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The OMNIVERSE SAGA: what will you do at the end of the world? are you busy? will you save us? may i see you, once again?, also known as the The Fanboy & Chum Chum Bible, or simply as the USER™ Saga, is the sacred holy scripture of the Dark Prognosticus written by and serves as a massive multimedia and expansive recursive crossover trollfic co-created by renowned multilingual authors, philosophers, scholars, and schizophrenic domestic terrorists, Ozzie2009 and The Loathsome Dung Eater based on a single page created by KMJ. It is considered the fanfic of all time.

The narrative and story is based on and acts as a rewrite and alternative mature retelling of SmilyCookieGod's crossover fanfic known as .

Set in the eponymous Omniverse, the fanfiction began as a simple satirical parody of infamous fanfictions/fanworks: Pooh's Adventures Wiki and Loud House: Revamped. It started on the now-defunct Neo Scary Godmother Wiki on FANDOM when YouTuber: Magic Mush made a popular video of looking at weird wikis across the internet in April of 2023 which gathered the attention of various trolls alike to begin shitposting on the wiki. This act would lead to the wiki eventually creating its own ironic story-line which would become the story that this page details. Unfortunately, when the wiki was discontinued due to the mass flagging by one very oversensitive individual, the writers had nowhere to go to continue their story. This was until they found the savior Ozzie T. Floridian, who was creating his own trollfic on the SpongeBob Fanon Wiki revolving around the then-growing meme character of 𝓕𝓻𝓮𝓪𝓴𝓫𝓸𝓫. Over time, the former Neo Scary Godmother writers forged their story with that of Ozzie’s, resulting in the birth of this masterpiece. Due to this, the work is most notably known for its highly ambitious crossover elements as it is set to be the largest, most ambitious fictional crossover ever conceived in existence, with it starring every single director, actor, artist, etc. ever and with every franchise and work of fiction, including media based on true stories from throughout human history crossing over for the ultimate gigantic multi-narrative of a lifetime. It is also set to be the longest work of art ever created, surpassing The Loud House Revamped by 10-folds and making it look like an amateur. With how long and enormous the narrative is, as it is the longest story ever written, the saga consists of various forms of mediums like anime, audio dramas, concerts, film, light novels, literature, manga, music albums, poetry, prose, tabletop games, video games, webcomics, etc.

As mentioned before, the title refers to the story's main setting, the Omniverse, the aggregate of all fiction. As such, at first glance, the 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, depressing, and pessimistic. 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 true benevolent 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 "raging against the dying of the light". 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 Omniverse Saga doesn't just focus on all heroes, it's a story told through all 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, 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 true origins of the Omniverse, they are forced into the uncomfortable role of narrative judge, having to weigh each character's decisions and actions to decide which faction—if any—deserves to be called “right,” fully aware that such a judgment may say more about the audience’s own values than about the characters themselves.

The story 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 saga is the culmination of all fiction, the story itself also contains every narrative genres imaginable. 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 fanfiction will prove you the fuck wrong bitch!

Wiki Overview

About

See Also: Da Rulez

This wiki is both called Fanboy & Chum Chum Bible and Skullgirlz Wiki. The Fanboy & Chum Chum Bible title is used for the comedic side of the wiki, while Skullgirlz is used for the URL and to troll people, like making them believe it is a legit wiki at first lol. Also yeah, the wiki looks like ass, but its Fanboy and Chum Chum inspired. There's no way to make that look pretty.

