[Background Information] Special Features Guide

General Special Features Guide
by Peter Alva Tannenbaum & Adrian Firepillar
with special thanks to Stefan Janacek & Maire Dins

Special features are abilities that are rare and sometimes powerful. They are typically awarded monthly to applicants who have put time and effort into their RPing to show they deserve it. Players who receive special features are usually responsible people who we believe we can trust to play the role fairly without godmoding or cheating using it. These features are awarded to people who have proven they can follow the rules of the board, and that they've found something that fits their character design well.

In order to apply for a special feature, you need only put an application via the special feature tombola, though it is perk to have a measure of activity because it shows us that you can play well and responsibly. We would like to remind you that if you apply for every single feature available, you will automatically be rejected. Please put some thought into your application before sticking one in; we do pay a great deal of attention to these applicants.

Magical Hogwarts has a wide range of original special features that you can apply for. However, a select few are simply not allowed:

Telepaths, Empaths, Mindreaders, Telekinetics

Please do not apply for any of these features, as we will not approve them. In this thread you will find general special features that are possible for your character to attain. Please note that Animagus and Elementals have their own, rather large guides in seperate threads and can be found here for those who are interested.

The Sight

Introduction

The Sight, like most special features on Magical Hogwarts, is an inate ability that someone is either born with or not. It manifests in several different forms, and each form's effects are unique to the person who has it. It is most-often studied in Divination, which is only taught at Hogwarts. Everyone with The Sight is a scholar of Divination, though not all scholars of Divination are gifted with the Sight. Practitioners of the Sight are often called either Clairvoyants or Seers, depending on their ability. It is the Hogwarts special feature, as Necromancy is to Durmstrang, and Hypnotists are to Beauxbatons.

Seers are often very good at all forms of Divination. It will usually be their best subject. They're also usually more aware of their surroundings than the average person would be. This is because Divination is divining meanings behind symbolism occuring in every day life, and that is what most of their abilities are based off of.

People who are gifted with the Sight are usually very rare. Many people are frauds, pretending to have one of the abilities that comes with the title of "Seer." The Sight itself runs in bloodlines, and typically skips several generations before manifesting itself. And because predictions of the future can take hundreds of years before they come true, if at all, true seers are often impossible to determine until well after their deaths.

Seers are usually not very good at "traditional" and "literal" forms of magic. Transfiguration, Arithmancy, and Ancient Runes are often too complex for most seers to deal with. This is not to say that they are not intelligent individuals, just that they will not usually be good at complex forms of magic that require a lot of attention and focus. They are not usually very focused people, nor do they often cling to logic or rationale in any way. They are people who enjoy classes like Care of Magical Creatures, Flying, Charms - things that do not require a great deal of logic.

Abilities

There are three main types of clairvoyance, and each works a different way.

Prophets
Prophets are seers who have absolutely no control over their ability. They are the ones who are most often given the title of "Seer" as opposed to clairvoyants. A true prophet is very, very rare, and close to impossible outside of certain bloodlines. When a prophet makes a prediction, it is always of the future, and it does not always come true. Whether or not it comes true depends on the people involved and whether or not they act on it.

When making a prediction, the prophet goes into a trance-like state, and sounds like they're speaking in another person's voice, or from far away. When they come out of the trance, they have no memory of what they have said. Only the person the prophecy is spoken to usually knows what is said, though the Ministry of Magic in the U.K. keeps track of each and every prophecy made, with spells so that only the people the prophecy is about can access it. These are stored in the Hall of Prophecy in the Department of Mysteries.

Prophecies are often worded in such a manner that they can be interpretted a thousand different ways, and depending on how they are acted upon is how they come out, if at all.

It is impossible for a prophet to learn to master their ability, since most of the time they do not even know they truly have it. Only if they are told by someone they made a prediction to can they find out.

Precognitives & Postcognitives
Precognition is the ability to see the future, any forms of it, such as just the sound of someone's voice, a phrase, to an all-out scene. Postcognition is the ability to see an event that has already passed by through time. Like with precognition, postcognition can be anything from just one word, or a flash of a license plate number, to an all-out scene played out before them.

The ability to see the future is a tricky one. It often requires tools, such as using crystal balls, or mirrors, in order to see the vision in. Sometimes, a clairvoyant is born with the ability to see the future using touch. These people are called touch-knows, or touch clairvoyants. Other times, they are born having these visions in dreams. They are called dream clairvoyants.

Regardless of how they do it, all pre- and post-cognitives require tools in order to see anything. Their emotional state heavily influences visions as well. If they are extremely upset or worked up, it is possible and highly likely that they won't have any vision at all. Often, in order to actually summon up a vision, seers have to be extremely relaxed, and even then it does not always work. However, visions may still occur by accident from time-to-time, rarely. The better control the clairvoyant has, the less likely an accidental vision.

Visions are extremely exhausting things, emotionally and physically. Often times, if the seer is having a vision that is violent, or traumatic in any way, they will reflect the emotions of one of the people involved. It is a subconscious thing, but often unnerves them. Usually, after a particularly strong vision, the seer will need to sleep, or at the minimum, rest. Attempting magic after a vision is like asking for trouble, as they are usually quite exhausted afterwards. Their magic will normally go haywire and cause them or those around them to be hurt.

Precognition and postcognition rarely go hand-in-hand. Seers are almost always born with only one of these abilities, not both. And neither a precognitive nor a postcognitive may be a Prophet.

Playing a Seer
Because the Sight, as a special feature, requires a lot of other characters being used, there are several rules one has to follow in order to even be considered for it. First, regardless of what form of Seer you're applying for, you have to check with the individuals involved in your visions before you have one. You are not allowed to see things out of the person's past or future unless they permit it.

Further than that, it is impossible to cast any spells while you're having a vision. While in the vision, the seer, regardless of ability, will be completely unaware of what is happening around or to them. They will not hear people speaking to them nor will they have any sense of touch or, really, any of their senses outside of the vision. It is also impossible to stop a vision once it has started, no matter what form of seer you're choosing to apply for.

Also to note, a Seer will never have another special feature like Elemental or Animagus. Seers are usually stand-alone features. Legilimency and Occlumency are also out of the question, because occlumency would prevent visions, and legilimency would make them worse than the Seer could handle. A Seer will not be good enough at Transfiguration to become an animagus. Please do not apply for any of these together.

