I'm a newly made DM and I have the summer to write a campaign for Delta Green, to be played next semester. There are a couple issues therein
>I am not sure how to write horror effectively, and one of the players, plus myself, are arachnophobic enough for SPIDERS EXIT EVERY ORIFICE to be off the table
>I've never written a campaign before.
>I've read all the shotgun scenarios, so I have some idea for how the mood should be and how things work
>I know where I'm setting it- a Massachusetts university town (the town, in fact, where the university myself and my players are at)
tl;dr pls give me advice for how to write a campaign that will
a) be fucking horrifying
b) be extremely fun to play
c) will force my players to not meme
I'm planning tobuythe manual when it comes available, because I want to support the team.
oh, also, delta green thread?
>>47263318
>>47263427
Thank you. Could I possibly throw ideas at you?
>>47263432
Not him, but /th/ is always open to development of ideas. Post away.
>>47263476
Okay, for various plotlines
>Probably opening with either a mutation of the Secret Shopper scenario, or a de-spidered Metamorphosis. Something else, perhaps cockroaches, or something to elict disgust and terror.
>A drug going around campus that 'tags' them as sacrificial lambs for a demonic summoning. Oh, and it feels like heroin.
>An art student turning people into flesh sculptures/ encasing them in plaster and allowing them to move, a la Fort Frolic in Bioshock
>Students have been vanishing throughout the semester.The first one disappeared on the first day of class, and reappeared on the central quad on the eve of Thanksgiving break.
>A band on campus plays music that mind controls students into doing the band's bidding.
>One of the science professors is using the powers of the NMR to summon something horrifying.
Additionally, some things that came to me
>As the players are going to be perceived as feds, they're going to be told to fuck off by 90% of students because it IS a liberal arts college.
>I made a map for a tesseract sometime last year, and I could use that to build a dungeon or a puzzle of sorts.
>The PCs will receive texts/emails through notes passed to them. They'll all get notes every morning and evening. Through these I can tell them certain things without the other players knowing.
What/where is /th/ ?
>>47263318
When describing something eldritch, don't describe it well. Do something like "it looked like the sound of breaking bones and tv static"
>>47263682
>When describing something eldritch, don't describe it well
Should I avoid showing the monster at all costs- or allow the players to catch merest glimpses of it, and describe it differently to each player, playing with phobias and desires?
>>47263703
Merest glimses, but showing the monster too much usually leads to understanding it. Comprehension usually kills the whole horror aspect a bit.
>>47263720
But, on the off hand, you can put false comprehension in by teaching the players x=y ( this place is safe, it's weak to this, ex. )and then suddenly ripping that out from under them in a terrible way.
>>47263720
If I'm going to have a 4 to 7 session campaign, maybe a little more, but probably fewer than ten- then should I have an overarching Big Bad?
>Merest glimses, but showing the monster too much usually leads to understanding it
Which is why I suggested describing it differently to each character. For instance, the party catches sight of something through a doorway.
>The 40-something alcoholic EPA agent who lost his wife on his 25th birthday sees her naked leg, from their honeymoon night, the night she showered before giving him the best sex of his life.
>The rookie FBI psychologist sees the laughingface of his childhood bully
>The woman who just recently returned to her job as a researcher form having her second child, sees her 5 year old daughter stumble towards her, covered in tumours
Etc
>>47263736
Like how in one of the Dead Space-es there was a crafting bench, and the game teaches you that you can't be hurt at crafting benches, but then a monster jumps out at you during the exiting animation? How would you work that into this?
>>47263736
Oh, and on a off hand one in one of my campaigns (a 1960's delta green) I had a drug which took your mind on trips you wouldn't believe, but if you took enough of it it wouldn't come back and something else would fill the hole it left. Amother good use for drugs is hallucinations that start becoming real.
>>47263795
Also, is there a consensus on Horror Sounds? Like, I'm not a terrible sound mixer/engineer, and I can relatively easily make something that sounds nightmarish. I can even play it at full blast when I need to jump the players-
mixing dying animal noises with babies crying with industrial machinery with deep, deep drone, with tv static with human laughter played backwards- that sort of thing.
>>47263773
I like what you're doing with your discriptions. Okay, a couple of ways to work those types of things into your game is to give it rules, and then just take them away. Like, "it only comes out at night" or "it seems to only attack x group of people".
>>47263826
Or like "The mists are safe" or "If you hide under this bed you're going to be okay." or "If you read a bedtime story, it won't try to hurt you."
