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Introduction

The following blog aims to explain all the different aspects of the "Re:Creators" verse including its cosmology, lore, verse mechanics, events, and last but not least, about Altair, so that people can get a better understanding of how the series works, which would clear up their misconceptions. The blog would use information and evidence from all relevant canon sources and this includes:

Before starting out, one important thing that needs to be clarified and understood here is that Meteora's statements can be taken seriously in most cases as she is given the role of a character who provides a lot of info-dumps which end up being accurate most of the time. This is because of her high intelligence as well as analytical and deductive mind courtesy of her life as a skilled Magician with extensive knowledge of Philosophy, Metaphysics, and scientific knowledge. This is because her Magic Book called "Book of a Thousand Miles" allows her to be able to understand the Real World easily including the lay of the land, history, biological distribution, laws of physics, political structure, and thoughts, as shown in Episode 2

As such, Meteora's statements should be taken seriously as she is presented in the anime as a medium using which the Author (Rei Hiroe) can explain the aspects and verse mechanics in the series.

Note: While the blog is long, it is mandatory to read all the sections since every section is interrelated. Here is the Original Blog from which it is copied from. Massive thanks to both Dereck03 and GarrixianXD for helping in the complete transfer of the blog in this wiki.

Stories/Storyworlds

The Multiverse

Stories can be defined as simply the plot or the narrative that explains and defines the different chain/sequence of events. In the setting of Re:Creators, Stories or Storyworlds are manifested worlds/universes/realities that seemingly exist as fiction from the perspective of the Real World which describes characters, settings, events, etc. However, the stories or storyworlds are not at all fictional or 2D/abstract/conceptual universes as the series itself shows that they are alternate/different manifested worlds where even humans from the Real World can exist such as when Souta was teleported into "Earthmelia" aka Selesia's Storyworld where he can freely exist, move, and interact with its environment while also getting teleported back from there with Selesia, as well as Nakanogane witnessing Kanoya's world when his entire room was warped and he got transported into Kanoya's world. However, this interaction between the Real World beings and the Storyworlds has more context to it and that will be explained later in the Restorative Power section.

This is further confirmed by the Guidebook which specifically states that those Storyworlds are "Isekai"/"Another World" rather than "Story" or "Fictional World".

Image & Page Number Japanese Text English Translation
Ep 1 Scenes 03 pg 80
Page 80
自分の部屋から突然、異世界に転移した堀太。その頭上に巨大ロボット、フォーゲルシュバリエが舞い降りてきた。 Souta is suddenly transported from his room to another world. The giant robot, Vogelchevalier, swoops down on his head.
Ep 1 Story pg 80
Page 80
STORY

水篠姻太。彼が自室でアニメ「精霊機想曲フォーゲルシュバリエ」を観ていると、画面にノイズが走り、突如、異世界が現出。アニメキャラのセレジア・ユピティリアと、謎の軍服の少女との戦いに巻き込まれる。現実世界に戻っても存在するセレジアと軍服の姫君。状況が不明のまま、戦闘が再開された。そこに現れたのは、RPG「追憶のアヴァルケン』のキャラクター、メテオラエスターライヒ。一体、何が起きているのか!?

STORY

While Sota Mizushino is watching the anime "Elemental Symphony of Vogelschevalier" in his room, noise appears on the screen and suddenly another world appears. He gets caught up in a battle between the anime character Selesia Upitiria and a mysterious girl in a military uniform. Celesia and the princess in the military uniform exist even after returning to the real world. With the situation unclear, the battle resumes. Then, Meteora Osterreich, a character from the RPG "Remembrance of Averken" appears. What the heck is going on!?

While the size of these Storyworlds has not been stated, however, these worlds could likely be either regular Universe-sized or even Infinite-sized. The reason for assuming the latter is because one of the Dimensions created by the creators to trap Altair within is an Infinite Space consisting of Infinite Gates implying that the Worlds could very well be Infinite in Size.

As stated by Meteora, in the Real World, there exists "media" that describes stories as well as the extremely personal experiences of the characters in the stories.

As per Meteora, there are some hypotheses on the existence of Storyworlds. One such hypothesis is that the storyworlds and the real world used to exist independently but started to resonate with each other which is the result that manifested from someone's thoughts in the Real World and all these events are described within a fictional story in the real world.

Another hypothesis on the existence of storyworlds devised by Meteora is that the storyworlds are "born as possibilities by imagination" and once they were born, they would exist as independent worlds split off from the real world without any Causal Relation.

In both hypothesis, the core idea remains the same which is that the Worlds are Manifesred Worlds instead of being some conceptual/abstract space or literal fiction. However, due to the fact that The Land of Gods/Real World (Explained in the Below Section) is the place that created all the storyworlds, it can be concluded that the second hypothesis of Meteora (i.e. the storyworlds being born as possibilities from imagination) is true. Do note that "Imagination" here is something that is extremely important and would be explained later on.

The stories or storyworlds have their own laws and concepts which allow the existence of characters with superpowers as well as settings that defy common logic and laws of physics of the real world. A case in Point is Mamika's Story where characters do not bleed or feel pain which is also confirmed by the Guidebook.

Image & Page Number Japanese Text English Translation
Ep 2 Scenes 07 pg 83
Page 83
まみかの魔法は、彼女のいた世界ではあり得ない、人を傷つける力を持っていた。流れるはずのない血を前にして、まみかは激しく動揺する。 Mamika's magic had the power to hurt people, which was impossible in the world she was in. Facing the blood that was not supposed to be spilled, Mamika became violently upset.

As well as Selesia's story where things like coffee, stories as well as the concept of smell, etc are not at all present. The guidebook also states that Selesia's World consists of Magic and Science that are used together in their daily lives.

Image & Page Number Japanese Text English Translation
Ep 1 info 2 pg 81
Page 81
■「精霊機想曲フォーゲルシュバリエ」

姻太の部屋で二人が交わす会話の内容。「アイゼンカヴァリエ」とはセレジアの敵、アヴァロンブリゲードの魔導士のこと。同作品は魔法と機械が混在する世界なため、「波動詠唱」(魔法)と「重機鉄塊」(メカ)が共存している。セレジアは、戦友のカロンと共にアイゼンカヴァリエと戦っている最中に、軍服の姫君に連れ去られたらしい。堀太が話しているのは#8「ヴァルハランの攻防」。ライトノベルの原作はサーメディア社のレーベル、幻想ノベライズ文庫より第7巻まで発売中。

■「Elemental Symphony of Vogelchevalier」

This is the content of the conversation between the two of them in Souta's room. "Eisenkavalier" is an enemy of Selesia, a mage of Avalon Brigade. As this work is a world where magic and machines are mixed, "Wave Motion Chanting" (magic) and "Heavy Machinery" (mecha) coexist. Selesia was apparently taken away by a princess in military uniform while she and her comrade-in-arms Chaaron were fighting the Eisenkavalier. Souta is talking about #8, "The Battle of Valhalla". The original light novel is now available as volume 7 from Sir Media's label, Illusion Novelize Bunko.

However, the events of the Storyworlds are already predestined from the beginning as they are all bound by the narrative causality placed by the Creators of the stories in the Real World.

This is even supported by Kanoya who elaborates that everything in the Storyworlds is already decided and that characters cannot escape them as they are predestined to fulfill their purposes as written by the creators.

A Story or Storyworld can be either a Single Universe/Dimension/Reality or even a Multiverse comprised of Multiple Universes/Dimensions/Realities such as in the case of Blitz Talker who comes from the Cyberpunk Sci-Fi Storyline "Code: Babylon" where the setting is a future world where Blitz Hunts for Criminals, Aliens, Demons, etc while "Hell" is also an additional dimension that is part of the "Code: Babylon" story as explained by the Guidebook.

Image & Page Number Japanese Text English Translation
Ep 15 info 2 pg 113
Page 113
■「ブリッツの憂鬱」

ブリッツの過去は想像を上回るものだった。愛娘を失ったというだけでなく、自らその手にかけたのだ。首だけを残して地獄への門を開けるための動力炉に変貌した我が娘を、リュウスケを制して撃つ。世界を救うためとはいえ、取り返しのつかない悔恨に、ブリッツは沈んでいた。それゆえ、現界しても、どこか世界から一歩距離を置いた客観性を保っている。

■「The Melancholy of Blitz」

Blitz's past was more than he could have imagined. Not only had he lost his beloved daughter, but he had also taken matters into his own hands. He shot his daughter, who had been transformed into a power reactor to open the gates to hell, leaving only her head behind after controlling Ryusuke. Even though it was for the sake of saving the world, Blitz was sinking into an irreparable regret. Therefore, even in the present world, he maintains an objectivity that is one step removed from the world.

