Casting

Casting, or speaking, is the process by which a magic spell is read aloud or silently. To cast a simple spell, often only a recitation by a single caster is necessary. The recitation must be perfect, and the caster often practices the spell in his or her head beforehand to be sure to get it right (if he is not employing a grimoire).

Methods of Spell Casting

While the majority of safe, acceptable magic use is cast verbally, making it difficult to hide that one is casting a spell at all, there are also other methods of speaking, signing, or even singing Monite (though singing spells is considered more a legend than an actual method).

Chorus

If many casters are speaking a spell, it is known as speaking in chorus. Some spells are more difficult, and require several speakers to recite a spell in unison or in a round. Spells of this nature are often affecting a large area.

The only way to successfully cast an Everspell is to cast in chorus. Everspells are spells that are near-indefinite and no longer require the upkeep of the original casters to maintain. They are powerful and rarely used.

Sign Language

Spells are occasionally accompanied by hand gestures with elements of sign language. The signs used in spellwork are generally aspects of clarification and politeness, not basic communication. A closed-hands gesture indicates pleading, while open hands faced towards an opponent is a petition for the mona to unleash fury. A very few spells can be cast with only sign language, but they are much weaker and more volatile than spoken spells, so few galdori choose to sign.

Echo Casting

Created by the original tribal Magisters of Gior, using the deep caverns, tunnels and canyons that fill the country, this technique allows spells to reverberate off acoustic walls and strengthen the monic connection. Almost like casting in chorus, with a party of one.

This technique is what gives the Giorans the ability to dig through the hardened rock under the mountain.

Constructs, Plots, and Spell Circles

A construct is a basic term for something a caster builds to facilitate the communication between galdor and the mona. These are built for complex spells as well as series of spells, and include objects such as marks (wooden symbols, usually Monite but sometimes using ancient pictorials), totems (carved wooden statues that represent the gods or mythic beasts), offerings, special clocks, and occasionally water, ink or smoke.

Spell circles usually enclose constructs, and the area laid out into a spell circle is also called a prodigium by academics. They are barriers formed by objects like hyperoscillators (small crystalline balls that keep the active mona within a certain area), burning sticks or lamps, water troughs, marks, teeth, and bones. Most of the time, spell circles use very basic communication to control the area of a spell. The only limit to what can be used to form a spell circle is that the objects have to be similar enough for the mona to recognize the boundary; however, most galdori tend to use religious or otherwise meaningful objects for their circles. Hyperoscillators and other advanced technology are the most effective objects to use, however.

Spell circles and constructs, when used together, are called Plots.

A type of plot used commonly in the teaching of magic is a Prodigium, which links the bodies (or minds) of the casters together. While a certain type of Prodigium is in place, the caster will feel everything the other feels (or see everything the other caster sees, or be aware of everything the other caster is). This kind of plot is safe to use, but can be quite painful or upsetting to new students.

A Note on Silent Spells

Once a galdor has discovered his or her true name, he or she gains the ability to cast spells silently. This is due to a closer relationship with the mona and an intimate knowledge of Monite.

A Note on Brailing

If a caster wishes to cut off a spell mid-recitation, he uses a method called brailing. To brail a spell, the galdor must cease all communication - stop speaking and gesturing, and destroy the spell-circle if one is being employed. Often, a spell is brailed if a situation changes drastically, or if the spell would have a deadly outcome. Since brailing is jarring to the mona, often a successful brail means that no spell can be cast in that area for several minutes, up to a house, afterwards.

The usual effect brailing has on a caster (and those speaking in chorus) is unconsciousness or (in most cases) injury. In extreme cases, brailing has resulted in the instantaneous death of all individuals nearby. Therefore, brailing is avoided except by the most accomplished galdori, who usually have the experience to counteract the effects.

Roleplaying a Spell

In roleplay situations, if your character casts a spell, you do not need to include specifics on the wording of the spell. It is assumed that your character will be speaking Monite, an incomprehensible language for which there is no lexicon or dictionary on this website. It would be impossible to document Monite, since the mona follow a very different sentence structure than English. Please do not attempt to "translate" Monite into Estuan (English).

When roleplaying a spell being cast, you simply need to say "So-and-so casts a spell to do such-and-such", keeping in mind the limitations of magic and the risks involved. You can get inventive with the side effects of the spell if you're self-modding.

Suggested Mechanics for Spell Casting

It is highly recommended that players use a dice roll to determine spell effects and that all players keep in mind their level of magical education when dueling or in combat with other players (or NPCs). Because the mona is sentient and very much an active participant in the spellwork process, a dice roll can help determine the success or failure of a magic attempt as well as give you, the writer, narrative prompting on how to work out your particular reply.

Moderation of complicated spells, diableries, and brails/backlash events is highly recommended over self-moderation.