The book has been written.

The book has been read.

Now it rewrites you.

Across time it spreads, creating dread new realities.

And you’re in all of them.

 

Inspired by Robert W. Chambers’ influential cycle of short stories, The Yellow King Roleplaying Game takes you on a brain-bending spiral through multiple selves and timelines.

Written and designed by GUMSHOE master Robin D. Laws, it pits the characters against the reality-altering horror of The King in Yellow. This suppressed play, once read, invites madness or a visit from its titular character, an alien ruler intent on invading and remolding our world into a colony of his planet, Carcosa.

Four full-colour hardback books, served up together in a beautiful slipcase, with a separate GM screen, confront your players with an epic journey into reality horror:

  • Belle Époque Paris, where a printed version of the dread play is first published. Players portray American art students in its absinthe-soaked world, navigating the Parisian demimonde and investigating mysteries involving gargoyles, vampires, and decadent alien royalty.
  • The Wars, an alternate reality in which the players take on the role of soldiers bogged down in the great European conflict of 1947. While trying to stay alive on an eerie, shifting battlefield, they investigate supernatural mysteries generated by the occult machinations of the Yellow King and his rebellious daughters.
  • Aftermath, set later in the same reality, in present day North America. A bloody insurrection has toppled a dictatorial regime loyal to Carcosa. Players become former partisans adjusting to ordinary life, trying to build a just society from the ashes of civil war. But not all of the monsters have been thoroughly banished—and like it or not, they’re the ones with the skills to hunt them and finish them off.
  • This is Normal Now. In the present day we know, albeit one subtly permeated by supernatural beings and maddening reality shifts, ordinary people band together, slowly realizing that they are the key to ending a menace spanning eras and realities.

New GUMSHOE features include:

  • A completely new player-facing combat system.
  • A fresh, evocative approach to wounds, physical and psychic, inspired by the innovations of GUMSHOE One-2-One.
  • Linked character creation across multiple settings.

 

Stock #: PELGY01 Author: Robin Laws
Artists: Aaron Aurelio Acevedo, Dean Engelhardt, Melissa Gay, Shel Kahn, Christian Knutsson, Jessica TC Lee Format: 4 x hardback books, presented in a slipcase, with a separate GM screen

Buy the boxed set (includes slipcase & GM screen)

Buy the complete collection (with Absinthe in Carcosa and The Missing and the Lost)

Buy the game collection (with Absinthe in Carcosa)

Buy the Yellow King RPG PDFs

Buy the complete collection PDFs (with Absinthe in Carcosa and The Missing and the Lost)

Buy the game collection PDFs(with Absinthe in Carcosa)

In the present COVID-19 crisis, many of us, myself included, have canceled our in-person roleplaying sessions to comply with social distancing or shelter-in-place public health regimes across the world.

This Thursday, after a hiatus, I’ll be switching my in-person game to remote. (I’ve just started “Canadian Shield”, an extremely variant Fall of Delta Green series.)

As more tips and tricks for remote play come up I’ll share them with you here on the Pelgrane site. Let’s get started, though, with what I’ve learned during previous forays into online tabletop.

1. Use the platform you already know.

Everyone who has already racked up extensive remote play experience expresses a preference for a particular combo of tools for video conferencing and the virtual play space.

For video, Discord, Zoom, Google Hangouts and to a lesser extent Skype all have their adherents. Each brings its own set of pluses and minuses. In the end your choice of video app may depend on the quirks of each player’s device setup. You may wind up shuffling through a bunch of them before you find the one that happens to function for your entire group.

As far as play spaces go, Roll20 already has resources for 13th Age and GUMSHOE. We’ve just added DramaSystem.

If you’re already familiar with a video conferencing app and/or virtual tabletop, skip the learning curve and use that. It works; don’t fix it.

2. If you haven’t done this before, I prefer Google Hangouts and Slack.

Google Hangouts hasn’t let me down yet. It’s free, and pretty seamlessly handles switching to the person currently speaking. That’s the most important feature of a video app for game play and it does it well. Google has announced that they’re ending this service soon, but if I understand their PR correctly, what they’re actually doing is rebranding their video chat to sound more business-friendly. Google can hook you on a service and then whip it out from under you like a rug, but I’m guessing that we’re safe when this one changes to its new incarnation. I wouldn’t bet on that happening according to its original timetable, either.

