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Tabletop fantasy role-playing game From Wikipedia, the free encyclopedia
Ars Magica is a role-playing game set in 'Mythic Europe' – a historically grounded version of Europe and the Levant around AD 1200, with the added conceit that conceptions of the world prevalent in folklore and institutions of the High Middle Ages are factual reality (a situation known informally as the "medieval paradigm"). The players' involvement revolves around an organization of magi and their allies and foes both mundane[2] and supernatural. The game was originally developed by Jonathan Tweet and Mark Rein-Hagen, with its first edition published in 1987.[3]
Cover for Ars Magica, fifth edition | |
| Designers | Jonathan Tweet[1] and Mark Rein-Hagen |
|---|---|
| Publishers | Lion Rampant, White Wolf, Wizards of the Coast, Atlas Games |
| Publication | 1987 (1st edition) 1989 (2nd edition) 1992 (3rd edition) 1996 (4th edition) 2004 (5th edition) |
| Genres | Medieval fantasy |
| Systems | d10-based with strong magic system |
The current edition (the game's fifth) was written by David Chart, and published in 2004 by Atlas Games, who continue to develop new material for it.
Ars Magica was one of the first examples of a troupe system. Early editions recommended that the players collaborate to create the campaign world and story with:
The Story Guide scheme has been de-emphasised in recent editions; in Fifth Edition it is relegated to an optional play style described at the back of the book. Alternatively a troupe may select one player as the primary story guide responsible for the overall plot, and one or more secondary story guides who run peripheral sessions and/or stories.
To enhance the 'authenticity' of the historical setting, the game uses medieval Latin for a number of key terms, particularly in the game's most prominent feature, a system of Hermetic Magic.
The first two editions were published by Lion Rampant Games, with several modules published by Atlas Games. In 1991, Lion Rampant merged with White Wolf Magazine to form White Wolf Game Studio.[4] White Wolf published several adventure modules for the game before adding its Third Edition rulebook, co-authored by Rein•Hagen with Ken Cliffe. This revision greatly expanded the settings and peripheral rules while leaving the core system intact. White Wolf then released at least a dozen supplements for Third Edition, including the addition of Divine and Infernal mechanics, rules for shamanic magic, beginning the Tribunal series and completing the 'Four Seasons' tetralogy of stories begun by Lion Rampant.
In 1994, publishing rights for the game were sold to Wizards of the Coast,[5] who brought in Jonathan Tweet and started development on a fourth edition. The company published one supplement for the upcoming edition while republishing two supplements for the older edition. Development fell behind schedule, and on December 5, 1995, Wizards of the Coast announced they would leave the tabletop role-playing business altogether, although this turned out to be a temporary departure.[5]
The next year the rights were sold to Atlas Games, who published the 4th edition developed by Tweet and Jeff Tidball. The core book was nominated for the Origins Award in 1996 for Best Roleplaying Game. Continuing to develop the line, Tidwell added several new stories, continued to expand peripheral material and released an extensive line of Tribunal books.
