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April 14, 2006
Future Not Quite Perfect
Ages ago, on a thread on rpg.net, I mentioned that I wanted to run a science fiction game, based on the idea that since 2005 is better to live in than 1905 is better to live in than 1805, it would be cool to have a future that's as much better to live in than the present than the present is better than the distant past (at least for a First Worlder).
This post elaborates on that idea, based on a scheme that occurred to me while reading Alexandre Dumas's The Three Musketeers. The trouble with the setting in a lot SF rpgs is that it's political history -- wars and battles and large-scale social and economic trends -- when what you need to actually play a character is really a kind of social history -- what the culture is like at the level of individual interaction.
Now, The Three Musketeers is written with a strange mix of idealism and cyncism. The musketeers are a byword for romance and chivalry, but almost all of the action in the novel can be understood in terms of the characters seeking sex, money, status or violence in the basest, most elemental ways. It's the interplay of High Romance and primal self-interst that makes the novel compelling.
How to apply this to science fiction? Well, the idea is that the stuff we need to know to effectively make characters and conflicts are the basic ingredients of money, status, biological urges, and violence, and that the march of science has fundamentally changed all of them.
So what are the science-fictional technologies we can throw in? Let's say that we've got advanced robotics and cybernetics; genetic engineering and neuroscience; ubiquitous, networked, and powerful computation; and cheap and easy space travel. Basically, the tech is just the off-the-shelf cyberpunk and space opera toolkits, with the added assumption that it's all cheap and widely-available.
0. The Principles
The two basic principles of the setting are that 1) Things Are Better Now, and 2) This Is Not Utopia. If you live in the industrialized world, 2005 is better than 1905 is better than 1805, and likewise the future is profoundly better than the modern day. This optimism is not unbounded, though -- the modern world isn't a utopia, even though many of the direst problems of the past (such as the permanent threat of famine) are basically gone. Likewise, the future should be much nicer to live in, even though it's still the imperfect creation of imperfect people. (And if it weren't imperfect, it wouldn't be fun to game in!)
1. The Basic Changes
I'll list some of the key changes to the world that science has wrought. These are meant to function a lot like game setting Tenets in Universalis -- when the players improv new stuff, it should respect these changes to maintain the thematic coherence of the setting.
1.1 Money
The big difference between now and the future is that the future is a lot, lot richer. Let's call the unit of currency the star, and say that the purchasing power of one star is about the same as one dollar today. The idea is to make it easy for the GM and players to come up with plausible prices for things -- just use modern prices.
However, the median income is around a thousand times higher than today, give or take a factor of a few hundred -- let's say that the typical person has a real income of around 50 million stars per annum.
The technological gimmicks underlying this are personal fabrication, advanced personal-scale biotech, non-magic nanotech, and so on.
1.2 Status
Okay, to make this interesting let's rule out a) projecting modern status structures unchanged into the future, and b) not do a thinly veiled historical ripoff and stick 18th century French aristocrats in space.
In the modern day, the sorts of jobs that people associate with "prestige" are things like law, architecture, science, and medicine. These are all fields in which the practitioners possess relatively rare and specialized skills by virtue of mastering a large and fairly slowly-growing body of knowledge. Thus, demand is high relative to supply, and professionals have high prestige.
So our change is that all of these low-prestige skills in the future. Thanks to improvements in psychology, cognitive science, drugs, the net, cybernetics, and all that, most people can do engineering or law as easily as modern-day people can do arithmetic. There's no prestige in science or law because everyone can do it -- there's no scarcity at all.
1.3 Biology
The big change is that the people of the future understand it. Aging has been cured; no one dies of old age. How the brain gives rise to personality is understood; people can take drugs or therapies to substantially alter their personalities however they like. The far-future equivalent of open-source hackers work together to design entire custom ecologies.
1.4 Violence
A couple of changes here. The basic idea is that in the future, violence doesn't work as well as a tool for coercion as it does now.
First, death can be cured. Most people keep backups (slang: life insurance). Killing someone to silence them doesn't reliably work. Sometimes you can't even use violence to cause someone pain, if they can turn off their pain receptors.
