Template:The Great Crossover Divide
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| Developer(s) |  Newwenmani Company
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| Publisher(s) | 
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| Distributor(s) | EVERYONE! | |||
| Director(s) | Shigesato Itoi (็ณธไบ้้) Hironobu Sakaguchi (ๅๅฃ ๅไฟก) Yoko Taro (ๆจชๅฐพ ๅคช้) | |||
| Producer(s) | EVERYONE! | |||
| Artist(s) | EVERYONE! | |||
| Writer(s) | EVERYONE! | |||
| Composer(s) | EVERYONE! | |||
| Platform(s) | 
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| Genre(s) | World Map Mode:
Level Mode:
Battle Mode:
Misc. - Side Modes: | |||
| Series | All of Fiction | |||
| Engine | EVERYONE! | |||
| Release Date(s) | October 31st, 20Yฮ | |||
| Mode(s) | Single-player Multiplayer | |||
| Age Rating(s) | 
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| Media Included | Picon 2:
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| Manual(s) | โ ๏ธ To Be Announced โ ๏ธ | |||
| Available Input | Picon 2:
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| Storage Needed | 999,999,999,999,999 QB (Quettabytes) | |||
| Cost | $100 (USD) | |||
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, the Newwenmani Company, Chungus Inc., and every single other developer company to ever exist (fanon and real life) and published by 
. It is considered the video game of all time! Written by multilingual authors, philosophers, and schizophrenic domestic terrorists SmilyCookieGod's, Ozzie2009, The Loathsome Dung Eater, and many more, the game is most notably known for being set to be the single most biggest, ambitious, outstanding, and greatest fictional crossover ever conceived, with over 3,000+ unique franchises and work of fictions, including media based on true stories from throughout human history crossing over for one gigantic adventure of a lifetime. It's also set to be the longest work of art ever created, surpassing Persona 5 Royal, Logistics, The Loud House Revamped, Peter Watkins' Resan, The Burning of the Red Lotus Temple, Les Mikails, CzechMate: In Search of Jiลรญ Menzel, and the Bible; even The Campaign for North Africa.. The conception of this game serves as a satirical parody of various famous (and infamous) omniversal crossovers such as, Fortnite, Pooh's Adventures, The Loud House: Revamped, etc. while making them all look like amateurs. Overall, the game both a celebration and deconstruction of all fiction and all fanfictions. Hell, the concept of the Omniverse is a spoof of archverse tiering wikis such as All Dimensions Wiki and Verses and Dimensions Wikia, whilst also being somewhat serious.
Taking place in the entire god damn motherfucking eponymous Omniverse, the aggregate of all fiction, the setting contains all settings. Although at first glance, the gameโs story itself begins as a typical run of the mill heroic crossover, featuring many of your beloved fictional characters, trying to save all realities from the nihilistic and evil antagonists; similar to the stagnant and generic good vs evil narratives represented by people such as J. R. R. Tolkien, George Lucas, Tetsuya Nomura, etc. Though that slowly starts to become ever less true as the narrative continues. The setting in truth, is much more complex, grandiose, cruel, and bizarre. All universes in the end, live in constant conflict. All realities are simply stuck in a state of total war with hostile inter-dimensional demon races from the Omniversal void. There are effectively no truly benevolent or malevolent gods or spirits in the Omniverse, only daemons and angels trying desperately to eradicate one another. In the long run, our heroes cannot hope to defeat their enemies, so in the end, our heroes aren't really fighting for a brighter future but "fight for their right for peace, even if it's only for a little longer". In the end, through constant sacrifice and toil, our heroes simply delay the inevitable heat death of the Omniverse. But that's not all! The game doesn't just focus on all heroes; it's a game told through some other perspectives. With the narrativeโs multi-perspective structure, it ensures that moments of triumph for one side turns into horror when retold from another faction's viewpoint. A โliberationโ becomes an invasion and a โpreemptive strikeโ becomes an unforgivable genocide. Characters are written not as embodiments of good or evil (cough, cough, Chungularity), but instead as just people warped by their own ideological believes, morals, fears, faults, loyalties, and survival instincts, often performing monstrous acts while sincerely believing they are preventing a greater catastrophe. Each faction is the primary antagonist of the other ones simultaneously, creating a narrative feedback loop of escalation where no side can de-escalate. As viewers slowly learn more about the nonsense that happens in the Omniverse, they are forced into the uncomfortable role of narrative head-canon, having to weigh each character's history and legitimacy to decide what lore, if any, deserves to be called โfact,โ fully aware that such a judgment may say more about the audienceโs own values than about the characters themselves.