Atlas then assigned David Chart as line developer and released a 5th edition in 2004. This release made extensive changes to the system, especially the mechanics for combat, experience, and character creation. Many players felt that the alterations to the combat system were long overdue,[6] especially the rules for armour, which in previous editions made wearers much more likely to die in combat. This edition won the Origins Award for Best Role Playing Game of 2004.[7]
Since 2014, the 4th Edition has been distributed for free at Warehouse 23 fronted by Steve Jackson Games.[8]
Many characteristics of the Storyteller system developed by White Wolf can be traced to Ars Magica and the fact that the Storyteller system was developed by one of Ars Magica's co-authors; White Wolf's Mage: The Ascension was envisioned as "Ars Magica in the Modern World", and many of the changes in the 3rd edition of ArM were to make the game-worlds more compatible.[9]
On the 12th January 2024, Atlas Games announced that a new product in the line, Ars Magica 5th Edition Definitive, was in production and would be crowdfunded later in the year.[10]
The setting, Mythic Europe, is primarily based on Europe of the 12th and 13th centuries; the geography is the same, and the mundane (non-magical) politics are practically identical. However, in Ars Magica the "Medieval paradigm"[11] – the way the world was described or understood in that time period – is the literal truth. In this setting, Faeries actually do steal lost children, Demons cause disease and crop failure, Angels help the righteous, and dragons and other Magical creatures are real (though perhaps forgotten or hidden). In 3rd edition, to tie the game into the World of Darkness line, this was reality because of the beliefs; other editions distance themselves from this interpretation, simply taking place in a world where those beliefs happen to be true.[9]
Player characters typically alternate between the role of a magus (plural magi; female maga/magae), and a companion (Consors). Companions are select skilled non-magi who help wizards conduct their affairs (as magi tend to be distanced from "mundanes" due to the effects of their magical "Gift"). Additionally, there are a number of Grogs (usually skilled peasants, often bodyguards or watchmen) who can be controlled by any player. (As of the Third Edition, Grogs are also a viable player 'class'; the Fifth Edition has added an entire supplement dedicated to 'fleshing out' Grogs.) The wizards generally gather in specialized strongholds called covenants, which are often built in places of power. A covenant is typically a 'home base' where the magi are in charge (though they may travel Mythic Europe for reasons of politics, resources, study or even leisure). Some consider the covenant to be the central character of the game,[12] and the official rules encourage troupes to develop the covenant along those lines.
Standard player-character magi belong to the Order of Hermes, a society of magically "Gifted" humans which was inspired in 767 A.D. by the witch Trianoma and magus Bonisagus after the latter developed a breakthrough in communicating and manipulating magic (termed 'Hermetic Magic' for its roots in both the Greek deity Hermes, upon which the ancient Roman Cult of Mercury was based, and the works of the legendary figure Hermes Trismegistus). While magicians at this time were scattered, rarely social and highly distrustful of each other as a rule, two factors strongly favored mutual co-operation. One was Trianoma's political vision of an organization that would unite the Gifted for their mutual benefit. The other was Bonisagus' second breakthrough, the Parma Magica (loosely translated as "magic shield"): a highly efficient and easily taught personal ritual which could allow these disparate individuals and traditions to meet on common ground with some assurance of safety. Over subsequent centuries, with very few exceptions, magi who quit or refuse to join the Order have been hunted down and destroyed, giving the Order a definite monopoly over magical resources within its 'jurisdiction'.
While each of the Order's twelve Houses maintains a distinct baseline or tradition in pursuing and transmitting knowledge and power, the Order is also divided into Tribunals, each defined by a geographic region of Mythic Europe. Each Tribunal holds a gathering of its magi once every seven years; attendance is not mandatory, though it is essential for certain procedures (e.g. those who have completed their apprenticeships are formally presented for official membership; the Quæsitores judge the types of disputes deemed beyond simple inter- or intra-covenant resolution). Once every 33 years, each Tribunal sends a representative to the Grand Tribunal at the site of the Order's founding in the Black Forest.
The Tribunals loosely correspond to groupings or portions of modern-day nations; each has a distinct cultural and historical flavor which is expanded in the Tribunals of Hermes series. For example, the Roman Tribunal is a densely populated area with a shortage of magical resources, offering highly politicized plot-lines (both within and without the Order itself); Novgorod features vast areas of harsh wilderness, where pagan tribal warfare and magical beasts are significantly more common than elsewhere.
As with any system of borders not contingent on clear demarcation such as a river or wall, the territory of each Tribunal is rarely defined with precision; this is partially illustrated (via the Fifth Edition Covenants book) with the 'Tribunal Border' characteristic, which situates a covenant in a location that could place it in more than one Tribunal (depending on political favors, conflicts over resources, and so on). Such ambiguity can exist even with "clear" borders such as rivers or mountain ranges, since incorporating supernatural aid or power into the structure (and perhaps the constituency or lifestyle of its inhabitants) can allow them to thrive even in the middle of either such feature.
