Wizards

Rather annoyingly, considering this is a world setting called 'The Vale of Wizards', the actual magic used by mages is the least developed. I'm still toying with various ideas, and may even re-write the whole thing later. However, as it would be reather unfair to leave anyone kind enough to use my material with no idea of the magic I envisaged when writing the setting, here is the unfinshed system.

General System

Magic is somewhat like medieval alchemy. It's mostly practised by individuals and small groups - big guilds are rare. Each person's version of a spell is different and wizards cannot use each others' spells without carefully examining them first. Spells must be refined to improve them. Wizards keep extensive notes of their research, mostly written in code to prevent theft of their spells and ideas. Because of the research involved, most wizards live in large towns and cities and need rather expensive workshops to practise in. It's common for wizards to work for nobility or rich merchants, sacrificing some freedom for the security to carry out research.

Refining spells is difficult and dangerous. The best way to learn safe techniques is to become an apprentice and learn from a master wizard. However, wizards often use their apprentices as skivvies, collecting materials for their research. It is possible, but dangeous, to learn by studying the notes and grimoirs of a wizard, but because they are often cryptic, this can be rather dangerous.

Casting spells takes quite a long time. When casting, wizards use a great deal of trappings and paraphenalia in order to channel, focus and constrain the magic energy involved. It may be possible to do without these various trappings - some wizards claim that the great spellcasters of old could cast the most complex magic with a simple phrase. Casting usually involves several of the following ingredients which are related to the effect of the spell and are used up in each casting:

• Chants and magic words, usually in arcane languages.
• Runes and symbols.
• Preparation of the casting area to allow the 'correct energies' to flow.
• Props like clothing, jewellery and wands.
• Equipment like candles, incense, warding circles, crucibles, cauldrons etc
• Correct timing - phase of the moon, time of day, astrological requirements.

Because casting is time consuming, it's common for wizards to create potions, oils, scrolls and other items which contain the effect of the spell for use in emergencies. As wizards become better at casting a particular spell, they can often discard some of the ritual, ingredients and items required to cast it, usually replacing them with representative runes and symbols which make casting quicker and easier. The constant factor is language - magic can never be cast without words. It is also possible to try and cast a spell without some of the required things anyway, but this makes casting harder and failure of the spell is likely to have some nasty side-effects.

The ability of the sorceror is in a large part determined by the language they use. The language of Dragons is considered the best for magic. It had existed almost unchanged since before the birth of the Old races. Every word of the Dragon tongue is precise and perfectly crafted for it's meaning. Unfortunately, it is virtually impossible for non-Dragons to learn more than a few words. The Elven tongue is also useful for magic. This language is ancient and changes only slowly. Dwarfen languages are unusual in that they are very powerful for some kinds of magic but almost useless for others. Most human tongues can be used for magic, especially those which originated amongst the Elves or Dwarfs, but their potential is not so great. They are imprecise and too fluid to hold much power. Human sorcerors often use the Elven language to work their magic.

The languages of Dolphins and Salamanders are near useless for human magic, being respectively extremely changable and completely unpronouncable. Dolphins do not use wizardly magic, although they are powerful Dream Weavers. Salamanders are extremely powerful wizards, although their alien natures and volcanic homes mean that few humans ever deal with them.

Magic deals with the material world. Humans are not capable of using magics to affect ideas or minds, because the language of Dragons is not open to them and they must use less powerful tongues. Only Dragons and perhaps powerful elven Wizards can use Magic for such precise and subtle ends.

The Magic Arts

Magic is divided into Arts, which must be learned separately. Separate to these learned Arts is the rating of the sorcerors ability to summon and control essenses. This is the maximum number of Stamina pool points which can be spent on a magical effect with no more than usual hazards. The sorceror may attmept to use more Stamina pool points, but the difficulty of the task rises and the side-effects of failure (or even success) become more dire. Unlike Dream-weaving, a sorceror almost always achieves _some_ effect, although possibly not the one she was hoping for.

Concentration, Destruction, Infusion, and Transmutation are sometimes called the Lesser Arts. The Arts of Combination and Creation are called the Greater Arts. This division does not reflect a fundamental difference in the Arts. However, Combination magics are best attempted only by the most powerful sorcerors, because of the great hazards inherent in this Art.