Moreover, there exists multiple timelines and variations for Storyworlds where characters can exist in different states of existence. For example, there are different versions of Selesia due to her story being originally written in Light Novel and adapted into Anime whereas the Selesia of Anime version did not yet experience the events of the Light Novel that was currently ongoing and which was the future from Anime Selesia's Perspective.

This is even implied by Meteora who came from the game "Avalken of Reminiscence" (Or rather, one version of the Game's timeline) and says that as long as people play her game, she would be reborn in all the copies of the game thereby referencing her alternate versions or selves.

The novelization of the anime expands on this further when Meteora states that she will repeat the eternal cycle of reincarnation within all copies of her game, thereby highlighting the fact that Storyworlds can be "Eternal" in timespan along with being "Infinite" in size/spatial structure as previously stated.

Image & Page Number Japanese Text English Translation
Chapter 4, Page 7
Chapter 4, Page 7
「私は多くの複製された『アヴァルケン』の中で、永劫の輪廻を繰り返す。そのゲームを遊ぶ人がいる限り、私は勇者にザルカザンの秘法を伝授し続けるだろう。滅びゆこうとする世界を救う為に、永遠に」

皆、黙ってメテオラの話を聞いている──颯太とまりねは微笑んで、松原は放心したように、セレジアは、その覚悟を一緒に受け止めるかのように。
「そして私は考えた。その永劫を知った今、私は私の世界と役割を受け入れられるか。その世界を創った者を受け入れられるか」

I will continue to repeat the eternal cycle of reincarnation in all the copies of 'Avalken'. As long as there are people who play that game, I will continue to teach the brave heroes about the secrets of Zarkazan. To save the dying world, eternally."

Everyone was silently listening to Meteora's story──Sota and Marine smiled, Matsubara seemed absent-minded, and Selesia seemed to share her determination.
"And then I thought. Now that I know that eternity, can I accept my world and my role in it? Can I accept the one who created that world?"

Furthermore, at the end of the Chamber Festival where Selesia died, Meteora explained to Matsubara that the Selesia that came to this world is one of the possible branches of the Storyworlds and that Selesia would continue to exist as long as he is able to write her Story even though the Selesia of those worlds may not be able to meet them but their willpower and thoughts would remain the same. This is also further supported by the guidebook itself. Additionally, the novelization of the anime expands on this by stating how the Selesia that came to this world and died is just one ending of the "Branching Possibilities". This proves that the Storyworlds are able to function as MWI/Quantum Mechanics where they keep constantly branching into different worlds due to possibilities.

Image & Page Number Japanese Text English Translation
Ep 22 info 02 pg 129
Page 129
■「クリエイターとは」

自分が創った物語のせいでセレジアを失ったと松原は嘆く。そんな松原にメテオラは「あなたが別の物語を描いていたら、世界を救う縁は存在しなかった」と語りかける。被造物の辿る道がどんなものであれ、それこそが生きた証なのだから、そこに後悔はない。この世界が存続し、松原が物語を書き続ける限り、セレジアの世界と物語は大団円を迎えるだろう。

■「What is a Creator」

Matsubara laments that he lost Selesia because of the story he created. Meteora tells him, "If you had drawn a different story, the way to save the world would not have existed". No matter what path the creation follows, it is proof that it has lived, and there is no regret in that. As long as this world survives and Matsubara continues to write stories, the world and story of Selesia will come to a grand conclusion.

Image & Page Number Japanese Text English Translation
Chapter 22, Page 5
Chapter 22, Page 5
「この世界が存続すればこそ、あなたの描く『フォーゲルシュバリエ』の世界は、その大団円まで綴ることが出来る。この世界に来たセレジアは確かに犠牲となった。でも、それは分岐された可能性の一つの結末。マツバラ殿。あなたがこれから描くセレジアは、遂に私たちと出会うことのなかったセレジア。でも、彼女が持つ意志と想いは、何も変わらない。あなたがそう、書くかぎり」 “As long as this world continues, the world of 'Vogelchevalier', as you drew it, can be spelled out until its grand finale. The Selesia who came to this world certainly sacrificed herself. But, that is just one ending of the branching possibilities. Matsubara-dono. The Selesia you will draw from now on is the Selesia who never met us. But, her will and feelings will never change. As long as you write so."

It is also theorized by Meteora that the Storyworlds follow a cosmological structure of the "Multiverse Theory" where retcons or changes in the past or future of a storyworld can be done freely by the Creators to make new adjustments in the story and given the evidence we have seen so far, it is safe to say that the Storyworlds does indeed follow a "Multiverse Theory" based on MWI/Quantum Mechanics of branching possibilities/worlds.

Image & Page Number Japanese Text English Translation
Chapter 22, Page 12
Chapter 22, Page 12
「それも仮説だろー? 聞いてる感じだと、多元宇宙論に近いんだけど、実際、元の場所に連結するのか、新しい分岐世界が出来るのか、それとも融合するのか」 "Isn't that a theory too? From what I've heard, it's similar to the Multiverse Theory, but actually, will it connect to the original place, will it create new diverging worlds, or will it merge?"

Additionally, the storyworlds have their own flow of time such as the Story of Aliceteria which is set in the Middle Ages whereas Kanoya's Storyline is set in the Future in the 22nd Century or 2124 AD to be precise as stated by the Guidebook.

Image & Page Number Japanese Text English Translation
Episode 5 (2)
Page 89
■「アイオーン」

直屋のいる2124年の新飯想都市工ネルギアイチハラに侵攻した電磁寄生体。「アイオーン」は古代ギリシア語で「時代」や「世紀」など、時間のある一定の期間を指す。ギリシア神話では、永遠を象徴する神と考えられている。

■「ギガスマキナ」

全高約55mのギガスマキナのメインウェボンは粒子加速砲。アイオーン電磁寄生体に対抗できる何らかのシステムがギガスマキナには組み込まれている。

■「Aeon」

An electromagnetic parasite that invaded the new Iisou city of Konnergi Aichihara in 2124 where Kanoya is from. The word "Aeon" is an ancient Greek word that refers to a certain period of time, such as an "era" or a "century". In Greek mythology, it is thought to be a god that symbolizes eternity.

■「Gigas Machina」

The main weapon of the 55-meter tall Gigas Machina is a particle acceleration cannon. The Gigas Machina has some sort of system built in it which can counter the electromagnetic parasite of Aeon.

This is even supported by the Secondary Canon "Re:Creators" Manga itself where the Diagram of the Timelines of both Kanoya's World and the Real World are given parallel to each other with Kanoya's world not at all having any past or future since the timeline is set entirely in a static state of 2124AD for the rest of the story...

Moreover, as per the WOG, the Storyworlds are Parallel to the Real World since they are all created from "Imagination" which puts the final nail in the Coffin on the Stoyworlds being legit manifested worlds/universes outside of the Real World.

Image Japanese Text English Translation
2022-10-28 14 49 12-(5) 広江礼威@2021 8 19ブラクラ12巻発売 on Twitter @Roloal97 この世界すら誰かの想像である可能性がある以上、平行なので
Source
RM97: @hiroerei こんにちは。質問があります。 レクリエイターズでは、物語の世界は現実の世界と平行に存在しますか?それとも現実の世界よりも低いレベルに存在するのでしょうか。あなたの答えに本当に感謝します。

Rei Hiroe: この世界すら誰かの想像である可能性がある以上、平行なのではないでしょうか。

RM97: @hiroerei Hello. I have a question. In Re:Creators, does the story world exist parallel to the real world? Or does it exist at a lower level than the real world? I would really appreciate your answer.

Rei Hiroe: As long as there is a possibility that the world is someone's imagination, then it'll be parallel.

It is important to note that Meteora stated in Episode 4 how characters from the storyworlds exist in Two-Dimensional Forms, Polygons, or Pixels and how they have been translated to fit in the Real World and appear just like Sota or any other being in the Real World.

