Art credits: Some art by Art SilverGlass, used with permission. Adobe Stock. 1565 engraving possibly by François Desprez.
Fonts: Vasilek, Nuernberg, Bradley Gratis, Onciale PhF, Alphabet of the Magi.
This was inspired in part by a page from the Book of Durrow (an illuminated manuscript from ~680 CE). I’m imitating the monastic layout principle of diminuendo in the title. I picked a few fraktur-ish typefaces with varying vertical ratio and then carved away at the letterforms so they don’t clash as much. It probably would have ended up being less work to hand-letter!
🎵 Caroline (minuscule) See Caroline, Charlemagne would say it’s mighty fine (imperial) But monasteries only used it about half the time And the other half either they used Cursive or chancery hand yeah
I think it’s possible that most of the pop music I know, I only know by having searched for the sources of the catchiest snippets from soundclown mashups
cerberus proudly trotting up to you with sisyphus wiggling limply in his leftmost mouth, sisyphus’s boulder gripped in his rightmost jaws. again, buddy? clearly he wants you to throw the boulder but he growls and won’t let go
the middle head is making an independent bid to roll over for tummy rubs
Demiurge; the artist; demiourgos; δημιουργός, “one who works for the people”; skill-haver; ideas-hewer; δήμιος, “belonging to the people”; collaboration; duty; autonomous creative force; decisive power; act of absolute creation; the decision to make something; the divine act; “demiurge”
A Jurassic Park style story where future intelligent earth creatures resurrect humanity from the fossil record, putting them in a zoo but drastically underestimating the depths of human ingenuity when it comes to escape
As has been noted, roleplaying gameshaveimpliedsettings. Daggerheart’s is deliberately kept as sparse as possible, as it offers a plethora of game settings (“campaign frames”) and advice on using them or creating new ones to structure play. The pros and cons of the approach are obvious: maximal flexibility, minimal fallback.
That said, “Daggerheart has established ancestries, communities, classes, abilities, and spells – so some worldbuilding aspects will exist similarly across every campaign” (page 11). I’m setting my sights on what these imply about Daggerheart’s metaphysics. What’s stated? What can be inferred?
By metaphysics I mean cosmological, structural, and supernatural elements of the game world(s).
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What can we learn?
I’m looking only at the Daggerheart core rulebook here. The “World Overview” in Chapter 1 is particularly informative. I’ll give page references in other cases.
The Core Realms
The Mortal Realm is a plane, in the many-dimensions sense, and is where “the majority of material beings and objects” as well as the Faint Divinities are. Allegedly but not definitively, the Mortal Realm was created by the Forgotten Gods during the Earliest Age.
The Hallows Above is another core realm. It formerly belonged to the Forgotten Gods, and is now home to the New Gods.
The Circles Below are also called the “lower realms”. Many of the Forgotten Gods are banished there, becoming Fallen Gods. Allegedly but not definitively (a) “places of corruption, destruction, and violence”, and (b) the home to some of the most dangerous creatures in the core realms.
The Realms Beyond: The book is laid out as if these are the fourth of the core realms. However, the text implies that the Mortal Realm, Hallows Above, and Circles Below are the core realms, and that the Realms Beyond are some of the “many realms” of the overall cosmos.
The Realms Beyond include “the Elemental Lands, the Astral Realm, the Valley of Death, and countless others”. The “Chaos Realm” (page 250), an “otherworldly space where the laws of reality are unstable” is “alien to the Mortal Realm” and likely a Realm Beyond. It features impossible architecture and glimpses of other worlds.
Gods and such
→ The Earliest Age was a time when immortals from the Hallows Above intermingled with mortals. Of nonspecific duration and distance other than “millennia” ago (pages 11, 235).
→ The Forgotten Gods were the first known gods. No mention of what they were called when they were in control – certainly not “Forgotten Gods”. They fought the New Gods and lost, and “many of” them were imprisoned either in the Mortal Realm or the Circles Below. Presumably the others were killed, but the ones “who fought most passionately” were the ones banished to the Circles Below, so there’s room for interpretation that some of the losers were rehabilitated as New Gods.
