#gdiv

Historical Contexts of Cleromancy

Ancient Practices

Mesopotamian and Babylonian societies were among the earliest to document ritualistic practices linked to divination and spirituality. In these ancient civilizations, practitioners, often referred to as “baru” (diviners), would interpret the will of the gods through various means, such as hepatoscopy (reading the liver of a sacrificed animal) and extispicy (examining the entrails of sacrificed animals). The Babylonian Enuma Anu Enlil texts, a series of clay tablets, detail these divinatory practices, emphasizing their importance in both personal and state matters. This integration of ritual and divination laid the groundwork for later spiritual practices in the region. This use of Divination laid the groundwork for future divinatory practices.

Yi Jing (westernized as "I-Ching") (c. 1600–1046 BCE)

The Yi Jing’s earliest form can be found in oracle bone inscriptions from the Shang dynasty , where diviners would inscribe questions on bones or turtle shells and apply heat until they cracked. The patterns of these cracks were interpreted to provide guidance or foretell outcomes. Over time, these divinatory practices were codified into a text.

By the time of the Western Zhou dynasty (c. 1046–771 BCE), the I Ching had taken on its more recognizable form, consisting of hexagrams (six-line figures) that represent different states and conditions. The text consists of 64 hexagrams, each accompanied by commentary, which reflects philosophical concepts such as yin and yang, the interplay of opposites, and the cyclical nature of life.

Ancient Greece (c. 800 BCE - 200 CE)

In ancient Greece, divination was integral to religion, politics, and daily life, with cleromancy appearing in multiple forms. One of the earliest Greek forms of cleromancy was astragalomancy, or the casting of knucklebones (often from sheep or goats), to discern future events. The bones were thrown, and their positions were interpreted based on specific symbolic meanings assigned to each side or face. Astragalomancy evolved into the use of dice, where each roll was understood as divinely influenced.

Additionally, the Greek practice of sortition, which involved drawing lots from a container to determine divine will, was widespread. Sortition was used not only in religious contexts but also for political purposes, such as in the selection of officials. In some cases, olive leaves, stones, or pieces of pottery would be inscribed with names or symbols and drawn randomly. This method underscored the belief that even randomness could reflect the will of the gods.

Medieval and Renaissance Practices

Early Germanic Use of Runes (ca. 150-500 CE)

The oldest known runic inscriptions date back to around 150 CE. The Elder Futhark, the earliest runic alphabet used by Germanic tribes, consists of 24 characters and is found on various objects such as weapons, amulets, and stones. These inscriptions often had a ritual or magical purpose, suggesting that from early on, the runes held spiritual significance beyond their use as a writing system.

It is believed that the Germanic tribes, particularly the Goths, used runes in divinatory practices during the early centuries of the Common Era. The Roman historian Tacitus, writing around 98 CE in Germania, describes how the Germanic tribes would cast lots made from carved wooden slips (possibly inscribed with runes), interpreting the way they landed as messages from the gods. According to Tacitus:

"For divination and casting lots they have the highest regard. Their procedure is simple. They cut off a branch from a fruit-bearing tree and slice it into strips. These they distinguish by certain marks and throw them, completely at random, on to a white cloth. Then the priest of the state, if the question is a public one, or the father of the family, if it is private, prays to the gods and, gazing at the sky, picks up three of the strips, one at a time, and reads their meaning from the marks previously scored on them."

Tacitus’ description aligns with what we know about early cleromantic practices among Germanic tribes, though runic divination likely evolved into a more specialized form in later centuries.

Ifá in West Africa (ca. 8th Century CE)

The roots of Ifá divination can be traced back to the Yoruba people of present-day Nigeria and Benin, likely emerging as early as the 8th century CE. The practice is centered on communication with the orishas, or spiritual entities, and the diviner (called a babalawo or "father of mysteries") plays a critical role in interpreting divine will through the casting of sacred objects, usually palm nuts or cowrie shells.

Ifá divination involves the casting of 16 palm nuts or cowrie shells, which generate specific patterns that correspond to verses in the Odu Ifá, the sacred text of the Ifá religion. The Odu Ifá contains a vast collection of oral literature, including myths, proverbs, and prayers, which the babalawo uses to interpret the client’s query. Each configuration of the palm nuts or shells is associated with one of the 256 odu (divinatory figures), which hold specific meanings and are linked to different aspects of life, such as health, relationships, and spiritual guidance.

The Ifá system became the foundation for many other African divinatory systems, influencing the divinatory practices of neighboring ethnic groups, such as the Fon people of Benin, who practice Fa divination, a similar form of cleromancy.

Geomancy (ca. 7th Century)

Geomancy, a highly structured form of cleromancy, is believed to have originated in the deserts of North Africa or the Arabian Peninsula, likely among Berber or Bedouin peoples. The word “geomancy” comes from the Greek geo (earth) and manteia (divination), meaning "divination by the earth." However, its original Arabic name, ilm al-raml (the science of the sand), suggests its origins as a method of casting and interpreting patterns made in the sand.

Islamic Geomancy (8th-13th centuries)

During the Islamic Golden Age, geomancy was refined and systematized into a detailed form of divination. Islamic scholars integrated numerology, astrology, and the philosophical traditions of Greek thought into their practices. Using dots or lines drawn in the sand, geomancers would generate a series of 16 figures, which were interpreted based on a complex set of rules involving astrology and cosmic correspondences.

