Mayday Plays - How to run ARCHINT | The Dead Drop | October 2026

Episode Date: October 23, 2026

For the full version with over an hour of ad-free unedited discussion plus the show notes (a detailed breakdown of each item's mechanics) visit Patreon.com/maydayrp. Some analysts develop signals intelligence or SIGINT. Some develop human intelligence, HUMINT. Delta Green deals in older secrets. It needs archeological intelligence. ARCHINT: a study of appalling dangers left in hidden places. In this episode, I'm joined by Palmer from Palmer Runs Games. We crack open the green box and try to come up with scenario seeds using the Delta Green sourcebook, ARCHINT by Dennis Detwiller and Caleb Stokes. You can view Palmer's channel here: https://www.youtube.com/@PalmerRunsGames ARCHINT can be purchased here: https://www.drivethrurpg.com/en/product/359560/delta-green-archint Published by arrangement with the Delta Green Partnership. The intellectual property known as Delta Green is a trademark and copyright owned by the Delta Green Partnership, who has licensed its use here. The contents of this podcast are © Mayday Roleplay, excepting those elements that are components of the Delta Green intellectual property. -- 👕 MERCH: http://ko-fi.com/maydayrp & https://mayday-merch.printify.me/products 💵 Patreon: http://www.patreon.com/maydayrp 🌟 Other Socials 🌟 🐦 Twitter: http://twitter.com/maydayroleplay 📸 Instagram: http://www.instagram.com/mdrp.gram/ 🔴 Website: http://maydayroleplay.com/ 🎵 TikTok: https://www.tiktok.com/@maydayroleplay 👾 Twitch: https://www.twitch.tv/maydayroleplay Thanks for your support!

Hello and welcome to the Dead Drop, where I interview a different handler each month, siphon their knowledge about your favorite delta green scenarios, and feed it back to you like the Brixton Shard. In this episode, maybe you've been looking for a good unnatural item to throw into your campaign, or if you can't think of what to do with one, today we're here to help. Fair warning, whatever you do, don't watch this episode with the subtitles on, because you have found the Dead Drop. Palmer, I am pumped to have you on this episode of The Dead Drop.

Your how-to run series has helped tons of handlers, including myself, so I thought we'd do something a little different for our collaboration. Rather than discuss a single scenario, we have agreed to split up the unnatural items found in Arcint, and to discuss how we might use them in our games. Absolutely. I've actually used a few of these items in past games, but I think we're going to have fun coming up with HomeBron,

good ideas to help inspire fellow handlers. And in case viewers haven't seen your work, where can they find you? You can find me on YouTube at Palmer Runs Games for all your Delta Green and horror scenario needs. In this public episode, we're covering half of the items. If you want to know about all 11 items found in Arcint, consider subscribing to our Patreon, where at any level you get access to the ad-free, unedited versions, along with these show notes that include the tips and tricks that we'll be discussing today. Finally, a spoiler warning for Arcint.

If you are a player who shouldn't know what these items do, you need to make like the users of the Stone of Yoss and disappear. Okay, Palmer, with the business out of the way, please explain to us what is Arcint. Arctint is a source book by Dennis the Twiller and Caleb Stokes. Agents have skill ratings available to them like Sigint or Signal Intelligence. Some develop human intelligence, human. Delta Green deals in older secrets. It needs archaeological intelligence, arcint, a study of appalling dangers left in hidden places.

This is sort of a grab bag of spooky bits and bobs to throw into your campaign. If you enjoy SCP, I think you'll enjoy that, the sort of cataloging the dangers, spooky things left in dark corners. If you like reading these, you should also check out the way it went down, Volume 1 and 2 by Dennis to Twiller, which also just has fantastic scenario seeds and ideas for your campaigns at home. Yes, it does. We'll bounce back and forth between these items, between the two of us. Why don't you have the honor of discussing our first item? Absolutely. I'd love to talk about the amulet of the IAAPA. The concept of the amulet is it's small sculpted clay depicting a man and a beast intertwined.

