A system of improvised magic
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Reality is what refuses to go away when I stop believing in it. |
Welcome to the tradition of the tempered magic, where the practice known as the Craft is as diverse and flexible as magic itself. Before delving into this system, a brief discourse into the nature of magic is needed. This will lay the foundation for an understanding of tempered magic, and the basis of its structure.
At the most basic level magic is the transcendant element of existence that is not a part of the common, mundane world. Those of an ordinary physical nature simply conceive of it as the supernatural phenomenon that makes possible or easier things that would be restricted under normal conditions. Once magic loses this essential sense of wonder and its ability to forego the ordinary, it becomes lusterless and impotent. Thus for magic to be an element apart from the physical world it can never really become a cheap substitute for ordinary technology.
Although at its primordial heart magic can be all-encompassing in its potential and chaotic in its manifestation, those who would seek to practice the magical arts must overlay some form of order on their craft. Thus the crafters of magic often quantify their skills in discrete forms known as spells. A spell is merely a formula that has a certain likelihood of producing a repeatable magical effect. Of course by turning magic into a tool through the use of a spell, it loses a certain degree of the essential marvel of its appearance. Hence a spell can never be as powerfully flexible as improvised magic. However it can be a useful means of bridging the knowledge divide between the mundane world and the true wonder of pure magic.
The true manner in which a spell draws forth the effects of the supernatural is always a subject of some debate, and perhaps it is because of the nature of magic that this mechanism can never truly be understood by mortals. Thus each tradition of magic discovers its own path for the formulation of a spell, often discovering the proper steps only through repeated trial and error. For this reason spell research can be a difficult and time consuming process, and one whose secrets may be jealously guarded by those who value the power of their knowledge. Thus the magical traditions tend to be protective of their lore, concealing it within a veil steeped in mysticism and secretive symbolism.
The foundation of most magical traditions is the selection of a medium by which the magic will be channeled. This medium provides the connection between the crafter and the magical essence, and it becomes both a gateway and a constraint to the practice of magic. With a medium selected, the teachings of the tradition can then be employed to draw out the magical energies and wield its abilities as needed. However the use of a particular medium will also have drawbacks that impose restrictions on how the magic can be utilized. The ability to employ magic in its raw form without need of a medium is a rare talent that is both powerful and dangerous for the wielder.
A magical medium is often supplied by means of a connection of some type between the crafter and a being of power. Creating this link requires a covenant between the two, resulting in a specific set of restraints on the practitioner. Violation of the covenant can have various effects up to and including the severing of the magical link. The crafter will often be expected to live a certain type of lifestyle, follow a particular creed, and to serve the being that is providing the link. A medium forged by means of a covenant can be a powerful source of magical ability. However it is also a serious imposition upon the crafter, often requiring major commitment of time, effort, and risk.
The other type of medium is, of course, one that does not require a being of power to serve as intermediary. Instead various magical tools and types of behavior are used to bridge the gap to the realm of magic. These can include a talisman, dancing, musical rhthyms, vocalizations, unusual gesture patterns, special materials, steady concentration, attaining ertain emotional states, and even performing a sacrifice. Each tradition that uses such implements will devise the necessary ingredients needed to form the medium through trial and error. These tools are more often the result of the nature and philosophy of the magic crafters than anything specific to the nature of magic. In many ways these tools and rituals are actually a crutch, providing a shortcut for the practitioner to form a magical link at a cost in flexibility and risk.
With time and practice it is eventually possible to dispense with the mundane requirements and limitations of a particular magical discipline and instead to forge a direct link to tap the magical energies and flows. In this case the crafter becomes the actual medium by which the magic is expressed. The need for tools, rituals, and beings of power can be dispensed with and magic can be manipulated directly. Beings who master this form of magic can eventually become creatures of great power in their own right, supplying the magical link that others will need to practice their own craft.
One of the disciplines used to bridge the transition between the traditions and the direct tapping of magical energy is known as tempered magic. This skill draws upon the harmonies and imbalances within the crafter, as well as the innate expression of existence, to gradually forge a new medium. The adept of tempered magic remains an imperfect student of the art, and still relies on the teachings of the traditions, as well as beings of power, to supply their abilities. However the tempered mage is capable of stretching the boundaries and limitations of their practice until they can break free of their self-inflicted impediments. They will then become full-fledged practitioners of self-channeled magic, and can dispense with the limitations of their former methods.
The basis of tempered magic is using the various modes and properties of sound as an analogy to magic. The study of acoustics is used to form the medium upon which the crafter forms a link to express magic. Much like magic, sounds can be delivered in infinite forms and varieties, yet there is an underlying pattern to the whole that can be readily grasped yet mastered only with great difficulty. Much of the wonder and marvel of magic can be expressed in musical form, while the chaotic and discordant aspects of the craft are matched by the properties of noise.
Crafters who master the expression of tempered magic are much like gifted musicians who can improvise a song or express a work in a new form. They can channel the magical energies into whatever form they desire, blending their skill, intuition, and talent to produce a wonder to both the mind and the senses. The method used to craft tempered magic is described below, using the musical metaphor to describe the process of creating a magic spell. This system allows a fantasy character to improvise spells as needed, while blending in elements of the existing traditions until they attain the skill level needed to become a true maestro of the art.
To apply tempered music within a game system requires a certain degree of mechanical application of rules. These are needed to balance the abilities of the character and to allow the game referee to rule on the outcome of the magical expression. It should be kept in mind, however, that tempered magic should not be seen as a cut-and-dried process. The system may need to be adapted to the particular situation at the time, and certain types of magical expression might not be perfectly handled by these rules. Also the basic driver for the tempered magic system is to retain a certain sense of wonder during the use of magic. Thus the game referee will need to adjudicate and modify the results on a case-by-case basis, relying more on a sense of what is appropriate for the situation rather than making a purely mechanical decision.
