Pyramid 3 - #085 Cutting Edge

Stock #37-2685
Contents In This

From the Editor . . . . . . . . . . . . . . . . . . . 3
Training for the Tech . . . . . . . . . . . . . . . 4
by Phil Masters
Issue
Remixing the Rocker . . . . . . . . . . . . . . . 10 The future is so close, you can almost taste it! This month’s
by Jon Black Pyramid looks at the near-now, with skills, tech, and situations
for those on the bleeding edge of reality.
Eidetic Memory: Cutting-Edge When weapons innovations continue to push the enve-
lope, the best fighters are constantly Training for the Tech.
Armor Design . . . . . . . . . . . . . . . . . . 17 Phil Masters – author of Transhuman Space: Martial Arts
by David L. Pulver
2100 – takes a look at futuristic gunplay, with styles and style
Free Falling . . . . . . . . . . . . . . . . . . . . . 25 components of particular interest to those in a TL9 cam-
by Timothy Ponce paign (including, of course, Transhuman Space). Become
a missile whisperer, partner up with a support shotgunner,
Random Thought Table: and more!
Forward Thinking . . . . . . . . . . . . . . . 32 When the cyberpunk tomorrow comes, there will never be
by Steven Marsh, Pyramid Editor a better time for Remixing the Rocker. See how the world of
music might evolve in a world of chrome, with GURPS info
Short Bursts: White Gold . . . . . . . . . . 34 on technological tweaks to tunes, mind-controlling music, and
by Matt Riggsby even using aural elements to help with healing!
The future might be dangerous; fortunately, you can be pre-
Odds and Ends . . . . . . . . . . . . . . . . . . . . 35 pared with Cutting-Edge Armor Design! This month’s Eidetic
Memory offering from GURPS Ultra-Tech co-author David L.
Cover Art Print . . . . . . . . . . . . . . . . . . .36 Pulver pushes the boundaries of armor creation, with a pleth-
ora of options to devise your own futuristic protection. Have
Appendix Z: The Perky L33t . . . . . . . . . 37 you ever wanted to make arachnoweave or ceramic nanocom-
by Christopher R. Rice posite armor? Now you can!
The blackness of space is a frontier all its own, and one
About GURPS . . . . . . . . . . . . . . . . . . . . 38 challenge its inhabitants must contend with is Free Falling.
With this GURPS guide to all things related to weightlessness,
you’ll learn zero-G fighting styles, how to move in a free-fall
Article Colors environment, what kind of health problems you’ll have in
space, and more.
Each article is color-coded to help you find your This issue also contains an Appendix Z that adds some
favorite sections. perks for cyberpunk hackers, a Random Thought Table that
looks at the future through the lens of the past, and an Odds
Pale Blue: In This Issue and Ends that highlights the stunning cover from Brandon
Brown: In Every Issue (humor, editorial, etc.) Moore. It also includes a vignette by Matt Riggsby, long-time
Green: Columnist GURPS author, that takes you into the world of Car Wars, as
Dark Blue: GURPS Features its cutting-edge development continues apace.
Purple: Systemless Features Sometimes the future is not knowing what you wanted
until you see it . . . then you don’t know how you lived without
it. Even if you didn’t know before you wanted to play a laser-
Cover and Interior Art blasting, liquid-armor-wearing musician living in micrograv-
Brandon Moore ity, you probably want to do so now . . . and this month’s issue
is here to help. The future has never looked better!
Even the tiniest of actions can change the future.

– Casey Newton, in Tomorrowland
Editor-in-Chief z STEVE JACKSON GURPS Project Manager z STEVEN MARSH Chief Executive Officer z PHILIP REED
GURPS Line Editor z SEAN PUNCH Production Artist & Prepress Checker z Chief Operating Officer z SAMUEL MITSCHKE
Assistant GURPS Line Editor z NIKOLA VRTIS Managing Editor z MIRANDA HORNER
JASON “PK” LEVINE Page Design z PHIL REED & JUSTIN DE WITT Marketing Director z RHEA FRIESEN
Car Wars Line Editor z SCOTT HARING Director of Sales z ROSS JEPSON
Pyramid Magazine 2 November 2015

From the
Editor
The Future Is Now! zero-G trip outside of Earth’s atmosphere? Even super-spies
could find themselves on a space shuttle . . .
No, Wait; Now! Plus, the future is always ahead until it’s here. Maybe the
heroes are the first cyberpunk-style rock band in the world, or
Um . . . Now! the world’s only operatives of laser-wielding battlesuits.
So if your game is in the future, there’s sure to be some-
Lots of science-fiction stories take place in far-flung futures. thing here that’ll ring true for you. And if it’s set in the present
But the future is closer than ever, and this issue of Pyramid is . . . well, there’s no time like the future!
devoted to all the tomorrows that are just around the corner.
The great thing about the “near now” futuristic style is
that it can be part of so many types of gaming. Certainly, Write Here, Right Now!
campaigns set in the not-too-distant future can use more How was your visit to the realms beyond today? Did you
glimpses of tomorrow. However, even games that are set in find something to write home about, or was something not
“today’s” world benefit from these materials – especially those quite what you were expecting? We love to get your comments!
that skirt the edge of believability. When a campaign has Let us know via ultra-tech speeding electrons that arrive per-
monster-hunting champions or shadow-lurking assassins, sonally to our inbox at [email protected], or join our
what’s so unbelievable about hyper-new armor, or a quick online virtual realms at forums.sjgames.com.
Additional Material: Sean Punch and Hans-Christian Vortisch
Pyramid, GURPS, Car Wars, Warehouse 23, the all-seeing pyramid, and the names of all products published by Steve Jackson Games Incorporated are trademarks
or registered trademarks of Steve Jackson Games Incorporated, or used under license. Pyramid is copyright © 2015 by Steve Jackson Games Incorporated. All rights reserved.
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Training for
the Tech
by Phil Masters
After GURPS Martial Arts introduced the concept of com- within the scope of topics covered by the VR courses. The
bat styles, GURPS Tactical Shooting and GURPS Gun Fu same could well apply in other futuristic settings. One way to
described styles for various forms of firearms gun combat, represent this is to require everyone with such military back-
for use in realistic and cinematic games respectively. Tactical grounds to take a shooting style, with at least, say, 20 points
Shooting: Tomorrow in Pyramid #3/55: Military Sci-Fi looked at in its skills or techniques. In turn, this allows them to buy
how material from the former could be projected forward into two of its style perks and another “shooting” perk of their
a world of TL9 weapons as described in GURPS Ultra-Tech. choice, which also should be encouraged. This makes “virtual
Meanwhile, Transhuman Space: Martial Arts 2100 exam- veterans” very good, while making others from similar back-
ined the development of martial arts styles in that specific grounds similar (but not necessarily identical) in their skills.
TL10 setting, including a couple of firearms-related styles, Those same training systems also would be designed to
developed from material in Transhuman Space: Changing inculcate good crisis responses. A combat-oriented virtual vet-
Times. This article in turn builds on those foundations to eran usually would have Combat Reflexes (or Enhanced Time
suggest some further firearms styles and variations for TL9 Sense, thanks to nanotech modifications or being a robot), or
and TL10 settings. It makes some reference to the world of a good excuse for its absence.
Transhuman Space, but this material could be used just as
well in other settings. It mostly assumes non-superscience Battlesuits and Space Marines
weapon technologies, but the ideas here are quite adaptable.
Martial Arts 2100 and Tactical Shooting: Tomorrow have
already addressed issues relating to powered armor and
The Virtual Veteran Factor spaceborne, zero-g combat, so that subject isn’t covered much
One established feature of the Transhuman Space setting here. Even so, many new aspects are as relevant to the Space
is that professional soldiers (including military infomorphs) Marine style (Pyramid #3/55, p. 12) as they are to the Assaulter
can safely be assumed to have spent hundreds or thousands style (Tactical Shooting, pp. 47‑48); the former is essentially
of hours in highly realistic virtual reality training before they the spacer’s version of the latter.
ever see real action, making them formidably skilled, at least
Style Components
The styles described here use components from the sources cinematic, requiring Gunslinger as a prerequisite. However,
listed above, plus a few more, as described below. futuristic biotechnology or cybernetic implants may actu-
ally move some such advantages
into the realm of the “realistic,” if
The versatility of the Jelly comes from its ammunition. expensive in cash terms.
There are thirteen basic types of ammunition which Gizmos

the SF-MC uses. see p. B57
– Jean Johnson, A Soldier’s Duty This is a cinematic advantage,
but sometimes useful in that con-
text. Ultra-tech gunfighters have
Advantages a large range of ammunition options; cinematic heroes may

have a knack for always having exactly the right types with
As usual, these styles have various advantages commonly them on any given mission. See Gun Fu, p. 15, for more notes
associated with them. Note that some of these are distinctly on this advantage.

Gunslinger maneuver on the turn when you fire it, not a Ready maneuver;
however, you cannot move at all while doing so. This gives +1
see p. B58 to the missile’s attack roll. If the target was further away (out-
As usual, this gives access to the cinematic elements of the side the missile’s 1/2D range but within its maximum range),
firearms styles described on pp. 6-9. Also, with these rules, you can take a Concentrate maneuver on the turn when it
Gunslinger provides all the benefits of the Gunner’s Guidance reaches its target, and again give it +1 to hit.
and Running Missile Lock perks described below. Further-
more, if you prepare a homing missile for launch while mak-
ing an All-Out Attack, as described for Running Missile Lock, Running Missile Lock
you don’t take the ‑2 on the associated skill roll. Normally, setting up a homing missile for firing requires
an initial Aim maneuver to lock it onto its target. You have
practiced performing this task while on the move. When
New Style Perks preparing to launch such a missile from a handheld gun
or launcher, instead of an Aim, you may take a special All-
As usual, a perk marked * is cinematic, and one marked †
requires specialization. Note that, if you’re using these rules in Out Attack maneuver, permitting you to move up to half
a cinematic game, the Gunslinger advantage now provides all your Move at the same time, at the cost of not being able to
the benefits covered by both Gunner’s Guidance and Running attempt any active defense. However, you still have to make
Missile Lock, and more; you don’t need to buy them if you’ve an Artillery (Guided Missile) roll (or an IQ-based Guns roll,
got that. if you also have the Gunner’s Guidance perk and are using an
appropriate weapon). This takes ‑2 in these circumstances.
Gunner’s Guidance†
Advances in miniaturized electronics at TL9 and beyond
Tangled Trajectory*
permit some ordinary personal firearms to be operated as When firing homing missiles at a target within 2/3 of their
launchers for homing missiles. Normally, using these requires maximum range, you can choose to send them on wildly indi-
a roll against Artillery (Guided Missile) – a completely separate rect paths, making them harder for the target to evade. Effec-
skill to the one acquired to use the guns involved. However, tively, in game terms, you can make your homing missiles
you have learned how to operate the relevant systems as an perform Deceptive Attacks (p. B369), giving the target ‑1 to
integral part of your firearms training. This perk must be active defenses against the attack for every ‑2 that the missile
bought separately for each Guns skill specialization. takes to its own attack roll.
Instead of the usual roll against Artillery skill, when you’re
preparing to fire a homing missile from a gun of the appro-
priate type, you can make an IQ-based roll against the Guns Other Perks
specialization normally used with that type of gun in order to The styles on pp. 6-9 borrow style perks from any of the
lock it on to the target. sources mentioned in the introduction. Note that cinematic
perks – mostly drawn from Gun Fu – are of course only used
Example: Corporal Chandrasingh has IQ 11, DX 13, Guns in cinematic versions of the styles, so a GM running purely
(Gyroc)‑15, and Gunner’s Guidance (Gyroc). When she fires realistic games won’t need that supplement.
a homing missile from her gyroc carbine, she makes an
IQ-based Guns roll (with an effective skill of 13) to claim the
gun’s Acc as a bonus to the missile’s roll to hit. Cross-Trained
If you are using both Gun Fu and Tactical Shooting,
This perk is essentially a version of Skill Adaptation anyone with the Gunslinger advantage can take the cine-
(GURPS Martial Arts, p. 51, or GURPS Power-Ups 2: Perks, matic version of this perk, while everyone else can buy the
p. 17). Note that Transhuman Space games employing the realistic version.
combat rules in Changing Times already will use Guns skill
to aim homing missiles fired from guns, which makes this
perk irrelevant. Style Familiarity
The Missileer (pp. 7-8) and Support Shotgunner (pp. 8-9)
styles are usually taught to those who work with teams trained
Missile Whisperer* in Assaulter (Tactical Shooting, pp. 47‑48) or Space Marine
You can, seemingly, improve a homing missile’s effective- (Pyramid #3/55, p. 12). Hence, anyone with the Style Famil-
ness by sheer force of will. If you launch such a missile at a iarity perk for one of those styles can claim +3 to Soldier or
target it can reach within one second (i.e. that is within its Tactics skills when coordinating with others trained in the
1/2D range), you can take an All-Out Attack (Determined) Assaulter or Space Marine style by the same organization.
This officer, who held a higher rank than he, was to try a new field training
technique that someone, somewhere, dreamed up.
– Mike Giesinger, Space Nation

Skills will need information on the cinematic techniques only if he’s
running a cinematic game.
In addition to specialties of the skill covered in previous
sources, Captivator stylists (below) may learn Fast-Draw
(Grenade) as an optional skill. On a successful skill roll
Targeted Attack
against this specialty, not only is a grenade pulled from a Like human beings, vehicles have hit locations; see
belt or pouch instantly, but the wielder can, if he wishes, pp. B554‑5. Naturally, skilled shooters can learn to target
press the manual arming switch on a smart grenade (Ultra- such locations, using the rules in Martial Arts, p. 68. Vital
Tech, pp. 146‑147) as part of the process. areas (‑3 to hit) are always a good target if the weapon used
has enough penetration, while wheels (‑4 to hit) or tracks
(‑2 to hit) are sometimes only lightly protected even on well-
New Technique armored vehicles. A good hit there can leave a target vehicle
gratifyingly immobile.
This new technique can prove useful with certain types of
weapons.
Disk Bouncing
Average
Then a surge of living
Default: Throwing‑3. monsters carried me back up
Prerequisite: Throwing; cannot exceed Throwing‑1.
Saucer grenades (Ultra-Tech, p. 147) can be bounced off
into the light – and training
walls and hard surfaces as they are thrown. You have prac-
ticed this trick; use this technique instead of Throwing‑3 as
paid off; I landed on my feet,
the base skill for the throw, then apply range and other mod-
ifiers as usual.
talking and fighting.
– Robert A. Heinlein,
Other Techniques Starship Troopers
As with perks, the styles detailed on below borrow tech-
niques from the preexisting sources listed on p. 4. The GM
New Styles
These three new styles would be suitable for use in most opponents “by hand,” although their initial training usually
realistic near-future games. They also can be fitted into cin- assumes that the opponent has been temporarily disabled
ematic games by allowing the listed cinematic options (after with a weapon first. Many also learn to use vortex ring pro-
the stylist has taken the Gunslinger advantage, of course). jectors (Ultra-Tech, p. 134) or handheld sprayers to deliver
liquid, gas, or nanotech attacks, but this is usually regarded
Captivator as a secondary option.

Quite a few learn to use old-fashioned police weapons
5 points such as batons, more advanced stun wands or zap gloves
Advances in technology at TL9 and beyond make “less (Ultra-Tech, pp. 164-165), or small-caliber pistols loaded
than lethal” weapons increasingly effective and reliable, lead- with gas rounds. Captivators often go into action with a
ing to their adoption by many individuals and organizations different weapon in each hand, and are trained to switch
who prefer not to kill their opponents if possible. This style quickly when the situation changes; shooting or throwing
represents advanced training with such devices. It is pop- equally well with each hand is considered good, but can be
ular with police, bodyguards, and private investigators. In hard to learn.
some settings, it may be learned by intelligence agents who Given all these options, and the complex situations in which
are assigned to capture opponents for interrogation or just to captivators often have to use their training, the style puts a
work with the police. premium on situational awareness and judgment. Its primary
It covers a range of weapons, allowing someone to use skills may be DX-based, but anyone with below-average IQ or
whatever’s best for the task in hand: “stun beamers” such serious psychological issues will be unlikely to pass the course.
as electrolasers (Ultra-Tech pp. 119‑120 or Changing Times Many captivators learn basic interrogation techniques,
p. 62), sonic weapons (Ultra-Tech pp. 124‑126), or neural so that they can get extra information about a situation
weapons (Ultra-Tech pp. 121‑122) in games with appropri- from one prisoner before moving on to the next objective.
ate superscience; large-caliber low-velocity guns that can How brutal these get may depend on local rules of engage-
launch tangler or biochemical aerosol shells (see Ultra-Tech, ment, but it’s hard to get either too subtle or too effectively
pp. 153‑155); and grenades that can carry similar payloads ruthless in the middle of a firefight. Likewise, it’s sometimes
in larger quantities. In addition, stylists learn to restrain useful to be good at intimidating opponents into compliance.

