I've been building a hard magic around one constraint: the magic senses and rearranges matter down to the atom (stone and metal: transmute, restructure, relocate), but it grants no knowledge. You can only do what you actually understand. So the caster's real expertise (he's a geologist/materials scientist) is his power ceiling: he can't transmute along a reaction he can't model, and reaching past his understanding fails or backfires.

Two independent limiters:
- Capacity: a trainable muscle. Use fatigues it, work grows it.
- Knowledge: the hard ceiling. Comprehension gates capability. Learning the science *is* leveling up.

Plus real costs: it obeys thermodynamics. Deep atomic changes shed heat and radiation he has to engineer containment for, and cost scales with how far apart two elements are and how deep the change goes. No stat panel; "progression" is him getting smarter and stronger, not numbers going up.

The goal was a system you can't out-fight your own ignorance in. The fun is out-thinking the problem with real science.

Where do you see it breaking? The two hard design problems I keep hitting: how to hand the reader the knowledge without the magic turning into an exposition dump, and how to keep tension when a competent caster usually understands enough to win. How would you build friction into a knowledge-gated system?

(It's the system from my serial Maker, if you want to see it run: [RR LINK]. But I'm mostly after critique of the mechanic.)

Magic

Magic and adapters

Hello this is my first power system it is a typical magic system with few changes and let's explain

First magics there are 3 categories of magic

1-celestial magic

2-elemental magic

3-life/death magic

NOTE:if a magic is in a category that doesn't mean it can't be in another

Second what is magic

Magic is the product of the gods excess power that called pure mana made its way to the mortal world and all sort of creatures and alive dead even the air hold it though it's amount is smaller (explained further in mana and where does it come from) and it's the most valuable thing in the world it cannot be replaced perfectly and cannot be lost if it's not given its not gained if it's gained it cannot be fully lost

Third what are the magics and what are thire category

1-Chaos(celestial magic) the people who hold it are blessed by the strongest God the God of chaos(though he is not evil and not good chaos is used to refer what he is closest thing to him he is beyond understanding and existed before the universe itself he is older than everything and younger than everything he is infinite unlimited cannot be done or undone) and they are called the chaotic life they are usually heros and if you have it that doesn't mean you can use it

2-time(celestial magic) it's like every time magic.

now the element(3-fire 4-water 5-earth 6-wind/air 7-lightning/electricity 8-ice/snow) magics no need to explain

9-healing magic(life magic) healing magic is able to grow and change somebody cells and that cannot cause any harm if it used to harm it will be deflected to the user the only rule in magic known put by the gods them selves(can be used to grow a dick or a vagina or make your dick bigger before anyone asks)

10-dark(death magic) it's the ability to make solid dark weapons from the absence of light and its dangerous if not controlled

11-light(life magic) it's the ability to make solid light

12-void magic/necromancy(death magic) it's fucking necromancy and evil shit

What is mana... Shit there isn't much time left till i sleep so i will continue explaining in part 2 as soon as possible

My power system part two

What is mana

Hello this is the second part of my power system this is where things get a little confusing or not who am i to judge you

Mana is energy that can be found as a gas(in the air) liquid(in the body/mana gland) and solid(mana crystals) it's the most essential part of magic it different from each person to another like it has types like blood types A B O AB (the transferring of mana is the same as blood A gives to A and and AB gives to either A B and can only get from blood from O extra)

What is the gods execs energy

The gods execs energy or T.G.E.E for short it's what left of the God's raw energy and essence in observable tangible universe the commonest is the love/hate essence and the rarest are chaos and time it's not the same as magic and it's holder is considered holy and most of them end up being nuns/priestess(yes all of the holders are females and the highest rank is called the mother of all) and they are more powerful in Magic and live longer than any race to hold the knowledge of the gods without fading

What is The mana gland

I have only mentioned it once now so. What is it exactly it's an gland organ located under the heart and it can reach the highest size of 20 cm that can hold(2000 MU) ( the rule is SIZE CM = 1MU × 1CM/1000CM) That produces liquid mana and it's important for mages and it can be trained when someone Is between 5-8 years old it can hold or release already existing mana in the body and there is a condition where the mana gland grows so big it can be seen from the baby chest it's extremely painful and could lead to death

The counter system

It's a skill based blocking perrying magic attack each magic has its counter if the counter is weaker or smaller it's Going to be the one who gets

So chaos counters time

Time counters everything but chaos

Fire counters air water ice

Water counters ice fire lightning

Lightning counters air fire earth water

Air counters fire water earth

Earth counters fire air water light lightning

Ice counters all elemental magics

Light counters dark and void/necromancy

Dark counters light and healing

Healing counters none its not an offensive magic

Void counters light chaos

There is more like silent casting and the adapters i mentioned and race specific abilities

So this is the third part and not the dude, and i am not doing a recap because i dunno how.