To begin then, a true practitioner of the art of tempered magic is properly known as an adept. The term crafter is applied to any practitioner of the magical arts, and is also used to describe an adept. However the term adept is the more formal title used within the tempered magic tradition, and is applied as an appellation when addressing a fellow of the craft. All adepts share a common tradition, although their will certainly be cultural differences in how their art is expressed. Those adepts who are exposed to the lore from a different cultural tradition may need to spend some time converting the knowledge, but there is nothing intrinsic to the difference in cultures that will prevent the lore from being deciphered. This differs markedly from the often greatly divergent nature of the various magic traditions; differences that almost always make the transfer of knowledge between the traditions excedingly difficult.
All adepts are capable of creating and casting spells, and the more generalized templates of spells. Depending on their level of knowledge they may also be capable of adopting the spells of a different magical tradition into a form usable with tempered magic. The ability to cast such spells requires special skills on the part of the adept. These skills are categorized on the basis of the acoustical analogy that is the basis of tempered magic, and an adept will often be at different levels of ability in these various skills. Indeed there are those adepts who specialize in a particular skill to the exclusion of the others, and these often serve as the training masters for apprentice adepts. While these tempered magic skills are normally acquired by training under a master, they may also be gained through trial and experience. Many adepts value the benefits of real world experience in the practice of their art, and masters will send their students on sabbaticals to better learn of their craft.
Depending on the intent of the spell, the successful channeling of magic can vary considerably in difficulty. The more difficult a spell is to cast, the greater the skill needed by the adept. If the spell is not properly cast, a variety of side effects can occur ranging from no noticable effect up to unintended consequences of a spectacular nature. The adept is able to regulate this side effect of a miscast spell, but the more order that is imposed upon the outcome, the greater the skill required. By its very nature magic wants to be wondrous and unexpected, so the less control imposed upon it the easier it is to manifest.
Because of the basic tradition of tempered magic, the adept visualizes each magical effect as a type of performance. This is akin to how a musician creates music, and the two processes are markedly similar. A performance of tempered magic is composed of several elements, all of which are required to properly channel the magic into the end result. These elements are the Instruments, Arrangement, Acoustics, Theater, Performance, Subtlety, and the Artistry. Each of these elements, and the effect they have upon a spell, are described in greater detail in the following sections.
Under normal circumstances it is possible for the adept to miscast a spell without suffering any side effects. However this can change when the adept accumulate a magical distortion effect known as Discord. This effect can have serious consequences for the caster when spells are miscast, and will also decrease the effectiveness of the magic when the spell is cast properly.
Discord can be acquired by several means. A certain amount of temporary Discord is always acquired whenever the adept is maintaining a magical effect. Discord is also accumulated when multiple magical effects are linked together, or when a group of adepts join together to cast a single spell.
The successful casting of a particular spell requires a skill roll against a particular tempered magic skill. The type of skill required is determined by the Acoustics of the spell being cast. The skill also has a DC rating that is dependent on the Subtlety and Performance being attempted, as well as the Theater in which the spell is cast. The type of Instruments used will apply modifiers to the skill roll, making it easier to successfully cast the spell. Thus to successfully cast a spell, a skill check is made against the modified DC of the spell. If the skill check is successful, then the magical effect manifests itself in some form. If the skill check is failed, then the appropriate side effects are applied.
In addition to their magical skills, adepts can be born with an innate talent (or inaptitude) to channel magic. This gift of magic ability is expressed as a numerical characteristic. When the magic ability is positive, it is called Harmony. If it becomes negative, it is instead called Discord. A non-zero Discord will make magic less reliable. It also bestows upon the individual an increased resistance to magic.
It is possible to temporarily or permanently decrease the magic ability through the use of certain instruments and arrangements. The default magic ability of normal humans is zero.
What follows is a more detailed description of the individual parts that compose a spell. See the examples section to see how a spell is composed.
The tradition of tempered magic has subdivided the forms of magic into eight different acoustical agents. Each of these agents corresponds to a general category of physical states and phenomenon. The adepts have ordered these agents in a spectrum of conditions that range from total chaotic discord up to increasing order and sophisticated complexity. This philosophy of acoustics then binds the spectrum into an acoustical ring, with utmost chaos and unattainable complexity bluring one into the other. Lying at the heart of this ring is the acoustical form that blends and joins all of the other agents together.
Each adept will be skilled in one or more of these acoustical agents. These skills are learned whenever an adept gains a level as a practitioner of tempered magic. For every level gained, the adept earns a number of special magic skill points equal to four plus their primary ability modifier. This primary ability modifier is equal to the highest ability modifier among the Intelligence, Wisdom, and Charisma ability scores. Note that these magic skill points are different from normal skill points, and the two are not interchangable.
The adept begins with a base rank of zero in each of these eight magic skills. There is no single ability directly applicable to these skills, so the adept does not receive an ability score modifier to the skill ranks. For each of the magic skill points assigned to a skill, the total ranks of that skill are increased by one. No acoustic skill can have a rank greater than three plus the current adept level, and it is not possible to increase the number of ranks of a magical skill score by magical means.
The eight acoustical agents are described below. The acoustic agent is used to determine either the means by which a magical effect is expressed, or to chose the primary category of the target. The magical skill associated with an acoustic agent is normally used to determine the outcome of a magic spell. However the adept may not be sufficiently skilled in the particular agent and can choose to attempt the spell casting with a different skill. The greater the difference in columns between the acoustical agent and the magic skill, the more difficult the spell is to cast. For each row of difference on the table below, the spell difficulty is increased by four. The exception is the Symphony skill which can be used for any of the other acoustic agents with an increase in difficulty of eight.
