SynthCool

The Greatest Crossover all worlds will ever see, with extra 𝓯𝓻𝓮𝓪𝓴𝔂.
Developer(s)	Newwenmani Company
Publisher(s)
Distributor(s)	EVERYONE!
Director(s)	Shigesato Itoi (糸井重里) Hironobu Sakaguchi (坂口 博信) Yoko Taro (横尾 太郎)
Producer(s)	EVERYONE!
Artist(s)	EVERYONE!
Writer(s)	EVERYONE!
Composer(s)	EVERYONE!
Platform(s)
Genre(s)	World Map Mode: Open World (Sandbox) Action Adventure RPG (Soulslike) 3D Platformer (Collect-a-Thon) Level Mode: 2D Side-Scroller (Metroidvania) Battle Mode: Turned Based RPG Misc. - Side Modes: EVERYONE!
Series	All of Fiction
Engine	EVERYONE!
Release Date(s)	October 31st, 20YΔ
Mode(s)	Single-player Multiplayer
Age Rating(s)
Media Included	Picon 2: ⠀⠀Game Card ⠀Digital Download
Manual(s)	⚠️ To Be Announced ⚠️
Available Input	Picon 2: ⠀⠀Joy-Cons ⠀Pro Controller
Storage Needed	999,999,999,999,999 QB (Quettabytes)
Cost	$100 (USD)

The Great Crossover Divide ^{(Uncut Edition)}, also known as the Omniverse Saga: what will you do at the end of the world? are you busy? will you save us?, is an upcumming mixed-genre open-world action-adventure role-playing platformer crossover video game developed by Nintengavision, Overclocked, PI, Wenmani, Chungus Inc., and every single other developer company to ever exist (fanon and real life) and published by Fantendo. 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 Jiří 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 game’s 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 narrative’s multi-perspective structure, it ensures that moments of triumph for one side turns into horror when retold from another faction's viewpoint. A “liberation” becomes an invasion and a “preemptive strike” 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 “fact,” fully aware that such a judgment may say more about the audience’s 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, Shintō, Taoism, and countless fictional precursors. As the game is a melting pot of as much fiction as the participants here can think of, the game’s story itself also contains half the narrative genres listed from TvTropes.org. 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.