Godzilla Ultima Cosmology Blog
Godzilla Singular Point Cosmology Blog
The Significance of Anime Singular Point's Formula
In the opening of the anime's first episode, there are quite a few original handwritten manuscripts, all analyzing singular points and cosmic structures. Among them is this page.
Within it lies a very inconspicuous yet crucial integral.
This integral will significantly expand the scale of the Omega Point and the dreams-within-dreams. To understand this integral, we must first understand this equation.
This equation represents the quantum mechanical normalization condition in three-dimensional Euclidean space, signifying that the total probability within the entire E3 sums to 1.
Here it means: integrate the modulus squared of the wave function, that is, the probability density, to obtain the total probability.
This ambiguous symbol is a capital M. Based on context, it could represent finite, countably infinite, uncountably infinite, or even larger cardinalities. All are plausible, especially considering the SP universe is constructed from the language of mathematics.
「でもティルダ」と主任研究員である李は言った。「宇宙は数学の言葉でか れているのだし」
"But, Tilda," said Lead Researcher Li, "the universe is written in the language of mathematics after all."
Therefore, it's difficult to determine precisely, but this implies that the SP universe can indeed be infinite-dimensional. This is particularly evident considering the novel's mention of [Super-Temporal Computation] and David Deutsch's similar use of time machines for parallel computation across multiple worlds.
のは、多世界を利用したへの通信を利用した「超時間計算」の構成は有川ユンの独創で はない。世に最も知られた列計算の提唱者として知られるデイヴィッド・ドイッチの提案 したタイムマシン利用計算である。
The construction of "super time calculation" using communication to the past is not an original idea of Yun Arikawa. The most well-known is the time machine calculation proposed by David Deutsch, who is known as the proponent of column calculation using multiple worlds
David Deutsch's many-worlds theory posits that the multiverse is orthogonal to a Hilbert space of one countably infinite dimension which corresponds to this sentence in the Kumonga chapter.
それらの体から伸びる触角は、この世界を構成する縦横奥行き三つの次元と流れゆく一つ の次元のみならず、それらと直交して伸びる無数の次元とも接続していた。それらは地表 を探りつつ、そうして同時に、ありとあらゆる可能性の海を探りながら活動していた。
The tendrils extending from those bodies were connected not only to the three spatial dimensions (length, width, depth) and the flowing dimension of time constituting this world but also to countless dimensions extending orthogonally to them. While probing the earth's surface, they were simultaneously active, exploring the sea of all conceivable possibilities.
This integral also reveals that all dimensions are described by a single metric g. This metric g refers to the time dimension. This corresponds to the same Kumonga passage: three spatial dimensions (length, width, depth) and the flowing dimension of time constituting this world but also to countless dimensions extending orthogonally to them. This implies that in the SP universe, all spatial dimensions are coupled with a single time dimension, forming a spacetime continuum of countless spatial dimensions.
This means that the birth of parallel universes is caused by the splitting of time; thus, parallel universes will have the same dimensionality as the parent universe. If it's 11 dimensions, all parallel universes are 11-dimensional; if it's infinite dimensions, then all are infinite-dimensional. SP's parallel universes are called possibility universes, generated by singular point array computation to produce parallel worlds with different possible futures. And there are uncountably infinite such parallel universes.
In the anime, BB and Kamino et al. use remote sensing to try and calculate the OD code capable of preventing the apocalypse but the possibilities for the future suddenly became increasingly numerous, jumping from 3 million to 3 billion. And it was said to be increasing exponentially. This drastically shortened the time to destruction to 3 hours.
Perro 2 used a binary tree diagram like this to represent the increase in future branches:
It can be seen that as time passes, the rate of splitting accelerates. If it continues to accelerate exponentially, it can form a dense topology in a very short time, covering the entire real axis, possessing literally uncountably infinite branches. These futures would compete with each other to be the sole future, ultimately collapsing into the Omega Point.
