As storytellers, we’ve been educating our audiences to be able to handle more complex narratives over time, from embedded narratives and examples of metalepsis to explorations of human nature. Another development is the shift in focus from single stories to story worlds.
Nowadays, fresh IPs for not just games but also movies and series are pretty much expected to take place in story worlds, showing multiple narratives from diverse characters – often morally grey and complex – to yield more entertainment and effect from the investment in developing that IP. I would argue that since the early 2000’s, but especially in the past decade during which games like Dungeons and Dragons have become more popular than ever, worldbuilding has become a serious pastime of professionals and amateurs alike. Worlds that belong to the Assassin’s Creed series and Warcraft continuously expand, so that players can consume them endlessly.
This is the first article of a four-part series that shows how networks and sociology (and more specifically, theories on the sociology of art) can be applied as a worldbuilding method that yields meaningful and dynamic worlds. These articles support my GDC2021 talk ‘Connected Worlds: Building Dynamic Storyworlds Using Network Theory‘ by offering more details, substantiation and calculations behind the mechanisms.Continue reading