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.
 
Last edited:
We really should do something with all that money, maybe buy more apartment building and other buildings that earn the MC passive income
My suggestion to by Marvel is still on the table; We get IP's for future use and also current if we try and make TV series or movies from the more grounded heroes (Punisher, Daredevil, Luke Cage, Iron Fist, etc.)
 
My suggestion to by Marvel is still on the table; We get IP's for future use and also current if we try and make TV series or movies from the more grounded heroes (Punisher, Daredevil, Luke Cage, Iron Fist, etc.)
i mean sure we can do that, but i also want some buildings as they are safe income that the MC will get each month

Then there is silicon valley if we want to play dangerous with our money as if our MC picks right can earn a lot of money for a where long time or lose it all if the ventures fail
 
I've also made numerous suggestions about various IP as well as a few companies we can purchase, as have others. It's all just a matter of actually taking the initiative. Although, it would be nice to make other investments.

Honestly, I low-key kind of hope we don't do all that well with the Warner roll. I think it'll just end up feeling cheap. We'd also spend a lot of time integrating Warner depending on how much we get, so I'm honestly not all that enthusiastic.
 
Last edited:
If we get a comics company (doesn't matter which one), I think that one of the things we can do to improve longterm sales is, instead of individual comics [which we can sell instead as collector's items], we sell an anthology magazine in the style of Shonen Jump and then put out volumes of the more popular comics, seeing as that seems to have been the more profitable in the long term.

Second thing, all ads get placed either after each chapter or the back of the magazines to prevent them from interrupting the narrative, assuming we don't just cut them out entirely given the amount of cash we're going to be pulling in from our other projects.
 
If we get a comics company (doesn't matter which one), I think that one of the things we can do to improve longterm sales is, instead of individual comics [which we can sell instead as collector's items], we sell an anthology magazine in the style of Shonen Jump and then put out volumes of the more popular comics, seeing as that seems to have been the more profitable in the long term.
I mean...this is literally just the original comic book model before it was phased out for solo titles. Not saying we shouldn't do this, in fact, I would like to do this also for English Language Manga as well(basically create our own Shonen Jump or AmeriManga before it was shuttered), but I'm not sure if it would actually really mean much in terms of being more profitable or not.
 
I mean...this is literally just the original comic book model before it was phased out for solo titles. Not saying we shouldn't do this, in fact, I would like to do this also for English Language Manga as well(basically create our own Shonen Jump or AmeriManga before it was shuttered), but I'm not sure if it would actually really mean much in terms of being more profitable or not.
I mean, I'm viewing it through the lense of kids and teens (eventually adults) with very small allowances who walk into their small, local hobby shops as a way to pass the time before going home and, before walking out, spending that limited budget on comics. If you're that kid, are you buying the individual comic that may be hit or miss, or you buying the larger magazine that is guaranteed to have at least one to two good stories in it? And then, depending on if you like it, at the end of year (around New Years) buying the annual "tankōbon" re-release of your favorite title? Factoring in a majority of the kids are like this, that's going to see a bump in sales over the longterm, especially if we keep the costs down to a reasonable and comparable level to our competitors' individual (for the time being) comics, putting a dent in their profit margin.

Also, why have English Manga be in a separate magazine? It'd be easier to sprinkle that in with our own comics (and maybe a month dedicated to them), helping keep that accessible to the majority of the market and population.
 
Also, why have English Manga be in a separate magazine? It'd be easier to sprinkle that in with our own comics (and maybe a month dedicated to them), helping keep that accessible to the majority of the market and population.
Because you're appealing to different markets and while technically speaking they're the same medium, people often treat them as different mediums given how distinct they are. Plenty of people like comics and cartoons, not all of them like anime or manga or any other foreign content. Manga is a very specific thing with a distinct visual style. It's just better to separate them so that they can be better marketed for as well as make more money separately.
 
Last edited:
Because you're appealing to different markets and while technically speaking they're the same medium, people often treat them as different mediums given how distinct they are. Plenty of people like comics and cartoons, not all of them like anime or manga or any other foreign content. Manga is a very specific thing with a distinct visual style. It's just better to separate them so that they can be better marketed for as well as make more money separately.
I'll give you that that its a different genre that attracts a different demographic, but a lot of that is in hindsight, the gulf largely exaggerated by actions of the Comics Code Authority during this time period. [EDIT: If it hadn't gotten so bad, we'd likely see it as simply another series of comics today, no different from horror comics in the early 20th.] At this time, in the late 1970s, it wouldn't have much of a market in the United States, so we'd have to, by and large, create one. Perfect way to do that is as I've described, in a magazine dedicated to various titles and genres in comics, where [now that I'm thinking about it] the artists are allowed to experiment with the various artsyles.

