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Theatre Magic



Shiatā Mahō


Caster Magic
Black Magic
Spatial Magic


Wolfgang Ibsen

Theatre Magic (シアター魔法 Shiatā Mahō): is a type of Caster Magic and Spatial Magic that allows the user to enter three different modes that all hold an equal amount of power depending on how well the Theatre Magic user utilises them within battle. Being split into three modes, they cover three types of magics that revolve around the basics of theatre however due to holding three different magic concepts it comes with a price, that users can only be able to learn on specific mode for the rest of their career or have to become twice as powerful then they were in order to switch abilities. Named after three roles that are important in the development of theatre shows and all, Theatre Magic is one of the most mysterious magics to have ever existed on Earth Land. No information is recorded on how Theatre Magic has come to be nor how it was concieved into what it was today but the only known users Wolfgang Ibsen and Oskar Helvegen are the last remaining practitioners of this magic. Because of it's dark nature in one mode that utilises the manipulation of another person on the field, Theatre Magic can also be labelled as a Black Magic.

Split into three modes respectively named Actor, Director and Producer, Theatre Magic uses the magic of theatre in order to land attacks on the user's enemies. Only one of these modes can be learned and mastered by a mage, for it is impossible to be able to learn the two others without a fantastic amount of great effort. Like said before, these Theatre Magic modes allow the user to enter three different styles of attack that can indefinitely help the user in battles, depending on how well they are using the magic. Though it cannot compare quite as well as to the notorious Slayer Magics or many Lost Magics in that matter, Theatre Magic is strong in it's own definition. It comes with many perks and in turn comes in with many cons but nonetheless is still an accessible magic that is easy to use once the user has been able to come in tune with the magic. Since there is no actual element to Theatre Magic in general, Theatre Magic is one of those magics that cover a wide variety of effects depending on the power that the user chooses to practise. In simple life, Theatre Magic can be used in actual plays and shows making this highly flexible between combat and entertainment, which are both something that the populace of Ishgar enjoy to watch.



The Director (ディレクター direkutaa) is a mode that allows the Theatre Magic user to utilise string controlled humanoid puppets that can be gathered from the Backstage, and can be used to be commanded in order to do an assortment of things at the will of the magician. These puppets are made out of wood though if the mage has been able to expertise their magic well enough they can be switched for metal puppets which are stronger than the former ones. The Director mode follows the role of controlling the script and the movements and actions of it's actors, in which this case displays the Director as a sort of puppet master of the show with the puppets representing the actors who are following the directions given by the director. Skill majorly plays a part in the development of this magic and in order for one to access a number of enhancements they must therefore improve their control over the art, just as how a director has control over the stage. The most basic out of all the Theatre Magic modes, the Director is also the most complicated one to control as the usage of this mode defines it. In this mode, the Director activates the use of one chosen hand by holding it outward infront of them with their palm facing downward with all fingers spread outwards from the hand. When activated, the hand of the user will turn bright green to signify that the magic is currently being used, and to also help the enemy identify which hand is being used to control which puppet. A puppet will then proceed to appear from mid air, right beside the user painted with a green stipe going around their torso. Using the outspread fingers on their hands, the user can control each limb on the puppet with up and down movements from their fingers.

Just as how a puppeteer controls the puppets with strings attached from the tool to their fingers, there are invisible and spiritual strings that establish a connection between the user's hand and the puppet's body which explains how they are able to control it with no obvious remote. How they fight is another question, though it is a pretty easy concept for one to understand when given the right information. The process is simple, the user's mind and body are united in this magic process and in order for one to control the puppet correctly they must be clear with what orders they are supplying. With a simple mental word command the user will subsequently flick the certain finger that is control of the specified limb of the puppet. In accordance to this command, the puppet will immediately follow the command until stopped, either from being blocked by a shield or barrier, simply halted by the user's command or simply destroyed. These puppets are partially weak when the mage is at an amateur stage, and can only really accomplish things such as carrying objects, walk around with the user and only act as human shields. However when one is able to enhance their magic skill, they have the ability to summon forth a second puppet for the other hand. The puppets will also now have a larger range of actions that can be completed thanks to the experience of the user's mind. These puppets will also be able to walk a bigger distance away from the user making long range attacks accessible with puppets. The downside to using two hands however is that the user must put all their faith into the skill of their puppets as both their hands will be occupied with controlling these puppets. As said before the metal puppets can be switched into the battle instead of the wooden versions, though this can only really increase it's defence and damage impact. The downside to these puppets is that they can be munched down on by either Wood/Metal Slayers etc. It is all described as being "harder than it looks" and it takes complete concentration and determination for one to wield this magic with skill.

