Dealing with magic in low-magic worlds

[Kevlar]

How would you do it?

In my current project, magic is a rare thing that has practically become myth. I have one character, though not yet revealed, that has some magic, most of which focuses on the controlling of light (and therefore shadow), and can't really be lethal.

Where my problem comes is that I plan to introduce one character after a while, a knight from the impoverished empire to the north of my main setting. Not just any knight, he has sought out information on the secret arts and has come upon magic of blood and something else. I am seeing him as being able to drain the life force of his foes if they have so much as an open papercut, and using the remaining energy in even dead bodies for his own purposes - or even animating those dead and controlling them with his mind (Not necromancy - he'll need to concentrate on their every action). He'll also be able to take control of people. The other part is a little harder to classify, but the closest I could get is 'spirit', though this fits my world not at all. I see alot of bluish effects there.

The thing is, most of the magic in my world is very subtle, and I think his is a little less so. Should I tone him down, or will up-front, in your face magic where it isn't otherwise found strengthen him as a unique character, and, in fact, as a protagonist? Yes, that's right, his magic seems like it belongs to a villain, and though he's far from a saint he's not evil. No one's 100% evil in my story, though, they all have moral complexity.

How would you deal with magic in a world where magic is as rare as, say, North Americans who speak Swahili. And then rarer still.

 

[Ravana]

"A little less so," I'd say, yeah.

There are really two questions here, as far as "low-magic" goes:
(1) how common it is;
(2) how powerful it is.
What you're talking about may be rare–but it's immensely powerful. Which means there has to be some good reason it hasn't been pursued by multitudes of would-be world-beaters… which, of course, would make it less rare. The most traditional method (read: "cop-out") is for only a few people to be capable of magic at all; that keeps it rare–and could easily fit with what you're talking about–but it's also contrived.

A slightly better method is for magic to have sufficient drawbacks that many people would avoid practicing it… and the drawbacks themselves help to narrow the field even further. For instance: you ever notice how seldom you hear about the ones who attempt to make contracts with nether powers, and mess up the fine print–or simply mispronounce something, or try to substitute for a component they don't have, or fail to draw their protective circles correctly? You have to figure 90%+ of the people who try making such deals it don't survive their first attempt, eh? This allows for magic of virtually any level of power, but with very few practitioners. (It doesn't have to be demonic contracts, of course: anything that's 90% likely to end a career will do. Say, having to remove your own heart and replace it with a talisman. Better get the timing on that just right. Even more fun if the talisman needs to line up correctly with the major blood vessels. And you can't get help: any hand other than your own that touches the talisman ruins the whole thing… as if you could find anyone to help you do something like that.) (No, gloves don't prevent this. Or at least you aren't sure if they do or not. You want to take that chance? What is the magic word for "Do over!" anyway? )

(If you can, track down one of the "spellbooks" from the Golden Dawn… Israel Regardie is the author you should be looking for, if my memory is correct; I think the book I have in mind bears the deceptive title The Golden Dawn, or something equally sneaky. I recall their invisibility spell went on for a dozen or more pages of dense, detailed instruction–and if you stop to consult your notes, the spell fails. Of course. And that was just to become invisible. That sort of thing would be enough to put anybody off repeated attempts, even if failures had no consequence other than getting really annoyed at yourself, or at whoever came up with the spell in the first place.)

Personally, I still wouldn't have magic of the scope you're talking about in a world where most magic is "subtle"; I prefer to have whatever magic does exist be fairly balanced in terms of what it can accomplish. That might just be me, though.

