Fictional universe

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Map of the Land of Oz, the fictional realm that is the setting for L Frank Baum's Oz series.

A fictional universe is a self-consistent fictional setting with elements that differ from the real world. It may be called, variously, a fictional realm, world or universe. The terms Multiverse, Parallel Universe, Alternate history, Story or Screen Bible, Backstory and Crossover have a considerable amount of overlap with fictional universes.

A fictional universe can be almost indistinguishable from the real world, except for the presence of the invented characters and events that characterize a work of fiction. It can also bear little or no resemblance to reality, with invented fundamental principles of space and time. The subject is most commonly addressed in reference to fictional universes that differ markedly from reality, such as those that introduce entire fictional cities, countries, or even planets, those that contradict commonly known facts about the world and its history, or those that feature fantasy or science fiction concepts such as magic or faster than light travel, and especially those in which the deliberate development of the setting is a substantial focus of the work.

It may be contained in a single work, or be developed in a succession of works, as frequently happens in fantasy or science fiction series. Its history and geography may be well-defined, and even languages may be constructed. When subsequent works are written within the same universe, care is usually taken to ensure that established facts of the canon are not violated.

Scope

Sir Thomas More's Utopia is one of the earliest examples of a cohesive fictional world with its own rules and functional concepts but it comprises only one small island. Later fictional universes, like Robert E. Howard's Conan the Cimmerian stories or Lev Grossman's Fillory, are global in scope and some, like Star Wars, Honorverse, or the Lensman series, are galactic or even intergalactic.

Virtually every successful fictional TV series or comic book develops its own "universe" to keep track of the various episodes or issues. Writers for that series must follow the story bible^[1], which often becomes the series canon. For example, the American sitcom Friends posits a universe where the soap opera Days of our Lives has a continuing character named Dr. Drake Ramoray and the actor in that role often hangs out at the fictional coffee shop Central Perk. Spin-off TV series (for example, Friends spin-off Joey) are often set in the same universe. Superman resides in the fictional municipalities of Smallville and Metropolis, both of which have extensive backstories.

A fictional universe may even concern itself with more than one interconnected universe through fictional devices such as dreams, "time travel" or "parallel worlds". Such a series of interconnected universes is often called a multiverse. Such multiverses have been featured prominently in science fiction since at least the mid-20th century.

The classic Star Trek episode "Mirror, Mirror" introduced the Mirror Universe, in which the crew of the Starship Enterprise were brutal rather than compassionate. The 2009 movie Star Trek created an "alternate reality" and freed the Star Trek franchise from continuity issues. In the mid-1980s, DC comic books' Crisis on Infinite Earths told of countless parallel universes that were destroyed.

Frequently, when a series gets too complicated or too self-inconsistent (because of, for example, too many writers), the producers or publishers will introduce retroactive continuity (retcon) to make future editions easier to write and more consistent. This creates an alternate universe that future authors can write about. These stories about the universe or universes that existed before the retcon are usually not canonical, unless the franchise-holder gives permission. Crisis on Infinite Earths was one such crossover event.

The Hitchhiker's Guide to the Galaxy, when considered as all five books together, darts back and forth between different universes, or perhaps it is more accurate to say, flits through different timelines and different dimensions involving different states of existence for the characters and for the earth itself. The eighth season of the TV series Dallas was retconned into non-existence by the device of having Pam dream (in the opening episode of the ninth season) all of the events of the previous year.

A famous example of a fictional universe is Middle-earth from J. R. R. Tolkien's books The Lord of The Rings and The Silmarillion. It is interesting to note^{[citation needed]} that he created his world more as a response to his languages, because Tolkien was a linguist. He knew that any sort of aesthetic or functional changes to his languages would need a cause in the fictional universe. This not only serves to make Tolkien's works more in-depth but they also have a sense of believability because of this.^{[citation needed]}

Format

A fictional universe can be contained in a single work, as in George Orwell's Nineteen Eighty-Four or Aldous Huxley's Brave New World, or in serialized, series-based, open-ended or round robin-style fiction.

In most small-scale fictional universes, general properties and timeline events fit into a consistently organized continuity. However, in the case of universes that are rewritten or revised by different writers, editors or producers, this continuity may be violated, by accident or by design—film productions are notorious for altering fictional canon of written series.

The occasional publishing use of retroactive continuity (retcon) often occurs due to this kind of revision or oversight. Members of fandom often create a kind of fan-made canon (fanon) to patch up such errors; "fanon" that becomes generally accepted sometimes becomes actual canon. Other fan-made additions to a universe (fan fiction, pastiche, parody) are usually not considered canonical unless they get authorized.

Collaboration

Shared universes often come about when a fictional universe achieves great commercial success and attracts other media. For example, a successful movie may catch the attention of various book authors, who wish to write stories based on that movie. Under US law, the copyright-holder retains control of all other derivative works, including those written by other authors. But they might not feel comfortable in those other mediums or may feel that other individuals will do a better job. Therefore, they may open up the copyright on a shared-universe basis. The degree to which the copyright-holder or franchise retains control is often one of the points in the license agreement.

For example, the comic book Superman was so popular that it spawned over 30 different radio, television and movie series and a similar number of video games, as well as theme park rides, books and songs. In the other direction, both Star Trek and Star Wars are responsible for hundred of books and games of varying levels of canonicity.

Fictional universes are sometimes shared by multiple prose authors, with each author's works in that universe being granted approximately equal canonical status. For example, Larry Niven's fictional universe Known Space has an approximately 135 year period in which Niven allows other authors to write stories about the Man-Kzin Wars. Other fictional universes, like the Ring of Fire series, actively court canonical stimulus from fans, but gate and control the changes through a formalized process and the final say of the editor and universe creator.^[2]

Other universes are created by one or several authors but are intended to be used non-canonically by others, such as the fictional settings for games, particularly role-playing games and video games. Settings for the role-playing game Dungeons & Dragons are called campaign settings; other games have also incorporated this term on occasion. Virtual worlds are fictional worlds in which online computer games, notably MMORPGs and MUDs, take place. A fictional crossover occurs when two or more fictional characters, series or universes cross over with one another, usually in the context of a character created by one author or owned by one company meeting a character created or owned by another. In the case where two fictional universes covering entire actual universes cross over, physical travel from one universe to another may actually occur in the course of the story. Such crossovers are usually, but not always, considered non-canonical by their creators or by those in charge of the properties involved.

See also

References

This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2007)

• Alberto Manguel & Gianni Guadalupi: The Dictionary of Imaginary Places, New York : Harcourt Brace, c2000. ISBN 0-15-100541-9
• Brian Stableford: The Dictionary of Science Fiction Places, New York : Wonderland Press, c1999. ISBN 0-684-84958-5
• Diana Wynne Jones: The Tough Guide to Fantasyland, New York : Firebird, 2006. ISBN 0-14-240722-4, Explains and parodies the common features of a standard fantasy world
• George Ochoa and Jeffery Osier: Writer's Guide to Creating A Science Fiction Universe, Cincinnati, Ohio : Writer's Digest Books, c1993. ISBN 0-89879-536-2
• Michael Page and Robert Ingpen : Encyclopedia of Things That Never Were: Creatures, Places, and People, 1987. ISBN 0-14-010008-3