Intelligent Weapons Part 3: Living Weapons

For the final entry, I would like to discuss what I would refer to as living weapons. I would define these as beings that began their existence in one state and, through accident or design, became weapons. Whereas affinity weapons developed intellect, living weapons were creatures that already had sentience, which was further warped into a nature that could be described as weaponsied.

The Myrmidons of Thessaly

The first example I would like to cite is that of the Myrmidons of Greek myth. These begins were said to have begun life as ants and were transformed into soldiers. It was said that the Myrmidons were supremely obedient and would follow orders without question. They were the ancient world's conception of what we might call mindless automatons. Do be called one was an insult, effectively meaning that one was the equivalent of a robot.

The implications of the Myrmidons is that becoming a weapon is a process of lessening. They have lost something: their own autonomy. While Achilles and the other heroes are divinely empowered, these souls have been dis-empowered. Though Achilles makes mistakes of pride and rage, his soldiers are incapable of making these errors. They simply follow his will, as much a tool as his spear, sword or shield. It is important to note that the Iliad itself does not condemn the Myrmidons, though it does not precisely glorify them either. Its stance seems simply the acknowledgement that such beings are the result of creating an effective military. That in an army, there is only room for one autonomous mind. Even if the Myrmidons are interpreted favorably, in a view that they are capable servants of their commander, it nevertheless carries implications that to "purify" a human of their autonomy, is to dehumanise them. It is notable that such demi-humans are capable of some of the more formidable acts of destruction in the account of the Trojan War.

Sacnoth

Sacnoth is the titular magical blade described in Lord Dunsany's "The Fortress Unvanquishable, Save for Sacnoth". This sword is the product of a hero named Leothric slaying a man-eating monster called Tharagavverug. With a blade pulled from the ashes of Tharagavverug's spine, a pommel made from one iron eye and sharpened the other, Sancnoth is a formidable weapon that still retains the mind of the beast from which it was crafted. Importantly, the sword does not seek to thwart the hero who slew Tharagavverug in revenge, but rather, serves its victorious opponent faithfully.

Then Leothric advanced into the marshes, and the eye of Tharagavverug looked out warily from the hilt of Sacnoth; for Tharagavverug had known the marshes well, and the sword nudged Leothric to the right or pulled him to the left away from the dangerous places, and so brought him safely to the fortress walls.

It may seem at first glance that this is a story of utter defeat, reduction and slavery. A once autonomous creature has been robbed of its life and freedom. However, as one might infer from the description of Sacnoth's origin, Dunsany's tale is fantastical in the extreme sense of the form. It is explicitly stated that Sacnoth already exists within Tharagavverug. Merely burning the beast's carcass is enough to reveal the blade. There is a definitive sense that Tharagavverug is merely a previous state of Sacnoth's being, like a larva waiting to pupate into an adult stage.

Stormbringer

Another such example is that of the runeblade Stormbringer from Michael Moorcock's Elric Saga. Elric is a sorcerer king who comes from a proud and cruel race that have subdued much of the world through the use of powerful magics. They also created the weapons Mournblade and Stormbringer. Such was the destructive character of these swords that they were sealed away. Elric finds and takes up Stormbringer, using it in a series of adventures that bring about countless deaths, including that of his beloved, his own people and many of his friends. When Elric is on the threshold of restoring balance to the cosmos, the sword awakens as a demon of chaos, slays Elric and corrupts the newly remade world.

The implications of this is that any change brought about in a creature is only a temporary one and the underlying substratum of the altered being will come through in time. In such a world, we are all of us incapable of change. We are merely caught up in the ebb and flow of life as it changes into death and back again. The Melnibonéans who made the attempt to shape demons of chaos into the runeblades is in itself a quality of their nature that cannot be altered. The series makes no secret that Elric's folk are worshipers of chaos and that they would wish to enter into a Faustian covenant at their "peril" would hardly be surprising.

Psychological implications

The implications of living weapons seems contradictory. The Myrmidons forwards the view that humans and weapons fall into a gradient in which any combination of the two is a compromised design. This makes sense, if we take a weapon to be co-equal to a tool. The more "living" a weapon shares in, the more unreliable it is. The more of a "weapon" a living creature is, the more it must be acted upon to wield it.

In this view, all creatures are subject be altered by the stimuli to which they are exposed by outside forces. If a being is acted upon, it will be changed. While avoidance of the stimuli may be possible, the effects of the stimuli are beyond control once exposure has occurred.

On the other hand, the story of Sancoth draws even this into question, where it seems inevitable that the latent potential for violent servitude will become actual. That perhaps no "lessening" occurs, as such changes are the unfolding of a creature's full nature over time.

Finally, the Elric Saga paints a different, if perhaps equally grim, picture. It describes living things as having an essential nature. That all change is temporary and leads to a constant return.

However, all depictions seem related to a central theme of limitation. Whether it is the inability of the Myrmidons to act on their own volition, Tharagavverug to shed itself of Sacnoth's form, or of Elric to control Stormbringer's nature, the concept of a living weapon seems to evoke notions of a lack of control. This is obvious when one considers what is implied by the term "living weapon": a being that acts to deal violence on behalf of another. However, the relationship is not so simple as "controller" and "controlled". The very concept carries the implication that a lack of control exists on all levels. Folk who "forge" living weapons are only acting upon the potentiality of another being. They are not creative. They too, are bound a system where control is limited, if not outright illusory.

Examples in Videos Games

Living weapons are frequently depicted in games, but so often fail to get across the notions described earlier. Thane Krios from Mass Effect 2 views himself as a living weapon: that he is an instrument of death and a tool for others to use. However, controlling him in game has no distinctions from other characters. One is left with the impression that Mass Effect 2 is either trying to send the message that all of the characters are merely tools or that Thane is deluded. However, the most likely reason is that this is a case of ludonarrative dissonance where the story concept is not expressed by the gameplay.

A fantasy example of the living weapon trope is the Soul Reaver depicted in the Legacy of Kain series. Beware, the following contains MAJOR SPOILERS for the whole series.

