In this episode of RPX Rollup, we're rolling up characters for Pelgrane Press's The Yellow King, a four-book boxed set built around Robert W. Chambers' collection of unsettling stories centered on a forbidden play that warps reality wherever it's read. Using a streamlined version of the Gumshoe system called QuickShock, this episode focuses on the first book — Paris, 1895 — where young American art students living romanticized, impoverished lives in Paris are about to discover that something is very wrong.
00:00:22 --> 00:00:26 Hello welcome to the real point exchange this is adam and today we're going
00:00:26 --> 00:00:31 to be doing another row up this one is for pale green press the yellow king
00:00:31 --> 00:00:33 and joining me today are my good friends,
00:00:34 --> 00:00:39 hi it's me nick you might have heard me run a couple games here on rpx and as
00:00:39 --> 00:00:46 well as playing some happy to be back hello everybody this is david your favorite
00:00:46 --> 00:00:48 man in purple playing the King in Yellow.
00:00:50 --> 00:00:53 And hi, I am Zabrowney because I wanted to be at the end of the list.
00:00:53 --> 00:00:59 Glad to have you all in here. I picked up this game at Gen Con years and years ago.
00:00:59 --> 00:01:04 I think it came out around 2018 and it has sat on my shelf for a while.
00:01:04 --> 00:01:06 It looked really cool. It's a beautiful little setup.
00:01:07 --> 00:01:10 The King in Yellow, when you buy it, you get four books.
00:01:10 --> 00:01:15 It's kind of a, you get a campaign built in with it. It's not slipcase, it's magnetic.
00:01:16 --> 00:01:21 I think all of us here have some experience with Pilgrim's use of the gumshoe system, right?
00:01:21 --> 00:01:24 Oh, yes. I have stepped in that game before, yes.
00:01:25 --> 00:01:29 I've heard the game and I've read the books, but I haven't played it or run it personally.
00:01:29 --> 00:01:33 I am going to just give a little brief introduction for those that aren't in
00:01:33 --> 00:01:34 the know on this one here.
00:01:34 --> 00:01:37 So, The Yellow King was written by Robin D.
00:01:37 --> 00:01:41 Law's well-known game designer, and it was published by Pell Green Press,
00:01:41 --> 00:01:42 as mentioned beforehand.
00:01:43 --> 00:01:48 And it is inspired by Robert Chambers' collection of short stories called The King in Yellow.
00:01:49 --> 00:01:52 These stories center around a mysterious and forbidden play called The King
00:01:52 --> 00:01:57 in Yellow. Once read, it begins to warp reality. It's magnetic powers, kind of.
00:01:58 --> 00:02:03 All kinds of bad shit happens. I think one of the more well-known properties
00:02:03 --> 00:02:07 that go with that is, what's the one for Delta Green? The King in Yellow one?
00:02:08 --> 00:02:13 Impossible Landscapes, is that it? Yeah. So this game's going to be using the
00:02:13 --> 00:02:16 gumshoe system, or more of a streamlined version.
00:02:16 --> 00:02:21 It's called the Quick Shock gumshoe, which is designed around investigation and mystery.
00:02:22 --> 00:02:26 The core premise of it is if there's information, you're going to find it.
00:02:26 --> 00:02:31 You're never going to chance not getting enough information to roll on to the very next scene.
00:02:32 --> 00:02:35 As, you know, Call of Cthulhu, if you missed something, you didn't do a check,
00:02:35 --> 00:02:38 then you could be hosed in the first 10 minutes of the game.
00:02:38 --> 00:02:44 So regardless, if you have the skill, you're going to pull up the information and things go on.
00:02:45 --> 00:02:48 The drama is not whether or not you can kind of piece together the mystery.
00:02:49 --> 00:02:55 It's about what you do with that information and if you can survive the consequences
00:02:55 --> 00:02:56 of having that information.
00:02:57 --> 00:03:02 What makes The Yellow King more unique is that, as mentioned beforehand,
00:03:02 --> 00:03:04 it's not just one game. It's four.
00:03:05 --> 00:03:11 It's a box set of full hardback books, beautiful books, great quality pages.
00:03:11 --> 00:03:15 Each of these books takes place in a different time period and alternate reality,
00:03:15 --> 00:03:22 and they're all just connected by The King in Yellow and Carcosa.
00:03:22 --> 00:03:26 First of these books that we're going to be doing is Paris or Bella,
00:03:26 --> 00:03:28 I cannot pronounce French.
00:03:29 --> 00:03:36 Epoch Paris, Bella Epoch Paris. You know, Adam, I would like to make a suggestion on that.
00:03:36 --> 00:03:43 And that is, don't even try to hide the Kentucky, bring it out in full force.
00:03:43 --> 00:03:49 Put your twang on everything you say, which is going to make that sound so much better.
00:03:49 --> 00:03:52 Don't try for the french just pronounce it
00:03:52 --> 00:03:55 kentucky style and have fun with it we will
00:03:55 --> 00:03:58 make the frenchmen cringe and they will put down their wine glasses
00:03:58 --> 00:04:03 and come in here and just scream at us collectively from
00:04:03 --> 00:04:06 analytics of the podcast we don't have a lot of downloads from paris
00:04:06 --> 00:04:09 or france or french french canada so
00:04:09 --> 00:04:13 i think we're good but i appreciate that sir after paris
00:04:13 --> 00:04:17 we're going to be doing the wars aftermath and
00:04:17 --> 00:04:20 then the final one is this is normal now
00:04:20 --> 00:04:23 you get to play you can
00:04:23 --> 00:04:26 play these independently or you can kind of string them
00:04:26 --> 00:04:31 all together and have the everything from the previous book kind of reverberate
00:04:31 --> 00:04:36 into the one that you're currently on so rather than focusing on all four of
00:04:36 --> 00:04:44 these we're going to be looking at the first book which is paris this book setting is 1895.
00:04:44 --> 00:04:47 At the height of the belly...
00:04:48 --> 00:04:55 Okay, whatever. Goading age of art, culture, we have absence, decadence.
00:04:55 --> 00:04:58 I mean, now I'm thinking of the absence drinker painting.
00:04:58 --> 00:05:04 Your characters are going to be young American students living in a romanticized and temporary.
00:05:05 --> 00:05:09 Your characters are young American art students living in a romanticized,
00:05:09 --> 00:05:11 temporary, impoverished life in Paris.
00:05:11 --> 00:05:17 They're painters, sculptors, poets, journalists, and their social circles are,
00:05:17 --> 00:05:23 I mean, they're all connected and they're just, yeah, they're just soaking up to life in Paris.
00:05:23 --> 00:05:26 So Cabernets, cafes, et cetera, et cetera.
00:05:27 --> 00:05:32 But there's something that is wrong in Paris. A disturbing closet drama called
00:05:32 --> 00:05:38 The King in Yellow has been covertly published and its reality bending influence
00:05:38 --> 00:05:40 is beginning to seep into the city.
00:05:40 --> 00:05:45 Statues animate streets vanish loved ones are replaced by strangers that no
00:05:45 --> 00:05:51 one else remembers and behind it all works the alien influence of Carcosa and the Yellow King,
00:05:52 --> 00:05:57 So, at the beginning of this, which we're not actually getting into the game
00:05:57 --> 00:06:02 itself, but character creation, our characters are politically unaware of all of this.
00:06:02 --> 00:06:08 But each one of them carries with them one strange, inexplicable experience
00:06:08 --> 00:06:09 that they haven't told anyone about yet.
00:06:10 --> 00:06:15 Something that, looking back, might have been their first brush with the impossible.
00:06:16 --> 00:06:21 And before long, they'll find themselves at the center of a mystery that goes
00:06:21 --> 00:06:25 far deeper than anything Paris' Gaslight Streets would suggest.
00:06:25 --> 00:06:29 So that's my brief summarization of it here.
00:06:29 --> 00:06:31 Y'all have any questions so far?
00:06:32 --> 00:06:37 None for me. No, no questions. I think before we jump into character creation,
00:06:37 --> 00:06:42 I want to kind of talk about the quick shot version of Gumshoe.
00:06:42 --> 00:06:45 In gumshoe you have your points
00:06:45 --> 00:06:49 that you can spend points to modify roles and whatnot
00:06:49 --> 00:06:54 in the quick shot all that's replaced with just two pushes per player per scenario
00:06:54 --> 00:06:59 they're they're floating points that can be used for any investigative ability
00:06:59 --> 00:07:03 so you're not dealing with all that other stuff you've got your stats on your
00:07:03 --> 00:07:08 character sheet and then you got these two pushes that you can use.
00:07:08 --> 00:07:12 This version of it, the GM never rose. Very player-facing.
00:07:13 --> 00:07:16 Your road dictates everything and that
00:07:16 --> 00:07:19 makes combat really quick so it's pretty you're not doing multiple
00:07:19 --> 00:07:22 rows in combat or anything like that it's just
00:07:22 --> 00:07:25 pretty much one one and done kind of
00:07:25 --> 00:07:28 thing like that and you can abstract and narrate what
00:07:28 --> 00:07:32 happens through the course of this by your rows health
00:07:32 --> 00:07:35 and stability they're not stats anymore they're
00:07:35 --> 00:07:37 gone you're and this is kind of a unique thing
00:07:37 --> 00:07:41 that they take from cthulhu confidential
00:07:41 --> 00:07:43 or gumshoe one-to-one i think it's
00:07:43 --> 00:07:47 what that particular system's called there's cards
00:07:47 --> 00:07:50 you get like shock cards or not shock
00:07:50 --> 00:07:53 cards what are the card they're entering shock injury for
00:07:53 --> 00:07:56 health and shock for mental which there are
00:07:56 --> 00:07:59 some pretty cool ones that what was the one that you you mentioned beforehand
00:07:59 --> 00:08:08 for about a heart oh yeah so they have a card which could be for like any they
00:08:08 --> 00:08:13 have cards basically list out for every imaginable situation and they start
00:08:13 --> 00:08:14 off really tame like you know.