| Skill | Mode of Expression |
|---|---|
| Cacaphony | This acoustical agent of turmoil covers all forms of completely disordered substances and materials. These include plasma, lightning, gas, wind, vapor, radiation, light, and heat. It also includes chaotic phenomenon such as combustion, evaporation, and luck. Finally it encompasses highly destructive influences such as injury, malfunction, ruptures, explosions, and the intentional inflicting of pain and suffering. |
| Discord | This acoustical agent comprises all time-dependent effects that are associated with decay or rapid change. These include time itself, plus entropy, noise, aging, decay, rapid movement, earthquakes, liquification, and disabilities. It also includes materials that can change their form rapidly, such as liquids like mist and rain. Thus while this agent embodies certain chaotic effects much like Cacophony, it does so with a greater degree of the predictable order found in the static effects of Quiet. |
| Quiet | This acoustical agent of stasis includes phenomenon that do not experience substantial change without significant external influence. These include steady tones, silence, numbness, darkness, directions, inertia, slowness, immobility, gravity, cold, and endurance. It also encompasses materials that maintain their general form for long periods, such as stone, glass, sand, clay, dirt, dust, ash, fossils, and also the vacuum. Thus this agent is a counterbalance to tumultuous effects of Cacophony. |
| Resonance | This acoustical agent of regularity embodies materials and events that vary in a predictable and repeated pattern across space or time. It includes such cyclical phenomenon as vibrations, repetition, rotation, wheels, tides, waves, seasons, sound, pendulums, and hearing. It also encompasses substances with an underlying geometric structure, such as crystal, salt, metal, ice, woven fabrics, and snow. Hence this agent has many of the qualities of quiet, but with a distinctive pattern of repetition. |
| Harmony | This acoustical agent of inate complexity includes sophisticated combinations of substances or phenomenon. It encompasses such complex autonomous forms as viruses, bacteria, plants, and diseases. It also includes such organic materials as wood, plastic, resin, or a fresh or preserved corpse. Finally it includes complex but predictable phenomenon like climate, reflexes, equilibrium, and healing or recovery. Harmony differs from melody in that it is limited to negligible or indirect manipulation of the environment. This agent can have resonance aspects, but only as an outcome of a complex phenomenon. |
| Melody | This acoustical agent of interaction covers all sophisticated forms and phenomenon that manipulate the environment. It encompases such diverse activities as dancing, hunting, mating, singing, and playing musical instruments. Melody also includes physical and social controls, such as instincts, emotions, empathy, and manipulation. It embodies the basic nature of an animal, but also includes tools that an animal can employ. At a fundamental level melody is built upon harmony, but it can also control harmony. |
| Polyphony | Phenomenon associated with problem solving and the transfer and storage of information, including sentience, communication, memory, records, intelligence, mathematics, skills, machines, social interaction, games, customs, creativity, intuition, complexity, and truth. The culminating effect of extreme polyphony becomes indistinguishable from cacophony, and so the ring of acoustical agents comes full circle. |
| Symphony | This is the acoustical form that blends and joins all of the other categories. It includes metaphysical phenomenon, including divine beings, spirits, wisdom, piety, immortality, religion, prayer, miracles, divination, genius, and alternate dimensions. All beings of power draw their inate strength from Symphony, although many also display a particular bias toward one or more of the other acoustical agents. |
In some cases the expression of a spell can cross the boundary between categories, such as an agent that relies on both intelligence and emotions in a human. In such a case all the appropriate acoustical categories are equally applicable, and the best skill rating is used.
The subtlety is a measure of the distortion of reality required to achieve the magical result. The greater the level of distortion, the more difficult the spell is to invoke. The following list shows the various levels of subtlety and their effects.
This is an event that would be attributed to pure coincidence by most observers. It must be something that has a small chance of occurring without magic, and does not violate any mundane physical laws of the universe. The more unlikely the coincidence, the greater the level of performance required.
Modifier: None
Examples: an old rope suddenly breaks; wind blows a mote of dust into an eye; an ankle is twisted on a step, or a misplaced book falls from a shelf.
This is any effect that acquires, transmits, or alters perceived information, such as by an enhancement or deception of the senses. It can have no actual physical effect on the environment, but may be viewed as such. It can include sensory abilities and means of communication that may not ordinarily be available. Enhancing the effect, making it more complex, or combining more than one sense will increase the level of the performance required.
Modifier: 2
Examples: sphere of pitch darkness; image and moaning sound of a ghostly apparition; ability to sense magic; full telepathy; or speak a foreign language.
This effect is a minor but abnormal change in the environment that has a negligible short term effect. It could include changes to the temperature, precipitation, wind velocity, lighting level, ambient noise, aura, and so forth. Increasing the complexity, intensity, or variability of the environmental effect will require a higher level of performance.
Modifier: 4
Examples: create a light source; warm a cave; summon a cooling breeze; produce a light fog; or dampen the sound level in a noisy pub.
This is an alteration that provides protection against a change in state, or negates the effect after it has already occured. It can protect against an attack, or repair the resulting damage. It can also dispel a magical effect or ward against magic. Unlike most invoked magic, the negation of an effect can be permanent if the resulting state is naturally stable. The greater the degree of protection provided or negation required, the higher the level of performance required.
Modifier: 6
Examples: harden skin with scales; heal a gash; neutralize a toxin; create a circle of protection; or erect an anti-missile shield.
This is a change in position, motion, or action, either by steady manipulation or direct relocation. It includes the various forms of movement, teleportation, and shifting between dimensions. It also includes the physical or mental manipulation of an object or entity. The more flexible and powerful the movement or manipulation, the higher the level of performance required. Gaining a form of movement that the target does not already possess requires two performance modifiers, one for the movement and the other for the maximum velocity allowed.
Modifier: 8
Examples: walk on water; seep through a door crack; glide across snow; perform interplanetary movement; travel through time; control a mind; pass through a wall; use telekinesis; increase quickness; cause clumsiness; or induce paralysis.
This is a deformation of the form or function of an object or entity. It includes changes in dimension, shape, and performance, but not the basic function. It also includes inflicting stun damage, or injuring, weakening, or temporarily disabling an entity. The greater the degree of change from the normal form or function of the target, the higher the level of performance required. The target will still be recognizable after this magic is put into effect.
Modifier: 10
Examples: tunnel through earth and rock; make steel brittle; part water; enlarge a statue; fire an icy missile; wither flesh; warp and splinter a wood door; or pinch a tunnel shut.
The linking of the properties of two or more targets. It can be the association, bonding, melding, and interchanging of their combined properties. The more integrated or intermixed their properties, the higher the performance level required.
