ermetic magic is an unpredictable and
esoteric art, drawing upon inumerable and rather distinct ancient traditions.
From auguria to auspicia, astrologia to geomancy, genthliaci, horoscopi,
sortilegi, malefici and even the ars medicorum, the flavor and practice
of each magic is unique.
Ars Magica 4th Edition attempts to reconcile these very different arts by encompassing them in the single realm of Hermetic magics (or relegating them to the mysterious realm of hedge wizards and exotic magic). While the introduction of Bonisagus' techniques and forms (and the use of Latin) certainly had a unifying effect on the practice of magic among the varied lineages comprising the Order, it is a disservice to the rich history of these magics to compress such unique forms into one recognizable system. Current rules certainly recognize this dilemna, and attempt to establish diversity by the use of wizard's sigils, different Houses, and various Hermetic virtues and flaws. However, additional measures must be implemented to better capture the mysterious flavor and preternatural aura of Medieval magic. Therefore, we have introduced an additional component of Hermetic magic, known as Spell Colour.
The purpose of Spell Colour is to reflect diversity among Hermetic traditions, and add a more authentic flavor to the use of magic in a Mythic European setting. Despite this worthy intention, attempting to quantify and categorize these various magical traditions leads us dangerously close to fostering the very 'mathematical' feel we are seeking to avoid. Therefore these rules must be employed with a great deal of flexibility and imagination. Keep in mind that Spell Colours are intended merely to give magic a more robust, enigmatic flavor and pay tribute to the many ancient traditions that embody Medieval sorcery.
Currently 4th edition rules establish three spell parameters, called Range, Duration, and Target (p. 103 softback edition). Consider Spell Colour to be a fourth spell parameter. Crucial to using spell colours is a firm grasp of the manipulation of spell parameters and their effect on the ultimate level of the spell. Recall for example that changing the range parameter by one category will change the level of the spell by one magnitude. If manipulations in parameter and their corresponding affect on the spell's level are confusing to you, please consult the discussion of spell parameters and inventing spells in Ars Magica 4th edition rulebook (pp. 80-82 softback version). Spell colours function in the same manner, as each particular colour has its own table and unique categories. A shift from one step to the next in a spell colour table reflects a change in one magnitude of the spell, just as for the three current parameters. The only appreciable difference between the range, duration, and target tables and those for spell colour is that the spell colour tables flow in the opposite direction. That is, instead of increasing the spell's magnitude by one for each step you move up the table, the spell's magnitude is decreased by one. If this does not seem clear, forge ahead anyway and the numerous examples should facilitate a better understanding.
Unlike range, duration, or target, the default colour for any combination of Technique and Form is said to be an absence of color. That is, unless it is specified in its creation, there are not normally any limitations imposed upon a spell by colour. Most applications of a spell colour will result in a limitation of the spell's strength, narrowing its effectiveness rather than increasing its moiety. Consequently, the presence of such colour will serve to diminish the spell's magnitude. This reflects the ease with which the Magus practitioner may manipulate his particular magical tradition, yet limits the potency of the spell in accordance with the specified colour. The presence of one of these colours will influence the spell's effectiveness, and like the existing spell parameters, variations in colour are reflected in the spell's ultimate level.
For example, a Magus that commonly employs 'Celestial' spell colours can easily create a level 20 version of the Curse of Circe (normally a level 30 spell) if he binds its casting to a phase of the moon (moon phases are 2 steps along the celstial colour parameter table, as seen below, so the spell is lowerd by 2 magnitudes). Note that the spell retains its level 30 effect, but can be cast as if it were level 20 (and invented as if it were level 20). Alas, by binding the spell in this manner, the Magus can only affect its casting while the moon is in the specified phase. At other times, the spell will not function without the expenditure of vis (see below). The Magus could reduce the spell magnitude even further if he desired. Consulting the Celestial Spell Colour table below, we find that he could lower the spell by 4 magnitudes, from 30th level all the way down to level 10, at the expense of only being able to affect its casting one day out of the entire year ('day of the year' category is a -4 magnitude shift). The day must be specified in creation of the spell and cannot be changed. Note that the preceeding example does not suggest the Magus could learn this 30th level spell and cast it at level 10 on one particular day of the year. Rather, he would only be able to cast the spell on this one day out of the year, ever, as the inclusion of this colour prevents him from casting it on any day other than the one specified in the spell's invention.
Once the extent of the colour is selected during invention of the spell (e.g., binding the spell to a phase of the moon or a day of the year), it cannot be altered without re-inventing the spell. That is, limitations imposed by spell colour are an integral part of the spell and cannot normally be circumvented. However, they can be overcome by the expenditure of appropriate vis (1 pawn per level of magnitude of the spell's actual effect). For example, to circumvent a coloured version of Curse of Circe as described above, would require 6 pawns of vis (because it generates a 6th magnitude effect). For sagas which are particularly vis-rich (not the Rabenstein saga), the Storyguide may consider prohibiting this rule to prevent its abuse. Also, while most spells will probably manifest only one particular colour (if any), it is conceivable that a practitioner may utilize a combination of colours if they are so trained.
There are many different types of spell colour, each meant to reflect a distinct approach to the casting of magic spells. Listed at the conclusion of these rules are several suggested varieties of spell colour and a discussion of their unique nature (including a table depicting the rating-categories for the colour). Think of each colour as its own distinct branch of magic. Each has its own unique skill associated with it (these skills should be considered 'arcane knowledges' for purposes of game rules), and knowledge of one type of colour does not confer an understanding or ability to work another type. These are after all, varying traditions of magic. Each of these knowledges is analogous to a different branch of magical theory. Therefore the 4th edition skill 'magic theory' must be considered to be purely Hermetic theory.
To utilize a spell colour, the Magus must first possess the necessary arcane knowledge in order to incorporate it into his magic. For example, if a Magus wishes to utilize celestial colours, he must first possess the arcane knowledge Celestial Magic. If he wishes to utilize weather colours in his spells, he must first acquire the separate arcane knowledge Tempestarii (if he possesses both knowledges, he might even be able to weave both colours into a single spell). Once a Magus possesses the necessary skill, he may attempt to incorporate it in any of his magics (or more appropriately, combine it with Hermetic magics).
A practitioner's score in the knowledge is important, as it reflects his mastery of the art. When inventing spells utlizing the colour, the Magus must replace his Hermetic magic theory score with his score in the colour-knowledge when calculating his lab total. Actually, this is not entirely correct. The Magus must simply use the lower of the two scores (magic theory or colour knowledge), since he is combining Hermetic theory with his skill in the colour. The arcane knowledge score is also used for investigation rolls or any other lab activities related to the colour. In addition, the number of colour-induced rating-category shifts that can be incorporated into magic is limited to the practitioner's score in that colour. A -2 magnitude shift for example requires that the Magus possess a colour skill of at least 2. A -3 shift requires a skill of at least 3, and so forth. Hence the incorporation of a powerful 5th magnitude shift requires that the pracitioner first possess a minimum skill of 5 in the colour (and make the successful investigation roll(s) related to the desired effect). Skill in a colour can be improved through the normal expenditure of experience points, as well as standard teaching methods (also, if a Magus invents a coloured spell, they may elect to divert the 1 experience point normally awarded to Hermetic magic theory into their colour-knowledge instead). It may be possible to improve a score in colour through the study of unusually flavored vis, but this would certainly be a rare event, and is entirely up to the Storyguide.
Arcane knowledge of one of the colours should either be established at the character's creation, or acquired through a later story event (the Magus reads a summae concerning an arcane colour or is taught how to use a new colour by someone both skilled in the colour and able to teach her in its use). Non-Magus characters can only select a skill in one of the colours by purchasing it as a Virtue. Magi may write Summae or Libri Quaestionum concerning their knowledge of a colour (following standard rules on p. 188).