Equally, many trainers try to ensure that their pupils know the
basics of whatever laws or rules of engagement will apply to Missileer
them; other captivators learn those rules as part of their jobs. 3 points
Cinematic captivators typically just handle complex sit- At TL9 and beyond, miniaturization transforms smaller
uations with superhuman grace and efficiency and lots of but highly effective self-propelled missile launchers from a
specialized gadgets. In some cases, they may know uncanny heavy support arm to something the size of a personal fire-
“martial-arts grips” that can render opponents helpless with arm, or even a pistol. The missiles fired from such launchers
little more than a touch; represent this by a combination of can even be equipped with homing systems. One consequence
Judo and Pressure Points skills (with Gunslinger giving access of this is that Guns (Gyroc) becomes one of the possible
to Pressure Points in this case). In extreme cases, they may primary skills for some versions of the Assaulter style (and
be pacifist super-gunmen, able to mow down whole armies of Battlesuit Shooter and Space Marine from Pyramid #3/55,
opponents without killing anybody; to represent such char- pp. 11-12), but some troops focus more closely on the specific
acters, merge this style with Double Trouble, Future Kill, or capabilities of this weapon type, usually working as special-
Ultimate Shootist from Gun Fu, importing any elements from ists within infantry squads or even fire teams who are mostly
the other style that can be used with less-than-lethal weapons. trained with other weapons.
The many variants of this style are reflected in the choices This style represents the training given to these specialists.
built into the skill selections, which usually will be deter- Many missileers move into this specialty after a stint as regu-
mined by the employer, not their own personal choice. In gen- lar infantry with the Assaulter or Space Marine style; others
eral, ordinary cops and the more discreet sorts of bodyguard train as missileers from the first, but may well acquire skills
or PI learn skill specialties for pistol-sized weapons, while from their colleagues along the way.
hostage-rescue specialists and the like prefer
bigger, more powerful weapons that are
likely to work on the first hit.
Skills: Beam Weapons (Pistol or Rifle); Note on Existing Styles
Guns (Pistol or Rifle); Throwing; Wrestling. See Tactical Shooting: Tomorrow for extensive notes on adapting exist-
Techniques: Arm Lock; Behind-the-Back ing gun styles to ultra-tech weapons. In general, most of the styles from
Shot; Close-Hip Shooting; Close-Quarters Tactical Shooting and Gun Fu should still be available in “realistic” or
Battle; Corner-Shot; Disarming; Disk “cinematic” TL9 or 10 (and maybe more advanced) futures respectively,
Bouncing (p. 6); Dual-Weapon Attack; although some will obviously be more useful than others, depending
Handcuffing; Retain Weapon; Sweep. on circumstances.
Cinematic Skills: Blind Fighting; Invisi- For example, Way of the West (Gun Fu, p. 35) is a style for folks using
bility Art; Zen Marksmanship (any). revolvers and riding horses – not much use in any but the strangest TL10
Cinematic Techniques: Timed Dodge. settings. Likewise, Rifleman (Tactical Shooting, p. 51) is a style for sol-
Perks: Akimbo; Barricade Tactics; Battle diers using low-tech rifles, which are unlikely to be seen much on TL9+
Drills; Concealed Carry Permit; Cool Under battlefields, except in the hands of underequipped insurgents, who don’t
Fire; Dial-a-Round; Dual Ready; Flimsy have full style-level training. That said, if those insurgents are getting
Cover; Grip Mastery; Gun Sense; Light- minimal hardware support from outside allies, and some useful soft-
ning Fingers; Off-Hand Weapon Training; ware-based training, they might be given specially designed programs
Pistol-Fist; Quick-Sheathe (Pistol); Quick- intended to turn them into the best soldiers they can be with those guns
Swap; Robust Hearing; Standard Operat- (and training to accomplish as much as possible with single-shot attacks
ing Procedure (any); Sure-Footed (Slippery could be one way to encourage conservation of scarce ammunition).
or Uneven). If the available technology in a setting includes significant numbers
of beam weapons (such as lasers, blasters if the TL is high enough, or
Optional Traits various other types if the right sort of superscience is available), Beam
Secondary Characteristics: Improved Weapons skill can replace or be added to Guns in many of the styles. In
Basic Speed, Per, and Will. some cases, some styles may switch over to Beam Weapons while oth-
Advantages: Ambidexterity; Combat ers stick to Guns; for example, at TL9, lasers may be regarded as useful
Reflexes; Danger Sense; Enhanced Dodge; sniper weapons but poor choices for ordinary troops – in which case, the
Enhanced Tracking; Extra Attack; Fearless- Assaulter style (Tactical Shooting, p. 47) may remain largely unchanged,
ness; Peripheral Vision. while Sharpshooter (Tactical Shooting, p. 51) can be adapted into “Laser
Disadvantages: Duty; Honesty; Pacifism; Sharpshooter,” with Guns (Rifle) replaced by Beam Weapons (Rifle) and
Responsive; Sense of Duty (“Innocents”). any skill or perk specializations which refer to guns or bullet use deleted
Skills: Brawling; Detect Lies; Fast- or replaced by specializations for beam weapons.
Draw (any, including Grenade); Forced Incidentally, even if lethal lasers and blasters are still largely unknown
Entry; Interrogation; Intimidation; Judo; in a setting, “less-than-lethal” electrolasers (Ultra-Tech, pp. 119‑120, or
Law (Local Civil or Police); Liquid Projec- Changing Times, pp. 62‑3) and other somewhat specialized weaponry
tor (Sprayer); Savoir-Faire (Police); Short may make Beam Weapons skill useful, especially for cops and civilians.
sword; Stealth; Tactics; Tonfa; Traps. Hence, it can become an optional skill for many styles learned by anyone
Techniques: Armed Grapple; Targeted from those backgrounds.
Attack (Pistol/Face).

The gyroc carbine is usually their preferred weapon,
although most stylists pride themselves on being familiar with Support Shotgunner
all of the gyroc variants known to their force. Some mount 4 points
underbarrel grenade launchers or shotguns on their carbines, The shotgun was always rather marginal as a military or
giving them extra shots and extra flexibility while also allow- paramilitary weapon, as the notes on the Shotgunner style
ing them even more options for exotic warhead combinations. (Tactical Shooting, p. 52) make clear. As TL8 military tech-
A missileer is trained to engage the lighter sort of armored nology develops, it becomes increasingly irrelevant, as more
opponents sometimes met on high-tech battlefields, including widespread availability of personal armor makes its relative
battlesuit troops, robots, and some soft-skinned vehicles, and lack of penetrating power more of an issue.
sometimes to act as a sniper. This implies use of armor-pierc- However, at TL9, the military shotgun makes a modest
ing warheads and homing missiles; other missile types can be comeback. High-tech miniaturization allows some exotic
employed to attack targets behind cover (using explosive or payloads to be installed in small rounds from that TL
SEFOP warheads). Switching loads fast is a virtue, but usu- onward (see Ultra-Tech, pp. 152-159), but a need may still
ally is not considered an absolute necessity. Gyroc rounds are exist for relatively large caliber weapons to exploit these new
expensive, with a low rate of fire, so missileers are expected to technologies; explosive rounds certainly benefit from being
choose their targets carefully, and to make every shot count. as large as possible. The military shotgun thus returns as, in
Cinematic missileers always seem to have the right projec- effect, a low-cost exotic munitions launcher which can also
tile for the job, loaded and ready to go; a level or two of the fire buckshot or slugs in a pinch. This style is designed to
Gizmos advantage suits such stylists very well. They also tend make the most of this option. It really comes into its own at
to have a cinematic sniper’s ability to score hits at “impos- TL10, when a shotgun can be used to fire HEMP warheads.
sible” ranges. Missileers in general have a “techie” image by Some support shotgunners are pure specialists, who go into
infantry standards. action with a shotgun as their primary weapon. Others are
Missileers are trained to use homing missiles, which is part-timers, usually having an underbarrel shotgun mounted
why Artillery skill is a part of the style. In some cases, they on a rifle which otherwise matches their unit’s standard
drop that skill from the style’s list and take the Gunner’s issue, and learning this style after learning Assaulter or Space
Guidance (Gyroc) perk as soon as they have the Style Marine. A few even carry shotgun pistols. Stereotypically, they
Familiarity perk and a point in Guns (Gyroc), rather than are their squad’s solidly reliable “backup guy.”
waiting until they’ve spent 10 points on the style’s skills and The style assumes the use of the sort of military shotguns
techniques. In fact, if the GM permits this option, they may described on pp. 136-138 of Ultra-Tech. Most of these have
be required to take this perk as soon as possible. box or tube magazines, permitting fast loading; the under-
Skills: Artillery (Guided Missile); Guns (Gyroc). barrel shotgun requires individual shell loading, but that is
Techniques: Close-Quarters Battle; Corner-Shot; Precision only expected to be used intermittently, with the gun to which
Aiming; Targeted Attack (Gyroc/Vehicle Tracks); Targeted it is attached providing primary firepower. Hence, the style
Attack (Gyroc/Vehicle Vital Areas); Targeted Attack (Gyroc/ excludes some of the tricks which were previously learned by
Vehicle Wheels). Shotgunner stylists to make the most of what were essentially
Cinematic Skills: Zen Marksmanship (Gyroc). slow-loading civilian weapons. Instead, it covers the use of the
Cinematic Techniques: Whirlwind Attack (Gyroc). shotgun to launch anything that will fit in its barrel, including
Perks: Army of One; Cross-Trained; Deadeye; Dial-a-Round; homing rounds. Like missileers (pp. 7-8), support shotgunners
Early Adopter; Gunner’s Guidance (Gyroc) (p. 5); Gun Whis- usually learn Artillery skill, but, again as with the Missileer
perer (Gyroc); Intuitive Armorer; Lightning Fingers; Missile style, some students may be allowed or required to drop
Whisperer; Motorized Training; Quick Reload; Running Mis- that skill from the style’s list and to take Gunner’s Guidance
sile Lock; Standard Operating Procedure (On Alert); Tangled (Shotgun) as soon as they have taken the Style Familiarity
Trajectory. perk and put a point in the style’s other required skills. If the
GM permits this option, the shooter may be required to take
Optional Traits this perk as soon as possible.
The support shotgunner is expected to be versatile above
Secondary Characteristics: Improved Per.
all else. He may launch those homing missiles against dis-
Advantages: Acute Vision; Fearlessness; Fit; Gizmos; Hard
tant targets, but he also may take on robots or light vehicles
to Kill.
with armor-piercing rounds that can still do decent dam-
Disadvantages: Callous; Duty; Overconfidence.
age after penetrating; scrub away soft cover or hurt peo-
Skills: Armoury (Small Arms); Camouflage; Expert Skill
ple behind harder protection with well-placed HE shots; get
(Robotics); Guns (Grenade Launcher, LAW, or Shotgun);
really fancy with homing SEFOP projectiles; smash open
Savoir-Faire (Military); Soldier; Tactics; any skill taught as
doors during house-to-house fighting with frangible ammu-
part of the Assaulter or Space Marine style in the same force.
nition (GURPS High-Tech, p. 103); knock enemy minia-
Techniques: Any technique taught as part of the Assaulter
ture recon drones out of the air with buckshot; or drive
or Space Marine style in the same force.
off civilian rioters with baton rounds (High-Tech, p. 103).
Switching loads in a hurry is a necessary part of the style! Cin-
Transhuman Space Games ematic support shotgunners are all but required to have a few
In games employing the weapons and combat rules from levels in Gizmos and perhaps some points of Lifting ST; they
Changing Times, delete the Artillery skill, reducing the have an image as people who are quick on their feet despite
style cost by 1 point, and delete the Gunner’s Guidance perk being loaded down with cool kit.
as unnecessary.

Skills: Artillery (Guided Missile); Fast-Draw (Ammo); Guns Transhuman Space Games
(Shotgun).
The GM who employs just the weapons tables from
Techniques: Close-Hip Shooting; Close-Quarters Battle
Changing Times will note that no shotguns are listed there.
(Shotgun); Corner-Shot (Shotgun); Retain Weapon; Tar-
If you want to include this style in such games, and you don’t
geted Attack (Shotgun/Vehicle Vital Areas); Targeted Attack
have access to Ultra-Tech, simply use the TL7 auto shotgun
(Shotgun/Vehicle Wheels).
from the Basic Set (p. B279), with HUD and laser sights (as in
Cinematic Skills: Breaking Blow (Guns); Zen Marksman-
the main Transhuman Space book, pp. 156‑7) fitted as stan-
ship (Shotgun).
dard. It can fire the special ammunition types from Changing
Cinematic Techniques: Timed Dodge; Whirlwind Attack
Times; start with 4d+4 pi++ damage for unmodified slugs, and
(Shotgun).
apply the listed modifiers to that, or assume a 15mm warhead
Perks: Armorer’s Gift; Area Defense; Barricade Tac-
where that is relevant.
tics; Battle Drills; Cinematic Knockback; Cookie Cutter;
Also, in campaigns using the combat rules from Changing
Cool Under Fire; Dial-a-Round; Dramatic Death; Fireball
Times, delete Artillery (Guided Missile) skill from the style,
Shot; Flimsy Cover; Gunner’s Guidance (Shotgun) (p. 5);
reducing the style cost by 1 point, and delete the Gunner’s
Gun Shticks (any); Gun Whisperer (Shotgun); Infinite
Guidance perk.
Ammunition; Intuitive Armorer; Lightning Fin-
gers; Motorized Training; Missile Whisperer;
Muzzle Flamethrower; One-Armed Bandit; Quick
Reload; Recoil Rocket; Robust Hearing; Running
No more drills, no more practice.
Missile Lock; Scattergun; Standard Operating You are all about to receive the honour
Procedure (any); Tacticool; Walking Armory.
of going into combat for the first time,
Optional Traits as Ultramarines.
Secondary Characteristics: Improved Basic Speed
and Per. – Proteus, in Ultramarines
Advantages: Combat Reflexes; Danger Sense;
Fearlessness; Fit; Gizmos; Hard to Subdue; Lifting
ST; Signature Gear.
Disadvantages: Callous; Chummy; Code of Honor; Con-
About the Author
Phil Masters is the Transhuman Space Line Editor and the
genial; Duty; Impulsiveness; Overconfidence; Sense of Duty author of several previous supplements for the line, including
(Squadmates). Changing Times and Bio-Tech 2100. He is British, has been
Skills: Armoury (Small Arms); Forced Entry; Guns (Pis- a roleplaying game writer for over 30 years, and has worked
tol or SMG); Savoir-Faire (Military); Soldier; Tactics; any skill with Steve Jackson Games for over 20 years, as well as writ-
taught as part of the Assaulter or Space Marine style in the ing for Hero Games, White Wolf, Posthuman Studios, Osprey
same force. Publishing, and others. His credits also include the Discworld
Techniques: Any technique taught as part of the Assaulter Roleplaying Game. His website is at philmasters.org.uk.
or Space Marine style in the same force.

Remixing the
Rocker by Jon Black
The musician and his high-tech gear are staples of near- Apply -2 when pitch correcting live performances, which is
future science fiction, particularly cyberpunk. The “rocker- more challenging than for recordings.
boy” was one of the original character archetypes of the There is already backlash against pitch correction because
Cyberpunk roleplaying game when it was released in 1986. it diminishes the role of talent and skill. In the future, cor-
William Gibson’s cyberpunk novel Idoru revolves around an porations could transform anyone they want into the perfect
AI musician. In Bruce Sterling’s “We See Things Differently,” musician. Even desktop software will enable ordinary people
a successful rocker becomes America’s last, best hope. Music to give professional-sounding performances.
is part of our vision of the future and part of the technology If anyone can sound flawless, conceptions of what consti-
defining that future. tutes “musical talent” may evolve. Society may redefine what
Technology, some which already exists and some on the it means to be a star by elevating some other aspect of the
not-too-distant horizon, will create new possibilities and performance, as the following ideas suggest.
realities for music, many of which make cyberpunk eerily
Emphasis on Authenticity: To prove true talent, fans insist
prescient. From today’s pitch correction software to tech-
that musicians perform without pitch correction. Devices
nologies allowing musicians to influence audience behavior,
may be developed to detect pitch correction technology,
the near-future is a world where money and tech can make
and recordings come with “correction free” certifications.
anyone into a star, and where death is no reason to end a
Of course, certifications can be faked and technology con-
musical career.
cealed. Taken to its extreme, this path might lead to a new
This discussion highlights the impact of cutting-edge tech-
folk revival, emphasizing acoustic instruments and analog
nology (from tomorrow until early TL9) on music and the
recording technologies resistant to pitch correction. Some
music industry and extrapolates roleplaying opportunities
players may not like the low-tech feel, while its quirky juxta-
created by resulting social, economic, and artistic changes.
position may attract others.
Suggested mechanics for modeling these technologies in
Emphasis on Image: In a world of pitch correction on
GURPS are provided.
demand, the defining element of greatness becomes image,
Variables such as the TL when a device is introduced and a
that nebulous amalgam of appearance, style, presence, and je
campaign’s intended flavor make price an issue for the GM to
ne sais quoi. Such a music scene would be dominated by visu-
set. Useful starting points can be found in the GURPS Basic
ally distinctive genres and subcultures, over-the-top appear-
Set, GURPS Cyberpunk, GURPS High-Tech, GURPS Space,
ances, and dramatic performance styles as well as a cult of
GURPS Ultra-Tech, and Pyramid #3/21: Cyberpunk.
excess and egomaniacal, eccentric performers.
Emphasis on Marketing: With pitch correction leveling the
Auto-Tune In, Auto-Turn playing field, musical fame and success default to questions
of advertising budgets and media exposure. This scenario
On, Auto-Drop Out rewards the already successful and corporate protégées.
Emphasis on Songwriting: With vocal and instrumental tal-
Technology to edit sound is already widespread. Further
advances will redefine the music industry and possibly music ent now meaningless, the ability to write quality music and
itself. Auto-Tune, a brand name, is often used to describe any lyrics is at a premium. It is a golden age for singer-songwrit-
software performing pitch correction for voice or instruments. ers. Songwriting may even eclipse musical performance as a
By ensuring that notes always come out pitch perfect, this valued art form.
technology has the potential to turn mediocre (or wretched) Emphasis on Spontaneity: Talent is judged by the ability
performances into flawless ones. to improvise complex melodic structures or clever lyrics, a
Pitch correction is advancing more rapidly than the typ- potentially bizarre future of free jazz and rap battles.
ical GURPS equipment modifiers (p. B345) suggest. For a These visions of future music are not mutually exclu-
more plausible progression, top-of-the-line pitch correction sive. Two or more may blend together. Likewise, differing
software could provide +6 to Musical Instrument and Sing- responses may exist separately but simultaneously, either in
ing skills at mid-TL8, +8 at late TL 8, and +10 by early TL9. coexistence or conflict. A musical future pitting emphasis on
image versus emphasis on marketing is very cyberpunk.

