William Morris has had many legacies: two of the most significant are in the fields of modern design and modern fantasy literature. In each, he had influential champions. The scholar Nikolaus Pevsner acclaimed Morris as a “pioneer of modern design” in 1936, and the fantasy author and critic Lin Carter lauded Morris as the progenitor of the “imaginary world” tradition of modern fantasy beginning in the 1960s. This chapter assesses their arguments through examinations of how modern design in interwar England came to be defined as an outgrowth of the Arts and Crafts movement, and how modern fantasy became associated in postwar North America with the creation of realistic yet autonomous “imaginary worlds” such as those found in Morris’s late prose romances. Morris’s fusion of medievalism and modernism assumed novel afterlives in each of these domains, as did his passion for world-building in actuality and in fiction.

This short conclusion briefly summarises the book’s contentions regarding language, iteration, reworked traditions, mimesis, world-building and communities, before articulating a final argument for the importance and interest of Fantasy.

While there are a few older examples of fantasies that create secondary worlds imaginatively separate from the Earth we know, such building projects became increasingly prevalent during the twentieth century. World-building is seen as one of the quintessential activities of contemporary Fantasy. Consequently, this chapter considers what fantasies, their creators and their audiences gain from imagining new worlds. It begins by examining J. R. R. Tolkien’s arguments about the importance of consistency and immersion in sub-creation, while also considering alternative views articulated by writers including Michael Saler, André Breton and H. P. Lovecraft. After drawing out the wide applicability of the world-building metaphor in conversation with work by Farah Mendlesohn, the chapter explores the metaphor’s limitations by looking at examples drawn from Michael Moorcock and Fredric Jameson. The second part of the chapter explores a wide range of world-building techniques using case studies that include Margaret Cavendish’s The Blazing World, E. R. Eddison’s The Worm Ouroboros, Mervyn Peake’s Gormenghast series, Nghi Vo’s The Empress of Salt and Fortune, Fantasy television, Planescape: Torment and Elden Ring.

What does it mean to build digital worlds in the Anthropocene? Despite their compromised provenance, computer and video games offer a potent avenue for designing and partaking in environmental scenarios. As a review of the varied approaches to ludic world design suggests, differences in opinion as to who or what constitutes a viable game world – broadly speaking, designers, players, software or spaces – bear on environmental impasses in our shared world, which is marked by multispecies entanglements and obligations. If the essence of world-building lies primarily not in a singular, authorial intent or vision but in a collective imagining and realisation, then designed worlds may serve as both inspirations and cautionary tales for our ecologically compromised times.