During one of the informal Pelgrane meetings, Robin asked all GMs present about their default NPC-style. The PCs start interacting with an NPC we haven’t planned something for; what style of NPC do we tend to default to? I kept notes!

  • Gareth said he tends to introduce upper-class fops. And drunks. Maybe drunk upper-class fops.
  • Cat also tends towards drunks. And Valley girls, because: the accent. Not necessarily drunk Valley girls. But not necessarily not drunk Valley girls.
  • Noah’s default NPCs aren’t defined by personality, more like by activity. His players tease him because whenever there’s an unexpected NPC interaction, someone is busy loading or unloading a truck, or its era-appropriate equivalent. His default NPCs are stevedores and at any moment they can say, “Well the truck is ready, I gotta go.”
  • Robin brings on dumb-guy walk-on characters or disarmingly frank and charming Big Bads. But if the NPCs are just one-scene villains, meant to be defeated, they frequently work very hard to hurt the PCs’ feelings, making their comeuppance that much sweeter.
  • Similarly, I tend to introduce NPCs who are positioned to be sarcastically mocking, possibly because of the situation rather than their actual words. And I use funny voices. Which may burble out of control.
  • Speaking of out of control speech patterns, when Ken used an extremely funny accent for descendants of the Marsh Family, his players kept arranging visits with the Marshes for no reason other than to force Ken to use the accent. This is probably payback, because when Ken’s players interact with new NPCs, these NPCs are most frequently worryingly helpful.
  • Wade says he has two flavors of default NPC that emerge at the spur of the moment. One flavor is gruff and super-intense. The other flavor is absurdly wide-eyed and earnest.  Both flavors of NPC tend to react the same to the PCs—with barely suppressed incredulity. “Well, that’s one approach I guess,” an NPC will say after hearing the PCs’ plans. “You certainly do seem to know what you’re doing, I mean, you must do this kind of thing a lot without lots of people getting killed and things catastrophically blowing up, so maybe that would work.”

In the latest episode of their purple velvet podcast, Ken and Robin talk convincing your fellow players to follow your plan, Robert Anton Wilson, the not-Bronfman Curse, and NESARA.

“I told you to keep to the paths. You wandered into the Yellow Zone.”

— No. 6 to Nadia, “The Chimes of Big Ben,” The Prisoner

Robert W. Chambers may have invented reality horror, combining Poe’s fragility of self with Bierce’s arbitrary universe and his own artistic flair, but it arguably reached its peak, ironically in a theatrical form, seventy years after Chambers opened The King in Yellow. More specifically, it peaked in seventeen plays – teleplays – that changed up Poe by leaving the narrator-protagonist as the only fixed point in a slipstream world. I speak, of course, of the greatest television series ever filmed, Patrick McGoohan’s The Prisoner.

Tell me, have you seen the Yellow Pennyfarthing?

If you haven’t watched The Prisoner, go do it right now. The constant threat to McGoohan’s Prisoner (designated No. 6 by his jailer, No. 2) is precisely the personality disintegration that follows exposure to the Play, weaponized and scientized by the Warders of the surreal Village. The Warders plant doubles, sleepers, and moles within the Village, so No. 6 never knows whom to trust. No. 2 arbitrarily manipulates and alters the Prisoner’s environment to catch him off guard or in a dilemma, forcing him to act without reliable outside information, hoping to grind down his resolve to resist. In short, No. 2 is a GM.

“The result is bad. (That the prisoner has escaped without betraying a single word of information useful to us.)”

— Robert W. Chambers, In Secret

In our brainstorming during the GUMSHOE Scenario Workshop, Robin, Gar, and I came up with the notion of a castaway on the shores of the Lake of Hali. This idea further inspired me with the notion of a Carcosan Village, and the unknown No. 6 immured therein. So how might you introduce a suitable No. 6 into your own Yellow King RPG campaign? The basic challenge is this: the more the Prisoner might know, the less he trusts the PCs to hear – and the less they should believe what he does tell them.

