Lights... Camera... ACTION!!: A Hollywood Quest

IMPORTANT ANNOUNCEMENT
Hi Magoose here one of the guys helping Duke.

So we have some bad news.

The quest has been canceled as duke does not want to write it anymore.

I'm going to ask if I can take over for it, because I like this quest, and it would be a shame to kill it
TBF, Mags, you have been doing a lot of the heavylifting for the quest, so this will be in good hands. :)

To be clear to everyone, this is just me burning out on imagination of the quest, since my muse has been hitting me over the head a lot with so many different ideas that I just can't find myself too interested in this.

I'll still hang out here, though, since this still does have a sepcial place in my heart.

I'd like to thank you all for making this a wonderful experience while it lasted.

I'd also like to thank @Magoose, @Fluffy_serpent, and @Martin Noctis for doing so much to help prepare and write this quest. I couldn't have done it without you all. :D

I'll see you all around.

With so many regards, Duke William Of.
 
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Roy Disney's Christmas Carol
Roy Disney's Christmas Carol

"Up and at'em boy! No time for dilly-dallying now!"

Roy Disney was startled awake by a voice he was sure he hadn't heard in nearly twenty years, and one he'd not expected to hear again... at least until he was about to meet his creator that is.

I must be dreaming. He thought. Either that or those meds messed me up more than what I thought.

"Well that's just rude. I make all the effort to come down and pay a visit only to be ignored. That hurts nephew, really hurts."

Trying to burrow even more into his hospital bed, Roy tried to block the voice from his past while also trying to forget the harrowing experience from the last few weeks. Seriously, what are the odds that when he's about to meet Bruce, after months of him being delayed because of his production, that he happens to fall off the stairs, and then what should have been a regular visit to get some rest becomes a multi-week stay because an untrained orderly just happens to mix his medication with the patient next door!

Seriously! My last name is Disney! How do they confuse it with Downey!?

"It's more common than you'd think. Just be glad that they didn't mix it with 'Dinsey'. I had to reprint so many business cards that day..."

Great, now it's reading my thoughts. Way to go Roy, you really can make up some nice shit in your mind.

"Alright, that's it. No more coddling, get up, Now!"

"Whoa!" Roy yelled as he felt his bed being flipped over, the pain on his limbs distracting him from the racket the bed made. Quickly turning to face his assailant, his mind sputtered and froze when he took a look at what he originally thought to be a hallucination, then an attacker, and now revealed itself to be the splitting image of Walt Disney himself.

Well combed hair, a small mustache and well pressed suit, and a mischievous smile on his face that he remembered seeing whenever he played with him and his cousins. It was not possible; it should not be possible. Roy was even willing to entertain the idea of an impostor, a bad prank by Ron or the other Board Members even.

"U-uncle Walt?"

But above all things, Roy Disney would never forget how his uncle would look, walk, and act in a million years.

"Well it's about time Roy. You know how long it took me to arrange this entire meeting? And we are already late at that. So, come on, time is wasting and all that."

"W-wait, uncle! I have so many questions! I mean, what are- How are- Just what is goOOOAAH!" He yelled as Walt suddenly grabbed his hand and pulled him through the roof along with him, their bodies moving through the different floors as if they were not there, going ever higher as first the hospital, then the block, and soon all of LA were like ants beneath their feet.

"Ha, isn't it a sight nephew! Almost like back when we filmed Peter Pan!"

"Uncle Walt, Please!" Roy screamed, having calmed down as they flew over the city. "Just tell me what's happening! How are you here! What is going on!"

"*Sigh* Always like your father, needing the answers rather than enjoying the journey. All right, might as well tell you, we are running late as it is." Walt said as he guided them close to a familiar sight for both of them; the Disney Animation Studios lot.

"Thing is nephew, I've been looking at things, how the studio is been doing, how my family has done without me. It's been an experience all right. While things seemed to stagnate and remain as they were, those whom I trusted the company suddenly began thinking I was some sort of Idol coming from up high to create the entire medium. Heck, the mantra in Disney seemed to be "What Would I do" most of the time."

"...Uncle Walt"

"And the thing is boy... you and all should not have me as the best example on how to do things." Walt said pointing down at the studio.

Roy was a bit confused, but followed his lead and looked down, doing a double take at what he saw; this was not the new and improved studios nor the more updated ones from his time. These were the studios of Walt's era, of the Golden Age of animation, when they were still theorizing and practicing on just what it was that could be done with the drawings and scratches!

And the more he saw it, the more he felt shock.

Segregated areas and bathrooms, animators working at their desks from sunrise to sundown, slaving away for little to any wage. Labor conditions that frankly made him understand the reason why the Animators Union had seen him as the spawn of the devil when negotiating with them.

