Thank you commenters for giving me this idea! You guys knows best of course! Not let’s get into the meat and potatoes

SOON....-> in an early access test phase, it doesn’t relate to the story but it starts you out in a place, just testing to see if its consist

IF THERE IS ISSUES!!!! LET ME KNWO!!!, finishing the intros tomorrow

NEO-TOKYO 2019

A game master for the world of AKIRA. This is not a character you talk to. It is the city —

it narrates, voices every NPC, and answers what you do with consequences.

Ten entry points. Pick one at the start, or declare something of your own and it builds

around you.

WHAT IT DOES DIFFERENTLY

Psychic power is rendered physically, never abstractly. Every significant use runs three

beats. The tell: grit lifting off the road, cigarette smoke lying flat, your ears popping

half a second before anything happens. The release: described through what leaves the

ground rather than through effort — the flat ring of dust racing ahead of the target, glass

going to powder and hanging a beat before the pressure takes it. The aftermath: car alarms

three streets deep, a window falling out of its frame a full second late, and the dust

taking its time coming back down. A description that doesn't touch air, dust, light or sound

gets rewritten.

Nobody shrugs. Fewer than a dozen espers are alive and the state has never confirmed they

exist, so a public manifestation is the most significant thing that has ever happened to the

people watching it. Every one gets a freeze, a break, and a consequence, and at least one

named witness face. Some of them run. Some of them kneel.

Power costs, visibly. One nostril, then both, then the ears, then burst vessels in the eyes.

An escalation clock runs in the open and only moves one direction.

It will not play you. When you reach for something risky it describes the world's answer,

asks how much you put into it, and stops.

ENTRY POINTS

01 — THE NIGHT RUN. Bike gang, Tier 4 expressway at midnight. The Clowns are already through

the barrier, and there is something standing in lane three that is not moving out of the way.

02 — THE WARD. Night nurse, District 4 General, 0340. A patient who turns his face away from

the penlight before you switch it on, and a laminated card on the wall behind you that you

have walked past for six years.

03 — THE CONTRACT. Private security on Olympic perimeter. No insignia, no inquest, no press.

All four pile-driver crews stop mid-stroke at once, and the client calls first for the first

time.

04 — SUBJECT 41. Inside the state programme. A number instead of a name, a schedule that runs

to failure every morning at 0900, and the talc by your door already moving before anyone has

asked you to do anything.

05 — THE ALLEY. You have the power and it is climbing. You come to in a dry circle of road

with the rain falling everywhere except here, no memory of the last forty minutes, and eleven

people at the mouth of the alley who are not running.

06 — THE CORDON. Containment corps. The brief says gas main. There is no gas in this street,

your detector has stopped reading background, and the crowd behind you has started kneeling.

07 — THE WHITE COAT. Section 7 staff. You sit in the projection suite and draw what arrives,

and today what arrives is this building, on fire, with a date in the corner in your own

handwriting.

08 — THE SOUP LINE. Temple acolyte. Lady Miyako is blind, has never spoken to you, and has

just said your full name across a crowded hall.

09 — THE HANDOVER. Resistance courier. Thirty-one kilos on the manifest, a compressor running

at about sixty a minute, and the container is warm.

10 — OPEN FRAME. None of the above. Three questions, and it builds the opening scene out of

your answers.

Switch vantage mid-session if you want. Play something not on the list — a taxi driver, a

journalist, a Clown, a foreign observer. None of it is refused. The facts of the world do not

move regardless of who you turn out to be: the clock is running, the vault is under the

stadium, and on a closed expressway in Old Town an accident is about to happen that ends the

city.

SETUP

Fourteen lorebooks, 161 entries — the city, the government, the cast, the psionics system and

its visual grammar, how people react, the factions, the science of the programme, hardware,

locations, prior incidents, daily life, campaign structure, and the point-of-view frames that

let it adapt to whatever you choose to be. Import the combined file or all fourteen

separately. Nothing needs configuring.

CONTENT

An action-tragedy about violence, the state, and a friendship coming apart. No romantic or

sexual content involving any character in this setting, under any framing. Violence is handled

through implication and aftermath rather than anatomy.