A Different Path - Bloody Memoirs of a Mage

[Karris]

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A Different Path - Memoirs of a Mage

A solemn night within an inn by the road south of Baldur’s Gate. The drunken songs of the guests of the night are slowly dying, leaving only the whistling sounds of a mild storm in the darkness outside. Within the main room a few patrons remain seated, not entirely awake. A quiet figure remains in reserved solitude within the corner.

Dressed in practical clothing, he looks like any other man who would go about his business, yet there is something about his demeanor that betrays a more sophisticated cut. With a contemplating look upon his pale features, the man sits with a distant look as his eyes stare into the dying fireplace.

His attention is drawn away at the sound of an owl singing its nocturnal song of sorrow. Allowing himself a smile at some forgotten memory, he pens the feather to the parchment and begins to form words upon the pages of the leather-bound journal.

I draw ever closer to my goal, I can feel it in my very bones. For now the final destination and the mission that follows as a natural consequence remains as clouded as the morning mist, vaporizing beneath the bright rays of the sun. And like mist, I feel my purpose growing, the clouds lifting with every step.

Yet I must tread carefully. No result without calculation, no spell without careful wording. My emotions would guide my hands, yet I must remain calm, and steer clear through the haze with intelligence, rationale and ruthless efficiency. I cannot afford to fail.

The land of the Sword Coast begins to unfold before me. It is a place of great diversity. As many legends and old stories have taken place in this supposedly fantastic place, as many an ordinary farmer roams the countryside as he plows his fields, giving uncommon travellers unwelcome eyes. At times, I feel them upon myself, though such is to be expected. Ever since my return to the living, I have been unable to shake off this ghastly impression I can impart upon those whom I encounter.

It is inconsequential. I am a mage, only very rarely do I find the answer within interactions between men and women. The divine truth, the divine language, it is something to be found true in every fiber around us, the flowing and subtle arithmetic that forms the basis upon which all of creation rests, the very Weave itself. And as much as we mortals would impose upon ourselves the illusion of free will, we are but slaves to our lives, our plane, our gods. Life and death, beginning and end, creation and destruction. Will the common man ever learn they are but positive and negative value of the exact same concept?

Alas. I should thread within the bustling metropolis of Baldur’s Gate within the week. So far I have neither made any earnest attempt to hide what I am, although it is not something I actively to share either. In certain parts of the land this far to the south, magic has been restricted, unless one procures a license. As I travel north, the laws seem to grow more lax, except for a few certain bulletins, as always rooted in fears and superstitions of the little man.

Necromancy is disallowed, as to be expected. I hold no issue with such a thing as I have no desire to see the dead anywhere other than where their families intended them. Many a young mage cannot resist the urge of the more morbid studies of the school of the dead and thus more often than not, it leads to situations that within the certain wrong light could easily become very lethal to the enterprising mage.

The dawn beckons, another restless night. Yet, I must be off. Sleep well, journal dearest, for you are my only company.

[Karris]

The Premise of Magic and Wizardry

Introduction
Magic. The word itself is enough to conjure vast imagery of powers nigh inconceivable to the common man, and it is not without merit that practitioners of this discipline refer to it as the Art. But what, exactly is it? It would be an understatement to say that it is closely related to what mortals have coined ‘The Weave’, the mysterious force that the deity Mystra have always been in charge of. This book will delve into some of the underlying mechanics of magic, and attempt to decipher the complex equations and calculations that the more studious practitioners of the Art spend their lives to master.

The Weave
The Weave is everywhere. It interconnects everything; the deepest oceans, the highest mountain. Living and dead, young and old, man and beast – it is a force with which all is connected. It is neither energy nor matter, but something else entirely. Its very concept defies characterization in a traditional scientific understanding based on alchemical and thermo dynamical terms.

To put it bluntly, it simply is. It is the secret ingredient that enables mortals to make changes to the world through magic, by deliberate manipulation of matter and energy. When a mage evokes a ball of fire to erupt into a fiery explosion upon his enemies, he is manipulating the weave to override the laws that govern the natural conditions of heat and energy. In other words, he is changing the world as it is, to become something that he desires.
And this, dear reader, is the fundamental principle of magic. It is the ability to manipulate the world as we know it into something the wielder desires. And this is accomplished by subtly manipulating the Weave.

