Magic - The definitive work.

[Shen]

UNDERSTANDING MAGIC ABILITY.

There is no quantitative way to measure magic power. There is no means to measure comparative power of magic abilities, or how strong a magic wielder may or may not be. The only value associated with magic use is of course, your magic Talent. The Talent system is very simple, so how to have an intricate and complex magic system rather than a spell slinging free-for-all?

To understand what a mage can and cannot do outside what branch of magic they have access to, it's important to acknowledge a couple of points:

- There is no mana, or mana pool. Fatigue is not something that can be measured and no simple 'fatigue cost' can be given to any magic use.
- Having points in a magic Talent does not grant you 'more power' in terms of how much magic you can cast.
- Having more than one magic Talent does not make you more powerful but rather, more versatile.
- There are no 'spells' other than those should you role play magic use as such. It is better to consider complex magic use as 'techniques'.

Magic talent and Fatigue.

In the very simplest manner, having more points in a magic talent means you are more familiar with that magic. You don't have a larger brain or well of power to call on for your magic use. Instead, your familiarity with your magic is measured by your Talent. How does familiarity factor in?

Greater familiarity means that things you do with your magic can come easier. For example, techniques you used at Talent level one were costly. You were a novice and your techniques would have been simple and unrefined, being very basic uses of magic. At higher talent levels, those techniques come easier to you. Your developed skill with your magic makes lesser things easier, more refined and best of all; they cause less Fatigue. In turn, your newer skills will be harder and less refined, just as your lesser techniques were new to you long ago.

Whilst Acclaim has little to do with Magic use and is primarily the prerequisite to gaining more talent, we ask that players choose to 'develop' their magic use throughout the course of the game, even though they may begin with greater Talent totals. A player starting with level 5 in a magic Talent certainly has a great arsenal, but developing new techniques should also be part of your character progression.

Magic talent and power.

Again, having a greater magic Talent does not grant you more power. It is not an unlocking of 'now I have reached this level and can do a fireball', but again indicates your familiarity and your progression with magic. It is only natural you would grow and evolve and therefore, develop greater and more powerful techniques.

On the flip side, having more familiarity means you wield magic with less strain, or Fatigue. This does mean you could empower a technique more, at an appropriate cost. A technique you wielded at level 1 can now last longer, or be more powerful at level 3 if you choose to expend the energy and focus.

MULTIPLE MAGICS.

As talent points do not grant you 'more fatigue' or greater power, having multiple magic talents gives you no benefit outside of being more versatile. A mage accomplished in all types of magic is no stronger than another mage with just one path. He has access to far more techniques of course and that versatility may well make him superior in a duel, but there is no way to measure this.

'Spell' as a misnomer.

The term spells carries many connotations and preconceptions. Our system prides itself on both simplicity and freedom. One character may use traditional arcane symbols and chanting in the role playing of their 'spells', whilst another character may have a very simplistic, intuitive grasp on their Talent. Both are magic users and both may be on equal footing with the only difference being their approach to their talent usage. That being the case, 'technique' is a far better term to use.

Understanding magic role play.

How you choose to role play your character's magic use is entirely up to you, but understand that regardless of how your character accesses their magic; their magic wielding must be within the constraints of the system. There are a couple of simple points to remember:

- No character may simply summon or manifest their magic. They must have access to their element.
- No magic is instantaneous. Whilst the simplest techniques may become very quick for the experienced mage, no magic is ever manifested immediately. There must be some gesture, some degree of focus and some small degree of time it will still take to complete. The only exception in a sense, would be a technique created prior to act in that manner.
- Greater techniques not only cause more fatigue, but require more effort and role play. Simply 'paying for' a powerful technique is not enough, the character must devote the time and focus to performing that technique.

A note on ritual and 'casting'.

