TEXT:  
   
  Introduction 
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  Release 1.3 
  Introduction 
  Spellcasting is the art of converting one form of 
  energy into another using rituals, rhymes, or 
  writing.  There are a number of different classes 
  of magical functionality, called methods, that are 
  used in casting spells.  Spell usually require 
  several methods; a conjuring spell, for example, 
  would probably require opening a portal, 
  summoning something through, and binding the 
  creature so it doesn’t eat you.  Few mages can 
  master every method, most only learn one or 
  two. 
  Casting spells from scratch using the basic 
  methods, called improvised magic, allows a great 
  deal of flexibility, but it is difficult and often 
  dangerous.  Over the millennia the greatest 
  wizards and mages have written exacting 
  specifications for their most famous and useful 
  spells; these formulated spells have been passed 
  down through the years from mage to mage, 
  written in books, inscribed on temple walls, and 
  cast again and again.  Formulated spells do not 
  require knowledge of the methods they used, 
  they simply require memorizing all the 
  commands, gestures, and so forth and 
  performing them as accurately as possible. 
  Because of the difficulties in memorizing the 
  difficult procedures and timings, mages 
  construct their spells in the form of rhymes, 
  series of numbers, or dances that lead to correct 
  casting.  Mages will usually adopt one or two of 
  these styles and use them in all of their spells. 
  Spell casting takes long enough by itself; with 
  formulas and stylistic additions they only take 
  longer.  Usually this doesn’t matter too much, 
  but there are times when getting a spell of 
  quickly is vital to one’s health.  For these 
  situations the technique of spell hanging is used.  
  A spell is partially cast early in the day and then 
  put on hold, pausing it until the time it is 
  needed, at which point a few trigger words and 
  some additional instructions are given and the 
  spell is activated. 
  Traditions are collections of “stock” formulated 
  spells, casting styles, beliefs, exercises and 
  behaviors that mages adopt.  These traditions 
  are an integral part of being a mage; a given 
  mage adopts one tradition and follows it almost 
  exclusively.  They are passed from mentor to 
  apprentice with few changes.  There is no 
  fundamental basis for why traditions exist; in 
  theory it is not necessary for one to know any 
  tradition to cast a spell.  Most adventuring 
  mages will want to adopt several different 
  traditions rather than concentrating on a single 
  one.  However, most trainers will not train a 
  person who does not also adopt the tradition.  
  
   
   
  Chapter :  Fundamentals 
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  Chapter 1:  Fundamentals 
  Traditions, styles, formulated spells and spell 
  hanging are vital and important techniques for 
  casting spells, but at heart they all make use of 
  the same fundamental methods.  And every 
  method relies on the same principles that 
  control how magic operates. 
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  Magic is simply another way to manipulate 
  matter, energy, time, and space using special 
  magical energies, called mana.  Mana is similar 
  to more familiar forms of energy like light, 
  electricity, or heat; like them, mana cannot be 
  created or destroyed, only change forms, but 
  unlike them it is much easier to change mana 
  into different kinds of energy, including matter. 
  Through millennia of research, learning, and 
  experimentation, magicians have systematized 
  ways of using mana through spells.  Spells can 
  perform a wide range of functions.  They can 
  convert or manipulate matter and energy, 
  explore the other planes, or even peer through 
  time.  Spells draw mana from a variety of 
  sources.  Mana can be drawn from living 
  creatures (including the caster himself), other 
  planes, or, most often, from the invisible lines 
  and streams of magical energy that surrounds 
  and permeates everything, called the ether. 
  THE ETHER 
  Connected with the real world is another 
  dimension called the ethereal plane.  This is a 
  bit of a misnomer because it is not a separate 
  place from the real world; rather it is just an 
  extension of it.  Every point in the real world 
  has a corresponding point in the ethereal plane. 
  The substance of the ethereal plane is the 
  medium of light and energy, and in this plane 
  course vast streams of magical energies.  
  Nothing is solid in the ethereal plane; any two 
  ethereal objects will pass through each other. 
  It is possible for beings to become trapped in 
  the ethereal plane and to “lose” their real body.  
  Occasionally when a creature dies, it’s soul 
  passes into the ethereal plane instead of 
  proceeding to the netherworld; when the soul 
  attempts to re-establish its connection with its 
  deceased material form it is seen as a ghost. 
  AURAS 
  All creatures and most inanimate objects have 
  an aura, the soul’s reflection into the ethereal 
  plane.  A creature’s aura reflects his feelings, his 
  beliefs, and his health. 
  At a creature’s birth, death, or initial bond with 
  one’s soul mate the aura and true pattern are 
  actively re-imprinting themselves, and the aura 
  becomes easier to access than any other time in 
  the creature’s life.  This is why the attention of a 
  priest during or shortly after one of these life 
  events is very important. 
  THE ASTRAL PLANE 
  When creatures die, their souls travel to the 
  netherworld.  The astral plane is the dimension 
  that the soul travels through to get to its 
  destination.  Unlike the ether, the astral plane is 
  an actual place where tangible creatures exist.  It 
  is a sort of dream world where fairies roam and 
  spirits live. 
  The astral plane touches the real world in only a 
  few distinct places, and these locations are 
  frequently in motion, jumping from one site to 
  another.  Graveyards, hospitals, churches, and 
  cities tend to have stronger or longer lasting 
  links to the astral plane.  This is generally bad 
  because malevolent things will occasionally 
  enter the real world through these points. 
  TRUE PATTERNS 
  All things, living or not, have a true pattern 
  associated with them.  An object’s true pattern 
  is a kind of index, identifying it uniquely in the 
  
   
   
  Chapter :  Fundamentals 
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  universe.  Knowing an object’s true pattern 
  simplifies the use of magic on the object; in 
  some cases a given spell cannot be cast without 
  knowing the target’s true pattern. 
  The true pattern is hidden in the depths of the 
  aura.   To view or alter the true pattern, it must 
  be brought to the surface of the aura (or a hole 
  made through the aura).  This occurs naturally 
  in the course of a creature’s life whenever his 
  true nature changes (for example, at life or 
  death.) 
  Different cultures and different magic traditions 
  have come up with ways to alias one’s true 
  pattern through the use of songs, names, 
  symbols, or numbers.  These are referred to as 
  one’s true song, true name, true symbol, and 
  true number, respectively, even though they are 
  not a direct representation of the true pattern.  
  The alias contains enough information to allow 
  the spellcaster to determine what the true 
  pattern actually is.  Additional information is 
  frequently needed, such as parentage, race, 
  place of birth, etc.  The details of the 
  requirements depend on the type of alias and 
  the culture’s practice. 
  It is possible (though rare) for one’s true pattern 
  to be changed.  If the individual is in the 
  presence of a massive amount of focused 
  magical power the individual can be re-
  imprinted with a new name, like it or not.  Also, 
  many cultures practice renaming an individual 
  after the completion of a very important or 
  heroic deed.  In a few cultures a priest or wizard 
  will rename a sick or ensorcelled individual in 
  order to prevent further damage from spirits or 
  other malevolent beings. 
  Because personal items and parts of oneself 
  (hair or nail clippings, a bit of blood, or a finger, 
  for instance) tend to hold an imprint of one’s 
  true pattern, it is possible to divine part of one’s 
  true pattern from them. 
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  All magic users, including holy men, have a 
  rating for how much energy they can channel 
  called the magic power, or flux rating.  For new 
  apprentices and all non-spellcasters, this rating 
  is zero.  Increasing this rating is very 
  challenging and dangerous process that 
  requires sacrifices of ability scores or more.  
  There are numerous techniques and ceremonies 
  for increasing one’s magic power rating; most 
  are associated with a particular tradition, and 
  nearly all require the trading of essence for 
  power rating at a one-to-one or worse ratio.  
  Therefore, one’s starting essence controls the 
  maximum amount of power that a mage can 
  wield.  There are ways to increase the magic 
  power rating without having to sacrifice 
  essence, but these ways often have severe 
  consequences that make them undesirable 
  except to the most desperate.   
  Clerics and holy men may be imbued with their 
  spell casting abilities by their god.  Conjurers 
  will capture extra-planar creatures and beg or 
  force them to increase power ratings.  
  Necromancers might seek out long lost 
  ceremonies used long ago, or might make a pact 
  with a god or devil.  Transmuters may imbibe 
  special potions that increase power ratings, but 
  at the expense of their health and strength.  A 
  shaman might have to spend a week in the 
  blazing heat searching for power. 
  However the power rating is obtained, it can be 
  used on any type of magic.  Thus the shaman 
  could use his magical power for enchantments 
  or sorcery even though his tradition makes little 
  use of those types of magic.  Of course, 
  attempting to cast spells in areas that the spell 
  caster has not received training in is quite 
  dangerous. 
  5 pt mana
  burn
  10 available
  for spells
  5 available
  for spells
  10 available
  for spells
  10 mana avail
  5 pt
  channel
  5 pt
  channel
  32 pt
  channel
   
  
   
   
  Chapter :  Fundamentals 
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  In game terms, the magic power rating is the 
  number of mana points the character can draw 
  upon from any source per round and channel 
  through his body to power his spells.  Drawing 
  upon more than this amount of mana forces the 
  spell caster to make essence checks to avoid 
  taking fatigue damage, physical damage, or 
  worse. 
  The following table lists the maximum amounts 
  of mana that can be drawn from the 
  surroundings: 
  “Dead” magic area 
  0 
  Poor magic area 
  5 
  Typical 
  10 
  High magic area 
  15 
  Rich magic area 
  20 
  Some traditions know how to tap into special 
  pockets of mana, such as from the ground, the 
  ether, vegetation, or oneself.  These abilities are 
  discussed in the description of the tradition. 
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  Mana, :  Magical energy.  Has units of chi, χ. 
  Flux, Φ:  Magical power.  An amount of mana 
  per time.  Has units of chi/round, called zaufts. 
   
  
   
   
  Chapter :  Spell Casting 
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  Chapter 2:  Spell Casting 
  Because of the wide variety of spells, there is 
  also a variety of ways to cast spells.  All spell 
  casting techniques involve the roll of a die, 
  sometimes multiple dice.  Some also impose 
  fatigue or other deleterious effects on the caster.  
  In general, however, the caster can continue 
  spell casting as long as he wishes. 
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  When spells are cast the mage must divide his 
  time between casting the spell and physically 
  defending himself from attack.  As in regular 
  combat, the caster has two action allowances - a 
  defense and an attack.  For spell casting, the 
  mage must expend attack actions (regardless of 
  the nature of the spell being cast) to perform the 
  casting.  Spell casting time is measured in action 
  allowances required.  This gives the spell caster 
  the option of casting the spell slowly while 
  defending himself, or concentrating exclusively 
  on the spell casting and finishing it sooner. 
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  All spells with casting times of 1 or more must 
  be declared prior to the start of the round (i.e. 
  before the quick phase.)  Between this time and 
  the actual point in the round when the spell 
  “goes off” the mage is considered to be casting 
  his spell.  For the remainder of the round 
  following the spell initiation, the mage is 
  considered to be doing inconsequential actions - 
  picking up spell components, closing portals 
  opened during the spell, or just preparing for 
  the next round’s action. 
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  When casting a spell, the mage must not stop or 
  pause midway through.  Stopping for a round 
  or more causes the spell to fail.  There are 
  exceptions such as hung spells and spells that 
  consist of several independent sub-spells.  
  Typically, a few seconds missed while dodging 
  a weapon blow will not stop the spell, but 
  anything more significant (swinging a weapon, 
  drinking a potion, etc.) will. 
  Spells also require concentration, otherwise the 
  train of thought is lost.  Physical damage is an 
  excellent way to break someone’s concentration.  
  If a mage is in the process of casting a spell 
  (even a hung spell) and takes damage, he must 
  succeed a willpower check with a delta equal to 
  or greater than the hit point loss, or the spell is 
  lost. 
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  Casting a spell requires at least one skill check.  
  For formulated spells only one roll is typically 
  needed; the die type used for this roll varies 
  depending on the complexity of the spell.  For 
  improvised spells more rolls are required (see 
  below.) 
  If any required roll is failed, then the spell will 
  not function correctly.  Formulated spells 
  usually have built-in fail-safes that cause the 
  spell to quit safely, closing any portals that were 
  opened, discharging any extraneous energies 
  stored during the casting, and disenchanting or 
  dispelling any magical effects that were begun; 
  these actions often require immediate increases 
  in required power, often more than the mage is 
  able to employ safely.  Poorly designed or 
  simple, rudimentary spells may lack these 
  protective measures.  Improvised spells never 
  have such safeties unless the caster intentionally 
  employs them for the spell.  The exact nature of 
  the  failure effect will be detailed in the spell or 
  method description. 
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  Most spells require that the mage put energy 
  into them.  Typically the mage will draw 
  
   
   
  Chapter :  Spell Casting 
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  ambient energy from her surroundings to 
  power the spells.  She may also be able to draw 
  upon magical items, other beings, or other 
  planes.  Whatever the source, this energy must 
  be channeled, or processed, before it enters the 
  spell itself.  Most mages channel the mana 
  through their own bodies; this can be 
  dangerous, but creating and using external 
  devices to do the channeling is a lot of work 
  and not that much safer.  However, the amount 
  of mana a mage can channel through his body is 
  limited.   
  Any mage can channel an amount of mana 
  equal to his Magic Power Rating each turn.  If 
  the mage channels more than this amount, she 
  will take the take the difference as hit point 
  damage.  The mage is allowed to make an 
  essence check to prevent some of this damage; 
  the delta of this check is the (maximum) 
  number of points that can be taken as fatigue 
  loss rather than as hit points. 
  If the spell caster dies as a result of spell casting 
  (i.e. his hit points are reduced below the 
  negative of his health score) but fails to 
  completely “pay off” the energy cost, then the 
  remaining energy will be taken from the 
  surrounding environment:  Plants and grass 
  will wither, bystanders will take a few hit points 
  damage or lose a level of consciousness or two, 
  air temperature will drop, or the caster’s body 
  will desiccate.  The actual effect will be 
  determined as the referee deems appropriate. 
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  Formulated spells are spells that have been 
  designed prior to casting and which have well 
  known effects and side effects.  There are three 
  types of formulated spells:  Direct, Hung, and 
  Invoked.   
  DIRECT 
  Direct formulated spells are the easiest spells to 
  cast; they require a single skill check against the 
  caster’s skill in the spell and have effects that 
  are very specific.  Also, they don’t require a 
  significant preparation time.  On the other 
  hand, direct formulated spells aren’t as 
  powerful as other spells and tend to lack 
  elegance and customizability. 
  HUNG 
  Hung spells require more foresight and 
  preparation than direct spells, but they allow 
  for a great deal more power and versatility.  
  Hung spells are cast in two parts.   
  The first portion of the spell, the initialization, 
  sets up the spell matrix, attaches power sources, 
  or fills a mana pool with energy.  The 
  initialization part of the spell can take a 
  considerable amount of time and so it is 
  typically done at the beginning of the day when 
  the caster is free from distraction.  Initialization 
  requires a difficult spell check or two (against 
  the spell skill score and perhaps against a 
  relevant method score).  Novice spellcasters 
  frequently have to reinitialize the spell again 
  and again until they get everything “just right.”   
  Success indicates that the spell has been 
  properly hung.  Failure indicates that the spell 
  was not hung and that the failure effects are 
  activated instead. 
  After this, the caster dedicates a stream of mana 
  to maintain the hung spell.  If this is not paid, 
  then the hung spell withers and disintegrates 
  quickly.  Other than that, maintaining the hung 
  spell requires little or no interaction or 
  concentration on the spellcaster’s part.  Losing a 
  spell does not cause any negative effects except 
  in a few very rare instances.  Also note that a 
  caster can choose to drop his spells at any time 
  just by concentrating for a second or two. 
  The second part of the spell, activation, is done 
  when the spell’s function is needed, perhaps in 
  the heat of battle.  This part of the spell is much 
  simpler - the caster need simply delineate the 
  values of a few parameters, target the spell, and 
  set it in motion.  Some hung spells do not need 
  any checks at this point, but most require some 
  skill roll to target and/or propel the spell to its 
  target.  The required roll is either against the 
  spell skill score or against another skill such as 
  rock throwing or breath weapon. 
  