The character Raziel is introduced in the series' second installment. He is a vampire reborn and a soul-devouring wraith. During the course of the game, he collects the Soul Reaver, a wraith sword that also consumes souls, albeit with much greater savagery  and reckless abandon. Nevertheless, the Soul Reaver proves very useful in his adventures. However, it is revealed in the following title that Raziel and the Soul Reaver's similarities are no coincidence. Due to the effects of time travel, it is revealed that Raziel will be sent back in time where he will be transformed the insane soul-eating weapon he has been using all along. The lack of choice implied by the living weapons trope is keenly felt and appropriately used, as much of the themes of the story revolve around the characters' attempt to eke out a sphere of free will in a universe where all events seem predestined.

The gameplay is also highly effective in advancing these themes. The Legacy of Kain series is comprised of linear, story-based adventures in which the plot is revealed as the game progresses. Players have no capacity to affect the outcome, and the game's difficulty relies entirely on its combat system and world-exploration. Such gameplay might be restrictive in other titles, but it is entirely appropriate given the narrative threads the designers are attempting to weave. The fact that the Soul Reaver is necessary for Raziel's success hearkens back to Elric's dilemma: the sword is his primary source of strength, yet also heralds his doom. The dehumanising elements are also referenced. To be turned into such a tool is abhorrent to the willful Raziel. Yet, in the end, Raziel chooses to become the sword, so that the blade will benefit his ally Kain. When he has been transformed, he is able to give a deeper sight to Kain, allowing him to see their mutual foe, not unlike Sancoth. One follows the entire arc of Raziel's transformation, to the point of experiencing his utility as a weapon throughout the game.

Living Weapons in Conscientia

Obviously, there are a lot of spoilers for our game in this section.

In Conscientia, how example of beings who have become weaponsied are the Jinetes. While these beings have terrorised humanity, it is by conscious design. Fearing that a unified human civilisation would give rise to a transcendent singularity-born being, they resolved to alter their nature. Like the Myrmidons, these immortal beings choose to lose their plurality of mental perspectives so that while the four of them collectively understand the human condition, each of them is a creature dedicated to a particular world-view and mission. While these creatures fit the mold of such an archetype, they are not playable characters, and this nature can only be read about and not experienced.

The one playable character that exhibits the qualities of a living weapon is that of Rikharr, due to be the subject of a forthcoming installment. He undergoes a dehumanising process, however, his is a self-inflicted procedure arising from his own unique personality characteristics. Rikharr is discontented with his condition as a creature continually becoming and never, as he sees it, being. In his view, the process of always reaching towards a goal is the eternal state of humanity, one he seeks to be rid of. He undergoes a process of kenosis, of the emptying of human qualities, in the attempt to become less than human. In so doing, he becomes the instrument of a higher being, Hel, the first child of Vanargand.

When the player encounters Rikharr, it is ambiguous if he will ever be able achieve his goal, as the process of transcendence through abjection has left him as empty as he ever was. The forthcoming installment will feature themes surround the concept of human nature, change and control.

Intelligent Weapons Part 2: Constructed Weapons

This next group refers to those weapons which have intelligence as part of their design. Such weapons serve to enact the will of whoever designed them.

Mythological and Literary Examples

While this might seem identical to how the attitude of Muramasa came to be imbued in his blades, the crucial point that differentiates the two is that weapons with constructed sentience are rationally conceived. While affinity weapons have an intelligence that happens to them almost by way of accident, here the swords bare intelligence because of their designer's intent. Such weapons say nothing definitive about the soul or mentality of the one who made it, at least, not directly.
How does this archetype manifest itself? Why would such an idea ever have become a trope? What implications does this have for game design? Let’s examine a few case studies.

The Flaming Sword of Eden

When God casts Adam and Eve out of the garden, he sets angels to guard against their return and, somewhat curiously, a flaming sword.

He drove out the man; and at the east of the garden of Eden he placed the cherubim, and a sword flaming and turning to guard the way to the tree of life. (Gen. 3:24)

Note that the angels are not described as wielding this weapon, the sword is an independent addition to the angelic security. As cherubim are already intimidating beings, even by the standards of mythic tradition, what does the addition of a flaming sword bring to the party? I would argue that it adds a level of impersonalisation. Of incorruptibility. The angels are capable of destruction just like humans, but that is not their sole, or even primary function. They speak and can be spoken to. Perhaps, by implication, even reasoned with. But a sword is more limited. It is only capable of violence. The effect here, is that God’s will on this issue is unbreakable.

Explusion From the Garden of Eden by Thomas Cole

Sikanda

In the Neverending Story, Bastian is gifted the sword Sikanda. This blade seems to have a mind of its own, guiding the wielder’s strikes so that they are a peerless fencer. However, the sword has a number of severe limitations. First of all, it can only be wielded by one who has bathed in the flames of the Many-Coloured Death. Secondly, it can only be used at a time of its own choosing. When Bastian attempts to force the sword from its scabbard against its will, Sikanda's magic is broken.

The effect elicited in this tale is that the world has to be taken on its own terms. Bastian can be powerful only when he abides by the rules of conduct that have been laid out for him. When Bastian is following these rules and acting in the role of the chosen one, he is unstoppable. But this power is not his own. He is merely harnessing it. The illusion of self-empowerment is shattered when he attempts to go against the will of the blade.

Excalibur

Another example of intelligence as extension of deign is Arthur's Excalibur as it is represented in John Boorman's titular film. When Arthur begins losing his contest against Lancelot, he calls upon the power of Excalibur to destroy his opponent, only for Excalibur to break.

The effect of this is the humaising of Arthur and the exaltation of the weapon and its designer. Like Bastian, Arthur's relative invincibility is merely due to his adherence to a code of conduct defined by others, in this case, God. Here, the message is made explicitly that Excalibur can only empower an individual if one paradoxically practices an ethos of self-denial and to bring about a very specific goal: the unification of humanity. The will of God must carried out by humans, and none of these individuals are perfect. However, the instrument that God sends to them possesses an intellect that takes this human-error into account.