All characters are invited to have their own background with magic as as such, should have their own 'style' when wielding magic. This can be elaborate hand gestures, to drawing arcane symbols, to reciting spells or even performing a dance. This is up to the player. Regardless of how simple of complex your 'casting' might be, we expect all players to spend an amount of time suitable to the potency of the magic application. A small task should be rather quick, a large, dangerous spell should take some time to prepare or cast. Casting an explosive fireball with the blink of an eye is simply not allowed and a GM will have your technique fail, drastically.

[Shen]

UNDERSTANDING FATIGUE.

Factors influencing fatigue and focus.

Whilst Fatigue is the mental toll taken for casting magic, Focus is the time and effort required to perform that magic. Again, the focus element of this act will vary greatly between characters. More varied, is the countless ways in which magic can be used, or the many techniques that can be employed or created by characters. Various factors could be considered as making up the whole of a techniques 'potency'. Potency should not just be considered the offensive potential of a technique, but the amount of energy involved. The factors to consider when qualifying a techniques potency are:

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The availability of the element required.

Magic cannot be simply summoned, or manifested. The element involved must be present, pulled from an appropriate source around the mage. Having a small amount of water for a complex spell will stress the user, as most elements cannot grow. The user is limited by the supply of the element and this can quite easily cap the potential potency of a technique.

The offensive or defensive power of the technique.

Potency is most easily measured by the brute force of the magic. A wind technique that simply blows someone over is not nearly as potent as a blade of wind that cuts that target in two. Likewise, the resilience of a defensive technique factors into Fatigue.

The complexity, finesse and control required of the technique.

The intricacy of the technique is most certainly a factor. Launching a rock at a target is quite simple for an earth magic user. Changing that rock into a spike, or blade and then launching it with a controlled trajectory is more costly. Each and every small detail will factor into the fatigue cost of each technique. We do expect people to make their magic use elaborate, keeping all techniques entirely basic would make for very boring role play. This is also one means by which to 'customize' a common technique.

The size/area of the technique.

Obviously, the size encompassed/affected by a magic technique will factor into Fatigue. This also affects the range of the technique. Magic will deteriorate with distance, unless sufficient effort is exerted.

The duration, upkeep or force of the technique.

Duration need not affect the user for the entirety of the technique. A magic user could choose to incur the Fatigue penalty at the initiation of the technique. For example, a character may choose to create an orb of their element, then have it follow them. This orb will only last a set amount of time should they pay for this at creation, or continue to exist should they continue to pay Fatigue each round. You do not have to continue to pay every round should you choose to pay 'up front'.

Upkeep refers to a continuous application of power and focus. For example, continuing to press a magical attack against something. The user may continue to empower the technique, exerting more or even constant force each round. This amount can vary wildly, as offense and defense can ebb and flow when magic is involved.

Force would mean the impact, pressure or even mass involved with the technique. You may wish to push a wall down with your wind magic, or you may with to move a giant boulder. You have to meet mass and resistance with enough force and whilst the technique may be simple, it is going to require more focus on the part of the character and therefore, contribute heavily to fatigue.

The equipment of the user.

Outside of bonuses and/or reductions granted to magic use by the user's equipment, it is important to remember that armor directly affects Fatigue. A magic user in heavier armor is encumbered in a sense. Their body is preoccupied and weighed down, they are simply not as open to the magic that surrounds them. Armor interferes with magic usage. The character with little armor (or weight) reduces interference, making their magic much more efficient. The heavier or bulkier your armor, the faster you will induce the symptoms of Fatigue.

Current goings-on affecting the user.

Any force or activity affecting the mage whether physically, mentally or emotionally may interfere with their ability to wield magic. Being stabbed will most certainly ruin your technique. Being stressed or under duress will diminish a character's ability to focus. Other characters may be the opposite of this, finding their magic absent until they are in an agitated state. The player must consider what is taking place and what that means to the character.

Symptoms of Fatigue.

