Mayday Plays - 🕳️The Dead Drop: "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

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 Coca-Cola mask around the house and only his Coca-Cola 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 5th 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 covering all of those loose ends, those exient 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 Forneus 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 debt-willer 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 exeant material, with of course the exception of Hotel Brattlebin, which really probably should have been its own part, its own standalone section of the campaign. But in those off chances where you've got players who are digging more into how Abigail Wright may have encountered the King in Yellow, how she may have been exposed to his influence, that's where an exe 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. Barbas' 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, you know, 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 winds. It can appear at any point in time. It exists in many times in many places. So really, say you've got a player who's going back to the Macalester 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 with the night floors where you could interject the book shop. Maybe they're just walking by and Robert, Robert, Robert, the proprietor just makes contact with them and invites them inside. 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, it's an invitation, right? Like all other things in the King and yellow, it is,

it is an invitation to greater depths. And so you really could introduce us at any point in time, just to extend that scenario, to extend that first exposure to the night world and introduce it as you, as 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. 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 can have any number of NPCs wandering the shelves of this bookshop.

They can run into literally anybody, either people they've already run into or people they may run into in the future. Asa Derebandandi is a good example, Dr. Barbis 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 dot 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 for and above, you start meeting folks like Augustus Chastain, Asa Deribondi. In our upcoming interview with Dennis Detwiller, he mentions an interaction that his players had with Deribondi 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. I think 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 Wright, he's forthcoming, he's eager to help, he'll go through his ledgers. And funnily enough, if players 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 Halton Wonderland, which is of course crazy. But yeah, he does mention that he saw Abigail buy a book. 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. Wild, to wait for his revelation. I think it'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 that underlying desire to gain access to and open their soul bottle to obtain that 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 manifestations, 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. He 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 provide 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 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, 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 bookshop is a good exeant 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 somewhat 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 Exeant 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 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 Witwer, or anybody else on his team, 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 Barbas, 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 Barbas, 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 you know 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. Parbis obviously cannot be trusted, that he was under investigation. They're gonna want that documentation. They're gonna 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 op-in 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 Barbas's second bedroom has a 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 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. Dallin.

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

the Pays de Resistance as they call it. There's the gleaming white bathroom and then these new towels marked with a B for everybody's favorite hotel, brothel bin or broad album. 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, the Gideon Bible in the wastebasket. 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 in French, but they'll eventually come to learn that as they continue looking around. And then you've got a crumpled napkin in the waste basket, smells of wine, gold initials G B R of course, familiar to the agents as the Gateway Bridges restaurant costs a little bit of sanity from the unnatural, nothing crazy. Uh, but Witwer's team apparently allegedly 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 Dusium 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. Barbas, trying to understand him.

And there's a bunch of things in it, such as Witwer'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 includes two complete copies of the play, which for obvious reasons, you don't want your players reading. Maybe you do. I don't know. Go nuts. screen. They are, it includes two complete copies of the play, which for obvious reasons, you don't want your players reading, or 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 in Yellow history that is in the front matter of the book, of the Impossible Landscapes campaign book, as well as some of the material that's in static protocol, to really build out the history of the play itself, including how the the deuxième bureau, the second bureau, the French intelligence would have encountered the play and how they would have brought it to 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 that has a small logo embossed on the side in Mahigo. 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 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. Well, 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 lamp, 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 causing 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 images associated with the infectious nature of the King in 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 form of infection. Exactly. Just another example of how the reality of the King in Yellow overwrites what we perceive as reality, even down to just the written word level. Right. We have a couple more clues. There's the paper mache 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, 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. Barb's house, it will 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, that's, 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 six, nine, see what they call last. But what's funny though, is if they call back from the satellite phone, that star six, one, six, 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 the voice on the line from page 149 yeah finally there's the cleaned blood stains 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 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. There was a movie from the early aughts called House on Haunted 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 still creeps me the fuck out. That's creepy. I'm sorry. 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. Nope. As with the bookshop, the higher 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 focus woman reflected in the mirror, covered in blood.

Of course, will incur Sandy Claus violence, as one would expect, as the minute they touch the door, they find it empty, which incurs another Sandy Coss from the unnatural. They might see a marionette who 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 2, 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 for the agent meets the king in yellow which talk about skipping to the end. Yeah. Yeah. And then turns out to be hit. 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 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 where's notes. Any agent who sleeps in the room can open the 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 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 in 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 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 size 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 that this room,

this version of the room is in the brothel bin. And then there's a travel typewriter on the back of the room's door, which will of course, let them know that 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 JC Linz's room. This is Altura X's room. This reminds me a lot of the bathroom sequence at San Magino residence where there's like an alternate kind of pocket dimension. This is not really that, I guess it's more of just like a doorway to J.C. Linds' room, but J.C. Linds is not there as you know, 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 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. 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 they 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 JC Linz's, the telephone and the door and the plaque. Yeah so a couple of things you can find. A very strange interesting kind of exeant 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 exe and materials the missing room the the the unnatural tomes the the artifacts all 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 the Kuklikot 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 Goetia. And by then they have just enough corruption for the Ars Goetia to be effective, because as it describes, it does not do anything unless you have a corruption of two.