→ The Fallen Gods are simply those of the Forgotten Gods banished to the Circles Below. Unlike in e.g. Christian mythology, nothing is implied to have changed about them in the process. Fallen Gods are designated (but are not objectively stated to be) “evil practitioners of tainted magic”, and their banished Faint Divinity allies (and their descendants) “demons”; Infernis descend in turn from demons. Temples to the Fallen Gods still exist (page 102), and it is possible to have a “direct channel” to them (page 106). Fallen Gods might also be encountered as an adversary (page 235); interestingly only at the same level of threat as “really muscular zombie” (page 239).
→ The New Gods turned up after the Forgotten Gods as a distinct set of entities, but it’s unclear whether or not the war began immediately. They seized and colonised the Hallows Above. They still exist and can intervene in the world in set ways.
→ The Faint Divinities are “lesser deities created by both the Forgotten and the New Gods to oversee the Mortal Realm.” They have narrower spheres of influence but “can greatly influence the lives of mortals.” The main text does not actually say so, but many of the campaign frames place the Faint Divinities as being physically present in the Mortal Realm.
The gods’ reach includes (page 44) the ability to “appoint” seraphs who are “imbued with sacred purpose” but whose ethos are only “traditionally” in alignment with their god’s domain or goals. Some seraphs (page 236) are tasked with enforcing their god’s will. Deities who appoint seraphs are those who exist “within the realms” [plural], which implies that seraphs can serve a Forgotten or Fallen God, or possibly even a Faint Divinity.
Interestingly, Daggerheart definitively has gods but does not seem to have an afterlife. The gods have specific observable qualities, and can be communicated with. There is no mention in the text of a heaven, hell, reincarnation, paradise, judgment, or such.
Aside: Resurrecting a dead character is merely “often” (i.e., not always) difficult and costly (page 106). Page 182 contradicts this, calling death “more permanent in Daggerheart than in other games of the same genre” and the Risk It All roll being “final unless you provide another means of resurrection in your story”; it also contradicts the wording of the Resurrection spell by claiming it can only be used once.
There’s a definite impression that the Hallows Above and Circles Below are just places where gods happen to live, and not afterlives. Getting there takes specialist knowledge and an enormous investment while, crucially, being alive. The gods are more like super powerful alien beings than anything that maps well onto the belief patterns we have on Earth, but this is generally true for most fantasy TTRPGs.
Not much is set in stone about Daggerheart’s gods, their powers, their domain, or the extent of the human-like qualities (agendas and personality traits) which the text hints at.
We do know that the gods are mortal – confusingly, given that they are several times called ‘immortal’ and juxtaposed to mortals. It is possible (page 250) to “breach the gates” of the Hallows Above or “break the barrier” between it and the Mortal Realm, slay one or more gods, and usurp their powers. The mortality of the gods is emphasised several times by the campaign frames (e.g., page 255).
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Planar travel
Communication: The Hallows Above are “closely connected with most other realms” (page 11), and according to the text it's because of that cosmological feature (i.e., not because of some godly power or designed property) that “the gods residing here can see and speak with the creatures of the Mortal Realm without leaving their domain”. Communication with the gods may be obfuscated, although it’s unclear if this is an interplanar limitation or a feature of the gods themselves.
Travel: There are specific methods by which the New Gods “can leave the Hallows Above to occupy other realms, but in the current age they must always sacrifice something of personal importance to do so.” According to rumour (not definitively), this was a deliberate choice to help protect the Hallows if the Forgotten Gods return.
There’s an implied symmetry for entering the Hallows Above, and the requisite sacrifices have caused “some of the great calamities that have befallen the Mortal Realm in recent millennia.”
Accessing and traversing the Realms Beyond from the Mortal Realm “requires specialised knowledge and hard-learned skills”, possessed by some beings in the core realms.
