This book is a theoretical and practical deep dive into the craft of worldbuilding for video games, with an explicit focus on how different job disciplines contribute to worldbuilding. In addition to providing lenses for recognizing the various components in creating fictional and digital worlds, the author positions worldbuilding as a reciprocal and dynamic process, a process which acknowledges that worldbuilding is both created by and instrumental in the design of narrative, gameplay, art, audio, and more. Collaborative Worldbuilding for Video Games encourages mutual respect and collaboration among teams and provides game writers and narrative designers tools for effectively incorporating other job roles into their own worldbuilding practice and vice versa. Features: Provides in-depth exploration of worldbuilding via respective job disciplines Deep dives and case studies into a variety of games, both AAA and indie Includes boxed articles for deeper interrogation and exploration of key ideas Contains templates and checklists for practical tips on worldbuilding

Bachelor Thesis from the year 2023 in the subject English Language and Literature Studies - Other, grade: 1,3, University of Stuttgart (Institut für Literaturwissenschaft Englische Literaturen), course: American Superhero Comics, language: English, abstract: The bachelor thesis "Visual Worldbuilding in Alan Moore and Dave Gibbons' Watchmen" takes a close look at graphic novel's visual motifs, visual settings, real-world references. It examines how they enhance the story's characters, plot development, and major themes. It furthermore analyzes the graphic novel's high level of detail and meticulous world-building through text and visuals. From the Avengers of the Marvel Cinematic Universe through The Boys on Amazon Prime Video to the DC League of Super-Pets – today, superheroes in any shape or form rule the entertainment industry. Throughout the past few years, movie programs and box offices around the world have been dominated by superhero movies, countless seasons of superhero TV series have been binged by millions every week, and innumerable superhero-related merchandise items have been sold to children and adults alike. Unfazed by a predominantly digitalized world, even the superhero comic book and graphic novel industry has been steadily growing and is projected to continue doing so ("Comic Book Sales"). Historically, there is one comic that is considered to have set the tone and pave the way for the genre's development and status of today: Alan Moore and Dave Gibbons' Watchmen – a twelve-issue limited series published monthly by DC Comics between 1986 and 1987 and merged later into a single graphic novel in 1987. According to the BBC, the release of Watchmen was the "moment comic books grew up" and when the public's views on the art form "changed" (Barber). Watchmen's status as a revolutionary piece of literature is further perpetuated in TIME magazine's list of the 100 best English-language novels published since 1923. There, Watchmen sticks out as the stand-alone graphic novel being listed among literary classics such as To Kill a Mockingbird, The Great Gatsby, Animal Farm, and Lord of the Flies (Grossman). In any case, Watchmen's spot on the list is justified because the graphic novel is not a classic good-versus-evil, superhero-versus-villain comic story but rather a hybridity of genres that includes characteristics such as those of a murder mystery and detective story while incorporating elements of science fiction, dystopian fiction, and psychological realism. Moreover, writer Alan Moore created 'superhero' characters that are not impeccable, morally upright, and two-dimensional, but rather three-dimensional characters with flawed personalities and personal problems.

This essay examines the primacy of worldbuilding in the age of CGI, transmedia practices and "high concept" fiction by studying the principles that govern the creation of a multiverse in a wide range of film and TV productions. Emphasis is placed on Hollywood sci-fi movies and their on-screen representation of imaginary machines that mirror the film medium, following in the tradition of Philip K. Dick's writings and the cyberpunk culture. A typology of worlds is established, as well as a number of analytical tools for assessing the impact of the coexistence of two or more worlds on the narrative structure, the style (uses of color, editing practices), the generic affiliation (or hybridity), the seriality and the discourse produced by a given film (particularly in fictions linked to post-9/11 fantasies). Among the various titles examined, the reader is offered a detailed analysis of the Resident Evil film series, Total Recall and its remake, Dark City, the Matrix trilogy, Avatar, Source Code and other time-loop films, TRON and its sequel, Christopher Nolan's Tenet, and several TV shows – most notably HBO's Westworld, but also Sliders, Lost, Fringe and Counterpart.

With contributions from a distinguished group of world-builders, including academics, writers, and designers, this anthology of essays describes the process and discusses the nature of subcreation and the construction of worlds. From Oz to MUD, Walden to Rockall, all the worlds featured in this volume share one thing in common: they began in someone’s imagination, grew from there, and became worlds built with the assistance of multiple authors and a variety of different ideas and media, including designs, imagery, sound, music, stories, and more. The book examines this development, with examples and discussions pertaining to the process and the final product of the building of imaginary worlds, including some transmedial worlds. World-Builders on World-Building is a fascinating deep dive into the practical problems of world-building as well as its theoretical aspects. It is ideal for students, scholars, and even practitioners interested in media studies, game studies, subcreation studies, franchise studies, transmedia studies, and pop culture.

Do you want to be the master of worlds? Have you been dreaming of creating a fictional world, but don't know where to start? The Beginner's Guide to World-Building covers everything you need to know about the basics of world-building - from designing the setting of your story to the characters, plot, magic systems and so much more. If you've ever wondered how your favorite authors, producers, or game developers create immersive worlds that feel as real as ours, the answer is world-building. World-building is everywhere - in your favorite books and TV shows, your favorite video games, and even your favorite art pieces. The process of creating a fictional world is intertwined with every storytelling medium and nearly every fictional genre, not just science fiction and fantasy. This guide aims to make the world-building process easy to understand for anyone interested in telling a tale and help storytellers bring their work to life!

World Building represents the state-of-the-discipline in worlds-based approaches to discourse, collected together for the first time. Over the last 40 years the 'text-as-world' metaphor has become one of the most prevalent and productive means of describing the experiencing of producing and receiving discourse. This has been the case in a range of disciplines, including stylistics, cognitive poetics, narratology, discourse analysis and literary theory. The metaphor has enabled analysts to formulate a variety of frameworks for describing and examining the textual and conceptual mechanics involved in human communication, articulating these variously through such concepts as 'possible worlds', 'text-worlds' and 'storyworlds'. Each of these key approaches shares an understanding of discourse as a logically grounded, cognitively and pragmatically complex phenomenon. Discourse in this sense is capable of producing highly immersive and emotionally affecting conceptual spaces in the minds of discourse participants. The chapters examine how best to document and analyze this and this is an essential collection for stylisticians, linguists and narrative theorists.

From wondrous fairy-lands to nightmarish hellscapes, the elements that make fantasy worlds come alive also invite their exploration. This first book-length study of critically acclaimed novelist Patricia A. McKillip's lyrical other-worlds analyzes her characters, environments and legends and their interplay with genre expectations. The author gives long overdue critical attention to McKillip's work and demonstrates how a broader understanding of world-building enables a deeper appreciation of her fantasies.