Spontaneous Joint Gamemastering
It happens to most groups - after a time, the gamemaster wants to play the game too, or perhaps some of the players want to GM. Normally this would cause the creation of multiple games, one for each GM, perhaps alternating games each session. Unfortunately, that standard solution slows down both games and can cause a myriad of other issues. But what if these could be merged together -- so that everyone is GMing and playing at the same time? Yes, it can be done.
Spontaneous Joint Gamemastering (SJ GMing) is a different way of running a roleplaying game. It is an incredibly dynamic form of roleplaying which involves a lot of spontaneous (by the seat of one's pants) play. It is not recommended for groups of very passive players, as each individual becomes involved in running the game. That being said, games tend to be more flexible, freeform and unpredictable. As such, it does lend itself to games with lightweight rule systems, such as Fudge.
In the standard format of roleplaying, there are two groups: the players, who have near-exclusive control of a single character (within system rules), and the GM, who controls the setting, NPCs, plot, rewards, and can even supersede the actions of the players (with discretion). In SJ GMing, that distinction is blurred because each player is also a gamemaster. Since each player has a GM's power, each person is responsible for more than just their single character. The tasks of plot and setting, NPCs and outcomes, fall upon the shoulders of every player. There are rules to handle this, and it is not as complex as it may seem. One result of this is that the style of play is not predictable. Since no one person is in total control, anything can happen - just like real life. To paraphrase Mark Twain, "Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities. Truth isn't." All the players create their own plot hooks for the group, creating entire storylines on the fly which interleave with the ongoing stories of others.
Setting
Because all games, regardless of style, must take place somewhere, it is important to recognize how that "somewhere" is chosen. At the beginning of the game or campaign, around the time of character creation, the setting of the game must be created. Normally, all aspects of setting would be chosen solely by the GM, with considered input from the players. In SJ GMing, all the players should be involved in the creation of the setting to ensure equal knowledge of the game world. However, this is not a disclosure of all the world's secrets, making so that there will be no secrets for the players to discover. It is solely to ensure that each player has adequate knowledge to play. The level of setting detail and potential plot secrets disclosed will vary by group. The world may be created in a brainstorming style session or any other method desired by the players. Each player may add any information to the setting so long as the addition does not contradict elements already added to the setting. Incredibly significant additions, such as adding blunderbusses or flying machines to a fantasy setting, may be subject to group approval. And like most roleplaying styles, elements which involve the back-story of PCs are encouraged. Players may add as much detail to the world as desired, from the addition of standard or monstrous races, to plotting the layout of the city. Each detail must be written down for later reference. Remember, since there is no single GM to say what the world is or is not, the group as a whole chooses and enforces the integrity of the setting. When more elements are later added to the world, they should be added to the list, hereafter known simply as the Setting.
Example:
Joan, Heather, Gary, and Colin are deciding the setting in which they want to play. Before creating their characters, they decide what type of game they want to play. Joan is interested in a fantasy based game -- somewhere where she can have her character learn necromancy. Gary wants more of a small, simple feeling for the start of the game, and so adds that the characters could start in a small town. Colin wants the opportunity for adventure on the high seas, and decides that the small town could be a small farming and fishing town on the shore of a large ocean -- a place that would be easy to leave (or to invade). Meanwhile, Heather still wants to encounter villains close at home and says that there are monster nests in the forests near the small town. They will determine the type of monsters later. Now Joan says that she wants all the characters to be from a race of sentient ducks, but the other three veto it, saying that it would be just too hard to play. Instead, they decide that their characters will start as farmers in this small community. So, after a short discussion, they have jointly created is a small, medieval town on the ocean, surrounded by lush, monster-filled forests.
With a general idea of the setting, the world can now expand as adventures progress. Players will add to their setting as they play, simply describing elements they wish to incorporate, thus dynamically creating their world.
There are two ways of adding to the setting: GM narration or character dialog.
GM Narration
When a player describes a scene or event as the GM - a 3rd person narrative.
Example:
Heather: (in her GM voice) As you walk into the pub, you get glared at by the one-armed man behind the counter and the cold fireplace offers no comfort due to the current wood shortage.
Here, Heather has declared the facts that the bartender appears to have only one arm, and that there is a current wood shortage in the area. They should be accepted verbatim by the other players and characters - they were told so by the GM. These facts should be noted down.