If you have control of this amulet, you're making a link to the Alli Apa or the Silent One. This servitor, sort of a large winged beast, will demand a sacrifice in the form of a humanity, but will complete a single clear duty for you. Now, if the user is unaware and linked to this amulet, the Ali Apa will act upon its unconscious feelings every 1D6 plus two weeks. If no sacrifice is indicated and no other targets are present, the Ali Apa will act. attack and attempts to consume the wearer, leaving the amulet behind to be discovered and utilized by another individual. I like this amulet because it's easy to use. I feel like there's a couple of bits of unnatural items in Arkint that have some complicated mechanics, but I love you. Just put it on, think of something, and the Ayapah does it. Absolutely. And I like, I adore the idea, frankly,

that it just can be something you touch and then you just leave in a box and without you knowing, your link to it and it just is murdering off all your worst with annoying bosses and co-workers that you're not even aware of. I think that's a fantastic twist on a serial killer trope. For sure. Have you run victim of the art?

I have, I have. And how did that kind of play out for the players who mess with it? Yeah, so this is the victim of the art amelette. And I do have a video of it, so go check it out. But in this scenario, this younger teenager,

has gotten control of this amulet and is unconsciously, you know, summoning this IAPA to murder people. And I had it when one of the agents wrenched the thing from out of, you know, Thomas's hands to take it. He, my agent was the new leader of the Aliyapa. And I threw in the idea that when that connection is shattered, the Aliappia, it will come and kill the previous owner. And so, you know, we had the Aliappa landed on the roof, peeled it back like a tin can. and my agents had a little fight against it. I believe they shot it and it sprayed. It's dissolving blood all over the dad.

And it took the kid and just like, yoinked out of existence. So super fun. My agents then, I think made a bunch of LSD and super-dosed all the phenomenics people and dumped them outside of town after leading all the tapes and stuff.

So very, very funny, kind of gonzo. But, you know, for your first, second scenario, you got to be a little fun with it. Some brilliant moves on your agent's part.

I actually think that was pretty clever. Yeah, It seems like the challenge with this and another item that we'll talk about is the annulet itself is very easy to destroy. And so the challenge is either keeping it from the agents or putting them in a situation where they need it or want it or one of the agents is easily susceptible to wanting to keep it because all it takes is just one good smash and it's done. Exactly, exactly. I like the idea. I know there's the whole, not majestic, I'm sorry, the Coral Nomad subplot about this competing team that I didn't include when I ran it.

But I do even like the idea of the handler saying, hey, if you find anything spooky, you need to recover it. Because it is one of the program directives is recover stuff. That doesn't mean smash it as soon as you see it. And I think that made my agents, especially early on, like, want to keep it and grab it. And also, it was nice to do that they kept it and turned it over. I think they dumped it in another green bucks that they had for the campaign. campaign. And every home scene, I would ask my agent, like, who annoyed you the most?

And these, like, six months, like, who's really got on your skin? And he's like, oh, my boss, this and that, or, you know, this happening. And then I'm just like, one day, they just don't show for work. They don't show up for work. And you just never know what happens. And eventually they found some bodies, you know, lying around. And my agent had the, oh, crap, like, like three home scenes deep. And so that was a fun, just continuation of, of, yeah, I think that's a clever way of continuing the story, especially if the, if the agents keep it or hand it over to Coral Nomads. like you said. I think another way that you can solve this issue of the fragility of the amulet is that

if they do destroy it, it doesn't mean the iapa goes away. It can show up and it can tear up whoever the last person was. And so the thread is still technically there. Without a doubt, I don't even hate the idea that you smash it. And all of a sudden you got the aliapia coming down for one last meal on you, on the destroyer of the thing. Yeah. There's a lot of ways to keep a fun end for the scenario, even if they just walk up with a hammer and smack it. As we were preparing for this, I was trying to think, what is another kind of, you know, let's say we take victim of the art off the table.