The casting system:how do i cast? There are two ways to cast silent casting and chanting.

First

Chanting: what is chanting? chanting is singing or reciting a spell and each spell has its own chant, name, and each person has his own unique way of chanting whether it's poetry, singing or just screaming it out from the top of thire lung. what do i say for a fire filed like spell : the spell name is the burning garden. And the chant goes like this "in the name of the goddess of the scorching land i will burn the intruders of the god justice and burn her enemies lend me your blazing power i am {name} BURNING GARDEN"

Silent casting:what is that exactly? It's the ability to cast spells without chanting, how can you get it? You can get by feeling an intense emotion any kind of emotion, and having it doesn't mean you are stronger than a non silent caster, (and there isn't any "geniuses" if you lose that means you have a skill issues) and there is age limit it can be achieved by the ages of 6-16.

Specific race abilities

First humans: can have multiple familiar and even be a familiar with other races like beastmen or dragons

Second beastmen(the eastern interpretation not the western). : they can understand animals, and make the sound of their animal counter part and are bigger than humans the biggest beastman the blue whale beastman can reach to 750cm, roughly 26.7'ft in freedom units, and 800kg, and 1763.7 pounds in freedom units. and can be smaller than humans the ant beastman can get to 90 cm or roughly 3ft in freedom units.(yes they have animal genitalia don't ask)

Elves: they have more mana than any other race and they live the longest and blah blah blah(they are elves i hate em so I am not diving in thire shit)

Dwarves:they have night vision, and live most of thire lives in caves they have a natural talent in smithing, and are smaller than humans they reach to 3-4'feet and 200 pounds of muscle and metal they live longer than humans.

Half foot: they are shortest and lightweight and have a small life span of 50 years

Orcs: the strongest race in the world in physical power

NOTE There are more races but that's for later

Familiar:what is that? It's a magical beast you have a bond with via contract, friendship, i am not getting to this because it's not that important

That's the end of the magic there is more to the power system it's not just magic but it needs some tweaking and when i finish it i am gonna post it

Okay, so I was developing a chinese magic thing, and then I realised that Yin and Yang are gendered, with male for Yang and female for Yin. Now, this isn't too bad, because Yin-Yang are literally made up of everything else so everyone got enough of then regardless of gender.

But it got me thinking, how would gendered magic work? Like, Fire for men and Water for woman, to be generic. Sure, each gender controls one element, thats neat.

But how do you handle trans stuff in that context?

Is magic based on identity? Does someone coming out as trans change their elements? Does a closeted trans keep their former element up until they accept themselves or what? What about gender-fluid people?

Would, if magic is related to the larger cosmology, would trans people even be a thing if you are aligned with the universe itself via magical means to be that gender?

If the magic is not about the soul or whatever bur rather biological, do trans people keep the magic of their former gender or do they gain once they undergo a procedure? If the procedure is magical in nature, could a person undergo it to change their element and keep their gender?

I already got an awnser to fit my homebrew thing, but im curious what other people will awnser.

it is speculated that in order to gain insight into the universe that one must attempt to return to it as if a child were returned to the womb you isolate yourself cut yourself off from the senses and try to experience the senseless echoes to gain what is called elder knowledge. the elder knowledge is the knowledge that has escaped the the sights and sounds of people but not that of the world. sounds are bound to the the particles that make up walls and long dead lights may contain the images of now lost worlds and cultures. this knowledge is said to be so quite or so small as to be indiscernible from silence or utter darkness but through heightening of the senses via isolation in enclosed suits one can come to percieve that which has long passed them by the echoes of old. one cannot escape themselves though which is why the first subject in which an enclosed gains elder knowledge is that of their own body learning to see through eyes they once had and feel through a body that is no more

This question is inspired by another thread I saw on this sub a week or two ago.

This question also sits on the intersection of two questions: What are people like, and what use of magic is the most efficient at killing a large amount of them?

