This last weekend I had a great time at Cosine Comic-con. I was on several panels as both participant and moderator and sat in on a number of great discussions. As always, I try to record some of the panels that I think might be helpful for writing or a good resource for people. You can find the recording of, Adding Diversity to your Writing, below. This panel included myself and the following panelists:
Betsy Dornbusch writes epic fantasy, and has dabbled in science fiction, thrillers, and erotica. Her short fiction has appeared in over twenty magazines and anthologies, and she’s the author of three novellas. Her first fantasy novel came out in 2012 and her latest trilogy, Books of the Seven Eyes, wrapped up with Enemy in 2017. The Silver Scar, a standalone future fantasy novel, was called “a spellbinding saga” by Publisher’s Weekly.
Thea Hutcheson explores far away lands full of magic and science with one hand holding hope and the other full of wonder while she burns up pages with lust, leather, and latex, brimming over with juicy bits. She lives in an economically depressed, unscenic, nearly historic small city in Colorado. She is a factotum when she is filling the time between bouts at the computer.
Martha Wells has been an SF/F writer since her first fantasy novel was published in 1993, and her work includes The Books of the Raksura series, The Death of the Necromancer, the Fall of Ile-Rien trilogy, The Murderbot Diaries series, media tie-in fiction for Star Wars, Stargate: Atlantis, and Magic: the Gathering, as well as short fiction, YA novels, and non-fiction. She has won Nebula Awards, Hugo Awards, and Locus Awards, and her work has appeared on the Philip K. Dick Award ballot, the BSFA Award ballot, the USA Today Bestseller List, and the New York Times Bestseller List. She is a member of the Texas Literary Hall of Fame, and her books have been published in twenty-two languages.
Recently, the editor of Anthropology News reached out to me and asked me if I would contribute an article for their fall magazine. The result was How to Build A Complex Character With Anthropology. I was really honored to be a part of AAA news since I’ve been reading and engaging with their content for a number of years.
A few weeks ago, my co-author Kyra Wellstrom and I recorded an episode with Indie Book Talk. The podcast episode was a lot of fun. We talked about worldbuilding, anthropology, and writing more generally. The episode is on the shorter side (only 24 minutes) so it’s a great discussion of the lot of the things we do in a quick and interesting episode. The episode came out this morning!
Why Your Narrative Design Team Needs an Anthropologist
By Michael Kilman, M.S. Applied Anthropology
I’m an avid gamer and science fiction author. I’m also an anthropologist with over a decade of teaching, fieldwork, and consulting experience. So for me, worldbuilding is everything. A bad worldbuild kills my immersion immediately. And as audiences grow more sophisticated, I hear this more and more from gamers, readers, and filmmakers too.
Which raises a question: why do so many fictional worlds still feel hollow?
Part of the answer is that most narrative design teams are missing a specific skill set, someone trained to see culture as a living, integrated system. Characters across games aren’t just copies of western identity, there are distinct ways of knowing the world that don’t always translate easily across culture. That’s missing skill set is anthropology.
Below are six reasons why bringing anthropological thinking into your narrative design process can transform the worlds you build.
1. Holism: Everything Is Connected
One of anthropology’s foundational concepts is holism. It’s the idea that culture is an integrated system. If you change one facet of culture, you change everything. Think of chaos theory’s butterfly effect: small shifts ripple outward in unexpected ways.
Applied to worldbuilding, this means your fictional economic system, your family structures, your political arrangements, your religion, your ethnic identities, your people’s relationship to death, their biology, their environment, all of these are deeply interrelated. They shape systems of power, freedom, and oppression. When you’re building a fictional world, a holistic framework helps you understand how those relationships create meaning, consequence, and true complexity.
Anthropologists are trained to hold this complexity. We work at the intersection of biology, environment, social structure, language, and culture. This big-picture thinking is exactly what most narrative design processes are missing.
2. More Immersive and Realistic Cause-and-Effect
Creating a believable fictional world means thinking carefully about the causes and consequences of every major action. This isn’t just true for individual characters, but the culture as a whole. The most compelling games and narratives are often the ones that let player choices ripple outward in culturally coherent ways.