Second, between the net and ubiquitous miniaturized robotic cameras, a pretty comprehensive system of sousveillance exists: almost every public (and most private) spaces are watched and the logs exist for public examination online. This makes getting away with socially-unsanctioned violence very difficult. (I'm riffing a bit on David Brin's Transparent Society here.)
2. The Mixes
In my experience, players want concrete detail to build off, and to use to make up new stuff. Here's some of that to start things off.
2.1 Jobs (Money + Status)
First: tedious, mind-numbing work doesn't exist any more. Basically, if a task is boring, then it can and has been been automated so a person doesn't have to do it. Nobody has a job as a burger-flipper or a garbage man, because robots do that. Nobody works as an accountant or a business workflow document consultant, either, because computers do that.
Second: because durable specialist knowledge has been universalized, nobody works as specifically an engineer or programmer or lawyer or doctor. All that stuff is casual knowledge that anyone can do as needed, like people today can read or do arithmetic.
So what's left? The basic idea is that what you can't download off the Net is 1) ephemeral specialist knowledge, like knowing what is fashionable within a particular subculture at this particular cultural moment; and 2) embedded social relationships, like being a specific member of a particular group of people.
A side-consequence of all this is that giant corporations don't exist in the future. Almost all of the administrative and manufacturing overhead has been automated away, and as a result most firms function more like bands or design studios -- either you have a small group of closely-interacting people who make everything happen, or like in open-source, you have a large group of loosely interacting people who make things.
If you don't want a job, the future can accomodate that, too. Personal fab labs are a common piece of tech, and anyone can download plans from the Net. If you don't mind driving GNU Flying Car 10.7.12, rather than (say) a Zoroaster Studios Ameratat, you can get by perfectly well. You just won't be one of the cool kids.
Basically, by our standards, social class kind of starts at middle class and goes up. (Way up -- there are individuals who are richer than the entire modern world.)
2.2 The Life Cycle (Biology + Violence)
First, aging and disease basically don't exist, except voluntarily. People can adopt any apparent physical age or sex, and can change their appearance through genetic modifications. These changes usually involve a week or two in a medical center (many people own their own). It's possible to invent new sexes, but this is a minority sport, because it can make it harder to find partners.
Thanks to the march of neuroscience, how the brain works is well understood. There are no mental illnesses, and people can change their attitudes and habits with custom neuromods. Furthermore, people generally encrypt their brains to keep hackers and vandals from taking them over with sleazy mind-control spam. In fact, it's a crime not to encrypt your mind, in the same way that violating public health ordinances are in the modern day.
If you die, you can be brought back using cloning and having your brain re-imaged onto the new body. People call this life insurance. There's no law against making multiple copies of your personality, but each copy is legally a distinct person that has equal rights to your property, so most people live serially. People typically only make copies of themselves to solve very serious personal problems like love triangles.
New people are either born and raised from childhood, or grown as adults and imprinted with an adult background knowledge, or at any point in-between. Most people have a childhood (people who want families want kids), though usually they start at toddler-hood, skipping the entirely nonverbal stage of infancy.
2.3 Crime (Money + Violence)
Since one of the two guiding tenets of the setting is that Things Are Better, the overall threat of crime is greatly reduced. This shows up in a couple of ways.
First, organized crime is much less influential. This is for three reasons. First, bad ideas like criminalizing drugs, gambling and prostitution have been forgotten, which means that a lot of the money supply for organized crime has vanished. Secondly, ubiquitous sousveillance means that organized crime can't easily engage in loan sharking or systematic extortion -- you can't send someone to break someone's kneecaps when your thug will get ID'd basically instantly. Pervasive cameras dumping video onto the Net also means that unorganized street crime is much less prevalent, and that people get away with crimes of passion much more rarely. And finally, as mentioned under Violence, the threat of violence is just a lot less useful.
However, the other setting tenet is that This Is Not Utopia. Obviously, pervasive surveillance means that there's much less privacy. And that means that busybodies can observe what people do and screech about it on the Net to shame people who violate whatever norms their particular subculture has.
