The following will be the basis for the "wizards" of my campaign (that is, arcanists who achieve their abilities through skill and training). The goals i wanted to achieve with this was creating a magical discipline for my campaign that had a scientific touch to it, was based around changing reality, and was as original as possible.
RESONANCE SHIFTING
An object is given form to our senses by way of a series of interconnected traits: they have a weight that lets us feel the pull of gravity on the object, a color and texture that lets us see the item with our eyes, and a set of chemicals that give them a taste and smell, and this is but a few of the many other minor and major characteristics. But all of these traits are secondary in that they are derived from three other characteristics of the object: their shape, their composition, and their resonance. Resonance is perhaps the most defining aspect of any object as it not only determines how the object interacts with our senses, but how it interacts with reality itself. According to current theory and observations, what we know as reality is actually just the interplay between the resonance of objects and the resonance of the world. If reality's resonance and the resonance of the object are aligned what we know as the Laws of Nature will work as expected. If the resonances are unaligned, though, all kinds of strange things can happen. Resonance has two traits: cadence and flux. Cadence is a value that corresponds to different natural laws; 27 is the average cadence of gravity for example. Cadence isn't a static number in that it can fluctuate over time and from material to material, but there is some system to it. Flux is a trait specific to every cadence value. The flux value of reality is set to be equal to zero, and if the flux of an object strays from this value the physical trait attributed to the cadence in question will differ from the normal; a higher value means the trait or law will have an increased influence, while the opposite is true for negative values. A slight discrepancy is common, but flux values of plus/minus 1 or more are unheard of in the (natural) world. Of course, these anomalies are common to the Choirs; masters of resonance lore and the alteration of resonance.
PATH OF THE CHOIR
Choirs are philosophers, artists, and scientists who change the fabric of reality to mean something different the same way an artist can give new meaning and purpose to a formerly blank canvas. Choirs use their equivalent of the artist's brush, the echo rod, to alter the rules of reality by letting the esoteric resonance-changing fields of the echo rod realign the fields of the objects they are used upon. Although this might sound relatively easy in theory, there are some issues that make it harder than waving a reality changing rod in the air. First off echo rods are extremely complex and rare tools varying greatly in design; users must know of the inner workings of the rods so they are aware how every slight change to a specific model changes the way it is to be used. Secondly, the values of cadence and flux can sometimes vary for different materials and will have to be memorized or even improvised on the spot, and even if you know the right value it can be hard to get even remotely close without training. Thirdly, various advanced techniques like Containment Fields can greatly enhance the use of the rod.
THE PROCESS
In theory, the basic process is relatively simple. The resonance changing field of the rod comes in contact with another field, and that field changes to match the field of the rod. The field changes its flux with a constant speed depending on the size of the echo field; the greater the faster. As soon as the fields are aligned, the change stops. Some rods are able to generate echo fields of various flux values, but in all other cases the Choir will have to use his skill to hit the correct value. Only the part of the object's field that is in contact with the field of the rod changes, so manipulating an entire object's field requires the Choir to sweep the rod over the object's surface. In addition to sweeping, speed and angle of the rod's field against the object can produce 'ripples' in the resonance of the object, which can affect the entire field with a lesser effect. An important technique for the Choir is the ability to produce containment fields; they use their rods to stabilize the field before layering the changes on top of them. This ensures that the changes will take place when the containment field is removed, and not before, and is an essential technique for creating complex and advanced changes that have to affect a larger object at once.
TOOLS OF THE TRADE: ECHO ROD
Made up around a hollow core of fulgurite, a mineral capable of producing the strange energy necessary to power the rod, echo rods are capable of inducing strange resonance fields that can interact with the resonance of other objects and change them. Echo rods can be found in many different designs: some can be shut off, some can change the cadence they are attuned to, some are collapsible, some are long, and some can project fields that take a different shape than usual. The most basic version is a short, fixed cadence rod that can project a spherical field in front of a person's hand.
TOOLS OF THE TRADE: THAUMATOMETER
Although Choirs develop an intuitive feeling for when they have reached the correct value, the thaumatometer, designed to detect the values of cadence and flux, remains their second-most important tool. It exists in two portable versions, the orb thaumatometer and the disc thaumatometer. The orb is an imprecise tool, consisting of a series of semi-circular arcs spinning on a central axis, the speed varying depending on the values of flux and cadence. The disc thaumatometer is large and unwieldy, about the size of a buckler, but can display a precise numerical value, making it ideal for shifts requiring precision more than speed. Larger and more precise versions can often be found in laboratories.
TOOLS OF THE TRADE: PROTECTIVE GEAR
Due to the fact that resonance changes affect flesh as much as anything else, Choirs often employ protective gear made out of stable materials. Most just wear gloves with lead plates sown into or onto them, and are careful to point the rods in the right direction. Others choose to eschew protective gear and just put the rod on the end of a larger rod or staff thus staying out of danger. Very powerful echo rods often require full protective suits though, as even a brief moment within the field could have disastrous effects on a person's body and flesh.
