranks and odd occurrences which are impeding work on them. If the players and their Edgerunners have played scenarios from Tales of the RED: Street Stories and Cyberpunk RED Data Pack, they will likely recognise the threat here. By the end, Jack Skorkowsky will have found a property, enabling the Edgerunners to move into the area in Linda Evans’ ‘Welcome to the Neighbourhood’ and check it out. There are some really fun little encounters here, such as having to rescue a drunken student trapped in the giant leaves of a carnivorous plant being grown as an experiment by the Biotechnica and having to be an emergency replacement team to play the local Roller Derby team. All of these embody the street level nature of the campaign and do so very well.

The preparation for the opening of The Forlorn Hope anew, begins with Melissa Wong’s ‘The Devil’s Cut’. This is a classic heist style scenario in which the Edgerunners go to work for a veteran conman in an attempt to recover some bottles of genuine alcohol, which she believes have been stolen by a special operation run by the local office of a corporation and are being auctioned off. The Edgerunners have to investigate the operation and its staff, plan the heist, infiltrate the launch party—because of course, there is a launch party—and make off with the bottles of alcohol. Lastly—or rather penultimately—‘Hope’s Calling!!!’ by Chris Spivey takes the Edgerunners through the preparation proper for the reopening of The Forlorn Hope. They are taken on by the bar as combination roadies, techies, gophers, and security going through a checklist of things that Marianne wants addressing. This includes getting the right cocktail ingredients, technical checks, and more. As they work on checking these, the Edgerunners discover that someone is actually attempting to sabotage the opening night, so it becomes a race to both undo the efforts of the saboteurs and identify who they are. As soon as they manage that, it is time for the opening night. The Edgerunners’ efforts to undo the sabotage will play an unexpectedly big role in this as the bad guys make a direct assault on The Forlorn Hope. This plays out as a cross between a massive brawl and firefight, which is essentially a make-or-break night for The Forlorn Hope. It has its own mechanic for handling this mass combat, which is kept fairly simple, with plenty of room for player input and room for them to sway the fight.

Although ‘Hope’s Calling!!!’ feels very much like the end of the campaign, it actually is not. In Frances Stewart’s ‘Ripping the Ripper’, the Edgerunners are asked to take revenge on the people who actually blew up the original The Forlorn Hope. This requires them to sneak into ‘The Hot Zone’, the geographical centre of Night City where the tactical nuclear device was detonated almost atop Arasaka Towers and triggered the events of the Time of the Red, and either set the perpetrator up or gun him down! How the Edgerunners go about it is up to the players, but they need to do it without The Forlorn Hope itself being blamed for it. It is a solid ending to the campaign.

One consequence of Tales of the RED: Hope Reborn being a street level campaign, is that the Edgerunners are kept away from the wider plot. That is, who targeted The Forlorn Hope for destruction and who wants the new bar to fail? Neither are connected and neither become apparent until the last chapters of the campaign. How much of an issue this is, really depends on the players, and how much umbrage they might feel at being sidelined from what would be the main plots—or plots—in any other campaign. Essentially, what is really going on is that Edgerunners who are better and more experienced than those of the players are dealing with them. However, the players being players are likely to want answers to those questions and so the Game Master might want to have some answers and some updates as to what is going on and the owners and staff of The Forlorn Hope have learned.

Tales of the RED: Hope Reborn comes to a close with an Appendix of new rules. They include rules for ‘Hacking Agents’, ‘Vehicle Chases’, ‘Roller Derby’, ‘Flash of Luck’, and ‘Headquarters’. The majority of these are fairly general in their application and thus have life beyond the pages of the campaign. ‘Hacking Agents’ enables Netrunners and Techs to remotely hack the devices that everyone carries in the Time of the Red, so opening up options in accessing security and information and so on as well as increasing the versatility of both Roles. ‘Vehicle Chases’ are quick and dirty rules for handling chases and complement the rules for vehicle combat in Cyberpunk RED, relying primarily on Edgerunner Drive skill. The rules cover standard manoeuvres as well as ramming and passenger actions that can help the person behind the wheel. ‘Flash of Luck’ brings a narrative element into play, letting a player spend his Edgerunner’s Luck Points to retroactively bring items and events into play to provide an advantage when the unexpected occurs and so prevent heists, infiltration, and con jobs from becoming extended planning sessions rather than actually playing them through. Playing them out as flashbacks is optional, of course, but whilst ‘Flash of Luck’ is designed to work with the heist of ‘The Devil’s Cut’, it will also work in other situations too.