People tend to get confused about Fatigue, as outside this game it describes general physical exertion. In game, it is used to describe the toll on the mage's mind and also limits their potential to repeatedly use magic. But the use of the term isn't quite so removed from the literal meaning. The reason for this is very simple - what affects the mind affects the body. At the very least, fatigue impairing your mental state will directly affect your ability to move efficiently and effectively, not to mention hampering your decision making abilities and perception of your environment. Fatigue happens after a little magic use and at first is not an issue at all, but continued use or greater use can quickly lead to complication. The common symptoms of Fatigue are as follows:

If you find yourself questioning the validity of these symptoms and feel that Fatigue induced by magic use should not have a toll on your body, then need only consider the symptoms of a migraine. In the same way, anyone with combat experience will inform you that it is not terribly easy to think straight after a fight. Your body acts as a whole, whether the exertion is of the mind or body.

Fatigue and the Endurance Talent.

The Endurance Talent has been the focus of much debate in regards to it's role in combat. Firstly, it must be accepted that Endurance does not play a large role in combat. Combat is decided by the combatant's skill and resourcefulness and rarely whom can last longer or has greater stamina. Two combatant's, both physically weary; will have little strength in reserve to deliver a blow capable of killing. Combat is decisive, regardless of your forte and should not be prolonged.

Endurance is a physical skill. It is not a measure of health and does not reduce damage, or give you a larger, fleshier body which is capable of taking more damage. A blow that will cripple or kill will effect any person in combat, regardless of their physique. Endurance is not mass, it does not enable someone's body to absorb more damage from crushing or blunt blows.

Endurance is physical stamina, as it pertains to enduring, or pushing ones self physically. It is the ability to walk, run, climb or swim for longer. It allows the person to push their body, they take longer to tire or to feel the affects of stress endured by exercise. In combat, your character using Endurance to ignore the damage taken does not negate the fact it has been taken. They will bleed no slower. They may ignore pain, but they will still have reduced capacity to fight.

With this understood, it is easy to consider why there is no 'mental counterpart' to Endurance. The brain is not a muscle, nor is the spirit and truly, there is no way to increase one's capacity to endure mental stress. Consider people exposed to trials of sleep deprivation and regardless of their ability to cope with such strain; the long term price that is paid. The human mind simply does not function without proper rest.

Endurance applies to Fatigue in one manner only. It allows the character to ignore the physical toll of Fatigue for a time. It will not stall their passing out, or the headache suffered. It will allow them to function under such duress. In no way does this allow them to use magic for longer, as the effect is still real. They can simply choose to persist, to carry on regardless. Ultimately, this only poses a greater danger to the character as they are choosing to flirt with death.

Those who choose to specialize in magic rarely focus on this Talent as it serves them very little purpose and it's worth lies in more physical, base acts better left to those with the bulk and brawn to make better use of it.
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[Shen]

REFERENCES TO SPELL AND MAGIC 'LEVELS'.

The term levels is only used when referring to the level of a Talent. As your Talent level in any given magic defines your ability with that art, it is very common to see the term 'a spell of X level.' It is not an easy thing to define but is most commonly used in equipment descriptions, where the admin try to be succinct. In this regard, the power of the item in question would be considered 'of equivalent power to the upper potential of mage with that level.'

Beyond equipment, the use of this term is inadequate and leaves both players and Game Masters questioning the actual potential of a magic technique. It is preferred that the user does not refer to any action in levels, or we would have examples of melee fighters 'swinging their axe with level three melee strength.' Rather than trying to quantify the potential of an act, a player should instead be descriptive and use general terms. 'Half power' or 'minimal power' are hardly descriptive but are far better than numerical references.

The single most important thing to remember:

It is critically important to remember to have your character suffer Fatigue from magic use and incorporate this in your posts. The round after the technique is still acceptable, perhaps prior to their next move. A Game Master will inflict a player with Fatigue if they feel it is being neglected. Characters with full mastery of their art should not be concerned when performing menial, trivial techniques or things they have shown great mastery of. A master of their art could indeed use quite sufficient magic without having to dwell on Fatigue immediately, especially if they are not repeatedly using magic. One fireball will not put a master of fire magic on their posterior. Two would begin to take affect, three would start to tire them. They could, of course; start with a maelstrom of fire and immediately wear themselves out.

