Fiction Networks: The Emergence of Proprietary, Persistent, Large ...

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The point of focus is on the network as a whole, on the array of global versions and their interactions. This is, indeed, the subject of the first page of the series: multiple iterations of Earth and its moon, juxtaposed with the caption “A multiverse of worlds vibrating and replicating… and a multiverse that should have been one, became many” (Wolfman et al. 11) At the same time as the narrative summarizes this multivocal system, however, it erases that multivocality by fiat; the second page of Crisis shows an unstoppable force destroying a universe and an Earth. This force is an encroaching whiteness, a “white energy that looked a lot like the blank page taking over” (Klock 21). This white energy is not only presented to us on an impersonal, cosmic level; we are shown cities, crowds of panicking people, children being erased. 134
From Crisis on Infinite Earths (Wolfman et al. 18) As the series progresses, more and more universes are exposed to this erasure, including universes created on the spot only for the sake of erasure. By the end of Crisis on Infinite Earths, major characters have been killed, and others had been disavowed altogether, 135
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Copyright by Jason Todd Craft 2004
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Fiction Networks: The Emergence of
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Acknowledgements Many thanks to my
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- “comics universes” and persis
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Grant Morrison and Animal Man .....
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Chapter 1: Fiction Networks This wo
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independent from its manifestation
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espects the prosaics of the phenome
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simple, self-contained and episodic
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America (RIAA) and an American cult
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as a media technology. Even as the
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Beyond that analysis of popular ico
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participation. From the broadest vi
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of reproduction,” to use Andre Ma
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art, and cinema. Comics can be seen
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Everquest on a Midi-tower Windows m
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experience through the interaction
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hire, readers, reception communitie
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conceptual frame,” and that Grams
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inherent in clothing or, by McCrack
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exactly concretized “objects” t
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state of dialectic that does not re
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We tend to think of this serial del
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These “revived romances” and th
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I argue in the fourth chapter of th
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discrete works into a larger, ongoi
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audience; the narrative of Superman
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ecognizable fictional space, that r
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for adolescence, social change, and
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These fiction networks, I would arg
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oaming across the desert floor will
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The Matrix, on the other hand, clea
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illustration of the characteristics
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ideas of intellectual property. Eve
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perspective, they cannot stand alon
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complex, large-scale designed syste
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Again, this argument may present a
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Chapter 2: Genres, Fictional Worlds
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salience or independence that can e
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occur on multiple levels, and can g
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Though Pavel deals with the mythica
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network. The network is both a repr
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While genre in the Bakhtinian frame
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performs a function of representati
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Topical Genres In reading a fiction
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the reader will not only understand
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Page 111 and 112: Inc. DC Comics, originally known as
Page 113 and 114: Continuity manifests itself both wi
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Page 127 and 128: Approach to a Literary Genre, Tzvet
Page 129 and 130: poor or mediocre artifacts. However
Page 131 and 132: cross-company “crossover” artif
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Page 135 and 136: the process of their formation, the
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Page 139 and 140: Superman, Wonder Woman, Batman - ha
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Page 143: dystopias and talking chimpanzees a
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Page 149 and 150: This nexus of productive categories
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Page 163 and 164: From “Fox on the Run” (Morrison
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Page 169 and 170: Superman’s iterations: created by
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Page 177 and 178: Chapter 4: Persistent Worlds Immers
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Page 189 and 190: inherently contradictory notion. Th
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It also challenges current ludologi
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contest seems inadequate to describ
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making manifested in a fiction. Lik
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experience of persistent world game
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Still, such social structures, howe
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itself: many mythologies of persist
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fictional space consisting currentl
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and creating a new one. That new av
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Fiction networks generate a diversi
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fiction networks, such as Star Wars
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membership in a subset of the commu
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company of both, was that The Sims
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Episode 1: The Phantom Menace as a
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fiction; the space of the persisten
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oth as a canon and as a fictional t
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one’s FSCS is not fully documente
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“Continuity” here not only spea
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fundamental divergences of the pers
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this writer frames the argument out
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These arguments, like any, rest on
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having an infinite number of advent
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they create and share in the value
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understandings of the literary. The
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And we should not be too quick to d
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network is often considered abject,
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emergent: traceable, in retrospect,
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IN CONCLUSION In this dissertation
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correspondence have not yet account
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---. "Forms of Time and of the Chro
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Darley, Andrew. Visual Digital Cult
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Kosak, Dave "Fargo". The Branded Wo
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Ness, Alexander. Grant Morrison Int
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Suler, John, and W. Phillips. The B
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Vita Jason Todd Craft, the son of J
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