Magic

**Magic** is the arcane art and/or natural force to which a lot of supernatural or seemingly supernatural phenomena have historically been attributed to. In our modern society, though, magic as an idea is of course pure nonsense. We have science now with which to explain everything that our barbaric ancestors' simple minds would call magical. Lightning doesn't come from the gods and it's absurd to think that there could be anything to defy the Laws of the Universe. It would indeed be very insolent of brooms to think they can fly, defying one of the true rulers of our lives, that is gravity. It is only the foolishness of arrogance that can lead you to think otherwise. Those who claim to be the masters of magic are either fraudsters or madmen who can't conform to reality.

And yet the true mysteries of the world remain that can't be explained still. That is where magic lies. And perhaps it is in this madness, the rejection of a set, solid reality where magic comes from...

## Categorisation

Magic is truly a mysterious thing. And some people in order to try to understand this baffling mystery a little better have tried to make a science out of it rather than art, as others would think of it. Whether their attempts have been well-aimed or not, some of the categories which they use to organise the terms in which they think of magic follow.

### Form

One's Magic Form refers to the way they interact with their internal magic to externalise and control it. There are two main recognised Forms:

#### Expression-Based

Expression-based magic uses descriptions of the desired effect to bring it to life. An example would be the use of spoken spells, where speaking something relating to the magic you want to achieve becomes the focus through which that happens. This form takes its name from the fact that the expression of magic becomes that magic.

#### Impression-Based

Impression-based magic, on the other hand, stems from the impression one creates in their chosen way. An example we see often is the use of physical movement to control the result of magic. The way one moves may not have a direct correlation to the final outcome, but the impression it gives becomes the mean to make it happen.

Expression- and impression-based forms aren't always that distinct as often they might work together or a certain focus might be used with one or the other depending on the magician. For instance, with singing magic the lyrics are expressive, but the melody works on impression and together they weave the appropriate magic. On the other hand, if someone were to use painting for their magic they could use it to paint exactly what they want to happen or they could go with a more vague, surrealistic and/or symbolic interpretation, where it's the impression that matters.

### Focus

Relevant and not entirely separate to one's form is their focus, the means through which they channel their magical energy. These mediums come in a great variety and can be separated in the following categories:

#### Physical Objects

These are objects, often magical or enchanted themselves, that are material in their nature. They can be anything from unique to (theoretically) mass-produced, a magician might become attuned to their own or even build it themselves. Generally, the more unique and personal they are the better relationship they have with their user. The most usual are wands and staffs, whose shape naturally helps in the outward motion of magic, but other examples include in varying frequencies: rings (and other jewellery), crystall balls, umbrellas, hats and swords or other weapons.

#### Speech

Perhaps, the focus that sees the most use, as often it's used as a secondary focus along another one. When one focuses on the words they speak, their energy can be channelled to their corresponding thoughts and into reality. This explains its broad use, seeing as when expressing something in words makes it a lot easier to concentrate on it properly than if you were just thinking about vague ideas. What happens often with this category is the use of ancient or otherwise obscure languages for spells. There are several reasons for that. One is that historically those were once people's spoken languages, so the spells passed down from them remained in those languages even after their use in daily life had ceased. The historical use also means that through time these languages will have grown stronger magically as foci tend to do when they're used for a long time, becoming magical through association even if they weren't before. Finally, the formality derived from speaking a language you don't normally use also helps with channelling the magic more efficiently. Power words are also included in this category and they're generally the strongest (and hardest) magic to handle with speech, capable of bringing about devastating results simply by the speaking of a single word.

#### Written Word

An alternative to using speech, one might opt to write instead. Usually, it's used for enchantments on the objects written upon or for pre-prepared magics that are to be triggered under specific circumstances. While full text can be used sometimes, it's more typical to see the use of single words or runes.

#### One's Body

Usually triggered through motion, one can use series of moves they've memorised to channel their magic. Alternatively, simple acts like snapping one's fingers can also be used.

#### Art

Painting, singing, sculpting, etc. Not used as often, but might come about. When used to create something tangible (e.g. a painting or a sculpture), the magic usually is passed onto the creation.

#### Thought

Technically thinking is always (or almost always) used to channel magic, but when mentioned as a focus, it usually refers to only using thought to channel one's magic, without any other focus. This is the hardest way of concentrating on magic and it requires great mental prowess. Not many can manage it and even fewer can manage to focus that way in quickly unfolding and/or distracting scenarios like combat. However, it has the advantage that with its direct channelling, magic doesn't have to be limited to a medium's capabilities.

### Type

What kind of magic one casts is described by its type. The categories aren't agreed upon by everyone, but a widely used model has these eleven types:

#### Abjuration

Associated with defensive, protective, ward, barrier magic and by extension healing magic (warding off sickness and trauma).

#### Invocation

The magic involving summoning objects, creatures or people to you and sending them away.

#### Illusionism

The weaving of illusions that trick one's senses. It is said that the best illusions can trick even the Universe itself.

#### Creation

Magic concerned with the creation of physical objects (or beings), be they magical or not. Also, assosiated with the manipulation of Imagination.

#### Disruption

Destructive magic for physical targets or otherwise (e.g. disrupting someone else's magic or sending a mental attack to them). Linked to combat magic and also the manipulation of Chaos.

#### Commanding

Gaining the service of other creatures through magic. Works on beings of lower or no intelligence.

#### Charming

Magic involving changing the way an intelligent being perceives you, someone or something else. Often used to make someone your ally, inspire fear or for the production of fake love. Also known as (human) enchantment.

#### Transfiguration

Transforming magic, changing the appearance and properties of the target.

#### Divination

Also known as Knowledge Magic, as it is technically a more accurate, broader name. Magic that handles information, affects the mind and allows one to learn things of past, future and present they otherwise couldn't have.

#### Magical Manipulation

Magic that manipulates magic itself. Includes techniques such as magic absorption, mirroring, stealing, cancellation and removal.

### Style

The style of a magician refers to how their magic works and it can be very unique and related to their understanding of magic, but there are certain philosophies that can be found more broadly that influence people's styles.

#### Conjuring

A style that works on the idea that magic exists within a person and by releasing it to conjure something you can do pretty much anything.

#### Commanding

The philosophy that magic exists without a person, flowing in the Universe, a natural force that always was and will be. A magician has to reach to that magic and command it. Further believers of the theory, see all effects of magic as commadning one's environment in some way.

#### Auras

All life emits an aura, which is the manifestation of the soul. In fact, some would say that non-living entities have their kind of aura, too. The aura is the source of one's magic and by reaching to others' auras, you can affect them.

#### Enchantment

The style in which all magic is brought about by enchanting the right properties to the right entity. This is a particularly hard style for the key part is that it does not limit itself in physical targets, but believes it can enchant even ideas. The ideas themselves don't change, but enchanting them into existence, Enchanters can bring things to life in a vastly different way than other magicians would.

None of these philosophies is wrong, but none of them completely describes magic either. That is why all styles exist. It's also possible that someone uses more than one style. For instance, because Enchantment requires a clear, concentrated mind usually, an Enchanter might choose to use a different style for simpler task. After all some styles are not very natural or intuitive to most people, so they'd have to get accustomed to them gradually. Until then, they'd have to have a different style (e.g. a conjuring one, which is a lot more intuitive).

Others reject the idea of styles, believing that each application should be treated independently of others for the optimal way to go about it to be found.