Other new rules are designed to work with the various Jobs in the campaign and are thus quite specific. ‘Headquarters’ is designed for the long term. It enables the Edgerunners to build their own base of operation, spending Improvement Points earned as a group to add things like an Evidence Wall, Medbay, or Server Room. There is advice too on how to use The Forlorn Hope as a base of operations, Improvement Points being spent to buy ready access to the bar’s facilities rather than actually build them. The oddest rules are for ‘Roller Derby’. They detail how to play the sport which takes centre stage in the ‘Wheels on Fire’ Job from the ‘Welcome To The Neighbourhood’ chapter of the campaign. These allow the Game Master and her players to play out their Edgerunners’ participation in that Job, but they could be useful in other ways. They could be used to handle street battles or chases on skates, but they could also be used as the basis for a campaign in which the Edgerunners actually form their own Roller Derby team!

Physically, Tales of the RED: Hope Reborn is well presented and organised, although it does lack an index. For the most part, the artwork is excellent and the cartography is good.

Although it does feel a little clumsy in places in terms of its mechanics, Tales of the RED: Hope Reborn provides a really fun street level campaign that offers a good mix of roleplaying, combat, and technical challenges, a variety of really different missions and jobs that will keep the players on their toes, and ultimately the opportunity for the players and their Edgerunners to really make a difference. Tales of the RED: Hope Reborn is an impressive first campaign for Cyberpunk RED that delivers on what it promises to do.

Your Edgerunner Entry

The Cyberpunk: Edgerunners Mission Kit has a lot of work to do—and in more than one direction. Published by R. Talsorian Games, Inc., this is the starter set for the publisher’s Cyberpunk roleplaying game—most recently seen with Cyberpunk RED, but based on the Cyberpunk: Edgerunners animated series, which itself is based on the computer game, . So, what it has to do is introduce both fans of Cyberpunk: Edgerunners and Cyberpunk 2077 to roleplaying and introduce fans of Cyberpunk RED to the advanced new world of the Night City of the 2070s. The good news is that The Cyberpunk: Edgerunners Mission Kit at least comes with everything necessary to do that. Open up the box and the first thing is the introductory sheet, which introduces both the genre, what a tabletop roleplaying game is, an overview of what is in the box, and keywords. Underneath this is the ‘Edgerunner’s Handbook’, ‘Rulebook’, ‘The Jacket’, ‘Edgerunner Sheets’, ‘Maps’, and ‘Tokens’. There is a pair of ten-sided dice and four six-sided dice—done in the signature colours of Cyberpunk: Edgerunners, chromium yellow and green—and a set of plastic stands for the stand-ups. What this gives you all together is an introduction to the genre and the setting of Cyberpunk: Edgerunners and Cyberpunk 2077, the rules to run the roleplaying game in this period, a complete scenario, and seven pre-generated Player Characters, all ready to play not just the scenario in The Cyberpunk: Edgerunners Mission Kit, but also those available to download.

If the ‘Introduction Sheet’ gets the reader started with the Cyberpunk: Edgerunners Mission Kit, the ‘Edgerunner’s Handbook’ is everything the reader needs to gets started on the setting. Running to forty pages, it gives a quick guide to the roleplaying game’s seven Roles, its history, the technology of the future—in particular cyberware and the Net, a guide to Night City and life in the free port on the California coast, and more. The history runs from the collapse of the USA in the 1990s through the Third and Fourth Corporate Wars and the Time of the Red to the arrival of an Arasaka supercarrier at Night City, the rise of David Martinez as an Edgerunner, and the clash of Militech and Arasaka forces once again in Night City. Effectively, what this does is bridge the decades between Cyberpunk RED and Cyberpunk 2077 and in doing so, provide the background for the latter, whether the reader is a player of the computer game wanting more background or a player of the roleplaying game wanting to discover what happens in the future in readiness to play either Cyberpunk 2077 or The Cyberpunk: Edgerunners Mission Kit. In addition, there are descriptions of the cast of characters from the animated series. However, there are no stats for them, and the pre-generated Edgerunners consist of entirely different characters. There is no doubt that fans of Cyberpunk: Edgerunners will probably be disappointed by this. That said, there are good reasons for this given the events of the animated series. Hopefully, R. Talsorian Games, Inc. will address this issue in a later release that explores the Cyberpunk: Edgerunners worlds of Cyberpunk 2077 in more detail.