Nice. Thanks.
I recall a horror greentext posted on here once, about a Call of Cthulu game the poster DMed. In the story, his players went to this old spooky mansion for *reasons*, and started getting seperated by an unknown force. The PCs that got separated started showing up in paintings on the walls, looking sad. No explanation was given for how this was happening.
Eventually there was only one PC left, backed into a corner of a room, waiting for the doom to find them. Then the window of the room lit up with a great white light, and the PC could see indistinct shadowy forms moving around outside. That finally snapped their tenuous nerves, and the PC went mad. They fled the house, returned with petrol and matches and burned the building to the ground, then ran through the town screaming until they were arrested and institutionalised.
It was a great story, and I'm really not doing justice to how compelling and powerful it was. It really did feel like something that could happen in one of Lovecraft's novels, thanks in part to how the terror was never properly explained. It was strange, mysterious and inscrutable, which invited speculation and wonder.
Then, a year or so after I first read it, it was posted in a "/tg/ screencaps" thread, and a poster claiming to be the OP of the story explained how they had intended the window to be a gateway to Azathoth's court, and the people trapped in paintings were sacrifices or something.
Whether the poster was indeed OP was irrelevant - that explanation killed the wonder instantly, by placing the mystery firmly in familiar context. We know what Azathoth is, and what he does. He's super-dangerous, sure, but he's also a known quantity. He lacks the primal fear of the truly unknown.
>>47263817
I just ran old, dark rock. Mostly vietnam Era stuff. Don't make the music terrifying, it'll burn your players out, just make it tense. Slow, methodical songs usually work. Things with only a couple instruments in them. A slowly playing piano can keep tension for much longer than a full orchestra.
>>47263843
Because what scares us about the unknown isn't the fact that we know nothing about it - it's the fact that we don't know how to deal with it. We don't know what the safe (or at least safest) response is, that will protect us and the things and people we value. We can't build a solid plan of action, because we don't know enough about the Mysterious Thing to predict its behaviour. Hell, just knowing that there is no safe option is a relief, because it means we can stop wasting our time worrying about it and focus on the things that we do have control over.
What scares us isn't the strange footprints in the woods, or the shapes moving in the trees, or the groaning noise coming from the basement. What scares us is the feeling of powerlessness that these things bring - of being faced with a potentially deadly choice, and not knowing the "right" answer. Do I try and follow the footprints? Do I try to chase down the shapes in the trees? Do I investigate the noise in the basement? Are these the "safe" choices? Or would I be better off ignoring the weirdness, and going on with my day? Would I be better off getting the hell out of here?
>>47263850
Also, sorry if my posts aren't too good, I'm rather hammered right now.
>>47263841
You're getting it and getting it extraordinarily well. My favorite one is "it only kills you if you open your eyes"
>>47263850
Any recommendations for that type of thing?
>>47263851
I remember reading in the Unknown Armies manual about several types of sanity damage. Powerlessness, Isolation, Supernatural, Violence, and maybe another two that I don't quite remember. Would you say that the central tenets of horror are The Unknown, and making the player feel powerless?
>>47263894
>"it only kills you if you open your eyes"
Jaysis Fucking Christ.
To everyone else, thank you so much, you're all an amazing help.
>>47263916
Just choose something simple, slow, and that methodically plods along, something that sounds a little sad. Something that reminds you of rainy days and missed opportunities. The music should be something that fades into the background unnoticed unless you pay attention to it. It'll still effect your players but it won't distract them from the real horror in front of them.
>>47263318
Here's a few thing on top of my head :
>find a way to keep your PC in the area you can manage, both geographic and narrative. DOn't allow them to suddenly go to Paris or fuck the mayor's daughter unless you planned it OR it does nothing
>have a solid down to earth realist background that you can deconstruct via the mythos. Maps of places, precise list of regular NPCs, anything normal should be detailed so you can fuck it up.
>to keep a good flow, be sure to ask if your players enjoyed the session, and try to be receptive. DOn't hesitate to throw a bizarre fight if they want action. Also, it will make them paranoid to know that you sometime put them in real danger. Not mythos danger (aka 1d6 investigator/round) but a escaped mental patient or some angrys dogs that are a little too big and too ferocious can take them out of a comfort zone. Stephen King soed that really well.
>being horrifying really depends on your players. Try many things and see how they react to gross, surreal, mindfuck, pure gore, personnal or external pressure, etc... Make it light horror happening often at the beginning, then make it rarer and more horrible later as you get to know your player. They will fear it even more if they have to wait for it.
