You need to lay enough groundwork and hard rules and be consistent enough that it doesnt feel like a character getting angrier will suddenly allow them to start winning a climactic battle, at least not without significant buildup to such a thing happening. Though I have some questions mainly concerning what allows some to manipulate this balance for a certain time? If youd like I can send you a link and you can follow along as I figure stuff out (dont want to clog up your comments section). Im finding that my worldbuilding and plotting inform each other more in this story than others Ive worked on. [The post scarcity podcast was also very helpful.]. Caster is Combustial, Given is Earth and rock I want to encourage writers and worldbuilders to stray from this formula. One of the most common elements in these books is a magic system. Im on my first crack of trying to writing and my magic system feels too simple to me and not sure if its good enough and would like a little insight. Crafting a hard magic system can be a complex endeavor, though soft magic systems also require a bit of care and attention to develop. but gods, spirits, and demons can. Using the Harry Potter example, the rules of what magic can and cannot do are defined throughout the books new things are added throughout the series, but there is some structure in the form of spells, potions, etc., and a few laws that are hard limits (such as the no true resurrection one), yet the author of this post states it is not rational (although hard). The magic of Avatar feels like the natural result of a different set of physics, whereas the magic of Harry Potter feels like the arbitrary inventions of an author. In Avatar, there is one person every generation who violates the rule that people can bend only one element. I hope this is a reasonable explanation. Since the universe as a whole tends towards entropy, where this world uniquely tends towards balance, fire doesnt always behave as expected), Water in its various forms (liquid, gaseous, solid; in redistribution it will always revert to its most common form in nature, that of liquid. If your loved one is dying from a gunshot wound, youve a lot less time to bargain. Life is responsible for, well, life and health. Basically the spirits want more knowledge of the human world, to experience it through human eyes. The Goddess of Exchanges would be less random, but you wouldnt be able to reliably make exchanges with her. * When Jon Snow kills a white walker with Valyrian steel, it makes sense even though we havent been told that could happen. However, they are actually Ancient Greek classifications and not modern science-based, so they arent really natural. Also Im thinking about the idea when none of characters can store those energy. In the same way that you can learn to control your emotions, you can learn to control the magic that comes from those emotions. Create a crater-sized hole in the earth to later redistribute the soil, though, and you might have some problems. Most magic systems used in medievalish fantasy have groups of people with access to the same spells and abilities, though their talent with magic will vary. Being able to gain power is generally an often picked choice for story telling, first the hero is unable to defeat the villain, but after training or some other form of power gain the hero becomes stronger than the villain. Practitioners are all female. If one person grows wings and another teleports, your system will feel arbitrary. Kristen Kieffer is a fantasy fiction writer and the author of Build Your Best Writing Life and Self-Publishing Simplified. For example, your universe might not have demons or gods which can grant more magical powers, but there could be plenty of other magical beings who can. Side note, can anyone contact the spirits, or does it require a special gift.. Whatever you figure out, it should have an internal logic. Anyway, an Order ofMages (havent thought of a proper name yet) is working in overdrive to contain the outbreak, taking the dying, destroying corpses, etc to prevent the spread of the blight Or so you think In The Farseer Trilogy by Robin Hobb, practitioners of the Skill can communicate to each other telepathically. Its no surprise the avatar state causes plot holes during Avatar: The Legend of Korra. Wind, or life, or just movement? Brings back memories of the magic system I was working on for a really trippy book not really super Lovecrafty per se, but set in modern day Maine among a world of dark magicks and secret cults, so in that sense an echo I lost track of back in my 30s and am just now remembering. But, with the power of enough minds, things and beings could be transported to nearly any location instantly, as long as that location was also in the proximity of many minds (Minds were always at least somewhat tied to the physical world during life, so there would still be a range limit, but a vastly larger one for this teleportation, spanning many light-years). And I had trouble writing with what nature aspects nymphs, dryads, and naiads would relate to, so I went with that. Ill have to remember I can do that if necessary. Maybe Im just saying this because Id defend Harry Potter