why MAGIC USERS are more interesting than magic systems
Summary
TLDRThis script delves into the intricacies of magic systems in fantasy, emphasizing that the users of magic are as crucial as the systems themselves. It introduces the 'Almighty Pyramid of Magic Users', a framework to analyze magic usage diversity, knowledge, and logistics. The speaker discusses how magic systems can be hard or soft, diverse or same, affecting the narrative's feel and purpose. They explore how user knowledge varies, impacting interactions and combat, and how logistics like classification and power scale frame the story's magic-related structure. The goal is to inspire creators to consider user perspectives when developing engaging magic systems.
Takeaways
- đ§ The importance of magic users in defining a magic system is emphasized, as their interaction with the system shapes the reader's perception of magic.
- đ 'Use diversity' is introduced as a key concept, highlighting the variety in how magic can be wielded and the inherent differences in the magic system itself.
- đŻ The magic system's classification into 'hard' and 'soft' magic, and 'diverse' vs 'same' categories, influences how magic is perceived and utilized within a story.
- đ Examples from various media like 'My Hero Academia' and 'One Piece' illustrate the concept of use diversity and how it can be implemented effectively.
- đ The 'knowledge layer' of magic users is explored, discussing how much they understand about the magic system and the implications of differing knowledge levels.
- đ€ The impact of knowledge on user relationships and power dynamics is considered, with the potential for knowledge disparity to affect combat, beliefs, and social structures.
- đ§ The logistics of magic use, including classification, learning structures, and power sources, are discussed as foundational elements that set the stage for a magic system.
- đ The 'Ghibli Corner' is introduced as a quadrant of magic systems that are whimsical and defy conventional logic, offering a unique narrative experience.
- đź The concept of 'mystique' in magic systems is presented, where a singular known aspect of magic is explored in depth, fostering a sense of familiarity and curiosity.
- âïž The video script suggests that writers often start with a preconceived idea of the magic system and then refine it through the lens of user interaction and system logistics.
Q & A
What is the significance of considering the users of magic in a magic system?
-The users of magic are crucial as they define the perception of magic within the story and to the audience. They bring the magic system to life and can make a high concept system more relatable and engaging.
What does the term 'use diversity' refer to in the context of magic systems?
-Use diversity refers to the variety of ways magic can be utilized by different users, which can be influenced by the inherent diversity of the magic system itself or how users choose to apply it.
How does the diversity of a magic system affect its perception?
-A magic system's diversity can lead to a wide range of applications and user experiences, which can make the system feel more dynamic and engaging. It can also lead to unique character interactions and problem-solving scenarios.
What is the relationship between 'use diversity' and the hardness or softness of a magic system?
-Use diversity is adjacent to the hardness or softness of a magic system. Hard magic systems with diverse applications provide a playground for users, while soft magic systems with less diversity can be more about wonder and mystery.
Why is it important to consider the knowledge layer in a magic system?
-The knowledge layer determines how magic users understand and interact with the magic system. It affects their confidence, curiosity, and the way they approach using magic, which in turn influences the reader's perception.
How does the difference in knowledge between magic users impact the story?
-The disparity in knowledge can lead to power dynamics, conflicts, and different approaches to problem-solving. It can also affect the pacing and tension within the narrative.
What is the significance of logistics in a magic system?
-Logistics provide the clear, structured aspects of magic, such as classification of users, learning structures, and power sources. These elements help frame the story's overall structure and the scale of magical abilities.
How does the scale of power within a magic system influence the story?
-The scale of power sets the tone for the story's conflicts and the stakes involved. It can range from intimate, personal struggles to large-scale, world-threatening events.
Why is it beneficial to consider the user's perspective when developing a magic system?
-Focusing on the user's perspective allows for a more intuitive and engaging magic system. It helps in creating a dynamic where readers can problem-solve along with characters and enhances the overall narrative.
How can understanding the different layers of a magic system help in worldbuilding?
