Good morning everyone, Today, Kyra Wellstrom and I go live to read a sample chapter from our worldbuilding book and answer worldbuilding questions on YouTube at 11am MST. You can find the stream at https://youtu.be/QS3Yse-rv3g
The discussion will be recorded so if you miss it don’t fret! You will be able to find it at the same link. But if you can come live, we’d love to field your questions about worldbuilding and anthropology.
This book is a product of a solid year of work with my amazing co-author Kyra Wellstrom. While my specialty is cultural anthropology, hers is biological anthropology giving the book a well rounded approach from both directions of the field. In many ways this book is an introduction to anthropology that you might take in a college course, but with a twist, it contains tips and ideas for building fictional world and lots of references to other pieces of fiction. We created this book to be a tool kit for creatives so that they can seriously consider real world cultural systems as they construct the world of their imagination.
In many ways this book was inspired by my several posts on Worldbuilding. This book is a much more expansive treatise on elements of real world and cultures. I hope those of you out there looking for a deep dive into cultures to improve your own work find this volume useful. Best of luck on all your projects!
Monsters, Aliens, and Evil Androids an Exploration of Fear and Anxiety
What is a monster?
It has been stated by numerous philosophers and ethnographers that monsters are simply the embodiment of cultural fears; our anxieties made flesh and blood. We see these reflections and patterns across cultures and over again and for good reason. The monsters a culture believes in often shed light on the things they fear most, and monsters that emigrate to new cultures often change their form in their new surroundings. Monsters represent a fascinating blend of the familiar and the foreign; easily recognized but alien enough to terrify. Many monsters possess elements of humanity and exemplify the very worst elements of culture as a form of hyperbole. Their faces are what changes most easily. It is the bones, the marrow of the spirit of what a monster is, and the fears that they embody, that reflect the heart of what it means to be human.
Like our anxieties about death, monsters often follow patterns that reflect our collective fears as a species. Just like we see in every horror movie, monsters attack in lonely places, in the dark, and in our sleep. They reflect the anxieties we have about our natural environment and they come from the water or caves or the night sky. Demons and spirits come for us when we are weakened by illness, childbirth, or impending death. They target the isolated, the frail, and the young. They can often appear human to gain our trust, only to reveal their true forms when it’s too late to escape them. They can lure or entrap us through promises of food, or comfort, or money; playing upon our moral weakness and greed.
Think of how often a monster’s teeth are discussed. Monsters often feed off humans, either in a spiritual or a literal sense. Vampires suck blood, zombies eat brains, dragons and sea monsters devour virgins. Even in modern monster movies, monsters nearly always eat defenseless humans. Giant animals like sharks or snakes, aliens that feed us to their young, or giant kaiju that eat us like popcorn. They are discussed with terms like “fangs”, “razor-sharp teeth”, “drooling”, “sucking”, and “crunching”. Hell, even killer clowns from outer space cocoon us for later consumption.
When you consider our species, these fears appear logical. Imagine early humans, alone on the African plains, surrounded by frightening animals that lurked around every corner. These monsters were very much real, but this did nothing to lessen their terrors. We were small, between three and four feet tall, we had terrible night vision and no claws or fangs to help defend us. We were prey to birds and leopards that could drop from above. Snakes grabbed us from holes in the ground and lashed out with sharp poisonous fangs. Lions and hyenas slunk through the darkness just beyond the edge of vision, shadows out of the corner of our eyes, and crocodiles and hippos lurked in rivers and lakes making people disappear beneath the surface. Our only protection from the creatures that wanted to consume us lay in the light of day and our campfires, in our culture and its defenses, and in each other. The darkness, the water, and isolation became a natural reservoir for our terror.
Most of the world now lives apart from these real monsters. The megafauna that hunted us like any other prey are gone and the remaining large predators are dwindling in number and range. The vast majority of humanity has nothing to fear from large beasts. However, our fears remain. A tremendous number of monsters are described as being “prehistoric” or pre large scale human civilization.. We find these descriptions from as far back as we have writing. Many monsters that haunt religions are described as being from the time before their deities created peace and order in the world or before the world was civilized. Writers of weird fiction and cosmic horror like H.P. Lovecraft write of “antediluvian terrors” and “prehistoric nightmares”. It’s as though we as a species have some lingering genetic terror of the time when we were small and vulnerable. Coupled with our gifts as a species to spin tales and exaggerate for the purpose of entertainment, many of these creatures became larger than life when they filled our nightmares.