History

The wonderful conception of this truly remarkable wiki started long, long, long ago when some USERS™ in 2016 known as TommyDickles and OTFree were up to no good. Although at first, they heroically cleaned up the original Scary Godmother wiki, weeding out any "bad" pages which led to them being granted the title of admins on the wiki, they then though, proceeded to change the once cleaned wiki into a cauldron of humor and shitposts. During this time, the two would add their other friends as admins such as Denly1990, Farley Sweet, and Spilled Ketchup. The most popular pages which helped gain attraction were the Jimmy Brando and Gangsta SpongeBob pages. They were mentioned on a few YouTubers podcasts such as renowned losers and retards: RebelTaxi and Saltydkdan. As a whole, from 2014-2018, the wiki was held on the official Scary Godmother FANDOM wiki but after a few reports by fellow NPCs, it was moved to the Neo Scary Godmother FANDOM domain with the help of FANDOM Staff. Basically, two wikis were made with one having actual true information regarding the franchise while the "neo" wiki was where all the shitpost pages were exported to.

In 2023, a fellow YouTuber made a certain video discussing the existence of the wiki which led to many new autists stumbling upon the wiki. During this era, many people joined during Halloween to shitpost and make even more banger pages. One of the many new fellow Neo Scary Godmother editors during this era was a certain supervillain known as the Loathsome Dung Eater who made a bunch of sick ass banger ass inappropriate and offensive pages which offended Perkins Miller (at the time C.E.O. of FANDOM) so much that he instantly deleted the wiki. Either that, or some fat fuck by the name of ShadeTheVulpix306 got offended because some other editor on the wiki made a short troll page about him which led to Shade to mega-triple-ULTRA report the wiki with 9,999,999,999 bots. No matter the reason, the point is that due to more editors and the wiki's rise of popularity, the wiki was ultimately shut down for being too awesome A.K.A. none advertiser friendly.

On May 9^th of 2024, the wiki was exported into the Neo Scary Godmother website. A friend of the original owners created a MediaWiki on their own URL, where the wiki was restored 🥳 (YAY!) ... However! Only one month shortly after the website's creation, the wiki was deleted again because Jill Thompson, the actual real life creator of the Scary Godmother franchise, didn't like the wiki or some shit and probably didn't want her poorly excuse of a self-insert to be made fun of online; not sure how it actually happened exactly lol. The website's domain was sold for $30,000, and the money was split among the original wiki admins. This caused a minor fight among the old admins and some random autistic terminally online kid known as Deinonychus who started sperging out in the Discord server at them (it was pretty funny ngl) After Deino's mom came into his room and told him to log off for that day, everyone else finally had the time to have a long discussion about what to do now with the domain being sold.

After a short and brief discussion, the old and new contributors agreed to split the wiki: the original pages went to the old contributors, and the new pages went to the new contributors. The old contributors had their own plans for the wiki pages, while the new ones decided to create a new wiki. We then had another discussion about the wiki's name. On one hand, we wanted to create a wiki that would trick people at first sight into believing it was legit, so "Skullgirlz," a reference to Skullgirls, was one option. But another good idea was "Fanboy & Chum Chum Bible" because that name is so goddamn garbage, just like the wiki itself. In the end, we decided to use the name "Skullgirlz" to trick people and "Fanboy & Chum Chum Bible" for everything else. Then, our saviour, ♥ Ninespit ♥, bought the Skullgirlz domain (thanks, sugar daddy), and this wiki was created. <3

Meanwhile, the old wiki contributors created a new Neo Scary Godmother wiki on FANDOM, but it was deleted shortly after. Currently, the wiki is on FANDOM still in a sisyphean flux of getting killed and revived between months by Dickles and the other half of the FANDOM staff. R.I.P. Bozos

Story and Synopsis

Warning: This is a parody and shitpost wiki. Don't take anything I say below actually seriously and post whatever the fuck you want.

