BOOKS & GAMES
WRITING FANTASY
Essays on worldbuilding and tropes.
My Favorite Fantasy Writers
There’s almost more good fantasy out there than I care to list! I've written elsewhere about Rowling and Tolkien's works, so here are the rest of the authors I like: Neil Gaiman. My inspiration! Pretty much anything by Neil Gaiman is excellent. His work is almost all fantasy, but spans genres, from gritty urban fantasy (Neverwhere, American Gods), to portal fantasy (Stardust) to horror (Coraline), and a lot of in-between. I absolutely love his campfire-tales-like writing style, and all of his work is well-crafted. There’s also the Sandman comic books, which just got a Netflix adaptation. Terry Pratchett. The late, great Sir Terry Pratchett was one of the best fantasy writers of modern times. He’s best known for Discworld, a satirical series of high fantasy novels set on a flat world. His work is hilarious, and contains biting commentary on everything from real-world issues like religion, class, and racism to popular fantasy tropes. Since Discworld is long and contains many sub-series, I recommend choosing the particular sub-series that you’re interested in. (I started with the Tiffany Aching books.) Each individual novel actually works pretty well as a stand-alone, which is a real testament to Terry’s skill as a writer. I also highly recommend his and Neil Gaiman’s collaborative novel, Good Omens, which is a satire of Armageddon. Tanith Lee. Speaking of flat worlds, Tanith Lee’s Tales of the Flat Earth has become one of my new favorites. Like Pratchett’s books, this series is set on a flat world, but it’s got a very different tone and style of storytelling. Lee’s Tales are epic mythological cycles, which center around godlike beings called the Lords of Darkness that embody concepts like Night, Death, and Madness. I’ve only read the first two books, but I’ve found Lee’s stories captivating, and I think she’s criminally underrated. She was also way ahead of her time in that her books feature queer characters as main protagonists, back in the 70’s! Ursula K LeGuin. Another one of the legends of fantasy and sci-fi. I can’t believe it took me so long to read LeGuin. She is an amazing writer in every capacity! I think her Earthsea books are underrated, especially among fans of high fantasy. They’re about a wizard named Ged (Sparrowhawk) and his various adventures, and also Tanar, a high priestess of Lovecraftian gods. LeGuin’s writing is masterful, and The Earthsea Quartet provides a nice alternative to those who are jaded by Tolkienesque fantasy. I think that her writing is much more accessible than Tolkien’s, and more engaging in terms of storytelling. LeGuin is also notable for being one of the few authors of her day who wrote stories centering around people of color, which still tends to be rare in high fantasy. Catherynne M. Valente. One of my favorite lesser-known fantasy writers, Valente has written two series that I really like. One is her Fairyland series, beginning with The Girl Who Circumnavigated Fairyland in a Ship of her Own Making. is follows a girl named September who is whisked away into Fairyland for a series of adventures that involve the deposing of evil rulers and the exploring of cities made of unusual materials. She is accompanied by lots of interesting and unique fantasy creatures, including a half-Wyvern-half-library named A-Through-L, a marid named Saturday, the Green Wind, and his mount the flying Leopard of Little Breezes. Think Alice’s Adventures in Wonderland, if it were more fairy-tale-esque. The first book also has one of the best villain twists I’ve seen in anything ever. The other series by Valente that I really like is The Orphan’s Tales, a duology of adult novels — In the Night Garden and In the Cities of Coin and Spice.They’re similar to Flat Earth in that they are an extremely complex and entirely original mythological cycle inspired by 1001 Nights. Unlike Flat Earth, the tales are nested, meaning that each one contains multiple stories-within-a-story. Erin Morgenstern. I absolutely fell in love with Erin Morgenstern’s debut novel, The Night Circus, and it’s still one of my favorite books of all time. I still have a black-and-white circus tent in my basement from when I read the book four years ago. Not since Hogwarts have I wanted so badly to go to a fictional location! The Night Circus is a little more magical realism than fantasy, but feels dreamlike and fantastical. It’s a slow-burn novel about two magicians who are set to compete against each other in the venue of a magical, black-and-white circus, but inevitably fall in love. Morgenstern’s other book, The Starless Sea, is a sort of love letter to literature and storytelling itself. It’s portal fantasy, about a young man who stumbles into a hidden magical library. It speaks to Dark Academia fans everywhere! I don’t think it was as good as The Night Circus, but that’s because it’s a high bar to clear!
