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While it's true that the duration of dream worlds in the Mario franchise is not explicitly stated, there is evidence to suggest that these dream worlds exist as more than just fleeting experiences: The statement from Mario Party 5, mentioning that "entirely new dream worlds are born every day," implies a continuous creation and existence of dream worlds and how can Mario physically visit his subcon even after waking up from the dream(no pun intended) This suggests that dream worlds persist beyond the duration of an individual's dream and are not limited to the transient nature of the dream itself
Without further evidence or clarification indicating otherwise, it is reasonable to assume that dream worlds in the Mario franchise have a lasting existence so the burden of proof is on you to prove that their existence is limited.
The statement "Many dreams arrive here at Dream Depot every day" indicates that a significant number of dreams are being received, implying that Dream Depot accumulates dreams from various sources the use of the term "many" suggests a substantial quantity. This implies that Dream Depot represents a wide range of dream worlds, making it more likely that it encompasses dreams from multiple beings who can dream within the Mario universe.
Without additional context or information suggesting otherwise, it is easier to interpret the statement as inclusive of a significant portion of dreams rather than a selective subset, and to make it worse:
夜空の向こう、星空のかなたにユメの世界ユメミールがありました。
世界中みんなのユメが集まる、ここはまさにユメの国・・・
このユメミールには、「星の精」たちがいて
みんなのユメを暖かく見守っています。
Beyond the night sky, beyond the stars, there is the world of dreams, Yumemir(dream depot).
A world of dreams, where all the dreams of the world come together.
In this Yumemir, there are "star spirits"
They warmly watch over everyone's dreams.
Edited:In the Mario games, the dream worlds have consistent visual similarities, be it in the form of bubbles or sharing structures. The ending credits focusing on dream worlds and the presence of multiple orbs sharing the same world like Future Dream suggest a parallel nature rather than some orbs representing a small portion of Future Dream. Future Dream meets universe-sized criteria, suggesting it's a universe on its own. The dreams, shaped by imagination, also contain elements beyond control since by their very nature, possess an innate capacity to harbor elements beyond the conscious volition of the dreamer(And I'm sure everyone who dreams knows that).These dream worlds show shared features, such as starry skies, realistic nebulae across various dreams, including Subcon
The presence of these consistent features and the occurrence of dream worlds taking players to minigames set in outer space (Sweet Dreams and Toy Dreams) indicate shared attributes.Such consistent visual motifs hint at a parallelism, reinforcing the idea that these dream worlds can be considered individual universes within the multiverse.
The fact that World 4 is referred to as "The Universe" implies a connection to the concept of the universe as a whole, rather than simply representing outer space.
The use of the term "infinite-sized statements" in both the English and Japanese versions further supports the idea that World 4 represents a vast and expansive space
In your provided translation, the phrase "From this green-colored door, you can go to the endlessly spreading 'vast universe'..." still highlights the idea of expansion and continuous growth.
While "hateshinaku" can be translated as "endlessly," it can also carry connotations of vastness or boundlessness. In the context of the game, it implies a limitless expanse.
The term "hirogaru" meaning "spreads" or "expands" reinforces the concept of the universe in World 4 being ever-growing, so regardless if it’s infinite or ad-infinitum, it still implies it’s a large structure
Tippi used of the kanji 宙域 (Chūiki) in that scan, which means universe and macrocosm, provides further evidence that World 4 represents a larger cosmic space rather than just outer space with her straight out saying "infinte universe"
Considering the macrocosm aspect aligns with the expansive and infinite-sized statements, reinforcing the interpretation that World 4 represents the universe
When we use the phrase "infinitely extending," we delve into the realm of limitless expansion, transcending the boundaries of a defined area. It signifies an unbounded progression that stretches perpetually, unencumbered by the confinement of specific limits or endpoints. To comprehend the true essence of infinitude, one must envision a continuous, boundless expanse that defies the constraints of finite spatial demarcations.
Example of a sentence:the mountains extend over the western end of the island.(Which means the mountains already cover that area)
In the given example of the mountains extending over the western end of the island, we observe a spatial distribution that encompasses a designated region. This demonstrates the notion of extension within a finite scope, whereby the mountains effectively cover/occupy the specific area designated as the western end of the island.
However, the concept of "infinitely extending" diverges significantly from this notion of confined extension. It conveys an essence of unbounded growth and expansion, traversing boundaries without cessation. By employing the term "infinitely," we evoke a sense of boundless magnitude that exceeds any finite measurement or delineation.
Thus, when we speak of something as "infinitely extending," we invoke the idea of spanning an infinite area or space, transcending the limitations of defined boundaries. This implies an inexhaustible continuum, perpetually expanding without a definitive terminus.
It is true that the terms "Universe" and "World" and "dimension" can be used interchangeably in certain contexts in fiction, and their precise definitions can vary depending on the specific work or narrative.
In the case of Super Paper Mario, the game explicitly uses the term "dimension" to refer to different realities or alternate spaces within the game's universe.
While "Universe" can sometimes be used to refer to a multiverse, it is crucial to analyze the specific terminology and context used within Super Paper Mario to determine the intended meaning. In this case, the game's consistent use of the term "dimension" suggests distinct and separate realms
It is common in fiction to use the term "dimension" to describe alternate realities or different planes of existence and the concept of different dimensions representing alternative realities or variations of space-time is widely used in many fictional works so given the established conventions and consistent usage of the term "dimension" in fiction, it is reasonable to interpret the various worlds in SPM as distinct dimensions within the game
In the case of it, the game explicitly refers to different dimensions and provides details about accessing these dimensions through alternate universes and dimensional doors.