While certainly we can experiment with having a separate magazine dedicated to international comics (shout out to the French, Belgians, and South Koreans), in the beginning I don't see a reason for segregating the material when there is no market for it and people are already strapped for cash (especially the demographic we're interested in). IMO, the best time to introduce something like that is in the late '80s and early '90s, when disposable income went through the roof and people were fairly optimistic about globalization and the international material it was bringing into the United States.
 
Last edited:
At this time, in the late 1970s, it wouldn't have much of a market in the United States, so we'd have to, by and large, create one. Perfect way to do that is as I've described, in a magazine dedicated to various titles and genres in comics, where [now that I'm thinking about it] the artists are allowed to experiment with the various artsyles.
Fair enough. You make a compelling enough argument.
 
Can't we fund an animation department or buy one out instead of investing in to comic books? The US animation market is valued to be 394.6 billion while the comic industry is 16.05 billion in 2023.
 
Pitch: Deus Ex: Machina (a R. Talsorian Cyberpunk Story)
Deus Ex: Machina (a R. Talsorian Cyberpunk Story): by Mike Pondsmith and Dave Alistair [ Novel / TV Show | Cyberpunk / Thriller ]

Pitch: With the slow collapse of the United States, and the rise of the megacorporations, there are still people fighting the good fight to keep the everyman safe, damn the consequences. With the help of a mysterious entity, they are here to help...you.

Backstory:
Following the opening events of Tijuana Takedown, of how the War on Terror came to be and eventually devolved into the Central American Wars, a number of ongoing research projects throughout the United States are initiated, expedited and cut loose, the most notable of these being advanced computation and cybernetic prosthetics.

Harold Finch and Nathan Ingram were two brilliant minds who worked on a top-secret project to create a mass-surveillance machine that could predict terrorist attacks. They used artificial intelligence to analyze government and megacorp feeds from emails, phone calls, and surveillance cameras to generate a list of potential threats. However, the Machine also generated a list of predicted murders and violent crimes that were deemed "non-relevant to national security". Finch was aware that passing on the non-relevant list could reveal the existence of the government's unconstitutional surveillance program, so he programmed the Machine to delete the list every day at midnight. However, tensions arose between Finch and Ingram when Finch discovered that Ingram had created a backdoor into the Machine to access the non-relevant list before handing it over to the government. Ingram was using the list to warn and even save the people on it, which put the entire project at risk. Their disagreement came to a tragic end when Ingram was killed in an apparent terrorist bombing at a ferry terminal. Injured and shaken, Finch realized that the government was willing to go to great lengths to keep the Machine a secret. Faking his own death to protect himself and his fiancée, Grace Hendricks. Then, he reactivated the backdoor and began his own mission to save the non-relevant numbers.

As Finch navigated the dangerous world of cyber espionage, he found himself in need of allies. He recruited a network of edgerunners, among them the former Green Beret and ex-CIA operator, "John Reese". Reese was homeless and struggling with depression after the death of his lover, Jessica. Finch saw potential in Reese and offered him a chance to be a part of something greater, explaining that he could give Reese a purpose and a job. Reese initially refused, but eventually agreed to join Finch. Together, they began working on their first case, watching assistant district attorney Diane Hansen. However, their investigation led them down a dangerous path, resulting in multiple deaths. Despite the risks, Finch and Reese continued to work together to protect innocent lives and take down corrupt corporations. Along the way, they encountered Detective Joss Carter, who became suspicious of Reese due to his military spec-op cyberware. Finch helped Reese evade police custody and recruited Carter to their cause. As they delved deeper into the dark underbelly of society, they discovered that nothing was as it seemed, and danger lurked around every corner. With the help of the Machine and their network of allies, Finch and Reese were determined to make a difference in a world where the powerful few held all the cards.


Notables Persons of Interest:
- Adam Jensen (Young Adult) [Cameo/Sequel Series: Deus Ex: Human Revolution]
- Brian Finch (BioTechnica Asset) ["Backdoor Pilot"/Spinoff: Deus Ex: Limitless]
- Elliot Anderson (Netrunner) [Cameo/"Backdoor Pilot": Netrunners: Mr. Robot]
- Gabriel Vaughn (MiliTech Operative) ["Backdoor Pilot"/Spinoff: MiliTech: Intelligence]


A/N: The story is intended to be a combination of Person of Interest and Deus Ex, with a little of Mr. Robot sprinkled in the background, taking place during the timeframe of the "present" [if you need a comparison, imagine The Six Million Dollar Man and Night Rider] [EDIT2: and before the majority of the events in Cyberpunk; this is to be the deep lore].

