A column about roleplaying

by Robin D. Laws

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

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

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

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

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

This raised the question: is that poor form?

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

BRINK OF DOOM

Injury

-2 to all tests.

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

CLIMACTIC DOOM

Injury

Counts as your Final Card.

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


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

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


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

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

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

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

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

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

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

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


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

Errors spotted after the books went to press are listed below. We periodically update PDFs to correct errors, so be sure you update your electronic copies to the latest current version. If you spot a possible error in the text, please alert us at support@pelgranepress.com.

Paris

p. 14/15: certain of the Kits are built on 33 points, not the canonical 32. Although we’ll be fixing this in later printings, we suggest that you ignore this minor discrepancy.

p. 21: Intuition is a technical ability.

p. 60: minor injuries occur a failure with a margin of 1, not on 0 or 1

p. 64: a margin of 0 is a success, not a failure

p. 67: Shock cards for “You Enter an Eerie or Haunted Place” are Bad Place (Minor) and Awful Place (Major)

p.68/69: Final entries in this chart erroneously list Athletics as the ability tested. These are all Composure tests.

p. 148 / 156: Injury cards for Gendarmes are inconsistent between the table on 148 and description on 156. Either set of cards works, but since Blow to the Head/Ringing Cranium aren’t used elsewhere you may prefer them.

p.150: Fledgling and Legendary Vampires have their Minor and Major Injuries mixed up in the table. Fledgling has the Injuries for Legendary and vice versa.

Difficulty for Operatives should be Escape 2, Other 4, Kill 6

for Patchwork, should be Escape, 3, Other 6, Kill 7

p. 163: Injury cards for the Rakes fell out of the manuscript at some point. They are:

Thrashed

Injury

-1 to all tests (except Preparedness). After any failed, salient test, roll a die. Even: discard.

Rapier Wound

Injury

-1 to all tests (except Preparedness). After one interval, as recipient of a Difficulty 5 First Aid success, trade for “Thrashed.”

p.170 – last para, The Set Painter is an alternate scene, not core. 

p.172 – The Poster Illustrator, 3rd para and also 3rd bullet, all the scenes referred to are core and not alternate. 

p.173 – 3rd and 4th paras, these scenes are core and not alternate. 

The Impresario and the Manager, Lead-outs should include The Librettist. 

p.178 – The Young Lover, shown as an alternate scene here, but as a core scene in the diagram on p.169. 

p.179 – Chateau de Roudier, add Celeste to the lead-outs. 

p.180 – Celeste, add The Crawlways to lead-outs. 

p.181 – The Crawlways, 2nd para, The Lake is a core scene

p. 233, point 8. a. ii. B. should read “Refresh a general ability other than Athletics, Fighting, or Health”

The Wars

p. 9: Reference to a Shepherd kit, should refer to the Conscience kit

p. 10: certain of the Kits are built on a few fewer points than they should have. We’ll be fixing this in future editions but suggest you ignore the discrepancy.

p. 24: Disregard the paragraph beginning with “On the other hand”

p. 66: Injury cards for Whatsisname should be Cortisol Spike / Bullet Wound

p. 72: Toll for “Peasant Who Seems Lovely” should be 1.

p. 73: the second “Success, margin of 1 or less” should read “Success, margin of 2 or greater”

p. 75: for all types, Adjust to Other Sequences entry Escape=2 is redundant

p.106 – Dragonflies Down, pink box, Lead-out should be The Mission, not The Assignment. 

p.114, 2nd col, 4th bullet, The Uniforms is an alternate scene, not core. 

p.118, Worried Mother, pink box, add Madame Mareuil to the lead-outs.

Aftermath

p.62 – Loyalty Chip, “Major/Minor Injuries” should be “Major/Minor Shocks”

p. 78: Cancer Bag’s Major Injury should be Precancerous; Shades’s Difficulty should be Escape 2, Other 4, Kill 5; Shatterling’s should be Escape 2, Other 5, Kill 6

p.89 – Shade’s Injuries are actually Shocks

p.99 – diagram, Hank’s Place should have a lead-out of Hank’s Old Crew and not The Sidetrack. 

p.99 – diagram, Gevaudan Industries should have lead-outs of Hank’s Old Crew and The Confession, and not The Sidetrack. 

p.99 – diagram, Hank’s Old Crew should have a lead-out of The Sidetrack. 

p.99 – diagram, The Sidetrack should have a lead-in from The Confession. 

p.103 – Hank’s Toughest Rival, yellow box, add Hank’s Aide to the lead-ins. 

p.111 – 2nd col, first dashed point, “Frenet gave this up his enquiry” -> “Frenet gave up his enquiry”. 

p.113 – Hank’s Old Crew, black box, remove Hank’s Place and Gevaudan Industries from lead-outs.

Questions and Clarifications

In Paris p. 46, the difficulty for Weak foes for “Other” is higher than for Tough But Unmatched foes. Is this correct?

Yes. In this sequence weaker foes are a nuisance when you try to finesse them.

Do characters failing Support Actions (Paris p. 60) both pay the Toll and take an Injury? That seems extra nasty.

Yes. Support actions are meant to be risky.

In The Wars, is it intentional that Vastly Superior foes are easier to flee from than Superior ones?

Yes. You should run away from them and the rules support you in this.

In The Wars, should the Sleep Deprivation hazard be Health, not Battlefield?

Battlefield is intended, as seasoned soldiers learn to nap strategically, a talent they have in common with game designers.

Is the Gangrene card missing?

It’s on p. 144 of The Wars.

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…

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.

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