Reagent Theory: A Dissertation On Spell Components and Foci on Arelith

Written by Archmage Terrinus Aleph, 83 A.R.

Dedicated to the Arcane Tower, With Honor and Gratitude,

Though a mage, novice or expert, learned or innate, can invoke many marvelous and wonderful magical powers without material investment, certain echelons of power will demand more than will and arcane mathematics. When advancing to the Seventh Circle and beyond, it becomes almost essential to expend material components to manifest effect.

The most common and versatile spell components tend to be compounds derived from either powdered Malachite (copper carbonates) or peridot (silicate olivine; colloquially 'Greenstone') mixed with arcane blood.

Though valued for its universal potency across schools as a result of its alchemical make-up, these mixtures are not always the most efficient means of casting spells. More specialized components and foci can net marginally more powerful invocations, to get every possible edge.

Critically, it is not only spells of the Seventh Circle and beyond that benefit from material investment, but any spell down to the lowliest of cantrip can be augmented or enhanced in casting or effect with the correct tools and supply.

The following chapters will outline, in basic terms, Reagent Theory for every spell school. It is up to the practitioner to experiment with the theory proposed here to determine their own needs and most effective use of material component in their research and employ of the Arcane.

Abjuration

Formally, to 'abjure' is to renounce or reject: this is reflected in both spells to protect against ills or evils, and also in nullifying magical or metaphysical constructs. As such, two distinct archetypes of components exist.

For the former, natural 'defenses' afford some extra power to the spells. The scales of armored creatures or very thick hides are effective (tortoise shells are among the most potent). These dense organics- the hide or scale or shell of beast, or the bark or wood of a strong tree- are the most commonly sourced components.

Also effective are traditional inorganic 'defensive' icons. A small steel plate or a small stone model of a tower or bulwark make for useful charms. Very light articles of clothing, such as silken veils and cloth gloves can be put to notable use. Always recall that it is the concept, not the object that matters.

Less obvious is the common arcane 'motif' in Abjuration, the Circle. Something as simple as loops of tin wire or golden rings can moderately empower spells. Circles of salt are meager barriers against the least of spirits, planar or otherwise, but can make for the foundation of unassailable walls.

Conjuration

Conjuration is School of especially diverse effect, and as such has highly variable component needs. The 'simplest' Subschool of Creation typically involves small samples of the material you would create from non-existence.

More complex is the Subschool of Summoning. Using a sort of 'bait' for the creature you wish to summon is a thematic and effective approach. Meat for animals, and for elementals, relevant Motes (a lit flame, vial of water, etc.).

Even more complex is the Subschool of Calling, which does not always have a possible solution. Traditional wisdom suggests the use of tissue (hair, blood) samples to be of best use as foci, but a small, molded clay sculpture can suffice in a pinch.

Finally, the Subschool of Teleportation is the most complex to master on the Arelith Archipelago, owing in theory to unusual 'bleeding' effects of the Underdark's Faerzress. Long lengths of glassy twine, or sketchings on treated vellum of the caster's destination help minimize error in materializing, else a more specialized work ought be consulted.

Divination

The School of Divination concerns insight, knowledge, most especially the 'light' thereof. Components are usually inexpensive or simple: more commonly, a focus is required both in augmenting certain spells and as strict utility.

Lenses are the most common and reliable component or focus. The higher the polish and clarity, the greater clarity the caster might achieve. Consider the example of a glass eye: both materially and thematically aligned with the School, glass eyes make for common and powerful foci when well-constructed and -maintained.

Material of glass, crystal, water, metals, et cetera may be employed. A foundation in natural philosophy will aid the Diviner in determining the most useful materials for her work. Four critical properties to consider are emissivity, reflectivity, transmissivity, and absorptivity.

In addition to optics, communication also functions as an effective thematic anchor. Employing writing utensils in your spells can be effective, for black, clean parchment (or better, vellum) can assist in translating that which is Seen to material form.

Anything clouded or indistinct will inhibit your casting. Colored crystals and lenses will often distort the truth, but in reliable ways: however, exploration into chromomancy is beyond the scope of this dissertation.

Enchantment

[This chapter is a bit shorter than the rest, and the handwriting is disjointed and a bit messy, as if the author was in an altered state.]

Enchantment is the School of the mind and its manipulation. As such, it can be often dangerous in the hands of the unethical. Comprised of two Subschools, Charms and Compulsions, reagent archetypes are the same between them, though the latter are more severe.

Both Charms and Compulsions can make excellent use of entheogens, despite their traditionally shamanistic origins. Enchantment is the School of Belief, and the use of hallucinogens and other drugs have proved, through multiple trials, to extend spell influence - used both on the caster and subject.