 

[Kevlar]

WARNING: Infodump

By low-magic, I mean extremely rare, though low power works on most practitioners, but not all. Its also a little less rare in some specific cultures to the far south. And certain people all throughout the world have some powerful magic, but perhaps most have a little more subtlety than this character. Nothing's subtle about him though, he's cruel, he's merciless, up-front and he's possibly a sociopath.
Well, magic was going to have scarred his appearance somewhat, some stuff that looks like burns and leprosy and some messing up of his eyes, but I guess that's not strong enough to say, deter magician hopefuls, especially since it wasn't from HIS attempt to do magic. Here's some back story though: his father,like so many people in this empire, was obsessed with magic, because their lord-magisters once used it to obtain vast tracts of land. Their magic was powerful. Anyway, his father pursued any texts or tomes on the old art just as his son would. Some of what he had found led him to believe that by absorbing the energy from (sacrificing) his son (though gods are worshipped, there is no higher power, so I'm not sure sacrifice is the best word) he will gain power. Instead he kills apparently kills himself and scars his son.

I now have to say I agree, there has to be something to deter even those few unlucky saps that find magic from using it, other than just death. I don't want to go with the magical affinity approach, but perhaps your talisman approach has some merits if I develop it to fit my world. Also, magic in my world is a little less standard than say some magic words, wave your hands and present some grotesque animal part. What makes the magic work is the energy the user can command, and their own mind. If they use words to focus their mind and help prevent catastrophic failure, they'd say it in their own native language, just as if they wanted to enchant something (not that it would last forever, once the energy ran out) and wanted a visual aid they'd maybe use a picture, or their native language, but certainly not some runic language from some ancient civilization from some sacred forest.

The thing is, I don't want my magic reading like a game's magic system, and balance only needs to exist in games, but that's just my opinion. I don't even have a system, other than that they have to use physical energy (kind of like being an electric conductor) and this means if they draw on too much of their own energy they won't have enough to sustain life. There's also no 'spells' per se, because their ability comes from their mind, though they have to learn a subject before they can do anything with it, and then learn it more to do better. Want to learn to start a flame? Either find a book on it (not likely) or spend at least half your life studying and experimenting with fire (not likely, plus dangerous). Also, the act requires great concentration, or you won't get the desired result, quite likely to your demise. It also has some physical restrictions beyond energy. A magician can make fire, if he knows how, but he can't make an exploding fireball. Fire is energy, after all, and needs fuel. Keeping a flame going on their own energy would quickly kill them. Perhaps a good rookie mistake?

I will take all of your ideas into consideration, and would be fully willing to tone him down, but he still needs to be a little in-your-face when he actually actively uses magic, as its sort of a plot device, as is the controversial nature of his magic. Perhaps I'll lessen his abilities to drain foes, and to control dead bodies, in my opinion the least subtle. All in all, I have a long time to decide, as he's not like to show up soon. I'm just trying to put together profiles of all my major characters, present, past, and future as a reference and drawing board.

Thank you for your feedback, you've given me some ideas I'll need to look into. I hope I wasn't infodumping too much.

 

[sashamerideth]

Sounds like you have some of the same problems I do, with rarity of magic. Mine is different, a bloodline of magic users so diluted through time as to be little more than parlor tricks. A class of people have been breeding amongst themselves as isolationists and inadvertently created a generation of magic capable people. Magic is still rarely used as the energy has to come from somewhere, and no one save a few have figured out how to externalize that energy store. Those that have though are immensely powerful and hated.

 

[UnionJane]

This does sound a bit like a classic problem--where you only have one magic element that the book hinges on, and therefore you have to explain it extensively. Whatever you end up doing, make sure it is logical within your fantastic world. Logical. Not werewolves who can shoot lasers out of their eyes, as Steven Harper has put it.

 

[sashamerideth]

This does sound a bit like a classic problem--where you only have one magic element that the book hinges on, and therefore you have to explain it extensively. Whatever you end up doing, make sure it is logical within your fantastic world. Logical. Not werewolves who can shoot lasers out of their eyes, as Steven Harper has put it.

Cyborg werewolves... I like it!

 

[sashamerideth]

As something else that I won't use but is an interesting idea... magic happens but not to or by our characters. Rare images but they influence the world indirectly, our people live their lives around these influences as best they can.