Geomancy was highly respected in the Islamic world, where it was considered a legitimate science. Islamic geomancers like Al-Kindi and Al-Farabi wrote extensively on the subject, codifying its principles and ensuring its spread throughout the Mediterranean, including into Europe. These writings formed the basis for later geomantic traditions in Europe, where the practice became popular during the Middle Ages.

European Geomancy (12th-13th Century)

Geomancy made its way into Europe during the Middle Ages, likely through Spain and Sicily, regions where Islamic and Christian cultures mingled. Latin translations of Arabic texts on geomancy became widely available, and European scholars like Hugh of Santalla and Gerard of Cremona further refined the art. By the 12th century, geomancy was well-established in Europe, where it became known as the "art of the earth."

Unlike other forms of divination, geomancy did not require complicated tools or astronomical calculations, making it accessible to a wide audience. It was often practiced by both learned scholars and laypeople. During the Renaissance, geomancy was considered one of the seven forbidden arts, alongside astrology and necromancy, though it continued to be practiced by those seeking insight into political, personal, and spiritual matters. Renaissance occultists, including Cornelius Agrippa, wrote about geomancy in their works, further embedding it into the Western esoteric tradition.

Transatlantic Slave Trade and the Spread of Ifá (16th-19th Centuries)

With the transatlantic slave trade from the 16th to the 19th centuries, African religious traditions, including Ifá divination, were brought to the Americas by enslaved Africans. In Brazil, where a significant number of Yoruba people were forcibly relocated, Ifá was preserved and incorporated into the emerging Afro-Brazilian religion of Candomblé.

Ifá in Brazil and Candomblé (18th-19th Centuries)

In Brazil, Ifá divination became an essential aspect of Candomblé, which blends Yoruba beliefs with elements of Catholicism and indigenous Brazilian spirituality. The divinatory practice was maintained by Afro-Brazilian priests, known as babalorixás (male priests) and ialorixás (female priests), who performed Ifá-style readings using cowrie shells, a technique known as merindilogun.

The use of cowrie shells in Afro-Brazilian divination systems is closely related to Ifá, though certain adaptations occurred due to the blending of different African spiritual traditions in Brazil. The cowrie shells are cast in a way that generates patterns, which are interpreted by the priest in connection with the Odu Ifá or related Candomblé spiritual texts.

Candomblé grew throughout the 18th and 19th centuries, particularly in the state of Bahia, where Afro-Brazilian religious practices were preserved despite colonial efforts to suppress them. By the 19th century, the religion and its divinatory practices had become an integral part of Afro-Brazilian culture, and today, they continue to be practiced by millions of people in Brazil.

Santería and Afro-Cuban Divination (18th-19th Centuries)

A parallel development occurred in Cuba, where the Yoruba-based religion of Santería (or Regla de Ocha) developed, incorporating Ifá divination and the use of cowrie shells. Santería emerged in the 18th and 19th centuries as enslaved Africans in Cuba blended their spiritual practices with Catholicism. In Santería, diviners known as babalawos or santerosuse a system similar to Ifá to communicate with the orishas, seeking guidance on health, personal relationships, and spiritual matters.

Types of Objects Used

Bones and Sticks

Bones and sticks represent one of the oldest and most accessible forms of divination tools, deeply tied to their ubiquity in the natural environment. These items are often chosen for their varied shapes and textures, which allow for an array of interpretative possibilities. Bones, particularly those of small animals, may be selected for their durability and the unique characteristics they acquire through natural weathering or through specific preparation methods such as cleaning or carving. Sticks, on the other hand, may come from different species of trees, with variations in bark, length, and curvature serving as subtle signifiers within the practice.

The utility of bones and sticks lies in their simplicity and versatility. Their physical properties—whether straight, twisted, or fractured—can provide direct visual and tactile cues during a casting. For example, a bone with a sharp angle or curvature may prompt the practitioner to consider directional forces, while the texture of a stick might suggest either stability or the presence of external disturbances. Through these physical characteristics, a broad spectrum of meanings can be derived without relying on any specific cultural overlays.

Stones

In contemporary divinatory practices, stones serve as another widely used object due to their availability and the multitude of shapes and sizes they come in. The appeal of stones is often found in their permanence, as well as in their surface characteristics—whether rough or smooth, irregular or polished. The variety in color, density, and opacity found in different types of stones allows for a richer scope of interpretation, with attention often given to their weight and the sound they make when cast.

When stones are employed, the manner in which they land and interact with each other during casting becomes central to interpretation. Some practitioners might choose stones based on the aesthetic or tactile resonance they feel with a specific stone, but the focus remains primarily on their physical interaction in the casting process. This could involve examining patterns created by how the stones cluster or spread across the chosen casting surface. The distance between stones and their orientation may hold significance, depending on the diviner’s system of interpretation.

Seeds and Nuts

Seeds and nuts offer a unique category of divinatory objects due to their association with growth and potential. Their lightness and ability to roll or bounce during casting creates a dynamic method of reading that introduces an element of movement not found with heavier objects like bones or stones. Seeds can be chosen from a variety of plants, with the specific type of seed or nut often lending additional layers of interpretation. 

The trajectory, bounce, and eventual resting place of these objects can form the basis of interpretation. Practitioners might focus on the directionality of their motion, or how groups of seeds or nuts form patterns as they settle. These items are particularly useful for those seeking to incorporate a more kinetic dimension into their practice, as they often move further and in less predictable ways than heavier or more static objects. Additionally, their association with cycles of growth and change can serve as an interpretative axis, allowing for insights into processes of transformation and potentiality.