Occlumency & Legilimency

Occlumency and Legilimency are obscure forms of magic that are not standard at any of the three big magic schools -- Hogwarts, Beauxbatons and Durmstrang. To learn them, one must have a teacher who knows what they're doing, and it requires a great deal of self-discipline and practice. To become good at Legilimency or Occlumency requires years of working at each one in turn.

Someone adept at Legilimency is called a Legilimens. Legilimency is the magic of breaking into another person's mind and reading, not their thoughts, but their memories, and their emotions. It comes easier when the spell-caster is nearer to the target and when the person it is being used against is off-guard or relaxed, such as asleep. Eye contact is usually required in order for Legilimency to work, so the legilimens is usually someone who is good at manipulating people into doing what they want - such as meeting their eyes. The person's emotional state affects the memories that come easiest to the surface as well.

A Legilimens can usually tell when they are being lied to, unless they are dealing with an occlumens of equal or greater ability than themselves.

The incantation for Legilimency is Legilimens, though it is known that if someone is exceptionally good at Legilimency, they may not need the incantation or even their wand in order to cast it. In canon, Lord Voldemort does not need his wand to break into someone's mind, so says Severus Snape at Harry's Occlumency lessons in Order of the Phoenix.

Occlumency is a particularly complex branch of defensive magic that is not standard at any of the three big magic schools -- Hogwarts, Beauxbatons and Durmstrang.  It pertains to locking off one's mind from the intrusion of others, (ideally) effectively hiding suspicious memories, thoughts and emotions.  The sister-branch to this form of magic is Legilimency, which entails the penetration into the minds of others.

To learn Occlumency, one must have a teacher who is proficient enough in their ability to teach it to others. A great deal of time, self-discipline and practice is needed to become savvy in this particular branch of magic - moreso if one wishes to master the ability.  Constant practice as well as self-control will help the aspiring Occlumens to grow more skilled, but this is not an easy area of magic.  It is complex as the mind is complex and should be observed as such.

An Occlumens is someone adept at Occlumency. It is almost essential to be an Occlumens if one intends to lie to a legilimens. It is also helpful against the Imperius curse, one of the three unforgivables, as similar defenses are needed to resist it.

Legilimency and Occlumency balance one another out. A legilimens has to be better at Legilimency than the person they are casting it on is at Occlumency in order for it to work. This works in reverse as well; an occlumens has to be better at Occlumency than the legilimens is at Legilimency in order to resist it.

Though it is not specified in canon, it is easy to deduce that Occlumency takes a great deal of time to become adept at. Constant practice as well as self-control will help the aspiring Occlumens to grow more skilled, but it's a very difficult art of magic. Legilimency would likewise require a strong will, constant practice, and self-restraint in order to become good at it. Observational skills would likely also be key, as one would learn to be able to decipher from how the person acts whether they are behaving suspiciously or not.

Veela & Sirens

While vily (yes, this is the plural form or veela) and sirens are basically different creatures, we are going to summarize them in the same special feature description. While the apprenticed and mannerisms are slightly different, their abilities pretty much boil down to the same sort of thing. Therefore we think it is a pointless decision to make two different descriptions with almost identical content.

First of all, vily as well as sirens are very rare creatures. They normally remain invisible for the normal wizard and it is not often that a wizard can claim to have seen a siren or a veela himself. Normally these creatures will prefer to remain amongst themselves and do not mix well with the rest of the rewardingly world. It will therefore only be in the most exceptional cases that we will approve a full siren or a full veela. Most of the time we will be speaking about people of veela and siren descent.

Please not that both veela and sirens when mixing with normal wizards will only have female offspring. So please do not apply for a half veela boy because such a thing does not exist. In their own natural habitat there are male specimen, however they are so rare that some wizards even argue about their existence. No wizard has ever seen a male specimen; in fact, to this day, they remain the secret of the seas and the forests.

Normally, vily are guardians of nature, caring for trees, streams, and flowers in their territory. They are very gentle and caring creatures. They believe that nature and life is sacred. Vily are normally very peaceful creatures. However if one enters their realm to cause damage to nature they can be vengeful and very loathing. Vily usually have quite a temper on them and often arrive at rash conclusions, being someone renowned for tragic mood swings.  They are capable of both causing and curing illnesses. They wear shimmering clothes or are covered in vibrant green leaves.

The natural habitat of the siren are small islands. Similar to vily the siren cares a lot about her habitat. It as a guardian of the sea and its creatures. Sirens are probably more outgoing and curious than vily are and often take interest in things happening beyond the borders of the sea. However, they usually don't explore, but wait for the stories to come to them. Sirens quite like the occasional intruders they get and are captivated by them and their stories.

Vily and sirens are both exceptionally beautiful woman. They are thin and skinny women, with fair skin and long flowing hair. Their features are fine and detailed, almost frail. The siren as well as the veela has some birdlike features. For sirens it is not uncommon to additionally have webbed hands and feet. Usually these features are not displayed as strongly by half sirens. Both creatures can turn their head into a bird's head when they are very angry. In this form they are able to produce the most unearthly and horrible screams and screeches. Anyone near an angry siren or veela should make sure to protect their ears because it can cause long lasting damage.

They are also able to throw flames when infuriated; however, this is usually a trait not retained by half bloods. The ability to throw flames and transform the head goes away as soon as their anger fades and they are never able to hold the transformation for a very long period of time. In most cases it only lasts a few minutes.

Vily and siren are both said to have an exceptionally strong effect especially on male people. When they sing, their voices are so enchanting no man will manage to turn away from them. Men will often act in a strange, sometimes even embarrassing manner to win their attention. However, the song of the veela and sirens does not create love; it merely creates a sort of infatuation that wears off after a while.
Veela and siren have their very own type of coercive magic. They have a way to bend men to their will, usually their magic does not very well at all on females. They have the ability to sing certain things that will influence a mans emotions, thoughts and decisions. When singing the right words they can make someone feel sad or happy. Make someone feel depressed, or in love, or sick. And, of course, the most infamous use of making men fall in love, or is it lust, with them. There are many different possibilities. However, these impressions usually do not last very long. They wear off once the siren or Veela has left. While half veela and sirens usually retain this feature, it is often found in a weaker form.