Imagine if your protagonist made an alliance early in a game with a faction. This alliance created real, culture-wide changes throughout the narrative. This isn’t just a change in character relationships, I’m talking about changing the religion, economics, political system, or maybe even language of your world later in the game. That’s where anthropology comes in. Anthropologists have more than a century of research on how cultural change actually works and how it manifests across cultures and generations.
When I’ve consulted on these kinds of questions, including with a major tech firm on post-pandemic cultural shifts, we’ve drawn on real historical examples. The 1918 flu pandemic, for instance, fundamentally shifted American standards of beauty. It made sunbathing fashionable, and altered building architecture toward open spaces and natural light. That’s the kind of layered, counterintuitive thinking that makes fictional worlds feel real.
3. Anthropologists Are Intercultural Communicators
Our job isn’t just to study cultures, it’s to help different cultures and subcultures understand one another. We are a kind of intercultural mediator. That’s why tech companies hire UX and Design Anthropologists, and why I’ve worked with clients ranging from Native American tribal governments to Samsung UK on cross-cultural research questions.
Intercultural communication is a fundamental part of narrative design. If your world has diverse factions, ethnic groups, or political coalitions, an anthropologist can help you think through how those groups would actually perceive and misread each other. In fieldwork you learn quickly that even the most positive, and well intentioned changes you might make to a community meets resistance. That’s because, no matter how benevolent the change, someone will always lose and in ways you may never expect. Building that friction into your narrative design is what makes a world feel inhabited rather than constructed.
4. Diversity Is a Craft Skill, Not Just a Political Position
There’s a lot of conversation right now about representation and diversity in games and media. Culture wars are near constant in the social media sphere. But here’s the thing, lack of diversity isn’t just ethically problematic, it’s bad storytelling. The world is complex. Fictional worlds that flatten that complexity feel wooden and vacant.
The challenge is that writing cultures unfamiliar to you requires more than good intentions. True inclusion requires research, consultation, and ideally collaboration. Anthropologists can help mediate that process. We’re trained to identify the blind spots in our own cultural assumptions.
Have you ever considered what you think of specific accents? Why do you think that? Where do your opinions on different kinds of accents come from? These biases don’t just come from personal experiences, they’re formed over time, and through history and conflict.
Anthropologists have also spent decades thinking about analogs and representations. If your fictional culture is standing in for a real one, you need to know what you’re doing. An anthropologist who has worked directly with those communities are ideal, they can help you navigate your own assumptions and open up your fictional world in a way you never considered before, a way that makes your story vastly more interesting and immersive.
5. The World Is Full of Untapped Source Material
Every culture is a dreamscape, a world made through symbols and imagination. One of the biggest missed opportunities in speculative fiction is that it only draws on a tiny sliver of possibility. The same alien invasion stories, the same European medieval settings, the same recycled mythologies, and gods, and political archetypes, and economic systems appear over and over. To be fair, it’s not that these traditions aren’t rich and wonderful on their own, it’s just that they’ve become predictable and stale, a singular worldview that no longer makes us question our own thinking with wonder. They just don’t stand out anymore.
The world contains thousands of distinct cultural traditions, belief systems, governance structures, and cosmologies that most Western narrative designers have never even thought about. I made this exact argument in my TEDx talk, because, what we imagine matters.
Consider the game Never Alone (Kisima Inŋitchuŋa), made by and for Iñupiaq people, featuring the indigenous language and unlockable interviews with Iñupiaq elders. That game didn’t just tell a unique story, it expanded the possibilities of what games can do. It’s beautiful, and complex, and driven by the culture it comes from. There’s nothing else out there quite like it. It stands out because it offers another way of knowing/being in the world.