Performing magic
As mentioned earlier, when using magic, a practitioner changes the world through supernatural means. There are different ways of accomplishing this, although the most common is by far the art of wizardry: A complex understanding of the fact that the Weave is safeguarded by an extremely complex and mathematical set of laws. By understanding these laws, it is possible to combine a specific set of components to achieve a certain effect: Somatic movements, specific wording and a material component.

All three share importance in the process itself. The words function as a catalyst to categorize and awaken the Weave to manipulation, oft using a material component as co-factor. The material can be many a thing, often reminiscent of the desired effect to ease the transition of the manipulation of energy, although it is also possible to use certain material that holds within it innate raw power, such as blood vitae or a strong localized magical flux. The movements may be the most important component of spellshaping, for if the words and the material are the catalyst and initiation, the movement is the execution.

Many a wizard can attest to the fact that the simple twist of a hand in the erroneous direction can cause the entire manipulation to backfire, causing unforeseen and often disastrous consequences. It is also the reason why those who manipulate the Weave only wear cloth; armor of any kind simply invites too much of a risk to cause miscalculations to manifest through the somatic component.

The Theory of Magic
To understand what magic is, one must first understand the scientific concepts of energy and matter. Everything is connected – the amount of energy within the multiverse is constant, which means that the total amount of energy within the multiverse can never grow nor diminish. In other words, if you manipulate energy to condense within a certain area, that specific energy must be taken from another place within the multiverse.

Understanding this, it is logical to assume that all magic is based on the same concept, which is, to put it in basic terms, subtle manipulation of thermodynamical variables to extrapolate either energy or matter into a condensed form. The concept of magical schools is a mortal creation, in analyzing the underlying equations that determine how magic is performed; there is simply no difference to whether you are polymorphing an especially annoying spouse into a sheep, or condensing energy into a burning ball of fire. It is simply redistribution of energy and matters, based on theoretical calculations and executed through complex differential equations that describe what is, and turn it into something else.

Any scholar, however, will categorize these equations into categories where those alike are coined together in a single school, simply for the ease of use and understanding, but it is vital to understand that principally, there is simply no difference between any of the magical schools, other than providing a framework which categorizes different sets of equations.

The Schools
Now that the fundamental scientific premise is understood, categorizing magic into certain schools is perhaps the single forgiving part of learning to understand and work the Art. Without any system, performing magic would consist of thousands upon thousands of complex equations. A large part of them are based on the same principles, the differences being perhaps a single addition or subtraction within a second order derivation. Without a system to categorize these into groups, understanding them all would be nigh impossible. It is logical to understand that evoking either a ball of heat or a ball of cold is fundamentally the same manipulation; the only difference is either the condensation or subtraction of energy.

This is the conclusion that led to the creation of the magical schools, words that are coined to govern a certain set of common denominators that characterize a set of equations that perform alike manipulations in the Weave. They are, as follow:

• Abjuration – Loosely coined, protection magic. Its most defining concept is the fact that it is almost always centered on the practitioner, to provide some sort of protection. The protection is oft magical is nature, meaning that it focuses on nullifying energies to cancel out any incoming hostile weave manipulation, although it can also very easily manifest a physical protection. The other set worthy of mention is the dispelling line. Based on same nullifying concept as most abjuration, is it however possible to pinpoint certain locations or individuals, or even items, and perform an undoing of any induced weave manipulation, snuffing out any supernatural magic.
  
  Conjuration – Perhaps the second-easiest school to understand conceptually, conjuration is the art of transporting matter, energy or entire beings from one place to another. The prime example is the summoning of creatures from other planes of existence, where the wizard conjures a temporary gate that span through the borders of our world to reach into another and snatch a creature to become the living servant for a set amount of time. Whether or not the creature would meet death on our plane, or the set duration would simply expire, said creature would simply return to its home. Other uses are the conjuration of energies. Alike, yet different to certain spells from the school of evocation, this transplaced energy is often characterized as being somewhat mundane in nature, since it is not brought into being by supernatural manipulation of the weave in the traditional understanding. In turn, such spells are not easily shaken off if the subject of such a spell would have innate resistance to magic.
  