By analyzing the in-game information and consistency of terminology, the interpretation that the worlds in Super Paper Mario are different dimensions aligns with the provided evidence.
In Super Paper Mario, the game establishes the presence of different dimensions and universes, as evident from the need for Mario to travel to Flipside, which is referred to as a different dimension itself.
Flipside serves as a hub between dimensions, allowing access to various worlds through dimensional doors.
The fact that Mario needs to visit parallel universes to access different worlds is further evidence of the existence of multiple dimensions within the game.
The seven doorways shown in Flipside are described as leading to individual dimensions, each housing a unique Pure Heart.
It is explicitly stated by characters like Tippi and Merlon in the Japanese version that only one Pure Heart is located behind each door. This suggests that these doorways do not transport Mario to the same universe or planet.
If all the worlds were part of the same universe, Mario could have used the first dimensional door to collect all the Pure Hearts. The fact that each door leads to a different dimension implies their individuality.
The placement of the Pure Hearts in distant locations, requiring the opening of dimensional doors or the use of transport, supports the notion of separate dimensions.
If the worlds were all part of the same universe, Squirps or other characters could have easily assisted Mario in collecting the Pure Hearts without the need for such complicated measures.
The requirement to place the Pure Hearts in distant pillars and the need to traverse different dimensions suggest a deliberate design to emphasize the existence of separate dimensions within the game.
Thumbs up for "coping" and you know what I mean. Anyways, the English version of the story helps to explain certain aspects of the original story that may be difficult to understand for non-Japanese speakers because Japanese is a very fluid and context dependent language. For example, the English version of the story can provide more context for certain cultural references that may be unfamiliar to non-Japanese speakers since the localization team worked closely with the original Japanese team. They also discussed the story and context of the game, so they would have a good understanding of what the original creators intended.I would like to point out that the counterargument is based on a false dichotomy. It assumes that the localization can only be either accurate or fun, but this is not the case. The localization can be both accurate and fun. In fact, the localization team has shown that they are capable of achieving both of these goals.
While it's true that "fun" and "best possible story" are not directly synonymous, it's reasonable to assume that a game's development team would strive to create an enjoyable experience by incorporating elements that enhance the story. Making it fun doesn't necessarily mean sacrificing fidelity to the original story; it can involve adding humor, adding context or improving pacing.
Perhaps the statement itself may be somewhat vague, but it's not unreasonable to interpret it as an effort to enhance the player's experience by creating an enjoyable and engaging narrative. Without further information, it's fair to assume that the teams aimed to create a fun and immersive experience by collaborating closely
Collaboration between the Japanese and English teams suggests a joint effort to ensure a consistent experience across both versions. While it doesn't explicitly guarantee both versions are canon, it does indicate a shared goal of maintaining coherence and avoiding significant discrepancies in the storytelling and world-building.
Given that the teams worked together, it's reasonable to assume they had discussions to align their interpretations and translations. This collaboration would likely involve clarifying any ambiguous story elements to ensure a cohesive narrative. Therefore, the English localization can be considered reliable for English readers(the wider audience), as it was created in coordination with the original Japanese team.
The examples provided by the Void statements may suggest that the English localization remained consistent with the Japanese version, which further supports the reliability of the English version.
And here is an additional information:Nate B, a respected member of the localization team, illuminates the intricacies of their collaboration with the development teams in a manner that unveils the profound nature of their work. Their daily communication, conducted through a multitude of channels including in-person meetings, emails, instant messaging, video conferences, and phone calls, exemplifies the unwavering dedication of the localization team to comprehending the nuances of the game. Through their painstaking efforts, the translation teams meticulously translate each message, adhering to a verbatim approach while also infusing the adjacent columns with developer notes and linguistic subtleties that transcend the raw translation. This meticulous attention to detail ensures that the final localized text not only aligns with the intentions of the developers but also encapsulates the very essence of their creative vision.
The profound relationship forged with the development teams over the course of two decades lays the foundation for a mutual respect and familiarity that form the bedrock of their collaborative efforts. It is within this context that the localization team assumes an indispensable role in upholding the integrity of the original work.
Notably, the developers themselves are deeply involved in the localization process, meticulously scrutinizing each and every word crafted by the localization team. This keen involvement serves as a powerful testament to the tremendous impact that localization wields in shaping the final product. Nate B explicitly emphasizes that preserving the developers' vision remains the foremost priority(NB: Obviously the developers are reading every word we write, and our number-one priority on this and every game is to preserve their vision while maximizing the enjoyment of our own audience."), underscoring an unwavering commitment to safeguarding the integrity of the source material while simultaneously maximizing the enjoyment of the target audience.
By incorporating these illuminating insights into what we have, a profound narrative emerges, solidifying the notion that localization is not only a valid and authentic representation of the developers' original vision but also an indispensable component of the creative process. The collaboration between the localization team and the developers, evident through their daily interactions, meticulous translations, and ongoing conversations, underscores a shared objective which is to uphold the artistic vision while captivating faithful experience for the audience
i assume he talks about this
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