It was a fairly regular day for Pycena. With most of her duties under control she decided to scour the lands in hopes of finding something interesting. While travelling north of MyleHatsu by boat towards Hellwell she miscalculated her path and veered off to the side. Not knowing where she was she stumbled upon a strange formation of rocks out in the deep ocean. The rocks were covered in moss and were clearly weathered from time. There were many structures on these stone spires: stairs leading up, towards the bridge, and into the house of someone who supposidely lived there. Entrances carved into the rock. A pier with barrels and dried out fish which had been left on the ground for days.She approached the pier and moored her boat. She climbed the spiral staircase catching glimpses of storage, crops, and magical herbs. Finally, she crossed the rickety bridge towards the shack that was barely balanced on top of a tall spire of mossy rock. Feeling a bit of suspense she politely knocked on the door, and within moments...[???] - AAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHH Almost immediately a sharp scream pierced through the building, startling Pycena. A bit scared, she waited for a moment before opening the door herself. Entering, she saw a middle aged man with an unkempt beard in his pajamas sitting on top of a bed. [Pycena] - Why are you screaming? :< [???] - Because it is the best way to make fools like you scramble out of MY house!The resident gets out of bed, and puts on a simple robe from his wardrobe. His appearance reminded Pycena of a beggar collecting coin on the streets, or a drunkard scavenging for another drop of liquor. The robe was the only thing tidy about him. [???] - *Clears throat* Go on, introduce yourself then. [Pycena] - Oh I'm Pycena Do O Grant! :> Adventurer and mage, among other things of course! [???] - Do A Grant??? I don't have that much crimin to give missy! As Pycena chuckles slightly at the joke she sees the stranger angrily smiling too, clearly satisfied by his own joke. [???] - I'm Christopher Pearls, I live here. I am a mage of the oceans waters lakes and seas. After aggreing to let Pycena stay for a moment the host heats up a bowl of beetroot, potato, and atlantic cod soup. Despite the nightmarish mismatch of clashing tastes the soup tastes surprisingly comforting. Pycena could sense an aura of enchantment across the room. Looking around the table, she saw various herbs and half gutted fish, with important parts presumably scooped up to make some kind of charm or trinket. Before leaving, they exchange a brief conversation about magics. [Christopher Pearls] - ...Water is in EVERYTHING. That's why I study the waters and the waters only! I need not meld the rock or whiff some air to cast magics. I simply grab the water inside! [Pycena] - Surely not... everything? [Christopher Pearls] - It IS! From metal to animal to plant to sun to air to sea, water is in everything that is!... After not being convinced that much Pycena thanks for the hospitality and leaves the shack and adjusts her compass. This time going in the proper direction.

A snippet from the book "Enchantment at curses" at the MyleHatsu University of Arcana and Artificery (MHUAA) Written by Pycena Do O Grant Enchanting powder is one of the very basic components of most enchantment rituals. It is made by crushing redstone, lapis lazuli, phosphorus and foxglove in a mortal and pestle, until but a fine powder remains. This powder glows in bright yellows and oranges, and the finer the particles the better it tends to perform in a ritual.As far as enchantment is concerned, enchanting powder is the "page" onto which the ideas of the components are written, and then transferred as a coating onto an object. To attempt to enchant without it would be akin to listening to a lecture once, and trying to remember everything on the exam without consulting the notes even once. As such, the powder serves as the intermediary between the components and mana, and the object which is being enchanted.While it is common for apprentices to assume that enchanting powder provides mana on its own, this is not quite the case. The mana usually comes from the caster directly, tapped from the surrounding leylines or released from the anemolite when attempting a ritual.An excess of enchanting powder may cause some of it to get wasted, the enchantment to dissipate or in the worst case - absorbed the the soil and the environment around it. While a shortage may cause the magic of the ritual to misfire, and the enchantment to not be applied at all. It is important to give the best assesment of the enchanting powder needed for the specific ritual, as to ensure it does not cause any side effects to the mages or the area of the ritual.As it stands, the formula is quite basic and could be refined further to increase the strength and in some cases the longevity of the enchantment. The research into this is still underway.

