The Music Speaks

In theory, what Sylvia is suggesting isn’t far-fetched at all. Considering what she knows about my [melody], her suggestion makes perfect sense. In fact, I can't even find the words to answer her when she asks me ‘why not?’. That begs the question, why have I not done something similar up until now? I close my eyes, and ponder.

‘Well, it’s not like it’s easy to do to be honest. Harmonic destruction is already extremely hard to use in and of itself. The principle is rather simple, but putting it into practice is much more difficult.’

Harmonic destruction has but one guiding principle, to completely extinguish the opponent’s [melody]. Using my aegis as an output device, I force a counter-[melody] into my opponent’s soul, which momentarily cancels out theirs. From what I’ve tested, they do not need to actually hear the sound produced by the aegis. As long as I’ve designated them as a target, they will be affected. Of course, to do this, I need to first understand the composition of their [melody]. I have no frame of reference, but I am almost certain that this process is rendered possible only because of my nature as a composer.

Then, harmonic destruction comes with a few restrictions. The first being the gap in power between me and my opponent. If they are stronger than me, I have a much harder time using this ability. This is one of the reasons why I didn’t even bother trying it against Soulweaver and why I am hesitating so much to use it against Tianna.

I remember trying it against Maestro Lauren once. Normally, I'd never get a grasp of her [melody] because it produces no physical impact against my aegis, which speeds up the process. However, given more time, it is still possible for me to understand [melodies] that affect me directly rather than my shield. Since Maestro Lauren tends to use hers without restraint, I managed to grasp at least a part of it recently. However, when I tried it against her, I felt as if her [melody] was much more difficult to extinguish, as if it played so powerfully that the counter-[melody] I tried to inject into her soul paled in comparison. A mere drop of water in an ocean.

‘Though… what if I tried to only extinguish a part of it instead of the whole thing… could that work, even against stronger foes?’

Let’s say, hypothetically, that I seriously considered doing that. I would need to identify the segment, or component of her [melody] which gives her hair this sturdiness, then accurately produce a counter-[melody] solely for that part. I do not doubt that I would encounter less resistance if my interference were to be done in such a way, but the task itself is herculean.

‘And to do it while I’m fighting? That’s not.. Wait, no. A [melody] is a flow of notes and sounds. I don’t need to understand the entire thing, just one part is enough. If I can tone down that part, just a second, it should be enough…right?’

A soft, but agitated voice pulls me out of my thoughts. “I don’t mean to interrupt you Alden. But do you think you can do it or not?” Sylvia asks.

“I… think I can, but I need some time, maybe a minute or two.” I answer.

Her eyes expand wide, and an uncanny grin appears on her face. The change in her mannerisms when it comes to fighting always surprises me.

“Fantastic, I have something of my own prepared. Alex! Clay! We need to protect Alden for at least a minute!”

Alex and Clay, the trainee who can soften solid matter with a touch, dash to our position. It seems a few words from the FullCastle heiress is enough to make anyone listen. Sylvia, for her part, hums a soft tune and I notice a change in her demeanor. She seems more, on edge, ready to pounce. The air around her becomes denser and the aura she exudes screams ‘danger’ . She raises her warchord in the air and speaks to me. “One minute, right? I swear on my name she won’t touch even a hair on your head during that time!”

Trusting her words and my allies. I sit in the lotus position, close my eyes, and analyze all that I have gathered from Tianna’s [melody].

Hers, unlike the ferocity of her attacks, is a [melody] that defies the violence she wields. It is not a [melody] that evokes thoughts of chaos, struggle, or conflict. Rather, it is a gentle tune that reminds one of an unending flowery field covering the expanse of a large prairie. Only on the surface that is. When listening closely, the previously conveyed image changes drastically. The flowers have wilt, the soil becomes infertile. and the warm sun illuminating the prairie sets, never to return.

Her [melody] is imbued with a haunting sorrow that lingers long after the previous note has faded. While it may appear soothing on the surface, the [melody] of her soul is a fragile and delicate song that conveys unspoken grief.

The more I replay the parts I’ve understood, the more I realize that there is a melancholy in her [melody], one that words could never fully capture. The music itself weeps, and I am tempted to follow suit. In it, the tempo is unwavering, it is as fixed as the passage of time, and as unforgiving. There is no room for a climatic surge, a crescendo, or a decrescendo. There exists only space for the unshakable, somber flow of notes that cascade over one another, giving birth to a mosaic of sound that is both beautiful and heart-wrenching.

I begin by isolating a segment of her [melody]. The one I consider to be the weakest, the easiest to alter. Then, using my insight, and trusting my instinct, I identify the set of notes I believe to be responsible for the sturdiness of her hair. Finally, in the few seconds remaining, I compose a counter to that set of notes, an inverse meant to completely cancel it.

When I’m finished, I wipe the corner of my left eye before opening it, and inform my allies. “I’m ready… I think.”

I notice Sylvia with many more wounds on her lean, yet athletic figure. Beautifully, she parries Tianna’s hair which aims to take her down. She wields her warchord as if it weighed nothing, and with astonishing speed, she refuses to let anything get past her. Even if she must use her own body to serve as a wall, she stops at nothing to keep her word.

Perhaps if it was me from before I would have thought that there is no reason to take a practice spar so seriously, but that line of thinking is foolish. It is exactly because this is simply practice that we need to try everything we can and figure out what works and what doesn’t. In the real world, I doubt we’ll ever have the chance to ‘try things out’ without fearing for the consequences. This is the perfect chance to push ourselves to the absolute limit, to truly understand where we stand in the world of the [enlightened]. Thinking back on Zora’s fight against Ronald, I realize how wrong and hypocritical I was to ask her to surrender. I should thank Maestro Lauren later for telling me to place more trust in her.

Placing my attention back on the battlefield. I look to Alex and Clay, who have both been guarding me. Alex, due to his regenerative abilities, appears fine, but I notice the fatigue settling it. He has evidently been using his [melody] to a great extent. I then turn to Clay, whom I’ve never really spoken to. Large beads of sweat run across his face, and he appears to be on the verge of collapse. I do not even need to peek into his soul to understand that he is soon going to be out of flow.

I stand up and shout. “Listen up! When I give you the signal, you will start running towards her, and you won’t stop no matter what!”