Just what is how powerful?

There is no way, nor need to define magic. It is simply not practical, considering the versatility and freedom we allow our magic users. A better way to consider the scope of power at your disposal would be with what could be considered a basic technique and what would be considered mastery. For example:

- Hurling a small rock, illuminating a room, blowing a hat from someone's head are all simple uses of magic and easily in the scope of a level one mage. One use of such a technique would not tire such a mage immediately, but would still require concentration on their part.

- Causing a massive boulder to levitate, detonating an 'light bomb' hot and bright enough to disintergrate a room full of undead or unleashing a tornado strong enough to tear through a house would all be considered high level uses of magic. The many factors that contribute to fatigue must be considered and again, one use of such a technique needn't entirely tire the character.

[Shen]

THE HIERARCHY OF THE MAGICAL ARTS.

There are many schools, sects and branches of the magical arts. There are different approaches to what is essentially the same art just as there are strange and exotic forms of magic unknown to the greater world. All of these different types of magic fall within the more common arts, Earth, Water, Fire, Wind, Light and Dark. Blood magic is not a common art, but demands mention as it is likely the only art not firmly based within the others and therefore, is an anomaly and therefore, required no further study at this time.

The base arts.

The base arts are so named not because they are simplistic or less powerful than the higher arts, but because they are the very building blocks all things in creation are born from. They are the raw energies that fuel life and therefore, are very potent.

These base elements exist in a cyclic system like life itself. All are entwined and interact with one another, each contributing to the larger circle that is life. One element readily consumes another element, only to falter in the presence of another. Any mage worth his salt understand this interaction of elements and considers it in his art. Without a sufficient sketch, the system works thusly.

Fire > Air > Water > Earth > Fire.

Please note, fire is only mentioned twice to illustrate the continuation of the cycle.

Fire consumes air. It in turn is smothered by earth. Air can cut through and toss water about, whilst water can toss earth about and wear it down. There are of course instances and exceptions in nature to these very general rules, but for the understanding and application of magic, this order stands true.

Do not consider one element to be easily dominant to the next in the cycle. The matter is not as simple as 'my fire easily beats your air.' In fact, that does not apply at all. An air mage is quite easily armed to withstand the attack of an fire mage, given he uses his wits. The fire mage would conserve minimal Fatigue whilst overcoming an air mage. Where the difference is significant is in the damage inflicted. A fire attack that is successful upon an air based target, will deal aggravated damage. This means the impact, the wound, the damage is significantly worse. Where this comes into play most frequently is in the encountering of other creatures, more elemental in nature or reliant upon one element for their power. An opponent dressed in earthern armor would find himself ill prepared to face an water based attack. In turn, he would have superior defense against a fire based one.

Remember, the true difference is not in the clash of elemental attacks, but in the damage inflicted should one be successful.

The combination of elements.

As already elaborated upon, elements can indeed react to one another. Whilst fire may be considered to simply consume air, the application of more air can in turn fuel that fire to empower it more. That same air could both direct the fire, or lend it structure otherwise much harder to achieve, making that combined technique greater than the sum of it's parts. Of course, two magic users combining power can do so at a lower cost and with greater effect than one mage acting alone, attempting to achieve that same result.

There are no rules for combination of magic, other than common sense. Observe nature and use a dose of creativity and modesty to have your magic combine in both credible and ingenious ways. There is little limitation on what might be achieved in this manner and it is largely an unexplored facet of magic use.

The higher arts.

The 'higher arts' refers to both Light and Dark magic. There is little weight to this title, but is comes from the religious and spiritual associations of these two forms of magic. There are also unlike the other elements as they are not quite so physical in their manifestation and some of the potential with these two 'elements' seems quite unusual. They are often considered 'holy' and 'evil' magic, or any mix of such terminology.

