Honest Question, How Good Was Naruto?

[Guntah]

hunter x hunter's world building does not blow naruto's out of the water at all...and you're looking at the #1 hunter x hunter fan on this sight so I know what I'm typing about

Never watched HxH, but I've heard it being praised to holy hell. However, Naruto's world building, in the end, is really half-assed. Surely it can't be that bad.

 

[gerizzyYMcrew]

Never watched HxH, but I've heard it being praised to holy hell. However, Naruto's world building, in the end, is really half-assed. Surely it can't be that bad.

you've never watched hunter x hunter?...you are missing the hell out...seriously...my avi and sig are of illumi zoldyck from hunter x hunter...it's probably the best shounen ever created...here is a trailer:

Spoiler

[video=youtube;59rCbUdBpko]https://www.youtube.com/watch?v=59rCbUdBpko[/video]

 

[ToshiZO]

hunter x hunter's world building does not blow naruto's out of the water at all...and you're looking at the #1 hunter x hunter fan on this sight so I know what I'm typing about

Then you clearly don't understand world building. You would know in terms of world building its not even up for debate.

 

[gerizzyYMcrew]

Then you clearly don't understand world building. You would know in terms of world building its not even up for debate.

pretty much no...it's definitely up for debate...VERY much so

 

[Bad Touch Yakushi]

Then you clearly don't understand world building. You would know in terms of world building its not even up for debate.

Could you do a quick summary of what you mean by world-building? When I saw world-building I mean the attention to detail in sub-plots, tertiary characters, the approach to villains and the rich history/mythos that Naruto has.

 

[Red Slayer]

It could have been way better, i am lil dissapointed....

 

[Ansatsuken]

Could you do a quick summary of what you mean by world-building? When I saw world-building I mean the attention to detail in sub-plots, tertiary characters, the approach to villains and the rich history/mythos that Naruto has.

World-building means exploring the whole aspects of one planet ( the main focus of manga story) as example

You must be registered for see links

From a game-design perspective, the goal of worldbuilding is to create the context for a story. Consistency is an important element, since the world provides a foundation for the action of a story.[9] However, J. R. R. Tolkien described the goal of worldbuilding as creating immersion, or "enchantment" as he put it, and descriptions of the world can be wholly disconnected from the story and narrative.[7]

An uninhabited world can be useful for certain purposes, especially in science fiction, but the majority of constructed worlds have one or more sentient species. These species can have constructed cultures and constructed languages. Designers in hard science fiction may design flora and fauna towards the end of the worldbuilding process, thus creating lifeforms with environmental adaptations to scientifically novel situations.

Physics

Perhaps the most basic consideration of worldbuilding is to what degree a fictional world will be based on real-world physics compared to magic. While magic is a more common element of fantasy settings, science fiction worlds can contain magic or technological equivalents of it. For example, the Biotics in the science fiction video game series Mass Effect have abilities, described scientifically in-game, which mirror those of mages in fantasy games. In the science fiction novel Midnight at the Well of Souls, magic exists, but is explained scientifically.

Some fictional worlds modify the real-world laws of physics; faster-than-light travel is a common factor in much science fiction. Worldbuilding may combine physics and magic, such as in the Dark Tower series and the Star Wars franchise.

Cosmology

Constructed worlds often have cosmologies, both in the scientific and metaphysical senses of the word. Design of science fiction worlds, especially those with spacefaring societies, usually entails creation of a star system and planets. If the designer wishes to apply real-life principles of astronomy, he or she may develop detailed astronomical measures for the orbit of the world, and to define the physical characteristics of the other bodies in the same system; this establishes chronological parameters, such as the length of a day and the durations of seasons.[10] Some systems are intentionally bizarre. For Larry Niven's novels The Integral Trees and The Smoke Ring, Niven designed a "freefall" environment, a gas torus ring of habitable pressure, temperature, and composition, around a neutron star.