(continued)
>>47263934
For my 1960's campaign The Doors was my go to band. Pretty much find things that feel like The End or Riders on the Storm
>>47263318
He blasted away at all the demon worshipers, spashing through pools of steaming blood he aprached the alter amd the item they had been tasked to destroy... and then john was a zombie.
One thing I KNOW I'm really bad at is pacing. How do I into pacing?
>>47264007
Build up, hit tense point, build back down. You should always keep them a little on edge, but you need to let them rest a bit between the real horror. If it's just horrible all the time you get things like 40k where it just wraps back around again to comedy.
>>47263953
>I always work in three parts for a year+ campaign. first part is setting, second is investigation and discovering the real menace and third part is "let's deal with it my brothers, see you in hell".
>stick to a few related mythos element, and add some completly unrelated when necessary. Don't catalog
>Don't hesitate to use tropes and classic storytelling stuff. Have a BBEG, a tutorial/master NPC, a traitor etc...CoC/DG is still about telling a story and this will help your story : it's simple and easy to recall.
>Tempt your player. The ghouls and deep ones are here for that.
>>47264007
Ask your players. Don't hesitate to push them a bit by reminding them that they do the action, nothing will happen until they do something. Horror is not about talking slowly about the dark or whatever, it's about stuff happening when/where they shouldn't. If you're in the middle of a fight and the head of a thug splits into a dozen flaying tendrils when you grapple him, you're good to go
>>47264032
The thing is, I don't quite know the speed at which I should be climbing and falling. I know it's a meme illness, but I have some form of add and as such pacing and timing are not my strongest skills. Could you give me advice about HOW to build and HOW to fall?
>>47264045
>Tempt your player. The ghouls and deep ones are here for that.
I was thinking about having flirtateous students on campus. Ones who actually have something interesting to say with the plot.
>the head of a thug splits into a dozen flaying tendrils when you grapple him, you're good to go
sounds fun
>>47264063
First off, you're going to set a calm tone, then a bit stressed. Usually by presenting a normal scene and intruducing something... off to it. Keep the players on that mindset for a bit, then bring them back down to a calm "we solved that problem" mindset. This is a standard hill, good for pacing, good for leading into something bigger. More to follow after this post.
>>47263549 About your stuff :
>Tie everything together. You are running a campaign, not a Columbo season.
>don't forget the world outside the university. What does the local cops think of what's happening. What about the parents ? Think about everything your nosy investigator will want to get there nose into. And put the Mythos there.
>dungeon is good. particulary at the end of the campaign.
>i'm not very fond of the text/mail stuff, mostly because i leave the game and it's world when the session is done. Permeability between the in and the off-game make the game less intense imho
>the liberal college is a good setting. a good setting to fuck up. it's full of clichés you can break and/or justify with mythos
>did you read Target of Opportunity part about the Cult of Transcendance ? it's perfect for putting some Mythos in your everyday american life
>>47264120
You can lead from this hill directly into a larger one, a false valley in the tension in between usually helps. You should just slowly introduce more and tension after the first hill if you're going down this path. You can put valleys in again, but never let them get to that "I'm safe" point again. Make looking over their shoulder every five seconds the new safe. Keep going on like this and you should reach the climax. When you reach the climax, you're going to have to build back down, you can do this fast "we killed the monster" or slow "we're running away, but the monster isn't near us anymore", but only really have one.
>>47264063
>How to build
Well my advice would be : don't. Real horror just happen. You're in class and there's a loud noise. That's it. Someone panics, someone explodes, someone comes back to life. UNEXPECTED is the word, you don't build unexpected.
>How to fall
Since you don't build, you don't really fall. Things get back to normal, and it shouldn't fell right. Mention the consequence of the horror : girls in tears, sports season stopped, security measures, maybe weird ones like health inspections. But the life goes on and that's the worst, like tow day later no one seems to remember a local student took out his own eyes during a Hamlet rehearsal.
>>47264131
Just to clarify, I'm not going to actually email/text the players, just give them notes saying TEXT or EMAIL on them, and having a text or email written on them.
What are the clichees associated with liberal arts colleges?
>did you read Target of Opportunity part about the Cult of Transcendance ? it's perfect for putting some Mythos in your everyday american life
No, I haven't. Could you possibly link me to it?
>>47264165
Then how do I have tension if it's just BLAM then silence?