 

[Ravana]

lord-magisters once used it to obtain vast tracts of land

Good–you've thought out the main reason there has to be some sort of limit on magic use: if it is something that doesn't have limits, then the planet would be ruled by mage-kings… no matter how few of them there are. Limiting who can use magic isn't enough; it's what they can do with it that matters. I'm always astonished at the number of people who miss this little detail.…

What makes the magic work is the energy the user can command, and their own mind.

Right with ya there, too.

If they use words to focus their mind and help prevent catastrophic failure, they'd say it in their own native language, just as if they wanted to enchant something (not that it would last forever, once the energy ran out) and wanted a visual aid they'd maybe use a picture, or their native language, but certainly not some runic language from some ancient civilization from some sacred forest.

I've never cared for "magic" languages per se–that is, ones where the words themselves were somehow "magical"–but I can tell you one reason why you might use some language other than your own: because it does make you focus on it. I'm guessing you've had the opportunity (or requirement) to study a second language at some point? Did you reach the point where you could form thoughts in it directly–rather than thinking them in English (or French, depending on which part of Canada you're from) and then translating them? Using your own language can allow thoughts to flow, associations to freely form too easily… some of this is discipline, but some of it is also the way the brain's wired up. You can memorize a particular chant/mantra in your own language to help you focus, but if it's also in some other language, the chances of it acting as a focus will be improved.

(As an aside: in Glen Cook's Black Company books, magicians are pretty "common"–relative to what you normally see in fantasy. The mercenary company the stories revolve around has three of them throughout most of the series, all from different places. One is nicknamed "Silent" because he doesn't speak at all (unlike the character named "Curly," who of course is bald). The other two use "magic words" that aren't in their own language–nor any other anyone admits to being familiar with… and their "words" don't work for each other, even when one teaches the other a "spell." They're completely idiosyncratic: apparently, they just made the stuff up.)

The thing is, I don't want my magic reading like a game's magic system, and balance only needs to exist in games

I'd actually say that game systems are where you see magic balanced the least, in most cases: think what sort of power D&D mages can unleash at little or no cost to themselves. Generally, when games talk of "balanced" magic, what they mean is that you have so many points of some sort or other to "buy" spells, or have a limit to how many you can use per day… that only "balances" them relative to the rest of the game characters. (Maybe.) The magic itself has no internal balance–and thus requires contrived and inexplicable limits (such as spells per day: does this really make sense?) to preserve even the balance with other characters. A "balanced" system would be one that causes you to lose a certain percentage of your health every time you do something "magical"… which can be adjusted to the character's advantage with practice, with preparation, etc.

I don't even have a system, other than that they have to use physical energy (kind of like being an electric conductor) and this means if they draw on too much of their own energy they won't have enough to sustain life.

Which is the sort of thing I usually suggest. Dig back to some of the earlier threads on this topic, and you'll eventually find me endorsing a magical version of the Laws of Thermodynamics: the power has to come from somewhere. It may seem that you're getting more out of it than is going into it, but that's because in this "system" most mages learn to draw small amounts of power from all around them, and expend part of that power to keep the rest in its proper channels. Fail to do this, or lose the concentration required, and either you draw too much and the attempt runs out of control, or it burns up your own personal resources… that is, your body. The power doesn't have to be drawn from all around if you don't want to: rather than cause all the plants within fifty yards to wither ever so slightly, you might decide to convert the mass a single pebble directly into energy–and if you remember your Einstein, that's a good chunk of energy. The magician's task is learning how to access it, release it, and get it to do what he wants it to. There's no reason he needs to know anything about nuclear physics: all he needs to know is there ain't no such thing as a free lunch.

There's also no 'spells' per se, because their ability comes from their mind, though they have to learn a subject before they can do anything with it, and then learn it more to do better. Want to learn to start a flame? Either find a book on it (not likely) or spend at least half your life studying and experimenting with fire (not likely, plus dangerous).