The Omega Point can be viewed as a set of uncountably infinite possibility universes. Moreover, due to the integration of space and time, each possibility universe is of countless dimensions, not merely 3 dimensions. In this case, even if the SP universe is finite, it should be scalable to 11-A.
Furthermore, SP's possibility universes differ from parallel spacetimes in the traditional sense. Usually, such parallel universes arising from timeline splits are caused by divergences in the past and share the same physical laws. However, SP's possibility universes are generated when a singular point computes a future in advance and then retroactively changes the past. Among them are worlds with different physical laws.
For example, one type of plant-like singular point can warp space qnd the novel says it is twisting the universe into the shape it desires.
These entities were not particularly seeking out universes. They possessed the power to warp any universe into a form suited to their own design. If the desired universe did not exist within reach, it was merely a matter of overwriting reality with a preferred universe of their making.
鋼鉄製の生き物を海に沈めた《それ》は《それ》目指して身を揺する。骨と肉と神経が同時に新たに、かつてからそうあったように現れる。それは実際、かつてからそうあったのだ。虚空から湧き、過去を改かい蠱ざんしているように見えるのは、こちらの世界からの視点にすぎない。
Having sunk the steel creature into the sea, "It" swings its body towards "It". Bones, flesh, and nerves appear anew, all at once, as if they had always been. In fact, they had always been that way. It is only from the perspective of this world that it appears to spring from thin air and tamper with the past.
Inside the singular point lies a Sea of Possibilities. It is the source of all possibility universes. Reddust can be used to guide the universe towards the corresponding future.
数多可能性が流れ過ぎ、そのいちいちが現実のシミュレーションを構成し、紅塵との反応を予想し未来をここに再現する
Countless possibilities streamed past, each constituting a simulation of reality, predicting reactions with red dust and recreating the future here.
Therefore, different possibility universes may possess different topologies, different numbers of dimensions. Finite dimensions, infinite dimensions, or even higher dimensions are all possible. The essence of the singular point is a hyper-Turing machine equipped with closed timelike curves, capable of performing real-number level computations. Simulating such an infinite-dimensional universe is entirely feasible. As the Omega Point drew nearer, the novel described Godzilla as capable of becoming anything.
という問いに関して、もはや何かの予想を立てることは困難であり、この時点でゴジラはあらゆるものになりう る存在に達したともいえる。
次の瞬間に羽根と光輪を背負って浮かび上がっても不思議はなかったし、空間を反転させ て全てを飲み込む穴となってもおかしくはなく、それとも全てを吹き出す穴という手もあるかもしれず、突然吹き消されるようにいなくなってもそれはそれでありそうで、ただ巨大化していくだけということもありえ、哺乳類型へ変形を進めるということだってないとはできなかった。もしかしたならそこで子供を生み出したのかもしれず、複数の個体に分裂してももはや意外ともできそうにはなかった。そこではあらゆることが起こりえて、想像可能なあらゆることが同時に起こったところで意外とするほどのことではなくなっていた。
Regarding this question, it had become exceedingly difficult to formulate any prediction. At this point, one could assert Godzilla had attained an existence capable of becoming all things.In the next instant, it would hardly be surprising if it ascended bearing wings and a halo. Equally plausible would be its inversion of space into an all-consuming void, or conversely, a void spewing forth all creation. Perhaps it might vanish as though snuffed out—such an outcome seemed equally conceivable. It could merely continue growing infinitely, or even advance its transformation into a mammalian form. Had it birthed offspring there, or split into multiple entities, none would evoke astonishment anymore. Within that state, all conceivable events transpired simultaneously, rendering even the totality of imaginable phenomena utterly unremarkable.
Here, "想像可能なあらゆることが" (all conceivable/imaginable things) is used. This means anything imaginable can happen. This implies SP's cosmology conforms to modal realism, even extended modal realism.