00:08:16 --> 00:08:19 Abrasion cuts like sprained ankle
00:08:19 --> 00:08:22 broken leg and then they get into the
00:08:22 --> 00:08:25 like the ridiculous like they ripped my heart
00:08:25 --> 00:08:28 out showed it to me and then put it back in my chest like that's
00:08:28 --> 00:08:32 literally the name of the card of the injury and you
00:08:32 --> 00:08:35 could only accumulate depending on the mode of the game that you're playing
00:08:35 --> 00:08:39 because there's there's two different modes it's more hardcore horror
00:08:39 --> 00:08:43 one and i think the other one was called occult or
00:08:43 --> 00:08:46 it's horror mode and i
00:08:46 --> 00:08:51 can't remember what the other mode is off top of my head i apologize but yeah
00:08:51 --> 00:08:56 depending on the mode that you go with you can either take three of these you
00:08:56 --> 00:09:00 know for each set or you could you just get two of them and then you're either
00:09:00 --> 00:09:04 dead or you're out of play. You're not coming back.
00:09:04 --> 00:09:06 You get a zero, you're out.
00:09:07 --> 00:09:10 Yeah, I think that is pretty much it. I'm trying to figure out what the other
00:09:10 --> 00:09:14 mode is. I've got the physical book right here, and I just refuse to open it up.
00:09:15 --> 00:09:20 The way I remember it is one is more horror, and one is more pulpy,
00:09:20 --> 00:09:23 sort of action-y running gun.
00:09:23 --> 00:09:27 At least, that was my interpretation. Oh, you're right, 100%.
00:09:28 --> 00:09:33 Touching pages with my fingers is horrible. Oh, yeah, I was right. There's horror mode.
00:09:34 --> 00:09:38 Okay, let me restate this properly. So those modes I was speaking of was horror
00:09:38 --> 00:09:41 mode, which is on page 11.
00:09:41 --> 00:09:45 It's the tougher of the two, likely yielding a higher death rate.
00:09:45 --> 00:09:48 And then there's a cult adventure. It's a shade more forgiving.
00:09:50 --> 00:09:54 But at this page, it doesn't really go into it. I think you get like I mentioned
00:09:54 --> 00:09:58 beforehand, you can take three and then you're out.
00:09:58 --> 00:10:01 We'll kind of get more into that as we go on.
00:10:02 --> 00:10:05 So I think the first thing we need to do for this roll-up, gentlemen,
00:10:06 --> 00:10:10 is figure out, do we want it to be pulpy or do we want to go straight horror?
00:10:10 --> 00:10:15 So do we want to go for the real king experience or go for more occult?
00:10:15 --> 00:10:21 Well, this is a roll-up, so let's drive them like we stole them. Yeah, that's good to me.
00:10:22 --> 00:10:28 So, yeah, mechanically, we take less damage is what that's going to go for.
00:10:28 --> 00:10:29 So we're going to do that.
00:10:30 --> 00:10:34 Now, if you all can turn with me, we need to start picking out our kits.
00:10:35 --> 00:10:41 We, and, ah, shoot. Kits are created by combining one item a piece.
00:10:42 --> 00:10:45 That's the kits I'm trying to read through is here. I have notes here.
00:10:45 --> 00:10:49 It lists a whole bunch of investigative kits, and then afterwards,
00:10:49 --> 00:10:52 a whole bunch of general kits.
00:10:52 --> 00:10:54 I think we choose one from each of the lists.
00:10:55 --> 00:11:00 The investigative kits determines the character's fields of study and their ability.
00:11:01 --> 00:11:07 So with in gumshoe, typical, that's your first two things you're filling up, the points-wise.
00:11:08 --> 00:11:12 And each one of these are kind of unique for the scenario, and we're going to
00:11:12 --> 00:11:14 play with that a little bit going forward here.
00:11:15 --> 00:11:19 There's architecture student. So, for example, it gives you architecture,
00:11:19 --> 00:11:26 obviously, art history. Then they got a French term, officialdom and technology.
00:11:27 --> 00:11:33 There's bella lettrice, which I know bella means beautiful. So it means beautiful letters.
00:11:33 --> 00:11:35 So you have history.
00:11:36 --> 00:11:42 You're very persuasive, I guess. Reassurance, research. There's landscape painter. There's muse.
00:11:43 --> 00:11:47 There's poet, portrait painter, and sculptor.
00:11:47 --> 00:11:53 So in each one of these kind of comes with, like I said, their four investigative abilities.
00:11:53 --> 00:11:58 So we're going to be using the form fillable character sheet that came with,
00:11:58 --> 00:12:02 that you can pick up at Pellgrin's website.
00:12:02 --> 00:12:07 This one in particular we're using, it says Paris on it because that's the starting of this.
00:12:07 --> 00:12:11 But a lot of this stuff is so form fillable that if you homebrewed something,
00:12:11 --> 00:12:15 the fact that it says Paris at the top of it isn't going to really be a detriment to anything.
00:12:15 --> 00:12:20 So much like in riffs where being a boxer is op i'll say that portrait painter
00:12:20 --> 00:12:24 is op because i get five investigative skills not four mm-hmm,
00:12:25 --> 00:12:29 That is cool. So we've got our horror.
00:12:29 --> 00:12:32 I think going through it here, it didn't mention name player.
00:12:32 --> 00:12:35 And I mean, name drive and all that. So the character sheet,
00:12:35 --> 00:12:37 we're going to be doing it kind of out of order on it.
00:12:40 --> 00:12:43 So I guess we just need to write down our investigative abilities here.
00:12:44 --> 00:12:50 So what are you all thinking for investigative abilities or kits? Excuse me.
00:12:51 --> 00:12:57 I'm thinking either muse or poet, because I like the, I like the idea of the
00:12:57 --> 00:12:59 bonhomie or also the demi-monde.
00:13:00 --> 00:13:04 I don't know what either of those words mean, but they sound fun.
00:13:04 --> 00:13:10 I do like that the poet has occultism as one of theirs, but the muse has both
00:13:10 --> 00:13:11 inspiration and miscellany.
00:13:12 --> 00:13:19 So, eh? 50-50? Yeah. I never know. I'm going to... Go ahead. No, no, go ahead.
00:13:20 --> 00:13:23 I would say, as I look through here, you're right, Brownie. Everything else
00:13:23 --> 00:13:25 is just four. Go ahead, bud.
00:13:26 --> 00:13:29 Even though being OP is one of the things you try to do in many RPGs,
00:13:30 --> 00:13:33 I'm going to go with Sculptor because I haven't seen a piece of metal I haven't liked.
00:13:33 --> 00:13:37 So that gives me art history, military history, sculpture, and steel.
00:13:38 --> 00:13:40 Which is why I chose it. I think...
00:13:41 --> 00:13:48 I'm going to go with architecture student because the rest seems like the normal
00:13:48 --> 00:13:52 artist kind of thing and architecture student to me kind of stands out differently.
00:13:52 --> 00:13:56 I know it's more of design for buildings and incorporating that kind of style
00:13:56 --> 00:14:00 into it, but it seems a lot different from the others, which is interesting
00:14:00 --> 00:14:01 to me. So I'm going to go with architecture.
00:14:01 --> 00:14:07 And I know the page says officialdom, but you now have a specialty in bureaucracy. Congratulations.
00:14:08 --> 00:14:12 I'm going to go ahead, since I was so proud of myself for knowing that Bella was beautiful.
00:14:13 --> 00:14:16 Of course, that's because of me and Brownie's experience with Twilight through another podcast.
00:14:17 --> 00:14:20 But I think I'll just do the Bella Lettrist, so the socialite.
00:14:20 --> 00:14:24 That's going to give me the beautiful letters, history, reassurance, and research.
00:14:25 --> 00:14:29 So we'll go ahead and plug those in our character sheet here.
00:14:29 --> 00:14:33 And I think the book does, for these ones that are scenario-specific.
00:14:34 --> 00:14:38 There is a description of what they are as well in the book.
00:14:39 --> 00:14:43 I like the muse in being the bon homie, or so, good guy.
00:14:44 --> 00:14:50 Something fun says, I like the idea of also being the scrounger of the group.
00:14:50 --> 00:14:55 So I'm the muse and the scrounger, so basically the guy who can get you what you want.
00:14:56 --> 00:15:00 If you want a big old block of copper, don't worry, I can get it for you.
00:15:00 --> 00:15:01 Just don't ask where I got it.
00:15:02 --> 00:15:06 It may not be the finest quality copper, but it will be copper. It will be copper.
00:15:07 --> 00:15:11 It is a miscellany. It looks like a cool skill. You seem to have knowledge about almost anything.
00:15:12 --> 00:15:18 So, or is this a wealth of knowledge, David? You know, that fits. I'll take it.
00:15:19 --> 00:15:22 You're a trivia knight. They fear you when you walk in. Now,
00:15:23 --> 00:15:26 the general kits is what we're going to move on to next.
00:15:26 --> 00:15:34 So, these are the traditional, like, action verb gumshoe games where you pick out your abilities.
00:15:34 --> 00:15:37 Where you pick out a kit that has like you know
00:15:37 --> 00:15:40 fighting and reassurance not
00:15:40 --> 00:15:43 reassurance excuse me that's in the other one but there's several of them there
00:15:43 --> 00:15:50 that are you know where we would spend 60 points in a gumshoe game i am looking
00:15:50 --> 00:15:57 through these right now and it looks like so on page 13 players then select.
00:15:59 --> 00:16:04 A general kit. It reflects most notable qualities, allowing them to take actions
00:16:04 --> 00:16:07 in the game world aside from information gathering.
00:16:07 --> 00:16:13 So we have athlete, which self-explanatory.
00:16:13 --> 00:16:19 This one also has former cadet, so you receive military training informally or formally.
00:16:20 --> 00:16:24 Cool customer, which is a confident character, hard to shake.
00:16:25 --> 00:16:32 A scrounger, which is you always have a knack for having an item that your friends
00:16:32 --> 00:16:36 need and occasionally require you to skirt traditional notions of propriety rights.