Oh, and also, how much of Delta Green is currently available for purchase? I think the Handler's and Agent Handbooks are available, but I'm not sure.
>>47264165
>Well my advice would be : don't. Real horror just happen. You're in class and there's a loud noise. That's it. Someone panics, someone explodes, someone comes back to life. UNEXPECTED is the word, you don't build unexpected.
You have it backwards, that's jump scares. That's shock, that's not horror.
>>47264170
>What are the clichees associated with liberal arts colleges?
since I'm french, i really don't know, sorry...
>BLAM then silence
Tension is not everything. It's false advertising and something i really don't recommend. Tension is a symptom, not a cause, it can never happen first. You don't want go "wait for it...wait for it...and boo !". You want your player to KNOW and FEAR that something can happen, even if it never happens. Once you put them in front of a few horrific situation, they'll wait for it.
And there's no silence. Never. Silence doesn't exist. Everything leave a mark, a small trace, a smell. Something happens, has happened, and people remember it in a dozen different, all traumatizing, ways. And something tells the PC that it can happen again, probably sooner than later, and harder too. And maybe it's their fault.
I don't know if i'm clear.
Here's some links, i thing they are all legit but stay alert
>http://tradownload.com/results/delta-green-pdf.html
>>47264249
Merci beaucoup, m8. What are "facs" like?
>I don't know if i'm clear.
You're clear. So I'm gunning for atmosphere?
>>47264274
In France, facs are political battleground (liberal and arts) OR head-under-the-water no fun allowed no man's land (science and tech). And there's no money except at La Sorbonne where all the money is. Right wing facs are full of pompous Parisian poseurs in 15th century building trying to kill time waiting for their parent to die so they can inherit, left wing facs are full of self-titled artist and philosopher who just read books and traveled and now they know what's good for you, for the country and for the economy even if they major in Musicology. And they will TELL YOU ABOUT IT.
My setting style is that everything sucks. You should ask your PC to have a major flaw, like bad alcoholism, severe ugliness, a obsessiona bout something, bad hygiene, anything. nd everything should be the same. People are mean, ugly, and they want to sell you something you don't need. And that thing is ugly. And sticky. And broken when you need it. First your PC will get angry, then they'll go to despair when they realise they are alone in a crowd of dangerous morons they have to protect from themselve.
And then there's the Mythos.
>>47264362
I really like the way you think, mister.
>>47264375
I learned everything from The Critic and Duckman.
Bumping a good thread
Also, if you can swing it, mythos power should be seductive if/when you introduce it. That's part of the danger - it can solve (part of) their problems for a low low price.
I ran a scenario and the one thing that dropped sanity like an express elevator to hell was the fact one PC realised some of his spells had no cost for casting but SAN.
He was all "Eh, I've got like 80 SAN, I can afford to lose a few", without comprehending that regaining sanity was difficult at the best of times. That definitely bit him later in the scenario as he failed more and more SAN checks and did some things he had no control over.
Horror for players can be loss of control; and that can sometimes just be as simple as giving the players enough rope to hang themselves with.
Is it acceptable to make players roll willpower to resist natural urges? Like the urge to break down after too many drinks after a mission, or punching an unashamed non possessed killer?
Roleplaying Public Radio does lots of actual play podcasts of Delta Green; start with their Convergence one-shot, and then try their current God's Teeth campaign.
>>47268039
God's Teeth is great.
>>47268356
RPPR is the reason I got into Delta Green, they were talking about it last year at Gencon at one of their panels.
>>47263318
>force my players not to meme
That's up to the players. If they understand the themes of the setting and how it is "supposed" to be played and are into it they won't meme, or they will meme but in a way that fits with the game. It doesn't matter how much time you spend on building atmosphere and setting the mood if your players simply aren't interested in playing DG as the existential horror game it's written as.
For any horror game to work the players have to want to be scared, otherwise the best you can hope for is momentary acknowledgements that something was kind of spooky in between jokes.
>>47263549
I will say this: why are all these weird things happening at this ONE college? What makes this one little slice of one little town such a magnet for fuck?
>>47266150
>seductive
I don't think that's the right word.
It should feel.. inevitable. Unavoidable. Something that was always going to happen. Seductive implies it's somehow fun, pleasurable, sinful. It's none of those things.
>>47267971
Yeah, they could roll to resist or choose to spend willpower to avoid the roll, say.
>>47270871
Well, my college town is on the large side. So the whole place could be fucked.