Image & Page Number Japanese Text English Translation
Vol 2, Pg. 0079
Volume 2, Page 79
私やセレジアは多分この世界に適合するよう「変換」された。私達が二次元的な形態や、ポリゴン、ドットの塊でなく、颯太殿達と同じ様な姿で現界しているのは、この世界の辻褄を合わせる能力... いわば修復力に依る所が大きい。 I and Selesia have probably been "transformed" to fit into this world. The reason we are not two-dimensional forms, polygons, or dots, but appear in the same form as Souta and the others is due to the ability to make this world make sense... In other words, it is largely due to the restorative powers.

This showcases that the storyworlds can have their own dimensionality, rules, laws, concepts, etc where a character can exist as a 2D pixel or a 3D polygon entity, which is entirely dependent on the creators setting up whatever parameters they want. However, this also reveals something very important about the relation between the Storyworlds and the Real World. Essentially, a character from the storyworlds gets translated passively when they are brought forth into the Real World which allows them to appear normal and have normal human characteristics. More of this will be explained below in the Restorative Force section of the blog..

Finally, it is also worth noting that the series "Black Lagoon", is part of the storyworlds and thus, is canon to it. Why is this so? Because both "Black Lagoon" and "Re:Creators" have been written by Rei Hiroe, published by Shogakukan, and published in the magazine "Sunday Gene-X" (Sunday GX). Furthermore, in Episode 7 of the the anime, we get to briefly see a part of the "Black Lagoon" volume 10 issue from "Sunday Gene-X" which was released back in 2014. Additionally, even WoG states that "Black Lagoon" might be a part of the storyworlds. All in all, it proves that indeed not only is the Storyworlds Multiverse of Re:Creators manifested worlds and not "Fictional", but also includes another work of Rei Hiroe as a shared Multiverse.

Image Japanese Text English Translation
Black Lagoon Canon
Source
RM97: @hiroerei こんにちは、先生、お元気でしょうか。 質問があります。 『Re:CREATORS』のエピソードでは、サンデーGXの漫画『Black Lagoon』の表紙が登場します。どちらもご自身の著作であり、出版も小学館であることから、『Black Lagoon』は『Re:CREATORS』の物語世界である可能性はありますか?

Rei Hiroe: あるかもしれません。

RM97: @hiroerei Hello Sir, hope you are doing well. I have a question. In a "Re:CREATORS" episode, the cover of Sunday GX's manga "Black Lagoon" appears. Since both are written by you and published by Shogakukan, is it possible that "Black Lagoon" is part of the storyworld of "Re:CREATORS"?

Rei Hiroe: It might be.

Higher Dimensions

Now, the existence of higher-dimensional entities such as the "Hounds of Tindalos", a Lovecraftian entity, is shown in the anime as well as in the Secondary Canon "Re:Creators" Manga.


However, a closer look into the Guidebook and the Secret Archive DVD gives us additional information about said entities within the Verse.......

Unknown(1)
全身には酵素を持たない、青みがかった脳奨をしたたらせているとするのが一般的。その下に本当に体が存在するかは定かではない。

四足歩行であるという解釈が多く浸透しているが、ロング氏の小説では「前進するにつれて姿が変化した」とも書かれており、不定の存在であると推測される

ティンダロスの猟犬とは、超常の角度を有する空間に太古から存在するといわれている不浄にして不死の存在。 一度標的と定めたものを、時を超え、次元を超えて追い続けることから猟犬と呼ばれている。 しかし、その実体は犬とはかけ離れた異質のもの。 痩せきった体には、不浄そのものが凝縮されているという。 初出はフランクペルナップ・ロングの小説「ティンダロスの猟犬(Hounds of Tindalos)」。

ティンダロスの猟犬がこの世に顕現は90度以下の鋭角が必要になる。 そのため石膏やセメントであらゆる角度を物理的になくしてしまえば、猟犬に襲われる心配はない。 しかし、たとえ鋭角のない部屋を作り隠れたとしても、他の異形によってその平穏が破られないとは限らない。 現にドエルと呼ばれる存在は猟犬に協カするものであり、彼の者が起こす地震の前に、曲面などなんの防御にもなりはしないのだ。

醜く、太くて長い針のような舌を持つとされている。 おぼろげながら狼めいた外見をしていると記述されているものもある。

他の神話生物の例に漏れず、ティンダロスの猟犬は不死である。 防御策を講じることは可能だが、存在そのものを消すことは敵わず、撃退するのがせいぜいだろう。

The Translation of these collective quotes give:-

Sections Japanese Text English Translation
Body 全身には酵素を持たない、青みがかった脳奨をしたたらせているとするのが一般的。その下に本当に体が存在するかは定かではない。 It is generally assumed that the entire body is enzyme-free and is dripping with bluish cerebral fluid. It is not clear if there really is a body underneath it.
Paw 四足歩行であるという解釈が多く浸透しているが、ロング氏の小説では「前進するにつれて姿が変化した」とも書かれており、不定の存在であると推測される Although the interpretation that it is quadrupedal is widespread in many parts of the world, Long's novel also says that it "changed its shape as it moved forward," suggesting that it is an indefinite entity.
Overview ティンダロスの猟犬とは、超常の角度を有する空間に太古から存在するといわれている不浄にして不死の存在。 一度標的と定めたものを、時を超え、次元を超えて追い続けることから猟犬と呼ばれている。 しかし、その実体は犬とはかけ離れた異質のもの。 痩せきった体には、不浄そのものが凝縮されているという。 初出はフランクペルナップ・ロングの小説「ティンダロスの猟犬(Hounds of Tindalos)」。 The hounds of Tindalos are impure and immortal beings said to have existed since time immemorial in space with supernatural angles. It is called a hound because it continues to chase its target once it has been designated as a target, beyond time and transcending dimensions. However, its reality is far different from that of a dog. Its emaciated body is said to contain a concentration of foulness itself. First published in the novel "Hounds of Tindalos" by Frank Belknap Long.
Anecdote ティンダロスの猟犬がこの世に顕現は90度以下の鋭角が必要になる。 そのため石膏やセメントであらゆる角度を物理的になくしてしまえば、猟犬に襲われる心配はない。 しかし、たとえ鋭角のない部屋を作り隠れたとしても、他の異形によってその平穏が破られないとは限らない。 現にドエルと呼ばれる存在は猟犬に協カするものであり、彼の者が起こす地震の前に、曲面などなんの防御にもなりはしないのだ。 The manifestation of the Hounds of Tindalos into the world requires an acute angle of less than 90 degrees. Therefore, if you use plaster or cement to physically eliminate all angles, there is no need to worry about being attacked by the hounds. However, even if you build a room without sharp angles and hide in it, there is no guarantee that your peace will not be broken by other deformities. In fact, a being called the "Doels" are in league with the hounds, and no curved surface can protect them from the earthquakes he causes.
Head 醜く、太くて長い針のような舌を持つとされている。 おぼろげながら狼めいた外見をしていると記述されているものもある。 It is said to have an ugly, thick, long needle-like tongue. Some are described as having a vague but wolf-like appearance.
Immortality 他の神話生物の例に漏れず、ティンダロスの猟犬は不死である。 防御策を講じることは可能だが、存在そのものを消すことは敵わず、撃退するのがせいぜいだろう。 Like other mythical creatures, the Hounds of Tindalos are immortal. It is possible to take defensive measures, but it is impossible to erase its very existence, and at best it can be repelled.

In addition to the Secret Archive DVD Infographic, the episodes section of the Guidebook also gives small info on the Hounds of Tindalos that appeared in Episode 6.

Image & Page Number Japanese Text English Translation
Ep 6 info 2 pg 93
Page 93
■「ティンダロスの猟犬」

ラヴクラフトの友人、フランク・ベルナップ・ロングが著したSF小説のタイトル。常に飢えており、獲物を執物に追い続ける習性から「猟犬」と呼ばれるが、犬の仲間ではなく、その形状も正確にはわかっていない。この存在から逃れることは絶対に不可能であると言われている。時空を超える能力を持つ。

■「The Hounds of Tindalos」

The title of a science fiction novel written by Lovecraft's friend, Frank Belknap Long. They are called "hounds" because of their constant hunger and their habit of pursuing their prey like a stalker, but they are not a member of the dog family and their exact shape isn't known. It is said to be absolutely impossible to escape from this existence. They have the ability to transcend time and space.

Moreover, as per the novelization of the anime, the description of the Hound matches with the information given in the Secret Archive DVD as well as in the original story, thereby confirming the fact that the Hound of Tindalos appearing in the episode is the authentic one from Frank Belknap Long's original story.

