A sequel is a work of literature, film, theatre, television, music or video game that continues the story of, or expands upon, some earlier work. In the common context of a narrative work of fiction, a sequel portrays events set in the same fictional universe as an earlier work, usually chronologically following the events of that work.
In many cases, the sequel continues elements of the original story, often with the same characters and settings. A sequel can lead to a series, in which key elements appear repeatedly. Although the difference between more than one sequel and a series is somewhat arbitrary, it is clear that some media franchises have enough sequels to become a series, whether originally planned as such or not.[ citation needed ]
Sequels are attractive to creators and to publishers because there is less risk involved in returning to a story with known popularity rather than developing new and untested characters and settings. Audiences are sometimes eager for more stories about popular characters or settings, making the production of sequels financially appealing.
In movies, sequels are very common. There are many name formats for sequels. Sometimes, they either have unrelated titles or have a letter added on the end. More commonly, they have numbers at the end or have added words on the end.[ citation needed ] It is also common for a sequel to have a variation of the original title or have a subtitle. In the 1930s, many musical sequels had the year included in the title. Sometimes sequels are released with different titles in different countries, because of the perceived brand recognition. There are several ways that subsequent works can be related to the chronology of the original. Various neologisms have been coined to describe them.
The most common approach is for the events of the second work to directly follow the events of the first one, either resolving remaining plot threads or introducing a new conflict to drive the events of the second story. This is often called a direct sequel.
A legacy sequel is a work that follows the continuity of the original work(s), but takes place further along the timeline, often focusing on new characters with the original ones still present in the plot.Legacy sequels are sometimes also direct sequels that ignore previous installments entirely, effectively retconning preceding events. An example of this is Halloween (2018) which is a direct sequel to Halloween (1978). When a work is set in the same universe, yet has very little, if any, narrative connection to its predecessor, and can stand on its own without a thorough understanding of the series, the work can be referred to as a standalone sequel. Pirates of the Caribbean: On Stranger Tides , 2 Fast 2 Furious , Mad Max: Fury Road , Jumanji: Welcome to the Jungle , Son of the Mask , Cars 3 , The SpongeBob Movie: Sponge Out of Water , Spirit Untamed , Space Jam: A New Legacy and The Suicide Squad are examples of standalone movie sequels. A sequel to the first sequel might be referred to as a "third installment", a threequel, or a second sequel.
An installment that is made following the original product but portrays events prior those of the original work is called a prequel .Parallels, paraquels, or sidequels are stories that run at the same point in time within the timeline of the story. For example, in The Lion King 1½ , Timon and Pumbaa tell their adventures that took place during the events of The Lion King .
Midquel is a term used to refer to works which take place between events. There are two different types of midquels, interquels and intraquels.Interquels are stories that take place in between two preceding stories and serve as a sequel to one, and a prequel to another simultaneously. For example, if 'movie C' is an interquel of 'movies A' and 'B', the events of 'movie C' take place after the events of 'movie A', but before the events of 'movie B'. Rogue One of the Star Wars Saga is an "interquel" since it takes place between Star Wars: Episode III – Revenge of the Sith and Star Wars: Episode IV – A New Hope . Intraquels on the other hand are works which focus on events that place between the events of a single film. Examples include Beauty and the Beast: The Enchanted Christmas which takes place during Christmas between the beginning and the end of Beauty and the Beast , and Bambi II , which takes place during the gap between the death of Bambi's mother and the character's reappearance as a young adult in Bambi . Other Disney films like The Fox and the Hound 2 are additional examples of this type of sequel.
In The Afterlife of a Character, David Brewer describes a reader's desire to "see more", or to know what happens next in the narrative after it has ended.
The origin of the sequel as it is conceived in the 21st century developed from the novella and romance traditions in a slow process that culminated towards the end of the 17th century.
