Mayday Plays - 🕳️The Dead Drop | "IL: Exeunt Material + Dennis Detwiller" | Episode 7

Episode Date: April 12, 2024

The final episode in our Impossible Landscapes walkthrough is here. Join Vince and Sergio as they delve into the exeunt material and discuss why it may be worth including in your game. Watch until the end for an exclusive interview with Dennis Detwiller, the writer and illustrator of IL, himself. Discover Dennis's writing insights, the hurdles of crafting the campaign, and the exciting future of Delta Green! 🎬 Don't miss out on bonus content and the extended Detwiller interview exclusively on Patreon! Unlock over 20 extra minutes of discussion and more revelations from Dennis. http://patreon.com/maydayrp 00:00 Intro 2:15 The Briefing 3:20 The Bookshop 12:05 The Missing Room 28:12 Using the Appendix to set up the campaign 30:37 The walkthrough ends 31:27 Dennis Detwiller Interview begins 32:49 The Origins of IL 36:05 Why Dennis chose to write IL 37:17 Dennis' writing process 41:10 Playtesting IL 42:37 Mental Health and horror 46:00 Hardest part to write 49:00 Insylum's influence on IL 50:46 Favorite part of IL 52:25 Cutting room floor 54:14 Supplemental materials for IL 55:46 The DG community 56:37 Creepy parts in IL 58:40 What do you love about DG? 01:01:27 Future of DG 01:04:10 Goodbyes 01:06:25 on DG Contributors 01:07:55 Outro

Hello everyone and welcome back. My name is Sergio and I am the handler for May Day's Delta Green campaign doomed to repeat. With me as always is a man who enjoys wearing his coclacot mask around the house and only his coclacot mask. It's Black Project Gaming's Vince. How are you, friend? Hey, buddy, good to be here. Glad to have all of you out there tuning in. If you haven't already figured it out, we are part of Mayday Roleplay.

We play tabletop RPGs like Delta Green, Vampire the Masquerade, Fifth Edition, Orpheus, and a whole lot more. We really do have something for everyone. All of it available in podcast or video format completely free. So please check it out. We do have a Patreon where if you join for as little as $2, you will get access to our Discord community and recordings of my current campaign with the original Black Project Gaming cast as I run them through God's Teeth, the latest Delta Green campaign by Caleb Stokes. I'm loving episode one. Can't wait for the next one.

Hell yeah. So, you have got inquisitive players who insist on tracking down every last clue. No need to fret. Pop open your soul bottle and let us whisper all our secrets into your ear, because you have found the Dead Drop, a guide to running impossible landscapes. Vince, this episode, we are covered. all of those loose ends, those exeant materials found within the back of the book.

And as promised, we are also sharing our interview with Dennis Detwiller. But we'll get to that. Both of these segments will contain spoilers for the campaign. So as a warning, if you are a player in an Impossible Landscapes campaign, you need to make like the demon Fornius and run away at full speed. But if you're interested in running or currently running this campaign, welcome. Okay, we've got all the business out of the way, Vince. Let's start by talking about these exeant materials.

When and why would handlers ever need to use these throughout the campaign? You know, one thing I think we've established with Dennis Detwiller and his scenarios is he will overload you with information. This is a great example. with Jordan Springs storage and the rest. There are so many different avenues and paths that players can go down. It's really easy to sit there and think, it's unlikely my players will ever run into this. The way I see it, it's really Debtwiller giving you all the weapons and tools you need

in your toolbox, your arsenal, what have you, to prepare for those instances where your players surprise you as they inevitably will. Now, I will say in my own run through, I did not end up using any of this XSEAN material with, of course, the exception of Hotel Brottle bin, which really probably should have been its own part, its own standalone section of the campaign. But, and those off chances where you've got players who are digging more into how Abigail Wright may have encountered the King and Yellow, how she may have been exposed to his influence.

That's where an XIENT, like the bookshop, is really going to come into play, retracing her steps, interviewing her father, finding out they went to this bookshop. And then, of course, encountering Mr. Robert, Robert, Robert. And all of the chaos that is within the bookshop and how it inevitably ties into Dr. Barbus's house with that door, the little red door. Like you said, the bookshop, really, there's only one way to find it, which is to communicate with Abigail Wright's father, which, who knows how many agents, would actually go about doing that.

It does mention that I think certain levels of corruption can more easily find it or see things inside the bookshop. I might extend that to if you do like the bookshop as a handler and you like what information can be found there. Yeah, maybe if the players have already gained a couple of points of corruption

from the night floors, they find the bookshop, which is a local bookshop, just maybe a short walk away from the McAllister. That's what's great about it. is that, you know, the text itself says the bookshop meanders and wines. It can appear at any point in time. It exists in many times and many places. So really, say you've got a player who's going back to the McAllister building on their own.

Maybe they're taking a late-night walk and clearing their head. Who knows? There's so many different ways, especially in that first scenario of the night floors, where you could interject the bookshop. Maybe they're just walking by and Robert, Robert, Robert, the proprietor, just makes contact with them and invites them inside. And it's a good way, you know, maybe they realize with an alertness role, nobody else seems to recognize or even clock this place as being there.

They're the only one who seems to see it. It's an invitation, right? Like all other things in the King in Yellow, it is an invitation to greater depths. And so you really could introduce this at any point in time just to extend that scenario, to extend that first exposure to the night world. and introduce it at your whim. While I haven't been to a bookshop in New York, I have been to bookshops that are old and decrepit

and are way too full of books. And it's really kind of a gross, grimy place. You know, the carpets haven't been cleaned in forever. I mean, I've even looked into the bookshelves and you see lice and different kinds of bugs crawling around. these kinds of bookshops can be pretty gross and you should definitely take your time describing it. Yes, absolutely.

Gross, old, older than maybe it has any right to be given where it might be in the city at any given time. Play up the, like with all things in this campaign, the very surreal and out-of-time nature of it. What's great is you could have any number of NPCs wandering the shelves, right, of this bookshop. They could run into literally anybody, either people they've already run into or people they may run into in the future.

Aza Darabondi is a good example. Dr. Barbus himself, Emmett Mosby, really, anybody, at any point in this campaign, depending on, of course, the player's corruption, if you decide to use that mechanic, or really, you could just have them show up, period. end of story, regardless of the player's corruption. use it to see those moments, those foreshadowing. The book does suggest that different agents with different levels of corruption see different things. Corruption of two, nothing unusual.

