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由于赛博朋克背景的高度致命性，它是“一次性”游戏的最佳类型之一。玩家到达，他们设定(或选择)角色，GM告诉他们一点背景知识，冒险就可以开始了!角色可能会在之后出现，也可能不会再出现:没有连续性方面的问题。
创建一个持续性的战役则需要更多的思考、设计和努力。一般来说，想要组织这样一个战役的GM应该花费至少和运行战役一样多的时间来策划战役。一个持续数月(甚至数年)的战役所带来的满足感完全能够完全补偿你所作出的努力。
Because of its often lethal nature, cyberpunk is one of the best genres for "one-shot" game sessions. The players arrive, they design (or select) characters, the GM gives them a bit of background, and the adventure begins! The characters may or may not ever reappear: there's no real question of continuity.
Creating an ongoing campaign takes much more thought, design and effort on the part of the GM.In general,the GM of such a campaign should plan on spending at least the same amount of time preparing for a session as he does running it. The satisfaction of a campaign that runs for many months (or even years!) is full compensation.
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战役范围CAMPAIGN SCOPE
在策划战役的时候，GM必须决定一些基础的事项，比如战役的预期持续时间，战役将涉及到的区域，甚至在创造npc的时候他需要涉及多少细节。他得到的背景越多，战役就会显得愈发真实，当角色决定采取与他预期不同的行动时，他就越不需要“即兴发挥”。
“持续时间”指的是战役的长度——一次性的，或者持续的。在一次性战役中，GM需要处理的背景数量较少。NPC可以变得很平面化(坏人可以只是没有动机的坏人，他们可能会只有“老板让我们朝好人开枪”这一个动机)，而GM可以更残忍地杀死角色。PC们不会像在持续性战役中那样地依赖他们。
长期的战役能让玩家充实他们的角色，并有办法改变他们社会的一部分。他们也可以设立自己的目标，这可以帮助GM充实他的战役。当然，长期的战役也有其缺点。例如，某个PC可能会在游戏过程中被杀死，所以GM需要有能够维持团队(例如，有人花钱让你们完成一项任务)的理由，并且有让新角色进入团队的办法。此外，随着战役的继续，连续性和复杂性会成为问题。在这个团的第一幕时产生的一个几乎被所有人遗忘的事件可能就会带来一个漏洞，使GM的周密计划短路。GM必须非常小心地跟随他的计划的方向，并非常小心地让计划与“草率”的玩家之间维持平衡。
单元战役——一系列2到6次的冒险战役，每一个都有专属自己的目标、对手和内容，但都是为了达到最后的高潮，把松散的一系列战役结局联系在一起——是在非常短期和非常长期的战役之间的一种妥协的办法。GM应该在战役开始前就制定好剧情和主要npc——甚至在任何玩家创造角色之前。这让他能够预见战役的进程，并且能够留下一些只有在未来的冒险中才会体现出其重要性的线索。他还可以选择PC背景的元素并将它们与情节联系起来(“你的父母是在布隆迪的传教士，而你出生在那里?”希望你记得布琼布拉的路……”)，并且对npc进行推演看谁能够推进剧情的进程。
当情节线索连接在一起时，玩家会对事件有一种感觉，而那些一开始看起来没有联系的事情会变得更有意义。GM可以以此来逐步实现人们期待已久的伟大高潮。这种迷你战役能让玩家带入自己的角色，也能让GM展示出他的世界是如何运作的，以及主要npc的内在动机是什么。单元战役的主要缺点是它所涉及的工作与长期战役一样多——甚至更多，因为GM必须将冒险活动的各个线索分开，并将它们编织在一起形成一个结论。他不能从这一集跳到另一集。战役即将结束的想法可能令人失落;对于许多玩家来说，角色扮演最吸引人的地方之一就是它的开放性。
一个精心设计的情节与一个好的故事情节之间有很多共同之处，但从本质上讲，游戏必须更加灵活，允许任何一个角色在情节的关键时刻死亡或幸存。
When planning the campaign, the GM must make some basic decisions, such as the intended duration of the campaign, the area it will cover — even how much detail he will go into in building NPCs. The more background he has access to, the more realistic the campaign will seem,and the less he will have to "wing it" when the characters decide to enter a course of action different from what he anticipated.
"Duration" refers to the length of the campaign — one-shot, or continuing. In a one-shot campaign, the amount of background that has to be worked out is smaller. The NPCs can be painted in broad colors (the bad guys can just be bad guys with no motivation other than "The boss told us to shoot at the good guys"), and the GM can be more ruthless in killing off the characters. The players won't be as attached to them as they would in a continuing campaign.
Long-term campaigns allow the players to flesh out their characters and to work to change part of their society. They can also create agendas of their own, which can aid the GM in his campaign design. Of course, long campaigns have disadvantages. For instance, individual PCs may be killed along the way, so the GM should have both some reason for the group to stay together (a Patron with a mission for them to perform, for instance) and a way for new characters to enter the group. Also, as campaigns continue, continuity and complexity become problems. A half-forgotten incident from the group's very first session could provide a loophole that will short-circuit the GM's careful planning. The GM must keep very careful track of the intended direction of his plots, and balance it very carefully against "railroading" the players.
A medium-term campaign — a linked series of two to six adventures, each with its own objectives, opponents, and resolution, but all building up to a final climax which ties the loose ends together — is a compromise between very short- and very long-term campaigns. The GM should outline the plots and major NPCs before starting the campaign — even before any of the players generate characters. This lets him foreshadow and leave clues that will only be important in future adventures. He can also select elements of PC background and tie them into the plot ("Your parents were missionaries in Burundi and you were born there? Hope you remember your way around Bujumbura…"), and develop NPCs who will further the action.
As plot threads tie together, the players will get a feel for the flow of events, and things which seemed unconnected at first will make more sense. The GM can build up to a great, long-anticipated climax. This sort of mini-campaign is long enough for players to get really into their characters, and for the GM to show how the world works and what the inner motivations of the main NPCs really are. The main drawback of a medium-term campaign is that it involves as much work as a long-term campaign — maybe even more, since the GM must plot the separate threads of the adventures and weave them together to form a conclusion. He can't just randomly hop from episode to episode. And the very idea that the campaign will end can be disappointing; to many players, one of the most appealing aspects of roleplaying is its open-endedness.
A well-crafted plot will have a lot in common with a good story plot, but by its nature a game must be more flexible, allowing either the death or the survival of any given character at critical points in the plot.
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信息Information
赛博朋克冒险的大部分情节都应该围绕着角色们发现真实情况的过程而展开。玩家应该为他们创造性的解决方法而获得奖励，但他们应该为获得信息而奔走努力。GM应避免在冒险中留下太过明显的捷径或漏洞，并应该预测他们收集信息的方式。
在策划一场冒险时，GM应该事先确定好所有重要的线索，以及最后的解决方案。他应该列出PC可以接触到的联络人名单，以及哪些人可以接触到哪些信息。GM也应该决定在网络上他们能找到什么相关的线索，以及进入这些区域有多困难。
有时冒险中，可能会有在逻辑上应该很容易找到的信息却不能被获取到的可能性。有在这种情况下，GM要么想出一个合理的解释，要么重组这个冒险来避免这个问题。记住，联络人——甚至一些PC的后台——都有可能会被坏人杀死。PC花费点数换来的后台将来可以被其他类似的后台所取代;这使得GM在决定情节时能够拥有最大的灵活性，同时也能让角色点数在游戏性方面维持住平衡。这个非常重要的网络节点可能会在本周关闭，但是角色们现在就需要这些信息!
Much of the action in any cyberpunk adventure will be centered on the characters finding out what is actually going on. Players should be rewarded for innovative ways of figuring things out, but they should work for informa-tion.The GM should avoid leaving obvious shortcuts or loopholes in the adventure, and should anticipate predictable ways of gathering information.
In planning an adventure, the GM should work out, in advance, all the important clues that lead up to the final resolution. He should make a list of the contacts the PCs will have access to, and which ones have access to what information. The GM should also decide what pertinent clues might be found on the Net, and how hard it is to access these areas.