Psychological Implications: A World Beyond the Character

These weapons can work to expand the world in which they are depicted beyond the scope of the protagonist's mind or history. What manner of thoughts govern the flaming sword of Eden? Who proscribed the nature of Sikanda? Why does the Lady of the Lake keep Excalibur? All of these questions are implicitly raised by the presence of these weapons. Their intelligence makes them and the worlds in which they exist, more complex. This adds a depth of mystery and history to the world, and create systems that are prior to the characters and speak to a deep intellect that exists behind the world around them.

They also serve to constrain and define the choices that can be made in the world. While the characters do have choices, the framework in which these choices are made is completely beyond their control. The characters have to take the world on at its own terms. Attempts to force their will upon these constructs is met with failure. The only way to the and mastery that these weapons confer is to align onseself with the path that leads to strength and mastery.

Implications for Games

Such world-building has been attempted by countless games, generally with mediocre success. As enthralling as the Zelda games are for their gameplay, the Master Sword of the series is transparently shallow in its execution and implications. It is enough that the sword was made "long ago" and to be used against "evil" for the purposes of a game which is less about painting a deep narrative and more about evoking a sense of adventure. The series is flawless in its execution of this atmosphere, the Master Sword itself is simply a necessary step along way and does not draw the player further into the world in any meaningful way.

The Mana Sword

Use it indeed...

An example of where a weapon served to both build the word and draw the player into the experience is the Mana Sword as depicted in Secret of Mana. Here, the protagonist Randi is compelled by circumstance to draw a rusty blade from a stone in a nearby stream. This sets the entire plot into motion as monsters begin inexplicably flooding into the vicinity of his village. It is revealed that Randi has upset an order of which he knew nothing: the sword had been warding off creatures with a magical barrier. The plot thickens further when it is explained that the sword is actually part of a deep history which involves Randi's origins as the Hero of the Mana Tribe, the Mana Tree, the Mana Goddess and the very fabric of existence itself. Actions are taken by the game's antagonists to thwart the player's strengthening of the sword. Ultimately, advancement of the plot, the strengthening of the player's ability to fight the game's adversaries and the unfolding of the world's tapestry of history all revolve around actions involving, or taken by, the Mana Sword. Its choices, actions and relationship to the narrative are indicative of its nature as a major character in itself, and an example that advances the aforementioned themes.

Atma Weapon

Atma is not impressed with our heroes.

Another example of weapons clearly bearing their own intellect are the weapons of the Final Fantasy series, specifically Atma from Final Fantasy VI. In this game, the source of the word's magic comes from the Warring Triad: three giant statues atop the Floating Continent The nature and origin of three statues are never fully elucidated in game, but they do imply that the nature of magic and perhaps the world itself is the result of a deeper design or history than humans are aware. Atma, the being that defends these statues, is much like the flaming sword of Eden. It too bears the characteristics of a creature that was constructed. Atma speaks to the characters when they face it and displays its intellect. Yet, the sense is clear that this creature is either incapable or uninterested in dialogue. One gets the sense that its apparent sentience was not crafted to give the creature a sense of self-determination but to assist in the completion of its mission.

Constructed Weapons in Conscientia

Pictured: A sub-optimal
weapon design.

In Conscientia, have two different creatures that attempt to get across this concept, the first and most important would be the character of Luin. Luin is to be this game's Master Sword. A weapon that is available to the player right from the beginning. However, for this game we felt that it was important to build the world up as much as possible. Creating an affinity-based weapon seemed to be a bit hollow here as the player has no context for how they would define what the weapon is. For this reason, a weapon with a constructed intelligence seemed the logical choice. The question was: what would a weapon with an intelligence be like? Would it be serve a similar function as a service manual? "Hello! My name is Luin. If you want to kill with me, hit the B button!" At best, it seemed we would create a character like Clippy.

Luin: Blade of Vanargand

Or perhaps, we should assume a weapon would be bloodthirsty. An aggressive intelligence that would egg the player on. "Greetings human scum! My name is Luin! Who shall we kill today! I long to bathe in blood! Mwahahaha!" Again, it seemed the best we would get would be a mindless psychopath that would be generally pretty annoying.

What we went with, was the concept that Luin is a user-friendly weapon. Like Sikanda, it will assist the player, and merely owning Luin will allow a person to be a master fighter. This works well for your gameplay design where we want the choices to be meaningful and carry a great deal of momentum. Merely choosing to carry Luin is enough to become a formidable fighter in Conscientia. However, a user-friendly instrument would not be a death-crazed lunatic. It should be controllable, but eager and ready to fight. For this reason, we wrote Luin as having the demeanor of a well-behaved child. It enjoys its existence as a weapon. In its mind it is too young to have awareness of the consequences of death. It wants to be used and no qualms about killing because it views combat as mere play. However, it is relatively mild-mannered and will obey the orders of its "elders". That is, if it doesn't get too carried away...

There are more examples of such creatures in Conscientia, but they go beyond the scope of this article.

Intelligent Weapons Part 1: Affinity Weapons

Talking swords: a clumsy way of breathing life and magic into a fantasy world?

Sir Gudgai: "Egad! It seems the bandits have taken the whole village! What do you have to say about it, Reggie?"

Reggie the Sword: "Oh, I've got a few... cutting remarks for them..."

Sir Gudgai: "Ho! Ho! Oh, Reggie you rascal! Now, on with the slaughter!"

Or perhaps they are a useful mythic archetype that offers interesting opportunities in fiction and games? Let's investigate...

Affinity Weapons

We'll start off our list with the most unintelligent of varieties. Here we are looking at those kinds of weapons that reflect or embody the spirit of their owner in some fashion. It has been suggested by cognitive research that humans operating familiar tools perceive them as being an extension of the body in some way, so it should perhaps not be surprising that both myth and fiction are replete with such examples.

Gram: Sword of the Völsungs

This sword is spoken of in the Völsunga Saga. Originally driven into the great tree Barnstokk by Odin, only Sigmund the Völsung was capable of drawing it from the bark. When the blade was later used by Sigmund against a disguised Odin, the sword shattered, and the warrior was slain by his enemies. It was later reclaimed by his son Sigurd, who had it reforged by Reginn the dwarf. Naming the sword "Gram" (wrath), he immediately used it to slay Fafnir the Dragon and, shortly thereafter, Reginn himself. It would later play a pivotal role in his downward spiral into self-destruction.