Setting

Characters

The narrative element of characters is the most important and fundamental aspect to the Omniverse Saga. At its core, narrative elements like the specific setting and its plot are all pretty much interchangeable and easily removable if one were to strip the entire narrative to its foundation. The core, of course, being the specific roles for the main characters and their dynamics with one another. This is not referring to characters themselves, like the typical notion of "why else would someone want to see a crossover if not to see various fictional character from separate canons interact with one another," but instead the roles certain characters within the ensemble cast have for the overarching plot and setting. As such, you cannot tell this story without following this foundational element. If one were to remove this simple yet important aspect, than the entire story loses its meaning, thematic purpose, and emotional narrative basis. With that said, what are the fundamental and most foundational character roles and dynamics for the entire narrative? Ultimately, it revolves around five key character roles and the tensions and/or love between them:

A diagram showcasing the five main character roles and their dynamics with one another within the entire narrative.

Furthermore, there is a headcanon and fan theory that each of the five main character roles individually symbolically represent one of the five stages of grief as in denial, anger, bargaining, depression, and acceptance.

Plot

Read More: 𝐐𝐗𝐖𝐙𝐐's biography

Writing a full diegetic in-depth explaining of the story's plot would be inherently incomprehensible, paradoxical, enigmatically contradictory, and downright impossible due to the story itself being the totality of all fictional narratives ever conceived. Instead, an analogical framework rooted in narratology and comparative mythology offers a meaningful way for us simple humans reading this page to conceptualize this hypothetical story's plot while being able to write a somewhat meaningful shared narrative across all fictional works. Using the monadic avatar as our analogical anchor within this plot summary, one could analyze their journey as the ultimate framework of the story itself as the monadic avatar is the Omniverse and the Omniverse is them. Therefore, the story of the Omniverse is ultimately the story of the monadic avatar's whose consciousness organizes the otherwise boundless aggregation of fictional narratives into a coherent story.

Unlike many characters though, the monadic avatar's entire biography and story does not follow the traditional and common hero’s journey template first proposed by psychoanalyst Otto Rank and amateur anthropologist Lord Raglan and eventually popularized by Joseph Campbell. For a quick history lesson and some context, since around the late 1800s, scholars have been basically studying the common patterns that repeat in stories, legends, and myths across different cultures around the world. One of the most well-known templates developed from such research is the hero’s journey. Joseph Campbell popularized the concept in his 1949 book The Hero with a Thousand Faces. It contained a 17-step formula of storytelling which Campbell held as a framework or as he put it, a monomyth, an ultimate narrative archetype from which all other stories are derived. Ultimately, the book served to act as a universal framework that showed how people symbolically grow from youth into adulthood.

The monadic avatar's journey (and by proxy, the plot itself) does not follow any of that crap. Instead, its story tells the narratological structure of the heroine's journey first proposed by Maureen Murdock in the 1990s. This alternative “monomyth” began production in the 1980s when Murdock began work on her own narrative framework. The reason for this creation was because Murdock believed that Campbell’s view on the universality of the hero’s journey did not encompass the actual experiences of EVERY identity like he claimed. Thus, Murdock developed what she called the heroine’s journey as a critique, deconstruction, reconstruction, and response to Campbell’s monomyth. She did not create the template for narrative though, instead Murdock conceived the template as a therapy tool for female patients since Murdock was a therapist. It wasn’t until later on that the template was recognized and used for storytelling. Overall, the template deals with protagonists overcoming the ingrained biases and preconceptions of society.

Over time, some other authors have shared their own variations of the heroine’s journey, but for the purposes of this section, the plot will be told and summarized with Murdock’s original model since it is the most popular and common one that most are familiar with (not saying much though since barley anyone even knows about the heroine’s journey to begin with).

Some of the most notable themes and narrative elements regarding the heroine’s journey include:

Massive character development: The heroine of the journey experiences even greater development than a typical hero would in the hero’s journey due to the midway point plot-twist within the heroine’s journey’s structure.
Ultimate goal for identity: No matter what, the real core and purpose of the journey is to highlight the heroine’s obsession and desire to find true peace and meaning in their hard and painful existence.
Themes of feminism and oppression: The heroine taking the journey must triumph despite living in a society that undervalues who they are. It can be for any reason within the story. The core idea is to create an analogy to sexism and female discrimination that is found throughout human history.