   
   
  Chapter :  Spell Casting 
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  At activation, the caster again needs to maintain 
  a certain level of mana input for a given number 
  of rounds.  At the end of this period the spell 
  takes effect.   
  INVOKED SPELLS 
  Invoked spells are powerful, like hung spells, 
  but they are simplified by the fact that the caster 
  gets another being to set the spell up for him.  
  Like hung spells, invoked spells are cast in two 
  parts.  The difference is that these two parts are 
  frequently cast by two different entities - the 
  first part by the god or being, the second part by 
  the caster.  Often the caster must perform a 
  ceremony or prayer to ask the otherworldly 
  being to initiate the spell, but these rites are 
  typically very simple and straightforward 
  (assuming the caster knows the prayer!)  
  Activation of invoked spells is similar to hung 
  spells - generally all that is required is a 
  targeting roll.   
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  Casting spells on the spur of the moment is a 
  risky venture.  As they are being created on the 
  spot, the caster will not know what the effects 
  or side effects are, exactly.  And since he doesn’t 
  have a fixed script to follow, repeated castings 
  of the same spell will have slightly different 
  effects each time it is cast (e.g. different amounts 
  of damage, different mana cost, different side 
  effects, etc.) 
  Since they are so dangerous, only wise, 
  experienced spellcasters with the proper safety 
  facilities should cast improvised spells.  But 
  since you’re going to do it anyway, here’s the 
  rules. 
  1.  First, determine the desired effect.  It is 
  best to keep it simple and close to the core 
  functionality of the method you know the 
  most about.  Look at the description of the 
  method for a formula to calculate how 
  much mana is required for the desired 
  effect. 
  2.  Next, figure out if there are any other spell 
  parts that need to be added.  These spell 
  parts are listed in a later chapter.  It’s 
  important to keep things simple because 
  the more features put into a spell, the 
  harder it will be to cast. 
  3.  Now add up the mana costs from steps 1 
  and 2, and divide the total by the number 
  of rounds you want to spend casting the 
  spell.  This is the number of mana points 
  that must be spent each round to activate 
  the spell.  You’re going to have to make a 
  skill check each round, so it’s important to 
  minimize the casting time as much as 
  possible. 
  4.  Pick a spell casting skill.  This depends on 
  the tradition you’ve chosen, but you can 
  choose any allowed in that tradition.  If 
  you do not want to use a tradition’s skill, 
  or if you do not follow a tradition, you 
  must use Spell Formulation.  Whatever 
  skill you use, your casting skill will be half 
  of it.   
  5.  Now you’re ready to cast the spell.  There 
  are three kinds of rolls you’re going to 
  have to make; you’ll need to roll at least 
  one of each: 
  • 
  Spell design skill - this is used to 
  determine if you correctly designed 
  the algorithm.  It is usually rolled 
  against the Spell Formation skill.  
  Failing this roll will make the spell 
  have very unpredictable results.  
  This roll is always on d20.  Some 
  traditions allow you to use skills 
  other than Spell Formation to 
  design spells. 
  • 
  Method skill(s) - you’ll have to 
  make a roll against each of the 
  methods used in the skill.  If one 
  method is a minor component, the 
  referee may let you do it on d10, 
  otherwise it’ll be on d20. 
  • 
  Spell casting skill - this is a check 
  to see if your character can 
  accurately carry out the procedure 
  
   
   
  Chapter :  Spell Casting 
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  for casting the spell.  If this check is 
  failed then the spell will fail. 
  6.  Make the rolls.  You can make the rolls in 
  any order you want, but the most efficient 
  way to do it is to make the casting rolls 
  round by round and only when they’re all 
  successful to make the design and method 
  rolls.  This is because if any of the casting 
  rolls fail, the spell won’t work, but if the 
  design or method rolls fail the spell will 
  simply malfunction. 
  7.  If some of the die rolls didn’t work, then 
  determine the actual effect. 
  • 
  If any of the casting rolls fail, then the 
  spell will not work at all.   
  • 
  If the design roll fails, then the spell will 
  work, but will function in a random 
  manner within the basic framework of the 
  spell (i.e. a fireball will still produce fire, 
  but may be targeted incorrectly, and a 
  matter creation spell will still create 
  something, but maybe not what was 
  desired.   
  • 
  If any of the method rolls fail, then the 
  effects particular to that method will work 
  differently - more or less powerfully, or 
  with incorrect properties (fire would be 
  just a flicker, or a created stone will be ten 
  times too large.)  If the effect is more 
  powerful than expected, then estimate 
  what the mana cost really was and apply 
  any excess to the caster (thus causing the 
  caster damage).  
  8.  On the off chance that the spell actually 
  worked, the effects should be close to the 
  desired result.  The referee should tweak 
  things a little just for good measure.  For 
  example, the area of effect might be a 
  strange shape, or the form of the matter 
  might be unexpected (instead of a solid 
  wall of stone, the caster gets one make of 
  individual rocks stacked together, or 
  instead of enchanting an enemy to follow 
  one’s orders, the enemy has fallen in love 
  with the caster.)  These variations should 
  still be within the spirit of the intended 
  spell unless the spell was poorly worded 
  and the referee wants to have some fun. 
   
  
   
   
  Chapter :  Spell Countering 
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  Chapter 3:  Spell Countering 
  Occasionally the mage will face another mage 
  or a spell casting creature in combat.  The mage  
  may choose to use some of his actions to defend 
  against spells cast by the opposing mage.  There 
  are a number of techniques for casting counter 
  spells; most traditions have unique ways of 
  dealing with opponent’s spells. 
  In general, counter spells usually involve 
  creation of a spell that waits for another spell to 
  be cast.  At the last minute the mage may 
  “trigger” the counter spell to oppose the 
  opponent’s magic.  Some counter spells require 
  the concentration of the caster, others do not. 
  When a counter spell is cast, the mage specifies 
  details about the type of spell it will counteract.  
  The more specific the mage is, the better the 
  counter spell will work. 
  When a counter spell is cast, the player records 
  the difference between the die roll and what 
  was required to cast the spell.  Then when the 
  opponent mage completes his spell he must 
  modify his success roll by the strength of the 
  counter spell.  If the defending mage has several 
  counter spells available at his fingertips, he 
  should declare which counter will be used prior 
  to the attacking spell caster’s success roll. 
  A spell may only be countered once.  If multiple 
  counter spells are thrown at a spell, then the 
  most powerful counter is used. 
  ������
  An effective technique to be used against 
  powerful spells is to sap the magical energy that 
  the opposing mage intends to use.   
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  Enchantments and maintained spells can be 
  disenchanted.  Essentially, the mage attempts to 
  cut his opponent’s threads, shut off his power 
  supply, or otherwise break the spell’s pattern. 
  These spells have a strength rating that must be 
  overcome. 
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  One method used to counter spells is to 
  bombard it with “negative” magical energy.   
  �����
  Wards are similar to other counter spells but do 
  not target particular spells.  They are less 
  powerful but remain longer than counter spells 
  and frequently they continue to be effective 
  even after countering several spells.   
  
   
   
  Chapter :  Arcane Methods 
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  Chapter 4:  Arcane Methods 
  �������������
  This chapter details the several methods used to 
  cast spells.  Methods are simply techniques that 
  can be employed to “build” a spell.  Some 
  provide power, some generate some desired 
  effect, and some modify other methods. 
  TALENTS 
  Each method has several sub-methods, called 
  talents that focus on a particular area of that 
  method. 
  As with skills there are two numbers associated 
  with methods:  Knowledge levels and scores.  
  Also similar to skills is the means by which the 
  scores are calculated:  A talent or method’s 
  score is equal to the knowledge level in the 
  talent or method plus half of the more basic 
  method.  In equation form: 
  Methodology score = methodology knowledge 
  level + magic power level 
  Talent score = talent knowledge level + ½ 
  methodology score 
  In the list below, the underlined headers are the 
  methods, and the all-caps headers are the 
  talents. 
  TECHNIQUES 
  Talents have techniques associated with them.  
  Techniques are simply different things that can 
  be done with the talent, they are not skills 
  themselves.  When a spellcaster wishes to use a 
  technique he makes a check against his talent 
  skill rating. 
  GENERALIZED DAMAGE 
  The mana cost for damage done by spells is 
  given by the following formula: 
  Mana = C x (Die type +1) x # Dice 
  where C is a mana/hp ratio given by the 
  damage-causing technique, Die type is the 
  largest number that can be rolled on the die (e.g. 
  8 for d8 or 20 for d20), and # Dice is the number 
  of dice to be rolled. 
  ������������
  This methodology involves contacting and 
  dealing with the astral plane, spirits, and the 
  dead.  The Naming method is often used in 
  association with the Astralation method. 
  CONTACTING 
  This method allows the user to contact beings or 
  spirits from beyond.  It requires that the caster 
  knows the true name of the being or spirit.  
  Once a spirit is contacted it can be summoned, 
  asked for favors, or commanded. 
  The one-time cost for contacting a spirit or 
  extra-planar being is: 
  Same plane 
  20 χ 
  Ethereal plane 
  40 χ 
  Elemental plane 
  80 χ 
  Astral plane 
  140 χ 
  Other dimension 
  300 χ 
  (Dream plane?) 
  COMMUNION 
  This talent involves one to mingle one’s soul 
  with spirits in the astral plane.   The 
  communing individual will be able to 
  communicate with the being, learn more about 
  the universe, or gain magical powers. 
  In general, the cost for communing is flat and 
  rather inexpensive, but if the being resists or is 
  reluctant the costs can increase greatly. 
  
   
   
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  Power Draw:  This technique allows one to 
  draw power from a spirit or other being of the 
  astral plane.  Essentially, the magician is able to 
  draw an additional amount of mana beyond his 
  normal magic power rating. 
  The empowering only lasts while the magician 
  and the being are in contact; as soon as they 
  break contact (leave the immediate vicinity) the 
  empowering breaks.  It is possible to extend the 
  duration of the effect through the use of binding 
  techniques. 
  Empowering does not prevent the dangers of 
  mana burn (damage taken from channeling 
  excessive mana). 
  Power required = (power drawn) x 2 
  In other words, providing one point of mana 
  per round to another costs two points per 
  round. 
  Astral Sense:  This technique opens oneself to 
  the astral plane, increasing one’s sensitivity to 
  astral energies. 
  Astral energy strength 
  Flux 
  Overpowering - Extra-planar 
  being, astral projection, ghost, 
  etc. 
  1 zauft 
  Strong - repeated violence, 
  highly emotional death, etc. 
  4 
  Moderate - recent death, site of 
  significant emotional events, 
  recent passage of extra-planar 
  creature, undead present, etc. 
  9 
  Weak - death within past 20 
  years, recent strong emotions, 
  holy/unholy person or thing, 
  recent presence of an astral 
  gate, etc. 
  16 
  Faint - living being, strong 
  emotions in the past, 
  emotional event recently, 
  pious person, recent casting of 
  astral spell. 
  25 
  ONEICRY 
  This technique allows access to the astral plane 
  through dreams.  The dreamer will be able to 
  travel the astral plane, live among the spirits, 
  and see the after world. 
  The spellcaster must be in a gamma state (see 
  Hypnosis) to use the following techniques. 
  Dreamwake:  This is how one enters the astral 
  plane while in gamma state.  The dreamer will 
  have no control over his or her movements, and 
  will only float aimlessly around the local area. 
  Mana cost = 10 χ 
  Note that this is a flat cost - it is only paid on 
  entry into the dream world. 
  Dreamact:  This technique allows an astral 
  dreamer to do things in the astral plane.  Cost 
  for actions are listed below: 
  Action 
  Flux 
  Walk 
  1 zauft 
  Speed run 
  2 
  Fly 
  3 
  Speak a thought 
  2 
  Lift or use an astral object (of 
  any size and weight) 
  2 
  ��������
  The Binding method provides the basic 
  “toolkit” for many of the other spells.  By itself, 
  the Binding method is not terribly useful, but 
  when combined with other spells it can create 
  wards, enchant weapons or other items, or 
  otherwise bind spells or spell effects to 
  creatures or things.  Unlike most of the other 
  forms of magic, the Binding method creates 
  long lasting (even permanent) effects. 
  WARD 
  A ward is a conditional enchantment.  The 
  caster binds a spell to an item, area, or person 
  such that if a certain condition is met, the spell 
  
   
   
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  will enact itself.  For example, an area could be 
  warded such that if another living being enters 
  it, then the caster will be made aware of the 
  creature’s actions and identity. 
  In creating a ward, the caster stores a small 
  packet of magical energy that the ward will 
  draw upon at the time of activation to start the 
  spell.  He must also specify the conditions for 
  when the ward will activate, and must “hang” 
  the spell to be activated.   
  Note that the ward magic cannot determine 
  things like “is alive” or “is in danger”.  This is 
  generally done via divination methods 
  expressed to get a yes/no answer.  Note that the 
  frequency that these conditions are checked will 
  affect the cost of running them. 
  The ward method takes care of the details of 
  starting and powering divination methods and 
  the eventual action. 
  The cost for making a ward is given by the 
  following equation: 
  Mana = log(Duration in days) x ward strength x 
  condition complexity x spell complexity x target 
  complexity 
  Duration:  The longer a ward lasts, the more 
  expensive it is to set up.   
  Ward strength:  This factor indicates how well 
  linked the spell and object are and controls how 
  easy it is to disenchant the ward.  Ward 
  strengths of less than 1 will be too weak to hold 
  and will typically break down within a few 
  minutes or hours on their own.  Ward strengths 
  of 1 are easy to dispel but are strong enough to 
  remain intact for very long periods. 
  Condition complexity:  The amount of logic in the 
  ward also factors into the cost.  Sum the number 
  of “if’s”, “otherwise”, “or”, “and”, “when”, and 
  similar conditional phrases used to explain 
  when the spell should activate.  This gives the 
  Condition complexity. 
  Spell complexity:  This factor is determined by 
  how difficult it is to activate the desired effect.  
  Determine how many and which types of die 
  rolls are required to activate the spell.  For each 
  d10, add 1; for each d20, add 2, and for each 
  d30, add 3. 
  Target complexity:  This is a simple multiplier 
  that depends on the type of material the ward is 
  cast on, as indicated in the following table: 
  Substance 
  Multiplier 
  Empowered or tuned non-
  magical inanimate object 
  ¼ 
  Non-magical inanimate object 
  1 
  Magical inanimate object 
  4+ 
  Living being 
  10 
  Magically resistant object or 
  creature 
  25 
  ATTACHMENT 
  When an item, person, or area is empowered, it 
  is made to hold another spell that will function 
  continually. 
  Reservoir:  In empowering an item, person, or 
  area to hold a reservoir, the caster sets up a 
  matrix to hold energy channeled from another 
  source. 
  Mana = Capacity x log10(Duration) x Container 
  Capacity:  This is the maximum amount of mana 
  the reservoir can hold.  If a reservoir ruptures, 
  then it explodes doing damage to all within the 
  area.  For every 10 mana stored in the reservoir 
  at the time of the explosion, d6 points are done 
  to the item containing the reservoir.  Any within 
  10 feet will take half as many dice damage.  
  Note that if the reservoir is stored in the ether, 
  no damage is done (not even to things in the 
  ethereal plane). 
  Duration:  The amount of time between rupture 
  checks occur.   
  Container:  A factor indicating what is 
  containing the reservoir: 
  