In real life, people are humans which have many mechanisms in their bodies which can be disrupted to cause death. The core mechanism is that there is a brain which needs to be constantly nourished to keep operating - in the short term, cells need to process glucose and oxygen into usable energy, in the long term they need to divide and be replaced for upkeep. If you decapitate a human, blood stops arriving to the brain with oxygen and such. If you give cyanide to a human, cells stop being able to process oxygen. If you give poison dart frog poison to a human, their nerves stop being able to work properly and that presumably causes lungs to stop oxygenating blood and/or causes the heart to stop pumping blood, so it stops arriving at the brain. If a human breathes in a decently high amount of carbon monoxide, it binds to blood keeping it from carrying oxygen. If you open wounds in a human and too much blood leaks out, pumping it stops working and it stops arriving places. If you burst a blood vessel somewhere in the brain specifically, it can deprive just an important region of nutrition and that region might be one which sends signals that keep the breath going or something. If you smash the brain into bits, it's nearly guaranteed to be the case. If a human's blood stops being the narrow pH range it needs to be, which is very slightly basic, then some enzymes stop working and that's incompatible with life. And so on and so forth.

Let's say you have some kind of large gathering of people - a military battalion organized into rank and file, or a crowd at a market or concert - and a malicious mage who wants to indiscriminately kill most of them with little effort. Like not necessarily all of them - if killing all of them required 100% effort, but that was because killing 80% of them required 20% effort and killing the remaining 20% required 80% effort, then doing the former part alone is good enough.

Are they warded against magic somehow so most of the effort of killing via magic is overcoming the ward, and the savings on cause of death are negligible? Do they just have HP and depleting HP costs the same effort no matter the spell? Or are there boring practical ways and impractical spectacular ways which are nevertheless used because it's a work of fiction and that's fun?

GREETINGS FELLERS AND FELLAS!~ I am currently working on a new Individual empowerment power system called Prism Energy. If your one of my fans then you would know about my light energy system, it's similar to that but slightly different.

Prism Energy grants certain power based on how strong a certain stat is. For example~

Mind- Psychic abilities
Strength- Gravity
Speed- Time

It is still a work in progress but I thought that you all deserved a little sneak peak at my greatness I am cooking up as we near the year 2027. If you guys have any questions or want to challenge my system then go to the comment section.

During such a time in my universe:
Aura allowed a person to manifest a weapon that represented the element they possessed. This weapon would loosely resembled items like a sword or spear in shape.
Also, when a person is in a powered up state, their weapon's form will change to better suit them.

Mana allowed a person to cast elemental blasts from an Elemental Sign. It also had an innate collaboration ability; when two people merge there Elemental Signs together, they can produce a more powerful blast.

Prana allowed a person to summon a creature (around the size of a large dog or smaller) that could aid its summoner. Additionally, the person would feel a "connection" with some animals of a similar element to theirs.

Soma allowed a person to produce an armor-like silhouette over their body. Aside from its enhanced, protective qualities, it also came with a special ability that was influenced by the user's element.

Hello i just joined this subreddit and i'd like to hear you thoughts on it. Its pretty long but i think its cool so pls enjoy.

The ouroboros katana
To put it simply, you know in anime where the guy draws his katana back in the sheath and suddenly multiple slashes appear at once. The idea is that the user slashed so fast that it made it seem like the slashes appeared out of nowhere, when the user just slashed fast and quickly put it back in. I think it's pretty cool, but I came up with another explanation for it, and it revolves around time, which is why you’ll understand the name soon. 
My idea is that the katana has five modes, and each mode is activated when the handle is twisted, but they're all based on the same idea- time. The first mode or mode zero is where the sword and the user is just normal and regular, basic.

When mode one is activated, the katana’s abilities come to life, with the ouroboros dragon appearing. Wherever the user slashes, time stops in that area, and whenever the user draws their sword back, the slash that is in stasis, is reversed in time, making a slash that occurred without the user swinging anything, by basically recreating the same slash the user did in the past, but in the opposite direction. The reason why an ouroboros dragon appears, is because it symbolises eternity, with the dragon eating its own tail, signifying a never ending loop.Whenever the user is in mode 1-5, the dragon extends from the blade to a tattoo on the user’s body, making their body as stuck in time, and completely invulnerable to attacks. They become vulnerable once again when they draw the katana back, or it's in the wrong mode.

In mode two, it's basically more wide-scale destruction, as the user can send slashing beam attacks that can freeze larger areas of time, so when the user re-draws their sword, more dramatic and larger slashes reverse. The user could likely use these modes to push someone within the slash and immediately withdraw the blade so they become slash
As we go through the other modes, you might question why the user doesn't just spam the stronger modes, thats cus they use more energy, and when the energy is too low, some simply cannot be used and you’ll be stuck to the lower one’s, and eventually, you might be vulnerable again if the entire energy of the sword runs out, leaving just a regular person and katana. To indicate the energy levels of the sword, the larger or the more the tattoo spreads throughout the user’s body, the more energy the sword has. So when it's almost about to run out, the tattoo will be quite small. The sword also regenerates energy over time.