What's another way that you could handle this amulet? And besides finding it in a green box. Yeah, and that's kind of where I struggled to. I wrote like a little follow up about odd actually being a pair of the two and this sort of swanky upstate therapy, you know, nature therapy office like has the other one. and they're hosting sort of meditative classes over it. And so this aliyahas is just going crazy across the country as, you know, this is a swing because people are flying in from all over. And it's just, I hate to just echo Vicom the Yardt twice, but I feel like it's victim art

with the bigger map, more things to do, more possible leads to hunt down. And as the class, people in the class get more and more powerful, go more and more jobs, they get more and more aggressive of them, maybe even play a game of like keep away between themselves, of them all stealing it from each other and eventually trying to kill each other with it kind of spiraling out of control. I do like that because it, like you said, it just does kind of complicate the situation. It makes it more of a national issue of the agents, you know, tracking down these murders, maybe noticing similarities, especially if they've been a part of the victim of the art scenario

and figuring out, okay, where is this coming from? Then even when they do zero in on this community, well, now we've got to find it amongst the people, you know, a handing around each other, you know, so. I'll have one last thing to throw up for this one for myself. And I do like the big wing servitor, but I read another scenario by Caleb Stokes, Bryson Springs, which is actually referenced in Lovers in the Ice, kind of funny, little mini Stokes verse. But I really like the monster. And as a Magnus Archives fan, it's like a kind of puppet thing that comes down and grips people and yanks them into the sky.

And I like that idea a lot as well, if I were just to modify the scenario and if my players were getting a little bored of just a monster, the kind of unnatural puppets that can kind of hang out and snag people. and you wink them into the high in the atmosphere until it come tumbling down. Kind of a fun, fun twist on it as well. I had one of the first ones that I looked at was the eggs of APEP or APEP. I think this is going to be a running theme throughout our episode of like our mispronunciation or different pronunciations of these things. But the eggs of Apep is what I have here.

And the basic concept here is that it is four anomalous, fifth-sized, white granite geodes that are resembling spider eggs and their composition defies scientific analysis. The Arkint goes into details that if people study it, they have sand loss because it just doesn't make any sense scientifically. But the main thing about the eggs is that if they are in an environment that is above 120 degrees Fahrenheit, 49 degrees Celsius, the eggs enter something called estrus in which they begin to we. a sticky orange fluid and after six days they just kind of desiccate and turn to dust. The substance is this kind of omnipermiable slowly dissolving or that it can slowly dissolve through any surface including concrete and steel over a matter of hours and it carries microscopic worm larvae and any contact with skin infects the host so there's no way to to block it or

wash it off because even through a hazmat suit, the liquid can get to the person eventually if they're, you know, messing with it long enough. I always like, I always like the, it's a gimmick, but I like the twist that, oh, the hazmat suit does nothing. This is definitely one of those infection stories or, you know, one of those items where infection becomes relevant. And so if your players enjoyed extremophilia or even lover in the ice, which I'll get to in a second, this might be another good option. So what happens is, is if when somebody touches this liquid, the host develops an escalating unnatural hunger that normal food can't satisfy for very long. As sanity erodes, it manifests as pika, which is the unconscious eating of inanimate objects and these kind of violent outbursts. And once the host hits their breaking point, the hunger begins inflicting direct physical damage as the worms consume them from within until death.

But, you know, that could also mean damage from the things they eat. I mean, if you eat a big piece of wood, that's going to screw up your insides. So it's kind of a destined for death if you're, if you stay infected for too long, which as far as I can tell from the book, there's no solving this problem once you've got it. Yeah, I like the compulsive eating angle. That's a very horrifying infection to get just outside the usual versus, oh, the worms consuming from the inside, which, you know, they kind of do. But I do just love the, um, just shoveling anything into your mouth. I think there's a, there's a human repulsion to that. And, you know, you know, agents are going to try to get clever with trying to get these worms out of you.

