18 August

Study of Re:CREATORS 11: Lecture 3 continued

Lecture 3 continued

“I also arrived at the same hypothesis. It’s worth a try.”
“What do you mean, you haven’t tried it yet?”
What if you try to “modify”?
Like Meteora, Yuya talks about the richness of information in the real world.
Smoking a cigarette, Yuya says, “This tastes better than the ones where I’m from.”
It seems he has similar impression on this world to Meteora’s.
Meteora asks, “Why did you start thinking about the possibility of revision?”
“If the creator can change the world he created, then he can change the abilities of the people he created too, right?”
“Have you ever thought about it?” “About what?”
“The reason we were chosen from the stories. The reason that we’re here is that we leave a lasting impression on many people. That’s what I think.”
Yuya is talking about the reason why they were called up to the real world.
He is able to analyze the situation from practical point of view, while Meteora’s interest is centered on the speculative cogitation on fundamental principles.
https://twitter.com/mackuro3/status/1320176136400162816


“You can call us ‘popular’ or ‘interesting’ or whatever you want. The people who stood out in that way were the ones who got a ticket to come to this world. That’s what I think.”
The factor Yuya pointed out by the word “popular” will later be acknowledged to be related with the main subject of this anime.
Yuya abruptly goes away leaving Meteora and Selesia behind.
“I am going to do whatever I want. It turns out that’s how my character is anyway. In the character description.”
Yuya adapts to the current situation without sticking to its fundamental modification.
“Whatever happens happens. I’m going to do whatever I want. I want to have fun.”
There is other alternative than taking position with Altair or against her. Yuya is able to act on his own decision.

https://twitter.com/mackuro3/status/1320177964374323201

Appearance of a girl with glasses.
She was called up by Mr. Matsubara.
Mr. Matsubara introduces her, “This is the illustrator for Vogel Chevalier, Marine.”
It is difficult for her to understand the situation.
“I have to admit that she’s not a normal human being.”
“I never said you could talk to me in such a rude way.”
A quarrel starts between the creator and his creation.
“First of all, I’m shocked to know that there’s a possibility that my world was created from your fantasies. And now you say ‘parent’? I never asked you to give birth to me!”
“I have a hard life, and it’s all because you decided to make me weak in my character description.”
“I have a lot of things to think about! Just because you think I can change the descriptions. I’m not going to make you invincible!”

The creator of a fictional work is not entirely free to describe the content of his creation. There is something that governs him in the fictionality-actuality continuum. That may resemble to something that is called by the term “pilot wave” in physics, describing generations of phenomenal events. As for fictionality, it seems enough argument is not established yet on the conditions that regulate the process of creation.

Meteora gives a speculative remark on the mechanism of creation.
“The relationship between the creator and the created, it does look like the relationship between a parent and child.”
“Summarizing the current situation, due to the collision of the worlds, the created, which is what I call them. The created are leaking out. In any case, there’s a high probability that she is the character that you two created. Let’s put our emotions aside for now and continue our discussion, assuming it’s true.”
There are more than one “creators”of Selesia.
Meteora has something to propose. “I want you to do an experiment.”
https://twitter.com/mackuro3/status/1320179006004547585

Not only the original author and illustrator, the audience and readers also participate in the act of creation.
Fictional beings are able to exist because of the approval of collective unconscious.
Observational effect implemented by Collective Unconscious.

Marine was called up for a certain experiment.
“I want to know how much you two, the creators, can affect the created…. Depending on the result, returning to our own worlds could be a possibility.”
https://twitter.com/mackuro3/status/1320179930378895360

In order to return to the original world, you only need to describe additional settings.
Trial for capacity augmentation of Selesia Upitilia starts.
Matsubara adds a description of Selesia’s magical spell for Flame Chant.
It fails. Writing alone is not enough.
“Maybe it’s the amount of information or the conditions.”
“Fictional characters are information existence. Anyways, something is missing.”
Meteora asks Marine to draw a scene.
“If the amount of information about the created world increases. it would be more likely to materialize.
Here, “materialize” has the same meaning as “Genkai”.
As for the idea of understanding not only fictional beings but also real existences as information beings, please refer to my argument on the existential modes of the Servants introduced in Fate/stay night, in the following article.
https://www.academia.edu/106632362/Existence_Phenomenon_and_Personality_Summoning_Magic_and_Individuality_in_Fate_stay_night

https://twitter.com/mackuro3/status/1320181302339858433


How can an illustrator draw an altered scene?
“Without context, it’s hard to think of what to draw.”
A picture has a story behind it, particular situation and linkage of meanings. It is called here, context.
In order to describe an existence or a phenomenon not as independent local event, but in relation to nonlocal whole, you need information and context called “story”.
Matsubara knows it well. “Oh, then I’ll write something now.”
Marine asks Selesia to show the details of her clothes.
It must have been Marine who designed the costume Selesia is wearing.
But she is asking her to show particular details of the garment.

https://twitter.com/mackuro3/status/1320182774146289665

Without context, you can’t draw.
Illustrator Marine examines details of Selesia’s costume that was supposed to be a picture she drew.
There is implicit information that the illustrator herself has not gained.
The latent factors are called “hidden variables” in the world of physics.

https://twitter.com/mackuro3/status/1320184165715775488

Marine checks the cutting and sewing of Upitilia’s costume.
An episode follows that describes an interesting relationship between the creator’s consciousness and the actually created.
Marine is moved by the make of the costume.
“So this is what the real thing looks like! It’s so pretty! Oh, so this is how they do the stitches here. I didn’t expect that!”
“It might be weird to say this, but you’re the one who drew this, right?”
“While I’m drawing, I do think about how I want to draw it, of course. But when I start really getting into it, the pen kind of starts drawing by itself.”
According to Marine, creation is an unconscious action.
In her consciousness, there is no information about the concrete making of the costume.
Physical and psychological interpretation of the act of creation and the function of consciousness must be gained.
Meteora’s remark is centered on the metaphysical issue of cosmology and consciousness.
“Things start connecting. By connecting information organically, an acceleration chain reaction occurs. That is the process of recollection.”
The mechanism of the “chain reaction” in creative action must be studied both physically and metaphysically, based on the function of consciousness.

https://twitter.com/mackuro3/status/1320185624062685189

Andrew Lohrey’s argument on the nonlocal structure of the universe and the mechanism of universal consciousness cited below, will afford a good guide for grasping the point of Meteora’s remark.

Andrew Lohrey & Bruce Boreham: The nonlocal universe
https://doi.org/10.1080/19420889.2020.1822583