For GUMSHOE and DramaSystem, I use as my virtual tabletop a tool not remotely designed for that, the group project messaging platform, Slack. It is a platform I use for other purposes every day and know how to use. I already use it for face-to-face when running The Yellow King Roleplaying Game, having found it the best solution for serving electronic Shock and Injury Cards. When teaching that system I upload a card image to the game’s main channel so everyone can feel its horror. I also drop the cards to each player, in our private message inbox. When they discard cards, I delete them from the private message inbox, so that it contains only the cards currently held.

Maps, images, and other handouts I upload to the main channel as well.

Slack’s advantage over its competitors in its category lies in its ease of use. A newbie can immediately figure out its simple and intuitive interface.

I’d use Slack for any game that relies primarily on dialogue and description, which describes both GUMSHOE and DramaSystem.

In fact I’d probably use it to run 13th Age. I don’t use a battlemap when running that in person, so wouldn’t bother with one in remote play either.

A game that does require a tactical map will naturally push you toward one of the purpose built virtual tabletops. These all have to handle D&D and Pathfinder. If you’re playing a game of that crunchiness online you’ve bought into the extra handling cost.

3. Leave in the Socializing.

Especially now, much of the point of an online game is to feel the connectedness we might ordinarily seek out around a table, at a con, or in a game cafe. The formality of the online experience might tempt you to cut right away to the case. You may know each other less well, or not at all, if playing online. Even so, give everybody time to chat a bit before getting started.

4. Expect a shorter session.

Though this varies for every group, in general the online meeting format promotes an efficiency you may find yourself envying when you return to face-to-face. Video conferencing requires participants to be conscious of who has the floor at any given moment. It reduces crosstalk and kibitzing. People used to conducting real meetings on video tend to step up to help guide the discussion and move toward problem-solving. The software does a good bit of your traffic management as GM for you.

For this reason you’ll find that remote play eats up story faster than a leisurely in-person session. The pace of any given episode more closely resembles the tighter concentration typical of a con game group that has found its rhythm. Your group will likely decide what to do faster, and then go and do it with fewer side tangents, than they would at your regular home table.

When this happens, you may find yourself wondering if you shouldn’t add more plot to keep your ending further away from your beginning. Instead, embrace this as the dynamic operating as it should. If it takes you three hours to hit five or six solid scenes, where in person it would take four, that’s a good thing.

5. Expect a more taxing session.

In addition to respecting the pace your session wants to have, you should aim for shorter sessions because the experience of gaming remotely takes more out of you, and each of your players, than face-to-face will.

Many of you will be sitting in less comfortable chairs than you’re used to being in. Those with home offices may already have been in those chairs for an entire work day already.

The concentration required to pay attention to people on video conferencing taxes the brain more than face-to-face. You’re trying to assimilate the same amount of communication from one another with fewer cues to work with. This tires any group, physically and mentally. Expect that and pace your game accordingly.

When you see a time-consuming setpiece sequence coming up, check the clock to see if you’ll be able to do it full justice given these constraints. Never be reluctant to knock off early and leave folks wanting more next time you all join up.

6: For Slack, use the Dicebot app.

To return to a platform-specific point, the Dicebot Slack app allows any participant to roll dice right in the channel. It easily does the d6 plus spend modifier for GUMSHOE. It inherently reminds players to announce their pool point spends before rolling, another neat advantage over physical dice.

Speaking of games that scorn the battlemap, Dicebot also handles the more complicated positive d6 + negative d6 + modifier roll seen in Feng Shui.

7. Whatever the platform, use a dice app if you players can possibly be coaxed into it.

Some players need that tactile dice-touching fix. I wouldn’t force online rolling on them, but having rolls take place visually in front of everyone does enhance their emotional impact by allowing everyone to see and react to the results.

Dice provide suspense . A die roller, in whatever platform, shares that edge of the seat moment when you see who succeeds and who’s about to take a Shock card.