Sometimes an adventure may hinge on the unavailability of information that logically should be easy to find. In that case, the GM must either invent a reasonable explanation, or restructure the adventure to avoid the problem. Remember, contacts — and even some patrons — can be killed by the bad guys. Patrons that PCs have spent points on can be replaced by other, similar patrons in the future; this allows maximum GM flexibility in determining the plot, while preserving character point game balance. And that all-important net node may be down for servicing this week — but the characters need the information now!
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边栏：战役的现实度Campaign Realism
任何赛博朋克战役都会是充满暴力的;这是其定义的一部分。但这类暴力是否会对PC造成致命性的影响，则完全取决于GM。
Any cyberpunk campaign is likely to be violent; it's practically a part of the definition. Whether this violence is likely to be fatal to the PCs depends entirely on the GM.
现实赛博朋克Realistic Cyberpunk
可以说，这是一个矛盾的词;毕竟，赛博朋克所涉及到的技术还没有被发明出来。有人会说它就藏在下一个拐角处;也有人认为这些设备永远不会存在。
但如果它真的出现了，赛博朋克风的硬件——包括身体改造和更多的常规武器——将会是致命的。当爆炸夷平建筑物和横梁穿透石墙时，枪战往往会在几秒钟内结束。如果GM喜欢这种类型的战役，玩家将不得不学精了…或为每次游戏创造新的角色。对那些将替代性是暴力视作是一种宣泄的人来说，没有比赛博朋克更好的流派了。即使是对爆炸子弹或激光束造成的伤害进行的最干巴巴的描述，也足以让最专业的血腥爱好者满意了。
但是GM不应该在没有和PC讨论过的情况下就开始这种活动。否则，书生气十足的电脑迷和鬼鬼祟祟的“打了就跑”特工会在他们的雇佣兵伙伴们开始一场枪战，并以万劫不复的世界末日收场作为游戏的结尾时，感到非常失望。
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It could be argued that this is a contradiction in terms; after all, cyberpunk involves technology that hasn't been invented yet. Some would say that it's right around the corner; others may argue that these devices will never exist.
But if it does come into being, cyberpunk hardware — both body modifications and more conventional weaponry — will be deadly. Firefights will often be over in seconds, as explosions level buildings and beams punch through stone walls. If the GM favors this type of campaign, the players will have to learn subtlety… or create new characters for every game. And,for those who find vicarious violence to be a catharsis, there's no better genre than cyberpunk. Even the dryest description of the damage done by an explosive bullet or a laser beam should be enough to satisfy even the most dedicated splatter fan.
But the GM should not start this sort of campaign without discussing it with the players. Otherwise, the bookish computerfiend and the sneaky shoot'n'scoot agent will be badly disappointed when their mercenary buddies start a firefight that ends in all-around Armageddon.
电影化赛博朋克Cinematic Cyberpunk
当然，你还可以选择进行“电影”风格的游戏。在赛博朋克游戏中，风格是最重要的词!详见电影化战役的B183页里对这类游戏的描述。GM选择性地使用那里提到的特别战斗规则。
在电影化战役中，PC们巧妙的策略和“勇敢”的表演应该获得GM的奖励。优秀的角色扮演——比如即使冒着生命的危险也要体现角色的性格——是最重要的。GM应该鼓励吹嘘、自夸和角色性格上的对立;这都是背景的一部分。
在电影化战役中，GM可以自由地渲染赛博格带来的力量和浪漫——忽略或淡化痛苦、尴尬和维护费用。他可以即兴地创作角色在赛博空间旅行时经历的景象、声音和气味，而不必担心对其现实与否的检验。当死亡来临时，它应该是迅速而英勇的，但也应该有时间让PC勇敢地说出最后几句话。
The alternative, of course, is the "cinematic" style of play. And in cyberpunk, style is the important word anyway! See The Cinematic Campaign, p. B183, for a general description of this type of play. The special combat rules mentioned there can be adopted at the GM's option.
In a cinematic campaign, the GM should reward ingenious strategy and "bravura" play. Good roleplaying — such as staying in character even at the risk of that character's life — is paramount. Encourage bragging, boasting and character rivalries; it's all part of the background.
In a cinematic campaign,the GM is free to play up the power and romance of cyborged bodies — and ignore or downplay the pain, embarrassment and maintenance expenses. He can freely improvise the sights, sounds and smells of a trip through cyberspace, without worrying about reality checks. And death, when it comes, should be quick and heroic, but always with time for a few brave last words.
赛博弱子Cyberprep
这可以是一个角色类型(见第13页)。但它也可以是一个战役的风格。赛博弱子风格的游戏假定赛博朋克的所有技术进步都已经发生了……但生活是有趣的，既不艰辛，也不危险。
在赛博弱子战役中，“网络狂奔”是一种娱乐形式或娱乐的媒介。改造身体是为了运动和快乐。社会围绕着享乐而运转，至少在PC的阶层是这样的(但在一般的赛博朋克世界里，可能有很多赛博弱子，但你几乎见不到他们;他们是有钱的剥削者们娇生惯养的孩子。)
那么哪里会有冒险呢?冒险的内容可能会是未开化者对赛博弱子快乐生活的入侵……也可能是汤姆•斯威夫特(Tom swift)所讲述的一个关于赛博弱子旅行和探索的天真故事，当中唯一的危险来自大自然。但总的来说，赛博弱子最适合用来进行“换口味型”的短冒险，而不是一个完整的战役。就因为这玩意实在是太过美好了。
This can be a character type (see p. 13). But it can also be a whole style of campaign.Cyberprep assumes that all the technological advancements of cyberpunk have taken place… but life is fun, not gritty or dangerous.
In a cyberprep campaign, netrunning is an an form or a medium of entertainment. Body modifications are used for sports and pleasure. Society, at least at the PCs' level, is leisure-driven. (There are probably a lot of cyberpreppies in the average cyberpunk world, but you rarely meet them; they're the soft, spoiled children of the rich exploiters.)
So where's the adventure? It could come from the intrusion of uncivilized elements into the cyberpreps' happy existence… or it could be an innocent Tom Swiftian tale of cyber-enhanced travel and exploration, with the only dangers coming from nature. But on the whole, cyberprep is probably best for a short "change of pace" adventure, rather than a full campaign. It's just a little bit too nice.
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到底是怎么一回事儿？What's Really Going On?
在战役刚开始的时候，玩家对时事的了解程度应该和任何一个受过良好教育的GM世界的公民差不多。GM也许会给每个角色一些其他PC没有的信息。其中一些信息可能是真实的(角色公司明年的议程)，一些是谣言(竞争对手的议程)，还有一些可能是非常不准确的，或者纯属是妄想。
GM必须对他的世界里到底发生了什么事进行持续的追踪，以及让战役向他所希望的方向推进。
例子：PC被Eurodyne International雇佣窃取Takashi公司过去5年的财务记录。(这直接推进了这场战役的情节，这是一场Eurodyne和Takashi之间的殊死的公司战争。)到目前为止，通过几次事件，PC还无法破解Takashi公司的中央电脑，也无法进入保存物理记录的仓库。然而，一个名叫“啮齿动物”的调停者向他们承诺，如果他们能为Takashi做点什么，他们就能拿到他们系统的密码。
在这个例子里，pc可能完全没有意识到Eurodyne和Takashi之间的战争。他们只知道，他们是被雇来做这项工作的。然而，随着情节的发展，以及团队对形势的了解越来越多，他们可能会把形势转化为自己的优势，可能会从冲突双方那里都赚到钱。
最终，情节将自行解决。反派可能会取得胜利，但如果英雄们足够聪明的话，他们会活下来，甚至还能拿到奖励。是时候继续前进了;一个好的GM将会在之前的战役中为下一次的冒险埋下种子。
At the beginning of the campaign,the players should only know what any reasonably well-educated citizen of the GM's world would know about current affairs. The GM might also give each character a few pieces of information that the other PCs wouldn't have. Some of this information is probably true (the agenda for the coming year for the character's corporation), some of it rumor (the agenda for a competitor) and some might be wildly inaccurate or fall under the heading of a Delusion.