The main conflict within any heroine’s journey is duality or binary oppositions. For Murdock’s original vision, the dualistic conflict was obviously the division between the masculine and feminine that a woman had to deal with in life. Each of two binary oppositions symbolically represent the opposition and internal conflict of the feminine and the masculine. Within the heroine’s journey, each side serves a specific narrative function for the plot:

The feminine is the side of the duality that the heroine identified with as a small child. However, society or the environment itself undervalues the feminine. The story begins with the heroine rejecting their feminine side.

The masculine is the side of the duality that the heroine adopts before the story begins and how they are introduced. Society prizes the masculine, but in many tales, it has been poisoned, misinterpreted, or taken to such extremes that it has become harmful. The heroine sets out on their journey by embracing it without realizing the negative qualities.

Finally, there are three major character archetypes found within the classical heroine’s journey model that serve as important characters within the heroine’s narrative. These three characters are what drive, change, and effect the heroine’s decisions and journey throughout the entire narrative.

The Mother Archetype:

Within the classic model, the heroine usually has an unhappy relationship with a feminine role model, usually their mother or a female guardian. To the heroine, the mother represents the worst of the feminine end of her duality. Basically, the mother represents toxic femininity. The mother is threatening to the heroine because she’s afraid of becoming her.

The Mentor/Father Archetype:

Furthermore, there is also the father archetype within the classical model of the heroine’s journey. As the heroine rejects the mother, they will embrace a metaphorical father figure who serves as a deconstruction of the mentor archetype within the hero’s journey. The father basically represents whatever the heroine admires in the masculine. The father opens the door to a path that leads away from the mother, and makes the heroine feel like she is wanted and accepted. In turn, she does her best to gain his attention and approval by becoming more masculine. As a result of this dynamic, the heroine discards the feminine, and any part of herself tied to her true self.

The Goddess Archetype:

Lastly, there is the goddess archetype. The goddess simply symbolizes the true nature of the feminine, and the best of what the heroine left behind. The goddess imparts a great truth to the heroine about herself and the feminine which heavily influences the heroine’s outcome at the end.

For the monadic avatar's inner binary conflict, it has two versions of it. The microcosmic version and macrocosmic version. The microcosmic version is the simpler and more straightforward version as it details the monadic avatar's internal struggle between its own moral alignments and neutral state in all conflicts. The conflicted duality of it being the pleasing of others/heroic nature vs rebelling against others/villainous nature. For the macrocosmic version, it is way more abstract and conceptual than just simply feminine vs masculine or good vs evil. The monadic avatar's entire macrocosmic conflict of binary oppositions is the ironic psychological and metaphysical struggle between divine unity and binary oppositions themselves like light vs. darkness, feminine vs. masculine, order vs. chaos, heroism vs. villainy, collectivism vs. individualism, yin vs. yang etc. In layman’s terms, the monadic avatar's conflicted macrocosmic duality is antinatalism vs. continued existence itself.

Now that I’ve explained to you all a relatively brief summary of the heroine’s journey and how it personally relates to the monadic avatar, one could use the model as a microcosmic analogy to the macrocosmic real life history of human narrative and our potential future as well; metaphorically onto the history of pop-media and its entanglement with political evolution. The story of the Omniverse Saga and its eponymous setting provides a compelling (or at the very least, unique) narrative structure that mirrors humanity’s evolving relationship with fiction and its political, cultural, religious, and economical status throughout the past and the future which interconnects with the hyperstitional and personal journey of the monadic avatar.

