Split the Party

“Don’t split the party!” is a classic refrain from the early days of D&D that still holds a surprising amount of traction. It’s also absolute rubbish; your games will be much more fun if the group separates and gets back together during the course of an adventure. This is especially true in investigative games like Vaesen or Call of Cthulhu – but even in your classic F20 game it can lead to much richer play. Here’s why.

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If you’ve got two potential leads out from a scene, why go to each in turn? Send a couple of PCs to talk to the old woman, while the others poke around in the merchants’ quarter. By cutting between them, you get a nice contrast, and it’s easier to be an audience for the other pair when things are being resolved by the others. Things move quicker with fewer PCs on the scene, too.

In-party roleplaying in action

More (In-Party) Roleplaying!

Four PCs in the same place, talking to someone – they might talk to each other, but the focus of their investigation is going to get more of their time. Two PCs in the same place, it’s much more natural for them to talk to one another – and it will happen more. This is especially true online, where a conversation between more than two people needs structural help to avoid talking over each other. 

Mix up the pairings a few times, and you’ll soon get some neat character interactions going. If you’re doing this in a very trad game, or as a one-shot, you might want to lay the groundwork for this with some in-party setup questions.

More Verisimilitude!

Another cliche from the early days of roleplaying is the Cthulhu investigator team – six men with shotguns showing up in the suburban street to talk to the little old lady about her neighbours. In genre fiction, it’s very rare that the whole ensemble cast go together to resolve a problem – this is reserved for the finale (and maybe the start of the episode). 

If you’re looking at a one-shot structure like the Ur-Plot, it could be as simple as the middle bits are with the party separate – you’ll end up with a grabbier plot, that’ll move faster and cover more in-party chat – all for the good!

How To Make It Happen

First, let’s make sure we’ve got the conditions for this to happen. You need to banish any sort of adversarial “the-GM-is-out-to-get-us” mentality from your players – which means, try and not give them the obvious potential risks from splitting up. Eventually, you probably want to throw that ambush – and the subsequent rescue – but to start with you probably just want peril to be the consequences, not actual character death.

Keeping the PCs in contact – with cell phones or the fantasy equivalent – should also make them more comfortable splitting up. Eventually, you want to remove these and cut them off, but that will only be effective as a change from the norm, so keep that in reserve for the first couple of times.

You can also put a timer on it – if there’s only 3 hours until the next killing has been foretold, and there’s two temples to search for the anti-ritual, there’s a big incentive to split up and cover both places. 

Getting Into Trouble

I’m certainly not advocating that when the party is split up it should be peril-free; the scenes should be exciting and dangerous, or what’s the point of them. But the peril doesn’t have to be combat. Skill checks or challenges (even longer-term ones) work just as well with 2 players as with 5, so plan some of these for big payoffs. 

There’s a knack to getting spotlight right with this – you don’t want one group making a single Persuade check while the other has some multi-layered challenge to resolve their scene – but you can always give the successful Persuaders something else to do.

And, combat doesn’t have to be off the table. Balance it carefully, and make sure there’s an objective behind it – one group getting ambushed or captured and having to be rescued makes for great drama. In games with tight combat design (like D&D), 2-PC combat does some really interesting/weird things sometimes, which can make it exciting and dangerous even if you adjust the opposition’s level challenge.

For any action-based challenges while the PCs are split up, and even for investigative scenes, smash cut between the two groups frequently – try to aim for cliffhangers, even if minor ones. Techniques like this keep the momentum going, and help players be good audiences for their other group – which spares you having to do an awkward roleplaying scene later where they tell each other what they’ve just found out. It’s unnecessary – they already know – so encourage them to cut to the analysis of their discoveries, not the reporting.

Even in the Dungeon…

A lot of this advice has been focussed on investigative games, but I should say it all applies just as much to more traditional fantasy games. How often do parties in F20 games send the rogue first to scout out the next room, and how often do they actually get separated? Take that as the consequence of a failed perception or find traps roll, and you’ve got an extra layer to your dungeoneering.

Have you ever split the party? Are your players reluctant to do so, or do they just need a bit of a push? Let me know in the comments.

Call of Cthulhu One-Shots

Call of Cthulhu coverAs befits a game with such a strong following, there’s no shortage of game advice for Call of Cthulhu. There’s a wealth of stuff in the Keeper’s Guide, and there’s some excellent advice in The Haunter of the Dark, a story-to-adventure how-to from Paul Baldowski for his own Cthulhu Hack system. Vaesen also has some excellent plot structure tips in its GM advice.

