Mask of Silver is the first properly jauniste “Arkham Horror novel,” which is to say: Of the now ten full novels (not counting the separate run of novellas) based on the Arkham Horror games, it is the first to center itself on the lore stemming from Robert W. Chambers’ King in Yellow. According to Chambers’ stories collected under the same title, The King in Yellow was a play which inculcated madness in its readers, and so it served as a model for Lovecraft’s equally fictitious grimoire the Necronomicon.
There is none of Grandpa Cthulhu’s Yog-Sothothery in this story, aside from the town of Arkham itself. The Necronomicon, Nyarlathotep, Shub-Niggurath, Mi-Go and the rest are entirely absent. There is one mere unconvinced mention “that alien entities colonized the South Pole” (286) from an unreliable secondhand source, alluding thus to “At the Mountains of Madness.” The title of The King in Yellow is never mentioned, but the book brims with its tropes and characters: the sisters Camilla and Cassilda, the mask, the king, the cursed play. In this story, the play is serving as the basis for a silent film in the Hollywood studio system of 1923, with the cast and crew undertaking a location shoot in Arkham at the family manse of the auteur Sidney Fitzmaurice.
As with other Arkham Horror novels published in recent months by Aconyte, the player-character investigators of the games appear only in peripheral, supporting capacities–this time these include photo journalist Darrell Simmons, Ashcan Pete the drifter, and Pete’s dog Duke. Agnes Baker’s predecessor at Velma’s Diner, the waitress Florie Wilson, plays an important role. The narrator of Mask of Silver is costume designer Jeany Lin, and there are a number of other vivid new characters introduced as members of the film company. Author Rosemary Jones has clearly done worthwhile research into the work of silent film production and the experience of Chinese-Americans in the early twentieth century.
Jones portrays Arkham as the site of a multigenerational struggle between male occultists (including Miskatonic scholars) with their alien sorceries and a network of women defenders of the quotidian community. The Californian “movie folk” are assimilated to both sides of this combat. As a costumier, Jeany is tasked with providing the important mask, and she only gradually becomes aware–in ways that most of the cast is not–that there is a menacing ceremony providing the narrative infrastructure of the “terror film.”
With its theme of artistic creation and its slow and ominous build to a final catastrophe, this novel has more in common with The Last Ritual than it does with The Wrath of N’kai, to compare the other recent volumes in its series. (It is also close kin in flavor to the recent novella Dark Revelations.) But there is no direct continuity of plot or character with either, and except for its epilogue, this one is set earlier. It is a capable addition to the Arkham Horror franchise, but my main enjoyment of it related to its hypostasization of the mythos around The King in Yellow, which was quite effective.