Some spells are purely Hermetic in their nature and Magi have been unable to ease their casting by adapting them to a colour. The most noteworthy example of this is the traditional Ritual Aegis of the Hearth. Centuries of effort have been unable to produce an effective version of this Ritual with the use of colour (in fact, the most successful coloured version, by Lysistratus of Callimachus in the 10th Century, merely afforded the protection of the Aegis to herself alone, much to the chagrin of her Covenant's fellow Magi). Philosophers of House Bonisagus have postulated that the concept of 'Vim' is not well-suited to the more naturalistic and narrow shells of the many varieties of colour, and for that reason they seem unable to affect the casting of a successful Hermetic Aegis. There are many other such spells which colour seems to have difficulty influencing, particularly Vim spells. If a Storyguide finds the use of colour inappropriate in a certain situation, they could either disallow the practice (allowing the Magus to invent a useless spell) or reduce the spell's effectiveness under the blanket of this well-known dilemna. This should not come into play very often however, as colour was designed to ease the ability of Magi to weave powerful magics within their own milieu. A Magus who often employed Location Colours for example, should be allowed to invent spells that only function within their covenant if they can manage it (-4 magnitudes for 'unique location'). Although the Magus' powers will be impressive within the covenant, what would happen to the Magus if they were forced to depart its comforting halls by some story event? Or worse still, to abandon the covenant altogether due to a story event (inevitably the goal of any creative storyguide faced with this dilemna). All their carefully wrought spells would be completely useless (though their lab texts may serve as a lab bonus for re-inventing more suitable versions of the spells in the future). Most players will consider these potential problems as well, and will probably be cautious in relying too heavily on highly-coloured spells.
Normally spell colour cannot affect the casting of a Hermetic spell if its presence was not initially included in the invention of the spell. However, there is an important exception to this rule. It is possible to utilize colour to ease the casting of Ritual spells. This is accomplished by substituting colour for vis. For each progressively more difficult rating category of colour that is applied, one pawn of vis can be assumed to have been invested in the Ritual. For example, if a Magus wishes to cast the 20th level Imaginem spell Eyes of the Past, it would normally require 4 pawns of raw vis (either Imáginem or Intéllego). If the Magus was able to employ his knowledge of celestial magic, he might be able to reduce this number. Using our previous example, he might cast the spell under the light of the full moon (a shift of 2 rating categories), and therefore only require 2 pawns of vis (the other 2 having been circumvented by slaving the Ritual to a -2 magnitude shift in celestial colour). As you can see, implementation of this method will vary according to the nature of the colour involved.
Use of this concept is not as simple as it might appear at first glance, because before the colour can be added to ease the Ritual, the Magus must first determine how the colour needs to be manifested. To accomplish this, the practitioner must investigate the optimal conditions under which the desired Ritual must be completed with respect to the desired colour. This requires a successful Arcane Knowledge (Colour) roll and takes one day per rating category of the desired colour. A successful roll will reveal the necessary colour, chosen by the Storyguide or Troupe to best reflect the spell. This will take a little creative thinking. A botch on this investigation roll will probably reveal an incorrect or even dangerous colour, while failure simply fails to reveal a definitive answer.
For example, a Blood Sacrifice colour of rating category three (large game) applied to the ritual Calling the Odious Drought might reveal that a camel is required. This example was selected to demonstrate that a successful determination of the necessary colour does not necessarily mean the Magus will be able to easily perform the Ritual. Depending on the magi's location, it may be easier to scrounge up the additional vis than to find a camel to sacrifice. Note that this example only specifies the necessary 'large game' sacrifice (at rating category three). It is possible to research the other rating categories for the same Ritual with separate successful investigation rolls. In the above example, a rating category of one (insects) might reveal that locusts are necessary (perhaps equally difficult to attain). You may never combine the ratings categories from the same colour in a spell. Sacrificing both a camel and a locust in the previous example would not increase its effectiveness. Much as extra vis is burned without benefit, only the higher-rated camel would grant a benefit, and the locust would be disregarded entirely (though its use might warrant an additional botch dice). It is possible however to combine different colours in a cumulative fashion (a blood sacrifice and a celestial colour for example), although this is not very common and use of more than two colours in combination is certainly unorthodox.
Although it is not possible for a Magus to invent a coloured spell without prior knowledge of the colour, it is possible for them to cast such a coloured spell from text. The spell must exist in a readable form (casting the spell directly from the inventor's personal grimoire is normally impossible) and standard 4th edition rules for this process are used (p. 78, softcover).
There may be differences in the casting procedure however, dictated by the extent and nature of the colour(s) present. Unlike normal Hermetic texts, the coloured text will normally include a written preface describing the procedure required to affect the spell's success (ceremonial colour for example, might describe the types of perfumes and tokens that are necessary and where to place them prior to the spell's recitation). Proper use of the colour might require additional finesse rolls, dexterity rolls, or similar devices depending upon the nature of the spell, so you should consult the description of the particular colour involved to facilitate its use. Failure in such a required roll will likely result in failure to successfully cast the spell. In addition, each rating-category shift induced by the colour requires the use of one additional botch dice in its casting. If the caster actually possesses a skill in the involved colour, this number may be reduced by one per point they have in the colour (optimally, this penalty can be entirely removed).
Rules are only discussed here for the use of spell colour in Formulaic and Ritual spells. But it is certainly possible to utilize colour in the development of magic items, potions, talismans, or other laboratory activites without too much difficulty. It is not recommended that spell colour be incorporated into spontaneous magic. However, if the Magus wishes to investigate the aspects of a colour with regard to a specific situation, you may consider applying a bonus to their spontaneous spell casting roll equal to their score in their spell colour skill while the aspect is manifested (apply this bonus before dividing). Finally, characters should be allowed to create their own Virtues & Flaws related to colours.
Augures | |
-5 |
Legendary birds |
-4 |
Rare birds |
-3 |
Migratory fowl or specific bird of prey |
-2 |
Specific small birds/birds of prey/sea fowl |
-1 |
Songbirds/cagelings |
This colour is well-known among the denizens of mythic europe, utilized in all manner of divinations. It requires the Arcane Knowledge Augury, and makes use of the flights and behavior of birds to divine all manner of queries. The art is well regarded because christians believe birds are dearer than people to God, and closer to communion with him. In fact, birds are thought to be so light that they are nearest to the upper air (as described by Ptolemy), and hence they are excellent messengers of the divinities that reside there. Many petty augerers have established themselves as hedge wizards in a noble court due to the respect they are afforded. Consult page 45 of the rulebook (4th edition softcover) to consider the sort of divinations such an augerer might accomplish.
Despite its tentative embrace by the Church compared to the other coloured arts, the practitioner of Augures possesses relatively modest power, for like other divinitory arts, its prophetic powers are weak and obscure at best. Further, its incorporation in Hermetic spells is strictly limited to Intéllego magics, most commonly Intéllego Mentem spells. Perhaps the most encompassing limitation of this art is the fact that a Hermetic spell bound to the colour can only be cast in the presence of the necessary bird(s), for it is the observation of the foul's behavior, motion, cries, and calls that eases the casting of his spell. The bird must be within sight of the Magus when the spell is cast, and the Magus must be able to observe the bird for at least one round per magnitude of the spell's effect. Like some other colours, Augury therefore extends the time required to cast spells tempered with its colour, and no spells with this color can be fast-cast. These many limitations make Augury a weaker colour relative to other magical traditions.