Modifier: 12
Examples: meld water and iron to make liquid metal; bind a spirit to a magical sword; permanently melt two stone blocks together; or exchange body parts of a horse, lion, and eagle.
Summoning one or more instances of an existing substance, object, or life form. It must be an existing target that appears somewhere in the setting. The scarcer the thing conjured in the vicinity of the setting, or more exacting its specifications, the higher the performance level required. The size and location of the summoned target is constrained by the theater confines of the spell. Multiple targets require the multiple separate volumes confines. (See the theater section below.)
Modifier: 14
Examples: create a temporary shelter; conjure a trained mount; fill a trough with water; summon a demon by its true name; animate a golem; or entangle a creature in rope.
The partial or complete transmutation of an object into a different object. It includes changing the composition, form, and properties of the object. It can also include changing the object to a different acoustical category, or destroying it altogether. The greater the quantity and quality of the change, including magical properties, the higher the level of performance required.
Modifier: 16
Examples: ray of disintegration; create a new life form; transmute lead to gold; or turn a prince into a frog.
Change the fundamental properties of a place or region. This can include modifying any or all of the physical laws operative within the area. It can also allow the creation of a parallel dimension with different physical laws and any number and size of dimensions. (Note that, unless the adept is very careful, there is no guaranteed that such a parallel universe will be stable or even inhabitable.) The greater the divergence of the region from the physical laws of the universe in which the adept dwells, the higher the level of performance required.
Modifier: 18
Examples: slow or stop the passage of time; reverse the direction of gravity; create a permanent pocket dimension; or alter history.
When the spell is cast, the effectiveness is determined by the level of performance. Use an appropriate column in following table to determine the performance level for a spell. The Matching level is how successful the spell is in matching a prototype. The Complexity level determines the level of complexity of the effect. The Portion determines how much of the target is effected by the spell. The Adjustment determines the relative change in a rating. Use the Difficulty column to determine the spell difficulty modifier for the selected performance level.
| Performance | Difficulty | Matching | Complexity | Coincidence | Portion | Adjustment |
|---|---|---|---|---|---|---|
| Tolerable | Base | Cosmetic | Simple | 1:1,000 | 10% | 1 |
| Fair | 4 | Partial | Common | 1:10,000 | 25% | 3 |
| Good | 8 | Similar | Challenging | 1:100,000 | 50% | 5 |
| Excellent | 12 | Complete | Extreme | 1:1,000,000 | 100% | 8 |
| Magnificent | 16 | Identical | Monumental | 1:10,000,000 | 200% | 12 |
The following table will give finer difficulty gradations if this is required:
| Difficulty | 0 | 2 | 4 | 6 | 8 | 10 | 12 | 14 | 16 | 18 | 20 | 22 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Portion | 10% | 15% | 25% | 35% | 50% | 65% | 100% | 145% | 200% | 250% | 325% | 400% |
| Adjustment | 1 | 2 | 3 | 4 | 5 | 6 | 8 | 10 | 12 | 14 | 16 | 18 |
The following table gives the level of performance required for various modes of movement when using Manipulation.
| Movement | Difficulty | Movement | Difficulty | Movement | Difficulty |
|---|---|---|---|---|---|
| Surface slide | -3 | Glide down | 2 | Teleport | 7 |
| Brachiate | -2 | Levitate | 3 | Exoatmospheric | 8 |
| Swim | -1 | Fly | 4 | Light Speed | 9 |
| Run | Base | Seep through | 5 | Superluminal | 10 |
| Cling to wall | 1 | Bypass barrier | 6 | Dimension Shift | 11 |
The following performance techniques serve as aids to make the task of the adept easier. Some of these instruments may not be available depending on the setting.
The adept does not rely on a magical effect to guide the spell to the target. Instead the adept must use their own senses to aim the spell. Because the magic is being targeted manually, the adept must make an attack roll to determine if the spell was aimed at the correct location. Any penalties for distance and other mundane practicalities must be applied to this roll.
Modifier: The amount offsets the normal modifier for distance with the spell theater. It is possible to partially channel a spell, allowing a magical effect to help guide the spell to the proper location. For each point of modifier spent to guide the spell, the range penalty is moved up one row on the distance chart. See the theater section below for more details
Example: Reese casts a freezing blade at a foe standing 5 meters away. Since he is skilled at knife throwing he decides to channel the spell. As a result he does not receive the normal -1 difficulty modifier for range. Instead he must make a successful throwing skill roll to strike the target.
Due to poor focusing of the reality altering effect of magic, the adept suffers an uncontrolled backlash as a consequence of casting the spell. In the case of a formula spell, the consequence never varies between invocations, although its nature can not be determined when the spell is first researched. Otherwise the result is random due to the illogical nature of magic, but is usually related in some manner to the type of spell being cast. The use of a Covenant will restrict this chaotic consequence to the same acoustical category, and often to a specific set of effects.
Modifier: half the subtlety and performance difficulty of its consequence. Thus a consequence that has a performance difficulty of Good and a subtlety of Distortion has a modifier of -9. The modifier for the consequence can never exceed half the performance difficulty of the spell.
Example: A poorly written spell to physically weaken a foe has a consequence when it is cast. The spell causes the casters muscles to spasm, upsetting his coordination. As the spell performance is excellent, the spasm consequence reduces the spell difficulty to a maximum of 6.
The adept negotiates a binding pact with a greater magical power. The adept gains greater power over magic, but he must follow the creed of the power. The penalty for violating the creed of the power is determined by the terms of the pact. It may be a simple reprimand, a demand to complete a diffult task, a complete loss of all magical power from the source, or instantaenous and total annihilation. A covenant is often limited to a single acoustical category, unless the power is a significant deity. It can also restrict the type of spell tuning allowed. (See below.) A covenant can be used with a formula spell even if it is not expressly included in the list of instruments.
Modifier: -1 to -4, depending on the pact.
Example: The adept forges a pact with a fire elemental lord. Thereafter all of his magic powers must involve heat or combustion. He can only tune his spells to effect cold-based, ice-based, or highly combustible targets. The difficulty of casting a Cacophony spell is reduced by three.
