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The history and geography of a fictional universe are well defined, and maps and timelines are often included in works set within them. Even new languages may be constructed. When subsequent works are written within the same universe, care is usually taken to ensure that established facts of the canon are not violated. Even if the fictional universe involves concepts such as elements of magic that don’t exist in the real world, these must adhere to a set of rules established by the author. […]

A fictional universe may even concern itself with more than one interconnected universe through fictional devices such as dreams, “time travel” or “parallel worlds”. Such a series of interconnected universes is often called a multiverse. Such multiverses have been featured prominently in science fiction since at least the mid-20th century.

Source: Fictional universe – Wikipedia

“Wayfinder,” Machef said. “Find the silver thread.” “The silver thread?” Benda repeated to himself. “The blue way leads not through here. Whatever it was the Lagoms fought near this place, the Zalthyrmians lingered and linger not still in this spot either.” […]

Benda continued to pull on this invisible thread, in his parallel world of awareness. And as he did so, he began to feel almost as though he were again a simple fisherman, pulling on a very long line, and knowing that on the other end, he must have caught something very, very big.

Source: The Silver Thread – Quatrian Folkways – Medium

Gondal is an imaginary world or paracosm created by Emily Brontë and Anne Brontë that is found in their juvenilia. Gondal is an island in the North Pacific, just north of the island Gaaldine. It included at least four kingdoms: Gondal, Angora, Exina and Alcona. The earliest surviving reference comes from a diary entry in 1834. None of the prose fiction now survives but poetry still exists, mostly in the form of a manuscript donated to the British Museum in 1933; as do diary entries and scraps of lists. The poems are characterised by war, romance and intrigue. The Gondal setting, along with the similar Angria setting created by the other Brontë siblings, has been described as an early form of speculative fiction.

Source: Gondal (fictional country) – Wikipedia

Tolkien’s legendarium is the body of J. R. R. Tolkien’s mythopoeic writing that forms the background to his The Lord of the Rings, a high fantasy novel which is widely considered to be his magnum opus. Tolkien worked and re-worked the components of his legendarium throughout his adult life, a period of more than 50 years; the earliest drafts, published in The Book of Lost Tales (1983), date to 1916, with poems, paintings and nomenclature related to it going back to 1914. […]

Unlike “fictional universes” constructed for the purpose of writing and publishing popular fiction, Tolkien’s legendarium for a long period was a private project, concerned with questions of philology, cosmology, theology and mythology. It has been considered a “pure mythopoeia”.[…]

He called his collection of nascent stories The Book of Lost Tales.[15] This became the name for the first two volumes of The History of Middle-earth, which include these early texts. The stories employ the narrative device of a mariner named Eriol (in later versions, an Anglo-Saxon named Ælfwine) who finds the island of Tol Eressëa, where the Elves live; and the Elves tell him their history.[16]

Source: Tolkien’s legendarium – Wikipedia

A paracosm is a detailed imaginary world. Paracosms are thought generally to originate in childhood and to have one or numerous creators. The creator of a paracosm has a complex and deeply felt relationship with this subjective universe, which may incorporate real-world or imaginary characters and conventions. Commonly having its own geography, history, and language, it is an experience that is often developed during childhood and continues over a long period of time, months or even years, as a sophisticated reality that can last into adulthood.[1]

Source: Paracosm – Wikipedia

Boxen is a fictional world that C. S. Lewis (“Jack”) and his brother W. H. Lewis (“Warren”) created as children. The world of Boxen was created when Jack’s stories about Animal-Land and Warnie’s stories about India were brought together. In Surprised by Joy, Jack explains that the union of Animal-Land and India took place “sometime in the late eighteenth century (their eighteenth century, not ours)”.[1]

Source: Boxen (C. S. Lewis) – Wikipedia

In each of the three previous worlds, humanity was destroyed by destructive practices and wars. In the most common version of the story the Spider Grandmother (Kookyangso’wuuti) caused a reed to grow into the sky, and it emerged in the Fourth World at the sipapu, a small tunnel or inter-dimensional passage. As the end of one world draws near the sipapu appears to lead the Hopi into the next phase of the world.[10]

Source: Fifth World (Native American mythology) – Wikipedia

There are three main hypotheses as to the origins of the Etruscan civilization in the Early Iron Age. Autochthonous development in situ out of the Villanovan culture, as claimed by the Greek historian Dionysius of Halicarnassus who described the Etruscans as indigenous people who had always lived in Etruria.[1] A migration from the Aegean sea, as claimed by a couple of Greek historians: Herodotus, who described them as a group of immigrants from Lydia in Anatolia,[2] and Hellanicus of Lesbos who claimed that the Tyrrhenians were the Pelasgians originally from Thessaly, Greece, who entered Italy at the head of the Adriatic sea. [3] The third hypotheses is reported by Livy and Pliny the Elder, and puts the Etruscans in the context of the Rhaetian people to the north and other populations living in the Alps.[4]

Source: Etruscan origins – Wikipedia

Ancient sources characterise the Raeti as Etruscan people who were displaced from the Po valley by the Gauls and took refuge in the valleys of the Alps. But it is likely that they were predominantly indigenous Alpine people. Their language, the so-called Raetian language, was probably related to Etruscan, but may not have derived from it.[1]

Source: Rhaetian people – Wikipedia

The Ahrensburg culture or Ahrensburgian (c.12,900 to 11,700 BP[1]) was a late Upper Paleolithic nomadic hunter culture (or technocomplex) in north-central Europe during the Younger Dryas, the last spell of cold at the end of the Weichsel glaciation resulting in deforestation and the formation of a tundra with bushy arctic white birch and rowan. The most important prey was the wild reindeer. The earliest definite finds of arrow and bow date to this culture, though these weapons might have been invented earlier. The Ahrensburgian was preceded by the Hamburg and Federmesser cultures and superseded by the Maglemosian and Swiderian cultures.

Source: Ahrensburg culture – Wikipedia