It's just kind of a messy, cramped bookstore. But as the corruption rises, yeah, by corruption four and above, you start meeting folks like Augustus Chastain, Asa Darabondi. In our upcoming interview with Dennis Detwiller, he mentions an interaction that his players had with Darry Bondi at the bookstore. But we have to talk about the proprietor of the bookstore, Robert R. Robert. Enigmatic, he's described as enigmatic and introduces himself as B.R. Robert. He likes to be called Bob.

That's right. Yeah. The timeless proprietor of the establishment who may actually even be able to provide additional information on Abigail Wright. What's strange is there is a whole disinformation section. where if he is asked about Abigail, right, he's forthcoming, he's eager to help, he'll go through his ledgers. And funnily enough, if players, you know, have the sufficient alertness or succeed on a role, they'll see it's written in apparently a foreign language, which they may be able to clock as Arabic. But what's funny is if they do speak Arabic, they will see that all of these words,

they're not the information he relates, they're not dates, they're not times, They're not records of transactions like you would expect them to be. They are taken from the Jabberwocky. Yeah, they're lines from that poem. Yeah, by Lewis Carroll and Hallison Wonderland, which is, of course, crazy. But yeah, he does mention that he saw Abigail buy a book that she was here not long ago. But he is a repeater. He's one of those folks of the night world that never ages and never can really escape

and is just always hanging around. The only other thing I wanted to mention was Robert's stat block at the back page 130. It says here in his motivations and disorders to sell copies of the king in yellow, that makes sense, to spread rumors for Mr. Wilde, to wait for his revelation. And I think that's something worth pointing out about a lot of the, I guess, repeater characters that if nothing else, this is one of their major motivations. They all know of their soul bottles, and they're looking for them, and they're looking for ways. of getting them. So this is always something that you can keep in the back of your mind when you're

playing these NPCs. That's right. There's always that underlying desire to gain access to and open their soul bottle to obtain that revelation where they will maybe finally join the court of the King in Yellow and not be doomed as repeaters to exist in these constant states separated from his court. I do like there is another interaction. I guess this is part of the bookshop manifestation. But I do like the dreaming man that you can come across a section of books, maybe at the top of the bookshelf. There's a guy literally asleep on top of the books. Yes. Having a dream.

It looks like a depression-era hobo. That's right. Yeah. And those who attempt to ask him any questions, he'll whisper these cryptic answers that provides some foreshadowing to the player's eventual transition to Carcosa. Let's swim down into the lake and see the spires, you know. Great. Again, just these ingenious ways of really piling on the surreal nature of this campaign while also giving the handler plenty of opportunities to foreshadow what they will encounter in the future

and playing up the overall theme of this campaign, which is this predestination at the hands of the King in Yellow. There's also this manifestation of the Patsu, the agent's hero whispered conversation beyond high bookshelves. I like the image of the players kind of looking at. past the agents looking past the bookshelf and you see some folks in darkness talking about Potsu. Yep. Yep. Which, of course, you will encounter again, depending, uh, in the, in the Dorchester house at

night where one of your unlucky players may find some Potsu extracted from themselves in the cotton candy room or they will explode into Potsu when they're touched by the clown. Definitely as you read through it, it feels like the, the bookshop is a good, Xion material to use before you get to the Dorchester house. So if you can't fit it in there, maybe it's not worth fitting in, but before then, it definitely makes the most sense. It does. Yeah.

What's great is these are great materials to work with and to help pad and expand your campaign, but don't feel forced to shoehorn it in because obviously, I mean, I'll use mine as an example. We didn't need it. And it's still, I would like to think, turned out, what's successful. So don't feel obligated to use this material. It is there to simply help build the world more, to draw your players in more, and to really just play up with those ever-present themes in this campaign. All right. So we've covered the bookshop. Let's move on to the next major

Exxient material, which is the missing room. Yeah, the missing room. This is one I actually tried to get my players into, especially once the two players were replaced by Agent Vega and one of his counterparts. It didn't go. It didn't go well. They didn't end up looking into it, but I tried real hard. I feel like if you do lose any agents and you do replace them with Agent Vega, also known as DEA Special Agent Michael Whitwer, or anybody else on his team, this is a great way. This is a great way. to potentially get them to go back, because they may very well want to go back, see if they left any supplies behind,

see if they left anything useful, any notes, especially if they have the knowledge that those characters would have had where they were investigating Barbus, right, before they disappeared and before they ended up with the player characters in their current form.

So definitely the missing room, I think, is well placed in the book because I do definitely think this would fall naturally and after a volume of secret faces into like a map made of skin. So you're saying when the team has discovered this other Delta Green team that was studying the King in Yellow

and following Barbus, if they go down that rabbit hole, or if one of them becomes Agent Vega, you know, for instance, their characters are replaced with that character, they would have a reason to go back to this missing room. I would absolutely say so, right? Because especially if they are previous players

of Delta Green and its various scenarios, right? Because what's the one thing everybody always asks for? Where's the green box? This is, for all intents and purposes, a de facto green box for the current team from the team that came before. And if you're a particularly cruel handler, labeling it as a safe space

is probably a devious move, as we'll come to find out. Oh, absolutely. And really, if this is an avenue the players decide to go down, they discover that Dr. Barbus obviously cannot be trusted, that he was under investigation. They're going to want that documentation. They're going to want, hopefully, that material that this previous cell found. And so this is a great way to get them back in there. So it says in the Opint locating the missing room that there's a couple of ways of

introducing this, besides maybe one of the characters being, one of the players being Agent Vega, which is that Barbus's second bedroom has material on it. So for example, that cheat sheet you mentioned, they do find it in the upstairs second bedroom. And there is both the main cheat sheet, which has the each current agent's name and home address on there and information about their lives. But then there is a previous one that's crumpled in the corner that they can find.

And that contains all of the relevant information for Agent Vega, his, you know, the team that was captured by Dr. Dallan, and then there is a hotel address listed as a secondary address for all team members, the Boxer Hotel, Room 616. Gotcha. So that's the most likely way that they would find it. Right. Yeah. So inside the room, it's very plain, boring old, you know, hotel room. Nothing fancy. There's a flat screen television in it.

That's probably the most interesting thing. There is no window, which becomes relevant later. But the bizarre lack of windows makes the room feel claustrophobic. Right. And then the peas de resistsance, as they call it, there's the gleaming white bathroom and then these new towels marked with a B for everybody's favorite hotel bottle bin or broad albin. That's right. And new sealed soaps, smells freshly cleaned.