8. Use a shared Google Doc for note-taking.

Since they’re all on a device anyhow, encourage your players to contribute to the group chronicle by setting up a shared Google Doc. Gussy it up with a graphic touch or two to build tone and theme.

9. Keep online versions of character sheets.

You’d think players won’t lose paper character sheets if they’re not leaving the house, but of course we misplace stuff in our own places all the time.

For GUMSHOE, the highly recommended Black Book app does all of the work of keeping online character sheets for you. It has just extended its trial period for player accounts.

Absent a specific tool, keep updated character sheets in a Dropbox folder or, for games where characters are simple as they are in DramaSystem, in a Google Sheet. I’ve done this for my “Canadian Shield” game.

Stay tuned for more tips. I look forward to the day when I can update this post to remove references to the pandemic as a current event. Until then, stay safe and, as much as you possibly can, the hell inside.

When I run The Yellow King Roleplaying Game in one-shot format, I improvise based on the Deuced Peculiar Things players specify. I provide them with this set of Paris pregens, which leaves the Deuced Peculiar Thing open for all but the Belle-Lettrist. I use that essayist character to cheat my way to the fun, and the core motif of the game. That character gets a Deuced Peculiar Thing indicating that somehow maybe the publication of the play is their fault, in a fuzzy way they no longer comprehend.

I open the action in the art students’ favorite cafe, Le Veau Gras (Paris p. 99), setting the tone of the game by inviting the characters to commiserate over their overindulgence of the night before.

As I prepped for my recent online game for top tier Kickstarter backers, imagine my surprise when I realized that I never designed Injury cards to portray hangovers! How could I have possibly done this so many times without that vital piece of design work? It’s like creating D&D and forgetting fireball.

Why it’s almost as if I was involved in the production of a cursed roleplaying game, in a fuzzy way I no longer comprehend.

Well, best not to think of that, as we Bohemian artists say.

Anyhow, I whipped up this pair to introduce the concept of Shock and Injury cards to the players.

HUNG OVER

Injury

After 1 or more scenes, discard by complaining that others don’t care enough about your hangover.

WHAT YOU DID LAST NIGHT

Injury

-1 to Focus tests.

After 1 or more scenes, discard by remembering a problem you caused during last night’s festivities.

These require Difficulty 4 Health tests to avoid. If they were Shock cards, tempting players to burn Composure, I might be more merciful and assign a Difficulty of 3. Health isn’t typically as precious in these one-shots so I can afford, for rule-teaching purposes, to start with the typical Difficulty.

As Injury cards go, these are not especially onerous. The minor card of the pair doesn’t even impose a mechanical penalty, except for the standard incrementally increased threat of having your investigator removed from play for having too many cards of one type in hand.

I also took care to give the cards discard conditions that are both fun and easy to meet. The discard conditions demonstrate how cards work in general as they nudge players to contribute to the establishment of tone.

Every time I’ve run this, the story has moved on from this simple scene to a radically different direction, from animated statues, to climactic bloodshed on the Pont Neuf bridge, to a time loop that trapped the investigators in the room where they were designing a float for the annual Art Student’s Ball.

Whatever introduction you use to draw your players into the Carcosan terrors of the Belle Epoque, I have a sneaking suspicion you’ll find some way to make use of these new cards.

A column about roleplaying

by Robin D. Laws

While developing collaborators’ scenarios for Black Star Magic, I found myself puzzling out a design style question arising from a particular feature of QuickShock.

In previous iterations of GUMSHOE, and most other games with hit points or a hit point-like function, characters can theoretically leave play at any time. In all GUMSHOE games characters can die physically, ending their stories and requiring players to create replacements. In our various horror games, characters can also exit after cracking under intolerable mental strain.

The Yellow King Roleplaying Game follows that pattern: your character can shuffle off in both ways. Unlike games with traditional hit points (Health points in GUMSHOE) or Sanity / Stability points, YKRPG characters take their final curtains after receiving a predetermined number of Injury or Shock cards. After 3 or 4 cards, depending on how forgiving the GM has chosen to make her game, they’re outta there.