The game has been the subject of extensive analysis for its existential and profound themes, as well as its literary devices. Influences include (but are not limited to) Catholicism, Hinduism, Buddhism, Qigong, philology, philosophy, classical mythology, Norse mythology, Gnosticism, Zoroastrianism, parts of the other Abrahamic religions, Confucianism, Shintล, Taoism, and countless fictional precursors. As the game is a melting pot of as much fiction as the participants here can think of, the gameโs gameplay itself also contains half the genres of any kind of video game. If you believe that absurdism, action flicks, adventure stories, afrofuturism, apocalyptic tales, black comedies, body horrors, buddy cop stories, comedy-dramas, coming-of-age tales, cosmic horror, courtroom dramas, crime thrillers, cyberpunk, disaster narratives, docudramas, dystopian works, eco-fiction, epics, erotica, espionage, experimental fiction, fairy tales, family sagas, fantasy, feminist fiction, folklore, found-footage, gangster stories, gothic fiction, grief literature, hard science fiction, heists, classical horror, kitchen-sink realism, legal thrillers, mystery stories, medical dramas, melodramas, memoirs, military fiction, mockumentaries, monster movies, musicals, mythic fiction, naturalism, neo-noir, new wave science fiction, opera films, outlaw narratives, political dramas, political thrillers, psychological horrors, psychological thrillers, pulp fiction, prison dramas, queer fiction, quest narratives, road-trip stories, romance, romantic comedies, rural noir, satire, science fantasy, sci-fi, screwball comedies, sea adventures, slapsticks, slashers, space operas, steampunk, superheroes, survival narratives, techno-thrillers, teen dramas, time-travel stories, tragedies, tragicomedies, weird fiction, westerns, xenofiction, young adult fiction, and zombie horror cannot work alongside each other, than this game will prove you the fuck wrong bitch!
Originally dubbed "Project Noah", the project's development spanned several decades, from a rewritten/re-imagined adaptation of Frank Herbert's Dune, to a simple rewrite/re-imagining/remake/reinterpretation of the 2006 Japanese-exclusive masterpiece, Mother 3, to a live service "Super Game" developed by Sega with a budget of $882 million. Still, it eventually developed into a much larger and grander storyline that spans multiple decades of groundbreaking and existential themes of pure beauty and tragedy.
First Cancellation
The Great Crossover Divide was initially conceived as an adaptation of the epic multi-genre crossover series CrรถsS;OVEr, specifically the ๐๐ถ๐ด๐ต๐ ๐ฃ๐ฟ๐ผ๐ด๐ป๐ผ๐๐๐ถ๐ฐ๐๐, by Chilean-French avant-garde cult filmmaker, Alejandro Jodorowsky. The film rights for an adaptation of CrรถsS;OVEr had been originally purchased by Apjac International (APJ) in 1971, but film producer Arthur P. Jacobs, who was the head of Apjac, died before production could start. In December 1974, a French consortium led by Jean-Paul Gibon purchased the film rights from APJ, with Jodorowsky set to direct. In 1975, Jodorowsky planned to film the story as a 30-hour movie.
Although it is widely believed that Alejandro Jodorowsky, wanted to adapt CrรถsS;OVEr without reading the original novel, he did start reading the book after entering production, according to director Frank Pavich. The Chilean-French filmmaker has stated that he "did not want to respect the novel", but to "recreate" it, since "CrรถsS;OVEr did not belong to
as Don Quixote did not belong to Cervantes, nor Oedipus with Aeschylus". He also wanted the primary universe to be Frank Herbert's Dune instead of SpongeBob SquarePants and Newgrounds because it was "more ambitious".
He established a pre-production unit in Paris with artists such as H. R. Giger, the designer for many of the things in the movie, such as the Harkonnen Castle and the sandworm, Chris Foss, the designer of the filmโs spaceships and hardware, Jean Giraud, also known as Moebius, the character and creature designer, and Dan OโBannon, the special effects supervisor. The filmโs soundtrack was also supposed to be made by Virgin Records and progressive rock artists such as Pink Floyd, Magma, Tangerine Dream, Gong, Emerson, Lake & Palmer, and Mike Oldfield. Michael Jackson also made a cover of Come Together by The Beatles for the movie in 1986, only two years before cancellation. Itโs cast would include Jodorowskyโs then 12 year old son, Brontis Jodorowsky as Paul Atreides, Salvador Dalรญ as Shaddam IV, Amanda Lear as Princess Irulan, Orson Welles as Baron Vladimir Harkonnen, Gloria Swanson as Reverend Mother Gaius Helen Mohiam, David Carradine as Duke Leto Atreides, Geraldine Chaplin as Lady Jessica, Alain Delon as Duncan Idaho, Hervรฉ Villechaize as Gurney Halleck, Udo Kier as Piter De Vries, and Mick Jagger as Feyd-Rautha.
traveled to Europe in 1988 to find that $2 million of the $9.5 million budget had already been spent just on pre-production expenses and that Jodorowsky's script would result in a 30-hour film ("It was more than twice the size of a phone book", later recalled). Jodorowsky took creative liberties with the source material, but said that he and Jodorowsky had an amicable relationship. After 14 years in development, the project was ultimately cancelled due to financial reasons since $45 million was still needed to round out the $55-million total budget and attempts to raise more funds from investors failed, AND the fact that the film was gonna be 30 hours long, meaning literally nobody would watch it all the way through. (I mean, who the fuck would spend 30 hours in a movie theater just to watch one film?)