  Divination – Perhaps the most abstract school to explain, divination is the art of extending consciousness into faraway places, studying an item to learn its history, or even spanning the lines of fate itself to see into time that has yet to come. It is one of the most difficult schools to master, because it delves into philosophy as well as the realm of science. If attempted to put into words, it would be something like this: As all beings are connected through space and time through the Weave, it is fact that as we traverse time, we leave certain imprints upon a greater scale. The art of divination is the attempt to breach out of the singular mortal shell, and attempt understanding of the greater scale, thus extending consciousness to beings other than one self and learn things that are not possible through mundane means.
  
  Enchantment – Enchantment is the art of mind manipulation. Based on a thorough understanding of social interaction and the scientific rationale of decomposing the mortal physique into a specific set of equations that condense matter and energy and life itself, those who specialize within enchantment are often experts on interaction. This gives them an edge when using their magic, which is perhaps the most subtle of all, for while other schools create wonders out of nothing, enchantment simply makes the smallest corrections in the minds of others, slowly and subtly bending them to the will of the enchanter. This can be human, beast or something else entirely. There simply must be a mind to bend, which is why enchanters oft fall short when faced with beings devoid of any intelligence, such as animated constructs or the unliving.
  
  Evocation – The archetypical school of what others perceives of practitioners of the art, and also the simplest to understand – evocation is the art of evoking energy to create magical elemental effects out of nothing. Often regarded as the innately most destructive school, evokers manipulate the Weave to bend natural forces to their will, creating humongous storms of lightning or bursts of steaming hot flame that bursts from the fingertips of the evoker.
  
  Illusion – Closely related with Enchantment, illusion is another subtle art that focused on subtle manipulation. While enchantment, however, often reaches into the minds of others and innately bends them, Illusion creates mirages that function externally to the spectator, allowing the mind itself to let it become fooled. In a way, the school of Illusion sets the stage for any mind that may behold it, to fool itself, thus avoiding intrusion upon the mind.
  
  Necromancy – Often vilified and regarded as innately evil, and more often quite deserving of the title, Necromancy is the art of manipulating life itself. Among the most radical and powerful schools, control of life is something that can very easily be misunderstood, since it is so commonly associated with desecration of the dead to infuse artificial life based on negative energies and thus create the hated undead, mindless beings only intent on doing the whims of the mage who created them. While this is often the theme attributed to Necromancy, it is not by far the only usage – the manipulation of life can be considered a high art, perhaps the school coming closest to the miracles of the deities to use the Weave to perform magical healing. Manipulating life is not only manipulating negative energies, it also the manipulation of positive energies, each one being the absence of the other. Not even the most devout priests come close to a skilled Necromancer in being able to shatter the vilest undead with a mere thought. Unfortunately, it is rare that the School sees such use, as it is often regarded as an easy way towards power for mages who lack morals and ethics.
  
  Transmutation – Transmutation is the art of adjusting variables within the equations that describe matter through the Weave, and thus inducing real and often very visible changes. Transmutation is a good place for a budding mage to set, for its most basic tenets are used throughout the Art in all of the schools. Manipulation of energy and matter is closely related to the theme underlying all spells, and transmutation excels in this, ranging from infusing artificial strength into a mortal body, to changing the weather above you.
  
  Universal - While not regarded as a school itself, universal holds within it the most basic spells, sets of equations all wizards must and can learn to utilize their art.

Conclusion
It is the hope of the author that this has served as a short instruction to the premise of magic. While lacking in specific examples and calculations, it is an empirical and qualifying description of the underlying theories of the Art, and hopefully serves as an introduction for anyone who would wish to learn how to perform magic. All has the potential to learn how to utilize the art, although regrettably, not all possess the mental capacity and fortitude it takes to sit countless hours, days, months within the laboratory, trying to perfect a single set of equations that allows the mage to perform the desired effect through use of the Weave.

Signed,
Akkarin Algondar
1348 DR. Baldur’s Gate.

[Karris]

A Renaissance of Blood
Part 1: The Awakening

Theme song: Neurosis & Jarboe - Cringe

"Akkarin, you have grown to become a good boy. For far too many years now, you have toiled and worked hard, from early morning to late night, even when the task ahead was well beneath your full potential. And even now, I see the innate reaction of protest in your eyes. I am proud of you, boy - to see the man you are becoming. This, my child, is why I have chosen to send you off, to the city. One of my old acquintances is a well-versed practitioner of magic, and it is only fitting that you finally find tutelate worthy of the skill I am convinced you have. No, Akkarin, do not protest, all the arrangements have been made."

