A Taxonomy of Magic
This is a purely and relentlessly thematic/Doylist set of categories.
The question is: What is the magic for, in this universe that was created to have magic?
Or, even better: What is nature of the fantasy that’s on display here?
Because it is, literally, fantasy. It’s pretty much always someone’s secret desire.
(NOTE: “Magic” here is being used to mean “usually actual magic that is coded as such, but also, like, psionics and superhero powers and other kinds of Weird Unnatural Stuff that has been embedded in a fictional world.”)
(NOTE: These categories often commingle and intersect. I am definitely not claiming that the boundaries between them are rigid.)
Maybe I’ll see more on a further read, but here are some missing categories that jumped out at me as answers to “What Is The Magic For?”
Magic as the underpinning of an alternate social order in a Milieu story. You can’t explore Linta’s version of Cheliax in Project Lawful, unless Detect Thoughts is a thing, and Hell is a thing, and soul-sales are a thing. Maybe with a lot of work you could come up with a science-fiction society that had the same social dynamics and the same social underpinnings, but why bother?
Magic as the way things would happen to play out given previous assumptions. Admittedly one sees very little of this, because most Earth authors are not the kind to try out lots of different assumptions and say “Oh hey that one yielded some magic” and then write that up; but I like it. “Friendship is Optimal” fits this category, for example; the apparent magic of the world works however the author thinks CelestAI would play it. Heavy overlap with Magic-As-Alternate-Universe-Science, obviously, and even rarer.
Magic as solvable puzzle is another key subtype of Magic As Alternate Universe Science. You’re not just given the postulates to project them onward; you have to grasp the laws of magic in order to solve a mystery (in which case they must be very understandable) or the laws of magic are the mystery to be discovered as a project of Science (which very few authors can pull off, and doing this right means starting with hidden simple assumptions that you extrapolated neutrally, so that there exists a simpler underlying order to be found).
And finally, the largest elephant in the room once you see it: Magic as the reification of morality and/or emotion onto environmental structure, so that moral or emotional storytelling can directly use that as a building-block. Eg, instead of the real world where people try to do Good deeds, there’s Good as a reified thing. There’s stories you can tell by invoking Fawkes, the phoenix from HPMOR, that would be hard to tell with any complicated human in the same role no matter how Good they were. When Fawkes screams, or sings, it means something as a primitive brute fact that would be hard to work into any science-fiction story, or make believable if you were trying to substitute any human being in that position; and instead of needing to justify to the reader that some particular human person’s screaming means exactly what you mean to say by that, one can just show the phoenix screaming and pass on.

