The interaction of light and dark magic is different to the other elements. There is no occasion where one element may clearly have the upper hand, unless that element be in abundance. That very thing makes the presence of the other quite difficult and therefore reduces the validity for use of the art. Both can overcome the other and negate one another, often being the only form of magic that can undo or cancel effects sustained by the it's counterpart.

But both are one side of the same coin. Ever at odds with one another, both light and darkness need the presence of the other element to be of any use. It is impossible to have light without the presence of darkness. If no darkness where present, whether in it's raw form or embodied by a creature or wielded by a mage, light would be of little worth. No nightmarish monsters stalk the open daylight. To be seen at it's most effective, light magic must be wielded in the deepest dark.

Dark magic too suffers from this paradox. Night can exist and almost entirely without light - but such darkness becomes without form, without refinement and furthermore, without restraint. A dark mage bathed in naught but eternal blackness is in danger of being consumed by the very element he wields. Darkness finds true strength in the presence of light, because that light casts shadows, animates the dark and brings it to life. It gives it identity and form and it is the shadow that is the true weapon of the dark practitioner, their struggle riding the line between too much shadow and too little. Light can overwhelm the shadow, leaving it small and insignificant, or retreat and leave nothing but a muddled, chaotic mess of primordial black ink that the most masterful of mages could not hope to wield with any efficiency.

Blood magic has no association with the other elements or arts and therefore has no counterpart, no superior element and none weaker by default. It is unique in this sense.

Healing magic is also not associated with the other arts, although it is frequently practiced by and affiliated with those who study Light magic. It is unlike any other magic art though, as there is no elemental requirement of complex manipulation of the basic elements.

[Shen]

THE ELEMENTS OF MAGIC.

The elements of magic are the very basis of creation, all elements being the building of all things in existence. However you 'tap' into magic, it is the very raw energy that empowers the magic user and is the fuel for their magic. But each element is quite different. Magic parlor tricks are a dime a dozen, but a dedicated and experienced mage can wield magic in a magnificent and effective manner. It is the small differences in the elements that are also the key to both their unique strengths and weaknesses. A thorough understanding of the elements in play is fundamental to being effective when using magic. Elements can all be defined by the same set of traits: Structure, fluidity, speed, form and common uses.

[Shen]

EARTH MAGIC

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Earth is among the 'base arts' and in many cultures, is considered the holiest of magic. The earth is more tangible than other elements perhaps, and is often considered the living embodiment of all the other elements combined. It's application may be crude but it's simplicity is also it's strength - few things can overwhelm an enemy like a rocks slide and fortresses are made from stone for obvious reasons.

Structure: Structurally, earth is by far the strongest element. It requires less to exert raw force, being that the element itself is very dense. It does not have to be refined to inflict physical force
Fluidity: Earth is not a fluid element. It is abrupt and clunky, not bending easily to the user's will. Any technique requiring great degrees of finesse, or intricacy is very taxing when using earth.
Speed: Earth is also a slow element. Loose earth, or dirt; is faster but lacks the strength of rock and the like. Given it's often crude and slow application, earth is commonly seen in large, forceful application.
Form: Earth does not grow. It is a set mass which can only be modified by adding more earth. Earth can be pulled away from it's source, but this is not entirely easy as it is bound together tightly. Earth typically rises and falls in use, falling back to it's base form after each technique. Maintaining it otherwise is very trying.
Common Uses: Defense, armor, brute force, terrain, quakes.

[Shen]

WATER MAGIC

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Water is a precious commodity and as a 'base art', it has often been considered a holy element. It is the foundation for all life and as such, many schools of magic practice a gentle or passive approach to their water magic. It is not often used to great effect offensively, but is better suited to assisting allies and impairing the wielder's opponents.

