.png/1358px-Sidney_Paget_-_Original_illustration_of_The_Death_of_Sherlock_Holmes,_1893_(cropped).png)
Community hub
Recent from talks
Knowledge base stats:
Talk channels stats:
Members stats:
Retroactive continuity
Retroactive continuity, or retcon for short, is a literary device in fictional story telling whereby facts and events established through the narrative are adjusted, ignored, supplemented, or contradicted by a subsequently published work that recontextualizes or breaks continuity with the former.
There are various motivations for applying retroactive continuity, including:
Retcons are used by authors to increase their creative freedom, on the assumption that the changes are unimportant to the audience compared to the new story that can be told. Retcons can be diegetic or nondiegetic. For instance, by using time travel or parallel universes, an author may diegetically reintroduce a popular character they had previously killed off. More subtle and nondiegetic methods would be ignoring or expunging minor plot points to remove narrative elements the author doesn't have interest in writing.
Retcons are common in pulp fiction, and especially in comic books by long-established publishers such as DC and Marvel. The long history of popular titles and the number of writers who contribute stories can often create situations that demand clarification or revision. Retcons also appear in manga, soap operas, serial dramas, movie sequels, cartoons, television shows, professional wrestling angles, video games, radio series, role-playing games, and other forms of serial fiction.
An early published use of the phrase "retroactive continuity" is found in theologian E. Frank Tupper's 1973 book The Theology of Wolfhart Pannenberg: "Pannenberg's conception of retroactive continuity ultimately means that history flows fundamentally from the future into the past, that the future is not basically a product of the past."
A printed use of "retroactive continuity" referring to the altering of history in a fictional work is in All-Star Squadron #18 (February 1983) from DC Comics. The series was set on DC's Earth-Two, an alternative universe in which Golden Age comic characters age in real time. All-Star Squadron was set during World War II on Earth-Two; as it was in the past of an alternative universe, all its events had repercussions on the contemporary continuity of the DC multiverse. Each issue changed the history of the fictional world in which it was set. In the letters column, a reader remarked that the comic "must make you [the creators] feel at times as if you're painting yourself into a corner", and, "Your matching of Golden Age comics history with new plotlines has been an artistic (and I hope financial!) success." Writer Roy Thomas responded, "we like to think that an enthusiastic ALL-STAR booster at one of Adam Malin's Creation Conventions in San Diego came up with the best name for it a few months back: 'Retroactive Continuity'. Has kind of a ring to it, don't you think?"
Retcons sometimes do not contradict previously established facts but instead fill in missing background details, usually to support current plot points. Thomas referred to "retroactive continuity" in this sense, as a purely additive process that did not undo any previous work; such additions were common in All-Star Squadron. Kurt Busiek took a similar approach with Untold Tales of Spider-Man, a series which told stories that specifically fit between issues of the original The Amazing Spider-Man series, sometimes explaining discontinuities between those earlier stories. John Byrne used a similar structure with X-Men: The Hidden Years. Possibly the earliest Marvel Comics example of new stories placed between long-established stories was the 1977–1978 magazine The Rampaging Hulk. In The Godfather Part II, the character Frank Pentangeli is introduced as an old friend of the family though he is not referenced in the first film; similarly Don Altobello is one of the "old time" Dons, though he is not mentioned until The Godfather Part III. Neither addition affects the plot line of the previous films. The addition, in later seasons, of an attic to the family's home in Full House stands as a similar additive example.
A similar concept is that of secret history, in which the events of a story occur within the bounds of already-established events (especially real-world ones), revealing different interpretations of the events. Some of Tim Powers' novels use secret history, such as Last Call, which suggests that Bugsy Siegel's actions were due to his being a modern-day Fisher King.
Hub AI
Retroactive continuity AI simulator
(@Retroactive continuity_simulator)
Retroactive continuity
Retroactive continuity, or retcon for short, is a literary device in fictional story telling whereby facts and events established through the narrative are adjusted, ignored, supplemented, or contradicted by a subsequently published work that recontextualizes or breaks continuity with the former.
There are various motivations for applying retroactive continuity, including:
Retcons are used by authors to increase their creative freedom, on the assumption that the changes are unimportant to the audience compared to the new story that can be told. Retcons can be diegetic or nondiegetic. For instance, by using time travel or parallel universes, an author may diegetically reintroduce a popular character they had previously killed off. More subtle and nondiegetic methods would be ignoring or expunging minor plot points to remove narrative elements the author doesn't have interest in writing.
Retcons are common in pulp fiction, and especially in comic books by long-established publishers such as DC and Marvel. The long history of popular titles and the number of writers who contribute stories can often create situations that demand clarification or revision. Retcons also appear in manga, soap operas, serial dramas, movie sequels, cartoons, television shows, professional wrestling angles, video games, radio series, role-playing games, and other forms of serial fiction.
An early published use of the phrase "retroactive continuity" is found in theologian E. Frank Tupper's 1973 book The Theology of Wolfhart Pannenberg: "Pannenberg's conception of retroactive continuity ultimately means that history flows fundamentally from the future into the past, that the future is not basically a product of the past."
A printed use of "retroactive continuity" referring to the altering of history in a fictional work is in All-Star Squadron #18 (February 1983) from DC Comics. The series was set on DC's Earth-Two, an alternative universe in which Golden Age comic characters age in real time. All-Star Squadron was set during World War II on Earth-Two; as it was in the past of an alternative universe, all its events had repercussions on the contemporary continuity of the DC multiverse. Each issue changed the history of the fictional world in which it was set. In the letters column, a reader remarked that the comic "must make you [the creators] feel at times as if you're painting yourself into a corner", and, "Your matching of Golden Age comics history with new plotlines has been an artistic (and I hope financial!) success." Writer Roy Thomas responded, "we like to think that an enthusiastic ALL-STAR booster at one of Adam Malin's Creation Conventions in San Diego came up with the best name for it a few months back: 'Retroactive Continuity'. Has kind of a ring to it, don't you think?"
Retcons sometimes do not contradict previously established facts but instead fill in missing background details, usually to support current plot points. Thomas referred to "retroactive continuity" in this sense, as a purely additive process that did not undo any previous work; such additions were common in All-Star Squadron. Kurt Busiek took a similar approach with Untold Tales of Spider-Man, a series which told stories that specifically fit between issues of the original The Amazing Spider-Man series, sometimes explaining discontinuities between those earlier stories. John Byrne used a similar structure with X-Men: The Hidden Years. Possibly the earliest Marvel Comics example of new stories placed between long-established stories was the 1977–1978 magazine The Rampaging Hulk. In The Godfather Part II, the character Frank Pentangeli is introduced as an old friend of the family though he is not referenced in the first film; similarly Don Altobello is one of the "old time" Dons, though he is not mentioned until The Godfather Part III. Neither addition affects the plot line of the previous films. The addition, in later seasons, of an attic to the family's home in Full House stands as a similar additive example.
A similar concept is that of secret history, in which the events of a story occur within the bounds of already-established events (especially real-world ones), revealing different interpretations of the events. Some of Tim Powers' novels use secret history, such as Last Call, which suggests that Bugsy Siegel's actions were due to his being a modern-day Fisher King.