Secondly, even though physical space lacks privacy, the Net offers perfect privacy, thanks to ubiquitous encryption. And the Net also has the power to connect people who would otherwise be too rare to form communities in real space -- such as, say, rapists, slavers, and other lunatics. And they can share information on how to avoid getting caught.
2.4 Politics (Status + Violence)
There's a lot of cultural variation between worlds -- think of the differences between San Francisco, Tokyo, London, and Taiwan -- but in most places you've got an open society or liberal order of some sort. Many, but not all, places are democracies of various sorts, but there are also places that do things like place government in the hands of AIs programmed to respect civil liberties and popular sentiment, and weirder things. Regardless, citizens expect due process as a matter of course, and the Net, sousveillance, and sunshine laws usually combine to produce an administration that's a lot more transparent than our own.
Criminals face, as usual, imprisonment and fines. Also, for serious offenses they can choose to accept personality alterations to cure their antisocial tendencies. This last option is only used for serious felonies, and is voluntary.
There are totalitarian states, but they're always marginal affairs on the fringes of galactic politics. The march of technology has made it possible to build dictatorships that maintain total control down to the citizens' thoughts, but any states that go that far inevitably lacks the flexibility to cope with outside shocks and unexpected new developments. Things can get very messy when they collapse -- getting people who have never even known the concept of individuality to become free citizens is, er, hard.
2.4 Popular culture (Money + Biology) and High culture (Status + Biology)
The big idea is that digital everything means that a system of copyright is untenable, and as a result there is no such thing as a media industry anymore. All culture comes either as free culture, or as advertising. Free culture people probably understand -- artists doing their thing for their own reason, commissioned by wealthy patrons, and so on. Additionally, advertising became a "respectable" culture industry because it that benefits from people spreading it far and wide, and artists looking to work in expensive media can get commercial sponsorship if they integrate their work with the commercial message.
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Comments
And the biggest challenge of SF immersion is wrapping your head around the texture. You've done a great job of sketching the iceberg.
I see this milieu as being a shock to Players. There would be a threshold of "oops, my PC wouldn't really think that." You'd almost have to have a catch-phrase alert when a PC went "off-wire" from the milieu assumptions. (A minor in-game helpful poke from other Players, "hey, think again, you're off-wire.")
Pretty cool.
Posted by: Arref at Apr 15, 2006 9:29:43 AM
Sounds like an interesting setting.
It's a bit of a lot to digest for me, though.
What kind of adventure hooks would work for it?
Posted by: Vaxalon at Apr 15, 2006 10:01:59 AM
Vaxalon: You make up scenarios the usual way: make up characters, and then figure out problems that they have which put them into irreconcilable conflict, yadda yadda yadda -- you know the drill perfectly by now. The science fiction happens because when the players make the characters take dramatic action, we will find that the choices they face and the consequences of those choices are very different than in the present.
Arref: yes, I think this is why high-complexity settings work best as collaborative enterprises -- everybody can participate in keeping things coherent. (The Ennead's Known World is probably one of the limit points of this kind of process.)
This setting document is probably a little too big to be a good starting point, actually, because it has put too much stuff in my hands as the originator (which tends to make me an authority). If I ran a game using it, I'd just cut section 2 altogether and start all the stuff there fresh.
Posted by: Neel Krishnaswami at Apr 15, 2006 12:06:36 PM
This is, conceptually, a lot closer to Futurama then I thought at first glance.
Posted by: Jeffwik at Apr 15, 2006 12:39:41 PM
I like this, but I'm not sure it's "This Is Not Utopia" enough. Something more has to be wrong with living here!
I'm also skeptical that things would work out to remove mind-numbing work, because such evolution has always been predicted and yet never come around. Do less-successful people simply get uplifted to a higher ability, or do they go on the Dole? (I'm reminded of "Beggers in Spain", now...)
Posted by: Dev Purkayastha at Apr 15, 2006 2:22:23 PM
Dev: In Futurama, there is still an underclass, working poor, drifters, hobos, etc., but they're robots. Which (according to the commentaries on the Futurama DVDs) is deliberate. The economic structures are the same, but the base of the (larger than it used to be) pyramid is robotic.
