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.

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

  • PDFs of the Paris, The Wars, Aftermath and This is Normal Now settings
  • GM Screen PDF
  • Slipcase GM Screen PDF
  • MP3s of The Yellow King RPG Suite
  • 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
  • Bonus The Yellow King RPG adventure, “The Doors to Heaven”, written by Sarah Saltiel for the Paris 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

 

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)

Four Hallowe’en Horrors for the Yellow King RPG

(Photo by Rick Monteiro on Unsplash)

 

The Ugly Americans (Paris)

Hallowe’en is an American tradition – well, mostly derived from immigrants from the United Kingdom, but America added a lot of sugar and exported it back. Certainly, it’s not a French tradition – the French celebrate La Toussaint, All Saint’s Day, on November 1st.

But you’re American students in Paris – if you can’t be obnoxiously loud and tacky tonight, then something’s terribly wrong with reality.

So, the characters go on an absinthe-and-candy-fuelled bender across Parisian pubs and cafes, dressed in unlikely costumes. Obviously, they have to call in on the Montmartre Cabaret (du Néant, and de l’Enfir – Paris, p. 100), They pick up a couple of other revellers along the way. As the party wears on, with drunken Halloween games and superstitions, they end up in a bar around three in the morning, and someone in the party suggests they have to tell ghost stories. Everyone in the group must tell a ghost story.

Someone else in the party – some masked stranger they picked up en route – also tells a story. A haunting, surreal tale about a city of masked revellers, troubled by a masked stranger, and the coming of the King in Yellow.

The next morning – All Saint’s Day –  while fighting through handovers, the characters realise the following:

  • Something’s horribly wrong with the world. They can feel it in their bones, in their skulls. There’s a yellowish cast to everything.
  • None of them can recall how that stranger joined their company last night. One of their French introduced him to them… but they can’t recall exactly who or when. Finding out how they met that masked stranger is an ongoing mystery to be solved.
  • The stories each of them told have become their Deuced Peculiar Things.

 

Trick or Treat (The Wars)

October 31st, 1949. Your squad’s fighting in the Continental War. An enemy prisoner – any rumours that he’s a sorcerer are nonsense, of course – escaped from the facility where he was being interrogated, and has taken refuge in a nearby village. All routes leading out of the village have been secured, so he must be hiding in one of the houses – he’s probably holding some of the locals hostage, and forcing them to hide him. Your squad’s orders are to go house to house, searching each homestead in turn, until you find the escaped sorcerer. Correction – escaped prisoner. Not a sorcerer. He certainly has not conjured Carcosan entities, and the village is not a series of set-piece traps and nightmarish tableaus.

To navigate the village and find their quarry, the squad must deal with each house in turn, solve whatever Carcosan peril or weird encounter awaits them there, and follow a series of clues to discover where the escaped sorcerer is hiding.

Knock on each door in turn, and pray that a trick is the worst fate that awaits you…

 

Dress Up In You (Aftermath)

You’re all tired and traumatised by the events of the revolution; you need time to heal. One of the characters has a relative who lives out in a small town; they’ve got a big house, with space for all of you to stay. You can hang out in the countryside for a few weeks, take a break from the twin stresses of monster-hunting and politics.

Outside, the town’s getting ready for Halloween. Some small places like this came through the Castaigne years better than the big cities. It was easier to hide, out here. Fewer eyes. As twilight draws in, you see the town’s kids putting on their costumes. A lot of Dream Clowns, like always, but… yuck, some of them are dressed as Regime entities. Explosionists, Argus, Sphyxes, Carcosan visitors. Little siblings tagging along with their big brothers and sisters, dressed as cute Cancer Bags with legs.

Then… from downstairs, the sound of breaking glass. The house is under attack. Those aren’t costumes any more – the kids have been transformed into a cavalcade of horrors.

Some lingering supernatural threat (a Castaigne sorcerer, hiding out? A Carcosan tripwire? A spasm of fading magic) has made the make-believe horrors of the past real again. How to the characters escape the town and find the source of the transformation when they can’t kill the innocent children beneath the masks?

