Q: What are the Nerves of Steel, Show-Off, and Reckless Qualities/Drawbacks (used for the example characters but not detailed in the character creation section)?

A: Nerves of Steel appeared in Armageddon, First Edition (p. 40 to be exact). All the others were accidentally left out, and appear in the WitchCraft, Second Edition (p. 80, 81, 82).

Q: What are the rules for language skills (cost, fluency, etc.)? Again, these were used for example characters but not detailed.

A: Another omission. These rules appear in Mystery Codex (p. 36) and WitchCraft, Second Edition (p. 95).

Q: Exactly what Bast Powers do I get for taking the High Bast Quality?

A: The ability to turn into a humanoid for a period of time; regular Basts are intelligent cats, nothing else.

Q: Is the "Divine Inspiration" Quality just the generic description of a Miracle, or do I need to buy it to be able to buy Miracles?

A: Divine Inspiration is the prerequisite to acquiring Miracles.

Q: What is the process for casting Invocations?

A: Most Invocations require at least a few spoken words or quick gestures to help the Magician focus his mind on the process. If the Magician is restrained in such a way that neither words nor gestures are possible, the process requires more time (at least one additional Turn) and will have a -2 penalty. If the Magician is blinded or blindfolded, any Invocation that has a specific target is not possible unless the magician can touch him or it or sense it in some way (a Difficult Perception roll with a penalty determined by the Chronicler may be required). Any Invocation that only affects the caster can be performed as long as the Magician's mind is functional; even a blind and paraplegic sorcerer could use such invocations as Spirit Projection, for example.

Q: How do you use ambient Essence?

A: There has been some confusion about the use of the extra Essence available during the Times of Power (such as midnight, during a full moon, etc.), as well as the Essence available for Group Magic. This Essence can be used on several Incantations, but when it is used up, it is no longer available. For example, during the hour of midnight, the extra 5 points of Essence can be divvied up among as many Incantations as the Magician wants (to a maximum of five Incantations with one free Essence point each). A group of three magicians can use the extra 45 Essence points on as many Incantations as they care to cast (dividing up the 45 points among them), but once the 45 points are used up, they do not get any extra Essence for a 24 hour period.

Q: How long does it take to cast Invocations?

A: Most Invocations can be cast as soon as enough Essence is summoned up and channeled to do so. Those that involve infusing Essence into a place or location, like Wards and Consecration, take more time, somewhere between 5-10 minutes depending on the circumstances.

Q: I understand several changes were made to the magic system for Second Edition. Can you run them down for me?

A: Sure. Starting with the Second Edition of Witchcraft, a number of changes were made to the magic system. They are meant to simplify the game, and are a result of feedback from players over the last year. Of course, if you think that the original system was perfect, ignore these changes (we promise no Thought Police agents will come to your door).

Essence Penalties to Focus Tasks: As of the Second Edition rules, the table on p. 151 is eliminated. Many of you were ignoring them in the first place, and many others complained that it made the casting of Invocations costing more than 20 Essence all but impossible. Now, to cast an Invocation, all a character needs to do is accumulate enough Essence and make an unmodified Task attempt, using the Invocation level and the appropriate attribute.

Dismissal Tasks: To simplify spellcasting, Dismissal attempts are only necessary on a failed Focus Task, or on a destructive Invocation, especially one cast in anger. The penalty for the Dismissal Task is equal to -1 per every 5 Essence spent (rounded up), plus an additional -1 to -5 penalty based on the intent and emotional state of the magician, as described on p. 153.