Standard GUMSHOE already treats Game Master Characters somewhat differently than player characters. Most notably, it advises that, in a fight, they drop at 0 Health, rather than going through the impairment thresholds that allow some PCs to keep going after hitting negative points.

The QuickShock GUMSHOE system, which debuts in The Yellow King Roleplaying Game, goes even further in separating the two types of character. For PCs, Health now bears no resemblance to hit points. Players use it to avoid certain types of injury outside combat. But they don’t risk keeling over when all their pool points have been spent. Instead you are too physically wounded to go on after you’ve gained 3 or 4 Injury cards. (This depends on whether the GM has chosen the tougher Horror mode, or the more forgiving Occult Adventure.)

Game Master Characters don’t collect Injury cards. The ones you choose to fight can die, if the group has chosen “Kill” as its objective. They can be hurt, if you have chosen “Beat Up.” The GM gives this condition story consequences, as needed, but it isn’t measured by numerically. (If later on you fight that Foe again, you could get an adjustment in your favor on the Difficulty number you’re trying to beat with your Fighting ability. That hardly ever happens, though.)

Outside of combat, the GM doesn’t use rules to determine whether GMCs suffer gruesome fates. That remains part of the narrative.

So when creating a Foe description, the designer distinguishes between

  • effects on investigators, as represented by Injury cards (or, in some edge cases, Shock cards
  • effects on GMCs, conveyed purely by description

The designer of a foe called a radiation beast might write:

Investigators coming within 15 m of the beast make Difficulty 4 Health tests to avoid Injuries, Minor and Major—Radiation Poisoning/Internal Bleeding. Other humans become faint and feverish, suffering hair loss and low blood pressure. Unless rushed to the hospital for treatment, they die. A Difficulty 4 First Aid success stabilizes all victims, keeping them alive without hospitalization for up to 12 hours.

Or the Foe designer can kick the question of how to handle GMC injuries to the Game Moderator:

Other humans sicken or die, depending on the needs of the scene.

Option 1 gives the players a way to interact with GMC injury, bringing in First Aid as a counter. Option 2 keeps flexibility in GM hands.

Whichever approach you take when writing up Foes, the bifurcation between PCs and GMCs is a factor that requires different thinking in QuickShock GUMSHOE than in other trad or trad-like games you may be used to.

Something to keep in mind when QuickShock joins the GUMSHOE SRD, not long from now.

Collage art by Dean Engelhardt


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.

See P. XX

a column about roleplaying

by Robin D. Laws

Should you decide to play The Yellow King Roleplaying Game using the baseline version of GUMSHOE found in previous games, such as Trail of Cthulhu, Night’s Black Agents, or The Esoterrorists, you’ll want to translate its Foe stats.

You might also decide to snag YKRPG creatures to mess with investigators from another game, and need to perform the same maneuver.

Here’s a guide to doing that, but first, standard disclaimers apply.

In no version of GUMSHOE are creatures designed according to a formula or template. They always require eyeballing and adjustment as you move from initial conception to finished set of game statistics.

Never let the rough number ranges here take precedence over what you think makes sense for a creature.

Also remember that you can always increase the threat represented by a particular monster up or down by creating situational factors that confer advantage or disadvantage on the PCs in the particular fight you want to stage.

Difficulty Modifiers in QuickShock make this explicit, also highlighting ways that information gathered by the PCs can assist them when the story gets to the fighty bit. This is a concept you can easily steal for baseline GUMSHOE, as Difficulty modifiers exist in that game, even though they don’t appear directly in the foe descriptions.


When converting, use the foe’s Relative Challenge as a rough benchmark for the range of stats it might have in baseline GUMSHOE.

Some games split use more combat abilities than the other. For this purpose we’ll use “Main Fighting” and “Secondary Fighting” as placeholders for Scuffling, Shooting, Weapons and the like. Assign them as needed for the theme of your creature and your game’s genre.

You’ll have to assign Stealth and Alertness modifiers to QuickShock creatures, which do not include those numbers. Use the theme of the creature to decide how easy it is to sneak up on the creature, and how easily it sneaks up on others.