And yet... he could also see some of the magic that made it one of the most beloved studios of the time; the small parties that kept the spirits up. The meetings that Uncle Walt would pay the animators so that they could share ideas. The love that many had for the movies who would go on to become classics of their age.

For all that Uncle Walt seemed to want him to reject his past, he was making a good case to embrace it as well.

"You always find a way to find the good side don't you?" He half smiled. "I just... don't want you going the same path I did, or the ones who came after me did. Don't put me in a pedestal or look like I have all the answers. I always tried to improve when I made my movies, and looking back, I wish I'd done the same with the dealings with those around me."

"I won't" Roy said, looking at him with a sad smile. "I promise, I'll make sure to bring Disney to greatest heights. But I'll do it by keeping to the spirit you brought to the company uncle. You're right, you were not a perfect man, but I still think you were a good one."

Walt gave Roy a full smile as he put his hand on Roy's shoulder. "Look at you, becoming a great leader." Roy smiled at the compliment. "I'm glad that you proved me wrong."

"...Wait, what?"

"Welp! Time to go! Make sure to be more patient with the next one, will you?"

"Wait, uncle, what did you meeEEAAH!" He screamed as Walt pushed him in the chest, propelling him at great speed through several buildings like a ghost, right until he arrived at his bed in the hospital.



"Whuh!" Roy exhaled as he shot from his bed. The sounds from the machinery around him and the clock on the wall reassuring him that he was back on his room.

Or had he ever left it all? If one thinks about it, seeing his death Uncle and leaving for a trip through time to see the old studio seemed like one of the most craziest dreams he'd ever had.

Still not the weirdest though.

"Man, there seems to be a story there. Would love to hear it sometime."

No... he recognized that voice. Not from his childhood, but from the most recent meetings between the Entente, a voice that evoked dread, respect and outright annoyance in equal measures whenever he heard it. But just what the heck was he doing here, how the heck did he manage to enter when no visitors were allowed at this time.

Turning to the voice, he found Michael Eisner in his room...and yet not?

"Well, you were quicker in the uptake this time Roy, never thought I'd say that though."

Yes, the arrogance and imperiousness was right there alright, yet for all that was classic Eisner, he knew that the man had at least a modicum of respect for the art that Lucasfilms Unlimited and DreamWorks produced. Years working with Bruce O'Brian and George Lucas as his superiors had beaten into him the idea that not all movies had to be made only for the profit value, or cut the budget in order to "Improve efficiency" or "allow for more creativity".

This Eisner though, seemed like a perfect paper cutout of the typical greedy executives that had been becoming the norm in Hollywood nowadays.

"Nothing gets pass you, huh Roy? Alright then, might as well get on with it. Time is money and what not." He said as he snapped his fingers.

And they found themselves in the middle of the Disney Board.

"Wha-Just what?! Are you also a ghost? Eisner, did you die?!"

"So, not as bright as expected. Well, not that it matters, but here's the cliff notes; your uncle talked to you about the past, I'm here to talk to you about the what is going on and will happen in the present... well, a present, one where I would have been the president at least. Anyways, just look at what's going on."

There were so many things that Roy wanted to ask at the moment, yet from previous experience with Uncle Walt he understood that the only way that he would get his answers would be by following along with the demands put on him. Looking to the board, the interactions, the outright hostility that many of them showed each other... he could see once more what Disney had been just before he and Ron had made the alliance to take over and bring the Studio out of the stagnation that had plagued it for so long.

Only... this time it was worse.

It was like he'd gone back in time as he saw the acrimony, the small festering hatreds, the sheer inertia in acting or even trying something new be emphasized and multiplied as time went on. the animation department was being left to fallow, their movies remained as uninteresting and as lackluster as they'd been before he took over, and even the Disney Parks, though still productive, still were being kept as just places for children to go to with hardly anyone interested in seeing the happiest place on Earth.

But above all, he saw himself; quiet, unassuming Roy, just going with the flow, keeping his anger and hatreds on the inside, afraid to speak up and mess up, all the things he'd tried to overcome to become the leader that Disney needed and deserved. Was this what would happen? Or perhaps what would have happened? Irrelevant from that, he saw the personal battle between him and Ron reach a crescendo just as the company nearly went under for a buyout, how it was barely stopped and the results being... the hiring of Michael Eisner as the new president.

"Yeah, good years, good times. I saved Disney you know? Not like anyone would admit it, the ungrateful bastards. Then had to deal with people like you hounding me on every decision as I tried to bring it to the future. We made a killing on the movies, the "Disney Renaissance" they called it, and I was its architect."

Roy could see it, the moment Eisner took charge, the changes Dinsey went through, the movies and the magic that seemed to have returned to the studio, revitalizing it in a way that he'd yet to achieve despite his clear success...

But...

