Post by DM Quietus on Jul 28, 2009 14:59:56 GMT -5
Within Vethedar, I want to create a magic system that reinforces itself in a strong way; To that effect, I'm seeing a "Tapestry" style setup, where everything in existence is part of a single, cohesive existence, woven together by imperceptible strands of magic.
Regarding the strands of magic : I'm not certain whether to boil them down to the very basic level of "Building blocks of creation, primary elements" style stuff, though that would fit with the feel of Vethedar.. my main concern where that is involved is trying to produce all the things that we have in life from those four classical elements. Of course, this may just be me overthinking the entire process, and it may be better off handwaved; Spells are, after all, an abstraction. That would then mean that spells which have the [energy] subtype would simply be spells that use exclusively that type of energy - acid using earth, and cold using water. I think, unless some major point can be raised as to why this isn't a feasible idea, this is what I'm going to use. The strands of magic represent the four raw elements from which everything else was formed, and can be combined in different, very specific ways to produce the desired effects. And no, I don't know how manipulating basic elements can produce Time Stop. It's magic, just accept it.
Regarding the Tapestry : Using the above, we have an entire cosmology tied together into one massive existence, woven from the raw stuff of the universe. The Prime Material is made up of the four classical elements, but other planes - the hells, the abyss, celestia, etc., may have other aspects; Evil and Good for those examples. This makes the Prime Material possibly the most fertile place in existence, or at least the most malleable by those other forces, because their opposites are not present to counterbalance that. This is why Fiends and Celestials, and others of their ilk, are far less common in Vethedar than Elementals are; Opposing sides are fighting wars amongst themselves, outside the Prime Material, in an attempt to keep the others from gaining a foothold.
With all of this in place, we can start developing the distinct feel of how magic works in Vethedar. The process of casting isn't changed, but the fluff of it is. With standard D&D, we have casters who produce magical effects by saying nonsense syllables, waving their hands, and flinging bat poo to cast a fireball. Introducing this Tapestry, however, gives a different meaning to each of those aspects.
Somatic components : This is the actual act of drawing together threads of the Tapestry. The caster actually reaches out and takes hold of the very fabric of reality, drawing its threads into the form that will produce the effect he desires. In effect, this is like playing a very complicated game of Cat's Cradle with the very fabric of reality. While he is doing this, there is visible distortion within reality - casting a fireball, for instance, involves drawing the Tapestry threads that represent fire to yourself, and as a caster does so, reality around his hands is warped, either as though that area were seen through a different type of lens, or possibly in a more striking visual form - the aforementioned fireball, for instance, could involve the caster drawing literal threads of fire from reality to form his spell. It is the pattern of these threads being formed by which casters identify somatic components when identifying a spell being cast.
Verbal components : These are words spoken in a language so old, that it is all but forgotten. Words and sounds have power, and the right ones can cause the very fabric of the Tapestry to resonate. Sometimes, this is all that is needed to unlock some bit of power - a stilled spell, for instance, is a spell that has been altered in such a way that the mere words inherent in the casting have a profound enough effect to twist the Tapestry in the desired way. These components must be spoken at least at normal speaking volume, and when they do so, the threads of reality resonate with a tone of their own. It is by this tone that casters identify verbal components when identifying a spell being cast.
Material components : These are objects which carry within them, for whatever reason, the exact measure of energy the spell requires. This does end up with some odd interpretations, of course - bat guano, for example, having plenty of raw Fire energy for a Fireball - but I feel that it works as an abstraction. By producing these material components, a caster isn't depleting their surroundings actively, as these components instead provide the base mix of energy with which they cast, making the process easier than having to identify those same threads around oneself. Eschew Materials reprensents casters who have taken the time to learn how to more easily pull that energy from the world around them, and therefore have no need to carry around a pouch of spare items. Again, the exact materials used can help a caster identify a spell as it's being cast, because they may recognize the properties of that individual item.
Material/Divine focii : As it stands right now, I'm going to say that these are along the same lines as material components, but provide more than enough of the base energy, so that they aren't consumed in the process.
The real question is.. how does the use of the very threads of reality not consume the world in the process? Perhaps, when the magic is finished, those threads will slowly work their way back into place. Or perhaps, in some cases, they DO consume a small part of the world - which can be used as a plot hook. I'm not sure I want to fully develop that angle, as leaving that question open can lead to many potentially interesting adventures.
