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I’m not quite ready to release The Prosperitas Protocols Trilogy yet, and that’s on purpose.

On paper, it’s three modern‑day Pulp Cthulhu scenarios set in 2026: a Cold War bunker in the Mojave, a dead research yacht in the Keys, and a New Orleans auction that’s really a ritual. In practice, it’s a lot of moving parts that all have to feel clean and intuitive at the table. That part doesn’t happen in layout. It happens in play.

Right now I’m in the “deep end” of play testing:

• Watching how long each act actually takes when real people poke at every clue.
• Seeing which NPCs land the way I intended and which ones need sharper edges or softer ones.
• Paying attention to where players stall, where they sprint, and where they surprise me completely.

The Mojave bunker has already taught me that players love getting weird with the geometry, so some of the Keeper guidance there has shifted toward “say yes to bold, reality‑bending stunts.” The Keys scenario has made it clear that the dead crew are creepier when they’re almost helpful. New Orleans is doing what I hoped: it’s turning into an argument with Edmund Voss about what “saving the world” actually means.

I could rush this out the door now. I’d rather give it a few more sessions, tweak what needs tweaking, and make sure that when you sit down to run it, it feels like something that was tested against real tables, not just written in my head.

When it’s ready, you’ll know. I’ll shout about it here first.

TTFN,

Keith

Most Cthulhu scenarios have a cult. A group of true believers who've looked into the dark and decided to serve it. They're dangerous because they're fanatical — because they've crossed a line that rational people don't cross.

The antagonists in The Prosperitas Protocols Trilogy are not that.

The Prosperitas Group is a private consortium. Ultra-high-net-worth individuals, institutional investors, research organizations. They share access to information about anomalous phenomena and coordinate quiet operations around Mythos-adjacent events. They have front companies, embedded operatives, and field leaders who use language like "anomalous asset" and "uncontrolled event" and "collateral."

They don't worship anything. They're not true believers. They genuinely think they're the responsible adults in the room — the people with the resources and the discipline to do what frightened, underfunded governments and reckless cults couldn't.

They are, in many ways, more dangerous than any cult I've written.

Their agenda runs through all three scenarios in the trilogy. In the first scenario they're a name on a piece of paper. In the second they're a presence on the periphery. In the third they're standing across a ritual space with a containment device and a team, and they're offering the investigators a choice.

What makes them compelling to write — and I hope to play against — is that their reasoning is defensible. They've looked at the same evidence the investigators have. They've drawn intelligent conclusions. They've just arrived somewhere genuinely terrible through entirely rational steps.

The trilogy is releasing soon. I'll have more details and a link next week.

ttfn,

Keith

I've been quiet about this one for a while, and I think it's time to start talking.

I have a new release coming — a trilogy of modern-day Pulp Cthulhu scenarios set in 2026. Three one-shots, each complete in a single session, all linked into a mini-campaign if you want to run them that way.

Here's where it starts.

A young woman — urban explorer, influencer, twenty-two years old — sneaks into an abandoned government bunker in the Mojave Desert and posts a short video. Under two minutes. Flickering emergency lights, concrete corridors, U.S. government stencils from the 1950s. At one point the corridor appears to bend at an impossible angle, then snaps back, as if the image corrected itself.

The clip goes viral. A subset of viewers start experiencing anxiety, insomnia, geometric hallucinations. Not everyone — just some people. The kind of people who maybe looked a little too long.

Then she goes back to film a full episode. And doesn't come back.

That's the opening. That's where the investigators come in.

I'll be sharing more over the next few weeks — the other two scenarios, the antagonists, what it took to write this thing. But I wanted to put this out there first, because that video is where everything started for me, and I think it's where it should start for you too.

More soon.

ttfn,

Keith