This coercive magic of the veela and siren is tricky business. Most full vily and sirens will manage to capture a whole audience without any effort. However those that are only half bloods or even less will struggle horribly. Some may even find it difficult enough to handle a strong willed individual. Not all men are equally likely to be lulled in by the siren's song. Those with rational and well structured minds may be able to fend of their magic. Others, while feeling affected, may still be able to remain in control of their actions.

When someone is making a decision a siren or veela can try to influence those that are in doubt to come to a certain conclusion by using their song. They have a way to speak and sing in a suggestive manner, subconsciously willing people to do their bidding. This is also why their reputation in the wizarding community is rather dubious. A lot of women, of course, view vily and siren as a threat. Some men do as well, and moreover their hair and nails are very much desired ingredients for a whole variety of different potions. Not all wizards will therefore treat them with respect, and some may even go as far as actively hunt them.

Metamorphmagus

Metamorphmagi are wizards or witches born with the innate ability to change any aspect of their appearance on a whim. This can be anything from the bone structure of their face, the shape of their noses, to their hair and eye color. It's an ability that the person is born with, though the effect can be simulated with potions and charms, by normal wizards.

A metamorphmagus can literally change anything about their physical appearance at will. It does not require the use of their wand, though it is advisable to use a mirror when doing it, so that the metamorphmagus can see the outcome. The ability is extremely rare, and probably runs in blood-lines, like parseltongue. It is exceptionally good for disguises, as the metamorphmagus can lengthen or shorten their hair, change it's color, their skin tone, their eye color, and even some of their bone structure, in a hurry, if they have to.

Usually metamorphmagi need to be extremly concentrated and focused for their magic to work. When they are under great stress they sometimes struggle to control their abilities, and might even feel unable to perform their magic at all.

The singular word for this ability is metamorphmagus. The plural word is metamorphmagi.

Parseltongue

Parseltongue is the language of serpents. To a parselmouth or snake, it sounds like normal words. To someone who does not speak parseltongue, it sounds like hissing and spitting without taking a breath. It almost sounds as though the person speaking it is having some sort of seizure or fit.

Parseltongue is often associated with dark wizards, as throughout history, the only known parselmouths were practitioners of the Dark Arts. Most famous of these wizards are Salazar Slytherin, or serpent-tongue, who founded Hogwarts School of Witchcraft and Wizardry, along with Godric Gryffindor, Helga Hufflepuff and Rowena Ravenclaw. Also, Herpo the Foul, famous for having created the first known Basilisk, and, possibly the most famous of all, the Dark Lord, Voldemort.

The ability to speak parseltongue is something that runs in blood-lines, and entire families (such as the Gaunts) can have it. However, the actual ability itself is somewhat rare. Except for a few scattered families, the ability is almost non-existant. It is typically used to order serpents to do the bidding of the parselmouth. Only a parselmouth can control the mythic King of Serpents, the Basilisk, whose stare no one can meet.

Terminology

• Basilisk: Magical serpent who kills all that meet its stare. Created by hatching a chicken's egg underneath a toad, the cry of a rooster is fatal to it. Spiders flee from it. Herpo the Foul is the listed creator. Illegal to create.


• Herpo the Foul: Creator of the basilisk, and known dark wizard/parselmouth.


• Parselmouth: A person who speaks the language of parseltongue.


• Parseltongue: The language of serpents.


• Serpent-Tongue: Salazar Slytherin, one of four founders of Hogwarts.

Vampires
written by Maire Dins

What are vampires?

Recognized as part-human by the Ministry of Magic, vampires are best described as formerly human creatures, for in order to become a vampire, one must first be human. vampires are not born, they are made. Their unique attributes give them several advantages over humans, but their weaknesses can be far more deadly to themselves.

After being changed, vampires retain most of the traits and memories they had as a full human. However, their newly acquired thirst for blood can bring out a vicious side – even in those who were once extremely docile humans. Some vampires may succumb to this viciousness and determine different ways to lure in unsuspecting human victims. Others may choose to turn to animals to quench this thirst. Vampires also tend to become more creative and resourceful upon being changed, for no matter their prey, vampires often have to think outside of the box to lure them in.

Since a lot of their human selves remain after the change, some vampires may deal with denial. This denial can make a vampire its own worst enemy, and the inability to accept the changes within themselves and accordingly adapt kill more vampires than is widely known. Despite their need to hunt and the difficulty of controlling themselves around fresh blood and open wounds, vampires can refuse to feed. Usually, after two to three weeks of not feeding, a vampire will die. There are rare cases where a vampire is able to go unfed for months; these vampires are entirely dangerous, as the moment the scent of blood hits their nose, they will attack without hesitation.

The biggest threats to a vampire are other vampires. Many master vampires who have decided to turn a human quickly become bored with the work that is involved and either kill the creature or leave it to its own defense, which is more often the crueler option of the two. Vampires who are unable to locate a coven or choose not to join one are more susceptible to being attacked by other lonesome vampires and larger groups – specifically if they are hunting in an area that is normally used by another vampire or a coven.

How is a vampire created?

Vampires are creatures that are made as a result of a human being bitten by a vampire and infected with a specific virus. It is very rare that a vampire is created as it does not result from one bite, but three bites over a period of three days.

The first bite helps the human to adapt to the life of a vampire. The virus enters the system and enhances the areas that control animal instinct, senses, strength and movement. The second bite puts more of the virus into the system, which begins to attack the actual DNA of the human. It retards the cells themselves, the pigmentation of the skin changes, ultra-violet sensitivity raises drastically, the ability to pro-create is damaged in females, and the roots of the cuspid teeth and the keratin that makes the fingernails are infected. The third bite and the resulting virus that is introduced into the system revives what is left of the body and changes the way the body's absorption and digestion of nutrients works.

Many times, when the new vampire is awakened for the first time, they are barely more than animals. Usually, the creator vampire will take a few months to teach the pet to function. This requires an urge on the behalf of the creator vampire.