“Why does Sigurd not strike off that traitor
Reginn’s head and keep Andvari’s Hoard
for himself?”
“Why not indeed!” Sigurd shouted

and leaped to his feet.

At first, the idea that Gram has any kind of latent "intelligence" is not immediately obvious. However, I would argue that by defining the sword as an instrument of revenge and destruction, Sigurd sets into action a kind of positive feedback loop in which anger begets violence which begets more anger. This is a case of the person not just having an emotion, but the emotion having the person. Sigurd remakes Gram and re purposes it. Gram is then only used in acts of violent, prideful revenge. He has taken on an archetype and has become willfully possessed by it. The sword has been defined as an instrument of anger as much as Sigurd. Both of them are equally instruments of a higher power: wrath itself.

The Blades of Sengo Muramasa

While there is a very interesting real historical background to the Muramasa school and its relationship to the Tokugawa Shogunate, the most important aspect of this for the mythology that followed is that Tokugawa Ieyasu banned all swords forged by these smith under the pretext that too many of his folk had perished on these blades. Thus, the swords themselves became simultaneously reviled by his allies and prized by his enemies.

Pictured: Not Muramasa

They featured in a lot of Japanese drama and fiction in the years since, most famously with a legend that Muramasa was a student of the renowned sword-smith Masamune (and legend it is as the two smiths were separated by around 150 years). The apprentice was so hell-bent on being greater than the master, he forged weapons with deadly, blood-thirsty auras. Muramasa's swords could cause warriors to cut themselves merely by inspecting them, inspire violence when drawn and "demanded" that blood be shed before they could be sheathed.

Here we again have an example of a human's actions "rubbing off" on the sword. In contrast to the legend of Gram, the pride and ambition of Muramasa becomes a curse that affects not only people in his family but anyone who uses his creations. This legend takes a step further by implying that those who choose a Muramasa blade are doing so because they are walking a path similar to the sword's creator. If you are in the market for one of these weapons, it's obviously because you are willing to do whatever it takes to achieve your goals and eliminate your enemies. It's a Faustian bargain, dealing with demonic powers and being unable to bring about anything but the works of hell.

Gurthang: The Black Sword of Túrin Turambar

Sindarin for "iron of death", in Tolkien's fiction we have the clearest example of a blade becoming so tainted with violence that it begins to manifest an intellect both separate from and reflective of, its wielder. Here, Túrin Turambar takes up the most devastating sword he can find in a hopeless campaign of vengeance against, what amounts to be, the Tolkien version of the anti-God. Fighting evil becomes Túrin’s sole ambition, and so prolific and profound are is his violence that he comes to be identified with his weapon. He is given the moniker Mormegil, meaning "black sword", rather than referred to by his real name.

In end, Túrin is left alone and friendless, his whole family slain, and it's mostly due to his own choices and actions. Despite perceiving himself as a one-man army, this is a delusion in the face of the inherent inter-connectedness between humans and their kin, and it is his friends and relations that end up paying for his life of anger. Finally, at the end of his frayed rope, he starts talking to his sole companion:

" 'Hail Gurthang! No lord or loyalty dost thou know, save the hand that wieldeth thee. From no blood wilt thou shrink. Wilt thou therefore take Túrin Turambar, wilt thou slay me swiftly?' "

"And from the blade rang a cold voice in answer: 'Yea, I will drink thy blood gladly, that so I may forget the blood of Beleg my master, and the blood of Brandir slain unjustly. I will slay thee swiftly.' "

Psychological implications

There are several implications the weapons in these tales represent. Firstly, they describes a world in which the manner in which one frames the world can have profound consequences for the self. Because of the fact that Sigurd chose to define his weapons a tool of anger, he created an externalisation which came to control and destroy him. Because the legendary Muramasa approached his creations from the framework of personal pride at the expense of the work of others, his works were only capable of destruction. Since Túrin chose to value violence more than any other activity, he manifested a phantasm of blood-lust as his only companion.


If it is true that tools become extensions of the self, and that the nature of these tools can be defined by the will, it thus follows that the self can be constructed to a degree. If we extend our investigation to later media, we can see such concepts toyed with in cybernetics in the film Ghost in the Shell. If the body can be altered for a purpose, what effect does this purpose have on the meaning of the self?

Affinity Weapons in Gaming

Here, we will turn to an investigation of how have these concepts been evoked in the design of video games. A seemingly obvious example of how games could evoke such a concept would be implementing a crafting system. I imagine the logic would be that any game that allows you to create your own spin on a given weapon would allow you to dole out your own personal brand of violence. However, I'm not sure if such systems really achieve the effect that the aforementioned myths and stories get across. Again, we are looking for a system whereby there is a loop between the player controlling the weapon and the weapon controlling the player. The idea is that both weapon and wielder are involved in a relationship that neither has complete control of, and the only way to opt-out would be to cast the sword aside. Games that have a fully-customisable crafting system or some such put the player firmly in the driver's seat. The player gets everything they want and there is no consequence or limitation imposed by making a particular weapon. Indeed, such systems are predicated on wish-fulfillment and the idea that you get to be the "author" of your own experience. This is precisely the opposite of what we see happen with these myths where the protagonist does not have control over the results of their actions.

Vagrant Story

So far, I think a good example of a system that invokes a vicious relationship would be that presented in this PlayStation classic from 2000.

While it does have a crafting system, therein lies a single mechanic that makes all the difference. In the game there are a variety of different kinds of creatures. Beast, human, dragon, undead, phantom and evil are all enemy types that have various strengths and weaknesses, and whenever you deal damage to a creature, you slightly increase the damage that the weapon will deal to that enemy type in the future. The upshot of this is that after hours of play, you have created a weapon that is "designed" to kill a certain creature type. However, this was brought about by the player's actions and not their whim or decree. When you come up against a powerful undead, it doesn't matter how strong other weapons might be, the weapon you have "trained" to kill undead will likely be the best to combat it. The player is held responsible for the past decisions they have made in combat, and while the weapons can be reforged and upgraded, the core of the experience remains the same. The only problem with Vagrant Story is that it didn't really combine this amazing system with its brilliant narrative in any meaningful way. While there was a causal relationship between Ashely Riot gaining spells upon recovering lost memories, the weapons system wasn't employed to express any themes or concepts.