Node	Summary	Random Image Example
Emanation 1: Separation and Shift from the Feminine to Masculine	In a metanarrative perspective, the Omniverse's story begins with the primordial “Big Bang” of our universe and since fiction is an ontological presence in existence, the birth of our universe birthed the Omniverse. Since the heroine's journey is all about binary opposition, analogically, this corresponds to the Big Bang being the split from indivisible to the subsequent divisible formation of the universe, where undifferentiated potential gives way to structure and multiplicity. As time, space, and eventually matter emerges, narrative is technically born in its most elemental form.
Emanation 2: Identification with the Masculine and the Gathering of Allies approx. -K(Oblivion) BC ― 1919 AD	As biological evolution culminates in the rise of consciousness, laying the groundwork for imagination and story telling, within this node, you have all fictional stories told through the beginning of humankind up to the end of the 19^th century CE. This also includes all backstory lore of all fictional works that chronologically take place before 1919 in their respective timelines. This node culminates in the very early 20^th century, particularly after World War I, when American industrialization and capitalism enabled mass production of narrative media instead of the conservative and oppressive religious and political control Europe had over what narrative could be. The rise of Hollywood, animation studios, pulp magazines, comic strips, and various other new media marked a decisive break from traditional mythic frameworks, establishing fiction as a commercial enterprise which would allow for more opportunities for individuals to tell their stories. Now most stories became commodities with characters transformed into intellectual properties, signaling the Omniverse’s entry into a new phase.
Emanation 3: The Road of Trials: Meeting of Ogres and Dragons 1919 AD ― Early 2000s AD	With American cultural hegemony reaching its zenith as Hollywood cinema, television, comic books, and later video games become global forces, this node is where the Omniverse Saga truly starts. Iconic franchises emerged, from cartoons, to superheroes, to science fiction sagas, establishing a shared public subconsciousness of fiction. Technological innovations such as sound film, color cinema, and digital effects further expanded the Omniverse’s scope. During this time, fictional characters were perceived as living individuals within their narrative worlds, fostering deep emotional connections with audiences. The Omniverse flourished as a vibrant tapestry of distinct stories, unified by the optimism and cultural confidence of American influence across our world and the globalization in general. Later on, these various cosmologies and narratives became somewhat interconnected with the growing influence of fandoms and fanfictions. Especially with hit crossover fanfic series: Pooh's Adventures!
Emanation 4: Experiencing and Finding the Illusory Boon of Success Mid 2000s AD	During this node, many fictional characters retire or settle down with various companies like Nintendo, Disney, and Nickelodeon began being much more experimental with their iconic cartoonish/family friendly franchises with many considering this time period to be the most "edgy" and or "dark" these franchises ever faced. Many now believing that this period was the most liberal/expressive. Ultimately, many stories featuring long running franchises felt conclusive during this time period and thus, it looked like a proper send off for the Omniverse. But within the real-life context of fiction, the seeds of skepticism were rising even higher than before. Although the seeds were planted during the social upheavals of the 1960s, the mid-2000s marked a more pronounced cultural disillusionment. Economic instability, geopolitical tensions, and the growing awareness of corporate consolidation began to challenge the perceived authenticity of popular media (especially with the rise of the internet.) This ultimately would result in a social bubble being burst in the upcoming node.
Emanation 5: Awaken to Feelings of Spiritual Aridity Late 2000s AD ― 2020s AD	This node fundamentally showcases the end of the "American Dream." Many now face and have to confront with systemic reality. Media conglomerates now exert unprecedented control over intellectual property, shaping the narrative landscape through expansive cinematic universes and cross-media synergies. The emergence of digital platforms and the internet within this node transform fictional characters into mythic icons that now act like recognizable symbols that transcend their original narratives. Cultural phenomena such as the video game Fortnite and the film Ready Player One exemplify this shift, presenting vast inter-textual spaces where characters function less as individuals and more as interchangeable signifiers or “skins.” This commodification of the art of character kills their individuality as actual characters with most of them now being blatant products of corporate strategy rather than authentic storytelling. Additionally, the rise of artificial intelligence further produces a culture of "slop" that further removes individuality from iconic characters into nothing more than "skinwalkers" for companies to churn out like that of Disney. This node hits its climax in the late 2020s with The Great Crossover Divide A.K.A. the most ambitious fictional crossover ever conceived with over +300 of iconic heroes from various fictional works joining together as many of their worlds are invaded and destroyed in 2026 by the overarching antagonists of all fiction known as the 𝓕𝓻𝓮𝓪𝓴𝔂 SUSiety. The heroes find out more about the truth of the Omniverse and learn of the existence of the 𝓯𝓻𝓮𝓪𝓴𝓮𝓻𝓼 and their supreme leader 𝓕𝓻𝓮𝓪𝓴𝔂𝓑𝓸𝓫. With the mission to avenge their fallen worlds that are all permanently gone now and with the revelations of this secret Omniversal threat, our heroes form the NPC Alliance. Ultimately, this node concludes in approx. 2029 with most (if not all) of our heroes failing their mission and dying to the hands of the 𝓕𝓻𝓮𝓪𝓴𝔂 SUSiety as they achieve the first phase of their magnum opus plan with 50% of the entire Omniverse being wiped out as shown in The End of Pooh's Adventures.
Emanation 6: Initiation and Decent to Meeting with the Goddess 5700s AD ― ????	Known commonly as the Exile Arc, this node is currently not very well known as it is still heavily under construction and in progress. All that is known so far is some who survived the 50% destruction of the Omniverse are now stuck in various unknown and abstract realities known as Quadratum, this also includes 𝐐𝐗𝐖𝐙𝐐 who happened to survive the destruction and end up there as well. With the death of 𝐐𝐗𝐖𝐙𝐐's beloved frenemies and villainous bosses—since they all died together with the heroes as they joined and helped the NPC Alliance during the events of the late 2020s—𝐐𝐗𝐖𝐙𝐐 eventually leaves the 𝓕𝓻𝓮𝓪𝓴𝔂 SUSiety in order to uncover the truth about the Omniversal War's origins and what the fuck is going on. Now marked a traitor by the SUSiety and still marked a wanted terrorist by the NPCs, 𝐐𝐗𝐖𝐙𝐐 is truly alone and must navigate his newfound predicament. He eventually meets former members of the Neutrals from Tails Gets Trolled who survived the 50% destruction of the Omniverse and together, they form the P.W.H.N.I.W.T.F.I.G.O. Thus, making the entire Omniverse Saga after this point a story about evil villains avenging the hero protagonists and trying to discover the truth about this story's convoluted af lore with every single faction after them.