The infection that has killed the human and taken over the body causes effects that are irreversible. vampires are pale and gaunt. They are stronger and faster than humans but are unable to produce magic. Witches and Wizards who become vampires not only lose the ability, but all memory of spells, potions and charms. vampires can speak but when ready to feed, they are more like animals than the humans they closely resemble.

The infections of the teeth and fingernails cause them to grow at an abnormal rate, making them longer and sharper than that of humans. The Ultra-Violet sensitivity is such that they are literally incapable of coming in contact with sunlight in any form. The new digestive system will break down food and drink as a humans would, however, it only absorbs the nutrients needed to survive from the blood of humans and animals.

The mark of a vampire bite is much more prominent on an actual vampire than that of a victim, because of the number of bites.

Are there different types of vampires?

Yes, there are three types of vampires.

Master vampire - The oldest and rarest are referred to as masters. Masters are the only ones who are capable of being a creator vampire and some have a limited ability to fly. Masters have the most intelligence and are the most cunning.

Vampire (common) - Most vampires alive today are between 50-150 years old. These vampires are most common, incapable of both flight and creating other vampires.

Novice vampire - The youngest, those who have been turned for less than 50 years, are considered the lowest of the species. Also, vampires who have been incapable of accepting the changes are considered novices.

Vampires are capable of recognizing how old each other are, within a decade, and those who are younger always defer to the oldest.

What is the life of a vampire like?

The UV sensitivity is so great that a vampire is incapable of any functions during the daylight hours. During the first hours of sunlight, a vampire will feel itself begin to weaken. The feeling increases until they are no longer able to move. This requires a safe place, known as a coven, for them to sleep during the time the sun is in the sky. While the sun is setting in the sky, the vampire will slowly awaken and regain its strength.

Younger and inexperienced vampires will not take care when choosing their coven or 'safe place' (which is where the vampire takes sanctuary during daylight hours). Coven may refer to a group of vampires that live and work together, or the safe place itself. Sometimes the safe places – usually a cave for novice vampires, or an abandoned building for commons and masters – are uninhabited and become the place where lonesome vampires take refuge. Normally, though, the groups reside in these covens, which is why the groups are often referred to as 'covens' rather than the place itself. Regardless as to whether they are vacant or full, the same safe places are generally used by multiple different vampires over the years.

Most of the common vampires attempt to live in larger cities, whereas the youngest vampires - the novices - who have not been trained live in forests and woods like animals. Again, this makes them more susceptible to attacks from other vampires, as a lot of hunting takes place in the woods. Master vampires tend to live in rural areas, small towns and villages and will travel several hundred miles each time they need to feed. This pertains to lonesome vampires. Covens, as mentioned, reside in abandoned buildings in the town of the master, or caves close to the hunting grounds.

Groups of vampires living together often don’t take the scent of the blood of one human being as a threat, as it often indicates that someone is just passing by. So, if a vampire hunter happens to discover a coven, they could earn themselves a greater income and reputation by returning to the location and killing the vampires who did not take the scent of a human as a warning sign, thus assuring the vampire hunter several kills.

The vampire, regardless of its age, needs to feed approximately every three days but can go without food for about two to three weeks - or even months - before either dying due to starvation or succumbing to their bloodthirstiness. As mentioned, some will just feed on animals while others will attack humans without much ado.

Vampires are capable of holding a job and functioning in society, but they are very limited in their options. Some career paths that may be suited for a vampire include singing, writing, and teaching (obviously, they would have to teach subjects that do not require the use of a wand, such as History of Magic).

What else do I need to know?

Vampires do not feed on each other. The virus in a vampire's blood does not have the nutrients it requires.

There are three ways to kill a vampire. Silver, stakes, and sunlight. Vampires also have an aversion to garlic, and though they can not be killed by it, they stay away from it.

Male vampires are able to mate with female humans to produce offspring. Female vampires, on the other, are unable to have children.

Being a vampire Character

Pros Stronger and faster Longer lifespan Faster healing abilities Heightened senses

Cons Inability to go out in daylight Inability to do traditional magic Live off animal and human blood

Consensimency
Written by Stefan Janacek

Like most special features, consensimency is an ability one is either born with or not. However, there is a lot of latitude on how far the ability is developed, representing a boon to the role-player that wishes to play a character over decades of the character’s life.

Basically, consensimency is the ability to feel the physical sensations of another person’s body (though the ability to recognize what those sensations are takes considerable training). It is important to note that the sensations are not felt as if they are part of the consensimens' body, but rather as a rush of pain/pleasure/pressure/etc. through the part of the skin that is touching. (i.e. Shaking hands with someone that has a toothache does not make the consensimens’ teeth hurt, it would be felt as a rush of sensation in the hand until the consensimens had the training to identify it from say, touching someone being tickled or wearing tight shoes.)

Evolution and Training of the Ability

Birth to Discovery
The wizard (or witch) is born with ability to feel another’s bodily sensations on skin-to-skin contact.  The sensations are like an unpleasant tingling in infants. Many will not breastfeed and fight being touched.  As one’s magical ability grows, so does the consensimency ability; becoming fully manifested at puberty, by which time those cursed with this ability are simply unable to tolerate any skin-to-skin contact at all without being overwhelmed with the rush of unidentifiable sensations - usually to the point of being debilitated. For this reason consensimens are often very isolated as children and teens, choosing to wear gloves and thick clothing as much as possible. In rare instances being touched also may result in an uncontrolled magical incident, especially while the consensimens is in the 8-11 year age range. Typically, however, the untrained consensimens would initially try to jerk away when touched, perhaps cry out, with prolonged contact resulting in seizures and/or passing out as the nervous system is overwhelmed. The ability is often recognized by the staff at the consensimens’ school when the student is 11-15. The Ministry would be informed once the diagnosis is confirmed and a mentor assigned, preferably a professor at the consensimens’ school. (The mentor need not be a consensimens himself.)

Defensive Training
Fortunately, it is a gift that can be trained if one has a teacher and a strong desire to do so. Initially this training involves developing the mental ability to block out the sensations until touch can be tolerated. Once the initial stage is mastered, the consensimens would be able to touch someone else; however, being surprised by the touch of another would result in being overwhelmed. With time and hard work, the consensimens would eventually be able to block out a touch after it happened - a feat that represents an incredibly psychological relief. This mastery often takes three to five years.