-Understanding the layers of a magic system, such as use diversity, knowledge, and logistics, provides a framework for developing a rich and consistent world. It allows for the exploration of themes like class systems, politics, and racial dynamics.
What is the purpose of the 'Almighty Pyramid of Magic Users' mentioned in the script?
-The 'Almighty Pyramid of Magic Users' is a conceptual tool used to analyze and categorize different aspects of magic systems, helping to understand how they contribute to the story and the user's experience.
Outlines
đ§ââïž Magic User Diversity
The paragraph emphasizes the significance of magic users in defining the perception of magic within a story. It argues that while the magic system itself is important, the variety of users and how they wield magic is crucial. The concept of 'use diversity' is introduced, suggesting that the inherent differences in the magic system and the unique ways users apply it are what truly bring a magic system to life. Examples from various media, such as 'My Hero Academia' and 'One Piece', are used to illustrate the point that even within a single system, the diversity of abilities and user application can be vast. The paragraph also touches on the idea that the magic system's restrictiveness or flexibility can influence how users interact with it and the story's development.
đą The Magic Quadrants
This section delves into the concept of a 'hard' versus 'soft' magic system and how it intersects with the diversity of magic use. The speaker creates a quadrant system to categorize different magic systems based on these two axes. The first quadrant, characterized by hard and diverse magic, includes systems like 'Lightbringers' and 'Chromaturgy'. The second quadrant represents hard magic with less diversity, such as 'Orogeny' from 'The Broken Earth' series. The third quadrant, dubbed the 'Ghibli Corner', is for soft, diverse magic where rules are less defined and wonder prevails, as seen in Studio Ghibli films. The fourth quadrant, which lacks clear examples, would represent soft magic with a sameness among users. Each quadrant is said to evoke different feelings and serve different narrative purposes, influencing how magic is perceived and utilized within a story.
đ Knowledge and Logistics in Magic Systems
The final paragraph shifts focus to the knowledge aspect of magic systems, discussing the layers of understanding that magic users have about their abilities. It raises questions about the extent of a user's knowledge, the disparity in knowledge among users, and how they acquire more knowledge. The paragraph suggests that these factors can significantly influence user interactions and the narrative's dynamics. It also touches on logistics, such as the classification of users, learning structures, and power sources, which set the stage for the magic system's impact on the story. The speaker concludes by emphasizing the importance of considering the user's perspective when developing a magic system, as it enriches the narrative and provides a more engaging experience for the reader.
Mindmap
Keywords
đĄMagic Systems
đĄUse Diversity
đĄHard and Soft Magic
đĄUser Perspective
đĄKnowledge in Magic
đĄLogistics
đĄScope of Impact
đĄAlchemy of Storytelling
đĄCharacterization by Magic
đĄProblem-Solving Function
đĄMystique
Highlights
Magic systems are often the focus, but the users of magic are equally important in defining the magic's perception.
The 'almighty pyramid of magic users' is introduced as a framework for analyzing magic systems.
Use diversity is the first layer of the pyramid, emphasizing the variety in how magic is used.
Examples like 'My Hero Academia' and 'One Piece' illustrate vast use diversity where no two users have the same ability.
The concept of hard and soft magic systems is explored, affecting how magic is perceived and utilized.
The 'Ghibli Corner' is a quadrant of magic systems that are unique, with their own laws and a sense of wonder.
Knowledge about the magic system varies among users, affecting their interaction with and perception of magic.
Differences in knowledge between users can lead to power dynamics and affect combat and storytelling.
The acquisition of knowledge by users is crucial and can be a point of character development.
Logistics is the third layer of the pyramid, covering the practical aspects of magic use.
The scale of power among magic users sets the stage for the story's magical conflicts.
The order of the pyramid layers is based on the 'scope of impact' on the story.
Writers often start with a preconceived notion of the magic system and build from there.
The video concludes by emphasizing the importance of understanding the magic system's role in storytelling.