6. Anthropology Is a Toolkit, Not Just a Perspective
Everything I’ve described above isn’t abstract, it’s practical and in the era of AI, more necessary than ever. AI is capable of generating an incredible amount of mediocre and predicable media. Anthropology is an edge in worldbuilding and storytelling. It gives you concrete tools: frameworks for analyzing kinship and power, models for understanding how religion and economics interact, methods for identifying the cultural logic behind social norms that seem arbitrary.
On my YouTube channel I also host live Worldbuilding Q&As every month called, “Ask an Anthropologist.” I also bring on special guests. There you can also find my social science explainer series, Anthropology in 10 or Less, and soon my new series launching this spring, Anthropology Through Science Fiction. I’ve been translating these same ideas into free, accessible content for creators. And in my worldbuilding consulting practice, I bring this toolkit directly to projects.
Ready to Build a Better World?
I’ve spent 11 years teaching anthropology at the university level, published research on how worldbuilding works as a pedagogical tool, and consulted for clients ranging from indie fiction writers to major tech firms. My fiction, including the dystopian sci-fi Chronicles of the Great Migration series and my dark fantasy novel Shades & Shapes in the Dark are built on the same anthropological foundations I’m describing here.
If you or your team is serious about creating fictional cultures that feel authentic and immersive, I’d love to talk.
Or explore free worldbuilding resources, essays, and video content at loridianslaboratory.com.
Michael Kilman holds an M.S. in Applied Anthropology (focus: Media) from Portland State University. He is the author of the Chronicles of the Great Migration series, Shades & Shapes in the Dark, and Build Better Worlds. He is also known for his TEDx talk “Anthropology, Our Imagination, and How to Understand Difference.”
This week I had the good fortune of chairing a panel at the Society for Applied Anthropology in Salt Lake City. My Fellow Panelists and I decided to stream it live on YouTube, where it will live for people to rewatch. The title of our panel was Virtual Communities and Imaginary Worlds. The panel was a lot of fun and it was an honor to be on the panel with two brilliant researchers.
You can watch the video here. You will find descriptions of each panelists talk and the timestamps for their presentations on the YouTube page. The last 20 minutes are Q&A.
My Co-Author, Kyra Wellstrom and I had the great privilege of being asked on one of the coolest podcasts (well, for anthropologists anyway haha) around. This last summer we recorded a discussion with This Anthro Life. The episode is about worldbuilding and nerd culture.
Recently, I had a discussion with a friend about what kind of biological costs superpowers or magic might have on the biology of the brain. We discussed the impact of cognitive maps based on different biological and environmental systems, and why these are things that might be useful to consider for building fictional worlds. The reality is, the one thing so often overlooked in fictional worldbuilding, is that different species, and different mutations (in regards to superpowers or magic powers) would have a profound impact on the brain structure and perception of the living person/creature. So, it’s worth at least considering a few elements in how a cognitive map, and how a special ability or power might not just impact individual characters, but also fictional cultures as a whole.
“A cognitive map is an internal neural representation of the landscape in which an animal travels. Animals that use cognitive maps can “visualize” the landscape and solve orientation problems by referring to these maps. While it is generally accepted that birds and mammals can form cognitive maps, and that the hippocampus is the most important part of the brain in their formation, considerable controversy has centered around whether other animals, such as honeybees, can form similar maps.”
Different animals have different cognitive maps. Different kinds of sensory input changes how a particular species would navigate their environment. Say for example a Mantis Shrimp, which has the most complex visual system of any creature on this planet, would have an entirely different cognitive map than a human. Why? Because humans have 3 photoreceptors in their eyes, a Mantis Shrimp has 12-16 depending on which variety of mantis shrimp you’re talking about.
Now imagine for a moment, a mantis shrimp took an evolutionarily leap and became as intelligent and as self-aware as the human species, but still had that same complex visual system. Naturally, their cognitive map would be far different than humans.
Well, one sci-fi author by the name of Adrian Tchaikovsky, played with this idea (though not specifically mantis shrimp) in his books, Children of Time, and it’s sequel Children of Ruin.