The GM must keep track of what is really happening in his world,and in what direction he wants the campaign to proceed.
Example: The PCs have been hired by Eurodyne International to steal the last five years' financial records of the Takashi Corporation. (This directly furthers the plot of the campaign, which is a corporate war to the death between Eurodyne and Takashi.) So far, through several episodes, the PCs have not been able to crack the Takashi central computer or to get into the warehouse where the physical records are kept.A fixer called The Rodent,however,promises them the passwords to Takashi's system if they will do a little job for him…
In this example, the PCs may be completely unaware of the war between Eurodyne and Takashi. All they know is, they've been hired to do a job. As the plot advances, however, and the team leams more about the situation, they may be able to turn the situation to their advantage, possibly making money from both sides of the conflict.
Eventually, the plot will resolve itself. The villain may triumph, but if the heroes were smart, they'll survive, and even collect hazard pay. It's then time to move on; a good GM will have planted the seeds for the next set of adventures somewhere in the middle of the previous campaign.
技术与改变Technology and Change
赛博朋克文学的中心主题之一是科技进步带来的社会巨变。赛博朋克是真正的科幻小说，因为科学、技术是情节的核心。这也适用于赛博朋克的游戏。
赛博朋克的冒险通常会围绕一些对游戏世界有重要影响的科技成就或科学现象展开。剧情中的原动力要么支持要么反对这一改变，这会影响其他npc，而这些npc反过来又会影响玩家。
One of the central themes in cyberpunk literature is the radical change in society brought about by advances in technology. Cyberpunk is true science fiction, in that the science, the technology, is central to the plot. This should also be true of a cyberpunk game.
A cyberpunk adventure will often center on some technological achievement or scientific phenomenon which will have an important impact on the game world. The prime movers in the plot will either support or oppose this change, and they will affect the other NPCs who will in turn affect the players.
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边栏：闪亮的品牌Brand Name Flash
给赛博朋克(包括战役和文学)增添趣味的事情之一，就是为产品赋予各种品牌名称。这与该流派的时尚精神是一致的。此外，美子 III型的控制台听起来就比“复杂度3的控制台”更有趣(也更可信)。GM可以创建自己的品牌，也可以使用现有公司的品牌。
One of the things that adds interest to cyberpunk (both campaigns and literature) is to use brand names for products. This is in keeping with the fashion-oriented spirit of the genre. Besides, a Miriko Mark III cyberdeck sounds more interesting (and believable) than a "Complexity 3 cyberdeck." The GM can either make up his own brands or use those of existing companies.
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战役节奏CAMPAIGN PACE
一个赛博朋克战役，无论其风格或背景如何，都应该迅速而致命。在未来的世界里，所有的生命似乎都在快速前进，就算是无聊的人也在快速前进。有趣的是——玩家想要扮演的那类角色正是要——只为了前进而活着。
所以作为GM，如果什么都没发生的话，那么你的工作就是让事情发生。马上！让PC找到点有趣的东西，或者遇到有趣的人……也可能是让他们待在枪口下。这么做可能是为了转移他们的转移注意力;这么做也可能和情节一点关系都没有。只是为了让游戏继续下去。当夜晚结束时，你会有时间做一些回溯性的计划，这使你就可以将你的即兴发挥植入到战役的结构中。
GM应该奖励那些思考快、行动快的人，惩罚那些优柔寡断的人。但这并不意味着不该去未雨绸缪。实施一场精心策划的突袭，或者制造一个精良的陷阱来抓捕袭击者，是令人兴奋和必要的。有趣的部分来自于行动。规划则是次要的。
玩家应该始终有这样一种感觉，即不作为将导致他们错过一系列事件(或将他们淹没!)一时冲动可能不是最好的选择,但它可比坐等要好得多!
并不是所有的行动都必须(或应该)是战斗——诡异的来电，最新的枪战新闻，来自街头的流言以及重要npc的出现(和消失)都会让角色知道事情正在发生……
快活，早死，留下一具高度改造过的尸体……这就是赛博朋克。
A cyberpunk campaign, no matter what the style or background, should be swift and deadly. In a future world where all of life seems stuck on Fast Forward, even boring people move quickly. The interesting ones — the type that players will want to roleplay — live for nothing but action.
So… as the GM, if nothing seems to be happening, it's your job to make something happen. Now. Let the PCs find something interesting, or meet someone interesting… perhaps at gunpoint. It may be a red herring; it may have nothing to do with the plot at all. But keep the game moving. When the evening's over, you'll have time to do a bit of retroactive planning, and plant the clues that will weave your improvisation into the fabric of the campaign.
And the GM should reward the characters who think and move quickly, and penalize the indecisive.That doesn't mean that nobody should be allowed to plan ahead. Springing a well-planned raid, or a better-planned trap to catch raiders, is exciting and essential. But the enjoyable part comes from the action. The planning should be secondary.
The players should always have the feeling that inaction will result in the flow of events passing them by (or sweeping them under!), and while the first impulse might not be the best, it beats sitting around talking!
Not all the action must (or should) be combat — strange phone calls, news updates about the latest shooting war, hot rumors from street contacts and the appearance (and disappearance) of important NPCs will all let the characters know that things are happening…
Live fast, die young, and leave a highly-augmented corpse… that's cyberpunk.
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团队动向GROUP DYNAMICS
在赛博朋克战役中，GM必须考虑玩家将会扮演什么样的角色，有多少个角色，以及他们之间有什么联系。“一群勇敢的英雄在酒馆里相遇，一起去进行激动人心的冒险……”这种设定在许多不同的流派中都很常见，但在赛博朋克战役中却不太合适。传统的角色扮演战役的许多特性需要在此做出改变。
I In a cyberpunk campaign, the GM must consider what kinds of characters will be playing,how many of them,and how they are connected to each other.The "band of doughty heroes who meet in a tavern and join to go on exciting adventures…" setup, common in many different genres, is not very appropriate in a cyberpunk campaign. Many features of more traditional role-playing campaigns must be changed.
PC类型 PC Types
GM应该在战役开始前就确定好什么类型的PC适合他的战役(参见128页的战役计划)。一个街头帮派或摇滚乐队里不太可能会有一位超强的黑客存在。群体之间进行的两两组合一般都能被合理化，但GM必须考虑多重群体组合在一起时这个集团该如何运作;尽管可以成立这么一个由公司高管、无家可归的流浪汉和暴徒组成的组织，但这么做有点牵强。GM应该明白他要谋划的是什么样的阴谋，PC们需要什么样的技能和资源才能应对他提出的问题。当他将角色带进团队时，他应该考虑他会在团队解决这些问题时做出怎样的贡献。就比如当有赛博刺客要去追杀pc的时候，那么团队里就应该有些装了仿生战斗殖装的人。网络狂奔者是游戏的一部分，但对于其他玩家来说，看着他们进行行动可能会很无聊;如果GM不准备在其他人都闲着的时候与网络狂奔者进行一对一的角色扮演，那他可以让NPC成为团队里的网络狂奔者。
纯粹的英雄在赛博朋克文学中是罕见的，在赛博朋克游戏中也应该是罕见的。另一方面，不管看还是玩，没有灵魂的杀手和不知悔改、贪赃枉法的人都可能变得相当讨厌。赛博朋克的PC应该是同时拥有积极和消极特质的复杂混合体;他不会始终如一，所以一个角色可能会做出看似不符合他的个人利益的行动之中。赛博朋克的主题是寻求身份上的认同，与各种不和谐的动机达成妥协，这一点很重要。PC可以从对自己的一些错误认知起步，也可以以某些矛盾起步，这些都可以随着时间的推移而得到解决。
The GM should determine what kinds of player characters are appropriate for the campaign before beginning it (see the Campaign Plan on p. 128). A street gang or rock group is unlikely to have a cybertank jock at their disposal. Most two-group combinations can be rationalized, but the GM has to look at how larger groups will work together; a group with a corporate executive, a homeless drifter and a mobster could be set up, but it would be stretching things a bit. The GM should be aware of what kinds of plots he's going to run and what kinds of skills and resources will be necessary to cope with the problems he's going to pose. When he brings characters into the group he should consider what kind of contribution they will make to solving those problems. If it's likely that cybered assassins are going to go after the PCs, then they should have someone with some bionic combat enhancements in the group. Netrunners are integral to the genre, but can be boring for other players to watch in action; if the GM isn't prepared to do one-on-one role-playing with the netrunner while the rest of the players are idle, he might want to have the group's netrunner be an NPC.