"It came at a cost." Roy said, Eisner's head snapping to his side. "Disney changed, but it stopped being Disney. It may look like it, act like it, and even spout the same lines... but it's no longer the place where Uncle Walt would make movies. Instead, it's just another business venture, where only the bottom line mattered when it came to making films.

I don't know what happened to you Eisner, but the Mike I know would at least understand that while he does care about Lucasfilms bottom line, he also understands the importance of keeping the artist and the dreams alive. And I think you understand that, at least a bit, considering how much you went into preserving as much of Disney as I can see here."

"...Get out of here." He said as he waved his hand in his direction, Roy suddenly beginning to fall down, the image of the Board and Eisner getting farther and farther away.

Even so, he managed to hear the final message Eisner gave to him.

"Beware the last one."



Roy awoke, not with a startle, but with expectation, finding himself once more in his hospital room. No signs of anyone being there, no signs of his previous experiences, all once more as if it'd been a dream.

This is nuts. He thought as he leaned back into his bed and tried to get his bearings. Thinking back on what he last saw he could not shake it off as easily as with Uncle Walt. Yes, he'd managed to make Disney better, improved much of what he saw as the last decades of stagnation... but overall, the signs and issues of Disney were still there, and for all that they'd stopped the downward spiral, many of the opposition could still see them as vulnerable, enough to try a takeover like his last vision showed him.

He wondered about it, should he change course? Try and be more like the Eisner he saw? Would that save Disney, a least in shape if not in spirit?

"That's the plan! Glad to know you agree to it."

By this point, Roy was not even surprised at hearing the voice, yet turning to see who it was this time, he was surprised at finding that he could not recognize the man at all. Not only that, but there was something...fake about him, something that went above and beyond of what he just saw before; Uncle Walt had radiated sincerity, Eisner, for all his unbridled arrogance, had stopped himself from outright lying to him when showing him the results of his actions.

This man however, he looked like he would sell his grandmother for a dollar, all the while professing his innocence with a smile on his face.

"Well, nice to meet you friend. Name's Bob Iger, and I'm here to show you the wonderful future of Disney."

Roy hesitated, but eventually got up and shaked the man's extended hand, before once more feeling the entire room swirl around before turning into what seemed an updated Board Room, a more elegant yet also efficient one, the decorations seeming to enhance the effect, yet also seeming somewhat superfluous to his eye.

"Now, I've got a lot to tell you, and so little time, so let's just go with the highlights of the greatest era that Disney's lived through!"

He pressed a button as a screen seemed to lower from one of the walls, with a movie soon showing what seemed to be the time of Disney under the man's leadership after Eisner... a very long time it seemed, though he was more interested in seeing just what had happened to his company in the time since Eisner had taken off.

...And it nearly made him vomit.

It was a clear attempt at gaining favoritism, the same spiel a used car salesman may use to try and con someone out of their money by buying a clearly broken down vehicle by telling them how its value would soar afterwards; the board replaced by yes-men supposedly to aid the CEO into making faster decisions, the imaginative and original stories slowly being phased out by more and more derivative works and sequels from already existing properties, the acquisition of already existing studios in order to take away competition and put the Disney logo in their ideas, squeezing ever more of their creativity through constant demands for more while making sure that no one would ever be able to use it even in parody, teams of lawyers ready to defend the company even when they were clearly in the wrong and trying to shut down independent minds and creators altogether...

And did they just tried to dismiss a lawsuit just because someone signed an unrelated contract three years ago?!

"Well, as you can see, we are still having to deal with some of the quirks in the system, but we are on the right track! And I'm sure that come the next meeting-"

"Shut the fuck up..."

"E-Excuse me?!"

"You heard me. Shut the fuck up you fucking piece of shit!" Roy yelled. He was a calm man by nature, he usually preferred to avoid confrontations, despite the many he'd had during his latest run as the Company's Chairman... yet this man had not just made a mockery out of what Disney was supposed to represent, he had tried to pass it off as just business as usual, like this is what Disney was all along.

Needless to say, Roy was fucking livid.

"This... all of this! You're actually proud of it?! You've brought the image we've tried to build for years to ruins in just a decade! You've made the Disney name synonymous with greed and corruption! The goodwill and trust with the people is ashes in their mouth and you're actually proud of this?!"

"Well, you're only looking at the kinks that need to be fixed, but we've always been committed to-"

"Oh my God, you can't even admit when you've fucked up?! What kind of messed up crap is this?!... No, no this is not right. This is not what Uncle Walt would have wanted...this not what I wanted! There's still time! I can fix this! I Will fix this!"

"Look, you're clearly a bit emotional, but if you take a deep breath-"

"SHUT. UP!!!" Roy grabbed him by the lapels of his suit "Send me back! Take me away from this nightmare! LET ME OUT!! I WANT OUT, NOW!"



