Fictional universe in the context of "Shared universe"

Verisimilitude (/ˌvɛrɪsɪˈmɪlɪtjuːd/) is the "lifelikeness" or believability of a work of fiction. The word comes from Latin: verum meaning truth and similis meaning similar. Language philosopher Steve Neale distinguishes between two types: cultural verisimilitude, meaning plausibility of the fictional work within the cultural and/or historical context of the real world, outside of the work; and generic verisimilitude, meaning plausibility of a fictional work within the bounds of its own genre (so that, for example, characters regularly singing about their feelings is a believable action within the fictional universe of a musical).

Fantasy is a genre of speculative fiction that involves supernatural or magical elements, often including completely imaginary realms and creatures.

The genre's roots lie in fantasy literature and drama. From the twentieth century onward, it has expanded into various media, including film, television, graphic novels, manga, animation, and video games.

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.

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. The difference between more than one sequel and a series is somewhat arbitrary.

In J. K. Rowling's Harry Potter series, a Muggle (/ˈmʌɡəl/) is a person who lacks any sort of magical ability and was not born in a magical family. Muggles can also be described as people who do not have any magical blood inside them. It differs from the term Squib, which refers to a person with one or more magical parents yet without any magical power or ability, and from the term Muggle-born (or the derogatory and offensive term mudblood, which is used to imply the supposed impurity of Muggle blood), which refers to a person with magical abilities but with non-magical parents. Equivalent terms used by the in-universe magic community of the United States include No-Maj and No-Majs (short for "no magic"); French equivalents are Non-Magiques and No-Majes. Other terms are Can't-Spells and Non-Wizards.

The Mickey Mouse universe is a fictional shared universe which is the setting for stories involving Disney cartoon characters, including Mickey and Minnie Mouse, Donald and Daisy Duck, Goofy and Pluto as the primary members (colloquially known as the "Sensational Six"), and many other characters related to them, most of them being anthropomorphic animals. The universe originated from the Mickey Mouse animated short films produced by Disney starting in 1928, although its first consistent version was created by Floyd Gottfredson in the Mickey Mouse newspaper comic strip. Real-world versions also exist in Disneyland and Tokyo Disneyland, called Mickey's Toontown. The term "Mickey Mouse universe" is not officially used by The Walt Disney Company, but it has been used by Disney comics author and animation historian David Gerstein. The Walt Disney Company typically uses terms such as Mickey & Friends or Mickey & the Gang to refer to the character franchise.

Since 1990, the city in which Mickey lives is typically called Mouseton in American comics. In modern continuity, Mouseton is often depicted as being located in the fictional U.S. state of Calisota, analogous to Northern California. This fictional state was invented by comics writer Carl Barks in 1952 as the location for Donald Duck's home city, Duckburg.

Climate fiction (sometimes shortened to cli-fi) is literature that deals with climate change. Generally speculative in nature but inspired by climate science, works of climate fiction may take place in the world as we know it, in the near future, or in fictional worlds experiencing climate change. The genre frequently includes science fiction and dystopian or utopian themes, imagining potential futures based on research about the impacts of climate change and speculations about how humans may respond to these and the problem of climate change. Climate fiction typically involves anthropogenic climate change and other environmental issues as opposed to weather and disaster more generally. Technologies such as climate engineering or climate adaptation practices often feature prominently in works exploring their impacts on society.

The term "cli-fi" is generally credited to freelance news reporter and climate activist Dan Bloom, who coined it in either 2007 or 2008. References to "climate fiction" appear to have begun in the 2010s, although the term has also been retroactively applied to a number of works. Pioneering 20th century authors of climate fiction include J. G. Ballard and Octavia E. Butler, while dystopian fiction from Margaret Atwood is often cited as an immediate precursor to the genre's emergence. Since 2010, prominent cli-fi authors include Kim Stanley Robinson, Richard Powers, Paolo Bacigalupi, and Barbara Kingsolver. The publication of Robinson's The Ministry for the Future in 2020 helped cement the genre's emergence; the work generated presidential and United Nations mentions and an invitation for Robinson to meet planners at the Pentagon.

Star Trek: A Time to... is a series of nine novels set in the fictional universe of Star Trek: The Next Generation. It deals with the ship and crew of the Enterprise (NCC-1701-E) between the events of the films Star Trek: Insurrection (1998) and Star Trek Nemesis (2002). The series includes explanations for some apparent continuity problems between these films.

For the first eight books, successive pairs of books each provide one story arc; the ninth book is a stand-alone story. The series continues, with each book directly following the last event when a story arc has finished. All nine novels in the series were published in 2004.

In J. R. R. Tolkien's legendarium, the history of Arda, also called the history of Middle-earth, began when the Ainur entered Arda, following the creation events in the Ainulindalë and long ages of labour throughout Eä, the fictional universe. Time from that point was measured using Valian Years, though the subsequent history of Arda was divided into three time periods using different years, known as the Years of the Lamps, the Years of the Trees, and the Years of the Sun. A separate, overlapping chronology divides the history into 'Ages of the Children of Ilúvatar'. The first such Age began with the Awakening of the Elves during the Years of the Trees and continued for the first six centuries of the Years of the Sun. All the subsequent Ages took place during the Years of the Sun. Most Middle-earth stories take place in the first three Ages of the Children of Ilúvatar.

Major themes of the history are the divine creation of the world, followed by the splintering of the created light as different wills come into conflict. Scholars have noted the biblical echoes of God, Satan, and the fall of man here, rooted in Tolkien's own Christian faith. Arda is, as critics have noted, "our own green and solid Earth at some quite remote epoch in the past." As such, it has not only an immediate story but a history, and the whole thing is an "imagined prehistory" of the Earth as it is now.