5: Cyberpunk / Cybergeneration
R. Talsorian’s Cyberpunk has always had Rocker(boy) as one of its Roles, which didn’t fit the game as often played with basically mercenaries but appealed to the politically rebellious side of the genre and suggested a different way to play.
There are musicians and bands and other artists in the source media, but only a few are protagonists rather than targets for kidnappers like hardboiled fiction and film noir torch singers, as in Streets Of Fire and at least two major early Shadowrun adventures. Though they sometimes do their own fighting in power armour as in Bubblegum Crisis. Or use intelligent computer hologram tech to battle rival bands like Jem...
But the idea of rebellious firebrand artists is still tempting. Some other games support it better out of the box as a result.
The spinoff/sequel Cybergeneration went all in on the revolution, and accidentally techno-powered kids forming bands and making noise and agitprop artistic dogmas seems to fit much better.
It’s a future where the country was subject to a corporate takeover. The rich can afford to live forever. What are you gonna do about it?
Generation Zero
Concept
“It’s all that the young can do for the old, to shock them and keep them up to date.”
George Bernard Shaw
Nobody, shouting, says he was born in juvenile detention
Six String, axe, claims they were built from spare parts
Persephone, backing vocals, comes from one of those purpose-built private islands off the coast and was either a serf or a princess
Hammer, percussion, is old enough to buy alcohol in some states
Statistics
Hope 1
Ego 1
Fanbase 1
Cash 0
Performance Traits
Technique 2
Power 4
Stagecraft 1
Entirely too keen on Clash Scenes and playing Face Melters, but can you blame them?
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| I suspect that Shadowrun had a Rocker archetype because Cyberpunk did. |
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