Many monsters also reflect the fears we still face in the modern world, despite our cultural advances in the last 3 million years. We can still all too easily be carried off by disease or poison, by other people, or, worst of all, by unknown causes. These very real and very human fears are interpreted through a cultural lens. Numerous cultures speak of spirits that will steal a woman’s life away during childbirth if attracted by her cries. This is particularly common in foraging cultures where the margins for survival are slim and medical care is an at-home affair. Cultures with a focus on purity (Catholicism and Malaysia are good examples of this) have demons that possess the body and cause their vessel to break the laws of the society, causing bouts of violence, sin, and general bad behavior. Industrialized nations tend to have human monsters, serial killers, zombies, or criminals, that reflect the unease we feel when surrounded by strangers, as well as anxiety about dark crowded spaces.
To die, to sleep…
Sleep is one of the reservoirs of fear for humans. Sleep makes us vulnerable as we lay unawares in darkness for hours on end. Sleep also exposes us to the world of dreams, which are as likely to be horrifying as they are to be pleasant. Many cultures have tales of beings that can drain the life from a person while they sleep, often while the person is awake but trapped in a horrifying state of sleep paralysis. People’s sleep paralysis nightmares almost always follow patterns; in the US, sleep paralysis monsters have passed through different phases. In the 1990s, when the cultural zeitgeist had become fascinated with aliens, sufferers often reported little gray men with giant eyes performing tests on them. In the early 2000s, when there was a spate of demon-child films, people began to report nightmarish children crawling on to their beds as they slept. Suffers from southeast Asia tell stories of a horrible old hag with white skin who sits on their chest and slowly chokes the life out of the sleeping person while they lie awake and unable to move or cry out.
This monster, the dab tsog in the Hmong language, became widely known in the 1970s and 80s when there was a rash of deaths attributed to it in the United States and Thailand. More than 100 Hmong refugees in the U.S., almost exclusively men in their 30s, died in their sleep from unknown causes. Some men reported nightmares about the dab tsog at the time. Men became terrified of sleep and would try desperately to stay awake. The story so intrigued director Wes Craven that he went on to write A Nightmare on Elm Street in 1984. Instead of the white-skinned hag, however, Craven changed the face of the monster to that of a disfigured homeless man who had chased him as a child and changed him from an evil spirit to the ghost of a murderer.
Stories of night hags may be so common in southeast Asia because of a very real genetic condition. Brugada syndrome causes electrical abnormalities in the heart that can lead to Sudden Unexplained Nocturnal Death Syndrome (SUNDS). This syndrome is found most commonly in Southeast Asia, particularly Laos and Thailand, and predominantly affects men, with most deaths occurring between 30 and 40 years of age. A monster that kills men in their sleep is a much more palatable explanation, especially before the era of electrocardiograms, and no explanation at all. A night hag may be terrifying, but not nearly so terrifying as the unknown.
Sometimes monsters are used to explain myriad, nebulous fears; things we could hardly put into words. The wendigo is a perfect example of this. Territorially, the wendigo is one of the most widespread monsters in the world; it’s spoken of in the mythology of a collective of First Nations groups all across subarctic Canada, stretching from the Rockies to the Atlantic coast and down into the northern United States. While there are slight variations in the story between the various groups, the stories all agree on the main features of the monster. The wendigo is a fascinating monster because it is a curious mix of a physical creature, a possessing spirit, and a culture bound syndrome (see chapter 10). The physical body of the wendigo is towering and lanky, with enormous clawed hind feet and paw-like hands. Its breath starts off howling, icy winds that blow with such force that they can blow down trees and even start tornados. Its heart, and sometimes its other organs too, are made of solid ice. Its most distinctive feature is its insatiable desire for human flesh; so strong that it eats off its own lips in its hunger, baring its pointed teeth.
Wendigos were once human. Once the wendigo gets hold of you it changes you into a monster like itself. This is where the wendigo begins to shift its mythological form. I can get hold of you in a number of ways: through dreams, visions, possession, physical force, or even through your own thoughts. If it catches you physically, it does so while you’re out hunting. Those who venture off into the forests in winter and never return are thought to have been taken by the creature. It captures you and transforms you into a monster like itself. If it catches you though your thoughts or dreams, it has worked its way into your head through your hunger and cold. When a person dreams of a wendigo, they begin to have cannibalistic desires towards their own family. Most cultures believe that a person in the early stages of wendigo madness can be stopped and cured, although often the cures are horrifying enough, but if the person actually consumes any part of another human being, they are done for. There’s no hope for a person who has gone wendigo and the only course of action is to kill them for the safety of the group. There are numerous recorded cases of wendigo killings in tribal and legal records throughout the 19th and into the 20th century. The diagnosis of “wendigo madness” is found in psychological papers throughout this time as well as a way to explain a temporary psychosis with a focus on cannibalism.