Regarding the strands of magic : I'm not certain whether to boil them down to the very basic level of "Building blocks of creation, primary elements" style stuff, though that would fit with the feel of Vethedar.. my main concern where that is involved is trying to produce all the things that we have in life from those four classical elements. Of course, this may just be me overthinking the entire process, and it may be better off handwaved; Spells are, after all, an abstraction. That would then mean that spells which have the [energy] subtype would simply be spells that use exclusively that type of energy - acid using earth, and cold using water. I think, unless some major point can be raised as to why this isn't a feasible idea, this is what I'm going to use. The strands of magic represent the four raw elements from which everything else was formed, and can be combined in different, very specific ways to produce the desired effects. And no, I don't know how manipulating basic elements can produce Time Stop. It's magic, just accept it.
Regarding the Tapestry : Using the above, we have an entire cosmology tied together into one massive existence, woven from the raw stuff of the universe. The Prime Material is made up of the four classical elements, but other planes - the hells, the abyss, celestia, etc., may have other aspects; Evil and Good for those examples. This makes the Prime Material possibly the most fertile place in existence, or at least the most malleable by those other forces, because their opposites are not present to counterbalance that. This is why Fiends and Celestials, and others of their ilk, are far less common in Vethedar than Elementals are; Opposing sides are fighting wars amongst themselves, outside the Prime Material, in an attempt to keep the others from gaining a foothold.
With all of this in place, we can start developing the distinct feel of how magic works in Vethedar. The process of casting isn't changed, but the fluff of it is. With standard D&D, we have casters who produce magical effects by saying nonsense syllables, waving their hands, and flinging bat poo to cast a fireball. Introducing this Tapestry, however, gives a different meaning to each of those aspects.
Somatic components : This is the actual act of drawing together threads of the Tapestry. The caster actually reaches out and takes hold of the very fabric of reality, drawing its threads into the form that will produce the effect he desires. In effect, this is like playing a very complicated game of Cat's Cradle with the very fabric of reality. While he is doing this, there is visible distortion within reality - casting a fireball, for instance, involves drawing the Tapestry threads that represent fire to yourself, and as a caster does so, reality around his hands is warped, either as though that area were seen through a different type of lens, or possibly in a more striking visual form - the aforementioned fireball, for instance, could involve the caster drawing literal threads of fire from reality to form his spell. It is the pattern of these threads being formed by which casters identify somatic components when identifying a spell being cast.
Verbal components : These are words spoken in a language so old, that it is all but forgotten. Words and sounds have power, and the right ones can cause the very fabric of the Tapestry to resonate. Sometimes, this is all that is needed to unlock some bit of power - a stilled spell, for instance, is a spell that has been altered in such a way that the mere words inherent in the casting have a profound enough effect to twist the Tapestry in the desired way. These components must be spoken at least at normal speaking volume, and when they do so, the threads of reality resonate with a tone of their own. It is by this tone that casters identify verbal components when identifying a spell being cast.
Material components : These are objects which carry within them, for whatever reason, the exact measure of energy the spell requires. This does end up with some odd interpretations, of course - bat guano, for example, having plenty of raw Fire energy for a Fireball - but I feel that it works as an abstraction. By producing these material components, a caster isn't depleting their surroundings actively, as these components instead provide the base mix of energy with which they cast, making the process easier than having to identify those same threads around oneself. Eschew Materials reprensents casters who have taken the time to learn how to more easily pull that energy from the world around them, and therefore have no need to carry around a pouch of spare items. Again, the exact materials used can help a caster identify a spell as it's being cast, because they may recognize the properties of that individual item.
Material/Divine focii : As it stands right now, I'm going to say that these are along the same lines as material components, but provide more than enough of the base energy, so that they aren't consumed in the process.
The real question is.. how does the use of the very threads of reality not consume the world in the process? Perhaps, when the magic is finished, those threads will slowly work their way back into place. Or perhaps, in some cases, they DO consume a small part of the world - which can be used as a plot hook. I'm not sure I want to fully develop that angle, as leaving that question open can lead to many potentially interesting adventures.