00:16:36 --> 00:16:41 So this is where you're prepared in a skill that is definitely baked into on this one here.
00:16:42 --> 00:16:47 Former med student, tinkerer, raised on a farm.
00:16:49 --> 00:16:51 As an owner or peasant you grew up with
00:16:51 --> 00:16:55 a healthy with the healthy air of rural areas and
00:16:55 --> 00:17:00 then there's raves on the street through lowly birth and unfortunate circumstances
00:17:00 --> 00:17:04 you were later reversed that were later reversed you spent your formative years
00:17:04 --> 00:17:09 fending for yourself you were one step ahead of the breadline david and the
00:17:09 --> 00:17:13 final one is spent time in a factory As an owner or worker,
00:17:13 --> 00:17:17 you spent your youth amid thundering engines in an industry.
00:17:17 --> 00:17:24 You're going to notice on all these that composure is pretty much always at
00:17:24 --> 00:17:26 a pretty high set, by the way.
00:17:27 --> 00:17:33 So we'll get into a bit more, but composure is one of these self-defense things that you have here.
00:17:35 --> 00:17:39 What are y'all thinking off the top of your head here? Being who I am and also
00:17:39 --> 00:17:43 having chosen the rock and stone, I mean steel life of the Sculptker,
00:17:43 --> 00:17:47 I like both Tinkerer and Spent Time in a Factory, but I'm going to have to go with Tinkerer.
00:17:48 --> 00:17:53 That gives you three to athletics, six to composure, five to fighting.
00:17:54 --> 00:17:59 Any notable ones? Six to mechanics. Yeah, six to mechanics.
00:18:00 --> 00:18:04 That's pretty decent. Yep. The interesting thing here is, one,
00:18:04 --> 00:18:06 preparedness is the only one that's not in alphabetical order,
00:18:06 --> 00:18:07 so this is probably translated.
00:18:08 --> 00:18:12 And two, zero in first aid. That's interesting.
00:18:13 --> 00:18:15 Somebody better take in former med student then.
00:18:17 --> 00:18:22 Put your fingers back on. We're just going to a play. What do we need med students for?
00:18:24 --> 00:18:28 What are you thinking about, Nick? I was thinking former cadet.
00:18:28 --> 00:18:33 That's good. I do like the idea of one of us being able to fight just a little
00:18:33 --> 00:18:38 bit because, well, to be fair, I am going scrounger and that does have a six in fight.
00:18:39 --> 00:18:42 So you're the one who's biting the fingers off.
00:18:43 --> 00:18:47 Only if I have to. That was only three times.
00:18:48 --> 00:18:52 Three times I bite fingers off three times and you never let me forget it.
00:18:52 --> 00:18:55 I'm counting four and you know which other time I'm talking about.
00:18:55 --> 00:18:57 That wasn't a finger I bit off.
00:18:58 --> 00:19:05 Oh. three and a half just a nub I think I'll go for a former med student just
00:19:05 --> 00:19:10 because Nick challenged me like I will be a former med student it's going to
00:19:10 --> 00:19:13 give me a nice seven in composure,
00:19:13 --> 00:19:18 and my sense trouble and preparedness sucks but I do got six in first day so,
00:19:19 --> 00:19:22 I've always found myself relying on the kindness of strangers,
00:19:23 --> 00:19:28 if you all wanted to actually build your own you're totally fine with doing
00:19:28 --> 00:19:33 that But there's on page 15, it also mentions that the general ability lists
00:19:33 --> 00:19:36 from scratch may do as well.
00:19:36 --> 00:19:40 Allocate 32 points between all these general abilities.
00:19:41 --> 00:19:46 If you wanted to make up your own class, just... Yeah, I'm happy leaving zero on first aid for myself.
00:19:46 --> 00:19:49 I'm fully comfortable walking up to someone saying, does this need stitches?
00:19:50 --> 00:19:54 Notice even... Okay, here's where it explained what I was talking about beforehand.
00:19:55 --> 00:20:00 Players may also modify their kids moving around any numbers that they want, etc., etc. Okay.
00:20:01 --> 00:20:05 Survival depend... Survival can depend on composure and fighting.
00:20:05 --> 00:20:09 Going below six and either can shorten your character's lifespan.
00:20:09 --> 00:20:15 So, even with... My character being a med student, I at least have five in fighting,
00:20:15 --> 00:20:17 but my composure is seven.
00:20:17 --> 00:20:21 So those are your two that you're going to notice going through the character sheet.
00:20:21 --> 00:20:25 They're never super low down on the list.
00:20:26 --> 00:20:30 Okay, so we're doing horror. It does make a quick note here.
00:20:30 --> 00:20:35 The above numbers apply to horror modes that I spoke of previously there.
00:20:35 --> 00:20:41 When playing occult mode, increase composure and fighting ratings for each kit
00:20:41 --> 00:20:50 by one apiece and add one to two higher rated abilities other than composure and fighting.
00:20:51 --> 00:20:58 And when you're doing the custom build, you're basically doing 36 points instead of 32 points.
00:20:58 --> 00:21:00 That's one of the little minute differences.
00:21:02 --> 00:21:08 So okay let's take a moment here and i'll just put a i'll just stat them out
00:21:08 --> 00:21:12 it looks like this is nice so yeah you just just plug your numbers in here on
00:21:12 --> 00:21:17 the character sheets i had to write something you usually don't get killed by
00:21:17 --> 00:21:21 the k and l you get killed by the uh the shut in and the theater fire.
00:21:22 --> 00:21:26 I do like all the little art pieces that feel very period and appropriate in here.
00:21:27 --> 00:21:32 Looking at page 19 in particular with the king's head with the yellow mask and
00:21:32 --> 00:21:37 the serpent body, the multiple serpent body with the sword through it. It's very cool.
00:21:38 --> 00:21:42 Okay. They did put them in the wrong order from book to sheet, by the way.
00:21:43 --> 00:21:47 Yeah. It's athletics, composure, fighting, athletics, composure, fighting.
00:21:47 --> 00:21:50 They just moved to preparedness to the bottom. Mentioned earlier,
00:21:50 --> 00:21:55 it's probably translated was a different lettered word in that language.
00:21:55 --> 00:21:59 Moving on to the next, so we're on page 16.
00:21:59 --> 00:22:03 Players can choose any gender, sexual orientation, heritage,
00:22:03 --> 00:22:04 and background for their characters.
00:22:05 --> 00:22:11 As the world tumbles into the 20th century rapid industrialization with colonialism
00:22:11 --> 00:22:18 at its apex, it has never been a better time to be rich, male, Christian, and white.
00:22:18 --> 00:22:21 It's not it is not just
00:22:21 --> 00:22:24 accepted but considered right and moral for everyone else that
00:22:24 --> 00:22:27 everyone else knows her place in the social pyramid and
00:22:27 --> 00:22:32 acts accordingly you can handle this impact in a couple different ways by two
00:22:32 --> 00:22:37 different ways by illuminating these attitudes by depicting them as they really
00:22:37 --> 00:22:41 were were even if it was occasionally reduced to freedom and choices of other
00:22:41 --> 00:22:44 characters so they do not enjoy full agency.
00:22:44 --> 00:22:48 Or you can adopt a more aspirational portrayal where racism,
00:22:48 --> 00:22:52 sexism, and bigotry and intolerance might exist somewhere in the background
00:22:52 --> 00:22:55 but never come to the forefront for players.
00:22:56 --> 00:23:00 And immediately beneath that on the page is the X-Guard mentioning.
00:23:00 --> 00:23:03 So what are we thinking here?
00:23:04 --> 00:23:11 We can probably go ahead and while we're doing this, the next section on page 17 goes into name.
00:23:12 --> 00:23:17 So these characters by default are going to be American as well,
00:23:17 --> 00:23:23 though you can, you know, modify them as need be.
00:23:23 --> 00:23:26 So what are you, what are y'all thinking is,
00:23:27 --> 00:23:31 What's your character's name, gender, orientation, anything you would like to
00:23:31 --> 00:23:35 add for this? I think I'm just going to take some names from the list.
00:23:35 --> 00:23:38 I'm terrible with names. And just do Walter Hayes.
00:23:38 --> 00:23:43 How very French-sounding of you. I'm going with the American side of the suggestion.
00:23:44 --> 00:23:45 But yes, very French-sounding.
00:23:46 --> 00:23:49 See, being an architecture student, I was hoping you were going to go with Ludwig.
00:23:50 --> 00:23:55 Yeah, I never even looked at the names. I just noticed that a bit later.
00:23:55 --> 00:24:02 That's awesome. So, yeah, on page 229 and 230, you got just a whole list of
00:24:02 --> 00:24:05 male, female, gender neutral names.
00:24:05 --> 00:24:11 And I just read Theo and saw it as taco. Maybe I should check my prescription on my glasses.
00:24:12 --> 00:24:16 I kind of feel like as a muse, I want to go for a modernium.
00:24:16 --> 00:24:20 So I think I'm going to go just Ulysses and that's it.
00:24:21 --> 00:24:26 Almost everybody is certain it's an alias because every ID I present has a different
00:24:26 --> 00:24:32 name on it and I act confused by what name they call me when I hand it to the bouncer.
00:24:33 --> 00:24:41 I'm going to go with Dana or Dana, D-A-N-A which is a general neutral name and
00:24:41 --> 00:24:44 there's also a list of surnames there as well.
00:24:45 --> 00:24:48 You all got a preference on them? I'm going
00:24:48 --> 00:24:50 to go with man of a man of a single name just because
00:24:50 --> 00:24:54 it's easier i don't know the entomology
00:24:54 --> 00:24:59 a lot of those last names you know like how in english you know smith where
00:24:59 --> 00:25:03 you're a smith cooper you're a cooper etc so no last name for me but i am going
00:25:03 --> 00:25:09 to go with the french version of my middle name my middle name is arthur and
00:25:09 --> 00:25:12 the french version of arthur is arthur but pronounced archer,
00:25:13 --> 00:25:18 Okay. It's not buying Dana. I like alliteration, so I'm going to pick Dorsett.