Capturing the necessary birds for the purpose of augury is oft-employed by practitioners of this art, but the practice has its limitations since birds cannot be observed in captivity to affect proper divinations. In order for the augury to succeed, the bird must be released to the wild. It may take from several minutes up to an hour or longer for the bird to become calm enough to revert to its natural behavior and allow the Magus to cast his spell successfully. Frequently the released bird flies away never to return, out of sight of the Magus before it calms down and therefore preventing the casting of the necessary spell. Further, a bird removed from its natural habitat (e.g., a caged seagull released into the Black Forest) will often yield incorrect interpretations (increase the number of botch dice, or disallow successful casting altogether).
There is no limitation to the type of Intéllego spell which can be bound to this colour, merely the required proximity of the necessary bird for the Magus to observe. If the necessary bird is not visible and audible to the Magus for at least one round per magnitude of the spell's effect (or at least 15 minutes per magnitude of ritual spells), the spell automatically fails. This serious limitation has resulted in infrequent use of this art, and anyone who frequently weaves it into their spells will certainly gain a reputation as a Hedge Wizard in the Order. But it has many convenient applications, such as the simple binding of Intéllego Vim spells like Sense the Nature of Vis to songbirds which frequent the Covenant, or binding Tongue of the Folk to domesticated chickens (this may seem frivolous, but it eases the invention of the spell by lowering its level to 15, and the prudent Magus will observe that chickens are often kept in or near both covenants and foreign villages where the Magus will have need to cast the spell).
Despite its well-known limitations, there is one beneficial aspect of augury which makes its possession desireable among the Order. Assuming the Magus can make proper use of the skill by observing the appropriate bird(s), they may add their score in augury to any investigation rolls related to other colours. For example, a Magus investigating the most suitable time for the casting of a spell may add his augury skill to his Haruspices Investigation roll.
Songbirds are the simplest form of augury (a -1 magnitude shift), for they are widespread throughout Europe, from warblings to sparrows to blackbirds. They are invariably small, and need not be particularly noisy to belong to this broad category (as the practitioner observes both the calls and the movements of the fowl). A specific type of songbird need not be designated, as their collective natures and manners contribute to the Magus' interpretation and successful casting of a spell bound to them. Cagelings are also considered a -1 magnitude shift. These include any variety of tame or domesticated bird, from a noble's hawk to caged songbirds to farmyard chickens and geese. However, unlike songbirds, the particular type of cageling must be specified and will be unique for a spell (a spell bound to a hen will not succeed by utilizing a domestic goose). Due to their domestic nature, caged birds do not have to be released into the wild in order for the Magus to affect the casting of a spell bound to the bird. In fact, they should remain in their normal environment.
The second magnitude shift, Specific Small Bird requires that a spell be bound to only one particular species of small-bird (if a wren is bound to the spell another kind of small bird will not suffice). Another type of fowl that constitutes a 2nd magnitude shift are Birds of Prey (such as hawks, crows, ravens, eagles, falcons, owls, etc). Any of these variety will suffice, but by specifying a specific breed of one of these hunters, the colour is raised to a 3rd magnitude shift. Note that all manner of sea-fowl also constitute a 2nd magnitude shift, though their specific breed must be specified.
Migratory Birds comprise a 3rd magnitude shift, and must be specified (for example, ducks or geese). Rare Birds and Legendary Birds (a phoenix for example) are the 4th magnitude and 5th magnitude shifts, but are not often employed (bound to a spell) by the augurer due to the infrequency of their appearance. However, if an augurer has a minimum score of 4 (to match this magnitude shift), he may be able to use his skill in augury in an investigation roll to determine the significance of the appearance of such a bird. Medieval folk of all ranks took the appearance of a strange bird to be a divine message of great importance, and the creative Storyguide will make ample use of such symbolic events in their Saga. A Magus skilled in augury might be privy to the implications of such mysterious events.
Finally, the practitioner does have the capacity to futher refine his use of this colour by narrowing the particular category of bird chosen. If the newborn variety of a species is selected, this raises the magnitude shift by one. For example, if a goose is chosen as a migratory foul (a -3 shift), a gosling would constitute a -4 shift (but of course by selecting the gosling as the spell's colour, an adult goose would not be able to affect the spell's casting).
Exempli Gratia: Quaesitor Raisel of Seville has frequent cause to travel between the Pyrenees and Castellemare in the Alps. Tired of losing valuable time in her travels due to inclement weather, she decides to invent Sailors's Foretaste of the Morrow, a 25th level Intéllego Auram spell. Observing that she frequently sees falcons and hawks from the peaks of the mountainous covenants she visits, Raisel decides to use her Augury skill to ease this rather difficult spell's creation. Since these birds of prey represent a 2nd magnitude shift, she can invent the spell as if it were level 15 instead of 25. She plans to utilize the spell from the several mountain Covenants in her travels, making use of their magical auras and numerous indiginous hawks to divine which times would be best suited to depart.
Celestial Colour | |
-5 |
Rare event |
-4 |
Annual/unusual event/juncture |
-3 |
Zodiac/precise moon phase |
-2 |
Jupiter or Saturn/momentary/relative Moon phase |
-1 |
Mars or Venus/interlude/constellation |
The Medieval conception of the heavens stems from Plato's cosmology (and subsequent commentary by Chalcidius and other classical scholars), as well as Cicero's Dream of Scipio. The picture of the heavens they provide is quite disparate from modern cosmology, and rather depicts the celestial regions as an eleborate heirarchy. Furthest from the earth is the 'upper air' populated by godlike beings, a powerful region which reaches down to the moon. Although it is impossible to manipulate this region with magic, the celestial practitioner can influence events in his own earth-bound realm by studying the affect of the dominant upper air upon the earth. Next lies the 'middle air', encompassing the region from the moon to the earth, which is peopled with invisible demons and shades (the 'lower air' is more mysterious, and refers to the underworld). Magic can affect this region, as Hermetic magic and the other colours attest. Fire predominates the upper air, as evidenced by its many luminaries upon which the earth depends. Auram dominates the middle air, followed by water and finally earth.
Proper aesthetic incorporation of this cosmology is obviously complex and considerably beyond the scope of these rather simple rules, but this brief discussion was included to provide an insight into the sort of intricate machinations a practitioner of celestial colour must consider in their art.
Like many other categories of colour, selection of a celestial colour is not always a matter of choice. An investigation roll is required to determined the optimal conditions for the binding of a spell to celestial phenomena. Depending on the nature of the desired spell, the colour may be quite specific, or provide a range of possible alighments to choose from. Note that use of this colour does not demand that a spell be bound to casting during night-time (although this is often the case as Magi who practice astrologia tend to develop a nocturnal habit).
The simplest spells are bound to the ascendance of one of the quick planets (Mars or Venus), lasting either several days each month or several weeks in a row every few months. Venus is more frequent than Mars, but Mars persists for longer once it is visible. Another 1st magnitude shift, 'Interlude', makes use of the position of the sun or moon each day ('morning' for example, can be considered the interlude that lasts from sunrise until several hours past dawn). Other interludes include afternoon, evening, early and late-night. Alternately, a -1 magnitude colour binds the spell to the ascendance of a particular constellation (e.g., the Big Dipper, Orion, or the North Star). This lasts for several hours each night, depending upon the time of year and the particular constellation, and is analagous to the category 'Interlude'.
Jupiter and Saturn are majestic planets, methodical and aged, therefore binding a spell to their ascension constitutes a 2nd magnitude shift. Although their ascendance may last for many weeks at a time, they may also lie dormant for several months, making spells bound to them considerably fickle (the practitioner can discern the cylcles of a planet with a successful Investigation roll). 'Momentary' spells are also 2nd magnitude shifts, bound to a fleeting moment each day, often either the transition of the sun or moon (dawn or twilight) or their zenith each day. These moments only last a few minutes (15 at most). Second magnitude celestial colours also often bind a spell to a relative phase of the moon, which must be denoted with the spell's invention and cannot be changed. The relative phase is more broad than the precise phase, lasting several days longer. A relative full moon for example, can be considered to last for three successive nights, from dusk to dawn. Note that it is not necessary that the designated planet (or moon) be visible during casting of the spell, merely that it be in ascension (Storyguides might consider assessing a spellcasting penalty in these instances however, to reflect the diminished manifestation of the necessary planet).