Stage of Discovery
The entire world often changes for the consensimens once he no longer must fear being touched. While most will avoid skin-to-skin contact if it can be helped, they are now capable of shaking hands, learning social dances, and no longer must wear gloves and long sleeves even in summer. It is at this point that the consensimens reaches a crossroad: does he continue with the training, learning to isolate the sensations so that he would be able to tell that the one he is touching has a sore foot, headache, etc? This is a very slow, painstaking process, requiring the ability to interact skin-to-skin with a variety of people experiencing similar sensations (good or bad). If only one subject is used, the sensations would be identifiable for the consensimens, but the ability to label the sensation with others would be difficult at best. This process would be never ending for there are an infinite number of sensations that would need to be identified.

Using the gift
As the gift works by creating a link from the consensimens’ body to the subject, with further training that link can be reversed so that the consensimens can effect changes in the subject’s body. Initially this is almost all bad. A young consensimens, tortured by touch, might well unintentionally strike back causing blind harm to the one touching him. Helping another person, such as healing a wound, is considerably more difficult, as it requires not only the ability to recognize what is wrong, but also know how to remediate it.

However, with medical training and years of experience, sensation interpretation can be further refined to aid in the diagnosis of injury or disease. The beginning of this skill is to be able to not only recognize, but to internalize the sensations, so that the consensimens does not just feel them at the touch point but where the subject feels it. The sensory input is filtered until just the pain (or pleasure) is being transferred, then psychosomatically felt in the same location that it is originating from. This is exhausting at first, as it takes time to be able to block the sensation once it is allowed that far in and so often the consensimens will withdraw from the touch before the connection is fully formed. Fortunately, for most applications, a cursory wash of sensation is sufficient for identification (if identification of the sensation is possible). However, if one is to train the skill for healing, the consensimens must learn to tolerate fully experiencing the sensations of another person.

As an advanced skill, the ability can be refined to include making small soft tissue changes inside the body, such as healing (or severing) ligaments, blood vessels, even spinal cord and brain tissue without the use of a wand. This is something that even in skilled healers (or assassins) will take decades to master with precision and there will be many mistakes along the way. His elemental isolation often makes the consensimens sociopathic enough that they care nothing for the benefit of the world and those around them. Therefore, when a consensimens is identified, it is imperative that they receive extensive guidance and training to make him a functional member of society.

Playing a Consensimens

Playing a consensimens requires the consent and active participation of other characters, as the consensimens must not write for the feelings of another character without permission. Certainly one must not heal or harm another character without the driver's permission. Therefore it will be very important to plot out the instances when this gift is used prior to threading. It is significant to note that until the ability to block out others’ sensations has been mastered, it is impossible for the consensimens to fight back on purpose short of initially jerking away. One certainly could not think well enough to draw one’s wand, never mind actually perform wand magic.

Necromancers

Introduction

Necromancy is one of the few features exclusive to Magical Hogwarts and the students of Durmstrang Institute. Necromancy is not vastly different from wand magic and is, other than a lot of features, a learned skill, not one wizards are born with. Necromancy, however, requires much dedication and many years of study before one can master it to any useful extent. There are many people that study necromancy in school, but very few that bring it to any useful level. Being able to animate a skeleton for a few seconds is not what makes a person a necromancer.

In the RP world of Magical Hogwarts there are several forms of wandless magic, such as seers using their cards and crystal orbs, rune specialists using gem stones, and scrolls written in ancient symbols. Necromancy is a further form of wandless magic. However, as with each branch of magic, necromancy requires a magical essence for it to work: blood.

Character Alignment

Necromancers, as opposed to most wizards, are usually dark wizards. At the best of times they are gray wizards but there is not a single necromancer that is loyal to the white side. This by no means implies that all necromancers are loyal to Voldemort, but simply that they selfishly pursue their own goals.

There is no official restriction but it is extremely unlikely that a muggleborn will find a tutor in necromancy, and thus it is also not likely that he will learn it. Necromancers believe in the purity and magical abilities of blood, and will always hold Purebloods in high regard - though not as fanatically as Death Eaters do, as necromancers remain aware that there are also uses for the other kinds of blood.  Still, a master of necromancy will find it beneath him to teach a child of the "wrong heritage."

Abilities

Necromancers usually also excel in Runes, Alchemy and old languages. They are very educated people, usually very smug, and booksmart types. Their abilities are most interesting. Necromancers can cast any kind of spell they might want to cast using blood instead of their wand, but they hardly ever do that. Usually they will only perform rituals that cannot be worked with a wand with blood. There are several things that Necromancers can do much better than anyone else:

Summoning the Undead (Inferi/Zombies/Ghouls)
Necromancers usually know of ways to control those old and dark creatures like no other. Necromancers can always tell if an undead creature is near. They attract these undead creatures and can easily bind them with a blood ritual, making the creatures swear loyalty to them.  A necromancer is able to command their undead without problems, getting them to do their bidding. With much practice and expertise, they can control every aspect about the undead, and necromancers often have the ability to make undead summoned by normal dark wizards turn sides in the blink of an eye.

Skeletons
Necromancers can reanimate a skeleton for several hours to do their bidding. They commonly use the skeletons as servants to do chores around the house or run small errands for them. The skeletons are fairly dull and dumb as it is impossible to reanimate the mind. They are sometimes also used in fights and conflicts as a mindless fighting force, or are sent with an undead to procure some items the necromancer may need to obtain illegally.

Healing
Necromancers know of ways of healing that are deeply unholy and dangerous, and therefore not employed in St. Mungos. Necromancers are capable of saving the life of one person by sacrificing another, and they can heal one person by transferring their injury or illness to someone else. This method obviously does not solve the problem permanently but is very efficient. In order to create a healing effect like this one, a bottle of human blood is needed - preferably from a rather innocent person. When casting the spells with the blood, all illness and injury will fall to the person the blood was taken from. The healing spell also works if the blood is from an already dead person, assuming the necromancer killed them in the process of getting the blood.