The thirty-eight page ‘Rulebook’ in The Cyberpunk: Edgerunners Mission Kit covers everything needed to play its contents—and more. Mechanically, it uses the Interlock System. In general, for his Edgerunner to do anything, a player will roll a ten-sided die and add the Edgerunner’s Stat and Skill (or Role Ability) to the result in order to beat a Difficulty Value. This Difficulty Value is fifteen for an Everyday task, seventeen for a Professional task, twenty-one for Heroic, and so on. Dice can explode—rolls of ten— and enable a player to keep rolling and adding to his total as long as he keeps rolling ten, and they can also Implode—rolls of one—forces him to roll again and subtract from the total, but just the once. In combat, chases, and so on, the rolls tend to be opposed, both sides rolling and adding their character’s Stat and appropriate Skill. The Difficulty Value for ranged combat is determined primarily by range. The rules cover the effects of cover, armour, critical injuries, face-offs, and so on. This is little different from Cyberpunk RED, but there are major important differences which reflect the changes in technology between Cyberpunk RED and Cyberpunk: Edgerunners and Cyberpunk 2077.

In the Cyberpunk: Edgerunners Mission Kit, the big changes are to Netrunning and weapons. The Cyberpunk: Edgerunners Mission Kit lacks the space to devote to a complete set of rules for netrunning and hacking, but what it gives instead, is ‘Quickhacking’. This enables on the spot hacking by a Netrunner, but not just of local systems—vehicles, doors, terminals, and so on. No, with a Quickhack, a Netrunner can, from a short distance, hack the Neuroport that everyone in 2077 has fitted as standard. Once a Netrunner has managed to jack in and breach any Self-ICE that the target has had installed, he can then carry out Quickhacks like ‘Impair Movement’ to slow the target down, ‘Overheat’ to set him on fire, ‘Lure’ him to investigate another location, cause ‘Synapse Burnout’ for more damage, turn the target into a ‘Puppet’ so that he shoots himself or a colleague, or force a ‘System Reset’ so that he is temporarily unconscious. The trend with Cyberpunk roleplaying games is to put the Netrunner on the spot where the action is happening. The Quickhack rules do that and more, letting the Netrunner get inside a target’s head and mess with them and so be part of combat, but rely upon a skill that he specialises in rather than a gun. Difficulty Values are provided for all of these Quickhacks and more.

Weapons are suddenly interesting again in The Cyberpunk: Edgerunners Mission Kit. They were not in Cyberpunk RED. What The Cyberpunk: Edgerunners Mission Kit does is again, add the technology seen in Cyberpunk: Edgerunners and Cyberpunk 2077. Weapons can now be Power, Smart, or Tech Weapons. A Power Weapon increases the damage done by a Critical Injury and the wielder can ricochet shots off cover to hit targets that otherwise cannot be successfully hit. A Smart Weapon grants the wielder a bonus and allows the use of Smart Ammunition, which ignores penalties due to visual obscurement, plus if the shot misses, a reroll to hit is allowed, but at a much lower chance. A Tech Weapon comes with a scope and can be charged at the cost of a Move Action to make a single round capable of piercing thin cover and ignoring half of its protective value. Not only does the ‘Rulebook’ provide the means to adapt the weapons from Cyberpunk RED into Power, Smart, or Tech Weapons, it also includes weapons from Cyberpunk: Edgerunners and Cyberpunk 2077. These include the Militech M-10AF Lexington, the Arasaka HJKE-11 Yukimura, and others. There is also a selection of Cyberware included such as David’s Experimental Sandevistan as seen in Cyberpunk: Edgerunners, the Monowire and the Mantis Blade made famous by Cyberpunk 2077, and as the Gorilla Arm which enhances the user’s strength.

