faderift | closed. send out the morning birds to sing of the damage,

Entry tags:

closed. send out the morning birds to sing of the damage,

WHO: Martel, Adelaide LeBlanc.
WHAT: Comparative magical theory.
WHEN: Vaguely current/recent.
WHERE: Skyhold Garden.
NOTES: Martel is a warning, but if anything specific comes up, I will edit.

Having returned from his adventure down the Frostbacks with the Orlesian elf girl (and her thrice-damned horse), Martel - does not immediately seek out Adelaide's company. He does not, as a rule, seek out company. Much less immediately. There is enough as needs doing that can or must be done by him that though he has had it in mind to do for a time, it's been...not urgent. While other things - he did not miss the Abomination, no - have been.

Still. He finds her in the garden, unhurried as he descends the steps, observing her. The way that she moves, stiff and deliberate; it is a moment before he announces himself, and not with a greeting--

"It seemed to me that as I have made myself a part of this organisation, I might make myself available to some of the relevant parties as to what uses I can be put to," not quite dryly, just sort of - as Kalten once put it, you know how he is. Martel talks a certain way, it's a problem with his personality.

And as for relevant parties, there are a few, potentially. But the simplest place to start is with the mages, and he and Adelaide are...

...acquainted.

Flat | Top-Level Comments Only

"I cannot imagine how it would change Thedas were that the case." No threat of possession, no towers- colleges instead. What they should have been rather than what they were at the end. Pretty academic prisons to keep the dangers locked away. For them to be anything else- for magic to be a choice rather than something innate...

It is impossible here, but for a moment she cannot help but wonder if she'd choose to be what she was were the option available. If she could have done without.

"Innovation, you said. How were you able to use your innovative magic to learn our written language- and on that note which written language did you learn? There are a great many."

"It's a combination of spells I've previously used to the purpose - one to reproduce an image or a written word once seen, and one to learn to speak an unfamiliar language. Used in tandem, combining the two spells into one with a subtle adjustment, allows the mind to absorb the meaning of the words that you are reproducing - in essence, I wrote until I knew what of I wrote. I began with the written word as it corresponds to the language we're speaking now - it simplified the process, that I already understood that."

It's easy to understand only by speaking to him a short while that Martel never would have chosen anything else - that even as he's admitted his practise of magic is now essentially a legal and religious offense, he could no more have left it be. He speaks with too much passion and interest for his subject; the idea of letting knowledge pass him by is absurd. He has pushed the limits simply because they were there to be pushed. He will always be interested, and ambitious, and warm to his subject when given the opportunity to speak on it.

It suits him, the way he is when he discusses his work like this. He forgets to be so much of a bastard when he's engaged in explaining something worthwhile to someone who can keep up with the explanation.

"The enchantment forms are a kind of stylised prayer ritual - ordinarily, the guiding hand of a patron god rests upon the sorcerer. I've discovered that this is not strictly necessary; I know that I am alone here."

That his gods have left him here. He says it very matter of fact; he is not looking at her, when he does. There's a set to his jaw that does not linger when he smiles and says, "I suppose I'm relearning my limits, now they're not imposed on me by someone else. How much of what I do now is to do with adjusting to your world and how much of it is adjusting to the lack of guidance will be difficult to say with complete confidence, but I do think that the rules here being so different is altering my results. I'm changing my expectations accordingly."

"That is a great deal more abstract than what we are able to manage here. Conjuring an image of something seen is a matter of illusions, easily done with the right training, but the second- where does that knowledge come from? It must come from somewhere if not your own mind." Everything has a source. In Thedas it is the fade and it's spirits, it's power, it's demons. Knowledge comes from study and sacrifice and compromise; not from a spell.

