HERE is a discussion about demons in games that I thought was interesting, but lacking.
So here is the thing: demons (I believe) are first and foremost, rebels against the Creator of the universe.
They are fallen angels. As such, they are:
1) Primordial sentient beings of super human power.
2) Former servants of the Almighty.
3) Beings who had the inordinate temerity to rebel against the Almighty...
4) ...and lost.
I infer from this that they are all at least:
1) Extremely capable.
2) Have the experience of extreme timespans.
3) Live with inhuman arrogance, inhuman denial, or both.
4) They have no hope, and live in a perpetual state of fear, anger, and malice.
5) Are essentially insane, and irrational no matter how smart they are.
None of this is really an amazing revelation. Furthermore, while derived from the Bible directly, the medieval invention of the Seven Deadly Sins is not contrary to the character of the Bible either, so it is a useful model. As noted though in the link, I like the earlier model of the Eight Evil Thoughts, and will work from those. I don't think it is as interesting to link demons to elemental spheres, as their issues are moral and thus their "elements" are moral in character. They may manifest incidentally in the world in an element, but this is incidental and personal to the individual.
So how would I go about designing a demon for a game? I'm roughly thinking of Fate style mechanics, so assuming a d6-d6 or 4df die roll.
1) Rate the Demon in each of the eight sins, with one at 6, one at 4, two at 3, two at 2, and two at 1.
- Gluttony
- Lust
- Greed
- Pride
- Despair
- Wrath
- Vanity
- Sloth
These are essentially the "skills" and "abilities" that the demon has.
Whenever they seek to take an action that requires a roll in game, they
choose which one they will use, so long as it can be justified. It can
obviously use any one of them in an effort to tempt a character, but it
can also use them for itself. It wishes to destroy the wagon-load of
bread being sent as a charitable donation to a starving village? It may
use Gluttony to devour it all, or perhaps Wrath to strike the wagon
with hellfire, or Despair, to blight it with mold.
2) Choose two different species of animals. These together give primary form to the demon.
3) Choose an ordinary object that can be held, carried, or worn. This is the primary tool for the demon, and through which it tempts, seduces, blasphemes, destroys, or fights. It may or may not be integral to the body of the demon.
4) Choose another object or place, without the limitation of size. This is another focus through which the demon manifests both it's obsessions as well as it's power.
5) Choose an abstract concept, role, function, or office. This is one more focus for the demon to manifest it's obsessions and power.
6) Items 2, 3, 4, and 5 are each defining personality traits for the demon. Any time in which the demon may find one of them appropriate to a situation or action in the game, they may add a bonus +2 to the sin they are acting with.
So to spitball out a quick demon adversary for a game (and referring back to the original post for reference), I might come up with:
BLUE TOM
Gluttony: +2 Lust: +3 Greed: +1 Pride: +3 Despair: +6 Wrath: +2 Vanity: +1 Sloth: +4
Demonic Form: (Toad and Chicken) Blue Tom appears in demonic form as a bloated, warty, slime covered beast with the feet of a chicken on the legs of a bull frog, with the body of a frog. A rooster tail with scruffy feathers sprouts from the hind end, while the front legs are actually chicken wings. It has a chicken head with enormous frog eyes. When wearing a human shape, it is a skinny but pot bellied, haggard, slovenly man with stubble, and large watery eyes.
Object: (Guitar) Blue Tom lives as a blues musician with a heroine addiction. In demonic form, unfolding one wing reveals a distorted guitar with exposed tendons for strings, and frets and keys out of bone. In human shape, the guitar is a nauseous pearlescent crimson and venom green thing with unearthly haunting music coming from each string. Each note sounds as if it is plucked from multiple instruments and resonates physically as palpably as it sounds upon the ear.
Object: (Weeping Willows on River Banks) Blue Tom's hunting grounds are bars, clubs, midnight diners, street corners and bus stops. However, the place that he finishes his business is at willows on river banks. Those he finds to destroy he induces to meet him at his places of power, and there is always water deep enough to drown in, and he has more than enough spare guitar string for a noose.
