Summary
There are many ways to interact with a being's senses, and often many different magical arts have their own unique approaches. As an example,
fire magic might utilize combustion for smoke, or intense heat to create steam banks. More advanced versions could use sudden heat expansion for loud 'flashbang' effects as well. Generally nonlethal in nature, many people often call these techniques
'illusion(ary) magic'. Being pervasive across all magical schools, it is not unto itself a distinct form.
However, the more distinguished phantasmal magic most certainly is. For many, the roots of phantasmal magic is almost aways found in the performing arts. Theaters, street performers, musicians, and anyone looking to entertain usually have their own tricks of the trade. Those with magical talents, perhaps unremarkable by any serious measure, can add their own flair to their performances. Constant tweaks and changes to these techniques eventually bore fruit into more esoteric abilities as performers started influencing their viewers more directly. 'What if they could
taste the food?', 'What if they could
smell the wilderness?', 'What if they could
feel this character's passion?', and so on.
Of all magical arts, phantasmal magic developed at an exceedingly slow and unremarkable pace. Using magic to influence a being is already difficult, and the fact
so many different kinds exists further complicates it. A
rachtoh's remarkable eyesight would see something very different from illusions meant for a
human. Similarly, those with extreme mana or magical talent, such as
baarham, may be inherently unaffected by weaker
mages.
In an unlikely crossover, phantasmal research met with
necromancy where the existence of
ghosts and literal
phantasms were concerned. It is from the latter the name eventually took meaning, as researching that particular undead provided a pivotal breakthrough. By doing a broad-spectrum approach to affecting a being's senses, and using mana to 'materialize sensation' temporarily, sophisticated and convincing deceptions could be created. As perception is reality, one must deceive convincingly and subversively to affect a wide variety of potential targets.
The vehicle for such a goal took form in the phantasmal mage's own experiences. By conceptualizing what sensations they want to send, they can project an echo of them upon their targets. Combined with hallucinatory effects to deceive the seven basic senses, and people could become enthralled to imaginary worlds. However, the mind is naturally defensive against these phantasmal effects, constantly reasserting reality into the illusion. So it is a contest between the mage powering the effect, and the target's natural resistance to it. Without constant empowerment, anyone under the phantasmal magic will eventually become free from it.
Despite such a natural mechanism, phantasmal magic remains exceedingly potent. For example: terror strong enough to kill can send cause literal heart attacks or brain aneurysms; foul stenches capable of rendering one unconscious, or sent into violent convulsions; idllyic scenes of peace and tranquility, causing one's guard to falter if not drop completely. The potential of the magic is chiefly governed by the life experience and power of the phantasmal mage directly. The further one moves away from said life experience, however, the harder it can be to create powerful phantasmal effects.
So it is, while they're not all natural hedonists, hedonism and phantasmal magic are quite comfortable together. There are those who research 'experience' from a more objective perspective, using rigorous study and logic to create their magic. Ultimately, as one needs to be able to send something convincing, that experience however it is made is vital. Of course a natural result of this is seasoned phantasmal mages pursuing questionable recreational methods in order to expand their experience pool. In one breath they are very worldly individuals, in another perhaps too free with trying 'something new'.
In many ways it is not a magical art suitable for warfare, so despite its capabilities it is not often first on any list. Those seeking assassination or subterfuge, however, are quick to try and recruit phantasmal mages. The art as a whole, thus, gradually acquired a foreboding and ill-begotten reputation. Tighter regulations, if not being outright banned and persecuted, is often the fate of phantasmal practitioners. That being said, performing arts nonetheless continue to make use of sensory-affecting magical arts. How much they're allowed to is an unending pendulum swung throughout time.
Those seeking to undermine it further often accused it of truly vile abilities, such as mental enslavement or 'charm magic', something it is often troubled to refute directly. However, eventually such accusations became broadly dismissed after thorough research. Phantasmal magic's inherent nature could be described thusly: if one grab's a pot from a fire, it will burn their hand. It will not make them walk outside and twirl around like a naked dancer. In other words, phantasmal magic is simply sensory interference and signal manipulation, it's impossible to directly control a person's 'personality'.
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