The Camera Loves You Depending on social mores, of course, such offerings could be
official and legal.
Video editing already does for images what pitch cor-
rection does for sound, and its capabilities will continue to
improve. It may become possible to perform near flawless
Destined to Be a Hit
real-time video editing and CGI, allowing artists to look their Currently, music is one of the few industries not using
best even during live broadcasts. extensive predictive modeling for products (beyond “her last
With appropriate equipment, a successful Electronics album did well” or “the kids seem to be into this hip hop
Operations (Media) roll cleans up and enhances video, add- thing”). Music would be less risky and more profitable if hits
ing one level of Appearance to performers. Modifiers include could be predicted before they were released or, better yet,
-1 for each individual being edited simultaneously and other before they were written.
penalties as appropriate for difficult conditions (pyrotechnics, Several algorithms already exist to predict a song’s success,
musicians body-sculpted to resemble werewolves, gun bat- using data as diverse as common characteristics of Top 40
tle going on during broadcast, etc.). The equipment can, of hits, recurring pitches and rhythms of popular songs, frequent
course, also be used to subtract a level of Appearance (people instrumental combinations, and monitoring the brain activity
will, no doubt, devise ways to make that useful). of listeners. Success rates as high as 75-80% are claimed for
some models (sadly, they also show people like bland, repet-
itive music). Advances in computing and neuroscience could
The New Plugged In radically increase the accuracy of predictions.
If neural interfaces exist, artists can potentially play instru- Commercial Potential: Software provides a bonus of up to
ments as rapidly and intricately as their minds allow, free +4 on Merchant or Psychology to evaluate a song’s commer-
of physical limitations such as response time and distance cial potential. Treat successful evaluation of a promising song
between different strings or keys. This enables previously as a bonus to Merchant or Propaganda (Corporate) for pro-
impossible levels of instrumental virtuosity. Someone with a moting the song.
neural interface and appropriate instrument receives a bonus Popular and Commercial Appeal: From there, retro-engi-
of up to +4 on the relevant Musical Instrument specialty. neering the process to create songs optimized for commercial
It is possible that performing via neural interface will be success is a logical step. If an algorithm is accurate, simply
view as “cheating,” much like many people currently view plugging in the right variables may yield songs tickling the
pitch correction. If so, physical skill will remain fundamen- auditory cortexes of billions − leaving a few million outliers
tal to musical talent. Conversely, audiences may conclude scratching their heads and grumbling. Software provides a
that results are what matter and that the mental agility bonus of up to +4 on Musical Composition pertaining to pop-
required by neural interface is just as valid as the physical ular and commercial appeal only (the bonus has no impact on
ability currently required. Remember, at one time, electric critics, at least those not owned by corporations). For stronger
instruments were widely considered cheating; that attitude cyberpunk flavor, apply an equivalent penalty to its appeal to
has clearly changed. subcultures and fringe elements.
Individual Tastes: This technology could be modified for
VR Killed the Radio Star individual use. Neuro-monitoring might quantify the char-
acteristics of an individual’s musical taste. Using that pro-
The development of virtual reality or dreamgames tech- file, with a database or net access, a computer could identify
nology would create lucrative opportunities for the music songs, bands, or genres that the individual is almost guaran-
industry. Music videos, in decline since the early 1990s, could teed to like. It might also connect him to social media groups
receive a boost from technology putting viewers in the video. and other people with similar tastes or immediately forward
Making these programs interactive would further enhance his profile to corporate marketing departments. Software pro-
marketability. Likewise, many fans would pay to virtually vides up to +4 on Research attempts to find music the person
“attend” live shows, entire festivals, or enjoy a private per- likes or to connect with likeminded groups or individuals.
formance by their favorite star. Related VR offerings might
include games where stars appear as characters, interactive
“reality-VR” programs allowing fans to step into a day in the The Ultimate
life of a star, or educational VRs with musicians teaching gui-
tar, keyboards, or cyber-sitar. Comeback Tour
Gray- or black-market VRs would be as lucrative as legit- With sufficient computing power, it is possible to recreate
imate offerings. As with YouTube, fan-created videos would the musical talent, style, and even personality of a deceased
flourish. If the technology to create VR is inexpensive and por- musician. Detailed personality simulations (to say nothing
table, unauthorized concert recordings may circulate as freely of actual AI) combined with the ability to mathematically
as bootleg Grateful Dead cassettes circa 1973. VRs lampoon- model the behavior, performance style, and creative output
ing stars and parodying their music will thrive. Corporations of an individual allows functional recreation of a dead artist.
might view these unofficial VRs either as copyright infringe- A digitally recreated artist (DRA) can write new songs in the
ment warranting legal (and extra-legal) action or as welcome idiom of the original, communicate in the appropriate style,
free advertising. and behave with the right attitude. With holographic or
“Rock star” and “sex symbol” are frequently synony- robotic technology, DRAs can also perform and move like the
mous. Unsanctioned pornographic VRs featuring computer- original artist. A self-aware DRA may feel that, in every way
rendered versions of popular musicians will find buyers. that matters, it is the artist.

The authenticity of a DRA depends on the amount of data Designed With Points: If the above seems too compli-
available about the original artist. Generally, the more recent cated, consider building aidoru using points instead. Voice
the artist, the more data available (there are exceptions; we should de rigueur for aidoru. Also consider building aidoru
know more about Beethoven than Blind Lemon Jefferson). with the Musical Ability Talent. If it has a video, holographic,
Gathering the necessary data and transforming it into or robotic presence, the aidoru will likely have one level of
a DRA requires six months and a successful Research roll. Appearance above Average and possible many more. The GM
Time can be cut at a penalty of -2 per month. Additional time who wishes to blur the line between human and machine can
provides +1 per month, to a maximum of +6. The GM should allow aidoru to be programmed with one or more levels of
modify the roll based on the volume of information available Charisma. A middle ground would allow that only to true AIs.
about the artist. Specifics vary, but -1 per 25 years between
DRAs and aidoru need not be restricted to musicians. Dig-
an artist’s death and the campaign’s present is a solid start-
itally driven managers, producers, DJs, or even roadies each
ing point.
offer a distinct flavor of weirdness to a campaign.
The greater the margin of success, the more felicitous the
DRA’s recreation of the original. A critical success would fool
the artist’s mother. Succeeding exactly results in a DRA equiv-
alent to a talented cover artist and gifted impersonator – good
Musical Mind Control
enough for casual listening but not to fool diehard fans or seri- Music’s ability to influence and control others is a conven-
ous investigation. Optionally, a critical failure might create a tion of both roleplaying and science fiction. In Cyberpunk
talented DRA but nothing like the intended artist. 2020, the rockerboy’s special ability was “Charismatic Lead-
ership,” swaying audience emotion and behavior. A rocker’s
tech will never match the powers of a fantasy bard in this
The Prefab Four regard, but evidence suggests technology can augment a per-
former’s ability to persuade. The key appears to rest on a
From DRAs, it is a short jump to technology that builds a
combination of infrasound, ultrasound, rhythm, and sub-
superstar or entire band from scratch – as in Gibson’s Idoru.
liminal messaging.
The Japanese word for “idol” (often transliterated as aidoru),
Infrasound and ultrasound are sounds below and above
is an appropriate term for any original, digitally based musi-
(respectively) the conscious hearing of humans. Studies
cian, whether actually AI or just a complex personality simu-
strongly suggest, however, humans are subconsciously aware
lation. Witty denizens of the future might capitalize the first
of and responsive to infrasound and ultrasound, but they are
two letters (to AIdoru) for obvious reasons.
not specifically influenced by vocal messages in either range.
Designed as a Computer: Build aidoru using the computer Infrasound is linked to the creation of negative states such
rules (p. B472). Typically, aidoru use the highest Complexity as anxiety, awe, fear, paranoia, fatigue, sorrow, and irritation.
computers available, often with the High Capacity enhance- It has been associated with reports of supernatural phenom-
ment. Even then, an aidoru may require two or more linked ena, leading to suggestions that infrasound causes people to
megacomps. It’s not cheap, but if building a rock god was easy, erroneously perceive paranormal occurrences (A horror or
everyone would do it. Treat the aidoru’s personality as Com- supernatural campaign might invert that relationship, pos-
plexity 7 if AI, or Complexity 6 otherwise. Memory require- iting that infrasound heightens sensitivity to the paranor-
ments are extreme, in the 10 to 100 TB range. The cost of the mal.) Conversely, reactions to ultrasound are positive: good
Expert Skill programs necessary to create a world-class musi- mood, alertness, confidence, creativity, euphoria, and even
cian may be very expensive as well. pain tolerance.
Musical Mind-Control Specialties

Use the following specialties to help with Influence, responsible for infrasound influence in musical mind con-
mind control, or similar actions. trol. If the GM deems it feasible, one musician may play
infrasound and ultrasound, at -2 to both. Defaults at -5 to
Musical Instrument a similar traditional instrument.
Ultrasound: As per Infrasound, above.
see p. B211
Drums: Because rhythm is the only consciously audi-
ble component of musical mind control, it uses the nor-
Singing
mal Tuned or Untuned Drums skill at -2, representing the see p. B220
difficulty of a targeted effect. The GM may consider allow- Subliminal: This specialty covers the artistic and effec-
ing idiophone Musical Instrument specialties (see GURPS tive use of the voice (human, computer-driven, or other-
Low Tech Companion 1: Philosophers and Kings, p. 18) wise) at subconscious levels for musical mind control.
to apply to mind control. Subliminal and conventional singing default to each other
Infrasound: This specialty covers artistic and effective at -4.
use of whatever instrument(s) the GM determines are

Rhythm assists in the coordination of group behavior, effects begin after a week. Working more quickly or delivering
allowing for the synchronization of actions and (some have a greater impact than +1 is cinematic.
argued) thought. Subliminal messaging, while shown to Stimulate Healing: Creating a positive mindset and pro-
impact listeners, is not as effective as conventional communi- moting healthy vitals catalyzes the healing process, reflected
cation. The two in tandem, however, have greater impact than in healing rolls. Adding 1 point of healing per day is realis-
conventional communication alone. tic. Adding 1 point per recovery roll is plausible. Adding 1d/2
points (minimum 1) per recovery roll is cinematic. Healing
As Reaction Modifiers: A combination of infrasound,
gained from musical treatment is cumulative with other
ultrasound, rhythm, and subliminal messaging predisposes
forms of treatment.
audiences to a performer’s explicit message. A +1
reaction modifier is realistic, +2 plausible, and
+3 cinematic.
As Enablers: For a cinematic game mechanic, Esoteric Medicine
treat the same combination of elements as pre-
requisites enabling a musician to use Enthrall- See p. B192
ment (p. B191) or Musical Influence (p. B210). Music: This specialty reflects knowledge and experience in con-
sciously and deliberately using music to stimulate the body’s nat-
The GM also decides how influencing/con- ural healing. Unless otherwise specified, patients must undergo
trolling elements are designed, produced, and hour-long daily sessions. Effective skill level is limited by the rele-
inserted into performances or recordings. The vant Musical Instrument specialty. In the case of a variant TL(7+1)
process could be computer driven, produced by or TL(7+2) technology emphasizing acoustics and mind-body
musicians, or both. If the process is computer medicine, standard medical skills may apply instead. Defaults
controlled, use Musical Composition after suc- are other Esoteric Medicine-6, appropriate Musical Instrument-4,
cessful Psychology and Electronic Operation or Physician-6.
(Media) rolls. If musicians are involved, they can
use appropriate Musical Instrument specialties
(see p. 12).
Such techniques need not be used furtively or illicitly. Part Physicians can use prerecorded music or sheet music
of music’s appeal is its emotional power and influence. Many performed by someone else for musical healing. In either case,
fans would flock to bands taking that effect to the next level. the physician must first make a successful Esoteric Medicine
Human dependence on language limits the ability to influ- (Music) or Physician-3 roll to identify appropriate recordings
ence audiences instrumentally. A group without a vocalist or sheet music. (Note that Physician-3 is higher than the skill’s
is restricted to creating strong specific emotions (anything normal default because it assumes that physicians have access
expressible in a single word). to reference materials to select appropriate music.)
No discussion of musical mind control is complete with- Based on the roll’s margin of success or failure, the GM
out “backmasking,” subliminal messages laid backward onto should assign the recordings or sheet music an effective skill
another recording. Some groups once alleged that the music level for Esoteric Medicine (Music). Because pre-prepared
industry extensively used backmasking. Evidence supports music is not fine-tuned to an individual patient’s condition,
neither backmasking’s effectiveness nor that it was ever used these treatments are typically less effective than a live
non-ironically. Of course, in a GURPS Cthulhupunk, GURPS performance by a trained practitioner. With that in mind, a
Illuminati, or GURPS Technomancer campaign, backmask- maximum skill of 14 is appropriate. The GM who likes the
ing might be both real and effective. flavor of I Saw Them Live (p. 14) may want consider a maximum
of 12 instead. Because live performers, even those untrained
in musical healing, have some ability to individualize their
M I
usic s the octor D performance, treat effective skill levels as one higher.
With current evidence, using music to directly heal would To then use prerecorded music for healing, the practitioner
require magic, not technology. But the research does support makes a successful roll against its effective skill level. For
music’s ability to induce physiological states highly conducive sheet music, use the lower of the music’s effective skill level or
to healing. It can help respiration, pulse, and blood pressure the musician’s appropriate Musical Instrument specialty (at
remain at, or return to, healthy levels. It facilitates calm dis- the full skill, not the typical default of -4).
positions and positive outlooks. With further research, it is
possible that these therapeutic effects could be manipulated
more consciously and actively. I Ts here nybody A
Using music in a medical context requires a roll against
Esoteric Medicine (Music), below.
T
in here ?
Music’s ability to impact mood and mental condition is
Negate Pain/Fatigue: Cancels the pain and fatigue effects of widely accepted and has received limited study. As with musi-
being reduced to 1/3 or less FP or HP (but not the fatigue or cal healing, additional research and technological enhance-
injury itself). Thirty minute sessions, effective for six hours. ment may allow for a more accurate and nuanced use.
Resist Disease: By stimulating healthy body processes, Using music to psychologically impact an individual
musical therapy can aid in fighting disease. For long-term ill- requires a successful Musical Influence roll. If the Musical
ness, patients receive +1 to resist or recover from a disease Influence skill is not used in a campaign, roll against the lower
after a month of daily sessions. For shorter-term sickness, of Psychology and either Musical Instrument or Singing.

Unless the GM declares otherwise, music therapy requires speakers/amplifiers or other handheld sound devices con-
daily sessions of at least an hour in length. Potential uses for stitute basic-quality equipment. Hospital beds or therapist
this skill include the following: couches with built-in surround-sound are good-quality equip-
ment. Reserve fine-quality equipment for full-room facilities,
Coping With Trauma: Each successful daily check
such as surgical theaters or therapeutic calm rooms, with top
reduces the effects of a failed Fright Check by one entry
of the line sound systems. In some therapeutic situations, an
on the Fright Check Table (pp. B360-361), to a maximum of
isolation tank with cutting-edge acoustics and sound system
one-half the original entry level (round down). At GM dis-
also may constitute fine-quality equipment.
cretion, this can apply to other mental disadvantages result-
The applicability of medical and psychological techniques
ing from traumatic experiences. If allowed, one month
to nonhumans depends on how universal the GM wants music
of therapy removes one point of a disadvantage’s value.
to be. If musical aesthetics are constant across races, unfamil-
The GM may require some or all of the disadvantage to
iarity penalties (p. B169) reflecting physical and mental dif-
be bought off with points, but the therapy can provide the
ferences may apply. If races have radically different aesthetics
excuse needed.
and psychology, -6 is generous or the GM may forbid using the
Cinematically Coping With Trauma: A more cinematic appli-
skill cross-species.
cation enables musical therapists to repress or numb the
effects of trauma before it takes hold, so they can begin long-
term treatment immediately. Each successful roll delays the
trauma for a day. Treat critical successes as a week’s delay.
Encounters of
Critical failure brings an immediate onset of the trauma, and a Very Close Kind
may increase it (as the GM deems appropriate). If onset is Because pitch, tone, and duration are physical constants,
delayed for a full month, up to 2/3 of the Fright Check’s effect music has potential to serve as a universal alphabet for com-
can be bought off. munication between any species with auditory senses. The
Improving Concentration: A successful role by the musical key word is universal alphabet, not language. Grammar and
therapist imparts Single-Minded (p. B85), allowing the subject vocabulary would still need to be developed, but music could
to perform a focused, lengthy mental task. The effect persists allow first contact to bypass annoying anatomical or techno-
for six hours following treatment. If the subject experiences logical challenges.
significant distraction during that time, he must make a Will If two species use music as a basis for communication,
roll (modified as appropriate for the nature of the distraction) the GM can consider giving a small bonus to Linguistics rolls
or lose the benefit. to develop mutually intelligible communication. Even with
Increase Will: On a successful roll by the therapist, the sub- a bonus, in all but the most cinematic campaigns, it will be
ject gains +2 to Will or self-control rolls (+5 on a critical suc- weeks before any meaningful communication occurs, and
cess), to resist a particular disadvantage (Addiction, Chronic months or years before a functional language emerges.
Pain, Manic-Depressive, etc.) for a 24-hour period. Alter-
nately, it can impart a general boost to the patient’s Will. This
treatment is at -2 to skill and provides +1 (+2 on a critical suc-
cess) to Will.
The Sound of
Use equipment modifiers (p. B345) for medical and
Things to Come
psychological musical treatment. Headphones, portable What does the future sound like? The GM may feel this
is irrelevant or decide based on personal preferences. Oth-
ers may find defining the musical sounds and scenes of the
future an enjoyable and effective way to bring that world
I Saw Them Live to life. The list of possibilities for redefining musical talent
(p. 10) provides a starting point. Emphasizing spontaneity
Even as the quality of recorded music improves, live could favor hip hop or jazz. Emphasis on style elevates
music remains popular and, for some, preferred. This fits genres with distinctive looks, sounds, and subcultures.
a frequent convention of cyberpunk that the mass-media Songwriting emphasis might push blues, country, or folk.
saturation of corporate music lacks the power of a rebel The countries and cultures dominating a world also
rocker’s live performance. For the GM who enjoys that fla- influence how its music sounds. If India is global power,
vor, presume recordings do not fully reflect a musician’s but stagnating socially and industrially, expect Bollywood-
Charisma or Appearance (Voice still works at full effect), tinged punk. If mineral resources are king, perhaps most
though they do improve with the quality of media. The lyrics are written in Zulu, Xhosa, or Afrikaans. If East Asia
effect can be modeled as follows. is the center of the world, pop music may be built on five-
Audio Recordings: Halve Charisma bonus, rounding note scales.
down. No Appearance modifiers, obviously. Generally, the more cyberpunk a world, the more
Video (TL6-7): Subtract one level from Charisma. Take dichotomous its music. There will be the pleasant but
Appearance one step toward average. vapid pop sounds of corporate music on the one hand,
Video (TL8+): Subtract one level from Charisma. Use and the loud, angry, and colorful sound of the street on
actual Appearance or, if using real-time video editing the other. Another common device in science fiction, espe-
(p. 11) increase Appearance one level. cially cyberpunk, is creating new musical forms by fusing
together incongruous genres. Perhaps Bluegrass Metal,
KlezmerGoth, or Martial Pop is the sound of tomorrow.