This is a spell that will slowly come to full fruition as the magical energy is brought up to full strength. If the spell manifests itself prior to reaching maximum strength then the adept must pay the appropriate maintenance cost at the current level of performance. The rate for the spell to come up to maximum strength is determined at the time it is cast. Typically the increase is a steady climb from the moment the spell is cast up until the peak duration is reached.
Modifier: determined by the row on the tempo table at which the spell reaches full strength. (See the Theater section.)
Example: Larena is feeling merciful so she casts a blinding light spell behind herself that takes a full eight seconds to come up to full strength. This will give the night creatures before her time to flee before they are blinded. The reduction in spell difficulty is one. Because the spell is focused, however, Larena will need to concentrate for the full eight seconds.Improvised magic favors the creative adept. If the spell being cast is a novel and dramatic solution to a problem, and not just a minor variant on a previous spell, then the magical effect will easier to produce. Note that because they are not improvised magic, formula spells can never receive a dramatic use bonus.
Modifier: -4 for a dramatic and creative use of improvised magic. On the second use of this same effect, the maximum modifier allowed is -2. Thereafter, repeated use of this effect, or minor variations thereof, will receive no further benefit.
Example: The enchantress is surrounded by a tight ring of barbarian horsemen who are about to run her through with swords, once they've tormented her a bit. She attempts to cast a spell that will hurl one of the horses sideways to collide with the next horse, thus setting off a chain reaction around the ring. For this unusual effect, the spell difficulty is adjusted by -4. As a result the spell is successful, and she is able to slip away in the confusion.
Casting the spell requires a physical action that can be observed and obstructed. These actions form a mode of expression that is often quite distinctive and readily identifyable for each magical tradition or covenant. The methods of expression can include dancing, hand gestures, vocalization, chanting, and illustration. The stronger the performance required to cast the spell, the more obvious the expression and the easier it is to notice. Thus a tolerable performance may require only a brief hand gesture and whispered words, while a magnificent performance could call for expressive dancing and strong chanting.
Modifier: -1 for each independent means of expression used for the spell casting. The maximum modifier allowed for multiple expressions is -3. Any additional modes of expression are merely affectations of the tradition.
Example: while casting a spell to drive away an evil spirit, the shaman does a traditional dance while chanting a steady mantra. For the dance and chant, the spell difficulty is adjusted by -2.
Due to weak containment of magical energy, the adept suffers the same negative result as the spell effect. If the spell has no negative effects, then feedback will cause the adept to suffer any ill effects inflicted against the spell effect by external influences. If no feedback hazard is possible, then this technique can not be utilized.
Modifier: -1 for every four levels of performance difficulty increase.
Example: If the adept creates a wall of fire, feedback will cause him to suffer burns while the spell is in effect. Should the adept instead produce a wall of stone, he will suffer any battering damage inflicted against the wall. Because the wall was cast with a performance of Excellent, the spell difficulty is reduced by 3.
The use of an object to serve as a prop and a focus for a spell. The fetish must possess certain properties that allow it to be used in the spell. These are Sympathy, Contagion, Allure, and Sacrifice. If the object shares several similar properties with the target, such as shape, appearance, composition, or behavior, then it has Sympathy. If the object includes material that was in contact with the target, such as hair or nail clippings, then it has Contagion. (The use of a True Name of an enchanted creature can be treated as a contageous fetish.) If the object is pleasing to the senses, such as a gemstone or fine piece of artwork, then it has Allure. If the object is of value to the adept and it is destroyed during the spell casting, then it is a Sacrifice. The level of the performance will determine if the figurine can be used repeatedly or if it is consumed.
Modifier: -1 for each property of Sympathy, Contagion, Allure, or Sacrifice in a prop used for the spell casting.
Example: The adept creates a beautiful figurine that is an exact replica of a horse, so it possesses Allure. He carefully attaches a piece of the horse's hair to give the figurine a mane, so it has Contagion. If a spell is cast against the horse, the figurine will modify the spell difficulty by -2.Concentration and visualization of the desired results will help the adept focus magical energy in the required fashion. Some degree of focus can be attained through concentration. To reach a greater degree of focus, the adept must employ the more vulnerable trance state. Should the adept lose focus while maintaining the spell, then the magic will become uncontrolled. The adept can attempt to regain control by re-establishing focus and concentration, but success is not guaranteed.
Optionally the GM can have the character make a successful roll based on an appropriate attribute in order to achieve a properly focused mind. This roll could be modified based on specific preparations and skills of the character, such as meditation.
Modifier: -1 if if the adept must concentrate to cast the spell. -2 if the adept must enter a trance state to cast the spell. -1 if the adept must continue to concentrate to maintain control of the spell. -2 if the adept must remain in a trance to maintain control of the spell.
Example: the illusionist creates a phantasm of a large beast moving through the forest. In order to maintain the high degree of realism, he must concentrate on visualizing the form of the beast. While doing so he is more vulnerable to attack. If his concentration is broken then the phantasm simplifies by remaining motionless. He must regain his focus in order to get it moving again. Because he concentrated while casting and maintaining the spell, the difficulty is adjusted by -2.
The spell casting must follow a specific pattern that is either memorized in advance or read directly from a tome. The individual parts are constrained by the formula and must be followed closely for the spell to be properly cast. Only the theater dimensions can be reduced and a different acoustics skill used without compromising the spell. An appropriate covenant can also be used to decrease the difficulty of a formula spell.
Creating a successful formula spell requires lengthy research to optimize the casting process. When such a formula spell is created, any number of individuals can then copy and learn the same spell.
Modifier: -1 to -3, depending on the skill and success of the adept.
Example: adept Breen spends five years researching the proper formula for a spell to animate a tree. Because he is highly skilled in spell research and harmony acoustics, the spell difficulty is reduced by three.