Perro 2 computed within Shiva to find a code capable of defeating Godzilla, but the result was that no such code exists. This is mentioned in both the anime and the novel:
There is no code with orthogonal diagonalizer can avoid doom.
「バラメータは」とわたしの中のペロ 2 は言う。「超時間計算機を、特異点を、ゴジラを消滅させるための、オーツゴナル・ダイアゴナライザーのバラメータは」
その正確なもの言いが、結論が提示されないことが一体なことを意味しているのか、わたし はようやく理解する。
「存在しなかった」 とわたしの中のペロ 2 は申し訳なさそうに告げた。「存在しないものを、みつけることはできない」
"The parameters," declares the Pelops II within me, "for the Orthogonal Diagonalizer to annihilate the hyper-temporal computer, the singular point, Godzilla—"
Its precise wording, the absence of any conclusion finally reveals its meaning to me.
"They never existed," the Pelops II within me apologetically announces.
"One cannot find what does not exist."
But ultimately, they still found a code within a song that should not have existed and used it to defeat Godzilla. This means that the SP universe not only contains all possibilities but also corresponding impossibilities.
奇跡はやはり、純然たる奇跡によって葬られ、その奇跡とは、何が奇跡であるのかさえも知られぬようなものではないかと思う。
無論これは、ただのわたしの、推論にさえなっていない、夢の話であるにすぎない。東京に出現した現実はきっと、もっと突拍子もないものであったのだろう。そこでは、ゴジラは存在しないやり方で倒されたのだということだってありうる。わたしは本当にそう考えている。
自然とは、そうしたことも可能とする、奇妙なものだ。
It seems to me that miracles are ultimately buried by pure miracles, miracles of such nature that not even what constitutes a miracle could be known.
Of course, this is nothing more than my own dream-like speculation, not even a proper inference. The reality that manifested in Tokyo must have been something utterly preposterous. There, it's entirely possible Godzilla was defeated in a manner that defied existence itself. I truly believe so.
Nature, that strange force capable of permitting even such things.
This conforms to the description of extended conceptual realism. Of course, this alone isn't enough to break through L1-A. But if combined with the dream-within-a-dream, it can scale to H1-A. In terms of the nature of the Omega Point, this dream of IT is a set composed of uncountably infinite, infinite-dimensional possibility parallel universes.
Dream does not refer to dimensions, although there are descriptions similar to R > F difference for dimensions, Godzilla itself has already expanded to higher dimensions.
こことは異なる次元へ腕を伸ばして、その领域を拡大していた。
They reached out into dimensions distinct from here, expanding their domain.
In the novel, Godzilla is depicted as a kind of flow:
《それ》は何かの流れであったが、どこかの宇宙に属する種類の流れではなかった。
"It" was a current, a flow of sorts yet not of the variety that belongs to any particular universe.
The essence of Ultima lies in being a kind of existence within time. And time encompasses all dimensions. It doesn't need the Omega Point to reach higher dimensions.
The original page confused the "IT" (Ultima) within the dream with the IT slumbering at the bottom of time. That's right, the Ultima in the plot is indeed IT, but it's the IT that walked over.
As mentioned in the prologue. The dream is IT's memory:
現実は記憶であって、記憶は現実と変わるところが何もなかった。
Reality was memory, and memory was indistinguishable from reality.
Within SP's view of time, the future can exist prior to the past. Future and past are causally interdependent.
《それ》は、過去の夢を見ており、過去において未来の夢を見ており、過去において未来の夢を見るという夢を未来において見続けていた。
“It” dreamt of the past, within the past saw the future, and within the future continued to dream of seeing the future within the past.
それは絶えず自らのはじまりをはじめ、自らの終わりを終わらせ、はじまりをはじめることを終わらせ、終わりを終わらせることはじめ続けていた
It perpetually began its own beginning, ended its own ending, ceased to begin beginnings, and ceaselessly commenced the cessation of endings.
