JieJie says "Hi!"

The snobbiest of snobs! Okay not quite. But when my favorite tea is a loose leaf oolong that's only grown on one mountain in the entire world, I think that counts a little bit. Right? XD

Spirit of the Century is a pulp action game set in the 1920s. It's colorful and silly and a hell of a lot of fun. It runs using the Fate rules system, which incorporates wagers with the GM to change game events in one's favor. It's great for casual play and really allows the players to shape the world. Little Fears, on the other hand, is a horror game where the players are children up against super dark antagonists, and it's not for the faint of heart. There are representations of any monstrous thing that can happen to a child. You don't "win" Little Fears. You survive and hope the scars fade. 

Well basically you have 10 points at the start of every game. So does the GM. You can use those points to activate certain powers, or you can give them to the GM and make declarations about the game itself. The GM can accept the point and your declaration, or they can give it back and say no. Alternatively, they can give you one of their points to alter the change you made, which then you can either accept or add yet another point to the pool to try and work things in your favor again. 

How did that WoD game turn out, if you don't mind me asking?

Love your Mass Effect avatar (if that's what that is!), welcome to Brew Master!

Hail and well met!

Little Fears is possibly the best written RPG I have ever perused.  I still think over the Kings, from time to time, and have occasionally used them as antagonists in other games, where people are always genuinely surprised to see something so irrepressibly dark and devastating.  Little Fears is a game that grabs at the guts of horror, and is a rare case where an RPG actually manages that slithering, sick feeling of disgust and terror combined.

I do not think I could play or DM Little Fears- it is so close to perfection in my mind, and so chilling, that I do not think I could actually go through it in any way, shape or form- but I admire the hell out of it.

I've used two.  

The first one I used was in a Pathfinder game, and it was the King that is actually the most ill-suited to additional work- Kabaelza, King of Sloth himself.  The players were horrified by his broken playmate pen, and- in a party mostly composed of people who like to talk it out and figure out third option "win-win" situations with others, even a band of orc raiders at one point!- simply focused on killing him and saving his victims.  A side-effect of killing a Demon Lord in that game was an undoing of their acts, so the kids were saved, but the players admitted to me that he felt more visceral than the usual demon lord- that he felt surprisingly dark and truly mature, in a game where most demons are ridiculous mantis monsters or other such silliness.  I explained where he was from, and the general feeling was "good idea but it's too far"; they were actually really bothered by him.  One said they'd check out Little Fears but I never heard back from them on that.

The second was Rael-Schol, in a different game: Changeling the Lost.  I used him as a member of the Gentry, obsessed with childhood, and used him to drop the bomb on my players that all the Gentry were, at one point, human- he was, in fact, a child who had been taken, turned Changeling, and quickly turned into Gentry.