Types of Magic-Users
Here are all the different types of magic-users I can think of. I'll explain them in the context of fiction, although many of these terms have been or are used to refer to real people. Alchemist: A very versatile term in fiction, often referring to sciency-type hard magic, or else to potion making. Alchemy was a real thing, explained here, but alchemy in fiction usually doesn’t resemble real-life alchemy beyond passing references. Alchemists seek to magically, spiritually, or chemically transmute something from a base state to a higher, purer version of itself. Conjurer: A wizard that specializes in conjury. Sometimes that means making objects appear out of thin air, but it can also mean conjuring spirits from other planes and/or binding them to one’s will (in that case, “conjure” is used interchangeably with “evoke”). A conjurer’s art differs from an illusionist’s in that the things a conjurer makes appear are actually there, rather than just appearing to be there. Diviner: A person who specializes in gaining information through magical means. Divination is widely practiced in real life. There are many types of divination, but it usually consists of interpreting random patterns to devise meaning from them. The only thing that’s technically magical about it is the assumption that patterns created by random chance have inherent meaning, or the assumption that the patterns are messages from the gods. Astrology, tarot reading (cartomancy), palmestry (chiromancy), tea-leaf reading (tasseomancy), casting bones or rune stones (cleromancy), augury (interpreting natural patterns), scrying (crystal-gazing or mirror-gazing), pyromancy (fire-gazing), and necromancy (see below) are all forms of divination. Druid: A word for an ancient Celtic priest, who played a combined role of lorekeeper, scientist, and clergy. Next to nothing is known about real Druids, but Druids in fiction are usually wizards who practice tree and nature-based magic. Druids in real life are neopagans or occultists who follow Celtic-based (or Celtic-inspired) magical paths. Elementalist: A magic-user who specializes in manipulating some kind of elemental force, usually the four classical elements, but sometimes other ones (say, darkness, light, or electricity). Different kinds of elemental manipulation have their own names (i.e. aerokinesis, pyrokinesis, geokinesis, hydrokinesis, etc). Enchanter/ess: A magic-user that specializes in enchanting objects or people, which means putting spells on them to imbue them with magical properties or alter their behavior. If something is described as being “bewitched,” it’s enchanted. May also specialize in curses, which are baneful enchantments. Illusionist: A magic-user that conjures deceptive sensory stimuli, usually (but not always) images. There are two types of illusions: projections, which make something that isn’t there appear there, and glamours, which disguise or alter something that is there. An illusionist’s magic is the equivalent of VR — the sights and sounds and sensations seem real, and can be fun or scary to interact with, but ultimately they have no substance. They’re just messing with your perception. In real life, “illusionist” is another word for a stage magician, because their whole job is to mess with your perceptions. Mage: A generic term for a magic-user. It lacks the association with stage magic that “magician” has, and also lacks the gendered or scholarly connotations of “wizard.” That makes it particularly versatile. I see it most often in RPGs, and therefore it most often refers to a magic-user who’s using their magic for combat, out there getting their hands dirty. TVTropes distinguishes between the Black Mage who specializes in offense, the White Mage who specializes in defense and healing magic, and the Red Mage who does a little of both. Magician: A generic term for a magic-user. It tends to be rare in fiction because of its association with stage magic in real life. Sometimes it works, though, and in the right context it can sound just as mystical as any other term on this list. For example, the protagonist of The Arcana is called a “magician.” Sometimes, it could also be used in the context of ritual magic, since real practitioners of ritual magic are called “ceremonial magicians.” Mystic: A word for a person who uses magic as a means of experiencing some form of spiritual transcendence, or vice-versa. In fiction, it tends to be used as a non-denominational variant of “monk.” You’re most likely to find a mystic meditating somewhere on a mountain while floating half a foot off the ground, and opening portals with their mind. Mystics are therefore something like wizard-priests, or wizard-gurus, who practice a particularly spiritual variant of magic that’s centered around connection to some higher power (rather than summoning and commanding lesser spirits). In real