Reality - Fiction Interaction

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Mr. Mxyzptlk and Bat-Mite warp the real world.

Introduction

Reality - Fiction Interaction feats are a common trope in fiction, often appearing when characters transcend the boundaries of their own worlds. This page is dedicated to explaining how such feats are evaluated and the importance of distinguishing between representations of reality and the genuine interaction with it. Characters may demonstrate interactions with what seems to be "real" worlds or realities, but these feats do not inherently lead to higher-tier rankings for the characters involved.

The Nature of Reality and Fiction

In fiction, the concept of "reality" is often portrayed as a construct within the narrative. Authors and creators may choose to represent the real world within their fictional works, but it is crucial to understand that these representations are not the same as actual reality. While it may appear that a character interacts with or affects a "real world", such actions are limited to the fictional context and do not signify true transcendence beyond the fictional realm. Fictional worlds and characters within them are bound by the rules and limitations of their creators' constructs.

Characters cannot receive a guaranteed higher-tier rating based on their ability to affect or destroy a "real world" within the fictional context. As discussed in the Sub-Reality Existence page, entities that exist in fictional or subordinate realities are confined to their respective planes. These sub-realities, such as fictional worlds, dreams, or storybooks, are perceived from the perspective of a primary reality, and interactions with them do not result in genuine transcendence. Thus, actions that involve altering, affecting, or interacting with a fictional "real world" cannot be used to elevate a character’s status to higher-dimensional or higher-tiered levels without additional context.

Fourth Wall Breaking and Author Avatars

Feats involving breaking the fourth wall or interacting with an author's avatar are often treated as a form of reality-to-fiction interaction. However, such feats should not be automatically interpreted as evidence of transcendence over the verse. While breaking the fourth wall may allow characters to acknowledge their fictional nature or address the audience, it does not imply that the characters are transcending their fictional world or reaching higher-dimensional planes of existence. Similarly, author avatars—characters that represent the creator within the fictional world—do not inherently provide a higher-tier rating.

Examples of author avatars include Stan Lee's consistent cameos in the Marvel Cinematic Universe, where he appears briefly to reference his contributions to Marvel Comics, or Rohan Kishibe, who serves as an in-universe representation of Hirohiko Araki in the JoJo's Bizarre Adventure series. In both cases, the characters do not gain any special powers or transcendence over the fiction they inhabit. The same logic applies to characters who "defeat" or "kill" author avatars. Such actions do not automatically indicate a transcendence over the fiction they inhabit, as the rules of their respective worlds still bind the avatars.

Additionally, the developers of Chrono Trigger make an appearance in a secret ending, but this is more of a comedic reference to their overwork than anything that impacts the power level of characters.

Fictional Realms and Hierarchies

It is important to note that merely perceiving a franchise's setting as fiction does not imply that a character exists on a higher plane of existence. For instance, a character from a higher-dimensional layer may recognize the setting of a multiverse as inferior or beneath them, but this perception alone does not grant them transcendence over the entire multiverse. The concept of "higher layers" in fiction often refers to worlds or realities that are perceived as being outside or beyond the main narrative but do not necessarily imply true transcendence. Characters may only seem to be transcendent in relation to their own fictional context.

In this sense, feats involving interactions with fictional worlds, whether through 4th wall breaking or author avatars, are still bound by the fictional constructs established within the narrative. These feats should be evaluated within the context of the fictional world and not assumed to grant a higher-tier or higher-dimensional rating without further supporting evidence.

Conclusion

The key takeaway from the evaluation of reality-to-fiction interaction feats is that they do not inherently lead to a higher-tier status for characters. While characters may interact with their worlds or break the fourth wall, these actions are limited by the context of the narrative and the rules established by the creators. As explained in the Sub-Reality Existence page, entities within subordinate planes, such as fictional worlds, are confined to their respective realities unless they possess abilities to transcend their boundaries. Therefore, reality-to-fiction interactions should not be viewed as proof of transcendence but rather as narrative devices that serve the story's progression.