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Cursed by Fortuna

Vivaldi Family Additional Lore

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Family Background

A user of sound magecraft, she is descended from the Vivaldi family, although they once bore a different name to that one. Their origins go back to the 1450s and boast a pedigree of 7 generations in length. They renamed themselves after Antonio Vivaldi, the most successful member of their family, as to boast better recognition and fame for their bloodline. The family has an affinity for wind magecraft and sought out the root through the property of resonance and refinement of the factors of the mind and soul, that is refining aspects of themselves with art (art as a source of social and intellectual refinement, like the ancient greeks believed) and resonance with the mind and soul as to increase the energy level of their existence as to much like a substance shift states to a higher level of thinking/being. To this end they sought out a melody which would resonance with the very core of the human mind and soul, a universal melody if you would.

This search saw them collect and test African tribal songs, songs from greek history, and even songs from the asian continent, yet they failed to produce any results worthy of note. They would rebalance efforts and pursue research into classical music and church hymns as those yielded the greatest results to Antonio Vivaldi. In collaboration with the church, who they would hold a long standing relationship as patrons, whistleblowers, and faithful followers even centuries later, much to their comapriotís disdain among the magus association. With the church they would continue this research, even composing and testing new songs to attempt to gain greater results.

However, with the decline in classical music the family left their home in Europe to the 13 colonies and continued their studies in a new environment where the religious presence was higher and the shifts in musical research had yet to fully set in. The family never truly managed to boast any great success after Antonio and in 1863, during the battle of Stones River the 5th head of the family was injured and their crest damaged while he was conducting an experiment (at the time he theorized what their song was missing was different factors and aspects of human life thus he would create different songs as layers and then combine and tinker with them to make a complete composition) and he was seeking to gain inspiration for the factor of conflict and strife during the civil war.

Magecraft Details

Gabrielle is and her predecessors specialized in the use of sound magecraft technically considered by the Cincinnati 771 to be a subtype of wind magecraft, as the property of sound can be described the movement or vibration of molecules in a wave pattern through a medium (generally gas or liquid, although it can also travel through solids [and scientifically it travels through solids the fastest [followed by liquids then gases in relative speed of travel] due to the molecules not being spaced out and transmitting the vibrations and wave through the media more rapidly due to their coles proximity and compressed structure]).

It isnít exactly known when this form of magecraft arose, but by all metrics, it like sight based magecraft (mystic eyes) ands spirit based magecraft is ancient, dating well before the start of the AD calendar and aside from visual based magecraft is considered the most common type of magecraft based on the 5 human senses. Technically speaking the sheer applications and uses of this magecraft are so vast that in more recent decades efforts have been made to specific branches of this magecraft based on their underlying principles, thus 2 major branches or schools have been established to more generally understand the abilities of sound mages.

Deleterious Sound Magecraft:
Magecraft which uses sound offensively or for combat purposes, two types are described based on the mechanics of the individual spells. Deleterious spells are meant to harm or hurt foes and do the properties of sound or the movement of molecules offensively.

Intrusive Deleterious - Intrusive deleterious magecraft much like intrusive rocks works based on the principle that it is heard by a person or being and then has an effect based upon that. In general, although the general effect is similar to the effects of infrasound at certain frequencies and at certain amounts of decibels on living beings, the difference is that intrusive deleterious sound magecraft is far more controllable in what effects are inflicted, be they visual, auditory, or even olfactory illusions (or some combination of these factors), and are somewhat more practical as they can affect the entire body of a target rather than specific portions at a time due to them having different resonance frequencies.

With these methods even effects like weakening a foe by inflicting curses in the media of sound, or weakening or interfering with their magical circuits and spells (in a sort of reverse of sympathetic sound magecraft can be achieved [which infrasound with resonance cannot do]). These sound based spells are also generally far more user friendly and energy efficient, and offer a high variety of effects making them a favorite among wind mages. Intrusive deleterious sound magecraft are a commonly used method (if not the most commonly used method) of inflicting mental interference from a range, on a group, and/or while staying out of sight (although smell based illusions or proximity ones tied to bounded field also could do the same. In the hands of a true expert any of the three could result in you assuming control of multiple people with them only having minimal time to react). All of these factors make them a well worn favorite but all of them have one universal drawback, they must be heard and perceived by the brain to work.

If a 25 Hz sound is used with a spell from this type of sound magecraft, but is targeting a foe which canít hear 25 Hz, since the brain never processes the sound properly, the spell doesnít take effect. This is bad as if the foe creates a vacuum or is totally deaf then this system of magecraft is useless on them. As such generally it is rare for a user of this type of sound magecraft to not know spells from the extrusive deleterious type or have other means of damaging foes.