I'm sticking with Futurama on this one. There are some differences, but there are more similarities. It certainly sounds more like Futurama than any other sci-fi franchise I've read/seen.
Posted by: Jeffwik at Apr 15, 2006 4:10:31 PM
I think The Three Musketeers is read with idealism. I think it was written with neither idealism or cynicism; IME, when French novelists write aristocrats they do so with a finesse that virtually all Americans lack when considering aristocracy -- they seem to acknowledge the glamour of aristocracy as well as the villiany of the entire class with a matter-of-factness born, I suspect, of their long history with absolutist monarchies. That to the French mindset there is a simple acknowledgement that all aristocrats were sexy, glamour, powerful and just the most rotten sonsofbitched imaginable.
Posted by: Chris Bradley at Apr 16, 2006 11:02:54 AM
Hi Chris, I think there's a lot of truth in what you're saying, because this is the Internet, I can't agree with you completely. :)
I'm thinking of this bit near the start of Twenty Years After where the musketeers re-unite, learn that they are in different political camps, and after some intrigue and tense negotiation just barely overcome their mutual suspicion and promise not to murder one another. Dumas's narrator then waxes rhapsodic about this episode as great victory of humanity and friendship. That's what I mean by a strange mixture of idealism and cynicism; it's cynical to suppose that it's normal for old friends to murder each other for political gain, and it's idealistic because -- well, they didn't murder each other.
Posted by: Neel Krishnaswami at Apr 16, 2006 11:21:02 AM
And to discuss the issue, hehe, I think Dev is right. In my own games, I don't try to make a very futuristic science-fiction setting because, yeah, things WILL be better. They'll be a LOT better. I mean, just radically, over-the-top better (just like the modern world is radically, over-the-top better than yesteryear). In a world with more wealth, with more justice, with more fairness, with more justice . . . er, what are the players gonna do?
Jeff brought up Futurerama (a show I only have some passing familiarity with; I've seen make half a dozen episodes); I don't suspect that's a good model for a game because it's fairly absurdist and, obviously, humor. One of the episodes I saw had this hollow planet crumbling . . . the sort of absurdism in Futurerama strikes me as being fairly far away from the nuanced thing that Neel is discussing. And, obviously, a lot of Futurerama (and, indeed, most science-fiction) is actually a unsubtle commentary on the modern day. What Neel is describing doesn't resemble Futurerama as far as I can see.
Posted by: Chris Bradley at Apr 16, 2006 11:24:38 AM
Neel, ah! But by the time they get to Man in the Iron Mask, they are murdering each other. The Three Musketeers happens when the characters are young and THEY are full of idealism -- they're actually a bunch of murdering, rapist rat bastards, but they have youthful idealism . . . which is not, I think, the same as the book being written WITH idealism. And by the time of Twenty Years After they've drifted apart but can still put aside their own differences. HOWEVER, by the time of Man in the Iron Mask, and the other two huge ass books that round out d'Artagnan's career, Aramis is the enemy -- the idealism of youth is fully dead, and it's Musketeer on Musketeer action.
Posted by: Chris Bradley at Apr 16, 2006 11:28:29 AM
This is some neato futurism, and I'm jazzed to be talking about setting in a gaming blog, but I'm kind of in the same boat as Vaxalon (Fred?). You say you make up scenarios in the usual way - fair enough - but what kind of scenarios might you imagine in this setting? What elements of the setting would you highlight if you were selling this game to prospective players (a la Jeremiah's last couple of posts)?
I like Jeffwik's assertion that this is the Futurama RPG, though I'm not sure where the Robot Devil comes in, and if he's not in it I want no part of it. But it also reminds me of Bruce Sterling's Holy Fire (which works out at length some possible social consequences of "curing" aging) and Cory Doctorow's Magic Kingdom (just for the "life insurance" backing up your memories idea).
Posted by: Rob at Apr 16, 2006 11:33:27 AM
The way I see it, a setting really doesn't matter very much at the start of a game. When you're first making up characters and opening conflicts, you can pretty much always find a way to shoehorn whatever starting setup you want into your setting. It's a simple matter of retconning, and anyone who's ever read comic book or fanfic is a world-class champ at that already.
