The thing is, every polygon is made up of triangles.
They can also figure out where their spell is going wrong based on the symmetry of the design.
Magic maps for magic walls code#
So the patterns contained within the individual lines of magical code would eventually form spirals of meta-patterns.Ī functioning, well-written spell would have perfect symmetry when all the symbols are arranged in this manner, so a mage writing a new spell could actually lay out their writing in a half-made spell map and figure out what to write next based on their knowledge of geometry and angles. Arms extending from the central polygonal shape would represent the different aspects of the spell, and the smaller components of the arms would be based around their own geometric patterns, making a chain of hexagons, squares, triangles, and so on. It would form a radial or symmetrical design based around a central polygonal figure, such as a square or hexagon. These shapes would be arranged into a “spell map,” a geometric representation of how the different parts of the spell work together. These rows of symbols would form rectangular paragraphs, and these rectangles could be oriented to one another like building blocks to form geometric shapes, with each paragraph forming a side of the shape. But there is something inherently beautiful about how these symbols would fit together: if you deconstruct the interactions between the symbols, you would find that all the symbols could be grouped into discrete units, with the groups’ unity based around shared markings in their graphic composition (similar strokes and dots in the symbols) or the part of the spell they affect (such as binding or flight). I imagined putting together a bunch of symbols in a sequence that expresses what you want to happen, like you’d do with a line of computer code. So maybe a long-term project for me.īut in the meantime… Spell Maps, COMPUTER CODE and GEOMETRYĪ couple years ago, I started to sketch out the beginnings of a written magic system for my fantasy world. It would take years of careful construction. To actually create the symbolic language I describe and to embed these kinds of patterns in it would be something akin to making a crossword puzzle out of an entire language. One note, however: this is all hypothetical. I don’t have a degree in linguistics like Tolkien, or in graphology. This is, in the realest sense, a product of an occult triangle lab. What follows is the basic building blocks for a magic system that I conceived back in 2014, combining the art of Buddhist mandalas, computer coding, and musical theory with metaphysics, astronomy, and trigonometry. But that’s what’s so amazing about worldbuilding: you get to make the rules. How do you begin designing a system like that? It’s like making up a fictional branch of aeronautics. But when I imagine magic, there’s something transcendental about it that goes beyond science and materialism. The way I conceive it, it should undergird the workings of nature and the world, similar to how Ursula LeGuin’s used taxonomy as magic. I think magic in fantasy should have rules. The reason is that magic, when approached like a science, brings up same reductionism that haunts modern people: if we’re all just chemical reactions in our brains, is there space for truth, or meaning, or wonder? Because those are the very things fantasy can explore like no other genre. It shouldn’t be a palette-swapped form of electricity or physics, where mages carry out “experiments” like Isaac Newton (though he himself was apparently a big fan of alchemy). Magic in fantasy, as I’ve said before, shouldn’t be a science. Except for that origami pyramid wrapped up with Zen. I’ve talked about using binary code as the basis for magic systems, as well as magic as poetry, but not much to do with triangles. Despite this being the Occult Triangle Lab, I haven’t spoken much about occult trigonometry.
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