By limiting a spell to the precise phase of the moon, which lasts only a single night each month, the colour becomes a 3rd magnitude affect. Binding a spell to one of the twelve Zodiac is another type of 3rd magnitude shift. For example, if Capricorn is chosen, the spell may only be cast while it is in ascension (one month out of the year).
Fourth magnitude celestial colours bind a spell to an annual alighnment of stars. Since the position of stars dicates the passage of time, the roman calender will not precisely adhere to the event with each passing year, but should prove to be a relatively reliable indicatior of the approach of the specified night. Other 4th magnitude shifts are an unusual event or the juncture of specific planets or stars. Such events are relatively uncommon, occuring perhaps a single day in a year (or perhaps twice in one year, but none the next year).
Rare events include such occurences as comets, eclipses, a blue moon, a particularly unusual alignment of the planets, etc. The specific type of event must be indicated for a spell. Some events are quite unpredictible (like falling stars), but eclipses and a blue moon may be aniticipated with a successful (albeit difficult) investigation roll.
Exempli Gratia: Lassitor of Criamon wishes to ease the casting of the 35th Level PeAq Ritual Calling the Odious Drought by utilizing his knowledge of Celestial Magic. He elects to investigate which Zodiac would be best suited for the spell's casting (a 3rd magnitude shift). After a successful investigation roll, the Storyguide informs Lassitor that he must bind the spell to Virgo (since Pisces is the zodiac most closely associated with water, he reasoned that its diminisher, Virgo, would best facilitate the elimination of water encompassed by the Ritual). Thus if Lassitor casts the Ritual during the ascension of the constellation Virgo (late august through late September), the Ritual will require only 4 pawns of vis instead of the normal 7.
Ceremonial Colour | |
-5 |
Inscribed circle and link to place |
-4 |
Inscribed circle/link to place |
-3 |
Link to stars or planet |
-2 |
Tokens |
-1 |
Lights & perfumes |
Unlike other spell colours, combining the aspects of each rating category in the same spell is not only permitted, it is mandatory for its proper casting. That is, the use of any category of this colour in a spell requires the incorporation of each of the preceeding categories in the spell. This is meant to reflect the growing complexity of the ceremony. For example, linking a spell to the proper planet (a -3 shift) requires the use of both a token (-2 category) and a light/perfume (-1 category manifestation). Linking the same spell to a place (the -4 category), still requires that it remain bound to the previous planet, token, and light/perfume. A separate successful investigation roll is required for each rating category, and the improper identification of any one of the categories will result in the failure of the spell if it is employed. Also, one additional botch dice must be rolled for each rating shift category that is used.
Spells utilizing this colour always begin with an introductory oration or prayer by the Magus, entreating the spirits of the middle air to produce the desired effect. As the title of this colour indicates, the subsequent actions of the practitioner involve an intricate ceremonial petition to affect the desired magic. First the necessary lights and perfumes must be lit or burned/sprinkled, etc. This constitutes the 1st magnitude shift (note that both lights and perfumes must be employed in the spell). Lights may involve simple candles, bronze urns, the burning of a particular kind of wood, etc. Perfumes include incenses, elixors, ungents, or even burnt herbs, and they are sprinkled or wafted according to their nature and the moiety of the spell. The particular light or perfume necessary depends on the desired affect, and must be identified with a successful investigation roll. Recall that higher rating-shift categories still require the use of these previous aspects, so lights and perfumes will be utilized for all spells employing ceremonial colour. However, sometimes the nature of their incorporation will change with higher magnitude-shifts. A simple candle for example, may be replaced by a bonfire for a higher shift (this alteration is relatively rare). Note that the dependence of ceremonial magic upon lights and perfumes results in an interesting limitation in their use - the quality of air during casting must be calm, serene, and quiet. Attempting to cast a ceremonially-coloured spell in a storm for example, might douse the flames or wash the elixors away, rendering the spell's casting impossible. It is perfectly acceptable to use accompanying magic to calm the air or bestill the storm to facilitate the casting of the ceremonial coloured spell (if this is within the magi's power), but once the casting of a ceremonially coloured spell has begun, the practitioner cannot pause to dispell pestering winds or weather. Doing so would automatically cause the spell to fail and might still result in a botch.
If the 2nd magnitude shift is employed, a proper token must be presented and placed nearby. The successful identification of this token(s) requires a successful investigation roll, and depends upon the nature of the spell involved. Examples include garments of appropriate color, lamens, holy papers with names written on them, pentacles, rings, and swords. Tokens are similar in nature to a spell focus, but are mandatory for successful casting of the spell. Note that use of a token to affect a 2nd magnitude shift still requires the necessary lights and perfumes.
Third-magnitude shifts involve a link to a particular planet or star(s). This normally requires that the spell be cast at night, and once again requires both a successful investigation roll to identify the celestial condition, and the proper use of the necessary token, lights, and perfumes.
Fourth magnitude shifts involve binding the ceremony (spell) to a particular location, similar to the colour locus magic. These locations are always rather broad, and relate to the desired affect (requiring a successful investigation roll of course). For example, a spell relating to the sea or a river would be bound to a shore or a riverbank.
Inscribed Circles encompass the 4th and 5th magnitude categories of this colour, and are the most well-known aspect of Ceremonial Magics, useful in summoning spirits and other shades. The circle adheres to the Hermetic Law of Inscribed Circles, and must be drawn in a complete, uninterrupted manner (requiring a Finesse + Dex roll). The practitioner and any of his companions must be inside the circle, and breaking its continuity renders the circle powerless to protect those inside from any evil spirits present (while it is active and the Magus remains within the circle, it can be considered to possess a ward versus the conjured spirits at a level equal to 5 times the magi's score in Ceremonial Magic.
Summoning spirits takes even longer to enact than other ceremonial spells, as the Magus must additionally both scribe the circle in the earth and entreat a recitation in his own defense (avoiding this is very dangerous). Further, spirits are often obstinate, and the Magus may have to repeat his invocations. If the spirit has not appeared after a third, more forceful recitation, it is likely that the spirit shall not or cannot (as it may be beyond its power).
Raising ghosts is difficult, and always requires either their blood or body (or part thereof). Common tokens for this task include eggs, milk, honey, and oil, to which the ghosts are drawn from their turbulent, lifeless realm. Common places for this task include regions where their spirit is known to trod, such as the site they died, or even churchyards. The strength of ceremonial colour with regard to conjuring spirits has been documented in its capacity to partially avert one of the major Hermetic limitations. In the 10th Century, Abbo of Fleury of House Criamon revealed that ceremonially-coloured spells can sometimes conjure the spirit of someone given a christian burial. This will only work however, if the person died a premature, violent death, and only succeeds because the dead body and spirit do not want the rite of due burial.
Finally, use of inscribed circles does extend beyond the scope of conjuring ghosts and other spirits in the traditional sense. It is possible to utilize them to affect the casting of seemingly non-spiritually-related spells (for example, the PeTe spell Fist of Shattering). In truth, the practitioner produces the desired magical affect by the intervention of invisible intermediate spirits (perhaps even elementals, faeries, or demons). In this example, spirits of the middle air would obey his commands to smash the indicated stone. Use of the inscribed circle in this case still requires the necessary entreat in the practitioner's defense, as the careless Magus may find himself the subject of his Fist of Shattering, for spirits are known to resent such magical manipulation. Other spells are not so easily achieved using Inscribed Circles (such as most Intéllego Mentem spells). In these cases the spirits are not the subject of the spell, nor can they produce the desired affect by acting as intermediates. For spells with this natural limitation, the most powerful shift Ceremonial colour can provide is the -4 magnitude shift, binding the spells to a place.