Other Types of Objects

Beyond the more commonly used materials, diviners might also incorporate a wide array of other objects into their practices. Small, everyday items such as buttons, shells, or pieces of glass can also be used, each contributing their own symbolic resonance. Buttons, for example, might suggest themes of connection or closure, while shells may speak to protection or the hidden depths beneath a surface. The eclectic nature of these objects means that their meanings are often determined by the individual diviner’s relationship with the object itself, rather than any intrinsic property of the material.

Casting Techniques

Simple Toss Method

The simplest and perhaps most intuitive casting method is the toss, wherein the objects are held in the hand or gathered in a container and thrown onto a surface. This method relies on the randomness of the toss to generate patterns that the practitioner can interpret. The diviner’s focus is on how the objects land—whether they cluster together, remain isolated, or overlap—and what these configurations might suggest in terms of the query or situation at hand.

Using Casting Tools

For those who prefer a more controlled approach, various tools can be employed to assist with the casting process. Cups, tubes, or even dice towers can be used to direct the fall of objects, ensuring a more regulated distribution during the casting. These tools provide a level of precision that the simple toss does not, allowing the diviner to control the dispersion of the objects while still allowing for chance to play its role. Some may feel that using such tools introduces a necessary balance between randomness and structure, enhancing the interpretative process by providing a consistent starting point for each reading.

Complex Pattern Casting

In more advanced forms of divination, the position and interaction of the cast objects become critical. Complex pattern casting looks at factors such as whether objects make contact with one another, overlap, or land in specific orientations. For example, two stones touching might suggest convergence or unity, while a seed landing upright could indicate stability or resilience. The diviner must then interpret these spatial relationships, often finding nuanced meaning in the way the objects interact on the casting surface. This method requires a deeper understanding of symbolism and is favored by more experienced practitioners who seek a more layered reading.

This technique is particularly useful for diviners who seek a balance between spontaneity and structure, as it allows for a degree of unpredictability while still maintaining a framework for interpretation. The position of the objects within the designated areas becomes a focal point for analysis, offering more detailed insights based on their relative placement.

Use of Casting Surfaces

The surface upon which objects are cast plays a significant role in shaping the reading. Diviners may use cloths, boards, or other surfaces marked with symbols or grids that correspond to different areas of life or elements of the self. For example, a board marked with a four-quadrant system might designate different domains—emotional, physical, intellectual, and spiritual—and the location of objects within these quadrants helps guide the reading.

Symbolism and Interpretation

Common Symbols and Their Meanings

Common symbols emerge organically from the objects used. For instance, a broken bone might symbolize disruption or fragmentation, while a smooth stone could suggest continuity or stability. These interpretations depend largely on the diviner’s system of symbolism, which can be personal or based on broader associations. Disclaimer: The following list of common correspondences is intended for inspiration purposes only. Correspondences may vary based on cultural context, personal experiences, and the specific cleromancy systems employed. Practitioners are encouraged to explore and adapt these meanings according to their individual beliefs and interpretations.

Bone: Transition, connection to ancestry, strength ; fragmentation, loss, decay   

Stick: Directionality, stability, grounding ; rigidity, inflexibility, barriers   

Stone: Endurance, reliability, permanence ; coldness, stagnation, obstinacy   

Seed: Potential, growth, renewal ; vulnerability, uncertainty, chaos   

Nut: Fertility, protection, sustenance ; hardness, concealment, difficulty in access   

Shell: Shelter, emotional depth, intuition ; isolation, fragility, superficiality   

Button: Connection, unity, completion ; closure, restriction, limitation   

Leaf: Transformation, life cycles, rejuvenation ; impermanence, fragility, loss   

Feather: Freedom, lightness, spirituality ; detachment, lack of grounding, impermanence   

Coin: Prosperity, material wealth, luck ; greed, loss, superficiality   

Glass: Clarity, insight, reflection ; fragility, distortion, breakability   

String: Connection, continuity, binding ; entanglement, restriction, tension   

Key: Access, opportunity, solutions ; secrets, barriers, confinement   

Mirror: Self-reflection, truth, clarity ; illusion, deception, superficiality   

Flower: Beauty, growth, love ; ephemerality, impermanence, superficiality   

Wood: Stability, grounding, nourishment ; decay, rot, obstruction   

Stone Sphere: Wholeness, unity, completion ; confinement, lack of growth, stagnation   

Candle: Light, guidance, hope ; danger, destruction, fragility   

Wool: Warmth, comfort, protection ; heaviness, limitation, entrapment   

Pine Cone: Potential, renewal, resilience ; rigidity, closed-off nature, unresponsiveness   

Chalice: Abundance, emotional fulfillment, nurturing ; excess, waste, emotional overwhelm   

Bowl: Containment, safety, balance ; emptiness, lack, deprivation   

Rock Crystal: Clarity, purity, heightened perception ; coldness, detachment, aloofness   

Dice: Chance, uncertainty, opportunity ; randomness, chaos, unpredictability   

Anchor: Stability, grounding, safety ; heaviness, being weighed down, stagnation   

Variations in Interpretation

Interpretation varies significantly between practitioners. One person might interpret the same object differently based on personal experience or the context of the reading. This fluidity of meaning is a key aspect of contemporary practice, where individual intuition plays a large role in shaping interpretations. The dynamic interplay between object, context, and personal resonance ensures that each reading is uniquely tailored to the practitioner. 