Transcripts
Magic systems get a lot of attention. And for good reason, itâs magic. Stormlight inhaling, Â
cursed energy using, scriving, all dope stuff. But something I think might be more important Â
than the system itself and doesnât get enough attention are its users. Who wields the magic?Â
There are high concept systems that are just cool regardless of the person itâs attached to, Â
but even then the users still define it. And thatâs the keyword here, definition. Â
The perception of magic both in-world in the story and to whomever is experiencing Â
it is largely defined by the users. I mean how differently would we perceive the Lord Â
of the Rings magic if âgrandâ wasnât a word Tolkein decided to tie to everyone who had it?Â
The system is only one half, these guys, the ones directly affecting the course of the story, Â
they bring it to life, but the question is how? Hold on a second.Â
Observe. The almighty pyramid of magic usersâą. Every layer is Â
necessary to create that premium chemical reaction between the user and the system.Â
I analysed way too many fictional characters doing things that arenât possible for this. Also Â
this totally isnât an arbitrary list I came up with for my own writing. I am objectively right.Â
In an order that I will disclose later, this first layer is what I have dubbed, âuse diversity.âÂ
On the surface, you would think itâs self explanatory, how differently do people use Â
the magic right? But it goes several layers deep. Like for starters, what is the system in question? Â
Is it even wieldable? Again, half and half. The system could vary wildly in terms of Â
diversity, which isnât always recommended. Go deep not wide, thank you Brando Sando.Â
But it can be done and done well. Fantastic example of this is an anime My Hero Academia, Â
or One Piece actually if you ignore the other thing where Â
no two people ever really have the same ability. In that case, the use diversity is massive, people Â
are obviously going to use it very differently because they donât have the same power.Â
I see use diversity not as how differently people use magic, Â
but an inherent difference in the system. So itâs less about there are different styles of Â
earthbending or waterbending and more about there are three other full bending disciplines and as a Â
rule, you do not have access to them. Iâll get to why that divide, Â
as little as it may seem, is very important. But the thing is as varied as the fruits are Â
in One piece, Oda still allows classification, an umbrella type that these unique magic fruits Â
fall under. Horikoshi still narrows My Heroâs diversity. There are techniques like flashfire Â
fist that you can only do if your powers work a certain way and also broad classifications Â
which implies some level of sameness. A different level of diversity is Â
the type of system where you have a standard set of abilities, but then there is heavy Â
customisation or you can pick and choose. Think Nen from Hunter Hunter.Â
Here is still very diverse, but they all use the same basic principles. Which is always Â
fun to see, and it can say a lot about the character by how they choose to customise.Â
Side note, characterisation by magic is immensely fun to play with.Â
Yet another level of diversity, though is: doing magic thing A will always give Â
you magic thing B. This style is the most restrictive when it comes to use diversity.Â
I mentioned Sanderson, this is pretty much every magic system he does. And as much as Â
this is restrictive, the users can still find ways to apply it that are unique to them, Â
in spite of constraints and rules. This is the, âThere are different Â
styles of earthbending.â Speaking of rules though, Â
you might have noticed how the âuse diversity spectrumâ is similar to the hard, soft magic Â
spectrum. This is really fascinating because the thing is itâs not parallel, Â
itâs actually adjacent. Again, half and half. No shot Iâm the guy using graphs to explain magic. Â
Yes I am and I absolutely love it. This first quadrant with hard, Â
diverse magic is where a surprising amount of magic systems fall into, like a lot. Itâs Â
usually in the form of the system divided into classes and it being made clear what Â
those classes areâwhat they bring to the table. On the harder side we would have Lightbringers Â
Chromaturgy, around that same hardness scale but more diverse would be Stormlightâs Surgebinding. Â
A little bit softer less diverse but still hard leaning is where Avatarâs Bending would Â
sit and a similar softness but way more diversity would place Jujutsu Kaisenâs cursed techniques.Â
Also go watch that anime if you havenât, Iâve been screaming season 2âs praises off the Â
rooftops. Mainly because it's a fantastic study for the relationship between user and system.Â
The second quadrant housing hard magic systems with a sameness about them has Â