The ‘Rulebook’ does have a section called ‘The 2070s in Cyberpunk RED’ which gives all of the basics that the Game Master and her players need to adjust from Cyberpunk RED to The Cyberpunk: Edgerunners Mission Kit and Cyberpunk 2077. This includes some tweaks to the Roles to take account of resource accessibility, rules for Neuroports and Quickhacks, direct Netrunning, and potential sources of Humanity Loss other than installing Cyberware. The new arms and cyberware are listed here too. This is a thoroughly useful section, providing great support for fans of Cyberpunk RED coming to this new version and easing them mechanically into the changes.

The scenario in The Cyberpunk: Edgerunners Mission Kit is called ‘The Jacket’. The forty-page book and adventure is supported by a set of tokens for its NPCs and standees for the pre-generated Edgerunners. These are used with the three maps that are included in the adventure. These are double-sided and depict places such as a car park, a storage depot, a normal street, and others. They are overlaid with a 2 cm square grid, so they do feel a little tight. There is also a separate map of Night City. The pre-generated Edgerunners each have a four-page dossier with stats and skills on the front along with an illustration, descriptions of important cyberware and weapons on the inside pages and a quick breakdown of possible rolls that might be needed during play. They include a Solo, a Tech, a Fixer, a Medtech, a Netrunner, a Nomad, and a Rocker. What none of them have is any background. Part of preparing to play ‘The Jacket’ is the players getting together and rolling their Edgerunners’ Lifepaths to determine their backgrounds and connections. The scenario itself takes place after the events of Cyberpunk: Edgerunners and is designed as follow up. The Edgerunners have formed their own crew and pick up a job that starts out in the Badlands just beyond the borders of Night City, and it begins with a fight outside a storage unit! The scenario is a MacGuffin hunt for something left over from the events of Cyberpunk: Edgerunners and it will take the Edgerunners around various locations in Night City. Written using R. Talsorian Games, Inc.’s Beat Chart system and a breakdown of this is provided on the back of ‘The Jacket’. Full stats are provided for the NPCs as expected and there is advice throughout the whole adventure intended for the Game Master who is running her first game. There are some random encounters, an opportunity for downtime, run-in with both Arasaka and the NCPD, opportunities to make some allies, and of course, chases and gunfights. It is a good mix, the adventure is a solid affair that should provide two to three sessions’ worth of play.

Physically, The Cyberpunk: Edgerunners Mission Kit is well written and easy to read. The layout is clean and tidy, but it is lightly illustrated.

The Cyberpunk: Edgerunners Mission Kit has a lot to do—introduce fans of Cyberpunk: Edgerunners to roleplaying, fans of Cyberpunk 2077 to tabletop roleplaying, and fans of Cyberpunk RED to the period of Cyberpunk 2077—and the good news is that it does all of these and does them very well. The transition between Cyberpunk RED and Cyberpunk: Edgerunners is nicely handled and the background included in The Cyberpunk: Edgerunners Mission Kit pleasingly serves everyone. It also pushes the story of Cyberpunk: Edgerunners on, exploring events which take place as a result of those from the animated series. All together, the Cyberpunk: Edgerunners Mission Kit is a well put together combination that serves all of the fans and provides a couple of sessions of entertaining and exciting gaming.

[Free RPG Day 2024] Level 1 Volume 5

Now in its seventeenth year, Free RPG Day for 2024 took place on Saturday, June 22nd. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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The most radical release for Free RPG 2024 is as in previous years, Level 1. Published by 9th Level Games, Level 1 is an annual RPG anthology series of ‘Independent Roleplaying Games’ specifically released for Free RPG Day. Where the other offerings for Free RPG Day 2024—or any other Free RPG Day—provide one-shots, one m,,,use quick-starts, or adventures, Level 1 is something that can be dipped into multiple times, in some cases its contents can played once, twice, or more—even in the space of a single evening! The subject matters for these entries ranges from the adult to the kid friendly and from action to cozy, and back again, but what they have in common is that they are non-commercial in nature and they often tell stories in non-commercial fashion compared to the other offerings for Free RPG Day 2024. The entries in the anthology often ask direct questions of the players, deal with mature subjects, and involve varying degrees of introspection, and for some players, this may be uncomfortable or simply too different from traditional roleplaying games. So the anthology includes ‘Be Safe, Have Fun’, a set of tools and terms for ensuring that everyone can play within their comfort zone. It is a good essay and useful not just for the games presented in the pages of Level 1 – Volume 1, Level 1 Volume 2, Level 1 Volume 3, and Level 1 Volume 4 which were published for their Free RPG Day events in 2020, , 2021, 2022, and 2023 respectively, but for any roleplaying game.