The substantial shift toward a rapidly growing print culture and the rise of the market system by the early 18th-century meant that an author's merit and livelihood became increasingly linked to the number of copies of a work he or she could sell. This shift from a text-based to an author-centered reading cultureled to the "professionalization" of the author — that is, the development of a "sense of identity based on a marketable skill and on supplying to a defined public a specialized service it was demanding." In one sense, then, sequels became a means to profit further from previous work that had already obtained some measure of commercial success. As the establishment of a readership became increasingly important to the economic viability of authorship, sequels offered a means to establish a recurring economic outlet.
In addition to serving economic profit, the sequel was also used as a method to strengthen an author's claim to his literary property. With weak copyright laws and unscrupulous booksellers willing to sell whatever they could, in some cases the only way to prove ownership of a text was to produce another like it. Sequels in this sense are rather limited in scope, as the authors are focused on producing "more of the same" to defend their "literary paternity".As is true throughout history, sequels to novels provided an opportunity for authors to interact with a readership. This became especially important in the economy of the 18th century novel, in which authors often maintained readership by drawing readers back with the promise of more of what they liked from the original. With sequels, therefore, came the implicit division of readers by authors into the categories of "desirable" and "undesirable"—that is, those who interpret the text in a way unsanctioned by the author. Only after having achieved a significant reader base would an author feel free to alienate or ignore the "undesirable" readers.
This concept of "undesirable" readers extends to unofficial sequels with the 18th century novel. While in certain historical contexts unofficial sequels were actually the norm (for an example, see Arthurian literature), with the emphasis on the author function that arises in conjunction with the novel many authors began to see these kinds of unauthorized extensions as being in direct conflict with authorial authority. In the matter of Don Quixote (an early novel, perhaps better classified as a satirical romance), for example, Cervantes disapproved of Alonso Fernández de Avellaneda's use of his characters in Second Volume of the Ingenious Gentleman Don Quixote of La Mancha, an unauthorized sequel. In response, Cervantes very firmly kills the protagonist at the end of the Second Part to discourage any more such creative liberties.Another example is Samuel Richardson, an 18th-century author who responded particularly strongly against the appropriation of his material by unauthorized third parties. Richardson was extremely vocal in his disapproval of the way the protagonist of his novel Pamela was repeatedly incorporated into unauthorized sequels featuring particularly lewd plots. The most famous of these is Henry Fielding's parody, entitled Shamela .
In To Renew Their Former Acquaintance: Print, Gender, and Some Eighteenth Century Sequels, Betty Schellenberg theorizes that whereas for male writers in the 18th century sequels often served as "models of paternity and property", for women writers these models were more likely to be seen as transgressive. Instead, the recurring readership created by sequels let female writers function within the model of "familiar acquaintances reunited to enjoy the mutual pleasures of conversation", and made their writing an "activity within a private, non-economic sphere". Through this created perception women writers were able to break into the economic sphere and "enhance their professional status" through authorship.
Dissociated from the motives of profit and therefore unrestrained by the need for continuity felt by male writers, Schellenberg argues that female-authored sequel fiction tended to have a much broader scope.[ citation needed ] He says that women writers showed an "innovative freedom" that male writers rejected to "protect their patrimony". For example, Sarah Fielding's Adventures of David Simple and its sequels Familiar Letters between the Principal Characters in David Simple and David Simple, Volume the Last are extremely innovative and cover almost the entire range of popular narrative styles of the 18th century.
This section needs expansion. You can help by adding to it. (January 2018)
As the cost of developing a triple-A video game has risen,sequels have become increasingly common in the video game industry. Today, new installments of established brands make up much of the new releases from mainstream publishers and provide a reliable source of revenue, smoothing out market volatility. Sequels are often perceived to be safer than original titles because they can draw from the same customer base, and generally keep to the formula that made the previous game successful.
In some cases, the characters or the settings of an original film or video game become so valuable that they develop into a series, lately referred to as a media franchise. Generally, a whole series of sequels is made, along with merchandising. Multiple sequels are often planned well in advance, and actors and directors may sign extended contracts to ensure their participation. This can extend into a series/ franchise's initial production's plot to provide story material to develop for sequels called sequel hooks.
