As mentioned elsewhere, some information about magic in Middle-Earth. This isn't compulsory reading, but may be of interest if you're looking at how rules apply and so on. May also be a useful ongoing resource during the game. Most of this is not original, with the exception of my personal conjecture
[sblock]Magic In Middle-Earth
Reasons not to use magic
the Valar and Maiar particularly are bound by certain unspoken rules restricting their inteference with the affairs of people in Middle-Earth. The Istar (wizard Maiar) are able to cast magic, but rarely use the full extent of their power, especially to aid Men, Elves, Dwarfs or Hobbits. Even in battle, where the victory of evil over good would be catastrophic, the Maiar restrain themselves from using magic to sway the outcome and the assumption should be that they know something about the nature of destiny and fate that the rest of us do not. During the war of the Five Armies, for example, as the ranks of Elves and Men are being slowly beaten down, Tolkien writes: "Gandalf too, I may say, was there, sitting on the ground as if in deep thought, preparing, I suppose, some last blast of magic before the end." A blast of magic that never comes. The presumption, then, should be that Gandalf isn't composing a spell but concentrating very hard on restraining his desire to use magic and generally keeping well out of it. At times the Maiar fail in their restraint, such as Gandalf's use of his staff to blaze a trail back for the retreating Gondor Men of Osgiliath. Even so, this is hardly a cataclysmic use of magic.
Secondly, *active* or *aggressive* use of power/magic seems to be as a bugle call to all who have the capability to witness the signatures and trace of such power, typically the bad guys. Even lesser powers are drawn to the use of magic, such as the orcs of Cirith Ungol drawn to Shelob's lair after Samwise Gamgee uses the Phial of Galadriel (orcs are surprisingly magical creatures). Inactive use of power, such as the glowing magic of sting, Bilbo's sword, would seem passive and doesn't attract attention. The use of the Ring could be described as impassive, because the simple act of wearing the thing causes an effect. Then again it could be active because putting a ring on is a deliberate 'act'. I think possibly a bit of both makes the mix, but only those really atuned to the magic of the Ring are drawn to its active use, such as the Nazgul, or Sauron himself. So 'active use' is the real crux of this theory (and players should probably note that it's a theory I subscribe to
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Thirdly, the more a character in Arda uses magic, the more they are susceptible to the 'fading' effect described below. Use of magic, particularly in crafting magical items, drains the crafter of essence. This can apply also to the birthing of extraordinarily powerful characters, the parents diminishing in the flame of their offspring, sometimes even dying completely.
Power and Healing
Some wounds in the Middle-Earth setting come with supernatural aspects and I intend to include this in our game, probably as affects vs Abilities, possibly also affecting things like Feats, Skills and even Alignment. Healers, therefore, must have some Power or other to affect a cure. There's a certain amount of craft to this, so the magical healer will require tools or herbs to do the job right, and in Middle-Earth herbology is a rather complicated thing (I did send Fenris a whole heap of information on this score and will happily transfer the same waffle to anyone else whose interested- it's mostly a bestiary of prominent herbs and trees). Magical healing isn't restricted to wizards, either. Aragorn needed Atheleas to cure Merry and treated Frodo's wounds on Weathertop with similar herbs, though he admitted the stab wound was beyond his powers of healing. Elrond, not a wizard, was nonetheless able to melt the blade-shard lodged in Frodo's arm and save him from what seemed to be some kind of 'supernatural infection' which never fully healed.
Symbolism
Powerful characters (and sometimes non-powerful characters in the presence of powerful artefacts or characters) seem able to peep into a kind of symbolic world. In these visions people appear strange: Glorfindel as a glowing figure; the Ring as a wheel of fire; Aragorn as a man with a magical crown; Saruman as a striking snake etc. Interpretation is itself open to interpretation. They may show a mind's eye aspect of the world, or they may show a different world normally hidden from mortal eyes. Gandalf often speaks of a 'wraith world' and the 'other side' to Frodo as he recovers, and this was embraced in the movie imagery of the world as seen by one wearing the Ring. Symbolism is also rife in prophecy and the 'soothsaying' abilities of otherwise regular characters. Aragorn, for example, is described as a seer at one point when he foretells events and those events come to pass. However, due to the supreme impossibility inherent in trying to use fortune telling or prophecy in a larely non-linear game, I won't be including soothsaying aspects. I could hint toward far flung events based on existing Middle-Earth history, but that would probably be a pointless exercise.