Character Dialogue
When a character says something, it may be true - but not everything that a character says is truth. A character could be lying or simply ignorant of the reality of the world. Just because Johan the Brave remarks that he's killed a hundred men single-handedly or that a specific plant is edible does not mean that it is true. However, when a character states a fact of major significance to the setting, like that there is another city within a week's travel to the south, the player of that character may attempt to add that fact to the setting. There are two ways in which this may be done.
Dialog Method 1
The first method is by making a die roll - normally a knowledge roll. The difficulty of the roll is determined by how rational the fact is - how much evidence there is to support it. This is determined by how much the fact contradicts current setting information. This rule is based solely on the facts listed in the setting, regardless of character knowledge. The greater the success of the role yields a greater strength to the fact.
| Evidence | Difficulty |
|---|---|
| None | Fair |
| Related supporting facts | Mediocre |
| Related counter facts | Good |
| Direct supporting facts | Poor |
| Direct counter facts | Superb |
The above table can be used to determine the difficulty of additions according to the facts that already exist about the setting.
Example:
Gary: (in his PC's voice) See that bartender over there? His name's Ol' Markov. He used to be a pirate from some foreign country across the sea [rolls a die against the difficulty according to the setting table and succeeds, but barely], but settled down here after losing his arm. Don't mention it to him though, or he won't serve us!
Here, Gary's character mentions many facts: facts about the bartender, as well as that there is another country across the sea. Since Gary didn't roll on any of the facts regarding the bartender, they could all be wrong - but the other characters will most likely believe them, just like real life. He DID roll against the fact regarding the foreign county, a potentially significant addition, and the role succeeded. This means that there is some country across the sea, but no other details are known about it.
Dialog Method 2
Players may wish to simply call out the estimated likelihood of a fact before the die is rolled. This is simply a more freeform approach to using the setting table above. Players are essentially guessing what type of result the above table would give should they put in the time to check it. Depending on the size of the list, the list may take too long to check anyway. This method is recommended for any group that has played together for a few games and whose players are starting to get an intuitive feeling for the world. Should others disagree with the level of difficulty set, the other players should give a quick thumbs up or thumbs down to show that the difficulty should be higher or lower, respectively.
Example:
Gary: (in his PC's voice) See that bartender over there? His name's Ol' Markov. He used to be a pirate from some foreign country across the sea. [He picks up his die and looks to the other players.]
Colin: (in his own voice) I don't see why not. Roll standard difficulty.
Gary: [Rolls the die and succeeds, but barely]. (in his PC's voice) He settled down here after losing his arm. But if you mention that to him he won't serve us!
Characters
Because this style is a different allocation of responsibilities than most players are used to, a few new terms must be created for this section.
In the standard format of roleplaying, there are two types of characters - player characters (PCs) and non-player characters (NPCs). Players need only be cognizant of their own characters and their surroundings while the GM handles the NPCs. For our purposes, the NPC category can be broken into four distinct types of characters. Listed in order of individual control, they are: Story Characters (SCs), Expendable Characters (ECs), and Autonomous Characters (ACs). In SJ GMing, since everyone plays a part as GM, these distinctions are important to the group as a whole. There is also the standard Player Character (PC), which is much the same as would be expected in other roleplaying games. Characters can change from one class of character to another under the right circumstances.
- Personal Characters (PCs): Each player creates her own personal character, which is completely under her control. No other player may dictate the actions of that character, just like in a standard RPG. These characters are considered the protagonists of the game. There is generally only one PC per player.
The NPC types
- Expendable Characters (ECs): All non-PC characters in the game are controlled by the group as a whole. Any player may dictate the actions of any EC in a scene, so long as the EC's actions are reasonable for that character. It is expected that each character is played "in character." Trusting the other players is crucial with this mechanic, as a character may do something that seems totally irrational because the cause of his/her action is not yet known to the other players - just the one who dictated that character's action. This yields a certain amount of control to the current player of that character, as no one else could reasonably roleplay that character without having a valid explanation for the characters actions as well. However, this means that if another player has a different explanation for the seemingly irrational action, that player may try to implement their own idea by modifying the situation.
At any point during a scene, a player may begin controlling any currently autonomous character (see below for definition and example). Until the end of that scene (unless the player becomes indisposed for some reason), that player is in charge of that character. Should a character leave the scene, upon entering, they will be again considered autonomous. Any player not actively involved in roleplaying their main character is encouraged to control ECs.