There is no glyph for knowing. It'd make her a bit obsolete were that the case. "Unless- Here, I suppose, such a thing could be done if one called upon a spirit of Knowledge but they are few, far between, and at my last count all but a myth. There may have been a great deal but no mage I know of now has seen nor heard of them. Wisdom, yes, knowledge? No. But it follows that if there is the one there ought to be the other; calling them by name might offer an approximation but if you were able to do that- I would know." Sorcerer he may be- spirit mage he is not. There's a tone to Martel to be certain- but it is not familiar in any way.

"Much like how I heal with Compassion. Through their guidance and power I am able to do more than I would otherwise." But to connect with a god? That is...fascinating and terrifying. "Without your patron you will be pulling either from the Fade or from yourself for power. Mages here do a bit of both unless they use the power of Spirits as well as their own will. I'd recommend strongly against overcasting simply to see how much you can manage while testing your limitations- the migraine afterward isn't worth it."

"I didn't do so intentionally," he says, a bit dryly, amused at himself - and at her instinct to guide him as she might her students. It reminds him of something he does not care to examine. "I'm afraid I learned that lesson rather quickly after arriving with the trick in the library. It served its purpose, but I'd have been better served if I'd been better prepared, instead of committing and realising halfway through I'd bitten off more than I intended."

He waves that aside - he is learning. Adapting. And doing it more carefully now he's a notion of how much there is to adapt from.

"Sorcery can be used to ... it's essentially drawing upon existing awareness. So, perhaps, the Fade of yours is what I tapped into to do it - my tutor, Lady Sephrenia," whose name softens the harshness of him the way someone might speak of their beloved mother, "discussed with me once the problem with using such a shortcut. It isn't true understanding. If I had learned Styric the same way, I'd not be able to practise sorcery as I do, it lacks the nuance of truly grasping something that you've learned, that you've worked at. To cast in Styric I must think in Styric."

"I had a student, once, with a disturbingly accurate memory for all that he read and heard. Most of his other instructors thought him a savant, someone that should undergo their harrowing early for he had so much talent- save that his actual grasp of what he'd read was lacking in depth. He knew what he had read and been told, but applying what he'd absorbed was difficult. We had to go back to the beginning for him to relearn everything in such a way that he might be able to comprehend. He spent an extra two years in my tutelage and hated me thoroughly." But he left her instruction knowing better than to trust the shortcut his own mind provided, and went on to become an Enchanter in his own right.

Of course, when the Spire fell, he died along with many of her peers but- that is neither here nor there.

"Knowledge is only worth how it might be applied. If you don't understand it, you cannot apply it. At least with writing the application is simple enough for you to learn, comprehend, and use it without causing yourself migraines with each attempt."

"Precisely. I used it to allow myself the opportunity to study it more closely - I arrived here blind, and it was a quick way to begin fixing that state of affairs. I'd perhaps have handled it differently if I'd waited longer, if I'd known more - but I knew little."

A verbal shrug. There'd been pressure, in those early days; the suspicion that still lingers now had been much sharper. He'd loathed being so helpless, and it had been the only way forward that he could see. Educate himself. Learn about the world he needed to be able to navigate. It was a start that he's built on - but not the easy fix that it seems at first glance.

After a moment, "I'd likely have become the Order's Lord Preceptor, had I remained on the path I was. I'm getting old," with a wry look, "and I don't have a particular desire to cover myself in glory on the battlefield any more. Your young mages need to learn to defend themselves - in battle and socially, I expect. If I were to suggest a use for myself, it'd be that."

"We do need more instructors- we've more apprentices than we've tutors at the moment and while you cannot teach them magic as they know it...a way to protect themselves when they cannot use magic- for that will happen no matter how well prepared they think they are- and protecting their reputation from a world already terrified of them are more than worthwhile." A beat and she turns to look at him properly, eyes faintly narrowed.

It is a long moment of consideration, the younger mages all well within the range of her own students. All eager to please. All quite impressionable.

"Provided you can hold your temper and your reflexes and give me your word that you shan't have an incident such as when we first met during training and I shall put forth your offer to the Council, as well as give it my blessing."

