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.

 


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.

Just before Christmas, I finished off the first part of my home campaign of THE YELLOW KING. We’re running it at a fairly fast pace (we’re alternating sessions with Warhammer in deference to the sensibilities of players who want to hit things with swords), and with only a limited number of sessions, I based virtually all the adventures around the player’s Deuced Peculiar Things.

It’s useful to my mind to think of YELLOW KING scenario planning as a grid. Along the top, you’ve got the array of Carcosan characters and tropes – The King, his Daughters, the play, the Yellow Sign, Castaigne, Mr. Wilde, black stars, madness – and any elements from the current sequence (Parisian political and artistic intrigue, the Continental War, the overthrow of the Castaign regime etc). Along the side, you’ve got the prompts provided by your players as Deuced Peculiar Things. You dig for horror and mystery where those lines cross.

So, my players gave me:

  • Chester: I met an enchanting man in a bar, we shared a night of passion, but I woke up in bed to discover I was lying next to a woman, who left without a word.
  • Sillerton: I dreamed I was at a strange party in a chateau outside Paris; when I investigated, I learned that the chateau burned down many years ago.
  • Ada: My brother Theo has vanished and no-one else – not even my other brother Chester – remembers he ever existed.
  • Reggie: My cat had a litter of kittens, but they came out as this ghastly congealed mass of conjoined bodies and limbs, a sort of feline centipede.
  • Dorian: I saw L’Inconnue de la Seine, and chased her into an entrance to the catacombs.

While I could have started with any of these, I picked Reggie and his cat-monster for two reasons. First, it’s the most immediate problem – three of the others are weird encounters, and Theo’s been missing for some time (and felt more like a long-running plot than a trigger event), whereas Reggie’s catipede was right there (well, right there in a bag, as they hammered it to death very quickly). Second, cats give me a link right to Mr. Wilde from the Repairer of Reputations (the mania he had for keeping that cat and teasing her until she flew at his face like a demon, was certainly eccentric. I never could understand why he kept the creature, nor what pleasure he found in shutting himself up in his room with this surly, vicious beast.”)

Carcosan Hybrids

So, what’s the crossing point? What Carcosan element might Reggie’s cat intersect with. A flip through the Paris book gave me the matagot (p. 159), a supernatural Carcosan spy in the shape of a cat. Maybe Reggie’s pet cat mated with a Carcosan entity, and that spawned the malformed catipede?

That worked – and instantly gave me a horrible consequence to play with. If mating with a Carcosan entity creates some sort of hideous hybrid… and Chester slept with a mysterious shapeshifter…

But if I was going to make hybrids a big part of the plot, I needed a reason for them to exist. The cat might be a random encounter, but why would some Carcosan courtier take the time to sleep with Chester? I went with the concept of anchors in our reality, which let me bring in the dreadful play and foreshadow stuff that’ll come up in the Aftermath sequence. So, Carcosa needs to get its hooks into reality. It starts with the infiltration of a concept, a malign thought – the play. As the play corrupts reality, it allows the establishment of stronger anchors, allowing Carcosan entities to cross over physically. They then create even stronger anchors, bootstrapping an invasion.

Living Statues

Dorian’s encounter with the mysterious inconnue connected to this plot too. L’Inconnue died in the 1880s, so she must have been a ghost, an illusion or some other supernatural weirdness. I decided to loop in both the art world and another of Chamber’s tales, the Mask. If there’s a mysterious fluid that turns flesh to stone, then maybe the same fluid could turn stone to flesh. The girl with the familiar face was a statue brought to life using Carcosan chemistry. Why? Because these living statues were the middle-stage anchor – host bodies of pseudo-flesh used like space-suits by Carcosan nobles in the period before they could manifest in all their glory.

The Cult of the Yellow Sign

So, there was still a gap in my cosmology – if the existence of the play in a given reality corrupts it enough for Carcosan weirdness to filter in, and if Carcosan weirdness gets worse as the King’s court establishes stronger anchors and invades, where did the play come from in the first place? I still had two Deuced Peculiar Things to play with – the vanished brother, and the mysterious party.

I came up with a sketched-out occult society who experimented with telepathy, spiritualism and other weirdness, the Society Jaune, who accidentally made contact with the King and saw the Yellow Sign. Theo fell into the clutches of survivors of this cult, and wrote the play after exposure to the Sign. A twist of temporal weirdness through Carcosa let me shove Theo out of linear time and back to the burning of the cult chateau during the Siege of Paris.

The View From The Cheap Seats

Obviously, slotting Deuced Peculiar Thing A into Carcosan Motif Y is only part of the adventure-design. Just because I knew that, say, a crazed sculptor was creating statues and bringing them to life in the catacombs didn’t mean I had a full adventure ready to go. All this technique gave me was a set of Alien Truths to build adventures around. However, keeping everything strongly connected to the players’ Deuced Peculiar Things and the most significant bits of the Yellow King Mythos let me give the players a whistlestop tour of Dread Carcosa while giving satisfying answers to all their Deuced Peculiar prompts.

The Wars start next week. Check back in a few months to see how that turns out…