Concentration

This allows the sorceror to draw a particular essence from his surroundings and shape it with his magic. Obviously, the more of the essence there is, the better this power will work. For example, heat may be concentrated into a flame, or moisture may be concentrated into water.

Destruction

When an object is removed from existance by Magic, the essence of the object passes into the sorceror. This differs from Infusion in that the whole essence of the destroyed object arrives at once, without any filtering. Results are generally deleterious, as the combination of essences is unnatural and unstable. With luck (and good judgement) the essence should diffuse away without causing permentant harm. However, if the essence is immediately harmful or very powerful, the sorceror may find himself dead or contemplating a long period in an unfamiliar form. Sorcerors should think very carefully about the likely results before destroying something. Examples of things is might be very unwise to destroy magically include: a large fire; an object strongly aligned with the Dark; or anything notably poisonous.

The major advantage of the School of Destruction is that it allows the sorceror to instantly regain Stamina points, which are drawn from the essence of the thing destroyed. However, excessive reliance on this method of regaining Stamina can have unpleasant side effects, such as permentant changes to the caster's own essence, addiction and drawing the attention of the Dark.

Infusion

Allows the sorceror to draw out the essence of something and infuse himself or other objects with it. This can be slightly risky, espeically when working near the limits of control. Attempting to infuse an object or creature with too much of an essence can destroy it. However, this Art is considerably safer than the Combination Art. An Infused object does not have it's own essence changed, but merely acquires the attributes of the infused essence temporarily. As a consequence, the object will gradually lose the infused essence. Combination, on the other hand, attempts to create a new stable essence, which has the attributes of the combined essences.

Transmutation

The alteration of one thing into another. It allows the sorceror to change the essence of one thing into another, so avoiding the loss of his own essence inherent in the Creation Art (eg a wooden sword into a real sword, a silver coin into gold). The more alike substances are in essence, the easier the transmutation. Note that essence included spiritual aspects as well as material - silver is closer to gold than lead is, because gold and silver both have the property 'valuable' as part of their essence.

Creation

As noted above, this requires the sorceror to spend some of his own essence to create something 'from thin air'. The objects are permentant until the sorceror chooses to retrieve his essence. The Stamina points spent in creating the object are subtracted from the sorceror'sStamina pool until the magically created object is dispelled. In order to reabsorb the Stamina points, the sorceror must be touching the created object when he dispells it. The object may be dispelled without contact (this might require a roll if the object is a long way away or the GM is feeling nasty) but in this case the points must be regained through rest.

If 'unnatural' objects are created, for example transparent steel, they are prone to the same instability as Combined objects, although less severely. If they explode or disintegrate as a result of this, then the Stamina points are not reabsorbed and must be recovered through rest although they are restored to the pool. The legendary Philospher's Stone is supposed to prevent this instability, along with allowing the Creation Art to be used without the loss of the sorceror's own essence. Needless to say, if anyone possesses such a Stone, they are keeping very quiet.

Finally, a note. If a created object is destroyed by another sorceror using the Destruction Art, the Stamina points used to create it are lost permenantly and may only be regained by spending experience. Sorcerors should be very cautious about parting with objects they have Created.

Combination

The fusing of the essence of two or more things to create a new thing. This is very difficult to achieve, because the essences revolt at the unnatural mingling. Such creations tend toward instability, although many monsters are said to be the result of this type of Magic.

With the results of Combination magic, it is usually not a question of if the object will explode or disintegrate but when. Creating stable things by the Combination Art requires great skill and care. There are rumours of artifacts which allow this Arts to be practised in relative safety. The Philosopher's Stone, along with it's Creation abilities, it rumoured to permit the safe and permanent Combination of essences.

Mechanics

Magic is linked to Stamina, so that Sorcerors can only do so much magic before they are exhausted. Each use of magic costs Stamina points, which must be restored in the usual way. When something is created, part of the caster passes into it to create it. This causes a 'temporarily permanent' loss of endurance which can only be restored by 'unmaking' the created item. (Note - a sorceror can unmake an item he has created, even if he does not have knowledge of the Art of Destruction.) Destroying things not created by the caster causes their essence to pass into the caster - frequently with highly undesirable results. However, Endurance can be artificially restored by this risky means. Sorcerors who use Magic for destruction a lot of the time are leaning toward the Black Dragon. He is likely to note them and start to try and tempt them into his service. The Subject of the Spell

In order to affect something with Magic, the sorceror should know the true name of the things to be affected. In the case of most innanimate objects and simple plants and animals, the True Name of their Essence will suffice: granite is granite, whatever it's form, unless it is a famous sculpture. However, in order to affect sentient creatures, certain kinds of animals and some inanimate objects, the individual's True Name must be used.