The Future of the Industry Ghost of a Techie Ladies’ Man: Five years ago, promising
artist Jack the Ace died under mysterious circumstances. His
Musically speaking, technology points to a future which label continued his career by bring Jack back as an AI DRA.
cyberpunk, in broad strokes, got right. Technology has The DRA has become obsessed with discovering what really
simultaneously empowered music’s biggest and smallest happened the night of his death – and why his then-girlfriend
players. Global communications technology enables media is now married to his manager. He’s been scouring cyberspace
corporations to saturate hundreds of millions, if not billions, for people who will help him get the answers.
of people with music they think people want. Exposure and Hidden Bonus Track: Musical supergroup Duchamp is
advertising budgets ensure they’re often right, even when known for outrageous publicity stunts as well as their music.
they’re not. That same technology enables the humblest band As a promotional gimmick for their new album, band mem-
to record, edit, and distribute their music while promot- bers have stashed 10 million euros somewhere on Earth. Clues
ing themselves and connecting with fans across town and to find the money are hidden in their new MMO dreamgame.
around the world. All the group has to do is beat the game and claim the loot.
Future technology may accelerate those trends. With a bit Of course, a lot of people are playing the game – including
of dramatic license, music’s future, like all things cyberpunk, some netrunners who brought Black ICE (Pyramid #3/21:
looks like a war (maybe metaphorical, maybe not) between the Cyberpunk, p. 92) to the party.
corporations (or zaibatsu, megacorps, the Military-Industrial- Quiet Riots: After recent concerts, fans of the PCs’ favor-
Entertainment complex, etc.) and the street. Corporate icons ite band have been rioting and committing acts of mayhem.
deliver music to the masses that tranquilizes and pacifies, Normally, that wouldn’t be a problem – but it’s all been
while it maximizes shareholder profits. Rockers and chromed- directed against the same posh corporate enclave. It looks
out genre rebels take their loud, angry message to the street, like a textbook case of musical mind control. CorpSec and
rallying the downtrodden to fight for justice, a bigger piece the civilian government, such as it is, are breathing down the
of the pie, or just to break stuff. Some musicians, for their band’s neck. The catch? The band’s not behind it. They’re as
inscrutable reasons, try to play both sides of the game. Those confused and worried as everyone else.
are the stories on which music, and roleplaying, thrive.
Liner Notes
Hooks ’n’ Grooves: Music- Buck Rogers in the 25th Century, “Space Rockers,”
Tech Adventure Ideas episode #1.21 (Guy Magar, 1980). This episode of the campy
space opera involves musical mind control on an interplan-
Freedom Rock: The Free Rock League is a circle of musi- etary scale.
cians and fans devoted to music made “the old-fashioned Fisk, Colin; Moss, William; Ruggles, Scott; and Quintanar,
way,” sans pitch correction or neural interface. The League’s Derek. Rockerboy (R. Talisorian Games, 1989). Of all sci-fi
arrogant superstar is dogged by allegations she secretly uses roleplaying games, Cyberpunk went into the greatest detail
pitch correction. Her rivals have banded together to prove about future music and musicians. Its Rockerboy sourcebook
those rumors. Are they bitter enough to manufacture evidence is the mother lode.
if they can’t find it? And whose side are the PCs on? Gibson, William. Idoru (Berkley, 1997). The definitive
Orbital Blaster: For years, disc jockey “The Spaceman” has novel about AI musicians.
frustrated corporations with his pirate broadcasts to Earth MacLean, Katherine. “Incommunicado,” Astounding
from the space station Acuna, outside their jurisdiction. Now, Science Fiction (Street & Smith, 1950). Difficult to find, but
The Spaceman’s voice has mysteriously fallen silent. Rumors worth it. This short story combines AI musicians with musical
say he’s been killed by the corps, or kidnapped by the syndi- mind control.
cate, or hiding on Earth, or was an AI all along. The Acuna’s Pulver, David L. “The Medusa Sanction,” GURPS
owners had their resident rebel insured for 100 million yuan, Cyberpunk Adventures (Steve Jackson Games, 1992). High-
and the insurance company wants to know what’s going on (of adrenaline scenario blending music with nanotech and
course, the policy doesn’t pay in the event of suicide or mur- other classic cyberpunk tropes.
der). Characters could be law enforcement, insurance investi- Sterling, Bruce. “We See Things Differently,” Globalhead
gators, journalists, or just die-hard fans. (Spectra, 1994). Excellent short story about a rocker on the
Finding the Next Big Thing: The race is on to perfect the verge of successfully changing society.
software for evaluating the commercial potential of music.
Entertainment corporations will literally kill to get there first
and to stop their rivals. A group of netrunners wants to sab-
otage the entire project. Everybody is hanging out the “help
About the Author
Jon Black is an internationally published music journal-
wanted” signs for hardened mercenaries and committed ide- ist and music historian with a focus on blues and country
alists alike. but who has written on everything from punk to classical
The Fade Out: After getting brain-scanned for a personal to klezmer. He wonders if AIs will ever be used to re-create
music profile, a PC was matched with an adoring (and ador- music journalists, but is pretty sure the answer is no. Jon is
able) new friend having identical musical taste. Suddenly, his also an experienced ghostwriter with one book-length project
friend has vanished, leaving the PC with panicked but cryptic published and several smaller works in print. He has been
messages on voicemail and email. Is his new friend in trouble? playing roleplaying games for more than 30 years and GURPS
Is it a con? Or even a set up by the party’s enemies? for more than 20 years.

Eidetic
Memory
Cutting-Edge Armor Design
by David L. Pulver
The following highly optional rules offer a “ground up” look For this system to work, it requires estimating usable values
at cutting-edge personal wearable armor design, using a sys- for surface area of various body parts. Surface area figures for
tem inspired by the rules developed for vehicular and robot the human body broken up by percentages are typically used
armor. This is an expansion to my earlier Low-Tech Armor in assessment of skin injuries and treatment (e.g., for burns),
Design examination in Pyramid #3/52: Low-Tech II, and cov- and a simplified version of these figures were applied in these
ers modern and near future materials. These rules are not guidelines. An adult human body averages approximately
intended to replace those found in GURPS Ultra-Tech or 20-22 square feet, and the torso – excluding what GURPS
GURPS High-Tech but rather to provide additional options calls the groin area – is about is about 30-40% of that. While
for the GM or player who likes building personal armor in researching body-armor areas and weights, it became appar-
greater detail. ent that GURPS numbers for “torso” protection for vests,
This article covers modern and near-future flexible and trauma plates, and similar armor would be far too heavy if they
rigid wearable armor types up through TL9, including sealed assumed full coverage of six to eight square feet for the entire
outfits. However, the complexities of vacc suits, dry or hard- torso (or three to four square feet for a front or back plate) as
shell diving suits, heated suits, and powered armor are beyond quoted in Ultra-Tech and High-Tech. However, GURPS Low-
the scope of these guidelines. Tech corrected this by dividing the “torso” location into chest
(75% of torso) and abdomen (25% of torso) areas; it would
Methodology probably be realistic to assume that some TL6+ vests and most
rigid trauma plates noted as protecting “torso” will implicitly
This system uses surface area and material values to con- use the same rule and protect only the chest area.
struct armor on a piece-by-piece basis. The numbers are based In the case of modern flexible armor made of materials such
on the concept that every DR 70 is equal to the protection as Kevlar or high-density plastic fibers where steel-plate rolled
of an inch of TL6-7 steel plate (technically known as rolled homogeneous armor equivalents were unavailable, armor
homogeneous armor) – that is, roughly DR 2.75 per millimeter statistics were based on analysis of published protection fig-
of modern steel plate. ures for body-armor panels or vests of a given size. Modern
These rules also center on the idea of the weight of armor body-armor protection is usually rated for level of protection
per square foot. For example, steel has a density of 490 lbs. in terms of the pistol or rifle caliber ammunition it can stop.
per cubic foot. An inch is 1/12 of a foot, so a square foot of In GURPS, this is based on average (rather than maximum)
steel therefore weighs 490/12 = 40.83 lbs. Since an inch of steel damage, e.g., a .357 magnum revolver does 3d damage (aver-
armor is set at DR 70 in GURPS, every DR 1 of steel armor age 10.5); armor rated to stop that has DR 10 or DR 11. So, if
would weigh 40.83/70 = 0.583 lbs. per square foot, rounded off a given armor material was described as weighing 3.5 lbs. and
to 0.58 lbs. Similar calculations have been used to determine covering 5.25 square feet with the ability to protect against
other armor materials where the density is known and the rounds up to .357 magnum, the weight per point of DR per
armor’s DR per inch can be estimated, usually from bullet and square foot would be 3.5/(10 ¥ 5.25) = 0.0666 lbs. This is not
projectile penetration studies. The tables below used numbers an exact science as it ignores extra weight for things like fas-
derived from such studies. tenings, so values were rounded up.
An additional modifier is applied based on construction
type, which can reduce the weight but increase cost. This
accounts for both ballistic shaping (e.g., curved surfaces) and Design Sequence
the fact that armor is rarely of uniform strength across an To build armor, follow this step-by-step procedure.
entire hit location – designers will usually reduce the armor
in areas that are less likely to be hit. (Rules for targeting Step 1: Tech Level and Name. Pick the TL at which the
chinks in armor reflect this.) armor is built, and name the armor.

Step 2: Coverage and Surface Area. Decide on the hit loca- the piece of armor a unique name such as “liquid metal ballis-
tion – or partial location – that will be protected by the piece tic vest” or “Mk. 2 Defender tactical helmet.”
of armor being built. Calculate its surface-area coverage in
Example: Let’s build some highly advanced late TL8 armor.
square feet. Record this value. Decide on the number of pieces
We’ll call it the Warden 7 ballistic T-shirt.
making up the armor.
Step 3: Armor Material. Choose the material
used in that piece of armor. Record its material
weight and cost multipliers. You’ve upgraded your armor! I’ve made some
Step 4: Construction Type. Choose a con- upgrades of my own . . .
struction type, such as mail or plate. Some
types are only available for certain materials. – Iron Monger, in Iron Man
Step 5: Set DR. Decide on the armor’s Dam-
age Resistance.
Step 6: Time to Don and Concealment. Determine if the
armor counts as flexible, and calculate the time it takes to put
S tep 2: C overage
it on. Determine if it is concealable. S
and urface rea A
Step 7: Calculate Weight and Cost. This uses a formula based Based on data used for burn victims, the human (male)
on the values determined in steps 1-5. Consider style options. body has an average area of about 21 square feet. About
Step 8: Accessories. Consider any additional accessories or seven square feet of this is devoted to the torso. Using num-
options. bers derived from the Armor Locations Table (GURPS Low-
Step 9: Armor Statistics. Record the armor’s statistics block. Tech, p. 100), the Coverage Table (below) provides values for
Take note of any special factors that apply to the armor, such square feet.
as reduced DR against crushing attacks.
Example: Let’s make this a short-sleeved T-shirt. The armor
will cover the chest (5.25 square feet) and both shoulders (0.7
S 1: T
tep ech evelL square feet) for a total of 5.95 square feet.
and Name Directional DR: Outfits may be designed to only protect

a location (other than eyes or face) from the front (such as
Although these rules focus on futuristic armor, statistics front trauma panels, bikini top, or a low-cut dress) or the back
also are provided for a few TL6-7 materials as a comparison, (such as a cape or rear trauma panels). Halve the surface area;
so the tech level can be anything from TL6 up. Consider giving record an F or B after armor DR.
Coverage Table
Partial locations are in italics. Those locations marked as “both” protect two limbs (or partial limbs) or extremities; you can
armor just one of them – e.g., the left leg – for half the surface area. Adding up the locations Head (2.1), Torso (7), Arms (3.5),
Hands (0.7), Legs (7), and Feet (0.7) totals 21 square feet.
Location Area Coverage Note
Full coverage 21.35 square feet All locations.
Head 2.1 square feet Includes skull and face.
Skull 1.4 square feet
Face 0.7 square feet
Neck 0.35 square feet
Torso 7 square feet Includes chest and abdomen*.
Chest 5.25 square feet No penalty to target; treat as torso* (includes vitals).
Abdomen 1.75 square feet -1 to target; treat as torso* (includes groin).
Vitals only 1 square foot -3 to target; hits vitals.
Groin only 0.35 square feet
Both Arms 3.5 square feet Includes shoulders, upper arms, elbows, and forearms.
Both Shoulders 0.7 square feet Protects arm only on 1d roll of 6.
Both Upper Arms 0.7 square feet Protects arm only on 1d roll of 5.
Both Elbows 0.35 square feet Protects arm only on 1d roll of 4.
Both Forearms 1.75 square feet Protects arm only on 1d roll of 1-3.
Both Hands 0.7 square feet
Both Legs 7 square feet Includes thighs, knees, and shins.
Both Thighs 3.15 square feet Protects legs only on 1d roll of 5-6.
Both Knees 0.35 square feet Protects legs only on 1d roll of 4.
Both Shins 3.5 square feet Protects legs only on 1d roll of 1-3.
Both Feet 0.7 square feet
* There’s a 1-in-6 chance a hit to these locations will hit the vitals.