LIMITS OF RESONANCE REALIGNING
Although a powerful skill, resonance realigning has its limits. The most directly apparent limit is the inability to alter the element lead in any way. For some reason unknown to men, lead has an incredibly stable resonance that can't be realigned by even the most powerful known echo rods. This is a big problem when you are attempting to transmute one material to another since many of the flux stages in between materials seem to result in lead, and when you have reached a flux value corresponding to lead, you can't really get on with your transmutation as the element has become stable. These levels are called Merkotz Limits after a famous choir-alchemist who spent his entire life attempting to transmute lead into gold without success. A few other materials, such as fulgurite, mercury and diamond, are also unusually stable. Another limiting factor is the Stability Principle; any changed resonance will eventually return to its original state or close to it. The greater the change, the shorter it lasts. Minor changes will usually wear out in half an hour to an hour, although great changes to the resonance can last but a minute or even shorter. Formerly changed objects will usually maintain a slight discrepancy from the original value though. It is possible to enhance the duration of the effects through a process called Layering, or to make it permanent by performing the process over and over again until the discrepancy is equal to the desired value (a process called Conditioning).
Issues and things i'd like comments on:
1) This certainly has a scientific touch to it, but i need some fresh eyes to discern whether it also has a "magical" feel to it. So is this too scientific, or is it a good combination of science and magic? and if not, what can i do to fix the balance?
2) Are there any things i should clarify, or any paragraphs that are badly written?
3) Can you come up with any details or limits that would be interesting to add?
4) General praise (or criticism) is also very welcome even if you don't feel you have anything to add as far as the three other questions go.
Great post,
good ideas, and good questions to boot.
Is this going to be the only type of magic in the world? It looks that way, but I want to make sure. I can see this is very 'tool-oriented' (and I'm getting a picture of techno-mages in big yellow trenchcoats and goggles, for some reason....do I need to seek proffessional help?)
What is the level of tech in the world? I could easliy see this system/source being used by the techno-mages, but also by philospher-mages more trying to explore the secrets of the ether as well...
Also, I immediately latched onto the term 'Pitchshifter', and could see bards and musical magicians changing the traditions with instruemts made of fulgurite. Your terminology is very musical, but imagine a symphony of fulgurite.
Also, in terms of limitations, what is the permanence and stability of changed items and transformed resonance?
Quote from: LordVreegIs this going to be the only type of magic in the world? It looks that way, but I want to make sure. I can see this is very 'tool-oriented' (and I'm getting a picture of techno-mages in big yellow trenchcoats and goggles, for some reason....do I need to seek proffessional help?)
Also, I immediately latched onto the term 'Pitchshifter', and could see bards and musical magicians changing the traditions with instruemts made of fulgurite. Your terminology is very musical, but imagine a symphony of fulgurite.
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Minor changes will usually wear out in half an hour to an hour, although great changes to the resonance can last but a minute or even shorter. Formerly changed objects will usually maintain a slight discrepancy from the original value though.
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Of course, if you were referring to conditioned objects, they are often permanent, though the wear and tear will eventually ruin it. Also, the production of powerful versions will require months of tiresome work.
Very interesting ideas here. It does seem like it would or should be the only style of magic in the world, though. Of course, I don't know if the others operate differently.
It could possibly all use a little clarifying if you have time. It's pretty much understandable as-is but could certainly be made easier.
Why is it you think it should be the only style of magic? This is the only style that involves the use of echo rods, if that is what you mean. And i'll try and clarify it a bit before i post it on my wiki.
I think the fact that it is presented as a kind of science seems to say, "this is how it works." If this is the way that magic works, scientifically, I don't know how others would work.
Well, demonology (the other major discipline) uses bound demons to power their supernatural powers. Of course, this could be connected to resonance in that demons have a resonance that differs from that of this world (them being from a different world). Neuromancy doesn't really have anything to do with resonance, but rather with some humans who have developed a Sixth Sense that allows them to pick up on other people's stray thoughts.
Interesting. It sounds good to me. Though I hate to use the word psionics as that has come to mean something specific to D&D, is that essentially the idea of Neuromancy (some kind of psychic power)?
Psionics is actually something completely different in my setting. But yes, neuromancy covers telepathy and mind-reading and the like, but not telekinesis and pyrokinesis; it isn't that flashy.
Here is the link for my magic once again since it seems to be hidden a bit too well in my previous post: http://www.thecbg.org/wiki/index.php
This seems to work out pretty well, then. I do like the idea of using protective gear. What are your ideas for what will actually happen if people are unprotected or caught within the fields?