Due to soft control of the magical energies, when the spell is released it can have a fringe that makes it noticeable by nearby observers. Observing the fringe confirms that some type of unusual effect just occurred, and the observer can also identify both the adept and the target. For each step down the distance/dimension scale that the observer is from the spell path, the odds to observe the spell fringe is reduced accordingly. (See the Theater section below for distance scales.)
Modifier: -1 for a fringe that only be observed by one ordinary sense. -2 if the fringe can be detected by at least three non-magical senses.
Example: a mentalism adept creates a zone of mental confusion, but allows a humming blue fringe that can be both seen and heard. The spell difficulty is reduced by two levels as a result. Observers within the same distance scale as the theater have a normal chance to notice that a spell was cast.
This is a natural affinity for magic that reduces spell difficulty and energy use. Harmony is only gained as a birthright, usually by the offspring of a magically-natured race. Normal humans and other mundane races have a Harmony of zero. Each point of Harmony reduces the energy costs by one level. Any permanent increase in Discord is first deducted from the Harmony.
Modifier: -1 per point of Harmony.
Example: the offspring of a human male and fay female, in addition to other unusual abilities, can have a Harmony rating of up to two points.
If an adept draws directly upon the vitality of his body or mind to maintain or control the spell, then the spell difficulty is reduced. This maintenance cost can take the form of temporary weakness, fatigue, or dullness. Spells with an instantaneous tempo can not be maintained.
Modifier: subtract the maintenance cost per time interval. However, this maintenance cost can be divided by the ritual length multiple spent casting the spell. The reduction in spell difficulty can not exceed half the total difficulty due to the performance and subtlety.
Example: Elona creates an illusion of an elephant that takes effort to activate and control. The spell difficulty due to performance and subtlety is 14, so the maximum reduction allowed is seven. She spends a base six units of personal stamina per time interval to maintain the spell. However, she also spends three seconds casting the spell, reducing the stamina drain down to two. The spell difficulty is reduced by six. She must spend some time resting afterward in order to recover her stamina.
| Instrument | Description |
|---|---|
| Rapture | Instead of relying on a focused mind, the adept uses a deep emotional release to cast the spell. The result is an unpredictable spell that usually creates the desired effect but may have a completely different outcome. With rapture the spell difficulty is reduced by four levels. However, the discord of the adept is temporarily increased by a random amount during the spell casting. (See the Artistry section below.) To determine the increase in discord, roll two six-sided dice, then take the lowest score. (Optionally the GM can also have the player check to see if the adept is momentarily stunned from the emotional release.) Example: Running Sparrow decides to use rapture to grow a thorn barrier to block some horse clansmen. A three and a five are rolled on two six-sided dice. As a result her discord is increased by three during the spell casting. Since she made her skill roll by just two, the result is a misplaced thorn bush. |
| Resisted | The targets have a chance to resist the spell, allowing them to avoid some or all of its magical effects. This resistance can be based on an appropriate characteristic or simple odds, depending on the choice of the GM. The decrease in spell difficulty is half the amount of performance difficulty reduction against successfully resisting targets. If the net resistance reduces the spell performance below the base, then the spell has no effect on the target. The base odds for a randomly selected target to resist is approximately one third, but this can vary based on the skill level of the adept and the attributes of the target. This instrument can not be employed against creatures that voluntarily do not resist the effect, unless it is required as part of a formula spell. Example: the adept uses his Melody Acoustics skill in an attempt to create fear in the mind of the target, but allows it a chance to resist. The performance level of the spell is excellent, so the target will be completely terrified. However, successful resistance will reduce the performance level to fair, so the creature will only be somewhat fearful. This will lower the spell difficulty by four. The target makes its resistance roll against its willpower, but the adept's magic skill roll was excellent. The willpower roll is modified accordingly and the target fails to resist. |
| Ritualized | A lengthy preparation ritual, requiring the steady attention of the adept, can be used to reduce the difficulty of a spell. The amount of reduction in difficulty is identical to the increase in difficulty that would be needed to maintain a spell for the same duration. (See the tempo dimension of the theater section below.) The adept can not perform any other actions of significance without ruining the ritual. Example: the adept is performing a particularly difficult summoning, so she decides to increase the length of the preparation ritual to one hour. As a result the spell difficulty is reduced by four. If she is interrupted for more than a moment during this process, she will have to start over. |
| Sacrifice | The caster can permanently increase his Discord in order to improve his magic skill level for a single spell. For the first point of Discord the spell difficulty is reduced by 4; for the second point the additional reduction is 3; the third point subtracts another 2; and the fourth point of Discord subtracts 1 from the spell difficulty. Thus the maximum spell difficulty reduction is 10 for a permanent 4 point increase in Discord. The increase in Discord only occurs after the spell is cast. Example: With his dying breath the priest curses his slayer with a rotting disease. Since he will be dead anyway, he decides to increase his Discord by 4, resulting in a +10 reduction in difficulty for this curse. |
| Tuned | This spell is attuned to a specific category of target, such as a type of creature or material. When this spell is targeted against that category of target, the performance is increased by four levels of difficulty. Using a tuned spell increases the spell difficulty by two. Depending on the theme used to tune the spell, it is also possible that the performance of the spell will be reduced or negated against specific target types. A Covenant can restrict the type of spell tuning that is allowed. The adept can not target tuned spells against himself. Example: a freezing spell is tuned to be more effective against fire elemental creatures. The performance is from good to excellent for an increase in difficulty of two. When the spell is used against cold-based creatures, however, it has no effect. |
The arrangement determines how the spell parts are orchestrated into their final form and then delivered. These will temporarily or permanently increase the Discord of the adept.