Affinity Weapons in Conscientia

The main example of such a weapon our game is not that of Luin, a being with its own independent personality, but that of Eidos herself. Eidos is the apparatus through which the player can interact with the world of Conscientia and in this sense, she is a tool. However, Eidos' ability to effect the world is entirely decided by the player's choices of where they go and what they do. It is demonstrated in the dialogue system where a tyrannical statement cannot be followed up by a statement of intellectual curiosity. At this point, the player has chosen to present Eidos as a forceful instrument of will, a person not interested in absorbing new information. Such choices will ultimately effect the manner of abilities that she will gain access to, and access to these new abilities will remove other options.

A good example of this would be the following scenario: the player has presented themselves in the world in such a way so that they have manifested a means to do violence: whether this be through techne or possessing the Luin blade. Now when encountering a strange or ambiguous situation, the player will have the option of combat. However, they will no longer be capable of retreat. Eidos has been shaped into an active force. While resolution of situations through dialogue or non-violent techne may still be possible, inaction is a choice Eidos is no longer capable of making.

The Mesopotamian goddess Ianna. Her depiction represents

her descent into the underworld and existence between

two realities. Eidos, her counterpart in Conscientia,

also stands at the crossroads of the player's choices.

Tune in next time on part two, when we discuss Weapons with Constructed Intelligence!

Ur'Ruk: A Cognitive Approach to World Building

Another world. Another time. In the Age of Wonder. A thousand years ago, this land was green and good. Until the Crystal cracked...

If you're a fan of Jim Henson movies (or the Crystal Method) you'll undoubtedly recognize those words as evoking the image of a world gone wrong. This list is about video game worlds and lands that were once good but have become corrupted and ruined either before or during the course of the game. There's nothing quite like being immersed in a nightmarish hell-scape to increase the tension of a game or to evoke feelings of loss, hopelessness and despair.  Some of the most notable games emphasising character choice employ ruined worlds as their setting. Fallout, Metro 2033, Chrono Trigger and Final Fantasy VI all use ruined worlds to set the stage of player choice and motility. A major reason for this is obvious: motivation. If the world is/will be destroyed, what better stage for our hero to enter. However, I believe there is also a more subtle reason for why choice based games enjoy this trope.

If a society has already been ruined, the game world can more easily reflect back the player's choices. Think of a completely stable and static world and a character somewhat humble in power and knowledge. Luke Skywalker in the Star Trek universe or Bilbo thrust into First Age Gondolin. What manner of choices or actions that these characters could commit would affect these worlds in a meaningful way? However, if the society is being constructed, we have fertile ground for the character to make their mark.

While the world of Conscientia is the result of an ancient calamity, much of Kabu is stable. One area where this is not true, is the city of Ur'Ruk. In this environment, the residents have taken up living here but only recently. They have lost their homes, their religion, their livelihood and their way. Ur'Ruk represents a unique possibility for the exploration of what happens to people in terms of their philosophical and religious systems when those systems are stripped away. Moreover, the city itself is the most ancient and formidable location in the game. However, in order to understand what sort of social situation the character faces, let's take multi-layered approach to how such societies have demonstrated themselves in in history, philosophy, and what this location might present to the player in terms of the typical reactions to their choices.

Ur'Ruk - Design Through History

Totalitarianism: The French Revolution was followed by the reign of Napoleon. The Russian Revolution saw the deposition of the Czar followed by the regimes of Lenin and Stalin. This reflects how history provides us with numerous examples of how people have reacted to power vacuums created by revolution or war. Humans can extrapolate. When you lose faith in something, you understand that you can lose faith in everything. Totalitarian certainty is preferable to nihilistic chaos.

"True courage consists in being strong enough to

master and overcome oneself and subordinate one’s

will to the will of the collective."

This is represented through the iron-fisted rule of Hazanna. After the apparent death of their most recent malefactor, Ormenos, Hazanna was able to take the reins of power and leads through sheer force of will and brutality. If any resist her decrees

Ur'Ruk - Design Through Philosophy

When faced with the collapse of power structures, people can respond in a variety of ways. However, for our purposes, we are going to go with notions of a victimised society. A culture that identifies as being weak and persecuted and wears this as a badge of honour. For inspiration, we are going to look at both Nietzsche's critique of Christian morality as well as post-modern feminist theory. The classic allegation against Judeo-Christian morality is that it prized weakness as a result of the political circumstances its believers found themselves in. Rather than take a realistic appraisal of their situation, they chose to invert commonly held (and common sense) notions that to be strong and capable was something to be proud of. Rather than better their lot, they upended their perspective so that they were now already enlightened. "Blessed are the meek" and whatnot. However, they were hypocrites. They couldn't avoid the illogic of this. "The first shall be last and the last shall be first" is an admission that being at the top of the heap is desirable. This translates well into Marxism where the inherent notion is that if someone is successful, it is unearned. That they must have robbed someone to have gained their riches. This then leads nicely over to post-modernist feminist theory where any differences or inequalities must be due to "the patriarchy" and are not the fault of women themselves or due to some kind of inherent nature. The notion that relations between power groups is inherently predatory is common to all these belief structures. In brief:

Christianity: We are weak. But don't feel bad! The only way to get ahead is by being immoral. Nice guys finish last so put on your best sad-sack face and bear that cross!

Marxists/Communists: The rich are always trying to suck the blood of the poor! Spread the wealth! After all, if you don't have it and someone else does, it must be because he exploited you! Let's bust some heads and grab that cash!

Post-modernist feminists: All groups are inherently set against each other. Therefore, men have always, and will always, oppress women. We must oppress them. There is no morality to it other than your own personal morality. It's every group for itself! If you don't have something, its the man keeping you down! (Menstruation must be also their fault too in some way).

Where does this leave us with our folk in Ur'Ruk?