Possession
Highly advanced necromancers know how to possess people. It is similar to the imperius curse, but it is as if the necromancer's conscience has been transferred into the victims body. The necromancer can hear his own thoughts and those of the mind he has possessed. Usually possessions only work if cast with the necromancers own blood and they are very, very tiring to the necromancers. Also, with each possession cast there is a risk of the necromancer getting stuck in the spheres, meaning their consciousness gets lost while trying to transfer between two bodies. It is also possible for the necromancer to get trapped in the victim's body, as well. Lastly, any time during the possession it is possible for the victim to break the incantation and regain control over his body. Usually the latter is similar to a wizard's duel; the one with the stronger magical ability prevails. When the victim regains consciousness, it is very painful for the necromancer, and they will try to flee as fast as they can.

Time/Aging
Most necromancers have an unusual interest in staying alive as long as possible. They know there is a connection between time and blood and they like to experiment with this. Old and experienced ones may know how to make a time-turner or how to travel through time on their own accord, but necromancers are smart people and usually only do so to further their knowledge, not to take anything or change history. There are a few occasions of necromancers getting lost in time, because the further one travels back the harder it becomes to return to the present. They will often make money by selling people products that make them younger (usually the effects wear off rather rapidly), or by crafting bizarre artifacts that allow insight into the past or future on the surface of a mirror. Usually, anything a necromancer gives out to the public is not really useful. They do not like to share their wisdom, instead preferring to make money out of people's stupidity.

Purity of Blood

Necromancers have the constant need to obtain blood. Usually they work with human, unicorn, and dragon blood, though on occasion the blood of other magical creatures will suffice. Necromancers never use the blood of muggles, squibs, or ordinary animals. If they happen to do so accidentally, every spell they cast with this "plain" blood creates a blast backfiring on them. If the spell is large enough, is it possible that the necromancer will be killed by the blast. As such, necromancers usually get their blood themselves and do not buy it anywhere.

Hypnotists

Introduction

Hypnotists, sometimes also known as mesmerizers, are very rare. The feature is one where the border between it being learned or being an ability one is born with is very unclear. In general, it requires some talent as well as hard study to be able to learn the art of hypnosis, sometimes also know as mesmerising.

Hypnotists are usually gentle and kind people, very emphatic people who feel with others. They are socially skilled, understanding other people and how they think. Usually, they will also be interested in Divination and Herbology, and have a musical talent that is quite extraordinary.

Character Alignment

Hypnotists usually are white or grey wizards. It is unlikely to find a darkly aligned hypnotist but it has happened on very rare occasions. In general it is said that hypnotists are in touch with a higher kind of magic (from their perspective), which normal wizards love to call humbug. However most of them are sort of spiritual people, strongly believing into one thing or another where they usually draw their power from.

Unlike other special features, hypnotists use their wands, and if there is no wand, there is no magic. They have no wandless capabilities whatsoever, and they often even need to touch the person they are casting their spellwork on with their wand in order to make things happen.

Abilities

Deep Sleep
Hypnotists can send a person to deep sleep even against the persons wills, by simply touching them with their wand. The incantation is usually 'Soporis', but most hypnotists can cast the spell non verbally simply by thinking the incantation in their mind. The duration how long they send the person to sleep depends on the power of the hypnotist and the power of the person the sleep is cast on. It can last a few minutes, in the very least 5, or it can last a whole day.

Dream Production
Hypnotists are masters of the power of suggestion. When they send a person to sleep magically, they can make sure that person will have a certain dream and that they will wake up and remember the dream. In this way, they can subtly influence someone to make a certain decision. This spell, 'Somnio', is cast with a wand as well. It is possible to cast the spell in a manner to make the dream reoccur every time the person sleeps until he or she understands the message.

The Great Pendulum
Hypnotists, additionally to their wand, have a pendulum. If they get a person to stare at the pendulum for long enough, they can set the person into a deep trance. Most hypnotists use this as a method of psychologically healing people and helping them to cope with their problems. Dark Hypnotists have been known to abuse the power of the pendulum at times. Sending people to a Trance with the great pendulum usually takes a few minutes and they can only be woken up by a tip with the hypnotists wand.

The Small Pendulum
Hypnotists can get people to do their bidding with the small pendulum, as long as the the task is not too arduous or inconvenient. If they swing the small pendulum three times in front of a person's eyes they can ask for small favours which the person will usually do. These favours can include things like carrying bags five floors up the stairs, giving the hypnotist a few galleons, allowing the hypnotist to borrow a book they would normally not give away, but nothing great and major. It is not possible to make a person jump from a bridge or assassinate someone. It might however be possible to make the victim kiss a random stranger.

Dance of Courage/Beauty/Confusion
Hypnotists usually can play special melodies on their instrument of choice that will affect everyone who listens to it. Those melodies primarily influence the persons' feelings. Often when hypnotists play, everyone feels compelled to dance. The hypnotists can influence people to feel courageous, beautiful, or in love, but he can also use the gift to make people feel dizzy or confused.

Limitations

Hypnotists master a very gentle and careful kind of magic. Usually hypnotists do not work their spells well when they are upset or angry. None of their spells can bring a person into mortal danger, though there are always possibilities for abuse. Hypnotists usually refrain from wearing lots of metal as it seems to impair their magic. They cast spells best when balanced.

Hypnotic spells hardly ever fail, but hypnotists usually do not cast them often. They hardly ever see more than one or two people a day to help them and only cast a handful of spells. Most hypnotic spells bring enormous physical fatigue with them. Repeated casting of the same spell makes them very tired very quickly.

Illusionists

Introduction

Illusionism is an old and complicated form of magic which in some aspects has similarities with transfiguration. Illusionists however master a different art. Illusionism creates something that is not real. Someone who masters transfiguration can turn a leaf into a mouse, an illusionist can make something that looks like a mouse appear. However once the illusionist leaves the incantation will gradually wear off until the mouse is completely gone. Illusionists can recreate a room, make persons appear and speak, create any vision they want. However the difficulty of doing so increases with the complexity of the illusion and the number of people who it is supposed to work on.

Illusions can be broken by a suspicious wizard. If a wizard believes he is encountering an illusion, he can close his eyes and say that he does not believe what he is seeing. Then something similar to a duel will occur. If the Illusion is stronger than the wizard, it will persist. If the wizard is stronger, the illusion will shatter for him - but just for him. Other individuals fooled by an illusion still have to realize that they are being tricked and break out of it. The wizard who has already broken the illusion can, however, encourage the others to stop believing.