   
   
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  Container 
  Factor 
  Rupture 
  Living being 
  5 
  5% 
  Empowered object 
  10 
  10% 
  Solid object 
  20 
  20% 
  Ether 
  30 
  30% 
   
  Reservoirs have a chance of rupture based on 
  the type of container.  A rupture check must be 
  made at the initial filling of the reservoir (i.e. 
  during spell casting) and then again once the 
  duration period has passed.  Each duration 
  period-worth of days thereafter, the rupture 
  check must be made again, but the percentage 
  chance is doubled.  The referee should vary the 
  exact timing of the checks in order to obey 
  Murphy’s Law as much as possible. 
  For example, Parminides creates a 25 χ capacity, 
  10 day mana reservoir inside himself.  The 
  mana cost to create this reservoir is:  25x1x10 = 
  250 χ.  He rolls the required spell casting rolls, 
  then rolls a check to see if the reservoir 
  ruptures;  he needs to roll above 5%, rolls a 44%, 
  and is successful.  After ten days using the 
  reservoir Parminides rolls the requisite rupture 
  check (5% again) and makes it.  Another ten 
  days pass, and now the check doubles – he 
  must role over 10%.  He rolls a 9% and fails, and 
  so the reservoir explodes, causing 2d6 points of 
  damage to him, plus d6 points damage to 
  everyone within ten feet. 
  Tuning:  This technique is often the first step in 
  creating a magical item.  This process “cleans 
  up” an object’s magical signature.  It removes or 
  smoothes over anything that would disturb the 
  flow of mana.  Pure, ordered objects require less 
  work to tune than used, worn, or low quality 
  items.  The mana cost depends only on purity, 
  not on the substance type or mass. 
  Quality 
  Mana 
  Pristine, crystalline, and pure 
  10 χ 
  Very high quality - unused, 
  made from single material, no 
  impurities. 
  20 
  High quality - well maintained, 
  few impurities, single material 
  40 
  Medium quality - typical item in 
  90 
  good condition. 
  Low quality - worn or slightly 
  damaged item, or an amalgam 
  of many different pieces. 
  160 
  Poor quality - damaged or very 
  impure and rough item. 
  250 
   
  Engine Matrix:  The constraining capabilities of 
  the binding method have been frequently put to 
  use to create “spell engines” that are able to 
  manipulate magical energies in a predetermined 
  pattern without the intervention of a thinking 
  being.  This is the fundamental principle behind 
  enchantments, hung spells, and many magical 
  items.  Once set up, the engine takes care of all 
  the details of organizing mana streams, 
  activating effects, spell termination, and so 
  forth. 
  Setting up an engine matrix is taxing work, 
  even if the user is following a “recipe” to do it.  
  Thus the caster’s Empower check is reduced by 
  4 for every fatigue level that the caster is under 
  at the end of the casting. 
  The engine has a single “inlet” for mana.  If 
  multiple mana sources are to be used, then a 
  Power Merge (c.f.) should be added to the 
  engine. 
  The cost to establish a spell engine is as follows: 
  Mana = log10(Duration) x Engine Strength x 
  Algorithm Complexity x Max Spell Complexity 
  Duration:  The amount of time between failure 
  checks, in minutes. 
  Engine Strength:  A factor detailing the 
  robustness of the engine.  This governs the 
  percent chance of failure: 
  Strength Rating 
  Chance of Failure 
  1 
  100% 
  5 
  20% 
  10 
  10% 
  20 
  5% 
   
  
   
   
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  Algorithm Complexity:  The more that the engine 
  is required to do, the more complex it is.  Look 
  at the description for the spell and sum up all of 
  the conditions and statements to calculate this 
  factor. 
  Max Spell Complexity:  This is determined by the 
  largest die roll of the spell parts:  1 for d10, 2 for 
  d20, and 3 for d30. 
  LINK 
  This general sort of magic establishes a link 
  between two objects.  It can be used to create a 
  simple emotional attraction between two 
  individuals, or to constrain a powerful monster.  
  This method is used to bind a spirit to a corpse 
  in order to make it an undead being or to 
  restore life to a dead person. 
  Powerlink:  This technique allows mana to be 
  drawn from a source and delivered to a target 
  in what are called threads.  The direction of 
  transfer is always one way.  A thread can either 
  transmit mana at a fixed rate or at a variable 
  rate, but the costs for establishing and 
  maintaining the links vary depending on the 
  versatility and degree of control of the thread. 
  The cost of establishing a power link and 
  maintaining it is determined as follows: 
  Estab. cost = log10(Distance) x Flow Rate2 x 
  Strength x Variability 
  Maint. Cost = Strength + (Estab. Cost) / 10 
  Distance:  This is the distance between the 
  source and target at which breakage checks 
  must be made. 
  Rate:  This is the nominal flow rate of mana to 
  be passed through the link.  If the source is 
  unable to supply the mana (perhaps with some 
  mana burn) then it will instead backlash against 
  the target, attempting to draw double the flow 
  rate from the target’s mana stores, and then 
  from the target’s hit points. 
  Strength:  The robustness of the link controls its 
  chance of breakage: 
  Strength Rating 
  Chance of Breakage 
  1 
  100% 
  5 
  20% 
  10 
  10% 
  20 
  5% 
   
  Variability:  This factor determines whether or 
  not the mana flow can be varied from its 
  nominal flow rate: 
  Variability 
  Factor 
  None 
  1 
  On / Off control (1 change / hr) 
  2 
  On / Off control (1 change / rnd) 
  10 
  Full variability (1 change / hr) 
  5 
  Full variability (1 change / rnd) 
  20 
   
  �����������
  These spells involve gaining information.  They 
  can operate on events or things in the past, 
  present, or future. 
  The Divination method provides a great deal of 
  power by itself, and is studied by the vast 
  majority of magicians.  It is a fairly easy method 
  to pick up, but it is nearly impossible to master 
  fully. 
  TRUTH 
  This is the art of determining the truth of an 
  assertion. 
  Factors:  Strength of certainty to be returned, 
  distance to source of truth. 
  EVENT 
  These spells allow the spellcaster to determine 
  events that happen elsewhere in time and/or 
  place. 
  
   
   
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  Factors include intensity of the event, distance 
  in place, distance in time, and if an object is 
  available that experienced the event. 
  Future:  1 mana / month 
  Past: 1 mana / year 
  KNOWLEDGE 
  These spells allow the caster to temporarily 
  know skills that he doesn’t possess. 
  Factors include:  # points gained, breadth of 
  knowledge. 
  �����������
  This is the art of viewing and working with the 
  auras of creatures and items.  Spells using the 
  ethermancy method can restore life or the 
  semblance of life to dead creatures or inanimate 
  objects, communicate with spirits or beings in 
  the ethereal plane, heal illness or injury, change 
  the body’s look or performance by making it 
  grow faster or slower. 
  The Ethermancy method can also be used to 
  modify or disrupt spells as they are being cast. 
  VIEW AURA 
  Allows the mage to determine the true nature of 
  the desired object by viewing its magical aura.  
  The aura reveals many things about the object, 
  including illnesses, poisons, magical 
  enchantments, morality, and emotional state.  In 
  some rare occasions future events can even be 
  seen in a person or item’s aura. 
  View Spell:  This general purpose technique 
  allows an individual to visualize the magical 
  lines and concentrations of power.  The more 
  focused and detailed the gaze, the more power 
  required. 
  This technique is used for several purposes.  
  First, it can be used to detect, identify, and/or 
  analyze magical enchantments.  Second, it can 
  be used to analyze one’s own handiwork, most 
  typically in associated with hung spells.  Third, 
  some traditions of magicians encode their spells 
  in a script consisting of mana characters that 
  can only be seen with this technique. 
  The cost is given as follows: 
  Function 
  Flux 
  Detect 
  2 zauft 
  Read 
  5 zauft 
  Analyze 
  20 zauft 
   
  AURA MANIPULATION 
  This method allows the caster to forcibly change 
  the subject’s aura, thus changing his health, 
  placing or removing enchantments, or affecting 
  his emotional or moral state.  
  Mana = Aura Strength x Degree of Change 
  Aura Strength:  This is the subject’s aura strength 
  rating. 
  Degree of Change:  This factor is determined by 
  how much change is done to the aura: 
  Change 
  Factor 
  Emotion 
  1 
  Enchantments 
  2-10 
  Thoughts / morals 
  5 
  Health 
  10 
  Identity 
  20 
   
  POWER CHANNELING 
  This is an extremely useful method that allows 
  the caster to directly manipulate magical 
  energies from the ether.  All spellcasters are able 
  to innately channel small amounts of power 
  through their body; this method allows a more 
  direct control of the flow.  In designing highly 
  powerful spells, this method is frequently used. 
  
   
   
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  Power Channel:  This technique allows the 
  magician to gather and control mana from the 
  ether and use it directly without passing it 
  through the caster’s body.  The caster does not 
  suffer any deleterious effects from mana burn 
  since the power bypasses his body entirely.  The 
  one drawback to this approach is that the 
  channel requires time to set up, is expensive to 
  maintain, and has serious side effects if miscast 
  or broken.  Also, a separate link must be made 
  to carry the mana if it is to flow between 
  different objects. 
  The roll to open one of these channels is 
  modified by its power level; the more powerful 
  the channel, the harder the check will be. 
  Use of sorcery methodology can help control 
  and contain the channel. 
  This technique is often used to maintain held 
  spells and to provide for their power needs, 
  thus freeing up the magician’s internal power 
  channels for other purposes. 
  Power Channels must be connected to 
  something.  They can be connected to a 
  particular location, to a living being, or to an 
  item.  Most of the time the latter is used.   
  Protective wards are typically employed when 
  using big power channels to assist in closing the 
  gate, re-channeling the mana, or dissipating it 
  harmlessly. 
  Power Gird:  Rather than channeling mana 
  through some external mechanism this 
  technique instead boosts the caster’s own 
  internal power channel to allow more mana to 
  flow through without doing damage.  This is 
  much cheaper than creating a channel, but the 
  chances for disaster are higher and more 
  serious. 
  Alteration magic is often used to assist in 
  strengthening the caster’s body to resist the 
  effects of this danger. 
  Power Merge:  Normally it is very difficult to 
  use multiple sources of mana in a single spell.  
  This technique allows the user to mesh the 
  power flows and to smooth the supply.  This 
  reduces the likelihood of accidents. 
  Mana = Sources x Output Rate x log10(Duration) x 
  Strength 
  ETHERNAUTICS 
  This rarely employed method allows the caster 
  to “become one with the ether.”  Essentially, the 
  caster shifts his consciousness to the ethereal 
  plane; he can see spirits and beings that exist 
  only in the ethereal plane and can observe the 
  lines of force and power around him.  The 
  caster’s physical body will move as the ethereal 
  “body” moves; to observers, the body will 
  appear to spasm and twitch and the caster will 
  appear to be in a epileptic trance. 
  There are a few spells that use transmutation 
  methods to convert the caster’s solid body 
  directly into ethereal energy, thus allowing the 
  ethernaut to travel freely and unencumbered 
  through the ethereal plane. 
  The cost for affecting objects is dependent on 
  the volume to be affected.  An average sized 
  person, including equipment and clothing, 
  requires approximately 10 cubic feet of volume.  
  Mana costs are as follows: 
  Establishment:  1 zauft / cubic foot 
  Maintenance:  0.1 zauft / cubic foot 
  ��������
  The Mesmery method can be quite powerful 
  even though it is one of the more limited 
  methods.  This method is related to the Sorcery 
  method, but it is highly specialized in 
  manipulating the energies in living brains.  As 
  such it cannot affect mindless undead, 
  automatons, or nearly mindless creatures like 
  earthworms, slimes, and politicians.   
  
   
   
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  This method is particularly well suited for 
  creating phantasms in the mind of another, 
  influencing their actions, thoughts, and 
  emotions, but isn’t as well suited as psionics for 
  mind control, mind reading, or mental attacks. 
  HYPNOSIS 
  The hypnosis talent allows for gaining control 
  over a person’s conscious mind and make them 
  susceptible to suggestions or to make them 
  forget or remember falsely some detail. 
  There are five states that a hypnotist can place a 
  subject:  Alert, awake, alpha, beta, and gamma.   
  The alert state is characterized by being highly 
  aware and able to think very clearly; this state is 
  typically associated with high levels of 
  adrenaline such as combat, but can also be 
  achieved through psionic or chemical methods.   
  The awake state is the most common state of 
  consciousness; the awake person is not 
  particularly susceptible to hypnotic suggestions.   
  The alpha state is a dreamy dozing; this state is 
  common shortly before falling asleep or when 
  just waking up.  The individual’s subconscious 
  is particularly accessible, but the subject’s 
  consciousness is still present and can reassert 
  itself if it is aware of danger or threats.  This 
  phase corresponds roughly to the dazed or 
  stunned consciousness levels. 
  The beta state is subtle form of 
  unconsciousness.  The individual is not truly 
  unconscious but in a very deep meditative state 
  where no thoughts are passing through his 
  head.  In this state the individual is highly 
  susceptible to suggestions and commands 
  unless he has psionic protections against such 
  things.   
  The gamma state is the complete shut down of 
  the conscious mind, allowing the subconscious 
  to take control in the form of dreams.  In this 
  state the person’s faculties are shut off, so 
  communication in any form is not possible. 
  Hypnotize:  This is the basic technique for 
  placing someone in a hypnotic state.  There 
  must be no distractions and the hypnotist needs 
  to present the subject with monotonous, 
  repetitive, and soothing sounds, sights, or 
  feelings enhanced with magic.  It is possible to 
  hypnotize a willing subject with little or no 
  mana input, but the results are much better if 
  magical energy is used.  The amount of mana 
  used determines the hypnotic intensity. 
  Mana = (hypnotic intensity)2 
  Furthermore, when the hypnotist makes his 
  check against his Hypnosis talent score, his 
  delta must be equal to or greater than the 
  chosen intensity or there will be no effect. 
  The subject makes a willpower check to resist 
  the hypnotism.  If the subject is actively trying 
  to resist the hypnotism he is allowed to make 
  two rolls and choose the lower, and if he is 
  actively attempting to succumb he makes two 
  checks and chooses the higher.  In either case, if 
  the delta is less than the hypnotic intensity, the 
  individual’s hypnotic state drops by one level. 
  Magical or psionic protections can give bonuses 
  to the willpower check. 
  Mass Hypnosis:  This technique is a wide area 
  version of the regular hypnosis technique.  
  Functionally it is identical to the single-target 
  version except that it affects everyone in a given 
  area of effect.  The cost is determined as follows: 
  Mana = (hypnotic intensity)3 x (1 + volume (ft3)) 
  Suggest:  This technique allows the hypnotist to 
  place an instruction in the subject’s 
  subconscious.   
  Mana = (Suggestion intensity) x (1 + volume (ft3)) 
  PASSIONS 
  Changes subject’s opinions, thoughts, feelings, 
  or beliefs as desired.  Can make someone love 
  or hate. 
  