Fantasy worlds can also involve unique cosmologies. In Dungeons and Dragons, the physical world is referred to as the Prime Material Plane, but other planes of existence devoted to moral or elemental concepts are available for play, such as the Spelljammer setting, which provides an entirely novel fantasy astrophysical system. Some fantasy worlds feature fictional religions. The Elder Scrolls series, for example, contains a variety of religions practiced by its world's various races. The world of the 2000 video game Summoner has a well-developed cosmology, including a creation myth.

Geography

Map construction is often one of the earliest tasks of worldbuilding. Maps can lay out a world's basic terrain features and significant civilizations present. A clear, concise map that displays the locations of key points in the story can be a helpful tool for developers and audiences alike. Finished creative products, such as books, may contain published versions of development maps; many editions of The Lord of the Rings, for example, include maps of Middle-earth. Cartography of fictional worlds is sometimes called geofiction.[11]

The physical geography of a fictional world is important in designing weather patterns and biomes such as deserts, wetlands, mountains, and forests. These physical features also affect the growth and interaction of the various societies, such as the establishment of trade routes and locations of important cities.[12] Desire for control of natural resources in a fictional world may lead to war among its people. Geography can also define ecosystems for each biome. Often, Earth-like ecology is assumed, but designers can vary drastically from this trend. For example, Isaac Asimov's short story "The Talking Stone" takes place in a world where silicon, rather than carbon, is the basic building block of life.[13]

Some software programs can create random terrain using fractal algorithms. Sophisticated programs can apply geologic effects such as tectonic plate movement and erosion; the resulting world can be rendered in great detail, providing a degree of realism to the result.

Culture

Constructed cultures, or concultures, are a typical element of worldbuilding. Worldbuilders sometimes employ past human civilizations as a model for fictional societies. The 1990 video game Worlds of Ultima: The Savage Empire, for example, takes place in a world full of tribes based on civilizations in early Mesoamerica and Africa. This method can make a fictional world more accessible for an audience. Simon Provencher has stated as a 'Golden Rule' of Worldbuilding that "...unless specified otherwise, everything inside your world is assumed to behave exactly as it would in the real world."[14] Another example is Steven S. Long, a representative of the Champions role-playing game, who stated that "Everything that happened in the real world has also unfolded in the exact same way in the Champions Universe." This means any past wars, elections, and technological advancements in our world occurred the same way in the Champions Universe unless explained otherwise. Creating a cohesive alien culture can be a distinct challenge. Some designers have also looked to human civilizations for inspiration in doing so, such as Star Trek's Romulans, whose society resembles that of Ancient Rome. The fictional world's history can explain past and present relationships between different societies, which can introduce a story's action. A past war, for example, functions as a key plot point in the Shannara and Belgariad series.

How one author successfully manage to explore his own fictional world from planet to entire universe and give his/her story a diverse and well explain background and characteristic.

 

[Bad Touch Yakushi]

World-building means exploring the whole aspects of one planet ( the main focus of manga story) as example

You must be registered for see links

From a game-design perspective, the goal of worldbuilding is to create the context for a story. Consistency is an important element, since the world provides a foundation for the action of a story.[9] However, J. R. R. Tolkien described the goal of worldbuilding as creating immersion, or "enchantment" as he put it, and descriptions of the world can be wholly disconnected from the story and narrative.[7]

An uninhabited world can be useful for certain purposes, especially in science fiction, but the majority of constructed worlds have one or more sentient species. These species can have constructed cultures and constructed languages. Designers in hard science fiction may design flora and fauna towards the end of the worldbuilding process, thus creating lifeforms with environmental adaptations to scientifically novel situations.

Physics

Perhaps the most basic consideration of worldbuilding is to what degree a fictional world will be based on real-world physics compared to magic. While magic is a more common element of fantasy settings, science fiction worlds can contain magic or technological equivalents of it. For example, the Biotics in the science fiction video game series Mass Effect have abilities, described scientifically in-game, which mirror those of mages in fantasy games. In the science fiction novel Midnight at the Well of Souls, magic exists, but is explained scientifically.

