The Sprawl - NOVEMBER METRIC.pdf

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NOVEMBER
METRIC
THE SPRAWL:
NOVEMBER
METRIC
A SETTINGS EXPANSION
The Sprawl: November Metric v1.0
Writing // Hamish Cameron, Kira Magrann, Morgan Davie, Benjamin Kouppi,
Rach Shelkey, Kyrie Culp, Dana Cameron, Khelren, Oh SeungHan
Editing // Hamish Cameron and Dana Cameron
Original
The Sprawl
Layout and Graphic Design // Aaron Brown
Settings Expansion Layout and Interior Art // Dana Cameron
Cover Art // Vira Sakhniuk
ISBN:
My thanks to the Kickstarter Backers
© 2017 Hamish Cameron
CONTENTS
WELCOME TO YOUR NEW SPRAWL
Hamish Cameron
TANGAROA ARCOLOGICAL ISLANDS
Kira Magrann
LONG DARK CLOUD
Morgan Davie
BRUXELLES, MA BELLE
Benjamin Kouppi
THE GOLDEN HORSESHOE
Rach Shelkey
THE SOUTH WILL RISE AGAIN
Kyrie Culp
CYBERKITTENS: PROJECT BAKENEKO
Dana Cameron
AFRICAN CHROME
Benjamin Kouppi
LA RUINE LUMIÈRE
Khelren
CYBERKITTENS: OPERATION PEWPEW
Dana Cameron
MIAMI ICE
Benjamin Kouppi
EBUK STYLE
Oh SeungHan
FREEWAYTOWN
Hamish Cameron
[FLORIDA]
[NORTH KOREA]
[LOS ANGELES]
[LAGOS]
[PARIS]
[PACIFIC OCEAN]
[NEW ZEALAND]
[BRUSSELS]
[TORONTO]
[NEW ORLEANS]
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NOVEMBERMETRIC
WELCOME TO YOUR NEW SPRAWL
Cyberpunk is rooted in places and locations. Gibson’s BAMA sprawl, Effinger’s
Budayeen, the Los Angeles’ of
Blade Runner, Elysium
or
Snow Crash, Ghost in the
Shell’s
New Port City, and “The City” of Spider Jerusalem all evoke specific and varied
visions of a dystopian future urban sprawl. These protagonists leave their sprawls to
accentuate the contrast between those dirty high density environments and the wider
world. Sometimes that world beyond is space of refuge from the pressures and dangers
of the sprawl, sometimes it is a utopian vision of an alternative “natural” world, some-
times it is a bleak and unforgiving extension of the same dangers, home to alternative
sprawls—static, mobile, orbital, digital. Is the sprawl a place to be avoided if possible,
a hostile aberration in a natural world, or is it a place to be, a high-tech space of action
and excitement?
Cyberpunk sprawls always exist in relation to other sprawls. The cyberpunk world
is a global world, united by the political maneuvers of corporations, governments,
organizations and ultra-wealthy individuals. Most of the inhabitants of these sprawls
live relatively static lives, embedded in the tapestry of their neighbourhoods, but
corporate and freelance operatives go where the money is, where the jobs are, where
the action is. Global communications networks make intercontinental communication
trivial. Sub-orbital flights make intercontinental travel fast.
Your sprawl is an important character in your game.
The Sprawl
isn’t just a reference to
Gibson, it’s a pointer towards the importance of place in your game. When you dream
cyberpunk dreams in preparation to play
The Sprawl
(as an MC or as a player), think
about places and spaces, not just as spaces of action or cool genre-reinforcing visuals,
but for how they reflect or contrast the themes of your game and your character(s).
In assembling a team of sprawls, I wanted new visions of new places. In assembling a
team of writers, I wanted new perspectives from new creators. The twelve settings in
this volume take the inequalities and tensions of the present and extrapolate them to
imagine a dystopian cyberpunk future of oppression and resistance. The nine authors
(from France, New Zealand, Canada, Korea, as well as the United States) showcase
something of the global flavour of cyberpunk. Writers from four continents writing
about places on five continents (and one ocean). I’ll do better next time.
I did not apply a universal format or length to the chapters, nor did I mandate any
overarching thematic considerations. I wanted the writers to give me their vision of a
cyberpunk future in a place they knew well. If this results in a jarring experience for
you, dear reader, as you transition between styles, language, format and typographi-
cal conventions, then you will have experienced something of the cultural dissonance
of a global cyberpunk world. Mission accomplished.
Time to
get paid.
NOVEMBER METRIC
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