   
   
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  PHANTASMS 
  Makes targets believe that they are seeing and 
  experiencing something that isn’t real.  Can 
  make visible things invisible, create food that 
  the targets can see, smell, and taste but which 
  provides no nourishment. 
  False image:  This technique makes a phantom 
  object appear.  The number of senses affected 
  (sight, hearing, smell, taste, touch) and the 
  image’s density and detail are the factors that 
  determine the mana cost: 
  Power = # Senses x  Density x Volume x Detail 
  Density is a rating from 1 to 10, where 1 
  indicates that the image is barely noticeable 
  (smoky and faint), 5 is ghostly, 8 is realistic from 
  a distance or in poor lighting, and 10 is as real 
  as in life.  Volume is the size of the phantasm in 
  ft3 Detail describes how much complexity is in 
  the image: 
  Detail level 
  Examples 
  Factor 
  None 
  Blank wall 
  1 
  Low 
  Geometric shapes 
  2 
  Medium 
  Table or weapon 
  3 
  High 
  Animal or person 
  5 
  Extraordinary 
  Machinery, 
  familiar person or 
  object. 
  10 
  If the caster wants to imitate an object or being 
  well known to the subject, then the 
  extraordinary level of detail is required. 
  Invisible mask:  This technique is used to hide 
  an existing object from sight.  The cost is 
  calculated from: 
  Mana power = # Senses x Density x Volume x 
  Background 
  The density rating determines how hidden the 
  subject is:  1 will hide the subject to cursory look 
  from a distance, 5 makes the subject appear 
  ghostly, 8 makes the subject invisible to those 
  not expecting the item to be present or viewing 
  the subject from a distance or in poor lighting, 
  and 10 makes the subject completely 
  undetectable.  Volume is the size in cubic feet of 
  the object to be hidden. 
  False Damage:  This technique allows 
  phantasms to do (illusionary) damage to a 
  susceptible creature. 
  Mana = C x (Die type +1) x # Dice 
  ���������
  This method provides the means for creating 
  doors between two places, dimensions, or 
  times.  In its most common form it creates a 
  circular hole in space which connects to another 
  location through a very short “tunnel”.  In a 
  more powerful form, it can teleport a person or 
  item directly. 
  GATING 
  This method allows the caster to open a small 
  hole in reality that connects to another area of 
  reality.  The size of the hole and the distance to 
  its target determines how much power (mana 
  per round) is required: 
  Flux  = CL x CS x (area)2 
  Where CL is a coefficient that depends on the 
  location and distance of the place that the gate 
  leads, and CS is a factor depending on the shape 
  and form of the gate. 
  Destination 
  CL  Value 
  Same plane 
   
  Ethereal plane 
   
  Astral plane 
   
  Elemental plane 
  200 / round 
   
  Form 
  CS Value 
  Circle or ellipse 
  1 χ / in2 
  Rectangle 
  1.2  
   
   
   
   
   
   
  
   
   
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  Power Gate:  This is a very special kind of gate 
  used to bring raw magical energy to the caster.  
  This technique requires the creation of a 0.1 in2 
  gate to the elemental planes and the use of a 
  summons to draw the power through.  The 
  amount drawn through depends on the 
  strength of the summons.  One point of mana is 
  drawn through per round if no summons is 
  used.  By default, this power will be channeled 
  through the caster’s body, but since this tends 
  to be very destructive a Power Channel is 
  typically created to guide the energy. 
  Killing Gate:  Gates can be opened inside living 
  creatures in order to damage them. 
  Mana = C x (Die type +1) x # Dice 
  ��������
  This is the art of manipulation of raw energy 
  and the conversion of magical energy into other 
  raw forms of energy or matter.  The sorcery 
  method is one of the most demonstrably 
  powerful methods and therefore is favored 
  among many magicians.  Few sorcerers learn 
  every bit of this method, instead learning a little 
  bit of everything and specializing in just one 
  area. 
  Typical applications of the Sorcery method 
  involve production of light and dark, 
  counterspells, manipulation and creation of fire, 
  lightning, earth, air, or water, creation of forces 
  to move, lift, or push objects, and the creation of 
  combat spells using mana energy directly as a 
  weapon. 
  Sorcery spells are very powerful, but tend not to 
  be terribly elegant.  Pushing a wooden wall 
  down is not as difficult as carefully building a 
  wall with toothpicks and twine. 
  FORCE 
  Caster can create forces on physical objects.  He 
  can move a rock, split a door down the middle, 
  push air molecules in a particular direction, 
  prevent a person from standing up, or create an 
  impenetrable shield of force.   
  The mana cost for a general force is given by: 
  Flux = Force in lbf x Control 
  Control is the precision with which the force is 
  maintained.  This is important for applications 
  where a high degree of precision or balance is 
  needed.  For example, threading a needle 
  requires very little force, but a great deal of 
  control, whereas knocking a tree down requires 
  a lot of force but very little control.  Juggling 
  elephants requires both a high degree of control 
  and a lot of force.  The following table gives 
  examples of control requirements: 
  Control level 
  Factor 
  Uncontrolled/ 
  Knocking an item over 
  1 χ / lbf 
  Propelling item to nearby 
  target/ 
  Moving an object to one side 
  2 
  Balancing/levitating/ 
  Putting item in box 
  4 
  Opening unlocked door/ 
  Triggering a trap 
  8 
  Juggling/melee/ 
  Putting key in lock & turning 
  16 
  Writing/playing instrument/ 
  Disarming a trap/shuffling 
  cards 
  32 
  Painting a coat of arms on the 
  back of an ant 
  64 
  Manipulating molecules 
   
  128 
   
  Acceleration 
  To accelerate an item of mass m from a velocity 
  vo to a velocity v in time t requires a force F: 
  F
  m v
  v
  t
  o
  =
  +
   
  
   
   
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  Levitation 
  To levitate an item of mass m above the surface 
  of the planet requires a force F: 
  F
  mg
  =
   
  Where g is about 32 ft/sec2 for Earth-like 
  planets. 
  Movement 
  Moving an item of mass m a distance x in time t 
  across a surface of friction f.  The required force 
  is given by: 
  From rest:  F
  f mg
  s
  =
   
  In motion: F
  f mg
  k
  =
   
  Typical values of f are given in the following 
  table: 
  Interface 
  fk 
  fs 
  Copper on steel 
  0.36 
  0.53 
  Skin on stone 
  0.8 
  0.9 
  Wood on leather 
  0.4 
  0.5 
  Steel on ice 
  0.06 
  0.10 
   
   
   
  Strike 
   
  Tear 
   
  LIGHT 
  This method allows the manipulation of light.  
  The caster can modify its intensity or change its 
  wavelength. 
  Mana cost is given as follows: 
  Mana = Energy x Frequency factor x Source 
  Energy level is the intensity of the light in 
  lumens.  The frequency factor is given in the 
  table below: 
  Frequency, 
  Hz 
  Spectra 
  Factor 
  109 - 1012 
  Microwaves 
  100 
  1012 - 1015 
  Infrared 
  10 
  1015 
  Visible light: 
      Green 
      Red or blue 
      Other color 
   
  1 
  2 
  3 
  1015 - 1016 
  Ultraviolet 
  10 
  1017 - 1022 
  X-rays 
  100 
  1019 - 1024 
  Gamma rays 
  1000 
   
  Source types are as follows: 
  Source type 
  Factor 
  Point 
  1 
  Beam or cone 
  2 
  Line 
  4 
  Plane 
  8 
  Complex surface 
  16 
   
  Damage to tissue depends on the wavelength of 
  the light, length of exposure, type of tissue 
  being affected, and the energy of the light. 
  Powerful beams of light can cause localized 
  vaporization of tissue and tearing throughout 
  surrounding tissue. 
  Visible and IR-A wavelengths (400-1200 nm) 
  can result in loss of vision if over 200 rem is 
  taken to the eyes. 
  IR-A wavelengths can cause deep heating of the 
  skin tissue. 
  UV-A wavelengths can permanently damage 
  the lens, thus making in a “milky” area or 
  cataracts.  At least 200 rem is required for this 
  effect. 
  
   
   
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  UV-B, UV-C, IR-B, and IR-C damage the cornea 
  and result in conjuntivitis, “milky” cornea, and 
  inflammation.  This damage will repair itself 
  within a couple days. 
  UV-B and UV-C can cause blistering and 
  burning of skin tissue. 
  Ionizing radiation damage depends on dosage 
  and exposed area.  The following effects occur 
  when the whole body is exposed. 
  100 rem - radiation sickness.  Intestinal lining is 
  damaged to the point that it no longer can 
  digest food or water or protect the body from 
  infection.  This leads to nausea, diarrhea, and 
  general weakness.  A health check must be 
  made or the individual will become ill.  Onset 
  time is about a day. 
  300 - body’s immune system is damaged and 
  cannot fight off infection and disease.  A health 
  check is required or the individual will become 
  seriously ill within several hours. 
  400 - 50% chance of death from infection within 
  two months, even with medical care.   The 
  individual will sicken within an hour or two 
  and will become invalid within half a day.  A 
  health check must be made after about a week.  
  Failure indicates gradual sickening and 
  eventual death, success means a gradual but 
  steady recovery.  The delta of the health roll 
  determines the speed of recovery or 
  debilitation. 
  1000 - vascular damage of vital blood providing 
  systems for nervous tissue such as the brain.  
  Death is 100% likely. 
  SOUND 
  The amplitude and frequency of sound can be 
  controlled by this method.  Precise control of 
  rapidly changing signals (such as changing a 
  person’s words into something different) is 
  difficult, but simply suppressing or enhancing 
  the noise level of a sound is fairly trivial. 
  Loudness 
  Intensity 
  Example 
  0 phons 
  10-12 W/m2 
  Threshold of 
  hearing 
  25 
  10-10 
  Whisper 
  60 
  10-6 
  Conversation 
  120 
  1 
  Threshold of pain 
  165 
   
  1d6 points 
  damage/rnd 
  200 
   
  2d6 points 
  damage/rnd 
   
  To do a given amount of damage, the required 
  volume of sound is given by the following 
  formula: 
  Loudness = 130 + 5 x (Die type +1) x # Dice 
  Filter:  This technique is used to selectively 
  damp out some of the ambient noises in the 
  area. 
  Flux = Complexity of filter 
  Filter 
  Complexity factor 
  Quiet dripping faucet 
  2 
  Silence murmurs 
  4 
  Filter out wind noise 
  8 
  Single voice in crowd 
  16 
  Hear a pin drop over 
  thundering waterfall 
  32 
   
  Amplify:  The simplest thing to do to sound is 
  to make it louder.  The mana cost to increase its 
  loudness level is as follows: 
  Mana flux = (Change in Loudness) ÷ 4 
  Dampen:  The alternate to amplification is 
  dampening.  This technique reduces the 
  loudness of a noise. 
  Mana = Change in Loudness (phons) ÷ 8 
  Raise:  This technique makes a noise sound 
  higher and shriller.   
  Mana = Frequency shift multiplier 
  
   
   
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  Lower:  This technique deepens a sound, 
  making it sound lower. 
  Mana = Frequency shift multiplier 
  Create Sound:  This is a powerful way to create 
  basic noises.  It is very expensive and 
  complicated to create speech using this 
  technique, although it can be done. 
  Mana = Loudness x complexity 
  Sound type 
  Complexity 
  Buzz, hum, bell, thump 
  1 
  Static noise, crash 
  5 
  Roar, cry, bird song,  
  20 
  Intelligible spoken sentence 
  100 
   
  Modify Sound:  This technique changes the 
  character of a sound.  A buzz can be turned into 
  a note from a flute or the song of a bird. 
  Mana = Complexity of modification 
  MATTER 
  These spells allow the creation of matter from 
  raw magical energies.  The created objects are 
  very crude, made of raw basic elements in 
  simple shapes.  Typically the created material 
  will be identical in all ways to normal material, 
  though errors in casting can result in unstable 
  or even radioactive matter. 
  Unless targeted, the material will appear 
  directly in front of the caster, typically from the 
  caster’s hands or mouth, or an instrument or 
  container used in the casting. 
  Mana cost for the spell varies with type, 
  quantity, and complexity as follows: 
  Mana cost = Mass x Volume x Shape x Familiarity 
  x Understanding x Type x Complexity x Structure 
  Mass (in lbs) is the amount of material to be 
  made.  Volume (in ft3) is the amount of space 
  that the substance will occupy at time of 
  creation.  Shape is a factor detailing the exterior 
  form of the created item: 
  Shape/Form 
  Factor 
  Amorphous 
  1 
  Sphere, Cube, Cylinder, etc 
  2 
  Other regular solid 
  3 
  Other geometric shape 
  4 
  Irregular smooth shape 
  8 
  Irregular textured shape 
  16 
  Highly complex shape 
  32 
   
  Familiarity is a factor that depends on how 
  experienced the caster is with the substance, as 
  given in this table: 
  Familiarity 
  Factor 
  Intimate:  Has repeatedly smelled, 
  touched, and tasted examples of 
  substance. 
  1 
  Accustomed:  Has handled 
  substance many times in the past. 
  2 
  Acquainted:  Has handled substance 
  a few times or has seen it many 
  times. 
  5 
  Recognized:  Caster has seen the 
  substance a few times. 
  10 
  Unfamiliar:  Caster has never seen or 
  sensed the substance before. 
  20 
   
  Understanding is a factor detailing how well the 
  caster really understands the chemical makeup 
  of the substance (in the middle ages chemists 
  understood the metals like mercury, iron, gold, 
  etc. fairly well but knew little or nothing of 
  oxygen, helium, etc.)  This would require 
  having used the substance in the laboratory 
  extensively, knowing how to produce it from 
  raw materials, and how it reacts with other 
  substances. 
  
