Delta Green:

Making Horror
Scenarios
By Dennis Detwiller, 2015

I receive a lot of email about my gaming methods. Its nice to be known as a heartless
killing machine when it comes to horror game mastery; I take it as a compliment.
Many people have praised or complained about my style of scenario creation as well.
In any case people are talking about it, so I figure I must be doing something right.
Lets take a look at how to create horror scenarios for roleplaying games. I may
get down into the weeds on some of this stuff with an angle towards Delta Green, but
everything presented here can be used for any game. Game systems can help rein-
force horror, but the reactions elicited in players matters more than any dice roll. In

horror, it is about feeling. If that feeling is not there, not even the most effective horror
game system will help.
What makes a scenario a horror scenario? Uncertainty, risk and a lack of control.
Without these essential elements, any scenario, involving even the most terrible crea-
tures, is simply a bug hunt. In fact, thats what most games are: go here, kill this, and
take its stuff.

1
 Horror is not about that. So, at the highest level, as a game master, this is what
you must consider. Is your group content with the bug hunt?1 If they are, then horror,
and the possibility of failure, might come as a bitter and unwelcome pill. If theyre
open-minded or have experience in playing horror games, lets talk.

What Is Different About Horror?

Weve said horror scenarios are about uncertainty, risk and lack of control. Lets look
at these elements.

UNCERTAINTY: When a thing is understood completely (Bugbears have 5 hit

dice), it ceases to be frightening and certainly can never be truly horrific. Un-
certainty is the essential rule of horror, and of horror scenarios. Players must
never feel certain of their situation, what theyre facing or why.
RISK: If the game comes down to rote calculations (Ill do 1D8 damage six

times by the second round, therefore Ill average 27 points and the monster
only has 16, so), it is not a horror game. Horror involves risk and the conse-
quences from failing. In most horror games what is risked is the life (or sanity)
of the character.
LACK OF CONTROL: Many games are player-driven. The players dictate and

the world moves around them. Horror does not operate this way. It is a game
master-driven world where the world occurs around the players and they must
react. There is a fine line to be drawn here. Players in horror games can alter
but not dictate outcomes. Being prepared, making plans, researching, secur-
ing backup, these are all healthy things in a horror game that shows the player

1
Not that theres anything wrong with that.

2
 is thinking, and which can alter the outcome within reason. But most of the
time, what the player is facing is far out of their scope in a one-on-one battle;
hence, lack of control.

Style and Substance

Lets look at some of the types of horror that can exist in roleplaying games.

GORE- FEST: Evil Dead, The Cabin in the Woods, etc. This type of horror elicits

fear, but allows for over-the-top action on the part of the PCs. It usually in-
volves supernatural elements. Death is a risk, but as long as the player is enter-
taining, plays along and has good ideas, its likely the GM will keep the charac-
ter around. Either the game system should be flexible or the GM should fudge
rolls to keep players playing.
SLASHER: Friday the 13th, A Nightmare on Elm Street, etc. This type of horror

is more realistic and risky for the PCs. It sometimes involves supernatural ele-
ments, or at least insane luck. PCs die a lot, but their ingenuity and reason can
help them survive even the most deadly risk. If the player struggles to solve
the mystery, makes decent rolls and puts two and two together its likely the
GM will keep the character around.
MANS OWN WORK: The Others, The Purge, etc. This type of horror explores

the consequences of a world where there are no monsters, only manand boy,
is that bad enough. Occasionally there are surprise supernatural elements.
This is usually about survival: you must outfight and outthink your fellow man
who is out to end you. If the player is clever, constructs a plan, and stays one
step ahead, its likely the character will live long enough to see the end of the
scenario.

3
 THE WORLD PLUS: The Resurrected, An American Werewolf in London, Ocu-

lus, etc. The PCs live in the real world, but a secret world of supernatural
threats exists and for some reason is after them. This is the world of Delta
Green. The PCs live in constant fear of something beyond, which might reach
out at any time and destroy them. Even the most resilient, clever and well-
prepared PC can perish with a single bad roll.

Structure
Lets examine a few of the types of structures of horror scenarios.

IN MEDIA RES: Usually reserved for one-shots2, in media res games usually

dictate location, time-period and even the characters the players can choose.
For example: Youre all teenagers staying at the Bremen Estate, waiting for the
first train back to Albany once the snow clears. The players pick characters,
play it, and then its done.
THE MYSTERY: This can be part of an ongoing campaign or self-contained.

The players are presented with a mystery which they must solve. For example:
People are disappearing at the Lesner Institute, and the university has hired
you to check it out. A mystery can easily connect to an Ongoing Threat, and
can give rise to characters that continue, change and grow over time and
across multiple scenarios.
THE ONGOING THREAT: A campaign of scenarios (these can be linked or in-

dividual movie of the week investigations) connected by a skein of repeating

2
Scenarios that usually have pre-made characters, and are playable in one session.

4
 player characters. For example: The Gilchrist Trust is a group of like-minded
investigators bent on answering one secret: What comes after death?

