Identity and Individuality of Derivative Fictions -- continued

The viewpoint that grasps the attributes of conscious beings, which reside across the fictional world and the phenomenal world, and which is also a singularity point that generates each possible world, in relation to the primordial “meta-individuality” that is assumed to be consistent between the original work and various derivative works, is aligned with the metaphysical idea of many-worlds theory, which encompasses both the phenomenal world and countless parallel worlds in continuation.
This is because it is possible to grasp the information characteristics of the protoplasmic topology, which are not only assumed to be collectively shared at the base of our consciousness, but also are latent forces that embody space, time and mass; by re-exploring the mechanism that can only be captured by the concept of “fictionality description” in the transcendental world-creation mechanism of “narrative.”
The scene in the original Peter and Wendy where Wendy narrates a story to the Lost Boys in the children’s underground house is completely changed in the background of the movie Peter Pan and replaced with a scene where Wendy narrates a story to the pirates on the deck of a pirate ship. In addition to the complex possible world-building function of the “narrative” mechanism, which is suggested in the original work, in which the world of the story develops organically while checking the listener’s reaction, the movie Peter Pan depicts the development of Wendy’s story under the intimidation of Hook, a tyrant who is overly intelligent. The story of Peter Pan that she tells at Hook’s demand proceeds as follows:

Once upon a time…. There was a boy named Peter Pan who decided not to grow up…. So he flew away to the Neverland, where the pirates are.

Here, in response to the appearance of himself in the story, one of the listeners enters the act of narration. It is Noodler, one of Hook’s henchmen, one of the vicious pirates, who takes an interesting role in supporting the metafictional mechanics in this scene.

Was one of them pirates called Noodler? / Yes. / Captain, did you hear? I am in a story.

However, this line uttered by Nooddler, was spoken by Tootles, one of the Lost Boys, in the original story.

The Lost Boys and the pirates are contrasted and swapped between the original story and the movie Peter Pan. The scene of Wendy’s story telling in the basement house, depicted in Peter and Wendy, was centered on the selfishness of children. The narrator of the original story is speaking to the adults who are unmistakably aware of the hardships of the world and who have no affection for the selfish children. It can be discerned from the following description that there are attribute elements that Peter Pan avoids sharing and has replaced with different dimensional axes.

“Oh dear, oh dear,” sighed Wendy. “Now these three children had a faithful nurse called Nana; but Mr. Darling was angry with her and chained her up in the yard, and so all the children flew away."
“It’s an awfully good story,” said Nibs.
“They flew away,” Wendy continued, “to the Neverland, where the lost children are."
“I just thought they did,” Curly broke in excitedly. “I don't know how it is, but I just thought they did!”
“O Wendy,” cried Tootles, “was one of the lost children called Tootles?”
“Yes, he was.”
“I am in a story. Hurrah, I am in a story, Nibs.”
“Hush. Now I want you to consider the feelings of the unhappy parents with all their children flown away.”
“Oo!” they all moaned, though they were not really considering the feelings of the unhappy parents one jot.
“Think of the empty beds!”
“Oo!”
“It's awfully sad,” the first twin said cheerfully.
“I don't see how it can have a happy ending,” said the second twin. “Do you, Nibs?” I’m frightfully anxious."
“If you knew how great is a mother’s love,” Wendy told them triumphantly,” you would have no fear.” She had now come to the part that Peter hated.
“I do like a mother’s love,” said Tootles, hitting Nibs with a pillow. “Do you like a mother’s love, Nibs?
“I do just,” said Nibs, hitting back.
“You see,” Wendy said complacently, “our heroine knew that the mother would always leave the window open for her children to fly back by; so they stayed away for years and had a lovely time.”


Wendy, the narrator, narrates the situation of herself and her younger brothers, who are the listeners, in the story, and the listener enters into the act of narration by mentioning the appearance of himself in Wendy’s story. Furthermore, both the narrator and the listener share their future appearance in the story as the central theme of the story, and foresee the end of the story with their current impressions and hopes. Through the interaction between the narrator and the listener, the world of the story is organically generated in the superposition of the consciousness of both the narrator and the listener. The existence of Peter, the consciousness as the “self” that tells and is told in the story, and the world around it, are also formed floating in the overlaying parts of individual thoughts, as is the story itself. This innovative method of fictional description, pioneered by the original Peter and Wendy, condenses the metafictional thematic nature by subtly swapping the axes in the secondary work Peter Pan. (note)

note:
In “Fraudulent Narration: Deconstruction in Antifantasy”, included in Fantasy as Antifantasy; Kindai Bungei-sha, (2005), an argument of the effects of this kind of narrative introduced in Peter and Wendy is developed.

　In the original novel, Peter and Wendy, the story was not intended to be told as a completed narrative by fragmenting its body just like an event occurred in the real world, separating it with the beginning and the end. By adopting a particular composition in which the scene that was told as a fiction refers to a part of the real world, and thus reference from inside of the fiction to reality being perpetrated, everything of the real world is incorporated into the fictional world, in the end. The meta-structure implied by such a fictional manipulation was particularly interesting because it suggested the holography structure in which the parts reversely encompass the whole. It seems to imply a viewpoint that is able to grasp the totality structure from a meta-interface that transcends the inclusion relationship of sets in spatial coordinates. This characteristic structure neatly corresponds to the idea of “small boxes” that was adopted in describing the peculiarity of Mrs. Darling, from her heart a box of the same shape will come out no matter how many times it is opened, indicating a mysterious characteristic possessed by this character in the original novel. The composition adopted by the original Peter and Wendy, which attempted to disrupt the referential relationship between reality and fictionality, swapping the phases between subject and object, in order to incorporate all of reality into fictionality description as a superordinate continuum, has also been effectively introduced in Peter Pan as a variation of the mechanism of a story telling structure, in a scene fictional piece is narrated through the dialogue between Wendy and Hook on the pirate ship.