"Fading"
The major powers of the world, perhaps even the Valar themselves, seem to be fading in a way that goes beyond mere attrition. The Elves of Middle Earth grow less powerful, in part, because so many of the really mighty ones have died or made the journey to the Undying Lands, though also, and particularly toward the end of the Third Age, because evil has encroached upon history and their ties to Middle-Earth have previously rooted them into the land. Like flowers in tainted soil their roots are dying. Entities like Bombadil, too, seem bound to the things they love and the lands they adopt, sometimes to the extent that they cannot travel, and always to the extent that evil caused to the land affects them too. Whatever time's effects on the good Powers of Arda, the evil ones certainly seem to suffer from an increasing leakage of Power and capability. Morgoth and Sauron both lose the ability to shed their bodies. Saruman swiftly declines in might once Gandalf breaks his staff. And when he dies, like Sauron, he no longer seems able to maintain a coherent form. His spirit is literally blown away.
My presumption is that this fading of mythological energy keeps pace with Middle-Earth's relentless descent (ascent?) toward what will one day become the 'real' world. The time of Elves, and of myth, will eventually vanish altogether and the Earth will slide into a new era where magic and monsters cease to exist, heralding the arrival of the world we know today.
Death
When Elves die their spirits go to the Halls of Mandos in the Undying Lands. These were once a part of the world and it was possible to sail there in ships. But when the Men of Numenor attacked The Undying Lands and the Valar that dwell there, so incensed was Iluvatar that he removed Valinor from Arda (and sank Numenor). Now the Undying Lands exist only in the void and cannot be reached by mortal means. Mandos is also known as The Judge. He is effectively the Grim Reaper of Elves and holds court over his Halls where the spirits of dead Elves find rest until the end of time. He is described as stern and dispassionate. In fact he cannot be easily compared to mortals, being rather the embodiment of the will of Iluvatar and a rather alien creation of his design.
An afterlife also exists for Men, but it is never fully explained in any of Tolkien's work. It is clear that Men do not go to dwell in Mandos, nor anywhere in the Undying Lands. Instead they go to somewhere unknown, somewhere beyond even 'the void' where Iluvatar exists. This may suggest heaven, or something similar. It may hint at something more enigmatic. Even the Valar don't know, nor will they until Iluvatar's grand plan reaches fruition at the end of time and space.
I have no idea what happens to Dwarves when they die in Middle-Earth. My presumption would be that they go to dwell in Aule's mansion, him being their original creator, but this is pure conjecture. I expect somewhere in Tolkien's writings their fate is explained
MAGICAL EFFECTS
Beast Speech and Mastery
Certain Dwarves and Men possess the ability to understand the magical speech of birds and animals, or even to master such creatures to their own ends. The Men of Dale and the northmen were and are able to use Thrushes as messengers and spies, for example.
Shapeshifting
The Shapeshifting of the Valar and the Maiar seems to suggest an ability to disembody themselves at will rather than change shape. Killing the body of a Maiar, for example, does not necessarily mean they are dead. Nor can you be sure their form will be the same twice. Saruman often travelled abroad in different guises, and Gandalf was known in a variety of shapes and sizes to different peoples of Middle-Earth. True shape shifting is a rare thing, applying to, for example, Beorn who could change into a black bear.
Dark Mists of Evil
Known as Unlight, this isn't just shadow or darkness but an anti-light, an intolerable absence of light, with a most horrible disorientating texture and foul taste to those of non-evil alignment. Unlight was used by Ungoliant, the great spider and ally of Melkor, to shroud himself from the eyes of the Valar. The Balrogs also use it, wrapping themselves in the stuff like a cloak. This isn't the same as the dark clouds of vapour Sauron often sends ahead of his hordes to protect them from sunlight. I would presume that is just some kind of magical veil; mystic wind and the smog of industry combined, perhaps.
Crafting
The ability to make magical items seems to be by far the most common magical power found in Middle-Earth. It is also the most characteristic. From the Elven-smiths to the Dwarven masons, from the Silmarils to the One Ring, Crafting is the power that shapes Middle Earth. According to both the Silmarillion and the LotR, people who make really powerful items also lose a part of themselves into the artefact they fashion. Similarly, when they invest a great deal of themselves into an object of extraordinary power, they can never forge that same item again. The Silmarils, for example, can never be remade. And when the trees of Valinor fell, they could not be remade by Yavanna, though she tried. Her best efforts could only cause one flower and one fruit to blossom before the trees finally perished (the flower became the moon, and the fruit became the sun). Indeed, when Sauron made the One Ring it would seem that he invested so much of himself into the crafting that when the Ring was destroyed, he went with it. There is, therefore, the suggestion that all creations diminish their creator and I think there's evidence to suggest this applies to even the smallest creation. The rule also seems to follow that the more robust or powerful the object, the harder it is to destroy. In the case of truly powerful objects, destroying them would be virtually impossible. Again, the Ring is a good example. The Silmarils are another. Most of these are lost, rather than destroyed.