My scenarios provide ample opportunities to take Injury and Shock cards. In fact, one of the key requests made by playtesters was STOP MURDERING US SO HARD.

One or two of my more forgiving colleagues, on the other hand, just might have submitted scenarios including a less-than-fatal number of Injuries and/or Shocks.

This raised the question: is that poor form?

A scenario for standard GUMSHOE might make the prospect of death unlikely, by going light on scenes featuring fights or physical hazards. Likewise it might feature only a handful of Stability or Composure tests. But depending on how many points players have invested in key pools, you can’t say for certain that the scenario won’t dispatch a PC or two.

In QuickShock you can count the number of times the characters might take cards, and see that it doesn’t equal the Final Card threshold.

That’s before taking edge cases into account, though.

In an ongoing game, one or more characters may already have Continuity Shock or Injury cards carried over from previous play. This drops their effective thresholds for receiving new cards. If you have the Injury card Circulatory Damage, you start every scenario being able to receive one less Injury additional card than you did when you began play. A scenario that deals out a maximum of two Injuries could, if you get both of them, end you.

Also, the GM, responding to surprise player choices, may wind up improvising additional fights, hazards, and disturbing events. When these go wrong they hand out cards over and above those listed in the scenario. “You can’t die from the cards listed in the scenario” must always be read as “You can’t die from the cards listed in the scenario, if you only do what the scenario predicts you might do.” Those of us who have ever run a game know how big an if that is.

In yet another also, the GM never tells the players that a scenario includes few Shock or Injury cards. It’s not the actual likelihood of investigator demise that creates suspense in play, but the threat of it as perceived by the players, that delivers the emotional freight. When you get the last card listed in the scenario, you have no way of knowing that there aren’t a boatload more of them still potentially to come. Unless you read the scenario afterwards, you’ll never see that you were actually safe.

For those reasons, I decided that it should not be a requirement that every published scenario hand out enough cards to potentially kill off a character.

Also, with rare exceptions, Shock and Injury cards impose other penalties on the characters who receive them. That’s why they exist. Unlike a quantity of lost hit points, they create lingering effects that impact the story. They sit in front of the players, reminding them that something has gone wrong. Something that must be addressed. The anxious desire to get rid of these awful, nagging cards mimics the fear and unease of the characters. Even if you can only get one card of a given type in a scenario, when you get it, you generally really want to get rid of it. One card you remember getting, or struggling to discard, exerts a greater impact than some Health points you lost and then refreshed.

Even if that weren’t the case, a philosophical design question remains: is it somehow cheating, or poor form, to introduce the possibility of character demise when it can’t actually happen? A D&D or 13th Age game assumes you’ll be fighting up a storm over most evenings of play. But if a particular adventure has you intriguing your way through a trade dispute with little chance of taking an ax to the face, you likely consider that a refreshing change of pace. After a while you’re going to want to get back to the core activity of battling and looting, jotting down hit point losses as you go. But the adventure where the stakes aren’t the characters’ survival doesn’t register as a cheat.

For a scenario to engage the players, they have to care about something. They must want for X to happen and fear that it will not. The prospect of character death exists in games as a default set of stakes: do you live or die?

In the mystery scenario that GUMSHOE offers, you always have another measure of success, other than “am I still breathing at the end?” When you figure out what’s going on in time to prevent disaster, see justice done, or simply slake your curiosity, you’ve won.

As long as your choices lead to either good or bad consequences, those consequences don’t have to be Shock or Injury cards in order for players to walk away from the table remembering a gripping narrative.


The Yellow King Roleplaying Game takes you on a brain-bending spiral through multiple selves and timelines, pitting characters against the reality-altering horror of The King in Yellow. When read, this suppressed play invites madness, and remolds our world into a colony of the alien planet Carcosa. Four core books, served up together in a beautiful slipcase, confront layers with an epic journey into horror in four alternate-reality settings: Belle Epoque Paris, The Wars, Aftermath, and This Is Normal Now. Purchase The Yellow King Roleplaying Game in print and PDF at the Pelgrane Shop.