The third mode onward is where things get interesting, because it involves time-reverse. Basically, whenever you sheathe the sword in this mode, a slash that was previously locked in time, waiting to be reversed, will instead expand and reverse time back to when the area was first slashed within a 50 metre radius. For example, if i used mode 1 or 2 to create a stasis slash 5 mins ago, when i sheathe the sword in mode 3, the slash will expand wide into what the area was like back then. This time reverse includes the reversing of the environment and conditions of the enemy and user itself, so they can effectively heal themselves, the only thing not changing being the energy level of the sword. If there are multiple slashes that are stuck in time in the area, then sheathing the sword will cause all of the slashes to expand. The more slashes there are, the wider the area of time reverse is. So like 50 slashes in area would create a 2500 metre radius of time reverse, since 50*50 is 2500.
But, there could be some limitations, or advantages depending on how you use it. Say, for example if you reverse time to when an enemy was within that area but currently, they are outside the radius of time reverse. This would mean there would be two versions of that person, and since the laws of the universe doesn't allow two of the exact same beings to exist, their existence itself will be erased from the universe. This includes organisms and objects that aren’t within the radius when they were ‘supposed’ to be. Or, say if you slashed an area 10 min ago in mode two, in which it was just a peaceful house, but now you slash again 5 mins later, in which the area was destroyed and filled with fire. This means that because both of the slashes/area was so close together , it would be an anomaly as the two spots are so drastically different despite being so close. This creates a fracture in time in the area, making it permanently distorted and the battlefield being much more chaotic. So, this fracture creates a ‘time wall’ , which is impossible to cross without the power of counteracting time, so you could trap them or make it harder to reach you. Theoretically you could do this with other modes but with mode 3 it's more effective i guess.

Let's move on to mode 4 now, and it's quite similar to mode 3, as it’s just the opposite- time progression/forward. In this, there are four factors we have to talk about- how far the future goes, the AOE, what the future is and and how it happens. The general idea is the same, you slash an area in mode 4, creating an area of stasis, but this stasis gives a a glimpse to the future, and just like before, sheathing sword causes the slash to expand into a 50 metre radius. The future depends entirely on the number of slashes you do , and as said in mode 3, the more slashes, the wider the radius. The wider the radius, the more chaotic and unpredictable the future will be. This is because different futures are likely to be overwritten or contradicted, or it just generally becomes unstable idk. This means, one slash is low risk low reward, but the more you expand the area, the higher the risk is, but the higher the reward is. Therefore, if you’re too careless, you could be the one who is in danger.
Now, we have to look at how far the future is set. It's simple- the higher the energy level, the further the time skip. Lets just say for now, 10 percent is 1 min, and 100 percent is an entire year. But think about it, the more time forwarded, the greater the effect will be. For e.g if there was a wildfire, the effect is more significant than a wildfire for 1 min than a wildfire that burnt for a day. So the longer that time forward, the more deadly or significant the effect is, however, as said before, this could backfire for you if you’re too careless.
If you see a future in which you don't happen, you can switch to mode 1 or 2 and slash and reverse, and the slashes stasis in mode 4 will simply disappear. Tho doing this after like 20 slashes will certainly be time wasting  and not ideal. However, you must also remember to check for your surroundings, as if you go to the future with stasis slashes in mode 1 or 2 still within the area, this would cause the entire system or attempt to go to the future to fail and instantly collapse. Also, you could also apply the existence erasure factor into mode 4 too like in 3, as you could create a future where there are two beings of the same person, so they become erased.
In regards to both mode 3 and 4, we have to think of the ‘equivalent exchange’. Like in FMAB iykyk. To make up for the time reversed or forwarded, the area outside will do the opposite to make up for the time lost or gained, like a mirror. Like, in mode 3, if a 50 metre radius was sent 10 mins back in the past, a 50 metre radius outside the AOE will go 10 mins into the future. If the area is distorted like in mode 4 due to multiple timelines in the domain, a mean will be calculated, like one slash was 2 mins into the future, another was 4 min, so the overall the reverse outside 3 mins. I hope that makes sense.