Image & Page Number Japanese Text English Translation
Chapter 6, Page 7
Chapter 6, Page 7

Chapter 6, Page 8
Chapter 6, Page 8
それは『ティンダロスの猟犬』という、不気味な生き物の絵が載っているページである。

「いつの間に書いたんだ、こんなもの」
「おじさん、ねえねえ、なんて書いてあるのかな?」
「つまらん悪戯しおって、警察に電話するぞ」
「そこに書いてあること──噓だと、思う?」
真鍳の口が、耳まで裂けたように笑む。ゾッとするような歪んだ笑顔だ。
「う……噓に決まってるだろ、何を馬鹿な!」
「噓に乗ってくれてありがとう、おじさん。あたしの手妻は、ちょっぴり仕掛けが面倒なのでね、うっきっき」
「な……」
腰が引けている店主にいたずらっぽく笑い、パチンと指をスナップさせた。
「噓の噓──それは、くるりと、裏返る」
言いながら、革手袋の手のひらを顔の前で翻す。
そこに、五芒星が現れた。
と、ふいに悪臭が漂い、地獄の底から聞こえてくるような唸り声がした。
さっき見た本から抜け出てきたかのように、四本足の黒く禍々しい化け物が本棚の上に座っている。
解説に書いてあったとおり、青みのかかった脳漿のようなものを滴らせて──。
「う……うわああああ!」
店主の悲鳴とおぞましい咆哮が店内に響く。
真鍳は本を回収して店を出た。アレは常に飢えていて執念深いというから、ちゃんと始末をつけてくれるだろう。

It is a page with a picture of a creepy creature called The "Hounds of Tindalos".

"When did you write something like this?"
"Uncle, Hey Hey, what does it say?"
"I'm going to call the police on you, you little prankster."
"Do you think I'm lying about what it says?"
"Magane's mouth is agape with a smile that made it seem as if her mouth had ripped towards her ear. It's a horrifying, crooked smile."
"O...of course, you're lying, what nonsense!"
"I'm so glad you took me up on the lie, Uncle. My tricks are a little troublesome, hehehe."
"Wha..."
She laughed mischievously at the shocked shopkeeper and snapped her fingers.
"A lie of a lie ─ it turns itself inside out"
As she said this, she flipped the palm of her leather glove in front of her face.
There, a pentagram appeared.
And suddenly, there was a stench in the air and a roar that sounded as if it came from the depths of hell.
A four-legged, ominous black monster sits on top of the bookshelf, as if it had slipped out of the book I just saw.
As the description in the book said, it was dripping with what looked like bluish brain fluid - and then....
"Uh... Uwaaaaa!"
The owner's screams and horrific roars echo through the store.
Magane collected her books and left the store. They say that these creatures are always hungry and vindictive, so they will make sure it is taken care of.

As per the Secret Archive DVD Infographic as well as the Guidebook, it has been found that what Magane summoned in Episode to kill the Bookstore Owner was indeed The "Hounds of Tindalos" with the description of the Hounds given from these guides as Foulness itself that existed since Time Immemorial while originating from a realm with paranormal Angles called the "Angled Space". The Hounds are immortal bodiless entities capable of Transcending/Going Beyond Space-Time ("時空") as well as Time ("時") and Dimensions ("次元") to hunt its targets while requiring angles to manifest into the world.

Arguments for 5D Hounds based on given Kanjis
It is interesting to note that while the Kanji used in the Guidebook is "越える" (Koeru) which can mean to Exceed/Go Beyond/Cross Over aka to exist outside of something or crossing over, the Kanji used in the Secret Archive DVD Infographic is "超えて" (Koete) which refers to a Qualitative Superiority such as Transcending/Exceeding/Overcoming/Surpassing. In addition, the kanji "超え" (Koe) which is part of both the terms used here (超えて/Koete) is composed of the Kanjis "超" (Cho) and "え" (e) where "超" (Cho) is used to Describe Superiority in a Qualitative Manner. So this gives more support to the idea that the context is referring to a Transcendence in a Qualitative Manner rather than being simply saying existing outside.
Now, in the Guidebook the term used was "時空" (Jikuu) which predominantly refers to Space-Time, or precisely, Spatio-Temporal Dimensions. Now, why did I say Spatio-Temporal Dimensions? Because in the Secret Archive DVD Infographic, the terms were given as "時" (Toki) which literally translates into Time as well as "次元" (Jigen) which translates into Dimension or Dimensionality. Given that Japanese has no plurals, it is possible that Dimension is rather referred to as Dimensions aka in plural form implying the existence of multiple dimensions. If we compare the information from both the Guidebook and the Secret Archive DVD Infographic, we get that Space-Time is referred to as Time and Dimensions implying Space here is Dimensions, or specifically Spatial Dimensions. Given the lack of plurality in Japanese, it can also mean that there are multiple Spatio-Temporal Dimensions (4D Multiverse) instead of a single Spatio-Temporal Dimension (4D Timeline).
Now, if we analyse the whole context, we are able to understand that The "Hounds of Tindalos" are completely transcendental over the Spatio-Temporal Dimensions in a qualitatively superior manner and can chase its targets across time and dimensions which makes them Higher Dimensional Beings. This higher dimensional transcendental existence of the "Hounds of Tindalos" allows them to not only travel across all of Time to chase their targets but also gives them access to all the Spatio-Temporal dimensions in the multiverse where they can easily travel to. Therefore, this implies that the "Angled Space" exists completely transcendental to the 4D Multiverse in a higher dimension which gives it complete access to all of Time and Space of the Multiverse and thus making the Angled Space 5D in nature.

The quotes and info gathered from both the infographic and the guidebook are completely similar to the Original Mythos story of the "Hounds of Tindalos" indicating the Hounds as well as the Angled Space being the same in Re:Creators as their Mythos counterparts. While the original story of the "Hounds of Tindalos" was written by Frank Belknap Long, however, it is shown to be a part of the Storyworlds in the verse (as well as the author himself being a Creator in the Real World) due to multiple factors and they are:

  • The Book that Magane was reading in the Bookstore in EP 6 was called "Inhabitants of Cthulu" that contained the infographic of the "Hounds of Tindalos". This implies that the book is a Bestiary for the Eldritch Beings with information and details very similar to the Call of Cthulu Bestiary Book.
  • The Novel itself is mentioned in the infographic within the anime and manga as well as the Guidebook implying the existence of the novel in the verse as a story.
  • Quotes from the Original Novel being present in the Infographic.
  • Numerous mentions of the Author, Frank Belknap Long in the Infographic as well as the Guidebook heavily implying the existence of Frank Belknap Long as a Creator in the Real World.
  • Mentions of "Angled Space"/"Space with Supernatural Angles" as well as "Doels", who are also higher dimensional entities existing also in "Angled Space" from Frank Belknap Long's novel "The Space-Eaters".
  • Nature of the "Hounds of Tindalos" in the series shown and described is exactly the same in the Original Mythos Novel such as being Immortal, Foulness itself, Existing in a realm beyond Time and Space that has Supernatural Angles, Lacking Body, Capable of Travelling through Time and Space, entering/manifesting into the Physical World using Angles only, Bluish Fluid from their Physical Manifestations, having a dark form, etc.
  • Feats of the "Hounds of Tindalos" in the series shown and described is exactly the same in the Original Mythos Novel which is killing a human.
  • "Angled Space"/"Space with Supernatural Angles" in the series described is exactly the same in the Original Mythos Novel such as being completely transcendental to Time and Space, containing Foulness/Impure aka the Hounds, being composed of supernatural/paranormal angles, etc.

Moreover, considering the fact that the stories of "Hound of Tindalos" and "The Space-Eaters" by Frank Belknap Long are public domain, anyone can adapt it into their own canonicity/verse. Furthermore, as per WOG, the higher dimensions/Angled Space (and their corresponding entities) were written as part of the Setting of the Storyworlds.

The dimension was intended to be the basis, though you could interpret the dimension being created based on the setting it was made in.

Rei Hiroe on Angled Space in the verse

As such, it can be confirmed that not only are the "Hounds of Tindalos" and "The Space-Eaters" stories part of the storyworlds, but also "Angled Space" or Higher Dimensional Space and their inhabitants are part of the Storyworlds Cosmology as well.

The presence of Extradimensional Eldritch beings in the Storyworlds is further shown in Magane's Spinoff Manga "Chikujoin is having too much fun" where on three occasions she is able to bring three Eldritch Abominations with one from "Beyond" and another one from "Hell". All of this gives more evidence that the Storyworlds do not specifically contain only parallel universes but also higher dimensional and extra-dimensional realms.

