Four players walk through character creation and discuss The Yellow King RPG (Pallid Press) using the Quick Shock Gumshoe rules. They cover the Paris 1895 setting, investigative and general kits, drives, strange first encounters, relationships, and how to adapt the system to new scenarios (including a Katrina-era New Orleans pitch).
The episode focuses on character concepts (muse, sculptor, architect, socialite), horror vs. pulpy modes, and building coherent, easy character sheets — highlighting how the system supports quick setup and flexible re-skinning for other settings.
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.