Extrusive Deleterious - Extrusive deleterious sound magecraft as the name would imply works on imposing or exposing a foe to a sound or mechanism which has an innately harmful effect and damages the body without the body physically processing it. Generally sound magecraft of this type works by either being so loud (cranking up the decibels) it can physically harm, damage, stun, and/or kill foes, however there are also a few other methods which could work to this end. A newer method of harmful use of sound magecraft extrusively is through the media of sound objects can be manipulated almost telekinetically and using sound or blast waves fire at things, thus making for effective projectiles. Another means to accomplish this task is that through fast enough moving molecules / a loud enough sound (generating a blast rather than sound wave) thaty it physically damages objects in some cases ripping them apart so violently they may explode as well.

However the most traditional uses of harmful usage of sound by extrusive means are done through the use of ultrasound and infrasound. In the case of Infrasound it is combined with the usage of resonant frequencies to damage parts of the body, or certain objects at the given frequencies and when loud enough. In the case of humans at 110 dB causes eyes twitching, seeing things and have spots in your vision (at 19 [or 18.98 more specifically] Hz); 140 dB to around 165 Hz typically causes pain, and effects over a more prolonged period or with magecraft can also include vertigo, imbalance, other problems with the inner ear, nausea, vomiting, bowel spasms, damage to internal organs like the lungs or heart, internal bleeding in such organs, disruption of brain waves, disorientation, trouble breathing and loss of consciousness, 177 dB and that can cause artificial respiration and potentially damage parts of the body, at 240 dB this could cause destructive resonance with the head, resulting in rupturing of the skull at certain frequencies.

In terms of Ultrasound while not as widely used as infrasound, it does not require resonance to damage a body and merely requires it be loud enough to function (thus being slightly more ideal in the case of objects with uneven compositions like a human body). With Ultrasound at 120 dB the ears are damaged or burst, 150 dB starts to heat the body to harmful levels, and 180 dB is normally lethal for normal humans.

Sympathetic Sound Magecraft:
Magecraft which uses sound for utility purposes, technically speaking the exorcism of hostile spiritual beings (wraiths and ghosts) though sound is placed under this category, although the exact mechanics of it are that sympathetic magecraft is used to ease the spirits thus severing or damaging their ties to this world causing them to weaken or dispel. The usage of this magecraft and also weakness or dispel curses based on the principles of channeling emotion or energy to counter a certain curse in much the same way as emotions are channeled to ease spiritual beings. Sound magecraft used for healing purposes would also fall under this category. This style of magecraft includes the practice of using sounds or songs to tune magical circuits and has been used by Melvin Weins and practiced by the Weins family.

In technical effect the purpose of this is to resonate with the soul or components of a person in a sympathetic manner thus charging their being and elevating them to a higher energy state temporarily. The closer a song or melody is to matching the innate resonance of a being, the greater the effect. The Vivaldi family theorised this phenomenon if perfectly tuned and with a strong enough host could be used to elevate a human and their mind and soul to a higher level of entity, potentially on the level of a user of the 3rd true magic, a soul attached to a mind without a body. At present time no members of their bloodline actually use their magecraft in this manner, instead veering towards the deleterious uses of sound magecraft they find themselves more capable with.

Dev Note

As you can tell I may have taken a bit of inspiration from Fire Emblem Three Houses some aspects (as that gave me the inspiration to finish it), but I still think itís fairly good and original. I wanted to do a sheet based on sound magecraft for a while as sound is actually a really robust power set (I kinda wish they made a servant like Opheus so they could highlight some of the powers that sound based magecraft could do [we have seen a bit from the likes of Mozart in France, David and Tirtsan with their harp skills, and Antonio Salieri in Lostbelt 1, but I feel thereís so much you could do with that powerset]).

Actually it was so robust and varied I actually dropped a little lore bit for my interpretation of type moon that the entire field is divided up based on how the sound magecraft works and is used based on how expansive it is (at least in the central 48 of the United States). Overall I had a lot of fun writing this and pouring my heart into the sense of a tragedy born entirely of good intentions (at least in Gregoryís part) and unlike some tragedies in Type Moon, really the majority of its inception has nothing to do with magecraft [rather having much to do with the aristocratic lifestyle he and his sister have, and the enormous shadow he left her in. Itís only once Gregory enters the moonlight world and dies that things get worse for his sister, and ironically itís only in the moonlight world that she ever surpassed her brother (although she would never know or believe this fact).