life, magic and mysticism tend to go hand-in-hand, and are lumped under the umbrella of occultism. Shamanism and theurgy are both forms of mysticism. Necromancer: A person who does any kind of magic involving the dead — their souls, their bodies, or a combination of the two. The word “necromancy” originally referred to a type of divination (hence the -mancy suffix) that involved summoning the souls of the dead to learn mystical secrets from them. Now, it refers to any kind of death magic, from raising zombie hordes to holding seances. Necromancers in fiction are broadly evil, but this isn’t always the case. Magic is a tool, and although necromancy may be morally dodgy, it can be practiced ethically (in fiction or in real life). Occultist: A general term for anyone who studies magic in real life. There’s lots of different types of occultists, and what they call themselves depends a lot on their specific field. Any of the words on this list could be used to refer to occultists of various types, and many have historically been used. Magic-users are almost never called occultists in fiction, and there are probably several reasons for this — occultism usually has a spiritual dimension that is lacking in fiction, many fictional magic systems don’t resemble real-life occult ones, and it may be pointless to call a fictional magic-user an occultist if magic is an accepted part of their reality instead of being “hidden.” (I’ve only ever heard two fictional characters self-identify as occultists. These are Anathema Device in Good Omens, and Saint Germain in Castlevania.) In my opinion, an occultist should strive to achieve the trifecta of disciplines for studying and manipulating the physical and spiritual world — scientist, priest, mage. Psion: A term for a magic-user who specializes in using psychic power, rather than flashes of light or complex rituals or any tools at all. This person uses their mind to do magic. They don’t “cast spells” so much as manipulate their surroundings with their mind. Often they have telepathy, empathy, or telekinesis, but psionic magic could extend into other kinds of psychic powers like clairvoyance, clairaudience, psychometry, etc. Some can control or manipulate other people’s minds. More wizard-like psions are also capable of energy manipulation, like manifesting psi-balls out of thin air and throwing them at things. This one has the odd distinction of being mainly found in sci-fi, making them wizards-but-more-sciencey. Shaman: A tribal medicine man/woman who is the spiritual leader of their community. This term originally referred to such people in Siberia, but now is applied to folk healers and spiritual leaders among indigenous people throughout the world. Most shamans use various methods — drumming, dance, chanting, wearing masks, using psychedelics, etc. — to experience an altered state of consciousness, which will allow them to travel to other planes of existence and communicate with spirits. This way, they act as the “bridge” between their tribe and the spirit world. The word is sometimes used in fiction to describe the Ethnic Magician, though it probably shouldn’t be, since this idea is often culturally appropriative at best and represents the racist “noble savage” trope at worst. Shapeshifter: Exactly What It Says On The Tin — a person who can magically change their physical form. They can actually change their shape, as opposed to just making themselves appear different (that’s the illusionist’s wheelhouse). Some shapeshifters can turn themselves into animals, some can make themselves look like other people, some can even become non-living things like wind or water or fire. Seer: A person with the inherent ability to see the future. This is distinct from a diviner, who analyzes random patterns to acquire information. Anyone can learn to be a diviner, but a seer is gifted (or cursed) with the inborn ability to see random flashes of the future, to get prophetic dreams or intuitive premonitions, or even to randomly go into trance and recite entire prophecies. Seers and oracles existed in real life, and they were very important. In Greece and Rome, the oracles advised kings and generals by going into trance and receiving messages directly from the gods. Sorcerer/ess: A generic term for a magic-user, but with particular connotations. Sometimes a “sorcerer” is evil while a “wizard” is good. Sometimes wizards and sorcerers practice different types of magic (like in DND, where wizards develop magical ability through study while sorcerers have inborn ability). But in general, the most common attribute of a sorcerer/ess is that they are powerful. They’re wizards or mages (or witches) with enough raw power to move mountains and summon storms. You don’t argue with a sorcerer. Often, a sorcerer is an ugly old man while a sorceress is a beautiful young woman, for some reason. In real life, the word