So I’m several sessions into an ongoing Call of Cthulhu campaign. I’m aggravated because the last session it became clear that we effectively had no autonomy. I burned through all my luck points to do something awesome, but this isn’t a “go do awesome things” game. It’s more of a “pretend to investigate stuff while the Keeper steadily pushes the predetermined plot along” game.
Now… I must be weird or something because nobody else seems to care about this. My suspicion is that for most people most of the time, this is simply what role-playing games are. But to me, this is pretending to play an rpg. System doesn’t matter. Player choice doesn’t even matter. And as to how much of the rules we actually use… all this time we’ve been playing, we’ve been forgetting the rules for “pushing” failed skill rolls. This is the part of the game where the stakes go up, foreshadowing occurs, and everything gets more like a Lovecraft story. But no, in practice we treat the skill system as if it were GURPS or Palladium. Oops.
Now, at the end of the last session we recovered Luck points and the Keeper gave the other players a chance to pick up a new skill. I opted out and instead said I was focusing on my career as a bootlegger. This session I came in asking if we could revisit that. I explained that I wanted to go further North. My character’s from Alabama… but he keeps finding reasons to go North. My backstory is that I’m looking for this guy named Leroy Brown that had ripped me off. But I’m thinking… me up here in Vermont hanging with a bunch of Cthulhu investigators…? It doesn’t make sense, really.
No, there’s something else. I’ve got this vision in my head of my character trudging through the snow. And there’s this cave or something… and inside… I dunno…. There’s like this LOST CITY in there. I don’t know why I keep thinking about this. But this place…. It’s like I’m drawn to it somehow.
At this point I back off and say I’m not trying to tell him how to run his game, I’m just thinking out loud here. But the Keeper was like, “ah no… I can totally use this stuff.” We played out the business side of the game and I set up a bootlegging run between a hillbilly named Cleetus up in Canada and a crime boss named Nadine in Vermont. On the run while my headlights were out, I see on the road what looked like Leroy Brown. But I brush it off. The chance of him being here like that? It’s too much of a coincidence. Besides, I got business… I even have some goon riding shotgun to keep an eye on me. And a fight in the dark like this… it could easily go sideways.
Back in town I ask the professor type player what he thinks. Why is my character so obsessed with this cave that may or may not even be up in Canada? Well obviously it’s either a memory from a past life or else a vision of the future. The guy goes off on the history of the Vikings, these settlements that mysteriously disappeared, Harry Houdini’s interest in the occult. He finds some information on this in his library… but you know, there’s probably somebody at Miskatonic University that knows more about this.
We turn back to the Keeper and I ask if we could go there and find out more about this. He’s nodding his head. “Oh yeah, you can do that.” But then the other player is like, “hold on… can I go meta for a moment here?” And I’m thinking, man… this was just starting to get interesting, but I didn’t say anything.
The guy is suddenly real concerned that this is going to mess up what the Keeper had planned. Us putting stuff in the game…? It’s making him improvise too much maybe. Also, we have this other player coming back the next session. There’s a bunch of canned adventure modules set at Miskatonic University. Maybe we should plan to play one of those… and then the Keeper can hook back into whatever he actually had planned for the campaign.
Something like that.
Now there was more subtext and interplay here than I’ve described. And the Keeper did say that he liked this sort of collaborative storytelling– his words, there. But we have a player here that actively does not want the play to go off the rails. I didn’t really even know what to say.
Evidently… the scariest thing that can happen in a Call of Cthulhu game is that players might at some point make a meaningful choice that departs from the script!
A couple thoughts here. A lot of CoC is very much a railroad and providing the GM hooks to riff off of is fairly uncommmon. But, I think it great you are trying. It could lead to awesomeness.
On the failing to remember the push mechanics, are the other players more familiar with the earlier editions? Because they didn’t have the push mechanic.
So, if the players are old time CoC players they could well be set in their ways.
Well, if the GM doesn’t run with the lob you’ve pitched him, he’s a fool. Characters with inexplicable cthonic yearnings are a perfectly Lovecraftian trope.
Also, if he’s uncomfortable improvising. In the old scenario supplement The Asylum and Other Tales, there is a scenario called Black Devil Mountain that could be easily adapted to your suggestions. Not sure how you might work such a suggestion in.
No, there’s something else. I’ve got this vision in my head of my character trudging through the snow. And there’s this cave or something… and inside… I dunno…. There’s like this LOST CITY in there. I don’t know why I keep thinking about this. But this place…. It’s like I’m drawn to it somehow.
Are you sure it’s your character that’s headed for an encounter with the Old Ones?
I feel like I’ve heard the idea expressed that the “illusion of choice” systems of Videogame RPGs might be retroactively informing the type of experience that tabletop games are played for. Can’t remember where I hear this though.
Thoughts?
Call of Cthulhu, by its nature as a horror-story game, requires a certain amount of railroading: the investigators have to investigate, learn Shocking Truths, and ultimately discover the Big Horrifying Thing. That’s the experience the players have signed on for.
Now, there are ways to let the players drive the train: give them multiple paths to lead to the Big Horrifying Thing, and let the Shocking Truths give them a chance of stopping, or at least surviving, the ending.
But I think we need to start acknowledging that different games fit different game structures better. There is no One True Way.
So you have a player who wants CoC to play like a script being read?
I don’t know where to start.
Dice imply an element of chance?
Role playing?
Imagination?
Horror stories and railroading I get, but this player seems to want someone to read him a story.
Potential discomfort?
Makes me wonder if there isn’t some history between that player and the Keeper.
Or someone else in the game. I believe you did say that this was the GM’s first CoC campaign? Maybe this is some kind of fallout from a previous campaign in another system.
Just seems strange, in a way that has nothing to do with the game system.
I don’t get the idea that horror has to be a railroad. Sure, you can have your big bad but, the players don’t have to bite. They way to do it is to have enough going on that eventually they bite on something. Have several big bads. Offer several scenario hooks simultaneously. Let them choose what draws their attention the most. Or, do multiples threads at the same time. It’ll be sure to confuse them. But, when they realize there are multiple unrelated horrible things happening, it’s is even more of a real Lovecraftian revelation.
Agreed.
I prefer open-ended campaigns myself. Multiple Big Bads, multiple scenario pathways, competing spheres of influence for the enemies (with player attempts to set one against another).
One problem I’ve run into is that for a lot of people, horror is a violent mystery with one root cause or puzzle at the end, and there is only one way to get there, hence the railroad effect.
It doesn’t have to be that way, but that is how many see horror and Call of Cthulhu: living out a short story rather than living in a campaign world.
This is old school approach, though. The character quest. We used to have guys that wanted to found kingdoms, make an artifact, have the most glorious dwarven burial shrine, etc. Always made for a better campaign.
I guess the railroad thing has a little to do with the difficulty of designing a good horror session? A lot of WFRP sessions were like that. They also tended towards the Big Boss at the end trope, too, now that I think back.