A Note About Control

I've talked to a lot of people who have many different experiences with horror games.
Some play horror like a Michael Bay movie or a Marvel comic. It's their game, and
they can do what they wantbut they're missing out. Horror gaming is about fear.
Fear of the unknown, of losing control, of losing. In many ways, control is the op-
posite of fear, and players yearn for control.
A lot of players don't understand this. For that matter, a lot of game masters don't
understand this. Player control is not an option in a game thats meant to evoke hor-
ror. The spells and creatures and magic and sanity-rending books should be stacked
against you from the first moment of the game.
Regarded mechanically, Delta Green is a machine that produces agent deaths in-
terspersed with (sometimes miraculous) stories of survival. It is a story of decline
moral, mental and physicalwith horror and death on all sides. It is hardly ever about
winning; and if it is, victories are fleeting and doom is always eventual.
So, players, embrace the fear. It's some of the most fun I've had in gaming: not
knowing what's coming next. And GM, take the reins, let the dice make the life-and-
death calls, and bring more of the battle back to the internal struggle with fear.

Where Im Most Comfortable

Im most comfortable in the world of Delta Green, of course: The World Plus and An
Ongoing Threat. Now, down to brass tacks: lets create a little horror scenario that
fits Delta Green.

5
The Hook
I write scenarios from a single nugget of an idea, a hook (like a mirror which allows
time travel), and then follow the leads out from that. If it helps, think of the hook as
something solid, a thing that all the leads attach to. Usually that hook is the supernat-
ural element.
How about:
A janitor is found dead at the county hospital, covered in the fingerprints of a sui-
cide victim who was brought in the day before and is now missing.
Its a clean start with a nice bit of weirdness. The mark of a good hook is that there
are many ways for PCs to enter the mystery; a few bits of spine-tingling strangeness;
and a clear path forward. This has all three.
Youll notice we dont have an explanation for it, yet. No big deal. Well get to
that.

Im Hookless!
Sometimes its tough to come up with a hook. When I find myself at an impasse, I turn
to the Internet. I search weird news stories, Wikipedia articles and social media feeds.
Find something interesting and give it a supernatural or chilling twist. For example:

The disappearances at Roanoke, Virginiafascinating. A whole colony van-

ished with no indication as to where they ended up. Lets tilt it: What if that
happened to a small town today?
The Texas sniper Charles Whitman and the bizarre aspects of his brain
tumor. Is that what caused his rampage or was it something else? Some-
thing supernatural?

6
 Judge Crater, who vanished in the 1930s without a trace and was never
found. What if he walked in the door of a local police station tonight?

And that was just ten minutes of poking around! Theres always a hook available.
There are millions.

NPCs
Non-player characters are the lifeblood of a good horror scenario. Who are the mov-
ers and shakers in your scenario? Its important to cover all the basics when writing
them up.
Who are they? What are their motivations, hopes and dreams? Who are they loyal
to? What forces do they serve?
For example, if a crime was the inciting event, its likely the police or federal
agents are involved.
Here are the key players I can think of for our dead janitor with the suicide victims
fingerprints. Are there others you can imagine?

Hector Sandovar, 39- year- old Haitian- American male (deceased); janitor.

Heres the dead guy. The initial entry point. Hes innocent and dead. Well
give him a little weirdness and make him a follower of the Santeria religion;
otherwise, he was just a normal guy.
Elizabeth Tun, 41- year- old white female; registered nurse. The woman who

discovered Sandovars body. Shes innocent, and horrified by the ordeal,

but wants to help.
Abigail Vosh, 27- year- old white female; registered nurse. A nurse who has

been sneaking narcotics from the hospital and has a lot to hide (she also

7
 sells them). Tun heard Vosh sneaking up to the roof to take drugs but did
not see her. Now the police are looking for the person on the stairwell in
possible connection to the crime.
John Doe, 30s, white male, identity unknown (deceased); occupation un-

known. The suicide pulled from the river the day before Sandovars death.

The source of the mystery.

Dr. Eric Marini, 52- year- old African American male; hospital director. Bent

on controlling the negative spin from a murder on the premises. To him

theres no such thing as the supernatural.
Deputy Sheriff Ken Deveraugh, 45- year- old white male; local police. The

officer in charge of the murder investigation. Hes surprisingly open-

minded and might make a good ally if something obviously supernatural
occurs. But for now hes operating under the theory that someone killed
the janitor and snatched the John Doe body to cover it up. He can call in a
lot of backup (potential victims, all) with only a few minutes notice.