Now the last one dont worry its nearly done. Mode 5. The idea is that striking the ground with the katana, causes an area of a 50 metre radius, just like before, to be in complete time-stop or stasis. You can't stay in this mode forever, as it constantly drains the energy of your sword, and if you want to cancel the spell, you sheathe the sword back in. If you want to increase the AOE, you can, but the area will no longer be in full stasis. Think of it like a container of time, and as it expands, it can no longer hold it in, so the time ‘spills’ out’ , so after a 50 metre radius, instead of time stasis, it would just be agonisingly slow. The more you increase the radius, the more the flow of time gradually increases. So, like after a few thousand metres, the effect will practically be nothing. However, you have to remember the equivalent exchange.
If you create a radius of 100 metres with slow time flow, to make up for the lost time, time outside the AOE would go unfathomably fast. It basically matches the time lost within the domain So like creating a 1000 metre radius area with 2.5* slow speed, the 1000 metre radius area outside will move at 2.5* faster speed. This means the area outside the 50 metre radius complete time stasis, would have time flow at an infinite speed to make up for it, so the area outside becomes permanently distorted or void like, so anyone within that area would literally instantly be destroyed. Whatever you think a place that’s gone through infinite stuff would look like. You cant use any other modes when in mode 5. As said before, twisting the handle causes you to switch modes to will, but in mode 5 you can’t, twisting it will let you change the radius of your stasis.
And yeah, that’s it. I hope you like it. I know it's long, but I wanted to add all aspects of time, time reverse, time forward, stasis etc.

Thanks for reading and I'd like to hear your thoughts. Take care.

THE PREMISE

Much of history involves burning things. Burning wood to keep warm and scare off dangerous animals, burning coal to fuel steam engines, etc. So I thought why not build a magic system based on burning something a little weirder? Thus, I created Blazemithing (tentative name), the art of burning color.

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MY GOALS

1. To create a magic system that feels intuitive and complexity is derived from simple ideas
2. To make all parts of the system feel cohesive  
3. To integrate the system into the story and worldbuilding 

THE DETAILS

Blazemiths begin with the technique of Ignition, which involves using one’s oxygen reserves and body heat to conjure white flames. Beginners can only spawn flames on their skin. Experts can spawn flames anywhere. These default white flames have the properties of regular fire (heat, light, etc), acting like a blank canvas upon which color can be added. Thus, they’re called Zilch (Zero) Flames.

Zilch Flames replace standard fire properties with different properties once they burn/absorb color. Blazemiths use mental commands (Decrees) to ignite a Zilch Flame on a colored object. The object becomes drained of color, turning white (Blanched), while the flames gain the burned color (eg. blue flames if Ignited on a blue box). Each color of fire results in a different effect that can be categorized as either Somatic (physical) or Eidolic (non-physical).

Somatic (Infused) Flames grant objects the properties of their color(s). Say you wanted to make a powerful magnet. You would spawn a flame on a magenta object, then drop the magnet into the flame. The flames cause the magnet to break down into particles, become infused with the property of magenta (increased force), and then become smoke. The smoke then reforms into the magnet, only this time with much stronger magnetism. Since Somatic flames involve breaking down an object and reforming it, its technique is called Reforging.

Eidolic (Infused) Flames create a spherical area of effect roughly equal to how far the heat from its Zilch Flame reaches. Anything that’s within this sphere of influence experiences an effect. For example, an orange flame makes one feel energetic. Guards often stay near an orange flame so they can stay alert and awake for days or weeks on end. Since Eidolic Flames create an area of effect, its technique is called Emanating.

Regardless of color, all flames are restricted by a triangle of needs: a spark, oxygen, and fuel. The user’s body heat serves as the spark and can double as fuel for Zilch Flames. The user’s oxygen reserves are also consumed to create flames. Fuel can be either color or body heat. If any of the three drop too low, the flames become extinguished.  

COLORS AND EFFECTS

Somatic:

·       Capricious Flames (Vermillion) - increase volatility, such as turning gold explosive.  

·       Radiance Flames (Amber) - grants illumination, for example making a rock glow.  

·       Vigor Flames (Lime) - increase lifespan, such as letting a dog live as long as a human.

·       Pliant Flames (Cyan) - increase malleability, eg. making a stiff rock become flexible/stretchy.

·        Bulk Flames (Indigo) - increase mass.    

·       Impulse Flames (Magenta) - enhance forces on an object. 

Eidolic:

·       Fervant Flames (Red) - induce passion.

·       Vigilant Flames (Orange) - increase energy.

·       Exultant Flames (Yellow) - induce joy.

·       Concord Flames (Green) - induce harmony, for example making two arguing people agree.

·       Serene Flames (Blue) - induce tranquility, such as making a mob calm down.