Ur'Ruk: We were banished here and lost everything. But don't worry! All that stuff we had? That was just distracting you from who you really are! All that Kabu stuff was bullshit. Techne is bollocks. Here, we are getting in touch with reality. And how do you do that? Well, what are we doing everyday? Suffering! That's it! Suffering is something to be proud of! And I'm suffering more than you so I should get your share.

First of all, Due to their circumstances, the folk of Ur'Ruk have come to view themselves as a victimised population. To explain what has been done to them, they have chosen to interpret their situation as the result of predation from their fellow humans. They thus adopt a morality which puts them at the top of a new hierarchy. The hierarchy of suffering. Those who suffer the most should get the most respect and power. Hazanna gets to rule because she formulated the philosophy but justifies it by saying she suffers more than others. An unverifiable claim but remember, the people want a leader and she is the loudest mouth. Now this runs into a contradiction. Those who have power are not suffering. Shouldn't they have some kind of rotating system where the biggest sad-sack loser gets to be king until her cheers up too much? Well, here is the party line: who suffers more than our fearless leader? Now that Hazanna is the leader, she's got more problems than you could shake a stick at. Now, she's dictator for life. Also, OF COURSE it's hypocritical. Becoming a totalitarian leader probably makes not rational sense. It is an emotional need. Hitler was the shadow of the German people. He didn't know what the hell he was doing until he started to speak to audeinces and got a sense of what they wanted. He became what they wanted him to become.

Ur'Ruk - Design Through Religion

Religion: After walking into Ur'Ruk and being exposed to ancient Vanquished culture, they become influenced by it. Seeking a new myth to fill the void, they adopt what they learn of Eidos, the dying and rising god. The one spoken of in their ancient texts. A god that dies all the time is certainly resonant with a people that feel like they are the living dead in need of resurrection. The central tenant comes straight out of Vanquished lore: Eidos is a human-god who was hacked up and turned into the glyphs. She is an ideal human who lives outside of time. She is ever living and ever dying. How do you partake in this? By getting in touch with that part of you that is you: the Self. Keep it simple stupid. Go back to basics. Get in touch with your inner child. Feel the force. Do what comes naturally. After all, Eidos lies underneath it all. Get to the root of what you are. The Self. Then you will be free. Thought and will? Those are just the creations of others. They are inhuman brain viruses replicating and passing from mind to mind. Now that we are pariah, we have been inoculated against the worst of it. Thinking is for morons. This also goes along with the totalitarian state: do not think for yourself. Do what we tell you to do.

Following the Self ultimately translates into following the party line and caving into societal pressure. The people like Hazanna who are calling the shots can say without contradiction (in their own circular logic) that they are just following the Self. How are you going to prove them wrong? With your theories? Oh wait, thinking is the tool of the devil! Now you are cast into the sewer for thought-crime!

Ur'Ruk - Design Through Personality

The people of Ur'Ruk are basically examples of human desire for protection run amok. They are suffering and want shepherds to protect them. Those shepherds are only too happy to step up and do so: nurture, love and support... by any means necessary. This will have the following results for personalities who travel to Ur'Ruk:

Diplomats: The experience of these personalities is dependant on how far they take this trait. If they are dyed-in-the-wool people-pleasers, they will likely do unscathed as the concessions they have to make are in the name of the public good. However, they are likely to run into problems when if they try to resolve the negative consequences of Hazanna's rule.

Truth-Seekers: These folk are the natural prey of such a culture. Truth-Seekers would seek to understand the underpinnings of ideology and root-out rational inconsistencies, or to lay bare the etymology of their belief systems. This is undesirable for a few reasons. First, it directly undermines the political power of Hazanna. Second, it is a society oriented around feelings. Reasons for why the feelings are being felt are beside the point. Third, they are not interested in thinking about the past at all. This brings too much guilt and regret for their current situation. They are dealing with their pain by saying that their suffering is some badge of honour. Dwelling on why they were kicked out is, again, beside the point.

Neutrals: This society is against neutrals as they do not believe there can be a middle-ground here. You are either with them, or against them. If you want to be neutral, it is either because you have chosen not to embrace your suffering (in which case you need correction), you feel no need to commiserate with the others (negative as this is the societal glue that holds them together) or you are thinking about it too deeply (as established, an undesirable and threatening habit).

Survivalists: These personalities can thrive here as they are inclined to make up whatever lies, excuses or deceptions to survive and this society is uninterested in getting to the bottom of anything. However, once lies are exposed, they can suffer greatly.

Tyrants: These personalities are feared as they are rare. Most of the pariah are like beaten dogs. They have little self-respect and feel as though they are not sufficient to take on the world's problems. Tyrants who survived, like Hazzana, rose to the top. New tyrants will not be accepted by Hazanna but if they slip under her radar will cow anyone else. However, word travels fast...

Loons: As loons don't have much to say about what is going on in the religion and politics of Ur'Ruk they are more tolerated here than other places. The fact that the loon is always shooting from the hip with her speech may even be perceived as the unvarnished Self.

The Four Kinds of Sentient Weapons, part 1: Affinity Weapons

Talking swords: a clumsy way of breathing life and magic into a fantasy world?

Sir Gudgai: "Egad! It seems the bandits have taken the whole village! What do you have to say about it, Reggie?"

Reggie the Sword: "Oh, I've got a few... cutting remarks for them..."

Sir Gudgai: "Ho! Ho! Oh, Reggie you rascal! Now, on with the slaughter!"

Or perhaps they are a useful mythic archetype that offers interesting opportunities in fiction and games? Let's investigate...

Affinity Weapons

We'll start off our list with the most unintelligent of varieties. Here we are looking at those kinds of weapons that reflect or embody the spirit of their owner in some fashion. It has been suggested by cognitive research that humans operating familiar tools perceive them as being an extension of the body in some way, so it should perhaps not be surprising that both myth and fiction are replete with such examples.