[[Editor’s note: The Yellow King Suite is included free as a digital download with The Yellow King RPG, and separately from the link below]]
 
Buy the YKRPG Suite MP3s now
 

by James Semple

The Yellow King Suite covers 4 different settings. In addition it presents a theme for The Yellow King RPG and music for the doomed, lost city of Carcosa. This project needed to reflect the various settings while uniting them all as a cohesive suite. The settings required different instrumentation and arrangements however the influence of the Yellow King is evident in all of them.

The King in Yellow

 

Inspired by the mysterious entity in tattered yellow robes, the haunting theme of the Yellow King waltzes through the chromatic chord changes of Cm D Fm Cm. The mysterious violin theme accompanied by harp and tuba evokes music of fairgrounds and travellers’ campsites. Eventually a full string section takes over as a clarinet plays counterpoint sounding almost like a carnival calliope. Finally a glockenspiel and boys’ choir fills out the arrangement with a mystic, spiritual aura. This music is reminiscent of the music of Danny Elfman but ultimately is influenced by the Romanza from Aram Khachaturian’s Masquerade. This chromatic twisting King in Yellow theme sets the tone of the whole suite. The melody is referenced throughout the suite, sometimes overtly, sometimes disguised and hidden. Occasionally only a few notes are quoted and often the melody is reharmonized. 

 

The Belle Époque

 

A gentle echoing piano ushers in lush ambiguous harmonies setting a tone of absinthe-soaked, dreamlike ennui. Solo cello gently drifts over the soft haze. Low register harp adds a rhythmic element as the intensity of the music increases. While the music does not directly quote the King in Yellow theme, the waltz rhythm and mercurial string passages definitely reference it. This piece was heavily influenced by the piano music of Erik Satie who was an influential Parisian composer during the Belle Époque. 

The Wars

Unrepentantly martial, this music unites a constant snare rhythm with relentless strings, piccolo and brass. The great and terrible European conflict of 1947 brought to life within the orchestra. The King in Yellow theme enters in a somewhat declamatory form played by the brass and woodwind. The music loses momentum, falling into a murky brass harmony, then builds again as the rhythm restarts and the King in Yellow theme returns triumphantly in the upper register of the strings and woodwind accompanied by choir. Holst’s Planets was a strong influence on this piece. Obviously with the rhythmic elements of Mars but also Holst’s use of polychords. 

The Aftermath

This piece takes on a somber hypnotic quality as the listener is lulled by the rhythmic notes of the harp. Harmonies in the strings and woodwind move entirely in parallel giving an unsettling quality typical of Impressionist music. Just as this mood takes hold, the King in Yellow theme returns in the strings and woodwind, spreading paranoia and fear. Years after the conflict described in The Wars, humanity tries to pick up the pieces to discover the monsters are still there. The music describes the isolation and haunted fears of the survivors. Bernard Herrmann’s music was a big influence on this piece, particularly his work in Vertigo. 

This Is Normal Now

As we reach the modern day, the shadows of the past continue to influence the present. Evil and disturbing elements surround you but just out of sight. You have to convince yourself that this is normal now. Just ignore the encroaching terror and keep on dancing. The music is EDM with no acoustic instruments, just human whispers. Even within the dance, the influence of the Yellow King is not far away and again his theme can be heard through the music. 

Carcosa

This final somewhat enigmatic piece is an attempt to capture the indefinable quality of the doomed city of Carcosa. Dramatic, emotional yet weary and fatalistic, the music moves through a series of moods depicting both the city and the play, The King in Yellow. Full symphonic strings take the spotlight here supported by occasional low brass. The entire piece trades through a rhapsodic series of musical moments where fragments of melodies spring to life and fade, slowly evolving into a new musical idea. The insidious melody of the King in Yellow grows out of this development, this time presented within a contrapuntal arrangement moving between the various string choirs. 

from James

Writing this music has been a personal pleasure for me. I’ve always found The King in Yellow to be exceptionally evocative and it was a wonderful challenge to create the suite. I hope it brings unsettling pleasure to the listeners!

