Unravelling the Philosophy Behind “Leomorn Sword” and Its Sequels
For us to delve into the philosophy of “Leomorn Sword,” it’s essential to introduce the game’s primary antagonist, Void Lord Malaev.
Legend of the Void Lord
Towards the end of “The Last Warden”—a chronological precursor to “Leomorn Sword”—the titular character uncovers ancient legends surrounding the “Void Lord.” Throughout history, this malevolent entity, called Malaev, has been depicted as a figure of unparalleled chaos and pure consequence, his actions shrouded in unpredictability and devastation. According to these tales, entire cities have succumbed to the void at his command, instilling fear in all who know of him. Descriptions from historical records paint a chilling picture of Malaev—a towering, shadow-clad figure exuding an aura of malevolence. His presence is likened to a perversion of light and the corruption of reality itself, leaving a haunting reminder of the lurking shadows beneath the surface.
Confining Chaos: The Tale of Laenai and the “Forbidding”
In “Leomorn Sword,” the player would’ve discovered that Malaev, as a deity, possesses immortality and has taken on various forms throughout different eras. However, a pivotal moment in history occurred when Laenai Gladomain managed to strip Malaev of his corporeal form and to lock him within the distant dimension known as the “Forbidding,” where Malaev harboured a vengeful spirit.
- The concept of the “Forbidding” in “Leomorn Sword” bears similarities to Terry Brooks’s “Forbidding” in “The Elfstones of Shannara,” as both involve a distant realm where malevolent entities are imprisoned. However, in “Leomorn Sword,” the “Forbidding” serves as a specific confinement for Malaev and reflects Laenai’s strategic manoeuvre to protect humanity from his influence.
Recognising the threat Malaev still posed to humanity, Laenai took decisive action. She handpicked a group of individuals, forming a chosen people, and established three kingdoms which would later become Northdell, Eriden, and Southston. Infusing her spirit into the earth, she then caused it to separate from the world’s surface and ascend into the sky. These would become the same floating islands where the events of “Leomorn Sword” unfold, roughly two thousand years later. The floating islands hover above the Great Divide, a vast abyss separating the old world from the new. The descendants of Laenai—we know of Nerismorel and her daughter Eilmorel—are destined to perpetuate Laenai’s incantation, so that the islands may remain afloat.
Ethical Egoism and the Burden of Responsibility
Laenai’s decision to safeguard a select few and isolate them from Malaev’s influence resonates strongly with a philosophical concept known as ethical egoism. Ethical egoism posits that individuals ought to act in their own self-interest, prioritising their own well-being above that of others. In Laenai’s case, her actions reflect a prioritisation of her own safety and that of her chosen people, even if it means sacrificing others or leaving them vulnerable to Malaev’s influence. This philosophy aligns with the idea that individuals are ultimately responsible for securing their own survival and happiness, even if it comes at the expense of others.
However, Laenai’s actions also serve as a cautionary tale about the dangers of avoidance and the reluctance to confront inner turmoil. Just as Malaev’s presence looms ominously in the “Forbidding,” unresolved issues and shadows linger beneath the surface, waiting to resurface if left unaddressed. By sealing away Malaev and the darkness he represents, Laenai attempted to shield herself and her chosen people from the unsettling realities of their own existence.
The Gladomain Family
- In the world of “Leomorn Sword,” the Gladomain family emerges not only as a political entity but also as a significant religious force. Their authority is deeply intertwined with the spiritual and political fabric of the land, with the descendants of Laenai holding positions of both secular and religious power. However, this dual role becomes a point of contention, especially during times of civil unrest. To end the civil war in Northdell, roughly twenty years before the events of “Leomorn Sword,” the Council assumed command of the military, challenging the Gladomain family’s traditional dominance. Eilmorel, the head of the family, was compelled to relinquish some of her powers to the Council, although she retained the right to appoint a trusted adviser.
