Content Warning: Some images of preserved human remains are below.
In the 2014 video game Dragon Age: Inquisition, you play as the Inquisitor who heads the latest Inquisition against an army of demons and heretics. As the leader of such a massive organisation, your character is able to get supplies and aid from all corners of the world of Thedas, including some incredibly fantastic and exotic mounts. One of these mounts is known as the “Bog Unicorn” – a horse that had been preserved in a bog environment that has been brought back to life by the sheer power of the spirit. Although the game does not go into much more detail regarding the backstory of the Bog Unicorn, the design of the mount somehow manages to hit a lot of really interesting points about the phenomenon of “bog bodies” in real world archaeology. So let’s break it down…
To start, what is a “bog body”? In short, it is a body that has been preserved within a bog due to the acidic and anaerobic conditions of the surrounding environment. Bog bodies have been recovered since the 17th century. Prior to focusing on the conservation of archaeological finds, most bog bodies were either discarded or, in some cases, ground up into a medicinal powder called “mumia” (Aldhouse-Green 2015).
There has been an observed phenomenon of recovered bog bodies across parts of continental Europe, with additional cases found in Ireland and Britain. Most of these bodies have been dated to around the Iron Age, and many have been observed to have characteristics that may reflect a violent death (sometimes referred to as “overkill”). This has led to one interpretation of bog bodies representing those who were killed as part of a ritualistic sacrifice or as a punishment (Giles 2009).
The design of the Bog Unicorn manages to convey a lot of detail about bog bodies without actual textual explanation. For example, let’s take a look at the physical appearance of the mount. The Bog Unicorn is not skeletal, but has what appears to be a dark, leathery hide covering its body. Its hair is also a strange, rust red colour.
As you can see from the photo above of an actual bog body, this is the typical appearance of organic material that has been preserved within a bog. Sphagnum, released once bog moss dies, is the agent that causes the “tanning” effect on any soft tissue – this is what causes the colouration in both skin and hair found on bog bodies (Aldhouse-Green 2015).
Another noteworthy detail in the Bog Unicorn’s design is the sword thrust through the horse’s head, creating the “unicorn” effect – this is perhaps a nod to another phenomenon in the archaeology of bogs and other watery environments. Water has often been considered a liminal space (in other words, a sort of boundary or in-between place), as well as a source of life. It is possible that the deposition of remains in watery environments reflects a belief in water as a pathway to the spirit world, or perhaps more indicative of cyclic beliefs in regeneration and fertility (Bradley 2017). Weapons and other artefacts have also been noted to be recovered as deposits from water – possibly used as proxies for the human body in a ritual? It should also be noted that many weapons that are deposited in this way are often fragmented or ritualistically broken, perhaps to mark a sort of “death” of the object (Bruck 2006).
To wrap this discussion up, let’s move on from the physical appearance to talk more about intent. The Bog Unicorn, in the lore of the game, is explained to be a restless force that has moved beyond death to serve again. In other words, the Bog Unicorn is between life and death, floating somewhere in the middle as a sort of undead creature. To represent such a force as a preserved corpse from a bog is actually quite fitting, especially when one considers how a bog body is basically suspended between life and death (or at least, decay). As mentioned above, watery environments appear to have been identified as a liminal space – bogs even more so, as they were sort of in between land and water. If we take into consideration that bog bodies were part of a “punishment” involving their ritualistic killing, it might be that this liminal space proved to be the final, posthumous punishment – unable to decay and “pass on”, these bodies were left preserved, floating in some natural purgatory. But even if that’s all conjecture, there is still something so perfect about having a Bog Unicorn, who is between life and death, this world and the next, be your spectral-yet-physical steed for a battle that takes place between our world and the spirit world.
Aldhouse-Green, M. (2015) Bog Bodies Uncovered: Solving Europe’s Ancient Mystery. Thames & Hudson.
Anonymous (2015) The “Bog Unicorn”. Dragon Age Wiki. http://dragonage.wikia.com/wiki/The_%22Bog_Unicorn%22
Bioware (2014) Dragon Age: Inquisition.
Bradley, R. (2017) An Geography of Offerings: Deposits of Valuables in the Landscapes of Ancient Europe. Oxbow Books.
Bruck, J. (2006) Fragmentation, Personhood, and the Social Construction of Technology in Middle and Late Bronze Age Britain. Cambridge Archaeological Journal 16(3), 297-315.
Giles, M. (2009) Iron Age Bog Bodies of North-Western Europe. Representing the Dead. Archaeological Dialogues 16(1), 75-101.
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