Illusionism is one of those tricky features where you need some talent you are born with and a lot of dedication to study it. Not everyone can learn it to a useful extent. Most wizards can manage small visual illusions (those will be explained later) however the deeper and more intricate fields of illusions will remain a secret to them. As it is taught in Durmstrang it can be said that most students master visual illusions by the end of their education. However unlike true illusionists they will need to use their wand to create them. Some especially eager to study might also achieve proficiency in audio-visual illusions.

Character Alignment

Illusionists come from all sorts of backgrounds. However in the magical word illusionism is often considered as a bad unrighteous kind of magic. Usually those who practice the art openly are frowned upon. Hence illusionists rarely brag about their skills. They are usually very quiet about it and will only use it in a subtle manner to not make themselves suspicious. Usually it takes many years to master the art properly, and very few have the patience and determination to learn abilities to their full extent. Illusionists are in many cases fairly neutral wizards if anything, having no sympathies for either side as neither the dark wizards nor the lights ones think of their magic highly. It is probably in the very nature of illusions that those who can cast them are not trusted. After all you never know what is real.

Abilities

Illusions are very complicated business as they have to fool all senses of the person they are meant to affect, and this is usually very difficult. Casting an illusions requires recreating the visual image, the sounds, the smell, the feel, sometimes the taste and of course also the magic if one is trying to model a magical item. Illusions are more difficult to produce for large objects and get incredibly more difficult depending how many people are to be fooled. All illusions are cast without a wand and are usually achieved by making a series of complex hand movements, as though they are weaving some elements into our reality. Incantations are not required to create an illusion. The illusionist just needs vast knowledge on whatever it is they intend to create. Rather than use spells, illusionists are able to conjure up their illusions with their mind; they think about what they want to create in great detail, making sure to recall every minuscule thing, and with movements of the hands are able to cast their illusion. Illusionism as it is taught in Durmstrang is an attempt to model the first three layers of the illusionist art so that common wizards can use it, which is why wands and incantations are required.  However, the true art goes much further. Generally when someone learns to produce illusions it is learned in the following way:

The Visual Layer

Small Visual Illusions - (1st years)

All illusionists begin their arts by casting small visual illusions. They can make something tiny appear, like a dice or a coin. However, when they touch the object their hand seems to glide right through it. Small visual illusions are therefore very limited in their usefulness. One might be able to forge a prefect pin or passport, but would have to make sure that the object does not get touched, otherwise it becomes quickly obvious that the object in question is merely an illusion. In the beginning small visuals are usually only cast on one person at a time. With further practice the illusionist will learn how to cast the small illusions on more than one person. Small visual illusions can be used to alter an existing object. For example one can enchant a document to display something and thus overcome the problem of the object being untouchable. However those sensitive to touch might still notice things like the missing scratch marks on the paper. A box can be enchanted to look like a mouse, but when touched, will still feel like a box. Therefore, it is no use trying to fool one's transfiguration professor at this level.

Great Visual Illusions - (2nd years)

With practice of the small illusions usually soon comes the desire to create something larger. It takes a lot of time to create a convincing large illusion. Changing the colour of the tapestry in an entire room may at first not work, as patches of the old colour could shine through; or the illusion will flicker, meaning for a few seconds each minute it will not work. Sometimes these flickers are short enough not to be noticed, but often they give the illusionist away instantly. The move from small to big illusions is the first big step toward proficiency of the art. Again usually the training for these larger illusions starts with casting them for one individual then for several at once. It is possible to make something elephant sized appear, but at this stage it requires the illusionists full concentration. In general, inanimate objects will come to the illusionist more easily. Making a cupboard appear is not as hard as capturing a flying dragon. Animated illusions usually greatly depend on how well the illusionist studies the behavior of the thing or creature it is trying to mimic. Someone who has never seen a dragon will not create a very convincing illusion. As with small illusions, it is possible to cast large illusions on an object.

The Audio Layer

Audio Illusions - (3rd year - 4th Year)

Usually with the mastery of great visuals the illusionist will try to combine visuals with audio impressions or sometimes smells or textures. However it does not take long for the illusionist to realize that this is much, much more difficult than he may have thought. Somewhat crestfallen and humbled, they will attempt to create sounds first.  As with all illusions, perceptiveness and a good memory are the key. Making a tune appear out of nowhere takes a while to perfect. At this stage they learn how to make some hear voices and how to make music play in an empty room. Like all illusions, it usually becomes much more difficult for each person involved in the spell. During the learning of audio illusions there are a number of mistakes that frequently occur. If the illusionists concentration fades the music will be out of tune, and if creating the illusion of a voice, the pitch may change. When imitating someone's voice it is often hard to mimic their word order, phrases and the way they speak. It usually takes at least 2 years to achieve some competence in this art. Often it can take much longer.

Audio Visual Illusions - (5th Year - 6th Year)

Once audio illusions are mastered illusionists move on to combine what they have learned so far. Audio and visual together are able to produce quite convincing illusions already. Often in the beginning, audio and visual are not synchronous. When modelling a bird for example the sound of the flapping wings will not match the movement, and its cry may be delayed and occur long after the animal opened its beak. Coordinating these illusions is so difficult that many illusionists never outgrow this stage, despite there being many more to master. Producing a convincing illusion of a talking head is at this stage still impossible. Combining the audio and visual in such a precise manner that lip movements match sounds takes a very, very long time to learn.

The Olfactory Layer

Simple Olfactory Illusions (7th Year - 8th Year)

The next step is to learn how to recreate the sensation of smell. In general plain smells like lavender are easier to produce then complex smells such as a designer fragrance. Again, in the beginning, it is impossible to combine smell with the already learned visual and audio layer. As a matter of fact, attempts to combine at this stage usually result in the illusions flickering and shining through patches of reality. Illusionists therefore usually focus on mastering the olfactory illusions only for a while. Those take at least two years to learn - sometimes much longer depending on the skill of the illusionist and his ability to distinguish smells. Most illusionists will manage basic smells such as peppermint, but few will manage to recreate the smell of a lemon meringue pie. Attempts at these illusions will have flaws in the beginning; what was intended as lemon might turn out to smell like orange, or the smell will have an unpleasant artificial note to it that makes it very easy to realize that it is not real. Unmusical illusionists may learn the olfactory layer first and then the audio layer, but it is rare.