The overarching premise of the Ars Magica setting is that the "mundane" world of ordinary, physical existence is a place where four great supernatural forces have varying degrees of influence and presence.
Additionally, a "Realm of Reason" appeared in the Third Edition. This was associated with skepticism and empirical observation, and its "rational aura" challenged most supernatural effects. Many fans of the game consider this to be paradoxical and inconsistent, since applying reason and rationality to the world of Ars Magica should really lead to the conclusion that magic does exist and fairies are real, etc., and yet the "True Reason" promoted by this fifth realm posited the contrary, and thus resembled a delusional (yet effective) state of mind rather than a rational one.[13] The realm of Reason had additional counter-intuitive effects – for example, imposing penalties on wizard's magic use when in prominent mundane libraries, despite the predominant portrayal of Hermetic Magic as a scholarly pursuit.
Reason proved an unwelcome addition to the game; neither Fourth nor Fifth Edition have included this 'Realm', and all references to it have been stricken from the canonical setting.
There are eight Characteristics: Intelligence, Perception, Strength, Stamina, Presence, Communication, Dexterity and Quickness. Each one is generally rated from −5 to +5 for humans and a Characteristic of 0 is considered 'average'. To perform a typical action, one of the Characteristics is added to a relevant Ability, and a d10 is rolled. The total of Characteristic + Ability + die roll is compared to a target difficulty or Ease Factor; the action succeeds if the rolled total is greater than or equal to the target number.
If the action is routine or trivial and nothing in particular is at stake, the roll is read as 1–10 and simply added to the total (this is called a "Simple roll"). If there is an opportunity for exceptional success or failure, the die is read as 0–9 and is called a "Stress" roll. For Stress rolls, results of "1" and "0" have special significance. A '1' is rerolled and the result doubled (consecutive "1"s redouble the eventual "non-1", with consecutive '1's each redoubling the result again). A roll of '0' is also re-rolled (more than once in cases of especially hazardous activity) as a Botch roll. If any botch die also comes up '0', the action has been botched: failed in some disastrous way. Otherwise, the roll merely equals zero, and the character is assumed to have been unsuccessful at whatever they were trying to accomplish.
The centerpiece of Ars Magica is the system of Hermetic Magic devised by Bonisagus. It consists of 15 Arts, divided into 5 Techniques and 10 Forms. This is sometimes called a "Verb/Noun" system: the Technique is the verb (what effect the magic has), and the Form is the noun (the entity, object or substance that is affected or brought forth). These 'verb-noun' combinations can be used to cast both Formulaic spells (which are recorded in texts, are learned through study and mastered through experience, and have known, fixed effects) and Spontaneous spells (which a caster improvises with no prior knowledge other than the Arts themselves, giving the potential results greater flexibility but lower potency). Every apprentice (with a few Ex Miscellanea exceptions) is "opened" in all 15 Arts before fully joining the Order; each Art begins with a Score of 0 and a mage may usually only increase one of them during a season (see below).
Each Technique is named by a first-person singular present tense indicative Latin verb:
Each Form is named by a singular accusative Latin noun:
A mage's skill when casting a spell is the sum of their scores in the appropriate technique and form.
Some spells involve more than one Technique, and/or more than one Form at once; each Art used in addition to the basic pair is called a requisite. All relevant Art Scores are compared: the caster's lowest Technique and lowest Form are used, reflecting the limiting of the caster's magical knowledge.
Regardless of how high one's Art Scores may rise, there are outer boundaries to the application of Hermetic Magic (whether Formulaic, Spontaneous or even Ritual). Bonisagus's theory outlines a set of inherent Limits, similar in concept to the laws of physics; the two central, 'Greater' Limits are:
There are also eleven 'Lesser Limits' (addressing more specific 'blind spots' such as aging, creation, time and the soul) which are generally thought either to derive from the two Greater Limits, or to be flaws in Hermetic Theory which may eventually be 'corrected'.