   
   
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  Understanding 
  Factor 
  Used in laboratory repeatedly for 
  many years, know the chemical 
  makeup of it, and know how to get it 
  from or convert it to other 
  substances. 
  1 
  Have a fair idea of its makeup.  Used 
  in laboratory occasionally over a 
  long period of time (months or 
  years). 
  2 
  Know a little about the way 
  substance reacts and have used it in 
  the laboratory at least once. 
  5 
  Have some ideas on how substance 
  should act in reactions.   
  10 
  Know nothing about the substance 
  20 
   
  The following table gives the element type 
  factors.  If the substance consists of multiple 
  elements, then chose the largest applicable 
  factor. 
  Type 
  Examples 
  Factor 
  Noble gases 
  He, Ne, Ar 
  1 
  Non-metals, 
  organic matter 
  C, H, O, S, 
  Cl 
  2 
  Light metals (up to 
  Germanium), 
  common 
  minerals 
  Fe, Cu, Ti, 
  Ni, Si, Al, 
  Na 
  5 
  Heavy metals (rare 
  and valuable) 
  Ag, Au 
  50 
  Unstable metals 
  (Heavier than 
  Bismuth.) 
  U 
  500 
   
  The complexity values are given in the 
  following table: 
  Complexity 
  Examples 
  Factor 
  Elemental 
  Mercury, helium, 
  gold, diamond 
  1 
  Small molecule  
  Water, salts, ores 
  1.5 
  Med. Molecule 
  Methane, 
  alcohol, minerals, 
  2 
  etc. 
  Big molecule 
  Woods, plastics 
  3 
  Huge molecule 
  Proteins, DNA 
  5 
   
  Structure is an indication of how the molecules 
  are organized in the substance.   
  Structure 
  Examples 
  Factor 
  None 
  Gases, liquid, dust, 
  sand, dirt 
  1 
  Low 
  Sandstone, metal, 
  paper 
  2 
  Medium 
  Glass, granite, poor 
  quality crystals 
  5 
  High 
  Gem quality crystals, 
  flesh, wood 
  50 
   
  Here are a few examples: 
  Example 
  Mass 
  Mana 
  Limestone block, 1’ sqr 
   
   
  Iron block, 1’ sqr 
   
   
  Diamond, 10 carat (uncut) 
   
   
  Alcohol (pure) 1 gallon 
   
   
  Gold, 1 lb 
   
   
   
  Errors:  variations in temperature, density, type, 
  mass, location of appearance, or purity.   
  Matter Displacement:  If the caster manages to 
  create matter inside another creature, it will do 
  damage.  The damage done is highly dependent 
  on where the item ended up inside the body.  
  For example, if a nut sized object entered the 
  stomach there’d be no damage, whereas the 
  same object inserted in a critical part of the 
  brain could cause instant death. 
  Thus the size of the item is not as important as 
  the accuracy of the targeting portion of the 
  spell. 
  Mana = C x (Die type +1) x # Dice 
  
   
   
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  MANA-ESSENSE 
  Direct use of mana to create spell effects.  Mana 
  has the substance and look of a colored (usually 
  blue) plasma when it is used in this manner.  
  The intensity of the light indicates the mana 
  strength: 
  0-5 mana - not visible. 
  6-10 - glimmer or spark. 
  11-20 - a dull haze. 
  21-50 - a strong glow.  Produces a faint 
  crackling sound. 
  51-100 - a bright light.  Difficult to look at.  
  Emits electric pops and hisses. 
  101-200 - a blinding white light.  Like looking at 
  the sun.  Very loud explosive sound, buzzes 
  loudly. 
  201+ - emits x-rays as well as bright white light 
  that will severely harm any in its shine.  
  Roars or screams deafeningly. 
  Mana also cuses damage when it strikes flesh.  
  This damage resembles burns except that it is 
  quite deep in the skin and can also cause 
  lacerations and bruising.  The amount of 
  damage done by mana is given by the 
  expression: 
  Mana = 5 x (Die type +1) x # Dice 
  Control Mana:  This is an extremely important 
  technique that is used by all spell casters 
  naturally at an unconscious level.  This 
  technique involves manipulation of mana into 
  actual magical effects. 
  Magicians using this technique have much 
  more control over magical energy.  They can 
  split a mana stream into multiple streams, for 
  instance, or can set up intricate magical 
  structures undetectable to most beings.   
  Spell hanging requires the use of this technique 
  at a very high level. 
  Draw Mana:  This technique allows a wizard to 
  tap into the mana contained in plants, animals, 
  and inanimate objects. 
  Flux = Difficulty + Strength 
  Object Type 
  Difficulty 
  Mana 
  Earth, stone, water 
  ½ 
  ½ 
  Vegetation 
  1 
  2 
  Living being 
  2 
  4 
   
  ANTI-ESSENCE 
  Just as essence produces mana, anti-essence 
  produces anti-mana.  It is possible to create anti-
  essence or anti-mana through the use of regular 
  mana, though it is costly.  Anti-essence and 
  anti-mana are quite useful for disrupting spells, 
  harm living creatures, or suppressing psionic 
  abilities. 
  The costs for creating anti-essence or anti-mana 
  is as follows: 
  Mana cost = 50 x # points Anti-essence 
  Mana cost = 10 x # points Anti-mana 
  Each point of anti-essence produces one point 
  of anti-mana per round.  The major difficulty of 
  having anti-essence around is that it can 
  damage one’s own essence or disrupt one’s 
  own magical power.  Unless methods are taken 
  to control the anti-essence, there is a 50% chance 
  each round that the anti-essence will combine 
  with the nearest pool of essence (i.e. the nearest 
  person, animal, or large plant), temporarily 
  reducing the essence rating on a one-by-one 
  basis and doing 1d10 hp damage per essence 
  point lost. 
  This effect can be used as a weapon by imbuing 
  an individual with anti-essence.  The subject 
  effectively loses that many points of his magic 
  power rating for at least as long as the anti-
  essence remains.  This will also hinder a 
  psionicist by effectively neutralizing a like 
  number of essence points and thus lowering his 
  psionic potential rating.   
  Anti-mana will immediately cancel out a like 
  amount of regular mana on a one-to-one basis.  
  
   
   
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  Anti-mana that is not used or contained that 
  round will be lost immediately there-after. 
  LIGHTNING 
  Creation and manipulation of electrical 
  discharges. 
  Flux = Voltage x Amperage x Distance 
  Electrocution requires at least 700 volts for 17 
  seconds, preferably 2000 volts for 1 minute. 
  Damage from electrical effects can be caused by 
  several effects:  direct electrocution - requires an 
  excess of 20 or 30 volts, the higher the better; 
  burning by electrical arcs and sparks; blinding 
  from radiation of an intense arc or from molten 
  metal thrown into the eye. 
  60-Hz current 
  (mA) 
  Effects, limb-to-limb  
  1-s 
  1 
  Threshold of perception 
  5 
  Maximum harmless current 
  intensity 
  16 
  “Let-go” current - above this 
  victim cannot let go of wire. 
  50 
  Pain, possible fainting, 
  exhaustion, mechanical 
  injury, heart and respiratory 
  functions continue. 
  100-2000 or 3000 
  Fibrillation, respiratory 
  center intact 
  6000 or more 
  Intermittent sustained 
  myocardiac contraction; 
  temporary respiratory 
  paralysis; burns if current 
  density is high. 
  A human body, arm-to-arm, has a resistance of 
  between 4 kΩ - 1MΩ.  5 mA is the safe limit for 
  current through the human body. 
  Mana = C x (Die type +1) x # Dice 
  Lightning also produces a flash of light and a 
  thunderous sound.  This has the side effect of 
  blinding and/or deafening those nearby. 
  ����������
  This method creates a strong sense of attraction 
  in a given creature or object. There are two basic 
  principles behind summoning spells:  Like 
  seeks like, and the True Name.  With the 
  former, one needs to have a bit of something 
  similar or identical to that desired; the caster 
  sets up an attraction between the sample and 
  the desired object.  In the second, the caster 
  needs to know the unique identifying name of 
  the creature or object desired; this rarely works 
  on inanimate objects - these things must be 
  named by someone intentionally. 
  PATTERNING 
  This talent focuses on the true pattern of a given 
  being.   
  A pattern is like an index.   Knowing an 
  individual or item’s true pattern makes it easier 
  to cast spells on it, just as knowing a book’s 
  index code makes it easier to find in a library.  
  Also, the true pattern reveals some inherent 
  facts about the individual it identifies:  origin 
  (parents, birthplace, etc.), race or species, and 
  age.  Further information is easily obtained via 
  divination methods when the true pattern is 
  known. 
  All patterns have associated with them a hiding 
  rating.  The higher this rating, the more difficult 
  it is to determine the pattern.  A person’s base 
  hiding rating is typically 3.  The rating varies 
  during an individual’s lifetime; at birth, death, 
  and when the individual meets his or her true 
  companion it will drop by two points.  Also, the 
  priests of many cultures will cast protective 
  magicks over a newborn (usually in some sort 
  of baptismal ceremony) to enhance its pattern 
  hiding rating by one or two points.  So most 
  adventurers will have a pattern hiding rating of 
  5. 
  In addition, patterns also have a strength rating.  
  Most patterns are not strengthened - they have 
  a pattern strength of 0 or 1.  High pattern 
  strengths are like armor - they make it difficult 
  
   
   
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  to use the pattern in negative ways.  In other 
  words, even if you know the true name of a 
  being, if it has a high pattern strength you may 
  not be able to successfully use the name as you 
  wish.   
  Most average intelligence creatures (humans, 
  dwarves, etc.) will have a pattern strength of 1.  
  Common inanimate objects or low intelligence 
  living things such as rocks, plants, rodents, or 
  herd animals have strengths of 0.  Powerful 
  wizards, important holy men, famous heroes, 
  magical beings like unicorns or dryads, and the 
  less powerful extraplanar creatures will have 
  pattern strengths of 2 or sometimes 3.  Godlike 
  beings, demons, and such will have strengths 
  up to 5 or 6.  True gods may have strengths of 
  up to 10.   
  Patterns are difficult to work with.  They cannot 
  be spoken, written, or even thought.  Thus 
  spellcasters will associate an alias with them.  
  The alias could be a name, a song, or a number, 
  for instance.  A spellcaster’s tradition will 
  describe the types of aliases that should be used 
  and will provide spells and spell parts for 
  converting an alias into a true pattern.  Aliases 
  take advantage of the fact that the bulk of an 
  individual’s pattern can be determined by 
  simple facts about them - when and where they 
  were born, what race they are, who their 
  parents are, things they’ve done, etc.  The 
  remaining bit of the pattern is small enough that 
  it can be expressed in a simpler means.   
  Most often, a spellcaster will obtain an alias for 
  a creature (either with a spell or by asking 
  someone who knows it) and then use the alias 
  in spells that have a built in alias to pattern 
  converter.  But some spells are designed to 
  automatically obtain the target’s true pattern 
  using the Determine Pattern or Match Pattern 
  techniques.  In this latter case, the pattern will 
  be determined but the spellcaster will not 
  automatically be given the alias. 
  There are several powers that can be performed 
  with the Patterning talent:  Determine Pattern, 
  Aliasing, Use Pattern, Match Pattern, Alter 
  Pattern, Strengthen Pattern, Weaken Pattern, and 
  Disguise Pattern. 
  Determine Pattern:  This is the basic technique 
  for discovering the true pattern of an object or 
  person.  The caster must have access to the item 
  or individual, or something strongly tied to 
  them (such as a lock of hair, or an heirloom 
  they’ve carried with them all of their life.)  The 
  mana required to determine a pattern is given 
  by the following expression: 
  Mana = (Hiding Rating)3 
  When this technique fails, an incorrect name 
  will be returned.  Most of the time this is not 
  important, but on rare occasions the user will 
  accidentally get the name of a closely related 
  object - a sibling or another creature of the same 
  race, for example.  Two ways to verify that the 
  correct pattern was obtained are to either use it, 
  or match it. 
  Aliasing:  All traditions have basic spells to 
  create and decode aliases.  The spell’s process is 
  more dependent on skill than on magic and is 
  quite different depending on the type of alias.  
  However, the cost for the magical component is 
  pretty much identical regardless of the alias 
  type:   
  Create Alias from Pattern:  5 χ 
  Decode Alias into Pattern:  1 χ 
  Use Pattern:  This technique allows a spellcaster 
  to make use of a pattern for targeting or locating 
  an individual or item.  The mana cost is usually 
  negligible, but can be expensive if the 
  individual’s pattern is unusually strong.  The 
  cost in mana is: 
  Mana = (Strength Rating)4 
  Match Pattern:  With this technique a 
  spellcaster can verify that an object is associated 
  with a particular pattern.  For example, the 
  spellcaster can determine if a lock of hair or a 
  hat belongs to a person with a known pattern, 
  or can verify a given individual’s identity. 
  
   
   
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  Because this technique is less expensive than 
  the Determine Pattern technique, it is sometimes 
  used in spells as a “trial and error” method for 
  determining someone’s pattern. 
  The cost in mana is given by the expression: 
  Mana = Hiding Rating +  Strength Rating 
  Powerful wizard: 
   
  9 χ 
  Average person:  
   
  6 
  Common animal or object: 
  3 
  The spellcaster may not be aware of what the 
  hiding rating or strength of a pattern is when 
  using the matching technique.  If insufficient 
  mana is used then the spell will automatically 
  fail, thus wizards will often allocate more mana 
  then required.  The caster will not have any 
  indication if he overspent, however. 
  If the spell succeeds then the caster will know 
  whether the object belongs to or is associated 
  with a given pattern.  The more closely linked 
  the object is, the stronger the indication will be; 
  conversely, the less closely linked an object is, 
  the weaker the indication.  If the match is 
  particularly weak, the spellcaster may not be 
  able to notice the indication at all; this depends 
  on how successfully the caster’s spell was cast.  
  Compare the amount that the spellcaster 
  succeeded or failed the Pattern Determination 
  talent roll with how closely related the object is 
  to the pattern: 
  Talent Roll Delta 
  Relation Strength 
  -4 to -1 
  Body part 
  0 
  Blood, hair, nails, etc. 
  1 
  Possessed for most of life 
  2 
  Possessed for > 10 years 
  3 to 5 
  Possessed for > 1 year 
  6 to 8 
  Possessed for > 1 month 
  9 to 11 
  Possessed > day 
  12 to 14 
  Possessed > 1 hour 
  15 to 20 
  Brief contact 
   
  Alter Pattern:  A person’s pattern can be 
  changed, but this is a very difficult feat and is 
  only rarely done.  Changing a pattern has a 
  profound influence on the person’s identity and 
  inevitably results in long term physical and 
  mental changes.   
  There are several instances where pattern 
  alteration (or renaming as it is generally called) 
  is done.  First, if the individual’s old pattern is 
  widely known, or known to an evildoer, then 
  changing the pattern can put a stop to any evil 
  deeds being done using the old name.  Second, 
  it can be used as an honor, to help a person 
  change themselves in positive ways or to 
  permanently record a heroic deed done. 
  A name can only be changed if it has a strength 
  rating of 0. 
  The cost for changing a name to any random 
  name is 100; the pattern will be unknown to the 
  spellcaster and the recipient.  To change the 
  name to a particular name costs 1000; the new 
  pattern will, of course, be known to the namer 
  but will not be known to the subject unless told.  
  In either case, the new name has a strength 
  rating and hiding rating of 0.   
  Random Name = 100 
  Particular Name = 1000 
  Strengthen Pattern:  This technique makes a 
  pattern harder to use.  Strengthening a pattern 
  requires a great deal of mana, thus only 
  powerful beings or items have strengthened 
  patterns.  The mana cost is given by: 
  Mana = (New Strength Rating x 10)2 
  Weaken Pattern:  This technique allows a 
  spellcaster to reduce a pattern’s strength rating.  
  Because it is so expensive, it is not ideal for 
  offensive purposes, and because it is 
  detrimental to the subject it isn’t often used for 
  the good of the subject.  Weakening a strength 
  rating makes it easier to cast spells on an 
  individual or item, so this technique is mainly 
  used when one needs to cast a number of spells 
  on an item or person and wishes to minimize 
  the mana costs. 
  