Glance at the Injury cards a creature dishes out, as sometimes an otherwise unimpressive enemy comes with cards nastier than you’d expect, which you’ll want to take into account when assigning Weapon damages. In the case of exotic attacks with lingering effects, use the card text as inspiration for special attack details. You may wish to steal these from existing standard GUMSHOE creatures, finding one that plays the same sort of trick.

Hit Threshold is as much a factor of creature size or other descriptive qualities as a matter of strict progression up a ladder of menace. A gigantic but formidable creature might have a Hit Threshold of 2; a small and weak one, like Lovecraft’s Brown Jenkin, might be hard to hit.

Once you’ve finished, eyeball the results and fix any number that seems oddly high or low given the concept of the creature.

Anyone with sufficient time on their hands to backwards-engineer the conversion kits from standard to QuickShock GUMSHOE will spot instances where I moved a creature into a different Challenge ranking for YKRPG than a literal reading of its standard stats would call for. When it comes to creature conversions between any two systems, theme should always win.

Weak

Athletics 4-9, Health 2-4, Main Fighting 5-7, Secondary Fighting 3-5

Hit Threshold 3

Weapon -2 to -2

Armor 0-1

Tough but Outmatched

Athletics 6-8, Health 6-10, Main Fighting 7-16, Secondary Fighting 6-10

Hit Threshold 4

Weapon -1 to 1

Armor 1-2

Evenly Matched

Athletics 9-12, Health 7-9, Main Fighting 9-12, Secondary Fighting 5-7

Hit Threshold 4-5

Weapon -1 to 3

Armor 1-3

Superior

Athletics 7-12, Health 8-18, Main Fighting 13-20, Secondary Fighting 7-9

Hit Threshold 3-4

Weapon 2-5

Armor 2-5

Vastly Superior

Athletics 10-30, Health 14-21, Main Fighting 18-28, Secondary Fighting 13-23

Hit Threshold 3- 4

Weapon 2-4

Armor 3-5

Overwhelming

Athletics 18-36, Health 32-40, Main Fighting 23-27, Secondary Fighting 18-22

Hit Threshold 2-4

Weapon 4-12

Armor 4-12

Too Awful to Contemplate

Athletics 30-50, Health 30-50, Main Fighting 28-32, Secondary Fighting 22-27

Hit Threshold 2-6

Weapon 5-12

Armor 4-12


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 plot hook for The Yellow King RPG (This is Normal Now)

One or more investigators have a connection to teenager, Ayda, who comes to them for help. Her friend Carlos has retreated to his room and won’t come out. Last night his parents called a therapist to come over and coax him into seeking help at a facility. Still he refused.

Carlos isn’t having a mental health crisis, Ayda explains. It’s something much weirder than that. She’s heard that the investigators know about this stuff, and, against her friend’s instructions, is telling them what she knows.

Nearby in the neighborhood, in a mini-mall parking lot, stands the broken remains of a pay phone.

A few months ago, rumors started going round the local high school. If you listen to the phone, you might hear weird whispering voices. They sound distant and old-fashioned, the urban legend goes, like they’re reciting some Shakespearean play. Though not one that’s on the curriculum at school. The weird voices mention a king wearing a pallid mask, and someone named Cassilda. At the end it gets super perverse and awful, until you can’t stand it any more and fling the receiver away.

Then you’re doomed. Within a week, unless you convince someone else to listen to the phone and doom them instead, you die. A freak accident that pertains in some way to your personality kills you.

Cynthia Mortimer was the first to hear the voices. The expensive handbag she was so proud of and always boasted about got caught in the doors of a subway train, dragging her to her death.

Then Phil Campillo, a maniacally focused tennis player, got his head pulped by a bizarrely malfunctioning ball machine. They say he listened to the call to protect his girlfriend, Amy Washington, who couldn’t resist trying it out.

A week ago, a private investigator hired by Rich Danforth’s family was looking into the rumors and asking questions. He raised security dogs, and died when one of the stepped on his gun, releasing the trigger. Rich admits that he listened to the message, then chickened out and had his father hire someone to hear it in his place.

That’s how Carlos tells it, anyway. When Ayda asked how he learned all of this, she couldn’t pin him down. It’s like you just kind of know, right?