Role of the Diviner in Interpretation

The diviner serves as the intermediary between the cast objects and the querent, weaving together the symbols into a coherent narrative. Their ability to read the patterns, variations, and nuances of each cast is central to providing meaningful insights. While each system provides a framework of meanings and correspondences, diviners often bring their unique perspectives, experiences, and intuitions into the practice. This individuality allows for an array of interpretations, as personal insights may resonate more deeply than strict adherence to predefined rules. A diviner might find significance in symbols that diverge from traditional meanings, fostering a more personalized and resonant reading. 

Cleromancy Mat Design Examples

This mat is best used for tools for generalized readings. The mat itself doesn't command control of interpretation, rather it works with pieces and the diviner to generate unique interpretations for each throw.

This mat is best for diviners who want to do a lot of personal interpretations, since it doesn't provide much in the way of meaning. There are only 8 quadrants that can have assigned correspondences. With this mat, interpretation is derived mostly from the pieces, how they interact, and the discretion of the diviner.

This mat contains a lot of information. The pieces used on this mat should be more limited in terms of the complexity of their correspondences. This mat will assign more meaning to each interaction than the prior two mats. 

Creating your own method

When creating your own cleromancy system, the first critical step involves establishing a solid foundation. This foundation should be rooted in a conceptual framework that aligns with your overarching worldview or philosophical beliefs. Begin by determining the central theme or principle that will guide your practice. Whether the aim is self-reflection, decision-making, spell-verification, or something more abstract, having a clear focus will provide structure and coherence to your system. Defining this framework allows you to cultivate a personal connection with the tool and ensures that each step, symbol, and material used is deliberate and meaningful.

Once the conceptual framework is in place, you can move forward with selecting symbols and materials that resonate with you. The items you choose—whether stones, tokens, or other objects—should evoke a particular significance or meaning. The materials may carry personal associations, cultural relevance, or simply evoke a sense of utility for the task at hand. This personal resonance strengthens your connection to the practice and deepens the interpretive potential of the cleromancy system.

The next step is to design a coherent divination method, beginning with the assignment of symbols or values to your chosen items. This process involves either creating new symbols or adapting existing ones from other systems. Each symbol should hold a distinct meaning, and it is important to establish a clear framework for interpreting them. Whether this involves numerical values, positions relative to each other, or some other organizing principle, having an established interpretive guide will enhance the accuracy and clarity of your readings. The method should be fluid enough to allow growth but structured enough to provide consistency.

Casting techniques form the backbone of any cleromancy practice. The way in which materials are cast or arranged can significantly influence the interpretation of the results. Various casting techniques can be explored, from throwing or scattering the materials to laying them out methodically or randomizing their arrangement. Each technique carries its own nuances, and it is important to consider how the method of casting affects the overall energy or tone of the reading. This choice should complement the nature of the symbols and the guiding concept of your system.

After designing the method, the next phase involves developing guidelines for interpreting the outcomes. The structure for interpretation can be fixed, fluid, or context-dependent, depending on your system’s needs. If your system involves interaction between symbols—such as when certain items land near each other or align in specific ways—these interactions may offer additional layers of meaning. It is essential to create a clear process for evaluating these outcomes, one that is both logical and intuitive, allowing for deeper insight as you gain experience.

Lastly, maintaining a record-keeping system is invaluable. Documentation allows you to track patterns and outcomes, providing the opportunity to analyze how interpretations evolve over time. This, in turn, helps refine the system. By systematically recording results, you can observe recurring themes or symbols and adjust your framework accordingly, ensuring that your cleromancy practice remains dynamic and adaptive.

Through continual testing and refinement, your cleromancy system will grow into a robust tool for exploration and insight. Conduct multiple readings to test its efficacy, and make adjustments based on your observations. Over time, with regular integration into your personal practice, you will gain greater clarity, leading to deeper understanding and a more nuanced approach to the art of cleromancy.

Scientific and Mathematical Correlations to Bear in Mind in Order to Avoid Statistical Bias in Tool Design

Probability and Randomness: Statistics, Chaos Theory, Complexity Science, and Determinism

Randomness, as it pertains to divinatory tools such as cleromancy, is a nuanced concept grounded in mathematical theories of probability and chaos. When one casts dice, bones, or any similar objects in cleromancy practice, the assumption is that the results are left to chance or fate. However, from a mathematical perspective, "randomness" is a much more rigorous concept.

In the framework of probability theory, randomness refers to the outcome of events that cannot be predicted with certainty, even if all preceding conditions are known. In cleromancy practices, the user often interprets each cast as holding significance. This belief system interacts with randomness in complex ways, with each cast seen as uniquely meaningful. Despite this, mathematical understanding shows that, given enough trials, patterns in randomness tend to adhere to statistical laws.

Chaos theory, which explores systems highly sensitive to initial conditions, provides another layer of understanding for cleromancy tools. Even a minuscule difference in the force applied to a set of dice or the exact angle at which lots are thrown can result in radically different outcomes. Thus, while cleromancy acts may appear chaotic on the surface, they are mathematically deterministic—each outcome is a function of initial conditions and forces applied to the system.

