#Intro Hey everyone! A while back, waaaaaay back last year I think, I posted a magic system here (or on another sub, check my history if you're curious). Honestly? Looking back, it was a bit too rigid and isolated. It had physics-related domains (Kinetic Dynamics, Molecular Engineering, Fluid Dynamics, and Atomic Architecture), but I lost interest because I hadn’t defined the fundamental metric of a being's magical structure.

I wanted to fix that. It's mostly based on a hard magic style so I wanted levelling up to feel more like engineering. Or whatever it is I'm doing.

So, here is the evaluation metrics or parameters that I think can decide the value of a mage.

The 5 Core Parameters for Evaluation:

1. Mana Capacity (The Energy Density)

In physics terms, this is the Potential Energy stored within the body in either any form you decide; a core, stars, circles.

The Hard Logic: An expert mage wouldn't just have a "bigger battery"; maybe the would compress mana without it undergoing some sort of "phase transition" (like turning into heat and cooking their internal organs, or even ripping their core apart).

The Upper Limit: At extreme levels, high capacity might create localized gravitational pulling or spatial warping. Well subject to discussion cause I dunno. An explosion perhaps?

Example test: The Drainage Test. A mage is tasked with charging a standard, high-capacity magical crystal from empty to full in a single sitting. The metric is simply how much total energy they can pour into it before running completely dry.

2. Mana Circuitry / Conductance (The Throughput)

This is the Ohm’s Law of the system I = V/R.

The Hard Logic: Conductance determines how much energy can be moved from the "battery" to the "spell" per second (Power, in Watts). Or any other mana units you decide. I think I wanna decide this next.

The Bottleneck (Joule Heating): Just like a copper wire gets hot when overloaded, a mage with high capacity but low conductance would essentially rip their internal pathways if they try to cast a high-tier spell too quickly.

Example Test: The Burst Test. The mage must release a specific amount of energy as fast as possible (e.g., lighting a massive bonfire instantly). The test measures the speed of output versus how much physical strain, pain, or internal "burn" the mage experiences from the sudden rush.

3. Mana Control (The Vector Precision)

Think of this as Signal Processing and PID Control.

The Hard Logic: If a spell is a wave, Control is the ability to maintain frequency and amplitude. High control allows for "Constructive Interference" (doubling a spell's power by overlapping mana waves perfectly).

The Failure State: Entropy. Without control, mana leaks into the environment as waste heat... or static. i.e. inefficient. Would have to have some sort of change during casting, so maybe just wastes mana in itself.

Example Test: The Shape-Holding Test. The mage must manifest their magic into a perfectly static, intricate shape—like a floating, seamless cube or ring—and hold it perfectly still for ten minutes while external distractions (like minor physical impacts or loud noises) try to disrupt their focus.

4. Mana Purity (The Signal-to-Noise Ratio)

This is Coherence (think Laser vs. Lightbulb).

The Hard Logic: Impure mana may contain conflicting frequencies. Pure mana is monochromatic and coherent. A laser can cut through steel with a fraction of the energy a heat lamp uses because the energy is perfectly aligned. This is where you could probably personalize mana, like bloodline related, soul related, astrology could play a big game here.

The Upper Limit: High purity allows for "Superfluidity," where mana flows with zero viscosity, creating spells that would never lose momentum.

Example Test: The Filter Test. The mage tries to pass their magic through a naturally resistant or "grounding" material (like dense lead, cold iron, or a anti-magic field). Highly pure, coherent magic pierces straight through with minimal loss, while impure magic scatters and diffuses.

5. Spell Formulation (Algorithmic Complexity)

If the other traits are hardware, this is the Software/Physics Engine.

The Hard Logic: To create a fireball, a mage doesn't just "wish" for fire. They could formulate a mathematical field that excites local oxygen molecules while simultaneously creating a containment gradient. There could be endless amounts of interpretations unique to your magic system... I know mine will... hehe.

The Limit: Cognitive Load. Complex spells require solving differential equations in real-time. This is why I view "chants" or "circles" as externalized, pre-compiled code blocks to keep the mage's brain from crashing. The compiler or the "Assembly Language" would probably be decided by a deity or any other force that made mana usable perhaps... Perhaps 'nods'.