Exempli Gratia: Fredebertus of Tytalus wishes to invent Awaken the Slumbering Corpse, a 25th Level ReCo spell. He suspects that it would be well-suited to incorporate with his skill Ceremonial Magic, but not wishing to narrow the spell's usefulness too much, he decides to introduce a simple 2nd magnitude shift (His skill in Ceremonial Magic is 3, so this is well within his capacity). Making an investigation roll for the 1st magnitude shift, he discovers that candles from a baby's christening should provide the necessary light and that aromatic foods should provide the scent or 'incense' (the Storyguide decided the candles were symbolic of the 'birth' he sought to rekindle in the corpse, and the scent of foods would serve to entice the corpse to return to its former gluttonous life). Fredebertus then makes a second investigation roll to investigate the necessary token(s) for the spell. The storyguide informs him that he will require a spade and a pair of shoes (symbolic of the corpses wakeful duties). Fredebertus then successfully invents the 25th level spell as if it were level 15 (having introduced a 2 magnitude shift). Soon Fredebertus has cause to cast his new spell. He performs the ceremony, lighting the candles, setting out sweet-cakes, a spade and shoes, and makes his casting roll. Despite repeated attempts, the corpse lies still. Apparantly there was a flaw in his spell! He suspects one or both of the ceremonial aspects are incorrect, but until his skill in Ceremonial Magic increases, he cannot make another investigation roll. When his score rises the next year, he repeats his investigation rolls for the spell Awaken the Slumbering Corpse, and discovers the source of his error. Instead of a spade and a pair of shoes, he should have used a rooster and green turquoise (the Storyguide informs Fredebertus that he had botched his initial investigation roll about which tokens he should use). Poor Fredebertus cannot simply substitute these new tokens and cast the spell successfully, for he has woven the incorrect ones into the spell. He must re-invent the spell entirely. He may however add his Magic Theory score at the time he invented the initial failed spell to his new lab total to reinvent a successful version of it (this reflects his already fluent grasp of the spell's lustre).
Genethliaci | |
-2 |
Place or planet |
-1 |
Animal, element, day, time or stone |
Mercere first introduced this art to the Order, and despite his loss of the capacity to work magic, with his help Bonisagus adapted some of its applications to Hermetic magic, and today many Redcaps who possess the Gift continue the tradition of their founder by pursuing this ancient art. However, there are major limitations to the usefulness of magic bound to this colour. First, genthliaci-coloured spells only work upon people, and have difficulty incorporating any magics without a Corpus aspect. Second, knowledge of the birth conditions of the subject of the spell must be quite precise to yield truly effective magic, and investigation rolls related to this information can be quite difficult. But perhaps worst of all, since the birth conditions of each subject will differ, this means that any spell coloured by genethliaci will only work upon the individual it was invented for. Consequently, Magi most commonly use this colour to invent spells that directly affect themselves, or more rarely, a valued consors. The art is also frequently used to expediate the healing of individuals, by divining the favorable conditions for their recovery (assuming the correct birthdate can be discerned for the spell's target). In these situations, genthliaci's colour has been able to replace the necessary vis (at one pawn per magnitude shift as described in the use of colour in Ritual spells). This capacity to ease the casting of formulaic magics affecting the body is unique among the numerous colour-traditions. A more detailed incorporation of such use of the colour will not be detailed here, but a great deal of imagination and flexibility should be applied to its potential use in corporal magics.
The divinatory powers of this art are the most well-known aspect of genethliaci. But true divination of the future defies Hermetic law, and has proven to be elusive even with this art (most hedge wizards who practice this art are probably frauds, or bound to rendering vague generalities about the future). The true strength of this art lies in revealing the favorable conditions for undertaking certain tasks or manipulating the body in certain ways. The rating-shift categories are rather unconventional compared to the other flavors of colour. Only two categories exist, and the astrological influences listed in either category are meant to be combined in any desired manner. The incorporation of any of these influences requires a successful investigation roll, as they will often vary according to the nature of the spell. The ultimate magnitude of the rating shift produced depends upon the sum of the individual ratings of the influences which are incorporated into the spell. For example, incorporating a place (-2 category) with a planet (-2 category) will yield a -4 magnitude shift. Note however that a spell so-coloured can only be cast in this particular place under the ascendance of the specified planet. As with other colours, the particular place and planet depend upon the individual and the particular spell, and require separate investigation rolls to elucidate.
Combining the simplest, -1 magnitude astrological influences is slightly more complex. Their use must be summed much as experience point totals are calculated. For example, utilizing an element (-1 category) yields a -1 magnitude affect. To achieve a -2 magnitude shift, this element must be combined with an additional two -1 influences (such as a stone, and an animal), or conversely a -2 category influence. Note how this correlates to achieving a skill level of 2 in a trait, by the expenditure of 3 experience points. The only way to achieve a -5 magnitude shift in this colour requires the incorporation of all the listed astrological influences (a place, a planet, a time, a day, a stone, an element, and an animal). A little math will confirm this requirement.
One last note on this colour...depending upon how much time the Storyguide and player wish to devote to the matter, a true master of genthliaci might find his magics affected by numerous enhancers and diminishers. Their presence could theoretically be woven into the character's life during appropriate scenes and stories.
Exempli Gratia: Marcus Constantine of Tytalus wishes to devise a spell to transform himself into a wolf, though he suffers a deficiency in the art of Animál. Due to this inadequacy, he fears being unable to routinely cast the spell due to its high level, let alone invent it, so he decides to introduce the colour of Genthliaci to lower the level of effect. He chooses Shape of the Woodland Prowler, MuCo (Animál requisite) Level 25 as the basic spell. Making an investigation roll for the necessary place, a -2 shift, he discovers that woods are required. Since he intends to use the spell in the wilderness, he is pleased with the result and determines to incorporate it into the spell. Deciding that a proper planetary ascension might be too limiting, he does not pursue this aspect (were he to investigate, the Roman's association of the wolf with victory in battle would assuredly annoint Mars the proper planet). He similarly dismisses the use of a single 'day' for casting of the spell, finding it too constricting. Investigating the simple aspects (category 1), he finds the necessary stone is antimony (the alchemist's 'grey wolf' which purifies contaminated gold), the necessary time is night (wolves are known for their evil nature), necessary element is fire (for the wolves' eyes glow in the dark like lanterns), and necessary animal is naturally the wolf. The limitation of night does not appeal to the Magus, who anticipates use of the spell during daylight, so he abandons its use. Marcus Constantine decides to combine place (-2), and the combination of element, stone, and animal to achieve a -3 total magnitude shift. He then invents Shape of the Woodland Prowler at an effective level of only 10. Due to his Animál deficiency, it takes him two seasons to complete the project. Further, Marcus Constantine may only cast the completed spell when he is in the woods, next to a fire, holding a stone of antimony, possessing the eyes of a wolf (or another appropriate token of a wolf as approved by the Troupe).
Haruspices | |
-6 |
Day in a century |
-5 |
Decade |
-4 |
Day of the year/annual event |
-3 |
Season/day of the month |
-2 |
Day of the week/hour of the day |
-1 |
Night or day/tides |
Use of this colour requires the Arcane Knowledge Haruspices (Cyclical Magic). The simplest colours depend upon such regularly occuring events as the ocean tides, the presence of light or darkness, or other regular local phenomena (in the alps for example, the daily föhn might be utilized in this category).
