![]() ![]() Addison only reduces context to the scope of a chamber play (only disregarding the number of participants and decorum). ![]() in KSR's 2312, and ending in a huge range of history and universe like in Herbert's Dune series.įrom small planet to the whole universe, world-building is defined by the used context. Going outside the scope of one planet seems to be the topic of Space Operas - starting with the solar system, e.g. They usually don't talk about the whole universe, other planets or longer timelines - Middle-Earth with its cosmology and detailed history of thousands of years being one notable exception. But gaming settings like Dungeons and Dragons, MMORPGs like World of Warcraft.Īlthough they describe a far wider topic than only one palace, they are restricted - usually to one continent or one planet. Good samples would be Tolien's Middle-Earth, Terry Pratchett's Discworld, Le Guin's Earthsea. This is an interesting deviation from usual Fantasy, where world-building is defined by describing cultures, cosmology, history, ecology, and geography. Within this context, Addison broadly describes the setting. ![]() Having read a third, I come to the impression that the novel is a chamber play, restricted on a couple of rooms within the palace. ![]() When I started reading, I expected some exploration of the world, lots of foreign ambassadors, maybe wars. ![]()
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