Spellsong

neptunish

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Nara Le Guin / Baselaus Dawkins / Sírion
~

SPELLSONG
A Bard's magic


~

With the ability to cast 'Spellsongs' formed of their will and charisma itself, a bard finds value in numbers. Whether by playing a tune of healing, or one of empowerment, the bard's powers vary: though, are restrained by some many factors. Through magic cultivated within their own body, the bard must learn this power through their own training, as there is no uniform way of casting any given Spellsong. It always varies, the one constant being the energy the soul creates through its intention.

No matter who you ask, you could never find a constant answer of what any Spellsong might be called: no grimoire defines this sect of spellcasting. Each learns in their own way, each to see it differently. The one constant- the premise in its crude form. The idea that anyone can do such, and that music is but a medium of doing so.


~

INSPIRATION
fuel for song

Whilst the power behind the Spellsong may be made of charisma, this is not to say that it is infinite if the will behind it is. In a raw form, it is unable to fuel these Spellsongs: first having to take shape in a kind of mana known as 'Inspiration.'

Inspiration comes in limited amounts, the soul only able of hosting a set capacity at any time- this being consumed for Spellsongs at a rate defined by scenario.

Any bard has a maximum of 10 Inspiration at any point, and it will, typically, be used at a rate defined by the count of targets. Unless a Spellsong's own rules declare otherwise, it will always be at the price declared by target count. Similarly, it recovers at a set rate: two per turn spent without casting a Spellsong, unless the Spellsong's rules declare otherwise.


~

FOCUS
formation of spell


Of course, the one casting the Spellsong is only mortal. In such, lest you perform a crude type of Spellsong, an instrument is needed as a focus. A typical necessity amongst magic, yet taking a peculiar image within Spellsong. Oftentimes, the focus will need specific features: a Runemage's focus would require a metal, like gold, a wood, like dragonwood, and a gemstone, like an amethyst. However, the only thing needed within the focus of a Spellsong is a capability to create music.

So long as it is an instrument of some kind, many things function as a focus- even some with their own special capabilities for a certain song. In fact, there are even ancient instruments with their own, exclusive Spellsongs: likely memory of whatever time they came to exist during. As the world around a mortal carves them, the world around our music shifts it too.


~

LEARNING
no set path


As mentioned before, there is no uniform method of casting a Spellsong. Each is tailored for the moment by the person's own will, meaning they rely on having enough Inspiration for a Spellsong to be written by the soul.

In learning, it takes trial, and error. At least 3 OOC weeks must be devoted to the learning of instruments- it does not matter which, or how long is spent learning each,- with music sheets, and an instrument itself to show for it. After this, the aspirant can seek or be given the permission of an LT. In this situation, they will begin to feel a driving force in a scenario where a Spellsong might take value.

For example, if approached by an enemy in close quarters, a tingling within their throat: hinting them to use the Last Stand Shout. After this, they can cast it manually- though only after a reasonable situation that they have earned it.


~

SPELLSONGS
forms themselves


Of course, despite the Spellsong being written for the moment, there is a list of limitations as to what they can do. Common forms, consistent between uses- even with their difference to the last time played, or the Spellsong another might write.

REDLINES

I. For a Spellsong to be casted, the user must have the necessary amount of Inspiration to cast it, and must take record during combat of the amount they possess.
II. For any Spellsong that states it cannot be used in two consecutive turns, this means an action must be taken. Speech and movement do not class as actions.
III. Some Spellsongs may not work as intended during an event, and the function of them is at discretion of the ET based upon their specific event.
IV. A bard harnessing Spellsong cannot access Sorcery, Runemagic, any form of playable creature, etc.
V. The material of an instrument cannot, in any way, affect its capability of casting a Spellsong. Only the instrument that it is, and only in some scenarios.
VI. A generally positive Spellsong can only be used on an ally within ten block range, and you have line of sight of.
VII. Depending on the amount of targets, the amount of Inspiration needed changes.
For 1-2 targets, 1 Inspiration is needed per turn.
For 3-4 targets, 2 Inspiration is needed per turn.
For 5-7 targets, 3 Inspiration is needed per turn.
For 8-10 targets, 4 Inspiration is needed per turn.
VIII. The rate of recovery for Inspiration is 2 per turn spent not playing a Spellsong, unless a Spellsong prior casted bars you from the recovery of Inspiration on this turn, or affects the rate.
IX. The usage of any metal including iron will bar you from the usage of or recovery of Inspiration for the time that you are barred from it.