Yeah, it's definitely a good way to allude to the hotel, the hotel at the center of everything. There is a couple of clues that you can come across looking through the space. I think the book suggests that it takes at least a half an hour to kind of piece all these together. There is the Bible, a Gideon Bible in the waistbasket. There is something very interesting about it, though, where the text changes in it when you open to a page. And the agents that have experience will know that it is excerpts from the King in Yellow and French. But they'll eventually come to learn that as they continue looking around. And then you've got a crumpled napkin in the wastebasket, smells of wine, gold initials, GBR, of course, familiar to the agents as the Gateway Bridges restaurant costs a little bit of sanity from the unnatural, nothing crazy.

But Whitworth's team apparently, allegedly, and alluded to it, it's brought back from one of their scouting trips. And finally, probably one of the most important things that they can find in the room is the Doosium Bureau File, a marked up copy. which can be found in a leather valet, in a drawer of the dresser on which the television sits. This is basically all of the research and monitoring that the team has done on Dr. Barbus, trying to understand him, and there's a bunch of things in it,

such as Whitworth's writing, Mosby's writing. And actually, this goes back even further than that. This is one of the original files from 1951. They're marked Delta Green, they're stamped Delta Green. they are, it includes two complete copies of the play, which for obvious reasons, you don't want your players reading. Oh, maybe you do.

I don't know. Go nuts. One in English and one in French. So it's a good way to incorporate some of that King and Yellow history that is in the front matter of the book, of the Impossible Landscapes campaign book, as well of some of the material that's in static protocol, to really build out the history of the play itself, including how the, the Deuxem Bureau,

the second bureau, which is French intelligence, would have encountered the play and how they would have brought it to Delta Green's attention. There is a key card that is sitting there, the great plastic key card found in the drawer of a side table. It has a small logo embossed on the side in Machiko. One corner has a small hole where it might be hooked to a belt loop. Well, so what it says is it opens all doors in the Dorchester house. The Amigo company produces cards for those. facilities. I see. So maybe the player would put the two together that the Dorchester

house is a facility like this and they probably have those keys. Well geez, yeah, this probably would have been after they have spent the night at the Dorchester house. Yeah, exactly. Oh, but then you have the disinformation, right, for the file itself, that anything

it physically touches that has writing on it, the file overwrites those words with words from the file. The examples they include the desk, once said USB on off property of whoever. Those labels now say the artist and of the original play, which is a direct quote from page 12 of the file.

There is also, if the players found it in Dorchester House, he had a watch. And on the watch face, the numbers had been replaced by essentially along the shore, missing an A. I really like this infectious file. I can see the players taking it with them and cause you more trouble, but I'd like also the little investigation that can occur where you're

figuring out what is going on here, and you realize it might be connected. It's such a great way to, again, just reinforce the surreal nature of this campaign. It's just a lot of fun to mess with the players as a handler with this. I kind of wish I'd had an opportunity to play with that more. So use it liberally. Yeah, so much of the campaign, the image is associated with the infectious. nature of the King and Yellow is through art, performances, people talking to you or showing you the sign. I like that this thing, this object physically touching something else, can affect just another form of infection.

Exactly. Just another example of how the reality of the King and Yellow overrites what we perceive as reality, even down to just the written word level. Right. We have a couple more clues. There's the paper, machet mask, and robe. which is from the encounter group. So maybe this is a foreshadowing or maybe it's a reminder of the encounter group and the nonsense your agents got up to there. And then we have the telephone. It's a push-button telephone.

It appears normal, somewhat old-fashioned. Dialing Star 69 for the last number causes the satellite phone. If the players have it and recovered it from Dr. Barbs' house, it'll cause that to ring. Strangely, calling back from the satellite phone with Star 616 does not make the telephone in the room ring.

Can I be honest with you? I don't know too many young players these days that are going to think to use Star 69. Because the last time I used Star 69, I was maybe 15, 16 years old. Maybe, yeah. Maybe if that. Yeah, they may not think to. Maybe that'll call for an intelligence role. I don't know.

Like, just, hey, on a whim, you remembered, hey, maybe I'll just try Star 69, see what they call last. But what's funny, though, is if they called back, from the satellite phone, that Star 616, they hear a telephone ring dimly beyond the West wall. And after two rings, it stops as the voice on the other end picks up. And then that's what you can get to, the voice on the line from page 149. Yeah. Finally, there's the cleaned blood stains. It looks like if they kind of use their forensics skills to look around the room and study it,

it becomes clear that there is a kind of blood pattern, a spattering that leads up to the air conditioner, I believe, as if the body was dragged west above the high air, above the air conditioner. None of the blood is visible to the naked eye, but UV light and other methods do reveal spray patterns. That creates me the hell out.

That creates me the hell out. There was a movie from the early aughts called Howl. It was a remake of House on Honed Hill, and there was a scene where they go down to the basement where one of the guests had disappeared, and there was a big, you know, big puddle of blood that ran up the wall into the juncture between it and the ceiling.

Creep me the fuck out. And it's still creeps me the fuck out. That's creepy. The implication of how the hell that body got dragged up there, yeah. Oh, God. Yeah, no, thanks. The last really kind of interesting thing about the missing room is that the players might make the very bad idea of staying in the missing room.

I mean, it is basically this, you know, place that is off the map. Nobody knows it exists. Surely you'll be safe in there. As with the bookshop, the higher of the corruption, the more you'll experience. Absolutely. there's different encounters, different ways the room will change and affect them based on their corruption rating. For example, at corruption two, they'll hear someone in the bathroom. Sounds like a person getting ready.

Glancing through the door crack, they will see an out-of-focused woman reflected in the mirror, covered in blood. Of course, will incur sanity costs from violence, as one would expect. As the minute they touch the door, they find it empty, which incurs another sanity cost from the unnatural. They might see a marionette if they have a corruption of six in the middle of the room. With a corruption of eight and above, there is some kind of shatteringly loud noise or a gong sound that gets the agent's attention. And they can sense that there is something different about the room. And it looks like a window has appeared. The curtain on the west wall flutters.

The agent remains in the room and events develop turn by turn. On turn two, thick syrupy water liquid spills to the floor from behind the curtain costing some sanity. On turn three, a bandaged hand pushes through the curtain. On turn four, the agent meets the king in yellow. Which, talk about skipping to the end. Yeah, yeah. And then turn five. Oh, yeah.

Turn five, the king removes his mask if he is indeed wearing one. Yeah, 1D10 if you succeed. 1D100 if you fail, so have fun with that. Yeah, I guess, you know, if you've got a, if you like constantly giving your players corruption and there's one that's just got too much, you can just wipe them off the board with this. Gone, never to be seen again.