Second Cancellation
Early concepts and pre-production
After the huge success of the NickToons Cinematic Multiverse, Nickelodeon bought the rights to CrรถsS;OVEr from Dino De Laurentiis. During that time, a sequel to the SNES era of the NickToons Cinematic Multiverse was green-lit and Nick wanted to integrate the lore and story of CrรถsS;OVEr to the sequel. Originally, there was never any intention of having any time-skip, and this entire saga would have practically been one entire saga combined. It started development after the immense success of the previous saga from the SNES era in late 1994 for the upcoming sixth-generation consoles and the recently released PlayStation. One of Nickโs executive producers, Hironobu Sakaguchi, wanted the next main saga to have the central theme of โlife and deathโ dating back to when his mother passed away while he was working on the SNES era, after which he always wanted to explore the theme of โlife and deathโ in a โmathematical and logical way to overcome the mental shockโ.Sakaguchi put Shigesato Itoi, Kaori Tanaka, and Tetsuya Takahashi in charge to write and direct the story while also giving them a team. Many people who previously worked in the SNES era returned to join and work on the project, and though several people left, the team still grew in size. They forwent the usual prototyping phase and went straight into development, expecting to create something unprecedented. Itoi said at the time that he wanted to make the game like a Hollywood film. The team knew from the get-go that its game version would be a 3D open-world game. The project began under the working title "Project Noah."
Story
Itoi conceived the premise of Project Noah as a "detective story where the city was the main character." He envisioned a hack, small-time, womanizing private investigator who would become engrossed in a big murder case, and the story would unfold from a young female clerk at a flower shop who would slowly recall parts of a story consequential to the plot. Thus, the city would grow. This idea of a "single place changing over time" was central to Project Noah. He saw previous games as "road trip movies" with little reason for the hero to backtrack to earlier areas and instead wanted the player to see the town grow dynamically over time.Later, the initial literary inspiration was one of Itoiโs once again from one of the series of books he read known as the Notebook Trilogy by Hungarian writer รgota Kristรณf. Itoi suggested to the other co-directors that he wanted to pay tribute to Kristรณfโs story by implementing the major plot twist into this story, which was the โbetrayal of the narratorโ/โbetraying the audienceโ from the third book, The Third Lie. He also found using both protagonistsโ names the same for the story as a fun tribute. Therefore, he named the two protagonists Lucas and Claus, making them siblings like the original story. Tanaka and Takahashi liked Itoiโs suggestions so much that they decided to expand on the themes in the Notebook Trilogy by introducing more existential philosophies into the story. These philosophies included the works of Friedrich Nietzsche, Sigmund Freud, and Carl Jung, who also wanted to include dystopian elements such as THX 1138, Soylent Green, and Childhoodโs End. According to Tanaka, the original rough draft idea for the story that would become known as the gameโs story was invented by Tanaka in 1994 after hearing Itoiโs analysis of the Notebook Trilogy. The original concept was a story about โa young soldier of fortune with multiple personalities.โ According to her, the storyโs theme revolved around โwhere do we come from, what are we, and where are we goingโ. The gameโs story was enough of a departure from the previous sagas that the development team questioned whether fans would even consider it part of the franchise.Sakaguchi would come along and request the team that the story would show at least one realistic death rather than a "Hollywood" sacrificial death. Itoi conceived the entire game to have 12 chapters. Furthermore, each chapter would have varied game mechanics in the video game version. Itoi and Takahashi described the story as "normal" for its first half, leading to a "triple-play twist." Another theme Tanaka introduced was the reckless appearance and "uncomfortable beauty" of chimeraโmultiple creatures fused into oneโwhich was the idea behind the metallic and wooden antagonists known as the Metarex. The chimeras theme informed the game's original subtitle: "Forest of the Chimeras."
Gameplay
After finishing his game Ultima Underworld II in 1993 for Origin Games, Warren Spector wanted to create a new game with an experimental and avant-garde concept. The game he wanted to make was based on his wifeโs recent fascination with the X-Files, with concepts like conspiracies and governmental censorship being major topics he wanted to explore in his new game. Spector also considered cyberpunk influences from around 1978 when Spector participated in a Dungeons & Dragons campaign created and led by Bruce Sterling, who had adapted that campaign based on Spector and the other playersโ choice. After that, he realized that he wanted to create a video game that didnโt fit a specific genre and where any player could choose how to play the game the way they wanted to, unlike most games at that time, which he found very saturated.