00:25:19 --> 00:25:24 So she, I think I've decided she's female. And her friends call her Dee Dee.
00:25:25 --> 00:25:30 I like that. So Dana Dorsett. I do think that Dee Dee is such a fun little nickname.
00:25:32 --> 00:25:36 Yeah, indeed. Looking forward to seeing what we can get into with it.
00:25:36 --> 00:25:40 So, yeah, we're going to go for Ulysses as the motto name, Uly, to my friends.
00:25:42 --> 00:25:46 Nick, did you pick a last name? Oh, yes. Hayes. Hayes, okay. I apologize.
00:25:47 --> 00:25:51 All right, guys. Looks like we're going over to page 17 here,
00:25:51 --> 00:25:52 so now we're going to pick the draft.
00:25:53 --> 00:25:57 Ask each player in turn, starting with the one sitting to your right,
00:25:58 --> 00:26:03 ask each player in turn, starting with the one sitting to the rightmost position
00:26:03 --> 00:26:08 and moving around the room from left to right to define why their character acts,
00:26:09 --> 00:26:12 Characters act like protagonists in the tale of horror and investigation.
00:26:13 --> 00:26:18 What is it that draws them toward danger when ordinary people would turn and run?
00:26:18 --> 00:26:23 What leads them to trust only themselves to solve problems when the typical
00:26:23 --> 00:26:25 citizens would seek aid?
00:26:25 --> 00:26:30 Work with players to turn their answers into brief memorable phrases.
00:26:31 --> 00:26:35 This becomes the character's drive. During play, you will use this to remind
00:26:35 --> 00:26:41 players that their characters are the leads in the story you're creating together
00:26:41 --> 00:26:45 and must make decisions to keep them to the center of the proceedings.
00:26:45 --> 00:26:48 Take an action to move it forward.
00:26:48 --> 00:26:54 You might find that a player creates a perfect drive that has never been used before.
00:26:55 --> 00:26:59 Typically, though, they'll invent motivations that can be encapsulated with
00:26:59 --> 00:27:04 more or less like the one of the following bullet points that they provide here.
00:27:05 --> 00:27:10 So we'll work on it. But on page 17, there's a big list. Well,
00:27:10 --> 00:27:13 not big. It goes over to the next page.
00:27:13 --> 00:27:19 Bullet points would be adventure, arrogance, can-do attitude, comradeship.
00:27:20 --> 00:27:26 Curiosity, Dread Premonitions, who has sense of fun, Ennui, Family Curse,
00:27:27 --> 00:27:34 Gothic Sensibilities, Inspiration, Rationism, Seeker, Showboat, and Yen for Discovery.
00:27:35 --> 00:27:40 So, I don't know. Let's workshop this one here. What are y'all thinking?
00:27:40 --> 00:27:42 I'm thinking a good old can-do attitude.
00:27:43 --> 00:27:46 We can take care of this. It's fine. Everything's fine.
00:27:46 --> 00:27:51 For certain quantities of fine. So what leads you to kind of go with this earlier
00:27:51 --> 00:27:53 question? I think it's an easy answer, too.
00:27:53 --> 00:27:56 But what leads you to trust only in yourself to solve problems?
00:27:57 --> 00:27:59 Have you seen what happens when you involve the authorities?
00:28:00 --> 00:28:03 The police here, they know nothing about what they should be doing.
00:28:04 --> 00:28:08 OSHA says you cannot stand on the top rung of a ladder. That's border dash.
00:28:09 --> 00:28:13 I forget which European country I was in at the time, but the police,
00:28:14 --> 00:28:18 where it said police on the back of their uniforms, looked like it said polite.
00:28:18 --> 00:28:20 And so I just refer to them as the polite people they're on after on that trip.
00:28:22 --> 00:28:24 David, I'd love to know what you're picking because I'm kind of,
00:28:24 --> 00:28:28 there's some things I'm eyeballing here on the bullet points,
00:28:28 --> 00:28:32 but what are you picking and why is this pertinent to your character?
00:28:33 --> 00:28:38 I guess you're to the right of me. Oh, I am trying to find or trying to see
00:28:38 --> 00:28:43 which one fits the best because I kind of feel like it's either inspiration.
00:28:43 --> 00:28:50 My life has been stale and flavorless, but now I see my great subject matter or yen for discovery.
00:28:51 --> 00:28:54 I kind of feel like I'm doing all of this because of the fun.
00:28:55 --> 00:29:00 I feel like I want to play the character. Yuli has had brushes with the authorities
00:29:00 --> 00:29:05 in the past, knows his way in and out of the jail cells, you know.
00:29:06 --> 00:29:11 I anticipated this situation, which is why I happen to have this lockpick.
00:29:12 --> 00:29:16 That's a bobby pin. It is a lockpick. It just happens to also hold my head in place.
00:29:18 --> 00:29:23 You know, the, yes, yes, I know the drill. You're going to put the cuffs on me, yes?
00:29:24 --> 00:29:29 Not so tight this time. No one else is going to pick it. I believe that I'm
00:29:29 --> 00:29:30 going to take family curse.
00:29:31 --> 00:29:37 Text says that the weird situation reminds me of the strange hints my grandfather once dropped.
00:29:37 --> 00:29:44 For his unexplained disappearance, this is finally my opportunity to comprehend
00:29:44 --> 00:29:46 our so-called ancestral doom.
00:29:47 --> 00:29:53 I have fled the States to go home to the motherland.
00:29:54 --> 00:30:00 And I'm starting to come to grips that the same thing that has happened to my
00:30:00 --> 00:30:04 family, no matter where I run, it will probably find me.
00:30:05 --> 00:30:11 So why not go back to the source of it and maybe I can figure out how to avoid this fate.
00:30:12 --> 00:30:16 Dee Dee's name is definitely not going to show up in some distant branch of
00:30:16 --> 00:30:19 that Castane family tree, right? No, no, no, no.
00:30:20 --> 00:30:25 Dorsets would definitely not have anything to do with that. Unless...
00:30:28 --> 00:30:32 I think I would go with rationalism. A strangeness of these events gnaws at
00:30:32 --> 00:30:33 my sense of mental order.
00:30:34 --> 00:30:38 With the military cadet background and architecture student sort of focus,
00:30:38 --> 00:30:42 I feel like I would have a very rigid, by the book, by the rules,
00:30:42 --> 00:30:45 by the process kind of way of thinking.
00:30:45 --> 00:30:51 So just the strangeness of the King in Yellow would probably make me want to
00:30:51 --> 00:30:55 try and explain it or make some sense. Yeah. Okay.
00:30:55 --> 00:31:03 Makes sense. we got everybody here the deuced peculiar business on page 18 so
00:31:03 --> 00:31:08 at the end of these drives now ask the players starting with the one who wrapped up,
00:31:08 --> 00:31:13 forget that stuff ask the players to describe a deuced peculiar business,
00:31:14 --> 00:31:17 a recent event or eerie inexplicable,
00:31:17 --> 00:31:22 or so eerily inexplicable that the character has yet to mention it to anyone
00:31:22 --> 00:31:28 else including members of the main cast provide stump players with examples
00:31:28 --> 00:31:34 such as a dreamer hallucination of a bone-white sky punctuated by ebony stars,
00:31:35 --> 00:31:43 a glimpse of a perpetually compelling figure on the street who once pursued
00:31:43 --> 00:31:49 apparently vanished, or a loved one who has disappeared and no one now remembers.
00:31:49 --> 00:31:54 So there's several more past that. So what would be something unique that your
00:31:54 --> 00:31:56 characters have encountered?
00:31:57 --> 00:32:06 During, I guess, a display of a new building, showcasing a particular new architecture style.
00:32:07 --> 00:32:11 It's a nice sort of squarish building, quadrilateral, you know,
00:32:11 --> 00:32:12 four corners and everything.
00:32:13 --> 00:32:19 And I saw five spires, one at each corner of the building.
00:32:20 --> 00:32:23 Ooh, eight. yeah so yeah
00:32:23 --> 00:32:26 i i i no one else saw five spires
00:32:26 --> 00:32:29 but but i did and i quickly
00:32:29 --> 00:32:32 dropped it after realizing that that everyone
00:32:32 --> 00:32:36 else saw four like there was supposed to be and maybe
00:32:36 --> 00:32:39 i've gone back a couple times to see what was
00:32:39 --> 00:32:42 going on i will put down just because it's appropriate
00:32:42 --> 00:32:45 for a sculptor apparently animated statues or gargoyles
00:32:45 --> 00:32:48 on that on the cathedral with our
00:32:48 --> 00:32:52 girls dance at night i'm going to just
00:32:52 --> 00:32:55 kind of ties in with something we were talking about off mic but
00:32:55 --> 00:33:01 i'm going to borrow it here i would like to say that my experience was i was
00:33:01 --> 00:33:09 i am from the city of new orleans and my i was out on the lake poncho train
00:33:09 --> 00:33:13 which is kind of right right there next to new orleans leads into the gulf of mexico,
00:33:14 --> 00:33:18 And I was on a boat with a young suitor.
00:33:18 --> 00:33:20 He was rolling me out on the lake.
00:33:22 --> 00:33:26 And I looked up at the sun, and it got really bright for a moment.
00:33:26 --> 00:33:33 And then when I looked down, I was alone on the boat in a strange lake that I did not recognize.
00:33:34 --> 00:33:40 And for a nice bit of touch, I'll say there is ebony stars in the sky and a
00:33:40 --> 00:33:42 large castle looming in the background. I don't.
00:33:43 --> 00:33:49 And the next thing I know, I was on the bank of Lake Pontchartrain,
00:33:49 --> 00:33:54 and my young suitor said that I had fallen to hysterics.
00:33:55 --> 00:33:56 Perhaps I had the vapors.
00:33:57 --> 00:34:01 And, yeah, felt that this was foreboding for my family.