- The perception of the Gladomain family’s authority evolved over time. While newer generations may have viewed their role as a means of perpetuating power, the truth is more complex. Eilmorel’s genuine intention to protect the world and her willingness to renounce her title demonstrate her integrity and good intentions. However, underlying suspicions linger, questioning the legitimacy of the family’s legacy and its impact on governance. In other words, “Leomorn Sword” ultimately touches upon themes of familial responsibility and the legacy of wrongdoing. The actions of past generations, whether noble or nefarious, cast a shadow over the present. Eilmorel’s struggle to navigate the complexities of her family’s legacy prompts reflection on the extent to which individuals are accountable for the sins of their forebears.
- Eilmorel and Lauron both grapple with the complexity of family obligations, feeling overshadowed by their familial expectations. They both strive to fulfil these expectations, even to the point of making ultimate sacrifices, as seen in Eilmorel’s case. However, as the story progresses, both Lauron and Eilmorel challenge their predetermined destinies, asserting their own identities and striving to define the roles they wish to embody in the world.
The Tyranny of Nothingness: Malaev’s Vision in the Trilogy
Going back to the story’s antagonist, in all these narratives, Malaev serves as a symbol of existential nihilism, a philosophical perspective positing that life lacks inherent meaning or purpose. According to this philosophy, values, morals, and beliefs are human constructs devoid of objective basis. As an immortal entity, Malaev transcends mortal concerns such as the search for meaning: to him, nothing holds significance, because the absence of death precludes any consequences.
In “The Last Warden,” the player confronts a pivotal question before the final confrontation with the Void Lord: “What are you fighting for?” Similarly, in “Leomorn Sword,” Malaev cryptically declares, “Can’t you see it? I haven’t come to destroy you. I have come to liberate you.” However, these inquiries resonate throughout “Leomorn Sword’s” narrative from its inception. Panril’s rhetorical query to Lauron before departing Nossa—“What’s the point?”—and, just a few moments earlier from the player’s perspective, Eilnys’s display of regret in Dorcliff Ridge hint at a deeper existential struggle—confiding in Lauron for a brief moment, she adds: “It all feels so meaningless sometimes.”
As discussed in an earlier post, the story of “Leomorn Sword” is firmly rooted in the solitude of those abandoned, whose needs and desires are disregarded. The revelations at the end of “Leomorn Sword” affirm this sentiment: Malaev has successfully sown the seed of despair into the new world.
In “The Underworld,” the sequel to “Leomorn Sword” in the trilogy, Malaev’s motives are further explored. Over millennia of existence, he has grown weary of the cyclical nature of the cosmos, perceiving life as an endless repetition of creation and destruction, with light representing a false hope. Rooted in nihilistic philosophy, Malaev believes true freedom lies in the void of nothingness—“I have come to liberate you”—, driving his desire to end light. He sees himself as a herald of cosmic liberation, seeking to free existence from its constraints. (The player would have also learnt that Malaev harbours an insatiable thirst for power, viewing the First Light in particular as the purest source of cosmic energy. Consuming it would grant him unmatched supremacy over the cosmos. Malaev feeds on the light. He corrupts and consumes it.)
“The End of Light,” which—incidentally—is also the title of the third and final chapter of the story, signifies not only extinguishing illumination for Malaev, but also absorbing the light’s essence to become an omnipotent force. Therefore, in his twisted ambition, Malaev envisions reshaping the cosmos according to his malevolent will: an oppressive silence reigning over the universe.
The Void Lord was right about one thing: at the end of light, we shall all cease to exist.
Nerisiries Gladomain—“The End of Light.”
The Quest for Meaning: Lauron’s Journey
In “The Last Warden,” various paths away from nihilism are explored, offering alternative responses to defeating Malaev and delving into concepts of soft and hard determinism. Conversely, Lauron’s story, culminating in the third chapter, “The End of Light,” revolves around the themes of choosing life, embracing existence, and confronting despair and abandonment. Rooted in existentialism, his journey offers a peaceful and, hopefully, satisfying resolution.
Spanning three games should have allowed for a nuanced exploration of these themes. I intend to delve deeper into the trilogy’s narrative in future posts. Suffice it to say for now, by the end of the third chapter, there is a conclusion to the journey. “Leomorn Sword’s” open ending serves as just the beginning to a broader discussion. Existentialism, nihilism, and ethical egoism are woven throughout the trilogy, yet they are never explicitly spelled out to the player. My intention has always been to leave players with questions while also offering a sense of conclusion.
Leomorn Sword 