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 Goetia, 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 Goetia 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 Goetia 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 in 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 flesh eating disease. Well shit that didn't work. You love to see it yeah. You love to see it. Yeah. I 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 exe 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 that Dennis Dettler has always excelled in doing, is providing more than you may think you need, but preparing you for those instances in which your 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 gonna 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 Arc Dream 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 problem. It's 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 Green's narrative. Could you talk about that in between? Yeah, so in 18, I think Robert Chambers wrote, who was an American illustrator and sometimes author, wrote an incredible book called The King in Yellow about the ubiquitous book that no one can read. It's not in the book, the play, it drives people mad. And 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 Thomas, this was 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 in Yellow. And then he wrote a bunch of short stories, which I thought were marvelous,

like Rod Albin and Adam Sosostris. And I love those stories. So in about 1995, I was like, okay, I'm gonna write a King in 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, the second book, which is about 1999.

And John's article, The Road to Hali, was transported there too and kind of updated. So we kind of just embraced the King in 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 in 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 and it never really kind of took off on its own and then he left RPGs so I decided well fuck it'm gonna just, I'm gonna write it. So that's kinda how it happened. So did any of John's work make it into Impossible Landscapes? Or was it? Oh yeah, yeah, yeah. I mean, to be fair, John wrote three short stories and the road to Haleigh, 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 foreword 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 Arc Dream 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 that? There's just not a lot of people here. It's me, John, Scott, Shane, Caleb, and that's it. And that's the extent.

And one of us was going to write it. But I love the King Yellow. 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 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 in 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 a nostril. So when I come to writing, I'm like, whee, this is great, it's so easy. And that really pisses off a lot of writers. I encourage them to take up oil painting. It will really cure you of hating writing.

I'll take a, compare the 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 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 or, 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 Teletonies 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 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 we're not making Teletubbies, 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, 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 play testing 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 with in high school, just finished Impossible Landscapes about four months ago. And that was my ninth or 10th 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 a 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, version three, version four and it evolved every time.

Think 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 fill in 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 knows that Dennis Detwiller knows how to fill in the gaps with content. Well that's good with content. Yeah. Well, it's good, I guess. I mean, absolutely.

So obviously, Impossible Landscapes, right? It's 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, I 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, that's horrible. And just felt creeped out the rest of the day. Children's teeth, like why is there, why is that? Why did I even write that? You know, like that's really my goal. And I wanted to be very clear upfront.

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 playthroughs I've come to found so entertaining 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. Like, that's real. Everything else is just garbage.

So if I could achieve that in maybe eight out of the 10 or nine playthroughs I had, that's my 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 had to do some exercise and get out and interact with your family, that's all I'm sure vital to keeping the right heads in 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 five 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 chong chong and just building it until it was like, how long is it? Like, Shane was like, we're gonna have to start breaking into 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 and 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 expectations 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, and it builds, builds, builds. That's really hard.

So yeah, like A Mat and a 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 and everything looks like it's just a 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, it really upset a lot of people. I knew I was onto something when they were like, one of the police who was talking to

them, the badge falls off and 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 where we're talking about like a map 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 a volume of Secret Faces, how did Insilum evolve into that? Yeah, so Insilum in about 2014 to 2015, I was like, I just want to write a short King and Yellow game. I had a lot of ideas and, you know, I just was like, you know, of Yellow game. I had a lot of ideas and you know, I just was like, you know, 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 Stoltz invented something called a ransom, which was like, pay me this much and I'll give it away for free forever. So I set a goal, I forgot 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. It was like, bing.

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 of the Dorchester house. I still love Insylum for its kind of repetitive, every night at midnight you do this and kind of explore the night world and try and escape. So I stole everything from that, you know, while 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 Insilum, what would it look like? And it would look like, you know, a volume of secret faces, basically. As a kind of flip side 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 Sean'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 Broad 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 found it, we're here. And they don't want to leave. They're like, we get meals and no one shoots at us. And, you know, so I love that section. And I also love the carcosa section.

It just feels right. That really does. Yeah. That was, I think those two were huge, especially with my group. I had one player who never took off the, the Robin slippers they found in the closet. They wore that for the rest of the campaign. It was, it was great. That's awesome. You mentioned about, you've cut about 40 to 50,000 words overall from the final

product, including, including this like pre night floor scenario where Marcus recruits the agents. Is there anything else that got cut that you, 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 is only 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 kid's bedroom, you know, like Judas Priest

posters and, you know, these old kind of Formica tables for the side tables on his bed and his horrible wobbly bed with pirate ship, you know, bedspread. And then later on when you run into Ambrose in the copying room, all of those are props in the copying room. You know, 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. 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? No. And they started finding stuff from in their pockets. Like, 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? I mean I think Impossible Landscapes is done but having said that, you know,

having a VTT version for Roll20 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 of Neural Throat Tep prop kit. And, you know, Impossible Landscapes was Larry, the CEO, was a friend of mine. You know, he's he died a couple of years ago. He wrote Master of Ne Nyarlathotep. Just an absolute genius and an inspiration in every way.