 

Your Face Will Stick Like That (This Is Normal Now)

The fun new gimmick this Halloween is a live face-swap app. You run it, and it swaps your face on video for that of your friend, or a cartoon character, or a celebrity. This Halloween, they’ve added a bunch of spooky faces – witches and vampires and goblins and… ew, that’s tasteless. There’s a Famous Serial Killers tab – Dahmer, Bundy, Jack the Ripper… and that freaky guy who killed those kids last year, the Halloween Stalker. They never caught him, did they? Anyway, don’t click on that.

Uh-oh. It was swapped your face anyway. And it’s swapped it in real life. Suddenly, you look like the infamous uncaught serial killer. Not on video. Physically.

How do you get your real face back? Does the killer have your face now? Or is this some sick joke where you’ve got to kill someone to earn your face back? And why is the logo of the app developer this weird yellow squiggle that you swear you’ve seen before?

Oh god – that was the doorbell. There are kids here, trick or treating! Quick, pull on a mask so they don’t recognise you – no, him! The Halloween Stalker! Get rid of the kids – NOT LIKE THAT – and then call your friends from the café, because you’re going to need help figuring out what’s going on!

 


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 flapper, an astronaut, a ghoul, a weird scientist, and an empress of evil walk into a Halloween party… and mind-bending reality horror ensues!

Join us on the Pelgrane Press Twitch channel on October 31st at 8 PM EDT / 5PM PDT for a very This is Normal Now Pumpkin Spice session of The Yellow King Roleplaying Game.

Starring Sharang Biswas, Misha Bushyager, Wade Rockett, Ruth Tillman, and Cat Tobin and GMed by YKRPG designer Robin D. Laws.

Produced by Noah Lloyd; flyer by Dean Engelhardt.

Bring your own spoo-oo-o-ooky shooters.

WRISTBAND REQUIRED FOR READMITTANCE.

A column about roleplaying

by Robin D. Laws

A colleague currently running The Yellow King Roleplaying Game recently asked me what happens when one of your players determines to seek out “The King in Yellow,” the fictional play that brings mental dissolution and reality shattering supernatural effects to all who read it.

The answer is: why, you credit the genius of the game designer for expertly luring this player into this elegant and entertaining trap.

The player has just given the teacher an apple, and the teacher is you.

A protagonist of your story has chosen to act exactly like the protagonists of Robert W. Chambers’ four original stories. Like the protagonists of stories others of us have written in filling out the boundaries of Carcosa.

In all four cases, Chambers presents the acquisition and reading of the play as part of the antecedent action. Their doomed antiheroes have already absorbed its decadent terrors. One of them swore never to read it, yet discovers it on his shelves, its contents already burning in his brain.

When I run YKRPG: Paris, I generally start laying hints suggesting that as part of antecedent action the characters no longer recall, they did more than merely read it. Somehow they took a key role in bringing it to publication.

In my one-shot con runs, the book makes an appearance more often than not. The online game I ran for Kickstarter backers ended with a showdown at the printing firm about to flood the streets with fresh copies.

Unlike the Necronomicon, The King in Yellow is no rare, antiquarian tome. It is a recently published book suppressed by authorities in England and France. While Lovecraftian volumes seem to want to remain arcane, the play wants to propagate. Like many a government action, the banning of the book may have been indifferently executed, leaving plenty of copies still in circulation.

In my home series, the Parisian characters acquired and burned several copies. Having them confiscate and destroy the book made for a fine button marking the conclusion to a particular mystery. Sometimes rumors of a copy kicked off the scenario. On other occasions it appeared incidentally, after they were drawn into the mystery by other means.

Of my groups’ many fine qualities, the one that stands out here is their ability to portray their characters as truly afraid of horrific eventualities. They handled the captured books with appropriate care, handing them over to an efficient Teutonic agency for disposal. Still, they couldn’t help but crack a copy open and see that the frontispiece illustration resembled the work of the Landscape Artist. The Poet read enough of it to note unnerving similarities in vocabulary and meter.

If one of your characters wants nothing more than to read the whole play from cover to cover, you’ll find the Shock card pairing on page 69 of the Paris book: The Self Crumbles and Moral Vertigo. Both impose discard conditions that will motivate a character who reads the play to destroy the copy he read.

What’s that you say? More than one character read it? Oh goodness! Well now they’ll have to find one copy per afflicted investigator!

Even if only one character scanned the decadent pages, what’s to say that the book remains on hand waiting to be destroyed? This slender volume sometimes acts as if possessed of a sinister will, coming and going on its own recognizance.

