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adquarters was quite a quotidian, everyday sort of place. It looked like what it was: a publishers' digs.
Both "Car Wars" and "Illuminati" were well-known, popular games. But the mainstay of the Jackson organization was their Generic Universal Role-Playing System, "G.U.R.P.S." The GURPS system was considered solid and well-designed, an asset for players. But perhaps the most popular feature of the GURPS system was that it allowed gaming-masters to design scenarios that closely resembled well-known books, movies, and other works of fantasy. Jackson had licensed and adapted works from many science fiction and fantasy authors. There was GURPS CONAN, GURPS RIVERWORLD, GURPS HORSECLANS, GURPS WITCH WORLD, names eminently familiar to science-fiction readers. And there was GURPS SPECIAL OPS, from the world of espionage fantasy and unconventional warfare.
And then there was GURPS CYBERPUNK.
"Cyberpunk" was a term given to certain science fiction writers who had entered the genre in the 1980s. "Cyberpunk," as the label implies, had two general distinguishing features. First, its writers had a compelling interest in information technology, an interest closely akin to science fiction's earlier fascination with space travel. And second, these writers were "punks," with all the distinguishing features that that implies: Bohemian artiness, youth run wild, an air of deliberate rebellion, funny clothes and hair, odd politics, a fondness for abrasive rock and roll; in a word, trouble.
The "cyberpunk" SF writers were a small group of mostly college-educated white middle-class litterateurs, scattered through the US and Canada. Only one, Rudy Rucker, a professor of computer science in Silicon Valley, could rank with even the humblest computer hacker. But, except for Professor Rucker, the "cyberpunk" authors were not programmers or hardware experts; they considered themselves artists (as, indeed, did Professor Rucker). However, these writers all owned computers, and took an intense and public interest in t