Role: (Accuser of the Guilty) Blue Tom's favorite prey is the person who seeks to drown their indiscretion in drink, be they the adulterer discovered, the embezzler caught, the contractor who cut corners revealed by a fatal accident. This is the person that Blue Tom promises to give relief to, if they are willing to meet him 'neath the Willow Tree.
That is my take.
Showing posts with label religion. Show all posts
Showing posts with label religion. Show all posts
10 November, 2017
09 November, 2016
Religion and Magic in Fate
I would agree wholeheartedly that in too many games (and the novels that they inspire) magic feels very mechanical and technological. I would argue that magic in games is most interesting when it is designed not according to a paradigm of physics and engineering, but from religion and symbolism... not the mechanistic but the anthropologic direction (as magical thinking actually did). This is certainly disputable by players of a more engineering bent who prefer a less ambiguous way of including magic in games, but each to their own.
So the designer questions for game magic commonly include
Design Questions
*1) why would I want to be anything but a magic user?*
*2) what can you do with magic?*
*3) what can you NOT do with magic?*
These are useful, but I think more engineering type questions for designing an RPG magic system. I'm going to swipe and modify a different list of questions (credit to Jared Sorenson as due) to take magic away from a mechanistic paradigm, and back into a more mythopoeic paradigm. The narrativist focus from indi games is certainly more at the front than the gamist approach from so many other games with ODD DNA.
Alternate Design Questions
*1) what is magic about?*
*2) how do I reflect that in this game?*
*3) what behavior does magic reward and punish?*
My aesthetic is largely influenced by texts older than a century and a half, or by modern studies of still existing pre-industrial cultures or practices kept discrete from the industrialized world. When I look at texts that describe magic uninformed by modern mechanistic thinking, a few things stand out to me:
Observations
*1) magic is highly related to religion, but is not the same*
*2) with magic, size is (mostly) irrelevant*
*3) the prime driver of magic is not energy but rather meaning*
*4) pursuant to 3, symbolic connections are what shape magic effects; principles of sympathy and contagion explain this*
*5) magic goes against the natural order, as defined by the powers of the world
So I am going to offer a very loose answer to your question of preferred flavors of magic and how it affects characters in the game world with those assumptions in mind.
Why would anyone be anything but a magic user in this game? I answer this by answering the question of what magic is about. I assume a world in which people are not ambivalent about the notion that they are but small things in a much larger and more powerful world with more powerful and willful agents behind that world (gods, spirits, devils, etc.). The forces are constrained by their natures, and are powerful, but not omnipotent, omnipresent, or omniscient. The priests who commit their lives to understanding these forces are most adept at interacting and negotiating with them. A priest invokes the gods through the legitimately proscribed rituals to get an expected result.
A magician however, may make use of the understanding of the nature and power of the gods, but without regard to the morally proscribed invocation of that power. In actual history, very often cultures would separate what they did locally as legitimate because it was locally appropriate to their gods, but what the other folk beyond the mountains did was magic. Even in their own societies, those who practiced something heterodox from normal ritual were considered sorcerers rather than priests. So here is my answer to question 1 from the first two lists above:
_1) Magic is about an individual (i.e. player characters) invoking a desired outcome through a transaction with the greater powers behind the world. As such, it is potentially more powerful than any outcome that a mortal could achieve alone. On the other hand, this is a power that requires a great investment in years of discipline, study, sacrifice, and service to acquire, and as such, precludes the participation in or acquisition of other kinds of knowledge, experience, or ability that other characters might have. Furthermore, there are obligations to the powers that be that other characters do not have to observe_
In Fate mechanical terms, I would say that means that a magician must commit aspects, stunts, and/or skills in order to have access to magic. The level of power determines how much investment of other mechanical elements it costs for access. This is of course mostly the assumption taken already.
My answer to question 2 from the first two lists above is this:
_2) Magic can potentially do anything, from innocuous charms to repel mosquitoes or light campfires, to awesome effects like summoning a plague to devour the crops in a village or raising a tempest against the enemy fleet in the channel. The cost depends on what is sacrificed in the magical transaction. Effects in the interest of the powers are more readily achieved.