Summary

To summarize the gathered information so far:

  • The Storyworlds are the different Worlds/Universes and Realities having their own Laws, Concepts, etc.
  • The Storyworlds are all Manifested Worlds and exist outside of the Real World.
  • A single Storyworld can be Infinite in Size as well as Eternal in timespan.
  • Each Story is a Multiverse that consists of different dimensions/realities as well as Timelines.
  • Each of the Stories has multiple versions or timelines of themselves due to different copies as well as versions (Anime, Manga, Light Novels, Games, Doujinshis/Secondary Creations, etc).
  • The Storyworlds function according to the Multiverse Theory of MWI/Quantum Mechanics where each Story keeps branching due to Possibilities.
  • The Storyworlds comprise an entire Multiverse called Fiction or Fictional Worlds which consists of these smaller groups of Multiverses.
  • The Storyworlds have their Reality, Concepts, Space-Time, Narrative Causality, and Fate predestined or predetermined by the plot made by the Creators.
  • The Storyworlds consist of Two-Dimensional or 2D realms as well as Three-Dimensional or 3D realms.
  • The Storyworlds consist of Eldritch beings and Higher Dimensional entities that transcend Time and Space.
  • The Storyworlds consist of various transcendental higher dimensions aka the "Angled Space" that completely transcends Time and Space.
  • The Storyworlds are formed by the Real World as possibilities by the Imagination of the Creators.

Creations

Powers & Stats

Creations, in Re:Creators, is synonymously used to refer to various things that are created by the Creators such as Stories, Arts, etc. However, it's mostly referred to as the individual characters from the Storyworlds who were transported into the Land of Gods and they were created as part of Stories.

There are various characteristics of Creations such as having Enhanced Senses to sense other creations nearby as well as having Superhuman Physical Characteristics which allows them to withstand and survive shenanigans that would destroy or kill normal humans.

Creations are also shown to possess superpowers and abilities that are not possible in the real world.

Creations in Real World

The Arrival of Characters in the Real World causes a disturbance/fluctuation in the magnetic field as well as abnormal radio wave interferences. It is shown that Altair was the very first character who came to the Real World (from outside the Real World) followed by Meteora and the others which is all supported by the Guidebook. While this may feel like an irrelevant or insignificant piece of information, this is a key plot point that would be used later on in the blog.

Reiterated as well as Supported by the Guidebook.

Image & Page Number Japanese Text English Translation
Ep 5 info 3 pg 89
Page 89
■「現界の順番」

物語世界から一番初めに現界したのは軍服の姫君。次にメテオラ→セレジア→ブリッツ・弥勤寺→まみか→アリステリア→鹿屋、の順。

■「The Sequential Order in the Real World」

The first person to appear from the story world was the princess in military uniform. Next, Meteora → Selesia → Blitz and Yuuya Mirokuji → Mamika → Aliceteria → Kanoya, in that order

Ep 5 info 5 pg 89
Page 89
■「現界の深知」

原因不明の異常な電波干渉と磁場異常が観測される。最初の観測は8月23日と菊地原は語ったが、軍服の姫君の現界も同日。ちなみに次がメテオラで1月10日。しかもその日のうちに十条一駐屯地から武器を盗み出している。

■「Deep Knowledge of the Real World」

Abnormal radio interference and magnetic field anomalies were observed for unknown reasons. Kikuchihara said that the first observation was made on August 23, and the princess in military uniform appeared on the same day. Incidentally, Meteora was next to appear on January 10. Moreover, she stole weapons from the Jujo Ichi Garrison on the same day.

However, one thing that is unique about the creations that came to the Real World is that they changed significantly after they were transported (by the Restorative Power of the Real World). More precisely, the constraints and limitations that have been imposed on them in their stories where they were fated to perform in their respective stories have been uplifted, and their hidden personalities have been exposed. As such, they were removed from the "Yoke" that bound their stories where "Yoke" has been heavily implied in the series to be the Narrative Causality or Causation and they are now free beings in the Real World unaffected and unbounded by the plot or narrative of their respective stories.

Interestingly enough, the Novelization states it during the dialogue exchange between Altair and Mamika that the creations are actually freed from their Narrative Yoke, ergo they have transcended their narrative causality and are now free to make any choices or decisions.

Image & Page Number Japanese Text English Translation
Chapter 8, Page 16
Chapter 8, Page 16
「君はどうなのだ? 物語の軛から解き放たれてなお、愚劣な偽善者の仮面を身につけている君は?」 What about you? You, who have been freed from the narrative yoke, why do you still wear the mask of a foolish hypocrite?"

This fact is even supported by the Guidebook itself where Yuya's and Kanoya's personality change is described as them transcending and being unbounded by their respective Stories' Plot after coming to their Real World.

Image & Page Number Japanese Text English Translation
Ep 3 info 2 pg 85
Page 85
■「キャラクターのブレ?」

作品世界では粗暴なキャラだった弥勒寺は、現界して楽天的な性格に変わった。これはブレではなく、物語世界ではシナリオに縛られて隠れていた"設定"の別の面が現れるため。彼が愛しげに(二度も!)口にする「翔」とは、弥勒寺の元親友にして、今は彼の命を狙う存在「白亜翔」のこと。

■「Character Blur?」

Yuuya Mirokuji, who was a rough character in the world of his works, has changed into an optimistic character in the real world. This is not a blur, but rather the emergence of another side of the "setting" that was hidden in the story world, bound by the scenario. The "Sho" he refers to so lovingly (twice!) is the "Sho Hakua", Yuuya Mirokuji's former best friend who is now trying to kill him.

Ep 5 Scenes 03 pg 88
Page 88
シナリオの縛りから解き放たれた鹿屋は、これからは自分の好きにやるんだと宣言し、引きこもり少年に変貌。 Freed from the shackles of the scenario, Kanoya declares that from now on he will do as he pleases, and is transformed into a reclusive boy.
Ep 7 info 3 pg 94
Page 94
■「相性」

あっという間に意気投合した弥勤寺と鹿屋。共に物語世界と現実世界では性格ががらりと変わった被造物だ。設定の制約から解き放たれた二人は、ありのままを受け入れ、楽しむことにした点で考え方が共通しており、相性が良い。

■「Compatibility」

Yuuya Mirokuji and Kanoya hit it off in no time at all. Both are creations with drastically different personalities in the story world and the real world. Freed from the constraints of the setting, they share the same way of thinking in that they have decided to accept and enjoy things as they are, which makes them a good match.

Ep 11 info 4 pg 105
Page 105
■「世界を救う/世界を創る」

世界を救うのは主人公の役目。その世界を創るのは創造主にしかできない。そして世界を創るとは無限の選択肢、可能性の中から自分の行く場所を自分で選ぶこと。現界した直後は責任放棄状態だった鹿屋は、制約から解き放たれて、あらためて自分を見つめ直すことができた。役目の決まった物語世界で、自分の成すべきことを果たすのは悪くないと。

■「Saving the World/Creating the World」

It is the role of the hero to save the world. Only the creator can create that world. And creating the world means choosing where you want to go from among the infinite choices and possibilities. Kanoya, who was abandoned from his responsibilities immediately after his arrival in the world, was able to look at himself anew after being released from the restrictions. He thought that it was not a bad idea to do what he had to do in a story world where his role was fixed.

Secondary Creations

Secondary Creations are Creations that are drawn by the fans as parodies and fanarts which can either be born as an alternate version of the Original Creation or if the plot of the Secondary Creation is original and unique than the Original Story of the Creation, they can be born as an entirely different Creation. Secondary Creations lead to the Splitting/Divergence of the respective Storyworlds of the Original Creations resulting in the existence of multiple Independent Worlds such as in the case of Shirotsumekusa and Altair as stated by Meteora and all of which supports how the Storyworlds Multiverse works via Multiverse Theory as discussed in Stories/Storyworlds section above.

This is even reiterated and supported by the Guidebook which also goes on to explain the identity of Altair.

Image & Page Number Japanese Text English Translation
Ep 8 info 1 pg 97
Page 97
■「艦久大職メガロスプィア」

2015年にサービスインしたソーシャルゲーム。アルタイルの原型となったシロツメクサは、その登場人物のひとり。

■「二次創作」

オリジナル作品から生み出された派生キャラとその物語。その中でも原作設定の整合性に収まり切らずに独立して成立してしまうことがある。ここでも「承認力」が重要な役割を果たす。セツナが創ったアルタイルがまさにそうだ。

■「Eternal Wars Megalosphere」

A social game that went into service in 2015. Shirotsumekusa, the prototype for Altair, is one of the characters in the game.