is not favored by occultists, but there are some who use it. Summoner: A magic-user who specializes in summoning spirits, magical beasts, or other such entities to server or fight for them. There are lots of different ways that this can work. Maybe the summoner uses traditional ceremonial methods from real-life grimoires, but they’re more likely to open portals to other planes or yell out a dramatic “I SUMMON THEE!” evocation. Or maybe they just throw a pokeball. Summoning magic is very cool, but summoners are limited in that they can’t do much without the aid of other entities. Thaumaturge: A strange and uncommon term for a magic-user, specifically a “worker of miracles.” This type of magic-user is officially sanctioned by the Church — saints’ abilities to perform miracles is thaumaturgy. This type of magic comes straight from God. One could argue that Jesus Christ is the most famous thaumaturge of all time. In fiction, this word is used all over the map, but the most accurate use of it would be to describe a person who specializes in holy-themed elemental/healing magic. Theurgist: A practitioner of ritual magic, specifically, working with higher-ups like gods and angels. (The word goetia describes working with demons and the like.) Ceremonial magic in real life is extremely complex, and involves a lot of very specific procedures and tools. It’s often called “high magic” to distinguish it from “low” folk magic. Theurgy is the highest of high magic, because theurgists intend to unify themselves with the divine (rather than control gods for their own petty needs. It’s ritual-mysticism, referring to a combination of magic and esoteric religious practices. I don’t think I’ve ever seen this word in fiction (except in Wizard101, which misuses it, so that doesn’t count), and that’s a shame. It should really be used more often! Warlock: I may as well mention it. The word “warlock” is used way too often to mean “witch, but male.” It does technically mean that, but etymologically it means “oath-breaker,” referring to the deception of the Devil and those who serve him (i.e. witches). Therefore, it’s not really as reclaimable as “witch,” and most men who practice witchcraft in real life call themselves witches. (If they do call themselves warlocks, it’s usually because they’re uninformed or edgy. Most consider “warlock” derogatory.) In fiction, it can refer to a lot of different things: male witches, battlemages, evil sorcerers, cambions. Witch: A complex and divisive term that has meant many different things in different contexts. Sometimes a witch is a malevolent devil-worshipper that’s only a step above a demon (The VVitch), sometimes a witch is any female practitioner of magic (Harry Potter), sometimes a witch is an alternate species of human that is born with magical abilities (The Owl House), the list goes on. It often has negative connotations, but doesn’t always, especially in modern media. The influence of Wicca in real life has also changed the use of the term in fiction. In general, I would define a witch as a person who practices a combination of folk magic and a more practical and animistic form of theurgy. Witches practice folk magic — none of those bright lights or loud bangs of wizards and mages, but herbal remedies and homemade charms, pieces of string in one’s pocket, sensing the presence of spirits and telling them to get lost, etc. They’re more likely to live in cottages in the woods or swamps than the lofty towers of citadels or universities. Their spells are powerful and effective, but indirect — they will manifest later, after you forget about them, and will have longer-lasting effects (i.e. bringing you luck or money). Witchcraft is defined by practicality. This does not cover every use of the term (Wicca has plenty of pomp and ceremony, The Owl House and Harry Potter have plenty of bright flashes of light, etc.) But, for now, this is a working definition. Wizard: A generic term for a magic-user, but with the connotation of academia. Wizards are both skilled and knowledgeable — you have to study to be a wizard. It doesn’t matter whether this studying happens in a formal school, in an initiatory secret society, while apprenticed to a master, or simply on one’s own. You have to study astrology, correspondence tables, divination, entire books worth of spells, long lists of the names of spirits, etc. Wizards may have some things in common with theurgists, like practicing planetary magic with many robes of different colors and wands of different woods for each planet, or (more rarely) calling up and controlling spirits. But in general, wizards in fiction practice magic that has immediate effects. They turn people into animals, they make things disappear, they animate inanimate objects, etc. Because it’s so closely associated with fantasy magic, the word “wizard” is not often used by occultists in real life.