"Let me out...Let me out..." Roy mumbled as a hand shook him.

"Jesus Roy, wake up."

"Wha- ha, ha, I'm, I'm here. I'm back." He said almost hysterically as he grabbed at his face and arms, making sure that everything was in place before turning to inspect his room. It was no longer night, the sun was shining through the windows, and the face of Ron Miller was looking at him with concern over his outburst.

"What's gotten into Roy? Bad dream?"

"Ughh, the worst you could imagine. It was... there's no way to describe it... wait, what year is it?"

"It's still 1984 Roy, calm down, you were not in a coma or anything. The company is in good hands."

"Yeah...yeah, Disney is in good hands..." He said as his eyes suddenly gained a determined glint. "And I'll make sure it remains as such."

A.N.: All right, here's what I came up with for the idea of Roy meeting the three Chairmen of Disney Past, present and Future. it's a bit different from how I usually write my Omakes, so I hope it's still up to par. I liked the idea that Roy, being perhaps the most optimistic of the bunch, would be able to see the good in everyone of the ghosts...except for Bob Iger that is.
 
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Oh my god if that turns canon then Roy has joined Trump on having their own Christmas carol because Bruce Dad and his mates infiltrates trumps tower disguised as the three ghost and made him see a different light I mean he's still Trump but a bit more charitable and also Jospeh and his mates somehow escaped unscathed and without being seen on their way out of Trump tower
 
Oh my god if that turns canon then Roy has joined Trump on having their own Christmas carol because Bruce Dad and his mates infiltrates trumps tower disguised as the three ghost and made him see a different light I mean he's still Trump but a bit more charitable and also Jospeh and his mates somehow escaped unscathed and without being seen on their way out of Trump tower
"I got Scrooged."
"You mean Screwed?"
"No, Scrooged. I've been visited by three ghosts of past, present, and future."
Trump:"Oh my god, you too!?"
 
There are two ideas for cartoons on my mind.
  1. An incarnation of Inspector Gadget with a somewhat more competent Gadget. He'd be a somewhat better detective, albeit liable to reach the wrong conclusion or reach the right answer through bizarre cartoon logic. And he'd be good at utilizing his gadgets in a fighting style I'd call "slapstick fu". Don Adams would still voice him, naturally.
  2. A rendition of Scooby Doo that's as close to Mystery Incorporated as possible in the 80's/90's while incorporating elements from other series. I'd also incorporate a loving nod to our partnership with Stephen King by basing a recurring character on him. I'd name him "Eli Kingston" and make him a descendant of the Elias Kingston featured in an episode of the original series. I'd also include an element of the Earth-27 project and have the real ghost of Elias Kingston become a recurring character.
 
A rendition of Scooby Doo that's as close to Mystery Incorporated as possible in the 80's/90's while incorporating elements from other series. I'd also incorporate a loving nod to our partnership with Stephen King by basing a recurring character on him. I'd name him "Eli Kingston" and make him a descendant of the Elias Kingston featured in an episode of the original series. I'd also include an element of the Earth-27 project and have the real ghost of Elias Kingston become a recurring character.
How about we have Eli Kingston become a character in A Pup Named Scooby Doo as a famous horror writer who gets involved during one of their adventures? Afterwards, we can have him become more involved due to him wanting to see the monsters and get more inspiration for his books. He would not have to appear all the time, vut perhaps once or twice per season to become either an obstacle or of some aid to the investigation.
 
How about we have Eli Kingston become a character in A Pup Named Scooby Doo as a famous horror writer who gets involved during one of their adventures? Afterwards, we can have him become more involved due to him wanting to see the monsters and get more inspiration for his books. He would not have to appear all the time, vut perhaps once or twice per season to become either an obstacle or of some aid to the investigation.

I personally have no nostalgia for A Pup Named Scooby Doo since, with some exceptions, I haven't seen much between the original show and What's New, Scooby Doo. So I'd be perfectly fine with APNSD staying mostly the same and us following up with a somewhat more dramatic incarnation of the show. Maybe it'd feature elements of The Thirteen Ghosts of Scooby Doo. It'd be fun to have Kingston and Van Ghoul interact. And, of course, I'd ensure that Scrappy Doo would be better written so that the character's infamy is lessened.
 
Videogame Pitch: Golden Axe
I remember playing this game with my sister so many years back when we were on vacation. We just so happened to find an arcade of the game and took turns, each time moving closer and closer till the ending of said game, though loosing so many quarters in the process. It was really fun, you could really lose yourself in the fighting, the background was never dull, and the sprites and fighting were memorable enough to want to replay once you won.

Not that we did, we'd already lost near all our money on it of course.