Example Test: The Adaptation Test. The mage is given a complex spell script they have never seen before and must cast it flawlessly on the first try, or they are forced to dynamically alter an active spell mid-cast to adapt to a sudden change in environmental conditions (like a sudden downpour of rain).

Future Work

I still have yet to decide how to go about other constraints but I'll give you guys that leeway to do, suggest it or keep it to yourself up to you.

This is in the Work-In-Progress phase... So in the future, I might decide to:

• Define a Unit of Mana: Hooking it into standard physics by referring to Joules, or creating a custom unit for work done per second.
• Recovery Phases & Techniques: How does a "drained battery" recharge? Does it pull ambient mana from the air, or rely on biological rest?
• Efficiency Limits: Can a mage ever reach 100% efficiency, or would they will always emit waste? Following the second law of thermodynamocs.
• Species-Specific Biological Hardware: How would different species naturally scale on this metric? For example, do Elves have built-in "superconductive" pathways (high Conductance), while Dwarves act like heavy-duty capacitors (high Capacity but lower Control)?

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DISCLAIMER: For the record, I'm not an engineer but I love, love, love magic with some physics coded into it. So... Me, myself and 8th Grade syndrome?

lore- they have many different classes in my series the witches,mages superhuman anexes humans arkanz and the mutated fyi.
In my universe, witches are like priests. They have a feel for higher beings but don't understand everything.

The witch race is very hard to populate. You need specific genes, and they don't have many resources to fund their search for knowledge.

So here's what I'm trying to figure out. They can sense deeper layers of individual abilities, but doesnt understand where they were originated from. They feel something is there but not exactly what it is

What kind of specific abilities would let them perform feats of this understanding? What powers fit a race that is rare, underfunded, and forever guessing?

Her presence itself, not mana or aura, is so vast that it created mana-like particles. Those particles act as an anchor for her and have spread across all universes.

She grants extra mana to anexes and some mutants, but she cannot give it to humans. Human bodies aren't suitable. Because of this, she single-handedly created the race of mages. She is also the reason the subrace of witches exists.

She is essentially the embodiment of a man-made atom.

Would you be afraid of this being? Even though she wasn't physically present, her presence was so massive that it caused mana-like particles to roam like air.

The greatest minds from ages past built labs trying to find the truth of who had such powers. Although she isn't directly connected to their wondering, she indirectly sewed the seed that led to the end of the Ancient Era.

So, how do you all feel about this concept?

Good day to all the beautiful people of this community. Today I want to find out how you all deal with temporal logic.

>I have a world where each fundamental force of the universe has a different underlying mechanic; it would be fascinating for mystiq, the force of time and fate, to be based on logic.

Ever since I took a course in logic, I've had an idea that time and fate could be understood as logical operations, something like a formal logical language but broken in some way; multiple conflicting statements can be true, or there's a temporal factor, for example. Alas, I have not yet found a proper way to implement this.

So I am curious: Is destiny or time travel bound by logic in your world? Have any of you come up with a similar idea, and if so, how did you implement it? Any other thoughts worth mentioning?

Smiles and good wishes to you all! ❤️

I’m creating rules of how to create magic seals but I just wander - does anyone (except me) need it?
So what do I have now:
- logic of how to create readable form of seal
- rules of how to collapse / expand seal (switching between detailed readable and compact form)
- the meaning of different arrangements of geometric figures
- meaning of figures, images and texts
- (in progress) runes and runic formulas

So is it interesting (as full or as a part) for anyone or just keep for my book?

[supprimé]

Hi. I'm currently working on a world with 3 different power systems - Demon Magic, Angel Magic and Spirit Arts. I'd appreciate it if you could read all of the info I wrote about them and give me your opinions.

MAGIC LORE/ORIGIN:

Millennia ago, a certain godlike entity thought it would be interesting to grant magic to 2 most advanced species in the mortal world - Demons and Angels. They got 2 different kinds of magic, each one also divided by many types. Demons and Angels were already in conflict with each other so those new powers only intensified it. After centuries of constant battles, Angels managed to find a way to use their powers to move Demons into a different realm - Hell, and trap all of them there. Of course all those magical battles left the world in a bad, destroyed state, so Angels again used their powers to access a different realm - Heaven this time, and move there themselves, claiming it as their new home. Millennia later, new mortal world species began rising. Demons learned a way to contact the mortal world and began proposing pacts to those new species - a Demon Magic in exchange for a soul (they wanted to spread their powers to the mortal world because they hoped it would enrage Angels). Many individuals agreed to that and Demon Magic returned to the mortal world. The first generation of Demon mages discovered that for some reason, their children inherited the Demon Magic and didn't have to pay with their souls for that but would suffer a Demon Fever instead (more on that in the later part of this post). Angles saw all that and, as Demons hoped for, got mad. They wanted to eradicate all Demonic influence but they didn't like the idea of leaving their new beautiful home, so they decided to take an action similar to Demons. Angels contacted some of the new mortal species and offered them a deal - they could use their powers in any way they wanted as long as they would also start fighting against those who were granted the Demon Magic.