Classes for a Magic School
Core Subjects Kinetic Magic: My general name for all kinds of elemental manipulation. In my own magic systems, different kinds of kinetic magic would probably be based on the same basic principles of energy work. Whichever element a student ends up manipulating depends on the student’s own personality and natural inclinations. So one student may be naturally pyrokinetic, another hydrokinetic, another geokinetic, phytokinetic, cryokinetic, photokinetic, and so on. Whether or not this class exists, and whether or not it’s broken into multiple classes for each element, depends on the worldbuilding. Enchantment: The bewitchment of objects. This is a standard skill for any magic-user. These kinds of spells can make objects move in ways they’re not supposed to, come alive, carry blessings or curses, and otherwise gain magical properties that they wouldn’t otherwise have. Making amulets and talismans from scratch would also fall into this category. Placing enchantments on people might also be taught, but most spells of that nature would probably be unethical. Curses and hexes for the sake of combat and defense would also fall into this category. I think sympathetic magic would be part of this class, as well. Transfiguration: Turning things into other things. Actually, let’s expand that to mean any spell that alters the nature of an object fundamentally. For example: enchanting a house would make it bigger on the inside, while transfiguring a house would change its structure to make it physically bigger (even if the materials didn’t change). Conjuring objects from thin air and vanishing them again would also be taught in this class. Shapeshifting could be taught in this class as well, but that might deserve its own class. Conjuring: Conjuring objects is part of the previous class, so this class is for calling up spirits. Obviously, the nature of what those spirits are and exactly how they’re summoned depends entirely on the worldbuilding. In some stories, spirits may be called in from a kind of Astral plane using magical portals that the conjurer opens during combat. Others might go for a strictly realistic and ceremonial approach, and have spirit-summoning be the result of complicated rituals that take months to set up. The spirits themselves may be gods, angels, demons, elementals, spirit-animals, ghosts, etc. depending on the worldbuilding. Potions: One of my favorite subjects! Personally, if I could get away with it, I wouldn’t change anything about potions in Harry Potter. I love the dungeon classroom full of cauldron fumes, the cabinets and storerooms full of weird ingredients, the brightly-colored bubbling cauldrons. The only thing I would change is to make the teacher a bit kinder than Snape. Such a person would probably be eccentric and a bit of a mad scientist, but in an endearing kind of way. Magibotany: The study of magical plants. This is a core subject because it’s important to understand magical plants for various other subjects, including potion making, enchantment, and healing. This class would cover the medicinal uses of the plants, their basic magical properties and ritual correspondences, how to care for the plants if you were to raise them yourself, and how to harvest them properly. History of Magic: JKR really shortchanged this class. Only once, in book 2, did she actually take advantage of the perfect opportunity for worldbuilding exposition that this class offers. Also, there’s so many more real people she could have incorporated into her worldbuilding — the fact that she never mentions John Dee is criminal. Obviously, the nature of this class would depend a lot on the worldbuilding, but the history of magic in real life is so interesting and complex, that alone would give you a lot of material to work with. Divination: JKR also shortchanged this class. It is impossible to overstate the significance of divination to almost all cultures’ folk traditions. In PoA, Trelawney says, “If you do not have the Sight, there is very little I will be able to teach you.” Bullshit. Oracular divination is only one kind, and while the ability to see flashes of the future or utter prophecies in a trance is inborn, most other kinds of divination can be taught. (This is justified in-universe by Dumbledore having hired Trelawney to keep her safely close to him, not for her teaching abilities.) A basic divination class in my universe would cover scrying (most likely using black mirrors, rather than crystal balls), cartomancy, cleromancy, osteomancy, tasseomancy, arithmancy, oneiromancy, augury, and probably palmistry. (Astrology gets its own class.) Electives Teratology: The study of monsters. I actually took a real class on this in college, and it was extremely fun. We talked about how monsters are portrayed in different cultures, and how those portrayals are influenced by things like racism, religion, and politics. In a wizard class, I expect that the wizard kids would likewise spend a lot of time pouring over bestiaries and other manuscripts, and studying the cultural understandings of certain monsters in folklore. But since the monsters are real, there would also be a practical component. Some kinds of monsters could be brought in by magizoologists and shown to the class. There would also probably be a few lessons about how to defend yourself if you ever find yourself up against a dragon, basilisk, or bunyip. Ceremonial Magic: This gets its own class because ceremonial magic is extremely complicated, and there’s so much history and lore around it that it needs its own class to address. Once again, it would depend on the worldbuilding. But assuming that this story were set in the real world, the class would probably cover various historical forms of ceremonial magic: Solomonic magic, Agrippa-style planetary magic, Enochianism, Kabbalah and gematria, magic in Antiquity (i.e. curse tablets and PGM rituals — I took an actual college class on this, as well). I’d imagine that this class would also cover various folk magic techniques from around the world, assuming it had time for that (that might need to be a separate class). This class would definitely be more theoretical than practical, partly because the practical bits are addressed in other classes (like Conjuring and Enchantment), and also because