This is day six, and even though Carlos is staying away from everyone and everything, he can tell he’s next. Unless the investigators can figure out what’s going on and find a way to put a stop to 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.

Olingo the Sedulous had studied the creature’s routine, and was thus surprised to see the pelgrane flapping back to its nest a good hour before its projected time of arrival. The scholar, no longer as young as he wished to appear, attempted to clamber from the collection of firmly packed branches comprising the monster’s home. As the pelgrane soared his way, the striped velvet garter attached to Olingo’s left pantaloon leg caught on a wooden gnarl. Dropping the sack of important artifacts he had gathered, he bent down to work it free. By the time he had finished, the pelgrane was perched on the edge of its nest. In a neat motion the creature tucked its vast, bat-like wings behind its back. A thread of saliva dripped from its elongated spear of a beak.

The creature pointed its beak at the bag of items at Olingo’s feet. “I find myself in the presence of a connoisseur,” it said.

“Permit me an explanation,” Olingo responded.

The pelgrane sighed. “Belay all tedious lies. The year’s darkest night is upon us, and I am gnawed at the edges by melancholy.”

Olingo took the risk of picking up the sack. “You are correct, Sir Pelgrane, to guess that I possess some expertise concerning these items. Perhaps, in exchange for my erudite commentary upon them, you might consider sparing my life.”

“Demonstrate.”

The scholar withdrew a thin glass orb, covered in a sparkling crimson glaze. “This dates back seven eons, to the Caoropoan Rift—”

“Five,” said the pelgrane. “Five eons. But continue.”

Olingo took a breath. “From the earliest eras of civilization, we humans have marked the winter solstice with a feast of lights, a promise of night’s end, offering hope of birth. Or, depending upon the culture, rebirth.”

“A quotidian observation.”

“Indeed yes but one must ease into any topic. Among the tumultuous peoples of the Caoropoan, competition to display solstice ornaments of the finest subtlety—”

“You mentioned feasting. Frankly, that is a matter nearer my interests. Describe a Caoropoan winter banquet with sufficient piquancy, and I’ll let you go.”

“Let me start with the salad course,” said Olingo. “First, there is the pickle board, which starts with fermented lettuce in a bed of sesame paste.”

The pelgrane wrinkled the soft tissue at the top of its beak.

“I shall glide quickly over the preliminaries, and onto the meats and sauces,” Olingo said.

Watching the expiring sun inch behind the Cuirnif mountains, Olingo described it all: the candied grouse, the gilded carp, the sweetmeats in orange sauce. Not stinting on the side dishes, he conjured the flavors of puffed yam, vault-roasted maize, and jellied sea asparagus.

“It is a shame,” said the pelgrane, “that in these dwindling days it is no longer possible to earn a living as a poet of the culinary. It is there, my friend, that your true talents lie.”

Olingo bowed low. “You humble me, sir.”

“You may go,” said the pelgrane. “I forgive you for coveting my treasure.”

“But wait,” said Olingo, drunk on flattery. He had enjoyed no audience as rapt as this pelgrane. “Our imagined feast is not yet finished. I have not described the sweets course.” He sank back into monologue, beginning with the cacao mousse. He lingered over the shimmering biscuits, and finally listed each of the nine spices, three of them no longer extant, that went into the brandy-soaked cake of the Figgy Extravagance. “Finally the most lissome serving boys drizzle the center with the simplest of caramel sauces, nothing but golden Almery sugar and—”

The pelgrane surged forward, driving its beak through Olingo’s breastbone. It withdrew it a moment later. About to ease a chunk of flesh down its gullet, it caught itself, and spat it out. Horror and shame convulsed its reptilian features.

Hands struggling in vain to close the wound, Olingo gasped his final words: “But you spared me!”

“I concede error,” the pelgrane said. “You were speaking of pudding, and I became distracted.”

Merry Holidays to you and yours from the jolly crew at Pelgrane Press!

Shock and Injury cards in The Yellow King Roleplaying Game are balanced assuming ongoing series play. When running a one-shot you may want to consider altering existing cards to make them nastier, or creating new, more intensely horrible ones. As in any horror game, players in one-shots often embrace the death spiral and find it perfectly in genre to end the session with a notable casualty count. YKRPG cards allow you to end their characters either physically or mentally. Given the reality horror motifs of its setting, you may find yourself leaning toward the latter.