Mathematical Models of Casting Outcomes

Mathematical models allow us to create a structured approach to understanding the casting of lots or dice. In probability theory, each possible outcome of a dice roll or lot casting can be assigned a numerical probability based on the total number of possible outcomes. For example, when casting a single six-sided die, each face has a 1/6 probability of appearing. These models are useful not only for understanding how frequently certain results occur but also for recognizing when certain patterns or clusters of outcomes deviate from what we would expect in a random distribution.

Complexity science, a field that studies how small interactions among components can result in emergent behaviors, provides another lens through which to view casting outcomes. Cleromancy operates within a complex system of inputs—ritualistic actions, environmental conditions, and the physical properties of the objects being cast—that lead to a seemingly infinite number of possible interactions. These interactions may produce clusters of outcomes that appear to follow discernible patterns, which, upon closer examination, may be random artifacts of a complex system rather than evidence of supernatural influence.

Understanding the mathematical properties of these tools is essential in minimizing confirmation bias and ensuring that tools are designed in ways that do not inadvertently favor particular outcomes over others.

Psychological Perspectives

While mathematical tools offer a way to predict outcomes probabilistically, cognitive biases significantly shape how individuals perceive and interpret the results of cleromancy or divinatory practices. One of the most prevalent biases in such practices is the "confirmation bias," where individuals unconsciously prioritize information that aligns with their pre-existing beliefs or expectations. In a divinatory context, a practitioner might focus on outcomes that seem relevant to their question or life situation while disregarding those that do not fit the narrative they seek to construct.

The "gambler's fallacy" is another psychological pitfall worth considering in these contexts. This bias leads people to believe that past outcomes will influence future random events, such as assuming that if a certain result has not occurred in several rolls, it is "due" to appear in the next cast. In reality, each casting of dice or lots is independent, with the probability of each outcome remaining constant regardless of previous events. Failure to account for this fallacy can lead to misinterpretation of divinatory outcomes, imbuing them with a false sense of significance.

To mitigate the effects of these cognitive biases, it is vital to approach the design and interpretation of divinatory tools with an understanding of psychological tendencies. A mathematically balanced system of casting outcomes can help minimize the tendency to read too much into any particular result. Additionally, consistent training or critical self-reflection can help practitioners recognize when their judgments may be clouded by bias.

Statistical Analysis with Dice as an Example

Analyzing Patterns and Frequencies within Mathematical Dimensions

Statistical analysis can provide insight into the distribution of casting outcomes, especially in dice-based divination. When conducting repeated trials of dice rolls, the results can be plotted to visualize the distribution of outcomes. In an ideal random system, each outcome would occur with roughly the same frequency over time. For instance, in a six-sided die, each number should appear approximately 1/6th of the time across a large number of rolls.

By analyzing the frequency of different outcomes, one can determine whether the tool is generating results consistent with random distributions or whether there are biases in the casting method. If certain outcomes appear significantly more or less often than expected, this may indicate a problem with the tool's design, such as uneven weight distribution in dice or flaws in the casting process. Such analysis is essential to avoid statistical bias and ensure fairness in the interpretation of results.

Comparing Outcomes with “Random” Distributions

Once patterns have been analyzed, comparing the actual outcomes of dice rolls or lot castings with theoretical random distributions can reveal important insights. For instance, a statistical technique such as the chi-square test can be employed to compare observed frequencies with expected frequencies. If there is a significant difference, it may suggest that the tool is not functioning in a truly random way.

This comparison helps ensure that the tool adheres to mathematical principles of probability, thus providing a baseline of fairness and accuracy in its use. Additionally, it guards against the possibility of subconscious manipulation of outcomes, where practitioners may—unintentionally or not—alter the casting process in ways that favor certain results. In conclusion, a strong grounding in statistical principles is essential for the design and use of divinatory tools, ensuring that they operate in ways that avoid unintentional biases and misinterpretations.

Patreon shoutouts

Thank you for your continued support! My patrons help me maintain the drive to create content and help me keep food in my pantry. My patrons of Mystic tier and higher had access to this article 2 weeks before it was public! To see other perks of supporting me, click here!

Thank you for your continued support:

Megan Kipp!

Cosmicaquamarie

To learn more about me or view my Masterpost, click here.

Beginner Tips

Hold off on devoting your time on studying divination unless you want to focus primarily on it. Divination practices are a rabbit hole of research, consumerism, artist support, and practice. Without mindfulness, it is very easy to lose sight of your other studies and/or practices. 

Experiment with divination tools and methodologies. Everyone divines differently. Spend time finding what works best for you. What catches your eye at first may not work for you as well as another tool or method. 

Interpretation is in the eye of the beholder. Hold off on doing public readings or reading services until you’ve found your eye and your voice. 

Correspondences can play a huge part in divination, not so much as building a network of connected concepts like in spellwork, but for conceptual representation. Figure out what your correspondences are.

Some divination practices are aspects of closed cultures. Be sure to research and discuss divinatory practices before trying them. Through communication, you can definitely be inspired by closed practices in your own practice, while respecting the traditions they come from.

Divination is much safer than a lot of other practices, but it is a good idea to be aware of responsible precautions.

Remain aware of diviners that use divination to proselytize or pull clients into their own personal narratives. It isn’t super common, but occurs often enough to be in the back of your mind.

Understand that divinatory practices aren’t absolute. Since it is a practice that relies on interpretation and has differing methods of use, results can vary wildly. Take readings with a grain of salt.