Same, again. I use "spells" in the sense of techniques others have researched to the point they know it works if they do it in precisely a certain manner… and many magicians not only never go past this point (or risk doing so), they may not even be aware it's possible to. If they are, though, they can potentially do anything that I decide isn't physically impossible (teleportation, time travel), as long as they can stay focused long enough to draw the correct amount of power, etc. Time makes another good controlling factor, by the way: the mage has to balance drawing the power quickly with drawing it at a rate he can handle it. Thus, the more powerful the effect, the lengthier the attempt will likely be–up to the limit of his ability to stay awake, aware, on task, and avoid exhaustion. Getting in a hurry is something done at one's own peril, and usually only in desperation.

A magician can make fire, if he knows how, but he can't make an exploding fireball. Fire is energy, after all, and needs fuel. Keeping a flame going on their own energy would quickly kill them. Perhaps a good rookie mistake?

Yep. Beginning mage training, steps 1 to 3, in my setting: (1) Take a lit candle and extinguish the flame with the quote-power of your mind-unquote. (2) Now cause it to light again. (3) Now go get another candle, and another, and another, until you can cause it to relight without instantly converting it into a puddle of wax on the tabletop. Starting a fire? Easy. Using exactly the amount of energy necessary to start a fire, and no more…?

I will take all of your ideas into consideration, and would be fully willing to tone him down, but he still needs to be a little in-your-face when he actually actively uses magic, as its sort of a plot device, as is the controversial nature of his magic.

It's your story: write him the way you want him to be. I'm just recommending you find ways to limit him–whatever those may be–before you start running up against the inevitable "If he could do X in situation A, why couldn't he do it (or Y, or whatever) in situation B?" You'll be a lot happier in the long run if you do; you won't have to come up with ad hoc restrictions or contrived situations when you do need him to be unable to do something.

Thank you for your feedback, you've given me some ideas I'll need to look into.

No problem; you're quite welcome.

 

[Kevlar]

My story for why that empire ultimately failed was that the newer generation of magisters were too afraid of (or uninterested in) magic to use it. I've now decided why (Tell me if these are, in your opinion, sufficient drawbacks to using magic.)
1. Potency - most magicians have none, able to do minor, practicle things. Most also need to touch things in order to do anything to them.
2. Energy - most magicians have to use their own, unable to externalize the source, making their power severely limited. Those who can externalize it usually need direct contact in order to transfer the energy into themselves. Also, a problem with drawing in too much energy is that you might burn your insides. Plus, touching a fire to get energy isn't ideal.
3. Aging and other damage - using an internal energy source magicians will rapidly age themselves. While less prominent while using an external source, the flow of energy still causes aging, and other damage, such as internal and external burning, and even cancer. I've decided that when he comes into the story my character's age will change from 34 to 22, but not his appearance.
4. Focus - a lack of it can be devestating. (Also, a problem I can see with using a second language for focus is a lapse in vocabulary/forgotten word. This would definitely cause you to lose focus, and if you've already started channeling the energy you need for your magic that could be lethal. I do see the merits if you're fluent enough though.)
5. Availability - knowledge of magic is rare, and those who have it don't like to part with it. Its rarity allows its practisioners to remain in a class of their own. What good would it do them to teach everyone else their tricks?
6. Misuse - if you don't know what your'e doing you might not just kill yourself. You might kill others, burn down your house, turn yourself into a cripple, fall into a coma, create a disease, set yourself on fire or only burn your insides, explode from lack of focusing your energy when you try to release it, etc.

I know I wouldn't want to use it with those drawbacks. Sure, you have a 0.0001% chance of surviving long enough to become the most powerful man in the world, but once you're there you get to live the remaining 5 years or so of your life from using so much. Would you find three quarters of your life a fair trade-off? I think that would sufficiently limit him to necessity.

Of course, additional suggestions would be welcome. Still trying to figure out if Ravana's talisman approach could lead to any 'Aha!' moments.