Unalloyed heroes are rare in cyberpunk literature, and they should be rare in cyberpunk gaming as well. On the other hand, soulless killers and unredeemably venal graspers can grow rather tiresome, both to watch and to play.Cyberpunk PCs should be a complex mix of positive and negative traits; these don't have to be consistent, so a character may be pushed to seemingly random actions that don't serve his self-interest. The theme of the search for identity, of coming to terms with a discordant mix of motivations, is important in cyberpunk. PCs can begin with some illusions about themselves, and some inconsistencies, which can be worked out over time.
玩家数量Number of Players
单人战役(加上GM)会非常有趣。GM可以控制环境的所有方面，以及所有npc，所以玩家永远不知道谁可以信任谁不可以信任。游戏可以按照GM和玩家的节奏进行，玩家可以按照自己想要的角度和深度进行游戏。
赛博朋克文学中通常有两个互相依赖的主要角色，一对能够处理任何情况的好搭档。因此，GM可能会让他的游戏里有两个PC;这让玩家有了一个能够分享给他经验的人，并仍然让他们拥有他们想要的深度。两人小组间很少互相保守秘密。PC间甚至可以以某种方式直接相连，或者通过某种传感器连接，或者通过网络直接连接。在一个两人的团队中存在着某种程度的亲密友情，而这种友情在一个更大的团队中是无法维持的。
一个有超过一对玩家的团队会引发冲突和背叛。pc应该被给予一个相互信任的理由，也许他们有相同的过去，也许他们是一个为特定目的而组建的团队。在这类战役中，大多数冒险活动都是由后台指派的任务。
一个多样化的团队很有趣，但难以运行，因为具有不同专长的pc会以完全不同的方式处理问题。更有可能的情况是，一个大型团队的战役会有彼此相似的pc，比如一个研究团队、一个军事小队、一个街头帮派、一个企业、一个音乐团队等等。在任何情况之下，GM都必须想出理由，让PC们作为一个团队一起工作。参见120-121页的边栏。
A one-player campaign (plus GM) can be very interesting. The GM can control all aspects of the environment, and all the NPCs, so the player never knows who to trust and who not to trust. The game can go at the pace of the GM and the player, and the player can follow whatever angles of the plot he wants to, in whatever depth.
Cyberpunk literature often features two main characters who rely on each other, a well-balanced pair able to handle any situation. Thus, a GM may wish to set up a game with two PCs;this gives players someone to share their experiences with, and still lets them go into as much depth as they want to. Two-person groups rarely keep secrets from each other. The PCs may even be linked directly in some fashion, either by some sort of sensors on one or the other, or even a direct link through the Net. There is a degree of intimate camaraderie in a twoplayer group that simply cannot be maintained in a larger group.
A group with more than a couple of players invites conflict and betrayal. The PCs should be given a reason to trust each other, perhaps they have a common history, perhaps they are a team assembled for some specific purpose. Most adventures in this kind of campaign will be missions assigned by a patron.
A diverse group will be interesting, but difficult to run, since PCs with different specialties they will attack problems in radically different ways. It is more likely that a large-group campaign will have PCs similar to each other, such as a research team, a military squad, a street gang, a business enterprise, a musical group, etc. In any case, the GM must create reasons for the PCs to work together as a group. See the sidebars on pp. 120-121.
背刺Backstabbing
玩家很可能会说:“我想要一个背叛团队的角色。”事实上，不信任和背叛是赛博朋克文学的共同主题。
然而，这使得游戏变得困难。在其他类型的游戏中，这是很少见的，因此会给情节增加点惊喜。在赛博朋克的游戏中，它太可预测了。只需要一个事件就能让所有的玩家永远地互相对立。简单地说，有些玩家可能会发现与他们的敌人一起工作特别烧脑有趣，但长期的战役会证明这是有害的。
这并不是说每个角色都不能有隐藏的计划。赛博朋克战役中的角色可以朝着他们的秘密目标努力。但是，这种分歧一般不应导致暴力对抗。
如果GM真的想设置一个背叛情节，最好使用NPC。大多数玩家都希望如此，所以GM需要做一些工作来完成任务。当pc与许多npc定期互动时，它的效果最好，NPC里有些是友好的，有些是敌对的，有些是中立的。在如此详细的战役中，叛徒不应该是敌对的或中立的。而应该是一个友好的npc，玩家们通过一些游戏过程与他建立起了关系，最好是一个已经表明他是站在团队的一边，会为了团队的利益而冒险或做出牺牲。他可能是一个被敌人胁迫的好人，也可能是由恶棍种下的毒草，等待着在适当的时候发动攻击。不管怎样，他应该是一个玩家真正会依赖的人，一个他们愿意冒着生命危险去保护的人。那么这次背叛将会是一次真正的惊喜。因此，它只有在长期战役中才会有效。
通过毒品、洗脑或某种形式的赛博科技进行的精神控制，PC可能会不由自主地背叛自己的同伴。在这种情况下，这种背叛对PC来说并不是什么“为了体现角色性格”之类的东西，所以团队(或者背叛活动的幸存者)可以事后在原谅他。然而，任何不那么强制的事情都属于另一类;即使是敲诈之类的事情，例如威胁其所爱的人，也会让玩家进行一种自愿的背叛，这将会导致长久的不信任。
在赛博朋克战役中，PC有足够的理由去担心来自正面的敌人、任何形式的强权、随机的暴力，在一个社会和环境崩溃的世界里的日常生活都够困难的了。GM不应该鼓励他们互相背叛。无论如何，要阻止他们这么做已经够难了
It's very easy for a player to say, "I want to have a character who is working against the group." In fact, mistrust and betrayal are a common theme in cyberpunk literature.
However, it makes difficult gaming. In other genres, it would be rare, and would therefore add an interesting surprise twist to a plot. In cyberpunk games, it's just too predictable. It only takes one incident to permanently turn all the players against each other.Some players may,briefly,find working with their enemies to be intellectually stimulating, but over a long-term campaign it can be prove damaging.
This is not to say that individual characters can't have hidden agendas. Characters in a cyberpunk campaign can work toward secret goals. However, such differences should not generally lead to violent confrontations.
If the GM does want to set up a betrayal situation, it's best to use an NPC. Most players will expect this, so it will take some work from the GM to pull off properly. It works best when the PCs interact with many NPCs on a regular basis, some friendly, some hostile, and some neutral. In such a detailed campaign, the betrayer should not be a hostile or neutral. It's one of the friendly NPCs, established over a number of game sessions, preferably one who has already shown that he's on the side of the party, by taking risks or making sacrifices on the party's behalf. This can be a good person compromised by enemies, or a plant, set up originally by a villain, waiting to strike at the proper moment.Either way, it should be someone the players have truly come to count on, someone they'd risk their characters' lives to protect. Then the betrayal will be a genuine surprise. Thus, it only works well later on in a long-term campaign.
It is possible to have a PC involuntarily betray his fellows, by drugs, brainwashing, or cybernetic mind control of some sort. In this case, the betrayal will not be something "in character" for the PC, so the party (or at least the survivors) can forgive him for it afterwards. However, anything less coercive falls in a different category; even something like blackmail, such as a threat to a loved dependent, creates a measure of voluntary betrayal on the player's part that will cause lasting mistrust. 。
PCs in a cyberpunk campaign have more than enough to worry about from direct enemies,powerful authorities of whatever sort,random violence,and even ordinary day-to-day living in a world of social and environmental collapse. The GM should not encourage them to betray one another. It will be hard enough to keep them from doing so anyway.