Children of Time and Children of Ruin
Without giving too much away, Tchaikovsky’s books Children of Time and Children of Ruin, ask the question, what kind of civilization would a spider, an octopus, and a kind of fungi analog build if they were genetically engineered to evolve human level, or greater intelligence. The answer? One that is a hell of a lot different than humans. But, at the same time, a creature, regardless of its cognitive map, still has to solve the problem of energy, or rather how do you build a large-scale civilization and economic system that could support a large population with different cognitive maps. So even though their maps might be different, to build civilization there would be some overlapping concerns.
For example, (and again I am not going to give away too many spoilers and ruin these amazing books for you) Tchaikovsky, at the beginning of Children of Time, introduces a jumping spider that has been accidentally introduced to a virus that will artificially accelerate its intelligence. The spiders, with completely different senses, biological imperatives, and priorities, build a civilization throughout the book. This civilization is based on a creature that not only builds a web but uses it as a primary means of communication. In this particular species, the male is much smaller and is often eaten after mating with a female, and thus, their world also includes a component of significant gender inequality, where the larger female spiders control civilization. Tchaikovsky, uses these differences to highlight how difficult communication would be with a species with a fundamentally different cognitive map than humans.
So it’s something to think about. If you have giant intelligent snake people in your fictional world, you would have different cognitive maps.
Oh and also, another bone to pick about video game worlds like the Elder Scrolls, Argonians and Kadjit would never, ever be able to mimic human speech, and certainly not English. This is also a problem with the Planet of the Apes series. Biologically speaking, the physical apparatus of a mouth, nose, throat, tongue, teeth, pharynx, larynx, and other parts create a specific kind of instrument from which certain sounds are produced by humans. It’s why some animals make noises that humans could never mimic. So an Argonian speaking English would be akin to trying to get trumpet noises out of a violin, it’s completely impossible. Of course, with your fictional world you can certainly do what you like, but understand that even other primates can’t mimic the same sounds humans make. It’s why Koko the Gorilla, and Kanzi the Chimpanzee, both used sign language and/or soundboards to communicate with humans because they physically can’t produce the sounds for human language.
Different Cultures Have Different Cognitive Maps
In the book, Don’t Sleep There Are Snakes: Life and Language in the Amazonian Jungle, linguistic anthropologist Daniel Everett discusses the Piraha tribe who live on the Amazon. Though he never explicitly discusses cognitive maps, at one point in the book, he takes some of the men from the Piraha, to a Brazilian City. While there, the members of the tribe are almost hit by cars, and have, what are basically anxiety attacks about being in the city. They really hate it. Why? Well first, Everett then talks about his own experiences in the Jungle for the first few years. In one story, he talks about a python hanging from a tree that the Piraha spot without a second thought. They try to point it out to him, but he can’t see it no matter how hard he tries. He talks about several other instances when he just wasn’t able to see or experience the things the Piraha tribe were, and he had, what was basically anxiety about it similar to the men’s experiences in the city.
One of the things that cultures do, is map their environment as they learn to navigate it. So, if you’re suddenly dropped in a new environment, say, as a Piraha person in a city they have never been to, or an Anthropologist, who grew up in a suburb and suddenly finds themselves in the dense jungle, the cognitive maps you have used your whole life will no longer function properly and you will struggle to adapt until you can construct a new cognitive map (which can take years for completely foreign environments). This is in part what creates culture shock for people who travel to other countries and cultures.
Remember, a cognitive map, is a mental picture of the environment around you. Over time, these maps become a part of our subconscious assumptions of the world and structure our biases. Different cultures are the result of different environmental conditions, and thus will have a different cognitive map as a result. Now, of course, the variation in which these maps can come in, is limited by human biology, but it’s work thinking about as you are building fictional worlds, that different cultures will have different perceptions and priorities based on the physical and cultural conditions on the ground. Of course, this certainly relates to my YouTube episode on the Sapir-Whorf Hypothesis and is worth considering, how this also impacts language.