Some fictional worlds modify the real-world laws of physics; faster-than-light travel is a common factor in much science fiction. Worldbuilding may combine physics and magic, such as in the Dark Tower series and the Star Wars franchise.

Cosmology

Constructed worlds often have cosmologies, both in the scientific and metaphysical senses of the word. Design of science fiction worlds, especially those with spacefaring societies, usually entails creation of a star system and planets. If the designer wishes to apply real-life principles of astronomy, he or she may develop detailed astronomical measures for the orbit of the world, and to define the physical characteristics of the other bodies in the same system; this establishes chronological parameters, such as the length of a day and the durations of seasons.[10] Some systems are intentionally bizarre. For Larry Niven's novels The Integral Trees and The Smoke Ring, Niven designed a "freefall" environment, a gas torus ring of habitable pressure, temperature, and composition, around a neutron star.

Fantasy worlds can also involve unique cosmologies. In Dungeons and Dragons, the physical world is referred to as the Prime Material Plane, but other planes of existence devoted to moral or elemental concepts are available for play, such as the Spelljammer setting, which provides an entirely novel fantasy astrophysical system. Some fantasy worlds feature fictional religions. The Elder Scrolls series, for example, contains a variety of religions practiced by its world's various races. The world of the 2000 video game Summoner has a well-developed cosmology, including a creation myth.

Geography

Map construction is often one of the earliest tasks of worldbuilding. Maps can lay out a world's basic terrain features and significant civilizations present. A clear, concise map that displays the locations of key points in the story can be a helpful tool for developers and audiences alike. Finished creative products, such as books, may contain published versions of development maps; many editions of The Lord of the Rings, for example, include maps of Middle-earth. Cartography of fictional worlds is sometimes called geofiction.[11]

The physical geography of a fictional world is important in designing weather patterns and biomes such as deserts, wetlands, mountains, and forests. These physical features also affect the growth and interaction of the various societies, such as the establishment of trade routes and locations of important cities.[12] Desire for control of natural resources in a fictional world may lead to war among its people. Geography can also define ecosystems for each biome. Often, Earth-like ecology is assumed, but designers can vary drastically from this trend. For example, Isaac Asimov's short story "The Talking Stone" takes place in a world where silicon, rather than carbon, is the basic building block of life.[13]

Some software programs can create random terrain using fractal algorithms. Sophisticated programs can apply geologic effects such as tectonic plate movement and erosion; the resulting world can be rendered in great detail, providing a degree of realism to the result.

Culture

Constructed cultures, or concultures, are a typical element of worldbuilding. Worldbuilders sometimes employ past human civilizations as a model for fictional societies. The 1990 video game Worlds of Ultima: The Savage Empire, for example, takes place in a world full of tribes based on civilizations in early Mesoamerica and Africa. This method can make a fictional world more accessible for an audience. Simon Provencher has stated as a 'Golden Rule' of Worldbuilding that "...unless specified otherwise, everything inside your world is assumed to behave exactly as it would in the real world."[14] Another example is Steven S. Long, a representative of the Champions role-playing game, who stated that "Everything that happened in the real world has also unfolded in the exact same way in the Champions Universe." This means any past wars, elections, and technological advancements in our world occurred the same way in the Champions Universe unless explained otherwise. Creating a cohesive alien culture can be a distinct challenge. Some designers have also looked to human civilizations for inspiration in doing so, such as Star Trek's Romulans, whose society resembles that of Ancient Rome. The fictional world's history can explain past and present relationships between different societies, which can introduce a story's action. A past war, for example, functions as a key plot point in the Shannara and Belgariad series.

How one author successfully manage to explore his own fictional world from planet to entire universe and give his/her story a diverse and well explain background and characteristic.

No I know the definition but I find it hard to believe HunterXHunter has as much of a detailed world and mythos as Naruto just going by amount of chapters, so I wanted to learn more about that series.