to the ends of the earth. In a way you can see it as choosing between having 2 (or more) people using normal weapons to fight an enemy together. *squeals* Chris you are my hero and your articles inspired me to try writing and you are very, very, very awesome *squeals* Take Noethers Theorem for example. I like the fact youve got a cool new way people gain magical abilities- FAR FAR FAR to many high fantasy novels just have it be the usual theyre born with it (theres nothing wrong with that way- heck Ive even used that, its simple and the easiest way to have it)- but I love seeing unique ways besides just being born with it. The audience must know the rules, because the heroes use magic during the story. Dont be afraid to try something novel. Earth and earthy minerals/materials (Since earth is firm, solid and tangible, and since man walks and sleeps on the ground, eats what the ground produces, and has a beneficial relationship with the earth, earth is easy to hold on to for longer periods of time, assuming you dont try to control too much of it at a time). I agree. In Mistborn by Brandon Sanderson, magic comes from specific metals, like copper, tin, or aluminum. Bewitchment Grenade-- This bomb emits a gas that causes hallucinations and lowered aggression in 99% of affected persons. Anyone who uses the magic of these Towers will have a name that corresponds to the pair, not just the Tower they draw from. He was, um, originally a king that God transformed for his sins into a boar, and his seven sons as piglets, and he had, um, a comb, razor, and scissors between his ears and HE was prophesied to die when he lost them. For example my magic is about energy- but you cant control energy like Motion in the traditional telokinies way (you think & point and it moves anywhere)- instead you can only increase the speed of a moving object or decrease its speed (to a full stop if your skilled enough) or create movement in a static object (only in one direction as if you hit it- and only that single inital pow of motion), So if youd like your magic to be one of the driving forces in the conflict of your story then itll be great to know what you can and cant do with it and understand if there are any limitation to the magic which may make it more rememberable, interesting and unique- plus create a challange for your protagonist who has to use their wits to work around the limitation and solve a problem. Hey everyone! For instance, if you have chaotic magic, dark magic, and lawful magic, your audience will wonder where the light magic is. Each ability corresponds with role in a gang of thieves. As far as your magic/psychic system goes, I can understand why you put so much thought into it. Vibrations function is fundamentally the same as electric signals in the brain, in that there are millions upon millions of different signals being sent and working together to achieve something, even something as simple as moving your arm. Different for the TV series, of course. You can also use that fickleness, maybe, and some other things this answer mentioned, to weave in logical limitations on emotion-based magic that will make it perhaps more palatable to your readersin fact, in ways directly related to the example of exhaustion. Perhaps broken fingers mean you won't be able to wield magic or maybe magic itself can block another form of magic or the magical energies within a person. Summon up a spirit to help you move a piano, and you can spend hours debating over price. As this energy is formless and intangible, it is naturally attracted to your body and stored there. As we dont seem to be focusing on that aspect much, however, I wont try to continue arguments about that part. would even mathematically work, as all existing particles and forces seem to be related by deep mathematical symmetries. If you use magic (or psychic powers) like a Deus Ex Machina, enabling your magic users (or psychics) to do whatever the story needs, without any understandable reason why they can do all this, you have something else. But it feels as if it all fits together, not least because Tolkien himself had a clear notion of what was going on. Hard vs. soft magic is a spectrum, not a binary. To have the power of the Towers, one must have originated from them, or been taken to it by someone from the Towers. This adds a bit of strategy to the game, because you need to figure out how to use the different skill sets best together. And the other main faction (dont have a name for them yet) use mainly defensive magic like using a shield just strong enough to protect them from immediate danger and phasing (though still thinking about what that would entail) and others I cant think of at the moment and still trying to think of more. Preview. For instance, some animals can also cast magic, and they do it pretty much the same way people do. Theres a lot to figure out about the basics, before you can think about sub-types. Harry Potters magic is not irrational. This generator gives you names for their various alliances, covens, and clubs. Also I think the name Grey Death is cool, especially if theres some in world reason? Magic can be taught and learned, though whether or not a persons good at it depends