Option: Trauma Plate Carrier covers half or more of the surface area). In addition, if the
Flexible armor (including scale armor) that covers the armor is too small, consider reducing the penalty to target any
torso or chest locations may optionally be fitted with a car- chinks in armor by 1 or 2, as there will be gaps in protection.
rier attachment for removable trauma plates – rigid armor Example: The armor being built here won’t use these extra
designed to increase protection against higher-power detail rules, but what if it were built for a slim teenager with a
ammunition or impaling weapons (“anti-stab plates”). 110-lb. body weight? If so, the optional surface area multiplier
Build this as an extra layer of rigid armor with plate would be (110/150)2/3 = 0.81, so the 5.95 square foot T-shirt is
construction covering any torso location (sometimes with a only 4.81 square feet.
directional DR option if only a front or back
plate is included). Typical material used in
trauma plates at TL8 are grades of steel,
titanium alloy, and polymer composites; Typical Flexible Armor Outfits
more advanced cutting-edge materials are Bodysuit covers the torso (including groin), arms, and legs: 17.5
quite possible. square feet.
Note that it is possible to build a non-bal- Gloves cover hands: 0.7 square feet.
listic carrier vest for the plates by sim- Jacket covers the torso and arms: 10.5 square feet.
ply using a cheap material like nylon and Full Suit covers all locations: 21.35 square feet.
assigning something like DR 1 or DR 2. Trousers are long pants, protecting the groin and legs (but not the
feet): 7.35 square feet.
Number of Pieces Vest is a shirt covering the chest: 5.25 square feet.
If it’s not already clear, decide how many
pieces the armor consists of. A suit of armor
covering multiple locations can be a single
piece provided they can logically be connected together.
For example, both hands must be separate pieces (gloves) if
Step 3: Armor Material
Choose a material type for the armor. Stats are given in the
they were on their own. However, two hands, two arms, and Armor Material Table (p. 20).
a torso (or chest) piece could be considered a single piece,
since these locations can all be connected together. Use
common sense, the descriptions of the locations, and the Flexible Materials
hit location diagram on p. B399 (although it doesn’t list the Rubber (TL6): Natural or synthetic rubber.
expanded Low-Tech locations, they’re fairly obvious). Elastic Polymer (TL7): Synthetic rubber-like elastomer
materials such as neoprene or Spandex, and various blends.
Example: The chest can connect to each shoulder so despite Commonly used in wetsuits, motorcycle riding suits, super-
covering three different areas this can be treated as a single hero costumes, or lightweight protective gear (e.g., paintball
piece of armor. That’s important, as it means we can quickly armor vests).
put it on as a single unit, rather than having to attach each Nomex (TL7): Flame-resistant meta-aramid blends such as
piece individually. Nomex (often reinforced with nylon, neoprene, etc.).
Nylon (TL7): A silky synthetic thermoplastic material; sta-
Extra Detail: Armor, tistics are for strong ballistic weave nylon as used in early
body armor and other protective gear.
Surface Area, and Size Ballistic Polymer (TL8): Flexible plastic fiber composites
The listed GURPS weights for armor assume they are sized such as Spectra Shield and Dyneema manufactured from
to a wearer of average build (115-175 lbs. – see the Build Table, ultra-high molecular weight polyethylene. Costlier but
p. B18). In reality, a wearer who is a significantly different size tougher than Kevlar.
or shape will need to have armor of a different size (or appro- Improved Ballistic Polymer (TL8): The latest generation of
priately sized inserts) with a different weight and cost. Find- ballistic polymers.
ing such sizes may also prove difficult. Kevlar (TL8): Woven para-aramid fiber fabric such as
Each +1 or -1 to SM affects surface area by the factor Kevlar and Twaron.
shown in Adjusting for SM (see GURPS Ultra-Tech, p. 16). Improved Kevlar (TL8): Costlier late-TL8 para-aramid
Apply that factor to surface area right away, or just multiply materials using more sophisticated ballistic weaves.
the final cost and weight by the factor. Improved Nomex (TL8): Meta-aramid fabric reinforced
Armor also can be scaled individually to particular body with Kevlar, such as Nomex III.
sizes and weights. This can be done by dividing character Arachnoweave (TL9): Spider silk produced using genetic
weight by 150 (average human weight) and then raising it to engineering technology. (TL10+ versions, not covered here,
the two-third power (that is, find the cube root, then square are further improved via enhanced spiders . . .)
it). Use this as a multiple to surface area, rather than adjusting Basic Nanoweave (TL9): A late-TL9 flexible armor using
for SM. The formula is: polymer reinforced by carbon nanotubes (albeit not quite as
Surface Area Multiplier = (character’s weight/150)2/3. strong as the TL10 nanoweave armor in Ultra-Tech).
Laser-Ablative Polymer (TL9): Ballistic polymer built to
If someone’s only option is to wear ill-fitting armor, con- absorb laser fire.
sider assessing a penalty of -1 to DX (or -2 to DX if the armor

Magnetic Liquid Armor (MLA) (TL9): Another, poten- of the armor technologies referred to as “Reflex armor” in
tially even stronger, form of liquid “reflex” armor incorpo- Ultra-Tech.
rates microtubules filled with magneto-rheological fluid
(ferrous metallic particles suspended in a carrier liquid. Rigid Materials
The MR liquids built into the armor can instantly transi-
Hard Steel (TL6): Face-hardened high-strength steel or high
tion from a flexible suit to rigid metallic panels as sensors
hardness alloys
in the armor detect impacts and trigger an electric charge.
High-Strength Steel (TL6): Rolled homogeneous armor plate.
The armor is self-powered (using a wearable flexible power
Basic Ceramic (TL7): Boron carbide or aluminum oxide
supply that is recharged by the wearer’s muscle movements).
ceramics (or for transparent armor, possibly also quartz).
STF Liquid Armor (TL9): Ballistic fabric such as improved
Ballistic Resin (Late TL7): Various rigid fiber-reinforced
Kevlar whose protective qualities are enhanced by ceramic
composites.
nanoparticles soaked in sheer-thickening “liquid armor” fluid.
Fiberglass (TL7): Tough glass-reinforced plastic, e.g.,
They transition to a rigid material upon impact. This is one
S‑glass.
Armor Material Table

TL Material WM CM DR/in Max DR Notes Construction
Flexible Materials
6 Rubber 0.45 $5 14 7 C, F, S* F/O
7 Elastic Polymer 0.16 $100 ($50 at TL8+) 16 8 F F/O
7 Nomex 0.066 $50 ($25 at TL8+) 10 5 F† F/O
7 Nylon 0.5 $25 ($6 at TL8+) 6 3 F F/O
8 Ballistic Polymer 0.06 $200 ($50 at TL9+) 48 24 F‡ F/O
8 Improved Ballistic Polymer 0.04 $250 ($100 at TL9+) 75 36 F‡ F/O
8 Kevlar 0.1 $80 ($20 at TL9+) 33 16 F‡ F/O
8 Improved Kevlar 0.08 $120 ($40 at TL9+) 40 20 F‡ F/O
8 Improved Nomex 0.055 $35 10 5 F† F/O
9 Arachnoweave 0.03 $600 ($120 at TL10+) 96 48 F‡ F/O
9 Basic Nanoweave 0.03 $750 ($150 at TL10+) 110 55 F‡ F/O
9 Laser-Ablative Polymer 0.018 $150 ($75 at TL10+) 128 64 F, E§ F/O
9 Magnetic Liquid Armor 0.032 $200 ($100 at TL10+) 90 45 F‡ F/O
9 STF Liquid Armor 0.032 $150 ($75 at TL10+) 90 45 – F/O
Rigid Materials
6 Hard Steel 0.5 $3.50 82 16 – R/S
6 High-Strength Steel 0.58 $3 70 14 – R/S
7 Basic Ceramic 0.2 $25 ($12 at TL9+) 83 35 S Solid
7 Ballistic Resin 0.55 $2.50 15 6 – R/S
7 Fiberglass 0.6 $8 ($4 at TL9+) 17 7 S R/S
7 High-Strength Aluminum 0.4 $12 ($6 at TL9+) 35 10 – R/S
7 Plastic 0.75 $1.80 12 3 T R/S
7 Polycarbonate 0.45 $10 ($5 at TL9+) 10 3 S R/S
7 Titanium Alloy 0.35 $50 ($10 at TL9+) 66 20 – R/S
8 Improved Ceramic 0.15 $100 ($20 at TL9+) 111 44 S Solid
8 Laminated Polycarbonate 0.25 $25 ($12 at TL9+) 12 5 S, T Solid
8 Polymer Composite 0.22 $40 ($10 at TL9+) 28 11 – R/S
8 Titanium Composite 0.2 $250 ($25 at TL9+) 104 42 – R/S
8 Ultra-Strength Steel 0.35 $30 ($8 at TL9+) 116 23 – R/S
9 Ceramic Nanocomposite 0.1 $300 ($75 at TL10+) 166 66 S Solid
9 Polymer Nanocomposite 0.1 $400 ($100 at TL10+) 83 33 – R/S
9 Titanium Nanocomposite 0.12 $250 ($60 at TL10+) 174 70 – R/S
* If assigned DR 2 or more, the full DR only applies against crushing damage. Divide DR (and DR/in) by two vs. all other
damage types.
† The full DR only applies against burning damage. Divide DR (and DR/in) against other damage types by four (round down).
‡ The full DR only applies against piercing and cutting damage. Divide DR (and DR/in) against other damage types by four
(Kevlar, arachnoweave), three (STF liquid armor, nanoweave, improved kevlar), 2.5 (ballistic polymer, improved ballistic poly-
mer), or two (Nylon, magnetic liquid armor).
§ The full DR only applies against burning damage from lasers (including X-ray, gamma-ray, etc.). Divide DR (and DR/in) by
six against all other damage types.

High-Strength Aluminum (TL7): Aerospace-grade alumi- Construction: Solid means the material can only be for
num alloy. solid construction, and only may be used to protect the face,
Plastic (TL7): Ordinary thermoplastic material. skull, eyes, or any torso locations. This is typical of ceramics.
Polycarbonate (TL7): Tough high-impact molded plastic; R/S (Rigid or Scale) means it can be used for any rigid (plate,
may be transparent at extra cost. solid, segmented plate, or impact-absorbing plate) construc-
Titanium Alloy (TL7): A strong but costly light alloy. tion type or for scale construction. F/O means the material can
Improved Ceramic (TL8): Costlier ceramics, e.g., silicon be used as fabric or optimized fabric. See step 4 (below) for
carbide, either with a polymer or alloy backing plate, or specific flexible and rigid materials.
encapsulated in a polymer material.
Example: A T-shirt sounds like it should be flexible, so
Laminated Polycarbonate (TL8): Advanced multi-layered
we decide to use an armor material with F/O construction:
polycarbonate and polyurethane laminate, often used for
improved ballistic polymer (WM 0.04, CM $250 at TL8, lim-
transparent armor visors.
ited to fabric or optimized fabric construction). A note indi-
Polymer Composite (TL8): Carbon-fiber reinforced plastic
cates that full DR only applies against piercing or cutting;
or resin-bonded Kevlar. Often used to make ballistic helmets.
otherwise divide DR by 2.5.
Titanium Composite (TL8): A titanium metal matrix com-
posite – alloy reinforced by high-strength ceramic particles
or fibers.
Ultra-Strength Steel (TL8): Triple hardened steel alloys or
Step 4: Construction Type
nanostructured steel. The weight of armor material assumes solid construction
Ceramic Nanocomposite (TL9): Ceramic nanoparticles in from armor with no joins or gaps. Obviously, this is practical
an elastic medium. for flexible material such as cloth, but less so for rigid armor
Polymer Nanocomposite (TL9): Plastic reinforced by car- that is designed to be wearable and removable. The Armor
bon or boron nanotubes. Material Table lists what construction types are applicable for
Titanium Nanocomposite (TL9): Titanium composite rein- given materials at various TLs. Refer to the descriptions and
forced by carbon or boron nanotubes. the Construction Table (p. 18), and select an appropriate con-
struction type from those available.
Armor Material Table Key

Material: A designation for the material.
Flexible Armor Materials
TL: The tech level that material is first available for armor. Fabric: This is simply a padded or quilted garment. Pro-
WM: This is the armor weight multiplier; it is the weight of tection is uniform across the material, so Chinks in Armor
one square foot of armor with DR 1, assuming the armor is of (p. B400) should not apply.
solid, flat construction. Optimized Fabric: While some flexible material has no
CM: The base cost of worked material, per pound. joints or gaps, it’s equally common for modern body armor
DR/in: For reference purposes, this is the DR per inch of a to be designed with thicker material over areas that are more
1” (25-mm) thickness of that material. Some materials have a likely to be hit.
split DR as detailed in their Note.
Max DR: To avoid armor of unreasonable thickness for Rigid Armor Materials
wearing, this is the maximum DR that any single layer of worn Scales: This turns a solid material into a flexible material by
armor should possess. Exception: Use double the max DR for cutting the material into small platelets or chips and linking
armor that only protects head, skull, or face locations. it together. At TL8+ various attempts to produce scale-based
Notes: Special notes regarding the armor, abbreviated armor have been attempted, with varying degrees of success.
as follows: One cutting-edge technology is to use bio-mimetic models
C indicates the armor is combustible; if DR is penetrated inspired by computer analysis of animal forms such as fish
by burning damage it can catch fire. See Making Things Burn scales or mollusk structures for enhanced protection.
(p. B433); treat the armor as resistant. Segmented Plate: Uses large, overlapping horizontal bands
E is energy-ablative. Treat the armor as ablative DR vs. of armor laced together.
damage from lasers, plasma or fusion guns, or flamers. Plate: Armor made of solid plates or castings, attached by
F indicates the armor material is flexible if it has no more joints, carefully shaped and designed to use less material in
than 25% of its listed DR/in. Flexible armor is flexible DR, but areas determined to be of reduced vulnerability in order save
can be donned in 2/3 the usual time. It is subject to the blunt weight. This reduces the weight per point of DR.
trauma rule (p. B379). Flexible armor may be built with “DR Impact-Absorbing: Specially designed and padded to
0” (treat as DR 0.25 for weight and cost calculation). Use this absorb and dissipate heavy impacts. Treat as plate, above,
to create normal clothing! but it has split DR: use the full DR against crushing damage
S indicates the armor will be semi-ablative (losing 1 DR per and half its DR (round down) against other types of damage.
10 damage absorbed). Especially common for things like motorcycle helmets, hard
T means it can be transparent (it doesn’t have to be) at hats, and sports helmets.
double material cost. If transparent, it has 0 DR against vis- Solid: This represents flat or gently curved plates. It’s not
ible light laser beams, such as blue-green lasers, and against really possible for armor added to a humanoid form, but it
any blinding attack. Transparent armor is useful for creating can be used to represent substantially cheaper flat-topped or
visors, shades, and the like. flat-faced helmets if applied to the skull and for things like
armor for vehicles, houses, doors, boxes, etc.

Construction Table
TL: The minimum TL that this construction option is CC: The construction cost multiplier.
available. Min DR: The minimum DR that the armor may be assigned.
CW: The construction weight multiplier. Notes: The effect on DR, as covered in step 5.
TL Type CW CC Min DR Notes
0 Fabric* 1 1 1 May have reduced DR.
1 Plate 0.8 5 3
1 Scale 1.1 0.8 2 -1 DR vs. crushing unless armor is DR 4+.
1 Solid* 1 1 2 Rarely used in body armor.
2 Segmented Plate 1.45 1.5 3
6 Impact-Absorbing 0.65 5 2 Half DR vs. damage that isn’t crushing.
6 Optimized Fabric 0.8 2 2 May have reduced DR.
* Because protection is uniform across the material, the armor is not vulnerable to Chinks in Armor (p. B400) and Harsh
Realism – Armor Gaps (see Low-Tech, p. 101) – those rules apply only to armor without this footnote.
Example: The armor was improved ballistic polymer with It generally takes half the specified time to remove securely
note F/O so it must use fabric or optimized fabric. Let’s have fastened armor.
the armor use fabric construction.
Example: The armor is one-piece. It takes three seconds to
don.
Step 5: Set DR
Choose the armor’s DR. Keep the following considerations Concealable?
in mind: Armor made of flexible materials or scale, or in trauma
plate carriers, may be concealable. Whether armor actually
Maximum DR: The armor can’t exceed the “Max DR” value
is concealable depends on its DR and the armor’s material.
for the material type specified on the Armor Materials Table. If
Essentially, this is how thick the armor is relative to the mate-
armor is to be concealable as or under clothing its DR should
rial’s Max DR statistic.
have no more than half the material’s maximum value.
Armor with more than half the maximum DR is not con-
Minimum DR: The armor can’t be less than the Min DR
cealable. It can only pass as heavy clothing, such as a trench
specified on the Construction Table.
coat, leather outfit, or the like. Reduce LC by 1.
Greater DR increases cost and weight, as shown in step 7. Armor with up to half the maximum DR can be concealed
If this is a major concern, calculate the weight and cost per under clothing or pass as ordinary civilian outerwear (shirts,
point of DR first, and then choose actual DR. jackets, trousers, skirts, etc.).
If the armor material or construction type affects DR vs. Armor with no more than one-quarter the maximum DR
some types of damage, make a note of it. Many armor materi- can further pass as light clothing such as T-shirts, summer or
als get reduced DR vs. certain damage types. evening wear, skintight suits, or normal undergarments. It can
be easily worn beneath clothes. Increase LC by 1 to max LC 4.
Example: Ballistic polymer has Max of 20. This armor is Armor with no more than one-sixth the maximum DR
intended to be a lightweight T-shirt, so we go with DR 9, just can be disguised as swimsuits, lingerie, or other very light or
enough to stop a 9mm auto pistol’s bullet (2d+2 damage). As diaphanous clothing. Increase LC by 1 to max LC 4.
it’s polymer, that’s only vs. piercing or cutting; against other
attacks, it has DR 9/2.5 = 3.6, rounded to DR 4. Example: The armor has a basic DR 9. As the maximum DR
was DR 36, this actually qualifies as “light clothing” (being no
more than 1/4 max DR). The LC is increased by 1.
Step 6: Calculate Time to
Don and Concealment Step 7: Calculate
Armor is flexible if it uses a flexible material, or uses a rigid
material plus scale construction. The base time to don high- Weight and Cost
tech or ultra-tech armor is three seconds per piece. Use the formula below to calculate the weight and cost of
Any single-piece of armor that covers any of the leg loca- the armor. To instead calculate the weight and cost per point
tions and one or more other locations (besides feet) takes of DR, just use “1” for the DR in the formula.
twice as long to don if flexible, or five times as long if it is rigid.
Armor weight (in pounds) = LSA ¥ WM ¥ CW ¥ DR.
Armor can be put on in only 2/3 the time by not properly
Armor Cost = armor weight ¥ CM ¥ CC.
securing the armor, tightening straps, and adjusting the fit.
For quickly donned armor, the GM should assesses -1 to DX LSA is the location surface area from the Coverage Table
until it can be securely fashioned. Rapidly donned sealed (p. 18).
armor (p. 23) also may not be properly sealed (roll vs. NBC WM is the weight multiplier from the Armor Material Table
Suit or Vacc Suit skill to avoid this). (p. 20).