While you’re reading this, I should tell you about my Patreon. Patrons get access to content 7 days before they hit this site, the chance to request articles or content, and the chance to play in one-shot games, for a very reasonable backer level. If you like what you read, want to support the blog, and have the funds for it, please consider supporting here.

All of these are relevant to the plethora of Call of Cthulhu-style games (Cthulhu Hack, Trail of Cthulhu, Cthulhu Dark, Delta Green, etc, etc), and more generally supernatural horror investigation games (Vaesen, Fear Itself, etc, etc). As always these may not be to your taste – let’s have some agreeable banter in the comments if that’s the case.

Use Safety Tools

As a minimum, stick an X card in it. Explain what it is, and what it does, and be prepared to act on it. More nuanced (and more complex) tools are available – use those if you’d rather. You have no idea what the triggers are for your players, especially at a convention, and even if you think you do, having one in place will reassure you and your players that you take their concerns seriously.

If you’ve tried it and not used it, that’s great – having it there means you have some confidence that your players were comfortable in the game. If you don’t care for comfort, and your plan is to shock your players for real, to get a reaction – well then you shouldn’t be running games at all, and certainly not at a convention. Get a grip.

Signpost Clues. Un-Signpost Un-Clues

Haunter in the DarkIf the NPC they meet in the coffee shop is important, make her sound and look important; give her quirks and mannerisms, and have her drop clues pointing to sources of information. Offer skill checks and even more clear signs: she nervously grasps her handbag, glancing down to the corner of a book kept within. Justin Alexander explains it better than me when he talks about the Three Clue Rule – have multiple ways to move the investigation forward, and be prepared to have some of them come to the players as well if they don’t get them. Keep the pace.

As important as this, if an aspect of the scene isn’t important, don’t describe in it exacting detail so that the players think it is. Don’t plan any red herrings. The players will come up with these anyway – let them theorize, and gently head them off and back to the core. If they ignore the NPC above and begin looking into the rare coffee beans they serve, just circle them back round to the plot as soon as you can. Having antagonists that are active can help with this – if an investigation is stymied, have the clues come to them – maybe carried by men with guns.

Start with an Actual Scene

By an “actual scene,” I mean an in-game event with an element of risk and/or choice. Not a mission briefing, not a mysterious party invite, not waking up in the morning. Start at the party, at the scene of the crime, at the location of the Shoggoth attack, looking at the smear of blood that was once the victim.

Trail of CthulhuThere are variations, of course – in Delta Green, you’re likely to want a mission briefing at the start – but try starting with their first encounter of the mission and covering the briefing in flashback – it’s not as if they have an option to take it or not (especially in a one-shot). In Vaesen, often you’ll begin with a letter inviting you to investigate – but you get to pick your Advantages for that adventure – start in the carriage or on the train to the site of the investigation, and do this in flashback.

In any case you want your first scene to telegraph the PCs in the direction of your plot, making it impossible to ignore – and hopefully give them enough to do that they don’t start too much theorizing until they’ve found out more.

Make Investigation Scenes Worthwhile

Delta GreenInvestigation scenes should do one or two things – they should advance the plot, bringing the PCs closer to their ultimate adversary, or they should grant some advantage in that confrontation. “Advantage” is relative, of course – in Purist Cthulhu it might just be a good escape route.

By making investigation scenes reveal a weakness of the antagonist, a way in or out, or a key part of their backstory, you make these scenes valuable and keep the plot ticking along at pace. Scenes that look like investigation scenes, but reveal nothing and don’t move the plot forward, are just wasting everyone’s time. Flavour and atmosphere can be delivered during a useful scene, rather than being the focus of an entire scene.

Don’t Explain it Afterwards

Or rather, put it in the actual game. “What you didn’t find out was that…” is rubbish. Throw that information in, and resist the urge to gloat if the players haven’t solved your problems. Any reveal should take place in-game; not after it as a sort of “if you’d done better this would have happened.” Clever plots, NPCs and monsters are only clever if the players meet them.

So there you are – I’m indeed no expert on investigative or horror gaming, although I do know a thing or two about one-shots. You can also hear me and the Smart Party picking apart investigative games (specifically, the Vaesen introductory scenario) on their Youtube channel. What are your top tips for investigative gaming? Put them in the comments – or on twitter – and I’ll agree and/or argue with you about them!