Rituals using symbolic connections to the powers are performed in order to accomplish the invocation of the power. The more symbolic connections, and the more strongly symbolic they are, the more powerful the effect._
In Fate mechanical terms, the cost does _not_ have any specific limitation on number of uses per day, or slots, or cost in manna pool or fatigue as the common price for using magic; magic is not powered like a battery. The amount of energy to burn down a castle is of no more import than that to light a candle where the powers behind the world are concerned. What does matter is the _significance_ of the action. Lighting a candle is of little significance to anyone but the user of the candle. Burning down a city is highly significant to thousands. As such, while a magician may very well be able to burn down a city, the magician will bear the burden of finding a way to pay for the loss of property and lives of thousands. The cost may be a year of the magician's life for every life taken... or the blood sacrifice of no less than a king or queen to rain fire down on the city.
How to judge lesser effects? I would offer that rituals are performed to establish the strength or legitimacy of the invocation, and each symbolic connection between the effect, and the subject/object of the effect increases efficacy. Size or value of the components (material, verbal, somatic, focal) is only as significant as they are in the heart and mind of the magician. For example, if an aspect or stunt is dedicated to a magic staff, or the power of the magician's voice, that thing should be more potent (say a +3 when used). Otherwise performing rituals are essentially a challenge series of creating advantages to make significance of the objects used. You want to raise a storm to wreck a ship; your breath blown ritually over a bowl of sea water is two elements. Your breath might be of a basic similarity to wind, while sea water in the bowl is more powerfully symbolic of the sea itself. If you collected the spray of a breaching whale (the Breath of the Leviathan) that is in itself worth a bonus as both wind and the water of the sea, and thus worth more.
Need to work more on writing up the details, but there is the concept.
So the designer questions for game magic commonly include
Design Questions
*1) why would I want to be anything but a magic user?*
*2) what can you do with magic?*
*3) what can you NOT do with magic?*
These are useful, but I think more engineering type questions for designing an RPG magic system. I'm going to swipe and modify a different list of questions (credit to Jared Sorenson as due) to take magic away from a mechanistic paradigm, and back into a more mythopoeic paradigm. The narrativist focus from indi games is certainly more at the front than the gamist approach from so many other games with ODD DNA.
Alternate Design Questions
*1) what is magic about?*
*2) how do I reflect that in this game?*
*3) what behavior does magic reward and punish?*
My aesthetic is largely influenced by texts older than a century and a half, or by modern studies of still existing pre-industrial cultures or practices kept discrete from the industrialized world. When I look at texts that describe magic uninformed by modern mechanistic thinking, a few things stand out to me:
Observations
*1) magic is highly related to religion, but is not the same*
*2) with magic, size is (mostly) irrelevant*
*3) the prime driver of magic is not energy but rather meaning*
*4) pursuant to 3, symbolic connections are what shape magic effects; principles of sympathy and contagion explain this*
*5) magic goes against the natural order, as defined by the powers of the world
So I am going to offer a very loose answer to your question of preferred flavors of magic and how it affects characters in the game world with those assumptions in mind.
Why would anyone be anything but a magic user in this game? I answer this by answering the question of what magic is about. I assume a world in which people are not ambivalent about the notion that they are but small things in a much larger and more powerful world with more powerful and willful agents behind that world (gods, spirits, devils, etc.). The forces are constrained by their natures, and are powerful, but not omnipotent, omnipresent, or omniscient. The priests who commit their lives to understanding these forces are most adept at interacting and negotiating with them. A priest invokes the gods through the legitimately proscribed rituals to get an expected result.