I recently ran a game in the “This Is Normal Now” sequence for the gang on Dragonmeet eve in London. In addition to having a range of existing cards ready to serve to them, I cooked up a few tuned to the theme of the scenario—including this awful specimen:

In an ongoing game, something this harsh might be suitable for a climactic episode or the farewell to a player who has to drop your game for another commitment. Otherwise it’s way too brutal. Single cards that threaten to take your character out of the game do exist, but generally have much more forgiving discard conditions than this one, which requires you to pass the menace along to another player.

I don’t see myself using this card outside the context of this particular scenario. If I did, I’d drop the first effect line. There’s just too much going on in this card and the players found it confusing. The beneficial effect that tempts you to hold onto the card, endangering yourself and encouraging you to do bad things is something that works better in ongoing play. In a one-shot, the enticing circumstances don’t occur often enough.

As you might infer from the card title, the scenario was an homage to The Wicker Man, but with the dark impulses behind Brexit substituting for original film’s sexual panic. Players took on the roles of a Romanian short term construction crew, bound together by family ties, hired to complete an unfinished giant hollow wooden man in time for a music festival on March 29, 2019. (If you’re going to pay tribute to a classic, make that obvious as soon as possible, then add some other twist. The reference should never be your big revelation, because someone’s likely to guess it sooner than you planned.) I told players they could discard a card for free if they guessed the scenario’s title: Hard Brexit. No one got it, though Ken came up with a solid self-referential podcast pun, based on its setting in the town of Brampton.

Some readers may be hovering over your keyboards asking if we’re going to publish this, but it would be well past its topical sell date long by the time we could get it out. Anyway, all you really need is “Carcosa + Wicker Man + Brexit” and you’re good to go. For bonus points, perform a quick search of the local weirdness of a spot that cast the referendum’s densest Leave vote.

The card above is the Major Shock from a pair; here’s its Minor partner.

And here is another pair of custom Shock cards I didn’t wind up using. You can apply these to any Yellow King game, one-shot or not.


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.

During the Kickstarter for The Yellow King Roleplaying Game, I laid out one method of serving Shock and Injury cards to players electronically, as image files sent to a mobile-enabled platform. At that time, I recommended using Google Photos for this purpose. Belatedly I realize that there was a better way to do it, using the workspace application Slack.

Here’s how to do that:

If you haven’t done so already, create a Slack workspace for your game group.

(I now find this an essential tool for my group, no matter what we’re playing. The Polly poll app, for example, gives you a handy way to conduct an advance roll call and make sure you have quorum before anyone grabs their dice and heads your way.)

Within the workspace, create a separate channel for each player character. Depending on how well you remember PC names, you may want to name it after the character, or place the player’s name before or after the investigator name. Slack doesn’t allow spaces or upper case letters in channel names so you’ll have to resort to underscores:

#ella_wharton

#noelle_ella_wharton

#ella_wharton_noelle

Alternately, you could serve cards into the private message inbox of each player. However, some players like to use that for banter, out of game arrangements and other side business. Creating a channel for each player keeps that clear for cards and in-game notes, and reminds other players of the cast of investigators.

Also, if a member of your group is without a mobile device, they can sit next to a player with a laptop or tablet. With a little looking over-the-shoulder, the obliging device owner can switch between channels as needed to allow the other person to check their cards in hand.

When a character receives a Shock or Injury card, you upload it to the appropriate channel. You can do this directly from a folder if using a laptop. On a tablet, you can put the card images in Dropbox and share them from that service’s mobile app into the Slack app.

Slack permits only the creator of a message line to delete that line, so when a player discards a card, you’ll have to delete it in order for it to disappear. Be sure your players let you know when they fulfill a discard condition.

We’re currently assembling materials for our YKRPG resources page, including image files for each card. If you need them before we get that done, you can check the books for the cards you think you’ll need and turn them into images. Accomplish this either by screenshotting the PDF or by opening the PDF in an image editing program such as GIMP. Then crop the cards into separate images, save with the card titles as file names, and you’re good to go.

