—In-game description, The Blazing Blade
Aureola (アーリアル Āriaru), the Glorious Ascension (至高の光, Shikō no Hikari lit. Light of Supremacy), is one of eight Legendary Weapons of Elibe, and is the foremost Light magic tome in Fire Emblem: The Binding Blade and Fire Emblem: The Blazing Blade. Forged during The Scouring for use against Manaketes, the Aureola tome was first wielded by St. Elimine, followed by Archsage Athos 980 years later. When cast, the heavens will open up and shine a single beam of light upon the selected enemy target, momentarily petrifying them in their tracks. A sparkle will then cascade down this beam of light, causing the beam of light to dissipate and combust, engulfing the selected enemy target in the process.
After the Scouring, Aureola was sealed within the confines of a temple in Etruria by the Eight Heroes. The tome's seal is broken during the events of The Blazing Blade, where it is lifted from its resting place to be used against Nergal, whose immense immunity to normal weaponry is unrivalled by all. Upon achieving its intended purpose of aiding in the fight against Nergal, the Aureola tome is later returned to Etruria, where it is guarded by the Etrurian Church.
During the events of The Binding Blade, Roy will successfully drive Bern's forces out of Etruria, whereupon he is entrusted with the Aureola tome for use against Idunn's Manaketes. After Idunn is felled by Roy's troops, the Aureola tome is presumably returned to Etruria to be protected from being used for nefarious purposes.
Bestows a bonus of +5 Resistance to the user; Inflicts triple damage upon Dragon and Wyvern units.
Bestows a bonus of +5 Resistance to the user; Inflicts double damage upon Dragon units and Dark Druids.
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An aureola or aureole (diminutive of Latin aurea, "golden") is the radiance emitted by a luminous cloud. Such luminous clouds often surround the bodies of sacred personages in religious paintings, causing them to appear as if they are exuding an ethereal aura. In the earliest periods of Christian art, this splendorous art technique was confined to the figures of the Christian Godhead, but was later extended to the Virgin Mary and several other saints.