00:34:02 --> 00:34:06 Curse, and have since then moved to Perry.
00:34:07 --> 00:34:15 So, he does not remember a strange lake, though I do. So, last step here, page 18.
00:34:16 --> 00:34:21 Maybe not the last step, descriptions. Now that the players have their characters
00:34:21 --> 00:34:24 field of study, general backgrounds, drives, do some peculiar business,
00:34:25 --> 00:34:29 ask each in turn to describe themselves to the rest of the group.
00:34:29 --> 00:34:34 These quick descriptions might include physical appearance, family history,
00:34:35 --> 00:34:39 reasons for coming to Paris, but let players define how they do this.
00:34:40 --> 00:34:44 Oh yeah, the next thing we're going to do is relationships. I think that's done.
00:34:45 --> 00:34:49 So, would anyone like to describe themselves? Generally never.
00:34:51 --> 00:34:58 I think the most striking thing is the fact that I have a fashion sense that is all my own.
00:34:59 --> 00:35:02 I tend to wear things that defy the norm.
00:35:03 --> 00:35:09 And I somehow manage to both stand out into every room I walk in by what I wear,
00:35:09 --> 00:35:16 but somehow manage to get unnoticed when I don't want to be seen. a bit of an enigma. Yeah.
00:35:16 --> 00:35:24 The clothes are very obviously baggy on me because I tend to hide all sort manner
00:35:24 --> 00:35:28 of things within all of the pockets inside, especially on things that look like
00:35:28 --> 00:35:31 they should not have pockets, but somehow do.
00:35:32 --> 00:35:38 I would say that I generally have some sort of workman's coverall on,
00:35:38 --> 00:35:46 usually has a bit of stone dust or some leftover of doing sculpture or working with steel on it.
00:35:47 --> 00:35:51 Okay. I do have a nice suit, but I rarely wear it.
00:35:51 --> 00:35:58 I'm probably a little better dressed than the average person.
00:35:58 --> 00:36:03 I like to look presentable, have like a little bit of a professional look to me.
00:36:03 --> 00:36:09 You know, try to have like a very, very professional feel. Yeah.
00:36:11 --> 00:36:15 CD's mother always called her her little daisy. Or daffodil.
00:36:15 --> 00:36:19 Which one's yellow, David? Or are they both? Daffodil.
00:36:19 --> 00:36:24 Daffodil is more yellow. The daisy has yellow in the center and white around the edges.
00:36:24 --> 00:36:28 So how yellow do you want to be? A little yellow or a lot?
00:36:29 --> 00:36:35 I want to be a lot. Call me Triple D, though, for alliteration on that one there. So Daffodil.
00:36:36 --> 00:36:43 Daffodil Didi. So she has always gravitated to the color of yellow for some reason.
00:36:43 --> 00:36:49 Her wardrobe is made up of a lot of yellow dresses of various styles.
00:36:49 --> 00:36:56 Her parents doted over her. They had a bit of money, so she was never without,
00:36:56 --> 00:37:02 which allowed her to get into, introduce her to the social circles that she ran in.
00:37:02 --> 00:37:06 I like the idea of her being a small lady of stature.
00:37:07 --> 00:37:14 So just right at five foot, I would say way thin.
00:37:15 --> 00:37:18 Even as a child, she could eat, she could eat, she could eat,
00:37:18 --> 00:37:20 and she never put on a pound.
00:37:20 --> 00:37:24 And that has followed her into her young adulthood in her 20s.
00:37:26 --> 00:37:33 Pretty, but more in a, less in a supermodel, glorious way and more of,
00:37:33 --> 00:37:37 I don't know, this is just these people that look normal but they're beautiful all the same.
00:37:37 --> 00:37:43 You know the feeling. They're just, maybe it's a, maybe it's a light in her eyes that does it.
00:37:43 --> 00:37:46 I think. That yellow light in her eyes. Yeah.
00:37:48 --> 00:37:52 I got to lean into this curse. We're going to talk about our relationships.
00:37:53 --> 00:37:58 And there's a bit of reading here to do with this. I would like to go with this
00:37:58 --> 00:38:00 here a bit more than usual.
00:38:01 --> 00:38:07 So on page 20, pick any player who hasn't yet been chosen to speak first.
00:38:08 --> 00:38:13 Well, we'll skip that part here since we've all kind of been jumping in.
00:38:13 --> 00:38:18 Let me see. Starting with the player moving around the seating order from left
00:38:18 --> 00:38:24 to right, ask each player to pick the other character in the group they rely on and explain why.
00:38:24 --> 00:38:31 As they answer, fill in the relies on column with their name of the selected
00:38:31 --> 00:38:38 character and in parentheses, a quick encapsulation of the reason for the attitude.
00:38:38 --> 00:38:42 Typical players must name characters who have not been chosen.
00:38:42 --> 00:38:47 This means that the last player in the speaking order must choose the remaining
00:38:47 --> 00:38:49 characters by reason for the relationship.
00:38:50 --> 00:38:55 Starting with the last player, going around the room in reverse serpentine order, I guess.
00:38:56 --> 00:39:01 Now have each pick another member of the group their character feels protective
00:39:01 --> 00:39:04 toward. We'll have a quick explanation of why.
00:39:04 --> 00:39:08 The resulting chart will look as such on page 20.
00:39:08 --> 00:39:13 This exercise creates cohesion and sketches out their history together Before
00:39:13 --> 00:39:18 the action begins It may be all you need to foster a sense of a gang of friends
00:39:18 --> 00:39:23 Who naturally support one another when weirdness raises its spectral head On occasion,
00:39:24 --> 00:39:29 as seen on page 84 The GM may find cause to invoke the relationship in play
00:39:29 --> 00:39:35 If you can't convene a full group for your first session Try to arrange an online meeting Okay.
00:39:36 --> 00:39:39 Knowing that, you'll wind up leaving some sections of the chart point,
00:39:39 --> 00:39:42 giving latecomers less chance than they'd have otherwise.
00:39:42 --> 00:39:46 For a group that never shows up in the same configuration twice,
00:39:46 --> 00:39:50 you might consider abandoning this step. Well, who?
00:39:51 --> 00:39:52 Brownie, you're always the most
00:39:52 --> 00:39:56 reluctant to speak, sir. That's why you put a Z in front of your name.
00:39:57 --> 00:40:00 It's not reluctance. It's desire not to be first. I need those social cues.
00:40:01 --> 00:40:04 Sure, yeah. Pick me out in class, teacher. That's fine.
00:40:06 --> 00:40:11 Bermine has not latched onto people's characters' names, so I would say that
00:40:11 --> 00:40:16 I rely on David's character because they are very good at getting us out of
00:40:16 --> 00:40:18 jams. What was your character's name again, David?
00:40:19 --> 00:40:21 Do you want to go with Ulysses or just Uli?
00:40:22 --> 00:40:27 Uli is good. Uli because they get us out of jams. All right.
00:40:28 --> 00:40:31 Your teacher predilections could not be turned off today, David.
00:40:32 --> 00:40:36 Sorry about that. I saw you looking at your phone from miles and miles away.
00:40:36 --> 00:40:38 I was like, oh, somebody's not paying attention.
00:40:40 --> 00:40:43 I can go next if you don't want to volunteer someone.
00:40:44 --> 00:40:48 Brian, your character's name is Artur, right? Yep, that's correct.
00:40:49 --> 00:40:54 Yeah. I think I would probably rely on Artur a little bit because along with
00:40:54 --> 00:40:56 being a sculptor, you're sort of like a tinkerer.
00:40:56 --> 00:40:58 You like mechanics and machines a bit or...
00:40:59 --> 00:41:02 Quite a bit yes yeah i i think
00:41:02 --> 00:41:05 i would probably help you you'd probably
00:41:05 --> 00:41:08 help me i would go like go to you double check
00:41:08 --> 00:41:11 like some references because you'd be
00:41:11 --> 00:41:13 more familiar with like construction and machines a
00:41:13 --> 00:41:17 bit like maybe that would help out with my my architecture planning
00:41:17 --> 00:41:20 and i do have a bit of knowledge about
00:41:20 --> 00:41:23 technology so i i would probably go to
00:41:23 --> 00:41:26 you for for help referencing things and checking things
00:41:26 --> 00:41:28 and stuff like that to make it easy i just put
00:41:28 --> 00:41:31 just call me dd guys so i just put dd there if
00:41:31 --> 00:41:34 y'all don't care drop your names in the chat here for your
00:41:34 --> 00:41:38 characters well in just a moment
00:41:38 --> 00:41:46 you're fine because i put you down as i rely on ddd to get us into things dd
00:41:46 --> 00:41:54 gets us in uly gets us out yes like i feel like there are going to be so many
00:41:54 --> 00:41:57 times where it's just the, did you steal my ID again?
00:41:57 --> 00:42:00 No, I'm handing it back to you. That means I borrowed it.
00:42:01 --> 00:42:05 Hmm. I think I would, I'm going to go next if you don't mind.
00:42:06 --> 00:42:10 I think I, DeeDee actually, if no one's picked Nick for this,
00:42:10 --> 00:42:15 I think DeeDee relies on Walter Hayes.
00:42:15 --> 00:42:21 When DeeDee moved to Perry, Walter was the first one that she met in the group.
00:42:21 --> 00:42:29 He introduced her to the right people, and since then, the daffodil has blossomed
00:42:29 --> 00:42:30 in the fair city of Perry.
00:42:31 --> 00:42:36 All right, so I guess, David, you technically went second before last,
00:42:36 --> 00:42:45 so I guess I got to pick one, a person that I want to protect, and honestly,
00:42:45 --> 00:42:50 I feel like I want to protect Uly, or Ulysses.
00:42:51 --> 00:42:55 You are the, were you the muse, or which one, what playbook was it?
00:42:55 --> 00:43:00 The muse. Would it be putting words in your mouth?