Additional statistics for every spell (which have been redefined in nearly every new edition of the game) are Target (what or whom the spell is directed at), Range (how far the Target may be from the caster), and Duration. For reasons of balance, some spells require the expenditure of "vis" – magical essence in physical form – which all magi and covenants tend to make a point of hoarding and/or trading. No Creo effect, for example, can be permanent unless vis is consumed during the casting. Some Formulaic Magic is so effective that it can only be achieved with vis and an elaborate, time-consuming ritual (hence, Ritual Spells). This automatically applies to any spell of a greater Level than 50, any spell with a Duration of 'Year', and any non-Imaginem spell with a range of 'Sight'.
All characters (magi, companions and grogs alike) improve their Abilities by applying experience which can be earned through Exposure, Practice, Training or Study. Magic, however, is stressed as a multifaceted discipline with a greater variety of avenues for improvement. Magi are expected to spend months at a time with books and/or laboratory equipment: inventing new spells (or learning or modifying existing ones), strengthening their Arts, enchanting items, and so forth. Ars Magica includes rules for magical research within the game's standard 'advancement' timescale of 3-month seasons.
These seasonal activities generally concern either study of a text or laboratory activity. Although participating in adventures, missions and other endeavors outside of seasonal activity gives characters Story Experience, the most substantial progress (and the raison d'etre of many in the Order) is nearly always from the seasonal activities of magi. Hence, time in an Ars Magica campaign may pass much faster than in other RPGs (if, for example, all player-characters are engaged in seasonal activity, standard "roleplaying sessions" are unnecessary for that period) but is also more 'accounted for' (since regular and exact periods of activity give highly defined benefits). To accommodate this, many magi prolong their lives with unique (to each individual) longevity formulas (generally called "longevity potions", though the form one takes is not always a potion); this only delays the aging process, however; beyond a certain point one's longevity formula will have no effect at all and must be reformulated (preferably with increased knowledge of the appropriate Arts and/or greater quantities of vis). The increased longevity has led to a prevalent attitude among members of the Order that Companions in general (and Grogs almost invariably) will come and go – perhaps killed in action, occasionally living long enough to retire – while the Magi carry on. Magi may concoct longevity formulas for non-magi, but this is a rare consideration, less effective than devising one's own personal formula, and is an expensive prospect in time and resources in any case.
Study is primarily achieved with texts, each designed to enhance an Ability, Art or specific Spell(s). A respectable covenant inevitably requires either a respectable library or sufficient commodities to exchange for the use of other libraries, since the dominant form of Hermetic Magic is a scholarly pursuit. Magi who are able to write useful books or teach well can use these as commodities, trading with other magi for books or training (though the Code of Hermes places limits on what its members may sell to 'mundanes').
Lab Projects concern projects to enhance one's repertoire of spells or magical artifacts. All projects have a level of effect to which the character compares their 'Lab Total': Intelligence + Magic Theory ability + sum of a Form and Technique + other bonuses (which may be from local Aura, quality and specialization of lab, assistants, special knowledge, sympathetic connections from items, and in some circumstances an additional Ability). Some merely require a Lab Total to match the Level of Effect; more extensive endeavors simply add up each Lab Total in 'points' until twice the Level of Effect are accumulated.