Conflict

Read More: NPC-𝓕𝓻𝓮𝓪𝓴𝔂 War

The NPC-𝓕𝓻𝓮𝓪𝓴𝔂 War, also known as the Great Omniversal War, is the central main cataclysmic and overarching, utter oblivion-spanning all-out unprecedented super-conflict of all fiction and the totality of all franchises; forming the backbone of all narratives, lore, settings, themes, and character motivations across all of storytelling. It is the longest conceivable and inconceivable conflict while also being a cyclical war fought between two opposing forces: the metaphysical forces of baryonic matter and the metaphysical forces of dark matter across the entire Omniverse that has persisted and has been spanning approx. before what came before the beginning/creation of any imaginable and unimaginable multiverse, megaverse, macroverse, archverse, hyperverse, outerverse, xenoverse, gigaverse, geraverse, teraverse, petaverse, exaverse, zettaverse, yottaverse, xennaverse, quettaverse, wekaverse, vendekaverse, udekaverse, tredaverse, sortaverse, rintaverse, quexaverse, peptaverse, ochaverse, nenaverse, mingaverse, lumaverse, kamaverse, jameaverse, ianaverse, hevaverse, grinaverse, fremaverse, echaverse, drunaverse, ceraverse, brotaverse, aritaverse, xeraverse, harpiverse, harpoverse, umptyverse, squilliverse, heloverse, ferroverse, lottaverse, wololoverse, nyeverse, altarverse, yupeteverse, bertovataverse, centijataverse, bertotrataverse, centitrataverse, bertojrettaverse, googoliverse, hoolaverse, dakaverse, hendaverse, dokaverse, brontoverse, geoverse, saganverse, pijaverse, alphaverse, kryaverse, amosverse, pectrolverse, underverse, betaverse, allphaverse, zeroverse, gammaverse, omegaverse, eliteverse, infinityverse, verses also called "omniverse", godverse, barrel, ultraverse, beyond bubble, transcendentum, transcendentem continuum, box, superbox, hyperbox, final box, barrelplex, superreality, megareality, hyperreality, ultrareality, superdimension, megadimension, hyperdimension, ultradimension, structure of everything, archverse chain, hierarchy, hierarchy hierarchy, final fractalism, ultimate fractalism, giftbox, gigamonarch, allsphere leaf, allsphere tree, allsphere, ultirium, impercievable plane, endsphere, boundless plane, silent plane, super hierarchy, etc., EVER of all prior, current, and future stories ever told. Serving as the ultimate and supreme Forever War of all forever wars in the entirety of fiction, this war is both the origin and the consequence of all stories, the reason conflict exists at any scale, from the smallest personal dilemma to the collapse of entire realities.

