Some cursory research into the term worldbuilding will provide the description for an exercise in constructing a different world than the one we live in. It could take on the aspects of fantasy such as the world of The Lord of the Rings trilogy, or the role-playing game of Dungeons and Dragons, or it could be a fictional universe akin to the worlds of the Star Wars series of movies and books. In fact, any imaginary world, past or present, could qualify for the worldbuilding description. Whatever genre it assumes, good worldbuilding requires a significant amount of thought. Things like culture, politics, technology, social issues, health, and even human interaction are things to be considered and crafted. Since the author is creating a fictional universe and establishing all the rules, I really can’t imagine a science fiction writer doing anything less to assemble a coherent story.
I wrote The Lightstream Chronicles in the spring of 2011, originally as a screenplay, and then converted it into a graphic novel script shortly thereafter. As part of the exercise, I created a timeline that brought the world from 2011 to 2159 taking into account, (broadly at first then gradually adding detail) the geopolitical environment, technology, tools, society, culture and even some wild cards thrown in. Much of this appears in the first few episodes (pages) of the story (Season 1) but considerably more detail is available by accessing the backstory link on the LSC site. Nevertheless, since the production of all the episodes is still in the works, the process of worldbuilding continues as I sort out increasing levels of minutiae as it applies to all of the above.
A key motivating factor in my creative process is also the center of my research, namely how design and technology affect us as human beings. Design affects culture and culture affects design. Because culture is a hefty composite of our beliefs, behaviors, hopes, dreams, and humanity, it is my assertion that design and its conjoined twin technology, in many ways are becoming the primary sculptors of our culture.
I’ve come to view some version of the worldbuilding exercise as almost a prerequisite to design. If designecnology does have such a profound impact on culture and all of its entanglements, can design really afford to move into the future without considering these larger implications?
Perhaps this is something for my next academic paper.