The following Lab Projects are the most commonly pursued:
Stewart Wieck reviewed Ars Magica for White Wolf #11, rating it 10 out of 10 overall, and stated that "I really don't think I can praise "Ars Magica" highly enough. This is simply one of those games that you must get."[14]
In the December 1988 edition of Dragon (Issue 140), Ken Rolston was effusive in his praise, calling Ars Magica "a distinctive, original, and intriguing treatment of magic for fantasy role-playing games... earnest, colorful, and meticulous in its development of a magic system with a plausible, coherent rationale. Its attempts to integrate this magic into a historical context are persuasive, and the game master notes and staging tips are wonderfully perceptive." Rolston concluded, "This is the most interesting and original fantasy role-playing system and setting I've seen in a long time."[15]
Six months later, Rolston revisited Ars Magica for a more in-depth review in the July 1989 edition of Dragon. Rolston noted that "the quality of writing, editing, and presentation is first-class", and he admired the "storyguide" system of role-playing: "This emphasis on the dramatic and narrative elements of role-playing produces some distinctive and thought-provoking perspectives on commonly accepted conventions of role-playing gaming." Although Rolston gave good marks for the game mechanics, character creation system and combat rules, he was especially drawn to the magic, which he said "has elegant tone and atmosphere." He also liked the quasi-historical medieval setting. He concluded with strong recommendation: "The Ars Magica game features an original and exciting game system, a coherent and satisfying treatment of magic, a convenient and imaginative exploitation of a historical medieval setting, and an explicit and appealing presentation of a role-playing style that emphasizes the common development of the setting, narrative, and PC-group activity over the personal expression of the individual PC."[16]
In the March 1989 edition of Games International (Issue #3), Paul Mason believed that this game "truly encourages joint creativity." He also admired the game mechanics based around single rolls of a ten-sided die, although he found the rules added some unnecessary complications. He suggested that "combat was the weakest part of the game", finding the game mechanics were too "war-gamey". But he called the magic system "the centrepiece of the game." He concluded by giving this game an above-average rating of 4 out of 5, saying, "If you're looking for a new game to take you away from mechanics and 20th century rationalizations, back into the lands of mystery and enchantment, then this is it."[17]
In the October–November 1989 edition of Space Gamer (Vol. II, Issue 2), J.M. Caparula commented that "In the end, Ars Magica is a superb roleplaying game, one that furthers the gaming art in a positive direction."[18]
In the February–March 1990 edition of Games International (Issue 13), Dave Morris applauded the change in the second edition from four types of dice rolls — something he had initially complained about in the first edition — to only two types of dice rolls. He also admired the re-organization of the magic system, and pointed out that rather than a sample scenario often found in other RPGs, Ars Magic offered a sample setting. Morris called this "a more productive inclusion in the main book than a scenario." He concluded by giving the second edition an excellent rating of 9 out of 10, saying, "it's worth buying for the ideas and the imaginative vision of its authors, even if you don't plan to play it."[19]
Stewart Wieck reviewed the revised edition of Ars Magica in White Wolf #19 (Feb./March, 1990), rating it a 5 out of 5 and stated that "The only other fantasy game which so thoroughly takes advantage of the art of role-playing is Pendragon by Chaosium. Ars Magica owes something to Pendragon, but the unique setting and beautiful magic system of Ars Magica truly sets it apart from all the rest."[20]
In his 1990 book The Complete Guide to Role-Playing Games, game critic Rick Swan liked the extensive magic system, but thought "The game's biggest flaw is its combat system, which is far too complicated for an RPG that downplays physical encounters." Swan concluded by giving the game a rating of 3.5 out of 4, saying, "Though the magic rules are fascinating, they're probably too sophisticated for newcomers. But for experienced players, Ars Magica is one terrific product; this is wizardly role-playing at its finest."[21]
In a 1996 reader poll conducted by Arcane magazine to determine the 50 most popular roleplaying games of all time, Ars Magica was ranked 19th. Editor Paul Pettengale commented: "This is a fantasy game for the thinking player – although there's plenty of scope for action, too. A first success for Jonathan Tweet and Mark Rein-Hagen, who both went on to even bigger things, Ars Magica includes one of the most flexible, highly-regarded magic systems in the roleplaying hobby. The game, which places heavy emphasis on storytelling, is extremely popular with fans who have followed its troubled history through four different publishers. With Atlas just about to produce a new edition, those fans are currently feeling suitably optimistic."[22]
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