Movie sequels do not always do as well at the box office as the original, but they tend to do better than non-sequels, according to a study in the July 2008 issue of the Journal of Business Research. The shorter the period between releases, the better the sequel does at the box office. Sequels also show a faster drop in weekly revenues relative to non-sequels.
Sequels are most often produced in the same medium as the previous work (e.g. a film sequel is usually a sequel to another film). Producing sequels to a work in another medium has recently become common, especially when the new medium is less costly or time-consuming to produce.
A sequel to a popular but discontinued television series may be produced in another medium, thereby bypassing whatever factors led to the series' cancellation.
Some highly popular movies and television series have inspired the production of multiple novel sequels, sometimes rivaling or even dwarfing the volume of works in the original medium.
For example, the 1956 novel The Hundred and One Dalmatians , its 1961 animated adaptation and that film's 1996 live-action remake each have a sequel unrelated to the other sequels: respectively The Starlight Barking (1967), 101 Dalmatians II: Patch's London Adventure (2003, direct to video) and 102 Dalmatians (2000).
Sometimes sequels are produced without the consent of the creator of the original work. These may be dubbed unofficial, informal, unauthorized, or illegitimate sequels. In some cases, the work is in the public domain, and there is no legal obstacle to producing sequels. An example would be books and films serving as sequels to the book The Wonderful Wizard of Oz, which is in the public domain (as opposed to its 1939 film adaptation). In other cases, the original creator or their heirs may assert copyrights, and challenge the creators of the sequels.
Retroactive continuity, or retcon for short, is a literary device in which established diegetic facts in the plot of a fictional work are adjusted, ignored, or contradicted by a subsequently published work which breaks continuity with the former.
Historical fiction is a literary genre in which the plot takes place in a setting located in the past. Although the term is commonly used as a synonym for the historical novel, it can also be applied to other types of narrative, including theatre, opera, cinema, and television, as well as video games and graphic novels.
A first-person narrative is a mode of storytelling in which a storyteller recounts events from their own point of view using the first person such as "I", "us", "our" and "ourselves". It may be narrated by a first person protagonist, first person re-teller, first person witness, or first person peripheral. A classic example of a first person protagonist narrator is Charlotte Brontë's Jane Eyre (1847), in which the title character is also the narrator telling her own story, "I could not unlove him now, merely because I found that he had ceased to notice me".
A story within a story, also referred to as an embedded narrative, is a literary device in which a character within a story becomes the narrator of a second story. Multiple layers of stories within stories are sometimes called nested stories. A play may have a brief play within it, such as Shakespeare's play Hamlet; a film may show the characters watching a short film; or a novel may contain a short story within the novel. A story within a story can be used in all types of narration: novels, short stories, plays, television programs, films, poems, songs, and philosophical essays.
Nick and Nora Charles are fictional characters created by Dashiell Hammett in his novel The Thin Man. The characters were later adapted for film in a series of films between 1934 and 1947; for radio from 1941 to 1950; for television from 1957 through 1959; as a Broadway musical in 1991; and as a stage play in 2009.
A prequel is a literary, dramatic or cinematic work whose story precedes that of a previous work, by focusing on events that occur before the original narrative. A prequel is a work that forms part of a backstory to the preceding work.
A backstory, background story, back-story, or background is a set of events invented for a plot, presented as preceding and leading up to that plot. It is a literary device of a narrative history all chronologically earlier than the narrative of primary interest.
Heidi is a work of children's fiction published in 1881 by Swiss author Johanna Spyri, originally published in two parts as Heidi: Her Years of Wandering and Learning and Heidi: How She Used What She Learned . It is a novel about the events in the life of a 5-year-old girl in her paternal grandfather's care in the Swiss Alps. It was written as a book "for children and those who love children".
Johanna Louise Spyri was a Swiss author of novels, notably children's stories, and is best known for her book Heidi. Born in Hirzel, a rural area in the canton of Zurich, Switzerland, as a child she spent several summers near Chur in Graubünden, the setting she later would use in her novels.