YKRPG is a game about recurrence. When characters over its four-sequence arc continue to not only find but read the book, you might create variants of “Moral Vertigo.” The original card tempts the reader of the play to commit murder.

Another might bend them toward political insurrection, as it does Mr. Wilde in “Repairer of Reputations.”

Other possible effects for alternate cards:

  • The character sees ghosts.
  • In stressful situations, on a failed Sense Trouble test, the character hallucinates Carcosan threats where none exist.
  • When the character discards any other Shock card, roll a die. Odd: card is not discarded.
  • When players mention that a particular action would be foolhardy or heedless, the reader of the play makes a Composure test. On a failure, you flash the action forward to the moment after she has gone and made exactly that mistake.

You may sense that players expect a hunt fraught with obstacles. In that case, oblige them. The hunt first leads to an illicit bookstore that sold its last copy hours before their arrival. Then the group finds a forgery. After that they hear that a book collector owns one—but when they arrive at his villa, blood pools around his corpse, the book is gone, and evidence at the scene points to them as primary suspects in his murder.

As with any player-driven quest, you want to extend it just until it reaches the point of frustration, then satisfy the goal just as it is starting to feel impossible. Since this is a horror game, you’ll want to follow that up with a twist, in which finally gaining the long-sought item ushers in a new set of problems.

As seen in the story “The Yellow Sign,” reading the play can summon the king himself. There he shows up inside a corpse he has animated, delivering immediate and fatal punishment. In your game he could appear as a murderous art critic, sadistic general, former regime official, or venture capitalist. He toys with the character for an entire sequence, slowly escalating his menace until a final showdown that may result in the character’s freedom—or destruction.

After a sustained effort to acquire the book, you might throw the player for a loop by revealing it as something altogether different than the rumors suggest.

It might be:

  • an elaborate cryptogram teaching one or more spells, taken from the upcoming Black Star Magic.
  • a gateway that pulls the reader literally into Carcosa.
  • a devouring entity that feasts on the consciousness of its readers.
  • a completely blank book, whose destructive power over febrile minds derives entirely from the reader’s own imaginings.

Players who swear to track down the book have embraced the premise and are asking you for surprise and trouble. Satisfy them, doling it out in exquisite doses.


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.

Game Moderators seeing the Push rules in The Yellow King Roleplaying Game and now second edition Mutant City Blues sometimes ask how to import them into previous GUMSHOE games.

To recap how Pushes work, players get two of them per scenario. They can spend Pushes to gain non-informational benefits from their investigative abilities. For example:

  • A Painting Push lets you say that you had a work accepted to the group show at the haunted gallery.
  • A Reassurance Push allows you to calm a terrified witness, so that he follows your instructions and stays out of harm’s way.
  • With a Chemistry Push, you can synthesize an antidote to the venom of the snake that just bit your comrade.

Previous GUMSHOE games have you allocate a number of points to each ability. This gives you a pool of points, which you can spend to gain the same sorts of benefits. The GM decides whether a benefit costs 1, 2, or sometimes even 3 points.

To use Pushes in a GUMSHOE iteration with investigative points, convert scenarios as follows:

  • Some scenarios charge you for non-core clues—information that doesn’t lead you directly to another scene. Never require a Push for this. (In fact, I’d personally drop this entirely in any version of GUMSHOE, and always provide all information for free.)
  • When a benefit costs 1 point, provide it at no cost if the player suggests it unprompted.
  • Otherwise, when you see a 1-point spend listed in any scenario, and you think it would be useful or cool or otherwise gratifying enough to suggest to the player as a possibility, it costs 1 Push. If it seems marginally useful and not worth a Push, ignore it entirely.
  • Any benefits costing more than 1 point cost 1 Push.
  • If you think your players will find the benefit of a 2+ point spend overpriced, provide it for free (if asked) or let it go unmentioned.

A very small number of abilities in the crunchier GUMSHOE games, such as Ashen Stars, call for point spends to power particular effects. These probably require case-by-case design work to adapt to the Push rules. As a rule of thumb, a clearly useful special benefit either costs a Push or can be used at no cost, but only once per session.


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 sourcebook for The Yellow King Roleplaying Game

The Carcosans Are Coming

Have your Yellow King Roleplaying Game players grown complacent battling gargoyles, vampires, and riot dogs? Do you have a reality horror mystery crying out for a fresh and bizarre villain to drive it?

