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Fictional languages are the subset of constructed languages (conlangs) that have been created as part of a fictional setting. Typically they are the creation of one individual, while natural languages evolve out of a particular culture or people group, and other conlangs may have group involvement. Fictional languages are also distinct from natural languages in that they have no native speakers. By contrast, the constructed language of Esperanto now has native speakers.
In the fictional universe of Star Trek, Section 31 is an autonomous intelligence and defense organization that carries out covert operations for the United Federation of Planets. Created by Ira Steven Behr for the Star Trek: Deep Space Nine episode "Inquisition", the organization was intended to act as a counterbalance to the utopian portrayal of the Federation.
Michael Dorn is an American actor best known for his role as the Klingon character Worf in the Star Trek franchise, appearing in all seven seasons of the television series Star Trek: The Next Generation (1987–1994), and later reprising the role in seasons four through seven of Star Trek: Deep Space Nine (1995–1999) and season three of Star Trek: Picard (2023). Dorn has appeared more times as a regular cast member than any other Star Trek actor in the franchise's history, spanning five films and 284 television episodes.
The canon of a work of fiction is "the body of works taking place in a particular fictional world that are widely considered to be official or authoritative; [especially] those created by the original author or developer of the world". Canon is contrasted with, or used as the basis for, works of fan fiction and other derivative works.
The term expanded universe, sometimes called an extended universe, is generally used to denote the "extension" of a media franchise with other media, generally comics and original novels. This typically involves new stories for existing characters already developed within the franchise, but in some cases entirely new characters and complex mythology are developed. This is not necessarily the same as an adaptation, which is a retelling of the same story that may or may not adhere to the accepted canon. It is contrasted with a sequel that merely continues the previous narrative in a linear sequence. Nearly every media franchise with a committed fan base has some form of expanded universe.
A media franchise, also known as a multimedia franchise, is a collection of related media in which several derivative works have been produced from an original creative work of fiction, such as a film, a work of literature, a television program, or a video game. Bob Iger, chief executive of the Walt Disney Company, defined the word franchise as "something that creates value across multiple businesses and across multiple territories over a long period of time.”
In science fiction and fantasy literatures, the term insectoid ("insect-like") denotes any fantastical fictional creature sharing physical or other traits with ordinary insects. Most frequently, insect-like or spider-like extraterrestrial life forms is meant; in such cases convergent evolution may presumably be responsible for the existence of such creatures. Occasionally, an earth-bound setting — such as in the film The Fly (1958), in which a scientist is accidentally transformed into a grotesque human–fly hybrid, or Kafka's famous novella The Metamorphosis (1915), which does not bother to explain how a man becomes an enormous insect — is the venue.
In 1966, Bantam Books acquired the license to publish tie-in fiction based on the science fiction television series Star Trek.
Star Trek is an American science fiction media franchise created by Gene Roddenberry, which began with the series of the same name and became a worldwide pop-culture phenomenon. Since its creation, the franchise has expanded into various films, television series, video games, novels, and comic books, and it has become one of the most recognizable and highest-grossing media franchises of all time.
Voyages of Imagination: The Star Trek Fiction Companion (2006) is a reference work by Jeff Ayers published by Pocket Books. The book contains entries on the production and publication of Star Trek tie-in novels published from 1967 to 2006. Included are brief synopses of plots for each featured novel.
A shared universe or shared world is a fictional universe from a set of creative works where one or more writers independently contribute works that can stand alone but fits into the joint development of the storyline, characters, or world of the overall project. It is common in genres like science fiction. It differs from collaborative writing in which multiple artists are working together on the same work and from crossovers where the works and characters are independent except for a single meeting.
Space opera is a subgenre of science fiction that emphasizes space warfare, with use of melodramatic, risk-taking space adventures, relationships, and chivalric romance. Set mainly or entirely in outer space, it features technological and social advancements in faster-than-light travel, futuristic weapons, and sophisticated technology, on a backdrop of galactic empires and interstellar wars with fictional aliens, often in fictional galaxies. The term does not refer to opera music, but instead originally referred to the melodrama, scope, and formulaic stories of operas, much as used in "horse opera", a 1930s phrase for a clichéd and formulaic Western film, and "soap opera", a melodramatic domestic drama. Space operas emerged in the 1930s and continue to be produced in literature, film, comics, television, video games and board games.
The following outline is provided as an overview of and topical guide to Star Trek:
A multimedia franchise is a media franchise for which installments exist in multiple forms of media, such as books, comics, films, television series, animated series and video games. Multimedia franchises usually develop due to the popularization of an original creative work, and then its expansion to other media through licensing agreements, with respect to intellectual property in the franchise's characters and settings, although the trend later developed wherein franchises would be launched in multiple forms of media simultaneously.
References
- ↑ Noble, Barnes &. "Online Bookstore: Books, NOOK ebooks, Music, Movies & Toys". Barnes & Noble.
- ↑ "Winx Club Magazine (Volume) - Comic Vine". comicvine.com.
- ↑ "Winx Club: The Mystery of the Abyss" – via www.imdb.com.
- ↑ Andreeva, Nellie (September 25, 2014). "Netflix Orders 'Winx Club' Spinoff Series". Deadline.
- ↑ "Winx Club Dolls Mattel - eBay". eBay.
- ↑ "Winx Club CD: CDS | eBay". Archived from the original on 2014-03-21. Retrieved 2014-03-21.
- ↑ ISBN 9780330237598 – Piccolo/Pan, London–1973.
- ↑ Miles Booy, Love and Monsters: The Doctor Who Experience, 1979 to the Present (2012), p. 155, ISBN 184885479X: "If treating the programme as a multimedia franchise – and at this point it becomes hard to think of it as anything else – is a good thing, then this was the point where the BBC began to connect the dots".
- ↑ Clarke, Roy; Roger Mahoney (December 1983). Last of the Summer Wine. Express Books. ISBN 0-85079-136-7.
- ↑ Mark Clark, Star Trek FAQ: Everything Left to Know about the First Voyages of the Starship Enterprise (2012), p. 1, ISBN 1557839638: "Star Trek, which once struggled to survive from one season to the next, has become immortal—and, beyond that, inescapable. The series, and the multimedia franchise that grew from it, is now woven inextricably into the fabric of America and the world".
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