A magician however, may make use of the understanding of the nature and power of the gods, but without regard to the morally proscribed invocation of that power. In actual history, very often cultures would separate what they did locally as legitimate because it was locally appropriate to their gods, but what the other folk beyond the mountains did was magic. Even in their own societies, those who practiced something heterodox from normal ritual were considered sorcerers rather than priests. So here is my answer to question 1 from the first two lists above:
_1) Magic is about an individual (i.e. player characters) invoking a desired outcome through a transaction with the greater powers behind the world. As such, it is potentially more powerful than any outcome that a mortal could achieve alone. On the other hand, this is a power that requires a great investment in years of discipline, study, sacrifice, and service to acquire, and as such, precludes the participation in or acquisition of other kinds of knowledge, experience, or ability that other characters might have. Furthermore, there are obligations to the powers that be that other characters do not have to observe_
In Fate mechanical terms, I would say that means that a magician must commit aspects, stunts, and/or skills in order to have access to magic. The level of power determines how much investment of other mechanical elements it costs for access. This is of course mostly the assumption taken already.
My answer to question 2 from the first two lists above is this:
_2) Magic can potentially do anything, from innocuous charms to repel mosquitoes or light campfires, to awesome effects like summoning a plague to devour the crops in a village or raising a tempest against the enemy fleet in the channel. The cost depends on what is sacrificed in the magical transaction. Effects in the interest of the powers are more readily achieved.
Rituals using symbolic connections to the powers are performed in order to accomplish the invocation of the power. The more symbolic connections, and the more strongly symbolic they are, the more powerful the effect._
In Fate mechanical terms, the cost does _not_ have any specific limitation on number of uses per day, or slots, or cost in manna pool or fatigue as the common price for using magic; magic is not powered like a battery. The amount of energy to burn down a castle is of no more import than that to light a candle where the powers behind the world are concerned. What does matter is the _significance_ of the action. Lighting a candle is of little significance to anyone but the user of the candle. Burning down a city is highly significant to thousands. As such, while a magician may very well be able to burn down a city, the magician will bear the burden of finding a way to pay for the loss of property and lives of thousands. The cost may be a year of the magician's life for every life taken... or the blood sacrifice of no less than a king or queen to rain fire down on the city.
How to judge lesser effects? I would offer that rituals are performed to establish the strength or legitimacy of the invocation, and each symbolic connection between the effect, and the subject/object of the effect increases efficacy. Size or value of the components (material, verbal, somatic, focal) is only as significant as they are in the heart and mind of the magician. For example, if an aspect or stunt is dedicated to a magic staff, or the power of the magician's voice, that thing should be more potent (say a +3 when used). Otherwise performing rituals are essentially a challenge series of creating advantages to make significance of the objects used. You want to raise a storm to wreck a ship; your breath blown ritually over a bowl of sea water is two elements. Your breath might be of a basic similarity to wind, while sea water in the bowl is more powerfully symbolic of the sea itself. If you collected the spray of a breaching whale (the Breath of the Leviathan) that is in itself worth a bonus as both wind and the water of the sea, and thus worth more.
Need to work more on writing up the details, but there is the concept.
27 October, 2016
More Thoughts on Pagan Religion in Games
One of the things that becomes very clear reading accounts of actual pagan religion, is the fuzzy distinction, if not lack of distinction between pagan gods and the idols that represent them. In traditional OSR games informed by Gygax's aesthetic, clerics and paladins might on paper be worshipers of any number of pagan deities, usually in some henotheistic fashion that still was virtually indistinguishable from Roman Catholic or Eastern Orthodox structure, hierarchy, and praxis (with little regard for theology). Given that it was rooted in war gaming, and the role of cleric or paladin mechanically was to provide a different way to win at murder hoboing, this is understandable.
Be that as it may, looking at the way actual pagans treated their idea of gods was different. The idea of a god that actually inhabits a sacred grove, or spring, or tree feeds into the idea that an idol set in a temple can also be the literal inhabited body of the god. This has a few interesting implications for gaming priests.
1) The god is present where their idol is. Unlike the Judeo-Christian understanding of God who is spirit and to whom idols are anathema, pagans would carry their shrines and idols with them where they traveled, be these the deified ancestor shrines, or the more general national god shrines. A properly kitted out pagan priest should likely have variable levels of luggage with commensurate degrees of value to performing ritual petitions; a pocket idol for day travel and small petitions, a coffer sized shrine for short journeys for moderate petitions, and a cart sized shrine useful for longer journeys or semi-permanent establishment and more serious petitions.