Some GMs will still prefer the tactile quality of paper cards printed, cut up, and handed to players. But for those, like me, who consider immediate access to all the cards in the game the ideal, a Slack full of pallid masks and black stars should do the trick.

People Have Opinions about service platforms. If you come up with an even better way, let us know!


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.

Replication

A scenario seed for Ashen Stars

The lasers pick up a contract from an independent scientific consortium to investigate the fate of one of their Sherlock-class survey vessels. It sent out a distress call several days ago and has not been heard from since. The Linnaeus was orbiting a supposedly barren planet in the backwater Samian system when its call went out.

Arriving at Samian-III, the team finds the wreckage of the downed ship planetside, with no survivors. They also locate its shuttle, drifting in the supposedly dead world’s now teeming ocean. The murdered bodies of its crew members have been stashed in their biomatter collection pods—as if to prevent the corpses from contaminating planetary life.

Contrary to past surveys, a rich ecosystem of aquatic animals exists on Samian III. More bizarrely, they are not just similar to, but exactly the same as, species from Earth’s PreCambrian period. The team’s Xenobiology expert identifies specific organisms, until now known only from fossils. Included are the disc-shaped sea floor dweller Obamus coronatus and the grooved ovoid Attenborites janeae, With so little to go on, paleontologists were never able to reliably assign them to family groups. But here they swim about in abundance, ready to give up the secrets of their DNA.

The crew’s investigation leads to missing biologist Kan Kanfar and an underwater biodome. Before serving in the Mohilar War, he studied these creatures, known collectively as the Ediacara Biota. Slowly dying from toxin exposure sustained during the conflict, he has thrown moral qualms aside, employing an ancient alien technology to finally crack the secrets of his field. After irreparably altering a planet by setting it on the path to an Earth-like ecosystem, a few murders of pesky scientists meant little to him.

He has leagued himself with pirates, who downed the Linnaeus in exchange for a promise of priceless treasure. Does the team deal with him by informing his murder-happy confederates that the loot he has promised is actually only biological data on soft-shelled fauna? Or do they recognize that his judgment has been impaired as a consequence of his service to the Combine, and try to remand him for treatment?

 

A column about roleplaying

by Robin D. Laws

The Yellow King Roleplaying Game is now out of my hands and progressing through the next stages of production on its way to actuality.

Thanks to the eagle efforts of our dauntless playtesters, I received lots of extremely useful feedback on game play, resulting in a number of changes to the final version.

Kickstarter backers have a preview version representing the state of the manuscript as of mid-summer last year. Playtesters saw and played intermediate versions from the fall and then the end of last year.

The most consistent message from testers was that the game was deadlier than I thought, cycling through PCs at a higher than expected rate.

And here I was worrying, based on the foe-smashing exploits of my own in-house group, that the combat system was too lenient!

If you have a previous draft, then, you’ll see a number of changes to lengthen investigator lifespan.

Foe Difficulties have been scaled down.

More of the foes at the higher end of the Relative Challenge scale now appear with additional ways to lower their Difficulty numbers by gaining information about them before you fight them.

Starting general ability build points have been nudged upwards, to give you more points to spend on key survival abilities.

Perhaps most effectively, the text now explicitly gives players guidelines for the number of points the system expects them to invest in such character-preserving abilities as Fighting, Composure, Athletics and (in The Wars) Battlefield.

Also in The Wars, Scrounging, a theme for an ability in search of a vital game purpose, can now be used to refresh other characters’ Battlefield ability. That’s what you use to avoid bombs, barrages and other means of mass death on the front lines of the Continental War. Scrounging now mirrors the way Morale can be used to boost Composure for PCs in that sequence and in Aftermath.

To complete the adjustment, GMs can now choose between two toughness settings, Horror and Occult Adventure modes. In Horror, your character leaves play after accumulating 3 Injury cards or 3 shock cards. The more forgiving Occult Adventure mode takes you out after 4 Injury or 4 Shock cards.

Another common theme in playtest reports: players hated paying Tolls. These mandatory point spends, which you can make from any combo of Athletics, Fighting and Health, model the low-grade wear and tear you suffer even when you win a fight. Weaker foes now have Tolls of 0, so you don’t start to deal with Tolls until you’re fighting someone big and bad. Also, Tolls dropped across the board.