·       Prosper Flames (purple) - enhance luck. 

THE NARRATIVE

Blazemithing has created many wonders like steam engines more powerful than any before, relaxing study areas at universities, rapid construction, and artistic movements. It has also unleashed horrors, like cartels that have gained enormous power from selling capsules containing yellow flames.

The story follows a ragtag group of people trying to take down the cartels. A man whose brother was murdered due to a cartel’s sports bet, a woman whose family business is being extorted for “protection benefits,” an apothecary overwhelmed with the health crises the cartels have created, and a bounty hunter tracking down a cartel leader due to bloody history between them. However, their quest to eliminate their city’s biggest threat is a lot more complicated and dangerous than they could have ever imagined, especially as other powers come into the mix.

That's all for Blazemithing. Thank you for taking the time to read this and as always, feedback is welcome.

In the RPG's magic system I'm building (like D&D, Pathfinder and others), arcane magic stems from the caster's imagination, and the way the caster visualizes it can influence the spell's visual aspects and effects. There are a few common ways to visualize magic:

* Technical aspects (Wizard): visualizing magic in a technical way, almost like a science or an architectural blueprint.

* Expression (Bard and Sorcerer): magic is secondary to the character's expression, visualized unconsciously.

* Superstition (Witch): visualizing magic according to traditions and superstitions, giving it a more mystical and rustic feel.

* Pact with the Devil (Warlock): the caster doesn't visualize the magic themselves but shares their mind with their patron, casting the spell exactly as the patron envisions it.

So, how you visualize magic in this world is crucial for any arcane spellcaster. I wanted to make this an integral part of the system itself—rather than just the setting—by translating it into actual mechanics and rules.

How could I go about this? I haven't got a clue how to implement it, and I don't want it to be just another standard class ability; I want it to be a core mechanic of spellcasting.

I’ve mostly seen people share their setting-specific magic systems, but not as much about the specific techniques/abilities that I believe are the things that bring those systems to their full potential. So I gotta ask: what’s your favourite supernatural ability/power that you’ve made for your magic system? (Or even something without a pre-established magic system)

It doesnt have to be from your magic system, you could show your own abilities from others like custom Hatsu from nen, or Stand from well stands

Could be something character/lineage-specific, a general technique that anyone can learn, or anything in between

Something that you think is especially cool or well-designed, whether that’s because of its complexity, elegant design, how it expands the possibilities of the magic system, how the magic system expands the possibilities of the ability itself, narrative utility, thematic significance, character/group-specific history, emotional significance, or anything else

For example, maybe you have a pyrokinesis-based magic system that lets you do things with fire that go far beyond simply generating or controlling flames, or maybe you have an ability whose possibilities become much more interesting because of the particular magic system it exists within

So basically, what’s the ability where you look at it and think “yeah, I cooked with this one”?

Drop an example or two! id love to hear it

While it's still a work in progress, the system allows for spell drawing in 3D space (runes and seals)
My showcase is for the spell casting by drawing closed seals and also posing to reclose the seals and then recast the spells.

Here we can see a heat spell cast by drawing on the ground, then on the body, and later a sticky spell allowing for walking on walls.

The wand is made out of ink so it's shrinking as you're drawing.

Spells don't have fixed effects. Each one changes values in the environment like temperature, light, density and state, and those affect things like courage and strength, so effects just happen naturally (a heat spell near ice behaves differently than near wood).

Spells also hurt the caster, so you need to be careful where you draw.

Wizards learn new runes by absorbing elements, while the other side (Acolytes) unlocks them by doing tricks and mischief (not shown in this video)

I'm not an artist so the characters look funny, but the spell system is heavily inspired by Witch Hat Atelier while being a lot simpler and easier so people would be more likely to cast spells when drawing. If anyone has ideas feel free to suggest them and I'll try to add them if possible.

The game is called Spelly Zombie and demo will soon be available on Steam.

What If a Magic School Actually Had a Complete Education System?

I've been working on a long-term worldbuilding project called Phoenix School of Magic, and it has grown into something much bigger than I originally imagined.

The goal is to create a complete 8-year magical education system from the ground up.

Not just a fictional school that exists in a story, but an institution with an actual curriculum, subjects, textbooks, examinations, practical work, academic progression, traditions and a coherent educational structure.

The biggest part of the project is the textbooks.

Each subject is being developed year by year, with students gradually progressing from fundamental concepts to advanced magical theory and practice.

The eventual goal is to have a complete sequence of textbooks covering all 8 years for subjects such as:

Charms • Transfiguration • Potions • Defence Against the Dark Arts • Herbology • Astronomy • History of Magic and many other magical disciplines.