死亡Death
人会死。在赛博朋克战役中，死亡是很频繁的事情。玩家应该意识到这一点。如果一个玩家会对角色产生深深的依恋，那么赛博朋克可能不是最适合他的类型!
为了防止玩家过于沮丧，GM可以去尝试确保角色以某种有意义的方式死去，甚至是英雄的方式。而且GM不应该“压制”PC。如果设置的场景是pc从一开始就注定失败，玩家可能就不想再玩了。如果一个聪明的角色有生存的机会，那么PC的死亡很可能就被认为是“很公平的”。玩家将会更加珍惜他们的下一个角色。
当然，在某些战役中，死亡也只是暂时的……
People die. In cyberpunk, people die a lot. Players should be aware of this point. If a player has a tendency to get deeply attached to characters, then cyberpunk may not be the best genre for him!
To keep players from getting too discouraged, the GM can try to make sure that characters die in ways that are in some way meaningful, perhaps even heroic. And the GM shouldn't "hose" the players. If the scenario is set up so that the PCs are doomed from the start, the players may not want to play again. If there is a chance for an intelligent character to survive, then PC deaths are likely to be seen as "fair." The players will just be more careful with their next characters.
Of course, in some campaigns, even death is only temporary…
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赛博朋克/太空Cyberpunk/Space
这是最显而易见的搭配。把时间往前推50年左右。实际上，这是最现实的太空战役方式，虽然不是最熟悉的。遥远的未来可能更像是，唔，《真空之花（Vacuum Flowers）》，而不是史密斯博士的太空歌剧。未来的社会可能不会像20世纪40年代和50年代那样，技术将不仅仅会改变人们从一个地方到另一个地方的方式和他们携带的手枪的种类。
关于远未来赛博朋克最重要的一点是，这个世界里是真的会出现超科技。23世纪实体公民能够获取的心灵与身体改变，可能让2050年的网络狂奔者惊讶、厌恶与恐惧！
This is the most obvious crossover. Just push the timeline ahead by 50 years or so. Actually,this is the most realistic way to do a space campaign, though not the most familiar. The far future will probably be much more like, for instance, Vacuum Flowers than it will be like a Doc Smith space opera. Future society probably won't be anything like the 1940s and 1950s, and technology will change a lot more than the way people get from place to place and the kind of pistols they carry.
The big thing to remember about fafuture cyberpunk is that it will be truly ultra-tech. The mind and body changes available to a 23rd-century Solid Citizen would probably amaze, disgust and frighten that 2050 netrunner!
赛博朋克/特种部队Cyberpunk/Special Ops
这是另一个完美的搭配。特种部队的基本任务是渗透、破坏、反恐和叛乱。这是完美的赛博朋克材料。阅读GURPS特种部队，并将其作为背景;然后假设你的任务团队拥有所有最新的殖装功能。他们的许多对手将是平民“小白兔”，没有任何殖装或装备… 如此弱小的猎物，你可能根本没有伤害他们的必要。但有些家伙会拥有标准的军用装备，质量虽差，数量却够大。有些敌人，特别是恐怖分子目标或精英安全部队，才配是你的对手。
记住，一支赛博朋克特种部队很可能受雇于一个大型企业，就像它可能为政府工作一样。PC团队可以是一个雇佣兵单位，在任何情况下都可以向新雇主出售自己的忠诚。
This is another perfect fit. The basic missions of Special Ops are infiltration, sabotage, counter-terrorism and insurgency. This is perfect cyberpunk material. Read GURPS Speciasl Ops for background; then assume that your mission teams have all the latest enhancements. Many of their opponents will be civilian "bunnies" with no enhancement or equipment at all… such easy prey that it may not be necessary to harm them. But some will have standard military-issue gear, inferior in quality but dangerous in numbers.And some foes, especially terrorist targets or elite security forces, will be your match in every way.
Keep in mind that a cyberpunk special ops team is as likely to be employed by a megacorp as it is to work for a government. A PC team could be a mercenary unit, selling its loyalties to a new employer in every scenario.
赛博朋克/时间穿梭Cyberpunk/Time Travel
探索过去的历史是可行的。最多见的特工是那些外表正常却隐藏着惊人力量的男人(或女人)。他们可以将时间机器都内置在身体里。一项可以穿越时空的技术应该不会遇到红外激光眼、剃刀爪以及肚脐弹出猎枪的刁难。
当然，在某个真正具有挑战性的时间旅行场景中，很可能会出现跨越历史而来的敌人……而且它们也可能被强化。特别是如果他们的“放学时间”比你晚几年……
It it's possible to explore past history. The obvious agent to send is the man (or woman) whose outwardly-normal body conceals incredible powers. Even the time machine could be built in. And a technology that can travel in time should have no trouble with infrared eyes, razor claws, and even pop-out navel shotguns.
Of course, in a really challenging time travel scenario, there are likely to be history-hopping foes… and they, too, may be formidably augmented. Especially if their "home time" is a few years later than your own…
赛博朋克/奇幻Cyberpunk/Fantasy
有两种方法。第一个是《暗影狂奔》采取的方法——以赛博朋克为背景的精灵和半兽人。没有问题;给你所有的标准奇幻种族，给他们枪，莫西干头和一种风格。
另一种方法是保留这种风格(也许还有莫西干头)，但放弃科技。想象一个奇幻的背景，带着赛博朋克的精神……魔法取代了仿生殖装，网络成为了“力量的源泉”。巫师不是圣人，也不是商人;他们是精明的生意人。他们和他们的保镖拥有金钱所能买到的所有魔法装备……夜视术代替了红外眼，护身符增强了他们的力量和敏捷，诸如此类。赛博朋克技术能做的任何事，魔法也能做。
现在思考下，赛博朋克社会的奇幻版会是怎样的……等级森严、冷酷无情的商业社会。“大型企业”，读作“商会”。“网络实体”，读作“恶魔”。
There are two ways to play this. The first is the approach taken by Shadowrun— Elves 'n' Orcs in a cyberpunk background. No problem; just take all your standard fantasy races and give them guns, mohawk cuts and an attitude.
An alternative approach is to keep the attitude (and maybe the mohawks) but drop the technology. Imagine a fantasy background rim with the cyberpunk ethos… with magic taking the place of bionics and the Net as the "source of power." Wizards aren't sages or merchants; they're hard-edged, alert businessmen. They and their bodyguards have all the magical augmentations that money can buy… Dark Vision instead of IR eyes, amulets of increased strength and dexterity, and so on. Anything that cyberpunk technology can do, magic can do as well.
Now think about the fantasy version of the cyberpunk society… stratified, ruthlessly mercantile. For "megacorporations," read "merchant houses." For "Net entities," read "demons."
赛博朋克/恐怖Cyberpunk/Horror
恐怖和赛博朋克搭配起来效果很好。在赛博朋克的世界里，任何可怕的事情都有完美合理的自然解释。“三十个人?”舌头和拇指都不见了?墙上画着绿色的鱼吗?是的，听起来像另一个达布拉辛实验室;如果你没什么进展的话，我们下星期二再谈吧。”地下城里满是邪教和会被诅咒的医生。所以当角色和玩家遇到真正的神秘存在时，他们会更加惊讶。不管它只是一个能够制造僵尸的巫毒教徒。或者是一场大规模的邪物入侵，那些全副武装的街头亡命徒(或警察!)对付起它们来可比他们20世纪的同行们要强多了。
Horror and cyberpunk work well together. In a cyberpunk world, there are perfectly reasonable natural explanations for any number of awful things. "Thirty of them? Tongues and thumbs missing? Green ichor on the walls? Yep, sounds like another Darbraxin lab; we'll get to it next Tuesday, if nothing comes up." And the undercity is full of cults and would-be curse doctors. So the characters, and the players, will be all the more surprised when they meet the genuinely occult. Whether it's a simple case of a voodooman who makes real zombies. or a fullscale invasion of Evil Things, the fullyaugmented, streetwise outlaws (or cops!) will be better equipped to handle them than their 20th-century counterparts.