It is important to note that while it is most commonly used to assist allies water can be a devastating weapon. Water holds the power to shape mountains, canyons, and can destroy crops with a simple rainstorm. A water mage must be ready for any eventuality. Do not neglect an attack when possible, it is as they say the best defense.

Structure: Water is not structurally strong in an inert state. With some focus however, water can exert force quite easily. Pushing and blocking, misdirecting and the like are easy with enough water. With greater focus, water can cut through most things or with enough mass, can crush a target.
Fluidity: Water is the most fluid element by it's very nature. It can bend and turn, twist and react quickly at a whim. It will maintain it's general form easily as it moves.
Speed: Water is not terribly fast as it wells and flows, needing often to build momentum to direct it's force.
Form: Water is not terribly hard to draw from a source, but is hard to maintain in a defined shape as it slops and sloshes about, refusing to remain still. A floating orb of water will still roll and wobble, the focus required to make it entirely still being quite trying. Water can swell and pulse, but not grow in mass.
Common Uses: Spell dampening, renewal, drowning, impeding.

[Shen]

FIRE MAGIC

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Fire magic, is one of the four founding elements of magic. In fact, some claim it was the first magic tamed by man. There is historical evidence to support this claim, if one gives credence to the thought that fire can be conquered. That said, a mage who believes he can control fire easily is foolish in the extreme. Fire's power is due to speed, mutability, and influence. A fire mage will quickly find out that it takes minimal power to encourage fire to spread. In some cases it takes no power at all, as fire will eat anything in it's path with enough strength and fuel behind it.

Fire is an excellent offensive and defensive magic. There is nothing more apt to cause chaos on the battle field than a fireball or more protection like a wall of flames. Do not discount Fire's ability to influence, either. Fire, if used correctly can win a war, use it incorrectly and it can start one, too.

Structure: Fire is structurally weak and cannot exert a great deal of force. Instead, fire's power lays in it's ability to burn and exert pressure through heat. It is very difficult to maintain physical density with fire.
Fluidity: Fire is quite fluid, snaking about and twisting with ease. It can slip through the tiniest hole with ease - but all the while it burns. With flames flickering, it's shape is terribly hard to refine.
Speed: Fire is very fast, consuming air and space, smothering objects and weaving about them with ease. It comes to bear very quickly, flaring and hissing dangerously.
Form: Fire is easy to pull from the source, as it is a reaction and does not require constant fuel under manipulation. Fire is one element that can grow, focus forcing it to swallow more air and burn hotter. A fire pushed too far will grow weak and even extinguish, but it's range and size is deceptive.
Common Uses: Destruction, protection, light, disintegration, ablation, isolation, and misdirection.

[Shen]

AIR MAGIC

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Air magic, like the other 'base arts' is very common place. Many amateur, would-be mages look to this element as they see it being readily available and easiest to work with. This is not entirely true, as air rarely lays still and therefore, requires great control of the wielder. This control becomes second nature and any air mage will tell you that it is far easier to utilize the momentum of a strong breeze than it is to stir up still, stagnant air. For this reason, many people call this art wind magic.

Air is commonly used for persuasion rather than trauma, though with it can be used with great intensity at sonic speeds to cut almost as well as light. It always moves though, never remaining still for long and this makes constructs complicated. One of the peculiar traits of this element coined the phrase, 'to vanish into thin air', though none but a true master of the art know the reason why.

Structure: Air is weak, structurally. With focus, it can exert great force, or cut through a target, but it's complex forms are hard to maintain and wanes quickly.
Fluidity: Air can whip about and react in an instant, but acts differently to water. It can move in a constant pattern or change course with a whim, but continues to move always, rather than lingering for long.
Speed: Air is the fastest element behind Light. A user can react with little effort, having it shift and move with unerring speed.
Form: Air is all about us and therefore does not need to be pulled from the source. Any void will be filled by air given the choice. It does not grow but instead is ever present, lending the user as much as is needed for their task. Controlling greater amounts still requires focus. Casual forms of air are easy to maintain, but mainlining solid shapes is not for the novice.
Common Uses: Pushing and pulling, redirection, cutting, force fields, ventriloquism, hovering, vanishing, haste.