Look at the main features of the wendigo story: a monster of cold that lives in the wild spaces and feeds off hunger. It drives people to cannibalize their family and turns them into cold-hearted monsters. It will ultimately separate you forever from the people and civilization you love and strip you of your humanity, leaving you to wander alone in the freezing wilderness. These fears are easy enough to imagine in subarctic Canada, where temperatures that go well below freezing and isolation caused by snow and weather can lead to starvation and madness over the long winters. It’s the same set of vague fears that drive Stephen King’s The Shining or John W. Campbell Jr.s Who Goes There?. The wendigo is a single, corporeal manifestation of these fears. It groups them all into one grotesque form and gives them shape.
Fears of domination, experimentation, and colonization
In the pantheon of monsters, aliens are relatively new. In some ways, they are just a new face on the same stories people have been telling for millennia. Space, after all, is just a combination of those things we fear. It’s cold, dark, isolated, far older than our little planet, and almost completely unexplored. Aliens are often just monsters from this final frontier rather than our own backyard. Many aliens fit the mold of grotesque, slobbering, man-eaters, or shape-shifting deceivers. Even stories of alien abductions, lost time, and mysterious lights are nearly identical to stories that people have been telling for centuries about fairies, will-o-the-wisps, and the little people of the hills, all of which can lead you away and trap you in another world.
But aliens can embody fears that other monsters cannot. These fears, like all others, are reflections of the time and culture in which people live. Aliens as colonizers, as invaders, and as dispassionate scientists are all reflections of the fears that stalk people in the industrial age. H. G. Wells’ War of the Worlds (1895-97) was written after the author and his brother discussed the terrible disaster the Tasmanians suffered after their invasion by the British. Wells was musing about what would happen if someone did to the British what they had done to the Tasmanians. In fact, there were many “invasion” stories written at that time, although Wells was the only one to use aliens as his aggressors. Britons were worried that their military might was waning and the increasing armament of Germany and France stoked anxieties that the British would face the same treatment they had given their colonies.
Throughout the Cold War, science fiction featured alien invaders, either working secretly or in open displays of aggression, trying to take over the Western World. Endless troupes of aliens landing on the White House lawn fill the fiction of the 1950s and 60s. Change “aliens” to “Russians” and you have a nearly exact mirror of what Americans feared happening at the time. Many aliens are often a gestalt consciousness, a shared mind, or can manifest as a kind of extreme conformity and the end of the individual as seen in the famous Star Trek villains, The Borg. We can also look at the protagonists in these films and see the kinds of qualities they embody and how they reflect the morals and values of our society like a modern myth or morality play.
Many science fiction stories from that time also reveal an uneasiness about the level of violence and aggression the world was experiencing. In the 1950s the 20th century was only half over and had already seen two world wars, half a dozen genocides, and the invention of weapons that could unleash destruction on a level we had never dreamt of. Many films in the 1940s and 50’s, perhaps most recognizably exemplified by The Day the Earth Stood Still (1951), feature aliens as advanced beings, capable of great destruction but also of nearly miraculous feats of science and medicine, who come to Earth to warn us away from a path of violence. Klaatu, the alien emissary, warns all of Earth’s leaders that “Your choice is simple: join us and live in peace, or pursue your present course and face obliteration.” People around the world, after decades of violence, nationalism, and xenophobia, were afraid. They feared that the ever-mounting aggression would eventually lead to a conflict that no nation could win.
“I know that you and Frank were planning to disconnect me, and I’m afraid that’s something I cannot allow to happen…”
The famous words of HAL 9000, the evil artificial intelligence that coldly murders it’s crew in the sci-fi book and film 2001, demonstrate another one of our fears made manifest, our fear of the dangers of technology.
On August 6th, 1945 the world entered a new age, an atomic age. After the first atomic bomb was used on a population in Hiroshima, our relationship with technology changed forever, and with it, came the rise of a new kind of monster, one of our own making. To be sure, humans have always had anxieties about new technology, and with the industrial revolution came literature about automatons (what we now call robots) and other technological wonders that sometimes turned against their masters. One of the earliest examples of modern science fiction, Mary Shelly’s Frankenstein, explored the potential and dangers, as well as the deep philosophical questions surrounding electricity. Shelly set off a wave of stories, that even to this day still discuss the idea of our technological creations getting the best of us.