Masks of Nyarlathotep was the coolest, best thing I'd ever seen as a gamer in 1986. And Impossible Landscapes was like, I'm gonna write my own version and I'm gonna aim for the freaking moon. And Larry was like, go ahead, go not spam, kill me. And that was years ago, right? And I didn't get to it until about a year after he died or something like that.

But you know, when I imagine it, I imagine, uh, I wouldn't say an expanded version, but, uh, a much bigger version that has static protocol stuff in it that has all the clues, um, and then a kit with all the handouts and stuff like that. So maybe a special edition or something. That'd 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 of the supplementary art props or materials they've created for their campaigns? Yeah, yeah. I think it's amazing to me that people play it.

At all. So whenever I see like, oh my God, we did this. Or even, 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 becomes their thing. So that's great that they're even reading it. Like that's a, for me, that's a win. It goes beyond me and becomes 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, 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 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 Darabondi. Yeah, Darabondi really creeps me out. I do not like that character at all. I have no idea where he came from. I do not like that character at all. I had no idea where he came from. And he really disturbed the players to no end in the bookstore. When he turned up in the bookstore, he just creeped the players were like, who the hell is that guy?

And then they found out later, oh, he's the architect of the McAllister building. They were like, what? Like, yeah. You know, and I think there was just an open, I'm going to kill that guy when I see you. Shoot on sight. Yeah. It was basically that. And then they got to Broad Alvin and they were like having to make deals with Darah

Bondi and see where he was going at night. It was not good. I love that. That's great. It's fun. I see that not to not to deviate too much, but I Oh, I love that. That's great. Yeah, it's fun. I see that that not to not to deviate too much, but I love I love improvisational moments like that. We were listening to your players throughout the campaign. One of them mentions, I'm going to shoot Derebondi on site. No,

you're not. They're going to work with them now. Yeah. I mean, I mean, the truth is that's that's the whole game. That's every game. Yeah. And 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 gonna agree with me. At some point, and you're gonna go,

damn, I never thought of that. That's just what players do. That's their job. So you have to be able to roll with it. And if you can, you know, the game's gonna 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. What do you love most about Delta Green? This is going to sound horrible. We turned out to be right. 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 defense 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. I'm like, I wrote that in 1997 motherfucker. 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 office strategic service agent in Burma. And they literally, they she was part of the group Delta Green, which investigated the cult practices of 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, 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 other grays bodies are are Printed they're artificial. They're not really it. I wrote that like what? you know, so it's and a known as far as like

So it's, and you know, and as far as like world order 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 it's kind of hard to argue with that. I just realized we could do a whole nother thing just talking to Dennis about all this released 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. Can you speak to any plans that Archery may 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 cusp 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 Lot 357 and you wake up in this other world, things like that. But the neat part is I'm writing the opening and if you're not familiar with the character Charles Bostic, Charles Bostic 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 looped, 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 TR 3b 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 is just part of Bostic's mad plan to kind of spin this all up. And Bostic 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. 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. 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 that loves Lovecraft and Lovecraftian works

because it's a very collaborative world and everyone at Art Dream has always been so lovely at reaching out and communicating with fans. Yeah, thanks Rachel. Thank you Rachel. Thank you so much. 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. I can getting right into it. I can tell Shane that. You know, maybe. And they're like, Shane, just to be clear,

Vince loves my scenarios more than yours. Maybe. It's like Kill Your Darlings, right? Which kid do you love the 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 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. Where you stand. 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 writing 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 Mayday has been Shane's work. I was trying to build a theme here! I was just ruining the whole thing.

I was trying to bring a little balance here to our Delta Green world. I love Shane's scenarios. Oh yeah. Oh yeah. We approach things from different sides. That's always really good. He loves kind of the military scenario. The really strongly science-based structured scenario.

I'm like, how can I kill the players like 15 times before they open the door scenario? Let's crank the craziness to 11. Yeah. 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. Nuff said. Oh, do we just do we lose Dennis? Yeah. Yeah. Yeah. Wow. Did you see this? God's teeth. Nuff said. Yup. Yup. Oh, do we lose Dennis?

Yeah. We lose for a second. Yeah, he'll build these things that just terrify me and Shane. Where it's just God's teeth. It's like, what? This is... Are you okay, Caleb? Yeah, you're alright.

You're not talking about anything? That's good. It just means the Delta Green, you know, IP is strong, you know. It's really rare to find another writer. Like we have 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 went, this is amazing, like perfect. You know, and he, you might not know this, he's the guitarist for the darkest of the Hillside Thickets. The only lasting Cthulhu rock band out there. They're still playing, they're amazing. And then Caleb was the only one after that. And 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 you. 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. You