00:43:01 --> 00:43:07 And I don't want to, obviously, but would it be fair to say that Ulysses sometimes
00:43:07 --> 00:43:14 gets ahead of themselves and maybe needs an interpreter or someone to gloss
00:43:14 --> 00:43:19 over maybe some social fupa that has been committed?
00:43:20 --> 00:43:23 Well, I would point out that my composure is actually a seven,
00:43:23 --> 00:43:27 so I don't think I'm going to be the one making the social faux pas,
00:43:27 --> 00:43:30 but... Let me change this.
00:43:30 --> 00:43:35 Actually, I could see the needing to be protected from some of the authorities.
00:43:35 --> 00:43:40 I think I need to actually put Arthur there, because I took first aid, because Arthur...
00:43:41 --> 00:43:44 Does this need stitches? Hmm? Yeah, does this need stitches?
00:43:45 --> 00:43:48 Yeah. Does this need stitches? Probably.
00:43:49 --> 00:43:52 That makes sense. I'm doing the medical bill. That makes the most sense there.
00:43:55 --> 00:44:01 Arthur's just a darling person. I mean, really, like salt of the earth, humble as can be.
00:44:02 --> 00:44:05 Sometimes he never looks twice when he picks up that hammer.
00:44:06 --> 00:44:10 And someone needs to really needs to stop walking directly into the bottom of
00:44:10 --> 00:44:12 the statue that he's making with his head. Yes.
00:44:14 --> 00:44:18 There's that one time and he was sitting there hitting that with that chisel
00:44:18 --> 00:44:24 and that hammer and that marble and that sliver went in the corner of his eye and it was ghastly.
00:44:24 --> 00:44:30 And I had to pull it out and put a warm compress on there for some reason. I don't know why.
00:44:30 --> 00:44:33 Because there was no ice to make a cold compress out of.
00:44:35 --> 00:44:41 All right. So, David, I think you went before me when we were going the first way.
00:44:41 --> 00:44:43 So, Walter is off the boards.
00:44:44 --> 00:44:48 Who do you need to protect? Well, no, no. Arthur is off the boards, but Walter is still on.
00:44:49 --> 00:44:52 And as a matter of fact, since I can't pick Deedee, I must pick Walter.
00:44:52 --> 00:44:57 So, I feel like I need to protect Walter because, let's see,
00:44:57 --> 00:45:01 you're an architectural student, right? I feel like...
00:45:02 --> 00:45:07 Just looking at the designs, especially the ones that he's producing under his
00:45:07 --> 00:45:12 pen name of Vince Clortho, he is going to build some very lovely buildings.
00:45:12 --> 00:45:18 I don't know why I'm drawn to them. Okay. And then I get the uses to you, Nick.
00:45:19 --> 00:45:22 I think I would seek to protect Deedee.
00:45:23 --> 00:45:28 In your own explanation, I introduce you to the rest of the crew,
00:45:28 --> 00:45:30 so I probably feel some responsibility for you.
00:45:30 --> 00:45:34 Especially since you go on about this crazy
00:45:34 --> 00:45:37 idea of a curse I mean it's
00:45:37 --> 00:45:41 ridiculous you know there's obviously an explanation for everything it's
00:45:41 --> 00:45:44 probably just a bunch of just random unfortunate
00:45:44 --> 00:45:49 events that you're just you know putting together linking together in your mind
00:45:49 --> 00:45:54 and attributing to this so called family curse you know I've gotta help you
00:45:54 --> 00:46:01 out get you over this paranoia and make sure that you have a happy life here in Paris.
00:46:02 --> 00:46:06 Alright, thank you. Appreciate it. I've always relied on the kindness of strangers.
00:46:06 --> 00:46:11 Last but certainly not least in our hearts. Ernie? I'm last. Who's left?
00:46:13 --> 00:46:18 It's a brownie. No, no. I mean, who's left to pick since we can't double up picks?
00:46:19 --> 00:46:22 I'm off the board. I think Dave is not off the board.
00:46:22 --> 00:46:27 I think Ulysses is on it. Well, that would mean I rely on and seek to protect
00:46:27 --> 00:46:32 Uli, which is fine. I also seek to protect Uli because they constantly need
00:46:32 --> 00:46:35 to get out of jams, tying back into why I rely on.
00:46:35 --> 00:46:38 They keep getting into jams. Sure, that works.
00:46:39 --> 00:46:43 I like it. Have any of you guys noticed on the character sheet that we downloaded
00:46:43 --> 00:46:48 from Pale Green, when we're going over a little creepy history thing,
00:46:48 --> 00:46:52 the fonts, like font 35, is that just mine?
00:46:53 --> 00:46:56 Like, I can't even type in that field.
00:46:56 --> 00:46:59 Now, there may be a way in, you know, the IT teacher may not,
00:46:59 --> 00:47:02 hasn't looked to see if there's a way to change the default font styles and
00:47:02 --> 00:47:05 all that, but it seems kind of big.
00:47:06 --> 00:47:11 The oddity I'm seeing here is that... That deuced peculiar business,
00:47:11 --> 00:47:15 it vertically justifies it for me.
00:47:16 --> 00:47:17 I would like to start on the top line, please.
00:47:18 --> 00:47:23 Yeah, it's not. The more you type, the smaller the font gets, but the longer.
00:47:23 --> 00:47:29 So that's a little unyielding. But I mean, I think it's an easy thing to get around on tables.
00:47:29 --> 00:47:32 And let me double check the book. I think we're done.
00:47:33 --> 00:47:38 Let's see. There's a thing about investigative abilities allowed characters game work.
00:47:38 --> 00:47:42 Well, it actually goes into the investigative abilities from there,
00:47:42 --> 00:47:47 what they do, how to use them, so forth. There's several pages of that.
00:47:48 --> 00:47:52 Now, they do have the Demone described here.
00:47:52 --> 00:47:59 So a lot of the newer ones for us, Michelinie, that has appeared otherwise on
00:47:59 --> 00:48:01 his character sheet, so we haven't seen on other iterations of Gumshoe.
00:48:02 --> 00:48:05 Nice to have them described. Getting more beautiful artwork.
00:48:06 --> 00:48:10 And then, yeah, it just goes over to the quick rules on page 33.
00:48:10 --> 00:48:13 So, yeah, I think we've done this.
00:48:14 --> 00:48:21 First off, by recording, it looks like we have been doing this for roughly,
00:48:21 --> 00:48:27 got to screw up in Discord to see, looks like about an hour.
00:48:27 --> 00:48:35 So, it seems to be a fairly quick one, though there's a lot of potential to
00:48:35 --> 00:48:38 develop relationships at the table here.
00:48:38 --> 00:48:41 What do you all think of the game so far, character creation?
00:48:42 --> 00:48:45 Oh, character creation is quick and easy. Sorry.
00:48:46 --> 00:48:49 Well, yeah, it's quick, it's easy. Pick one, pick the other,
00:48:49 --> 00:48:53 and then find a reason to join up with everybody in the party.
00:48:55 --> 00:48:58 Yeah, I'll say that I agree with the quick and easy on most of it.
00:48:59 --> 00:49:02 I'm always a little bit iffy on the social connections part for some reason,
00:49:03 --> 00:49:04 probably just the way my brain works.
00:49:04 --> 00:49:07 And I don't know that we always necessarily take that through into play,
00:49:08 --> 00:49:10 but it's a good piece. Yeah.
00:49:10 --> 00:49:15 Yeah, I've always had issues with that, like Powered by Apocalypse games and
00:49:15 --> 00:49:20 stuff, where you're picking your relationship and stuff like that.
00:49:20 --> 00:49:23 And then there's a lot of other games that I've played, like,
00:49:23 --> 00:49:28 you know, say Alien or any of the other ones where you pick a lot of negative
00:49:28 --> 00:49:33 things about the relationship, like who you dislike and et cetera, et cetera.
00:49:33 --> 00:49:36 And while all these things are great for a lot of people on role-playing,
00:49:37 --> 00:49:42 I particularly just would rather the dynamic be dictated at the table.
00:49:42 --> 00:49:44 Or discovered at the table, rather.
00:49:44 --> 00:49:49 Yeah, discovered at the table rather than I'm going to start the game out and
00:49:49 --> 00:49:51 I'm out to screw Brownie over, so to speak.
00:49:52 --> 00:49:56 You son of a bit before we've even met each other. Yes. Yeah.
00:49:57 --> 00:50:03 About to say the starting the game with like, I feel like I want this to be
00:50:03 --> 00:50:06 a case of tell me how I like each other.
00:50:07 --> 00:50:12 Tell us how we like each other. Tell us how we started getting along as opposed
00:50:12 --> 00:50:16 to building an entire party of, I fucking hate Craig.
00:50:17 --> 00:50:20 Mm-hmm. I mean, that's a fair statement, but yeah.
00:50:21 --> 00:50:26 I like, if it has us do questions, I like more of the, how did you meet,
00:50:26 --> 00:50:29 more than how do you feel. So I basically agree with you. Yeah.
00:50:30 --> 00:50:35 So we got a few minutes to spare here to kind of tone out what our typical info
00:50:35 --> 00:50:38 of one of these roll-ups are. So I wanted to present you all with something.
00:50:39 --> 00:50:42 Book as written, the whole series of it is kind of telling one tale.
00:50:43 --> 00:50:50 I wondered how easy it would be to take this format and really just create our
00:50:50 --> 00:50:53 own kits for a scenario that I just want to pitch towards you.
00:50:54 --> 00:50:57 And I'll give you the kind of mode of operandum kind of thing.
00:50:57 --> 00:51:01 It goes with the two. So we could, you know, see how quick it,
00:51:01 --> 00:51:04 Let's see how quick. We're not exactly going to roll these up here,
00:51:04 --> 00:51:06 but I would like to kind of create a kit.
00:51:06 --> 00:51:09 So each one of us kind of play with the idea of a kit. So, I mean,
00:51:09 --> 00:51:12 you may want to open up a Word doc, Google doc or something like that.