I didn’t dump them entirely. Experience with past systems has shown that players also resist a combat system that lets them emerge from a victory totally unscathed. The final rule strikes a balance between two opposing flavors of cognitive dissonance.

On my final design pass I eliminated a number of rules that went unmentioned by playtesters and unused in my own group. They hit the cutting room floor for not generating enough engagement to justify their presence.

In Aftermath I removed War Footing, a state of high alert players used to be able to declare for their characters. It gave them a bonus to Fighting and a penalty to Composure—the idea that they were risking their hard-won adjustment to civilian life by falling back into their insurgent mindset. War Footing didn’t get used because players had to remember to invoke it, and already had plenty of other stuff to think about. Also it has to be a hard tradeoff to achieve its thematic end, and brains don’t like those. As one of those ideas that shows a certain logic on paper but never pays off in practice, War Footing hit the bricks.

Another rule that added complexity for a thematic payoff that paid off was a distinction, in This is Normal Now, between sapient and non-sapient Foes. My original thought was that it ought to be harder for the ordinary people of that final sequence to kill intelligent beings. In the end I dropped it in favor of a simpler set of foe difficulties. If the distinction had factored into player decisions in an interesting way it could have justified its existence. But in an investigative game a Difficulty bonus doesn’t much change who the PCs choose to attack and who to run from. So out it went.

The greatest number of revision waves happened in the Shock and Injury card sections. Familiarity with play honed my feel for the sorts of effects and discards that made a splash, and which ones fell flat, were hard to implement, or rarely applied.

So for example The Tremors, a workhorse, low-intensity Shock card, started its life looking like this:

Your next Interpersonal Push costs 2 Pushes.

Discard after it applies, or at end of scenario.

But in the final version has become more overtly interactive:

-1 to Presence.

Discard by going to a scary location. Discard by initiating an encounter with a scary person, creature or entity.

The updated version prompts action, where the original makes a particular, not terribly common action less likely or impossible.

While remaining true to its core idea that failing to gain information is never entertaining, GUMSHOE has continued to evolve since its debut more than a decade ago.

Someday I may well find myself creating a bunch of new sub-systems for some genre or setting we haven’t tackled before, tossing about half of them before the book goes to layout.

All with the help of our indispensable playtesters, who we can’t thank enough for making our games better.

Collage illustration for The Yellow King Roleplaying Game by Dean Engelhardt


The Yellow King Roleplaying Game is Pelgrane’s mind-shattering, era-spanning game of reality horror based on the classic stories of Robert W. Chambers. Coming in December 2018.

 

A column about roleplaying

by Robin D. Laws

Pelgrane co-publisher Simon Rogers has been thinking about Mutant City Blues lately, and maybe someday he’ll tell you about that.

In the meantime, he asked me how you might play the game for a duo of enhanced police detectives, in true buddy cop fashion.

Here’s a quick rundown:

One player takes on the role of the maverick cop who gets justice done, dammit, even if he has to bend the rulebook to get it.

The other becomes the by-the-books cop, the voice of reason who warns the maverick that regulations are there for a reason and slow and steady police work wins the day.

The two characters divide up the investigative abilities like so:

Maverick Cop

Academic

Forensic Psychology

History

Languages

Natural History

Occult Studies

Trivia

Interpersonal

Bullshit Detector

Cop Talk

Flattery

Flirting

Impersonate

Interrogation

Intimidation

Streetwise

Technical

Ballistics

Cryptography

Data Retrieval

Electronic Surveillance

Evidence Collection

Explosive Devices

Photography

By-the-Book Cop

Academic

Anthropology

Archaeology

Architecture

Art History

Forensic Accounting

Languages

Law

Research

Textual Analysis

Interpersonal

Bureaucracy

Cop Talk

Negotiation

Reassurance

Technical

Chemistry

Document Analysis

Electronic Surveillance

Forensic Entomology

Evidence Collection

Forensic Anthropology

Fingerprinting

Each player picks 4 investigative abilities to assign 1 point to. The others all get 2 points.

Each player spends the usual number of general build points, usually 60 for standard abilities and 40 for mutant powers.