But the problem is the worms are nearly indestructible. They're immune to fire and radiation. Burning the body destroys the host, but not the parasites. and once the night host they burrow into the earth and vanish which you know I guess is nice to solve

but you are left with kind of a mess in the wake of that so as usual with unnatural things they disappear in the sun or they disappear to never be seen by normal eyes but they've left quite a wake of terror behind them I like the nearly indestructual isn't that

maybe there's something you know maybe there's something I like it when I know this looks like just an absolute instant death sentence I always like to get something that's incredibly risky for them to do similar to

infection level in the ice or whatever even the idea of like oh in order to get rid of these worms you have to like electrocute yourself just like drop a toaster in your in your bathtub and just hope to survive at your lethality 20% or whatever and just just something that's that ridiculous

I don't know but just just idea for me because I do I do if it's like this like they're dead I like even just trying the last minute attempts to figure out how they can get out of it. You know, because I'm sure my agents, if they're like, oh, I'm going to die, no, I'm not. I'm going to start eating radiation rocks, like whatever I can do to, you know, just try something. You have to reward creativity. If they really come up with something clever and survive it after the roles, maybe it is a way that actually gets rid of them. Yeah, for sure.

I came up with a couple of scenario seed ideas, ways of maybe introducing this besides just being a green box. One of them was, you know, using the elements that are written into the source book is this idea of an outbreak at a museum. Maybe the agents are called to a museum for a routine biohazard report. Staff scientist is dead. And when they look at the security footage, they see that he was cutting open to G-O'd, maybe touched it and started convulsing and died on camera. And then the middle of the scenario kind of turns into this understanding what's going on and a race against spreading this infection from the other employees, maybe other people that are visiting bystanders that are visiting the museum. The corroded dissolving damage around the body proves the substance already ate through part of the building structure. So maybe it's got multiple levels and it's kind of slowly eating through and, you know, hitting the janitor or or hitting, you know, some assistant or. you know, somebody who's innocent and the agents are just kind of trying to corral and control this situation. I like that idea a lot.

I like that idea a lot. Or even of them being on the bottom floor and just knowing it's like slowly just working its way through. We have to stop this before it hits the ground. And then the last idea I had just, this is probably my favorite, which is an alternative to Lover in the Ice. I call it Lover in the Ice Summer Edition. And basically it's the exact same thing as Lover in the Ice, but instead of the Amante, you use the eggs of Apep. Instead of it being set in Missouri, I believe it was, or Montana, you set it in during a heat wave in Arizona or California or Texas. And the green box is just, you know, the AC when the power goes out during one of these blackouts, the heat goes up and the eggs are initiated and maybe Skip Mills, you know, goes to investigate when a little warning goes off just like in the scenario.

And he starts this infection. And I think the reason I like it is because I have seen a lot of folks on the Delta Green Discord and in the Reddit talking about, hey, is there an alternative that I can use that avoids the sexual violence? And I think this is a good alternative for that. I completely agree. Because I think the scenario is just a great investigative scenario at its bare bones. So I do love just the straight season swap too. I read this and I really enjoyed this. This is absolutely what I recommend for someone that wants to avoid it.

Because it is, and still the eating things, like it's just so innately wrong that I think it has some great bones to stand on here. What's the next one that you've got? We have the blood of the feeder. This is a kukri with a red stain that coats the blade. At first look, it seems to be blood, but it never seems to dry,

along with having an odd sheen across the stain. The blade itself is unremarkable. If agents dig into the history of blade, It seems to be from some Nepalese military service, but it could have spanned centuries. There's no telling how many battles this blade has sliced through. This odd stain cannot be removed by cleaning, but it can be picked off by tweezers for study. The cells in the blood stain have no known comparison on the human earth. When exposed to living cells, it quickly consumes them with no evidence left behind.

