World-Building

The animated music videos of Radiohead, Chris Hopewell and Gastón Viñas are entwined by intertextual threads that refer to each other in a reciprocal and generative way. As a graphic artist and applied fan of the band Radiohead, Viñas has borrowed extensively from Radiohead's music videos and associated world components in order to build new storyworlds in which his own music videos and artwork live in constant dialogue with their intertextual counterparts. Through an analysis of music videos created by Viñas, Radiohead and Hopewell, this chapter draws on the concepts of intertextuality and dialogism to argue that fan-made music video can play a significant role within a broader process of what is termed 'dialogic world-building'. This 'world-building' process gradually becomes apparent across the chapter, as a complex web of woven threads emerges from interconnected analyses of music videos, thereby demonstrating that a transmedial and transauthorial approach can enable a holistic impression of the establishment, appropriation and regeneration of 'storyworlds'. This chapter appears in The Bloomsbury Handbook of Popular Music Video Analysis, edited by Lori Burns and Stan Hawkins (2019).

Omawiane zjawisko można byłoby określić mianem zwro-tu światocentrycznego (Maj 2017, s. 44-45). Sama kategoria światocentryczności jest w narratologii i medioznawstwie dość nowa. Wprowadzona została przez Marie-Laure Ryan w ramach ogólnej klasyfikacji form narracyjnych na: (1) skon-centrowane na fikcyjnej historii (fabułocentryczne), (2) zbu-dowane wokół fikcyjnej postaci wiodącej (postaciocentryczne) oraz (3) te właśnie, których ośrodkiem jest rozwój fikcyjnego świata (światocentryczne) (Ryan 2013, s. 382-383). Podział ten oczywiście nie powinien być traktowany zbyt zobowiązująco, lecz czysto użytkowo. Łatwo bowiem dostrzec, że innymi priorytetami kierować się będzie scenarzysta filmu o Bondzie, który musi zadbać przede wszystkim o spójność charakterystyki postaci wio-dącej z jej wcześniejszymi wcieleniami, a innymi-reżyser Ligi Sprawiedliwości (2017, Z. Snyder), zobligowany nie tylko do przedstawienia widzowi wszystkich spotykających się na ekranie superbohaterów, ale także do wiarygodnej ekspozycji Co to znaczy, że film osadzony jest w jakimś świecie? Albo, jak wolimy (nie bez przyczyny zresztą!) w takich wypadkach mawiać, w uniwersum? Co zmieniło się od czasu, kiedy cieszyliśmy się kolejnym odcinkiem przygód Jamesa Bonda, odgrywanym przez coraz to nowych aktorów? I, skoro już mowa o Bondzie, jak to możliwe, że wyprodukowanie 24 filmów o agencie 007 zajęło blisko pół wieku, podczas gdy Marvel Cinematic Universe liczy sobie ledwie ponad dekadę? Wreszcie, skąd nagła potrzeba tworzenia filmowych uniwersów?

WORLD-FACTORY: SF-WORLDBUILDING and reconstructing in the classroom
„In imaginative literature such as science fiction, authors have the unique opportunity to build new worlds. These worlds are, by definition, fantastical departures from the worlds in which the authors and readers find themselves. However, the departure is not total. These fictional worlds do not exist in isolation, in the cold, dead vacuum of space. They are, rather, satellites orbiting our own world” (Sanchez 2014: 2). The present paper has the following four aims. First, to discuss some relevant issues concerning the genre of SF. Second, to provide a concise overview of the theory and practice of world building in narrative fiction. Third, to relate the above topics to social philosophy. Fourth, to outline how our world or social reality can be looked at through the lens of pieces of SF, if the pieces of background information referred to above are at our disposal. That is to say, how, by the usage of such means, the reception of SF works can be made into enriching experience. What is more, the latter task is carried out with the needs and training possibilities of 15- and 16-year-old high school students in mind. It is hoped that the suggested points of debate will prove to be not only workable discussion prompts but also practical teaching aids for Hungarian language and literature teachers fostering enjoyable and educational classroom sessions.

In this essay, the author argues that analysing a fantasy novel that comes with a map without taking into account the dynamic between map and text would be to omit a vital part of the fictional world. By drawing on the Vitruvian triad of architectural theory, the construction of the world in China Miéville's Perdido Street Station (2001) is analysed through some building-blocks of that world that emerge prominently on the novel's map. After a brief discussion of world-building and fantasy maps, the map is taken as a starting point in order to demonstrate how the transport network in general and railways and skyrail in particular are given distinctive form. One function that these building-blocks have in the novel is to provide locations which the reader can use to link dynamically between text and map, thus relating locations to each other spatially and adding layers of meaning to them, turning them from spaces into places. Passages in the text are used to show how it is possible to move between map and text, and how such movement not only augments the spatiality of the world but that it also provides a way to discuss the city's social and economic issues by juxtaposing different characters' perspectives.

Collaborative Worldbuilding for Writers and Gamers describes how writers can co-create vast worlds for use as common settings for their own stories. Using the worlds of Star Wars, Lord of the Rings, A Game of Thrones, and Dungeons & Dragons as models, this book guides readers through a step-by-step process of building sprawling fictional worlds complete with competing social forces that have complex histories and yet are always evolving. It also shows readers how to populate a catalog with hundreds of unique people, places, and things that grow organically from their world, which become a rich repository of story making potential.

The companion website collaborativeworldbuilding.com features links to online resources, past worldbuilding projects, and an innovative card system designed to work with this book.

In recent years, the concept of the otherwise has been tracking across anthropology to frame political potentialities that are emerging, often drawing on phenomenological and continental theoretical lineages. However, in other fields, especially those founded in social movements, such as Black, Indigenous, Latinx, Asian American, postcolonial, queer, and gender studies, the otherwise has been understood to enjoin scholars to an enduring struggle for liberation. Within these fields, the otherwise summons the forms of life that have persisted despite constant and lethal surveillance; it brings forth the possibility for, even the necessity of, abolishing the current order and radically transforming our worlds. These liberatory commitments can (and already do) have palpable and challenging effects when smuggled into the space of ethnographic inquiry. Indeed, that is the point. The contributors to this collection are women, femmes, and nonbinary people; Black, Indigenous, people of color, and white accomplices. As junior scholars, we have aligned ourselves with emancipatory, decriminalizing, life-affirming social projects that have unapologetically transformative demands. For the last four years, we have been asking one another and our co-thinkers on the ground: What kind of anthropology can contribute to this deep and enduring practice of otherwise world building? Together, we call for a move from the anthropological study of the otherwise to an Otherwise Anthropology.