"A combat tutor who understands magic and its practise, even of a different sort, is likely to be better received than one they might be afraid of, or fear judgement from," he observes, blandly. "And a novelty is like as not to get cooperation simply for the sake of being a novelty."

Martel, hip with the youth of today.

But at her more serious mien -

He takes his time. He's never been gifted with apologies, or explaining himself - he's very rarely tried to do either. He has no desire to brush her off and leave her thinking his offer is a conditional or irresponsible one, and it means handling it delicately and deliberately. He isn't self-conscious about taking a moment to order his thoughts; it will speak better of him than speaking in haste, he thinks. Let her see that her words hit their target.

"When we met," he says, finally, "I believed I was in hell. I was exhausted physically, mentally and magically, I was afraid, I knew myself to have been abandoned by my gods and cast out among people who thought I was a demon. My loss of control was unforgivable, but it is not something that will happen again. For what it's worth, you've my word."

He doesn't say on my honour. How much of that has he left?

"You thought yourself dead." The wound, the knotted, gnarled mess of it that she had mended, the manner in which he fell? A sword's blow through the chest. She knows wounds well enough to know when something is possible to walk away from and when someone ought to be bleeding their last in the mud. Had he not fallen through the rift, there is no doubt in her mind that he would be in the 'hell' he describes.

Even if such a thing, to her, isn't terribly familiar. The sentiment is.

But she gauges him for a moment more. Weighs what is and is not said- the way in which it is spoken. How he holds himself, how he doesn't fidget or grimace or scowl. He simply is as he speaks his piece. Offers no tells to the truth of them but considering the incident in question she cannot think him anything but perfectly sincere, if not entirely contrite.

For her it is enough.

"Then we are in agreement." She dusts her hands clean of dirt and extends one to him, as such things are often shaken upon in some way or another.

His hand is calloused but clean besides the impressions of grass, warm, and his grip strong; not overbearing. The problem with Martel, so often, is that he is not the grasping thing people want a man with his ego to be - to see that truly it hides some insecurity that they can use to either condemn or humanize him. He isn't, though - he rarely feels the need to assert himself, and never in casual exchanges with acquaintances.

He is. And what he is will be seen or not. It changes him not at all.

"We are," as he lets go of her hand.

Eventually, "I would have been dead."

She knows. He knows she knows. But it is worth saying out loud. This is borrowed, precious time that he will not waste.

Her fingers are warmer than they ought to be, her skin soft- side effects of using magic to literally heal the plants with nudges of power. For a moment she's reminded vividly, viscerally of a templar she'd known in the Spire.

The thought is there and gone before she can dwell on it overlong.

"If a way is found to return rifters to their home- is it a safe enough assumption to make that you would rather not?" Either for his own reasons or the complications that comes of not dying when one truly ought.

"I led a remarkably full life," he says, and it has the tone of a bleak private joke at his own expense, a glimpse of that ugliness that always seems to lurk at the edges of him, "and it ended. As such things do."

He shakes his head, briefly, glancing at nothing in particular on the other side of the garden.

"No, I've no desire. That world is done with me and I am done with it. They may write the history of the matter as pleases them."

"Is that often the way of things? The living write over the bodies of the slain? I think there was a popular opera in Orlais that held that as a core theme." If art is made of it, there must be some truth- or something to that effect. She sits back and considers him for a long moment- the way he spoke of it, the injury in question, the way he spoke of home and his magic-

There is a story to be told.

One she has no desire to hear of, not yet. "Tell me more of your sorcery."

It seems the safest subject.

A dead man's story no longer belongs to him - if the story of the renegade Martel had ever been his own. Martel lets it pass, though, in favour of the more interesting and rather less dire inquiry about sorcery. That subject he can speak on for hours at a time, and more gladly.