Then, of course, despite all that, if they sleep in the room, then we come to the dream window. That's where, essentially, it's from Whitworth's notes, any agent who sleeps in the room can open this so-called dream window. It's a portal in the west wall only appears when someone is asleep and dreaming in the room and others are awake to witness it. So one will have to be asleep in dreaming and others will have to be actually awake to see this portal open. They will see these rivulets of water running under the curtains,

kind of like that corruption eight and above sighting of the king and yellow, their encounter with the king in yellow. A quick silver-like puddle somehow pulling in the center of the wall spreads outward as a sleeper continues to to slumber, and that's when eventually after 10 minutes it will fill this large rectangle in the shape of a window. And on the other side, I believe they see basically a mirror of the room, right? But it's just got a couple of unique items. Yeah, it actually appears older.

They'll see a leather suitcase. It's an Oswald Traveler with speckled green sides. It's flipped open on one of the beds. The telephone in the room is old. It's tall. It's bell-shaped. Obviously, nothing that the players would have seen. they can read a security message on the back of the room's door,

which will, of course, let them know to this room, this version of the room is in the brothel bin. And then there's a travel typewriter on the desk with a manuscript stacked neatly next to it, alluding to the fact that this is J.C. Linz's room. This is Autura X's room. This reminds me a lot of the bathroom sequence at Samajina residents where there's like an alternate kind of pocket dimension. This is not really that.

I guess it's more just like a doorway to J.C. Lins's room, but J.C. Linz is not there. We know that he's at the masquerade. Exactly. Right. The player can go in and they can swim around. But they have to hold their breath.

It's not just a free dive. Exactly right. But then if an agent is dumb enough, sorry, the book says foolish enough to dial star 616 on a satellite phone while that dream window is open, they will see a tall, thin figure rapidly enter the dream room on the first ring, tattered greenish gold robe with a hood, enters and spins hiding its

face sits down on the bed and moves like it's in open air, not water, always picks up the phone on the second ring. And if an agent is in the dream room when this figure appears, I love it when the text is just straight into the point. Bad things happen. That's bad things happen. Water fogs over. Two rooms are no longer visible to each other.

The agent in the dream room must make a luck roll. On a fail, they lose 1D100 for sanity. from the unnatural on a success, 1D10, and agents who go temporarily insane fall out of the dream window mumbling, no mask, no mask, and will struggle to flee until subdued.

Love it. I love when there's a situation where they're not really even going to gain much by doing this, but they're going to lose so much by going through and making a mistake. What's even worse is that if there happen to be screwing around in there and then the

person that's sleeping wakes up, they're gone, done. Game over. Oh, man. Lost. Yeah, there are clues that you can find, like you said, the papers and the typewriter, the suitcase alluding to J.C. lenses, the telephone and the door on the plaque. Yeah. So a couple of things you can find.

A very strange, interesting kind of exient, extra thing to experience. But I can see where it fits in kind of after Dorchester House or along the way. So I mentioned earlier that I think you could do a whole campaign around these demons. Something else I thought about is that all of these extra materials might make for a great setup to the impossible landscapes. I know that we'll eventually reveal in our interview with Dennis

that he thinks a victim of the art is a scenario that you can begin with. And I think you can use victim of the art. But if you think about it, in all of these exeant materials, the missing room, the unnatural tomes, the artificial tomes, the, the, the, the, the artifacts, a lot of these grant you corruption. So I can imagine, you know,

maybe an agent's first interaction with some of these materials, they gain some corruption and maybe that's it. Maybe the Cochlecott mask is inert because they don't have any corruption. They've just been assigned to study it or something as it's put into the museum or something of that effect. And then maybe the agents are brought together to run victim of the art or a scenario where it makes sense that maybe they come across the Ars Gawatia. And by then they have just enough corruption for the Ars Gawatia to be effective.

Because as it describes, it does not do anything unless you have a corruption of two. I like that. But I don't know. I could see an impossible landscape starting where you start with all the appendix material. That begins as the thrust of interacting with these strange unnatural elements. And then you get a call from Agent Marcus saying, we need you to investigate this building in New York, you know what I mean, and then go from there. And then they already have the Ars Gawatia, and they're already set up to kind of mess with it as they continue the story.

Oh, I like that. Oh, man. Could you imagine if they used the Ars Gauotia and these demons to resolve a previous case? Oh, man, the potential from that? That's what I'm mostly thinking of is wouldn't it be an interesting story if they started using the Ars Gaua's. Goatia to resolve cases or to get the lead on something, to get the leg up, and maybe they get their promotions and whatnot, but they're also falling right into the King and Yellow's trap. And, oh, hey, we haven't summoned this one yet. Let's see what they can do for us. Oh, my bond has died

from this horrible, degenerative, flush-eating disease. Well, shit, that didn't work. You love to see it, yeah. You love to see it. And just like that, our coverage of impossible landscapes comes to a close. I really hope that handlers have the good fortune to run some of these exeate material, but as you made clear, your table doesn't need to touch any of this stuff to still really enjoy the campaign. That's absolutely right. These are just more tools for that proverbial toolbox, right? As a handler, I would rather have more information than not enough,

and this is something that Dennis Detwater has always excelled in doing, is providing more than you may think you need, but preparing you for those instances in which your place, players can really just go off the beaten path and throw you as a handler for a loop, leaving you to adapt to the decisions and the consequences of their actions. But speaking of Dennis Detwiller, to celebrate our completion of this walkthrough, which has been an absolute wild ride, I've enjoyed it so much, we thought it would be fun to go straight to the source and speak with the writer Dennis Detwiller

himself. We talked about his inspirations for Impossible Landscapes, the future of Delta Green, and a whole lot more. You're going to want to check this out. We are very excited to interview our special guest today. He is the author and illustrator of Impossible Landscapes, the founder of ArcDream Publishing and creator of Delta Green, a 15-year veteran game design director on console, PC, and mobile. While I was stalking his LinkedIn profile, I did learn that he owns a patent for game development on mobile devices. It is the one and only Dennis Detwiller.

Thank you for speaking with us here at the Dead Drop today, Dennis. Oh, no problems. Great to be here. So, Dennis, we are going to get right into it talking about what has quickly become one of my favorite new campaigns. And through Vince's experience, one of his favorite impossible landscapes. Last year, we created the dead drop to discuss and walk through the campaign. Vince has run it twice. I've been reading it for the first time. Our first question for you is, could you put some context to the origins of impossible landscapes? We know that the Yellow King started with a series of short stories, and then eventually it became part of Delta Greens' narrative.