00:51:12 --> 00:51:19 But what if we took the Yellow King and we took this system here and we did
00:51:19 --> 00:51:24 a Yellow King game set and where I took inspiration for Didi,
00:51:25 --> 00:51:32 why don't we set it in New Orleans in 2005, 2006 in the wake of Hurricane Katrina? Yeah.
00:51:33 --> 00:51:40 My logic as a game master for such a scenario would be there was a huge mass
00:51:40 --> 00:51:46 exodus of people from the city of New Orleans with the hurricane.
00:51:46 --> 00:51:50 But there was unfortunately people who didn't have the mobility or chose to
00:51:50 --> 00:51:54 say, and I mean, look it up if you didn't live during that time period.
00:51:54 --> 00:51:57 It was kind of post-apocalyptic thing going on there.
00:51:58 --> 00:52:06 And what if the way this madness of the yellow king works is have you ever heard the expression,
00:52:07 --> 00:52:10 dilution is a solution so if
00:52:10 --> 00:52:16 you had people who if the majority of the people in the area have not been exposed
00:52:16 --> 00:52:23 to the king and yellow then the whole issue is a bit more diluted but when you
00:52:23 --> 00:52:29 have such a mass exodus and there's a certain set of people here that has been exposed to it,
00:52:30 --> 00:52:33 the plague spreads faster. So,
00:52:34 --> 00:52:40 Why don't we make up, it's just, I mean, Hurricane is gone. The levees have
00:52:40 --> 00:52:42 broke, all that fun stuff.
00:52:43 --> 00:52:46 FEMA is starting to get boots on the ground.
00:52:46 --> 00:52:53 Why don't we just create a kit for characters that would be in the city of New
00:52:53 --> 00:52:55 Orleans post Hurricane Katrina?
00:52:56 --> 00:53:00 I want your input on this. If you guys like the build of it,
00:53:00 --> 00:53:04 we could do all rescue workers.
00:53:04 --> 00:53:10 If you like the build of it as being all people who chose to stay behind for one reason or another.
00:53:11 --> 00:53:18 Or maybe we're all news reporters from different agencies that have worked together
00:53:18 --> 00:53:20 and covered other stuff. And anything else you would suggest.
00:53:20 --> 00:53:24 So I think the first thing I want to ask you all is, like, what are we doing
00:53:24 --> 00:53:26 and how do we know each other before we kind of do the kits?
00:53:27 --> 00:53:33 Well, I think that the first thing I'm—my brain works in a slightly different
00:53:33 --> 00:53:36 order. I'm trying to math it out first to make sure that I've got it right.
00:53:36 --> 00:53:43 Because I think that... Yeah, okay. So it's basically 32 points on each kit.
00:53:44 --> 00:53:49 So you basically drop 32 points into the different numbers to make it even out.
00:53:50 --> 00:53:51 So that's easy enough to do.
00:53:52 --> 00:53:56 Let's see. And in looking at Katrina, I'm thinking...
00:53:57 --> 00:54:02 Just historically, as to the people who were left in New Orleans after the fact,
00:54:02 --> 00:54:07 we've got rescue workers, we've got the people who were stranded,
00:54:07 --> 00:54:12 but there were, generally speaking, two different kinds of rescue workers that went down.
00:54:13 --> 00:54:17 So you've got the medical rescue worker who is there to provide medical aid,
00:54:17 --> 00:54:25 and then you've got more of the stevedore, because sandbags are heavy.
00:54:25 --> 00:54:28 And so you've got somebody who's
00:54:28 --> 00:54:34 doing more of the heavy work then you've also technically three because you've
00:54:34 --> 00:54:38 got the people who just are there to lift the heavy stuff and then you've got
00:54:38 --> 00:54:43 the people who know how to nail a board properly so you've got some folks who
00:54:43 --> 00:54:47 are trying to reconstruct some folks who are lifting to do the.
00:54:49 --> 00:54:55 And dare I suggest a fourth, the celebrity, the person who just kind of says,
00:54:55 --> 00:55:02 I will help you to repair this because there's not enough awareness and our
00:55:02 --> 00:55:03 government isn't doing much.
00:55:04 --> 00:55:11 Famously during Katrina, the president's mother took one look at the ruined
00:55:11 --> 00:55:14 Superdome and said, this is good enough for the people of New Orleans.
00:55:15 --> 00:55:20 Yeah, I remember that. Just ate her foot all the way up to the knee there. Just, hmm.
00:55:21 --> 00:55:27 And so because of that, celebrities like Brad Pitt just kind of picked up,
00:55:28 --> 00:55:32 moved temporarily to New Orleans, and just started rebuilding.
00:55:32 --> 00:55:38 Like, Brad Pitt famously made a tent city on the high ground so that people
00:55:38 --> 00:55:43 would have a place to stay, while he then turned around and financed building houses.
00:55:44 --> 00:55:49 Didn't worry about that. The glorious thing about it is that when he did it,
00:55:49 --> 00:55:55 he went against a lot of what the celebrity mindset was, because there's a lot
00:55:55 --> 00:56:00 of people who went to New Orleans and went, I'm here to help, and then did fuck all.
00:56:00 --> 00:56:09 And Brad Pitt went to New Orleans, did the work, and only after things got done, got any credit for it.
00:56:09 --> 00:56:13 So he did work first, credit second, unlike some of the others.
00:56:14 --> 00:56:19 So I feel like lots and lots of words to basically say playbook number four
00:56:19 --> 00:56:27 celebrity okay go for it I like that Springfield night born right uh yes matter
00:56:27 --> 00:56:29 of fact he even went to my same high school.
00:56:30 --> 00:56:37 Cool. And then with the celebrity one, I think we need to just kind of even
00:56:37 --> 00:56:41 look them over there, but we can kind of try to decide on like investigative
00:56:41 --> 00:56:43 abilities with that kit.
00:56:43 --> 00:56:47 And then we can kind of, I mean, we, I guess we could kind of use some of the
00:56:47 --> 00:56:50 same general abilities, kits, stuff as well.
00:56:50 --> 00:56:56 Well, yeah, I was, I'm thinking about trying to build the general kits because
00:56:56 --> 00:57:03 the, the investigative kits are basically, those are easy. Yeah.
00:57:04 --> 00:57:08 Four, or in one case, five investigative abilities, and then everybody gets
00:57:08 --> 00:57:12 two pushes, which makes it different than standard gumshoe because,
00:57:13 --> 00:57:17 well, speaking for standard gumshoe, I'm always going to come back to,
00:57:17 --> 00:57:20 I'm going to make a forger sniper. Yeah.
00:57:20 --> 00:57:22 Tom Church, ladies and gentlemen.
00:57:23 --> 00:57:27 In this case, it's put together four investigative abilities,
00:57:27 --> 00:57:31 and then you just use your pushes in game.
00:57:32 --> 00:57:37 Celebrity activist, maybe. We can write that down? Does that sound good, or just celebrity?
00:57:37 --> 00:57:40 I think, yeah. We'll go for celebrity activist.
00:57:42 --> 00:57:47 So, investigative abilities. I'm just going to spitball some stuff.
00:57:47 --> 00:57:49 Would you say, like, maybe high society?
00:57:50 --> 00:57:53 High society, possibly, or...
00:57:54 --> 00:57:59 You can make up your own, too. Weaponized fame? Yeah. Write it down.
00:58:00 --> 00:58:06 Connections. Connections. That's a good one. Community trust from the people.
00:58:06 --> 00:58:11 They learn that you're not just a normal, you know, Sally Streathers feed the
00:58:11 --> 00:58:11 children kind of person.
00:58:12 --> 00:58:16 So about four investigative abilities, I think.
00:58:16 --> 00:58:20 Mm-hmm. I do feel like we need one that is just a straight up,
00:58:21 --> 00:58:22 oh, how do I put it in words?
00:58:22 --> 00:58:28 And I want one that's a little bit more down to earth, you know,
00:58:29 --> 00:58:34 because part of it is fame, part of it is connections, like the combination
00:58:34 --> 00:58:40 of I'm famous, I know famous people, but I also kind of want to see a good solid
00:58:40 --> 00:58:42 boots on the ground example of.
00:58:44 --> 00:58:48 What is it when actors, they like actually go out and play the part in real
00:58:48 --> 00:58:50 life that they're going to play in the movie?
00:58:50 --> 00:58:53 Is that method acting?
00:58:53 --> 00:58:57 Yeah, you could do method acting. Like, hey, I did this once for a part.
00:58:58 --> 00:59:01 And then it's like, how about something like that?
00:59:01 --> 00:59:05 And maybe are you that part that's actually playing a celebrity, David?
00:59:07 --> 00:59:12 If that makes sense. It kind of does. You lucked into this, this job.
00:59:12 --> 00:59:15 It's like you're just waiting for them to take your money away and tell you
00:59:15 --> 00:59:17 to go back to the factory.
00:59:20 --> 00:59:24 It's like reverse imposter syndrome. I think, does anyone else,
00:59:24 --> 00:59:26 I think we got a couple on that one there.
00:59:26 --> 00:59:32 Does anyone else have any particular, I mean, we can do just one or two of these.
00:59:32 --> 00:59:35 Like, we don't have to do one for each person. Does anyone have a particular
00:59:35 --> 00:59:39 build you were thinking of that would be good for this type of scenario, a kit?
00:59:40 --> 00:59:43 Well, honestly, the architecture student is still probably a good starter kit
00:59:43 --> 00:59:46 for some of that stuff if you're talking about someone who's there to do,
00:59:46 --> 00:59:48 you know, stabilization post-event.
00:59:49 --> 00:59:53 I think that works. I mean, if we're starting to build this thing right here,
00:59:54 --> 00:59:57 maybe everybody involved in this is part of the celebrity's organization.
00:59:58 --> 01:00:02 So Brad Pitt's, I think, I Googled this, and it's like David mentioned it,
01:00:02 --> 01:00:05 Brad Pitt's Make It Right Foundation. Maybe we're basically...
01:00:06 --> 01:00:09 The team that the celebrity has brought in to make things happen.