If you receive a suspicious or ridiculous reading, especially if it involves a deity, be sure to get a second opinion.

Sometimes, you can be too close to a situation to do readings for yourself without biased interpretations. Knowing when it is responsible to get a reading from another practitioner is important.

Don’t just read about divination, talk to practitioners. See how other people interpret their tools and what methods they use.  

There are hundreds of types of divination, a lot of them are a bit ambiguous. Try to start simple and work up to the more vague practices after you have some experience under your belt.

Superstitions and omens vary wildly based on cultural context and regionality. It is best to stay away from these methods until you have more experience. 

Many divination tools can have similar methods of interpretations, for a lot of them numerology can be very beneficial to understand. Especially in cartomancy. 

Inventing your own tool and/or divination system can be extremely beneficial. Doing so can aid in feeling more connected to your tool. On top of that you decide how readings are meant to be interpreted.

Beginner Friendly Types of Divination

Cartomancy: Tarot, Oracle, & Lenormand

Readings done with cards.

Often involves numerology

Is read in spreads, of which there are countless variations. You can even come up with your own.

Symbology, color, composition, contrast, and context can be super helpful or even necessary for interpretations. 

Often somewhat rigid in structure. Oracle decks tend to be less structured.

How you pull from your deck can have a huge effect on how well you can connect with your deck. Play around with drawing methods.

A lot of contemporary decks have booklets with meanings, but these interpretations tend to be very fluffy. Divination can and should be capable of being harsh. Many websites, such as Biddytarot are also guilty of this. Many cards can be very double edged. It’s okay to use these as references at first, but I recommend pulling away from them when you feel comfortable.

Stay away from rip-off products. Try to buy directly from the artist. 

Cleromancy: Bones, Dice, & Geomancy

Tossing or dropping objects and interpreting how they land. 

For many tools, there are boards or mats that are also used for interpretation.

Certain methods of bone tossing are aspects of closed cultures. Be sure to do thorough research and discuss methods with practitioners of closed cultures.

Cleromancy systems are the easiest to come up with your own. 

Play around with creating your own reading mats/boards. You’d be surprised at how much it can alter interpretations. 

Can be the harshest of all types of divination.

Often takes the longest to interpret as there are a lot of variables to account for. 

Dowsing: Rods & Pendulums

Swinging or swaying a tool and interpreting its movements.

The easiest to learn.

The type of divination that is most likely to be biased, as it can pick up on very subtle subconscious movements of the hands and arms.

Best for yes/no questions and location divination.

Pendulums are often used with a mat/board, but they are not necessary.

Tools are “programmed” before use. Meaning that the possible answers are all stated and decided on before a reading begins. Can be more important in spiritual methods of reading, but is a responsible practice regardless.

Can easily depend on headspace and focus.

Pendulums are often cheaply produced by corporations. Try to buy directly from artists, rather than from sites like Amazon. 

Numerology:

The interpretations and correspondences of numbers.

Is often used in practices like “angel numbers”, which is a whole thing. I recommend reading this article by Coin And Candle about it.

Often plays a huge role in how many divination systems are interpreted.

Is the easiest type of divination and correspondence to lead into appropriative and crystal-fascist new age practices and philosophies.

Spiritual, Energetic, Chaotic, & Symbolic Divination Methods

Despite not being discussed very often, there are a few different ways to practice divination. What method is used can have a huge impact on how you connect with each reading and each tool. I recommend having a tool devoted to each method, but work with one until you’re comfortable with it before moving on to the next. There are numerous combinations of tools and methods, so it can end up taking a very long time before something clicks.

Spiritual Method: Using your intuition to feel for which cards, bones, dice, directions, etc to use, pull, and/or how to interpret them. Often requires a state of gnosis.

Energetic Method: Employing energy work to connect to a client and then using energetic senses to feel for which cards, bones, dice, directions, etc to use, pull, and/or how to interpret them. Often requires a state of gnosis.

Chaotic Method: The idea that the universe’s absurdity and serendipity will cause parts of tools and interpretations that are based off of each situation at hand. In this method, bias can be a good thing while remaining self-aware.

Symbolic: Solely using images, correspondences, and context to interpret cards. Similar to the chaotic method, but without the bias.

Self-Awareness During a Reading

As stated above, it is very easy to be biased in your interpretations. For this reason, it is important to remain self-aware. There are several ways to achieve this:

Do multiple readings with the same question.

Have your reading verified by another diviner, without giving them the entire context.

Take some time to reflect on the reading to see how your current context of the situation could have influenced your interpretations.

Take your interpretations directly from the guide books.

Take some time before a reading to try and step away from the situation.

Send a picture of the reading and the question to another diviner to see how they would interpret it.

Safety Practices

There is a lot of hype and fear mongering around divination, especially with tools like ouija boards. Things like “Evil spirits can come through and attack you”, and “You can never know what you’re connecting to” are very common. While these narratives have some truth to them, they are very much hyperbole and really only apply to the spiritual method. The largest danger when it comes to divination are people who use divination to manipulate others. This is typically done by pulling people into their personal narratives; like past lives, deity communication/godphoning, and things like “magic/astrral wars/battles”. 

If you’re practicing the spiritual method I recommend cleansing the space, having wards in place, and remaining self-aware the entire time. While this gradually becomes less necessary with experience in spirit work, it is still a good idea. 