In his late 1994 proposal to Origin, he described the concept as a dystopian and futuristic setting with โbig-budget, nonstop actionโ starring an ex-cop detective. He described the project as โhighโ risk for its โtechnological unknownsโ as โprobably the toughest project on his wish list.โ Unsurprisingly, it failed to get picked up. He later left Origin for Looking Glass Technologies near the time they produced Thief: The Dark Project but kept the idea in mind. For Thief, he tried to suggest buffing the character more so that the player could opt to fight through levels instead of sneaking, the original intent of the game, but the team didnโt take to these ideas. Spector wrote that the timing was not yet ripe because the business teams were not interested, the technology was not yet feasible, he did not have an interested team or the resources to make one, and publishers did not want a โcross-genre game.โ Spector, himself, was also tired of unrealistic fantasy and alien settings. Frustrated at Looking Glass, Spector sought employment elsewhere and was nearly about to sign a contract with the evil EA when Hironobu Sakaguchi approached him. Sakaguchi was looking for a talented gameplay director to help develop the very challenging and experimental Project Noah, which led to him wanting to hire Spector. When Sakaguchi offered him a chance to make his โgameplay visionsโ into reality without any financial restrictions, Spector was immediately on board.
Characters
Sakaguchi chose Tetsuya Nomura to draw the character designs. The subdivision used a system where everyone put out plans regardless of their section. While everyone handed in text documents they had made on a computer, Nomura's were handwritten and illustrated. Sakaguchi thought the illustrated proposals were amusing and chose Nomura to draw the characters. The first characters Tetsuya Nomura created for this story were Flint, Lucas, and Claus.
| โ | At the very start of development, the scenario wasn't complete yet, but I went along like, 'Well thereโs the detective and the two kidsโ, and from there, I drew the designs while thinking up details about the characters. After I finished the three main characters, I carried on drawing by thinking what kind of characters would be interesting to have. When I handed over the designs, I'd tell people the character details I'd thought up or write them down on a separate sheet of paper. | โ |
-Tetsuya Nobunga | ||
Music
Itoi wanted two distinct main vocal themes for the story, so he set out to find as many unique talents as possible to drive the themes he desired within his story. The first theme was produced by the Alabamian bluegrass band Iron Horse. It premiered in Space World in 1997 but was never given a proper title. They would also contribute to some more songs for the storyโs soundtrack.The team hired David J. Franco as the main composer for the story. It was also decided that Francoโs composition โThe End,โ which he had already written for a music competition in 1999 when he was around 16-17, would be one of the two main themes for the game.
Promotion
The game was officially unveiled at Space World 1996, where it showcased footage of multiple promotional artworks of locations from the story along with short cutscenes and animations from the game; the gameโs reception was highly positive. In 1997, the subtitle was changed to โThe Fall of the Pig King,โ as someone had already trademarked โChimera.โ While the game was shown at Space World 1997, a playable demo for its video game version was not provided since Warren Spector was only recently hired at that time to begin game development: however, footage was shown from the game, including Lucas riding a cartoonishly-animated Pork Bean, the Claymen working at the Clayman Factory as enslaved people, and the Pigmask army marching through a desert. In May 1998, the game was only shown in a sizzle reel for E3 1998, with all the footage reused from the Space World 1997 showing. Based on the footage alone, witnesses claimed the game was mind-blowing in terms of its presentation.
In 1999, a trailer and playable demo were featured at Nintendo Space World 1999, with a projected release date of late 2000, with the story being estimated to be around 50-55% complete by various magazines and Space World demo reviewers. The game received moderate to immense critical praise from every attendee and reviewer, with the story being lauded for its beautiful visuals, in-depth soundtrack, unique control scheme, groundbreaking gameplay (in terms of its game version), and memorable character writing. One reviewer highlighted the mine-cart cutscene from the game version: โIt moved so fast and looked so good that for a minute, we forgot it was on the N64.โ The developers stated that there were multiple routes for advancing through the game and unforeseen complications from minor actions, such as a monster finding food dropped in the forest. The game was set to include features such as synching the gameโs time with the real-time.
Unfortunately, in 2000, the entire project would eventually be canceled due to the story being considered way too dark and complicated for the NickToons brand by the dickheads who ran Square Soft and Nickelodeon and the entire project costing too much money for Nickelodeonโs greedy ass. Heartbroken, Spector would team up with Doom producer John Romero to implement all his ideas from the canceled project into a new game, which would later become Deus Ex.