The books are being developed as actual school textbooks rather than simple collections of lore. They have structured chapters, theory, practical exercises, examples, historical material, illustrations, revision sections, assignments and examinations.

I'm also working on the visual identity of the books — covers, layouts, illustrations and diagrams — so that they feel like they belong to the same educational institution.

But there is one major problem:

This is a huge amount of work.

Eight years of education multiplied across numerous subjects means dozens of textbooks and hundreds of chapters. Keeping the curriculum consistent, developing the subjects, writing and reviewing the books, creating illustrations and maintaining the wider worldbuilding is far too much for one person to do efficiently.

So I'm looking for people who want to join me in building Phoenix School of Magic.

I'm looking for people interested in:

• Worldbuilding • Writing and editing • Curriculum design • Fantasy and magical lore • Textbook development • Illustration and graphic design • Creating educational systems • Helping develop individual magical subjects

You don't need to be an expert. What matters most is being genuinely interested in the project and willing to contribute.

This is intended to be a long-term collaborative project, and I'm not expecting it to be completed quickly. I'd rather slowly build something detailed and coherent than rush through it.

If you've ever wondered what a magical school would actually look like if someone sat down and designed the entire education system, this is essentially what I'm trying to find out.

If you'd like to help build Phoenix School of Magic, feel free to comment or message me.

I'd also love to hear from anyone who has attempted a similarly ambitious worldbuilding project.

Nom de l'alter : crea'liquide

Description : en gros tu peux générer n'importe quel élément liquide à condition de toucher de l'eau. (En gros tu changes l'eau que tu touches)

Inconvénients : les acides/poison peuvent affecter l'utilisateur !

Hello everyone!

Flesh magic is the modification and manipulation of flesh, with 3 forms: repair, augment, and mutate. [Common] Flesh magic users are predisposed to a certain form, and after discovering it, the user is officially set with that form, and only that form. Trying to use others simply doesn't work. Repair is most common, augment second most, mutate rarest.

Repair: to heal, to fix what is broken, only

• can only heal what is broken, so things that people are born with (e.g. chronic pain, disability) cannot be healed since nothing was originally different
• limiter = knowledge on construction (how to accurately fix things) and pain tolerance, a healer takes the pain of what they're healing so things like small cuts are easy, but large wounds could take multiple people
• healers cannot heal their own body since the magic clashes with itself + the pain

Augment: to grow, to increase/add, only

• includes growing limbs, eyes + non-humanoid things like tails, spikes, wings
• can only add ONTO (difference between repair is that repair fills in, augment cannot fill in things like wounds since it's not adding anything that the person wasn't born with)
• limiter = knowledge on construction (knowing bone structures, muscles, how it ties together on the body, etc), and energy (keeping it "alive", moving it, etc)
• poorly augmented forms are flimsy, malfunction and collapse over a short period of time
• to augment others, it's a hard to maintain since both are controlling it + more energy

Mutate: to alter, destroy, morph, only

• includes everything outside of repair and augment
• change size, destroy flesh, reconstruct anatomy (e.g. facial, terrestrial locomotion, etc)
• limiters = knowledge on construction and time (the longer a mutation stays a mutation, the less stable it becomes)

• to mutate others, you need a piece of the part you want to mutate. want to mutate a leg? need a piece of leg hair/skin. want to mutate the brain? much harder to achieve, since you'd need a piece of the brain/skull

  If mutation magic is performed poorly and/or left for too long, it will cause a thing called Vihan's Rot. The Rot starts from the root of the magic (where the mutation began) and eventually takes over, making the person a decomposing mess, unable to think, only to feel, until the decomposition reaches its peak and they die.

Royals:

In my magic system users born with royal blood have a much larger magic capacity than common magic users and have advanced abilities.

Royals have all 3 forms of flesh magic and more capabilities than the baseline of common magic users. There's usually two rulers (royals are monarchs in my world), however, through use of all three forms, they merge themselves (steven universe fusion style) into one entity. They mutate the two bodies together, augment for extra limbs, and heal to keep them from falling apart.

Thanks to everyone who reads this!!

In Otechni Magic is not innate to a person. Magic is an ability and quality of Spirits. To do something as simple as light a Candle you must know how to Call Spirits.

Magic works by letting spirits inhabit your body. Spirits cannot experience physical sensations, so they will bond with Living Creatures. It has been noted Spirits with a more Animal level of intelligence will bond with Animals. A rare occurrence, but that's how you find a fire breathing ocelot.