Ultima is IT's past, present, and future. Ultima constantly fights, destroys universes, awakens, and ultimately becomes IT. After that, IT dreams, creating Ultima but the dreams can never be awakened from.
《それ》は夢から醒さめる夢から醒め、またその夢から醒める夢を見ていた。夢の中で夢を見てきた夢見ていた。どこまでいってもその繰り返しに果てはなく、《それ》が見ているものは決して醒めることのできない夢で、誰も入り込むことのできない夢とも言えた。
“It” awoke from a dream of "awakening from a dream," and then dreamt again of "awakening from that dream." Dreaming within a dream, dreaming again within that dream. This cycle had no end. What "it" saw was a dream that could never be awakened from, a dream that no one could enter.
This implies the dream is an infinitely nested structure. The future Ultima views the past Ultima as a dream; the future Ultima views both the future Ultima and the past Ultima as dreams. Ultima constantly awakens, yet cannot reach the next dream because the awakening itself is also a dream. The infinite dream contains infinite sub-dreams. This means that the gap between dreams is quality. This means that there are infinite layers R > F difference. IT resides at the apex of this dream cycle.
それは、時間の底で夢を見ていた
It had been dreaming at the depths of time.
Combining extended modal realism with Godzilla's constant failures yet ultimate victory over all enemies. This implies the world is destined to fail. IT has defeated all possible and impossible worlds. Therefore, Ultima should be 1-B or High 1-B, the Omega Point is Low 1-A, the Dream Cycle is 1-A to 1-A+ and finally the prologue where exhausted all possibilities should be around High 1-A.
Novel and Anime Merge Scaling Justification
The novel is an expansion of the anime, not a separate universe. Both the novel and the anime share the same writer, Toh Enjoe. He also serves as the science advisor for the anime.
Series Composition · Sci-Fi Research · Script
Toh Enjoe
Godzilla Singular Point
Toh Enjoe
The documents at the beginning all came from him.
(Below) In the end, both the overall framework and the specific details were completed by Mr. Enjoe - including the copywriting of the Otaki Factory official website, system logs, and charts in the documents left by Ashihara.
If you still don't believe it, let's see what Enjoe himself has to say.
Q: When adapting the anime into a novel this time, what aspects did you consciously focus on?
A: Explaining the finer points of the theories that appear in the anime in detail. In anime, explaining intricate details often necessitates relying on lengthy monologues, so we consciously minimized expository descriptions. In contrast, since novels are word-based, we were able to incorporate diagrams and explain concepts like the supermaterial "Archetype." Furthermore, novels are meant to be savored for their descriptive passages and the nuanced enjoyment of every single word in the dialogue. We included lines of dialogue that had to be omitted from the anime script. On the other hand, I believe scenes depicting battles between kaiju (monsters) are better expressed in the anime. The anime and the novel complement each other, so I highly recommend experiencing both together.
Source: https://gendai.media/articles/-/98841?page=3
The parts involving scientific terminology were his key focus areas. And he believes the two mediums are complementary.
The narrative progression of the anime and the novel is completely identical. The only differences lie in some minor details and dialogue. Regarding dialogue, as Toh Enjoe himself stated above, some lines were omitted from the anime for pacing reasons. As for differences in other aspects, they are simply variations in action scenes. This is perfectly normal. A novel is text written by one person, while anime is a visual medium produced by many people together. For action scenes, the script at most provides a general outline, and then the storyboard artist develops it based on the script. In the novel, Godzilla's ray taking down two planes can be written by one person in a page of text. For anime, however, runtime and production budget must be considered. Similarly, this is why in the novel Godzilla fired 5 atomic breath blasts in the final battle against JJ, but only fired 2 times in the anime. These [scenes] are very costly.
Therefore, believing they are independent based on this is utterly absurd. If we follow this logic, in the Marvel Comics universe, the same character written by different writers often has more contradictory feats. Yet, as long as it's the same continuity/universe, they are all grouped under one page and share the same scale. Applying a different standard here is very unreasonable.
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