Second magnitude colours include a particular day of the week or a specific hour of the day. Bear in mind that Medieval folk did not possess digital clocks, so the 'hour of the day' will be gauged according to the time to or from the ascension or transition of the sun (that is, an hour in the winter is considerably shorter than an hour at midsummer).
Third magnitude rating-category shifts include a specific day of the month, or a season of the year. Both choices are normally bound to a specific clyclical event rather than to the Roman calendar. For example, 'day of the month' might be bound to the first day of rain, the monthly market, or the laying of eggs by hens. Due to normal variations in such events, this might result in slightly more or less than 12 days being suited to cast the spell each year. 'Season' was mentioned previously. Other examples of a seasonal colour include the time of the spring flood, the apple harvest, the bean harvest, lent, etc . Choosing one of the traditional four seasons is also encompassed by this category, but the duration of the season will always be bound to a specific transition rather than the Roman calendar (for example, winter might be denoted as lasting from the time the cattle are slaughtered in December to the time they return to the fields the next spring).
'Day of the year' is a 4th magnitude category, often selected to be a holiday (Mayday, Halloween, St. Martin's Day, or Easter for example). 'Annual events' also constitute 4th magnitude shifts, and corresponds to a specific cyclical occurance (such as the blooming of flowers, the appearance of the first bluefly in spring, the shortest day of the year, the day the first goose returns for the summer, or the first hard freeze of the fall). Annual events do not follow a predictible pattern.
The most powerful colours entail slaving a spell to a single casting in a decade, or a century. Such spells are very rare, and often cast as Rituals. No written versions of such powerfully coloured Hermetic spells are currently known to exist.
Although a successful Investigation roll is required to divine the most suitible times for binding a spell to this colour (pertinent to the individual spell), there is considerable flexibility relative to other colours. Often several possible times will be revealed as suitable.
Exempli Gratia: Guibert Les Andelys of Bonisagus is particularly ill-tempered, and wishes to cast the Ritual Curse of the Unruly Swarm, a level 50 Creo Animál spell, upon a village (the powerful spell already exists in the Covenant's library). Casting the spell would require the use of 10 pawns of Creo or Animál vis, which Guibert lacks. Since he is competent in the art of Haruspices, and in no hurry to exact his revenge upon the village he despises, he elects to incorporate a 4th magnitude shift (Day of the Year/Annual Event) to ease the Ritual's casting (his skill in Haruspices is 4, so he can accomplish this). Making a successful Investigation Roll, Guibert learns that the spell should be cast on the day when the first grasshopper appears in the summer harvest. Awaiting this day, and sending grogs to scour the fields for the insects the next summer, Guibert casts the Ritual. Due to his incorporation of colour, 4 pawns of vis are circumvented, and by investing 6 pawns of Animál vis in the spell he successfully devastates the crop and the poor villagers. Woe to the vindictive Guibert's soul. Note that had his Investigation roll been unsuccessful, or the grogs mistakenly identified the day of the grasshopper's appearance, his attempt to cast the Ritual would have failed, wasting the vis he expended on the spell.
Herbarii | |
-4 |
Rare herbs and arcane connection |
-3 |
Rare herbs/arcane connection |
-2 |
Emotions |
-1 |
Poisons/healing |
Although frequently employed, this colour suffers a rather dim reputation among Magi of the Order, who equate its naturalistic aspects with rural hedge wizards. Further, the colour is regarded as less powerful than other magical traditions, as it can only affect living forms (people, animals, and plants) in a natural way (i.e., herbs cannot be used in a spell intended to sprout wings on a man), and herbs must be directly ingested or applied in some manner to elicit their effect and facilitate the casting of a Hermetic spell to which they are bound. Nevertheless, the beneficial aspects of herbal components are well-documented (even in Hermetic magic), and knowledge of this colour is perhaps the most widespread in the entirety of the Order. The art is particularly popular in the wilds of Brittania and Novgorod (where wild and even magical herbs are still abundant). Note that although the art is termed Herbarii, it is not restricted to the use of plants and their products. Other naturalistic totems can also be utilized, such as stones, winds, urine, rain, animal products, etc. For example, dripping rain collected from an oak leaf, the blood of a fox, or a toad's stone might serve to affect a target in a manner similar to mundane herbs. Use of this colour requires possession of the skill Herbalism (in addition, Magi may add +1 to all related rolls for every 5 points of the magical art Herbam they possess). For all spells utilizing this colour, a specific herb or natural token (discerned with a successful Investigation roll) is required for the successful casting of the spell. Ordinarily a target must imbibe or apply the designated herb to affect the casting of the spell (though not always, as common sense dictates). In addition to the use of Herbs as detailed above, it is also possible to utilize herbs for the purpose of divinations or other natural manipulations (e.g., affecting the weather). In these cases, the magnitude of desired effect should dictate the degree of colour employed.
Herbs which directly affect humans or animals, serving to either soothe maladies or inflict harm, comprise the simplest use of this colour (a -1 magnitude shift). Well known as healing herbs and poisons (including animal venoms), spells which employ them must serve to similarly affect the target. Often a variety of herbs can suffice for the casting of a spell (for example, spider venom, snake venom, or toad juice might all suffice to cast a particular PeCo spell).
Herbs which influence a target's emotions constitute second magnitude shifts. It is easiest to induce or manipulate feelings of love or hate (medieval legends abound about mystical love potions). Other emotions can similarly be evoked or affected utilizing this colour, particularly the seven deadly sins (sloth, envy, pride, lust, avarice, hate, and gluttony). Particularly complex emotions and thoughts are less easily manipulated utilizing this colour, and may prove to be impossible to affect in the desired manner. Despite its talent for affecting emotions, many masters of the Hermetic art of Mentem regard the use of this colour to evoke raw emotions as rather banal, and its use a variety of hedge magic.
Third magnitude shifts require the use of a specific rare herb, as discovered with a successful Investigation roll. These herbs may produce a variety of effects, eliciting desired emotions or affecting the healing of an individual. Rare herbs include those found in faerie glades and similar magical haunts. As with mundane herbs and naturalistic totems, the capacity of this colour to affect living forms in an unnatural manner is rather limited.
Another use of 3rd magnitude shifts involves the use of arcane connections. In this case, a lesser coloured spell (1st or 2nd magnitude shift) is elevated to 3rd magnitude shift by slaving it to an arcane connection to the target in addition to the required herbal token. For example, a love spell (normally 2nd magnitude) requiring roses to elicit its magic can be elevated to a 3rd magnitude shift if the spell also requires an arcane connection to the target (the precise nature of this arcane connection is always specified in the spell; a love potion that requires a lock of hair from its intended target will not succeed with the use of a different arcane connection from the victim). Combining a rare herb with a required arcane connection constitutes the most powerful use of this colour, a 4th magnitude shift.
Exempli Gratia: Francesca of Ex Miscellanea was taught by a witch, and knows many secrets about the use of herbs in magical spells. She wishes to invent a spell designed to discern when someone is telling the truth (similar to the Level 20 InMe spell Frosty Breath of the Spoken Lie ). Utilizing her skill in Herbarii, with a successful Investigation roll she discovers that a frog's tongue will suffice (alas the intended target must swallow the frog's tongue, but she suspects she can accomplish this by including it within a stew served to the target). The Storyguide rules that this is a 2nd magnitude effect, so she invents a 10th level spell called Wretch of the Pathetic Liar (when the target tells a lie under the influence of this spell, he starts to convulsively wretch). Considering the limitation imposed by the necessity that the target consume the frog's tongue (let alone procuring a supply of such tongues), this spell will likely only prove useful in the serene confines of her Covenant (which she intended all along).