赛博朋克/超级英雄Cyberpunk/Supers
这可以很有趣…最显而易见的方法是创造几个现代改造人,他们拥有独一无二的殖装，组成了一个超级犯罪克星团队…或超级恶棍…或者,也许,他们只是雇佣来的超人类佣兵,没有真正的善或恶倾向,只要花钱就能换来他们的服务。在一位精通全球计算机网络的导师的支持下，他们是一支需要与全球网络对抗的超级团队。
相反的方法是把传统的四色超级英雄带入冷硬的赛博朋克世界。现在，这个世界并非英雄之帝。但若是你刚强，坚不可摧，心地洁净。如果此时你想要身披斗篷四处飞行打击犯罪，谁又能来阻止你呢?
This one can be a lot of fun… The obvious method is to have a modern-day Gadgeteer character, who does wonderful one-of-a-kind bionic augmentations to build a team of super-crimefighters… or super-villains… or, perhaps, just supers for hire, with no real bias toward good or evil as long as it pays. Backed up by a mentor who is a master of the world's computer networks, they're a super-team to contend with.
The opposite approach would be to take four-color superheroes into the gritty cyberpunk world. Now, that world is not a place for heroes. But suppose that you happen to be strong, indestructible and pure of heart. Now, if you want to wear a cape and fly around fighting crime, who's going to stop you?
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对手THE OPPOSITION
在赛博朋克的世界中，变化——技术、社会和环境——正以指数级的速度增长。赛博朋克战役中的重要角色们将受到这些变化的最大程度的影响。这将使他们难以被理解——甚至可能是奇怪的——但他们只是这种迅速变化的表现，他们的行动往往只是为了应付他们所处的环境而作出的反应。
但npc的动机通常是可以理解的。他们不一定要可爱，但他们应该会有普通人有的缺点，即使是最坏的恶人也应该有一两个优点。许多角色，包括玩家和非玩家，都会表现得像钉子一样坚硬锐利，但那通常是掩盖他们真实情感的面具。GM应该意识到npc的这种深度;这将使他们更现实化且有趣。
反抗也得动脑子。企业高管和安保人员不会因为愚蠢而得到现在的位置。他们的工作是理解世界是如何运转的，即使是他们没有亲自接触过的社会层面。另一方面，一些看起来最有影响力和最聪明的npc也可能是非常天真的，甚至他们所处的圈子也是如此。那些对自己肮脏、贫穷的小世界和毫无意义的帮派争斗有着浪漫幻想的街头OP，那些相信自己和自己在镜头前扮演的英雄和大亨一样强大的全息影像表演者，那些认为自己可以买到幸福的上层人士——实际上，这些对手并不像乍看上去那么强大。
In cyberpunk, change — technological, social and environmental — is increasing at an exponential rate. The important characters in a cyberpunk campaign will be most affected by these changes. This will make them hard to understand — perhaps alien, even — but they will only be manifestations of this rapid change, and their actions will often merely be reactions intended to cope with their environment.
NPCs, however, will generally have understandable motives. They don't necessarily need to be likable, but they should be subject to ordinary human vices, and even the worst ones should have a virtue or two. Many characters, both player and non-player, will act hard as nails, but that's usually a mask covering their true feelings. The GM should be aware of such depths in NPCs; it will make them more realistic and interesting.
And the opposition should behave intelligently. Corporate executives and security men don't get where they are by being stupid.It's their job to understand how the world really works, even at levels of society they don't personally interact with. On the other hand, some of the NPCs who appear the most effective and street-smart may be desperately naive, even about the circles they travel in. The street op who has romantic visions about his grubby, ithe holovid performer who believes he's as powerful as the heroes and moguls he plays for tmpoverished little world and the pointless gang battles, he cameras, the uptowners who think they can buy happiness — all of these will actually be less formidable opponents than they appear at first glance.
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战役主题CAMPAIGN THEMES
即使是最宽松的“枪车球”战役也会有某种潜在的主题。在赛博朋克中尤其如此，因为赛博朋克本质上是一种政治意味很强的流派。
Even the most carefree, shoot-'em-up campaign will have an underlying theme of some sort.This is especially true in cyberpunk,which by its very nature is a politically conscious genre.
权力的斗争The Struggle for Power
赛博朋克是关于科技对人类和社会的影响的流派。通常，这表现为权力的斗争，因为社会试图适应不断增长的技术变革速度。权力斗争可以存在于许多不同的层面——从控制一个城市街区或一个有价值的ROM盘到统治世界，不一而足。
Cyberpunk is about the effect of technology on mankind and society. Usually, this is shown through a struggle for power, as society tries to adapt to the everincreasing rate of technological change. Power plays can exist on many different levels — from control of a city block or a valuable ROM deck to world domination.
经济斗争Economic Struggle
赛博朋克世界的经济体系通常围绕着大型企业运转。它们也将是大多数经济斗争的中心，因为它们会试图粉碎他们的竞争者——无论是另一个大公司还是一个孤独的发明家——以及理想主义者和革命者把企业当作社会弊病的象征。
这暗示了几个战役主题。PC可能是试图叛逃到另一家公司的员工-他们现任的老板肯定会拼尽全力阻止他们!或者，他们对公司政策不再抱有幻想，试图从内部重新制定公司的结构。
或者PC可能是发现了企业秘密的局外人。这种掩盖行为会不会侵犯到了他们的个人道德，他们是会去找企业谈谈，还是会把证据交给当局或媒体?如果有问题的企业最终控制了当局和媒体，那该怎么办?
经济斗争也可以在任何层面上展开。可以是两个商人在争夺某个街角的控制权，也可以是敌对的犯罪家族在争夺整个城市的控制权，也可能是两个国家在争夺新发现的石油储备。
The economic system in cyberpunk worlds often revolves around the megacorporations. They will be the center of most economic struggles as well, as they attempt to crush their competition — whether it is another large corporation or a lone inventor — and as idealists and revolutionaries take on the corporations as symbols of society's ills.
This suggests several campaign themes. The PCs might be dissatisfied employees attempting to defect to another company — which will be actively discouraged by their current bosses! Or perhaps they have become disillusioned with company policies and seek to redefine the corporate structure from within.
Or the PCs might be outsiders who have uncovered a corporate secret. Will the coverup offend their personal morals to the point that they go after the company, or will they take their evidence to the authorities or the media? And what if the business in question turns out to control the authorities and the media?
The economic struggle can be carried out on any level as well. This could be two dealers fighting over who controls a particular street corner, rival crime families struggling over domination of an entire city, or two nations fighting over a newly-discovered oil reserve.
政治斗争Political Struggle
任何政治制度之下，总会有人对现状不满。如果政府滥用强权且压迫人民，公众可能会被动地支持革命团体——但只有极其残酷和无情的政权才会把普通公民变成革命者。
而且，尽管理想主义在c-punk的世界里很少见，但当它出现时，它的光芒更加耀眼。PC可能是城市警察部门的成员，与腐败的专员或市长作斗争，或者是公务员与贪婪的官僚作斗争，或者其中一个PC是新当选的政客，当他发现事情的真相时，他有些震惊!不管怎样，这些角色都有机会站在道德和伦理的立场上。
In any given political system,there will always be someone dissatisfied with the current state of affairs. If the government is powerful and oppressive, the general public may passively support revolutionary groups — though it takes an overwhelmingly grim and ruthless regime to turn the average citizen into a revolutionary.
And, though idealism is rare in a c-punk world, it shines all the more brightly when it appears.PCs might be members of a city police department struggling against a corrupt commissioner or mayor, or civil servants who are fighting against a greedy bureaucracy,or perhaps one of the PCs is a newly-elected politic who is somewhat shocked when he finds out how things really work! Whatever the case, there will be opportunities for the characters to take moral and ethical stands.
宗教斗争Religious Struggle
从历史上看，宗教宽容是一个相当新的概念……它可能不会持续太久。角色可能是在反对国家确立的宗教——要么是为了他们自己的宗教信仰，要么是为了抵制政府所拥护的宗教所拥有权利。
The concept of religious tolerance is a fairly new one, historically… and it may not last. Characters might be fighting against a state-established religion — either for their own religious beliefs or for the right to reject those espoused by the government.