And the cells are two-dimensional when they examine it, and nothing they can do can get it to appear on a 3D plane. Yeah, that's interesting. And I like this idea that the blade itself is dull. It's that it's a carrier for these cells. Exactly, exactly. And the victim, this is what happens when you hit by the weapon. The stain begins to consume you. Even if you just get scratched by and it hits you,

you take 1D6 damage an hour and you can only be saved by amputation. They are consumed completely and just removes all evidence. Yeah, I like the description of it because it does. describes, you know, it sucks all the blood and then all the organs and everything else inside, leaving the skin, the skin is last. And I'm sure you've seen, oh, what's that movie with Scarlett Johansson where she plays an alien? Oh, under, is it's like under the skin or something like that? It's called Under the Skin. And that movie has a terrifying scenario or moment where a person is abducted by Scarlett Johansson is under this kind of murky water and sees like a skin.

And then that skin gets sucked out. So I feel like you could watch that movie for inspiration. Yeah, and I do like the idea of like the quick amputation scene of like, oh, crap, this thing nicked me. And I had, and I have to do it. But I had, I told my agent or I let him know if he rolls a critical failure while he's using the knife. It would nick himself. They have to give the consequences, which never happened. But he was every home scene's training to get his knife skills better.

He's like, I am not. I am absolutely not messing this up when he's using a scene. I even have a physical kookery that I use. Yeah. Nothing's like at the table. It's like, I'm going for it. Because first and foremost, like a knife that consumes the evidence, that cannot be understated to how good it is for agents to have.

It didn't take a lot for me to get my agent to use this. Just because it's just, it's that useful. It's like, oh, chop. Okay, cool guys. Hey, if we just wait like an hour, we don't need to worry about this body. I could easily see agents getting addicted to using this for that exact reason for sure. And, you know, the other thing that I like about the blood of the feeder and then we'll eventually talk about the Brixton Chart is, of all of the items, I do feel like it's one of the strongest to just leave in a green box because, yeah, you can build a scenario around it. And I'm sure folks can come up with clever ones.

We'll talk about a little bit some scenario ideas. But I think this is probably one of the best options of just they open a green box and there is this kukri inside. A cool knife with a cool stain on it. And next thing you're just going to chop it and they're going to see a body disappear. and they're like, whoa, tradecraft, this is perfect. So yeah, I did not have to push my agent to use. I think I actually made this the knife in Clive Baumman's locker. I think he has like some knife in there, if I recall correctly,

and I made this one be that. Brilliant. Yeah, that's great idea. Which my agent took and kept. And now the twist, of course, because there is a twist. End result. Once roughly three adults are killed and consumed by the blade, the stain leaves the blade,

traveling in a direct line to meet a creature deep in the mouth. There's nothing that can contain it And you're always just kind of forced to move with it If you want to control it Which my agent did He followed it across the ocean At the best of his handoff Interesting. So was that like a home scene or did you just kind of...

It was. Yeah, because he like went crazy with it But in Lovers in the Ice and was chopping up It was an automonti slayer. He was hidden critical successes like no one would believe And he was just cutting through those things And so I think he deleted most of them And it helped with the evidence

So they were just like, yeah, yeah, yeah, feed it, feed it, you know. And so they cut it up. And in the next home scene, I said that he was sleeping in the night. You heard like something jump in his closet like, like, until, you know, he looks out and it's the stain like dripping off the blade.

He like puts it in a safe he had and was like, it was like burning its way through it. And he's, you know, calling his handle. And he's like, no, no, go, go. I'll get you tickets like on a ship right now. I'll have someone to meet you.

We need to follow it out. And then after that, I actually led that into the official scenario, Caligati. Oh. Where I had him be like the threat. It's a great idea of, you know, this whole episode is all about how can we homebrew tying scenarios and creating original scenarios around these items. I really love bringing it to Caligati. It makes total sense.

