MUSHy Musings

Scenes are the cornerstone of MUSHing, but scenes all by themselves can rapidly turn into a boring grind of “threat of the day” scenarios which have no life of their own. In the absence of a continuing narrative, scenes, which, in their absence, practically define a dead MUSH, can turn into a rut. A boring sequence of disconnected events that don't leave anything in the way of a satisfying experience in their wake in the long haul.

What's needed is something that gives players a feeling of movement. Of accomplishment (or failure). A sense that they have, through some means or another, managed to change the world (for better or worse).

What's needed, in short, is a story, and what's at the heart of every story is a plot.

Some Definitions

There are many definitions for “plot” and related words so it's not productive to talk about them without defining our terms. Here is a short glossary of terms used in this essay. (Words in italic in definitions will be entries themselves. Words in bold are Spark Method terminology defined in this or other essays about the Spark Method.)

conflict – A disagreement among two or more Factions over one or more Agendas.

narrative – A sequence of connected scenes that relate in some logical sequential fashion.

plot – A narrative that resolves one or more conflicts.

resolution – In the Spark method for MUSHing, a plot resolution is the clear success or failure of a Faction to further its Agenda in the plot.

scene – In the Spark Method for MUSHing, a scene is a play element that begins with a Stage that is Tilted during which actions are taken by players until the scene's Question is answered.

The Spark Method

The plot runner(s) need to perform the following steps to run a plot:

1. Select from the setting and/or create two or more Factions whose Goals overlap in ways that could lead to conflicting Agendas.
2. Select an Agenda for each Faction related to the plot. These selected Agenda are the source of conflict.
3. (Optional.) Present a cut scene or some other equivalent form (I.C. news story, etc.) to present the first conflict.
4. Run a scene for the first conflict presented.
5. Run a sequence of scenes whose Stage is formed by the answer to the previous scene's Question, mixing in further conflicts, if any, at need.
6. End the plot when all participating Factions have their Agendas confirmed or denied.
7. Look over involved Factions to see what impact the plot may have on their Goals (or even existence!).

Factions

Every plot requires participants in conflict. In a small-scale plot the unit of conflict may be individuals. In a large-scale plot the unit of conflict may be entire nations or planetary systems. The generic term for such participants, at any scale, is Faction. When designing a plot thought must be given to which Factions are involved. For a feeling of grounding in the game world at least one Faction should be drawn from the game's setting where possible, even if indirectly. Other factions can be plot-specific (and may grow into world-rooted ones). Some examples of Factions at varying scales of plot could be:

• The Soprano Slayer (individual)
• The U.S. State Department (national government)
• The Bonneville P.T.A. (local government)
• The Iron Claw Guild (crime league)

A Faction must have three things: a name, a Goal, and an Agenda. It is also strongly advised that each Faction participating in the plot have a Face. Factions will also have Ties among each other.

Factions should be selected in such a way as to justify a conflict between their Agendas. Note that the factions involved do not have to be enemies necessarily. They could even be allies! All that needs to be present is a conflict between Agendas. Two allies could, for example, disagree on the timing of an action: one wanting to press now while the other wanting to consolidate before pushing forward.

Goals

Each faction has a Goal, which is to say a common purpose that defines the reason for a Faction to exist and what it is the Faction hopes to accomplish. Faction Goals are what helps determine its Agenda in a plot. Faction Goals are generally long-term. Examples of Faction Goals could be:

• Perform the Ritual of Consummation with the Cosmic Bride
• Destabilize oil-producing nations to keep the economic engine running
• Keep the Bonneville school system running smoothly
• Control the demimonde through terror and deceit

Faces

A Faction can be an individual or it can be a group. Its Face is the individual that represents that Faction in the plot. When Factions are individuals, they are their own Face, but when they are a group, it is best to have an NPC representing that Faction in the story. (Note: there may be multiple NPCs from each Faction in the plot, but the Face is the most important and/or representative of these.) Some examples of Faces could be:

• The Soprano Slayer (individual Faction)
• Undersecretary Maxwell Steele
• Emma Paisely, legal counsel
• Black Bart

Ties

Factions have Ties, mutual or asymmetric, with each other in the setting and within a plot. Ties can represent alliance, rivalry, hostility, or outright enmity. Mutual Ties are the same for both sides of the Tie, while Asymmetric Ties have some form of hierarchical relationship. It is the Ties which can be used to help set Agendas to ensure conflict. Examples of Ties could be:

• The Justice Society is seeking The Soprano Slayer, who is evading them (asymmetric enmity)
• The U.S. State Department is fast allies with the House of Saud (symmetric and allied)
• The Bonneville school system is hiring the law firm of Cohen, Cohen, and Paisley (asymmetric and allied)
• The Iron Claw Guild is infiltrating the City of Daermouth's government (asymmetric and hostile)

Agendas

A Faction's Goal is its long-term reason for existence. Its Agenda is the current thing it is trying to accomplish to further its Goal. An Agenda must be selected for each Faction in a plot such that it generates natural conflict between them. Note that the player's characters are either in one of the participating Factions or comprise such. Thus it is a good plan to think about (but not mandate!) player character agendas too. Some examples of Agendas could be:

• Give Edith Lee the Rite of Suffering to see if she is the Cosmic Bride
• Foment discord among oil-producing nations to prevent them from acting in concert
• Conceal the malfeasance of Director Laird from the press
• Kill the ruling council of the City of Daermouth

Assessment

As with the Question in running scenes, the Agenda determines when a plot's conflict is resolved. If the Faction manages to accomplish its agenda, the plot ends with that Faction ascendant, having taken another step toward accomplishing its Goal. If the faction's Agenda is blocked by another faction, then it is regressing in its Goal. Ascendant Factions will gain prominence (and the attention of other Factions, perhaps introducing new allies, rivals, or enemies in the process) while regressing Factions might lose allies or encourage rivals and enemies. Regressing too long can spell the end of a Faction. Ascending long enough can result in the Faction expanding its efforts.

Conclusion

As with the Spark Method for running scenes, the method for planning plots is designed to minimize the effort of the plot runner. Not every satisfying plot conceivable can be modelled with it, much as not every scene conceivable can be run with the Spark Method for scenes. What both accomplish, however, is reining in the chaos and complexity of plot- and scene-running by providing a simple structure that nonetheless permits busy gamers to make satisfying and memorable game experiences.