The Yellow King Bestiary solves your problems by helping you create some for your Belle Époque art students, Continental War soldiers, alternate reality ex-insurgents, and ordinary people trapped in unraveling normalcy.

From alien parasites to warped human conspirators, from hungry buildings to incarnations of drought, from gods torn from the pages of myth to war machines that hunt in wolf-like packs, The Yellow King Bestiary presents 86 new Foes to mystify, haunt and menace your investigators.

Throw icewater into your player’s veins with 100 brand new Shock and Injury cards. The book also includes all the preexisting cards you need to run these adversaries and beasties without reaching for any other volume.

Foe descriptions key themselves to one of the game’s four twisty sequences. Each entry also includes hooks inspiring you to repurpose the Foe in the other three settings.

With this book in your feverish hands, the investigators can:

  • Tremble in aesthetic unease when confronted by the Living Portrait!
  • Flee the blazing weapons fire of the Angel of Mons!
  • Shudder at the razor teeth of the hinge-jawed Flip-tops!
  • Open their apps to fall into the validating, concerned clutches of the Chirpers!
  • And much much more…

Whatever hole opens up in your reality today, an antagonist from The Yellow King Bestiary is ready to slither out of it, through your mind and into your heart.

Authors: John Harness, Kira Magrann, Sarah Saltiel, and Monica Valentinelli, with Daniel Kwan

Project Status: in copy-editing

Release Date: TBA

In the latest episode of their cow-shaped podcast, Ken and Robin talk finding story in setting, Utopian architecture, a three-eyed Yellow King foe, and David Lynch’s Revenge of the Jedi.

One of the strange joys of a Yellow King campaign, with its quadripartite structure, is that you can be certain for months in advance what’s going to happen. That’s a rare gamemastering luxury; in other games, you can roughly guess where the campaign is going, but you can’t be sure. Maybe your Night’s Black Agents agents will be in the Carpathian mountains on the trail of Dracula in six month’s time, but knowing player characters, it’s just as likely they’ll be trying to organise a coup in a small South American country or something equally absurd. In The Yellow King, you know that your Parisian artists are going to become soldiers in a surreal European war, then traumatised freedom fighters trying to rebuild the country, then parallel-universe ordinary people about to come in contact with alien forces for the first time.

The bigger the gap between prophecy and payoff, the greater the chance that the chaotic nature of roleplaying games will ruin your planned set-piece. Key player characters might get killed, the campaign might go in another direction entirely, or the mood of the campaign might no longer fit the vision. In most games, the only solutions are to use heavy-handed railroading or make the visions so vague they apply in any situation. The Yellow King makes things much easier; you can tailor the starting situation of a new sequence so it leads naturally into the prophesy. That means you can drop hints – visions, prophecies, flash-forwards – into one sequence that pay off in another, and be sure of executing them successfully.

Visions Of That Rugose Thing Really Tied The Campaign Together, Man

Foreshadowing and prophecy work like call-backs and echoes; just as having a Wars character find a piece of artwork made by a Paris character links the two sequences, a flashforward from The Wars to This Is Normal Now connects those two parts of the campaign. The connections don’t have to be especially significant or meaningful in themselves – the point is to amp up the weirdness and claustrophobia, and make the players feel like the campaign sequences are all part of a single alien experience. Foreshadowing just for the sake of being strange and shadowy is a perfectly acceptable technique in this campaign.