- Autonomous Characters (ACs): In most stories there are multiple people around at any given time. In a bazaar there is any number of shoppers and merchants present who could actually be anyone and know anything. In a store or a mercenary group, there will be people who are just going about their business, and without disruption from the story, would continue on that way. These are autonomous characters. They are not being controlled by any player, and are just there as background. Essentially, ACs are simply ECs which are not being controlled.
- Story Characters (SCs): Story characters are expendable characters with a perk - potential immunity to death. What sets them above the standard EC is that a player has gone though the effort of writing down that characters statistics on a character sheet. This sheet is usable by all the players of that character to aid in roleplaying them appropriately. Essentially, any non-PC that is detailed on a character sheet is an SC, and a player may choose to create the sheet for any non-PC character of their creation at any time. The reason for this perk is to grant players a certain amount of story control. Game Masters often have the opportunity to flub rolls regarding characters crucial to a story. As each player is a GM, SCs grant them a certain amount of power to do this. Any outcome regarding an SC's death belongs solely to the SC's creator - though appropriate restraint must be applied to keep the outcome believable.
Example: Heather had a great idea for a recurring villain named Molvin. She wrote the character down and detailed him with statistics, background, and a personality. Molvin was added to the story and was controlled by various players throughout the game. Then, during a fight with the protagonists, Molvin received a blow powerful enough to kill him. At this point, Heather could let the dice decide, and roleplay out his death, or fudge the result. She chooses to veto that outcome and "fudge the result" - the blow was vicious but glanced off his rib, severely wounding, but not killing him. He collapses to the ground, painfully pulling something from his pocket. Then, with a wave of his magic wand, a puff of smoke explodes around him. By the time it clears, he is gone.
Playing
At the beginning of each session, players should voice their most desired plot lines involving the PCs. The most distant and general plotlines should be mentioned first, to allow for easier integration of mini-plots and specific scenes. It is likely that some of the ideas will be incompatible with each other - this is normal. The purpose of this pre-game exercise is not to plot out the story, but merely to provide direction ideas to the spontaneous play that will follow.
Play starts in the same fashion as a standard roleplaying game, with a chosen player starting as GM. As play progresses, other players fill in information for the current GM and/or replace her as the scenes progress. It may be found that some players prefer to occupy themselves with specific tasks - roleplaying non-PC dialog, or describing locations or action outcomes.
Example:
Colin: I'd like to eventually bring the characters on a quest into another plane of existence. So, they must get strong enough to do big tasks, like retrieve a portion of a dead God from the astral plane.
Joan: Ooh, that sounds good. So, we'd need some sort of priests scouting prospects then.
Heather: And probably something nasty going on to tip people off that there is something wrong with the Gods.
Colin: Well, maybe the Gods were warring, and one of them, the protector of the town or forest, was killed. And that's why the priests want a piece of the God - to bring her back to life!
Gary: That's cool. What about an invasion from another country. If the come by sea, this little fishing town would make a good landing spot to stage an attack!
Joan: Maybe they're related! The country invading worships one of the gods that won the battle in heaven. Maybe they attack with skeletons and necromancy! They're not evil, just misguided. [Joan grins]
Heather: Or, there's a plague that's sweeping the country side of this quite town. Its origins are unknown, but everyone infected changes into horrible monsters!...
Each Idea is noted down as potential plot devices, and once everyone is satisfied, the game begins.
Story
The best part about this style of roleplaying is that it is guaranteed to provide freedom of action. Railroading a story becomes less important and much more difficult. Fewer events in the game are certain, since any piece of knowledge that is not written down is uncertain and open to change. Any un-established fact could be false if there are reasons for it, while anything unspoken could very well be true.
Example: One player may start off a story by hiring the players to retrieve some item with the overtones that the employer will use it for foul means, but until this is disclosed in game, another player could let it drop that the item is really a cure the patron intends to use to heal a sick child.
Some players may find it awkward to think of plot devices or story lines on the fly. In these cases, especially for starting players, it is recommended to provide a list of potential hooks, scenarios or devices. These resources can be found online at various gaming sites. One fantastic resource is the storytelling card game, Once Upon A Time, which is made up of cards containing characters, places, items, and events. These can be used to stimulate ideas when players are trying to create a story on the fly.
Example of Play
Joan: Okay, so the day starts off much like any other day in your boring farmer's life. You are plowing fields and sowing grains when a young boy runs up to you [points to Heather]. You don't recognize him, but face is bruised and blood is streaming from a gash on his head. He seems in severe pain.