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边栏：
独狼与团队Lone Wolves and Groups
赛博朋克文学中的大多数英雄都是独行侠。在极少数情况下，当他们信任别人时，他们往往有理由感到后悔。赛博朋克，和其他任何东西一样，是一类关于背叛的文学作品，被朋友、社会、科技所背叛。
但大多数角色扮演都是集体进行的。虽然一对一的角色扮演(即GM和一名玩家)很有趣，但集体游戏要普遍得多。而且很难在一个鼓励不信任的背景下长久运行一个战役!如果每个玩家都选择了自己最喜欢的赛博朋克角色类型，并且他们在酒吧里碰面了，玩家们完美的角色扮演很可能会带来一场枪战。
有几种方法能够解决这个问题，但它们都需要玩家通过创造能够协同工作的角色来进行合作。这将意味着，GM将不得在战役开始前说出他的想法。
Most of the heroes of cyberpunk literature are loners. On the rare occasions when they trust others, they often have cause to regret it.Cyberpunk is,as much as anything, a literature of betrayal… by friends, by society, by technology.
But most roleplaying occurs in groups. While one-on-one roleplaying (that is, the GM and one player) is fun, group gaming is much more common. And it is difficult to maintain a continuing campaign in a background that encourages distrust! If every player picks his favorite cyberpunk archetype, and they all meet in a bar, good roleplaying will almost require a shootout.
There are several possible ways around this, but they all require the players to cooperate by creating characters that could work together. This will mean the GM will have to explain what he wants at the beginning of the campaign.
帮派The Gang
玩家角色都是同一组织的成员，并且相互认识了一段时间了。这个组织可能是一个街头帮派，一个雇佣兵团队，或者一个公司安全小组。背景和他们稍有不同的玩家可能是他们情谊深厚的老朋友——例如，一个安保组织的街头联络人。当角色被创造出来的时候，GM必须强调，每个人都认识其他人，并且信任其他人。战役很好;仇恨不好。
这个战役允许有不同类型的各种角色存在。例如，一个雇佣兵团队就很可能存在有计算机专家、火力专家、管理人员和磋商者，以及与地下世界有联系的人。
The player characters are all part of the same group, and have all known each other for some time. The group might be a street gang, a mercenary team, or a corporate security squad. Players who insist on a slightly different background could be old and tested friends — a single street contact for a security squad, for instance. The GM must emphasize,as characters are created, that everybody knows everyone else and trusts everyone else. Rivalries are all right; hatreds are not.
This campaign can still allow for a great variety of character types. For instance, a mercenary team could easily include computer experts, heavy-weapon types, an administrator and deal-maker, and someone with underworld connections.
警察局The Cop Shop
PC们都是执法人员。有些是穿制服的:有些是便衣，有着武士或流氓的街头身份;还有人可能是控制台牛仔。
虽然警方的PC不应该有互相背叛的动机，但他们部门中可能存在的腐败会让事情变得有趣。
这场战役不必一直让PC们进行执法工作。在c-punk的世界里，警察们很可能会有一些有趣的敌人和其他个人问题，这会让“在下周二之前解决这个案子，否则”的这类情况暂时消失。
The PCs are all law enforcement officers. Some are uniformed: some are plainclothes, with street identities as samurai or scum; one could be a console cowboy.
While police PCs shouldn't have a motive to betray each other, the likelihood of corruption somewhere in their department can keep things interesting.
The campaign does not have to stick to law enforcement. Policemen in a c-punk world are likely to develop some interesting enemies and other personal problems, which will provide a break from "solve this case by next Tuesday, or else."
OP小队The Op Team
这是一个由行家组成的团队，由某个特定的雇主——也许是政府，但更可能是一个企业——为一个特定的任务而组建。在这种特殊情况下，他们对彼此的忠诚是(或应该是)由他们在工作结束后将获得的巨额奖金所保证的。一个人可能会为了完成工作而牺牲另一个人(你得确信这一点)，但我们有充分的理由不相互捅刀。
在任务完成后，如果他们做得好，这样的团队关系可以被继续维持下去。他们甚至可能会一起辞职，组成一个自由佣兵团队。当然，他们的前雇主可能对失去他们的服务非常不满……
This is a team of specialists, assembled for a specific mission by a specific employer — maybe the government, but more likely a corporation. In this particular case, their mutual loyalty is, or should be, guaranteed by the large bonus they stand to collect when the job is over. One might sacrifice another to get the job done (as a matter of fact, you can depend on it), but there are good reasons not to shoot each other in the back.
After the mission is done, such a team might conceivably be kept together if they had done well. They might even resign together and form a freelance team. Of course,their former employer might strongly resent losing their services…
一条绳上的蚂蚱Overriding Common Interest
在这类战役中，玩家可以自由创造任何类型的角色，但必须在战役开始前完成。他们需要把角色表交给GM, GM可能会对每个角色做一些修改。然后他会和PL们讨论这些改动。
这类回顾和修改的目的是让每个角色有一些共同之处——一些与GM计划的战役有关的东西。例如，假设这场运动的目的是揭露PanAfro公司肯尼亚办事处与暴力生态恐怖主义有联系。GM重写了每个角色的背景，让角色们都恨上了PanAfro。因为他公开反对PanAfro破坏大草原而被开除了的计算机能手。因为无意中听到了一段不该听的话，差点被暗杀的前PanAfro保镖;。生意、朋友和一只手臂，全都被PanAfro的打手夺走了的商人。为了给PanAfro可以贿赂的人腾地方而被解雇了的天真警察。诸如此类。
虽然不能保证这个团队会将在完全和谐的氛围下运作，但在达到目标之前，完美的角色扮演会让他们互相合作。如果战役继续下去，他们就不太可能会背叛他们的老战友了。如果他们真的背叛了对方，这将是一个老朋友间富有深意的背叛，而不是突然的背刺。
In this campaign, the players can be free to create absolutely any type of character they like… but they must do so before the campaign's starting day. They turn the character sheets over to the GM, who will probably make a few alterations on each one. He then discusses these changes with the players.
The point of this review and alteration is to give each character something in common — something having to do with the campaign the GM plans. For instance, suppose the point of the campaign is to reveal the violent eco-terrorist connections of the Kenya office of PanAfro Corporation. The GM rewrites each character background to give the character a reasonable grudge against PanAfro. The computer whiz was discharged from that office because he spoke out against PanAfro's destruction of the veldt. The ex-bodyguard also worked for PanAfro; he overheard a conversation he shouldn't have. and barely escaped assassination. The broker lost a thriving business, several friends, and an arm, all to PanAfro's enforcers. The one-time honest cop was fired to make room for someone PanAfro could bribe. And so on.
While there is no guarantee that this party will work together in perfect harmony, good roleplaying should keep them from each others' throats until the objective has been reached. If the campaign continues further, they'll be less likely to want to betray old comrades in arms. And if they do betray each other, it will be a meaningful betrayal, by an old friend — not a casual backshooting.
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冒险主题ADVENTURE THEMES
一般来说，一群不同角色的逻辑动机可以分为三个基本情节:救援、防御和探索。当策划一个c-punk冒险时，请先考虑这三个类型。
Generally, the logical motivations for a diverse group of characters will fall under one of three basic plots — the rescue, the defense and the quest. When planning a c-punk adventure, think first in terms of these three archetypes.
救援The Resque
坏人——不管是敌对的街头帮派、公司还是政府——都有PC想要的东西。这并不一定是一个人——窃取一个新型控制台也是一种“救援”!这可以给团队一个共同的目标。但这并不意味着所有的玩家都必须以相同的理由去拯救这个人/物品!这是一个让玩家展现不同动机的好方法。一个角色可能是为了赚钱，而另一个是为了复仇。还有三分之一的人做这事儿是因为“这是正确的做法”。
The bad guys — be they a rival street gang, corporation or government — have something that the PCs want. This doesn't have to be a person — stealing the plans for a new cyberdeck is a "rescue" of sorts! This can give a group a common cause to work toward. But this doesn't mean that all of the players have to want to rescue the person/item for the same reason! This is a good way to allow players to explore different motivations for their actions. One character, may be along to make a buck, while another is after revenge. Still a third is along just because "it's the right thing to do."
