Author, editor, and publisher Jeff Duntemann poses the three questions that authors of speculative fiction must ask when designing magic systems.
There are three Big Questions you need to ask yourself as you take on a task of designing a magical system:
- What is the source of magical power? Where does it come from and how do you obtain it? In Larry Niven’s Warlock stories, magic is an inherent property of the created world, an essence present everywhere but which may be depleted by use over time, like a seam of coal. Aleister Crowley (a real guy, if an unutterable nutcase) created a system of sex magick, which was powered (as best I can figure) by orgasms. In Ten Gentle Opportunities, magical power emerges from a fully-developed pineal eye, which is present in a small fraction of humanity and must be perfected by practice and study. The magical force itself is drawn from primordial chaos, and is inexhaustible. In some systems, magical force emerges from sacred or cursed artifacts, and in others from alchemical concoctions. Can magic be stored somehow for later use, or use by ordinary people? Stypek stores ten nuggets of magical force in stasis inside a wand made of “wereglass,” which is dense and scary and serves a plot point more than the magical system. (Sometimes you have to do that.)
- Who is able to manipulate magical power? Magic is sometimes the purview of explicitlty magical beings like elves, fairies, pixies, etc. Sometimes it’s a skill that may be learned by anybody. In my system, it depends on a genetic talent that mundanes don’t have and can’t obtain. Spellbenders like Stypek, in fact, are incomplete magicians, in that they can examine and change magical spells but can neither draw magic from chaos nor send it back when no longer needed. (Unwanted or abandoned magic can cause all sorts of problems, like animating corpses into zombies.) Can one magician do things, or does it take some sort of cooperative effort? (One flashes on Crowley’s sex magic.) Can multiple magicians do bigger or more difficult things working together? (This was the case in the classic Witches of Karres.) Are magicians specialists? (Larry Correia’s are; see below.)
- What are the limits of magical power? This is the big one, kids. Magic that can do anything is…boring. Stories engage us by pitting characters against challenges and their own limitations. A magician who controls magic without limits can’t lose and so isn’t especially interesting. One of the best modern magical systems is what Larry Correia built into his Dark Magic / Spellbound / Warbound trilogy. Magical persons are specialists, sorted into numerous categories by the nature and limits of their power. Some teleport. Some command electricity. Some influence weather. Some heal. Some control gravity, and so on. All of these powers draw on personal energy, which the body creates from food and rest, and when that energy is used up, the powers fail for a time until the body can restore its energy levels. All magical/super powers must have limitations. Superman has Kryptonite. Green Lantern’s lantern doesn’t work on anything colored yellow. (At least this was the case when I was reading my friends’ comics in the first half of the 1960s.) Sometimes magic is tied to the Classical Elements, Earth, Air, Fire, Water, and Aether. (Brian Niemeier’s magical system includes but is not limited to this.) You can be as clever as you like, but your magic must have quirks and limitations.
Authors take note. Jeff is dispensing solid gold advice, here. He goes into even more detail on his excellent blog. Read the rest.
NB: Jeff intimated that his post was partly inspired by one of my earlier posts on designing magic systems. When you’re done with his, check mine out for a treatment of magic system design that’s fully complementary with Jeff’s and gets a bit more granular.
Recommended: Jeff’s fantastical science novel Ten Gentle Opportunities, in which he puts his money where his mouth is by demonstrating the principles he laid out.
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