Broken Earthâs Orogeny, Aon Dor from Elantris but a little on the softer sideâand if we were Â
to take a lot of the individual classes from the previous quadrant as full on magic systems, Â
they would probably fall in line really well. Here everyone is pretty much given the same Â
abilities and since itâs hard magic, itâs exposited decently well which has Â
its own effects in the story that I will get to, as well as what all this means.Â
But this third quadrant though, I have christened the Ghibli Corner. Nothing really makes sense Â
here and everything is different, unique and has its own laws that it plays by. Watch a Â
Ghibli movie, youâll get it immediately. This last corner thoughâI couldnât come up Â
with an example, if you have any in mind please let me know, because as commonplace as hard, Â
diverse magic systems are, soft systems with a samenessâa lack of inherent diversityâare just Â
as rare. Either that or Iâm not as well-read as I thought, but I found it intriguing regardless.Â
I imagine a system, letâs say telekinesis. Everyone has the same power, move stuff Â
with your mind, but nothing else is really given. No extent, no limits, no conditions.Â
If it wanted to move up the scale with hardness, maybe we would explain how you could only move Â
the amount you weigh, and then only at the speed you could throw it at. Let's actually make speed Â
scale with the size of the object. People would definitely use that differently but if we wanted Â
to shift it towards diverse we would have to come up with a fundamental delineation in ability. Â
These guys can only push, these guys can only pull, these guys can only affect inorganic matter.Â
BUT as fun as this is breaking it down, Iâm not just doing it for proprietyâs sakeâIâm not Â
classifying to classifyâeach of these quadrants have their own unique feeling, a purpose they Â
bring to the magic system and the story at large. Which is why looking at your system from the Â
userâs perspective is so interesting. The first quadrant systems reads like Â
a playground, itâs hard-leaning which means thereâs a level of understanding that you have, Â
but since itâs diverse, it becomes a matter of application. It's easily Â
adaptable towards a problem-solving function. Which user is best for the situation at hand? Â
Whoâs most geared towards solving this issue? Knowing this is what youâre doing with the Â
magic system means you can put the character in scenarios where they are the worst person for Â
the job. Or if a user breezes through a problem we know, âHey, their magic is especially adept Â
at this, the rules were set up earlier and they were pretty much made for this problem.âÂ
If the first quadrant is a playground though, then the second quadrant is just ground I Â
guess. Or rather groundedness. Everyone has the same abilities, you the reader Â
know exactly what they do, it is the epitome of doing magic thing A will equal magic thing B.Â
The second corner is a tool. And this is why acknowledging Â
that divide I mentioned is so important, because it separates the first and second Â
quadrant. People can obviously use tools differently but here there is no inherent Â
diversity, they all get the same thing. Itâs more focused on how adept you are at Â
using that tool and it tickles the logicing part of the reader's brain, you might even figure out Â
applications before theyâre explained to you. Because youâre imagining how you would use it.Â
And it is so satisfying when youâre shown a new application to solve a Â
problem that makes sense and you could have thought of within the rules but didnât.Â
The Ghibli corner however is the complete opposite, it runs on pure wonder. Since nothing Â
really makes sense and everythingâs different, that becomes the constant; that you donât know Â
anything. And that could be used to achieve a lot of different emotions, pure wonder like I said, Â
boundless curiosity, unbridled fear of the unknown. Because this magic doesnât have a shape, Â
it becomes incredibly simple to conform it to whatever the story demands, amplify themes, Â
characterise. Simple, not easy though. This is what purists believe all magic in Â
fantasy should be, but I digress. Systems in this quadrant can do problem solving, Â
but eliminating stakes rather than navigating them is almost never a good story thing.Â
And magic is kinda prone to that especially if the particular aspect thatâs used is not explained Â
sufficiently enough, which it probably isnât in this case because of the nature of this quadrant.Â
Which is probably also why this style of magic tends to solve an immediate problem Â
but make the overall situation worse. Increasing stakes not lowering them.Â
If this is pure wonder though, IÂ see this last quadrant as mystique.Â
Because there is a samenessâthereâs not too many different things to keep track ofâthe Â