Invocation | |
-3 |
Ensemble/chorus |
-2 |
Dance/complex song or chant |
-1 |
Elaborate gestures/simple song or chant |
0 |
No motions/spoken word (default setting) |
The simplest Invocational magics involve simple songs, chants, or alternately elaborate gestures. The specific chant, song, or sweeping gesture must be designated with the invention of a spell, and cannot be altered. Succuessful casting of a spell utilizing this colour requires a successful song or dance roll (as appropriate), but the ease factor is relatively low for these invocations (failure of this roll likely results in a failed spell). More complicated songs or dances constitute a 2nd magnitude shift, and are characterized by more difficult ease factors.
Third magnitude shifts require mulitple participants (and are often derived from ancient pagan rites, a practice frowned upon by the Quaesitori, but overlooked in the more distant parts of europe). Chorus entails a song or chant with multiple participants - perhaps in unison, perhaps in the form of a round or some other tradition dictated by the nature of the spell and the lineage of the song. Ensemble (the non-verbal counterpart to Chorus) refers to a group of dancers moving in a designated manner to affect the spell's casting (perhaps synchronously, perhaps wildly, gesturing, undulating, or simply stretching their arms toward the heavens). A difficulty with these rites is their reliance upon other participants (a Magus may perform the dance flawlessly, but if her comrades do not, the spell will likely fail, or even botch).
Note that some Magi, notably those of House Callimachus, have been able to utilize an instrument in lieu of singing to induce these invocational magics. This is not normally possible, and therefore requires a +1 Virtue related to the instrument.
Exempli Gratia: Reinmar of Ex Miscellanea is a skilled practitioner of vocal invocations, particularly those of germanic descent, as taught to him by his Master (his lineage purportedly stretches back to the Visigoths). He wishes to utilize his skill to invent a coloured version of Repel of the Wooden Shafts. At level 20, this spell could deflect all known attacks by wooden weapons (see page 133 of 4th edition Rules). Reinmar incorporates a simple chant (in ancient German of course) to reduce the spell's magnitude by one, to Level 15. The Storyguide rules that when casting this spell, Reinmar must continue his chant to maintain its affect. As long as he can continue to make the necessary Concentration rolls (by chanting), the spell will persist.
Location Colours | |
-5 |
Otherwordly |
-4 |
Unique |
-3 |
Rare |
-2 |
Unusual |
-1 |
Common |
0 |
Anywhere |
Common locations are the simplest manifestation of this colour, and examples can usually be found within a day's walk. They include fields, ponds, hilltops, river-banks, forests, a path or road, a graveyard, villages, a mill-house, etc. Unusual places are slightly more difficult to find, but not out of the ordinary. They might include a cave, cathedral, lake, battlefield, grove of ash trees, Roman ruins, a bridge, etc. Rare sites are hardly encountered by those who don't live in their shadows. These include legendary places such as a desert, volcano, glacier, the bridge of a troll, a hot spring, or the birthplace of a king. Unique sites should be obvious (e.g., a specific castle, the Covenant itself, a particular mountainpeak, the grave of St. Emma, Lake Constance in Switzerland, Stonehenge, etc). Their convenience will depend upon the Magus' personal location and vary from spell to spell. Note that when an investigation roll is made for binding this (and other) locations to a spell, many possibilities may be discerned. For example, if a Magus wishes to bind a spell to a unique location, he may find that the unique location best suited for the spell is the highest mountain in the land. Depending on where the Magus resides, this may be a peak in the alps, a mountain on the Isle of Skye, a high rock in the Pyrenees, etc. The point is, several potential 'unique' locations might work for the same spell. However, once a Scottish Magus selects the highest peak on the Isle of Skye as the unique location particular to his spell, the spell will not work at any other location (even the highest mountain in the Alps) because he has bound it to the Isle of Skye. Otherworldly locales are the most powerful locus colour. These would include such infamous places as the Garden of Eden, the River Styx, Mount Olympus, a part of Arcadia, the spirit realm, or even Atlantis. Depending on the mythic flavor of the individual Saga, these places might be impossible to discover.
Exempli Gratia: Capra of Bjornaer wishes to invent Gift of the Bear's Fortitude, a 25th Level MuCo spell. His lab total is only 30, so it would take him 5 full seasons to invent the spell. Not wishing to take this long, and lacking the necessary vis to expediate the process, Capra decides to investigate how feasible it would be to introduce Locus Colour to the spell. His Locus Magic skill is only 2, so he is limited to the use of merely the first two locus categories (common or unusual locations). After making two successful Investigation rolls, one roll for each category (taking 3 days total), he discerns that the best common location for the spell would be a river bank, and the best unusual location would be a cave (both locations are favorable habitats for a bear, whose resiliant hide is the heart of the spell). Since his Covenant and the surrounding countryside are rich with dry caves, he elects to introduce this 2nd magnitude shift to the spell. Note that although caves may be commonplace in Capra's immediate environment, they remain an 'unusual' location for purposes of this colour. His lab total remains 30, but the coloured lab total is reduced by 2 magnitudes, from 25th to 15th level. Therefore he can successfully invent this coloured version of the spell in a single season! The spell functions normally, but can only be successfully cast within a cave without the expenditure of 5 pawns of vis (Capra may leave the cave after casting the spell and retain its benefit for the spell's denoted duration, in this case 'sun').
Capra later writes his spell into the Covenant library. Anyone who learns the spell or casts it from text will also be limited by the colour he introduced (they too must cast the spell from within a cave in order for it to succeed).
Some spells may not require the simple sacrifice of a creature, but rather its mutilation in some specific manner. Animal and human entrails for example, particularly the liver, are legendary for their divinatory powers. Hence almost all Intéllego spells manifesting this colour will involve their consultation. Note that this still requires the proper sacrifice of the beast. Mutilations however, do not always necessitate the death of the beast being used. For example, cutting the tongue out of a toad (a -1 magnitude category) may facilitate the casting of a level 15 version of Frosty Breath of the Spoken Lie... because the tongue of a toad is known to have the power to elicit the truth). Use of mutilations in which the beast is not required to be slain is not as powerful as the complete sacrifice of a beast (though they are often required by spells), and for this reason magnitude shifts should be considered one less than normal. In the above example, the -1 shift of the toad would be reduced to a shift of zero (a benevolant storyguide in this situation might allow some benefit to persist, perhaps allowing an unusual level spell to be the result, such as a level 18 version of the spell).
The simplest sacrifices, bestowing a -1 magnitude shift, involve innumberable small or demure creatures such as rodents, common varieties of foul and fish, and all variety of spiders, bees, and other insects. Sacrifice of these creatures often entails a specific number of the beasts (such as three sparrows, or 7 trout). The sacrifice of insects often requires a large number of the creatures (e.g., an entire hive of bees).
Note that although toads and frogs are among the most magical of common beasts, their uses are so broad that such dilution has relegated them to the simplest rating category.
Second magnitude shifts include small game (such as a fox, sheep, rabbits, etc.). Sheep are included because of their unusually docile nature. Other creatures that bestow a 2nd magnitude shift include reptiles (snakes and our modern conception of amphibians such as turtles) and large birds (which include hawks, eagles, owls and other sizable birds of prey)
Large game and rare animals comprise the 3rd magnitude category. The term large-game refers to sizeable or perhaps ferocious beasts such as cattle, deer, oxen, wolves, or bears. Rare animals encompass any variety of ill-seen creatures, from white-haired rabbits to 100-year old owls. Their 'rare' quality generally superceeds any other category to which they might fall.
