Subject: Another series like that...
Author:
Posted on: 2013-09-01 12:45:00 UTC
...would be the Artemis Fowl series. The faries that live underground use highly advanced technology alongside their normal magic.
Subject: Another series like that...
Author:
Posted on: 2013-09-01 12:45:00 UTC
...would be the Artemis Fowl series. The faries that live underground use highly advanced technology alongside their normal magic.
I got into a discussion recently with a friend about the differences between magic and technology, in the context of why I researched Galactic Age so thoroughly. Together, we made a couple of very interesting points, which I will summarize here.
I was the first to point out that in a lot of the more well-thought-out fantasy universes (including my own aborted Thinking About Fantasy series), arcane magic is really just that universe's form of technology: mages study the natural laws of their universe, which are logically consistent despite being radically different from our own, learn how they operate through experimentation and hypothesis (science), and then figure out how to exploit those predicable behaviors to bring the "forces of nature" under human control (engineering). So while the result is something that looks radically different from the real world's technology, it is fundamentally the same process.
Sam agreed, and mentioned that in a lot of "less-well-researched" science-fiction settings, technology operates more like magic: put a bunch of wires and glowy bits together, push some random buttons, and presto- it's a laser gun! Or maybe a microwave? We don't know, and don't bother trying to understand how it works, you're either a scientist who can make anything out of anything with the proper application of technobabble, or you're just hopelessly out of luck.
This was a major idea. But it doesn't tell the whole story. Yes, there's levels of logical consistency/intensity that span multiple genres, but those genres themselves are also qualitatively distinct things- "magic" and "technology" are more than just levels of nitpicking. That's why I've created a two-dimensional classification system: logical sense and nonsense are referred to as "hardness" or "softness", respectively, and are separate from what we will be discussing as our main point today: features of the "magical" as opposed to the "technological."
Basis: Probably the aspect of magic/technology tied the closest to hardness and softness is that of which physical laws the setting obeys. In hard technological settings, the physical laws of the fictional world are the same as ours, and soft technological settings at least put on an attempt to seem that way as well. In hard magical settings, however, the laws are often very, very different from ones that we are familiar with (no chemical elements or subatomic particles, maybe even no Newtonian motion), and in soft magical settings they likely do not exist at all. Seeing a hard setting, with radically different physical laws, that still looks technological, is very rare. However, this isn't a reliable metric because it can break down entirely in soft settings.
Objects Vs. People: It's surprisingly consistent: technology relies on objects to function, whereas magic needs human intervention. In a technological setting, even though a person is often involved in the process of doing Cool Things, what they do is operate and control a device that actually manipulates the powers involved. In a magical setting, generally you actually need a mage to be there, casting the spells, and the "equipment" that said mage uses is generally minimal. Occasionally in magic you will encounter constructs such as golems and enchanted objects that do Cool Things with little to no human intervention, but I guarantee you that said constructs will have been created by people, without the help of other devices.
Corporeality: Magic generally involves a great amount of incorporeal "glowy stuff": instant runes, summoning circles, beams of light, apparitions and puffs of smoke, that sort of thing. Even when physical objects are used, they tend to generate at least one of the above when active. Technology, on the other hand, tends to rely much more on matter, or physical structure. There's glowy stuff there as well, but it's almost always emitted by, contained within, or attached to a sizable chunk of hardware.
Accessibility: Tying into the corporeality and object/person dichotomies, technology can often be mass-produced to make it accessible to the everyday person. With magic, that is often not the case. Depending on the setting, magic may be vanishingly rare and disbelieved entirely by most people, but the most accessible it seems to get is to have some enchanted weapons, potions, etc. purchasable the general population, as well as occasional mages who are about as accessible as chip designers or other highly-educated professionals in a technological society. Any more than that, and the setting starts to seem like a hybrid of magical and technological rather than just more sophisticated magic.
Structure: In conjunction with the above, technology seems to generate new materials (especially metals) that fall into active use in the next generation of technology. Magical neomaterials are rare, and not often used for building.
Shape: One of the easiest ways to make something look magical or technological is the way it's shaped: technology tends to have either smooth lines or right angles with lots of geometric shapes, while magic is generally more squiggly. Except for circles. Magic likes circles for some reason.
Character Sets: This one is actually kind of strange, but oddly persistent. Technology tends to be numerical- everything encountered has measurements associated with it ("Warp core power at 53% and rising!"), science is done with math and equations, and of course computers spout nonsensical strings of binary if you so much as look at them funny. Magic on the other hand, is much more literary-based. There are of course a bunch of spells and spellbooks involved, but the instant runes are also, well, runes, the magibabble is much more object-oriented, and the standard image of magical research involves the wizard browsing through hundreds of old tomes in some arcane library (as opposed to the chalkboard-of-equations setup in science).
I've played around with the level of 'hardness' in magic myself; my own preferred magic system has a limited number of spells, each of which is accessed by tactile sensation. In simple terms, if you (ie, anybody) feels the right pattern of ridges, you cast the spell.
That's a science, even if no-one knows how it works. For plot reasons, though, I've had to shift it into something entirely magical: there are a limited number of spells, each of which is cast in an entirely random way, and only by people who are capable of casting magic. Of course, since the beings working with the magic still verge toward the science end of the spectrum, they find it incredibly frustrating that there's no pattern to how it works.