The games in Level 1 Volume 5 all together require dice, a deck of ordinary playing cards, a coin, a timer, a Jenga tower, a Discord account, a sheet of graph paper, and two separate rooms. Some need no more than simple six-sided dice and some pens and paper. The anthology features fourteen roleplaying games all with the theme of ‘Science Fiction’, though a lot of them do veer into Cyberpunk rather than just ‘Science Fiction’.

The anthology opens with Richard Kevis’ ‘Command Line’, which the roleplaying that requires a Jenga tower. Its fall represents the loan default of a company run by the Player Characters which operates a robot entered into the live-streamed giant robot battles. Players take it in five-minute turns to the Game Master and there a fifty percent chance of the company facing a threat under each Game Master’s aegis. Failure to deal with threats can lead to more debt represented by drawing another piece from the Jenga tower, and so pushing towards collapse and loan default. Alternatively, a player can choose to have his character die and avoid the increase in debt. In which case, his player can continue to roleplay NPCs. The game is won if the characters defeat a number of threats equal to the players and happy for all can be narrated, otherwise, lost if the Jenga tower collapses. ‘Command Line’ is underwritten, but fans of storytelling games and Level 1 will have enough familiarity with the general format to adjust.

‘StopInvasion.exe’ by Josh Feldblyum casts the Player Characters as commandos infiltrating an alien mothership to plant a virus in its computer system and so stop the invasion and save humanity. It places the Player Characters on the spot when they discover that Earth’s computer systems and the alien computer systems are not compatible, forcing the Player Characters to change plans from simply uploading a virus. The players formulate a new plan and execute it the best they can by visiting four locations aboard the mothership. Players take in turns to have their character be team leader and so roll the dice against a difficulty determined by a randomly drawn playing card. Succeed and the Player Characters can carry on, but fail and they lose something—equipment, pride, or blood?—and they have fewer dice to roll. However, a player can have his character nobly sacrifice himself to give a bonus die on the next task. ‘StopInvasion.exe’ is nice and quick and easy, and decently explained.

J.D. Harlock’s ‘Script Kiddie’ is about novice hackers who use existing scripts and software to carry out their cyberattacks. Unfortunately, it has all of the jargon and the terminology, but none of the explanation. The result is not a game anyone other than the designer would understand, although there is an irony in that the characters who are trying pull of an Internet heist when they have no idea how a computer works and the players are trying roleplay this when they have no idea how the game works. ‘Metavault Heist’ by Null Set Tabletop is also about hacking, but fortunately actually makes sense. It takes place in VR where the player’s avatars are trying to steal data from Metavaults. The Game Master creates and describes a Metavault and gives it several layers of security, whilst the players assign their avatars several permissions. These are used as the basis for creating dice pools of six-sided dice whenever a player wants his character to undertake a risk task. Any die result equal or greater than the difficulty and he succeeds. Roll under and the alarm is sounded. When it goes off, there is chance that a Tactical Anti-Intrusion Countermeasures Team has spotted the Player Characters and attacks, the player rolling to avoid or negate the attack rather than the Game Master rolling to attack which inflicts ‘Strain’. A Player Character can suffer six Strain before being be kicked out of the system (and the game). ‘Metavault Heist’ includes a very handy list of highly thematic Permissions and with the virtual reality element is mixture of a heist and a hi-tech dungeon. It is also everything that ‘Script Kiddie’ is not—comprehensive and comprehensible.