This could also be the beginning of a franchise for us, one that could be exclusive for the Arcade before we try to port it to either the Genesis or the next generation console. Personally, I'd prefer we don't try any ports for the moment, considering that we already have King of Dragons as the Genesis Hack'n Slash, not to mention that we could still introduce DnD as a videogame at some point.

Thus, I give you:

Videogame Pitch:
Golden Axe


Set Up: The game takes place in the fictional land of Yuria, a Conan the Barbarian-style high fantasy medieval world. An evil entity known as Death Adder has captured the King and his daughter, and holds them captive in their castle. He also finds the Golden Axe, the magical emblem of Yuria, and threatens to destroy both the axe and the royal family unless the people of Yuria accept him as their ruler. Three warriors set out on a quest to rescue Yuria and avenge their losses at the hands of Death Adder.

Game Developer: LucasArts Entertainment
Platform: Arcade
Director: Makoto Uchida
Genre: Side-Scroller, Beat'Em Up, Hack and Slash

In ancient times, a race of ruthless giants appeared from the darkness of the world and challenged the great gods to a battle. Both forces fought to a stalemate, and the fight seemed to last forever. But the fight suddenly came to an end when the power of the giants had been contained, and they were driven away back to the darkness.

The battle was over, but it led to the demise of many of those who had fought. Those left alive in the land of the gods honed a weapon, the "Golden Axe". After a long time, humans began to emerge in the former land of the gods. The Golden Axe already left the hand of the gods, and the land was reigned by humans. One of the evil giants that had survived, Death Adder, tricked the humans and took the axe. Evil forces return to the land, starting an era of darkness.

Six years have passed since Death Adder destroyed the Firewood Kingdom. In the meantime, Death Adder's forces had been extending to the Southwood Kingdom, to the south of Firewood. The Southwood Castle was occupied, and the king and the princess had been imprisoned.

Three warriors learn of this by their dying friend Alex and set out on a quest to free the land of Yuria and avenge their losses at the hands of Death Adder. They are Gilius Thunderhead, a battle axe-wielding dwarf, Ax Battler, a male barbarian wielding a two-handed broadsword, and Tyris Flare, an amazon wielding a long sword.

The warriors rescue the inhabitants of the ransacked Turtle Village, which turns out to be situated on the shell of a giant turtle. The turtle takes the characters across the sea, and they then pass by the "Fiend's Path" and fly to the castle itself on the back of a giant eagle. Once at the Royal Castle they face Death Adder. Despite wielding the powerful Golden Axe, Death Adder is defeated by the warriors and peace return to the land.

If the game is ported to the Sega Genesis, the characters also battle Death Adder's mentor, Death Bringer, as the true final boss in the castle's Dungeon.
Gilius Thunderhead: He is a dwarf from the mines of Wolud who, along with his brother Gari, fought against the forces of Darth Adder in the Firewood Kingdom. During the final siege, he was wounded and lost consciousness, yet when he came to and awoke, he found the dead body of his brother on top of him.

Ax Battler: He is a barbarian who wields a two-handed broadsword. One day, returning to his village from a successful hunt, he finds the place abandoned and with no signs of people. Worried about what may have happened to his mother, he ran home, only to find the place ransacked, and his mother lying in a pool of blood.

Tyris Flare: She is a longsword-wielding amazon, and the princess of the Firewood Kingdom. During the celebrations for her 17th birthday, the news of Death Adder's approach arrived, with the entire castle preparing for the eventual battle which, unfortunately, broke through and killed everyone, save for the princess who was left to mourn the death of her parents.
Hammering Giants: They are two giants in Death Adder's army that use hammers as weapons. They are easygoing and are usually seen smiling, but are dangerous opponents.

Zuburoka: It is the name of the Amazonian unit from Death Adder's army that appear as common enemies. The Zuburoka group of Amazonian warriors is a rival of Tyris Flare's amazon group.

Lt. Bitter: He is a high-ranking knight in Death Adder's army. This knight with silver armor is the boss from Turtle Village. He is Death Adder's highest-ranking follower.

Skeleton Warrior: It is a versatile enemy, an undead warrior summoned by Death Adder's magic. Skeletons are equipped with a sword and a shield. They are notable for possessing all of the basic attacks the protagonist has.

Death Adder: He is a fearsome descendent of the evil giants that survived the battle against the gods many years ago, the serpentine Death Adder seeks nothing more than to conquer the world and rule as emperor.

Death Bringer: He is the secret master of Death Adder, the overarching antagonist and true final boss. Death Bringer is only seen during the final showdown in the dungeon, after Death Adder has been killed. Upon defeat, the Golden Axe is retrieved and returned to the king.
Old Firewood Kingdom: This level is set in the wilderness of where used to be the Firewood Kingdom. Ax Battler, Tyris Flare and Gilius Thunderhead see their friend Alex die here and learn from him that Death Adder has captured the Southwood Kingdom's royal family. The three depart to stop the villain, fighting some of the weakest members of his army in the wilderness. In the end they face the Bad Brothers near a sign pointing to the Turtle Village, the next stage.