Third Cancellation
Revival
Setting
As the Omniverse is the setting for every story in existence, (since there is only one Omniverse and there is no higher plane of existence) it includes our own existence (and universes similar to our own), and the universes of every single book, television show, movie, video game, board game, legend, fairy tale, comic book, fan-fiction, piece of art, fantasy, wish, thought, brief idea, and things not even thought of yet. It is everything that does and doesnโt exist. It exists everything within itself. This includes every single continuity in all of fiction like Marvel, DC, Image Comics, Dark Horse Comics, Wildstorm, Archie, Harvey, Shueisha, Boom Studios, Rebellion, Dynamite, IDW, Graphic India, Derby Pop, Vertigo, Oni Press, Udon, Valiant, Kodansha, Shogakukan, Dav Pilkey, The Beano, The Dandy, Shonen Jump, Doctor Who, SCP, Lovecraft, Dragon Ball, Sailor Moon, Pokรฉmon, Mickey Mouse, Pixar, Transformers, Jurassic Park, Fast & Furious, Mission: Impossible, Indiana Jones, Pirates of the Caribbean, The Simpsons, SpongeBob SquarePants, Looney Tunes, Scooby-Doo, Teenage Mutant Ninja Turtles, Power Rangers, Super Sentai, Kamen Rider, Godzilla, King Kong, Gundam, Neon Genesis Evangelion, Final Fantasy, The Legend of Zelda, Super Mario, Sonic the Hedgehog, Halo, Call of Duty, World of Warcraft, League of Legends, Minecraft, Fortnite, Grand Theft Auto, The Walking Dead, Game of Thrones, The Matrix, The Terminator, Alien, Predator, Rocky, Rambo, WWE, UFC, Sesame Street, Winnie-the-Pooh, Hello Kitty, Barbie, G.I. Joe, My Little Pony, Sailor Moon, Yu-Gi-Oh!, Digimon, Beyblade, Street Fighter, Mortal Kombat, Tekken, Assassinโs Creed, Resident Evil, Metal Gear, The Witcher, Avatar, Shrek, Ice Age, Despicable Me, Madagascar, Kung Fu Panda, How to Train Your Dragon, Twilight, The Hunger Games, Percy Jackson, The Chronicles of Narnia, The Muppets, South Park, Family Guy, Rick and Morty, Avatar: The Last Airbender, Dora the Explorer, Peanuts, Calvin and Hobbes, LEGO, Stephen King, Homestuck, The Elder Scrolls, World of Darkness, Dungeons and Dragons, Magic: the Gathering, Mythology, Fan-Fiction, Discworld, Middle-earth, The Nutshack, Slayers, every Friday Night Funkin' mod, all lost media in human history, Ben 10, the one and only Bee Movie, Pretty Cure, Umineko, Candy Candy, Bobobo-bo Bo-bobo, all-time classic: Boku no Pico, The New Norm, the Peppa Pig Fanon Wiki, the Spongebob Fanon Wiki, the Pooh's Adventures Wiki, The Loud House, The Really Loud House, Loud House: Revamped, Peepoodo, every terribly written tiering wiki, every shitpost/meme wiki ever, every single video game mod ever, a certain Serbian film from the year 2010, motherfucking Cory in the House, and many, many, many, many, many more fucking universes/multiverses/megaverses/other archverses to ever have been mentioned or seen (and a beyond absolutely infinite amount never mentioned or seen or even thought of). The Omniverse by definition exists everywhere and nowhere at the same time. Everything exists within itself and it exists within everything.
Everything is in the Omniverse; and to be clear, there is only โoneโ Omniverse because it IS everything. If you think of a random universe right now, the Omniverse has it. It includes every single literary work, television show, movie, anime, cartoon, video game, urban legend, mythology, meme, etc. EVER! Even fan fiction is part of the Omniverse; simply put, the Omniverse is the absolute entirety of all fiction, including all our favourite heroes, villains, toons, OCs, waifus, husbandos, Smash Bros mains, and those shitty ass spirits from Ultimate, every character you are either mixed on or absolutely despise, every character that hasn't even been made, every character that will never be made, every character that can be conceived of, every character that can't be conceived of, every single goddamn one motherfucker! From everyone like Mickey Mouse to Marty McFly to Barack Obama to Romeo and Juliet to Harry Potter to Hello Kitty to Hatsune Miku to Angstrom Levy to Herobrine to Mario to Biggie Cheese to Charlie from Charlie's Colorforms City to Darkseid to Exdeath to Fred Flintstone to George Costanza to Judge Holden to Iago to Postman Pat to Jay Jay the Jet Plane to Kenshiro to Little Miss Trouble to Molag Bal to Nikusa to Ook and Gluk: Kung-Fu Cavemen from the Future to Philip J. Fry to Queen Beryl to Roland Deschain to Sonichu to Tik-Tok to Ursula to Paw Patrol to Vilgax to Waluigi to the Xenomorph Queen to YOU all the way to Zog to fucking Motu Patlu & Knuckles (featuring Dante from the Devil May Cry Series + Bowser's Minions, and Gandalf the Grey, and Gandalf the White, and Monty Python, and the Holy Grail's black knight, and Benito Mussolini, and the