"I began studying it as a boy - I was sent to the Pandion motherhouse to begin my novitiate," he says, relaxing by increments. "Lady Sephrenia has served as the Styric tutor for the knighthood for centuries. It's not unusual for a sorcerer or sorceress to live longer than is usual - you're given a connection to the world that the average person cannot imagine. What you referred to before, blood magic... I don't know that we have anything comparable. When I listened to the minds of those around me, it was a natural extension of being so attuned. A simple thing, not very complex, the skill of the sorcerer the benchmark for their ability to listen well or not."

After a slight pause, "It's a foolish man who reaches out blindly. Sorcery is not...discreet. To those who know what they're hearing, it makes a noise; unique to each caster, but distinct for what it is."

"Listening, warping. A common practice of meleficar is to make pacts with demons or create blood thralls- ensnare the mind of someone they use for their blood's power rather than their own. Spirits may sense an individual's intention but outside of the Fade I cannot think of anything but a spirit or demon that could read the mind of those on this side of the veil." In theory it might be possible, much as living for so long might be possible. Unwise for the deals one would have to make in order to do so- for no mage might manage such a feat of their own power.

The last bit- though. That their magic comes with it's own sound- that piques her interest. "Magic is not subtle here, either. You have seen it at work- all storm or flame or ice or spirits warping through this side of the veil. But some mages- spirit mages in particular, to me have a sound to them. Most magic does. I do not know if this is something of spirit mages, something of mages, or something of my own. What does it sound like to you?"

"A bell," he says, thoughtfully, "most of the time."

Not always. But - often enough to be the most common.

"A sorcerer might 'hide' the sound of his work in a few ways - in the midst of a great deal of such noise, for instance, or beneath the binding cover of iron. But for the most part..." He makes an easy gesture. "If someone is listening and I don't care for them to hear me, I simply don't give them anything to listen to."

"Voices singing. I do not understand the language but I do not need to." Sometimes it's an echo of the mage's own voice- more often than not a murmur of whatever spirit they channel. If there are no spirits involved it's more of a low thrum, rippling through Compassion to her awareness, echoed on each side of the veil.

She snorts a soft laugh, murmuring with something that could be approval. "Practical."

"Do you hear anything of our magic- or is it too different?"

"I'm aware of it, but not in the way I would've been in Eosia," he says, with a tilt of one hand. "The rules here are different - the way that things work. That I can still do anything here is something of a pleasant surprise, I expect to be adapting for some time. It sounds...further away."

He lacks the connection to Thedas that he had to his own world; as much as he might assimilate, he's never going to be permitted to forget he doesn't belong here.

There are worse things. He will learn to live with it.

"The - preoccupation with spirits and demons is an unusual thing," he observes, after a moment, "in comparison to what I'm accustomed to. Of course we've all summoned a spirit for some task, and there are rumours of necromancers here and there...demon-summoning is forbidden. It isn't something you can do by accident. It isn't a risk that you have to take into account with anything you do that isn't purposeful demon-summoning."

"We've a whole nation of necromancers to the north- Nevarra. Necromancy is their specialty. it ties deeply with their culture of mages." She laces her fingers together in her lap, sitting straight, not quite an orator's posture for she was sitting in the dirt as much as he- but something practiced that held shades of her old authority. "It's not so much a preoccupation as it is a required awareness. Demons can possess mages if we are not strong enough to withstand them. Spirits may offer guidance or, in my case, power by allowing a skilled mage to channel their energy. Demon summoning is taboo and forbidden for more than anything else- what a demon wants is to be on this side of the veil- either conjured over in a body of their own or by possessing a mage. But- being mages in and of itself calls to demons. They are attracted to those with power and to strong emotion. Fear. Grief. Sorrow. Rage. There is a theory that I was researching before all of this, one that had some truth to it- that Demons were corrupted Spirits. Those we fought when you fell through the fade- despair, rage, sloth- they are embodiment of sins. Of the faults and failings of man. Spirits are...more abstract. The biggest difference between the two is that demons, aside from their intent- are far more human than Spirits."