Leads
Leads are chains of causality and action (usually enacted by NPCs or monsters) which
leave behind evidence. They emerge from the hook out into the world. Think of them
as strings that emit from the hook and which can be tracked back to the central mys-
tery.
To create leads, one must only imagine the hook and place the NPCs in it, and
work out from it. What did the hook leave behind? What did it cause the NPCs to do?
Our hook presents clear leads. Lets flesh some out, adding a creepy detail to
each:

8
 THE CRIME SCENE: The janitor is found in the hallway of the basement

near the morgue. Clever PCs can find the off-light sheen of nude foot-
prints leading from the morgue door, across the waxed floor the janitor
was cleaning (they roughly match the size of John Doe).
THE JANITORS BODY: The janitor, Hector Sandovar, was a 39-year-old

Haitian American male with no criminal record. He was working alone on

the two lower floors of the hospital, mopping and waxing the floors. He
was found at 6:35 a.m., face down, neck covered in ligature marks. His lips
are covered in saliva as if he had been kissed, deeply. Fingerprints lifted
from the neck match the John Doe suicide brought in the day before (now
missing).
THE SUICIDE VICTIM: The victim was found in a nearby river the day be-

fore the murder, and was determined to have been dead for several days.
The body was a John Doe, an unknown white male in his mid-30s. It had
been stored in a slide-rack freezerwhich has now been blown open from
the insideand is now missing.

Dead Ends
Its important that those leads are not the only leads possible. Otherwise it will be a
short mystery! Add one or two diversions. Here are some ideas; try to add your own:

THE MAN IN THE STAIRWELL: The nurse who discovered the janitors

body, Elizabeth Tun, reported hearing someone moving up the staircase

towards the roof when she entered it to move downstairs. The man in the
stairwell is not the murderer, it is another nurse, Abigail Vosch, going up

9
 to the roof to take elicit medicine she routinely steals from the hospital.
This is unconnected to the murder.
THE JANITORS RELIGION: Sandovar practiced Santeria, the way of the

saints, an Afro-Caribbean religion with African and Roman Catholic ele-

ments. Though this religion features animal sacrifice and other outr
things, it is not related to the mystery.

Moments!
Creepy moments are key in a horror scenario. What do you want the players to feel? I
do my best to embed two or three memorable moments in a scenario. Each should
be something creeptastic and cool which will stick with the players.

THE SECURITY VIDEO: PCs who check the security cameras find strange-

ness from the night of the murder. The hallway had two cameras, and both
begin to go crazy at 1:31 a.m. Careful examination of the static (frame by
frame) reveals three clear frames of video. One shows a shadow leaping on
the janitor. The second seems to show them caught in some sort of dance-
like embrace, locked in a kiss! The third shows the janitor on the ground,
dead, with no one else in the hallway.
THE DEAD VAGRANT: Another body turns up in a condition identical to

Sandovar. His lips are covered in unknown saliva. The fingerprints match.
The chain expands.
THE JANITOR COMES BACK: Exactly 24 hours later, Sandovar wakes. He

smashes his way free from the morgue in the same manner as the John
Doe and escapes.

10
Events
Not only the PCs are moving and acting in the world. What are the NPCs and threats
up to?

JOHN DOE MAKES AN APPEARANCE: John Does on the hunt for some-

thing. He turns up at several nearby places concerned with books, burials

or both. What is he doing?
SPREADING VECTOR: Two new bodies show up, strangled in a similar

manner.

Negative Outcomes and Interruptions

Throwing these in is easy. Look at the NPCs, imagine their motivations and the cir-
cumstances, and extrapolate. Here are some examples; try to make some more:

DR. MARINI STEPS IN: The hospital director is tired of the shenanigans; he

shuts down access to the hallway and shuts the Agents out of the hospital.
He may be forced to cooperate by a search warrant or a court order, but he
is very officious about it and requires paperwork for anything. Hes a giant
pain in the ass and brings the hospitals lawyers to the situation.
ANOTHER BODY IN A CHAIN: Yet another body turns up. Strangled in a

similar manner as the others, with the same John Doe fingerprints. This can
cause the Agents to split up as some rush out to investigate the new death.
DEPUTY DEVERAUGHS TOO SMART: Deveraugh waits in the morgue the

night after Sandovars death, just because he has a feeling. Will he become
the next victim and killer?

11
Solutions
What is the source of this infection? Well, what interests you? Here are some ideas,
but it literally could be anything. Vampires. Space virus. A complex hoax. Use your
imagination:

SOLUTION ONE: A DEEPER MYSTERY: The PCs track John Doe back to an

apartment (this can be provided by a witness identifying him, fingerprints

getting a hit at NIST, or someone coming forward). The apartment was
paid for with cash using a phony name and address. It is packed with doz-
ens of newspaper clippings and Internet printouts all dealing with missing
or stolen bodies, and a single, large, handwritten book entitled THE FINAL
DOOR. There is no author.
SOLUTION TWO A CLOSED LOOP: Find and kill the janitor and John

Doe and they collapse into gray dust, leaving behind a single, spiked-silver
cluster of some metallic substance. What this is is unclear, but John Does
mote is much larger and more complex than Sandovars.
SOLUTION THREE A GREATER THREAT: Even if the mystery is closed, it

begins to propagate. Is this the beginning of an epidemic? How long until

other forces in the campaign setting notice?

NEXT!
Is it really that simple? Yep. And from here, itd be easy to spin this up into a cam-
paign of scenarios, all linked, or to jump into another adventure.
Your turn. Find a hook and take it from there.

12