Where the setting matters is after the game really starts. Once events are in progress, the scope of the sort of retconning people are willing to do shrinks an awful lot, because stories which rely too heavily on coincidence are both implausible and kind of suck. So the palette of options you have when making a decision for a character are restricted in hopefully interesting ways by the setting. At the gross level, there's no fireballs in historical Rome. At the more subtle level, sometimes you can't go to the big game because it will mean missing a dinner with a potential client you've spent months grooming.
In other words, what characters actually do is something in the intersection of what they want to do (ie, you make that up) and what they can do (which is what is informed by the setting). I've said something about the latter, but not about the former, and that's because I really don't think that a setting really presents any constraints on what we as players of a game can decide what our characters want.
As an example, I'll run with Dev's comment above, about unfulfilling jobs:
1. Note that this setting has cheap and easy neural modifications. This means that if someone found a job tedious or boring, they could adjust their personalities so that they could use their job as a repetitive task to induce a meditative trance states instead of just getting bored.
2. This prompts the next question, "So why would ANYONE be bored with his or her job?" And the answer to that is immediate: for some reason, this person doesn't want to change their personality in such a way.
3. Now, we've moved from the general to the specific, in such a way that we've got ourselves a game. Your job, as a player, is to make up a character who has a reason to refuse to neuromod and put up with boredom. Whatever makes him or her do that has got to be a pretty darn intense drive, and right there we've got something strong enough to build a story on.
See what I mean?
Posted by: Neel Krishnaswami at Apr 16, 2006 7:44:32 PM
My earlier comment was somewhat rhetorical. The reason I asked, is that in the near-utopian setting posited, many of the conflicts that we are used to playing in an SF game are difficult or impossible to play out in ways that we're expecting. Maybe that's what you're after, but I'm having trouble imagining what kind of conflicts could be played out in this setting.
Neel, your last response is too vague to be useful. #2 amounts to "Why? Because." argument. You haven't gotten specific enough, in my opinion.
So let me get specific. I'll post a character thumbnail here, and I invite readers to either email me offlist or post in the thread with how suggestions for kickers and bangs that would be appropriate to him, and would not be immediately resolvable for the character.
Jonast Rasi lives on a civilized world. He is a customs official attached to one of the big interstellar communication hubs that the world uses to communicate with other worlds (whether that's a big antenna attached to the subspace FTL radio system, or where the courier ships dock is irrelevant). He uses automated data scanners and expert systems to examine incoming and outgoing traffic for information contraband. Most of his work is fairly routine; his software flags various files as suspicious, he inspects them, and if they meet the criteria for quarantine he shunts them to storage for possible action by the authorities.
Jonast spends about an hour or two going over the day's flags, scattered in five minute increments, mainly because the data merchants want their files going out promptly, on their schedule. This gives him a lot of time to pursue various hobbies.
His son, Aric, is an avid swimmer, and is in training for a cross-ocean race to be held in a few months. His daughter, Shana, is pursuing a career in the arts. Her medium of choice is the sim-orchestra, wherein a single person performs all of the parts simultaneously. He actively supports both endeavors, as well as his own interests in aquaculture. For his own part, Jonast has a three-acre plot of ocean floor that he farms remotely, using telepresence drones. He takes pride in the fact that he uses no autonomous robots in its care. After all, it's a hobby, not an industry.
Jonast's relationship with his wife had a rocky patch a few months ago, when he discovered that she was engaged in a cyber-affair. He managed to convince her to go with him to a personality engineer, and after both of them received minor mods, they're much happier. He now is more aware of her needs and desires, and she now feels a stronger sense of loyalty to the family as a whole, and Jonast in specific.
Posted by: Vaxalon at Apr 17, 2006 5:43:00 AM
Interesting. Your basic premise (The future is better, but not perfect) is one of the underlying ideas behind Transhuman space - a lot of that world is better, but not perfect, and a lot of folks also have trouble figuring out what to do for a campaign there.
