World-Building Immersion: A theoretical analysis of Imaginary Worlds
Introduction
This paper will aim to analyze the connection between Imaginary worlds and game narrative, world-building is one of the most important elements of a game, how world-building extends beyond storytelling, experience of fantasy as a performance that takes place between reality and imagination.
What is World-building? When you try to play a game, or watch a fiction genre, It Is the worldview setting is usually put at the initial stage of game world development, the story’s world is a crucial foundation to everything that takes place, is the orientation of fantasy world creation.
World Views are people’s general and fundamental views on the whole world and the relationship between people and the world.World View is the basic cognitive orientation of an individual or society, covering all knowledge and views of an individual or society.
For example, in “Micro world”, Lilliputians in Gulliver’s Travels may be the first thing that come out of your mind.
“A map of the world that does not include ‘Utopia’ is not worth even glancing at, for it leaves out the one country at which humanity is always landing”. By-Oscar Wilde, The Soul of Man under Socialism.
Thesis
To Integrate the social issues into the game world, by showing the various social phenomena, players can have a deeper understanding of the society and culture, which they can have a positive impact on today’s life. Between World-building and narration, how do they interact with the audience? and present the whole narrative structure to the audience? What kind of values and perspective does the game wants to transmit to players? How does the fantasy world link to the reality? to examination of how narratives set in the same world can interact and relate to one and another.
Openworld type of games, visual space plays a crucial role in story world. In (VR), narrative structure is even more obvious.
5 Keyword: History and Culture, Aesthetic, Mythology, Storytelling, World View, speculative fiction
Research Questions
- What is High fantasy? How can fantasy inspire us to live in the real world?
- What is Primary World and Secondary world?
- How can culture connotation bring better sense of empathy to players?
- How fantasy tropes can be both empowering and discriminatory?
thesis
Create an outline of 3 Chapter
3 Key issue, ideas, questions to address
3 Key quotes from your academic sources
3 examples that you can link to the chapter’s theme and key issue
Chapter1 primary world and secondary world
Chapter2 how can the fantasy world link into the reality?
While the player feel into the game while they can enjoy play the game, lead your emotion, what makes you want to keep immense into the game?
How to make a strong story telling but for the normal life
The story telling of it takes two
An inquiry of the trait of the metaphor in the story
The extension between the story and the reality
Important reference
“Flow” (Mihaly Csikszentmihalyi )in psychology, which make you state of great excitement and filling, flow is “a state in which people are so involved in an activity that nothing else seems to matte.
“Imagination is everything. It is the preview of life’s coming attractions.” (Albert Einstein)
Chapter
Chapter One: A theoretical analysis of Fantasy World
Worldview and Storytelling
World-building under Utopia and Dystopia
What is Primary World and Secondary world?
Chapter Two: World-Building within human cognition
How does fantasy inspire us of live in the real world?
History, Empathy, and Cultural Understanding
How fantasy tropes can be both empowering and discriminatory?
Media Analyze






Theoretical Texts

Humans have evolved special cognitive systems that enable us to participate in those worlds. we can, in short, pretend and deceive and imagine, have mental states about mental states.
Primary World and Secondary world
Primary world also defined as low fantasy, stories are set in the real world, or close to the real world, but contain some fictional fantasy elements. and high fantasy that is far from the real world. “The boundaries between a secondary world and the primary world are usually very distinct.” (Mark.J.P Wolf)
Bibliography
- “Open world” is from one of the design of gameplay, Sefton, Jamie. The roots of open-world games .GamesRadar .July 11, 2007
- “The Poetics of Space” by Gaston Bachelard,1884—1962
- “How Games Move Us” Katherine Isbister
- “The production of space”
- Storyplaying: “Agency and Narrative in Video Games” https://library.oapen.org/handle/20.500.12657/24643
- “Narrative as Virtual Reality” Ryan, marie-laure (2015) 2,1st Ed: johns hopkins university press
- “Building Imaginary Worlds” by Mark J. P. Wolf First published 2012 by Routledge