Some Suggestions

  • In Paris, the artists come into possession of a painting called The Ambush that depicts a fantastical future battlefield, where giant walking war machines rain death upon footsoldiers. The painting shows a small squad about to be attacked by an unseen foe; the squad are all distracted by the stalker in front of them, so they don’t notice the foe behind them. When you create characters for The Wars, you specify that the player characters are close to the front lines; it’s easy then to find ways to get them onto the battlefield, in the same situation depicted in the painting.
  • Also in Paris, one of the characters comes into contact with Carcosa and is saved from madness by a mysterious explosion that destroys part of the alien city. Later, in Aftermath, the characters there plant a bomb atop a Carcosan gate; the explosion blasts through the portal to the far side.
  • During The Wars, the player characters run into a traveller who insists the war is over – it ended two years ago, in 1945. Europe’s at peace now, at least until the Soviets and the Americans start fighting. The traveller’s clearly from the timeline of This Is Normal Now. Later, when you move onto that sequence, the slacker player characters find the traveller’s diary, and read of a previous brush with strangeness.
  • Also during The Wars, the characters recover surveillance photographs from an enemy dragonfly. Mixed in with the photos of troop detachments and supply lines are a set of images of a strange futuristic city (the present-day setting of This Is Normal Now). The surveillance flights seem to focus on a coffee shop. Later, when you create characters for This Is Normal Now, you declare that the characters all favour a particular local coffee place,
  • In Aftermath, while going through surveillance reports recovered from the ruins of the Castaigne regime’s secret police, the characters find a bizarre transcript of a telephone call. One of the participants is clearly a Carcosan agent of some sort; the other participant’s speech is transcribed only as [INCOMPREHENSIBLE BUZZING]. Later, during This Is Normal Now, one of the player characters gets a phone call – you use the Carcosan agent transcript as your script, and let the player respond to the Carcosan’s rantings and ravings as they wish.
  • Alternatively, during Aftermath, the characters find a corpse in a disused suicide booth – but the victim wasn’t killed by the booth. During This Is Normal Now, one of the player characters’ friends vanishes, and their body is never found…

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.

If your Yellow King Roleplaying Game art students make it all the way to October 1895 unscathed, a dramatic news event awaits them. The Granville-Paris Express spectacularly crashes at 4 pm on the 22nd of October. According to history as it comes down to us, the driver enters the Montparnasse station too quickly and is unable to stop the engine. It rams through its buffer, continues on through the station, and plummets to the street below. It strikes and kills one pedestrian, the wife of a newspaper vendor. The wreck results in a famous photograph, here distorted by the cruel filters of Carcosa.

The investigators might be prompted to look into the crash after the fact, perhaps upon hearing rumors of strange masked figures cavorting in one of its six passenger coaches.

Or was a shipment containing multiple copies of a certain banned play concealed among the crates and parcels of its postal service car?

You may already be thinking that this choice squanders a perfectly good action climax. The player characters ought to be on the car, engaged in a desperate struggle against gargoyles, vampires or an ankou, when it blows into the station. Surely the driver and the guard who failed to operate the handbrake were under attack at the time. Perhaps with the diligent intervention of well-heeled young American artistes they might be spared the fines and, in the driver’s case, brief prison sentence, that faced them in non-made-up history. The court system can’t admit to the presence of monsters conjured up by Carcosan emanations, but an Officialdom Push could go a long way to get them off the hook on the quiet.

Another option: player characters are outside the station, down on the street, when the accident happens, and the derailment is an attack on them. In this version, they might pull the lone victim out of the way in time.Then all they have to do is figure out which of their Aldebaran-worshiping enemies would attempt to wipe them out in such an outlandish and theatrical manner.

Or is the supposed news vendor’s wife in fact an incarnation of Cassilda or Camilla? If so, it’s probably the other sister who tried to drop a locomotive on her.

In yet another version of this event, the player characters might be the ones taking over the train and using it to target one of the princesses. When dealing with the royalty of Hali you don’t want to take chances with a vehicle of lesser impact.

Whichever way you choose to go, it certainly would be a waste of a famous incident of 1895 Paris to do nothing at all with it.


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.

As previously mentioned, I’ve been running Canadian Shield, my lighthearted Fall of DELTA GREEN riff, with QuickShock rules. This lets me find gaps in The Yellow King Roleplaying Game card set to rectify here on the Pelgrane blog.

Recently, an investigator’s careless words to a vengeful ghost resulted in an attack on an innocent person, who lost decades from his life to its premature aging power.

Paging through my folder of Shocks, I saw that the cards relating to shame and guilt in The Yellow King Roleplaying Game are all highly tuned to their circumstances. The most obvious candidates refer to the Morale ability, which appears only in The Wars and Aftermath.

Specificity of effect is a good thing, but it does leave room for more generic cards around this theme. After all, what typical group of player characters isn’t constantly pulling skeevy stuff that their fictional counterparts in other media would probably have to confront and possibly be altered by?

This card pair should cover most of the moral corners player characters tend to cut. As usual, the Minor card appears first and the Minor second.

RATHER THOUGHTLESS

Shock

-1 to Presence tests.