Could you talk about that in between? Yeah, so in 1895, I think Robert Chambers wrote, who was an American illustrator and sometimes author, wrote an incredible book called King Yellow about the ubiquitous book that no one can read. It's not in the book. The play, it drives people mad. John Tynes kind of fell in love with this idea. I had read the book and I love this idea. And when I say me and John Tines, this was nice. 1992. So this was quite some time ago. And John wrote a wonderful article for a magazine called The Unspeakable Oath that we worked on called The Road to Holly, which was his interpretation of the King Yellow. And then he wrote a bunch of short stories, which I thought were marvelous, like Broad Alba and Adam Cisostris. And I love those stories. So in about 1990,

I was like, okay, I'm going to write a King Yellow scenario for the Delta Green book. And that didn't make it in the original Delta Green book. It ended up in Delta Green Countdown second book, which is about 1999. And John's article, The Road to Halee, was transported there too and kind of updated. So we kind of just embraced the King Yellow at that point as part of the Delta Green mythos and incorporated it very deeply. And now we get messages like, why did you steal the king and yellow from, you know, true detective? And, you know, and we're like, dude, like, we predate that by like 15 years.

Sorry, you know, like. So that's kind of how it came about. And John took a swing at it and didn't, never got the campaign down. He wasn't happy with it. He ran a bunch of things for us. never really kind of took off on its own, and then he left RPGs. So I decided, well, fuck it. I'm going to just, I'm going to write it.

So that's kind of how to happen. So did any of John's work make it into Impossible Landscapes? Oh, yeah. Yeah, yeah. I mean, to be fair, John wrote three short stories and the road to Holly, and I took all of those and basically just said, I'm going to use this to build something huge and terrifying, hopefully. John is Autor X in the book.

Like, that's him, the photograph. He's the man who wrote the King Yellow in France and drove people mad. So, yeah, he's in it. He wrote the four word as well, you know. So he was the real test. If he loved the book, then I had done my job properly. So, Dennis, of all the contributors to ArcDream and Delta Green, what motivated you personally to take on the task of creating the Impossible Landscapes campaign? Was it your connection with John Tynes?

Yeah, I mean, it's that, but I mean, to a bigger point, we get a lot of, you know, like, can you connect me with your marketing department and, like, calls and stuff? Like, there's just not a lot of people here. It's me, John, Scott, Shane, Caleb, and that's it. And that, you know, that's the extent. And one of us was going to write it. So, but I love the King Yellow. Like the night floors, the original scenario I wrote for Countdown was my love letter to the King Yellow. And when I was finished with it, I had to cut like a thousand words from it to make it fit in Delta Green Countdown.

And I remember thinking, I could just keep writing forever on this with no problem. And, you know, then I put it away for 12 years or something before I came back to it. But yeah, that's kind of why. It was a serial obsession of mine and John didn't want to do it anymore. Well, you know, you mentioned your ability to just write and write and write about the King and Yellow. Could you walk us through a little bit of your writing process? you know, what does the research look like? And then how do you go from idea to execution to printing?

Sure. So, yeah, this is going to upset a lot of people. So writing is fun and easy. Painting is incredibly difficult. It's like trying to clean your glasses with a wire tin brush that you use to clean dishes by shoving up your nose and pulling it out of nostril. So when I come to writing, I'm like, wee, this is great. It's so easy and that really pisses off a lot of writers.

I encourage them to take up oil painting and will really cure you of hating writing. Compared to two, one is like the eastern front and the other is like having a picnic where you might not have everything you want, you know. So an average day of writing, I get up at about 5.30 and I go down 22 steps and sit until 10. typing or painting until about 11 and then go for a walk on the beach for about an hour. Then I have lunch. Then I write or draw until three. The kids get home and then it's kind of family time and I do it all again the next day. And as far as the process goes, like on a bigger scale with Arc Dream,

it's mostly writing huge swaths of things that you think, oh, these 80,000 words look about, right? and then you throw it over the fence to Shane or John and they come back with notes. But we have a near perfect synchronicity when it comes to the concept of Delta Green. And I think that's vitally important. No one is pushing some weird agenda where it's like, it's about teletotis or anything. Like everybody is on the same page and has been since 1996. So that leads to the feedback being very clean and very actionable in ways that in other projects, you know, there's always some crazy guys like, have you ever seen Tarkovsky? You know, and then everything is about Tarkovsky and you're trying to insert it into everything. You know, you like it, but you're like, this isn't about that. You know, that's like 40, that's 40% of your time in a video game. Just arguing, no, no, no, we're not making telitubbies, you know. With Delta Green, there's none of that.

And they take it over the fence and kind of rip it up and send it back with their notes. But there's a level of mutual respect. So Shane will send me his book and I'll just kind of go, I won't say like, this part sucks or I hate this guy. I'll say things like, this feels a little flat or we need an extension or there's too many monsters or very broad, maybe actionable things that he can look at. And if he ignores them or I ignore them, they just go along with it because they trust in your initial vision. And it goes back and forth like that a ton with Shane and me and possible landscapes.

My God, hundreds of times it went over the fence and came back. And then when it went to layout, it was hundreds of times again. These three pages are laid out. Can you move this handwritten text two millimeters to the right? make sure you use the British spelling on color, you know, things like that. So the process is very intensive and very time consuming and takes a lot of back and forth, but at the same time, it doesn't have any of the baggage that usual corporate creative meetings have. So it's not really, it's not friction-filled.

How much playtesting went into the game before you got to the final draft? Did you incorporate any player feedback? Oh, yeah, yeah. So the playtesting, Impossible Landscapes, I just, you know, my high school group, so the group I played RPGs within high school, just finished Impossible Landscapes about four months ago. And that was my ninth or 10th play-through of the game.

And every time it's different, and every time it's, for me, it's always really satisfying and cool. when it began it was role-playing public radio they kind of played the earliest version of that I learned a ton from that and basically went and did version two three version four and it evolved every time thing you know and the jumps were I don't want to spoil anything but the jumps were like the big reveal at the Dorchester house the you know the waking up in the kind of weird altered world the like

So these things were added on and then the demons and these were all just slowly added on as we went through to filling gaps and to give the handler tools to kind of be able to manipulate the narrative. I mean, if there's one thing we Delta Green fans know is that Dennis Detowler knows how to fill in the gaps with content. That's good, I guess. Absolutely. So obviously, impossible landscapes, right? about madness, paranoia, illnesses, the book implies, can creep into the lives of its creators, its consumers. Can you speak to any kind of personal mental health habits

you enforced to ensure that the work wasn't getting to you, especially with some of the darker sections in the game? I grew up in a really not a very great place and with not a lot of, I had a lot of terminal illness in my life when I was young and grew up with all that. And I, you know, it came out a realist who's just kind of, you know, it's highly likely no one will be here in 30 years. Let's just all get on with it and try and be nice.

