What's in a Name?

"What's in a name? That which we call a rose by any other word would smell as sweet."
—Juliet, Romeo and Juliet by William Shakespeare

Ever try to name places in a fantasy world? It's challenging, isn't it? Honestly I think that many games do a pretty poor job of this. Just consider the average console RPG. "The magical land of Jowkla is under siege. Terrible Detgoks from the underground kingdom of Grza are ravaging the land. Desperate, Queen Etwonda calls upon the power of Tratlya to bring four adventurers from the mythic world of Earth. But will it be enough? Will these adventurers be able to tame the raging power of the Tratlya? Will they be able to stop the Detgoks before it is too late? Will you have enough money to buy...Questaila VII?" I know that this is exaggerated a bit, but I think you see my point. So often, fantasy names are just a jumble of letters and sounds without a rhyme or a reason.

Why is this? Actually I think Tolkien spoiled us. The good Professor crafted entire languages for his fantasy world. Therefore when we read of Middle-earth, we hear of places like Moria, Mordor, Minas Tirith, Osgiliath, and others. Many of these names are actually given translations in Lord of the Rings, and I would bet that Tolkien would have been able to produce etymologies for most of them. Alas, most fantasy authors and game designers are not trained philologists. However, there is still a desire to produce worlds that are different and interesting, so we are subjected to pseudo-languages or simply pure nonsense.

This is unfortunate. Names should be more than mere labels. Names should, in some way, communicate something about the nature of the thing or person being named. Certainly some fantasy worlds do attempt to do this even in their made-up names. Ever notice how the names of evil characters often sound harsh? Consider Lord Voldemort from Harry Potter or the Daemon Sultan Azathoth that bubbles insanely at the center of the universe. Similarly, good characters are given softer names. Willow, the brave Nelwin. Tanis Half-Elven. Aragorn. The sound of the name can give an impression of the character, whether good or bad.

I will admit that Alyria draws on this naming convention a bit. Consider the word "Alyria" itself. I happen to think that the word sounds shimmery and sparkling, like light reflected from a rippling lake. However, overall I felt that this approach to names was lacking for my purposes. Instead, I have chosen a different way.

Have you considered how almost all the names given to places in Alyria are really descriptions? The Citadel. The Ark. The Web. These are not names in some imaginary language. They are descriptions of the nature of the place. I have done this for a simple reason. M.J. Young has aptly noted that Alyria is not about where things are but what they are. I feel that my choices of names enhance the symbolic impact of each place, strengthening the themes or attributes associated with each. By doing so, the narrative impact of each place is enhanced.

What do I mean by this? Let me give you a couple of examples. What of the Web? When you think of a web, you think of a tangled mess. You perhaps think of a network of connections. Perhaps you think of a spider's web and the subtle trap that it presents. All these elements are present in the Web. Certainly it is a tangled mess. It is indeed a network of connections. In fact, its continued existence relies on connections, both physical and social. And certainly, the Web can be a trap, consuming the weak that thrash about briefly within its confines.

The Ark is an even better example, in my opinion, because it blends both symbolism and a plausible game-world etymological development. To summarize briefly, the Ark is a large arcology that was built when Alyria was first settled. During the Rape, the Ark was sealed to prevent the plague from getting inside. The sensors malfunctioned, though, so the Ark did not unseal itself until fairly recently. The resulting explosion of colonization from the Ark has brought it into conflict with the Citadel.

I will describe the Ark more fully in another column, but I wanted to explain how the name came into being. There are many facets to the name. First, one can merely use the excuse that saying "the arcology" eventually became shortened by usage to "the arc" or "the Ark". Secondly, it is a reference to Noah's Ark, which was a refuge in a time of cataclysm. Thirdly, it is a reference to Moses' Ark, which held the original Ten Commandments. The Ark also holds and preserves something precious. Finally, just like those previous arks, the Ark can open, which allows us to talk of the Opening of the Ark as a major event in Alyrian history. Pretty neat, eh? All this packed into a single name.

This is also the same kind of naming convention that I intend to suggest for naming characters. Our playtest characters have been given names that express their nature and their role within the developing story. Let me explain. The story map for our last playtest centered on a Blessed who had been cast out from his village because of his powers. Surviving in the wild, he has now returned to wreak vengeance upon his village for what they have inflicted on him. This scourge of darkness we named Uriel, after the Angel of Death. Another one of the characters was Uriel's father, who allowed Uriel to be abandoned out of fear for himself. In the interim he has become a well-respected man of the community. Now that Uriel has returned, he is willing to do anything in his power to hide his familial connection to Uriel, lest he lose his position and even his life. In an ironic twist, we named him Victor, a strong name for a weak man. The village we named Haven, another irony as the village had not been a place of safety for Uriel nor was it now a refuge for the villagers.

Do you see how this works? Rather than merely applying labels to characters or places, the names that are given are an attempt to enhance the story potential of each character or location. Certainly, reasonable minds could disagree on how successful our attempts have been, but I think that the principle is established. Alyrian characters are not given names based on what they would "really" be called. They are given names that express their place in the story and that capture something of their essence.

So, in summation, I am forced to disagree with Juliet am she casually dismisses the power of a name. The proper use of names can bring power and vitality to a character or place that would be spoiled by mere labeling. A symbol can be summarized in a word. The core of a character can be illuminated by his name.

What's in a name?

Everything.