on their study/training, and their innate talent for the practice. This is the name list Tolkien draws from at least for a couple of the Dwarven characters in The Hobbit. Robert Asprins MYTH novels actually do a good job limiting magic in a similar way. ( ): I see some interesting potential with that. Remember the problem with any kind of existing lore: someone out there whos reading your stories is an expert in it and will be pretty annoyed if you just wing it and your version has next to nothing in common with reality. How might someone with an unusual background or extraordinary dedication take magic either a step further or a step in a new direction? This version of my storys magic system is like a combination of magic in the Marvel movies and in The Magicians. Gaining power can be done through a whole range of methods, you could train, gain power through an artifact, channel power into 1 person or spell, enhance a body through magic (or other means), simply study magic and how it works, siphon souls from other magical beings, gain a blessing (or curse) of a god or demon and much more. Again, you can have variance if there are rules that explain it. It may sound similar to Avatar but it is growing. Those that dont meet the selection criteria die screaming, but in a chosen few, the nanites alter and enhance their hosts, granting abilities that are perceived as mystical by the ignorant population which includes the majority of the Order of Mages themselves as generations of information suppression have led to them buying into their own lies, the truth being known only to the mysterious Council of Nine. Perhaps magic-users know what magic can be used for but are not concerned about why it works that way; for all we know, that could be the way most wizards and witches feel in Harry Potter. will you include other living beings that conduct photosynthesis like phytoplankton or algae? How does the energy reach an object (including a brain) without affecting and potentially being dissipated by everything in the way (including air)? Maybe if their contact to spirits is limited, or the spirits themselves have goals that dont line up with the protagonists goals. The protagonists wording must be airtight, because the djinni will look for loopholes. Fire, transformation and order are strongly associated with this system of magic. This would involve a preferred reference frame, breaking relativity (for a specific class of phenomena only) but disallowing time travel (I dont have anything against time travel stories; I just didnt feel like including it in my universe). :-D. So the idea was born out of the fact that in a lot of computer games, playing a Mage just doesnt feel very Magey. Writing is given magical properties in many books, movies, and shows but the paper itself is rarely imbued with power. And theres nothing less exciting than a story where the protagonists can escape from any danger just by wishing it away. A primary example of soft magic would be that which Gandalf practices in The Lord of the Rings. Can ones magical abilities be stolen or suppressed through fantastical or physical means? What can your high fantasy magic do as in abilities and cant do like limitations? Why are naiads more rare and powerful than tree nymphs? I've kept the descriptions short in order to mimic descriptions you'd often find in games and other franchises. Apoglies if it comes off as confusing, Im not very good at conveying my thoughts and ideas, will explain in greater detail later. I love it. Why you should create a rational magic system as a writer? My magic system is based off of good and bad. Also, how is this energy directed to a specific object and not blocked by everything in the way (including air?) Also, I have another magic system that sort of more on the traditional side that Ive been wrestling with for my story. But I dont necessarily want to read about rational magic systems. However, as mentioned at the top of this article, magic can also serve as a vehicle for theme (i.e. You can also read his books to see his systems in action; personally I recommend Elantris. They should be able to deduce, if they want to, what a magic user (or a psychic) can or cant do and you shouldnt suddenly throw someone in who can do something that should be impossible by the rules you set down and showed before. For example, you can create a magic system that has very clear rules for your protagonist but only vague rules for your antagonist. That source has to be available to a spellcaster, and that spellcaster needs to direct it to accomplish specific goals. To build this logic, start by thinking about three things: the effects, sources, and costs of magic. A glove that gradually eats away at their flesh, or every spell they cast they have to pay a price to a demon, or something. You cant have conservation of energy violated by magic that also keeps the laws of physics the same over time, any more than you could have magic that makes 2+2=5 (unless, perhaps, the laws of physics in a universe dont involve Lagrangians, but then that would likely be a universe totally different from our own). This has been extremely helpful! The size of those continental plates and their