Oaths
Oathtaking is a serious business in Arda! The taking of an oath is tantamount to binding oneself to a fate, and you'd better be bloody sure its a fate you're willing to subscribe to. At points in Tolkien's work it seems honour is such a serious matter that oaths must be upheld by the oathtaker no matter what, simply by duty of deed. At others, it seems the oath itself has some kind of magical effect on the oathtaker who becomes bound by his own words as if by a magical contract.
Blessing & Cursing
The blessings different characters give seem to have definite validity. Maybe a part of the blesser's power goes out into the blessed, as with the forging of items. Curses seem to work too and should not be uttered lightly, for not only does the curse seem to have an effect, it also has an effect on the utterer of the curse. Those who speak dark words upon others may bring themselves to dark deeds. A sort of mythological version of kharma.
SPELLCASTING
There are two kinds of magic in Middle-Earth; those used by ordinary Men, Elves, Dwarfs and Hobbits and those used by the empowered characters of the Valar, Maiar and so on. In most cases there is very little difference between the two, though the magic of mortals and Elves is usually artefact based, or of a very low level, while the magic of the empowered characters is often potentially powerful but rarely used (possible reasons for this given above). The exception to this, of course, is Melkor/Morgoth and Sauron's use of magic. It may be, however, that their refusal to recognise or respect every aspect of Arda's sanctimony allows them free will to do whatever the hell they like with the power vested in them, a little like thuggish teenagers behaving however they like because, in their youthful rebellion, they refuse to recognise the ethics or restraints that govern the rest of us. But as we all know, if you refuse to play by life's rules, eventually you will fall foul of your own rampant disrespect. Then again, try telling that to your average teenager... Sauron would probably be more receptive!
There seem to be different lores of magic, each of which is possibly so complex and difficult to master that the average magic user spends his entire life learning just one lore. Saruman, for example, was said to have 'plumbed the Arts of the Enemy'. Gandalf had made a study of 'Fire Magics, Gate Openings and Incantations'. Radagast's chosen magical art was that of nature and particularly the mastery of birds.
There are also possible evil magics and good magics. Galadriel says that her magic is somehow not the same as Sauron's. She learned her magic from Melian during the First Age of the Sun, and Melian was a Maiar, just like Sauron. So this is a somewhat confusing statement. Then again, Sauron's magic utilises fire and focuses on control. Galadriel's magic is of light and portent. This may be as simple as the differences get. My own assumption has always been that the Maiar gained their magical insights and methods from the Valar they worked for in the Age of the Lamps, or before. Sauron, for example, was a Maiar of Aule, and was thus taught much of crafting and making. Not much is said of Melian, but she may have been a Maiar of Yavanna if she learned how to manipulate the energies of light and thusly passed her teachings onto Galadriel.
MAGICAL LIMITATIONS
"If Gandalf would go before us with a bright flame, he might melt a path for you," said Legolas. The storm had troubled him little, and he alone of the Company remained still light of heart.
"If Elves could fly over mountains, they might fetch the Sun to save us," answered Gandalf. "But I must have something to work on. I cannot burn snow."
The Fellowship of the Ring (284)
This is a good example of material limitations, even for one so seemingly powerful as Gandalf. It seems a base material is required for the casting of physical magics, such as the creation of fire. It may be possible to create a small spark from thin air, but to create a flaming inferno would require base materials.
Flight is virtually unknown as magic in Tolkien's writing. Even the most powerful wizards were incapable of it, though levitation and transportation to high places does take place. Teleportation never occurs and, given how useful it would be (to simply teleport Frodo to Mount Doom for instance) it's easy to see why Tolkien wrote it out of his setting.
Communication. In the books, Gandalf denies that communication over long distances is possible without the Palantir. However, when the Fellowship are attempting to traverse the High Pass over the Misty Mountains the 'fell voice of Saruman' can be heard conjuring evil weather against them. This is one of many contradictions involved with the realisation of magic in Middle-Earth. The safe assumption is that communication without the palantir is improbable and Saruman didn't intend to throw his voice, but rather his voice was somehow caught up in the air as the spell took effect.
TYPES OF MAGIC
Illusions
- It is possible to alter ones own appearance. Saruman and Gandalf are both known to do it in the books.
- It probably isn't possible to create physical illusions, like mirages. I could find no instance of this.
Mind Control/Telekinesis
- Outright mind control is evil/corrupting magic. Used on Theoden by Saruman, for example, or in a wholesale capacity by Sauron upon the goblinoid nations (controversial opinion, maybe, but they are motivated, I always felt, more by fear than anything, and their unified marching and war manouvres are just too well executed for a military that likely never drills). Old Man Willow also exercises a low level of mind control over the Fellowship in LotRs and though he wasn't really evil, he was somewhat dark.