■「Derivative Work」

Derivative characters and their stories are created from original works. Among them, there are times when they do not fit into the integrity of the original work's setting and are established independently. The "Power of Approval" plays an important role here as well. This is exactly the case with Altair when she was created by Setsuna.

Ep 8 Story pg 96
Page 96
STORY

中乃鐘から明かされた軍服の姫君の正体は、アルタイル。オリジナルを元にした二次創作キャラだった。しかもオリジナルから分岐し、他者に承認された被造物。作者の名前はシマザキセツナ。すべてを知る姐太は悩んだすえ、メテオラを呼び出す。しかし、過去に自分がセツナに犯した過ちを知られたくない姻太は、どうしても切り出せない。そして、秘密を知る真監は一人になった堀太に近づき、彼の気持ちを揺さぶる。その頃、まみかは伽藍の廃塘でアルタイルと対時し、世界の崩壊を止めると宣言。だがアルタイルのこの世界に対する憎しみはあまりにも深かった。

STORY

The true identity of the princess in the military uniform is revealed by Nakanogane to be Altair. They are a secondary character based on the original. Moreover, they are a creation that diverged from the original and was approved by others. The author's name is Shimazaki Setsuna. Having known all of this, Souta was troubled and called Meteora. However, he does not want her to know about the mistake he made to Setsuna in the past, so he cannot bring himself to tell her. Mamika, who knows the secret, confronts Souta when he's alone and shakes him of his thoughts. At the same time, Mamika confronts Altair in the abandoned hall of the temple and declares that she will stop the collapse of the world. However, Altair's hatred for this world is too deep.

This is even stated in the novelization of the Anime where Altair was directly stated to be a story independent from the original Shirotsumekusa's character and world due to the high contrast and differences between them.

Image & Page Number Japanese Text English Translation
Chapter 8, Page 2
Chapter 8, Page 2
「少し違う。ストーリーラインに沿った設定の変更であれば、整合性の中に収束すると思う。先ほど菊地原は、二人は別人だと言った。『メガロスフィア』という共通の基盤はあれど、キャラクター、人格、目的などが『シロツメクサ』というバックボーンのないアイコンから大きく乖離し、そしてすげ替わったことにより、恐らくは一個の世界として分岐したのだと思う。そして、それが他者によって『承認』され──『アルタイル』は完全に独立した物語として、確立した」 "It's a little different. If you change the setting according to the storyline, I think it will converge with the consistency of the story. Earlier, Kikuchihara said that they are two different people. Although they have a common foundation of 'Megalosphere', her character, personality, and goals have diverged greatly from the icon 'Shirotsomekusa' thereby making her transparent, and due to the sudden change, I think it probably branched out as a single world. And then, when it was 'approved' by others, 'Altair' was established as a completely independent story."

Summary

To summarize the gathered information so far:

  • Creations are referred to as characters from Storyworlds.
  • Creations are stronger than Humans and have superpowers and abilities.
  • Creations that were transported into the real world (by the Restorative Power of the Real World) are unbound by the Narrative Causality of their Storyworlds.
  • Creations can be drawn as Secondary Creations which can split the creations' worlds as Alternate Timelines or give birth to an entirely New World.
  • Creations that were transported into the Real World cause disturbance/fluctuation in the magnetic field as well as abnormal radio wave interferences.
  • The very first Creation to come into the Real World was Altair herself.

The Real World/Land of Gods

Existence in Re:C Cosmology

The "Real World", aka "The Land of Gods", is the Universe based on our own and which is one of the central plot points of the series. The Real World was first mentioned when Selesia Upiteria is transported from her own world of Earthmelia to the Real World/Land of Gods by Altair.

It is interesting to note that in the Novelization of the Anime, the Real World is referred as an "Alternate Universe".

Image & Page Number Japanese Text English Translation
Chapter 1, Page 17
Chapter 1, Page 17
「余が冗談を言っていると? この世界はまごうことなき、神代の地だ。胡乱な創造主のひしめき合う、おぞましい別天地さ」 "You think I'm joking? This world is unmistakably the land of the gods. It's a horrifying alternate universe teeming with dubious creators."

The Real World is a "Separate Universe" than the Storyworlds as shown when Selesia asks Meteora if she is like her and also comes from outside the Real World or not. This implies that the Storyworlds exist "Outside" the Real World and not "Inside" as some sort of 2D Fiction.

Further supported by the "Re:Creators Naked" Light Novel which was the original draft of the Anime as well as the Secondary Canon "Re:Creators" Manga where the same thing is stated in the dialogue between Selesia and Meteora when they first met, and also in the Novelization of the Anime.

Image & Page Number Japanese Text English Translation
PG 19 imp
Volume 1, Page 24
セレジアを一瞥すると、興味なさげに飛び去ろうとするメテオラ。

セレジア「待って!」

セレジア「あなたも―『世界の外』から来たの?」

Meteora takes one look at Selesia and tries to fly away, uninterested.

Selesia: "Wait!"

Selesia: "Are you also from 'outside this world'?"

0082
Volume 1, Page 82
あなたも私と同じなの?「世界の外」から来たの? Are you the same as me? Did you come from "outside this world"?
Chapter 1, Page 19
Chapter 1, Page 19
「あなたも──私と同じなの? 『世界の外』から来たの? 彼女の言ってたことは、本当なの?」 "Are you the same as me? Did you come from 'outside the world'? Is what she said true?"

In relation to the Real World, the Storyworlds are all seen as fiction that is made for entertainment purposes.

The Real World is the "Starting Point" or Origin for all the Storyworlds and was stated multiple times to have created all the Storyworlds and everything in them, which is further explained in the novelization of the anime where the Real World is called the "Source" of all worlds along with something regarding the collision of worlds (which we will explain in the next section).

Image & Page Number Japanese Text English Translation
Chapter 2, Page 8
Chapter 2, Page 8
「本来なら、想像力から『可能性』として産み出された世界は、分岐し、確立した瞬間から、この世界とは直接因果関係を持たない世界として独立するはず。しかし存在すら認知することも出来ないはずの、世界の軛を彼女は超えた。そして、すべての世界の濫觴であるこの神代の地への突破口を開くことで、ほかの『物語世界』と、この神代の地を衝突させることに成功した」

メテオラはベンチに座り、向かいの柵に腰かけた二人に説明した。
「衝突させた? 繫げたってことじゃなくて?」
これまで観てきたアニメやゲームからすると、颯太には「繫げた」と言うほうがしっくりくる。
「衝突。言葉の綾じゃない。彼女は自分の口で私に、そう言った。それが何を意味するかは──」

"Originally, the worlds that are born as 'possibilities' from Imagination should have branched off and become independent worlds that do not have a direct causal relationship with this world from the moment they were established. However, she has transcended the yoke of her world whose existence should not even be recognized. And by making a breakthrough to this land of the Gods, which is the source of all worlds, she succeeded in colliding the 'Story Worlds' and the Land of Gods."

Meteora sat down on a bench and explained to the two of them sitting on the bench across from her.
"Collided? Don't you mean connecting them?"
Judging by the animes watched and games played by Sota, it was more appropriate for him to say "Connected".
"Collision. It's not a figure of speech. She said it to me in her own words. As for what that means—"

Moreover, it was heavily stated that there is a "gap" between fiction (Storyworlds) and reality (Real World) which implies that the gap is some form of a dimensional gap separating the Real World completely from the Storyworlds Multiverse.

Summary

To summarize with the gathered information so far:

  • The Real World/The Land of Gods is a normal Universe based on ours.
  • The Real World created the entire Storyworlds Multiverse and governs them completely.
  • There is a gap between the Storyworlds and the Real World akin to a gap between Fiction and Reality making the Real World exist in a Qualitative Higher Level.
  • The Real World's existence is completely unknown to the Storyworlds Multiverse and no individual has been capable of traveling to the Real World despite the Storyworlds having Superpowered Beings, Higher Dimensional Entities that Transcend Time & Space, God like beings & deities, and so on.

It can be evaluated that in the beginning, the Real World/Land of Gods was the only World that existed and that the entire storyworlds multiverse was created by the Real World as a means of entertainment for them in the form of fiction. These fictional worlds are manifested as actual worlds existing outside of the Real World while having a gap between them akin to Fiction and Reality.