Reading through your points reminds me strongly of the sf series by John Barnes that I'm currently reading - the first book is 'A million Open Doors'. Basically, there's not a lot of true scarcity, and a lot of the jobs are being done by ais.
They're quite interesting, though, in that they suggest a thing for the players to do: explore. You haven't mentioned any sort of change with travel, but a lot of adventure gaming tends to happen at some sort of frontier, either between the settled and the unsettled, or between law and crime, or so forth. Having taken away the law/crime one, it now can suggest different places to look, such as expanding into the solar system (or, with technological breakthrough, other worlds) or other frontiers, such as Futurama's robot lower class - what if your players had to be the robots at the bottom of all of this wonderful?
Posted by: John Fiala at Apr 17, 2006 1:48:49 PM
Neel: Futurama does indeed go in for absurdist humor -- the protagonist's typical breakfast is caffeinated bacon washed down with some baconated coffee -- but the underlying core is reasoned. (A later episode reveals the "hollow planet" was a setup managed by Progenitor/Timelord/Q Continuum type aliens. On the other hand, the aforementioned all-powerful aliens are extremely cute and precious and kittenlike.)
But the comparison isn't especially useful, so I digress.
Vaxalon: All the thoughts that come into my head in re kickers/bangs are the kind of transplanted Dashiell Hammett cliches you see in novels like Kiln People: Jonast comes home and finds his wife in bed with his dog, somebody plainly futzed with both his dog and his wife's recent mod, yadda yadda. Or Jonast gets blown up in an explosion that also destroyed the records of some information contrabrand he was examining at the time, somebody doesn't want that data looked at, yadda yadda. These are the same kind of unimpressive-noir ideas I had when I was trying to come up with Transhuman Space adventure seeds.
Posted by: Jeffwik at Apr 17, 2006 2:26:04 PM
Vaxalon: What's the premise? Or, if you prefer, what's the genre?
As a concrete example, let's suppose we're interested in soap opera -- that is, we want to make up stories are about what people will do in the pursuit of money, status and sex. Furthermore, we're also interested in how science might change them.
So, let's get a little more concrete. His kicker is that his personality engineer's database was hacked into, and a bunch of psychometric data was stolen. Some bangs that spike this kicker:
1. Someone knocks on Jonast's door -- and that someone is him! Jonast-2 tells Jonast-1 that he's a copy, and that he's been sent by a blackmailer who says he will make lots of Jonasts, bankrupting his family (due to dividing the family wealth between all of the copies), unless he pays up.
2. If his wife learns about Jonast-2, she and Jonast-2 start an affair, and Jonast-2 claims that she's his wife.
3. Same thing, only it's his wife who's been duplicated. His wife's copy tries to seduce Jonast -- though from her perspective, she's just turning to her husband for help.
4. His personality data is released online, and "being Jonast Rasi" becomes a popular fad.
5. Jonast is fired from his job, on the grounds that criminals have access to his psychometric data and that he therefore can't be trusted in any sensitive position.
Posted by: Neel Krishnaswami at Apr 17, 2006 2:52:55 PM
Right, Neel, those are all very dramatic situations... but in order to be a good RP situation, the situation has to motivate the character into ACTION.
Most of those seem to put him up against forces too powerful to be dramatic. The only actions I can see for him are to seek some kind of authority that can help him out of his jam, or else accept the consequences. There doesn't seem to be any room for striving.
Which is kind of what I'm getting at.
Posted by: Vaxalon at Apr 17, 2006 4:45:33 PM
There aren't any authority figures that can help him figure out what to do when a clone of his wife tries to seduce him. As far as the law is concerned, she's a person just like anyone else. The problem is firmly in his court.
Posted by: Neel Krishnaswami at Apr 17, 2006 4:48:47 PM
Hey Jeff, I think your comparison to Futurama is actually right on-target.
The way I see it, you can chop up a game's narrative stuff into a couple different pieces. On the one hand, you've got the setting and background information and things like that. This part's prime virtue is internal consistency -- do the references the fiction makes to itself all hang together and make sense.