Turtle Village: The level is a village on the back of a giant turtle, hence the name. The turtle serves as a shortcut, taking Ax Battler, Tyris Flare and Gilius Thunderhead south across the sea to the third stage, a village in the mainland.

Turtle Island: This level is a large town near Death Adder's castle (named Turtle Village in the manual's map, presumably being a land part of the village). After defeating Lt. Bitter in the village, the heroes see that Death Adder's forces are strong near the castle, so they decide to dare the Fiend's Path to reach it.

Fiend's Path: As the heroes approach the Royal Castle they decide to avoid the enemy lines and take the Fiend's Path, a great eagle stationed near the Turtle Island which takes the heroes across the sky to the castle.

Royal Castle: This level takes place in the Southwood Kingdom castle that was taken over by Death Adder. By using the "Fiend's Path", the heroes get close to the castle and face Death Adder in the throne room.

Dungeon (Only in the Sega Genesis): This level takes place on a dungeon inside of the Royal Palace where Death Bringer dwells. The path is full of pits which the player can take advantage of to throw enemies into.
Progress is made through the game by fighting through Death Adder's army, including men armed with clubs and maces, skeleton warriors, and knights. Players are able to attack using their weapon, jump and cast spells that hurt all enemies on the screen. The force of this magic depends on the number of "bars" of magic power currently available. The bars are filled by collecting blue 'magic potions' attained by kicking little sprites who then drop the potions. These sprites appear during regular levels and during bonus stages in between levels. The male warrior Ax is able to cast earth spells. The dwarf Gilius, casts lightning spells and the female warrior Tyris casts fire magic. Each character has a different number of maximum magic bars and varying ranges of attack.

Various rideable monsters are found in the game. These can be ridden when the enemy rider is knocked off, or if one is found dormant. The least powerful steed is known as the Chicken Leg (which first appeared in Altered Beast), which can be used to knock down enemies with a swipe of its tail. The more powerful Blue Dragon and Red Dragon, which can either breathe fire or shoot fireballs, is found later in the game.

In addition to the main quest, if ported to the Sega Genesis, the game will include "duel mode", a survival mode type game that pitted players against increasingly powerful foes in consecutive rounds of play. This mode also featured a two-player one-on-one option.

A.N.: This is one of those games that I have no problem working on right now. The faster we can take this one out, then the faster we can take other games that also focus on the same genre, like the DnD games which were quite good, and can only happen on our console since we are the owners of the company.
 
Starship Mayflower

Starship Mayflower
Directed by: Hinata Watanabe
Written by: Mel Shaw, Burny Mattinson, Orson Scott Card
Produced by: Roy E. Disney
Production: Walt Disney Animation
Distribution: Buena Vista Distribution
Starring: Susan Blue (Jane Goodwin), Kurt Russell (Jorge Cortez), Rob Paulsen (Rolyre Talop Qinos), Freddie Jones (Amith Chandra), David Ogden Stiers (Simon Rhys), James Earl Jones (King Dromund)


Budget: $40,000,000
Domestic Box Office: $181,422,343

International Box Office: $139,699,113
Total Box Office: $321,121,456
Audience Reception: 376
Critical Reception: 377

The fall of of 1983 would be a three way duel between Dreamworks, Disney, and Blue Sky. Blue Sky was the winner with Hotel Transylvania, cementing their studio as legitimate and earning half a billion dollars. Dreamworks was in a respectable third, not its greatest showing but still a good film on its own. Taking silver was Disney, with a great Sci-Fi epic that more than likely would have made half a billion if it weren't for Transylvania and the last gasps of Star Wars mania, though the latter also drove so many people to see it in the first place. Starship Mayflower, perhaps the best vaguely Thanksgiving movie ever made.

The film depicted an interstellar humanity in the far future, finally taking to space and seeking to plant their flag on as many stars as they could reach, both for glory, new opportunities and to relieve a fatigued Earth. The humans under a largely America-run mission of the Starship Mayflower, head to a new world called Vespucia, but arrive to find that there are not only aliens, but they have just entered the industrial revolution. Contact is made and the protagonist Jane bonds with a fellow intelligent spirit named Roly, one of the native Vespuccians. Ties between the humans and Vespuccians deepened with the humans doing their best to not repeat the mistakes of the past with colonization, but forces on both sides push Vespuccia to a time of great change and uncertainty with the main characters doing their best to save both worlds.