And another distinction... you mention 'Objects Vs. People', but there's also the matter of belief. A fair number of magic systems (not all, but lots) require the caster to believe the spell will work, or at least to put some indefined form of willpower into it. Technology, on the other hand, will work whether you think it will or not.
hS
I don't mean to be a pedant (although I very much am), but technically what you've done is make the magic "softer", not more magical. This particular dissertation mentions hardness and softness, but doesn't really go into detail. A lot of people do confuse hard/soft with magic/tech, which is partially why I wrote it. Of course, I'm demonstrating quite a bit of hubris by taking it onto myself to define what is magic and what is technology, but then all mathematics starts with arbitrarily defining something useful and then improving it over time.
Also, great point about the "belief" issue. It, and the idea of certain people having an inborn gift to use magic while other people are Muggles, do indeed seem to show up a lot more often in magical settings, probably because of the person-focused nature, and while it tends to show up in softer settings as opposed to harder ones, it is EXTREMELY rare in technology.
I guess the point you're making is that you can treat either magic or technology as a science - it can still be 'magic' if you follow a precise formula to achieve the same results every time, according to a known pattern, just as it can still be technology if you use a wishy-washy, 'you have to get a feel for it!' approach. Individually, your descriptors can be hit with counterexamples, but as a collection, they provide a pretty compelling structure.
hS
That's pretty much it. I knew you'd disambiguate it properly yourself pretty quickly. PPC has some SMART people.
(Oh yes, and I should be getting rid of this crappy keyboard soon, so no more extraneous 'r's in the post titles!
Also, just to better bring your point home, I'll make an example of a continuum where magic and technology are deeply intertwined: Magical Girl Lyrical Nanoha.
Here, magic is cast with the help of portable advanced computers (called Devices) and is no more and no less than a science, to the point that spells are cast through mathematic calculations and magical constructs are referred as "programs". Mana is basically just a form of energy as any else.
As you and KittyEden have pointed out, there's a load of examples of people mucking about with magic, often making it more technological. But what about the opposite? Can we take technology and make it act more like magic?
Well, actually, I guess the PPC has already done that. There is a faint technological basis to the portal generators (they take written plotholes and inject them into the Words), but they... well, actually, let's go through AdmiralSakai's list and see where PPC technology falls on the 'tech-magic' scale.
-Basis: While the basic laws of physics are the same as ours, PPC tech is very much influenced by the Laws of Narrative Comedy. In the real world, excess punctuation does not fall as rain, and portals cannot be created by bad writing. Magic
-Objects Vs. People: While a lot of the weird stuff that happens to PPCers just happens, all the 'technology' - the things that give them special abilities - is object based. This even applies to things that originally weren't: the 'canon shields us from view' has given way to an electronic SEP field. Tech
-Corporeality: No contest here. Portals, CADs, all the good stuff - it's all either a hunk of metal, or (in the case of portals) emitted by one. Tech
-Accessibility: I'm not sure on this one. PPC technology is mass-produced - but it seems to be mass-produced by one person, or at least a small group (DoSAT). What distinction do you draw between freely-available magic swords, and freely-available personal computers? Sure, one's magic, one's technological, but they're both equally accessible.
-Structure: The PPC has a fair number of neomaterials - Generic Surface, Concrit - but they're not produced technologically. They come out of the altered laws of physics, I suppose.
-Shape: Yeah, all right, PPC tech is very angular. Tech
-Character Set: Can I just say, this is one of the more interesting things you've highlighted. I think again PPC tech is, well, technological - CADs give nice percentage readouts, for instance, and you have to punch in coordinates to get somewhere. Tech
So apparently I'm wrong: PPC technology is not very magical. It's straight technology - just in a world with different rules.
hS
I'd call it straight technology, but very soft.
We have a fair history of people using their willpower to manipulate the story while on the job. I guess if you limit your analysis to the technology itself - portal generators, CADs - then it's all technology... but that's a self-selecting criterion. I reckon if you pull in things like Agent Lou talking to her author, the DTE suffering from (and occasionally weaponising) punctuation rain, spontaneously-appearing minis, various ex-Sue agents who use their Sue abilities to warp the story, the Laws of Narrative Comedy, manipulating the Laws of Narrative Comedy, etc etc etc... then I think the setting swings more towards magic.
hS
You've got a point. Given that we work in both technological and magical canons and generally deal with reality abuse in every form, technology, magic, and everything else get mashed up with considerable frequency.
...would be the Artemis Fowl series. The faries that live underground use highly advanced technology alongside their normal magic.
Oooh, I love the Artemis Fowl series!
Both of these examples, by the way, introduce a somewhat "fuzzy" concept to my neat two-dimensional grid, namely the mixing of magic and technology. This is more or less independent of hardness/softness, so I'll just ignore that element and note that there are two different ways to "mix" magic and technology, both of which can exist in the same setting.
The first is through magitech, where a single "thing" contains both magical and technological elements from the dichotomy categories above. A good example of this would be alchemy, which combines weird runes and archaic materials with laboratory glassware. While I'm not familiar with the series, the Nyona example above seems like magitech. However, you can also have things that are clearly magical and things that are clearly technological coexisting in the same setting, as in Artemis Fowl (although if I recall, some Fairy technology can make use of magic).
Then you get into things like Clarke's third law and "bamboo technology", and it becomes hard to tell what's magical and what's technological (although I prefer to think of both methods as ways to get magical-looking stuff into a technological setting without actually introducing magic itself or violating hardness with things that SEEM to break our laws of physics).