Opengeofiction is a collaborative platform for the creation of fictional maps. Opengeofiction is based on the Openstreetmap software platform. This implies that all map editors and other tools suitable for Openstreetmap can be applied to Opengeofiction as well. The fictional world of Opengeofiction is thought to be in modern times. So it doesn’t have orcs or elves, but rather power plants, motorways and housing projects. But also picturesque old towns, beautiful national parks and lonely beaches.
Of course, rebooting can never truly wipe the slate clean. The slate is a palimpsest and contains all the traces and ghosts of previous incarnations. However, we can see (hypothetically) intertextuality and dialogism spiralling along a horizontal axis – the paradigmatic – and the story itself unfolding sequentially along a vertical axis which is the syntagm. Intertextuality may “destroy the linearity of the text,” as Laurent Jenny argues, but linearity is still preserved.
In order to give maximum creative freedom to the filmmakers and also preserve an element of surprise and discovery for the audience, Star Wars Episodes VII-IX will not tell the same story told in the post-Return of the Jedi Expanded Universe. While the universe that readers knew is changing, it is not being discarded. Creators of new Star Wars entertainment have full access to the rich content of the Expanded Universe. For example, elements of the EU are included in Star Wars Rebels. The Inquisitor, the Imperial Security Bureau, and Sienar Fleet Systems are story elements in the new animated series, and all these ideas find their origins in roleplaying game material published in the 1980s.
You Are Here is a study of place. Each of these maps will be an aggregation of thousands of microstories, tracing the narratives of our collective experience.
Every map tells a story, and writers yearning for new ways to tell stories are drawn to them. Walter Benjamin wrote of how he had “long, indeed for years, played with the idea of setting out the sphere of life—bios—graphically on a map.” Written when he was forty, “A Berlin Chronicle” resists a standard, linear biography and, instead, plots a map. Rather than a chronology, Benjamin creates a geography of Berlin; the relationships and events of the author’s life become map dots rather than plot points. A geographical map of Berlin converges with Benjamin’s personal map of the city, though Benjamin is still dependent on sentences and paragraphs.
„Star Wars Canon is now determined by the Lucasfilm Story Group which [Pablo Hidalgo] and I are both a part of,“ Chee tweeted on Sunday. The story group, he explained, „has a hand in all facets of Star Wars storytelling, including movies, TV, games and publishing.“ When asked what the change meant, he wrote that „a primary goal“ was to ensure that there was no hierarchy between the movies and spinoff material, but instead one cohesive canon across the entire franchise, adding that „more so than ever, the canon field will serve us internally simply for classification rather than setting hierarchy.“
Alex McDowell — one of the most influential designers in the world today — talks about how computational media are transforming storytelling. We are moving from the linear, auteur-oriented storytelling model of the printing press and industrialized film production to a collaborative, non-linear approach he terms world building.
The fact that it is an imaginary [..] world means that it is somehow set apart from the “real” (or “Primary”) world, with some boundaries between them, making the secondary world a thing of its own; and whereas some boundaries are physical or geographic in nature, such as mountain ranges, deserts, oceans, and so forth (or the surface of the earth itself, for underground worlds), some boundaries are temporal in nature (as in worlds set in the distant past or future, making them equally inaccessible to us in the present), or even conditional, such as in the alternate versions of the Primary world that some stories present. Tolkien separates the two by calling them the Primary world and Secondary worlds (borrowing terms from Coleridge’s discussion of the two types of imagination), and writes that the latter is dependent on the former, hence the term “subcreation” (literally, “creating under”); secondary worlds use material from the Primary world, reshaping and recombining elements from it, so that the end result is both recognizable but also new and different.
Outlines history of transmedia „world-building“ in a variety of contexts, from religion to contemporary art practice. Prepared for a student seminar at the University of Southern California’s School of Cinematic Arts.