Gram: Sword of the Völsungs

This sword is spoken of in the Völsunga Saga. Originally driven into the great tree Barnstokk by Odin, only Sigmund the Völsung was capable of drawing it from the bark. When the blade was later used by Sigmund against a disguised Odin, the sword shattered, and the warrior was slain by his enemies. It was later reclaimed by his son Sigurd, who had it reforged by Reginn the dwarf. Naming the sword "Gram" (wrath), he immediately used it to slay Fafnir the Dragon and, shortly thereafter, Reginn himself. It would later play a pivotal role in his downward spiral into self-destruction.

“Why does Sigurd not strike off that traitor
Reginn’s head and keep Andvari’s Hoard
for himself?”
“Why not indeed!” Sigurd shouted

and leaped to his feet.

Obviously, we've got a lot going on here with the sword standing as a symbol of Odin's favor, the vitality of the wielder, the richness of the wielder's household and, later on, his temperament. Here, the direction of influence appears to be only one-way. The wielder dictates the sword's identity and its use, so the idea that the sword has any kind of latent "intelligence" is not immediately obvious. However, I would argue that by defining the sword as an instrument of revenge and destruction, Sigurd sets into action a kind of positive feedback loop in which anger begets violence begets anger. This is a case of the person not just having an emotion, but the emotion having the person. Sigurd remakes Gram and repurposes it. Gram is then only used in acts of violent, prideful revenge. He has taken on an archetype and has become willfully possessed by it. The sword has been defined as an instrument of anger as much as Sigurd. Both of them are equally instruments of a higher power: wrath itself.

The Blades of Sengo Muramasa

This legend is a huge mess of various bits of historically attested events and pure fiction.

Pictured: Not Muramasa

The historical information is that once the Tokugawa Shogunate was established, Tokugawa Ieyasu banned all swords forged by the Muramasa school, supposedly because too many of his folk had perished on these blades. Thus, the swords themselves became simultaneously reviled and prized (by his enemies). They featured in a lot of Japanese drama and fiction in the years since, most famously with a legend that Muramasa was a student of the renowned sword-smith Masamune (and legend it is as the two smiths were separated by around 150 years). The apprentice was so hell-bent on being greater than the master, he forged weapons with deadly, blood-thirsty auras. Muramasa's swords could cause warriors to cut themselves merely by inspecting them, inspire violence when drawn and "demanded" that blood be shed before they could be sheathed.

Here we again have an example of a human's actions "rubbing off" on the sword. In contrast to the legend of Gram, the pride and ambition of Muramasa becomes a curse that affects not only people in his family but anyone who uses his creations. However, I believe there is an underlying similarity in that those who choose a Muramasa blade are doing so because they are walking a path similar to the sword's creator. If you are in the market for one of these weapons, it's obviously because you are willing to do whatever it takes to achieve your goals and eliminate your enemies. It's a Faustian bargain, dealing with demonic powers and being unable to bring about anything but the works of hell.

Gurthang: The Black Sword of Túrin Turambar

Sindarin for "iron of death", in Tolkien's fiction we have the clearest example of a blade becoming so tainted with violence that it begins to manifest an intellect both separate from and reflective of, its wielder. The story of Túrin Turambar is too lengthy and poetic to recount here. You should either read the book or listen to this wonderful audio reading of it. However, I will say it combines both an evil blade-smith, a traumatised young man and a tragic tale of brutal violence. The protagonist takes up the most devastating sword he can find in a hopeless campaign of vengeance against, what amounts to be, Satan himself. Fighting evil becomes his sole ambition, and he becomes identified with his weapon to the point where people actually start calling him "black sword" rather than his real name.

In end, Túrin is left alone and friendless, his whole family slain, and it's mostly due to his own choices and actions. Despite perceiving himself as a one-man army, this is a delusion in the face of the inherent inter-connectedness between humans and their kin, and it is his friends and relations that end up paying for his life of anger. He's basically become Homer in 'The Cartridge Family'.

"This gun has made me lose everything... my family, my friends,

everything but my precious, precious gun."

Finally, at the end of his frayed rope, he starts talking to his sole companion:

" 'Hail Gurthang! No lord or loyalty dost thou know, save the hand that wieldeth thee. From no blood wilt thou shrink. Wilt thou therefore take Túrin Turambar, wilt thou slay me swiftly?' "

And what is Gurthang's response? What else could it be? Like him, the blade's sole motto has been: live for revenge.

"And from the blade rang a cold voice in answer: 'Yea, I will drink thy blood gladly, that so I may forget the blood of Beleg my master, and the blood of Brandir slain unjustly. I will slay thee swiftly.' "

Affinity Weapons in Gaming

A seemingly obvious example of how games could evoke such a concept would be implementing a crafting system. I imagine the logic would be that any game that allows you to create your own spin on a given weapon would allow you to dole out your own personal brand of violence. However, I'm not sure if such systems really achieve the effect that the aforementioned myths and stories get across. Again, we are looking for a system whereby there is a loop between the player controlling the weapon and the weapon controlling the player. The idea is that both weapon and wielder are involved in a relationship that neither has complete control of, and the only way to opt-out would be to cast the sword aside. Games that have a fully-customisable crafting system or some such put the player firmly in the driver's seat. The player gets everything they want and there is no consequence or limitation imposed by making a particular weapon. Indeed, such systems are predicated on wish-fulfillment and the idea that you get to be the "author" of your own experience. This is precisely the opposite of what we see happen with these myths where the protagonist does not have control over the results of their actions.

Vagrant Story

So far, I think a good example of a system that invokes a vicious relationship would be that presented in this PlayStation classic from 2000.

While it does have a crafting system, therein lies a single mechanic that makes all the difference. In the game there are a variety of different kinds of creatures. Beast, human, dragon, undead, phantom and evil are all enemy types that have various strengths and weaknesses, and whenever you deal damage to a creature, you slightly increase the damage that the weapon will deal to that enemy type in the future. The upshot of this is that after hours of play, you have created a weapon that is "designed" to kill a certain creature type. However, this was brought about by the player's actions and not their whim or decree. When you come up against a powerful undead, it doesn't matter how strong other weapons might be, the weapon you have "trained" to kill undead will likely be the best to combat it. The player is held responsible for the past decisions they have made in combat, and while the weapons can be reforged and upgraded, the core of the experience remains the same. The only problem with Vagrant Story is that it didn't really combine this amazing system with its brilliant narrative in any meaningful way. While there was a causal relationship between Ashely Riot gaining spells upon recovering lost memories, the weapons system wasn't employed to express any themes or concepts.