   
   
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  The cost for reducing a known pattern by one 
  point is: 
  Mana = (Original Strength Rating x 10)2 
  Disguise Pattern:  This power involves making 
  a true pattern harder to determine.  It does not 
  actually change the true pattern.  This is akin to 
  removing the index card for a book from the 
  library’s card catalogue; the book is still in the 
  same place, it’s just harder to locate. 
  The mana required for this technique is given 
  by the pattern’s hiding rating as follows: 
  Mana = (Hiding Rating)2 
  COMMANDING 
  This talent allows the spellcaster to control an 
  individual or an item through knowledge of its 
  true pattern.  All of the following techniques 
  require the use of the Use Pattern technique 
  listed above. 
  Oath:  This technique places a requirement on 
  an individual to carry out a task or swear to 
  some promise.  The subject will feel compelled 
  to fulfill the assigned task, but no ill effects will 
  be had if the task is not completed.  Often, a 
  spellcaster will Bind another spell that will take 
  effect if the Oath is broken. 
  The oath must be spoken by the subject under 
  his own volition.  The subject does not need to 
  agree with the terms of the oath; as long as he 
  speaks the words himself he must abide by 
  them.  Thus, the spellcaster could extract the 
  promise by threatening the subject’s friends, but 
  could not get it by possessing the subject and 
  forcing his mouth to speak the words. 
  This technique requires the Use Pattern 
  technique, plus a fixed cost: 
  Mana = 20 points 
  Order:  This technique is similar to the Oath, 
  but does not require the subject to speak any 
  words.  It compels  the subject to carry out a 
  prescribed task, but the subject can resist it if he 
  desires by succeeding a willpower check.  The 
  Order can be written, spoken, telepathically 
  projected, or whatever, but the subject must be 
  able to understand and comprehend the order.  
  How the order is carried out is left up to the 
  subject’s creativity and could be twisted around 
  in an unexpected way. 
  Orders are not a form of mind control.  The 
  subject is completely aware of what he is being 
  required to do, he just has an uncontrollable 
  urge to carry out the order. 
  Orders can be fairly detailed, but cannot be 
  longer than a statement.  For example, “Bring 
  me the green bucket filled with water within 
  one hour from now,”  would be one order. 
  Multiple orders can be given, but each requires 
  a separate talent check and mana payment.  
  Also, conditional and repetition statements 
  (while this, do this; if this then do this) can be 
  given, but each such statement is considered to 
  be an additional order and thus requires the 
  spellcaster to make a check and allows the 
  subject a chance to resist. 
  This technique also requires the Use Pattern 
  technique to be successfully activated before 
  starting this one. 
  The spellcaster decides how much intense the 
  order will be.  The more intense, the harder it is 
  to resist, but the more expensive it will be to the 
  caster.  The following table relates how much 
  mana is spent to what delta is required on the 
  resistance check: 
  Mana 
  Willpower Delta Required 
  1 
  -8 or lower 
  4 
  -4 
  16 
  0 
  36 
  4 
  64 
  8 
  144 
  16 
  Mana =  ( delta/2 + 4 )2 
  
   
   
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  CALLING 
  This is the process of bringing another object to 
  the caster.  The caster must know the object’s 
  true pattern, and must activate the Use Pattern 
  technique prior to activating a calling. 
  Attract:  This technique is used on inanimate 
  objects.  It creates a force of sorts between the 
  caster and the object.  The object won’t move, 
  but it is predisposed such that if its weight were 
  nullified completely, it would move towards the 
  caster.  Usually this is used in conjunction with 
  a gate and/or a force to lift the object.   
  The cost to activate this effect for one round is 
  given by: 
  Mana = (weight in lbs)½ x (Volume in ft3) 
  Draw Power:  This is a special technique used 
  to pull in mana.  Usually, this technique is used 
  in mana portals to draw additional amounts of 
  mana, but it can also be used without gates to 
  simply draw more mana to oneself.  Since one 
  can draw additional power naturally, it isn’t 
  typically used unless the caster is in a seriously 
  mana poor area or is concerned about 
  disruption of the mana source. 
  Summon Being:  This technique compels a 
  living, intelligent being to desire to come to the 
  caster.  The being is allowed to resist the 
  summons once when it is first laid.  The being 
  will not know who summoned him or why the 
  summons was done. 
  The creature will be compelled to travel 
  towards the caster. 
  The cost for using this technique is a function of 
  how long the effect lasts and of the intensity of 
  the summons. 
  Mana = ( Intensity + Duration in rounds )2 + 10 
  The intensity is the delta by which the subject 
  must succeed the willpower check.  If this check 
  is successful, the subject will of the summons 
  but will not be affected by it.  Of course, the 
  creature could still travel to the caster if he 
  desires, but he isn’t compelled to do so. 
  ��������������
  Changing the properties of an item.  
  Enlargement.  Petrifaction.  Speeding or slowing 
  decay.  Altering animal bodies - giving wings, 
  enhancing strength, etc. 
  Transmutation spells are elegant.  Their power 
  is limited, but can be used to good measure.  
  Transmutation spells are not as dangerous to 
  the caster as other types of spells, but if miscast 
  they can result in strange and undesired effects. 
  Substance 
  Mohs 
  Knoop 
  Brinell 
  Morph 
  Silver 
  2.5 
  60 
  42-59 
   
  Zinc 
  3 
  119 
  39 
   
  Copper 
  4 
  163 
   
   
  Nickel 
  6 
  557 
   
   
  Glass 
  6 
  530 
   
   
  Quartz 
  7 
  820 
   
   
  Topaz 
  8 
  1340 
   
   
  Titanium 
  Nitride 
  9 
  1800 
   
   
  Diamond 
  10 
  7000 
   
   
  Iron 
  5 
   
  50-90 
   
  Lead 
  1.5 
   
  4.2 
   
  Loess 
  0.3 
   
   
   
  Steel 
  5-8.5 
   
  100-
  250 
   
  Sulfur 
  1.5-2.5 
   
   
   
  Wax (0°) 
  0.2 
   
   
   
  Heating metals will make them softer and easier 
  to work with. 
  Substance 
  Hardness 
  Brinell Mohs 
  Gas 
  ½ 
   
   
  Liquid 
  1 
   
   
  Goo, foam, gel, 
  dry sand 
  1½ 
   
   
  Mud, snow, flesh, 
  cloth 
  2 
   
   
  Green or soft 
  wood, leather 
  3 
   
   
  Dry wood 
  4 
  0-5 
   
  Hard wood, 
  bone, limestone, 
  5 
  5-15 
  1.5 
  
   
   
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  pottery, tin, lead 
  Gold, aluminum, 
  platinum 
  7 
  25 
  2 
  Iron, silver, zinc 
  10 
  50 
  3-5 
  Nickel, copper, 
  soft steel 
  15 
  100 
  6 
  Tool steel 
  25 
  250 
  8.5 
  Diamond 
  100 
   
  10 
   
  Complexity 
  Factor 
  Formless 
  0 
  Simple geometric shapes (e.g., sphere, 
  cylinder, block) 
  1 
  Plain solid - simple table, unadorned 
  pottery, tool head, lathed table leg, 
  silverware 
  2 
  Shaped - chain, sword 
  3 
  Decorated - chain mail, inlaid 
  patterns, crude sculptings, etc. 
  4 
  Complex - moving parts, suit of 
  armor, clock. 
  5 
  Ornate - fine craftsmanship, jewelry, 
  sculpture, etc. 
  6 
   
  MORPHING 
  This simple talent remolds an object into a new 
  form.  Because it stretches, pulls, and twists the 
  subject into its new shape, it is usually quite 
  painful to living beings.   
  Mana = Mass x volume x hardness  
  x form complexity 
  Reshape:  This basic technique allows the 
  transmuter to shape a single given object into 
  one or more other shapes.  There are no 
  restrictions on what the material looks like 
  before hand, and the resulting objects’ 
  complexity can be quite high. 
  The resulting shapes can be nearly anything the 
  caster can think of.  He could, for example, 
  convert a block of ice into an ice sculpture of a 
  swan, convert a wooden board into a wooden 
  pretzel, or convert a steel sword into a steel 
  helmet. 
  The mana cost depends on the volume and 
  hardness of the material being morphed, and 
  how different the final shape is from the initial. 
  Damage can be caused by this method.  The 
  mana cost will be 
  Mana = C x (Die type +1) x # Dice 
   
  Assemble:  Attaches two or more objects 
  together.  Depends on type of substance, 
  surface area, number of objects, strength of 
  bond, and complexity of interface. 
   
   
  Combine:  Combines two or more objects into 
  one, mixing the materials together.  Cost is 
  dependent on type of substance, form, and 
  volume. 
  If this technique is used on a living being, the 
  damage is given by: 
  Mana = C x (Die type +1) x # Dice 
   
   
  MUTATING 
  This talent modifies the physical parts of living 
  beings.   
  Skin Alteration:  This technique allows one to 
  change the properties of the top layer of cells on 
  a person’s body.  The mana cost is dependent 
  on the size of the area to be altered and the 
  magnitude of the change. 
  The most damage that can be done with this 
  technique is to remove the skin or turn it into 
  something that will damage the tissue below the 
  
   
   
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  skin.  In either case, the damage will be given by 
  the following formula: 
  Mana = 20 x (Die type +1) x # Dice 
   
   
  Slight tint change 
  1 χ/ft2 
  Complete color 
  change 
  3 χ/ft2 
  Toughen/soften 
  3 χ/ft2 
  Change hairiness 
  5 χ/ft2 
  Change sweat or oil 
  cells 
  1 χ/ft2 
  Increase/decrease 
  skin cell count by 1 
  layer 
  10 / ft2 
   
   
   
  Face: 
  Cornea:  The surface layer of cells of the eye are 
  normally transparent.  Modification of these 
  cells can easily make them opaque, thus 
  rendering the subject temporarily blind.  This 
  layer of skin replaces itself quickly.  Over a 
  period of two days sight will gradually return. 
  METAMORPH 
  This is similar to the mutation talent but allows 
  much more sophisticated and drastic changes to 
  a living being.  The subject creature’s genetic 
  makeup is physically altered and the being is 
  forced through a rebirth.  This doesn’t increase 
  the total mass and can only decrease the total 
  mass by 10%. 
  The nature of the change is not as important as 
  the caster’s familiarity with the new form. 
  Add Limb 
  Add Organ 
  Structural Change 
  Enhance Capacity:  This technique allows the 
  transmuter to enhance his body’s mana channel 
  to pass more mana without taking mana burn 
  damage.   
  The cost to increase essence by one point is: 
  Mana = 10 x (old essence)2 
  TRANSMOGRIFY 
  This talent involves changing one element into 
  another.  This is difficult because the substance 
  in question must be very, very pure. 
  Mana = Mass x Volume x Purity  
  x Atomic Number Difference 
  SCALE 
  Increases or decreases the size of something 
  through one of several means. 
  Amplify - Increases or decreases the magnitude 
  and intensity of an energy source.  Depends on 
  type of energy, amount of increase or decrease, 
  and volume. 
   
  Flate - Expands or reduces the volume of an 
  object without altering its makeup.   Essentially, 
  the distance between molecules is increased.  
  Thus a steel pole could be make twice as thick, 
  but it will weigh just as much.  Note that this 
  technique often weakens an object such that it 
  may break down (expanding a piece of chalk 
  would result in it turning into pile of dust.) 
  Quantate:  Adds or removes molecules to 
  increase or decrease the size and mass of an 
  object while maintaining its shape and order.   
  Additional molecules must be created 
  separately.  The cost depends on the complexity 
  of the substance. 
   
  
   
   
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  CATALYZE 
  Changes the chemical makeup of something. 
  Decompose:  Breaks a substance into smaller 
  component parts.  Cost depends on the 
  unbinding energy of the material? 
  Synthesize:  Creates a substance from its 
  component parts.  Depends on mass, volume?, 
  # substances, molecular complexity, and bound 
  energy. 
  FILTER 
  Separates two or more components from a 
  mixture.  Depends on the volume and/or mass, 
  and the desired purity. 
  Dry.  Removes water molecules.  Can be used as 
  weapon. 
  RE-BONDING 
  This talent alters the linkages between 
  molecules, thus strengthening or weakening a 
  solid.  It does not affect gasses or liquids much. 
  Crystallize:  Arranges molecules of a substance 
  into an organized, regular pattern.  Depends on 
  amount, current complexity, material, and 
  volume. 
  Weaken:  Breaks cohesiveness of molecules in a 
  solid substance.  Can be made to form cracks in 
  the substance. At the most extreme, this can 
  make the substance literally fall apart. 
  Fuse:  Links two disparate objects together into 
  a single solid.  For example, this could be used 
  to attach a gemstone to a piece of metal.  Mana 
  cost depends on how large an area is fused and 
  how strong the fuse is. 
  Toughen:  Tempers or strengthens an object, 
  making it more difficult to bend or break. 
  Crust:  Toughens or strengthens the surface of a 
  material. 
  THERMOGRIFY 
  Changes the temperature of a substance by 
  accelerating its molecules.  This is different than 
  the sorcery method Heat in that… 
  Heat:  Increases the temperature of a substance. 
  With this method the caster can alter the heat 
  energy of an object, making it hotter or colder.  
  If an object is heated enough, it will 
  spontaneously combust. 
  The temperature difference and the amount of 
  material being affected determines the mana 
  required for the spell: 
  Mana = (Mass in lbs) x (Temp. change in °F) ÷ 100 
  Heat Air:  This technique focuses on heating or 
  cooling the air in a given volume.  This may be 
  useful to keep someone warm at night, or to 
  keep food from spoiling. 
  Mana = C x (Temp. change in °F) x (Volume in ft3) 
  A living being can only survive in extremely hot 
  or cold air for a certain period.  The damage 
  taken from exposure in the cold (assuming no 
  protective measures are taken) is: 
  Damage per half hour = { (30 °F - Air temp)/5 }d6 
  Fatigue loss per half hour = (30 °F - Air temp)/10 
  Similarly, being in extremely hot air can also 
  cause damage: 
  Damage per half hour = { (Air temp - 100 °F)/5 }d6 
  Fatigue loss per half hour = (Air temp - 100 °F)/5 
  Cool:  Reduces the temperature of a substance. 
  Mana = C x (Die type +1) x # Dice 
  Mix:  Speeds the combination of multiple 
  liquids or gasses. 
  Mana = C x (Die type +1) x # Dice 
  
   
   
   
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  Chapter :  Learning Spells 
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  Chapter 5:  Learning Spells 
  Read, watch and memorize someone else.  A 
  character is not able to cast the spell at all in any 
  way until he has been introduced to the spell.  
  To be introduced to a spell the caster must have 
  read about the spell, had an instructor teach the 
  spell, or seen it be used multiple times (in excess 
  of about 6 times.)  The referee will require the 
  spell caster to make an appropriate roll to “pick 
  up” the spell; for example, a bard listening to 
  another bard’s song may need to make a 
  singing check, while an alchemist looking at 
  another alchemist’s equipment must make a 
  chemistry check, and a transmuter must make a 
  reading/writing check to learn a spell from an 
  inscription on a wall. 
  