| Orchestration | Type of Spell | Discord |
|---|---|---|
| Invocation | This is the default spell type. The spell is in effect only while the adept remains within range of the target and satisfies the requirements of any instruments he used during the casting. The adept can cancel the spell at any time during his action without ill effect. If the adept performs any action prior to cancellation, however, he must pay the full maintenance cost for the round. | The discord of the adept is increased by one point while the spell remains in effect. The discord is increased only after the spell is successfully cast. |
| Enchantment | The adept casts a permanent spell that remains in effect even if the caster moves out of range. The spell can not use any instruments that must remain in effect after the spell is cast. Thus the enchantment must not be maintained. The negation of an enchantment by an invocation spell will only last as long as the spell remains in effect. Permanent cancellation requires a countermanding enchantment. | The discord of the adept is permanently increased by one, regardless of whether the spell was successfully cast or not. The discord is increased only after the enchantment is cast. |
| Spellbind | The adept links two or more magical effects that act in a coordinated and cooperative manner. None of these linked effects can have the same level of performance. The spell must be cast using the same acoustical skill. The difficulty modifiers for the acoustics of each linked effect is combined to produce the base difficulty. In addition, the greatest difficulty modifier from each effect is added to the total for each spell part. Thus the difficulty of the effect with the highest performance level is used. In all other respects the spell operates as an invocation. | The discord of the adept is increased by one for each magical effect in the spell until it is either cancelled or negated. The discord is increased only after the spell is successfully cast. |
| Charm | At the time the charm is cast the adept can specify a set of circumstances under which the spell will be activated. This could be a specific event or the passage of a certain amount of time. The adept can also specify a set of circumstances under which the spell will be automatically negated. The spell is executed exactly as if the adept were present in the state he was in at the time of the casting. However, the manner in which the spell is to perform must be specified when it is cast. If it can not be executed as specified then the spell is negated. If the activation and negation events overlap then the spell is also negated. Only spells of "Instantaneous" tempo will function if the adept is beyond range. (See the Theater section below.) Charm spells can not be maintained. | The discord of the adept is increased by one until the charm spell expires or is negated. Specifying circumstances under which the spell is negated increases the discord by an additional one point. |
| Chorus | A group of adepts can work together to cast a particularly difficult spell. Such a group must coordinate their actions under the command of an orchestrator who performs the actual spell casting. To determine if the group spell is successfully cast, perform the following steps:
|
The discord is increased by one for each participant in the group. The discord goes into effect prior to the spell casting. Mundane participants willing to sacrifice a point of discord each can also join the circle but they automatically fail their magic skill rolls. |
The theater determines when and where the spell is expressed. This theater is fully measured by the dimensions of distance, confines, tempo, and transmission. Each geometric increase in any of these dimensions creates a step increase in the spell difficulty. However, a dimension can also be increased by a multiple if the maintenance is increased correspondingly. Thus, doubling the maintenance cost can be used to double the tempo. All of the dimensions can be decreased by any amount without penalty. If the maintenance instrument is not being used in a spell, the dimension can only be increased by moving up to the next level of difficulty and then reducing the dimension down to the required size.
The dimension of distance determines the maximum range to the target, or the center of the confines. The distance scale is based on the volume of the sound needed to be heard by a human observer in an ambient environment. This scale also determines the distance at which a verbally expressed spell will be noticed. Thus normal speech can be heard at 5 meters, and anybody within this radius is likely to hear the vocalization of a spell.
The confines determines the shape and volume of the spell effect. The more inclusive or elaborate the confines of the spell effect, the higher the difficulty level. The easiest levels of difficulty are the point and the ray confines, which can usually only effect one target. The surface confines will only effect a target if it intersects the plane. The radiating horn and sphere confines can effect several targets in an area, but the effectiveness diminishes linearly in performance level with distance from the spell target. Finally, the various volumes can effect targets equally throughout their confines.
The confines of a spell can be increased in each direction by means of the dimension scale. The base length of all sides is 1 meter, or a half meter radius. This can be enlarged by increasing the maintenance cost or difficulty level for each dimension, as described above. Thus, for example, doubling the radius of a sphere will require an eight-fold increase in the maintenance cost - x2 for height, x2 for width, and x2 for depth. An increase in difficulty of 3 will increase the radius of a 1 meter sphere to 5 meters.
The tempo describes the maximum duration of the spell. It also determines the reduction in the spell difficulty by performing a ritual. If a spell is being maintained, the adept must support the spell for the full length of the tempo.
The transmission determines the type of path the spell can take to the target. The more convoluted the path, or the more obstacles it has to overcome, the higher the difficulty level. The spell can even pass through a magical barrier. However the difficulty level of the transmission is the same as the full difficulty level for erecting the barrier.
| Dimension | Difficulty | Scale |
|---|---|---|
| Distance or Dimension | -2 | Self - Silent |
| -1 | Touch - Whisper | |
| Base | 1m - Sotto Voce | |
| 1 | 5m - Speak | |
| 2 | 20m - Shout | |
| 3 | 100m - Blare | |
| 4 | 500m - Roar | |
| 5 | 2km - Peal | |
| 6 | 10km - Rumble | |
| 7 | 50km - Eruption | |
| 8 | 200km - Cataclysm | |
| 9 | 1,000km - Titanic | |
| 10 | 5,000km - Continental | |
| 11 | 20,000km - Global | |
| 13 | 500,000km - Interlunar | |
| 18 | 1 AU - Interplanetary | |
| 29 | 1 Parsec - Interstellar | |
| Confines | Base | Point |
| 1 | Narrow Beam or Ray | |
| 2 | Planar Surface | |
| 3 | Radiating Horn - maximum 60 degrees | |
| 4 | Radiating Sphere | |
| 5 | Convex Volume | |
| 6 | Symmetric Volume | |
| 7 | Irregular Volume | |
| +1 | For each doubling of the number of separately targeted confines | |
| Tempo | Base | Instantaneous or 1 Second |
| 1 | 8 Seconds | |
| 2 | 1 Minute | |
| 3 | 8 Minutes | |
| 4 | 1 Hour | |
| 5 | 5 Hours | |
| 6 | 1 Day | |
| 7 | 1 Week | |
| 8 | 3 Months or one season | |
| 9 | 1 Year | |
| 10 | 5 Years | |
| 11 | 20 Years or one human generation | |
| 12 | Century | |
| 13 | Millenium | |
| Transmission | Base | Direct - straight line |
| 1 | Curved - bend around obstacles | |
| 2 | Echo - bounce off a wall | |
| 3 | Reverberate - travel along a twisty path | |
| 4 | Muffled - pass through solid barriers | |
| Special | Silenced - pass through magical barriers |
With a Discord of zero or less, the spell either functions correctly or it fails. If the Discord is positive, however, the spell can malfunction. Determine the amount by which the spell skill roll is made. If this amount is equal to or less than the discord, then the spell will malfunction to some degree. Consult the table below to determine the result of the malfunction.
