An AI RPG set in a modern city, cyberpunk or space

• Coral Harbor: a crime city on the water. Take jobs from the bosses, keep your Wanted stars down, swap the plates on a stolen car, and get out before the hurricane lands.
• Cottonwood Bluffs: a small town nine weeks after the dead got up. Food, medicine and fuel are counted, noise draws the dead, and the bitten turn the first time they sleep.
• Vickston City: one person in a hundred has a power. Describe yours in your backstory and the game gives you its first powers, then go licensed hero, vigilante or villain.
• Ismada: space opera. You captain a patched-up freighter with a fuel tank and a loan, and fly bounties and sealed freight to five other worlds.
• Cythos: cyberpunk. Every implant is a real ability that costs some of your Humanity, bought on a debt the repo crew comes to collect.
• The Long After: the wasteland, eighty years after a war that lasted one afternoon. Water is money, deep ruins raise your Rads, and the tax robots still come every month.
• Hamyeol: gates open over the city and hunters go in. You hear the System: a Status window only you can see, a Daily Quest, and a Penalty Zone if you skip it.

Every one is free to join with one click from the Worlds page.

All seven run on the same engine as the fantasy worlds, and any world built in the Studio gets the same features. The setting changes what the engine does.

• A phone. Swap numbers with people in a scene, then text and call them between scenes. They answer with their own voice and what they remember of you. Someone asleep answers later, and if someone agrees to send you money, it comes out of their own purse.
• Real travel. A car, a bus, a train or a plane, each with its own speed and where it runs, and in sci-fi a maglev, a shuttle or a jump ship. Journeys take hours on the clock, and the engine charges the fare before the scene is written, so a taxi across town costs a taxi's price every time.
• Guns and cover. Single shots, aimed shots, bursts and suppressing fire. Rounds are counted, and foes have to reload too. Full cover really stops shots, so you flank people or flush them out, and no single shot takes more than about half your health.
• The news. What you do can make the news, and each outlet tells it its own way. Your phone's Feed lets you post, leak or tip off a reporter, which can bury a story about you or make it much worse.
• Places that fit. A present-day world is drawn as a road atlas and a sci-fi one as a sector display. Towns have diners, precincts and train stations, or cantinas and docking bays, and what's underground is an abandoned subway or a derelict ship.
• Planets, moons and stations. Each one has a sky, a gravity, an air and hazards that the storyteller has to keep to.
• Characters with a job. A present-day or sci-fi character has an occupation, from cop to hacker to pilot, is a professional at it, and starts with what that work needs.

Making a world starts with "Where is your world set?" Pick the present day (crime noir, thriller, urban supernatural, post-apocalyptic, modern horror, espionage or military) or science fiction (space opera, cyberpunk, hard science fiction, frontier colony, military or space horror), and the map, the money, the ways of travel and the towns follow. Texting and the news can be switched on or off for each world.

Everything a builder can set is in the Any era docs.

• The seven worlds are in English for now. Editions in other languages are coming.
• Guns in party fights hit like any other weapon for now. Rounds, fire modes and pinning count in solo fights.
• The clock counts journeys in whole hours, so a short drive across town can cost an hour.

New to playing with an AI game master? Read how a solo session goes.