Narrative structure is a literary element generally described as the structural framework that underlies the order and manner in which a narrative is presented to a reader, listener, or viewer. The narrative text structures are the plot and the setting.
In fiction, canon is the material accepted as officially part of the story in an individual universe of that story. It is often contrasted with, or used as the basis for, works of fan fiction. The alternative terms mythology, timeline, universe and continuity are often used, with the first of these being used especially to refer to a richly detailed fictional canon requiring a large degree of suspension of disbelief, while the latter two typically refer to a single arc where all events are directly connected chronologically. Other times, the word can mean "to be acknowledged by the creator(s)".
A film adaptation is the transfer of a work or story, in whole or in part, to a feature film. Although often considered a type of derivative work, film adaptation has been conceptualized recently by academic scholars such as Robert Stam as a dialogic process.
A parallel novel is an in-universe pastiche piece of literature written within, derived from, or taking place during the framework of another work of fiction by the same or another author with respect to continuity. Parallel novels or "reimagined classics" are works of fiction that "borrow a character and fill in his story, mirror an 'old' plot, or blend the characters of one book with those of another". These stories further the works of already well-known novels by focusing on a minor character and making them the major character. The revised stories may have the same setting and time frame and even the same characters.
Transmedia storytelling is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies.
A shared universe or shared world is a fictional universe from a set of creative works where more than one writer independently contributes a work 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.
Fan fiction or fanfiction is fictional writing written in an amateur capacity as fans, unauthorized by, but based on an existing work of fiction. The author uses copyrighted characters, settings, or other intellectual properties from the original creator(s) as a basis for their writing. Fan fiction ranges from a couple of sentences to an entire novel, and fans can both keep the creator's characters and settings and/or add their own. It is a form of fan labor. Fan fiction can be based on any fictional subject. Common bases for fan fiction include novels, movies, musical groups, cartoons, anime, manga, and video games.
A parody, also called a spoof, a send-up, a take-off, a lampoon, a play on (something), or a caricature, is a creative work designed to imitate, comment on, and/or make fun of its subject by means of satiric or ironic imitation. Often its subject is an original work or some aspect of it — theme/content, author, style, etc. But a parody can also be about a real-life person, event, or movement. Literary scholar Professor Simon Dentith defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice". The literary theorist Linda Hutcheon said "parody ... is imitation, not always at the expense of the parodied text." Parody may be found in art or culture, including literature, music, theater, television and film, animation, and gaming. Some parody is practiced in theater.
A motion comic is a form of animation combining elements of print comic books and animation. Individual panels are expanded into a full shot while sound effects, voice acting, and animation are added to the original artwork. Text boxes, speech bubbles and the onomatopoeia are typically removed to feature more of the original artwork being animated. Motion comics are often released as short serials covering a story arc of a long running series or animating a single release of a graphic novel. Single release issues of a story arc are converted into ten- to twenty-minute-long episodes depending on content.
Jane Austen fan fiction is the collection of numerous sequels and spin-offs produced by authors who have either used the plot of Austen's original novels, or have extended them, to produce new works of fiction. Austen's posthumous popularity has inspired fan fiction that runs the gamut through numerous genres, but the most concentrated medium has remained the novel. According to Pucci and Thompson in their 2003 survey on the contemporary evolution of Jane Austen's work, at the turn of the 20th century, over one hundred sequels, rewritings, and continuations of her novels had been published.
Prequels focus on the action that took place before the original narrative. For instance, in Star Wars: Episode III – Revenge of the Sith the audience learns about how Darth Vader originally became a villain. A prequel assumes that the audience is familiar with the original—the audience must rework the narrative so that they can understand how the prequel leads up to the beginning of the original.
Of particular interest to me in this essay is the shift from a text-based to an author-based culture, accompanied by a developing elevation of the original author over the imitative one.
The trajectory line for triple-A games ... goes up tenfold every 10 years and has since at least 1995 or so ...
|Look up sequel , threequel , or interquel in Wiktionary, the free dictionary.|