I say all of this only because it leads to the next point. If these are the good guys, and represent ordinary society (which at the time, at least on the surface was the dominant force in government)...that means that the "Bad Guys" (tm) are the outsiders. I believe that if HPL were to set a novel today, the bad guys would be drug dealers, goth kids, or something similar. So, taking that kind of assumption, where does that leave the Cthulhu Cult?

Personnel
The makeup of a group of Cthulhu coven in the modern day would be outsiders, perhaps those who have nothing but time and a dislike of modern standards. Take any mundane report from any given local newspaper about a bunch of crazy emo kids who hang out only with each other and listen to Marylin Manson and pretend to worship Satan. Now introduce a "Hekuba" type character into the group, whose parents were from Inssmouth or the Bayou, or worse: Tonga. This kid takes the others down to the beach and teaches them to reach out to the real powers in the water....

It's probably just me, but I tend to agree with Russell about the corporate angle. Someone who spends their time dreaming of the time of the Rising doesn't strike me as a materialist or a "Mover/Shaker". Yuppies for Cthulhu? From the characters int he HPL/etc. stories, I just can't get my head around it. I think it's because I see the corporate powermongering as more the portfolio of Nyarly (especially according to DG canon!).

Drugs
The thread about the New Threat:Ubbo Sathla got me thinking about how Shub Niggurath fits in. In the stories, with one notable exception, SN seems to be just something used by "name dropping" cultists. I see her(it?) as a facilitator like Nyarly, whose evil (earth mother) portfolio seems to be "just because it's all natural, doesn't mean it's all good". This, in my mind, makes her the "pusher" of the pantheon. Drugs alter consciousness and lower inhibition. The altered consciousness makes one easier to contact by the GOO; and the lower the inhibitions, the closer to "wild and free and beyond good and evil" you get.

Delta Green Themes
Because, like their earlier counterparts, DG represents the secular authorities (at least vis a vis an outsider cultist), the game parallels the early works. Someone comes in with preconceived notions about the order of things and the way the world works, and then a bunch of homeless/poor/teenaged/emo/goth types turn that upside down. To paraphrase an earlier email, what is the power to arrest, question and/or investigate compared to making your agent's eyes burst or cursing the town with a plague of frogs. According to everything I got out of the orginal works, the reason the grubby little feral cultists were grubby and feral, was that they didn't care anymore. Flesh is a prison, heaven and hell are lies, and the knowledge they know makes cleanliness, money and decency irrelevant.

Some of the most intense scenes with characters is when the greasy-haired teenager sneers across the interrogation room at them and says, after the 'Castro Session' "So, when you leave here, what are you gonna tell them?"

Art and the Hastur Connection
This one seems easy. Reading the original Call story, the artist victim was a dreamy, sensitive type. Hastur themes link art, the disintegration of style and genres and dreams as a gateway to the "other side". Inspired artists make convenient doorways for either or both.

Like I said earlier, I'm not big into mixing deities (at least into the same scenario). But, if you wanted to make the link the dreams of Carcosa and Ryleh, it seems easy to me to make some equivocations.

But enough comma splices.

If you wanted to flip the idea of the Cthulhu cultist around, feel free. Actually "Horror at Red Hook" gives a good template for it. The author begins by basically saying 'Yeah, the dirty little cultists are bad...but just imagine what would happen if someone educated and worldly put his mind to this crap.' The sorcerer/coven leader in the story is a good example of how I could be wrong about the Cthulhu. But just ONE example....