[Shen]

DARK MAGIC

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Dark magic is not accepted by normal society and is considered a black art. It is more readily accepted amongst scholars and practitioners and is officially considered a 'higher art'.

The origins of Dark magic could be said to lay with the terrible things that dwell in and wield this element, though the development of actual ritual magics and practice was by the more civilized races. Some have sought to wield it's power to their own ends, others have sought to better understand it and to prevail in the ongoing battle against the dark forces of the world.

Dark magic could more accurately be considered 'shadow' magic as night itself is largely unrefined and without definition. It is the absence of light and therefore, has little substance or structure. The dark mage uses shadows far more effectively than the night and at lower cost to himself, though not all techniques are as simple with light present. It is a paradox in this manner, in that light is a threat to dark magic but also amplifies it's own power. Those closer to nature consider this the true nature of things and that both arts will remain in an eternal struggle, whether wielded by mages or as day and night fall on the world in turn.

Structure: Dark magic is somewhat stronger than water, which makes it second only to earth magic. It's nature is unusual in that it can change from being intangible to quite readily solid.
Fluidity: Darkness is fluid, but moves in a manner more akin to treacle than water. It could be considered 'thick' and whilst controlling it's path and structure consumes time, it is easily bent to the user's whim. It can weave and wind and even smother things in it's path.
Speed: Darkness is a slow element, capable of any reasonable speed in simpler applications. Large masses and greater ranges thin the darkness out, slowly decreasing it's movement.
Form: Darkness is strongest when it is a shadow. The thick of night makes for a great deal of the element, but it is largely unrefined and not nearly as capable as a shadow cast by light. Darkness can be pulled from the source but rarely is, as it has an inherent nature to remain connected to the shadows and dark about it via tendrils, like so many limbs. The closer to the source it is, the stronger it remains, it's limbs remaining thicker and pulsing with power.
Common Uses: Stealth, shadow puppetry, mental interference, smothering, constriction, hindrance.

[Shen]

LIGHT MAGIC

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Light magic is considered a 'higher art' but in fact predates all other forms of magic as best scholars can deduce. This is considered due to it's simplicity and availability, but also due to it's effectiveness against the many foes civilizations ancestor's have faced. It's beginnings are widely considered divine and most fables relate some godly being bestowing the civilized races with the power of light in the age of creation.

Practitioners generally have some religious background or consider their art holy. Light is of course abundant during the daylight hours and whilst many a person may consider that a boon to the user, any mage will tell you that the things that light magic was created to deter simply aren't encountered during the day. It is a powerful tool against chaos, but most often is utilized when surrounded by the ever present threat of being extinguished by the dark.

Structure: Light magic is structurally very weak, it's power relying more on it's great focus and it's ability to burn somewhat like fire, rather than blunt force. It can maintain rigidity, but shatters easily, needing constant upkeep or replacing. No other element can hold a keen edge like light.
Fluidity: Light is a paradox, moving instead in straight lines, rays and waves or maintaining a simple, small shape such as an orb and traveling about freely.
Speed: Light is easily the fastest element. It can move very quickly as a beam or blast. It can materialize in almost an instant. With enough intensity, the range of light is almost unlimited, moving with alarming haste.
Form: Light is unusual as it does not require the user to pull it from the source, but rather it can be manifested, just drawing on the power of said source. It can be easily sustained and may even grow in both size and intensity with more effort on the part of the mage. Using light generally sees that amount lost, it dissipating after use or simply vanishing. As the mage whittles away his source of power, it becomes harder and harder to have it grow or expand.
Common Uses: Blessing, illumination, illusion, turning undead, rays, animate blades, protective fields.