"You leave in the morning."

In his last moments, the last words his father had spoken resonated within the young boy's mind. He had slipped in and out of consciousness since their assailants had come, but even in his young mind, he knew that this was the end. The pool of blood forming beneath him had steadily grown. Akkarin gave a raspy exhale, spitting blood to the floor right of him.

As the realization dawned upon the boy, tears began to stream from his eyes as he saw the lifeless form of his mother, discarded like a sack of meat after they had taken her life. His senses was blurred, his hearing was convoluted, yet the pounding in the living room echoed with a thundering sound. At first there had been screams, muffled voices. But then they had stopped.

The pounding continued. The sound of blunt objects, crashing into a sack of potatoes, only interrupted by the chilling sound of solid bone being cracked under the constant barrage.

The boy attempted to reach out a hand towards the sound, but it was no use. His body was too weak, the wounds in his stomach and shoulder too deep. He could barely keep his eyes open anymore, his nervous system starting to fail even the most basic desire of the mind.

The last thing Akkarin ever felt as life ebbed from his body, was the complete and utter loss of control, a pervasive feeling of helplessness to do nothing as his entire family had been slaughtered like animals.

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"Darkness. Silence. Emptiness. Am I dead?"

Detached from the shell of flesh, the soul of the young man held onto his mind, his thoughts. Trapped in a place that was like nothing he had ever seen before, swirling maelstroms of negative energies, thunderous storms of what could only be souls screaming with such high pitches that he wondered if they made any sound at all. It was black and white at the same time, deafening and utterly silent. It defied mortal perception, the boundaries for the physical world simply not present in this place.

Most peculiar, however, was that Akkarin felt in control. As he raised his hands to gaze upon his own form that sent signals to his mind of life, he only found that he had none. Dead and alive, at the same time? The mystery only grew as this strange world he found himself in flunctuated and pulsed, a flux of life and death waxing and waning af if it had a life of its own.

But then it stopped. It was as if the planes themselves grinded to a halt, leaving the incorporal boy once more in the deepest darkness. And then, out of nowhere, a sound came - not of this world, it spoke with a thousand tongues and yet none, a clandestine whisper not tied to any entity, a low growl defying every sound any mortal could ever produce. It was in his mind, yet all around him. Akkarin knew only little of the evils of this world, yet every fiber in his deathless form rose in primal fear - somehow, he knew that this was a being that only possessed capacity for malice, cruelty and hate.

The boy felt the pain of ten barbed whips upon his phantom back, forcing him to succumb to his knees.

"See, how the weak perish at the hands of the strong. Feel, the pain forced upon your pitiful life because you are worthless and meek. Embrace, the power I grant unto you, that you may become strong. You. WILL. Learn."

An excruciating pain ripped through his form. The last wordsounds of the entity-without-form echoed in his mind, and he felt his feeble form shatter, the last sensation being this entire surreal experience, played backwards. The screams became frightingly real as the darkness once more dissapeared, revealing the ghastly scene, the traffic of screaming souls, all reaching for him, clawing, clawing, CLAWING-

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His body jerked up with an unnatural motion as life once more seeped into his fragile form. The surreal scene was gone, but the pain was still all too real, accompanied with an ache not of this world.

Had this all been a nightmare? He called out for his parents, yet no voice came from his mouth. He tried to open his eyes, but he couldn't see anything. As he reached up to dry his eyes, he had a chilling sensation - he was covered in some musty liquid. Crimson lights began to play at his eyes, and he tore at them to clear the substance. As he opened his mouth to call once more, the faint taste of iron began playing at his tongue. An even more chilling sensation began to form in his mind.

Wiping further at the liquid, he pushed himself up on the elbows. He was naked, he could feel now. As his sight returned to him, he saw his clothing on the floor where he had been, bloodied beyond recognition, yet still arrayed as if he had been wearing them. It was not that sight that halted his breathing, however.

It was the fact that of all the blood on the floor, and there was so much, all of it seemed to be crawling towards him, slowing seeping into his body, covering his naked, growing form, completing it once more. He had been born again. Born in blood.