Neurodivergence, The Brain, and Super Powers
There are more than a few problems with the way that Super Powers and Magic use are displayed in popular fiction. Now granted, these aren’t things that occur to most people (myself included until recently) and of course, part of worldbuilding is the suspension of belief. But if you are doing a hard magic system, something you might want to consider is the physical toll that superpowers or magic might have on the nervous system and the configuration of the brain.
By definition, someone with super powers or the ability to wield magic would necessarily be neurodivergent. This term means, essentially, that the person’s brain would not work the same as the average population (Of course if your goal is to make a world where the norm is magic users, they would have normal cognition for that world).
I myself have a form of neurodivergence called Prosopagnosia, also known as faceblindness. This means that I am not able to hold faces in my memory the way that most people can. It can be incredibly frustrating when dealing with large crowds, but once I discovered I had the condition, I was able to create new strategies for moving and interacting through the world. You could say, in fact, that I, had to have a different cognitive map to function. Neurodivergence comes in a lot of flavors, it’s most often associated with people with psychiatric disorders, autism, ADHD, and a host of other conditions that humans have in the modern world. Divergence doesn’t make anyone less of a person, but it does mean that their cognitive maps are different.
Take Albert Einstein for instance. There are many who suggest that he was neurodivergent. There is speculation that he might have had one or all of the following: Dyslexia, Dyspraxia, on the Autism Spectrum, and possibly ADHD. There are a number of reasons for these speculations including his difficulty with social situations and his inability to function in traditional European school systems. But here’s the point, he was a super genius and that had a cognitive cost. His cognitive map was far different from the average human and the way he navigated that environment was different from most people. This, in turn, allowed him to tackle questions that most human beings could not, and he changed the world as a result.
Again, this isn’t saying that one kind of brain is necessarily better or worse than another, but that, in fact, different brains will approach problems and solutions differently. It’s one of the reasons that, I argue in my Ted Talk, that diversity is one of the most powerful tools in our arsenal as humans. But be warned, I’ve met quite a few people who believe they are better or worse than others because their brain is different, that’s simply not true. It’s like arguing which fruit is objectively the tastiest. It’s pointless. But it is empowering to understand how your own brain works isn’t it?
So, back to superpowers. One thing you might want to consider if your character has, say, telepathy or telekinesis, is that they would in fact be neurodivergent. They would have completely different senses that were required for those abilities to function.
Different sense perceptions necessitate different cognitive maps. After all, cognitive maps are built from our sense perception. You use all of your senses to build a mental model of the environment around you. So if you could fly, that would necessitate different sense perceptions and thus a different cognitive map. Consider the Marvel character, Daredevil, who has the ability to see based on what’s basically sonar, but the cost of that ability, was the standard human trichromatic visual system that we experience. That gave him some advantages, but anyone who watches the Netflix series, or reads the comics, knows that it comes with some significant disadvantages as well. Though personally, I think the advantages are a bit unrealistic even though I definitely enjoyed watching Matt Murdock kick ass in the Defenders.
So if you have a hard magic system, genetically engineered super powers, or something similar, you might want to consider what things your characters would have to sacrifice in order for those abilities to be viable. Much of the world’s fiction is filled with examples of this done horribly wrong, but then, a lot of the time, imagination is about playing with the unrealistic isn’t it? Considering the above could be a really interesting way to build a different kind of fictional world. After all, one of the problems we face in fiction is repetitive stories, so perhaps different cognitive maps could help us ask different kinds of questions about ourselves and what’s possible.
This past weekend I had the good fortune of moderating two panels at Denver Fan Expo 2021. The whole event was fantastic with lots of amazing costumes, artist’s and authors.
With permission from each panelist, I recorded the discussions so that you can enjoy them here. Panelists are in order of introduction.
Below you will also find links to each of the panelists work. Definitely check out there websites by clicking on their names.
Looking at Myth, Religion, and Folklore in a New Light
Recently I sat down with the very wonderful Joanna Penn on her podcast, The Creative Penn. Her podcast has more than 500 episodes on just about everything you can think of when it comes to writing and she’s also a very well published author. Definitely check out her podcast and her books.
Loridian's Laboratory 