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A HEAVILY WORK-IN-PROGESS PAGE FOR SMILEYCOOKIEGOD TO WORK ON AND FOR THEM TO ADD WHATEVER SHIT THEY WANT TO EXPAND THIS GAME'S MASSIVE DETAIL.
Super Jangle 64 was initially conceived as a simple sequel to the SNES video game 46 Elgnaj Repus and Newwenmani wanted to integrate the lore of Sir JD Knudson and C.O. Wheezer's CrösS;OVEr series to the sequel. Originally, there was never any intention of having any time-skip, and this entire saga would have practically been the entirety of the CrösS;OVEr Saga and beyond combined. It started development after the game’s immediate success after release in 1994 for the upcoming sixth-generation consoles and the recently released PlayStation. One of the company’s executive producers, Liam Allen, wanted the next main game to have the central theme of “life and death” dating back to a tragic fever dream he had in 1994 after his mother passed away. After which, he always wanted to explore the theme of “life and death” in a “mathematical and logical way to overcome the mental shock.” In the dream, he also saw the ending of what he called "The Greatest Story ever and never told" and was determined to create it.
Allen put KMJ-081, Ozzie2009, and The Loathsome Dung Eater in charge to develop the sequel while also giving them a team in order for them to help him achieve his magnum opus. Many people who previously worked on 46 Elgnaj Repus returned to join and work on the new 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. Ozzie 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 W Noah."
KMJ conceived the premise of Project W 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 W 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 a setting grow dynamically over time.
Later, the initial literary inspiration was one of KMJ’s once again from one of the series of books he read known as The Notebook Trilogy by Hungarian writer Ágota Kristóf. KMJ suggested to the other co-directors that he wanted to pay tribute to Kristóf’s story by implementing the major plot twist into this story, which was the “betrayal of the narrator” which “[betrayed] the audience” from the third book: The Third Lie. He also found the two protagonist twins as a major factor to the themes of the trilogy so he insisted that the theme of twins would be an essential theme for the entire game. Ozzie and the Dung Eater liked KMJ’s 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. The two also wanted to include dystopian elements such as those found from THX 1138, Soylent Green, and Childhood’s End. According to Ozzie, the original rough draft idea for the story that would become what the game is known now was invented by Ozzie after hearing KMJ’s analysis of The Notebook Trilogy. The original concept was a story about “a young soldier of fortune with multiple personalities.” According to her, the story’s theme revolved around “where do we come from, what are we, and where are we going”. The game’s story was enough of a departure from the predecessor that the development team questioned whether fans would even consider it a sequel or even part of the same franchise.
Allen would come along and request the team that the story would show at least one realistic death rather than a "Hollywood" sacrificial death. Ozzie and the Dung Eater conceived everyone that the entire game should have at the very least ten “chapters,” or “acts,” or “books,” in order to structure the game’s story to correspond to the mystical and abstract Tree of Life found within Kabbalah which resulted in the game's overarching story's dividations being named "emanations." Furthermore, each emanation would have varied game mechanics in the game. Ozzie and the Dung Eater described the story as "normal" for its beginning, leading to a "triple-play twist." Another theme that the Dung Eater introduced was the reckless appearance and "uncomfortable beauty" of chimera—multiple creatures fused into one—which was the idea behind the metallic and wooden antagonists known as the Metarex.
After finishing one of his games in 1994, 
wanted to create a new game with an experimental and avant-garde concept. The game he wanted to make was based on his waifu's recent fascination with conspiracy theories, with concepts like governmental censorship being major topics he wanted to explore in his new game. Caleb also considered cyberpunk influences from around 1978 when Caleb participated in a Dungeons & Dragons campaign created and led by Bruce Sterling. After that, he realized that he wanted to create a video game that didn’t fit a specific genre and where any player could choose how to play the game the way they wanted to, unlike most games at the time, which he found very saturated.
In his proposal to a bunch of shitty companies, he described the concept as a dystopian and futuristic setting with “big-budget, nonstop action” starring an ex-cop detective. He described the project as “high” risk for its “technological unknowns” as “probably the toughest project on his wish list.” Unsurprisingly, it failed to get picked up. He later left all the companies he used to work for and founded his own damn company. He would later produce Capa Simulator 2015 in 2011 while keeping the original idea he had in 1994 for an avant-garde video game in mind. Caleb simply 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 “cross-genre game.” Caleb, himself, was also tired of unrealistic fantasy and alien settings. Frustrated with his own company full of NPCs, Caleb sought employment elsewhere to create the perfect sequel to Capa Simulator 2015 and his dream project and was nearly about to sign a contract with the evil EA when Liam Allen approached him. Allen was looking for a talented gameplay director to help develop the very challenging and experimental Project W Noah, which led to him wanting to hire Caleb. When Allen offered him a chance to make his “gameplay visions” into reality without any financial restrictions, Caleb was immediately on board.