placement on the planet would be an arbitrary effect of nature, and so the magic they generate might reflect those arbitrary characteristics. Novice mages are taught how to bring out their mana to create energy bolts, shields, weapons, and constructs. Basically, all magic in the world draws power from six Primals, vast entities of the natural world: the Sky, Sun, Moon, Earth, Ocean and Stars. What atmosphere will my story have? So if you think multiple types would be cool, go for it, if you want to keep it simple, dont. Frequency: The core strength of a Vibration, determines how far and fast it travels Hard magic systems feature a strict set of parameters explained within the story to ensure that readers understand what characters fantastical powers can and cannot do. Eg- How fast you can make the ball move (The heavier the object the slower it moves) Who will use magic: the protagonist (hard magic), or the antagonist / side characters (soft magic)? Thats really cool. Light Weve seen them move and break rock, so it follows that they could make a hole through a mountain. Last, heres a fun chart showing the details of magic systems in the most popular works. Paint can be metaphysical meaning that 0.0005% of the entire population can dabble in spirits though most choose not to. Hello to anybody that sees this. Too Trope-ish?? Sandersons Third Law. When youre deciding which type of magic system to use, ask yourself: Do you want magic to solve conflict for your protagonist (hard magic) or to create conflict for your protagonist (soft magic)? Those are just considerations, however, when it comes to flaws I only really see one. I really hope you go through with it! Magic in Tolkien is a reflection of _spiritual_ power. Mind is represents consciousness Only one. Is magic (or the source that fuels it) a limited resource in your story world? The only other limiting factor to the magic is that in order to produce the energy in the first place, is that you need Inspiration to help channel your thoughts & familiarity. Now, for your first comment about my magic system, it is true I might be overthinking it (people have told me that before). I just thought of something related to teleportation, however. If George R.R. Obviously you can also combine both ideas, just because you can combine spells doesn't mean you have to. This system was mostly me being annoyed that magic usually violates the Law of Conservation of Energy, so I made a system built around that principal (until it spiraled out of control) The jammers are slowly getting weaker, and the nanites, while the have mostly settled in these past centuries, slowly encroach upon the population. and much if not all this her non original content that she is taking from is founded in actual fairy tales with absolutely no magical or rational system. But once characters learn about the spell to disarm and the spell to block, they cant extrapolate that theres also a spell to dodge. Heres what you need to think about. First off, Id like to say that your idea is amazing! Ask yourself what effects will help your protagonists solve the problems presented in your plot, and what effects will be fun to write about. If you're using this generator, you might also find the Magical Artifact Generator useful. If I get this right, magic workers are using pieces of the infrastructure built to support their world for magic instead, at which time it is no longer helping to sustain the world, and by putting these pieces back in place, the protagonist is strengthening that infrastructure. I think your point is that in a story, there needs to be limits to magic, which I agree with. Because water is more tangible than air and fire, it is likewise easier to hold on to. However, most people wont deviate from what they know to work to avoid wasting their time on a failed ritual or potentially hazardous consequences. And I did read the other piece about magic but my system sounded alot simpler in head head so I didnt think it applied as much. Would a human wield magic differently from an elf? Hard magic is one where the audience knows about the rules of magic, so it seems to me that your mention of convey[ing] the rules of your system might actually be referring to hard magic. In the Old Kingdom series by Garth Nix, necromancers can control the dead using bells and music. And the Aether is born from our Thoughts and Actions, more specifically, our Souls. The most common form of magic is to make a contract with a specific spirit for a specific outcome, and then the spirit uses its power to reach that outcome (level of cooperation varies). Another aspect of it are the Akashic Records where all the information of Creation is stored. : Magicians summon magical spirits, like djinni, and command them to do their bidding. Could you chip in? The cycle of plants harnessing sunlight and Mother taking it back everyday is no longer considered a mystery, but an accepted fact of life. If youre working with leylines and the fabric of reality you should model the whole earth as a living thing(as it is)but not necessarily conscious, although that could add tension and the leylines and threads could be like vains in an interconnected system that gets