Absolutely. And it was fun because my agents then played the pregen's and so like meta level they knew like the main threat, the person that disappeared and then he was operating on a fake name and said all this. But there was also that curiosity of, oh, what happened to this character? Like he just walked off screen on a home scene and. we've got to help him, even if it wasn't their direct agent cells, there was the metal level of carrying in there. And it definitely affected the ending versus the just like blasting him as soon as they saw him in the cave being like, oh, we got to drag you out, buddy. We're taking you out out. We're taking you out. And I wanted to run that scenario. It was pretty cool. Anyway, it was on my hit list. It was a good wrap up for kind of a more combat focused one. That's great. And it was fun to meet his character. You know, eyes ripped out, like seeing their like event horizon, like seeing to a god and being like, oh, that's bad. And that's why we shouldn't mess with sports. spooky knives people. I am a big fan of the scenario, the haunting of Yipson 14 for mothership, and I could see you running kind of a Yipsalon angle in this scenario, which my idea was like,

Oh, with an isolate research base, one of the researchers that has a side hobby, you know, working for the program, kind of using the lab stuff on the side to investigate a cult artifact sent in. One of these artifacts was a feeder knife, which has since been whispering to his dreams and driving him to murder along with, I was thinking some sort of spell to make him less easily seen. Agents are sent in a routine pickup to take some of these artifacts and take them back when they notice that the base

is underpopulated, this small group of like 10 people. And I really like the idea that he's now lurking in the space, kind of like stabbing people to feed them and they just get right in the knife right away pretty much. And I was even thinking something

like a real life 10 minute timer. Like every 10 real life minutes, someone goes missing. And so it kind of encourages that meta rush angle that a lot of mothership scenarios do so well. But yeah, so it's like in 10 minutes can they track down this like nearly invisible killer as he like lurks around the base, starts with his co-workers or, you know, then eventually moves on to attacking the agents. That's a really fun idea. And, you know, you could maybe add to the feeder where maybe it gives or grants invisibility or maybe that there's just a toome that taught the researcher how to be invisible.

You know, you can you can hand-wave it in different ways. but I like the House of Horrors kind of setting that you've got there, and it's a good reason to get the agents to that research facility. Absolutely. The last item, last but certainly not least, is Sweet Lady Blood Bruner. Now, this is not a weapon. It's not some kind of crazy object. It's just a little old DVD.

Now, how harmful could a DVD be? But obviously, you know, you mentioned your life. love of cursed tapes and things like that, and this is exactly that. The object is a cursed film with two distinct versions on physically identical looking DVDs. Now, the two versions are the CCE cut, which is completely harmless, cheaply dubbed Schlock, a one of four films in a kind of like Asian film pack. And then there is the Picker Cut, which is a 2015 release. It is an identical Spanish audio and cover art but the English-French subtitle tracks have been infected with the text of the king in yellow.

So it's all about that subtitle track being the real culprit here, the real unnatural anomaly. So the basic way that it works, as described in the source book, is as long as the subtitles are playing, in Act 1, the subtitles visibly stop matching the on-screen action. It's very clear that they're not lining up. This can still be turned off here as it's dismissed as a glitch, but seeing even the beginning of these subtitles begins the process of slowly drawing the agents into the king's attention. So even if they turn it off. However, if they keep watching, they go into Act 2 of the story,

and scenes begin bleeding into anachronistic real locations, such as the 1910s New York Street, mid-chaise, a modern apartment halfway standing in for a restaurant, a sterile mental hospital replacing the prison set. You can make history roles or human intelligence roles to tell that something's up and that there's even mention of some NPCs or some characters within the movie kind of making statements of, we're in a movie or looking at the camera, etc. The reality is beginning to break. Then we get to the final act, Act 3. Subtitles finally sync with the performance.

Lady Blood Pruner references Yellow Veil Women Hunting Her Cellmates And then a plot element That doesn't exist in the safe 2010 cut Begins where these seven yellow veil women appear They are nude But for filthy underpants

Featureless White Masks And Yellow Silk Scarves Tied from wrist to shoulder They're carrying machetes And kind of like in The Grudge Or one of those movies They appear behind

you. There is mention of a shot showing where the camera is behind the actual viewer of the tape. And the yellow veiled women appear and they're lactating blood. That's

pretty horrifying. Yeah. It's pretty gross. Attempting to flee leads into an endless labyrinthian version of an abandoned prison. Viewers find the freshly hacked apart bodies of two or four of the previous victims and the other two are never found, no matter how long the search continues.

