User talk:Serpent's Choice/Sandbox

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Rejection of the idea that simple collaboration is sufficient. "The stories do not truly mesh into a single setting in the distinctive way necessary for Ithkar Fair to qualify as a shared world."[1]

Contents

[edit] History

[edit] Before 1900

Use of shared characters in myth and storytelling:

Greece/Rome[2]

Labours of Hercules: established in a lost epic poem by Peisandros of Rhodes.[3] depictions not of the canonical 12[4] multiple interpretations possible[5]

Created a "fixed body of myth"[6]

...about rhetoric..."a literary work was the product of a specific individual". <other individuals writing to emulate or discredit>, and "the methods used to forge works...infiltrated imaginative literature" [7] The insertion of a fictional romance[8] purportedly written by Dictys the Cretan, a figure who appears briefly briefly in the Iliad,[9] into the narrative of the Trojan War became influential in medeival scholarship of the topic.[10]

Dictys's Ephemeris belli Troiani is known from the Tebtunis papyrii.[11]

The "intrusion of fiction into what was taken to be history" was "an increasingly conspicuous feature of the Graeco-Roman world."[12]

Middle East[13] - Far East[14] - North America[15]

4 Continuations of Perceval in early 13th century Newell, W. W. "The Legend of the Holy Grail VI" The Journal of American Folklore 12 (47). Oct/Dec. 1899. Roach, William. "Transformations of the Grail Theme in the First Two Continuations of the Old French

Perceval" Proceedings of the American Philosophical Society 110 (3). Jun 27, 1966.


Development of copyright:

Statute of Anne - authors could have copyright[16]

late 18th century in France, ideas could be owned by their authors.[17]

Copyright of characters - Characters are entitled to copyright protection, but that must be "taken with a grain of salt."[18]

China, for example, has "no tradition of owning creative expression."[17]

dojinshi employ the characters of better-known authors Kinsella, Sharon. "Amateur Manga Subculture adn the Otaku Panic" Journal of Japanese Studies 24 (2). Summer 1998

substantial market; conventions can draw 100Ks of attendees Shimizu, T. "Shonichi jyū-gō bannin ga raijyō shita komiketto” Mainichi Shimbun. Aug 10, 2001.

advertisements for almost weekly dedicated amateur conventions (dōjinshi sokubaikai) Comic Market Catalog 61. Dec 8, 2001.

More permissive japanese copyright environment Mehra, Salil K. "Copyright and Comics in Japan: Does Law Explain Why All the Cartoons My Kid Watches are Japanese" Rutgers Law Review 55. Fall 2002

Cover of Mugby Junction, published in 1866 and considered the first shared-world anthology
Cover of Mugby Junction, published in 1866 and considered the first shared-world anthology

Charles Dickens edited and contributed to Mugby Junction in 1866, in which several authors contributed short stories all centered around the same railway station.[19] Considered to be the first shared-world anthology.[20][21]

Andrew Halliday, Charles Collins, Sarah Smith (writing as Hesba Stretton), Amelia Ann Blandford Edwards; Charles Collins was Dickens's son-in-law. [22]

[edit] Next time frame

Continuation of Oz: "the hiring of the children's page editor of the Philadelphia Ledger Ruth Plumly Thompson after Baum's death completed the commodification of Oz" Flynn, Richard. "Imitation Oz: The Sequel as Commodity" The Lion and the Unicorn 20 (1). Jun 1996.

Explicit acknowledgement of All-Star 3 as the origin of the DC universe via crossover; discussion of the shared universe as an "emergent structure".[23]

A series of ensemble monster films from Universal Studios:

Frankenstein Meets the Wolf Man (1943) House of Frankenstein (1944) House of Dracula (1945) Abbott and Costello Meet Frankenstein (1948)

Quoting Boris Karloff: "When it started to become Frankenstein Meets the Wolf Man, it was done from

hunger." Bean, Robin. "Boris is Back" Films and Filming 74. Aug/Sep 1999.

Described as "tired sequels to respected originals" Worland, Rick. "OWI Meets the Monsters: Hollywood Horror Films and War Propoganda, 1942 to 1945" Cinema

Journal 37 (1). Autumn 1997.