   
   
  Chapter :  Spell Design 
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  Chapter 6:  Spell Design 
  One of the most respected aspects of being a 
  magician is the creation of new spells.  Not all 
  magic users undertake this difficult task, just as 
  not all musicians compose new music.   
  The actual process of designing is to complex to 
  be modeled even remotely close to accurately, 
  but the crude system described in this system is 
  sufficient to design simple and basic spells.  
  With good supervision by the referee and a 
  careful consideration of game balance this 
  system can provide enough detail to determine 
  spell requirements. 
  ����������
  Here is a quick overview of the design process.  
  First, it is helpful for the designer to write down 
  a general idea of the design goal.  What are the 
  effects of the spell?  Do you want to use the 
  spell at a distance, or is it okay for it to be a 
  touch spell?  Do you want the spell to 
  discriminate between friend and foe?  Should 
  the spell have a short casting time, or is it okay 
  for it to take several rounds to enact? 
  Next it is helpful to start looking at the basic 
  spell properties listing.  Choose the range, area 
  of effect, and so forth as best you can and note 
  what the numbers come to for your choices. 
  Now comes the meat of the design.  Look at the 
  effects your spell needs and match them to the 
  appropriate method.  At this point you will 
  need to determine the physical nature of the 
  spell.  Are you going to open a portal to the 
  plane of fire to fuel your fireball, or are you 
  going to create the flame out of raw magical 
  energy?  Maybe you’ll transform a small stone 
  into flame instead?  Generally, you should use 
  methods that your character is skilled at. 
  During this last phase you should also look at 
  the list of “off the shelf” spell parts.  Using these 
  effects help speed the design process. 
  From this point forward the process is a bit non-
  linear.  You may wish to take another look at 
  decisions you made earlier; you may even want 
  to change the spell’s effect to make it cheaper or 
  faster to cast.  Or maybe you realize that you 
  have some room to work and want to make the 
  spell a little more powerful or more versatile. 
  When you have finally established the spell’s 
  character, calculate the costs.  Divide the total 
  mana by the number of rounds you want to 
  take in casting the spell; this is the average 
  mana cost per round.  Note that some of the 
  spell effects restrict the minimum amount of 
  magical power or time required in the casting.  
  At this point you should determine the 
  maintenance costs as well, if applicable. 
  Now run the spell past the referee.  The referee 
  should try to think about how well balanced the 
  spell is and if there are any ways it could be 
  abused.  For powerful spells the referee should 
  assign a few side effects.  He should also 
  consider failure effects and dangers and, if the 
  player conducts tests before finalizing the 
  design, inform the player of these problems.  
  The designer can then add abortion 
  mechanisms or automatic corrective facilities to 
  insure safety. 
  Once the player has finalized the spell, he needs 
  to make some rolls to see if the character has 
  everything right.  First is a roll against the Spell 
  Formulation skill.  If this is failed, the spell’s 
  algorithm is incorrect.  Next comes a check 
  against each of the methods used in the spell.  
  Methods that are barely used, or that are taken 
  from other sources, may only require a d10 roll, 
  but anything innovative or integral to the spell 
  will require a d20 roll. 
  If the player misses one or two of the rolls, the 
  referee may declare the spell to be flawed but 
  usable.  The spell can be cast and used, but it 
  will have a major side effect, or a part of it may 
  work incorrectly or not at all.  Generally this is 
  related to whatever roll was failed.  So for 
  example, if you failed the Binding roll on your 
  
   
   
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  summon greater demon of Hell spell, it means that 
  you are able to summon the demon, but there is 
  nothing keeping him from eating you for 
  supper. 
  If the referee feels particularly nasty he may 
  keep the rolls a secret until the caster first uses 
  the spell, but in general it should be assumed 
  that the caster has enough time to test the spell 
  and discover the errors in it. 
  ����������������������
  All spells have a common set of properties that 
  affect the time, complexity, and power 
  requirements of the spell. 
  In the following tables, Mana is the amount of 
  mana that must be expended on that property 
  in the course of the spell.  It may be paid all at 
  once, or paid round-by-round, as indicated in 
  the descriptions.  Time is the number of seconds 
  required for the spell casting.  Realize that you 
  will need to divide this by 10 to get the number 
  of rounds!  Complexity is a measure of the 
  difficulty associated with the spell property.  
  The average of all the complexities gives the 
  type of die required to successfully cast the 
  spell. 
  TARGETING METHOD 
  Every spell has a Point of Focus, which must be 
  placed in the process of casting the spell.  There 
  are several ways to do this: 
   
  Mana 
  Time 
  Complexity 
  None 
  +0 
  +0 
  10 
  Linked 
  +1 
  +1 
  10 
  Named 
  +1 
  +2 
  10 
  Touched 
  +2 
  +2 
  10 
  Located 
  +2 
  +5 
  20 
  Conditional 
  +4 
  +10 
  30 
  Guided 
  +10 
  +10 
  30 
   
  None:  No effort is made to indicate the subject 
  of the spell.  The Point of Focus remains at the 
  physical location where the spell was cast, 
  although it can easily be moved aside, thrown, 
  or swept about, if suitable means are employed 
  to move it. 
  Linked:  Spell’s destination is predetermined by 
  a linking effect.  The link is used as a conduit to 
  guide the spell to its destination.  Once it has 
  reached its target, the spell will remain attached 
  permanently or until the spell resolves and 
  ends. 
  Named:  The target object’s unique id is 
  specified, and the spell searches for that exact 
  object.  Once it has found the named item, the 
  Point of Focus will permanently (or until 
  termination of the spell) attach itself. 
  Touched:  The target is indicated by a touch of 
  the hand (or other specified body part).  The 
  Point of Focus attaches to the specific item 
  touched, and remains attached to it 
  permanently until the spell ends. 
  Located:  The target is given by its precise 
  range, elevation, and direction from the spell 
  engine.  The Point of Focus will attach to 
  whatever object is at that location (even a mote 
  of dust or a molecule of air).  If the location is a 
  perfect vacuum with no targetable entity 
  present, the spell will attach itself arbitrarily to a 
  nearby object. 
  Conditional:  The spell affects and permanently 
  attaches to the first object that meets a specific 
  set of criteria indicated by the caster. 
  Guided:  The spell’s point of focus is directed 
  by the caster, and can be redirected to shift 
  direction at will. 
  TARGETING DIFFICULTY 
  A target in plain sight is easier to target than 
  one hidden behind a tree.  The following is a list 
  of allowed targeting difficulties.  The given 
  numbers are used as multipliers on the mana 
  cost and casting time; the complexity rating 
  should be averaged with the other property 
  complexities. 
  
   
   
  Chapter :  Spell Design 
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  Mana 
  Time 
  Complexity 
  Touch 
  x0 
  x0 
  10 
  Voice range 
  x1 
  x1 
  10 
  Within sight 
  x1 
  x1  
  20 
  Out of sight 
  x2 
  x2 
  20 
  On same plane 
  x4 
  x5 
  30 
  Ethereal 
  x10 
  x10 
  40 
  Other plane 
  x100 
  x20 
  40 
  Touch spells require the caster to actually lay 
  hands on the target.  Voice range means that the 
  target can hear and the caster can see the target.  
  Within sight means that the caster can see the 
  target, but the caster and target may be out of 
  auditory range.  Out of sight means that the 
  target is in auditory range but cannot be seen 
  (target is hiding behind some boxes, or the 
  caster is blinded, for example.)  On same plane 
  means that the target could be anywhere from 
  the room next door to the furthest galaxy in the 
  universe.  Ethereal allows the caster to target 
  creatures on the same plane or in the ethereal 
  portion of the plane.  Other plane removes all 
  restrictions - the target can be anyplace in 
  reality. 
  Note that just because a target is allowed to be 
  anywhere in the universe that the spell can 
  reach that far - it still must abide by range and 
  power restrictions!   
  RANGE 
  This is the radial distance from the caster to the 
  center of the area of effect.  The mana 
  requirement scales linearly with distance, but 
  the casting time is constant.  Complexity of the 
  spell is independent of range. 
  To be able to put mana into the spell, the 
  spellcaster must remain within the chosen 
  range.  In other words, independent or 
  permanent spells (which have their own power 
  supplies) are not range restricted once they 
  have been successfully cast, but spells with 
  maintenance costs only work while they are 
  within range of the caster. 
  One way to get around having to pay anything 
  for range is to create the desired item (a ball of 
  fire, for example) locally and then propel it with 
  a non-magical means (e.g. throw it).  Once the 
  item leaves the range, any magical 
  enchantments will go away, but the flaming ball 
  will continue on its way. 
  Multiply the mana cost of the targeting method 
  by the maximum range divided by 100 ft. 
  Targeting Mana Multiplier:  x(1/100 ft.) 
  MATRIX DURABILITY 
  Spell matrices degrade with time, but with extra 
  planning and preparation the mage can make 
  the spell more resilient and long lasting.  Note 
  that these options do not make the spell last as 
  long as indicated, it just means that the spell has 
  the durability to last that long if all other 
  conditions are suitably met. 
   
  Mana 
  Time 
  Complexity 
  Instant 
  +0 
  +0 
  10 
  Concentrate 
  +1 
  +1 
  20 
  Maintain 
  +1 
  +2 
  20 
  Independent 
  +1 
  +8 
  30 
  Long lived 
  +2/yr 
  +100 
  30 
  Permanent 
  +100 
  +1000 
  30 
  OFF THE SHELF SPELL PARTS 
  Many spells make use of staple effects or 
  techniques.  To simplify spell design these are 
  presented in a “shopping list” in the Lexicon of 
  the Arcane.   
  Failure Control 
  Commanded Dissipation (sorcery) 
  2 
  3 
  2 
  Conditional Dissipation (sorcery) 
  2 
  5 
  3 
  Commanded Jettison (Gating) 
  5 
  4 
  2 
  Conditional Jettison (Gating) 
  5 
  2 
  3 
  Commanded Transformation 
  1 
  8 
  3 
  Conditional Transformation 
  1 
  8 
  2 
  Other 
  Permanence - Permanent spells continue to 
  draw their energy from the original source.  If 
  energy supply stops, then the spell turns off, 
  but is still present and can be reactivated with 
  an appropriate spell. 
  
   
   
   
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  Trigger 
  Hanging 
  Attachment 
  1 
  .5 
  2 
  Binding 
  Repulsion 
  Define pattern 
  Recall pattern 
  Force field 
  Propulsion 
  Power channel 
  Glow 
  1 
  .1 
  1 
  Sorcery 
  INVOCATION 
  Spell can be divided into two parts - the part 
  that the god casts, and the part that the 
  character casts. 
  SPELL COMPONENTS 
  By using spell components, properties and costs 
  of the spell can be reduced. 
  DESCRIPTION 
  The final part of designing a spell is to detail the 
  spell’s properties.  Here is a list of what should 
  be included in this description: 
  Initialization casting time 
  Initialization casting power requirement 
  Hanging cost 
  Activation casting time 
  Activation casting power requirement 
  Maintenance 
  Failure effect 
  Success effect 
  Casting details 
   
  
   
   
  Chapter :  Magic Items 
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  Chapter 7:  Magic Items 
  Inaniment objects can be imbued with magical 
  abilities and powers.  These can then be used 
  later with less effort than casting a spell from 
  scratch.  Magic items can also assist in casting 
  spells by providing power or guiding. 
  �������������������
  There are many different ways that magic items 
  are activated and operated.  Most require some 
  sort of activation word or phrase.  Others might 
  require a thought, gesture, or mechanical 
  manipulation to activate. 
  Operation of magic items often requires some 
  sort of cost to the user.  Items that require little 
  or no from the user tend to be charged; each 
  usage reduces the number of charges remaining 
  until it loses all charge and ceases to provide 
  that functionality.  Others sap part of the user’s 
  bodily energy, taking hit points or 
  consciousness, imposing pain or fatigue, or 
  stealing points from attributes. 
  ������������������������
  Magic items require the use of binding methods 
  to make the magical effects remain.  Several 
  methods are used for binding spells to an item:  
  Some effects are permanent and continually in 
  operation, others are activated by a command 
  word and only last for a short time but can be 
  used repeatedly (sometimes with a specified 
  break between usage), and some effects (called 
  charged effects)  can only be used a fixed number 
  of times before the enchantment is lost.
  
   
   
  Chapter :  Traditions 
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  Chapter 8:  Traditions 
  ������
  Other sacrifice ideas:  Mutilations, tatoos, 
  quests, fasting, allergies, pacts. 
  Blue star on forehead.  Extended lifetime.  
  Believe that they will unite at the end of the 
  world to fight chaos.  Very few in world.  
  Leader is a lesser god, once a human but now 
  immortal and living on the astral plane.  
  Members have a “secret” which holds all of 
  their power; if discovered, all of their power 
  will be taken by the discoverer. 
  �������������
  Through the years, groups of magic users have 
  developed systems and disciplines to assist in 
  their spell casting activities.  A tradition has a 
  set of skills and arcane methods that a 
  practitioner is required to learn, and has a 
  collection of formulated spells that have been 
  passed down from generation to generation in 
  the tradition. 
  In game terms, traditions serve the following 
  purposes:  to allow you to use a skill other than 
  Spell Formulation for casting and designing 
  spells, to provide ways to create spell matricies 
  without resorting to the Binding method (i.e., 
  gesticulation & mathematics, instrument 
  playing, etc.) , and to provide alternate ways to 
  control spells.  Some traditions provide 
  template matricies that can be manipulated by 
  tradition-specific means. 
  EXPERIENCE LEVELS 
  All traditions have a tiered hierarchy that can be 
  followed to track one’s position in the tradition.  
  Most consist of three levels:  Apprentice, 
  journeyman, and master.  
  Each method specifies the requirements for 
  progression from one level to another.  In 
  general, the character will have to learn some 
  skills (usually including a few “classic” spells), 
  demonstrate to a master his proficiency through 
  some sort of demonstration, test, or ordeal, and 
  undergo a ceremony or ritual before one’s 
  peers. 
  What are the benefits from being at a higher 
  experience level?  In game terms, not much.  
  The rituals of some traditions imbue the 
  individual with new powers, but these are 
  rarely that useful.  The main benefit from being 
  at a higher level is the greater esteem and 
  prestige it gives the character.  
  ADOPTING A TRADITION 
  The easiest way to adopt a tradition is to select a 
  profession that includes a tradition at the time 
  the character is designed. 
  It’s also possible to pick up a tradition later, 
  during game play, for example.  This isn’t 
  terribly complicated:  Each tradition has a set of 
  skills that must be learned to a given level and a 
  ceremony to perform (which is always done 
  under the supervision of a more advanced 
  practitioner of the tradition.) 
  MULTIPLE TRADITIONS 
  Spellcasters usually pick one tradition and learn 
  it to the exclusion of all others, but it is not 
  uncommon for a spellcaster to pick up one or 
  two others “on the side” to broaden their 
  talents.  This is usually frowned upon by the 
  masters, though. 
  ��������
  This art focuses on the creation of elixirs, 
  potions, and drugs. 
  
   
   
  Chapter :  Traditions 
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  POWER CEREMONY 
  Alchemists do not have magic power ratings, 
  and they do not have to undergo ceremonies to 
  become alchemists.  However, to be successful 
  requires a vast understanding of chemical 
  processes, even though in this time period 
  chemical processes are very poorly understood. 
  There are no schools of alchemy, and the few 
  mentors that exist do not wish to spend all of 
  their time training a novice, so much of the 
  alchemist’s study is on his own.  Thus, the 
  alchemist becomes an alchemist when he feels 
  he has learned enough.  But to truly become an 
  alchemist in the eyes of one’s peers requires the 
  discovery of a new chemical process, the 
  invention of a new magical potion, or a proven 
  theory of chemical behavior. 
  REQUIRED SKILLS 
  Skill 
  Appr. 
  Journ. 
  Master 
  Chemistry 
  10 
  14 
  18 
  Cooking or 
  Brewing 
  8 
  12 
  16 
   
   
   
   
  Metallurgy 
  5 
  8 
  12 
   
  LANGUAGES 
  Most alchemical texts are written in Abbannic 
  and Bolonian, though increasing numbers have 
  been translated into Parthan. 
  METHODS 
  Transmutation, binding 
  NOTES 
  Potion formulas are analogous to spell skills.   
  Each formula has a skill associated with it, and 
  the complexity of the formula determines what 
  type of die is used to make the check. 
  Some potions are made entirely from natural 
  components.  Others require special ceremonies 
  to attract the attention of spirits.  Still others 
  actually require the use of magical energy to 
  activate and empower the potion. 
  Most potions work by producing the proper 
  structure to create a spell, but do not provide 
  the power input, so this must be drawn from 
  the imbiber.  Usually this draw is slight and is 
  spread out over a long period of time. 
  Those potions which do not require power from 
  the user must provide their own power source. 
  INK FOR SCROLLS 
  To create a scroll, the author must create special 
  inks and use specific kinds of paper.  Most 
  scrolls do not provide their own power sources 
  and this must be provided by the reader (for 
  better or worse). 
  The same processes used to empower potions 
  can be used to give power to an ink, which 
  when used to author a scroll will enable the 
  scroll to be used with little or no draw of mana 
  through the reader.  One unfortunate 
  consequence of this practice is that the ink (and 
  sometimes the paper as well) are destroyed at 
  casting time, regardless of the successfulness of 
  the reading. 
  On the up side, spellcasters are able to “learn” 
  spells from scrolls by copying the wording to a 
  new piece of paper, and then provide the new 
  scroll’s power through some other means. 
  �����������
  This tradition involves itself in transmuting one 
  substance into another. 
  POWER CEREMONIES 
  The Transformation of Genvenus.  Physically 
  adapts the caster’s body to channel magic.  This 
  ceremony involves collecting several rare herbs 
  and minerals; since nearly all masters of 
  alteration require their students to collect these 
  substances independently, and since the 
  substances are found in widely diverse (and 
  