防御The Defense
PC有坏人想要的东西，他们必须保护它。它不一定是一个物品——它可以是信息，也可能是pc正在保护的一个太弱而不能保护自己的人。同样，这允许团队内会有怀有不同的动机的人，但同时要确保他们的基本目标是相同的。
The PCs have something that the bad guys want, and they must protect it. It doesn't have to be a mere physical possession — it could be information, or it could be that the PCs are defending someone that is too weak to defend themselves. Again, this allows the party to have several different motivations while ensuring that their basic goals are the same.
探索The Quest
有些东西不见了/丢失了/被需要，而pc们要抢在坏人之前找到它。它可能和控制台原型机一样有价值，也可能和高安全区域的垃圾箱一样平凡。也许对手们并不是真的在争夺任务对象——但是需要一些时间方面的压力来推动情节的发展。“我们有24小时的时间来找到密码，否则核武器会摧毁旧金山。”
Something is missing/lost/needed, and the PCs are racing to get to it before the bad guys do. It might be as valuable as a prototype cyberdeck, or as mundane as the contents of a dumpster from a high-security area. Perhaps the antagonists aren't actually competing for the quest object — but there needs to be some kind of time pressure to move the plot along. "We have 24 hours to find the code key, or the nuke will take out San Fran."
保持情节的灵活Plot Flexibility
不管GM如何精心设计他的情节，他的PC们也会经常完全忽视所有他精心布置的线索，并走上一条完全不同的道路。当这种情况发生时，最好的办法就是让他们做他们喜欢做的事，但是要把他的阴谋的要素加入到他们的计划中。“一本道”——把他们限制在一条行动路线上——很少会奏效。
例子：GM暗示，在巴尔的摩的一个计算机系统中有一些重要信息。然而，pc们并不想被打扰——他们刚刚在上一份工作中赚了一大笔钱，决定把这笔钱花在去塔斯马尼亚的滑雪旅行上。
GM有好几种方法来让PC们待在美国，并且让他们找到该找到信息，但GM决定帮助他们进行他们的支线。只有到了塔斯马尼亚，他们才发现那里没有雪可以滑——他们忘记了澳大利亚现在是仲夏，而北半球则是冬天。此外，团队还发现他们的信用卡在塔斯马尼亚并不管用。最近接受非澳大利亚信用卡的读卡器在墨尔本——酒店经理礼貌地说他们没有很多游客，因此他告诉他们需要在24小时内付款，否则他们会被逮捕。他们的机票如有更改，将被会罚款100%。他们没钱吃饭或支付酒店账单，直到一个网络牛仔想到他可以侵入当地的网络并与他们家乡的银行联系。当然，在美国的网络上，他找到了GM想要传递的信息……
No matter how carefully the GM works out his plots, every so often his characters will completely disregard all of the carefully laid-out clues and go off on a completely different track. When this happens, the best thing to do is to let them do what they like, but work the elements of his plot into their plans. "Railroading" the party — constraining them to one course of action — seldom works.
Example: The GM has dropped hints that there is some important information on a computer system in Baltimore. The PCs, however, don't want to be bothered — they've just made a pile of money on their last assignment and decide to go blow it on a skiing excursion to Tasmania.
The GM could find several ways to keep the characters in America and railroad them into finding the information, but decides instead to help them set up their siding expedition. Only once they get to Tasmania, they find there's no skiing — they forgot that it's the middle of summer in Australia when it's winter in the Northern Hemisphere. In addition, the party finds that their credcards don't work in Tasmania. The nearest reader that accepts non-Australian credcards is in Melbourne — the hotel manager says politely that they don't get many tourists, as he explains that he needs payment within 24 hours or they'll be arrested. Their plane tickets have a 100% penalty for any changes. They're stuck with no way to get food or pay their hotel bill,until it occurs to a cowboy that he could hack into the local Net and connect with their bank back home. And of course, in the American net he finds the information the GM wanted to pass along…
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赛博朋克音乐Cyberpunk Soundtracks
赛博朋克小说的基本原则——斗争——也是许多不同形式音乐的主题。GM要是想要制造氛围(不管是运行游戏的过程中还是为下周的游戏环节做准备)，都可以根据所寻求的效果选择许多风格音乐中的任何一种。
重金属（Heavy Metal）——典型的赛博朋克风格的音乐，很大程度上是因为音乐家们煞费苦心地让自己看起来像是从城市丛林里爬出来的。代表性的乐队有Metallica, Motorhead, Guns n' Roses, Judas Priest, AC/DC, Skrewdriver或Venom。
朋克（Punk）-原始的离经叛道的音乐。如果房间足够大，你可以鼓励PL跳支劲舞。试试Sex Pistols, the Ramones, Skinny Puppy,Tuff Darts,the Big Boys,the Circle Jerks or Black Flag的歌吧。
说唱（Rap）-城市反抗运动的音乐。一些团体专注于叛逆的反独裁歌词，而另一些则支持以暴力手段推翻美国政府。这类叛逆的团体有Public Enemy、NWA、以及Boogie Down Productions和2 Live Crew。
雷鬼（Reggae）——拉斯塔法里教的斗争之音。Bob Marley 的歌是必须要听的;其他的代表人物有Peter Tosh, Ziggy Marley, King Yellowman, Jimmy Cliff 和Aswad.
科技摇滚（Technorock）—这是一种非常高科技的合成音乐，非常适合有在网络场景时播放。Devo、Rick Wakeman、INXS、Thomas Dolby和Kraftwerk都是很好的例子。
新纪元/新世纪音乐（New Age）——尽管没有斗争的元素，但许多新纪元流派的作曲家都会使用复杂的主题和电子乐器，使人拥有“在网络空间中失去实体飘浮”的感觉。试试Kitaro、Andreas Vollenweider、Phillip Glass和Tomita吧。 Bach的电子乐版本也很受欢迎。
焦虑摇滚（Angst Rock）-适合那些穿黑色的家伙的艺术音乐。音乐被——虚伪，痛苦，毒品和死亡——所异化!代表性的乐队包括X, Velvet Underground, Sonic Youth, New Order, Brian Eno, Siouxie 和 the Banshees 以及 Lou Reed.
The underlying principle of cyberpunk fiction — struggle — also the theme of many different forms of music. The GM who wishes to set the mood (whether to run a game or work up the next week's play session) can turn to any of a number of styles, depending on the effect sought.
Heavy Metal — prototypical cyberpunk music, in great part because the musicians take great pains to appear as if they've crawled out of an urban jungle. Appropriate groups include Metallica, Motorhead, Guns n' Roses, Judas Priest, AC/DC, Skrewdriver or Venom.
Punk — the original off-the-wall, renegade sound. If the room is large enough, encourage the players to slam-dance a bit. Try the Sex Pistols, the Ramones, Skinny Puppy,Tuff Darts,the Big Boys,the Circle Jerks or Black Flag.
Rap — the music of the urban resistance. Some groups concentrate on rebellious antiauthoritanan lyrics, while others espouse the violent overthrow of the U.S. government. Groups to grab include Public Enemy, NWA, anyone with Boogie Down Productions and 2 Live Crew.
Reggae — the sound of the Rastafarian struggle. Bob Marley is a must; others include Peter Tosh, Ziggy Marley, King Yellowman, Jimmy Cliff and Aswad.
Technorock — this is a very high-tech, synthesized sound that fits in well with working on the Net. Good examples are Devo, the Art of Noise, Rick Wakeman, INXS, Thomas Dolby and Kraftwerk.
New Age — No struggle here, but many New Age composers use complex themes and electronic instruments, evoking a bodiless drift through cyberspace. Try Kitaro, Andreas Vollenweider, Phillip Glass and Tomita. Electronic renditions of Bach also fill the bill.
Angst Rock — Artsy music for those who wear black. This is music to be alienated by — dress up, get depressed, take drugs and die! Appropriate examples include X, Velvet Underground, Sonic Youth, New Order, Brian Eno, Siouxie and the Banshees and Lou Reed.