reader will probably develop familiarity, thereâs one aspect they kinda understand. Â
Itâs the âEveryone has telekinesis,â thing. But since nothing else really gets revealed because; Â
soft magic, it would revolve around that singular known concept. Without the upper or Â
lower limits of what that means being revealed. I imagine a common theme revolving around Â
magic would be learning more about the system probably with a bit of apprehension. Maybe Aon Â
Dor from Elantris actually falls in here. By the way if youâre curious about any book Â
I reference, itâs linked down below. Read the synopsis, maybe pick it up for fun or further Â
exploration, which I always recommend you do. Again, these are just theories and machinations. Â
Oh wait I forgot, Iâm objectively right. Regardless of where a system largely Â
falls though, it can still have specific elements that pull from other quadrants.Â
But that takes me to the second layer of the almighty pyramid, where we start to Â
tackle knowledge in every facet of the word. Knowledge isnât just power, here itâs magical Â
power and once again it has its own mini layers. Questions.Â
How much do the magic users know about the system? What is the difference in knowledge Â
between users? How do they acquire more knowledge? Just like use diversity, itâs something you might Â
touch on while coming up with the system on its own, but it doesnât really get concrete Â
until you start writing about the people actually using the system. You donât get a Â
real feel for how answers to these questions play off each other till itâs on the page.Â
And I wasnât expecting it to go there, but somehow the knowledge layer ends up determining Â
a lot of relationships. My train of thought:Â
How much do the magic users know? This question intrinsically implies that there is a lack of Â
knowledge, that the users donât have complete comprehension of the magic system. Kind of Â
like a puzzle but you only get one piece at a time. And how adept you are at magic Â
stuff depends on how many pieces you have and if youâve put them in the right place.Â
Pretty hard to get a full picture, and some users start with more pieces than others, Â
some users get individual pieces faster. Regardless of the rate of learning though, Â
the average base knowledge of the users determines their interaction with the magic.Â
Are they apprehensive or curious because they donât understand? Confident or reverent because Â
they do? Shaping their perception of the magic and by extension, the readersâ. Stormlight Archives, Â
the behemoth it is, does this pretty well; it has this magical renaissance thing going Â
on with people really trying to wrap their head around something they donât understand.Â
But it leans into the next question. What is the difference in knowledge between users? If Â
the first question deals with the relationship of user to magic, this interaction is user to user.Â
What does it mean when one person understands the system better than another? Does it mean more Â
proficiency? Is it a strength or ranking thing? Is it actually desirable to not know as much Â
because it can mess with you? How does it change the way they fight, when combat is involved?Â
If there is a big difference in the amount of puzzle pieces one user has over another, Â
it goes without saying it can change how they interact, fight, talk, beliefs even. But also Â
the perspective you choose to convey the story to the reader changes how they look at it as well.Â
Side note, this why I love writing in multiple POVS, itâs so fun painting the Â
same thing from varied perspectives, characters asking different questions.Â
The third however, how users acquire more knowledge is a moot question Â
if the answer is they canât acquire more knowledge, they canât increase their skill, Â
which is mostly true for softer systems, but can be for the other side of the spectrum as well.Â
This relationship is between the user and themselves. It can characterise them by how Â
eager they are to learn. If the means towards learning is unsavoury, will they go that far?Â
This also touches on whether their ability is inborn or not, if thereâs still a learning Â
curve after that, if the magic is even teachable. Inborn abilities could explain why acquiring more Â
knowledge is impossible, you just gotta have it. Which could lean into other worldbuilding Â
spheres like class systems, politics, races. Think of knowledge like youâre playing a video Â
game where you build out your character and each of these three questions are Â
sliders that change how they interact with the story, at least around magical themes.Â
And there are other questions, other sliders as well. How trustworthy is the knowledge? Â
What is the limit to the skill a person can attain and what affects that limit? Â
Can proficiency be measured and how? Iâm sure you can come up with more.Â