And it says that if you get to this point, you're basically going to die, which is obviously a challenge if you're a handler trying to include this in some way, but it offers some ideas. Yeah. And, you know, like I said, my players haven't figured out whether they belong in the destroyed by shotgun or haven't been destroyed category yet. So I'm sure if I use it, though, they'll figure that out pretty quick. And I like the idea of the actors like walking through the real, real, real, world that's being filmed as I kind of step through the messing with time stuff here.

I would even, I even had this thought we were talking it out about maybe even showing scenes from like the repairer of reparations, like the actual, you know, King and Yellow like novel. One of the short stories in there of just like the dude, you know, with his tinsel crown and stuff in the street as they like kind of run through areas like that. Just because I like that story. That was kind of my main idea in terms of if you want to integrate this into Impossible landscapes or if you want to just add more elements of where reality is breaking down, like you said, the subtitles start to sync and maybe you start introducing actual elements from the book,

The King and Yellow. I did have some scenario seed ideas. There is the true crime podcast angle. I thought wouldn't it be fun if a bunch of UAC students start disappearing, but they get close enough to the real story that they track down a copy of the picker cut for research, planning an on-air unboxing, maybe where they watch it or they talk about it, and the agents maybe learn of this podcast, and they have to intervene before recording day without blowing their cover.

And another possible idea is the Film Festival submission. A curator programming a lost cult classics retrospective acquires what they believe is the rare picker cut for a special screening, unaware of what it actually is. and then you have a ticking clock of containment as the agents go to the public screening to try to stop it, even though there might be a packed house ready to watch and, you know, the fallout from there. That would be a horrifying, I don't know how exactly like apocalyptic that would be. Again, I haven't read possible landscapes, but I imagine that's not good,

just even knowing anything about the King and Yule, a Pact House theater showing the curse film as it descends. I could even like the idea of your agent showing up as it's playing and it just like reality unravels and there's people like entering the film and doing all this stuff about while they're trying to stop it as they're also tripping out. Yeah, I think there's some really cool stuff

running away from the ladies that are kind of coming from the wings everywhere. Yeah, everybody thinks that they're just like plans for the festival like, oh, isn't this fun? And they start hacking and people. Yeah, hacking and people. And then they're like, oh, you've got to figure out how to get out of the movie.

I like that a lot. And maybe you're interacting with like the actors in the movie to like to like work with them about how to get out so there's some really interesting stuff there I like the tape yes exactly I do have some ideas of to integrate it into impossible landscapes I won't go into it here because I don't want to spoil it for you Palmer but folks who subscribe to our Patreon can check out and maybe get some ideas about how to integrate this into impossible landscapes since it is a king and yellow item I appreciate the the opsec yeah of Of course.

The possible landscapes. Yeah, yeah. You have some good general thoughts as well that I wanted to go over before we end today. Well, why don't you start talking about some of them? Absolutely. A lot of these we touched on as we were talking through. But just first and foremost, that these items are fun, green box stuffers. One thing I didn't realize when I started running the game was that green boxes are really your place to put the quote unquote plot, especially if you're doing what a lot of people do, and myself included, and that's just read fun.

the green scenarios and kind of string them together in your line that will make up your campaign because I love the pre-written scenarios. I have a great time doing it, but I want something a little bit more as far as the through line for a lot of them. And the green box is the place to do that to put some items and stuff like this that will lead to more NPC home scenes and this and that. But it does come with a risk and that's that it will slow pacing of a scenario. I generally found that when I included weird items to my green box, it would likely take a session more, not just from that, but you just some fallout from that, and then just like paying more attention to the stuff in green boxes and stuff like that. So we'll put some breaks on your pacing if you're