Perhaps the simplest version of the story involves a prisoner of The Wars, escaped from a mysterious prison camp on the northwest coast of Morocco (or was it Wales, or Lithuania?) who reaches the PCs, ostensibly his allies and fellow-countrymen. He tells them about this reality-shifting prison, and his miraculous escape – at which time, the players most likely start interrogating him as avidly as his former Warders did. How did you escape? Why did they focus their attention on you? Did you desert? Were you on a mission? What was it? A roaring, inflatable Pallid Sphere hunting their new comrade down could be proof of what he says – or proof that he’s its master, covertly using it to break their discipline. As a new enemy offensive weapon? As a test of loyalty by their superiors?

In Aftermath, the PCs uncover evidence of a Castaigne psychological prison-village in Harmony, Colorado, where Carcosan magic and arcane technology fuse to control every aspect of the inmates’ perceptions and beliefs. The PCs’ preferred faction wangles the authority to investigate it, assigning the PCs to oversee the cleanup as temporary liberation coordinators. But sadly, the prison records have been sabotaged or forged or both by the time they get there. Before they know it, the PCs have become the new Warders, and have to sort out which of the prisoners are genuine resisters, and which were the original Castaigne Warders – and who was the Carcosan representative who ran the prison-village from behind the scenes? One suspect seems very likely – if only the PCs could break him …

“Break down his sense of reality, No. 12. Once he begins to doubt his own identity, he’ll crack.”

— No. 2 to No. 6, “The Schizoid Man,” The Prisoner

Rather than set the PCs as the structural Warders, what about making them the Prisoners? On paper, it couldn’t be simpler: they go to sleep, and wake up in the Village just like No. 6 did, gassed and kidnapped and transported to a brightly-colored gulag. You could theoretically run a setup like this in any of the sequences, from a Carcosan outpost in 1895 that uses eerily futuristic 1960s technology to a weirdly retro facility in the modern day that seems to have been built by mad scientists in 1966. (In any version, you might think about having a beautiful female No. 13, as a tip of the hat to Chambers’ heroine.) The PCs might not even know the secret they must keep – that they are player characters, especially real thanks to their accidental linkage between realities. Hopefully they can distract their jailers during the community theater performance …

It probably works best of all in Aftermath or This is Normal Now. In the latter setting, they awaken in the former setting, perhaps even in their old PCs’ bodies again but with eerie knowledge of their “normal now” lives. Someone (A Castaigne holdout? An unscrupulous Guardian cell? An old villain from The Wars, somehow still alive?) has re-built or re-purposed the old Castaigne prison-village in Harmony to trawl for reality shifting life-lines and caught the PCs. They have to figure out who’s running this place, and how to get themselves sent (or send themselves) back to their proper timeline. But do their old PCs want them to succeed? Any unfinished business from the previous sequence should definitely come back to haunt them.

In Aftermath, the PCs wake up in a Castaigne-run Resort, an Beaux-Arts no-place reminiscent both of the TV series and of the Belle Epoque. Dr. 2 (“names are just labels”) informs them that the Castaigne empire never ended; they are here in the Resort to recover, so they can return to the valuable security work they were doing before their breakdown, hunting down malcontents and rebels like their PC selves. Come up with Castaigne regime figure identities eerily reminiscent of the PCs’ Aftermath selves, which the Resort attempts to fit the PCs into. Dr. 2 might be the sort of holdout or revanchist mentioned earlier, attempting to forcibly shift the whole world back onto a new Castaigne-victorious track just as Hildred and Wilde did in 1895/1920.

In either of these versions, of course, the GM could be working with one or more of the players. Especially if their PC has proven to be unreliable in previous adventures or sequences, their identity in Harmony or the Resort is fake – they are actually doubles impersonating their actual self, working with the Warders and Carcosa. Depending on the group’s appetite for suspicion and paranoia, this might comprise a series of scenarios each revealing a new double and culminating in the one true PC’s decision/breaking point, or it might just be one big adventure playing with very plastic identity that leaves just enough loose ends to justify the occasional weird callback later on in the game. Be seeing 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 players 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 Zone Jaune is a region in north-eastern Europe that was deemed “inhospitable to human life” in the wake of the Continental War. The widespread deployment of Carcosan ‘yellow science’, not to mention conventional artillery and chemical weapons, rendered the region – some 2,000 square kilometres of forest and former farmland – utterly hostile and unable. “Damage to properties: 100%. Damage to agriculture: 100%. Damage to reality: unmeasurable. Impossible to endure,” reads one report, written shortly after the end of the war.