The finger to limb coordination is listed as follows:
Left Hand
Thumb = Left Leg
Index = Left Arm
Middle = Head
Ring = Right Arm
Pinkie = Right Leg
Right Hand
Thumb = Right Leg
Index = Right Arm
Middle = Head
Ring = Left Arm
Pinkie = Left Leg


The Producer (プロドゥサー purodusaa) is a mode where the user is able to pull out 'props' and 'equipment' from Backstage in order to fight against the opponent. By paying a fair toll of magic energy in order to acquire these objects, the user mimics that producer's role of supplying and attaining the tools and much needed props for their theatre production. This out of all the modes is the most independent as the props and equipment that is acquired do not get enhanced or upgraded whenever the user has become more powerful, unlike other kinds of magics where the magic art gradually becomes more powerful the more the user trains on it. To make up for it however, the more that the user uses the Producer mode of Theatre Magic, the sooner they will be able to 'find more props and equipment among the pile' for them to use. This magic enforces the user to become creative on ways that they are able to use the tools that they pull out from the pocket dimension, all having different strengths and weaknesses that cannot be found on another tool inside Backstage, thus making all tools unique in their own way. The selection of props and equipment that the Producer can use can range from prop weapons that hold different effects of non lethal to lethal properties over to things such as hand-held stage lights that the user can use to blind their enemies. The more magical energy that a user has, the more energy they will be able to spend on grabbing these items, with larger props and equipment costing more than smaller objects though this can either be bad or good depending on where they are at during the time. However like any magic the more magic energy that you use, the less power things you can accomplish so the user must be sure that they choose the right prop/tool for the right situation to ensure magic conservation.

Tools that are brought out however do not last long and are automatically returned to Backstage once a total of thrity minutes are over in the real world or if they are damaged to the point where they are not able to be used on the field for the moment. Once the Producer has grabbed the chosen item, they cannot switch it for another one during the time period that they withdrawn and so are stuck with the item until the latter times come up for the item to be sent backstage. These laws apply to every single item that is brought forth, no exceptions. Also it should be noted that the user cannot destroy the items with the intent being to switch for a different item, any attempt to do so will simply not be allowed and allow the item to retain it's normal form despite the amount of damage one does to the targetted object. These objects will be infused with the magic energy that the Producer sacrifices in order to claim and use the item, not only just to power up the effects but to also ensure that the Producer and only the Producer has the capability to use the item for his intentions. This acts as a way for Producers not to be facing the attacks of their own equipment and is an ensuring aspect. If a foreign unit tries to use or even just ouch it in general will recieve this numbing buzz in this hands that is produced by the foreign ethernano particles conflicting with the item's energy. This type of mode for Theatre Magic is probably the most common type and is also the most easiest to grasp a hold on due to it's simplicity and usefulness that this mode potrays. However at the same time, the Producer's mode can also be considered one of the less efficient ones as the wrong move with the wrong item can lead to the problem of a waste of ethernano particles.


The Actor (アクター akutaa) is a path which allows the user to learn magic spells from any type of magic art and use them to their own whim, retaining the spell so that soon they can learn and develop the magic on their own grounds to get better at it. For this to happen, they must be hit by the preferred spell that they wish to learn, and so will welcome in the attack with their magic origin open for energy. By being hit by the opponent's magic energy, the ethernano within the attack will be taken into the Actor whose body will scan and download information into it's brain's systems, therefore gaining the knowledge on how the Actor can be able to manipulate the energy themselves and use it for their own purposes. Considered a 'lazy way of learning magic', the Actor is the second most used path of Theatr Magic which many mages learning it use, however there will always be some cons to the use of this magic. Things such as their body not being use to the method of manipulation of the magic spell, with things such as Slayer Magics that help the user's body evolve and become use to a certain dangerous element to which that they are the only ones immune to. Using higher levelled spells that are not in coordination to the user's own magic power and skill will lead to a huge amount of pressure onto the user's body, making any deep wounds and the likes unbearble to keep and could even result in them fainting from the pain. If a user's body is not well trained enough, this kind of magic could really damage how they work, cast or even live in general. The Actor path has been said to be another form of Mimic, Copy Magic, etc, though there are ways that make the Actor path different to the said magics. Magic spells that can only be learnt by the Actor usually consist of offensive attacks and a few supportive magics like Healing Magic as these are the spells that land an impact on the Actor's body.