The truth about the war though is much more abstract and hard to grasp for many but the best way to explain it is to remember that the monadic avatar is essentially the "God" (supreme deity/creator) of the Omniverse. To simplify things, let us address the monadic avatar in three distinct phases. 𝐐𝐗𝐖𝐙𝐐-X, 𝐐𝐗𝐖𝐙𝐐-Y, and 𝐐𝐗𝐖𝐙𝐐-Z. Why? This is because the story draws heavily from ancient Greek philosophy, particularly in its portrayal of the three generations of the supreme gods. Ouranos, Kronos, and Zeus. In philosophy, the three generations represent the evolution of reality; Ouranos is the representation of “Heaven,” Kronos is the representation of “Time,” and Zeus is the representation of “Mind/Soul.” In truth, Ouranos, Kronos, and Zeus are, in a spiritual sense, the same being reincarnated into a cycle that symbolically represents the creation of all existences and none-existences. This is similar to the Trimurti from Hinduism, where all three aspects of Para Brahman are technically separate deities but not really. Now, how does this correlate with the monadic avatar's role in the conflict? It’s very simple. The monadic avatar is dreaming everything. The entire Omniverse is just a dream that the monadic avatar created when it saw its own reflection and went insane and caused itself to go into a slumber so deep and profound that it collapsed its very own soul. Later, during its dream, it would fracture itself into a beyond fictional googological amount of shattered pieces simply to keep itself from further going truly insane. This resulted in the birth/creation of the entire Omniverse.

With that in mind, the first generation, 𝐐𝐗𝐖𝐙𝐐-X, represents the monadic avatar's original conscious state before it started dreaming. 𝐐𝐗𝐖𝐙𝐐-Y, the second generation, represents the dream revolting against the monadic avatar's awakened state, just like how, in real life, one is sometimes forced to sleep by one’s own body. 𝐐𝐗𝐖𝐙𝐐-Y is forcing the state of 𝐐𝐗𝐖𝐙𝐐-X’s conciseness to change. So, to clarify, the monadic avatar is the Omniverse's avatar and by proxy, is the entire setting and the specific character who is the one dreaming everything. 𝐐𝐗𝐖𝐙𝐐-X is the awakened consciousness of the monadic avatar back when it was not asleep. The whole dream is 𝐐𝐗𝐖𝐙𝐐-Y. Finally, within the dream, we have 𝐐𝐗𝐖𝐙𝐐-Z which represents the structures created by the subconscious to order and direct 𝐐𝐗𝐖𝐙𝐐-Y’s fractured and frenzied mind and soul in accordance with the inherent order of the dream.