Poorly received. Scheuer, Philip K. "Chaney Meets Lugosi and Reviewer Orders Aspirin" Los Angeles Times. 23 Jul, 1943.

Merged continuity was nevertheless established Maddrey, Joseph. Nightmares in Red, White, and Blue: The Evolution of the American Horror Film.

McFarland and Company. April 2004. ISBN 978-0786418602.

... in Van Helsing "Breaking down the 'Big Four' monsters' Buffalo News. 29 October 2006. Ebert, Roger. "Van Helsing"

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040507/REVIEWS/405070306/1023 7 May 2004


King Kong vs. Godzilla (1962), produced to celebrate 30 years of production at Toho. Woods, Paul A. King Kong Cometh! Plexus Publishing 2005. ISBN 978-0859653626.


Thieves World is the "first fantasy world deliberately designed for other authors to write about".[21]

[edit] Economic impact

Quarter million copies of Mugby[24]

Pulp-format Perry Rhodan has had a reported weekly circulation of 130,000.[25] Perry Rhodan as the only way to make a living solely by writing SF in Germany.[26] The series's official newsletter has claimed total sales of 2 billion.[27]

Use of shared universes to combat drop in anthology sales.[28]

Star Trek is responsible for hundreds of books and substantial shelf space. [29]

Debate over impact of franchise tie-ins on the wider science fiction market.[30]

[edit] Other material holding pen

Cross-over is an "extended character cameo" that also includes "thematic elements" of the original appearance. [ Summer ]

<something about the nature of the MU> has been examined in detail by a team of Spanish social networking researchers led by Ricardo Alberich, concluding the artifical world's characters display a higher clustering coefficient than a random population, but far less than real-world networks.[31]

Poobala [32][33]

St. Elsewhere ... Tommy Westphall. Ending revealed the entire series to be contained within the

imagination of an autistic boy. Hofstede, David. What Were They Thinking? The 100 Dumbest Events in Television History. Back Stage

Books. 2004. ISBN 978-08230-8441-8

Through crossovers with other series such as Cheers and Homicide: Life on the Street, a linked universe

has been proposed. "[S]omething like 90 per cent of all television took place in Tommy Westphall's mind.

God love him." - quote from producer Tom Fontana. Gallagher, William. "TV's strangest endings" BBC News Online 30 May 2003.

http://news.bbc.co.uk/2/hi/entertainment/2951086.stm

[edit] Arbitrary

identifies "seven major types" of crossovers ... tracing back to Greek myth 1450-1500, China, fiction re: Judge Bao Zheng.

"first truly modern crossover", Mary Cowden Clarke's Kit Bam's Adventures; or, the Yarns of an Old

Mariner. Includes characters created by Shakespeare, Chaucer, Shelley, and many others.

All-Star 3 was "the first team crossover specifically intended to be ongoing." Earlier examples are the

Argonauts, and the detectives in Pursuit of the Houseboat.

1972, creation of the Wold Newton Universe by Philip Jose Farmer, created in: An Exclusive Interview with Lord Greystoke (Esquire, Apr 1972) Tarzan Alive, a biography of Tarzan (1972) Doc Savage: His Apocalyptic Life (1972)

Nevins, Jess. Heroes & Monsters: The Unofficial Companion to the League of Extraordinary Gentlemen.