Compulsion involves greater force, and involves more literal component use. Thin iron chains and shackled dolls shaped as the subject are often effective in channeling the necessary energies appropriately.

The mind is an exceedingly advanced construct. Delving into arcane studies on its function and manipulation will eventually lead to development of ritual foci and spell components personal to the caster, and reflective of his own mind.

Evocation

Evocation spells can be some of the most bombastic, entertaining, and deadly tools in a wizard's arsenal, and reagent use reflects this.

Most commonly, the use of materials involved in all stages of natural combustion are used, as are reactive chemicals. Sulfur, coal dust, tinder, igneous extrusive stone, lignite, fire opals, volcanic ash, fly ash, freshwater laced with cinnabar oil, so on and so forth.

Other elemental spells can be readily enhanced with similar samples. For instance, pairs of iron rods readily empower electrical spells, vials of acid for corrosives, censures full of toxic fumes, et cetera. Once again, an extensive body of knowledge in the fields of natural philosophy (especially Physics and Chemistry) will serve well.

It should be noted that a mage bearing combustible materials, casks of acid, vials of poisonous gases, etc. is an attractive target in a larger skirmish, and potentially as much a danger to her fellows as her enemies. Tragic accidents with Evokers mishandling their reagents should serve as lessons to others.

Illusion

For uninitiated, the School of Illusion may be contrasted directly with the School of Divination. In the latter, veils and darkness are parted to reveal truths, while the latter concerns the drawing of veils and the light of 'truth' is that which the caster wills. As such, tested spell components invariably trend towards the thematic opposites of those employed in Divination.

No wholly transparent substances should be used - mirrors are a technical exception, in shards or larger wholes. As Illusion is a School traditionally associated with the ephemeral, so are its material supplements.

Various smokes and fogs and different gases/chemicals are the most difficult to procure and bottle. It is often easiest to conjure substances inside sealed glass ampoules or closed philters than use mechanical methods, unless manufacturing at scale.

The association of 'smoke and mirrors' with mundane illusion is not coincidental.

Finally, consideration should be given to the use of a thurible, as it may serve as a logistically feasible means of dispensing smoke and incense when your illusions demand it.

Necromancy

Necromancy, being among the more unpopular Schools, is difficult to experiment in without drawing mobs. Note that all data was gathered through experimentation on non-sapients. Primary component archetypes have been identified: dead, and non-living.

Of the first category, most common are flesh samples - body parts, bones, and organs. Also used are pinches of saltpeter and blood, animal sinew, and when in doubt, more blood.

Non-living is most typically realized through onyx, blackstone, copper thread, gold and silver needles, grave dirt, and embalming resin. Application wholly straightforward.

A popular theory in apocryphal records reports that many of these reagents may or ought to be stored in canopic jars before 'release,' for maturation of their innate energies. Though plausible under certain circumstances and with specific preparation, solid data on the subject has yet to be gathered.

A critical distinction to make is that between necrokinetics and necrodynamics. Necromancy is most typically associated with necrokinetics by the layman: that is, the animation of a corpus for service. It is critical to remember that Necromancy is the 'Deathless Art' or the 'Pale Art.'

The subtle interrelation and shades between Life and Death, as manipulated and assayed through necrodynamics, are as much if not more central to the theory and 'philosophy' of Necromancy as the more widely unpopular necrokinetic 'corpse-mongering' as labeled by its detractors.

Transmutation

The School of Transmutation is largely straight-forward, comprised of fundamentally altering the properties of an object, creature, or condition. Most reagents are reactives themselves.

Chemicals are used substantially, namely those prone to sudden and frequent changes. Interestingly, this includes both water and white phosphorous. The hair or feathers of certain animals may be shorn to use in rites that confer their natural aspects and affinities. Many minerals or metals used in metallurgy to alloy have certain useful applications.

Shape and structure are similarly fundamental in Transmutation: always recall utility and function. A small cone of glass and tin of sturdy construction could serve as a potent focus for years. Geometric solids of fired clay and carved with certain sigils may serve the same function.

Those items which also serve as tools to affect change or modify an object or phenomenon's properties (a key, a horn, a lens [overlapping with Divination]) can all be put to specialized use.

It is also important is to consider that which changes naturally (organics), rather than through alchemistry (inorganics). Thermochromic minerals such as white zinc and certain types of garnets (thermochromic pyrope) may serve to help in more exotic experiments, but a the skin of chameleon or even displacer beast may be more effective and often easier to source.