This is not a hard-and-fast system. For example, a newly forged plain long sword, made in a large workshop and not destined for any particual customer might be affected by the True Name of Long-Sword. Similarly, such a sword mught be affected by Long-Sword even after it has been bought by a city guardsman who uses it only for patrol and rarely sharpens it, or even takes it out of the scabbard. However, to affect a cherished non-magical sword, perhaps one passed down between generations and with a known history would require a knowledge of it's Name and history (Lousebane-forged-in-Basingstoke-which-fought-the-Welsh-at-Offa's-Dyke, perhaps.) The famous magical sword, possessed by the Knight-Protectors of Highcastle since the foundation of the Vale and originally created by an Elven Prince as a gift to a much-loved captain would certainly have a secret True Name in the language of Elves and probably require a knowledge of it's history as well.

Of course, the one person who's True Name the sorceror always knows is himself. Therefore, it is relatively easy for the sorceror to do magic on himself. However, this is also the field where deleterious effects are likely to be least enjoyable (except possibly for spectators.)

Magic workes differently on different subjects. Here are a few examples.

1. Healing and Restoration magics. Although healing a cut and mending a torn cloak might seem similar, these are examples of the Concentration and Transmutation Arts.
   Healing a living creature is easier than mending a broken cloak, because living creatures carry have the capacity to heal themselves; an injured creature contains the pattern of a healthy creature, to which it already strives to return. To heal a cut, the wizard need only Concentrate the healing powers of the creature so that they work more powerfully. If the injury or sickness would normally be fatal, then the wizard would emply a more powerful magic which will combine Concentration and Infusion, to draw healing powers from a wider area. The infused healing essences will slowly drain from the subject, but by then the healing will be completed. Wizards who take a strong interest in healing magics often fill their work areas with vigourous, healthy plants to supply a surfeit of healing essences.
   Mending a torn cloak is different, because the cloak does not naturally heal itself. Therefor the wizard must carry out an act of Tranmutation, between the torn cloak and the mended one. If some of the fabric is missing, then the wizard will require a piece of matching size which can be tran

The Wizard as part of the Spell

When a sorceror uses magic to change essences, the essences he is moving are channelled through his own. This can have unfortunate side effects for sorcerors who try to direct essences beyond their powers of control. Some essences are easier to channel that others. Channeling very strong essences can be harmful even if the sorceror is attempting Arts such as Concentration or Transmutation.

Spells must be individually tailored because when a wizard casts a spell, he is part of it. If a wizard simply picks up the notes of another wizard and tries to cast a spell in exactly the same way, he is guaranteed to have one of the conditions wrong. The more dissimilar the wizards are, the

[Possibly needs a table of effects and ranges. Sorcerors may need to learn to use each School of magic separately. An Arete rating might be useful, which limits the number of Stamina points which can be spent.

A Sample 'Power' Chart

1. Simple objects of one element which cannot be highly refined. No organic material. No moving parts. (A rock, water) Energy no greater then a candle flame.
2. Simple objects of one element which may be poorly refined. No organic material. No moving parts. (Glass, a poor quality coin, wrought iron)
3. Objects of more than one element, poorly refined components. Very simple moving parts. (A wrought iron hinge, a buckle) Energy no greater than a torch.
4. Simple dead organic material (bone, leather, a slice of dried apple) Energy no greater than a torch.
5. Objects of more than one element which may be refined (high quality steel, pure gold). No moving parts. (A sword with leather handle, a shoe.)
6. Objects of more than one element which may be refined. Simple moving parts. (A cart, a chest with a steel lock) Energy no greater than a small fire.
7. Complex organic material (dead only).
8. etc

Note: It might be useful to include some distictions of properties. Transferring and manipulating essences such as 'gold' or 'stone' are a fundamental part of the system. Basic properties such as 'heat' and 'weight' are probably also easy to play with. 'Slippery' or 'sharp' are probaby a bit more sophisticated. But what about things like 'ugly' or 'valueable'? Could these concepts be worked into a table like that above?]