[Shen]

BLOOD MAGIC

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Blood magic is quite different from other forms in that it is not solely fuelled by the wielder's focus and talent. Blood magic can be very taxing and wears on the mind of the novice in more ways than standard fatigue, because blood magic is largely fueled and empowered by emotion. This magic is considered the ultimate taboo, in magical terms; and was stolen, rather than discovered by power-hungry mages of times long past, taken from the nightmarish and demonic entities that inherently had such power. There are few schools that teach blood magic and all of them look for students with promise, all of them also being dark and terrible societies, operating outside the Lore.

Blood magic is only ever tolerated in that it terrifies people with it's power and there is little understanding of it, beyond knowing that is not a power that mortals should have access to. It is no more powerful than any other form of magic, but it's reputation would certainly have you believe this were the case. Blood mages are more often than not some part abomination, that heritage granting them access to this strange and deadly art. Blood magic is largely primal in it's application and even when used defensively, it is utilized in an offensive manner, meeting aggression with more aggression.

It manifests in largely simple, effective ways and more intricate uses require much more focus. The user always has far more potential within their own blood than they do with another's, as they are attuned to their own system. It is rumored that those who search for more power from blood often lose their grasp on humanity, becoming wretched, malevolent beings.

Structure: Blood lies between the structural integrity of shadow and water. It can be made quite solid in brief spurts and is capable of having a razor keen edge. It can adopt the absorbency of water and quite easily deadens impact.
Fluidity: Blood is thicker than water but is only marginally less fluid. It works easily in tendrils, drops of it trailing from the main 'branch' and rejoining it as it moves like living thorns.
Speed: Blood is not terribly fast, but in short spurts and close range, can spring forth with alarming speed. It's reach is largely controlled by it's availability, making it's speed limited in effect.
Form: Blood is an ever moving, writhing appendage when leaving the source. It can be plucked from the source with ease, though larger quantities can be very taxing to control. Blood can be controlled in many ways, shifting from fluid to semi-solid rather easily. The larger restriction to blood's potential is of course, the availability of the blood. This is a double edges sword, as smaller amounts of blood can require more focus to use to any large effect, but have less emotional impact on the user. Larger sources of blood mean it is in abundance and the mage can use it readily, but the power contained within such a large source is highly emotional and can alter the user's mind set.
Common Uses: Claws, blades, stabbing, slashing, tearing, amplifying physical ability, controlling blood flow.

[Shen]

HEALING MAGIC

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Healing magic is an independent art, considered unrelated to other forms of Magic as it does not require an element, or a 'fuel' so to speak in order to perform. Some scholars disagree, suggesting it is the purest form of magic and believe that therefore, it is purest, the very source of power granted by the elements in their most powerful state. Others suggest that the power comes from the user an no other source and yet others suggest it is simply a divine gift, or a miracle. It is unknown.

What is known is that Healing Magic is indeed powerful as even in it's most base application; it performs the impossible. It mends the injured, heals the wounded and whilst other magic may have more varied applications, there is no questioning the usefulness of being able to heal. It is known to cause damage to the undead in some capacity, but the risk of placing one's hands upon the undead often makes this a useless skill. It must be noted that light magic is far more useful in this regard.

Structure: As healing magic has no element, structure is irrelevant.
Fluidity: This is also irrelevant.
Speed: The speed in which Healing magic takes effect is largely dependent on the skill of the user and the injury they are attempting to mend. It cannot heal any wound instantly and the larger or more deadly the wound, the more time and focus it will take to mend adequately.
Form: In it's application, Healing magic is commonly seen as a glowing from the palm of the user, and as a warmth fel from both their hands and within the area being treated. Wounds may also glow in a like manner as they heal, the warmth quite a comfortable sensation.
Common Uses: Healing, mass healing, rejuvenation, harm to the undead, rumored resurrection.

* Please note that Healing Magic does not remove persistent ailments or ongoing effects. It can only repair harm, not nullify it. For more elaboration on this matter, please refer to the Medicinus Arcanus.