CW is the construction weight multiplier from the Helmet Electronics
Construction Table (p. 22).
Cutting-edge helmets (rigid skull or head armor) are often
DR is Damage Resistance.
equipped with additional built-in electronics.
CM is the cost of material from the Armor Materials Table.
CC is the construction cost multiplier from the Construction Tiny Radio: 0.5-mile range at TL8, or 1-mile range at TL9.
Table. 0.05 lbs., $50, includes GPS receiver (Ultra-Tech, p. 74). LC4.
Hearing Protection: Screens out noise equivalent to Pro-
The final weight and cost should be rounded to two signif-
tected Hearing (p. B78). Add $50. LC4.
icant figures – for example, round $246 to $250, and 13.5 lbs.
Computer (TL8): A tiny computer with the Hardened and
to 14 lbs.
High Capacity options. It has Complexity 1 (TL8), 3 (TL9), etc.
Example: Let’s work out how much the armor weighs. The 0.1 lb., $150 ($3,000 for Fast version with +1 Complexity). LC4.
armor has LSA 5.95 (chest area and shoulders) ¥ WM 0.04
(improved ballistic polymer) ¥ CW 1 (fabric) ¥ DR 9 = 2.142 HUDs
lbs., which rounds to 2.1 lbs. Cost is armor weight 2.1 ¥ CM
Rigid armor that covers the face (or entire head) with
$250 (ballistic polymer, assuming it’s TL8) ¥ CC 1 (fabric) =
transparent material may incorporate a HUD.
$525; with two significant digits, this becomes $530.
Head-Up Display (HUD) (TL8): Basic helmet-mounted dis-
Cut (Optional) play. $500 at TL8 or $50 at TL9+. Adds 1 lb. (TL8) or 0.1 lb.
(TL9+) LC4. See Ultra-Tech (p. 24).
Armor – even if it’s not concealable (e.g., parade or tour-
HUD With Infrared Visor (TL9): This is an advanced system
nament armor) – can be attractively styled. Stylish or better
designed to provide increased situational awareness, unlike
armor can also represent “authentic” appearing replicas of
standard. 2¥ magnification; built-in digital camera. $500, 0.6
period armor made from inauthentic materials. Apply this as
lbs., 10 hr. power; includes HUD. LC4.
a modifier to the calculated cost.
Stylish armor is four times the above cost.
Fashion originals are 20 times the above cost. Step 9: Armor Statistics
Record the armor’s statistics block using the standard for-
Example: This is just a normal piece of armor, so no extra
mat with the addition of a Don time entry. Note any mod-
styling (or cost).
ifications to DR against different damage types. An * after
DR should denote flexible armor, as defined under Step 6:
Sealed Armor Calculate Time to Don and Concealment (p. 22).
Sealed (TL6): Armor with DR 1+ can be sealed. This means
Example: Our armor has these statistics.
all rigid armor joints are protected and/or fabric is chemically
treated to make it impervious to penetration by liquids and TL Armor Location DR Cost Weight Don
gases. If a wearer’s entire body is protected by sealed armor 8 Warden 7 Chest, 9/4*† $530 3 3
the person effectively has the Sealed advantage (p. B82). Ballistic Shoulders
Sealed armor costs an extra $10 per square foot protected at T-Shirt
TL7, or $5 per square foot at TL8+.
† Split DR; use the higher DR vs. piercing or cutting, the
lower against all other attacks.
Step 8: Consider
Accessories We start wearing Kevlar, they buy armor
Armor can have additional accessories and modifi-
ers. Numerous options are available from Ultra-Tech piercing rounds.
and High-Tech, and a few more are offered here. – Jim Gordon, in Batman Begins
Example: It’s just a basic protective T-shirt, so we
skip accessories.
About the Columnist
General Accessories David L. Pulver is a Canadian freelance author. An avid
Biomedical Sensors (TL7): Can be built into any armor that science-fiction fan, he began roleplaying in junior high
includes chest coverage; add +1 to Diagnosis rolls. TL7-8: 2 with the newly released Basic Dungeons & Dragons. Upon
lbs., $2,000; see High-Tech, p. 75; TL9+, 0.2 lbs., $200; see graduating from university, he decided to become a game
Ultra-Tech, p. 187. designer. Since then, David has written over 70 roleplaying
Waste-Relief System (TL7): The suit collects and packages game books, and he has worked as a staff writer, editor, and
the wearer’s waste products in a hygienic manner. $1,000, line developer for Steve Jackson Games and Guardians of
2 lbs. Order. He is best known for creating Transhuman Space,
Infrared Cloaking (TL8): Any suit that covers at least 70% of co-authoring the Big Eyes, Small Mouth anime RPG, and
the entire body’s area may have this option. It subtracts (TL-6) writing countless GURPS books, including the GURPS
from detection by infravision. Costs $30 per square foot. Basic Set, Fourth Edition, GURPS Ultra-Tech, and the
GURPS Spaceships series.

Free Falling by Timothy Ponce
Free fall is a truly alien environment. Objects don’t fall send the thrower into a slow, backward spin, just as will push-
“down,” and everything collects at air-intake vents – colloqui- ing someone else away. These guidelines consolidate rules
ally called the Lost and Found. Throwing a bowling ball will from GURPS Basic Set, GURPS Bio-Tech, GURPS Space,
Transhuman Space: Martial Arts 2100, and
Transhuman Space while filling in any gaps
for all aspects of operating in “zero-g” envi-
Can you handle the challenges of free fall? ronments, including health effects, move-
ment, and combat. Only the Basic Set is truly
required to make use of these rules.
The Effects of Free Fall

Free fall has a number of physiological effects on the HT after six months. On a failure, your fitness decreases by
human body. These apply to anyone who enters free fall from one step on the following scale: Very Fit, Fit, no trait, Unfit,
a higher gravity locale. Very Unfit; every step below Very Unfit gives a cumulative -1
to HT. On a critical failure, fitness decreases two steps.
Physiological Effects
Those who grew up in or are otherwise accus-
tomed to microgravity should take the No Degener-
ation in Zero-G perk (Biotech, p. 211).
Glossary
free fall: Any environment where gravitational acceleration is
null, like in orbit or at a Lagrangian point. These rules use
Musculoskeletal Degeneration “free fall” and “microgravity” interchangeably because game
Without the need to constantly fight the pull of options apply to either environment.
gravity, muscles atrophy and bones lose calcium. microgravity: Any environment with gravitational acceleration
This primarily occurs in the back and lower body below 0.1 G, such as on extremely low-mass bodies, like aster-
and results in a loss of strength and increased risk oids and small moons.
of bone fracture. Regular exercise mitigates muscu- zero gravity: Any place unaffected by gravity. This does not exist
lar degeneration and bone decalcification. At higher at any known point in the universe.
TLs, medical therapies or nanobots can prevent
this altogether.
Every six months you live in microgravity, roll
against HT. On a failure, you lose 10% of ST, and on a criti- Spinal Stretching
cal failure, you gain Vulnerability (Crushing Attacks ¥2) [-30]. Without gravity compressing the body vertically, the spine
Regular exercise grants a +1 to this roll, and medical therapies stretches out. This has no affect on SM or reach, but it can
give a bonus equal to TL-7. cause temporary Chronic Pain. At the end of the first day in
microgravity, roll against HT. On a failure, you gain Chronic
Fluid Shift Pain (Mild; 1 hour interval; 12 or less) [-5]. On a critical fail-
In free fall, fluids shift head-ward, causing one’s legs to ure, the interval increases to two hours and the frequency is
become skinny, while one’s face looks puffy and swollen; this 15 or less for [-20]. Any critical success on the daily HT roll
sometimes causes a feeling of congestion. Special leggings can eliminates the need for further rolls; you are accustomed to
help mitigate this fluid shift. your new spinal length.
Cardiovascular Weakening Inner Ear and Balance

Without the pull of gravity to tax the heart, it loses strength Without gravity to tug the fluids of the inner ear, a person
like any other muscle in the body. Unfortunately, this results often feels disoriented and nauseous in space. This is called
in a gradual loss of overall endurance and fitness. Roll against space adaptation syndrome (see p. B434) or “Space Sickness.”

Streamlined spent in free fall. Success removes six months of ill effects;
any failure results in no progress. The physical therapist’s
Adaptation Syndrome Physician skill serves as a complementary skill for this HT
roll. At TL9+, ultra-tech medicines or nanobots may drasti-
The rules above cover each aspect of adapting to free fall. cally reduce recovery time or even mitigate the health effects
Individuals may experience different – or all – aspects of this of microgravity completely.
process, but it requires a lot of rolls. At the GM’s option, make
a single HT roll upon entering microgravity to cover spinal
decompression and space sickness, followed by another HT
roll after six months that covers musculoskeletal and cardio-
vascular effects. Make any subsequent rolls individually. At this point I thought
“We made it,” by which
Recovery I meant “We survived.”
While space adaptation syndrome is easily remedied with
transdermal anti-nausea patches or even just time, recovering
from cardiovascular and musculoskeletal atrophy takes years. – Ron Garan
At TL8 or less, recovering lost muscle and bone requires a suc-
cessful HT roll after physical therapy lasting twice the time
Free-Fall Activities
Moving, working, and fighting in zero gravity is challeng- take a Ready maneuver to erase -1 worth of control-related
ing for the inexperienced, but most spacers have at least Free DX penalties. If you lack purchase, a successful Free Fall roll
Fall-12 and are no less proficient at tasks than their ground- removes -1 in DX penalties, but failure increases the penalty
bound counterparts. by your margin of failure! Lastly, you can roll against Astro-
batics (Space, p. 224), a special type of Acrobat-
ics only useful in free fall, to regain control
and negate all penalties with a single Ready
W eight vs .M ass maneuver or as a step on a critical success!
Failure carries the same risk as Free Fall. All
As every high-school science teacher explains at some point, weight rolls to erase these DX penalties may take
and mass are different. Mass refers to the property of matter that Body Sense as a complimentary skill.
resists acceleration, and weight measures the effect of gravity on an
object. GURPS often uses “weight” in place of “mass” because it is
easier to conceptualize – after all, most games take place in the same
Earth-normal gravity we experience daily. But in extraterrestrial envi-
M oving in ree all F F
Unless you have Flight with one of Newto-
ronments, an object’s weight varies.
nian Space Flight or Space Flight, your Space
The only time “weight” truly means weight is when determining
Move is 0; otherwise, it equals 2 ¥ Basic Move.
how much someone can lift. Determine a load’s local weight by mul-
But just because you lack Space Move doesn’t
tiplying its weight on Earth by the local gravity in Gs. All other rules
mean you can’t propel yourself by other means!
– e.g., encumbrance, Ritual Path Magic weight modifiers, etc. – use
Anyone can climb along any surfaces that
“weight” as a stand-in for mass. In these instances, use the weight as
provide hand- or footholds. This requires a
measured in 1G regardless of local gravity.
successful roll against either Climbing or Liz-
ard Climbing. The former lets you move one
yard per second, and the latter grants move
equal to 1/2 Basic Move. Both of these options
Control Rolls require sufficient handholds or footholds to move around.
These rules occasionally require control rolls – rolls or You can also throw yourself from handholds or jump off
Quick Contests against Free Fall or its default – that deter- of stable surfaces, for a Move of ST/2, but always remember
mine the extent to which people command their own move- to modify for encumbrance – especially if pushing or dragging
ment in microgravity. Failure results in loss of control over a load. Every level of Super Jump doubles your speed when
your movement – you suffer a DX penalty equal to your pushing off with your legs, as does a successful Flying Leap
margin of failure, cannot alter your course, and continue roll; Super Throw (GURPS Supers, p. 30) has a similar effect
at the same speed in the same direction you were moving when using your arms to move in free fall.
until you either regain control or collide with something; see Chases, races, and long-distance movement in micrograv-
Collisions (pp. B430-431). ity require rolls against HT-based Free Fall skill instead of
Every second you remain out of control, you may roll Running. High-speed maneuvers and acrobatic movement
against the higher of DX or a grappling skill to grab a nearby rely on Astrobatics (Space, p. 224).
stable object. If successful, you achieve purchase and can

Knockdown than anything – many maneuvers need clarification. As with
any microgravity activities, DX-based skills are capped by
Often, circumstances require a DX roll to avoid falling
Free Fall skill, and excessive movement may require a control
down, but in free fall, there is no down! Instead, whenever you
roll (p. 26).
would normally roll to avoid falling down, make a similarly
penalized control roll (see p. 26).
Change Posture
Posture requires redefining in microgravity. At most, you
Working in Free Fall can ball up or stretch out in an attempt to change SM, but
becoming more spherical offsets any gains from reducing
In free fall, objects – and people – move in unintuitive
your height. But changing your orientation relative to another
ways. Without gravity pulling everything along familiar par-
person, object, or event can be useful. Presenting a smaller
abolic arcs to the ground, people have trouble performing
area to an explosion might make dodging shrapnel and debris
DX-based skills. You can compensate, however! Roll against
easier, but floating broadside to a barrage of gunfire will only
Free Fall whenever attempting any action more complicated
lessen your odds of survival. You may take a Change Posture
than pulling yourself along by handholds or walking in mag-
maneuver to reorient yourself relative to any one object, per-
netic boots, plus whenever making any DX rolls. Free Fall
son, or direction; see Posture in Free Fall (p. 28) for details on
also serves as a skill cap on all DX-based skills. Lastly, those
the effects of different postures.
unanchored in free fall have nothing against which to brace
and can only bring half their ST to bear on any task.
Thankfully, buying up Free Fall increases the cap on all
Move and Attack
DX-based skills, and the Free Fall Training technique (p. 30) All attacks made at more than Move 1 require an All-Out
increases it for one specific skill. This has as much to do with Attack, Attack, Committed Attack, or Defensive Attack, and
preventing oneself from floating in unexpected ways as it does they all require a control roll (p. 26) penalized for your speed
controlling tools and materials. Time spent living in micro- based on the Speed/Range Table (p. B515). Use a Move and
gravity or free fall counts as four hours per day of Free Fall Attack maneuver specifically to accelerate or decelerate by up
training automatically when using Improvement Through to Space Move or to changing facing by up to 300° while attack-
Study (p. B292). ing without running the risk of Losing Control (pp. B195-196).
You also can anchor yourself to a fixed object. This requires If you lack a Space Move, you can still propel yourself
(20 - Free Fall) Ready Maneuvers and a successful Free Fall with your hands and feet as described under Moving in Zero
roll; the rules under Time Spent (p. B346) apply. If success- Free Fall (pp. 26-27). This requires a successful control roll
ful, your body is anchored; on a failure, you have not and the at an additional -3.
time is wasted. On a critical failure, make a control roll (p. 26).
Repeated attempts are allowed. Move
Once anchored to an immobile surface, you enjoy +2 to In space, maintaining your speed and direction takes no
your skill cap on DX-based skills, except those that require effort (or maneuver), but any change in either requires a Move
whole-body movements – e.g., Astrobatics, Jumping, etc. – action. A Move maneuver allows you to accelerate or deceler-
and can apply your full ST to any task. This requires any of ate up to your Space Move (see Moving in Free Fall, pp. 26-27)
grips, footholds, clips, magnetic boots, suction holds, etc. or change facing up to 300°. Use High Speed Movement
(p. B394) when moving faster than your Space Move, which
is easily achieved! Make any rolls when Pushing the Envelope
Fighting in Free Fall (p. B395) against the higher of DX+3, Astrobatics+3, or Free
Fall+3, plus any relevant penalties.
Many aspects of combat differ in free fall. Indeed, com-
batants maneuver like vehicles, posture is nearly meaningless, If you lack Space Move, you can use a Move maneuver to
and many weapons don’t behave as they would Earthside. launch yourself as per Moving in Free Fall (pp. 26-27). You
may attempt this as a free action with a free hand or foot and
a successful control roll (p. 26) at -3. This permits you to use
Maneuvers in Free Fall free limbs for other tasks, such as performing a Ready maneu-
Because movement in microgravity differs tremendously ver or attacking; see Move and Attack (above)
from that in gravity – in fact, it resembles a vehicle’s more
When we’re on the space station, we orbit the Earth 16 times per day, which
means we’re constantly moving to and away from the sun. From light to shadow,
the temperature swings by 300 degrees. Of course we’re protected by the gear
we wear, but you can definitely feel this temperature change.
– Thomas Marshburn

Step and thrusting attacks, but all attempts to Block or Parry are
A step – or the 1/2 Move offered by All-Out Attack – at -2.
represents a small, manageable amount of acceleration or Full-On: Your front, side, or back faces your opponents.
deceleration in combat. This requires handholds or foot- This presents the largest target for ranged and thrusting
holds and a free hand or foot. If using your feet to deceler- attacks – SM and Active Defenses are treated normally.
ate, you must roll against the higher of DX-2, Astrobatics, or
Free Fall to anchor your foot securely; any failure requires Melee
a control roll (p. 26). Melee combat skills, like all DX-based skills, are capped by
Free Fall skill, and they require a control roll (p. 26). Thrusting
Retreats attacks tend to be less disruptive – control rolls are at +2 – but
Retreats are only possible when you can reasonably push swings can send a person spinning – roll at -2. Control rolls
or pull yourself in a direction. This requires purchase – see for punches, bites, and attacks with strikers are at +0, while
Control Rolls (p. 26) – and a successful Control Roll at +2; kicks impose -2.
Astrobatics can compliment this roll. Anytime an attack might cause knockback, apply knock-
Remember that in free fall, “up” and “down” hexes also back based on half rolled damage to both combatants. The
exist. This gives normal retreats up to nine possible final knockback sends the two parties away from each other at a
hexes, and slips six potential endpoints. number of yards per second equal to knockback, and each per-
son must make a control roll rather than risk falling down,
see Knockdown, p. 27.
Remember that in free fall, everyone can freely move
Stranded in Space above or below his opponent, granting an additional 360°
of freedom – be sure to use Combat at Different Levels
It’s entirely possible for a person to find himself afloat (p. B402), and treat opponents more head-ward than their
in the middle of a room without any way to push himself target as “above” and more foot-ward as “below”. Anyone
toward a handhold, and Newton’s first law of motion will on a level with their opponent merely deals with facing
prevent him from doing much more than just spinning and reach.
in place. Thankfully, Newton’s third law offers a way out,
albeit a somewhat embarrassing one: a stranded spacer can
throw objects on his person to gain velocity in the opposite Projectile Weapons
direction. The more massive the objects thrown – and the Guns, liquid projectors, and muscle-powered ranged
faster he throws them – the more quickly he moves. weapons all hurl projectiles to inflict damage. Whenever
Determine move by first figuring out how far the person firing such weapons, make a Free Fall roll. On a failure,
normally throws the object in 1G; for thrown weapons, use Rcl is doubled, and on a critical failure, also make a con-
1/2D Range. Next, multiply the results by the object’s weight. trol roll (p. 26) at a penalty equal to the weapon’s Rcl.
Divide the results by the person’s weight, plus everything he Two factors affect projectile ranges: air drag and
is still carrying, to find his new Move. Remember that he gravity. Multiply 1/2D Range by air pressure in atmo-
will move away from what he threw. He may also employ spheres and treat Max Range as effectively infinite. Over
some ranged weapons to gain an acceleration. Firing a pro- very long distances, bullet travel (see GURPS Tactical
jectile weapon imparts acceleration equal to (Rcl-1)/4. Shooting, p. 32) may enter play. Treat projectiles as mov-
ing a number of yards per second equal to their 1/2D
Example: Harry finds himself stuck in the middle of his Range. As with other DX-based skills, ranged combat
cargo hold with just his coveralls, a grease pen, and his skills are all capped by Free Fall skill.
boots. He has ST 10, and all his clothing and pen have a Projectile weapons never benefit from being fired
weight of 5 lbs. He can throw such a load 12 yards on Earth, “downward” or suffer from being shot “upward.” Such
and multiplying this by the weight yields 60. In his skivvies, terms are meaningless in free fall.
Harry weighs 160 lbs., so he could gain a Move of about 1’
per second if he doesn’t mind reaching his destination in
the buff! Explosions
Explosions propagate in zero gravity the same as in
gravity. Concussion range is only affected by air pres-
sure because it’s a shockwave – divide damage by (3 ¥
air pressure in atmospheres). A lack of gravity does affect
Posture in Free Fall the maximum range of any fragmentation damage. In zero
Posture, in and of itself, is meaningless in free fall, but rel- gravity, there is no gravity to pull shrapnel to the ground,
ative to another, it may provide a penalty to you or your foe. giving it an effectively infinite range – anyone within line of
In microgravity, there are two general “postures” or positions: sight of the explosion is subject to fragmentation damage,
end-on and full-on. regardless of distance!
End-On: Your head or feet directly face your foes. This
presents the smallest possible cross-section at which to aim Energy Weapons
ranged or thrusting weapons, but does nothing to mitigate Aside from Free Fall capping their governing skills, energy
swinging attacks. Treat your SM as -2 for the sake of ranged weapons are unaffected by microgravity.