Furthermore, it is also interesting to note that not only are all the aspects of the Multiverse are created and governed by the Real World, but also the entities that are able to transcend Time and Space, as well as other superpowered fictional characters, are unable to travel to the Real World even if they are capable of Dimensional Travels. This includes characters such as the Hounds of Tindalos, Meteora who can use dimensional travel (as evidenced in the final episode of the series) as well as the inhabitants from Blitz Talker's world where the technology is advanced enough to allow them dimensional travel using the Dimensional Gate or the Gateway. As such, the Real World can be theorized as existing in a plane of existence that is separated and beyond the Storyworld Multiverse in a qualitatively superior manner which allows the Real World to be completely unreachable for the entirety of the Storyworlds and their Inhabitants.

Restorative Power of the Real World

Collision of the Worlds

Before we get into the "Restorative Power of the Real World", let's talk about the "Collision of the Worlds". As stated before, Altair was the first to come to the real world but it was also stated that her coming into the Real World made the storyworlds collide with that of the Real World. It is to be noted that it does not mean "Connected" but rather "Collision" as per Meteora whose meaning can be interpreted as the worlds being coming into close contact with the Real World or something like that after remaining separated from the latter by some sort of Reality-Fiction gap or barrier. This is further reiterated by the Guidebook.

Image & Page Number Japanese Text English Translation
Ep 2 Scenes 01 pg 82
Page 82
軍服の姫君の計画を語るメテオラ。彼女は、物語世界と現実世界を衝突させることで創造主たちへの影響力を行使し、自分らの世界を作り替えるという提案をしていた。 Meteora talks about the plan of the princess in military uniform. She was proposing to remake their world by exercising her influence over the creators by colliding the story world with the real world.

Furthermore, Altair herself even stated that she "Broke the Wall between the Real World and the Storyworlds". This proves that there was indeed some sort of dimensional gap or Reality-Fiction barrier that separated the Real World from the rest of the Storyworlds. In the novelization of the anime, Altair was able to melt down this barrier/wall separating the Real World and the Story World.

Image & Page Number Japanese Text English Translation
Chapter 19, Page 4
Chapter 19, Page 4
「だがしかし、忘れるな。現世と創作世界の壁を融解させたは、確かにこのアルタイルだということを。余には、世界を改変する力がある。鍵を手に入れるかどうかは、君次第」 "But don't forget. It was indeed this Altair that melted down the barrier between this world and the world of creation. I have the power to change the world. It's up to you whether you get the key or not."

Due to the Collision of the Worlds, the Creations were able to leak out (or rather, got transported/summoned by Altair) into the Real World.

Restorative Power

Now moving on to the main thing of this section, The Restorative Power of the Real World are the laws of the Real World which maintains the normalcy and rationality of the world and which does not allow the existence of anything that contradicts the laws (such as creations with the capability of flying, using superpowers, etc.) as explained by Meteora and also reiterated by Sota. This is further confirmed by the Guidebook itself.

Image & Page Number Japanese Text English Translation
Ep 1 info 3 pg 81
Page 81
■「物語世界の能力」

現界しても、装備や能力、性格など、キャラクターたちの"設定"は継承される。セレジアの飛行能力もそのひとつ。ただし、#02で明かされるように、作品によって痛みなどの表現が異なる場合は、現実世界の法則が適用され、威力に違いが生じることもある。

■「Ability of the Story World」

Even in the real world, the characters' "settings" such as equipment, abilities, and personalities are inherited. This is one of them. Selesia's ability to fly is one such example. However, as will be revealed in Episode #02, when expressions such as pain differ depending on the work, the laws of the real world are applied, and the power may differ.

Ep 2 info 5 pg 83
Page 83
■「キャラクターの能力値」

まみかの魔法がビルの外壁を破壊し、セレジアに大ダメージを与える。「マジカルスレイヤーまみか」の物語世界では考えられないことだ。セレジアが語る通り、「痛みに関しては、ここは私のいた世界に近い」。攻撃によって生じるダメージ表現は物語によって異なるが、現実世界では"修復力"(=辻棲を合わせる力)が働き、このような事態が生じる。キャラクターの造形も然り。デフォルメは物語によって違うが、現界すると世界の修復力により、同じ表現コードに統一されてしまう。

■「Character's Ability Score」

Mamika's magic destroys the outer wall of the building, causing massive damage to Celesia. This is unthinkable in the story world of "Magical Slayer Mamika". As Selesia says, "As far as pain goes, this is close to the world I was in". The expression of damage caused by an attack differs from story to story, but in the real world, the "Restorative Power" (i.e., the power to make things fit together) is at work, and this situation arises. The same is true of character modelling. Deformations differ from story to story, but when they come to the real world, they are unified into the same expression code due to the restorative power of the world.

The Restorative Power of the Real World makes any fictional character appearing in the Real World look "Real" as if it were a cosplay or movie-type live-action real. A case in Point is Selesia, who came from her Anime, and instead of looking like an Anime character, she looks so real that it makes her creator, Matsubara, question if she is some cosplayer and if her costume is from a movie while she is exactly how he imagined her physical appearance to be like.

The Restorative Power of the Real World is capable of nullifying the abilities of the Creations such as in the case of Meteora when it was shown that her ability of Restoration failed and had zero effect on the Real World. Moreover, when Altair left the Real World with Setsuna at the end of the Series, the Laws of the Real World would have nullified every creation existing in the Real World which is further supported by the Spin-Off Manga "One More".

Furthermore, when all the creations were sent back to their respective Stories and only Meteora was left behind, her powers were instantly nullified and she was turned into a normal human being like the ones in the Real World. Magane was also left behind in the Real World and as per the quotes above, it's also likely that she faced the same fate as Meteora.

All in all, The Restorative Power of the Real World is the main reason why the characters from the storyworlds, who are fictional from the Real World's perspective, could exist in the Real World in the first place. Moreover, The Restorative Power of the Real World is responsible for passively making the creations appear normal, freeing them from their narrative yoke and constraints, and even nullifying their abilities to make them normal humans to prevent contradictions. It can also be argued that due to Altair's shenanigans which caused the Collisions of the Worlds, the Restorative Power of the Real World was warping both the Real World and the Storyworlds making the Real World Humans like Sota and Nakanogane appear and exist in the Storyworlds easily while also making the fictional characters from the storyworlds exist in the Real World (as shown below), all of which would have been impossible otherwise.

Great Destruction/Great Reset

However, disturbing the laws of the Real World can lead to the "Great Destruction" as explained by Meteora who says that if there is a surplus of contradictions in the Real World where creations from Storyworlds having abilities and powers would continue to exist, the Restorative Power of the Real World would cause "Cracks" and eventually lead to a "Reset". This would destroy not only the Real World but also the Storyworlds and return them back to Oblivion which is termed as the "Great Destruction".

This is further supported by the Secondary Canon "Re:Creators" Manga, the Spin-Off Manga "One More" & the Guidebook.

Image & Page Number Japanese Text English Translation
I-0082
Volume 2, Page 82
どこかで弾性係数は限界を迎え、法則を司る調和機構は決定的な破綻をきたす。そうなった場合、他の世界を生み出す基幹となったこの世界もろとも一度全てを『リセット』する瞬間を迎えるのではないか、そう私は考えている。私はそれを仮に、『大崩潰』だいほうかいと呼んでいる。 Somewhere along the line, the modulus of elasticity will reach its limit, and the harmonic mechanism that governs the laws will reach a definitive breakdown. When this happens, I believe that there will be a moment when everything, including this world that has become the backbone of the creation of other worlds, will be "reset" once and for all. I tentatively call it the "Great Collapse".
Ch 4 Laws of the Real World
Re:Creators One More!, Chapter 4
Ep 4 Story pg 86
Page 86
STORY

メテオラは「追憶のアヴァルケン」をプレイする。翌日、みんなの前で彼女は、自分の創造主が物語を丁寧に創り込んでいたこと、ゲームのプレイヤーたちも愛していたことを感じたと語る。だからこの現実世界も守りたいと。メテオラの仮説では、現実世界の物理法則を無視した物語世界の人間たちが干渉し続けると、辻棲を合わせきれずに世界は破綻し滅ぶ。この、世界のリセット=「大崩潰」こそが軍服の姫君の目的ではないか。一方、改変に失敗したアリステリアは、軍服の姫君に詰め寄るが……。

STORY

Meteora plays "Avalken of Reminiscence". The next day, in front of everyone, she tells them that she felt that her creator had carefully created the story and that the players of the game loved it too. So she wanted to protect this real world as well. According to Meteora's hypothesis, if the people of the story world continue to interfere with the physical laws of the real world, the world will not be able to make sense of it and will collapse and die. This resetting of the world, or the "Great Collapse," is the purpose of the princess in military uniform, isn't it? On the other hand, Aliceteria, who failed in her attempt to change the world, approached the princess in military uniform...