Also, that's something I'm trying to figure out
>>47271771
You're feds - you don't need to be centred around a single college, and chances are that if all of these things were happening at the same time, it'd be getting a lot more attention than just your DG team, which causes problems.
I'd honestly suggest shifting this across an entire state, it'd make a lot more sense than just one campus.
>>47271771
Well, going back to Lovecraft himself, there are a few ways you could link all the weird stuff to one place geographically.
1. Tainted Bloodlines. The settlers of the town were somehow connected to the Mythos in a way that's hereditary and persists to this day. This might be fishmen, this might be the Whateleys getting it on with outer deities, this might be certain members of the families figuring out how to essential-salt their way through eternity...
2. The Land Itself. Something in the terrain is unnatural or connected to the Mythos itself and its taint naturally draws more taint to it; sorcerors might gather to it as a place or power, or it might be subtly gnawing at the sanity of the psychically-sensitive inhabitants. Perhaps a Colour fell from space and is buried in the bedrock now accessible only through cave-diving. Perhaps some awful pre-human species built a temple where now the town lake resides and it calls for worshippers. Perhaps the terrain is burrowed-through by Cthonians and ghouls, whose portals lead through the Dreamlands...
3. The Library. A liberal arts college is going to have lots of weird books on topics like history, religion and weird belief systems. The "special collection" is of course going to be juicy. People come to the Miskatonic from all over to study because it has one of the few copies of the Necronomicon; maybe your college draws unusual people (who then do unusual things) for a similar reason.
I certainly think the college should be a symptom of something WIDER, and most definitely OLDER than the college itself. Lovecraft is about the terror you discover through research, the awful things that lurk in history. It shouldn't be a new horror. Use that to flesh out the history of the town and the college, the investigators researching previous examples of how this particular horror has manifested builds the picture of the town.
>>47272011
I have a vague idea- because it's a hippie college, unless it's meth, drugs generally go unnoticed.
Student disappearances are always spooky, so that's what the opera is chiefly about.
The other stuff can probably happen elsewhere.
What sort of attention would it receive?
>>47272065
Thank you so much <3
Of course, I should not reveal any of that wholesale to the players, right?
>>47263817
I like to use dark-ambient. The sound is oppressive, and the tracks are long. Alternatively check out space sounds on YouTube.
>>47272072
Well, with people going missing, you'd have local police, possibly private investigators if the parents are well off. If there started being enough disappearances to be noticeable, the FBI might get involved if they thought it was part of a larger crime.
You'd also have local police and DEA looking into any systemic drug culture, especially if they're new drugs.
OP - do you have the new Delta Green rulebook, or the old 1st edition?
Just curious, because each tends to look at slightly different types of horror, and covers the changes that have happened with Federal Agencies, etc, in the modern time.
bump because I like these kinda pics
>>47263817
What >>47263850 suggests is good, especially for DG. If you can manage it, having the rock tracks fade in and out of static and slower, more ambient noises would be fitting.
https://www.youtube.com/watch?v=n2O8bMlEijg&ab_channel=babylonianman
I've used this and some other Xenakis compositions to great effect for big reveals and monsters.
>>47272095
Oh definitely not.
Lovecraft and ESPECIALLY Delta Green is about piecing horrific shit together bit by bit. Think about the corkboards with newspaper clippings and coloured string to connect things.
>>47272206
I acquired the first ed and bought the agent's handbook.
>>47272065
Ok, so, how's this for cooked out of my underslept brain-
A creature who thrives on the creation of bloody art- art involving the harm of others- was slain and imprisoned hundreds, thousands of years ago in the lands on which the college stands. During the construction of one of the newer buildings, one of the workers accidentally broke the seal. I know that's incredibly generic.
Something something college president fishman nepotism.
>>47272167
I see the issue. Right. Thanks.
>>47272072
>>47272167
>>47273615
Remember, any crime that does/has the possibility of crossing state lines comes to the attention of the FBI. You can make this easier by having the college located close to the border of a state.
>>47274349
>digging the damn thing up in the first place
>not detonating grenades duck taped to c-4 then calling in an airstrike.
>>47273594
>A creature who thrives on the creation of blood art
Define "creature". Great Old One? Ancient shaman? If shaman, human shaman or some other species? That's kind of important.
Connecting horror to art is a big thing in Lovecraft (Cthulhu's primary receptors are artistic folk; Pickman's model etc) so that's fine. But maybe think on art to see what ideas ABOUT art you want to explore or express and marry that to the horror.