Heather: (in her PC's voice) Boy! Are you okay?
Dave: (in a young boy's voice) No, it hurts! It really hurts! (switching to normal voice) And the boy collapses.
Gary: (in his PC's voice) Quick, we must take him to a healer.
Joan: (in her PC's voice) I'll wrap his shirt around his head to stem the bleeding! [makes a roll, looks at the Dave, who is playing the boy.] I did a Good job.
Dave: (in his GM voice) And it was enough. You wrap it tight enough to slow the bleeding but not stop it.
Gary: (in his PC's voice) It's not working! The bleeding stopped but he is getting cold! We must take him to the healer!
[The players all look at each other and voice their approval.]
Dave: You get to the healer's hut, carrying the now unconscious boy, and smoke is streaming from the chimney, showing that she is inside.
Heather: (in her GM voice) Everyone make a spot roll. [players do so, including her. Joan is the only one who succeeds.] Joan, as we approach the hut, you notice that some odd hoof prints near it, they don't look like human or domestic.
Gary: (in an old woman's screaming voice) How many times do I have to tell you? I won't buy your stupid monster repel...(in his GM voice) The old healer steps out of the hut to the sight of the heroes and stops when she sees the boy...(quiet old woman voice) Oh dear! What has happened?
In the above example, Joan started off with the story hook of the hurt boy. She may or may not have thought about what caused the injury - either way, it is open for another player to choose. If the boy wakes up, whomever playing him could have him tell the group anything... Of course, whether it would be true or not depends on how the story runs out. Was he hurt by wild animals, mercenaries, monsters, or a simple accident? And what about the marks on the ground that Joan found?
Continuing the example...
Gary: (in his PC's voice) We're not sure, but he seems to have lost a lot of blood. (in his GM voice) Someone take the Healer - I don't want to talk to myself.
Heather: (in healer's voice) Oh my, we'll have to take a look at that. Bring him in. (in her GM voice) She looks at the kid, licks her lips, and wanders back into her home, motioning the farmers forward.
Joan: (in her own voice) I wait back as the others enter so that I can take a closer look at the tracks.
[Colin, Gary and Heather all agree to have their characters enter the house with the healer]
Colin: (in his GM voice) Joan, as you're walking over to the spot on the road where you saw the tracks, you hear the telltale sounds of fast moving coaches coming from within a town block of you. You find the tracks but before you get a chance to inspect them, the coach comes bowling around a corner from behind the building next to you. Make a dodge roll to leap out of the way.
Joan: (in her own voice) Okay. [rolls dice, succeeds] I do so.
Colin: (in his GM voice) You easily avoid the coach as it flies down the road. But you quickly see that it's followed by another one, and another one, and another one - a caravan of some sort... By now the tracks are completely destroyed. [Colin stops talking, looking waiting for a response from Joan.]
Joan: (in her PC's voice) Son of a...!
Gary: (in his GM's voice) The coaches start slowing, with the one of them stopping in front of you. The door swings open and from the depths of the darkness you faintly see a fat, blue skinned man wearing the adornments of a Priest of G'lothanra, smiling at the destroyed remains of the odd tracks...
The above is an example of the meta-game that is played between the players. Since Gary's character was talking to the Healer, he gave up his control of her to avoid acting out multiple personalities at the same time. So, Heather took control of the healer and gave her own twist to the character. Was she licking her lips out of anticipation, or are they simply dry? Then Colin destroyed the tracks that Heather made, keeping their nature and origin a mystery. Then, seeing an opportunity, Gary started a confrontation with what may have been the coach owner. He has also created a new religion, that of G'lothanra, as well as the possible existence of a blue skinned people. Now, it is unlikely that Heather had intended this type of confrontation when she putting those tracks in the road. She may have intended them to herald the arrival of a performing group from another town. And until it is said otherwise, she still can.
And so it goes, with players freely alternating gamemastering duties, creating new people, places and events as the game progresses. It may be awkward at first, but if you keep at it, you'll find that it flows smoothly. If more than one player wants to narrate at the same time, simply agree on a way to decide who gets to go first: pick the least-talkative player, let the other players vote, roll some dice to randomly decide, or whatever works for your group. Cooperation is lubricant that makes this machine run smoothly. But don't be afraid to "stick it" to the PCs once in awhile. Conflict is what turns a Mediocre story into a Great one. If you "play nice" all the time, your game will get boring fast. So have fun, but don't play too nice.