Ep 4 Scenes 03 pg 86
Page 86
「大崩潤」による世界の破滅という仮説を、周囲の動揺を恐れて隠していたメテオラに対し、セレジアは「ずいぶん安く見られたものね」と不敵に笑う。 When Meteora hides her hypothesis of the world's destruction by the "Great Collapse" for fear of upsetting the people around her, Selesia smiles wryly and says, "You've taken us for a fool".
Ep 4 info 3 pg 87
Page 87
■「大崩漬」

物語世界の住人たちは、外見こそ現実世界との整合性を保ってはいるが、能力はそのまま。現実世界の修復力が限界を迎え、事態を受け入れられなくなった時、世界は崩潰する。そして世界の滅びは当然、物語世界の終末をも意味するのだ。メテオラの仮説と軍服の姫君の狙いは一致するが、軍服の姫君のアリステリアたちへの主張は、世界の軌みこそが変革という救いをもたらすのだという。自滅行為とさえいえる軍服の姫君の行動。まみかはその真意に、徐々にだが気づいていく。

■「Great Collapse」

The inhabitants of the story world maintain their appearance consistent with the real world, but their abilities remain unchanged. When the real world's ability to repair itself reaches its limit and it can no longer accept the situation, the world will collapse. And the destruction of the world naturally means the end of the story world as well. Meteora's hypothesis and the princess in uniform's aim coincide, but the princess in uniform's argument to Aliceteria and the others is that it is the course of the world that will bring about the salvation of change. The actions of the princess in military uniform can be considered an act of self-destruction. Gradually, Mamika realizes her true intentions.

The appearance of "Cracks" in Reality means that reality is becoming unstable and will end. Even in the "Birdcage" reality, the appearance of the Cracks meant that the Birdcage was becoming unstable and would end soon that would lead to the Real World unable to sustain all the contradictions resulting in the release of its "Yolk" which itself would cause the Collision of the Storyworlds with each other thereby returning everything back into Oblivion.

Moreover, as per Meteora, Setsuna's resurrection in the "Birdcage" is because of a twisted Miracle which is confirmed by Setsuna herself and she also states that is not at all allowed in the Real World and if things were allowed to stay like this, everything would end.

Fortunately, the Restorative Power of the Real World has a mechanism that is able to "Throw Out" anyone who tries to destroy the rationality or normalcy of the Real World. On the negative side, this mechanism can be bypassed by weakening the rationality or normalcy of the Real World overtime until the Restorative Power would be incapable of doing anything except for causing a reset that would destroy everything including the Storyworlds. This is explained by Meteora while it was also shown to be the case when Altair tried to act hastily and destroy the rationality of the Real World. This is further supported and explained by the Guidebook.

Image & Page Number Japanese Text English Translation
Ep 12 Story pg 106
Page 106
STORY

SNSに拡散し続けるシマザキセツナへのなんの根拠もない中傷。なにもできない自分。セツナの置かれた状況に満足感を感じている自分。そして知ったセツナの死。自分がしたことから逃げ出した事実。堀太はすべての心情をみんなに吐露する。松原たちは堀太に気休めの言葉はかけず、その責を引き受けて、アルタイルを止めるために力を合わせることを誓う。メテオラによれば、アルタイルの能力は二次創作によって広がり続けている。しかしまだ世界の「修復力」のせいで、力を自由に使えない。そこに活路があると語る。一方、アリステリアは創造主の高良田に、世界を救う覚悟を問い、彼女なりの道を見い出していた。

STORY

"The unfounded slander against Setsuna Shimazaki keeps spreading on Social Networking Sites. I couldn't do anything. I felt satisfied with the situation Setsuna was in. And then I found out about Setsuna's death". The fact is he had ran away from what he had done. Souta reveals all of his feelings to everyone. Matsubara and the others don't offer any words of comfort to Sota, but take on the blame and vow to work together to stop Altair. According to Meteora, Altair's abilities continue to spread through the secondary world. However, she still can't use her powers freely due to the world's "restorative powers". She says that there is a way to make use of it. Meanwhile, Aliceteria asks her creator, Takarada, if he is ready to save the world, and finds her own way.

Summary

To summarize the gathered information so far:

  • The Real World and the Storyworlds were separated by a Reality-Fiction Gap/Dimensional Barrier/Wall.
  • Altair broke through that wall and made the Storyworlds Collide with the Real World.
  • The Restorative Power of the Real World is the Laws of the Real World.
  • They protect the normalcy and rationality of the Real World.
  • The Restorative Power does not allow superpowers and other shenanigans like resurrection which goes against normalcy.
  • The Restorative Power can nullify superpowers as well as turn creations into humans.
  • The collision and the Restorative Power caused the Creations to come into the Real World.
  • Too much contradiction can destroy the Rationality of the Real World.
  • "Cracks" appear when there's instability in Reality.
  • This would cause a complete erasure of the Real World, as well as the Storyworlds, called the "Great Destruction" or "Great Reset".
  • The Restorative Power of the Real World was going to throw out Altair if she were to act hastily and rush the disturbance process.

It can be evaluated that the Storyworlds and the Real World remained separated initially by some form of wall/gap/barrier, but however, Altair was able to break through it and made the Storyworlds collide with the Real World. This allowed her to bring in different creations from different storyworlds in order to destroy the rationality of the Real World which would then lead to complete destruction of the Real World that would cause all the Storyworlds to be destroyed too thereby returning all the worlds back to Oblivion.

However, it is to be noted that the Restorative Power of the Real World, which are the Laws of the Real World, retroactively work to prevent any contradictions in the Real World while nullifying powers and attributes of the Creations and as such, Altair did not go on full-out destroying and committing acts that contradict the laws as the Restorative Power would have thrown them out of the world itself completely.

Creators

Power of the Creators

Creators are the humans of the Real World/Land of Gods who are referred to as "Gods" by the Creations and they are the individuals who are responsible for creating the entirety of the Storyworlds Multiverse and all their aspects. The fantasies and imaginations that the creators of the Real World thought for fun are what creates and defines the Storyworlds as well as the creations.


It was already shown above (in the Creations section) that the Creations have their own personalities, thoughts, willpower, etc. and all of these are given by and manipulated by the Creators themselves. The Creators are capable of freely changing and remaking the storyworlds or their creations as however, they feel like it.

The Creators can even link or mesh different storyworlds with each other as Crossovers such as in the case of Blitz where Blitz's author, Suruga, was able to remake the dimensional gate in the story and made it so that Blitz's World and Meteora's World would be linked thereby allowing the existence of Magicians in the "Code: Babylon" series allowing Meteora to revive Blitz's dead daughter. Even when writing the Story for the "Elimination Chamber Festival", Nakanogane was planning on making it so that Kanoya can go from one world to another as part of a Crossover.

Further supported by the Manga when Meteora states that spin-offs of the stories will be created and meshed together as a crossover that would lead to the Birdcage. This is accompanied by an Image that likely represents the Storyworlds being connected with each other in the background of the panel. This altogether proves that Creators, if they want to and have the support from the Audience, can influence multiple worlds at the same time.

Image & Page Number Japanese Text English Translation
Reccrossover
Volume 6, Page 138
創作者には現状の作品から番外編を制作し物語の中でケージを作る為の誘導をして欲しい。ケージ内では複数の無関係の物語がリンクする事になる。その為の伏線を。 I would like the creator to create an extra chapter from the current work and guide the creation of a cage within the story. In the cage, multiple unrelated stories will be linked that foreshadows this.

Moreover, the creators can revive a real person as a character within a story such as when Sota redrew Setsuna Shimazaki as a Creation within the Birdcage.

Furthermore, the creators are the ones who wrote the stories in such ways that various events would be fated to Happen no matter what the inhabitants of the Storyworlds aka Creations do since its a Destiny/Narrative Causality placed upon them by the Creators. Furthermore, this is even confirmed by Yuya and Blitz Talker where the former stated that Creators are just "Fate" given personality while the latter agreed with him.