Blue Meanie, and Cowboy Curtis, and Jambi the Genie, Robocop, the Terminator, Captain Kirk, and Darth Vader, Lo-Pan, Superman, every single Power Ranger, Bill S. Preston, and Theodore Logan Spock the Rock, Doc Ock, and Hulk Hogan, and Inkling the Girl, and Inkling the Boy, Leeroy, Kaebora Gaebora, and Dora the Explorer, and Spongebob Squarepants, and chosen one: Sora, Sephiroth, Chun Li, Master Chief, and King DeDeDe, Big Smoke, Professor Oak, every single Teletubbie, Gordon Freeman, and the dragon Spyro, Roy, our boi, Nurse Joy, and RED Pyro, and Henry the VI, and Henry the VIII, and Queen Merelda from the Wario games, and Bandito Chinchilla, and Flying Gorilla, and Gipsy Danger, and Mechagodzilla, Galactus, Unicron, King Nixel, Garmadon, Mark Twain, Mother Brain, every single Pokรฉmon, Aka-Chan, Kii-Chan, Ao-kun, and Ganon, Zeal, Pauline, Shadow Queen, Oganesson, and the Gobblegut, Sir Lancelot, that one giant eye robot from Storybots, Dr Trayaurus and Giganotosaurus, Finn McMissile, Sailor Venus, the Dark Lord Sauron, King Bob, Tamatoa, King Krob, 2Pac, Little Mac, every single Minecraft Mob, Andy Warhol, and Vincent Van Gogh, Vee, Shinji, King P and Misato. And... I dunno, John Travolta's character from Saturday Night Fever? And also Bumblebee (And a side of friiiiiiiiiiiiiieeesssss)) Premise
The Scarlet King from the SCP Foundation is looking to destroy all of reality, when he suddenly comes across a mysterious, dark orb known as the Chungar Core, which tells him he should craft something known as The Ultimate Weapon by collecting every McGuffin across all of fiction in order to break the 1st Wall so that it's true form, the Chungularity, can send the Omniverse to it's end. The Scarlet King then brings forth every fictional villian who seeks complete omncicide together to create the Vermilion Army, so they can fully craft the The Ultimate Weapon, and break the 1st Wall, unleashing chaos and oblivion to all realities.
The conflict begins when within the Among Us universe, Stormtroopers and Pigmask Soilders led by the Vermilion Army invade the Skeld. Lime Crewmate kills the Imposter, but is mistaken for the Imposter and gets voted out. He then wakes up in the Mushroom Kingdom where he gets attacked by Zombies, but thankfully Mario saves him, and they later meet Rick Sanchez and Morty Smith, who tell Lime Crewmate that the Zero Point is unstable and all fictional realities are being connected by it's energy. They soon find out about the Vermilion Army and their multi-dimensional omnicidal plan of crafting the Ultimate Weapon. Now it's up to all of fiction's greatest heroes (and some villains who decide to join them) to unite together in order to stop the army, save the Omniverse, and bring order across all realities once and for all.
Ultimately, the game has a total of eight acts, each act has 8-12 chapters, similar to Mother 3 and it's cancelled version EarthBound 64. While for most of the game, you play as Lime Crewmate and his friends, some chapters have completely different characters in the protagonist role. In one chapter, the player controls an Offworldian counterpart of Norm from The New Norm; in another chapter, the main character is Jimmy Brando, an evil stand user from and alternate reality of Scary Godmother who is connected to Dio Brando. These types of chapters are called plotlines. While the Crossover Divide, Newgrounds and SBFW's ๐๐ป๐ฎ๐ช๐ด๐ Saga plotlines are the three main ones, the rest are the story's subplots. The Marvel & DC Comics plotlines have been merged into one due to their many crossovers, most notably in Fortnite.
Main Plotlines
The Great Crossover Divide
NewGrounds
SpongeBob Fanon Wiki's 
๐๐ป๐ฎ๐ช๐ด๐ Saga 
MARVEL
DC
Fortnite
Archono Database
Neo Scary Godmother Wiki
The New Norm Fanon Wiki
Pooh's Adventures
McGuffins
Artifacts
In its most foundational structure, The Great Crossover Divide's story is a McGuffin hunt between multiple factions searching for the most immensely powerful artifacts across the entire Omniverse in order to craft THE ULTIMATE WEAPON, an item so powerful, it can manipulate the entirety of all fiction to it's will, sort of like an "author's pencil" but even more powerful. These artifacts are considered the most powerful object(s) in their respective verse. These artifacts can also be used for combat, puzzles, character interactions and more, meaning their more than just MacGuffins that do nothing other than further the plot. The Vermilion Army is one of these many factions and the de facto main antagonists of the game. They seek to gather all McGuffins across the Omniverse to create the Ultimate Weapon in order to their mysterious and enigmatic goals and to destroy the entire Omniverse and create a new era of dark matter supremacy.