The French government established the cordon around the Zone Jaune within a month of the ceasefire. In the years that followed, several nations bordering the zone unofficially began using the area as a dumping ground for left-over munitions and Carcosan technologies. Whole battalions of stalkers were driven into the woods and abandoned, their legs broken on steel hedgehogs (some accounts use the term ‘herded’, implying that there may be some truth to the tales of some stalkers developing a degree of self-awareness and independent action). Dragonflies and other aerial vehicles were packed with Carcosan technology and crashed deep in the zone. Darker stories tell of convoys of trucks and special trains loaded with ‘livestock’ that were driven into the Zone Jaune and left there.

Today, the Zone’s surrounded by many miles of barbed-wire fences and ditches. Entry into the Zone is forbidden; nature has been allowed to reclaim the land within, although it’s debatable which nature holds sway in that yellow wood – the French government insists that any unusual plant species are the result of toxic chemicals and not invasion from Carcosa. Farmers bordering the Zone often dig up munitions and other remains, including ‘biological matter’; these are collected by a special division of the French military, CEOM, for safe disposal. CEOM also monitors the ‘deep zone’ – there are observation towers within the forest, accessible by long roads that cut through the haunted woods.

Encounters in the Zone Jaune

  • Sacrifice Villages: Abandoned rural villages, now ruined. Some were abandoned before the war; others were evacuated when the Zone Jaune was established. Full exorcisms were carried out where feasible, but many hauntings have been logged by CEOM patrols.
  • Unexploded Munitions: The landscape of the Zone is littered with millions of tons of artillery shells, mines, dumped tanks of chemical weapons, toxic occult waste and other hazards – all hidden beneath the undergrowth. One false step can prove instantly lethal.
  • Damaged Places: Reality has suffered considerable damage here. The Zone Jaune is riddled with natural portals to other worlds – primarily Carcosa, but it’s possible to slip from one version of Earth to another if you know the right path through the woods.
  • Hunters: Nature has reclaimed the zone – it’s full of wild animals, including bears, deer, wolves and gravegrinders. Hunters and poachers slip past CEOM patrols to bag a trophy  – and Carcosan entities hunt the hunters and steal faces so they can escape the Zone undetected.
  • CEOM Patrols: On the borders, CEOM turns trespassers away with little more than a slap on the wrist. A foolish tourist or would-be hunter gets arrested, dragged off to a holding facility, and then given a fine and a lecture by a very angry officer before being released. Deeper in the woods, away from cameras and prying eyes, CEOM shoots intruders on sight.  
  • Scavengers: There’s a brisk trade in what’s euphemistically called ‘scrap metal’ from the Zone. Intact Carcosan relics and the remnants of Science Jaune grimoires are especially sought after. Scavenger teams enter the Zone disguised as hunters – or bribe CEOM guards for priority access.
  • Mustard Fog: The most infamous of the Zone’s hazards, mustard fog is a toxic stew of poison gas leeched from rotting artillery shells, mixed with lingering magic. Survivors speak of hearing hauntingly beautiful music and seeing strange lights in the fog, as if there was some enchanted ball going on just on the other side of the fog bank – just before they vomited up their liquified lungs and died. Other accounts claim to have seen huge animals like flying whales moving through the yellow mist.
  • Active Machines: Abandoned stalkers, dragonflies and other machines of war sometimes spark into life within the zone, dragging their broken metal bodies through the underbrush until whatever surge of occult energy that activated them passes once more.
  • Zone Natives:  Warspawn and other Carcosan entities can survive within the Zone, even as the influence of Carcosa fades outside.