The story I'm going for is pretty much about this conflict.

SPIRIT ARTS LORE/ORIGIN:

The Spirit Arts is a kind of power that comes from the Spirit realm. It can naturally manifest in the mortal world in places deeply connected to nature.

GAINING POWERS:

Demon Magic:

-Is inherited and works similar to inheriting genes

-A mage can be born from two parents who are not mages if they have a mage ancestor

-A child has equal chance to inherit either magic type of their parents and a small chance to inherit a magic type of their youngest mage ancestor instead

-There's also a very small chance that a child of two mages won't be a mage

Angel Magic:

-Is granted/borrowed

-Angels let a person borrow their powers and use them as long as they are committed to eradicating any Demonic influence

-Angels can take back the magic they borrowed to someone at any moment

Spirit Arte:

-Can only be accessed by individuals deeply connected to nature or to those who sacrificed a life to the spirits (more about that below). There are good spirits, neutral spirits and evil spirits.

USING POWERS:

Both kinds of Magic:

-A mage can use only a single type of magic (Demon mages are stuck with the one they were born with, Angel mages can ask Angels to change their magic type)

-Mages normally can cast spells by performing gestures/moves with any part of their bodies

-Some really advanced or powerful ones can cast spells without performing those gestures/moves

Demon Magic:

-Demon mages now suffer a condition called Demon Fever - it makes their bodies weaker and can even be lethal. It manifests when they cast too many spells in a short period of time (the strength of those spells can influence the effects of the Demon Fever). It can also have more specific effects depending on the magic type (e.g. Fire mage would get actual burns. Water mages could get frostbites)

Spirit Arts:

-Uses ingredients (mostly plants, minerals, etc.)

-The minimum of 2 ingredients must be used

-Those ingredients get destroyed the moment the power is casted

-Ingredients ratio and the way they are placed dictates the main effect that this power will cause (e.g. water and herbs placed on wounds will heal/speed up healing. Coal, iron and clay will make a tool/weapon)

-Making a sacrifice to the evil spirits can grant an access to casting curses (to cast a curse, one of the ingredients must be a blood of the person who is casting it - so e.g. blood and stone will turn a target into a stone)

MAGIC TYPES:

Demon Magic:

-Fire: Manipulation and control of fire in any form

-Water: Manipulation and control of water in any form

-Earth: Manipulation and control of earth in any form

-Air: Manipulation and control of air in any form

-Electricity: Manipulation and control of electricity in any form

-Enhancement: Enhancing body, senses, etc.

-Mind: Telepathy, manipulation of memories and personality, etc.

-Light/Radiation: Manipulation and control of the entire electromagnetic spectrum (only few light mages know they can actually control more than just visible light)

-Darkness: Manipulation and control of shadows and darkness

-Umbral: Phasing through objects, accessing pocket dimension, etc.

-Spatial: Teleportation, swapping places, creating portals

-Warp: Manipulation of space and time in the area

-Force: Telekinesis similar to Jedi force

-Binding: Binding, trapping or blocking magic, objects, etc.

-Transmutation: Manipulation and control of the shape and atomic structure of objects

Angel Magic:

-Might: Offensive capabilities, like summoning weapons, boosting strength, etc.

-Valor: Defensive capabilities, like boosting endurance, creating barriers, etc.

-Vigil: Prophecy, magic detection, presence detection, intentions detection, etc.

-Aid: Restoration, healing, cleansing, etc.

-Doom: cursing, life stealing, etc.