So as far as mental illness goes, it doesn't, for me, I've never had any issues like that. I have friends who have had that. One of them, you know, just played in it and had a grand time. So I tried to be very mindful of kind of what issues I understood he had. and not avoid it, but not really kind of shine a light on that. But I write this stuff and I draw this stuff to scare me. That's the true measure of it.

If I can disturb myself once a day by writing something, like, you know, I don't want to point anything specific and impossible landscapes out without ruining stuff, but there are points where I type something and went, ugh, that's horrible, and just felt creeped out the rest of the day. children's teeth? Like, why is there... Yeah. Why is that?

Why didn't even write that? You know, like, that's really my goal. And I wanted to be very clear up front, this isn't really about real mental illness. This is about... This is beyond Delta Green. And that was the thing that most of the players found in all the playthrues I've come to found so entertaining.

It was that at the end, they were like, oh, Delta Green and the world, that's all the illusion. and this is the real thing, you know, Ambrose and the baby and Carcosa, and like, that's real. Everything else is just garbage. So if I could achieve that and maybe eight out of the 10 or nine playthrus I had, that's my measure of how well I did.

It sounds like also your work schedule of getting up at the same time, the routine of making sure you do some exercise and get out and interact with your family. that's all, I'm sure, vital to keeping the right heads of place. Yeah, I mean, I wouldn't have been able to produce this work previously working at Warner Brothers or, you know, Nickelodeon, or I was doing 70-hour weeks, and, you know, I would get up at 5 in the morning and type in Starbucks for two hours and then work until 9.30 at night on, you know, Lord of the Rings or some crazy thing like that. So this would have been impossible.

But I still wrote the sense of the sleight of hand man during that, which is another campaign I did. But yeah, Impossible Landscapes required years of just every day going chong, chong, chunk, chunk, and just building it until it was like, how long is it? Like, Shane was like, we're going to have to start breaking it in multiple books. Like, you need to stop. So. Was there a particular scenario or chapter of the campaign that was more difficult,

to write than others, not necessarily because of the content, but just because of some challenge you found with it? Yeah, like a map made of skin is a very difficult chapter to handle. It is the transition from the real world to the night world. And illustrating how to do that and building scenarios in how to make the players feel that is a difficult thing. I mean, it's a hard campaign to run anyway. Trying to teach handlers my sensibilities in surreal horror was extraordinarily difficult. And it was very tested in a map, like a map made of skin, just because it's a tough jump. When you read it, it all makes sense. And it's a solid guide to making that transition.

But I could see how you may have second-guessed yourself or been wondering. Is this really the easiest way to translate what I'm trying to get across here? Yeah, it's very hard to portray surreal horror in writing. I can do it at the table instantly without even thinking about it with put me in 20 situations. I'll have 20 bits of surreal horror with no problem. And that will creep most people out. And it's fun and easy for me. But writing up, like, here's how to build a campaign that plays upon player expectation.

and how to continuously pull the rug out from under them without completely ruining the room. You know, none of the furniture falls over. They still know where they are and what they're supposed to be doing. They're just like, what? How did that happen? Why, where did it go? You know, and over and over and over again, it builds, it builds and builds. That's really hard.

So, yeah, like a mat made of skin was definitely the hardest chapter to kind of crawl through and edit and change and write. I think one of my favorite set pieces from that, from that particular section of the book is the police station. You know, the van, everything looks like it's just hastily made set. I used that in mind and that was a great way I think to really start driving the point home that not all is that it appears. Oh yeah, really upset a lot of people. I knew I was on to something when they were like the one of the police who was talking to them, the badge falls off. tinks on the ground and it's plastic.

And he puts it back on and doesn't say anything about it. And they all have guns. And they're just like, should we try and take them? Like, what's going on? That was awesome. Yeah. Great times. We commented on that episode.

We're talking about like a Matt made of skin of how fun it's going to be seeing the player's reactions to realizing that there's really no consequences in this section of the game. It's quite unique for a campaign. Taking a kind of a step back to evolve. volume of secret faces. How did Enylum evolve into that? Yeah. So Enylum in about, I don't know, 2014 to 2015, I was like, I just want to write a short King Yellow game. I had a lot of ideas and, you know, I just was like, you know, and I wrote it out and had some fun with it. The creepy part was I put it up for, before

Kickstarter's even existed, Greg Stoltzian invented something called a ransom, which was like, like, pay me this much and I'll give it away for free forever. So I set a goal. I forget it was like $800 or something. Pay me that and I'll write the game and give it away. And someone named the king paid me on PayPal the full amount, like within minutes. Holy smokes.

And I was like, thing. And I was like, that's not creepy at all. Okay, I better finish this. The king's watching. So that really kind of gave birth to the Dorchester House. and the creepiness of the after hours at the Dorchester house. I still love Encilium for its kind of repetitive. Every night, at midnight, you do this,

and kind of explore the night world and trying to escape. So I stole everything from that. You know, well, I wrote it, so it's not really stealing, I guess. But I expanded, you know, the lion and all that kind of stuff into set piece sections for the game. Yeah, one just became the other. It was just like, if I had to write another 25,000 words on Enylum, what would it look like?

And it would look like, you know, a volume of secret faces, basically. As a kind of flipside question to the previous one about what was the most difficult aspect of the campaign, is there a favorite or standout section of the campaign that you think kind of represents the fundamental intention or theme of impossible landscapes? Broad Albin. Like, I love the Broad Albin. It's John's invention and I expanded it and really had fun with what he kind of laid out as a bare bones.

This is Broad Albin and kind of what they do there. And when the players get there, there's an invariable feeling of just, holy crap, we got here, we survived, we're safe, we're, you know, and then it starts to kind of creep in, like, what do we do now? And, you know, Charlie Antonucci and all these other secondary characters show up and start kind of impinging on their lives. I love the Brun Alvin chapter because it's just so creepy and weird. And I have not run it yet where the players went, what?

Like, what are we doing here? They basically said, like, this is the place that was on the wall at Abigail's place, like the letterhead. Like, we found it. We're here. They don't want to leave. They're like, we get meals and no one shoots at us. You know, so I love that section.

And I also love the Carcosa section. It just feels right. There really does. Yeah, that was, I think those two were huge, especially with my group. I had one player who never took off the robin slippers they found in the closet. They wore that for the rest of the campaign. Right. Just, it was great.