Character Traits
Anyone who spends much time in free fall should carefully Alternative Benefit: +1/level to ST to figure Move when push-
note how various traits, skills, and techniques function under ing off in zero gravity; -1/level less-severe penalties from both
those conditions. Familiarity (p. B169) when dealing with unfamiliar space-
craft systems of any kind and/or improvised equipment (see
New and Existing Equipment Modifiers, p. B345) when repairing systems with
whatever is at hand. 11 points/level.
Advantages Notes: This is an expansion of Born Spacer (GURPS Power-
Ups 3: Talents, p. 7) that includes several repair skills for
Several advantages function differently in free fall than in a maintaining the many critical systems that make life in space
normal terrestrial environment. possible, as well as Scrounging for finding bits and pieces with
which to improvise.
Flight
see p. B56 Super Jump
Flight, with Newtonian Space Flight or Space Flight, can see p. B89
mitigate control loss (see Control Rolls, p. 26). Add a bonus Every level of Super Jump doubles your speed when push-
to your Astrobatics or Free Fall roll to regain control equal ing off with your legs in free fall. If this is the only time you
to any amount up to your total possible Space Move remain- benefit from it, apply Limited, Free-Fall Move Only (-20%).
ing for that second. If you have Newtonian Space Flight, you
may not apply more Space Move than you have remaining in
your fuel reserves. Once applied, that portion of that second’s
Space Move is gone. I wanna free fall out into
Example: Starchild has Space Move 20 and loses control at nothin’
the beginning of his turn. He may apply up to +20 to his Free
Fall roll to regain control, but if he does so, he cannot move Gonna leave this world for
anymore until his next turn! Alternatively, he may apply +5
and retain up to Space Move 15 for the rest of his turn. a while
G-Experience – Tom Petty and
see p. B57 the Heartbreakers,
G-Experience is common among people who spend large
portions of time in microgravity. While the 10-point version “Free Falling”
is not realistic for people, it would certainly be reasonable for
someone to have experience with a few different gravity fields.
Improved G-Tolerance New and Existing Perks

The following perks are useful for living and fighting in
see p. B60 space.
While not strictly realistic unmodified, a couple of
levels with Acceleration Only may reasonably fit people
accustomed to extended periods of high acceleration, like Free Faller
torchship crewmembers. Whether in orbit or deep space, you can operate nearly
unhindered by any lack of gravity. With this perk, you can
New Special Limitations routinely operate in microgravity or free fall without the need
Acceleration Only: Your improved increment only applies to make Free Fall rolls, so long as your modified skill level for
to higher gravities, not lower ones. ‑20%. any task is 16+.
Decreased Only: Your improved increment only applies to
lower gravities, not higher ones. ‑40%. Microgravity Training
You use only half your speed, where favorable, when
Spacer Talent assessing speed/range penalties. You must specialize by
10 points/level ranged combat skill.
Astrobatics, Electrician, Electronics Repair, Free Fall,
Machinist, Mechanic, Navigation (Space), Piloting (any space- No Degeneration in Zero-G
craft), Scrounging, Spacer, Vacc Suit. see Biotech, p. 211
Reaction Bonus: Anyone living in or traveling through Those who grow up or are genetically engineered to live in
space. space should buy this perk.

Existing Skills Control Rolls, p. 26) in free fall. On a success, you regain con-
trol; on a critical success, you do so as a step. Any failure
Three skills see expanded application with these rules. increases penalties for being out of control by your margin
of failure.
Astrobatics
see Space, p. 224 Free Fall Training†
In addition to the normal uses of Astrobatics, a success- Average
ful roll against it can regain lost control instantly; see Control Default: Free Fall.
Rolls, p. 26. Prerequisite: Free Fall; cannot exceed prerequisite skill +4.
This technique allows you to increase your effective Free
Free Fall Fall skill for the purposes of calculating the skill cap of one
see p. B197 DX-based skill. You must specialize by skill.
Beyond just serving as a cap on all DX-based skills, a Ready
maneuver permits a Free Fall roll to erase -1 in control loss Judo Throw and Sacrificial Throw
penalties; see Control Rolls, p. 26.
see GURPS Martial Arts, pp. 75, 79-80
These techniques do not change an opponent’s posture in
Immovable Stance free fall, but they do strip him of control (see Control Rolls,
see p. B201 p. 26). His DX penalty equals your margin of success. Addi-
In addition to its usual uses, any successful roll against tionally, you can alter which direction he travels after the
Immovable Stance allows you to apply your full ST for one throw, or allow him to continue along his previous path.
second, as if you have anchored yourself. Any failure has no Lastly, you can alter his speed by up to ST/4.
effect, but any critical failure requires a control roll (p. 26)! Any failure requires a control roll of your own!
Sweep
Everything in life is relative, where only see Martial Arts, p. 81
change endures. Rather than knock down an opponent in free fall,
this technique causes an opponent to lose control
– Leon Trotsky of his movements. Resolve the attack and the Quick
Contest normally, but the results are as follows: On
any success, your opponent loses control (see Control
New and Existing Rolls, p. 26), but base all penalties on your margin of success.
Since an out-of-control opponent cannot alter his speed or
Techniques direction, he may crash into furniture, walls, or other objects;
see Collisions (pp. B430-431) to determine damage.
A few techniques require special treatment in free fall.
Astrobatic Recovery Trip

see Martial Arts, p. 81
Average
In free fall, this technique works on any entity regardless
Default: Astrobatics.
of how many legs it has – if any! Success means your oppo-
Prerequisite: Astrobatics; cannot exceed Astrobatics+5.
nent misses, loses control, and continues at the same speed in
This technique allows you to recover from all loss of con- the same direction he was heading before the trip. A tripped
trol in free fall with a Ready maneuver. Roll against the higher opponent may collide with objects or walls for damage; see
of Astrobatic Recovery and Astrobatics to regain control (see Collisions (pp. B430-431).
Zero-G Styles
These fighting styles are suitable for any setting that utilizes the latest in weaponry and integrated systems. This
includes extensive spacefaring. seamless integration makes possible feats that seem mythic,
such as shooting accurately in any lighting condition, engag-
Free Fall Assault Training ing multiple targets simultaneously, and dodging inbound
ordinance. FFAT is most commonly taught to advanced mili-
8 points tary troops and police teams.
Free Fall Assault Training (FFAT) is a shooting style promi- Stylists learn a wide range of weapons and skills, from laser
nent among spaceborne soldiers. An extension of the shooting pistols and rifles to gyrocs and electromagnetic grenade launch-
styles of 21st-century militaries, FFAT (pronounced “eff-fat”) ers, and how to quickly reload or switch between weapons.

They prefer to engage from a distance, usually at least 100 with the knife and eventually transition to more advanced
yards, but close-quarters combat engagements are hardly unarmed techniques.
unheard of. Additionally, most learn Extra-Vehicular Combat Stylists try to use their knives foremost – unarmed com-
(below) as a backup. bat is always a last resort. The knife is used offensively and
Practitioners usually make sighted shots using All-Out defensively, with Judo parries supplementing only when mul-
Attack (Determined) at ranges of 100 yards or less, and may tiple attacks are launched. Stylists rely on a series of probing
use Aim at longer distances to pick off targets. Shootists Defensive Attacks to size up an opponent and set up a Feint.
may fall back on Guns (Gyroc or Grenade Launcher) to clear They typically follow up with an Attack on any weak points in
entrenched enemies and destroy hardened targets. They also the opponent’s armor.
make heavy use of cover and drill relentlessly in teams. Grappling enters play when a weapon is lost or an oppo-
Boot camps and military academies teach their recruits nent is too heavily armored to injure. In either case, the stylist
and cadets more than just how to fire their weapons accu- uses a series of All-Out Defense maneuvers to set up a success-
rately, however. They also teach them how to maintain, ful Judo parry. Once achieved, he grapples the opponent and
repair, and operate it at lightning speeds. This includes their either throws him free of any handholds or proceeds to dis-
spacesuits, HUDs, weapons, sensors, and so on. Some acade- able whatever limb was grabbed. Once disabled, he will throw
mies also delve into tactics, crowd control, leadership skills, his opponent into the void.
and the like. EVC is often taught in conjunction with and as a backup
Today, learning FFAT is as simple as enlisting in the space to Free Fall Assault Training (pp. 30-31) in military training
force, but enough retired soldiers work at shooting ranges for facilities across the solar system. While few techniques may
people to learn a trick or two without going to war. cross from FFAT to EVC, most recruits learn to grapple with a
weapon as well as the knife and body.
Skills: Free Fall; Vacc Suit; one of Beam Weapons (Pistol,
Movies and television often portray practitioners as strong,
Projector, or Rifle); one of Guns (Gyroc or Grenade Launcher);
powerful men or lithe, graceful women, either of which can
and three additional choices from among Fast-Draw (Ammo,
launch dizzying flurries or disable with a nimble touch. In
Pistol, or Long Arm) or the previous two lists.
reality, practitioners attempt few spectacular stunts in favor
Techniques: Close-Quarters Battle (any); Free Fall Train-
of efficiently dispatching the enemy.
ing (any); Quick-Shot (any); Retain Weapon (any); Targeted
Attack (any); Work by Touch. Skills: Free Fall; Judo; Knife; Vacc Suit.
Cinematic Skills: Blind Fighting; Immovable Stance; Zen Techniques: Arm Lock (Judo or Knife); Armed Grapple
Marksmanship (any). (Knife); Choke Hold (Knife); Feint (Knife); Free Fall Training
Cinematic Techniques: Timed Dodge; Whirlwind Attack (Judo or Knife); Head Lock (Judo); Leg Lock (Judo or Knife);
(any). Leg Throw; Lower-Body Arm Lock (Judo); Lower-Body Leg
Perks: Armorer’s Gift (any); Barricade Tactics (any); Bat- Lock (Judo); Retain Weapon (Knife); Targeted Attack (Knife
tle Drills; Cool Under Fire; Cross-Trained (any); Micrograv- Thrust/any armor chinks).
ity Training (any); Grip Mastery (any); Intuitive Armorer Cinematic Skills: Immovable Stance; Pressure Points; Pres-
(any); Lightning Fingers (any); Off-Hand Weapon Training sure Secrets.
(any); Quick Reload; Standard Operating Procedure (any); Cinematic Techniques: Dual-Weapon Attack (Judo or
Style Adaptation (Extra-Vehicular Combat); Tap-Rack-Bang; Knife); Pressure-Point Strike (Judo or Knife).
Weapon Bond. Perks: Off-Hand Weapon Training (Knife); Quick-Swap
(Knife); Style Adaptation (Free Fall Assault Training).
Optional Traits
Secondary Characteristics: Improved Basic Speed and Per. Optional Traits
Advantages: Acute Vision; Combat Reflexes; Danger Sense; Advantages: Combat Reflexes; Enhanced Parry (Knife);
Fearlessness; Fit; G-Experience; Gunslinger; Night Vision; Fearlessness; Fit; G-Experience.
Signature Gear. Disadvantages: Duty; Overconfidence.
Disadvantages: Chummy; Duty; Impulsiveness; Overconfi- Skills: Brawling; Fast-Draw (Knife); Main-Gauche; Short
dence. sword; Wrestling.
Skills: Armoury (Small Arms); Astrobatics; Axe/Mace; Con- Techniques: Disarming (Knife or Wrestling); Push Kick
noisseur (Guns); Electronics Operations (Sensors); Forced (Brawling).
Entry; Gunner (Beam); Guns (Missile Launcher); Intimida-
About the Author

tion; Knife; Shield; Soldier; Spear; Stealth; Tactics; Throwing;
any primary skill not learned initially.
You can find Timothy “Humabout” Ponce leaping from air-
Extra-Vehicular Combat planes and scaling rock walls in South Florida when he isn’t
working as a pharmacy technician. His love of science fiction
5 points extends back to his childhood where it led him to roleplaying
Descended from the unarmed military martial arts and with Alternity as a pastime at track meets. Ever since, gaming
knife fighting of the 21st-century, Extra-Vehicular Combat has been part of his life, often vying for time with sleep and
(EVC) is a brutal and practical style with one of two goals: video games. He couldn’t have written this article without the
puncture the opponent’s suit or send him tumbling into space. loving support of his other half, Julia. He’d also like to thank
Practitioners begin by learning armed-combat techniques the Pyramid Write Club, but the first rule of Write Club is “we
do not talk about Write Club.”

Random
Thought Table
Forward Thinking
by Steven Marsh, Pyramid Editor
I’ve dabbled in strange conceptual roleplaying campaigns I could go on, but the point is the previous paragraph took
– one where superpowers led inexorably to death, another me about 15 minutes to research and write . . . which would
where magic warped reality on a fundamental level, and yet have been unfathomable to me in 1997. (Around then, it took
another where the heroes were metaphysical constructs. me the better part of an afternoon at the library to find out as
However, one of the most challenging games I’ve ever led was much info as I could about the space shuttle Enterprise . . .
a Torg campaign I ran in the late 1990s, set when the game which amounted to about two pages.)
came out, in 1990. So what’s the point of revisiting memory lane here? First,
You wouldn’t think trying to recreate the world from a by having a vivid snapshot at two different stages of trying to
mere eight years prior would have been as difficult as it was. answer the same technological question (attempting to rec-
And yet . . . the first couple of adventures had us scratching reate an understanding of 1990 tech in both 2001 and 2015),
our heads. Forget trying to remember the state of the Soviet I have a fairly interesting view for trying to figure out what the
Union; how common were cell phones in 1990? How big was “cutting edge” might be in the next 15 years or so.
the Internet? Who had email? Eventually we muddled into a Here, then, are a couple ideas I had while contemplating
kind of muddy compromise where we just didn’t rely on “mod- the past, present, and future.
ern” technology much, because we couldn’t agree on
what stuff was around.
I know I wrote about this campaign before in the
old HTML era of Pyramid, but – with another decade Human progress is furthered,
between that campaign and the last time I considered
it – what I find interesting in reminiscing about it is not by conformity, but by
how much easier (comparatively speaking) it would
be to construct a 1990-set game today compared to aberration.
running that same game in 1998. Why? Technology.
When I ran that game in the late 1990s, Wikipedia – H.L. Mencken
wasn’t a thing. Google wasn’t really a thing. (I know
that because I used Wikipedia to tell me about
Google’s history.) Consumer-level high-speed Internet wasn’t
a thing.1 Today, if I wanted to run a more historically accurate Crowdsourcing
game set in 1990, I could use my high-speed Internet to cobble The eruption of Wikipedia – which, again, didn’t really exist
together a list of common technology along with their capabil- in 2001 – as a pretty accurate, pretty comprehensive starting
ities and limitations. For example, 1990 was the year that cell point for a whole lot of humanity’s knowledge is a development
phones hit one million subscribers (compared to today, when that somewhat took me by surprise. Looking at the individual
there are nearly as many cell phones as people). What about elements, most of them weren’t surprising separately. I could’ve
the Internet? Well, the first commercial dial-up ISP launched guessed that eventually there could be a cluster of comput-
in November 1989 (compared with walled-off networks, like ers capable of pulling up information quickly (and with the
CompuServe [1969] and Prodigy [1988]). Folks were still Internet speed to make it worthwhile). I could’ve even guessed
hashing out the WWW protocol in 1990. Email had existed that such a thing might be conceivably be free; I could’ve fore-
since the 1970s, but few folks had it outside of the educational seen the idea of grants or non-profits making information freely
and tech fields. available, let alone the possibility of an ad-supported version.
1. As an aside, the phrase “wasn’t a thing” wasn’t a thing in the 1990s either.