01:00:09 --> 01:00:11 So yeah, you need an architect.
01:00:11 --> 01:00:16 Nick, do you have a particular one you were thinking of or at all?
01:00:16 --> 01:00:17 You don't have to say yes.
01:00:18 --> 01:00:24 No, I, I, I don't know. I mean, the way, the way I would go about this as like
01:00:24 --> 01:00:29 running the game is I would be like, okay, where is the King and Yellow threat come in?
01:00:30 --> 01:00:34 Who would deal with it? Like, like when, what situation would it appear?
01:00:34 --> 01:00:37 Who would end up being the one facing it
01:00:37 --> 01:00:40 and based on like who those people were i'd be like okay
01:00:40 --> 01:00:43 what roles would they like what what investigative things would
01:00:43 --> 01:00:46 fit that so that's my line of
01:00:46 --> 01:00:48 thinking at least with trying to come up with it
01:00:48 --> 01:00:52 is your thing like at the the the
01:00:52 --> 01:00:55 bread pit tent town or at the new orleans
01:00:55 --> 01:00:58 like super bowl stadium like are people
01:00:58 --> 01:01:01 like putting on plays to try and keep cheer people up
01:01:01 --> 01:01:04 and one of those places happens to be the king in yellow or is it
01:01:04 --> 01:01:08 like tent town uh it's
01:01:08 --> 01:01:16 already being assembled the players are going into this community and going
01:01:16 --> 01:01:22 from house to house these are sometimes ghastly areas that sustain damage there's
01:01:22 --> 01:01:25 other people there but They're going in house to house,
01:01:25 --> 01:01:31 trying to get residents to leave their dilapidated, dangerous,
01:01:31 --> 01:01:37 you know, environment to go back to the tent town,
01:01:37 --> 01:01:43 at least till crews can come in there and make sure like utilities and everything is set up and return.
01:01:43 --> 01:01:47 And so you're trying to get people to go out of their house.
01:01:47 --> 01:01:50 And then I say that you go into a house or an apartment building,
01:01:50 --> 01:01:53 because I do actually like the idea of there being an apartment building,
01:01:53 --> 01:01:58 a la, you know, impossible landscapes first set up where things are fucked up.
01:01:59 --> 01:02:06 So, you know, the more you descend in or ascend into the complex, the worse it could be.
01:02:06 --> 01:02:11 Then I would definitely say one investigative kit would be some sort of government
01:02:11 --> 01:02:16 worker who's sort of trying to take census of who's who, who's where.
01:02:17 --> 01:02:22 Trying to understand the numbers, trying to so, you know, enough food is on the ground.
01:02:22 --> 01:02:26 Like doesn't have to be like federal or local
01:02:26 --> 01:02:28 you're just just someone whose job it
01:02:28 --> 01:02:31 is to figure out the numbers
01:02:31 --> 01:02:34 behind how many people are aware
01:02:34 --> 01:02:39 who possibly who's where and like what what do we need like someone in that
01:02:39 --> 01:02:44 kind of role like logistics like a like a fema coordinator is there as well
01:02:44 --> 01:02:52 so investigative abilities i mean like you can make one medical knowledge is divestment recovery,
01:02:53 --> 01:02:55 politics, something like that.
01:02:55 --> 01:02:57 Probably have something to do with bureaucracy.
01:02:58 --> 01:02:59 Government and FEMA.
01:03:01 --> 01:03:07 You know, the structures and all. So I think roughly we've kind of created that one up here.
01:03:07 --> 01:03:11 Honestly, I didn't, I don't know, do you think the whole process that we just
01:03:11 --> 01:03:16 kind of went through, we pitched a couple of main kits and we just did the general one here.
01:03:16 --> 01:03:22 What do y'all think of how, as a game master, How easy would it be to talk with
01:03:22 --> 01:03:26 your players and just create everything from scratch on this? I think it's doable.
01:03:26 --> 01:03:32 Yeah, I think the only thing you really got to think hard about is the investigative ones, because...
01:03:33 --> 01:03:37 Even in the character creation description, it doesn't say you have to take
01:03:37 --> 01:03:40 those general abilities. You just have to sign 36 points.
01:03:40 --> 01:03:45 So if you just leave that to the characters themselves as the person preparing
01:03:45 --> 01:03:50 the game, you really just got to prepare the investigative kits for them to choose. Yeah.
01:03:50 --> 01:03:55 It's real simple just to drop the numbers in the character sheet and you could do it either way.
01:03:55 --> 01:04:03 I think just having a clear idea, like when I mentioned the FEMA coordinator,
01:04:03 --> 01:04:05 kind of person that you were talking about there.
01:04:05 --> 01:04:08 I mean, disaster recovery is not in the book.
01:04:08 --> 01:04:11 You just got to look, you can call it what you want, but you need to kind of
01:04:11 --> 01:04:13 have a clear understanding of what,
01:04:14 --> 01:04:17 investificative ability this is kind of substituting for.
01:04:18 --> 01:04:22 So, I don't know, even like the Dino Mon, Demonday or whatever,
01:04:23 --> 01:04:27 the good guy thing that David had in his earlier iteration of a character,
01:04:28 --> 01:04:31 it just seems like as long as you have a clear idea, you can kind of,
01:04:32 --> 01:04:36 even if it doesn't, it isn't one particular stat that's written out in the book,
01:04:37 --> 01:04:39 as long as you have a general idea, you can kind of sell it.
01:04:39 --> 01:04:46 It works. Of course, I could you know, get disaster relief in here quick.
01:04:47 --> 01:04:54 I'm a FEMA coordinator. I know the ins and outs of which bureaucratic structure
01:04:54 --> 01:04:56 that I'm navigating through.
01:04:57 --> 01:05:02 Well, I appreciate y'all taking this a little bit of extra time just to see how easy it would be.
01:05:03 --> 01:05:08 You know, when I see a game that, and I'm thinking of like Band of Blades,
01:05:08 --> 01:05:13 which was a Force in the Dark, Black Company-ish, Lord of the Rings,
01:05:14 --> 01:05:20 Dragon Age-style dark fantasy game where the—and I know you're familiar with that one,
01:05:21 --> 01:05:27 Nick, because we talked about it a while back, but we have a game that's built
01:05:27 --> 01:05:29 strictly around the campaign that comes with it.
01:05:29 --> 01:05:33 And when I initially looked at the Yellow King,
01:05:33 --> 01:05:38 I was afraid that this was something that would be more of a kind of a one-trick
01:05:38 --> 01:05:43 pony like that, where you've got the game, the system is baked into this campaign,
01:05:44 --> 01:05:47 and then what you finish shows books unless you buy books.
01:05:48 --> 01:05:52 Or, you know, make up something in that similar vein to tack onto it,
01:05:52 --> 01:05:55 that it would be pretty much, you know, done.
01:05:56 --> 01:05:59 I like how easy this thing is, this version of Gumshoe is for.
01:06:00 --> 01:06:08 You know, you can take 1895 Paris and transport this game to 2005 New Orleans
01:06:08 --> 01:06:12 with very little prep work on the GM side.
01:06:12 --> 01:06:16 Just a character concept, or not a character concept, excuse me,
01:06:16 --> 01:06:20 like a scenario concept on what you're going to be doing, as you mentioned beforehand.
01:06:20 --> 01:06:23 And then it just comes together at the table.
01:06:23 --> 01:06:29 Well, guys, thank you so much for joining me on this. I've enjoyed our row up for the Yellow King.
01:06:30 --> 01:06:35 I think my final impressions of this process is there's not a lot to do,
01:06:35 --> 01:06:44 but just pick up a name, figure out their first experience, Let's pick two kits, drop in numbers.
01:06:44 --> 01:06:53 But I do like how the setup of character creation leads to, the way it leads
01:06:53 --> 01:06:57 from one thing to the other just seems like a very logical progression.
01:06:58 --> 01:07:01 And as we went through it, I didn't start with DeeDee in mind,
01:07:01 --> 01:07:06 but by listening to the rest of the players at the table and then by step two
01:07:06 --> 01:07:09 or three, DeeDee was kind of formed in my brain, so to speak.
01:07:09 --> 01:07:11 So yeah i don't
01:07:11 --> 01:07:14 know it's it seems like a lot not
01:07:14 --> 01:07:17 a lot of work for a lot of a lot of gain as far
01:07:17 --> 01:07:20 as character creation goes good no you first
01:07:20 --> 01:07:26 go ahead i feel like the character creation for this game the one downside i
01:07:26 --> 01:07:33 would give it is that it is you create the characters for this game they they
01:07:33 --> 01:07:38 don't feel as splashable in others because with all of the different.
01:07:39 --> 01:07:46 Horror that we play, I try to look at the possibility of what happens if the
01:07:46 --> 01:07:47 character survives this campaign?
01:07:47 --> 01:07:50 Are they splashable as an NPC in another one?
01:07:50 --> 01:07:55 Or what happens if this character dies off in this one? Do we see them in an afterlife later?
01:07:56 --> 01:08:04 The downside for this feels like each book is going to be different characters only for that book.
01:08:04 --> 01:08:09 We're shooting more toward one-shots with this game than otherwise,
01:08:09 --> 01:08:13 like Eternal Lies or Dracula Dossier. Exactly.
01:08:14 --> 01:08:19 They are one-shots, and that is all that they will be.
01:08:21 --> 01:08:26 I wouldn't say drop-in, drop-out, but this would be a good game for an impromptu
01:08:26 --> 01:08:30 session when everybody doesn't make it, and you wanted to switch gears to a different game.
01:08:31 --> 01:08:34 Anybody else have anything before we put a bow on this one? Not from me.
01:08:35 --> 01:08:39 Nothing from me. So, again, I'd like to thank you all for joining us.
01:08:39 --> 01:08:42 And for those of you listening, if this is your first time, hello.
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01:10:13 --> 01:10:17 Anyway, I'd like to thank you guys again. And until next time,
01:10:17 --> 01:10:20 y'all take care. Goodbye. Good night and night.