That's awesome. You mentioned about, you've, cut about 40 to 50,000 words overall from the final product, including this pre-night floor scenario where Marcus recruits the agents. Yeah. Is there anything else that got cut that you wish could have made it or you plan on exploring in the future? There's a lot of little things that just got clipped, you know, spells and monsters and things

like things that could be cut out kind of concisely. The pre-adventure with Marcus originally was a scenario called the Victim of the Art, which exists. And, you know, if you're going to run impossible landscapes, a very easy way to set this up is Marcus sends you on a victim of the art. You're introduced to Marcus. You see a lot of specific stuff in the teenage kids bedroom, you know, like Judas Priest posters and, you know, these old kind of four mica tables for the side tables on his bed and his

horrible, wobbly bed with pirate ship, you know, bed spread. And then later on, when you run into Ambrose in the copying room, all of those are props in the copying room. They're shoved up against a wall. That was a year ago. And they're totally fake. And he's building other copies of them. Like there's other people doing it again somewhere else. Like, oh, I need four of those end tables.

And that just freaking destroyed my players. They were like, what? Like, no. Then they started finding stuff from in their pockets. And I mentioned it earlier. Like, you know, you have the thing for your wife that's about picking up milk and Ambrose has seven of them on the table all carefully filled out. And they were just like, oh, my God, what's happening? So that was great.

So I love that kind of stuff. Hell yeah. That's perfect. Besides the supplement static protocol, can you imagine a sequel or any other? supplemental materials for impossible landscapes or do you feel like you've said everything you need to say uh i mean i think impossible landscapes is done but having said that you know having a vttt version for roll 20 with all the clues and i could see something like that i could see you know an expanded prop kit that was just kind of very much more carefully made everything

in the game like the master garthotep prop kit and you know impossible landscapes was lari Tio's friend of mine, he died a couple years ago. He wrote Master's Mast's Mian Orthotep. Just an absolute genius and an inspiration in every way. Mastogneurlop was the coolest, best thing I'd ever seen as a gamer in 1986. And Impossible Landscapes was like, I'm going to write my own version and I'm going to aim for the freaking moon. And Larry was like, go ahead. Go nuts, man, like kill me. And that it was years ago, right? And I didn't get to it until about a year after a died or something like that. But, you know, when I imagine it, I imagine a, I wouldn't say an expanded version, but a much bigger version that has static protocol stuff in it, that has all the

clues, and then a kit with all the handouts and stuff like that. So maybe a special edition or a something to be awesome. Yep. I will buy that. Thanks. Absolutely. Can you speak about the community of handlers who love to talk about and run impossible landscapes. Have you seen any of like the supplementary art props or materials they've created for their campaigns? Yeah. Yeah, you know, I think it's it's amazing to me that people play it at all. So whenever I see like, oh my God, we did this or or even, you know, I hate this part or anything. It's great that they're even reading it. Like that's a for me, that's a win. It goes beyond me and become. their thing. So that's great. People seem to in general really enjoy it. And, you know,

it's a very popular book. We're in our second printing, you know, we're coming to the end of our second printing, which is a record for us, um, for any Delta Green thing, which is quite nice. So that is nice. That's awesome. Vince, I'm going to skip this last question because I feel like Dennis already kind of answered. Absolutely. It's what we're going to ask about things that creeped you out while you were writing the campaign. I think even in a previous interview, specifically you had mentioned the drowning room with Deribondi. Yeah, Darabondi really creeps me out. I do not like that character at all.

I have no idea where it came from. Incredible. He really disturbed the players to no end in the bookstore. When he turned up in the bookstore, he just creeped the podcast. The players were like, who the hell is that guy? And then they found out later, oh, he's the architect of the, you know, the McAllister building. They were like, what? Like, you know, and I think there was just an open, I'm going to kill that guy when I see you.

Shoot on site. Yeah, it was basically that. And then they got to brought album in. They were like having to make deals with Darabondi and see where he was going at night. It was not good. Oh, I love that. That's great. Yeah, it was fun.

See, not to deviate too much, but I love improvisational moments like that. We were listening to your players throughout the campaign. One of them mentions, I'm going to shoot Darabondi on site. No, you're not. They're going to work with him now. Yeah. I mean, I mean, the truth is that's, that's the whole game. That's every game.

Yep. And people who are looking for like, it's really weird. They believe there's like a, if I go A to B or A to C, like everything is described and it only goes like this. I've had players break everything, every possible idea. Like, there's literally one door in the room. Like, I guarantee you a player is going to be like, I'm going out another way and you're going to agree with me at some point and you're going to go, damn, I never thought of that.

That's just what players do. That's their job. Yep. So you have to be able to roll with it. And if you can, you know, the game's going to suffer. Yeah. 100%. I think we should start talking about some Delta Green questions that we have because we are both big fans of the game. Here's a question. I would love to hear your answer to. Sure.

What do you love most about Delta Green? This is going to sound horrible. We turned out to be right. 800, yeah, without a doubt. Basically, the world is just as bad as projected in Delta Green, if not worse. And now, like, I'm watching congressional hearings and thinking, I have to send the Department of Defense a cease and desist letter for stealing my material from Majestic 12. Yeah.

Like, oh, we have a UFO that's bigger on the inside than the outside. And I'm like, I wrote that in 1997, motherfucker. Like, get in line. Where's my check? Oh, yeah. When the book, wasn't there an OSS book where somebody like referred to Delta Green or? Yeah.

Oh, yeah. Yeah. So yeah, there was a New York Times bestseller on Julia Childs, which was a biography of Julia Childs, who's the chef. But she was a, she was an OSS agent. She was an officer strategic service agent in Brooklyn. And they literally, she was part of the group Delta Green, which investigated the cult practices of what I was like, wait, what? Like, you know, so that happens all the time now. I'll be watching a Netflix documentary and a map of like a Nazi facility I created for Delta Green will come up in the background and go.

And I'm like, what the hell? Like that's, I drew that. Yeah. Where's my money is exactly. But yeah. So the David Grush stuff is very disturbing because literally the clearance. So this is my favorite part. The clearance for the UFO group is it is literally blue rectangle.

That is the name of like Delta green, blue rectangle. You do the math. Like it's a special access program. It is like everything we wrote in 2015 is precisely true to the smallest degree. Oh, the gray is. bodies are are printed they're artificial they're not really I wrote that like what you know so it's and you know and as far as like world order and and the illusion of mankind being supreme on this planet and everything that all is

pretty much just factual now like yeah we don't own anything it's pretty clear we're not going anywhere things aren't getting better they're getting worse and And it's kind of hard to argue with that. You know, so. I just realized we could do a whole other thing just talking to Dennis about all this released, you know, information about UAPs and stuff. It is crazy. I've actually been hoping to ask you this question, Dennis, for a while.