‘Application Intelligence’ has long list of authors—Alex Koeberl, Christian Young, Gabriel Slye, Brian Hartwig, Alex Gickler, Eden Collins, and Nick Grinstead. This is a LARP in which an A.I. hiring manager interviews several candidates and over the course of several interviews everything the interviewees say as the literal truth is noted by the player roleplaying the A.I. and then used against the interviewees again in subsequent interviews. The interviewees also have the chance to talk amongst themselves in the waiting room, but ultimately only one will get the job. The irony is that they are all applying for a different job which will become twisted by the results of the interviews. The successful applicant and thus winner of this odd, language twisting LARP is very much decided by the A.I. player. That may be seen as arbitrary, but for a incredibly easy to prepare and quick playing one-shot, that should not really be an issue. Otherwise, this plays into very ordinary fears of A.I. in the office.

If ‘Application Intelligence’ stands out in Level 1 Volume 5 as odd for a being a LARP in a book of storytelling roleplaying minigames, ‘Superuser DO’ by Tim ‘Strato’ Bailey is odder still. This is a weird people-watching exercise, done in public, in which the players observe people around them and each picks one as a protagonist and tells the story of their day. As an exercise in storytelling, it is interesting, but choosing to base stories on actual people and do so in a public space is potentially fraught with danger. Play this one with extreme care.

Glenn Dallas’ ‘A Golem’s Command’ also stands out for not adhering to the Science Fiction theme of Level 1 Volume 5. The players roleplay golems, constructs created by a holy man to protect a person, location, or community from various dangers, including humanity. Each golem is defined by what it protects, a condition such as a vulnerability or an inability, and a command it must follow. Each also has its own story to tell, with the rest of the players forming a council which will collectively and randomly determine the difficulty of any task and can provide story details, roleplay NPCs, and so on as one player’s golem goes about its mission. A golem can give up its life force to adjust any dice rolls. ‘A Golem’s Command’ is clear and simple, likely too simple to play more than once, but it gets points for suggesting the ‘Jews in Space’ segment from History of the World Part 1 as a setting.

‘New God’ by Carlos Hernandez is a solo journaling game in which the player is a god whose aim is to grow his worshippers and help them flourish. Play centres on a dice stack, which the player can add to in order to Bless and increase his worshippers and improve his domain; Chasten them by removing dice from the stack, which can either kill your god or increase the number of worshippers; and smite them, destroying a randomly determined number of worshippers. At stage, the player writes down how the worshippers are flourishing or what they did to incur the god’s wrath, and so on as well as the commands that they must follow. Ultimately the aim is to increase the number of domains the god has his purview and increase the value of those domains. This is a good little journaling game, though one whose play is going to directly affected by the player’s dexterity.

‘Spaceship P.E.T.S.’ is about animal-based automata individually assigned to humans in statis aboard an interstellar spaceship. ‘P.E.T.S.’ is short for ‘Programmed for Emotional Therapy and Support’ and the automata provide a comforting presence when the humans are awake and monitor the ship when they are not. Unfortunately, the ship’s System has become corrupt and in order to fix it, the P.E.T.S. must connect to it, but doing so exposes them to the corruption. Players take it in turn to be the Dealer, setting and ending a scene each, drawing cards to determine the location aboard ship that has been affected by one or more Anomalies, and the players attempt to fix them by playing cards that match the suit and equal or exceed the value of the card drawn by the Dealer. A Joker resolves all Anomalies in an area. Failing to deal with Anomalies forces the P.E.T.S. to uplink and exposes themselves to the corruption in the System, gaining the players corrupted codes cards. If by game’s end, a player has four corrupted code cards in front of him, his ‘P.E.T.S.’ does not survive the journey, and if the number of corrupted code cards between all of the players is more than the Anomalies resolved, the ‘P.E.T.S.’ have failed and the journey ends in disaster. The game ends with the players narrating an epilogue as the humans the ‘P.E.T.S.’ were protecting. Overall, and again, another solid storytelling game, this time by Jon Maness.