   
   
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  dangerous) locations, this can take a year or 
  more. 
  Once the substances are collected they must be 
  prepared, always with the aid of an experienced 
  mage.  This oily preparation is made to coat the 
  apprentice’s body; it will thence seep into the 
  mage’s skin and affect his central nervous 
  system.  It is vital that the ointment be prepared 
  perfectly; too much of one component will 
  cause paralysis, too much of another will cause 
  blood clots and strokes.  And even when it is 
  correctly made it will harm the caster’s body 
  severely. 
  The apprentice has the choice of how much or 
  how little of the substance to use.  If he has 
  undergone the ceremony previously then he 
  must use more than he had the time before:  the 
  substance’s effects are not cumulative.  It takes a 
  full 8 hours to notice any effect, and since the 
  substance spoils after only a few hours of 
  preparation there is no time for tests. 
  If made correctly, the ointment has the 
  following effect:  For each ounce of the extract 
  spread on the body the apprentice gains one 
  level of magic power rating and loses one point 
  of essence, one point agility, one point of health, 
  and one point of perception. 
  If made improperly, the effects are very bad:  
  for each ounce of the extract used, the poor 
  apprentice loses 1d6 points in a randomly 
  determined attribute. 
  SKILLS 
  Chemistry,  
  METHODS 
  Transmutation  
   
  �����������
  Astromancy uses the stars to divine the future. 
  POWER CEREMONIES 
  SKILLS 
  Astrology, numerology 
  METHODS 
  Divination 
  ��������
  This is an indian-style priest/psionicist similar 
  to the swami.  The Brahmin is even more in 
  tune with his mind and psionic powers. 
  Divination, astralation, ethermancy. 
  Powers include mental defenses, divination, 
  and mental and physical healing. 
  Most of the Brahmin’s powers derive from their 
  being, not from their gods, though in times of 
  need they may call for favors from their god. 
  All of the Brahmin’s divination abilities take a 
  great deal of concentration and time to cast, and 
  many have spell components.  The mental 
  defense spells can be cast much faster, though 
  they cause a great deal of strain for the Brahmin 
  if he does it too quickly. 
  ������������
  The conjurer’s art involves summoning and 
  binding spirits, demons, and other creatures to 
  his service. 
  POWER CEREMONIES 
  Conjurers have a simply but dangerous way to 
  gain power - they get a more powerful entitiy to 
  give it to them.  The ceremonies vary, but they 
  all involve sacrifice of essence and luck.  Many 
  require the conjurer to mutilate his body, 
  perform quests or evil acts, or promise to carry 
  out some action in the future for the being.  
  
   
   
  Chapter :  Traditions 
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  Almost always, the being demands that the 
  conjurer reveal his true name, thus putting the 
  character at the creature’s mercy.  The creatures 
  cannot take the magic power away from the 
  conjurer once its been given, but there are other 
  ways a creature can make amends… 
  SKILLS 
  Enslavement, geometry, chanting. 
  METHODS 
  Summoning, portalry, and binding.   
  CONJURER SPELLS 
   
  ����������
  This is the black art of dealing with demons and 
  evil spirits. 
  POWER CEREMONIES 
  Like conjuration, the ceremonies required for 
  diabolism vary depending on the demon being 
  contacted.  Unlike conjuration the mage doesn’t 
  need a good knowledge of conjuration; typically 
  the spell used to summon the demon is easy to 
  perform and easy to learn. 
  The effects vary from demon to demon, but 
  they generally involve much more severe deeds 
  than the other traditions, and many beyond 
  simply loses in attributes.  The rites often 
  include human sacrifice (typically children, 
  virgins, parents, or friends), a loss of essence at 
  a one-to-one ratio, and reductions of willpower, 
  luck, and/or intelligence. 
  SKILLS 
  Chanting, theology 
  METHODS 
  Astralation, sorcery 
  ���������
  This tradition involves caring for nature. 
  POWER CEREMONIES 
   
  SKILLS 
  Herbalism, theology. 
  METHOD 
  Divination, ethermancy, transmutation. 
  ���������
  The geomancers are more skilled than any 
  others at using the power inherent in the 
  planets.  They easily tap into the vast reservoirs 
  of energy stored deep in the crust, and 
  understand the planet’s processes better than 
  they know themselves. 
  POWER CEREMONIES 
  The Rite of Fire:  Individual must travel to a 
  volcano or a source of lava deep in the planet’s 
  crust.  The acolyte must wade through a lava 
  field. 
  The Rite of Water:  Individual must bathe in a 
  geyser’s scalding water. 
  The Rite of Air:  The individual must leap from 
  a cliff on a mountain higher than the clouds. 
  The Rite of Earth:  The individual is buried 
  beneath ten feet of soil and rock. 
  
   
   
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  ��������
  Believe tangible things are impure.  Only truth 
  is the perfect reality of abstraction in the Astral 
  plane. 
  ������������
  Illusionists manipulate people’s minds into 
  thinking they see, hear, or feel something that is 
  not real. 
  POWER CEREMONIES 
  SKILLS 
  METHODS 
  Mesmerism 
  ������������������
  Ionian thought promotes the idea that the 
  universe can be explained through 
  concentration and observation of natural 
  philosophy. 
  POWER CEREMONIES 
   
  REQUIRED SKILLS 
   
  METHODS 
  Transmutation, Astralation,  
  �������
  This tradition uses song to cast its spells.  While 
  its spells are not as powerful as some of the 
  other traditions’ spells, they tend to be less 
  dangerous and simpler to cast. 
  POWER CEREMONIES 
  Major performance:  2 pts essence, 1 pt will 
  power.  Can get up to 4 pts magic power 
  Duel:  2 pts essence, 1 pt health.  Get 1 pt magic 
  power rating if win a musical duel against 
  someone with a higher magic power rating in 
  the Lyrism tradition. 
  SKILLS 
  String instrument, singing, oratory. 
  METHODS 
  Mesmery 
  BARD SONGS 
   
  �����������
  The necromancer deals with spirits of the dead 
  and with the undead.  He is knowledgeable in 
  raising the dead for service. 
  POWER CEREMONIES 
   
  SKILLS 
  Butchering, chanting, gesticulation. 
  METHODS 
  Necromancers need skill in astralation, 
  summoning, and binding. 
  
   
   
  Chapter :  Traditions 
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  �������
  This tradition focuses on manipulation and 
  observation of life energies. 
  POWER CEREMONIES 
  Attunement - This meditative ceremony seeks to 
  align the individual’s soul with that of the ether.  
  This ceremony is required for all ontorists and 
  must be performed before the individual can 
  gain any abilities at all.  The individual is 
  allowed to perform this rite as often as desired 
  thereafter.  The ceremony itself only requires a 
  few hours, but it is very exacting and very 
  difficult; typically it takes weeks of meditation 
  before the conditions and thoughts are correct.  
  In game terms, the individual must make a 
  successful luck check on the percentile dice.  
  When is successful, magic power rating can be 
  acquired at a rate of one for every three points 
  of essence. 
  Empowerment - Once the individual has 
  successfully performed the attunement 
  ceremony it is possible to align one’s body with 
  the ether even more strongly.  The 
  empowerment rite requires the use of special 
  symbols, devices, incense, and/or structures 
  (pyramids, crystals, etc.)  Each attempt requires 
  a successful luck check on d20 and fatigues the 
  character by 2 levels.  If successful the 
  individual may gain one magic power rating for 
  the sacrifice of 2 essence, 1 luck, and 1 hit point 
  (loss is permanent.) 
  SKILLS 
  Ontology, gesticulation 
  METHODS 
  Ethermancy. 
  ���������
  POWER CEREMONIES 
  SKILLS 
  Theology 
  METHODS 
  Astralation, divination 
  �����������������������
  Pythagorean philosophy is the belief that 
  numbers rule the universe.  Music, geometry, 
  and the stars all follow the rule of numbers. 
  POWER CEREMONIES 
   
  REQUIRED SKILLS 
  Mathematics, music 
  METHODS 
  Divination, Transmutation 
  ������
  This tradition uses rune stones to cast spells. 
  POWER CEREMONIES 
  ����������
  This tradition is divination by lots.  Chance 
  events in nature can be used to foretell future 
  events. 
  
   
   
  Chapter :  Traditions 
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  POWER CEREMONIES 
   
  SKILLS 
  Numerology, gaming 
  METHODS 
  Divination 
  � ����������
  Thamaturgy is the working of miracles.  The 
  follower of this tradition is able to call upon his 
  deity to perform powerful magicks and work 
  wonders. 
  SKILLS 
  Oratory, gesticulation. 
  METHODS 
  None 
  � �������
  This is the tradition of the typical priest.  The 
  theurgist attempts to compel or persuade a god 
  or beneficient to do or refrain from doing 
  something. 
  SKILLS 
  Theology, chanting 
  METHODS 
  Astralation 
  ������
  This is an indian-style mage/psionicist/cleric.  
  Don’t need spellbooks or spell components.  
  Believe in reincarnation and karma.  Can’t be 
  raised or resurrected, but will reincarnate 
  within a day or so of death. 
  Mesmery, limited transmutation. 
  Powers include enchantments, charms, weather 
  manipulation, limited shape changing ability 
  (e.g. put tiger stripes across the skin, etc.), 
  metabolic (heat resistance, cold resistance, 
  enhanced speed, enhanced eyesight), snakes 
  (charming snakes, turning sticks to snakes,  
  etc.), spells with rays (esp. from the eye), 
  trapping the soul or the mind in an illusionary 
  world. 
  Typically, the swami is limited in the number of 
  spells he can cast, but he can cast them quickly 
  and without lengthy memorization.  
  Unfortunately, the swami does not have any 
  powerful combat spells and relies on speed and 
  skill in combat.  Swamis typically disdain 
  violent weapons, though they are often highly 
  skilled in the martial arts. 
  �����������
  The tradition of the witch uses formulated 
  spells almost exclusively.  The witch is able to 
  perform a large variety of hexes, enchantments, 
  and so forth, but rarely invents them 
  independently.  The one method that the witch 
  knows well is binding.  Often the witch will also 
  have another method such as mesmerism or 
  transmutation at some low level, and thus she is 
  able to bind minor spells to individuals or 
  items. 
  SKILLS 
  Brewing, cooking, singing, herbalism. 
  METHODS 
  Binding. 
  
   
   
  Chapter :  Traditions 
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  ��������������������
  Hermes Trismegistus, the thrice-greatest, also 
  known as Thoth, was reputedly the first human 
  to use sorcery, and the inventor of alchemy.  
  His greatest contribution was the establishment 
  of the tradition now known as the hermetical 
  philosophy. 
  Hermetic philosophy is founded on the 
  principle that a deeper understanding of magic, 
  chemistry, the planet, and the heavens will lead 
  to a deeper understanding of the human soul, 
  spirit, mind, and body.   
  The wizard is trained in sorcery and 
  transmutation, the two most difficult aspects of 
  magic to learn.  They often pick up a third or 
  forth method, binding is a typical choice.  
  Wizards also prefer to learn the methods 
  directly rather than relying on pre-written 
  spells. 
  POWER CEREMONIES 
   
  REQUIRED SKILLS 
  Skill 
  Appr. 
  Journ. 
  Master 
  Gesticulation 
  8 
  12 
  16 
  Chanting 
  6 
  12 
  18 
   
  METHODS 
  Sorcery, transmutation. 
  WIZARD SPELLS 
   
  �������
  The art of communing with ancestors and 
  spirits of nature involves the methods of 
  astralation and ethermancy. 
  Shamanistic magic is frequently used by 
  humanoids and people of the wilds.  There are 
  certain dangers fundamental in the method, and 
  it is one of the more time consuming and belief 
  driven systems, making it less desirable to 
  “professional” mages.  However, it is very 
  powerful in its own way.  One of the main 
  benefits is that it does not require a 
  sophisticated understanding of magic, as it 
  simply calls on spirits to carry out the detailed 
  spell casting work. 
  The shaman is a kind of necromancer in that his 
  power derives from summoning up spirits to 
  drive his spells.  The safer kind of spirit the 
  shaman may call upon is the ancestral spirit; the 
  shaman recalls a tribal ancestor to assist in his 
  magicks or to provide advice.  Ancestor spirits 
  are somewhat limited in their abilities, however, 
  so the shaman may need to call upon other 
  spirits for the more powerful magic.  In truth, 
  the shaman may call upon any spirit - even 
  demons and gods - but for safety he typically 
  restricts himself to a small set of spirits he and 
  his predecessors have learned to work with. 
  POWER CEREMONIES 
  Sprit Ceremony - The shaman seeks out his 
  spiritual guide through deep meditation, 
  physical suffering, and chanting of words of 
  magic.  The first time this ceremony is 
  performed, a spirit of nature will bond with the 
  shaman; in most cases this spirit is that of an 
  animal, though plants, elements, or forces of 
  nature can also serve as spirit guides.  The type 
  of spirit guide found determines the general 
  “flavor” of magic that the shaman can wield, 
  and each type of spirit has its own maximum 
  magic power rating that it can imbue to the 
  shaman. 
  The individual must receive special preparation 
  to cleanse the mind and soul before attempting 
  the ritual.   These rites can only be performed by 
  a shaman and will involve imbibing certain 
  drugs, marking the body, and calling to the 
  spirits to make them aware of the new shaman.  
  The new shaman then goes into the wilderness 
  or to some secluded place and begins a long 
  meditation; this can often last several days.  
  
   
   
  Chapter :  Traditions 
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  During this time the new shaman cannot eat 
  and must drink only sparingly.  When he finds 
  his spirit guide he will be tested for worthiness.  
  The type of spirit found will reflect the type of 
  animals or forces of nature in the environment 
  that the new shaman has chosen for meditation, 
  at it will often reflect the personality or 
  background of the new shaman.  Each level of 
  magic power rating requires a sacrifice of 2 
  points of essence and 1 point of health.  The 
  number of points a character buys is 
  determined by the spirit guide, who will often 
  dish them out one by one, requiring the shaman 
  to perform this ceremony many times before 
  attaining powerful levels. 
  Ancestral Ritual - This ceremony calls to tribal or 
  personal ancestors.  Unlike the spirit ceremony, 
  this ritual can be done anywhere, and is 
  typically done with several other shamans 
  around a fire or in a holy burial place.  The 
  shaman must implore the spirits to grant him 
  their magical strength.  If the spirits feel the 
  shaman’s need is valid and worthy, and if they 
  feel that the shaman is a worthy shepherd to the 
  tribe, then one or more of the spirits will join 
  with the shaman.  This spirit will often appear 
  as a ghost to the shaman to share advice or to 
  teach or train.  The shaman may trade 1 point of 
  essence, 1 point of agility, and 1 point of 
  strength for each point of magic power rating.  
  The shaman can take as many points as he likes, 
  up to the maximum that the given spirit can 
  provide (typically 2-3 points.) 
  SKILLS 
  Chanting, dancing 
  METHODS 
  Astralation, ethermancy 
  
SOURCE: textdata/thevault/Circe/Circe Lexicon of the Arcane.pdf