this type of magic is inextricably intertwined with religion. In a fantasy world where everyone worships the same gods and knows they’re real, that wouldn’t matter, but it would matter in the real world. Oh, and a lot of old-school magic is unethical, so that’s another reason to keep this class theoretical. Alchemy: Different kinds of magic are called “alchemy” depending on the worldbuilding. In Fullmetal Alchemist, it’s basically a sciency form of transfiguration. In The Elder Scrolls, it’s just potion-making. My version of alchemy would be a little more aligned with the real deal: if transfiguration turns something into something else, then transmutation transforms it into a more improved form of itself. For example, if an alchemist treated a lump of coal using their magical chemicals and processes, the result would be a diamond. Alchemy is as much a spiritual and philosophical system as it is a chemical one, so a lot of this class would be studying alchemical philosophy and iconography. Astrology: There are a lot of subjects that I could break up into more than one class, but of all of the many divination methods, I think astrology is the one that most needs its own class. Part of that class on Ancient Greek magic was a unit on astrology, and that was enough for the class to theoretically understand it, but you need an entire course if you’re a wizard student who’s actually going to practice it. It would take a while to learn the individual correspondences of all the constellations, planets, aspects, and other celestial objects, let alone to read natal charts and horoscopes by putting it all together. Healing: This class is for any wizard who wants to go into healing as a profession. It would teach herbalism with more specificity and practicality than the basic magibotany class, and it would also teach magical methods for mending wounds and broken bones, how to correctly make and administer potions to cure magical diseases, how to address burns and bites from magical creatures, how to reverse curses, how to be a field medic for magical battles, etc. Illusions: Illusions differ from Transfiguration in that they do not actually change anything. Instead, they change the appearance of something. Illusion spells mess with perception. There are two types: projections, which create the appearance of something that isn’t there, and glamours, which change the appearance of something that is there. This class would teach how to cast them and also how to see through or dispel them, so that you don’t get deceived by them yourself. Shamanic Techniques: Shamanism is using trance techniques to communicate with and visit the spirit world. Again, this would vary based on the worldbuilding around how the spirit world works. But in general, this class would cover advanced meditation, astral projection (or the nearest equivalent), ecstatic dance, and how to safely use psychoactive substances. Shapeshifting, literal or figurative, might be taught in this class. Communicating with certain kinds of spirits would be taught in this class as well. Overall, a much more visceral and personal experience than academic and distanced conjuring, which is why it’s an elective. Mythology and Folklore: I’m a firm believer that wizards are also lorekeepers. If you’re going to study magic, you have to be well-versed in folklore. This class would cover some basic tales from all relevant cultures, and also the context around them. In real life, that would mean studying the gods and myths of many different cultures around the world. In a fantasy world, this would address all the gods and myths that are relevant to the setting, and the context around them. In a fantasy world, folklore would probably provide a lot of practical information about how to survive certain situations. Genre Savviness is an important skill to have if you’re a wizard. Ancient and Magical Languages: A set of classes on how to read and translate various languages that are used in magic. In the real world, that would be Latin, Futhark runes, Theban script, Enochian, hieroglyphs, and Agrippa’s celestial alphabet at minimum. In a fantasy world, it would be whatever languages or scripts are relevant to the world. Depending on how important language is to spellcraft, spell creation could be an important part of this class. Sigils could also be part of this class, especially if the worldbuilding makes sigils an inherently magical “language” that the characters receive from supernatural beings or the environment (for example, Caryll Runes in Bloodborne, The Correspondence in Fallen London, and glyphs in The Owl House). Philosophy and Metaphysics: A lot of magic ties itself to philosophy and cosmology. In Western esotericism, this is often Neoplatonic and Hermetic philosophy. There will probably be some kind of worldbuilding related to this in a fantasy world. This class is for discussing the nature of maxims like “As above, so below” and “to Know, to Will, to Dare, to Keep Silent.” It’s also for (theoretically) contemplating the nature of the supernatural beings that wizards interact with, discussing the afterlife and the nature of souls, dissecting the ethics of magic, etc. It’s answering the question, “how does magic work, and why?” Extracurriculars I assume that there would be plenty of student clubs. Some might be more mundane activities like dance, music, books, theater, or art, while some might be more distinctly magical, like duelling clubs or clubs that host rituals on the full moon. There would also be teams for various kinds of magical sports, and some kind of magical flight available to learn (brooms, flying carpets, cloaks of flight, etc.). There are a few things I deliberately left off. I didn’t mention theurgy or demonology, because those would depend on the nature of gods and demons within the world. Either of those could be lumped under ceremonial magic, or have separate classes dedicated to them. Necromancy is also a question mark, because sometimes it’s inherently evil, while in other stories it can be practiced ethically. My demi-angel school will definitely have a necromancy class, because it stars a necromancer as one of its main protagonists. Another possibility is classes related to Magitech or magical engineering. This class list is definitely not a be-all-end-all.