The intent is for this to be set in the modern or near modern period. With the focus on a pirate radio station, it wouldn’t make much sense to have it set before the 1960s. Radio will probably continue to have a role in culture and communications for the next few decades, but already many are turning to online sources for the same purposes as my generation engaged with radio. In a cyberpunk setting, this might be a specialized streaming service. With corporations having so much power, misusing corporate IP and possibly siphoning off even the tiniest modicum of their profits, would likely not end well. The geographic setting of neither the city nor the origin of the radio pirates is specified. This is on purpose and hopefully will allow you to better implement the story for maximum impact with your players and maximum integration into your game. As will become evident, a diaspora is a key part of the story. Not providing specificity is not to imply that every geopolitical crisis that displaces populations is interchangeable, or that the populations themselves are interchangeable, just that many of the strategic factors are similar.
Story
One of the key sources of ‘street truth’ for the PCs is a member of the staff of a pirate radio station—an unlicensed radio station using public airwaves. The Contact doesn’t need to be out-front talent—like a DJ or host—but they are a key part of the functioning of the station. While the station itself is not political, it is staffed by and caters to a displaced population who fled The State due to insecurity. Some of the most popular songs for the station have political messages—whether subtle or implicit. The State is now looking to stop the station’s broadcasts—both through legal means and less than legal pressure.
Places
The Station: However the station works, there is going to be a physical location where at least some of the equipment is housed and which is regularly manned. The Contact spends much of their time here—are they a technician making sure all systems are go? It is something like a home to at least a few of the staff. It’s a place they connect to the homes and homeland they have lost, possibly forever, and so is very important to them.
The Diner: This is a restaurant or other hospitality business that caters to the same population as The Station. It is a community centre for most of the displaced population, and the favourite hangout for many of The Station staff.
People
The Contact: They are a survivor and they are a lynchpin for both The Station staff, and more widely for the displaced population. They have wide metaphorical shoulders, but they can’t carry everything. No one can. They are getting tired—bloody exhausted—both from being strong for the community and for the emotional labour they are performing. And now, they are threatened. It’s all getting to be too much. They are ready to give up.
The Agent: The main antagonist is actually familiar with The Contact. Maybe they were childhood friends, maybe romantic partners—they might even have been an ally who was turned by The State. They don’t necessarily want to hurt anyone, but they are determined to shut down The Station—and they are willing to use violence, even if they don’t want to.
Events
The Visit: People are asking questions about The Station at The Diner. They are definitely from The State—though they do not identify themselves as agents of The State. It might be The Agent, but it’s probably just part of their team. This is the first sign of trouble.
The Inspection: The State has persuaded the government of the city, province, or nation which hosts The Station to undertake a perfunctory administrative action intended to make The Station staff uncomfortable. It might have something to do with residency or legal status. It might have something to do with other jobs, the physical location of The Station. Whatever it is, it’s clear The State is using all levers to try to end The Station.
The Confrontation: After other encounters, it’s going to come down to this. Depending on the PCs skills and capabilities, this might be a fight, a court case, a debate, or some other direct interaction which pits the PCs against The Agent and others from The State.