His concession to the correction is easy - it had been a turn of phrase, and given the sensitivity of the subject, a poorly chosen one.

"Of course," he murmurs, at the explanation of which of the two are closer to humanity. Of course it's demons, if there's an option to be taken. Humanity is scarcely better. The Free City of Chyrellos is a badly delivered joke and it is difficult to regret what he did there when he carries so much lingering bitterness from his earliest days in the knighthood. The things they were forced to stand by and allow Aldreas to do, the things that the church's own corruption did not protect her sons and daughters from -

Pandions have always been the black sheep of the church family. Martel was young, once, but he was never so naive about their place in the world or what it meant. How much they could truly achieve.

"I didn't see much of the fight," he says, frankly, recalling how she'd chided him for the participation it had been reasonable to assume he'd had. "I was in no fit state to observe what was going on around me, even after I'd stopped coughing up my own blood. But I've read, and I've heard accounts...it's similar, but a very different sort of thing to the risks you take summoning a demon in Eosia. They're unlikely to possess you. But you'll lose control. Creatures who served the Elder Gods are...the minds of men are not powerful enough for that. You'll go mad, people will get hurt - but not because you were overtaken. Because you made a choice to invite something into the world that you were unable to control, and your mind broke under the force of it."

This sounds like more than just having read about it, back in Eosia.

"It...breaks more than your mind, here." Her lips press together as she glances about the garden rather than Martel. "If conjured in their own form- there is fire and destruction. As articulate and capable as a demon is on the other side of the fade, being pulled across is traumatizing for them. They break and reality breaks with them, leaving them warped and raging. If they possess an unwilling mage- everything breaks. The demon, the mage, the body they inhabit. It creates an abomination."

There is more than fire and destruction- there is blood and loss and death. And the political fallout- her awareness of that leaves Adelaide still for a moment before she clears her throat and returns her gaze to Martel. It hadn't sounded like something he'd read.

Academia is never quite so visceral in it's descriptions. She'd think it to be the same across worlds. "Intent is everything in the fade. Bring a creature made of intent, good or ill, across the world where things are subjective and nuanced and real, where will alone does not alter the fabric of reality- it hurts them. Changes them. Spirits when pulled through can become demons if they are not strong enough. Most are not. This side is too real. They don't understand it. Older demons- named demons. They can be summoned and they are likely much like those of your world. Too powerful to control."

A Damork is abomination enough without any further bells and whistles; a lesson Martel ought to have grasped without the practical. He regrets, fleetingly, pursuing this particular avenue of conversation about sorcery, but ... it's done, now, so here they are.

"For us - demons are a remnant of the old world. The world as it was, before, when the Elder Gods yet had dominion over it. They were banished with their masters, locked away - their power is beyond what a human mind is capable of comprehending. Much less wielding."

The fact he can string a sentence together, much less do literally anything else, is astonishing enough. Even to Martel, occasionally, when he allows himself to think honestly about what he did and what its consequences should have been.

"But you've no Spirits- only the demons?" That is slightly worrying. Much as demons are a problem the presence of them and demons grants a little credence to the idea of balance in the natural order. What is done with that balance by the human element is wide and varied but- demons and no spirits?

What manner of world is that?

"Oh, no," with an easy laugh. "We've spirits - most young knights with any aptitude will play with them, summon them for little tasks. Playful things, usually, like the little bee spirits. Fairies of a kind. But they aren't any kin to what might claim your soul for its master, they don't come from the same place or the same cloth. They belong to the world, not its darkest reaches."

"...bee spirits." Were Compassion a being that felt offense on an existential level- that would be a thing about now. As they aren't, Adelaide feels it on their behalf. "Fairies."

Fairies aren't real, she thinks, living in a world with dragons and dwarves and elves. It's absurd.

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