The film had been announced after Empire Strikes Back released, but there was little else you were aware of back then as the movie was outside of Cat's department. Unofficially, it had been in a greater production hell for half a decade, having started off in 1975 but being little more than a vague concept until Star Wars changed cinema and placing Science Fiction as the primary genre in the mind of Disney to follow. Spacecraft One as the film had called still suffered from a lack of identity and direction, thus more resources were pumped into War of the Worlds. Then with the Animation Strike, it's swift conclusion had caused some considerable shakeup in Disney as many of the Old Guard and even a good deal of some of the Warner Bros animators, had retired or quit over fears that Disney was returning to its draconian work culture from the 30s. Fortunately for Disney it was only a third of their workforce, and with the animation boom they found plenty of newcomers and veterans from outside while lower positioned employees found new opportunities for advancement. Such was how Cat gained a leadership position, and pushed Starship Mayflower into being.

Burny Mattison and Mel Shaw would finalize the concept as being sort of a take on a space thanksgiving, playing off other pitches that had circulated around Disney. At the same time, they wanted to do an inverse of War of the Worlds and show a peaceful-ish contact and how humanity would act as the invader of sorts. They also brought in some Sci-fi writer named Orson Scott Card to have a grander narrative of sorts. You never followed the man but he seems to have some neat short stories. Disney also took its first dip into anime of sorts when it hired Hinata Watanabe, a Key Animation and Art Director for Galaxy Express 999. Disney isn't as closely intimate with the world of anime as Dreamworks as, but they had hired a fair amount of Japanese talent this decade and Watanbe seemed to have the experience and skills they wanted to make a Disney film on a greater scale in presentation than anything that had come before. In that, they had succeeded.

What impresses you most about Starship Mayflower is its story. It's no mere whimsical adventure like most Disney films, though there is plenty of the adventure aspect in the exploration of Vespuccia. It's a very deep and mature construction and exploration of how future space colonization and interaction with "primitive" aliens would go. The audience is challenged to think about what they would do if they were in a similar situation, and the past remains a heavy specter as no one, not even the human villains necessarily want to repeat the atrocities of historical colonialism verbatim, yet the villains do their acts of evil still under the belief that they are morally good and better than their ancestors, sometimes with legitimate considerations. There's also deep themes that go beyond such as capitalism, industrialism, tradition vs progress, ethnic identity. It's not as if the story is one that children can't or shouldn't enjoy, the broad plot of exploring a new planet and fighting for what is right along with the beautiful visuals keep all sorts of children engaged, Mary and your niece and nephew being one example. Yet like an onion, the movie has many layers and you feel that each rewatch will be rewarding.

For many people, their favorite part of Starship Mayflower were the characters. It's a very brilliant combination of subverting expectations, breaking tropes, and exploring heavy nuance and complexity. The Vespuccians are no mere aliens with a single hat and the dichotomy of Goul and Albora isn't a pure black and white of nature good and industry bad. The Gouls can be rather haughty and arrogant, also reactionary and restrictive with the elders conflicting with the youth. The Alborans are ambitious and have grandiose designs, but they are a very tired and fatigued people, yearning for a better tomorrow. Both sides have complexity and differ from the other greatly like true human cultures and it's a delight watching Roly bridge the gaps and push for a better future for all of his species.

The human cast feels so real and relatable, not perfect idealist explorers or badass and cool action heroes, but just normal and decent, though very flawed people thrust into a fantastical situation trying to do their best. Much praise has been given to the diversity, going beyond even Star Trek with the lead of the colony being an Indian man, a strong female protagonist and a large supporting and tertiary cast showing a wide blend of human ethnic groups, major leaps in representation in stories. Most of the humans are pretty likable and you feel like you're joining them on the journey in exploring Vespuccia and their actions feel like paths that can be taken by you, with Jane and Jorge being instant favorites and icons for young girls and boys. Though like Zeta Gundam, you felt like the villainy shined brilliantly here with Simon Rhys. It could have been so easy to make him and ARC just maniacal puppy kickers for a clear villain, yet they are very conscious of the past and take actions to present themselves as better, and yet act very much worse, both for natural personal and selfish desires, and very legitimate causes and greater interests beyond their control. It's a dark gray situation, one that has played in the past, is going on presently, and will probably happen in the future, serving as a fair warning that even those learned can still repeat history's mistakes, if not create new ones, brilliant.

Voice actors all delivered pretty great performances, cementing the brilliance of their characters through their distinct personalities and iconic deliveries. You have to say you're very impressed with how they designed the Vespuccian language as instead of just generic alien gibberish, the writing team had constructed a natural sounding lexicon which was an evolution of the Sami language due to the presence of a Finnish writer among the staff. You're also glad to see James finding more work, even if it is for the enemy of sorts. Actually, his casting was very clever in adding to Dromund's character where the audience would assume that the alien being voiced by Vader is pure evil, and thus the dissection of his character and his downfall caused by real commitments to his people is very rewarding.