Security: Other planes typically have “safeguards against Fallen [Gods?] who wish to cross from the Circles Below. Within the Mortal Realm, the use of arcane magic in acts of great evil is said to open a temporary rift between the two planes, allowing Fallen [Gods?] to pass through.”
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Details of the magic system
Magic is “very powerful and incredibly dangerous” (page 12). It permeates the environment, and there is specifically a “magic of the wilderness” (page 30).
Magic can manifest within people (page 12). Some magic is innate and heritable (page 46). This kind of magic can be cultivated and there’s a skill component to using it.
Magical power can be acquired and developed through learning, tool use, and taking supplements (page 50). Having knowledge of magic leads to, or correlates with, being able to use it. Secrets can be inherently powerful.
…Other than that, magic is largely left as a mystery. Daggerheart doesn’t make commitments about its origin, ground rules, systematisation, relationship to divine powers, etc.
There’s not much to glean from the domain cards. Many game powers labelled ‘ability’ rather than ‘spell’ seem nevertheless supernatural. Magic can be used to break the rules in all the classic ways (slow time, transmit information from the future, negate gravity, break space, directly change reality, create and destroy matter, etc). This ‘canonical’ collection of spells is constrained in various ways that would be visible in-world, e.g., in magnitude and locality, which is obviously a TTRPG design consideration.
Notes from the bestiary
Fantastical creatures, undead, and things like “waygates” and “incarnations of fate” exist without any specific metaphysical underpinnings. “Outer Realms” monsters are likely from Realms Beyond. Nature spirits are also mentioned repeatedly (pages 183, 230, 283, 338, 339).
Aside: There is one exception to the latter. Humans specifically (page 65) “incorporate [sic] both magical and mechanical tools, accessories, and items that assist their daily life and tasks”, and “often dress to clearly display social status, wealth, personal faith, or aesthetics”. These traits are necessarily rare amongst the other seventeen kinds of people, otherwise they would not have been ascribed to humans in particular. Daggerheart separates culture and community from ancestry, so these are inborn traits of humans, not ones developed amongst insular human-dominated societies.
Daggerheart is otherwise very careful about this sort of thing (“individuals from all lineages possess unique characteristics and cultures, as well as personhood”) and notes that all people’s minds work indistinguishably, i.e., in a fundamentally human way. I think we should therefore regard these notes on human ancestry as an outright error.
Either way, the ability of e.g. infernis, fungrils, and clanks to mix ancestries seems to preclude a model of biology similar to that of our reality. Of course, Daggerheart has deeply pervasive magic, so although the book doesn’t state it, all such cases could be magically induced. This might anyway be a case of “game design considerations” rather than actual metaphysics of the setting.
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Campaign frames
Chapter 5 doesn’t really talk about modifying the metaphysics for a campaign frame (outside of mentioning unique setting distinctions and special mechanics).
Looking at the details of the cosmos mentioned in the book’s campaign frames, we quickly find that (of those that get into it) they are built firmly on the implied metaphysics above, with little deviation.
The Age of Umbra (as laid out on pages 281, 284, 287, 288) and Colossus of the Drylands (as described as “myths” on pages 308–310) for example are each fundamentally compatible with Daggerheart’s underlying metaphysics, but develop those basics in different directions.
The Witherwild
This frame reinforces the mortality of the gods, featuring a successful deicide (Shun’Aush) and giving a physicality to their powers (the bodily dust of a dead god gives rise to a plague; the god Nikta’s two eyes are individually responsible for ripening and ruination; maiming a god changes their powers).
The Witherwild frame develops the Faint Divinities: “Gods in this land […] wander the land as incarnate beings, residing in both the natural world as well as within homes and small villages. […] Many communities, and some larger families, even have their own small god or tutelary spirit who watches over them. […] there is a constant push and pull between the goals of people and their deific neighbors. The gods must curry worship from mortals, often by performing small miracles […]” Note that this is the only mention in the book of gods having any interest in being worshipped!