These three are the ones Iâve deemed most important to my stories. Your stories can Â
prioritise others, just deduce what the answers to those questions can mean for it.Â
That being said, the third layer is what you probably had in mind when you heard me Â
say magic users and that is logistics. Not the word you thought I was going to say?Â
This is the clear, cut and dry stuff, the part of magic relating to users you would naturally Â
go over when youâre just coming up with a system. Is there a classification of users? What are they Â
called? A structure to learning? Different sources they draw from? Methods they use? Â
Different races by extension? How rare is it to be a user then? Questions upon questions.Â
But the one that I think impacts the story most is: what is the scale of power? It is a simple Â
thing but it frames the entire structure of the story relating to magic. If users are chucking Â
suns at each other, it becomes harder to write an alley gang war where everyone has powers.Â
Also remember when I said I would disclose how I ordered the layers, yeah this is that Â
part. And the order is the âscope of impact.â Because these are the questions a lot of writers Â
naturally default to doesnât make them any less valid. These three layers are pretty much of the Â
same importance to magic and the story as a whole. But their effect on the story differs, Â
narrowing along with the pyramid. The logistic questions impact on a Â
much broader scale because itâs pretty much set for the entire story when you Â
answer them. Some answers can change, and lead to their own interesting outcomes, usually Â
for the plot, not just purely worldbuilding. But theyâre constant for the most part, firm Â
structures that all these sliders can play off of and when one changes itâs usually a big deal.Â
Imagine a magic system where they all draw power from the same sources. We want it to be a pretty Â
rare race that uses this magic but their demand is high and the resources donât always meet that.Â
Those are our constants, now we apply the knowledge sliders.Â
They know a lot but not everything about the magic systemâthey have a decent amount Â
of puzzle pieces. Knowledge is pretty varied thoughânot everyone has the same pieces and Â
getting more is doable but not always easy. So far weâve created a situation where itâs Â
every user for themselves, maybe a little war for resources even.Â
But what does the diversity spectrum bring to the table?Â
As weâre thinking about how this magic is used for the plot, if at all, we decide itâs going to be Â
a harder system, so that would mean the puzzle pieces users do have are shown to the reader.Â
And since we already have this battle for resources kinda going, Â
we could amplify that feeling of scarcity by giving everyone the same abilities.Â
So the readers are told exactly why those resources matter and what a user can do with them, Â
because we decided the nature of the story needed a harder system.Â
And at this point thereâs a decently clear understanding of the strengths and weaknesses, Â
which creates a dynamic where readers can problem solve along with characters.Â
The magic system I just described is a deconstruction of Mistbornâs Allomancy.Â
And thatâs another thing I want to touch on, writers tend to start with the answer first.Â
I donât know where Sanderson started from, but I can guess it was somewhere along the lines of:Â
I want a system where people ingest metals to give themselves different abilities. I Â
want this ability and this ability to tie to these metals, and itâd be cool if some metals, Â
some abilities are rarer than others. Maybe Tolkein did start by tying the Â
word âgrandâ to every magic user and figuring out what it means from there.Â
Whatever it is, you have preconceived notions about the magic system itself and how it's Â
applied. That gives us the foundation of our pyramid, our constants. Then you can move up Â
the pyramid, ask all these questions, play with sliders and figure out what the answers mean Â
for your story. Then figure out which answers can elevate that particular piece even more.Â
Because even though you have what you want to do in mind, this isnât a formula to plug in Â
some parameters and the output you get is a complete, engaging magic system.Â
No. It works in tandem as you develop the system, an effort to recognise what Â
youâre doing in the moment so it becomes more and more intuitive. Keeping users in mind, Â
instead of only what the system can do is a great step towards that.Â
And as always, the goal is to inspire through understanding, not to have all this crammed Â
into your head while trying to write. And in the vain of understanding, this video talks Â
about why you want to have a magic system in the first place. I hope I made some sense. K Bye.
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