As it stands, the meta-narrative that is found in the Handler's Guide ends around 2019, kind of the beginning of the Trump era. Yeah. Can you speak to any plans that Archery may have? have for Delta Green post 2020? Yeah, so we're writing a couple books. We're writing a book called Deep State, which is about what happens to the majestic programs after they're absorbed by the official Delta Green conspiracy.

And the answer is all these little sub-projects that were ran on the cost of officialdom will now be handed out by a company called March Technologies to all these little, Oh, there's a little, you know, bio company in North Carolina that's researching sleeping. You take this drug called Lock 357 and you wake up in this other world, you know, things like that. But the neat part is I'm writing the opening in it. If you're not familiar with the character, Charles Bostic. Charles Bostick is the intelligence director for the original Majestic. He's the intelligence director for Delta Green, the official Delta Green now.

and it opens with my equivalent of the Fairfield memo. But this is from Bostick to the director of Delta Green, basically saying, things are hooped. Here's how we fix it. And the answer is Grush. The answer is, we leak all this stuff, and it all leads to a culmination in 2025, where it's revealed it is all American tech that's been covered up.

We showed the TR3B flying triangle for the first time in official photos, and we basically spin this entire story that to avoid the Soviets finding our anti-gravity tech, which was discovered in the early 50s, we came up with the whole Roswell incident and UFOs and grays and built an entire fake division within the federal government because we had just lost the atomic bomb to them. So we covered it up with this incredible, you know. Disinformation.

Yeah, so Grush. Grush, it's just part of Bostick's mad plan to kind of spin this all up. And Bostick is just pissed. He's just like, all this work is down the tubes because someone releases a go-fast video to the New York Times. So stupid. Like, you drop the ball and I need to fix it again, and here's how we're going to do it. And he's just a bitter old man. So it's his own little memo, which is quite fun.

Well, Dennis, this has been very illuminating. It's been wonderful to talk to you. and to kind of get more insight into how you took on the incredible task of creating impossible landscapes. We can't thank you enough for all your work and your willingness to reach out to the community. I think that's a big reason why we created the show and why we really love the Delta Green and the community at large and loves Lovecraft and Lovecraftian works because it's a very collaborative world. and everyone at Our Dream has always been so lovely at reaching out and communicating fans. Yeah, thanks, Rachel.

Yeah, thank you, Rachel. Yeah, thank you, Rachel. Thank you so much. Absolutely. She does a great job running around and wrangling everything. It's awesome. On a personal note, most of my, I mean, obviously no shade at Shane or anybody, because I love their stuff too, but your scenarios are always top of my list for the ones I enjoy the most. Thank you.

I'm getting ready. I can tell Shane that? You know, maybe. Maybe like, Shane. Just to be clear, Vince loves my scenarios more than your saying. Maybe, we love it. It's like, kill your darlings, right? Which kid do you love most?

Oh, no. But no, like, I'm getting ready to run music from a dark room for like the 18th time. Fucking love that scenario. Yeah, that always upsets people. Rightfully so, that's a good one. But thank you for everything you do. Thank you for meeting with us. Oh, no, thank you.

Absolutely. Thanks very much. Yeah, it's great to be here. And anytime you guys want to talk, just give us a shout. You should talk to Shane, too. He's quite fun, although not as good at running scenarios as me. Oh, shit. Well, you know what's funny is that Vince loves running your stuff?

I find that I run a lot of Shane's stuff. A lot of these stuff I've done for May Day has been that Shane's work. I was trying to build the theme here. It's just ruining the whole thing. I'm trying to bring a little balance here to our Delta Greenland. I love Shane scenarios. Oh, yeah. Oh, yeah.

We approach things from different sides. And that's always really good. He loves kind of the military scenario. The really strongly science-based structured scenario. And I like, how can I kill the players like 15 times before they open the door scenario? Let's crank the craziness to 11. Yeah. And Caleb's like our crazy child.

He's like way worse than either of us. He goes off and builds these horrible death murder machines that are just like, wow. Wow. Did you see this? God's teeth. Enough said. Yep. Yep.

Oh, do we just, do we lose Dennis? Yeah. Rose for a second. Yeah, he'll build these things that just terrified me and Shane, where just God's teeth was like, what? This is, are you okay, Caleb? Yeah, if you were not talking about anything? That's good.

It just means the Delta Green, you know, uh, uh, uh, IP, is strong. You know, you've got to connect with it. It's really rare to find another writer. Like we've never

brought another writer. I think the only other writer before that was, Warren Banks, wrote M. Epic, the Canadian division with Delta Green,

which was great. Because it wasn't obvious and it wasn't what you expected. And he just turned it in kind of sheepishly and we were like, this is amazing.

Like, perfect. You know, and he might not know this. He's the guitarist for the darkest that the hillside thickets.

Yeah. The only, the only, only lasting Cthulhu Rock band out there. They're still playing. They're amazing. That's right. And then Caleb was the only one after that.

And Caleb, Caleb's work on God's teeth is amazing. If you have not seen it, it's out. Check it out. It's incredible. We are running that as we speak. So, yeah. Very cool. Well, thanks again, Dennis. And we will definitely have you back one day when we have

more questions for you. Yeah. Oh, yeah. Anytime. Thanks very much, guys. Good to talk to me. I enjoyed that interview so much. Dennis was friendly and approachable. He was funny. He had a lot of really great stories. And it's nice when the designers and writers of the stuff that you love are easily accessible. If you've enjoyed today's episode, please make sure to like and subscribe.

We are done covering every chapter of impossible landscapes. But this isn't the last that you will hear of us here at the Dead Drop. We plan to continue releasing monthly episodes. discussing Delta Green and all of the amazing scenarios and material found within this great game. If you out there have a request for us to cover a particular scenario or campaign, or maybe you just have a comment or question you would love for us to discuss, feel free to send us a message on Twitter or X or Discord or leave a comment under any of our videos on YouTube. We would absolutely love to hear from you and would love some of your ideas on what we could cover and discuss next.

If you haven't considered it yet, you could join our Patreon because you are missing out on the unedited version of this episode's interview with Dennis Detwiller, where we likely have over 20 minutes of bonus answers. We go into more Delta Green updates. We start talking about UAPs and disclosure. It gets real weird. You can go to patreon.com forward slash Mayday RP, where $5 gets you access to all of our exclusive behind-the-screen bonuses. everyone be safe and we will see you next time be seeing you folks