Xfinity Hearts
Despite harvesting the power of The Glory from Doctor Who and a shard from the Zero Point from Fortnite, two omniversally powerful artifacts, most of the weapon's power is fueled by seven transcendentally overpowered artifacts known as the Xfinity Hearts. Each of these hearts is based off of one of the seven heavenly virtues of God, the seven deadly sins, and the seven music notes and modes in music theory. Retrieving one marks the end of an act and gifts the player one additional unit in their Xfinity Power Gauge and teaches them a special move. Overall, they grant powers to traverse obstacles during particular multiversal segments. They are found in each of the seven Iterational Monuments' OmniVaults per act. They are guarded and protected by the OmniVault Bosses, who are also known as Shardbearer Bosses, or Primarchs, whose true powers can be unlocked at each Iterational Monument found per act. There's also a secret eight Xfinity Heart known as the ฮงฮฌฮฟฯ HษยชRt, which can be found in the ante-penultimate area of the game, the 1st Wall. But wait, there's actually five more Xfinity Hearts seen in the game's prologue representing the five black notes of the piano; C#(Dโญ), D#(Eโญ), F#(Gโญ), G#(Aโญ) and A#(Bโญ). They show up in the sequel.
Iterational Monuments
The Iterational Monuments seven divine monuments scattered across the Omniverse and are the final dungeons of each of the story's acts. They all contain the toughest enemies and puzzles in the entire game, aswell as very useful loot. Each monument also contains an OmniVault, which houses one of the seven Xfinity Hearts. At the end of each Iterational Monuments lies the one of the seven OmniVault Bosses, the most difficult bosses in the entire game. The OmniVaults can only be opened by someone who is currently wearing the mold for The Ultimate Weapon, as the power of The Glory is the key. They function similarly to the Seven Needles from Mother 3 as collecting an Xfinity Heart destroys the monument's home reality and teleports the player back to the Omniversal Center[1], similar to how the guardian Magypsy dissapears after their needles is pulled.
| Emanation | Xfinity Heart | Iterational Monument | OmniVault Boss | Musical Mode |
|---|---|---|---|---|
| Act 1: ๐๐ป๐ช Chapter 1 |
Relic of ๐ป๐๐๐๐๐๐๐๐
|
??? | 
TBA |
C Ionian
|
| Act 2: ๐๐พ๐ต๐ช Chapter 2 |
Relic of ๐ฟ๐๐๐๐๐๐๐๐๐๐
|
??? |
TBA |
D Dorian
|
| Act 3: ๐๐ฟ๐ช๐ป๐ฒ๐ฌ๐ฒ๐ช Chapter 3 |
Relic of ๐ฎ๐๐๐๐๐๐
|
??? |
TBA |
E Phrygian
|
| Act 4: ๐๐ท๐ฟ๐ฒ๐ญ๐ฒ๐ช Chapter 4 |
Relic of ๐ณ๐๐๐๐๐๐๐๐
|
??? |
TBA |
F Lydian
|
| Act 5: ๐๐ฌ๐ฌ๐ฒ๐ญ๐ฒ๐ช Chapter 5 |
Relic of ๐ฏ๐๐๐๐๐๐๐๐๐
|
??? |
TBA |
G Mixolydian
|
| Act 6: ๐๐พ๐๐พ๐ป๐ฒ๐ช Chapter 6 |
Relic of ๐ฎ๐๐๐๐๐๐๐๐
|
??? |
TBA |
A Aeolian
|
| Act 7: ๐ฅ๐ช๐ท๐ฒ๐ฝ๐ช๐ผ Chapter 7 |
Relic of ๐ณ๐๐๐๐๐๐๐๐
|
??? |
TBA |
B Locrian
|
| Act 8: ๐๐ฎ๐ฑ๐ฎ๐ท๐ท๐ช Chapter 8 |
Relic of ๐ฎ๐๐๐๐๐
|
??? | 
|
All Notes All Scaled
|
Characters
Plot
"Ahem! Today...