How about this: in a lecture that you use to introduce, say, a professor NPC, reference something along the lines of "the earliest examples of art are representation; men, animals, geographical features. At some point, man develops the abstract thought necessary to begin art that is not merely representational but symbolic and decoration; art for art's sake. What provoked such a shift? Perhaps something in our neural evolution changed, we crossed some tipping point in intelligence. Or perhaps something in our environment changed - or we encountered SOMETHING - that changed how we felt we had to represent it in art..."
>>47274964
Cant it just be a creature? Not every fictional monster needs to be tied geneologically to the mythos, CoC had vampires, zombies, warewolves and other tropes.
>>47275507
Doesn't have to be established in the canon, I just mean that having a general idea for the "tier" or "type" of creature it should be will be important because that'll majorly influence how the horror connected to it manifests.
Is it an ancient otherworldly thing of pre-Cambrian geologies? Then it'll be buried deep, its cults might be inspired by dreams of its buried fossil-form and geometry fails in the presence of their spells and you find evidence of it in the fossil record. On the other hand if the thing is, say, a human shaman a few centuries old whose spirit was just unusually strong then maybe he's directly possessing people, he's human but just pretty fucking evil, there might be myths or historic relics that refer to him..
M8s, I wanna get into Call of Cthulhu.
>what PDFs do I need
>best edition for beginners
>best supplements
delta green? more liek delta groan
amirite
>>47278838
Delta Green new edition has the superior system (excellent combat system, character bonds that flesh out the character, less random sanity system, etc.). You can perfectly use it for classic CoC provided you adapt the skill list.
Otherwise, use 6th edition. All printed material is compatible with it. With 6th edition I find most supplements superfluous. The rule book is already very complete and the lore comes from CoC books you've read. City and world guides are useful to play in the corresponding places/eras (Dreamlands, Victorian England, Arkham, Cairo, Tibet, WWI, etc.).
I'm currently running a late 60's early 70's delta green campaign. I'm halfway through it, but it all boils down to a special type of lsd takes peoples minds away to the dreamlands to be slaves, I started with Hieght Ashbury dealing with a couple of pushers (that turned out to be a group of Cho-Cho feasting on the bodies of those lost, one got away), to a small mining town doing it as sacrifice. Now, I have a couple of different other ideas I could use and I'm having some trouble figuring out which to use if anyone can help me decide or cone uo with more-
>Idea 1
Jim Jones is the Cho-Cho that got away, the players show up right after the Jonestown massacre and there never was any purple cool-aid.
>Idea 2
The CIA is behind it all, a corrupt agent inside has been providing the drug through the CIA lsd trials.
>>47279626
Tcho-Tcho, I don't know why I put Cho-Cho.
>>47279640
Must be the LSD
Any new shotgun scenarios incoming?
>>47278838
>PDFs
The new Delta Green edition is great - brilliant system, great combat, interesting social mechanics where your bonds to friends, family, etc, can help stop you from going mad, but will suffer if you dive into the madness, etc. I'd suggest it above everything.
Otherwise, Call of Cthulhu 7th edition is good, and most previous edition stuff will work perfectly fine with it. It makes a few adjustments that make the game a lot easier to run, using fewer complex calculations and tables, etc.
Does anyone have a scan of the new Delta Green books?
>>47285006
Given it is only in PDF form, and not paper, no, none of us have a scan.
Buy it you cheap cunt - it's a good book, and it's not like it'll break the bank.
http://www.drivethrurpg.com/product/181674/Delta-Green-Agents-Handbook
>>47284314
I find the new DG so good it has become my standard modern system.
>>47287436
Aye, I honestly think I'm going to be doing the same. It's just brilliant, fair play to the devs.
>>47286942
...please?
>>47282076
They did another contest on the mailing list last December I think. They should be on Fairfield Project.
>>47288737
This is all you need to play really. They haven't put out any books that get into the fluff much yet. Seriously man, try the new system and buy the books if you like them. New DG is shaping up to be one of the most quality RPG releases in years, support that shit.
>>47289388
The stuff they've put out about the new setting seems really interesting too. Very much playing up on the increase of federal law enforcement power since 9/11.
>>47278841
yes
>>47291175
I'm really interested to hear about what happened to a bunch of the different threats as it's been hinted at that stuff like The Fate, Tiger Transit and the Skopsi were taken down a peg or 3.