MAGIC VISUALS:

Demon Magic:

-When casting spells, glowing patterns appear on the mage's body

-Those patterns’ motif and color depend on the magic type (e.g. Water mage would have wavy blue patterns. Mind mage would have brain-like pink patterns)

Angel Magic:

-When casting spells, glowing halo/aureola appear above the mage's head

-This halo/aureola’s shape and color depend on the magic type (e.g. Might mage would have blade shaped red halo/aureola. Vigil mage would have eye shaped yellow halo/aureola)

Alright. That's pretty much all I thought of to this point (I have some more details about those different realms but they are not really that important right now so I'm going to avoid unnecessary info dumps).

I'd really like to hear the feedback on it. Is there anything that makes no sense? Is this system balanced? Are there too many or too few types of one of the kinds of magic? Do any of those powers feel undeveloped? What do you think I should work on more?

Be as honest as possible. I'd really like to make this as perfect as I can.

My magic system is essentially perfect. I've worked on it on and off for like a decade, but most actively in the past two years. The rules are very fleshed out, I've thought through basically ever use possible in war, society, technology, and how it feels and looks like. What people think. The limits, I've even extended it. I've recently felt like expanding it even more because I felt what I had was already so well fleshed out and interesting.

The issue, is that it gets extremely deep. But mostly in a good way. I originally defined my magic system by very simple rules, with only minor additions. This made each new ability or idea an extension of the previous. This makes it very easy to explain in my stories organically. With step by step sensible progression. But it makes it basically impossible to share with others. Writing is fun, but I also want to talk about it with others.

As an example,

in order to go from having no magic to blasting someone with fire, a mage must. Consume dust, a uncommon but obtainable resource. there's many methods, but they don't matter for making fire. Next, draw the heat from your body, focus it into a ball, probably near you palm, aim and direct it. Release at your target. Done. There's obviously more sensory details but that was the rough bits. That could be described in a single paragraph if I wanted, less, or more if I wanted to add details and context to the scene.

But my system has so much more like, knots, bonds, elementals, proxies, dart, mechs, enhancements, and more. I trust myself to be able to naturally depict these and expand form the initial ideas in writing, but it makes it annoying to talk about with others, without writing an entire lore doc just to describe it, that most wouldn't bother reading.

Thoughts?

Hello, I’ve been looking at this sub for the past couple of months and it inspired me to try and make a magic system of my own. I’ve mostly built it out but it still feels a little simple and formulaic so any suggestions would be appreciated as well as would any criticisms.

To begin with, most of my magic stems from a theory I put into my world as a sort of start point for its magical development where a philosopher hundreds of years ago observed the environment and world at large, with all of its innately magical elements that seem to move in harmony with each other like a song, as well as how the appearance of the gods and any kind of divinity corresponded with “melodies” in a way pertaining to their holy nature/god and came up with the concept of what would later be called “Perchaunt’s Lyre” based on his name.

He theorized that the world at large existed beneath the various divine realms of each god as a sort of instrumental lyre in a sense that they “played” by tugging on various fundamental parts of its nature to first bring it into existence and then maintain its various parts as well as use their divine powers. He believed what people thought of as magical, being things that seemingly occurred outside of natural cycles or explanations, were in fact apart of the world as a series of strings spread in lines all across the lands and seas that contained/maintained fundamental forces while playing them where possible for better or worse. He envisioned them as humming with the magical energy of three different forces that he named the “Life Thrums”,”Death Thrums” and “Neutral Thrums” with the first instigating creation while the second propagated destruction and the third filled in the gaps to keep them from reacting more than necessary.

He believed the gods and to a lesser extent the various spirits of the world were able to see and play these strings to induce magic by using their will on an innate level as a sort of connection to facilitate their interactions with the world, though he differentiated spirits from gods by theorizing spirits might originate from one of the three thrums as so be bound to magic originating from them while the gods could utilize them all in a manner similar to assimilation by transmuting the strings they played into extensions of their divine nature. To cap off his theory, he believed humans and the other races could also learn to play the strings as if they were already capable of bearing what were known as the “Holy Compositions” of the various gods through their favor, which he theorized they could because they too had the capacity to leverage their wills in some way which would later come to be called a “Plectrum” and seen as a pointed aspiration from a persons mind that to those with a magical sense could pluck the strings, then perhaps their bodies had whatever was required to play the strings all on their own through studying and eventually learning how to though this was a more uncertain part of his theory.