The Witherwild frame names six Faint Divinities (Fulg, Hyacynis, Ikla, Oove, Qui’Gar, Rohkin) and says there are hundreds or thousands more. Gods are person-like, with allies, alignments, and special interests. Interestingly, a god’s domain is described not as a source of power or set of powers but somewhere that effort is required (Qui’Gar presides over deaths near brambles and the current magical verdancy has “made her job harder”).
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Motherboard
This is the only canon campaign frame that arguably departs from the base metaphysics. In Motherboard, magic is ancient technology. There’s a lot of reskinning necessary, with somewhat vague guidance: “Consider how these would manifest in a world where magic comes from technology, then adapt the flavour of each feature accordingly.”
Faint Divinities are ghosts in the machine. Regarding divine power, players “should determine why their character relates to technology on a spiritual level, rather than simply employing it. They should also consider if and how they offer their devotion to the Motherboard or Faint Divinities.”
The text falls short of saying that gods (and the Hallows Above, etc) don’t literally exist in the Motherboard frame. But that’s the more plausible and parsimonious reading: the Motherboard is a “master program” left behind by ancient technomancers, whose indistinguishable-from-magic advanced technology gives rise to all supernatural phenomena.
In conclusion
Daggerheart has magic, and lots of it. But it has no deep underlying rules for a GM to fall back on in rulings (or viewed the other way, no constraints that the GM has to work within).
In Daggerheart, gods exist but at times seem curiously divorced from serving a religious purpose. There are only a few mentions of them being worshipped (e.g. page 313), and this isn’t strictly required even for the chosen champions who channel their powers. There’s no mention of an afterlife, moral judgment, or belief in gods other than the ones that literally exist. There’s also no mention of god-oppositional philosophies, even though the Faint Divinities affect people’s lives.
The four core realms are “the basis for the worldbuilding elements inherent to many of Daggerheart’s mechanics” (page 12). The obvious question to ask now is: do Daggerheart’s implied metaphysics constrain campaign frames?
Arguably. The book’s frames are all built on those basics or agnostic to them. The game provides very little guidance for tinkering with the metaphysics, even as it weighs in on other analogous matters for creating your own world (in Chapters 3–4 and especially 5). On the other hand, there’s lots of customise-it, revise-it, collaborate-on-it, reskin-it, make-it-work-for-your-group sentiment throughout Daggerheart, which could be extended to imply permission.
There are works from 2000 years ago that recognised survivorship bias, but the majority of the texts discussing it are from the last fifty years. This suggests that
Good on Daggerheart for turning the gorgon back into a gorgon. The kind of brave design decision you’d expect for a game with rules for breaching the gates of heaven to usurp the gods
I got my hands on the first print copies of Overzealous!
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The initial skim-through looks good. The rich black works well, even in large matte areas. I’m hoping that sticking to tricolour means I won’t need to do a round of colour corrections on this one.
In 1964, Egypt and UNESCO disassembled the New Kingdom temples at Wadi es-Sebua in Lower Nubia, moved them several kilometres away, and reassembled them. This is widely considered the best prank on future archaeologists that humanity has pulled so far
This is a little self-contained solo game for pen and paper. Prototypical version that I might develop further if people like it.
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My main idea is that the gameplay could revolve around coming up with a plan in the formal sense, chaining together goals and subgoals and actions that might achieve them.
Pair that with a story mechanic where you’re entertainment for the fates, so things are more likely to work the closer you are to hitting the ground.
You end up with this beautiful sprawling structure where stuff goes wrong until it’s time for it to go right. You can’t cast the spell of halting because the scroll got torn away in the slipstream. You try to conjure an imp to fetch the scroll back but it can’t hear you over the wind. But maybe the imp knows sign language. That sort of thing.
Why do news outlets still default to the word ‘boffin’ over 'researcher’ even though exact headline width doesn’t matter in the digital age? Are the editors trained on WW2 era materials?
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