There are compelling reasons to assume that long before Marlowe's alleged death in 1593, from probably the very early beginnings of his writings, he must have been accustomed and was thus early prepared to write under false names, i.e. anonymously, pseudonymously, or with unidentifiable initials under a state of disguised identity. He must have wished (and was forced) to remain and write anonymously for various reason, not the least because of his (too) liberal or radical or progressive thoughts in matters of religion, social issues, ethics as well as because of his critics on public figures, opinions, books etc. - He was light years ahead of his time. -
To Marlowes early pseudo- or pennames, prior to his official death, one can safely count George Wither (e.g. "An ABC for Laymen" 1585/1588), Nicholas Breton ,William Gager ("Meleager"), William Basse , George Puttenham ..("The Arte of Poesie" and others. - Otherwise, it is literally impossible to explain why not a single literary work of Marlowe/Shakespeare was printed prior to his demise / or Shakespeare's rise in 1593, in Marlowes 30th year of life (exception: anonymous Tamburlaine 1590).
It is unthinkable and can literally be ruled out, that Marlowe/Shakespeare (of the same age!) between 1573 and 1593 have not spoken literally in many ways in their early most creative phase of life. - Consider that average life expectancy was not even 50 at that time! ......it is virtually impossible that the literary prolific creativity of the "true" Shakespeare genius within his first 30 years of life was Zero and consisted of no diversity of printed "literary Genres" at all (See: The Shakespeare Authorship : An Unsolicited Question - ref. )
Probably most people have no ideas of the dimensions, the earliness and immensity of Marlowes/ Shakespeares knowledge, of his power of comprehension, of his memory capacities, of his unimaginable speed of writing and thinking productivity, his dialogic language abilities or his elocutionary language skills, etc., i.e. his overwhelming creativity....
.....similar to a musical genius like Mozart, who wrote his first Piano Concert at the Age of 12. - KV37 https://m.youtube.com/watch?v=xFmod_Aazf0 and composed the Great symphony 36 (kv425) on transit within a prolonged weekend 1783 in the austrian City of Linz, when he and his wife had to interrupt their traveling between Salzburg and Vienna because of bad wether... https://m.youtube.com/watch?v=t7dWkI9H9fw
At the Elisabethan age crimes that threatened the social order were considered extremely dangerous offenses. They included not only heresy, but also treason, ( "Marlowes Dutch Libels.) which challenged the legitimate government and crown. Those convicted of these crimes (or threatened, such as Marlowe...he was advised and supported by Cecil to disappear by feigning his death) since by the law they had to expect the harshest punishment. Execution methods for the most serious crimes were designed to be as gruesome as possible....
Anonymity was necessary in those times, but not easy to achieve and often fraught with. It required "unlinkability", such that an attacker's examination of the pseudonym holder's message provided no information about the holder's true name or location.
It was by no means primarily the literary anonymity of Marlowe as a poet, under which he suffered from, (he very early on was accustomed to it!) but from his total banishment from society, from court and nobility ( since June 1593) and from his permanent and complete loss of reputation and identity, from his social isolation, his living in obscurity. - His formal extinction meant that he could never hope for a pardon under an earlier identity. He felt bound by his oath to William Cecil (See Hamlet Ghost Scene) https://m.youtube.com/watch?v=cWWyZaUKPmw
His "crime" (treason, rebellion, sedition) was atoned for by his formal death .... It was rather his reputation murder.....the absolute necessity to exist and remain incognito in seclusion....never to be recognized under any circumstances,
There is virtually no evidence that anyone during his lifetime knew of a poet Shakspere (Stratford), or of the fact that the Stratford person was the poet of Hamlet, Romeo & Julia, or King Lear. The idea of a fusion ( conflation?) of Shakspere and Shakespeare was explicitly invented or created for posterity, a construction of (for) his poetic aftermath ...
The ingenious trick of hiding behind the name of a single living (paid) person (such as Shakspere/Stratford) or deceased persons or invented names (e.g. John Overbury, Robert Southwell, Michael Drayton, George Chapman etc.) would have had the consequence, (as soon as somebody started looking for a singular person) of detecting the deceit sooner or later. ....this could only or best be prevented by a multiplicity of pseudonyms, but also by various other (also ingenious) tricks of multi-pseudonymities, e.g. by double names ( Sir John Davies/John Davies of Hereford --- or John Fletcher/Phineas Fletcher), by double authors Beaumont/Fletcher...and so on....
Consider, that half of Shakespeares plays (18) were printed only after his death, and not known before... of the other half 50% were printed anonymously thus only a quarter known under Shakepeare / Shake-speare....
This fact alone indicates the necessity that the recognizability of his person was prevented and had to be prevented by all circumstances!
If all 36 pieces of the First Folio and many more ( attributed to other fictious poets) had been printed under the name of William Shakespeare, there could or would soon have been a growing interest in getting a hunt for this person .... Under no circumstances could that happen ....It would have revealed the plot, the real conspiracy,....( Consider: its no conspiratory theory...)
Marlowe was considered to be dead, to be extinguished, and precisely at the time of his death (1593) a dramatist mockup Shakspere was created as a new poetical implemention....
There are several impressive literary sources, that later on Marlowe/Shakespeare, after his "Invention" to create a "living pseudonym Shake-speare", was very dissatisfied with that invention ( e.g.Typographie s.argument 24, Drayton https://m.youtube.com/watch?v=3nZFlC4Gy2Q )
And there is another quite different chain of (backward) reasoning or argumentation to answer the variations of the basic question....
1 Why Marlowe would choose to use so many aliases?
2 Why not just stick with 'William Shakespeare' ?
(The sheer number of alleged aliases is unlikely -)
3 Why this huge quantity of pseudonyms ?
4 Was that really necessary for Marlowe?
We only get in the situation to answer the sheer scale of unresolved questions, uninterpretable literary Texts and inconsistencies (See John Ford as an example. https://m.youtube.com/watch?v=zYRdNU6GJc4) of so many contemporary authors ( such as Shakespeare, Basse, Wither, Drayton Chapman, Heywood, Barnfield, Taylor etc.) regarding the true poetical genius, if we presuppose the assumption of a multiple pseudonymity, which alone can resolve the Shakespeare authorship controversy.
This assumption is in strong contrast to the bizarre fact that more and more Shakespeare experts are now absurdly assuming that Shakespeare wrote in a team with co-authors.https://www.nosweatshakespeare.com/shakespeares-plays/shakespeares-collaborations/
Otherwise, we drown into a swamp of „unscientificness", or myth and stagnation....why a global collective intelligence up to now (>400 years) was not able to reach some progress to resolve a clearly existent authorship problem?