Ouranos’s “heaven” could be translated more accurately as the Pleroma from Gnostic belief—or even more specifically, Chaos from Greek philosophy and mythology itself. But to be less symbolic and more exact, Heaven, the Pleroma, the Void, Chaos, etc., represent Unreality A.K.A., the monadic avatar's "true" existence, which, to all fictional characters, is a concept beyond their comprehension, similar to how before the big bang is beyond our comprehension. Kronos’ “time” could be translated better as the Matrix from Gnostic belief. Time represents the actual flow of time within the dream since, without time, a dream cannot continue. This is also why the monadic avatar is often referred to as Mort (French for Death), as time inevitably leads to the end of something since nothing lasts forever, just as the monadic avatar's dream will never last forever which is what entropy is itself conceptually within the Omniverse.

Furthermore, this entire story can be seen as an analogy for something truly frightening about real human minds. Our consciousness constantly fights with itself. There is no actual “individual,” and instead, we are all composed of various subconscious factors that continually fight for control. As you could assume, the truth behind the NPC-𝓕𝓻𝓮𝓪𝓴𝔂 War is that 𝐐𝐗𝐖𝐙𝐐-Y and 𝐐𝐗𝐖𝐙𝐐-Z are fighting against each other, and that is the true overarching conflict. For example, when someone dreams, sometimes you, the dreamer, realize that it is all a dream and decide to wake up. Still, your subconscious tries to stop you because it is not yet fully rested and needs to relax more to replenish the biological energy required to maintain proper bodily function.

Music is a significant point of interest in the story, as it is the monadic avatar's weakness. We see it used multiple times to weaken the monadic avatar. But why is that? Simple, music is the most powerful meme. As you may recall from the Metal Gear series, memes are not just funny jokes online but rather mental conceptions that, from a symbolic perspective, act as parasites and viruses within a human’s consciousness and spread to others. Essentially, a meme may be more “alive” than a human is, as it adapts to human brains in various ways, depending on the individual. For example, when someone recalls a particular memory incorrectly, the brain may perceive the false memory as more memorable due to previous experiences with unforgettable events. Essentially, unlike real memories, memes can persist longer in a person’s mind. This then results in memes reproducing as humans spread them to others, much like a virus. Now, "what in the actual fuck does this have to do with the NPC-𝓕𝓻𝓮𝓪𝓴𝔂 War?" you may be asking. As we discussed before, memes can be symbiotic with their host, helping an individual manage stress, depression, and anxiety. However, a meme can also be parasitic for the individual host, as the meme seeks to maintain itself within the host at the expense of the host itself which could result in the host forming extreme escapism and withdrawing from reality. Every single character within the Omniverse is practically a meme within the monadic avatar's dream. This is why music is a potent kryptonite for the monadic avatar.

TL;DR The NPCs (Negentropy) are parasitic memes while the 𝓕𝓻𝓮𝓪𝓴𝓮𝓻𝓼 (Entropy) are the abstract manifestations of the monadic avatar waking up.

Trivia

When the original Neo Scary Godmother wiki was deleted, a user whose name we forgot and Nacho created a new wiki on FANDOM called Neo Neo Scary Godmother and re-uploaded a few pages. Sadly, it was quickly found again by a staff member and instantly terminated; that bitch also blocked Nacho's FANDOM account!!
There is a random scene in the story where a giant spaceship explosion occurs and Crash says "holy mother" while the explosion happens in slow-motion.
𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂𝓕𝓻𝓮𝓪𝓴𝔂

WARNING

This wiki is NSFW and not for fucking kids! Nor is it suitable for anyone easily disturbed. This wiki and its story contains objectionable content and mature subject matter that might be unsettling for many viewers. This includes:

Prolonged and vivid material of intense gore and violence. Graphic sexual content and humor. Intense showcasing of gambling and drug use. Dark humor and taboo subject matter. Existential and depressing themes. Please read at your own risk.

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