clogged from the knots relating to all manner of natural and unnatural disasters/phenomenon and just like any living thing this system would naturally resemble a circulatory/lymphatic system with currents and nodes to regulate and cleanse said currents. However, it sounds like theres a gap between the rational aspect and the large assortment of different things your magic casters are doing. Do you think the metaphor works when stretched so far? Its just something to be careful about. Once you've figured out who can wield it it's time to figure out how they can wield it. lost nanotechnology (difficult to justify how that would be forgotten) If you dont have enough power to spare, the spell fizzles. Make magic tricky and fickle. The definitions for these are as follows: Im using the elements as chemical states and even nature transforms between them (ice to water, water to steam, or the other way around for water). Many soft magic systems include magical creatures: centaurs, mermaids, nine-tailed foxesthe possibilities here are endless. Some well-known examples of hard magic systems: In Fullmetal Alchemist by Hiromu Arakawa, magic is like chemistry. It sounds like youre going the scientific route with energy. Whether with words, gestures, complicated rituals, or just pure thinking, the idea that someone can control reality with their mind is at the base of every magical system. Thank you so much! Some of them, such as the Breath Weapons have been condenced a little bit for shortnesses sake. Other examples include alohamora and colloportus, reparo and diffindo, accio and depulso (learned but not named in-series, as I recall), etc. The Given is normally in for 3-7 year. In The Bartimaeus Trilogy by Jonathan Stroud, magic comes from magical spirits like djinn. Oh, and thanks for the compliments! This would mean that they are naturally mostly hidden from beings of normal matter, but perhaps they could find ways to interact. Yes, its arbitrary which items have magical powers (though many plants have historically been said to have magical powers and Rowling obviously researched these). The magic was based essentially off the interplay between my hereditary inclination towards poetry and a book on quantum physics Id just read entitled Space, Superspace and the Quantum Universe which explored the newly proposed theory of quantum mechanics that by some quantum physicists said by our observation of the physical universe we live in we are, in ways measurable to quantum physics, IN FACT INFLUENCING WHAT ITS STRUCTURE ACTUALLY IS. In addition, the spells available for use arent completely based on nonsense, or taught completely irrationally. However, Im not surprised youre getting overwhelmed, youre mixing a lot of different stuff together: However, I am suspecting my response to it will be pretty long, and I have other things I need to work on. Since paint depends on your mental state and will, if while using paint you have a sudden elevation of toxic emotions (extreme anger, fear, wish for destruction, narcissism, grief, blood-lust) your paint will go against the body causing a complete collapse (your senses null forcing you into a coma), a clear breakthrough (all thoughts and feelings stop and you focus on one thing with a slightly heightened power), a poisoned mind (you attack friend and foe alike as the paint starts to corrode your mind) or a transformation (into a monster). 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Hes also known as the God of Mischief. Sandersons Mistborn series and Stormlight Archive both contain excellent examples of hard magic systems. Thats because Disney movies are based on fairy tales and fairy tales dont write up rules for magic. The air swirled out into the hallway, successfully blowing out the lit torch but haphazardly knocking it off its supports. Another option is that there is a background magic field (see the TVTropes article) present everywhere that psychics draw on. Korra did it but that was more so of Avatar state then an Airbending technique. Examples of what an Interferer could do that Ive though of so far: make a gust blow faster (maybe carrying something along with it), making something fall/rise faster, increase the air pressure in a certain spot (very useful for strangling or pressure-point pushing!) I love your idea Madden, however if i may point out one significant flaw that you will very quickly need to address. If you follow this rule, readers will appreciate the awe and mystery of the magic without feeling like it cheapens the story. Project | Fire | Destroy | Item If only a portion of the population can wield magic it could also mean the magic wielders are either the elite or the lower class. Forms of magic include water magic, healing magic, potion making, and purification. Why can only some people do time magic or elemental magic? However, it had similar things to our universe, stars and planets and lifeforms that could look somewhat like ours, so it needed to follow most of them, at least, the ones that allowed for these things. These people are often social outcasts. Why are some people spell book readers but not others? Not sure what I mean?
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