Legendary beasts bestow a 4th magnitude colour. Ideas might include a lion, elephant, griffin, unicorn, mermaid, wyrm, octopus, or phoenix (just to name a few). Humans also comprise this category, as they are among the most powerful and dangerous of sacrifices, for they are made in the image of God. Infernal powers are known to disturb those Magi which make frequent use of such sacrifices, and the spirit of such pitiful folk have been known to haunt their necromantic murderer.
The most powerful of sacrifices, with 5 magnitude shifts, involves a human with a specific condition, such as an infant, a virgin, a first-born son, a monk, a leper, a drunk, etc. (always related to the purpose of the spell). Magi must be careful that their sacrifice actually possesses the necessary condition, because sacrifice of those lacking the necessary condition will cause the spell to fail ("Dammit, I thought you said she was a virgin!"). Note that some unique beasts may also bestow a 5 magnitude shift. These creatures are often infamous, magical, and considerably dangerous, such as the Wyrm of Klagenfurt or the Lorelei of the Rhine. Seithinnin of Bonisagus has warned that the sacrifice of such a beast in a spell may reduce any innate vis its body possesses.
Finally, unless specified by the spell a creature (or person) must be a healthy version of its species at the time it is sacrificed or mutilated. Elderly or infant creatures will often not succeed in eliciting the desired magical effect, and should be used with caution by the practitioner. Necromancers who utilize this colour certainly do nothing to dispel the rather poor reputation suffered by the medieval sorcerer. Some Houses (Jerbiton and Trianoma) have completely abolished this form of magic among their members (or at least its use of human sacrifice). Other members of the Order do not forbid its practice, but many Magi look disparagingly among the advocates of this distasteful colour. Those who practice this art are likely to harbor reputations as Necromancers in the Order.
Exempli Gratia: Rhun of Ex Miscellanea is a new Magus, whose fledgeling spring Covenant has elected him to invent a spell to ease construction of a defensive wall around their hilltop. He decides that Rock of Viscid Clay, a 15th Level Muto Terram spell, will best serve this purpose by allowing the grogs to quickly form a smooth wall from the abundant rocks littering the Covenant grounds. His MuTe lab total is 20, so it will take him 3 seasons to complete the endeavor. Although his Sacraficial Magic skill is merely1, he astutely observes that its implementation would reduce the magnitude of the spell by one, from 15th to 10th level, allowing him to invent the spell in a single season. Rhun makes a (successful) Investigation roll and discerns that a mole is the necessary sacrifice (authenticity would also dictate a specific manner of death for the mole, such as throttling it or disemboweling it, etc). Rhun then invents the spell in one season, and dispatches some grogs to capture some live moles. Once he has invented the spell, he is able to affect its casting, but only with the sacrifice of a mole.
Talismanic Colour | |
-3 |
Legendary stones/mythical trees |
-2 |
Precious stones/jewelry/rare woods |
-1 |
Semi-precious stones/rings/trees |
Talismanic colour utilizes a variety of foci to affect the casting of magic. These foci are an integral part of the spell, and once this colour is woven into a spell it cannot be cast without the presence of a designated focus. Unlike normal spell foci however, which exhibit considerable variation, the specific focus (talisman) necessary to facilitate the use of magic must fall within a specified milieu. Examples include the use of precious stones, rings and other jewelry, and types of wood. The practitioner must select which medium to employ, and her skill is limited to manipulation of magic utilizing this medium (the designated talisman replaces any other spell focus that might be associated with the spell). Hence each variety of talismanic magic requires a separate arcane knowledge (a Magus skilled in the manipulation of precious stones cannot utilize types of wood unless they posses a separate skill enabling them to do so).
Precious stones are among the most common type of talismans employed with this colour, known for their capacity to affect magic spells and influence mundane lives.
Any spell tempered with Talismanic colour can not normally be cast without the appropriate talisman. Although raw vis can facilitate its casting (as described in the introductory Spell Colour rules), Talismanic spells are particularly difficult to cast in this manner. Therefore when using vis to circumvent the talisman, always double the spell's effective magnitude for purposes of casting (ie casting a talismanically coloured version of Curse of Circe, a 6th magnitude effect, without a talisman would require 12 pawns of vis!).
The various types of talismans listed above are merely suggestions. Feel free to devise additional genres of talismanic magic (adherance to actual historical traditions are desired). Most practitioners are limited by the availability and heritage of their particular talisman (Magi utilizing precious stones are often court wizards with ties to wealthy nobles, or perhaps they are noble themselves).
Exempli Gratia: Laertes of Jerbiton is skilled in the use of precious stones and their incorporation into magic. He wishes to incorporate his knowledge of this colour into Aura of Rightful Authority, a Level 20 Rego Mentem spell. With a successful Investigation roll, Laertes discovers that gold is the desired precious stone for this spell. The Storyguide further rules that the gold needs to be incorporated into jewelry consisting of Violet Amethyst (the listed focus in 4th edition rules, page 148), because stones are often combined to elicit their desired effect. Acquiring the necessary jewels (Laertes is fortunately quite wealthy, due to his noble lineage), Laertes effectively lowers the magnitude of the spell by 2, to a level 10 spell. Naturally he can only cast the spell while employing/wearing the gold and amethyst jewlry (unless he wishes to invest 8 pawns of vis in the effort, as described above).
Tempestarii | |
-5 |
Bizarre |
-4 |
Rare |
-3 |
Unusual |
-2 |
Common |
-1 |
Normal |
The magnitude of colour depends upon the frequency of the weather event, with common phenomena much easier to bind than more rare ones. Unlike other colours, Investigation rolls will often reveal many possibilities with which to bind a spell. Possible weathers for these categories are as numerous as the variations in weather themselves, both as common, and as improbable. A few examples are described to assist you in creating more.
Normal weather colours are the simplest to employ and constitute 1st magnitude shifts. These might entail temperate weather (e.g., warm), sunshine, the presense of a mild wind, clouds, etc. Common colours (2nd magnitude shifts) are slightly less ordinary, and might include dew on the ground, rain, an overcast day, fog, chilly or hot temperatures, etc. Third magnitude shifts are comprised by Unusual phenomena, including thunderstorms, snow, frost on the ground, sweltering temperatures, freezing temperatures, a gale, or even rain while the sun is shining. Rare weather colours might include hail, floods, a sandstorm, a tornado, or a rainbow, and comprise 4th magnitude shifts. In the case of these rare phenomena, the caster must merely be within sight of the event. The mightest colours of this type are those legendary events such as hurricanes, great floods, tidal waves, etc, and are classified as Bizarre (- 5 magnitudes). A magically-induced event of this class might not be able to facilitate casting of a coloured spell bound to it. Note that the duration of the weather-event is not the determining factor in its categorization, but rather its commonality. Floods for example may be last for many weeks at a time and be quite predictible in certain locales, but nevertheless they are still a rare phenomenon.
As with other colours, the specific weather phenomena bound to the spell must be assigned at the spell's invention and cannot be changed to another type of weather that falls within the same category (snow and thunderstorms are both unusual and hence -3 magnitude shades of weather, but a spell with a snow colour cannot be cast in a thunderstorm and vica versa). Further, the weather associated with a spell is not merely the whim of the Magus, and must be discovered with a successful investigation roll (although several possible weather phenoma may initially exist for successful casting of the same spell).
Exempli Gratia: Simóne of Tytalus desires to bind the spell Curse of the Leprous Flesh (PeCo 40) to his grasp of Tempestarii. By binding it an overcast day (relatively common in his native England), he lowers the level of the spell to 30 while retaining relative flexibility in his ability to wield the spell. The following summer his homeland goes through 40 straight days without an overcast day (how strange!), and Simóne is unable to use his new spell despite his desire to cast it during a story (too bad he didn't have the necessary 8 pawns of vis to circumvent the colour he wove into the spell).
This page last modified on 8/28/97.
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