The maverick cop might consider starting the power acquisition journey through the Quade Diagram with any of the following enhancements: armor, wall crawling, lightning, concussion beam, strength, natural weaponry, or fire projection.

The by-the-books cop might start with: plant control, psionic blast, read minds, lightning decisions, cognition, thermal vision, sonar, teleportation, illusion, impersonate, or observe dreams, or suppress memory.

Once per session, the maverick cop can refresh 4 points of any general standard ability or 2 points of any general mutant ability, by describing any one of the following actions:

  • earning a verbal dressing down from the lieutenant
  • making fun of the by-the-book cop’s staid clothing or attitudes
  • blowing off steam at the gun range
  • waking up hung over
  • obsessively stalking a suspect you’ve been warned away from
  • telling off an influential politician or businessman
  • driving on a sidewalk or median
  • knocking down garbage cans, newspaper boxes or other roadside obstacles during a car chase
  • clambering up a chain link fence while pursuing a perp on foot
  • cleaning your gun as a way of clearing your head
  • sloppily eating junk food in the car or at your desk
  • accepting a token gift from a grateful citizen, so as not to hurt anyone’s feelings; then, once out of sight, pass it along to someone who wants or needs
  • shrugging and concluding that one drink on the job won’t hurt anyone
  • exposing the hidden dangers of vegetable consumption
  • working out at a boxing gym
  • cranking up a CD with your favorite chase music, either a classic rock tune or the latest hottest hip hop track
  • grousing about judges letting humps go on technicalities
  • threatening a member of the Internal Affairs Division
  • losing it, so your partner and other cops have to pull you off a guy you’re whaling on
  • frighten or bully a suspect in the interrogation room

Once per session, the by-the-book cop can refresh 4 points of any general standard ability or 2 points of any general mutant ability, by doing any one of the following:

  • turning in a detailed report to the lieutenant
  • warning the maverick cop that the lieutenant’s not gonna take any more shenanigans
  • describing a new, eccentrically boring hobby
  • going home to the spouse and kids
  • consider purchasing a safe, reliable family vehicle
  • invite the maverick cop for dinner with the family
  • breaking from the case to attend to a school emergency
  • studying for the sergeant’s exam
  • placating a civilian angered by the maverick’s behavior
  • catch a fleeing suspect not by running after him, but heading to where he will soon wind up
  • rearrange photos on a corkboard laying out the details of the case
  • turn down a coffee or other small gift offered by a grateful shopkeeper
  • fastidiously eating a salad
  • extolling the virtues of kale
  • working out at a spin class
  • refusing a drink while on duty
  • stopping at one beer
  • explaining the necessity of checks and balances in the criminal justice system
  • listening to classical music or jazz
  • assuring Internal Affairs of your full intention to cooperate
  • stopping your partner, who has lost it, from whaling on someone
  • promising a suspect in the interrogation room that you can protect him from your unhinged partner, “but you gotta give me something to work with here”

Clip and save your character’s to jog your memory when you need it!

GMs likewise reward other actions in a similar archetypal spirit.

By-the-book cops should be advised that discussing retirement plans, especially those concerning a houseboat to noodle around the Florida Keys in, drops their Hit Thresholds by 1 for the duration of the session.


Mutant City Blues is an investigative science fiction roleplaying game by Robin D. Laws where members of the elite Heightened Crime Investigation Unit solve crimes involving the city’s mutant community. Purchase Mutant City Blues in print and PDF at the Pelgrane Shop.

As the project increasingly leaves my hands and heads to Pelgrane HQ and post-production, it’s time to show off a smidgen of the reality-shattering art you’ll see in The Yellow King Roleplaying Game.

Brittany’s legendary city of Ys rises from the waves, by Shel Kahn, from Paris

A postcard of malign implication, collage by Dean Engelhardt, from Paris

Weeping mines descend on a battlefield, by Melissa Gay, from The Wars

Battle for the Imperial Palace, by Jessica TC Lee, from Aftermath

The Surveiller Surveilled, by Aaron Aurelio Acevedo, from This is Normal Now

Absinthe in Carcosa cover by Jérôme Huguenin (text placement in progress)

Character sheet from The Wars, by Christian Knutsson

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