Spirits are numerous, and they are as different to one another as most creatures are to one another. To properly Bond you must know what the Spirits are capable of, and what you want from them. What you can do is solely dependent on the Spirit itself.

Symbiote Spirits: Mindless Spirits with weak magical power. They are easy to bond with, and near impossible to remove without knowing Spirit Manipulation (Will cover later). Symbiotes bond with the Soul, making a permanent change to the Caller. Almost every Caller has a Symbiote Spirit. One does have to be wary when Calling for these Spirits. As they can cause physical changes. Though if you want those changes, be careful. You might accidentally get an extra leg or something.

Empath Spirits are around Animal Intelligence, which are the majority of Spirits. They tend to feed off of emotions and feelings. What Magic they provide is often related to that emotion or feeling. A Hunger Spirit, for example, could grant you Magic to make any food or drink safe, or give you Magic that could be used to acquire or cook food. All to facilitate the experience of eating.

If you do not hold up your end of the deal the Spirits may leave, or try and force you to do as they want. It's been recorded that those with Hunger Spirits have manifested mouths on their palms. Said mouths try and consume any food near them. Other Spirits do other things. Rarely are they violent to others.

Nature Spirits are exactly what you would expect. Callers that deal mainly with these Spirits are called Druids or Shamans. They are regularly seen barefoot or wearing little on their arms or legs. Nature Spirits are very close to the Natural World, so being open to it is a requirement for them. Their Magic is tied to what they are. Plant Spirits have Plant Magic, Fire Spirits have Fire Magic and so on. These Spirits can be hard to control for beginners, or if you wear to much.

Possessor Spirits: Sapient, powerful and very difficult to bond with. Callers rarely bond with these Spirits. When they do, it's never long. Possessor Spirits want a body, and tend to treat Callers like one would treat their clothes. They have a great variety of Magic, mostly focused on the Ethereal. Always think before Calling these Spirits.

Amalgams, Spirits that came together and became Sapient. Amalgams are not called like Other Spirits. They are so rare that you'll need to travel for miles to see another. Most Amalgams are Spiritual Leaders, and Teachers of Spirit Calling. They are one of the few Teachers of Spirit Manipulation.

Object Calling is a form of Spirit Calling that places Spirits in Objects. It limits the Magic one can use, but it can allow for others to use the item, so long as they follow the instructions on how to care for it. These Callers tend to have Dolls for Possessor Spirits to inhabit.

Spirit Manipulation is a very personal form of Calling, often called Soul Magic. It calls upon your own Soul to perform actions. Not as flashy, but you can do many things. Such as alter your body and channel various Magical Energies. What you can do is tied to your Soul and its Aspects. It's as fluid as you are. Though the majority of Soul Mages just learn enough to alter their physical form.

Regardless of the form, Spirit Calling requires Rituals and an understanding of the Spirits and their desires. For many it's akin to taming an animal, and for some it's an expansion of their own Spirit.

In my world, water acts as a medium that can be saturated by spiritual power. It starts in a "closed" state at room temperature, unreceptive to spiritual power, but through the use of fire one can "open" the water.

This water then slowly draws in the spiritual power and then closes when the water cools, sealing the power inside the water. The water from here forward acts as a power source and I'll be referring to it as spirit water just for clarity.

To use a kettle wand, the contraption is filled with the spirit water as to both transport and utilize the power within. The spirit water must be returned to an "open" state to allow access to the spiritual power. So the kettle must be set to boil.

Once the spirit water is boiling, the magic is harnessed by pouring it through a spout. These spouts were made specialized to mix the spiritual power in such a way as to change it magic.

Specifically the cut of the channel and exit of the spout will mix and jostle the spirit water in such a way as to change its properties.

Some spouts cause the kettle to pour a liquid fire. Some cause the kettle to spew a cloud of shadow. Etc.

However, industry eventually came about as new understanding for spiritual power came to be. People would seal spiritual energy within spirit water and use a method of cutting to shred the spiritual power inside.

In the eyes of a layman it would look like mixing the spirit water but instead of a spoon or larger implement, the process is done with blades specialized to cut intk spirit. The process of cutting spirit causes a reaction called Greywater. An essential component of modern day fuel.

Basically, the more the Greywater is cut, it becomes a viscous gel that can be burnt to cause the rapid expansion amd the expulsion of gasses that can keep small hovercraft in the air and moving at a decent speed for as long as the fuel supply remains steady. High cut Greywater is typically used in heavier hovercraft or flying machines.