Like said before, the magic that one is able to take in and download into their body is retained for as long as the mage would live, with the chance to improve on the magic spell and learn it for themselves with the information given. This information however is not a lot so when receiving a magic attack from a master of a magic, the Actor will only be able to gather enough information to where they can only preform it at a beginner's level, with enough to little information on how to preform it. Being able to keep it though, the mage can learn it's ways and improve their magic spell which they had stolen. Magic skill and power of a mage does not affect the power and ability of the actor path, because it will always remain to be giving the user limited information, forcing them to enhance the magic spell themselves. Keep in mind however that it is only the manipulation method of ethernano energy that will be downloaded, no information on how to evolve the user's body so that they can equip this Magic spell will be granted as well and so the user must be careful on what spell they are using just so that they are sure it won't backfire on themselves. The maximum amount of spells that a user of Actor is able to learn is a total of five, and can come from any appropriate magic art however things from Holder Magics and highly lethal magics like Death Magic are invalid for learning. If one has a full capacity of magic spells, the user will be able to totally erase the information they have on that magic spell, removing it from their systems and clearing a space for a new magic spell to be made. All progress on skill and ppower over the magic spell that is erased will be lost with it and so if the user wishes to try and learn the spell again, they will be foced to go through the gruel process of mastering the spell another time. The absorption of the spell is controlled, and the user can choose wether to learn the spell upon impact or leave the spell just to hit them.


Backstage also referred to as the "Place where our gimmicks and doohickeys come from" by Wolfgang Ibsen, is a split dimension that only users of Theatre Magic can access with the use of their powers and is the 'stroage unit' of all tools and things used by the Producer and Director. Accessed with the use and properties of Spatial Magic, Backstage has been described as to be a humungous room filled with a variety of props and equipment as well as having metal and wooden puppets hanging from the ceiling in hundreds of rows.




  • Wooden Puppets (木製人形 Mokusei ningyō) Are the common and most basic types of puppets a user of the Director mode can use, and are typically made out of Quebracho wood that is spray painted with a variety of different skin colours so that the puppets can resemble that of humans. Due to being made out of Quebracho these puppets are very har and very durable, able to withstand attacks from incoming hatchets and blades making them quite the bane to handle. This is to make up for the amount of puppets that a user can bring forth, and with that the user can also keep them in this world for as long as they want at the sacrifice for a fair amount of magical energy. These puppets are meant to be highly weather resistant and can take in many punches before being weakened or partially destroyed. The density that makes up the wood of the puppet allows it to withstand attacks as well as deliver hard hitting punches and kicks. They are pretty hard to lift up by themselves and although they do not look very large or very heavy, a different story can be told when actually trying to lift them up yourself. There is a weakness behind the wooden puppets, that they are somewhat partially filled with magical energy inputted by the mage using Theatre Magic so that they have the ability to actually control this body. Being partially filled, this leaves enough room for users of Human Possession to implant souls into the bodies of these puppets and so begins a conflict between foreign energy and the current energy. This sort of infiltration will disrupt the puppets and can be sensed by the Director themselves as their connection to the puppet will be lost. During the time, the puppet will be disabled and leave the Director's connected hand imprisoned as they cannot summon forth another puppet. Until the magic energy within is powerful enough to overcome the human soul and banish it back out into the world from the puppet (which has a fifty to fifty chance of succeeding), the puppet will be back in operation and notify the yuser's hand with a gentle buzz. All puppets have fungers and toes to mimic humans and so with the proper practise and experienced handling, can preform the same amount of feats that a normal or fit human can do.


  • Metal Puppets (金属人形 Kinzoku ningyō) An upgraded version of the wooden puppets, the metal puppets are now made out of a simple steel alloy that replaces it's once Quebracho wooden body. Instead of being painted to look like a human, these puppets have their raw metal, silvery skin instead of being painted. Naturally their steel bodies when exposed to the elements would be rusted during four to five day period, but this can always be sped up to make movement harder for the puppets. Rusting is the biggest enemy for the metal puppets, for when rust corrodes their joints they are unable to move them. Average weight for these metal puppets range around 200 Pounds (90.7185 Kilograms) and are not quite as heavy as their original counterparts. The only upgrades that a user can achieve with using metal puppets is an increase in strength, durability and defense that they are well capable of handling. The biggest problems when using metal puppets is that heats ranging from 600-700C will greatly weaken the steel bodies. Metal puppets are mainly used for quick, heavy attacks against hand to hand fighters and prove very useful against sword users due to their metal bodies being able to deflectmany metal blades. Their weight compared to the wooden puppets is somewhat better and so can move at a faster pace as well as move higher into the air, making them preferable to handle more difficult opponents. They are also handy as human shields as the damage they can take from attacks (besides fire and corrosion elements) is praise-worthy. According to other users of the Director, the Metal Puppets seem to be the more difficult ones to handle as the metal can be quite difficult to move around even with the power if magic and their fingers.


  • Stage Light (ステージライト Sutējiraito)
  • Curtain Rope (カーテンロープ Kātenrōpu)
  • Prop Shield (プロップシールド Puroppushīrudo)
  • Hamlet's Sword (ハムレットの剣 Hamuretto no ken)
  • Asp of the Queen (女王のAsp Joō no Asp)


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