Be weary of anyone who implies that the reading is a set in stone reading/future/etc. Avoid diviners who do medical readings, unless you have seen a medical professional first, at the very least. However, due to the nature of divination please remain aware that the reading is in no way absolute and there is no reason to be fearful if the reading is negative. 

Divination is a form of advice. It can also be used for spirit communication, however it can be easy to get carried away in interpretations until more experience is gained. 

KEEP CRYSTAL BALLS COVERED. They can bend light like a magnifying glass and can start fires!

Depending on your practice, and what you’re communicating with, it can also be wise to keep mirrors covered. The idea behind this is that it prevents spiritual entities from using the mirror to enter your space. I find that warding divination tools is sufficient enough most of the time.

The 3dGameKit player controller used Ellen’s animations to drive the motion of the player. However, in my case, the 3dBuzz controller design controls its motion directly through the character controller component itself. This means that Ellen’s animations are designed in a different way. She has animations that turn her character, rather than having a script turn her game object directly. Likewise, she doesn’t have strafe animations like the 3dBuzz controller does. To resolve this, I had to create a compromising system that didn’t force me to remake my character controller, but also worked with the animations at my disposal.

My animation system takes advantage of how the 3dBuzz controller calculates where to move the player to. The first part of the process occurs in the main “controller” script: reading the player’s WASD input. This is data put into a simple Vector3 called MoveVector. At this point the vector only describes the direction we want to move the player.

/// <summary> /// Get the player's basic movement input and map it to TP_Motor.MoveVector. /// </summary> private void GetLocoInput() { var deadZone = 0.01f; // Deadzone to prevent input drift TP_Motor.Instance.VerticalVelocity = TP_Motor.Instance.MoveVector.y; // Save Y velocity of MoveVector to allow gravity acceleration. TP_Motor.Instance.ZeroMoveVector(); // Reset MoveVector every frame to prevent additive momentum. if (Input.GetAxis("Vertical") > deadZone || // Apply Y input to MoveVector Z Input.GetAxis("Vertical") < -deadZone) { TP_Motor.Instance.MoveVector += new Vector3(0, 0, Input.GetAxis("Vertical")); } if (Input.GetAxis("Horizontal") > deadZone || // Apply X input to MoveVector X Input.GetAxis("Horizontal") < -deadZone) { TP_Motor.Instance.MoveVector += new Vector3(Input.GetAxis("Horizontal"), 0, 0); } TP_Animator.Instance.GetMoveDirection(); // Instruct Animator class to get movement direction }

I can use this to rotate the skeleton of the player, which is a child of the actual player instance.

Using this, I can keep using the mouse to align the player game object with the mouse input (this is the original functionality of the 3dBuzz controller) while rotating the skeleton to match the WASD input. So, there will be two rotations happening. One that rotates the player’s forward direction, and another rotation that matches the direction the player is going in. That being, backwards, forwards, left, right or even along diagonals.

It’s hard to explain in words but feels very intuitive to play with. I find it to be very reminiscent of Aloy’s 3rd person controls from Horizon Zero Dawn. The biggest advantage of this system is that it means I only need a running and idle animation for movement along the ground! The direction of the player will be handled by a couple small additions to my script.

/// <summary> /// Find a rotation for the player body. Not the player object. /// </summary> protected virtual void GetBodyRotation() { var rot = new Quaternion(); // If moving... if (MoveVector != Vector3.zero) { // ...adjust desiredRotation rot.SetLookRotation(MoveVector); _desiredBodyRotation = rot; } // Do nothing if not moving } /// <summary> /// Set the rotation of the player body. Not the player object. /// </summary> protected virtual void SetBodyRotation() { BodyRotation.BodyTransform.localRotation = _desiredBodyRotation; }

Sadly, I’m only partially done explaining the animation system at this point. I still needed to connect the animationsystems together with my code and Mekanim, and I needed to make all of this work on the clone player. Determining the right animation to play wasn’t too hard. It was simply a matter of writing a small statemachine and performing a few checks every physics update, depending on the current state the player was in.

protected void GetCurrentState() { // Do nothing if dead if (CurrentState == CharacterState.Dead) { return; } // If in the air... if (!TP_Controller.IsGrounded) { // ...and is currentley jumping if (CurrentState == CharacterState.Jumping) { UpdateAnimators( "VerticalVelocity", TP_Motor.Instance.VerticalVelocity); return; } // Use falling state as a failsafe if (DistToGround() >= MinimumDistToGroundForFall) { UpdateAnimators("Falling", true); CurrentState = CharacterState.Falling; } } // If on the ground... else { // ...and was falling OR jumping last frame if (PreviousState == CharacterState.Falling || PreviousState == CharacterState.Jumping) { // Assign landing state UpdateAnimators("Falling", false); if (MoveDirection == Direction.None) { UpdateAnimators("Landing"); } else { UpdateAnimators("LandingToRun"); } CurrentState = CharacterState.Landing; } // ...and is currently landing if (CurrentState == CharacterState.Landing) { // Return player to idle state ater a set duration if (_landingTimer <= LandingDuration) { _landingTimer += Time.deltaTime; } else { _landingTimer = 0; CurrentState = CharacterState.Idle; } } // ...and not in a locked animation state if (CurrentState != CharacterState.Falling) { if (MoveDirection != Direction.None) { // Assign running state if moving UpdateAnimators("Running", true); CurrentState = CharacterState.Running; } else if (CurrentState != CharacterState.Landing) { // Assign idle state if not landing UpdateAnimators("Running", false); CurrentState = CharacterState.Idle; } } } }

