The following list is an overview of the storylines inside this campaign.
You may skip these and move onto the storylines (page 251), but some
of the information is helpful for generating and weaving together
themes, as well as cross-referencing information quickly.
Barclay’s Crown is a typical political power struggle story, but it plays
upon a number of intrinsic themes. For one, Barclay is clearly not an
alpha male. His confidence is demonstrated through his grasp of power,
not the other way around. This animalistic ascent is mirrored in King
Nothing, where his authority exists only through the impotence of
Baron Uther. Bocland Fails and Hightower’s Folly are more examples
of Barclay’s power being used to weaken others.
Blood in My Eyes and Visions prey upon the PC’s misconceptions that
what they see/believe is real. These stories cheat by taking advantage
of the medium of make-believe, by adding another layer to that lie.
Encourage players to believe everything they’ve come to perceive.
Until the end.
Blood Expansion, Border Disputes, and many of the humanoid
storylines, serves two purposes. For one, they are a standard way
in which fantasy adventures fuel the need for action. PCs get to kill
orcs and goblins, thus feeling they’re advancing toward a conclusion.
Secondly, these stories distract the PCs from the true evil in the
campaign, the Puppet Masters. If they destroy the orcs, and uncover
elixir vials, they are likely to believe they’ve “won.” Throw in the remains
of a dead human and you’ve solved The Missing as well. Always
remember, Dagon is a lie. Everything else is misdirection.
The Caravan and Gypsy Curse, along with many humanoid stories,
address issues of racism and second-class citizenry. If there are no
scapegoats, who can we blame? And once there are scapegoats does the
finger no longer rest upon ourselves? The mirror of the caravan thrusts
humanity into an uneven light. A single misstep from a stranger can
color misconceptions and draw clear lines of stereotyping. All of which
is a distraction from the true horrors of the story.
Economic Scales is a reminder that isolationism is a crutch and not
a goal. Brycshire has been removed from the rest of the world for too
long, it’s powerful growing rich off the benefits of location. By having
strange merchants enter the picture, the PCs (and locals) are reminded
that there is an outside world.
Dagon, Dark Sky, Lungs of Fire, and Wizard’s Omen are the heart
of King for Day. Their storylines tie into primordial horrors... places man
dare not tread. Are the Puppet Masters a true horror or a reflection of
our misgivings about power? Do we fear the unknown because security
is so comforting, or is the comfort of security so enveloping that we
don’t want anything else? True horror isn’t about slashers chasing
people with a rusty machete, but about powerlessness. The scream with
no sound. The dark with no end. The madness of truth that becomes
lies. Horizons of impossibility, not the impossibility come to life
(though Hellraiser is really good at that last one).
Brother’s Keeper is a fantastical story, akin to traditional fantasy
stories. Thematically, it addresses the issues of hegemony and
usurpation. At present, one man has the right to sit upon the Baron’s
throne, but everyone wants the seat. So, who truly has the right to
rule? This is a cornerstone question of fantasy. Does power belong in
the hands of the divine, the deserved, the unctuous, the servile, or the
powerful? Can nobility rest in the hands of a monster? Who gives/has
the right to govern? This storyline is more complicated than it seems,
depicts a common perception that it is “easy to solve.”
Giant’s Lore, Heart of Winter, and Pillars of Power play with the
mythology of the world and the metaphysics of where we come from.
Are humans divine beings with flaws or animals with golden rules? Do
we somehow believe ourselves better than the past because we are here
now and what came before has died off? Hardly a horror-related theme,
but I love this story and couldn’t pass up a chance to include it.
Kain Bairn is a nod to the horror of traditional fantasy adventures.
Ritual sacrifice of children in service of a malevolent god is a familiar
gaming trope. Not to mention it makes a great cover story to guard the
true villains’ secrets from the PCs.
Lonely Savage, The Missing, and storylines of this ilk reveal the
inhumanity of horror, the lasting effects it has on people’s lives. When
we see horror through the lens of Act I-II-III, we are rejoiced with
a finale that puts down the villain, without considering the lasting
emotional effects this puts on people. Reading these storylines,
the horror may not be obvious, but when the PCs interact with the
loved ones whose children have gone missing, the horror is obvious.
Kidnapping is rarely seen as a horror trope, but psychologically it is. The
resolution fits into the suspense section at Blockbuster, because Mel
Gibson saves the child at the last minute. But what happens when he
fails and there’s still work to be done? Ron Howard’s Missing is much
darker than Ron Howard’s Ransom.
Continuing the above theme, Someone Else’s Life is a window into
just one of the many lives touched by the tragedies in this campaign.
You are encouraged to include more.
Strangled Vines are three separate stories of betrayal, confusion,
and lust. Each is tied to another through the most base desire — sex.
Thematically, they address the primordial desires in all of us, sifted
through the detritus of lives unhinged by the horrors of Brycshire.
They are not essential stories, but if included should be handled with
care, lest they be punch lines to an awful joke.
Several other storylines deal with background events, setting, and
overall themes the gamemaster may wish to include in his portrayal of
King for a Day. Many of the NPCs also have personal stories (starting on
page 147) to give complete flesh to your campaign skeleton.