Most people of the time saw him as insane and a lunatic and he ended up dying within a few years in suspicious circumstances, but many more rural and native communities that lived amongst the wilds and within the influence of the spirits as well as those more free thinking within the various gods worship saw merit in his theory through their experiences with magic, holy or otherwise, that lined up with his predictions. And after years of intentional practice and study, a method was discovered through which humans and the other races could harness magic outside the gods thereby vindicating his theory in the practice that would come to be called “Symphonus”

At a base level, it works through a perspective practitioner going to an area known as a “Rhythium”, a place where numerous strings run through and overlap thereby causing a natural rhythm of magic that changes the land in various strange ways, and then must search/find one of the various spirits that reside there by making sounds in a manner that appeal to the nature of whatever spirit they wish to find whether that be through singing, humming, talking to the spirit or just making some kind of noise in general to appeal to the spirit’s nature depending on which thrum the spirit is aligned with. From there they either are out of luck if no spirit appears before them or they successfully attract a spirit/s whereupon they must approach the spirit all the while continuing their performance whatever it may be and attempt to touch them while being pushed back by the thrum the spirit is attuned to and if the aspiring practitioner is dedicated/complimentary enough to the spirit a song rumbles through them and the surrounding environment thereby cementing their relationship.

A person who successfully goes through this ordeal is known as a “Conductor” who based upon which kind of spirit they sought out gain access to one of three different so-called “Songs of the Balance” that are songs a conductor can perform where they draw upon the essence of whatever thrum is aligned with them before then entering into a semi lucid trance-like state where they have a great degree of awareness concerning the world around them but almost in a detached way. Upon entering this state they begin to sing a distinct tune that varies person to person especially between different songs and even among those who use the same song, but follows a certain pitch associated with each song that is expressed either in pure almost ethereal sound with a musical lilt or through words filigree through the conductors mind all the while they begin to dance uncontrollably along with their song. As they sing and dance strings and fragments/parts of the spirit and thrum they aligned with manifest around them that serve as the catalyst for their performance of magic, with the magic performed aligning with their thrums nature but otherwise taking on any number of forms depending on when and where they are performing as well as many other factors as they are completely reliant on the strings running through wherever they are and their connection to said strings to perform magic leading to random effects that align with a central core.

Each song has a different speciality/general theme and goal towards what kind of magic it accomplishes with the “Song of Awakening” aligning with the life thrum and based on where’s it performed it induces various magical effects that seek to create, support and bolster life such as creating wind that flows through an energizes others at high altitudes, plants that wrap around and heal wounds in jungles or bringing forth life from corpses at graveyards along with other similar effects, the “Song of Destruction” aligning with the death thrum and based on where its performed it induces various magical effects that seek to induce and apply death in various ways such as creating fires which burn one’s soul in a desert, swords that fall from the sky on a battlefield or shattering bones along with other similar effects while the final song is the “Song of Enlightenment” aligning with the neutral thrum and based on where’s it’s performed it maintains an equilibrium between things in addition to causing effects that neither hurt nor help anyone directly such as attracting a key to its door in a locked room, causing people to feel the emotions others in a tense situation or opening one’s mind up to the unseen in mysterious environments along with other similar effects. Magic performed this way tends to be very potent but it also Varys wildly in power as different places have differing amounts of strings that hum with one’s aligned thrum thereby limiting their connection and the longer one maintains their so called performance state the more their aligned thrum holds a monopoly on their body while blocking out other thrums which can cause a wild host of negative effects as without the other thrums to keep one in check they run wild.

The art of Symphonus then became with Holy Compositions integral to many societies that built up worship to nature itself. But as times passed many believed it wasn’t enough as though not reliant on the gods, conductors still in a way had to rely upon spirits and their whims along with being potentially limited if they every traveled outside of set areas along with the other downsides so many tried to find method through which the study and practice of magic could advance even further. A hundred or so years after Symphonus became prominent, a group of conductors assigned with spurts of all three thrums managed to find a way to interpret the rhythms and flow of the songs into the various languages of the world which they then used in conjunction with much trial and effort to isolate the various portions responsible for specific effects that they could then put together onto musical and lyrical sheets that contained the essence of a single piece of magic in a format similar to contemporary and non magical songs. This opened the door for a new magical renaissance with it still being considered a part of Symphonus but its distinct version known as “Sheet Casting”.