It is a calm day at MyleHatsu. The weather is still, the seas are windy but not overly cold. Pycena never understood the appeal of stagnation, she never understood why so many people desire hapiness, yet do nothing to achieve it. This is why she respects both the gods of Rot and the gods of Growth, to her, any change can be made possible, if the mortal that receives it is willing enough.Today however, is a great occasion to honor a god of Growth. She heard the news of a huge ceremony happening at The Garden - the grand opening of the Verdant Cathedral. Knowing it's a great opportunity to showcase her skills, she gets her gemcarving tools and prepares to chisel and carve away the precious rock. For today, a large piece of Jadeite will do.The gem is cloudy, and filled with green like an ethereal morning mist. She begins carving the outside of the rock in a deliberately asymmetrical way. Sharp edges, difficult angles, complex patterns. Vines of green and depicitions of fruit and crop alike. With the empty space she carves out holes. For the outside, she uses her trusty candy cane engraver to carve the beginnings, but switches to a mycelial root from her rod, tipped with a small diamond, to carve out seemingly impossible patterns from within. She clears away the jade dust and carefully sands the gem, smoothing it to better reflect the patterns inscribed. Next, she fills the twisting holes with bits of garnet and red beryl, filling the cavity with half melted amber, creating the appearance of a blood vessel within. She carves and sands the hanging pieces of amber. Then, it is time to enchant the gem. Not for any practical purpose, but to make it sheen and sparkle more. She grabs an Alexandrite and Opal, as well as some enchanting dust. She places the items onto her circle and begins the ritual. Eolx, Sowilo, Kenaz, Sowilo. The surrounding gems crack before floating away and colliding to make smaller and smaller pieces, until but a fine dust is left. It covers the gem whole, and its green shine fill the circle for just a moment.The gem sparkles with waves of green and red. Inscribed with patterns of flora and filled with stones imitating blood. The imagery presented almost moves and grows as you examine it. Yet all of it is delightfully imperfect.

A snippet from the book "Enchantment at curses" at the MyleHatsu University of Arcana and Artificery (MHUAA) Written by Pycena Do O Grant A competent mage always prepares for any magical projects he, she, or they might prepare. Results achieved through proper preparation and focus completely dwarf those achieved through whim. It is crucial for any mage to have as good a set of gear for enchanting rituals, even if not all the items might be usable in combat. Everything from the armor, the weapon, the cloak the ring, and the belt needs to be as suited for magic as possible. While equipment that boosts the capacity of the mind and the wits of the caster is optimal most of the time, do also consider equipment which boosts magical output directly, or magic damage. A well maintained set of magical equipment can boost the power of an apprentice to one of a proficient caster. A common conjuration spell called "Magic circle" also helps boost one's power by increasing focus and the strength of mana channeled greatly. Each of the participating mages can contribute to such a spell, making the resulting ritual ever more powerful. It is crucial for any mage to achieve mastery over this spell, as the proper cast can amplify your efforts severalfold. The number of participants is also a factor to consider. While you should usually avoid bringing in too many outsiders with no experience in magic, having several helpers can be of great aid. Each person helps stabilize the ritual, and the collective efforts of many skilled mages can even surpass the efforts of the master. Those seeking to take the ritual to the next level should also take advantage of the individual strengths of each participant, making use of different techniques, paths, and schools of magic to make the ritual more complete overall. Creed rituals are also to be considered if the spell or the item is particularly attuned to the elements. While it usually doesn't boost the power of most enchantment rituals by much, simple empowerment can bring forth elemental powers more efficiently. Lastly, potions and other consumables are to be considered as well. While even experienced mages can suffer from magical overdose from consuming too many potions in a too short span of a time, you should be able to increase your natural abilities to levels far greater than without. Especially those not magically attuned. In particular potions of the Archmage and the Manawell are incredibly useful in a ritual, boosting magical output and magical capacity respectively, although you should consider other potions depending on the circumstance.

A snippet from the book "Enchantment at curses" at the MyleHatsu University of Arcana and Artificery (MHUAA) Written by Pycena Do O Grant Imbuement is arguably the most ancient and one of the simplest forms of enchanting. The modern, complex forms of enchanting use the ideas deep within the earthly and magical objects themselves. In contrast, Imbuement uses only lapis lazuli and essence found in most things. This makes the entire process quite versatile, if a bit limited in scope. Still, there is much to be learned even from the simplest forms of imbuement. Despite how ancient the art is, the parallels to the modern day are quite clear. Imbuement uses an enchanting table, a smaller, less versatile version of magic circles that is light enough to be carried around. The most apparent difference is the book in the center, which channels the knowledge of other books around it, and is shaped by the mage's intent. A lengthy incantation is required to start the imbuement process, then, the mage focuses on the desired effect and its strength as best as possible. The knowledge shapes the essence. As it combines with lapis lazuli it flows towards the object and produces a simple change in the enchanted object, according to its use. As one might guess, the precision of this process is practically non-existent, and many historical records confirm this. There are notes from imbuers describing their frustration with the process. Accounts range from getting undesirable properties on their new item, to having to reimbue for several times, scraping the lapis lazuli each time to the point of running out. Others express the frustration with combining several layers of imbuements painstakingly on an anvil, referring to the process as "draining" and "complete and utter $#%^#$%#".  Ripe with frustration, many mages would instead opt to use preenchanted books to apply Imbuements onto their tools, weapons and armor. Many commonfolk have mastered their craft and are able to produce useful enchanted books. The ones that make the object mend upon contact with essence are of particular popularity, while others are sought after by collectors. Imbuement is still widely practiced across Ateon, and is a great starting point for any mage to grasp the basics of precision and incantations. Even modern rituals could channel essence in useful ways to increase the effectiveness of the ritual and the power of the resulting item.