Using the Zone Jaune

  • In The Wars: While the official Zone was only established after the war, the region that became the Zone was blasted by occult weapons when the fighting was still ongoing – and had already acquired a reputation as a lethal assignment. Units sent to the Zone never return.
    In Aftermath: Castaigne survivors in search of Carcosan energies flee overseas to France, bringing matters of international diplomacy and extradimensional extradition to the table in post-regime politics.
    Alternate Aftermaths: Instead of playing revolutionaries in a post-Castaigne New York, you’re playing the leaders of a small town on the edge of the Zone. Some of you are veterans, some are the next generation, growing up in a world where the horrors of Carcosa and the Continental War are fading memories. The town strives towards normality and a new beginning, but the scars of the war still linger – and the council must balance mundane municipal duties with supporting the needs of the local CEOM garrison.
  • The Wood Between The Worlds: The war blew holes in reality in the Zone; characters trying to slip from one reality to another – like, say, This Is Normal Now investigators trying to loop back to Paris – might travel to France and enter the woods. Just keep walking until the fog turns yellow…

 


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 the latest episode of their anomaly-detecting podcast, Ken and Robin talk science mystery scenarios, a cannibal fugitive, hardboiled 30s Mutant City Blues, and changing the condiment timestream.

April 30th rolls ‘round again, season of doors and frightful manifestations. You may know it as Walpurgisnacht, the Witches’ Sabbath – at least according to poor Walter Gilman, the ill-fated protagonist of Dreams in the Witch House.

Now he was praying because the Witches’ Sabbath was drawing near. May-Eve was Walpurgis-Night, when hell’s blackest evil roamed the earth and all the slaves of Satan gathered for nameless rites and deeds. It was always a very bad time in Arkham, even though the fine folks up in Miskatonic Avenue and High and Saltonstall Streets pretended to know nothing about it. There would be bad doings—and a child or two would probably be missing. Joe knew about such things, for his grandmother in the old country had heard tales from her grandmother. It was wise to pray and count one’s beads at this season.

It’s certainly a potent date in Mythos terms, a time when the Old Ones are uncomfortably close at hand, a night for rituals and bonfires. In Germany, for example, it’s Hexennacht, and one’s supposed to dress as a witch and make noises to keep real witches and evil spirits away. Old Keziah Mason isn’t the only one abroad that night – Wilbur Whateley and his brother were conceived on the night of April 30th, and it’s also one of the two nights when the folk of Innsmouth were obliged to offer sacrifices to their Deep One allies, or so Zadok Allen tells us. Perhaps other entities can also use the doors of Walpurgnisnacht to move between the spheres – it’s in May that Professor Peaslee is taken by the Great Race of Yith, and he begins to have cogent dreams about his abduction in the same month a few years later.

A few other Lovecraftian dates:

  • February 2nd – The Feast of the Presentation, also known as Candlemas, “which the folk of Dunwich observe by another name”. It’s the date of Wilbur Whateley’s birth; also the Roman feast of Lupercalia, with its associations of fertility and beasts.
  • February 28th – The anniversary of the rise of R’lyeh in 1925. Presumably, as the orbit of the Earth around the sun brings our world back to roughly the same star-configuration, it might be possible for Great Cthulhu’s call to be heard more clearly on this auspicious date.
  • August 1st – Lammas Night, a festival celebrating the harvest. Also the night on which old Wizard Whateley passed away. Did he linger long enough to find some door into the outer sphere, where the whippoorwills couldn’t catch him?
  • October 31st – All Hallows’ Eve: Obviously, lots of spooky connections here. Notably in the Mythos, it’s the other date that the Innsmouth sacrifices are made. Wilbur Whateley makes cryptic expeditions into the hills on this date, too.
  • December 21st – Yuletide, “Yuletide, that men call Christmas though they know in their hearts it is older than Bethlehem and Babylon, older than Memphis and mankind,” as The Festival puts it.