Discord will decrease the effectiveness of magic by improving any resistance rolls. Mundane creatures can have a non-zero Discord without consequence.
| Roll Success | Artistic Flaw | Description |
|---|---|---|
| 0 | Off-Key | The effect of the spell is not quite what was desired, but the difference is cosmetic. If an exact match was needed, however, this could be enough to ruin the spell.Example: a column of fire spell burns green instead of orange. |
| 1 | Strained | At first the spell appears to have operated normally. However, the effect is not quite what was expected and it begins to lose cohesion after a short period of time. Depending on the type of spell being cast, the result could still be sufficient or it could be completely ruined. Example: an illusionary spell gradually begins to flicker and distort after several seconds. |
| 2 | Out of Tune | The spell goes awry by being completely mistargeted. The spell could select new targets, aim in a random direction, or even have one or more of its theater dimensions adjusted by a row. Example: a spirit fury spell is mistargeted, so the death vortex appears 20 meters behind the adept instead of 100 meters to the front. |
| 3 | Clashing | The spell effect is different to some degree from what was desired. To determine the amount of difference, roll two six-sided dice and use the lowest roll to find the matching difficulty level on the Performance table. The Matching column describes the degree of difference from the original spell. Spells can vary up to one column in subtlety, acoustics, or both. Example: the lowest roll of the two six-sided dice is a 2, resulting in a partial match. The spell to conjure a wall of stone instead summons a long barrier of loose snow which immediately collapses in a white cloud. |
| 4 | Strident | The miscast spell backlashes against the adept. The exact effect varies from spell to spell, but it could be centered on the adept instead of the target, or work in exactly the opposite effect intended. Example: a spell of healing backfires, causing burning wounds on the target. |
| 5 or more | Woeful | The spell creates a tear in the fabric of reality, allowing any sort of magical event to occur without rhyme or reason. The confines of a tear is roughly a radiating sphere centered on the adept. The duration moves one step down both the tempo and dimension scales from the base for every two points of the modified roll. Thus a roll made by six will create a tear of 5 meters diameter that lasts for 8 minutes. (A volume is increased by one step for every three steps of difficulty increase. See the Theater section.) Example: the miscast spell creates a magical rupture, resulting in dry rain, musical odors, containers turning inside out, and so forth. |
The following are examples of tempered magic spells:
| Fireball | Cacophony | |
| Subtlety: Distortion (+10) | Performance: Excellent (+12) | Arrangement: Invocation |
| Distance: Targeted | Dimension: 5 meters (+3) | Confines: Radiating Sphere (+4) |
| Tempo: Instantaneous | Transmission: Direct | |
| Instruments: Sympathetic Fetish (-1), Verbal/Gesture Expression (-1), Formula (-3), Fringe (-1), +2 Resisted (-2), Channeled | ||
| Difficulty: 29 - 8 = 21 | ||
| Description: To prepare this spell, the adept needs a small lump of sulfur. When the spell is cast, a small but intense bolt of fire streaks toward the target and explodes in a spherical burst of flames and heat. At the center of the explosion the performance is Excellent, and has a 100% chance of inflicting a mortal wound against an average, unprotected human who fails to resist. The performance drops to Good beyond 2 meters, and Fair beyond 4 meters. Resistance will lower the level of performance from Excellent to Good at the center, and a corresponding reduction with increasing distance. This spell must be memorized or read from a spell book. | ||
| Rationale: The burst of flames lies in the Cacophony acoustical category because it uses heat and combustion as its agent. The flames will cause injury so the Subtlety level must be Distortion. To have a 100% chance of mortally wounding an average, unprotected human in the center, the Performance level must be Excellent. The lump of sulfur is associated with heat and combustion, so it can serve as a sympathetic fetish. The bolt of fire streaking toward the target will create a visual fringe. Resistance will lower the performance to good in the center, so it will only have a 50% chance to inflict a mortal wound. Finally, the spell must be manually targeted, so it has no distance limitation. This spell must be cast by an adept using the Cacophony skill or the difficulty will be increased. Likewise a covenant with a fire power will reduce the spell difficulty. | ||
| Flight | Melody | |
| Subtlety: Manipulation (+8) | Performance: Good/Fly (+12) | Arrangement: Invocation |
| Distance: Self (-2) | Dimension: 1 meter | Confines: Point |
| Tempo: 1 Minute (+2) | Transmission: Direct | |
| Instruments: Sympathetic/Contagious Fetish (-2), Verbal/Gesture Expression (-2), Formula (-3), Fringe (-2), Maintained (-2, 1 minute) | ||
| Difficulty: 20 - 11 = 9 | ||
| Description: To prepare this spell, the adept needs the feather plucked from a large bird in flight. When the spell is cast, large wings appear on the back of the adept and he is able to fly. The speed maneuverability of the adept is not as good as the bird, however, because the performance was not excellent. This spell must be memorized or read from a spell book. | ||
| Rationale: Flight lies in the Melody acoustical category because it is associated with birds. (Cacophony acoustics could also be used with a very windy and noisy fringe.) The feather plucked from a bird in flight is both sympathetic with flight and contagious with the bird. The spell can not be channeled because it is targeted against the adept. It requires energy on the part of the adept to remain airborne so the spell is maintained. A covenant with a nature spirit could be used to further reduce the spell difficulty. | ||
The following table shows the changes in this document with the latest revisions first.
| 26mar2002 | Significant rewrite with more detail. |
| 10jan2000 | Expand spell parts table. Added Quintessence category to Subtlety table. Moved Crescendo to proper location. Added Sacrifice rule to fetish. |
| 03jan2000 | Initial Release |