The following is an interview with Mur Lafferty of Angry Robot Books’ Worldbuilder (recently profiled here at SSW). Mur shares her thoughts on collaborative entertainment and why she’s passionate about audience participation.
Bob Chapin shares his inspiration for the shared story world, The Hunted, a project that’s been running for over a decade. Bob also talks about lessons learned while overseeing this project, how the budgetary practicalities shaped the world mythology, why he says to give up chasing the illusion of control, and how even he had no idea what he was starting when he launched The Hunted.
SSWs present some very interesting opportunities (and challenges) from a copyright perspective. As soon as you allow the remixing of content in your SSW, whether it’s content you created or submitted content you published, you have to decide what kind of legal license framework you want. Ideally, this will be shaped by your goals for the SSW and the kind of experience you want to create for audiences. And, ideally, you’ll seek legal guidance from an attorney.
Some creatives want to maximize collaboration and remixing of content, so they construct legal frameworks that support this kind of SSW. Others prefer a more conservative approach (e.g., the SSW owner retains complete control over all content) with select invitations for audiences to contribute being issued in very managed and controlled ways.
Whatever you decide, default copyright is both country- and state/province-specific, so you’ll need to get appropriate legal advice on what applies to you and your SSW.
It began as a simple class project. The students of Beckinfield High School asked citizens to record video diaries. Their goal was to share small-town life through the eyes of its residents. The townsfolk took to this right away, uploading self-recorded video glimpses into their very private lives.
A self-described “mass participation TV” project from Theatrics, “Beckinfield” offers anyone the opportunity to contribute to an on-going shared world.
I use role-playing game development as a way to build setting. A shared world needs setting – locations, landscapes, and institutions that characters can interact with, that can ignite and illuminate their stories. When you’re writing a story, setting elements can arise naturally, as the story proceeds, but developing these attributes without the engine of a plot can be challenging. By taking a queue from role-playing game development, you can more easily craft elements that draw players/readers in, and in turn inspire their stories and contributions.
It was the last great science hero fight, but the energy blast ripped a hole in reality, and birthed the Empire State – a young, twisted parallel prohibition-era New York.
When the rift starts to close, both worlds are threatened, and both must fight for the right to exist.