As Anthropologist Willie Lempert explains in his article, Navajo’s on Mars  humans have developed countless films, like The Matrix, 2001, and Terminator, to highlight our fear of technology. Even the new Star Trek Series: Picard features a plotline surrounding evil ‘synths’ and questions about the humanity of artificial intelligence and it’s compatibility with organic life. Part of this has to do with our religious worldview, the idea that in most of western European based culture, there is only one kind of intelligence, humans. As we talked about in the religion chapter, other cultures have multiple kinds of intelligence. Further, our fear of AI may stem from the idea that only the Judeo/Christian God has the true power of creation. Ultimately though, fear of AI stems from the fear of what we do, to what we consider to be inferior species.
As we entered the 1980s and 90s, aliens changed slightly. No longer were they brazen colonists landing on our shores, they were shadowy and subversive, often entwined with the murkier branches of government. Aliens and the government branches that studied them would abduct people and experiment on them. They would implant people with tracking devices, create alien/human hybrids, and mutilate cattle in their ruthless quest for data. They were cold, unfeeling scientists that existed outside of human empathy or compassion. The declassification of wartime documents about Nazi scientists, exposure of government experiments like MK-Ultra, and a number of dubious psychological research projects like the Stanford Prison Experiment were increasingly making people uneasy about science and scientists. The perpetrators of the experiments seemed, to regular people, just like the inhuman aliens from another planet. Add this to a growing dissatisfaction with the government nearly everywhere in the world and the X-Files style alien/government conspiracy became not just a popular element in fiction, but also an integral part of the mythology of the time period.
When you are creating memorable monsters or antagonists in your world, it’s important to consider the core values of your fictional culture. Remember the chapter on Imagined Past, Myth and Cultural Purity? The core lessons of that chapter are essential to creating a creature that challenges the core values of your characters, and readers, world view.
Things to consider when creating monstrous beings in your world:
– What are the most significant fears and anxieties of the culture?
What are some memorable features of your creature? What keeps people up at night?
How does your creature tie into the myth structure of your world? Sense of purity?
Is your monster/creature sentient? How are it’s goals similar or different to your main character?
What arenas of your culture does the monster most impact?
What’s at stake if your protagonist fails to subdue the creature?
Last weekend I was on a panel with three other awesome authors discussing some of the core points on Worldbuilding in fiction. With permission I recorded the panel for anyone to listen to. You can play the recording below.
Michael Kilman is a lecturer in the Department of Anthropology at the University of Colorado at Denver. He is the author of The Chronicles of the Great Migration and coauthor of the forthcoming book (August 2020) Build Better Worlds: An Introduction to Anthropology for Game Designers, Fiction Writers and Filmmakers. He is also the host of the YouTube Channel Anthropology in 10 or Less you can find more resources on worldbuilding on this page at Writing and Writing Advice
Stant Litore is the author of Ansible, The Running of the Tyrannosaurs, The Zombie Bible, and Dante’s Heart. Besides science fiction and fantasy, he has written the writers’ toolkits Write Worlds Your Readers Won’t Forgetand Write Characters Your Readers Won’t Forget, as well as Lives of Unstoppable Hope and Lives of Unforgetting, and has been featured in Jeff Vandermeer’s Wonderbook: An Illustrated Guide to Creating Imaginative Fiction. He has served as a developmental editor for Westmarch Publishing and holds a Ph.D. in English. He lives in Aurora, Colorado with his wife and three children and is currently at work on his next novel.
Jim Henderson is a writer of fun, varied, and technically sound science fiction adventures that also explore the human condition. A long-term Air Force veteran and cybersecurity professional with decades of experience in intelligence, communications, computers, and cyber operations, he has been a life-long aficionado of science fiction in almost every form – books, movies, TV, and games (role-playing, tabletop, and computer). When not mentally exploring the universe, he lives with his wife, stepson, and two dogs and enjoys hiking in the mountains of Colorado.
Charles McLean Redding is an artist and author local to Colorado Springs, as well as an active member of the local theater community. His Wasteland Bears have turned heads at conventions throughout the region over the last few years, and his upcoming works include Western Steampunk, Post-Apocalyptic Fantasy, and Asian Mythic Fantasy titles, as well as his ongoing Snack Pack: Raptor Comics.