I'll tell you the lost book of prophecies.โ
โThis prophetic book was a mysterious tome full of stories of
future events across the Omniverse.โ
โOf course, many people craved the book, wishing to glimpse
their future.โ
โBut no one, after obtaining this dreaded book, ever found
happiness.โ
โThis... is a tale about the book's last owner.โ
โWhat do you remember about that day?โ
โIt was dark.โ
โWhat were you doing when it happened?โ
โIt all happened so fast...โ
โAlright... Anything else?โ
โNo.โ
๐๐๐๐๐๐๐๐
.png){kind=small}
Plotlines: 
, 
, Pooh's Adventures, & 
Fortnite
๐๐๐ ๐: ๐๐๐
.png){kind=small}
Chapter 1: Introduction
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
๐๐๐ ๐: ๐๐๐๐
.png){kind=small}
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
๐๐๐ ๐: ๐๐๐๐๐๐๐๐
.png){kind=small}
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
๐๐๐ ๐: ๐๐๐๐๐๐๐
.png){kind=small}
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter 36
Chapter 37
Chapter 38
๐๐๐ ๐: ๐๐๐๐๐๐
.png){kind=small}
Chapter 39
Chapter 40
Chapter 41
Chapter 42
Chapter 43
Chapter 44
Chapter 45
Chapter 46
๐๐๐ ๐: ๐๐๐๐๐๐๐
.png){kind=small}
Chapter 47
Chapter 48
Chapter 49
Chapter 50
Chapter 51
Chapter 52
Chapter 53
Chapter 54
๐๐๐ ๐: ๐๐๐๐๐๐๐๐
.png){kind=small}
Chapter 55
Chapter 56
Chapter 57
Chapter 58
Chapter 59
Chapter 60
Chapter 61
Chapter 62
Chapter 63
Chapter 64
Chapter 65
๐๐๐ ๐: ๐๐๐๐๐๐๐
.png){kind=small}
Chapter 66
Chapter 67
Chapter 68
Chapter 69: Nice
Chapter 70
Chapter 71
Chapter 72
Chapter 73
Chapter 74
Chapter 75
Chapter 76
Chapter 77
๐๐๐๐๐๐๐
Good ending
Neutral ending
Bad ending
True Ending (The Biggest, Most Awful, Most Tragic Event in Omniversal History)
In Chungularity's "THE OMNIVERSE'S LAST STAND AGAINST CHUNGULARITY" PHASE, the Lord of Darkness starts getting weaker and weaker after countless heavy hits from Lime Crewmate and the others. The Lord of Darkness is at hir lowest point of power, already about to fall, yet refusing to surrender. Suddenly, ๐๐ป๐ฎ๐ช๐ด๐ซ๐ธ๐ซ comes in with fis ๐๐ป๐ฎ๐ช๐ด๐ Gun and shoots Lime Crewmate (or whichever character had The Ultimate Weapon). Lime Crewmate falls, but gets back up again, therefore resulting in the TRUE final battle of the game; The Battle Against ๐๐ป๐ฎ๐ช๐ด๐ซ๐ธ๐ซ. Fhe asks Lime Crewmate for The Ultimate Weapon during the fight, but he refuses. Fhe constantly tries to steal it from him throughout the entire fight, succeeding in the end, therefore killing Chungularity in hir weakest state and destroying the Zero Point. Fhe also make all realities evolve into a state of no thermodynamic energy to reach maximum entropy, therefore making them unable to sustain any further thermodynamic processes, causing massive disasters across existence. Afterwards, fhe starts dropping countless bombs filled with 67 Utter Oblivion liters of fir "special sauce" (you know what I mean) onto every single fictional reality, killing 50% of all life in the Omniverse, including Lime Crewmate.
In the aftermath, all fictional realities are merged into one singular dimension known as Omnireality of Disillusionmentio Numerocompartmentalization[2], ruled over by ๐๐ป๐ฎ๐ช๐ด๐ซ๐ธ๐ซ and the ๐๐ป๐ฎ๐ช๐ด๐ SUSiety. With the hopes of a new protagonist of all fiction on the rise, this ending kicks off the events of Electric Boogalo!
| โ | 7.8/10, too much ๐๐ป๐ฎ๐ช๐ด๐ sh*t. Also why the f**k is Vash the Stampede on the cover? He's not that important to the overarching plot! | โ |
-IGN | ||
| โ | Absolute Cinema | โ |
-Martin Scorsese | ||
| โ | The Great Crossover Divide: Uncut Version is an absolute masterpiece, and if you disagree then your existence is worthless. | โ |
-Ozzie T. Floridian | ||
| โ | The uncut version of The Great Crossover Divide is the greatest video game ever made and a beautiful love letter to the art of storytelling. It challenges you on an emotional level with it's most soulcrushing moments, while also delivering amazing expansions to almost every piece of media involved. It's got laugh-out-loud humor, a gripping story that's both heartbreaking, funny, weird, mythological, thought-provoking, heartwarming, and many other adjectives to describe a great story. Overall, this game gets a 10/10. By the time you finish this absolutely massive game with hundreds, if not thousands of hours of content, you'll giggle and cry like a baby, smile seeing all your favourite characters together, and have so much fun that you'll never wanna lay your eyes off your screen for the next 10ยฝ hours. | โ |
- | ||
The Game's Main Menu The Game's Save File Selection Menu
- The game on average takes 965 hours (approx. 40 days) to beat normally, 1,500 hours (62ยฝ days) if including the side quests, and if you wanna see literally everything the game has to offer, that'll take a whopping 3,400 hours (approx. 141 days) to complete.
- Yoko Ono has stated that her three biggest inspirations for the game were Mother 3, Chrono Trigger, and Clair Obscur: Expedition 33.
- Yideenia108 though this version was too ๐๐ป๐ฎ๐ช๐ด๐ (What did he expect) so he deemed it as a joke game, even though it's the true canonical version we all know and love.
- ๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐๐๐ป๐ฎ๐ช๐ด๐
- There is a random scene in the game where a giant spaceship explosion occurs and Crash says "holy mother" while the explosion happens in slow-motion.
- Winston Churchill and Kaiser Wilhelm II have hot steamy gay sex in this version.