looking for something snappy. And then off that is that I played in person, because I might not apply to you, but if you got local thrift stores, they are awash with, they're basically the de-stacks, to be completely honest, your local thrift store. So if I could find anything creepy or even just like a fake knife or something for them to handle, I found that even just by having, giving them that item to keep in front of them would remind me that they had it. it to use it as a character a lot more than if it just like said on the back of their sheet that oftentimes try looking at because they're busy skilling and stuff you know so i do think some like actual reminder that they have this incredibly cursed artifact sitting in their backpack whispering

dark things in the air you know we're we're big fans here at the dead drop of handouts and physical objects so i i love that suggestion you make another one that i think is very uh poignant as well which is that a lot of times agents are going to avoid cursed items. They themselves don't want to get screwed over, but I think you make a great suggestion here that you need to get these items somehow involved in the larger story where they become almost necessary to use to solve the problem or to solve the scenario,

because otherwise players maybe more than their agents will want to avoid them. But it's also important, I think, in session zero, to say, hey, guys, this is not a game about being a powerful hero. This is about the downfall of people. So lean into these items when you get them. Yes. It's such a tough tightrope act to walk. Where, I mean, as someone who plays an agent, a lot of the times, like, I want my agent to live.

I do not want my agent to die. I like him. He's cool. And, but, if that way out can be because he is going down this, the, the, the, the, personal dark rabbit hole that I want to see it through and through. And it's also drilled into your head, like, especially if you're just like interact with Delta Greenut line. There's a lot of the whole like, burn it down. Don't touch it. You know, keep your eyes closed. Not allowed to look at it, like all the stuff. And so agents can

definitely absorb some of that until like I can never touch anything that looks suspicious. We're playing all these scenarios about people who touch things that looks suspicious and look what happened to him. So there's a tough line to walk there. And I do think that having mechanical and story need really assists them both where you know mechanically for agents again like the knife that can absorb bodies and stuff if there's a reason you're just to be using these items it's like hey this makes your life a lot easier than a lot of times your players will do it as active problem solving and if they know that this downfall isn't just going to be oop you walk off screen and you're dead or ha ha you know you go crazy and you stab yourself in the neck and and and that's it like if they know

that your your players love to be a part of this even just giving you pulling your player a slide one day being like, hey, just so you know, like, I'm going to give you this curse that you're, you know, going to be obsessed with this thing. Keep it secret and just play it out. And even you'll watch over your player, like, locks in over the course of like three, four sessions of just going to be like, you know, twitching. And your other agents are like, what the heck is going on with this guy? And you're not there announcing it out loud saying, oh, yes, you are now going crazy, you know,

and everyone's like, okay, cool. You just, you just see these moments of friction. You just see these friction points between your agents. and you know it doesn't have to end in a bolt back in the head, but anything you can do to get your players feeling a little more scared in their own skin, like in their cell, I think goes a long way for the tone of Delta Green. And again, if I've had players be like, yeah, man, Jerry's doing some weird shit all the time. He's always snapping and, you know, doing weird spell stuff.

I don't want to think about it, but I'm not going to complain. There is a funny element there, too, of like, yeah, we're just going to let him go in and do his spooky thing, and we're going to come out and pretend we never saw it. When I Handel asked us what happened, we're going to never mention it. there's almost this like group almost almost respect to the agent that's that's looking in the stuff these are great suggestions i really hope that uh folks at home who are reading through arkint and maybe struggling to come up with ideas maybe they've been inspired by it um i certainly have a bunch of ideas now after talking with you about it folks at home if you've used any of these

items and you want to share with us what how you use them give us some inspiration leave uh comments below. We're always happy to hear from you. If you have suggestions for other scenarios and maybe other handlers that you'd like me to speak to, we're always happy to hear it as well. Palmer, it's been such a pleasure having you on. I can't wait to see what else you work on. Absolutely. Thanks for having me. I've been playing with RPG reanimary. I'm excited to get those posted. But it would have been great talking to you. And thanks everybody for watching. I appreciate all the support. Everyone, we will see you next time. You know,