Forgot to mention, the true backbone of Telmarill's (the empire) army was its soldiers, not their few magisters (synonymous with lords in this country, even though its been 886 years at the start of my story since they lost most of their territory) who had unique and useful powers, but not enough to bring down a whole city single-handed. The best most could hope to ever achieve was some magical boosting in diplomacy (manipulation of emotions, inception etc. on the weak willed.) or cloak and dagger (manipulating light to darken shadows, muffling sound). Nothing that would age them much. The most powerful would maybe have been able to kill a few men at a time on the battlefield, to great damage to themselves.

 

[Ravana]

Yep, sounds pretty solid. In fact, the aging would have to be fairly limited for most applications, or else no one would live long enough to learn what he is(n't) capable of… though I imagine you've already thought of that.

One of my favorite limits–or advantages, depending on the mage–is preparation. If you take the time in advance, you can have spells ready to use, requiring only a trigger phrase or suchlike to release them. Applying it to your cases, presumably doing this could allow the mage to avoid some of the worst of the drawbacks: he could channel the power more slowly and carefully, using any and every focus he cares to, with whatever paraphernalia around him that makes it easiest to do, whatever sources are best to draw upon, etc. Basically the same idea as storing spells in a wand or ring: in fact, you could decide that prepared spells require binding to a material focus (other than the caster himself, though I've seen it done that way, too) in order to keep them hanging around. (And that only one spell can be bound into each item: adding a second messes the thing up. Perhaps catastrophically.) Clever mages will have, oh, maybe three or four of these at any given time–and will be good at anticipating their needs. They're the one who can turn this into an advantage. Less clever ones will be walking trinket displays whose very appearance will scream "magician," who end up spending more time rummaging through their pockets to come up with the right enchanted pebble than it would take to cast the spell impromptu… and who are just begging for someone to come along who knows how to cause magical binding spells to unbind all at once.…

In most fantasy worlds, soldiers can trump magicians, as long as there are enough of them and they aren't so afraid of magic they're unwilling to mix it up with them. Generally, all it really takes are a few guys with longbows. Or, similarly, as Steven Brust puts it: "No matter how subtle the wizard, a knife between the shoulder blades will seriously cramp his style." (And that's in a world where everybody has access to magic. My version of the same general idea: "Everybody's gotta sleep sometime.")

You should check out Glen Cook's Black Company series. There are a lot of powerful wizards–of the kind that can destroy mid-sized towns single-handedly; much of the Company's time and effort goes into finding ways to get around their powers. And a lot of the magic, especially from the Company's low-power hedge-wizards, is primarily showmanship, to achieve a psychological edge against opponents. Besides, the writing's great.

The second-language thing is pretty much assuming you're memorizing phrases, chants, whatever… in fact, you don't necessarily even need to know what the words mean: they could just be a bunch of sonorous, rhythmic sounds to you. (It could lead to some interesting consequences if you don't, but only if it actually matters what you're saying, not just using it to focus your own attention.) I wouldn't want to be ad-libbing my spells even in English: I have trouble remembering the words I want all the time. Drives me nuts.

 

[Codey Amprim]

My story has the same things going on here - barely any magic is ever seen in the world. You need to ask yourself a few questions first:

1) Why is magic so scarce?
2) What (if any) are the consequences for using magic in the open?
3) What are the consequences for using magic in general? Does he become weaker? Dependant on it? Does it drain his energy?
4) If he found a way to make his magic more potent and dangerous, why can't the first magic-user? Is it something acquired at birth and then strengthened through time?
5) Is the reason why magic is so rare in your world due to the 2nd character's dark magic abilities? Did the previous users of it destroy their kind or did others hunt them down because they were considered 'too dangerous'?

Put yourself in your character's shoes and walk in his/her/its world and question everything. It can help you figure out a majority of questions you are having and help you in the process of worldbuilding as you go.

Hope I helped.

Codey