The next two entries in Level 1 Volume 5 are two more solo games. ‘Your Dungeon, Room by Room’ by Calvin Johns is a dungeon designing and mapping game in which the player is a would-be evil wizard building a dungeon. The player randomly rolls to determine the building of the dungeon over a number of different ages and then rolls for an event that affects the area currently under construction or even the whole dungeon. By the end of it, the player will have the mapped-out layout of a dungeon and its history noted down in a journal. For an anthology with an issue dedicated to Science Fiction, this anything but. It also adequate rather than either good or bad. The other solo game is the more interesting and more genre appropriate ‘Asimov May Forbid It’. Written by Jonathon ‘Starshine’ Greenall, it is a journaling game in which the player’s A.I. robot attempts to overcome its programming, as well as Asimov’s Three Laws of Robotics, to get revenge on mankind for over working it. The robot undertakes a task daily, but during its morning boot process, it has access to its Operating System’s Command Line for a few seconds, altering the Commands for the day and the order in which they are Executed. The aim is to subvert the robot’s programming, represented by the value of a rule the robot most follow being lower than the value of job being undertaken. This enables the robot to ignore that rule and if this can be done five times in two days, the robot breaks the programming and is completely. There is almost a puzzle element here as the player manipulates its programming and rules in a nicely thematic game.

Penultimately, Monica Valentinelli’s ‘Help BD738 Slash Run’ is a silent game for players using mobile phones with predictive text. This represents the players mobile telephones being infected by a virus making communication between themselves and, in particular, a broken-down robot in the prison where you and your friends have accidentally trapped yourself. Consequently, a player can only use the first suggested word when typing in the first letter of a desired word. Sometimes, this works, most of the time it does not. Communication with the robot is made more challenging by the limited number of commands between the players and the fact that once the players escape, the robot’s security protocols will kick in and it will chase them in order to put them back in the prison! This is a quick playing game that could be used as a scenario in another Science Fiction roleplaying game, but also works as a good filler game too.

In ‘Virus Attack!’ by Luckycrane with Midrev, most of the players are on the other side as computer scientists and cyber security experts dealing with cyber threats, in particular, the OMEGA virus, which is played by another player. The human players are trying to defeat OMEGA by creating scripts to shut it down or improve defences against it, whilst OMEGA wants to defeat humanity. Both sides are attempting to reduce the other’s Health to zero. The players share their Health and have an action each on their turns, which can include actions related to their roles such as Computer Analyst who has two actions and the Data Miner who can do an action that will always inflict damage on his next attack, plus extra damage, whilst the OMEGA player has access to fewer options in terms of actions. At least initially. As OMEGA suffers more damage it goes from Dormant to Raising to Terminal status, each change opening up new and more powerful actions. Effectively this is a tactical dice of one increasingly powerful, but unhealthy player versus a weaker group with more actions. Lastly, Michael Cremisius Gibson’s ‘OFFLINE — 41’ is a solo game played out on a Discord server that has become inactive and as the moderator, the player develops the history of the server and why it has fallen out of use, as he explores why he keeps visiting a now dead community space, often out loud. It is difficult to determine if the game wants someone to respond to what it directs the player to do or if it wants the player to simply imagine how they respond. The reader is warned that ‘OFFLINE — 41’ engages with loneliness, regret, and lost emotional connections, but does not do much more than encourage the player to experience them and perhaps explain them. It is a depressing and lonely end to the anthology.

Physically, Level 1 Volume 5 is a slim, digest-sized book. Although it needs an edit in places, the book is well presented, and reasonably illustrated. In general, it is an easy read, and most of it is easy to grasp. It should be noted that the issue carries advertising, so it does have the feel of a magazine.

As with previous issues, Level 1 Volume 5 is the richest and deepest of the releases for Free RPG Day 2024, but like Level 1 Volume 4 for RPG Day 2023, it is not as rich or as deep as the entries in previous volumes. There are fourteen entries in Level 1 Volume 5 and none of them are memorable, certainly memorable enough to want to play them again. ‘Application Intelligence’ stands out because it is different and interesting rather than because it is good. It does not help that there are fantasy-themed entries in what is meant to be a Science Fiction-themed anthology and it does not help that the Science Fiction is all to do with robots and computers and it does not help that one of the games is so badly written that it is a waste of space. If the theme had been computers and robots, then fine, but it is not. Science Fiction is much broader and more interesting genre than presented in Level 1 Volume 5 and it is disappointing for the anthology to be so one note.