That would probably depend on what they are trying to achieve. Maybe their skin melts, or their blood turns to water, or their skin suddenly has allergic reactions when exposed to sunlight. Or it turns to lead.
on a second note, this is probably the fastest exchange of forum messages i have ever experienced. Thank you for the comments. :)
You're quite welcome.
Another question: What of people who use this form of magic to intentionally harm others?
Are you asking how they are treated, or whether it would work/happens? I think, that since echo rods are such rare devices and the number of Choirs relatively low, almost all Choirs are primarily educated to use their craft to aid in building and crafting of objects. That said, Echo rods can be employed as dangerous weapons, be employed to make blades and armor fall apart, and manipulate battlefields. So it isn't impossible that some military forces employ a small cadre of Choirs. But i haven't completely decided what place the Choirs will take in my world.
I was asking both, kind of. Obviously it would be possible to hurt someone intentionally using an echo rod, since it is possible to do so unintentionally. I was wondering more about
1. If there are certain things that people would most commonly do to harm someone with an echo rod.
2. How common such an event is.
3. How those people are treated.
Also, is a "Choir" one person or more?
One Choir, more Choirs. So yes, it is a title of sorts.
1) They'd probably destabilize the flesh somehow. I have an image of an echo rod sweeping across a person causing his skin to go black with necrosis, but not sure what Law governs that... The Law of Life :-p
2) Not so common. First off, there aren't that many echo rods, and second most are craftsmen, scientists, and philosophers, not warriors.
3)Probably depends on a lot, and how accepted this craft is in the country/city in question. Some countries probably see this as a sort of witchcraft and therefore judge the use of the echo rods harshly. Countries where the craft is prominent would probably just consider it a weapon amongst many others. As to how Choirs would look on choirs who kills, most would probably be disgusted, both for obvious reasons and because most see the rods as tools. But it isn't forbidden as such.
Alright now, how and why did you choose the title "Choir"?
I'm trying to be somewhat helpful. If I'm not, I can stop.
Nono, please continue. :)
I don't know whether you saw it, but i had a long discussion with some people in tavern about a good name. I think i came up with choir through the following process: Echo rod, echo, echoer, echoir, choir. And it seemed kind of appropriate since Choirs, if we see it from a metaphorical point of view, wield the second "voice" (the echo rod) that adds an entirely new meaning to the primary "voice" (the object's resonance).
Okay, that probably made no sense :-p Hope you got it.
I actually think I might have seen part of that, now that I think of it.
Alright, so Choirs are rare. How rare? Rare as in there is some kind of guild hall or gathering place only in large cities or rare as in most people will never in their life encounter one?
Probably rare in that common folk only hear rumors of them, although people in big cities might be lucky to see or hear of their work once or twice during their lifetime. Well-educated people have probably heard of them, but only a few select institutions have the necessary knowledge to train choirs and produce echo rods.
Is there any central organization that all (loosely speaking) or at least most choirs belong to? Or are there multiple smaller organizations? Or are there any at all?
If these organizations do exist in any form, what impact do they have on society? Though they are small in number, these choirs seem to have the potential to be influential. Maybe they pull strings behind the scenes of economies or even governments to some extent? Or maybe they consider themselves to be better than others or outsiders and don't do anything in relation to the rest of the world either because they consider themselves superior or they just don't care?
The knowledge is monopolized by a few powerful merchant organizations who take in bright students and train them to become Choirs. Most Choirs are therefore indebted to the institutions they were trained by. So most choirs are only influential in that the organization they belong to is influential. Others, who've gained their independence, almost never belong to an organization and therefore have little power.
This is just my current idea, so if you have a better one i'd be happy to hear it.
How are echo rods made? What goes into their construction that makes them so rare?
Fulgurite. Fulgurite is the rare product of lightning strikes in the desert, also called petrified lightning. It's an actual mateerial, although the material's occult capabilities of course only exist in my setting. After you have found a fulgurite tube long enough to produce a rod it must be processed without ruining it, and then a complex mechanism of gold and other exotic materials must be built up around the tube so it can be wielded and its power used.
Alright, that makes sense. What of their use? Could anyone, in theory, pick on up and use it?
I'm pretty sure it says that in the first post. And yes, technically anyone could pick it up. But they would have absolutely no control over what they are doing with it. Fixed cadence rods, that is, rods that only affect one thing, can be used with some trial/error by anyone.
Aside from getting inside the field, what threat do the rods pose? What could happen if they were handled improperly? If some random idiot used one, could he accidentally destroy the rod?
They can be broken, but it's hard to ruin it through use. But breaking the fulgurite tube or part of the mechanism can ruin the rod easily.
I like the fact that things often turn to lead. Do they stay that way, or change back?
Lead is by definition very stable, so if it turns to lead, it stays that way :D
So if Choirs run crazy, the world will eventually run out of anything but lead. Not very likely though.
Anyway, in theory, a very, very, very powerful rod could perhaps bypass the Merkotz Limit.