Discard with a gesture of amends to the person you harmed.

CAN’T LOOK AT YOURSELF

Shock

-1 to Presence tests.

If in hand at end of scenario, roll a die. Odd: becomes a Continuity card.

Discard with an act of self-sacrifice commensurate with your offense.


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.

You may be wondering, either as a thought experiment or something to actually put in place, how to combine Injury and Shock cards from QuickShock, as seen in The Yellow King Roleplaying Game, with the more traditional combat system found in other GUMSHOE games.

Reasons to do this: It shortens the learning curve for players who already know the other version. It extends fights longer, allowing excitement to build. It provides more details of the blow-by-blow, requiring less abstract thinking to narrate.

Reasons not to do this: It takes the most complicated element from one version of the game and bolts it to the most complicated element from another. It extends fights longer, devoting an increased chunk of time to bashing and getting shot that could be used interacting with GMCs and solving mysteries.

For those who feel the pros outweigh the cons and are ready to tackle a surprise wrinkle or three, these unplaytested initial notes might point the way

Final Card

As in QuickShock, decide how many cards of one type, Shocks or Injuries, a character can take before leaving play: a harsh 3 or a forgiving 4.

Shocks

Entirely replace the Stability point loss system with the QuickShock approach. Players test Stability or Composure to avoid lingering emotional consequences, usually with a Difficulty of 4, taking a Shock card in the case of failure. The character receives a minor Shock with a margin of 1 or a major Shock with a margin of 2 or more.

Reach your Final Card threshold, either 3 or 4 Shocks, and your character leaves play.

Hazards

Physical dangers outside of combat work the same way, except that you’re testing Athletics, Health or Sense Trouble to avoid Injury cards, taking the minor on a margin or 1 or the minor on a result higher than that.

Fighting

Combat proceeds as it does in standard GUMSHOE, up until the point where a player character drops to or below one of the Health pool thresholds: 0 points, -6 points, and -12 points.

At the 0 threshold, the character takes the minor Injury card dished out by the opponent who landed the blow. If that takes you to your Final Card threshold, you die, narrating appropriate details for your demise. Depending on the situation, your G may let you expire with a touching dying speech, surrounded by your grieving colleagues, after the fight has wrapped up.

At the -6 threshold, the character takes the major Injury card dished out by the opponent who landed the blow. If that takes you to our Final Card, you die, as above. Otherwise, you continue. Your character will also almost certainly have the minor card still in hand. Effects of the two cards stack. Where the two cards present effects that are incompatible or make no sense when combined, the character keeps the major card and swaps the minor one for “Reeling” below.

At the -12 threshold, the character takes the Shock card “Down for the Count,” below. Once more, if that’s a Final Card, the character dies immediately or by the end of the scene.

An attack that blows through two thresholds gives you two cards. Three thresholds, three cards.

REELING

Injury

-1 to all tests.

Discard when you discard another Injury card, or after an hour (table time.)

DOWN FOR THE COUNT

Injury

You collapse to a prone position. You can’t make tests or stand unaided. Your Hit Threshold drops to 2.

Trade for “On the Mend” after a day in intensive care (world time.)

The GM may design certain foes so that they dish out custom equivalents of these two cards.

Further Adjustments

Reskin and adjust cards for the game and genre you’re playing.

Divide general abilities into the three sub-categories (Physical, Presence and Focus) if your version of GUMSHOE doesn’t do that already. Use YKRPG as your model for that.

Make sure cards refer only to abilities that appear in your game. Revise references to Pushes if your GUMSHOE uses investigative spends instead. Rename cards to reflect your world: you’ll need laser blasts for Ashen Stars and damage for obscure super powers in Mutant City Blues.

Ignore Shocks from games that don’t take characters out of play for mental strain, such as Ashen Stars.

For Trail of Cthulhu, drop Sanity as a separate game statistic. Achieve its effect by making Shocks arising from Mythos contact Continuity cards with punishing or nonexistent discard conditions.

Create cards whose effects leverage statistics that appear only in standard GUMSHOE, from Hit Thresholds to Armor to weapon damage.

Conversely, don’t use “Don’t For the Count” in actual QuickShock games, where Hit Thresholds are not a thing.

And if you try this, let me know how it goes!


QuickShock GUMSHOE debuts in The Yellow King Roleplaying Game. YKRPG 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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