I would also like to stress that none of this would have happened without the amazing talents of two other people. Mirela Nita composed the wonderful music for both The Aftermath and This is Normal Now. She also played the violin part on my King in Yellow piece. Roxane Genot played the sublime cello part that breathes life into The Belle Époque. Thank you to both of you for the incredible inspiration you brought to this project!
 
Buy the YKRPG Suite MP3s now

Basic Shock Deck

Apprehension, panic, terror, and collapsing causation!

This optional accessory helps The Yellow King Roleplaying Game GMs select and hand out Shocks during in-person play. Its card selection focuses on the varieties of fear and emotional disequilibrium most likely to afflict investigators into any reality-altering Carcosan mystery. Perfect for on-the-fly scenarios or abrupt sidetracks into hallucination and shattered consciousness. This deck assists GMs who prefer the solid slap of a physical card against the game table you can plunk before players when their characters stare into the uncanny and wish they hadn’t.

Basic Injury Deck

Bullets, blades, tumbles and absinthe overindulgence!

This optional accessory allows The Yellow King Roleplaying Game GMs to quickly grab and dish out Injury cards during face-to-face play. Its card selection focuses on the sorts of harm most likely to occur in any investigation into reality-bending occult horror. Ideal for improvised scenarios or sudden swerves into unexpectedly dangerous territory. This deck assists GMs who prefer the tactile charms of a physical card you can plunk before players when their characters lose fights or run afoul of hazards.
Contains 76 cards, with 2 copies of each Minor Injury and 1 of each Major Injury, corresponding to a wide variety of heroically harmful situations. Includes those essential workhorses of the game, post-healing Secondary cards like “On the Mend” and “Precarious Recovery.” From the mild drowning of “Cough, Choke, Splutter” to the memorable agony of “Fearsome Gut Punch,” this deck contains more than enough smackdowns to keep your investigators reeling with adventurous consequence.

Each purchase of The Yellow King RPG from our website, or a bricks-and-mortar retailer, includes the following downloads:

  • PNG files of all Shock and Injury cards from the four core settings
  • PNG files of all Goal, Chit & Hit cards from the Aftermath setting
  • A PSD format blank template of the Shock, Injury, Goal, Chit & Hit cards
  • A GIMP format blank template of the Shock, Injury, Goal, Chit & Hit cards
  • PDF of the 76-card Basic Shock deck
  • PDF of the 76-card Basic Injury deck

If you’d like print versions of The Yellow King RPG Basic Shock & Basic Injury decks, you can get them from the links below:

 
US & Canada – buy the Basic Shock Deck from DriveThruRPG
 
US & Canada – buy the Basic Injury Deck from DriveThruRPG
 
 
Customers outside the US & Canada – buy the Basic Shock Deck from Pelgrane
 
Customers outside the US & Canada – buy the Basic Injury Deck from Pelgrane

As addressed in an earlier piece, you may want to deploy a nastier set of Shock and Injury cards when playing The Yellow King Roleplaying Game in one-shot format.

The cards mentioned there give you a steeper doom spiral. But some con games may tick along safely until the very last moment, where dramatic necessity demands less of a spiral than a precipitous drop from unharmed to smeared across the streets of Paris. (Or the battlefield, or post-revolutionary New York, or in your neighborhood.)

This will most often happen when you as GM do your subtle and not-so-subtle best to steer the investigators from final annihilation, but the players follow their hearts and charge in headlong, warnings be damned.

When this happened in a con run I GMed last spring, I improvised my way to a result that provided the 50% party kill story logic decreed.

(Long story short: half the group decided to attack the Carcosan doppelgangers who had engineered their participation in the publication of the play. The other half decided to abstain. I pointed out what a big disadvantage this would put the fighting characters in. They remained undeterred. Not because they were foolish, but because it was the fun and fitting thing to do.)

Imposing an enormous Challenge rating to compensate for their unspent Fighting points was the easy part.

When you find yourself in this situation, you can improvise the requisite sudden deaths. But you might want cards to prove that you’re doing it within the rules. Which is what you’ll be doing, when you deal out the cards below.

BRINK OF DOOM

Injury

-2 to all tests.