 

Festivals in Your Games

Tying events to a particular anniversary can be a handy trick in a Trail of Cthulhu scenario. The classic is “the cult’s summoning ritual can only be performed on Lammas Night” or whatever seasonally appropriate date you prefer, giving the investigators a hard deadline – if they don’t thwart the cult before then, the world is doomed. Another option is to use a festival as the inciting event for the scenario – if the killings start on May 2nd, then maybe something crept through into our reality when the veil was thin on Walpurgnisnacht, and now it’s up to the investigators to track it down. You can also use a seasonal ‘window’ for a survival-horror game, where the challenge is simply escaping the monster until the date changes and the stars are no longer right. Maybe a bunch of investigators in the wilderness run into Ithaqua on the Yuletide, and need to survive until dawn on December 22nd. Astronomy or Occult Studies can clue investigators in to the celestial connotations of a date.

Finally, don’t neglect obscure festivals and feast-days as inspiration. The Wikipedia page for a particular day is a great tool for bisociation – for example, a quick scroll of the April 30th page gives us both Operation MINCEMEAT and St. Adjutor, the patron saint of boaters and the drowned. What else did the Seraph dump in the sea on Walpurgisnacht? In whose name did she make offerings?

In the latest episode of their pig befriending podcast, Ken and Robin talk proactively playing your Deucedly Peculiar Thing, top ten films of 2020, and the case of the disappearing magician.

In the latest episode of their petrification-resistant podcast, Ken and Robin talk least favorite monsters (looking at you cockatrice), the Yellow Fleet, recent horror film essentials, and Austin Osman Spare.

A column about roleplaying

by Robin D. Laws

Last time we started laying out a loose episode structure for your Yellow King Roleplaying Game Paris sequence. Start there for episodes 1 through 7.

Episode 8: Visit from Home

Follow a time-honored serialized storytelling convention, bringing in a relative who drops into Paris to complicate an art student’s life, illuminating their backstory.

The relative’s personality contrasts with the characters’, sparking entertaining conflict. A stern investigator has a flighty, extroverted mother. The flibbertigibbet Poet has to squire around the forbidding father who wants him to set prose aside for the family insurance firm.

After a light comic opening, reveal that the relative arrives pre-enmeshed in Carcosan trouble. Mom has invested in a skin cream that owes its remarkable properties to black star magic. Father wishes to procure an antique at the behest of a masked blackmailer capable of ignoring the constraints of time and space.

A player may have already laid seeds for this by connecting their Drive to a relative. If someone’s looking for a missing sister or hoping to clear the name of a falsely accused brother, or came to Paris to escape a scandal involving a wastrel father, that story now surfaces, with a decadent, supernatural hook.

Episode 9: Police and Thieves

Dispatch the art students into the Parisian demimonde to solve a mystery with a criminal element. See pages 133-137 of the Paris book.

  • Oddly chosen targets of the latest anarchist bombing wave suggest a connection with Carcosa.
  • Prisoners released from Le Sante Prison commit murders they can’t remember. The art students must identify the inmate distributing smuggled excerpts from the play and untangle his vengeful scheme.
  • Sûreté head turned private eye Marie-François Goron enlists the art students in his inquiry into a hypnosis-related murder that echoes the old case that haunts him, the slaying of high profile courtesan Régine de Montille.

Episode 10: Psychogeography

Create a scenario that draws the art students to an iconic Paris location.

  • A ritual to feed souls to the king must naturally take place at the city’s axis mundi, also known as the Eiffel Tower.
  • How did strange yellow flowers come to overrun the botanical exhibits at Jardin des Plantes?
  • Are the lights seen at night at the Picpus Cemetery connected to victims of the revolutionary guillotine, or something older?
  • The Catacombs—portal to the shores of Hali?

Episode 11: Ripples from Brittany

Bring in haunted Brittany, site of Robert W. Chambers’ better supernatural stories outside his King in Yellow cycle. Either have the weird beings of its folklore show up in Paris, or send the art students on a road trip to the sea-swept coastal town of Brest. In this latter case, disturbances inland and out on the sea could presage the rising of Carcosan island, the model for the legendary city of Ys.

If you want to keep the students in the city, the mystery might revolve around:

  • the hulking, demonic church guardians called the Nain.
  • the troublingly self-willed and mobile skull of a Breton sorcerer.
  • a rash of improbable deaths, each heralded by the sound of an unearthly locomotive—a sign that the long-tressed Breton herald of death, the Ankou, has come to town.