However, what I really didn’t understand in 2001 was the Where’s a low-key restaurant to hold a quiet public interro-
power of crowdsourcing – of getting lots and lots of people gation/intimidation? How good is the local taxi service? Can
to take part in a gargantuan project, breaking it down to public transportation take the heroes somewhere? How com-
smaller bits, all of which are tackled by individual free-work- mon are street cameras? And so on.
ing volunteers. Each one of these questions would have taken hours of
Sure, the Linux operating system came about largely in research for a non-native to accurately determine two decades
this way, and I’d dabbled in that at the turn of the millen- ago; even a decade ago, answers would have been rudimen-
nium. Nonetheless, that was still largely the work of techni- tary. However, today Google can answer (close enough for a
cally minded folks. Wikipedia, however, came about from the game) “How many pawn shops are in Brainerd, Minnesota?”
idea that anyone who wanted to put their two cents’ worth in (Answer: three.)
on any topic would be empowered to do so. The actual reality In the future, it should be possible for the GM to hand off
of how well that ideal has been realized is a topic for another more duties to a computer program or players. Thus, clicking
day, but Wikipedia is still a more formidable project than I the nearest pawn shop would cause a dedicated program to
could have imagined a decade-plus ago. pull up its location, a 360° virtual look at the place, a brief
And it’s not just Wikipedia that’s benefited from crowd- description of it, a floor plan, an extrapolation of its general
sourcing. Humanity now has a near-limitless access to infor- quality and reliability (built from reviews and news items),
mation on nearly every movie, television series, comic book, the name of the store owner and/or an employee, etc. Such a
and more, thanks to volunteer labor. Project Gutenberg – active system might even be able to delve deeper; if it finds the name
since the 1970s – relies on volunteers to help scan, OCR, and of an employee, it could display a picture of that employee
proofread classic texts. Various answer services such as Quora from social media.
allow more ephemeral questions to be answered by volunteers. If that’s too creepily intrusive into the real world to con-
What does all this mean for gaming? Well, if you were try- template, then such a computer program might instead ran-
ing to develop some “cutting edge” technology for a near-now domize enough details for plausible deniability. It could also
campaign, you could do worse than extrapolate some aspect conjure up a stock photo or public-domain image for the play-
of crowdsourcing into gamable material. Here are some ideas. ers to see, ensuring that the same stock photo and person was
never used for the same purpose.
• A cryptic code has been beamed to a dozen radio and
About 90% of the above is possible right this minute, given
television frequencies around the world. It’s too complicated
enough time. Already computer programs can write common-
for an individual to crack, but by coordinating efforts and
place newspaper articles such that it’s tricky to tell they were
comparing notes, its secrets might be revealed.
computer-generated; this is just an extrapolation of that idea.
• The heroes intercept a photograph of an unknown per-
The future may be here before we know it.
son in strange garb at an unfamiliar locale. The interception
vector was from a person of interest, so it’s quite possible
that this person is also either a target or perpetrator of
something nefarious. By crowdsourcing, it may be possi-
ble to determine the outfit, perhaps leading to the locale, Neat, Petite, Discrete
and ultimately to the identity of the person in question. Closely related to the idea of crowdsourcing – and a
• In a quasi-totalitarian state, everyone readily records smidge more “advanced” than that method – is the means to
their movements and actions at all hours, either volun- reliably split up larger projects so that individuals or small
tarily or otherwise (such as by personal fitness trackers). groups don’t know exactly what they’re doing. For exam-
This crowdsourced encapsulation of reality allows for the ple, in the real world, there have been reports of websites
heroes – or antagonists – to find those trying to stay off requiring visitors to answer CAPTCHAs to post or interact,
the grid. but those CAPTCHA answers are actually being fed to nefar-
ious groups that are using them to compromise other sites.
Constructed Realities
Thus, maybe a complex code is being broken in real time
by unwitting gamers who are playing a hot new cellphone
Not all aspects of cutting-edge contemplation need to app, where the code is broken into smaller segments and
occur within the game world; some innovations might translated into a game-mechanical format. Or maybe some-
occur at the (real) gaming table. One of the challenges one who needs to decipher a simple code (where pictures
of running any kind of game set in the modern day is the that routinely begins with “A” – apples, ants, etc. – stand for
vast number of options players have at their disposal. Do the letter A, and so on through the alphabet) ensures that
the heroes want to visit a myriad of malls? Reprogram no translator ever gets more than a few sequential letters.
their computers? Crank-call people on another continent?
All of these are things that a GM must be able to sort out
at a moment’s notice.
However, the “cutting edge” of reality has more informa- About the Editor
tion codified about the real world than at any point in history. Steven Marsh is a freelance writer and editor. He has con-
It would be trivial to have the computer serve as the virtual tributed to roleplaying game releases from Green Ronin, West
interface between the GM and the players, conjuring informa- End Games, White Wolf, Hogshead Publishing, and others.
tion that the GM has no inclination to create. He has been editing Pyramid for over 10 years; during that
The heroes are in the middle of downtown Brainerd, time, he has won four Origins awards. He lives in Indiana
Minnesota; where is the nearest weapon shop? Pawn shop? with his wife, Nikola Vrtis, and their son.

Short Bursts
White Gold
by Matt Riggsby
The next edition of Car Wars is coming! To help prepare, “Who is the vaquera supreme of Nevada?”
Pyramid proudly presents this vignette, spotlighting one aspect “QUEEN MOB!”
of its bold new world. Visit carwars.sjgames.com to keep Queen Mob descended from the ziggurat of destroyed vehi-
abreast of the latest developments! cles. The polarized visor of her white-and-gold helmet finally
tamed the burning midday sun as she fitted it over her kinky
YYY
hair. She switched on its internal microphone.
As the din of mechanics shouting over the humming fabri- “Bring me my cycle!” A pair of mechanics wheeled out a
cators rolled out over the parking lot, the drivers rattled belts huge cycle, its works hidden beneath a freshly-fabricated
of ammo and racks of rockets into place. Whatever the vast casing of gleaming white armor plastic accented with gold.
concrete slab had once been, it was now home to a ziggurat Another stumbled alongside, tightening the last connection on
of crushed cars dragged over from the rusting scrapyard, sur- a pair of rocket pods hanging from either side.
rounded by a wolf pack of motorcycles. The woman in white “Bring out the eyes so that all can see!” A technician flipped
leather and gold appeared at the top of the tower and thumbed a switch, and a cloud of tiny camera drones rose from their
the switch on the microphone. Her voice boomed out from charging racks by the fabrication shed and took positions
dozens of salvaged speakers across the lot. around the pack of motorcycles.
“My hunters!” Queen Mob threw a leg over the seat of her cycle as the rest
The bikers became no less noisy in their preparations, but of the bikers hurried to mount up, slamming closed the last
they cheered loudly as they worked. Some ripped off short open hatches and snapping up stands. With a near-leap, she
bursts in salute. kicked the cycle into roaring life.
“Today, as on so many days, we ride to defend our honor. “Let’s ride!”
Today, a convoy will try to pass over our roads. With no toll!
As though they owned the road!” The crowd below made exag- About the Author
gerated sounds of disbelief.
Matt Riggsby has written over 40 articles and supplements
“The Franciscans give us no respect!” Loud boos and
for Steve Jackson Games.
shouts from the bikers showed exactly that they thought of
California. “The Yankees give us no
respect!” More shouts and a few more
rounds of gunfire; it went double for
what was left of the United States.
“But we shall have our respect!
And we shall have our tribute!” The
jeers turned to cheering. This was the
part they wanted.
“They shall fear us and give us
what is ours!” More cheering, more
gunfire.
“Now, tell me, hunters, who leads
you to victory in every battle?”
“Queen Mob!” the bikers shouted
back.
“Who wins you Sonoma wine and
Philadelphia medicine?”
“Queen Mob!”
“Who is generalissima of Elko and
Battle Mountain?”
“Queen Mob!”

Odds and Ends
The Future of
Forgery (or Homage?) About the Cover
Currently, computers are invaluable at detect- If one of the earmarks of a good cover is that it inspires the desire
ing plagiarism. They’re also useful in trying to sort to want to be part of whatever it’s portraying, then this month’s
out clues of whether certain works were actually Pyramid succeeds in abundance. (Your humble editor is booking
from the suspected creator. his virtual passport even as he types these words!)
However, it should be possible at some point For this month’s cover, artist Brandon Moore ties together the
soon to work in reverse, using computers to create ideas of ultra-tech shooting, futuristic armor, and – tangentially –
works – or to edit existing works – to “pass the falling, into an explosive look at the future.
test” that determines whether something is a “lost Here is the preliminary sketch of the cover. Notice how much
work” from a creator, or merely a forgery. Thus the color adds to this piece! A text-free version of the finished art-
(to simplify greatly), if the program says that a work is on p. 36.
play couldn’t be from Shakespeare because it uses This month’s Pyramid also features another Brandon Moore
the word “aspartame,” then it might suggest an piece, accompanying the Car Wars vignette on p. 34. In its own
alternative word that would pass the test. way, that piece offers another glimpse of the “cutting edge” of tech-
There’s no reason this would be limited to tex- nology . . . albeit one that’s a bit less glittery than this cover (and yet
tual works, either. Music, in particular, would be at least as exciting).
fairly straightforward to forge. Unlike paintings When we’re not begging him to draw awesome Pyramid cov-
(where the existence of atmospheric radioactiv- ers, Brandon is continuing to work on the visuals for the next edi-
ity makes it easier to detect any forgeries of pre- tion of Car Wars. For more artwork from him, visit his website at
nuclear-era artists), we can reliably recreate nearly artofbrandonmoore.com.
every step of the recording industry’s genesis from
the wax cylinder days. “Newly discovered” master
tapes (forgeries) of long-dead artists would fetch
a pretty penny.
Cinematic arts – movies and television – would
be more difficult to forge, since most such works
have enough documentation and historical
records that slipping a “lost” forgery in would be
challenging. However, in the future – say, a cen-
tury or two from now – there might be enough of
a gap in historical records to make it easier, in the
same way that our lack of definitive knowledge of
Shakespeare’s day-to-day whereabouts allows for
the possibility of all kinds of manuscripts to sur-
face that could have been written by him. Also,
there are many cinematic lost works that could
be recreated and presented as the original work,
newly discovered; examples include 1927’s The
Mountain Eagle (Alfred Hitchcock’s second direc-
torial effort), 1938’s King Kong Appears in Edo (a
Japanese monster movie that predates Godzilla by
16 years), and 1919’s The First Men in the Moon
(the first cinematic adaption of the works of
H.G. Wells).
Such forgeries need not have nefarious pur-
poses, but could be done by creators hoping to
satisfy an itch of a lost work. For example, in
recent decades many people have recreated visu-
als for lost episodes of Doctor Who, using recorded
soundtracks as their basis. Such efforts will only
get easier as technology improves.

Appendix Z
The Perky L33t by Christopher R. Rice
The fantastic article Console Cowboys and Cyberspace Kung other netrunners. Your level of this perk (maximum five) off-
Fu (from Pyramid #3/21: Cyberpunk, pp. 4-12) upgrades the sets the ‑5 for resisting additional uses of the Damage program
GURPS netrunning rules to Fourth Edition. The following spe- against you. You can never gain a net bonus.
cial perks further expand a hacker’s options. All require Quick
Gadgeteer, though it may be limited to computers (e.g., with Internal Firewall
the H4xx0r limitation from GURPS Action 1: Heroes). There Maybe you’re stubborn, hardheaded, or you’ve been “brain
is no perk limit – unless the GM wants one, in which case a burnt” so often that it just doesn’t bother you much anymore.
reasonable option is one perk per 10 points in Area Knowl- You make HT rolls to resist Damage programs at +3, just as if
edge (Cyberspace), Computer Hacking, Computer Operation, you had a hardened deck. The GM may allow you to improve
Computer Programming, Current Affairs (Cyberspace), Elec- this to Resistant to Damage Programs (+8) [3] or Immunity to
tronics Repair (Computers), and Expert (Computer Security). Damage Programs [5], though these are probably not avail-
able in all campaigns as they take much of the risk out of
Codehead netrunning.
There isn’t a code language out there that you don’t know,
and even if you don’t know it now, given enough time, you Keyboard Cowboy‡
will. The GM should allow you to know just about any pro- Your level of this perk (maximum four) offsets the ‑4 for
gramming language in his setting. Furthermore, you only suf- improvising a program from scratch (see Default Use, Pyramid
fer unfamiliarity penalties for not knowing a programming #3/21, p. 7). You can never gain a net bonus.
language if (and only if) the code is so alien (or new) it couldn’t
possibly be known by the general public. Even then, you Motif
become familiar with new computer code at twice the normal Your programs all have a motif of some sort. Pick a theme
speed. This is similar to Cross-Trained (Computer Languages) such as “classic arcade games” or “70s-era sci-fi movies”; all
(GURPS Power-Ups 2: Perks, p. 16), but is better in that you of your programs are coded with visual themes from this cat-
can learn entirely new code by studying it; this is balanced by egory, making it not only look cool but giving you +1 in Quick
the need for Quick Gadgeteer. Contests against other netrunners unfamiliar with your given
theme. At the GM’s option, a Hobby Skill or related Motif
Console Monkey might negate this bonus or even gain a bonus.
You’re a master of tab completion, argument expansion,
piping, and other advanced command line techniques. You
can control systems you are familiar with at an incredible
speed and without needing a GUI. This allows you to act much “Hacking” is such an ugly word.
faster than others. When jacked in, you may calculate your No. I’m . . . Yeah. Totally hacking into
order in the initiative based on (IQ + HT)/4 if better than your
normal Basic Speed. the Merlyn Global mainframe.
– Felicity Smoak, in Arrow #1.22
Cyberspace Samurai‡
You’ve either toughened yourself against neural damage or
someone already burnt out all the vital bits . . . Either way,
when determining how much harm you suffer from someone About the Author
using the Damage program (Pyramid #3/21, p. 8) against you, Christopher R. Rice wishes he were cool enough to know
reduce it by your level of this perk. This is simply DR (Limited, how to code. From Portsmouth, Virginia, he dreams of being
Damage Programs, -80%). able to write full-time one day, or at least eke out a living
doing it. He wishes to thank L.A., his own personal muse, as
Flatliner‡ well as the rest of his gaming group; Elizabeth “Archangel
You’ve seen the light at the end of the tunnel, and it’s fiber Beth” McCoy for having the uttermost patience with him; and
optic, baby! When incapacitated, you retain a semblance of his good friend Antoni Ten Monrós for being a most excellent
consciousness in cyberspace and suffer less of a penalty than sounding board.

About GURPS
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l PDFs from Atlas Games, Amarillo Design Bureau, Pelgrane Press,
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l Original material for Transhuman Space and new GURPS supplements
from Kenneth Hite, Phil Masters, David Pulver, Sean Punch, and
William Stoddard!
l Fully searchable files of GURPS Fourth Edition supplements.
l Digital editions of out-of-print classics, from Orcslayer and the complete run
of ADQ to GURPS China and GURPS Ice Age.
l Buy board games and roleplaying PDFs in the same order!
Download digital purchases again whenever you need to.
®
STEVE JACKSON GAMES
warehouse23.com

Pyramid 3 - #085 Cutting Edge

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Contents ­In This

Even the tiniest of actions can change the future.

Pyramid Magazine 2 November 2015

Additional Material: Sean Punch and Hans-Christian Vortisch

Pyramid Magazine 3 November 2015

There are thirteen basic types of ammunition which Gizmos

Advantages a large range of ammunition options; cinematic heroes may

Pyramid Magazine 4 November 2015

Pyramid Magazine 5 November 2015

Captivator as a secondary option.

Pyramid Magazine 6 November 2015

Pyramid Magazine 7 November 2015

Pyramid Magazine 8 November 2015

Pyramid Magazine 9 November 2015

Pyramid Magazine 10 November 2015

Pyramid Magazine 11 November 2015

Musical Mind-Control Specialties

Pyramid Magazine 12 November 2015

Pyramid Magazine 13 November 2015

Pyramid Magazine 14 November 2015

Pyramid Magazine 15 November 2015

Pyramid Magazine 17 November 2015

and Name Directional DR: Outfits may be designed to only protect

Pyramid Magazine 18 November 2015

Pyramid Magazine 19 November 2015

Armor Material Table

Pyramid Magazine 20 November 2015

Armor Material Table Key

Pyramid Magazine 21 November 2015

Pyramid Magazine 22 November 2015

Pyramid Magazine 23 November 2015

The Effects of Free Fall

Cardiovascular Weakening Inner Ear and Balance

Pyramid Magazine 25 November 2015

Pyramid Magazine 26 November 2015

Pyramid Magazine 27 November 2015

Pyramid Magazine 28 November 2015

Improved G-Tolerance New and Existing Perks

Pyramid Magazine 29 November 2015

Astrobatic Recovery Trip

Pyramid Magazine 30 November 2015

About the Author

Pyramid Magazine 31 November 2015

Pyramid Magazine 32 November 2015

Pyramid Magazine 33 November 2015

Pyramid Magazine 34 November 2015

Pyramid Magazine 35 November 2015

Pyramid Magazine 37 November 2015

STUCK FOR AN ADVENTURE?

l Free downloadable adventures for GURPS, In Nomine, and Traveller!

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Contents In This