I wrote a small method that let me update triggers, floats and booleans called UpdateAnimators(); in both the player and clone animators at the same time to help clean and prevent repeated code.

public void UpdateAnimators(string trigger) { Anim.SetTrigger(trigger); if (TP_Controller.Instance.CurrentMirror != null) MirrorAnim.SetTrigger(trigger); } public void UpdateAnimators(string name, bool value) { Anim.SetBool(name, value); if (TP_Controller.Instance.CurrentMirror != null) MirrorAnim.SetBool(name, value); } public void UpdateAnimators(string name, float value) { Anim.SetFloat(name, value); if (TP_Controller.Instance.CurrentMirror != null) MirrorAnim.SetFloat(name, value); }

With patience and time, I was able to synchronize the animation systems perfectly. The only problem now was matching the secondary, WASD based, rotation. This took many attempts to work. At first my approach was for the mirrored player to calculate its own directional rotation, however this never seemed to work, and the code I wrote to try and make it operate was always messy and convoluted. A change in approach was the key. Instead of calculating its own direction to face, I took advantage of the fact that the original player had already done this calculation for itself. I could just copy the relative rotation of the original player’s skeleton.

Of course, it wasn’t that easy. While I had a method that could accurately rotate the mirrored game object based on the rotation of the original player game object, it didn’t work when applied to the player skeleton. I’m still unsure of the exact reason for this but I believe the issue lies somewhere in converting local space to world space.

The solution is to instead work fully in world space and use simple algebra to figure out what the mirrored player’s secondary rotation should be.

Gosh it all looks so easy written out like this. I’ll have you all know that a lot of toil, trouble, and time went into finding these solutions. Anyways that just about sums animation up. Thanks for reading.

Another common piece of feedback was that it could be unclear to see where the mirrored player is due to the distance between the player and the mirror. I’ll cut down on this distance significantly in future level designs. Hopefully updating the player to use the Ellen character model instead of a basic capsule will help clarify where the reflected player is standing.

Players also wanted to be introduced to the mechanic more gradually, and to be provided with re-spawn checkpoints to alleviate frustration.

However, despite these desired improvements, it seems almost everyone was impressed with the mechanical idea! I had one player describe it as mind bending, which to me seemed a little absurd as I’ve spent so long thinking about the idea that it just seems normal to me. It really highlights how differently new people will perceive my game.

I’ll take all this feedback gratefully and use it to make the best level I can!

https://www.3dbuzz.com/training/view/3rd-person-character-system/simple-character-system/1-intro

The tutorials I chose to follow were created by a group known as 3d-buzz. The tutorials are a little dated but are high quality and in depth. Explaining all the little details of the systems being created. Of course, this means that the tutorials are very lengthy, however I think that’s okay as my objective is to understand how character controllers work on a deeper level, and these particular tutorials are teaching me that.

My mechanic works by creating a reflection of the player through a transparent mirror, that only reflects the player, and nothing else. This reflection is able to collide, which means floors on the other side of the mirror can stop the player from falling, even if there is nothing beneath them on the “real” side of the mirror.

To test out my mechanic I first implemented all the basic functionality of the character controller. That being: lateral movement, camera controls and jumping. I used these basic controls to move a capsule around a small test level. We had a play-test coming up soon so at first, I didn’t create the mechanic properly. I instead created a mirror asset with a transparent animated shader and used that to calculate where to place a copy of the player that always mirrored  the original’s position and rotation, along the Z axis of the mirror asset. The clone didn’t actually calculate its own collision. Instead I placed invisible colliders that mirrored the mirrored platform’s position. A tongue twister I know. Essentially, this means that if the clone looks like it’s standing on something, the player won’t fall because they’re standing on an invisible platform. However, the clone itself isn’t doing any of its own collision detection.

After play-testing I decided that it would be more beneficial to create a system where the clone does its own collision detection and handles its own movement. This way I wouldn’t have to manually place colliders over empty spaces that the player should be able to stand on because there’s a platform on the other side of the mirror. This would also make it easier to work with complex geometry and prevents me from forgetting to place a collider in the right spot, resulting in the mechanic not working properly.

The character collider system I had made following the 3dbuzz tutorials made use of several classes. A “Controller” class acted as the brain of the system, interpreting player input and calling methods in other classes. A “Camera” class took mouse input from the “Controller” and used that to position the camera around the player, while a “Motor” class took ‘WASD’ and ‘space’ inputs from the “Controller” and used that to move the character, based on the camera’s position. To make the clone handle its own collisions I copied that “Motor” class and used it to build a “Mirror Motor” class that would take orders from the original “Motor” class. Now there’s a lot of technical stuff to break down with this system which I wish to do, so I’ll keep that in a follow up post: here.

In short, when a mirror is present, the “Motor” class moves the original player first on the XZ plane Then the class orders the mirrored player to move to the reflected position of the original player, now that it’s moved. If the mirrored player hits something along the XZ plane, the original player is teleported to the reflected position of the mirrored player. If not, the mirrored player ends up in the reflected position of the original player. This process is repeated for the Y axis after the XZ movement is completed.

This means that both the original and cloned players can detect collisions and maintain a relative reflected position through a mirror instance, removing the need to hand-place colliders for every level I make. Now, see my next post to explain just how the code I’ve written works to make this process happen.