Episode 12: Royal Return

A new mystery leads once more to the member of the Carcosan royal court you introduced in Episode 6. The plot the art students uncover is meant to further the royal’s previously established agenda. Build in opportunities for:

  • the player character most connected to the royal to pull away—or draw closer.
  • the other characters to interact with your big bad.
  • Foreshadowing an even bigger plot, which comes to fruition in episode 17.

Episode 13: Family Obligation

A message arrives from back home, urging one of the art students to attend to a matter concerning the family business empire. This leads to business or political intrigue instigated by a conspiracy bound together by the Yellow Sign. Depending on how the player describes the source of Papa’s wealth, this might involve:

  • sabotage of a ship or factory.
  • embezzlement to fund the conspiracy’s activities.
  • a smokescreen that falsely implicates the company in assassination or massive graft.

Episode 14: Weird Science

An experiment gone awry, no doubt after someone in the lab read the play, sends the art students on the trail of Patchworks, radium ghosts, or a device that sees past events—and then alters them.

Episode 15: Secondary Villain Returns

The recurring antagonist first seen in episode 3 returns, seeking revenge on the art students or running a new scheme for domination only they can unravel. This time, give them a solid opportunity to finish off this foe for good.

Episode 16: Political Entanglement

When scandal threatens a prominent politician, the art students can’t help but see a Carcosan modus operandi behind it. Investigation draws them into the halls of power, as they determine which of France’s factions have been suborned by the pallid mask. Is it the Legitimists, aka Monarchists, desperate to reverse their vanishing influence? The Bonapartists, believing themselves to be in communication with the spirit of Napoleon? Or those normal-seeming Moderates, who currently hold power and thus have the most of what Carcosa seeks?

Episode 17: A Glimpse of Hali

A climactic mystery brings back your chosen Carcosan royal and gives your players the chance to wrap up various sub-plots of this first sequence. The scenario allows the art students the chance to behold Carcosa, perhaps to travel there briefly. Whether they achieve a victory that feels suspiciously like a happy ending, or are drawn into a doom that will bedevil later counterparts depends on how well they do during the closing confrontation.

In the next installment of See P. XX, the series outlines continue, with the front half of a similar episode guide for The Wars.


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.

A Scenario Hook for Ashen Stars

The lasers pick up a contract for what appears to be a simple rescue mission. The massive freighter Never Given has lost faster-than-light capability and has become lodged in a translight corridor.

Characters with Astronomy or Forensic Engineering want to hear that last bit again. Lodged in a translight corridor? That isn’t possible!

Well, replies the client, it might not be possible, but that hasn’t stopped it from happening. Worse, the freighter’s presence prevents other ships from using the corridor. In an area with few FTL jump points, the accident threatens catastrophic shortages on a dozen worlds.

Hails to the Never Given garner nothing but static and garble. The contract calls for a crew to establish contact with them, rendering whatever aid is required to get that ship moving again.

The mostly automated ship runs with a skeleton crew. Once aboard, the lasers discover the survivors suffering from acute sensory disruption. They’re hallucinating, experiencing their memories of the Mohilar War. Like everyone, including the investigators, they lost all recollection of that conflict when it ended. Whatever they’re reliving, it’s traumatic, and jacking their medical readings into the danger zone.

Not long after boarding, the lasers start to flash back to their own repressed war histories.

Through investigation, the group discovers that radiation from cutting-edge computer components in the cargo hold has altered the temporal frequency of the entire ship, causing everyone on board to exist in two times at once. As they race for a fix before they too succumb entirely to the chrono-hallucinations, they must ask themselves—do they stay in their altered states long enough to learn more about the Bogey Conundrum? Or do they decide that the knowledge of the war ought to remain in the box some unknown force so dramatically put it in?


Ashen Stars is a gritty space opera game where freelance troubleshooters solve mysteries, fix thorny problems, and explore strange corners of space — all on a contract basis. The game includes streamlined rules for space combat, 14 different types of ship, a rogues’ gallery of NPC threats and hostile species, and a short adventure to get you started. Purchase Ashen Stars in print and PDF at the Pelgrane Shop.

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