- Suggestion and Manipulation. A favourite of powerful characters who know what should be done for the right of the world, but for some reason or another, don't play an active 100% hand in affecting an outcome. Gandalf is guilty of this.
- Telekinesis. Galadriel speaks directly to the minds of the Fellowship. Sauron's voice sometimes infects the mind. The Valar speak to one another in thought.
- Intuition. Elves are most likely to display this talent, sensing danger or knowing instinctively when an enemy is in their midst.
Fire
- Potions and Concoctions. It would seem the art of creating fire is in its infancy. Gandalf specialises in magical fireworks (which one could argue may be based with gunpowder materials) and Saruman uses magical explosives to destroy the Deeping Wall in The Two Towers. Gandalf could also create a flash of flame from thin air, and this seems similar to chemical effects achieved by modern day magicians using mixtures of oxygen-sensitive powders. Not that I'm suggesting Gandalf is a mere illusionist, but he does seem to require logical base materials for his magic. He also causes Legolas's arrow in flight to burst aflame. This is clearly more than mere gunpowder, so the suggestion is a mixture of magic and physics.
- Purifying Fire. Fire as illumination. The fire of the sun, the radiance of the trees of Valinor, or the fire of the Lamps of Arda. Purifying fire gives light and life, allowing nature to thrive and the people of the world to see. While fire is also symbolic of the evil forces, it is usually darkness that best describes the nature of wickedness in Middle-Earth and in this respect, purifying fire chases away shadow and the evil that dwells therein.
- Demonic Fire. Represented by Sauron and his Flaming Eye and Melkor with his many pits of fire; or by the fiery Balrog, the volcanic forge of Mount Doom or the fiery maw of Grond, Hammer of the Underworld - the flaming battering ram used by the orcs to smash the door to Minas Tirith. In this sense, rather than a purifying element used to create life-warming/creating flame, fire is a frightening, burning, painful force, symbolic of destruction and torture, but ultimately emblematic of Hell. Of course, there is no such place in Tolkien's universe, only the void. The symbolism is used nonetheless.
Light and Unlight
- As with fire, light is used to chase away darkness, the epitomy of evil in Middle-Earth. Unlight is not simply shadow, but a complete absence of light and represents the presence of an evil element unique to the mythology of Arda.
Enhanced Nature
- Intelligent birds and creatures. Certain animals, particularly birds, possess uncanny intelligence and even the power of speech. This was probably Tolkien's interpretation of suggestions from his friend C S Lewis for anthropomorphism as part of fantasy literature. C S Lewis, of course, took this sort of thing a bit far.
- Intelligent fauna and trees. Such as Old Man Willow, or the Huorn, trees grown so old that they have developed sentience. Certain grasses and reeds also possess a kind of life, though it is more instinctive than sentient.
- Gigantism. Giant eagles, massive spiders, vast elephants and so on.
- Susceptibility to good/evil. The forests of Lothlorien are a paradise thanks to the virtue of the Elves who dwell there, while the depths of Mirkwood are turned evil by the presence of the Necromancer.
Door Magic
- Creating magical doors that are invisible, or that appear only at certain times.
- Creating secret doors that are entirely visible, but which have no visible door handle and which can only be opened using magic.
- Incantations for opening magical doors.
- Creating doors where before there was a wall (Tom Bombadil cracks open the Barrow Mounds, for example.)
Staff/Wand Magic
- Possible possession of the maker's essence (concurrent with the theory that some of the creator is invested into anything he creates). Could this be why Gandalf is considered more powerful with his staff? When Saruman's staff is broken, he practically fades to nothing! Though great emphasis is placed on Gandalf's staff, it is also worth noting that he single handedly killed a balrog using only his sword and bare hands. If his staff was so powerful, why not use that? Another confusing and contradictory angle of Tolkien's magic.
Artefact Magic
- From talking purses to Rings of Power, the artefacts are the singular most prolific instance of magic throughout the chronicles of Arda.
- Jewellery. Treasure has an odd effect on those who believe it is rightfully theirs, or who desire it greatly. Jewels, gems, gold and glittering things are the biggest culprit. Dragons horde and kill for it, dwarves guard or steal it, Elves make it and try to liberate it, Men are driven insane by it and even use it as a form of currency (poor things). The brightest gemstone may have no inherent magical power (the only magic in the Silmarils, for example, was their brightness) but they will still have the same effect as the most potent spell.
- Artefacts of Power. Some artefacts have genuine power, derived from their significance in the historical annals of Middle-Earth, usually.
Remnant Magic
- The memory of great or dire events is sometimes imbued into the very land, or stone. When Melkor battled with Ungoliant upon arriving in Middle-Earth, for example, it is said that his cries were so terrible that they inhabited the land for many ages thereafter.
If anyone has anything they'd like to add, I'll throw it into the list.[/sblock]