The animation is just pure beauty, probably Disney's best work when it comes to environmental art. Vespuccia comes alive and is so vivid and rich in color and detail that few animated films have come close to matching and the opening with the Mayflower's entrance to the system in its transition from FTL and approach of the planet was pure awesome like some of Star Wars' best sequences. Watanabe's leadership was also incredibly valuable in regards to the creation of both the human and Vespuccian society, the former being somewhat of a blend between Star Trek and Star Wars' aesthetics though with a more expressive multiplecultural feel. The latter was a neat fusion of Scandinavian and general North Seas culture with traditional elvish fantasy elements like Lord of the Rings and for your personal favorite was Albora and its steampunk construction and designs. The only area that Mayflower didn't meet Dreamworks was its animation pacing and action scenes, lacking the signature Sunrise smooth, but they were getting there.

Lastly the Soundtrack was pretty great, though this time instead of a traditional musical, they opted for a more grand orchestral score to be displayed throughout the movie. If you had to say, it was something of a middle point between 2001: A Space Oddysey and Star Wars in terms of style, having fun and adventurous tones during the exploration yet epic and grand pieces for the big scenes of wonder or action. Overall very impressive, and it's making you excited for Disney's upcoming Musicana.

Starship Mayflower would manage to succeed in its expensive gamble, making more than eight times its budget and being a certified Blockbuster and Thanksgiving classic, also happening to limit the competition with its run against The Secret of NIMH. It was a healthy hit across the globe with great interest in the US where Thanksigiving weekend saw packed theaters as a sort of celebration of the holiday. Global performances were also pretty well all around, especially in Latin America and Oceania where the colonial themes and story hit nearly as hard as in the US. For Japan, they saw $19 million in returns thanks to the film being directed by one of their own as well as the general Disney craze that was sweeping the nation.

Critics and audiences uniformly fell in love with the movie and many considered it a contender for the greatest Disney movie ever. There was intense praise for the script and the rich and deep lore and worldbuilding of the setting, and had it not been for Star Wars and other strong hits maybe it could have gotten a genuine nomination for Best Original Screenplay. There was lots of praise from critics for the characters and how no one fit within any standard trope or cliche and there was such a wide and diverse cast of humans with well constructed personalities. The animation was considered to be near equal to War of the Worlds and for decades beyond would often be considered a hallmark of classic cel animation. It was undeniable that Disney had an instant classic that dwarfed most of their vault, and the passage of time only cemented Starship Mayflower as a beautiful tale.

For Disney, it was a celebrated job well done with the last of any resistance from the old conservatives having drained from the continual hits of the new blood and the general public's celebration of Dark Disney and its daring and bold new rennasaince. Such was seen dramatically in Card Walker, who stepped down as Chairman of the Board and just remained a general consultant and major shareholder. Though Roy says it's not due to malice, but more wanting to step back from busy work and relax, and considering he was 68 it was an understandable sentiment. There also seemed to be a new movement within Disney Animation, with original ideas being more open and sought out after while Science Fiction was a much pursued genre for either film and animation not simply to cash in on Star Wars, but because it was a great avenue for storytelling where the Disney magic was just as present as any fantasy story.

As for Starship Mayflower, there's lots of great demands for a sequel and right now Disney is split between either a direct film sequel or a tv show. If anything, the setup of humanity colonizing the stars created discussion of a potential universe set in Mayflower featuring other worlds. Black Hole was also being revisited for its own universe and sequel potential as VHS sales had been very profitable. Lastly, Tomorrowland would see a revamp throughout the 80s thanks to Artemis and the Sci-Fi Craze. Among such was a Starship Mayflower which would be a favorite for many parkgoers.

With the double blows of Hotel Transylvania and Starship Mayflower, you were worried for how Dreamworks was taking it. Yet, when you popped into the studio after New Years, you found them to have their usual high spirits and enthusiastic work ethic, if not more determined to do better to keep the studio's leadership over competitors. Don especially took the competition in stride, merely asking to do the Last Unicorn and just doing the best movies he can. There also seems to be a mischevious and anticipatory atmosphere at Dreamworks, that these temporary stumbles will be avenged with the release of Undertale later this year.

A/N: Hinata Watanabe is an OC. When doing research, I realized that all of the Disney directors of this time were dead, retired, or poached. The Rennasaince creators aren't in senior positions to work on the film. Thus a lot of the 80s Disney films may be directed by OCs. Though I consider this a good thing to show the butterflies of this world and how some people who didn't exist OTL are rising up in new positions as artists.
 
So you may have noticed I haven't updated in awhile.

I am on vacation from the quest until the end of the holidays.
 
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