QUOTE (Mirilion @ Jun 23 2009, 09:45 AM)
martindv has a point there.
Of course I do.
The standard concept that has been used to describe Shadowrun for the last twenty years has been some variant on the cyberpunk genre combined with the fantasy genre. Well, that's just wrong. The overarching premise, the foundation of character activity, the goddamn name of the game, is CRIME. That's our genre. That's the sea that the game swims within. Now, as far as setting goes Shadowrun certainly combines elements of the cyberpunk and fantasy genres. But it's not cyberpunk. And it's not fantasy. However, I can understand the confusion, especially when you look at the game material from the first edition and the second edition until about 1994 (Which, coincidentally or not is the year Earthdawn was introduced and forcibly retconned down the throat of Shadowrun's timeline).
At that time the material was cognizant of the fundamental themes of cyberpunk literature and referenced it in part through the creation of, and the filtering of in-game material through, the Neo-Anarchists. Just as example, the first chapter of The Neo-Anarchist's Guide to North America is a Neo-Anarchist manifesto complete with a mini treatise on the economic principles of the Pareto distribution (which, ironically, has come to be a prominent economic principle as of late) and why it supported the campaign for neo-anarchism. Aside from that, the megacorporations and even the major political figures were essentially nameless, faceless brains at that head of these imposing economic and political monoliths. No one knew much about the CEOs of the Big Eight and frankly, what the fuck difference did it make? The chances of a shadowrunner encountering Richard Villiers in 2050 were nil. It wasn't going to fucking happen. Ever. Fast forward a decade and the campaign book First Run (which should tell you that it was geared towards starting characters) contained an adventure, Supernova, where starting-level runners meet Richard Villiers and his AAA megacorp's chief of security (who was another major plot character at the time), and face off against a cyberzombie (which was and remains one of the baddest motherfuckers as far as plot devices go). It almost bears repeating it's so fucking ludicrous. The starting-level runners meet Richard Villiers and his AAA megacorp's chief of security, and face off against a cyberzombie. That right there tells you all you need to know about how cyberpunk the game is.
Cyberpunk is a sub-genre of science fiction. The distinction from the sci-fi genre is that it focused on the way humanity interacts with science and technology, and in the face of its affects on people and society. It's evolved from the term made up in the 1980s into something far more encompassing than the story of a dark future where technology was a tool and an end unto itself, and in reflecting the punk asthetic and mindset created a world where technology became the great equalizer. In effect what he created was a study in man vs. technology. It's even been applied retroactively to encompass older science fiction works. But the punk part is also quite important, especially in a game like Shadowrun where the characters are members of the criminal underclass. But the punks don't simply eschew society like the criminal world that has been discussed so far. It is also subversive of the co-opted, top-down monoculture created by the corrupt and venal machinations of monolithic entities: megacorporations. This is why the shadowrunner world in the first five years was synonymous with the neo-anarchists. The megacorporations which they opposed, and fought against, reflected the corrupt right-wing, corporatist world which punk has always fought since its inception. They're fighting Mussolini's corporatism, a form of fascism that emphasized monoculture and a corrupt form of capitalism that was dominated by a coordination between the most powerful members of the state and the largest, most powerful corporations.
Those are the cyberpunks in Shadowrun. But, in case you haven't been paying attention, that doesn't reflect anything like the criminal protagonist of the crime genre. Frankly, the professional doesn't care for politics. They don't care what is sick or wrong about society that needs to be fixed or fought. The criminal, who is almost always a thief at his core, lives his own life free of ostentation. He isn't fighting society. He just doesn't want to get caught, and frankly there's no better way to draw attention to yourself than picking a fight with The Man. The thieves don't piss off The Man. The Establishment's got all the money, and if it's as corrupt a world as Shadowrun (which is actually a Dark Future setting) then there criminal syndicates integrated into the power structures of legitimate society--in which case, drawing attention to yourself and fighting the system makes you an enemy of people in your world who have no qualms about killing you, because force of violence is how "justice" (street justice, perhaps) is meted out in underworld disputes. In Shadowrun, the Japanese Yakuza are intrinsically linked with the Japanacorps and MCT in particular (They founded it) because that's how they roll IRL. But now they're spread across the globe on the coattails of the Japanacorps' global economic hegemony. Until the specific Yellow Peril concept popular in 1970s-80s fiction, the monolithic Japanese megacorporation and its Yakuza collaborators, was tossed aside around the turn of the century, this made being a cyberpunk a very dangerous, foolish enterprise for professional thieves; for shadowrunners. As the megacorp cultures diversified, so did their affiliated syndicates. And this made being a cyberpunk shadowrunner suicidal.
No, the missing ingredient in Shadowrun is crime.
See, for all of the focus on magic and technology—which in turn is at its base taken from stealing real world concepts and examples of both—and a lesser extent on the fact that Fourth Edition was designed to focus on a core story involving a group of characters who opine and act on the world around them through the collected fiction in the books, the fact of the matter is that Shadowrun is, as one person famously put it, a game where you play characters who shoot people in the face for money.
Well, it used to be anyway. Now, explaining exactly how or what the game is supposed to be (because like it or not, there has to be a default setting/premise or the thing just doesn’t work) is rather difficult. It’s difficult even though books have been written to specifically focus on the underworld over the years, but they basically read like Wikipedia entries of anthropological studies on criminal entities. There is a glaring hole in the work output and focus within the game on the basic element of the game—the criminal element, and the criminal character. This is a systemic omission of the game. Even when it was more true to its cyberpunk roots, crime was never really the issue. Cyberpunk wasn’t about criminals. It was a science fiction subgenre that pitted the relatively powerless against the powerful using technology as a defining concept of implementing plot elements and as the end unto itself.
No doubt this is due to the writing talent for RPGs comes from fans, and right now there is no crime genre in the RPG industry which can be directed across the industry towards a game like Shadowrun, which is ostensibly a game about playing criminals. There is not shortage of fantasy and science fiction fandom within the RPG playing, and writing, community. Those elements have been played way up over the years within the game with relatively successful results. However, there seems to be no place for the crime genre fan within the current Shadowrun line, or even for much of its history to be honest, to contribute. You can look at the list of Jackpoint shadowtalkers and notice that there aren’t a whole lot of professional criminals on that list. The one who most fit the role, Fatima, was killed off last year. That in a way speaks volumes about the very dearth of a focus on criminals and criminality.Riser is the other. A writer’s PC turned canon NPC, he has had no prominence whatsoever in Fourth Edition to date.
So, that’s the problem. There is a whole, rather exciting, fandom of the crime genre out there. But as far as it seems, none of it has any ties to RPGs, and thus none to Shadowrun. It is a staple of the mass market paperback field and has even expanded into the graphic novel and serialized comic book market through imhaprints like DC’s Vertigo (and now the Vertigo Crime imprint) and Marvel’s Icon imprint, which publishes the Criminal serial by Ed Brubaker and Sean Phillips. IDW is about to publish the first graphic novel adaptation of the Parker novels by award-winning comic artist Darwyn Cooke. That said, the fictional material is out there in written form alone. Film and television have also mined the field pretty well for inspiration and outright production of content in or based upon this genre as well as its brother genre, true crime. With that in mind, this hopefully ongoing column is intended to address the very obvious lack of material on crime within Shadowrun.
BTW, I really, really do suggest listening to the director's commentary for
Heat. I've done it several times in the last four years and YET it wasn't until the last time about a month ago that I picked up this line:
QUOTE (Michael Mann)
All fences are informants
And I couldn't help but think "And that would almost certainly make all SR fixers informants as well." Think about THAT.
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