Affinity Weapons in Conscientia

The main example of such a weapon our game is not that of Luin, a being with its own independent personality, but that of Eidos herself. Eidos is the apparatus through which the player can interact with the world of Conscientia and in this sense, she is a tool. However, Eidos' ability to effect the world is entirely decided by the player's choices of where they go and what they do. It is demonstrated in the dialogue system where a tyrannical statement cannot be followed up by a statement of intellectual curiosity. At this point, the player has chosen to present Eidos as a forceful instrument of will, a person not interested in absorbing new information. Such choices will ultimately effect the manner of abilities that she will gain access to, and access to these new abilities will remove other options.

A good example of this would be the following scenario: the player has presented themselves in the world in such a way so that they have manifested a means to do violence: whether this be through techne or possessing the Luin blade. Now when encountering a strange or ambiguous situation, the player will have the option of combat. However, they will no longer be capable of retreat. Eidos has been shaped into an active force. While resolution of situations through dialogue or non-violent techne may still be possible, inaction is a choice Eidos is no longer capable of making.

The Mesopotamian goddess Ianna. Her depiction represents

her descent into the underworld and existence between

two realities. Eidos, her counterpart in Conscientia,

also stands at the crossroads of the player's choices.

Tune in next time on part two, when we discuss Weapons with Constructed Intelligence!

The End of the Beginning

OK. After the past 24 hours of deliberation, I've finally come to a novel solution. The Tower of Wisdom is basically one third temple exploration, one third acid trip and one third trip to the Underworld. I was always caught between the physical and the spiritual. Clearly Ormenos used this place to get a Glyph but it seems like he also used it to become immortal and perhaps regain his Glyph abilities. A mental change and a spiritual change. Also, there needs to be something ViraVan was there for. So how to get all in one thing? It seemed an alchemical approach was the right way to go for mind/body stuff but what about Glyphs and the mental space? So I've decided there will be three parts to the Tower of Wisdom:

The physical: Two chambers where physical things are encountered. They also lead to other two experiences.

"Augmented" physical: 3-5 chambers where you walk around in the physical world tripped out, seeing things with a shattered mind. You can get a Glyph out of this (Corruption/Purification/Discipline/Awareness).

The mental: The player can sacrifice their body and become a Vanquished (robot body). This is what Ormenos did. However, the process throws you into the Graylands and splits up your Glyphs and souls. Here you will encounter Ormenos. If you are not prepared (Glyph of Awareness), he will take over your body and the game will end. This will be the fulfillment of the idea that the minds within you are dangerous.

Theory Into Practice

FINALLY: Practical stuff for the game. What can you do in the Tower?

Well, the best way for a place to communicate in a game is through gameplay. Wrong way: resurrect Ormenos and he says, "Ha! You fell into my trap! You see, it was I who reconstructed the Tower of Wisdom! First I had to understand how the Glyphs were first authored..."

Right way: You learn by interacting with the tower. Three basic methods:

Observation of latent phenomena (dead body on floor, journal, fresco, etc.)
Being acted upon by the environment (getting attacked, closing off of paths/doors, one way direct communication about present situation)
Interaction (encounter, puzzle solve, using something).

Here is what could happen:

Eidos observes an item/situation/environment
Eidos is attacked
Eidos interacts with an item/situation/environment
Eidos meets an NPC
Eidos gets a new Glyph

All of these can interact further with collected Glyphs and experiences. Let's get more specific.

Eidos watches someone learn a Glyph (unlikely)
Eidos sees some folk left behind by Ormenos (likely)
Eidos sees evidence of ViraVan (likely)
Eidos interacts with an NPC
>Ormenos minon
>Survivor
Eidos makes a Glyph
Eidos makes a crystal
Eidos projects a soul into a body
Eidos sacrifies herself and something happens
>Eidos becomes Ormenos
>Ormenos is filtered out of her mind and is reanimated)

As far as previous experiences, there are a few that exist as well as a few that could be created in Ur'Ruk which might be pertinent.

Mention of boys that pray near the Tower for favor.
Merchant that sells a page from Torma's journal where he explains stuff.
Mention of strange goings on in the temple to this day.
Ormenos sympathizers
Guy who says that if you have Ormenos inside you, you should go sacrifice yourself.

Ok, let's put something together! The whole place is a school/place of trail

Entry: Setting the scene. Observing the environment.
Chamber 1: Physical sacrifice. Jump in the tub and enter Da'at.
Chamber 2: See abominations and get attacked. Need of Luin to get passed this place. Drink from the water and awareness is augmented.
Chamber 3: Purification/corruption of physical. Need of either Glyph to get passed this place.
Chamber 4: Command of the physical. Need Glyph of Command or knowledge to get through.
Chamber 5: See place where crystals are fashioned and bound.
>See that Ormenos bound people to these tables literally?
>Spiders spin the crystals?
>Crystals are frozen fire. Fire needs to be created. So, it would seem as though crystals are sacrificed people.
>Maybe you have to go through the process multiple times.
Chamber 6: Command of the spiritual. Need Glyph of Occult to get through.
Chamber 7: Resurrection/destruction of the spiritual
Da'at: A virtual space. Here the player is questioned. If passes, moves on to 8 or 9.
>Could be questioned, however and other possibility is that Ormenos is separated out. Here, the player has to contend with him. What does this mean? Should likely be a conflict of something. What do you need to beat him?
Chamber 8: A virtual space. Here you get the Glyph of Discipline. If you already have it, get Occult. If you have that, move to 10.
Chamber 9: A virtual space. Here you get the Glyph of Awareness. If you already have it, move to 10.
Chamber 10: Creation of Immortal body

OK, it looks to me as if there has to be a bit of a separation here. A physical space and a mental space. Basically, Glyph learning and all that happens in the Graylands. You can also explore a physical space and see the mutants, crystals and crystal creations.