TheoriMusings on the Practice of Magic
#1
Casting Magic:
Magic may be Freeform -such as a water mage using their magic to freely shape water- or Structured, standard techniques commonly referred to as 'Spells'. Passive magic tends to be more Freeform, whilst Combative magic is usually Structured. Creating the effects, however, usually requires a form of mana expression. Such expression is most often done through one of these methods:

Emotional: In this context, magic is expressed through the conduit of emotion. Depending on the strength and kind of magic being made, this might be feeling slightly cheerful, or being enraged. Magic expressed in this form can occasionally lash out despite a user's conscious intent if they are feeling particularly strong emotion. This method is often used by magi who lacked self control, or who are learning by themselves through trial and error. Even so, it is one of the most common forms of mana expression.

Symbolic: Symbolic expression is the use of components to create a spell through the perception of association. In this context, a spell to shape metal might be created through the focusing on mana through a smith's hammer, for example. It is theorised that much of the common Alchemy recipes were originally designed through symbolic magic, evident through the use of a rabbits foot -symbolising speed- being used in agility boosters. This theory is also supported by the extreme difficulty non-magi have when it comes to practicing Alchemy. Symbolic expression is unique in that it is theorised that common attributions of properties to items have expanded so that items may be used symbolically without the user having any real understanding of this form of mana expression. Whilst an intriguing form of expression that many magical theorist see as worthy of study, its not often taught in the modern day. Symbolic magic is also often seen as the oldest form of magic, as nearly all other forms utilise some basic symbolic aspect, whether that be emotion as symbolic of types of magic, or the use of language being symbolic of the ideas behind the spell.

Incanted: Incanted expression is the use of structured or freefrom magic through the use of words. Incantations in this context may be selected for their syllables, cadence, or connection to the intent of the spell. Due to the latter point, some theorists suggest that incantation is a simpler variant of symbolic magic, though there are enough disputing opinions that a consensus has not been reached. Incanted magic is perfectly viable in both freeform and structured magic, but can be limited by the speed of one's voice. It is, however, extremely effective in ritual magic.

Runic: Runic casting is something of an incorrect term, as the common association with runes is that it requires knowledge of the divine language of Angels. Whilst this true in the case of the type of runesmithing common to enchanting, as well as the rare Runecasting ability, Runic expression more broadly refers to the use of language in magical expression. An Astyan using this method might, for example, trace in mana the Astyan word for 'fireball' to create a fireball, or with practice, merely 'fire' encircled. This form of expression pairs well with Incanted magic in ritual.

Instinctive: The mana expression most often used by experienced magi, Instinctive magic is often the result of years of practice with a given magic. The magi has become so proficient with their spells, so attuned to their magic, that they can create the effects of any sufficiently practiced spell by mere thought alone, abandoning the use of incantations, language, symbolic item or emotional input. Reaching a point where one can cast their entire magical repertoire in such a manner is one of the commonly considered points of Mastery.

These methods are not the only forms of mana expression, and debate continues as to whether they're different methods at all. As magic is a rather esoteric art it often eludes exact explanation, and it is quite possible no-one but Kraus himself is truly certain of the truth of it.
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