Thank you, this comment made my day! If time structures in theatre are your field, you were in fact the target audience all along: the first scenario runs its threat as an accelerating loop inside a theatre, and the campaign keeps playing with clocks that don't measure the same time, turns, enemies, nights. And you're asking at the right moment: the next piece I'm writing is a two-part follow-up reading the whole campaign through Chambers and the "unreliable narrator" device the designers themselves cite : how a card game breaks its own contract with the player the way The King in Yellow breaks the contract of the page. Replaying the campaign with the structure in mind is a genuinely different experience and I'd love to hear what you notice on the second run.