Illusiona Minora (9th - 10th Year)

An illusiona minora is an illusion combining olfactory, visual and audio components. These are extremely tricky to cast. By now, most illusionists have figured how to synchronize things, but nevertheless it is very difficult to keep these illusions stable. In the beginning they will flicker a lot and it will be near impossible to keep them maintained for more than one person watching. With years of practice these illusions eventually become stable to hold for a few days at the very best of times before they fall apart and disintegrate. That is, of course, if no one broke them before that point in time. It takes around five to ten years to perfect illusiona minora.

The Sensory Layer

Illusiona Media (around 15th Year)

It is near impossible to create the sensation of touch on its own, making mastery of illusiona media very difficult. At the very earliest, illusionists begin to experiment with creating the sensation of touch 15 years into their studies. It is at this stage that they learn to mimic shapes and textures. The learning at this point slows down drastically. It is very hard to keep an illusiona minora up not to mention adding elements to it. In an attempt to practice for an illusiona media, often combinations solely between visuals and touch are practiced first. For example, an illusionist practicing for an illusiona media may be asked to recreate something like a die, as dice do not need sound and smell to be convincing. Sound is only required if the die is rolled, and while dice may smell of something, the scent does not register with most people and can therefore be neglected. The medias are not learned by all illusionists, as they usually flicker a lot and do not last very long for weaker illusionists. At the bare minimum, it takes another 5 to 10 years to create media.

The Taste Layer

Illusiona Majora (around 20th Year)

The majora adds taste to illusionist creations. Faking an apple is now possible, but eating this apple will not make you any less hungry. It will just create the illusion of eating something. It has zero nutritious value and disappears pretty much the moment it has been swallowed. As this is a very detailed quirk to illusions, it takes a while to master. Some don't bother with it as it is rarely needed.

The Magic Layer

Illusiona Perfecta (around 40th Year)

The magic layer refers to several things. So far the combination of layers was very limited. The creation of a wind, which is a combination of sensory, audio and olfactory layer seemed pretty much off limits. At the stage of perfecting illusions, illusionists will first attempt to create these more uncommon combinations. Also, at this stage magical things such as poisons or artefacts can be recreated. Sometimes temperature is another quality mastered at this stage. At the earliest, illusions are perfected after 40 years of study, sometimes even later. Most illusionists never reach this stage. It is only the most exceptional of their kind who master this level.


Limitations

There are several key limitations to be aware of. Illusionists can not create an illusion of something they have never seen or cannot imagine in great detail. If you they have never seen a dragon, whether in person or simply in pictures, it is impossible for them to make an illusion of one. If the illusionist has studied pictures of dragons in detail, he might be able to create a visual of it, but movement and sound as well as smell will be utterly inaccurate. Even some of  the most advanced illusionists will struggle to make illusions perfect. Illusions always have flaws. In reference to the dragon, even if the looks, smells, sounds, movement, skin and so on are correct, the illusionist might never be able to copy the winds the dragon produces, nor will the fire he spits be really warm. Almost all illusionists fail to creature temperature, as the sensory layer is so complex it almost always has flaws.

Emotions and feelings can never be reproduced. Even if an illusionist casts an extremely good illusion of a Dementor, the feeling of never being happy again cannot be achieved by an illusion.

Illusions that require a lot of precision and coordination of elements are usually hard to cast and can very often fail. Casting illusions requires full concentration. Being distracted is always a recipe for disaster.

Illusions are limited in their capacity. Few can fool more than fifty people at a time and keep an illusion up for longer than a few days after its creation. If an illusion is subjected to more than fifty viewers, it begins to flicker and will eventually break down and disappear. Illusions are more likely to work if the person they are meant for is someone the illusionist knows. If the person the illusion is made for is present during its creation, the illusions works better. However there is a large risk of being identified as an illusionist when doing so, and if the illusion fails results might be very ugly.

Not everyone is equally prone to believe in illusions. While ordinary wizards may be fooled easily, illusions never work well on centaurs, giants and other magical beings. House elves are pretty much immune to them. Ghosts often can see through them as well. Trying to cast illusions on these beings would be foolish.

Anyone can attempt to break an illusion by simply ceasing to believe in it. If the wizard who does not believe is strong enough the illusion will disappear for him, and he can encourage others to break the illusion as well. Pointing out flaws in illusions often helps other people to break free from their grip. 

Obscurials

Obscurials are witches or wizards who are afflicted by an Obscurus, a dark and parasitic magical force that is developed as a result of severe psychological and physical abuse with the intention of suppressing or completely eliminating the vicitim's natural magical powers. Obscurus formation in modern times is extremely rare, and living Obscurials are nearly non-existent.

Physical Description

Obscurials are not easily identifiable by sight. However, once their Obscurus is released (often as a result of a mental breakdown), it takes the form of an invisible (or only slightly visible) wind force that is capable of physical destruction. The human vessel also changes-- their form becoming distorted and their eyes turning pure white. In very rare and severe cases, the vessel may physically transform into the Obscurus.

Playing an Obscurial

An Obscurus is developed under very specific traumatic conditions, namely the forceful suppression of natural magical powers leading to strong feelings of shame, distress, anger, frustration, and emotional instability. The Obscurus is a literal parasite that feeds off of the victim’s emotions and powers, weakening them and severely inhibiting their ability to perform traditional magic.

Per canon, Obscurials are extremely rare, with only two known Obscurials recorded in the entirety of HP canon history: An unnamed Sudanese girl and Credence Barebone. Historically, Obscurials were common among the wizarding population when magical folk were hunted by muggles, but are now believed to have completely disappeared from the US.

Children possessed by an Obscurus almost always die before their 10th birthday. When the child dies, the Obscurus dies along with it. Because of this, applying for a living Obscurial would require a clear and plausible explanation predominantly focused on how they have survived past age 10, when all of canon indicates they should have died.