LIST
NAME: Song of Vitality [PROGRESSIVE]
TARGETS: Up to 10
DURATION: Until another cast, canceled, or out of Inspiration
RANGE: 10 blocks, line of sight
FOCUS: Yes

The Song of Vitality allows for the healing of targets. The rate is dependent upon the time they are targeted by the Spellsong. After two turns spent targeted by the song, minor wounds will be healed. Major wounds will be healed after five. If played with a string instrument, any turn in which a wound is healed consumes 1 less Inspiration.
NAME: Song of Vigor [CONTINUOUS]
TARGETS: Up to 10
DURATION: Until another cast, canceled, or out of Inspiration
RANGE: 10 blocks, line of sight
FOCUS: Yes

The Song of Vigor allows for targets to have an increased movement speed. The movement speed is typically increased by four blocks, but this can be altered at discretion of an ET if used during an event.

NAME: Song of Vitriol [CONTINUOUS]
TARGETS: Up to 10
DURATION: Until another cast, canceled, or out of Inspiration
RANGE: 10 blocks, line of sight
FOCUS: Yes

The Song of Vitriol allows for targets to have increased strength. With a pulling and lifting strength increased by 110lb, targets also have an increased ability within combat, helping them to overpower enemies.

NAME: Song of Banshees [CONTINUOUS]
TARGETS: Up to 2
DURATION: Up to 2 turns
RANGE: 15 blocks, line of sight
FOCUS: Yes

The Song of Banshees allows for the deafening of up to two chosen targets: consuming specifically 2 Inspiration per turn. It cannot be used for longer than two turns consecutively. The target hears a constant shrieking in their ears, unable to hear any sound that isn't right beside their ear. This song cannot be played twice in a row without another between.

NAME: Song of Sirens [CONTINUOUS]
TARGETS: Up to 2
DURATION: Up to 3 turns
RANGE: 15 blocks, line of sight
FOCUS: Yes

The Song of Sirens allows to charm and lure up to two chosen targets: consuming specifically 2 Inspiration per turn. It cannot be used for longer than three turns consecutively. The target feels as though they need to move closer, passively moving 2 blocks toward the user every turn they are physically able. If they move outside of the direction towards you, their movement speed is reduced to 6 blocks. This song cannot be played twice in a row, and cannot be played without another between. If played with a woodwind instrument, targets passively move 3 blocks toward the user.

NAME: Song of Gorgons [CONTINUOUS]
TARGETS: Up to 2
DURATION: Up to 2 turns
RANGE: 15 blocks, line of sight
FOCUS: Yes

The Song of Gorgons allows for the slowing of up to two chosen targets: consuming specifically 2 Inspiration per turn. It cannot be used for longer than 2 turns consecutively. The target feels as though all motion is exhausting to make, struggling with each step. Their speed is decreased to 5 blocks the entire time the spell is played. This song cannot be used twice in a row, and cannot be played without another between.

~Last Stand Shout [REACTIVE, INSTANT]
TARGETS: Infinite
DURATION: Instant
RANGE: 2x3 blocks
FOCUS: No

The Last Stand Shout allows for the user to release a primal roar, causing a knockback to those close enough. In a 2x3 ahead of them, anything within is knocked 6 blocks away: stunned for a turn if making contact with something. On the turn after this is used, the caster cannot take an action, but can take full movement. This instantly consumes 3 Inspiration, and on the turn in which they have no action, the user cannot recover Inspiration.
~Prison Whistle [PROGRESSIVE]
TARGETS: 1
DURATION: 6 turns
RANGE: Within 3x3 of target
FOCUS: No

Prison Whistle allows for the user to slowly break a lock, over the course of 6 turns. Consuming 1 Inspiration upon each, and unable to recover Inspiration for two turns after completion, the user must be within 3x3 range of the target lock. This requires constant focus.


~

HISTORY
a mortal tale

As with all things magical and mystical, the tale of Spellsong is one extensive: though easily simplified. Music, something belonging both to culture, and to joy, has been around since longer than it could be documented. In such, over time, techniques build, songs are to be etched in the great halls of history. All due to the way it shows what mortality is at its core: despite however much we involve ourselves with great dangers, we will never stop caring for the smaller things. That which brings us happiness.

With such an ideology, it felt reasonable that once mortals began to harness the power of higher beings, that other mortals turned back to their roots. To the great, extensive story that did not create music, but music left in its wake. Via learning how to channel our souls through the instruments, the technique of Spellsong spread, some cases by accident, others intentionally, by their devotion to the craft.

Whether always a skill left ignored by society, or one that was never needed in the past, is unclear. And perhaps there is melancholy within it, the fact mortals need such a force for safety. To twist a symbol of safety into something that burns a path to it, it may be sad to think it must be done. However, it is one of few ways for some to adapt in such a land, and the way forth for some to participate in a land flourishing with magic without devoting their soul to forces they may not even be aware of.




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