Allen kidnapped hired various artists like Ninespit and SmilyCookieGod to draw the character designs. The enslaved subdivision used a system where everyone put out plans regardless of their section. While every slave artist handed in text documents they had made on a computer, one of the artist's were handwritten and illustrated. Allen thought the illustrated proposals were amusing and chose that specific artist to draw the characters. The first original characters the specific artist created for the story were Willem and Chtholly.
“⠀⠀At the very start of development, the scenario wasn't complete yet, but I went along like, 'Well there’s the detective and a girl, and from there, I drew the designs while thinking up details about the characters. After I finished the two 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.„
— S.O.S.
Similar to 46 Elgnaj Repus, which had an ensemble cast, the sequel would be no different. The two initial characters were Willem, a cowboy in the vein of Clint Eastwood, and his love interest, Chtholly. Originally in 1994, the game was to include over 200,000 playable characters and span over thousands of years with its story based around the mysterious antagonist force known as the Noah Army (otherwise known as the Millennians), which attempts to use "primitive machinery to enslave all intelligent life in existence." The specific artist also helped create some of the basic story outlines, and also helped the team come up with the other characters during that time.
| Track Number | Title | Song | Composition | Source | Artist(s) | Duration |
|---|---|---|---|---|---|---|
| 1 | ♪ Let's Begin | Cover | Mother 3 | Shogo Sakai | 01:15 | |
| 7 | ♪ Strawberry Fields Forever | Library | Magical Mystery Tour | The Beatles | 04:07 | |
| ♪ Ride of the Valkryies | Cover | Der Ring des Nibelungen | Richard Wagner | 05:23 | ||
| ♪ Night on Bald Mountain | Cover | Night on Bald Mountain | Modest Mussorgsky | 10:08 | ||
| ♪ The Chain | Library | Rumors | Fleetwood Mac | 04:31 | ||
| ♪ The Chain | Cover | Rumors | Fleetwood Mac | 03:36 | ||
| ♪ A Horse with no Name | Cover | America | America | 04:10 | ||
| ♪ Praya Dubia | Original | Super Jangle 64 | Ozzlo Ozzelo | 03:42 | ||
| ♪ The Save-Ums! | Cover | The Save-Ums! | Will Anderson | 00:46 | ||
| ♪ Creep | Cover | Core | Stone Temple Pilots | 05:05 | ||
| ♪ Everlong | Cover | The Colour and the Shape | Foo Fighters | 04:16 | ||
| ♪ Iris | Cover | City of Angels | Goo Goo Dolls | 04:37 | ||
| ♪ Complicated | Cover | Let Go | Avril Lavigne | 04:03 | ||
| ♪ Bowling | Library | Deltarune | Toby Fox | 02:00 | ||
| 111,749,999,999 | ♪ Don't Stop Me Now | Library | Jazz | Queen | 03:29 | |
| 111,750,000,000 | ♪ Memory of Life | Cover | Mother 3i | Shogo Sakai | 03:30 |
A conversation with ⠀.
A mysterious boss fight.
Controversies
Many far right grifters gamers are angry at the game for adding non binary characters and other "woke" shit (similar to the Persona PP situation.) They also complained that it was "forcing diversity" and that the "woke" shit "doesn't fit with the world" or some shit like that, even though it's the entire fucking Omniverse and they just want it to fit their stupid, hypocritically bigoted ideology.
Despite having a fully complete Japanese translation that is widely beloved by millions of Japanese people, due to including infamous Japanese war criminal and director of Unit 731 Shirō Ishii as a villain throughout the later Nodes (such as 4, 5, 6 and 7), the game was never released in Japan due to the government desperately not wanting to admit their heinous crimes against humanity during WW2. The Japanese translation is able to the downloaded for free on the internet and is the only free version of the game.
Critical Reception
“⠀⠀0/10, too much 𝓯𝓻𝓮𝓪𝓴𝔂 shit. Also, too fucking hard! There should have been way more yellow paint in the game so I could know where to go. I hate thinking for myself!„
— IGN
“⠀⠀Absolute Cinema„
— Martin Scorsese
“⠀⠀Super Jangle 64 is an absolute masterpiece, and if you disagree then your existence is worthless.„
— Ozzie T. Floridian
“⠀⠀Super Jangle 64 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 an [highest number in the entire Omniverse]/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 want to lay your eyes off your screen for the next 70 years.„
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