MonkeyBrain Books. 25 Dec 2003. ISBN 978-7932265040


[edit] References

  1. ^ Bunnell, J. C. (Nov. 1985). "Magic in Ithkar". Dragon Magazine (103). 
  2. ^ Taplin, Oliver, ed. (2000). Literature in the Greek and Roman Worlds: A New Perspective. Oxford University Press. ISBN 978-0192100203. 
  3. ^ Burkert, Walter (1985). Greek Religion. Harvard University Press. ISBN 978-0674362802. 
  4. ^ van de Velde, Carl (Mar 1965). "The Labours of Hercules, a Lost Series of Paintings by Frans Floris". The Burlington Magazine 107 (744). 
  5. ^ Ruck, Carl A.P. and Danny Staples (2001). The World of Classical Myth: Gods and Goddesses, Heroines and Heroes. Carolina Academic Press. ISBN 978-0890895757. 
  6. ^ Hadas, Moses (1950). A History of Greek Literature. Columbia University Press. ISBN 978-0231017677. 
  7. ^ Grafton, Anthony (1990). Forgers and Critics: Creativity and Duplicity in Western Scholarship. Princeton University Press. ISBN 978-0691055442. 
  8. ^ Haight, Elizabeth Hazelton (Feb 1947). "The Tale of Troy: An Early Romantic Approach". The Classical Journal 42 (5). 
  9. ^ Henige, David (2005). "In Good Company: Problematic Sources and Biblical Historicity". Journal for the Study of the Old Testament 30 (1). 
  10. ^ Nelson, William (Mar 1969). "The Boundaries of Fiction in the Renaissance: A Treaty Between Truth and Falsehood". ELH 36 (1). 
  11. ^ Dayton, Todd (Aug 2002). "Everyday Ancients". Illuminations. University of California, Berkeley. 
  12. ^ Bowersock, G. W. (1994). Fiction as History: Nero to Julianau. University of California Press. ISBN 978-0520208810. 
  13. ^ Feldman, Shammai (Apr 1963). "Biblical Motives and Sources". Journal of Near Eastern Studies 22 (2). 
  14. ^ Birrell, Anne M. (1993). Chinese Mythology: An Introduction. Johns Hopkins University Press. ISBN 978-0801861837. 
  15. ^ Grantham, Billy J. (2002). Creation Myths and Legends of the Creek Indians. University Press of Florida. ISBN 978-081302451X. 
  16. ^ Patterson, Lyman Ray (1968). Copyright in Historical Perspective. Vanderbilt University Press. ISBN 978-0826513735. 
  17. ^ a b Ewing, John (Oct 2003). "Copyright and Authors" (pdf). First Monday 8 (10). 
  18. ^ Goldberger, Benjamin A. (2003-08-04). "How the "Summer of the Spinoff" Came to Be: The Branding of Characters in American Mass Media". Loyola of Los Angeles Entertainment Law Review 23 (301). 
  19. ^ Glancy, Ruth F. (Jun 1980). "Dickens and Christmas: His Framed-Tale Themes". Nineteenth-Century Fiction 35 (1). 
  20. ^ Clute, John and John Grant, eds. (1999). The Encyclopedia of Fantasy. St. Martin's Press. ISBN 978-0312198698. 
  21. ^ a b Ward, Cynthia (2004-11-29). Thieves' World: Enemies of Fortune. Sci Fi Weekly. Retrieved on 2007-07-31.
  22. ^ Free, Melissa (Winter 2006). ""Dirty Linen": Legacies of Empire in Wilkie Collins's The Moonstone". Texas Studies in Language and Literature 48 (4). 
  23. ^ Craft, Jason (2004-04-05). "Comics Universes as Fiction Networks". The University of Texas at Austin 2004 PCA/ACA Conference. Retrieved on 2007-07-28. 
  24. ^ "{{{title}}}" (1867-01-13). The New York Times. 
  25. ^ O'Neill, John (1998). The Return of Perry Rhodan. SF Site. Retrieved on 2007-08-01.
  26. ^ Rottensteiner, Franz, ed. (1999). View From Another Shore, 2nd edition. Liverpool University Press. ISBN 0853239428. 
  27. ^ Norris, Joseph T., Jr. (Feb 2005). "A Lifelong Love Affair". Infotransmitter. 
  28. ^ Datlow, Ellen and Terry Windling, eds. (1988-07-15). The Year's Best Fantasy: First Annual Collection. St. Martin's Griffin, xv. ISBN 978-0312018528. 
  29. ^ Shainblum, Mark (Sep 1996). "Star power: Star Trek, Star Wars book lines gear up as anniversaries loom". Quill and Quire. 
  30. ^ Brin, David and Matthew Woodring Stover, eds. (2006-06-28 id=ISBN 978-1932100891). Star Wars on Trial: Science Fiction and Fantasy Writers Debate the Most Popular Science Fiction Films of All Time. Benbella Books. 
  31. ^ Ball, Phillip (2002-02-18). Reality check foils Spider-Man (sub. req.). Nature.com. Retrieved on 2007-07-29.
  32. ^ "Hot cross fun; The small-screen tradition of the TV crossover just got bigger" (2006-06-05). Today. 
  33. ^ Weinman, Jamie J. (2007-03-26). "A risky amputation for Addison". Maclean's.