Sheet Casters, or how they are normally referred to as “Composers” are those who create Spell Sheets that carry with them the specific parts of any given song that have very specific effects even if they are a bit basic which lets them call upon magic that they can control the form of through their choice of spell, though each spell still fits within and utilizes one of the three thrums in this method. Composers can by picking out just the parts they want cause magical effects by influencing the strings around them without having to go through a spirit as they don’t tap into the strings as a whole, only the small parts they wish to though this comes with a host of drawbacks as they are forced to memorize their spell sheets to cast them with any real power and if they wish to utilize magic without a sheet they have to know almost perfectly meaning it’s almost guaranteed one has to specialize and focus on similar spells as they all are very different in the lyrics and rhythms regulated for them as well as that to cast their spells they must start out with a medium in the form of a instrument they play their spells through that they can eventually discard though they must still mimic the motions with their hands and body. And in addition to all those, spells tend to be fairly less potent than magic cast through one of the songs as well as harder to draw upon as even if one can use them in any environment it taking much coaxing as a human or other similar race by themselves don’t have an innate magical presence like magical beings beyond their plectrum.

If you have read this far, thank you and as said before any advice or criticism is welcome.

https://preview.redd.it/qxqhewca332h1.png?width=1457&format=png&auto=webp&s=aecafe79fc5de88b8aa1209146041df059a96b5d

I'm writing a novel, and will use this as the power system

a friend of mine had said it didn't so I want to stress test it with y'all. It goes as: Magic system-everything has a hidden name. To create a spell you’d have to speak. The spell is broken up into four parts: Size, spell,direction, and activation (tum) However, you can’t just say whatever. The letters needed for the spell must be found in  hidden name. For instance, the spell to summon water would be (Urrent). So you’d need objects with the letters t,u,r,n,e. NOW to summon a wave you’d need more letters. So the spell to summon a large wave would be Ol’turrent’esp’esd-tum

• Ol-large  
• Al-small 
• Esp-up 
• Esl-down 
• Esd-forward
• Esk-back
• (Spell)

  

I've been thinking about my system's teleportation lately and my current working numbers are that an average person teleporting themself or an identical volume(teleportation in my system cares about distance and volume but not mass) any distance takes as much energy as running that distance across flat ground

Similarly I'm thinking that telekinetic abilities can move an average person's mass at a given speed with the same energy as that average person riding a bicycle at that speed

As you can probably see the resource in my system is a person's physical stamina. Though there are ways to improve efficiency in my system, usually at the cost of casting time/difficulty, allowing for the same effects at lower energy costs

It's been a while since I read it but I have some thoughts on the magic in skulduggery pleasant. This may be a bit of a ramble, feel free to comment without reading past this

Some details established early on seem to hold up relatively well, like elemental magic being the most common, not because I counted the number of characters who use it but because other magics seem either very limited or come with big downsides. Bone breaking both only works through fingertips and needs skin contact, energy throwing needs 2 hands and honesty seems no better than a fireball, necromancy is pretty versatile but requires an item you can be separated from, but elemental magic, no Achilles heel and 3 decent tools you get access to with earth mostly being a last ditch panic button unless you have the same kind of character privileges that let you learn how to fly

There are other details that clearly get retconed, namely Tanith's lock picking ability was all but stated to be related to her wall walking and incompatible with elemental magic, but it was later explained as an optional thing pretty much separate from whatever magic you choose to stick with, so an elementalist could totally have that lock picking ability(unless it was clarified at some point I didn't get to) it wouldn't surprise me if other stuff like making magic clothes were similar optional magics that didn't conflict with your main magic, the second elementalist in the series was a tailor after all

(Not a quality judgement) the power level of the magic seemed relatively low, enough that picking up a second gun can be presented as a significant power up, as well as hand to hand fighting being a pretty constant feature and not even magically enhanced hand to hand aside from Tanith confusing people by fighting upside-down. Though I think after the end of the last main book I finished I wouldn't be surprised if some power creep began to occur

This may be that I just misunderstood at the time but the exact strength of the fodder soldiers called hollow men seemed a bit inconsistent, mostly in that they actually beat a couple cleavers(magic super soldiers basically) like sure a cleaver probably isn't as strong as a main character but they're still something the main characters run from, so I don't see how they could be beated by something weak enough to be taken out by a teenage girl whose only combat skills comes from watching some adults for maybe a week

Also I hope there isn't some controversy with Derek Landy