Ways of Worldmaking: Exploring the Art of Reality Construction

In the age of the metaverse, augmented reality, and immersive digital environments, the question is not just how we perceive reality but how we create it. Nelson Goodman’s Ways of Worldmaking offers a powerful framework for thinking about these new digital frontiers. Goodman’s philosophy, which argues that worlds are constructed rather than discovered, can inspire how we design, inhabit, and interact with virtual worlds.

This blog explores how Goodman’s principles of worldmaking—such as composition, weighting, ordering, deletion, and transformation—can serve as blueprints for creating meaningful virtual environments.

Worlds Are Made, Not Found

Goodman’s core assertion is simple yet profound: worlds are made, not found. According to him, there isn’t one true reality but many different versions that we construct using symbols—words, images, music, mathematical formulas, and more.

He writes, “Worldmaking begins with one version and ends with another. The making is a remaking.” This idea is a perfect fit for virtual world design, where creators start with basic elements—textures, 3D models, and scripts—and build complex environments. In a way, every virtual world is a direct example of Goodman’s philosophy: a constructed reality that feels real because of the symbols and systems we use to build it.

Five Processes of Worldmaking in Virtual Worlds

Goodman outlines five processes of worldmaking: composition, weighting, ordering, deletion, and transformation. Each can be directly applied to designing virtual environments.

1. Composition and Decomposition: Building Blocks of Virtual Worlds

Goodman’s first process of worldmaking involves composition (putting together parts to form wholes) and decomposition (breaking down wholes into parts). In virtual environments, this principle can be applied to how assets—textures, models, scripts—are modularly designed and combined to form cohesive worlds.

Modular world-building tools can empower users to become co-creators, assembling their own worlds from pre-existing elements. By focusing on both composition and decomposition, virtual platforms can offer flexible experiences—from curated narratives to sandbox-style creativity.

Indian Metaverse Project by IOVR Space highlights architecture made with modular blocks.

2. Weighting

Goodman argues that some elements are emphasized while others are downplayed to shape how we perceive a world. In virtual environments, this could mean using lighting, sound, and interactive objects to draw users’ attention to key areas or themes.

For instance, a horror game might dim the lighting and amplify eerie sounds to heighten tension, while a peaceful garden might use bright colors and soothing music.

Forgotten Foods forest by IOVR Space

3. Ordering

Ordering involves the sequence in which we present information, which can change how the world is perceived. In virtual worlds, this is similar to level design—deciding what players encounter first and what comes later.

Goodman’s insight can inspire non-linear storytelling in VR, where users can explore multiple storylines based on the paths they choose. This aligns with his view that there isn’t a single correct version of a world but many valid perspectives.

Walkthrough in a virtual web world made by IOVR Space for Smarter Digital realities

4. Deletion and Supplementation

Goodman notes that worldmaking involves omitting some elements while adding others to shape perception. In virtual design, this could mean strategically leaving out unnecessary details to focus on what’s important.

For instance, many VR experiences use fog or blurred edges to hide distant, irrelevant parts of the environment, keeping users immersed in the immediate scene.

VR Walk project by IOVR Space

5. Deformation and Transformation

Goodman describes deformation as changing the shape or function of something to alter its meaning. In virtual worlds, this could be as simple as using scale and perspective tricks to make spaces feel larger or smaller than they are.

For example, a virtual dreamscape might bend floors into walls or stretch doorways to evoke a surreal feeling. This aligns with Goodman’s view that “worlds are made not only by what is said literally but also by what is exemplified and expressed.”

Paw_lish in her cafe, drawing by Anokhi Shah made for project Pawcosm

Fictional Worlds as Real Worlds

Goodman’s view that fictional worlds influence how we understand reality has powerful implications for virtual environments. Even if a VR world is entirely fictional, it can still shape users' perceptions, emotions, and decisions in meaningful ways.

The concept of “metaverse” aligns with Goodman’s philosophy: a collection of overlapping, user-created worlds, each real in its own context. By acknowledging multiple worlds rather than a single objective reality, we can build virtual spaces that cater to different perspectives and purposes.

Indian Metaverse made and published for the Unity Asset store by IOVR Space

Conclusion: Embracing Multiple Realities

Goodman’s philosophy teaches us to embrace multiple realities instead of searching for a single truth. In the context of virtual world design, this means accepting that different users will construct different versions of the same space based on their perceptions and actions.

By applying Goodman’s processes of worldmaking, we can create virtual worlds that are not only immersive but also intellectually rich—inviting users to engage in the very act of worldmaking themselves.

As Goodman puts it, “Worldmaking as we know it always starts from worlds already on hand; the making is a remaking.” The next frontier is not just to build virtual worlds but to build worlds that build themselves—dynamic environments that users can reshape in real-time, making them true participants in the act of worldmaking. Reference:

Ways of Worldmaking by Nelson Goodman: https://monoskop.org/images/c/c5/Goodman_Nelson_Ways_of_Worldmaking_Harvester.pdf

Book: Ways of Worldmaking by Nelson Goodman