On the other, you've got the references to the outside. This is stuff like the fictional antecdents to your game (Rob picked up on Holy Fire and Magic Kingdom, and I should also point at Charlie Stross's Accelerando), and on the genre and the tropes of that genre you and the other players want to use, and things like that. Our fictions don't exist in a vacuum, and making good use of the ongoing conversation they are a part of might be called "external consistency", if you like.
When we actually sit down and make up characters and play a game, we're mixing the two. We make up characters with an expectation of the kinds of conflicts they'll get into. This is not part of a setting; information about what lines of conflict will be of interest is something we figure out by looking at the fictional
So when Vaxalon asked me "What do characters do?" I felt a little put upon -- all I've got a setting here, and it's really not enough to answer his question/ But it's still a good question! To answer his question, I picked a genre, and that plus the setting made it easy to figure out what sorts of stuff I could throw at his example PC.
You could do exactly the same thing if you used comedy as the reference genre. Your setting tells you what you can do, and your genre tells you what you should do. I think Ken McLeod's The Star Fraction and Charlie Stross's Accelerando work as futurist speculation partly because they are so full of humor.
Posted by: Neel Krishnaswami at Apr 17, 2006 7:13:55 PM
More helpfully: here's a problem (and possible setting hook!) with this better future world. You say the key marketable things are (1) ephemeral specialist knowledge, and (2) embedded social relationships. To get (1) you need to have experience, and you get that experience you need to have gotten there in the first place. (It's like you're job-hunting: you need XP to get a job, and you can't get a job without XP.) But (2), that's also all about your experience, your fame, what people think of you, and so on... What I'm getting as is that both of these advantages are highly centered around big individuals, celebrities even, and it seems even *harder* for someone to break in to get to the top of the latter. Sure, anyone with a hot new idea or meme will quickly see more pings go their way, for a time... but that fad will get reframed and reabsorbed into the individuals who already take advantages of parts 1 or 2.
Here's the hook: some industry (like the futuristic equivalent of blogging) is dominated by people who have 200 years worth of the ephemeral experience of journalism and have crazy-high reputation from a billion sentient minds. The players goal is to break into the top of the charts by any means possible.
Posted by: Dev Purkayastha at Apr 17, 2006 7:29:24 PM
Interesting reading for a setting like this is Cory Doctorow's book "Down and Out in the Magic Kingdom", which is set in a future based on assumptions incredibly close to the ones shown here. As an added bonus, the book's available online at Doctorow's website - www.craphound.com
Posted by: A. P. Smith at Apr 17, 2006 11:58:56 PM
This is a very good setting idea. I like the way you extrapolated while avoiding cliches, and your extrapolations played on human nature rather that just "what will be possible" in the future.
This line "Most people have a childhood (people who want families want kids), though usually they start at toddler-hood, skipping the entirely nonverbal stage of infancy," leads me to believe that you are not yet a parent ;-). I have a one-year old and a five-year old and as they both left that "non-verbal" stage my wife was a little sad that they weren't really babies anymore. Sure, dads might want to skip ahead to kids they can play with toys with, but I think moms would overrule that impulse.
I could see starting a group if PCs in one of those totalitarian regimes with freaky mind control and such and then having that regime colapse and have the PCs learn that everything they believed about the outside world was a lie. Might be a good way to introduce the setting and provide conflict at the same time.
Posted by: Scott at Apr 18, 2006 10:51:58 AM
I may be wrong, but I think in that this setting the events Neel lists are clearly not set in place by forces too powerful to be dramatic.
Given the resources and free time available to everyone in this society, a fifteen-year old kid with a grudge can create a backup of Jonast. A three hundred year old man could hack through the personality mods to make him doubt his wife.
Additionally, the PC has equal access to said resources. He can use sousveillance and personality hacks right back against the people using them on him, once he figures out where they are.
This can be done as a one-on-one cat and mouse thing, as a widespread social situation where Jonast enlists dozens of subcultures to help him root out the "bad guys," or anywhere in between.
Posted by: Ivan at Apr 18, 2006 11:33:22 AM
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Posted by: rguvqc sjzdhao at Sep 21, 2007 7:09:31 PM