Mechanically, this should probably be reflected in the power or scope of miracles available to be petitioned by the pagan priest, with larger shrines making for either easier petition, or greater powered miracles, or both.
2) Defeating your enemies in battle makes taking their gods (the idols in their shrines) as booty a particularly prestigious trophy. The logic is that if the enemy lost, then their gods were less powerful than your gods, and thus just as the enemy can be captured (if not killed) their gods too can be enslaved. For instance, in Samuel I and II, and Kings I and II, there are many examples of pagan peoples carrying away the gods of those whom they had vanquished in order to display them as servants at the feet of their larger and more prestigious home idols.
Mechanically, this should probably mean that captured gods (idols) reduce the power or likelihood of petitioned miracles. That is exactly why the cleric has reason to adventure with the thief; somebody has to go rescue those idols. The ramifications of this alone are grist for many possible side adventures if not main adventures.
3) Establishing shrines as nodes of power, and colonizing an area with more of your idols makes a region more potent for your god or gods. It may very well be that pagan priests could develop a sensitivity to the piety of a region, and the power level or the likelihood of petitions being granted, and this would provide a strategic value to the cleric in decision making that did not exist before. This could get especially thorny if the adventurers were in a land of foreign gods and their priests have the edge. The very real value in planning ways to corrupt their priests and desecrate their temples in order to tip the scales is a fantastic way to change the pacing and layers of story in a mission. Again, it makes a really compelling context for the priest to adventure in the company of the rogue who can grift the foreign priest into defiling themselves with drink, forbidden food, or other carnal infractions in order to block their access to the power of the idols, which in turn allows an opening to break the power of their temple.
Be that as it may, looking at the way actual pagans treated their idea of gods was different. The idea of a god that actually inhabits a sacred grove, or spring, or tree feeds into the idea that an idol set in a temple can also be the literal inhabited body of the god. This has a few interesting implications for gaming priests.
1) The god is present where their idol is. Unlike the Judeo-Christian understanding of God who is spirit and to whom idols are anathema, pagans would carry their shrines and idols with them where they traveled, be these the deified ancestor shrines, or the more general national god shrines. A properly kitted out pagan priest should likely have variable levels of luggage with commensurate degrees of value to performing ritual petitions; a pocket idol for day travel and small petitions, a coffer sized shrine for short journeys for moderate petitions, and a cart sized shrine useful for longer journeys or semi-permanent establishment and more serious petitions.
Mechanically, this should probably be reflected in the power or scope of miracles available to be petitioned by the pagan priest, with larger shrines making for either easier petition, or greater powered miracles, or both.
2) Defeating your enemies in battle makes taking their gods (the idols in their shrines) as booty a particularly prestigious trophy. The logic is that if the enemy lost, then their gods were less powerful than your gods, and thus just as the enemy can be captured (if not killed) their gods too can be enslaved. For instance, in Samuel I and II, and Kings I and II, there are many examples of pagan peoples carrying away the gods of those whom they had vanquished in order to display them as servants at the feet of their larger and more prestigious home idols.
Mechanically, this should probably mean that captured gods (idols) reduce the power or likelihood of petitioned miracles. That is exactly why the cleric has reason to adventure with the thief; somebody has to go rescue those idols. The ramifications of this alone are grist for many possible side adventures if not main adventures.
3) Establishing shrines as nodes of power, and colonizing an area with more of your idols makes a region more potent for your god or gods. It may very well be that pagan priests could develop a sensitivity to the piety of a region, and the power level or the likelihood of petitions being granted, and this would provide a strategic value to the cleric in decision making that did not exist before. This could get especially thorny if the adventurers were in a land of foreign gods and their priests have the edge. The very real value in planning ways to corrupt their priests and desecrate their temples in order to tip the scales is a fantastic way to change the pacing and layers of story in a mission. Again, it makes a really compelling context for the priest to adventure in the company of the rogue who can grift the foreign priest into defiling themselves with drink, forbidden food, or other carnal infractions in order to block their access to the power of the idols, which in turn allows an opening to break the power of their temple.
Subscribe to:
Posts (Atom)