The next Shock or Injury card you receive becomes your Final Card.

CLIMACTIC DOOM

Injury

Counts as your Final Card.

You are dead. Surviving PCs might take advantage of shattered reality to restore your the ability to speak and move. Even so, you’re still dead and leave play at end of scenario.


The Yellow King Roleplaying Game takes you on a brain-bending spiral through multiple selves and timelines, pitting characters against the reality-altering horror of The King in Yellow. When read, this suppressed play invites madness, and remolds our world into a colony of the alien planet Carcosa. Four core books, served up together in a beautiful slipcase, confront layers with an epic journey into horror in four alternate-reality settings: Belle Epoque Paris, The Wars, Aftermath, and This Is Normal Now. Purchase The Yellow King Roleplaying Game in print and PDF at the Pelgrane Shop.

For an indefinite but limited time only, send a pic of yourself holding The Yellow King Roleplaying Game to Robin on Twitter (@RobinDLaws) and he’ll put it through this lovely and not at all harmful Carcosan filter for you.


The Yellow King Roleplaying Game takes you on a brain-bending spiral through multiple selves and timelines, pitting characters against the reality-altering horror of The King in Yellow. When read, this suppressed play invites madness, and remolds our world into a colony of the alien planet Carcosa. Four core books, served up together in a beautiful slipcase, confront layers with an epic journey into horror in four alternate-reality settings: Belle Epoque Paris, The Wars, Aftermath, and This Is Normal Now. Purchase The Yellow King Roleplaying Game in print and PDF at the Pelgrane Shop.

The Yellow Sign featured heavily in The Yellow King Roleplaying Game and its associated banners and art radiates an alien clarity. As created by graphic designer extraordinaire Christian Knutsson, its imperfections exist within the calm and implacable surety of the Pallid Mask.

Yet no everyone in the clashing realities of the game pulls the same template or stencil off the shelf when they need to inscribe their loyalty to the Court of Hali in sigil form. You might want a gnarlier, freehand version to incorporate into your handouts and fan art. At Pelgrane we’re all about satisfying obscure desires we invent and then project upon you, the esteemed hypothetical reader. Accordingly, here are three sizes of the same freehand Sign for your sinister use.

The Yellow King Roleplaying Game takes you on a brain-bending spiral through multiple selves and timelines, pitting characters against the reality-altering horror of The King in Yellow. When read, this suppressed play invites madness, and remolds our world into a colony of the alien planet Carcosa. Four core books, served up together in a beautiful slipcase, confront layers with an epic journey into horror in four alternate-reality settings: Belle Epoque Paris, The Wars, Aftermath, and This Is Normal Now. Purchase The Yellow King Roleplaying Game in print and PDF at the Pelgrane Shop.

In a very special episode dedicated to The Yellow King Roleplaying Game, Ken and Robin talk time as a game mechanic, the Skin Affair, strange machinery in the Belle Epoque, and the Martinist magician Papus.

Waxen-eared conspirators at constant war with their cats aren’t the only people with a vested interest in propagating the Yellow Sign. At Pelgrane Press we want everyone to gaze into the symbol of Carcosa, pledging fealty to the Pallid Mask and perhaps picking up a copy of The Yellow King Roleplaying Game.

To this end, Pelgrane releases its Yellow Sign symbol, designed with subtle menace by Christian Knutsson, into the public domain. Use it personally or commercially. Put it in illustrations, banners, or books. Slap it on t-shirts, hats, mugs, or temporary tattoos. Get started by downloading the Yellow Sign image pack.

Spread the word from here to the Hyades. The king is here!


The Yellow King Roleplaying Game takes you on a brain-bending spiral through multiple selves and timelines, pitting characters against the reality-altering horror of The King in Yellow. When read, this suppressed play invites madness, and remolds our world into a colony of the alien planet Carcosa. Four core books, served up together in a beautiful slipcase, confront layers with an epic journey into horror in four alternate-reality settings: Belle Epoque Paris, The Wars, Aftermath, and This Is Normal Now. Purchase The Yellow King Roleplaying Game in print and PDF at the Pelgrane Shop.

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