[EDIT: And totally honest, mostly wrote this as an excuse to link Takedown to Cyberpunk.]

As a completely unnecessary aside, here's an updated draft for RPO: SAO.
Ready Player One: Sword Art Online: [ Novel (LitRPG) / Cartoon (Anime) | Cyberpunk / Thriller ]
Backstory:
In the 1980s, the Cartels in Central America instigated a rise in violence that eventually spilled over onto American soil. There have been rumors that a joint operation by the ATF and CIA was behind this. This caused the United States to become heavily involved in a major conflict, resulting in a significant economic collapse. This collapse led to a military coup and resulted in the rise of the European Common Market and Japan as superpowers, while in contrast, the Soviet Union managed to pull itself back from the brink of collapse.

Driven by these changes is the development of orbital habitats who, with the aid of the newly risen megacorporations that have gained immense power at unprecedented levels, develop into their own independent states. As the megacorporations vie for power amongst themselves, determined to control every scrap of wealth known to man, the world has experienced other disasters, such as devastating famines caused by food blights. By the late 1990s, a conflict in the Middle East sees a global collapse of the agricultural and energy markets following a nuclear conflict, initiating an international crisis as the world's food basket has caught fire alongside of its oil fields.

As a result of all the chaos, bioengineering has advanced rapidly, driving the development of cybernetic prosthetics and direct human-machine interfaces, amidst a backdrop of ongoing warfare; in the US of A, the lack of government oversight and police intervention as a direct result of the Central American Wars, casual violence consistently breaks out at unprecedented, endemic levels across the country. With many of its returning veterans suffering from various forms of "technoshock", an inability to cope with a world of synthetic muscle tissue, organic circuits, and designer drugs, most are left unable to live peaceful and prosperous lives, creating an immense need for escapism.

Responding to these needs in 2020, the recently rebranded Gregarious Simulation Systems (formerly Gregarious Games) offers an opportunity, a solution for that need following the launch of their flagship virtual reality videogame console, the OASIS, created by their co-founder, James Halliday, and accessible by players through the use of visors and haptic technology. People immediately embrace the new technology, using the OASIS as an escape hatch for the utter dismality that is their everyday lives, utterly changing the socio-political landscape almost overnight as they use, what was essentially a space almost exclusively used for VRMMORPGs into a fully developed virtual world, with the OASIS' currency becoming one of the most stable currencies recognized at the international level. This success creates an automatic monopoly over the rest of the market, utterly crushing the majority of their completion.

Among the many suffering as a result of this is game developer Akihiko Kayaba, whose company, Argus, was Gregarious Games largest international competitor, and whose work on the NerveGear was theoretically the only comparable product on the market, given its release was not slated for another decade. As a result of this, Kayaba is pressured by his parent company, The Arasaka Corporation, to deliver his game much farther ahead of schedule than had originally been planned, being absolutely outraged that their efforts on the console and the game had gone to waste after being outperformed by the Americans. With the project accelerated beyond all reasonable measures, Kayaba is slowly driven to the edge, and far past it, as he is driven to increasingly desperate measures to save his life's passion in creating the setting of Aincrad that ultimately culminate in a fit of psychosis brought on by stress, sleep deprivation and no small amount of excessive stimulant usage, that causes both the console and its flagship game becoming a true Death Game, a virtual gladiator match that holds its every player hostage as the result of an immense coding error. Left with no other option, Kayaba takes drastic (if ill-advised) measures to save face.

On August 20th, 2024, 0000 JST, Sword Art Online is released as a console exclusive VRMMORPG to the Arasaka line of OASIS haptic consoles, the NerveGear, to an opening of 50K+ players as part of its gamma testing. At 0017 JST, the first reports of the missing logout button is reported to game staff. At 0047 all active online players (250K+ and counting) are summoned to the Starting Town's Central Square, followed shortly by Kayaba's announcement about the start of the Death Game, and panic ensues.

Book 1: Sword Art Online:
While the outside world scrambles to free a number of VIPs trapped in the game, inside the game the player Kirito, real name Kazuto Kirigaya, takes to the revelation in a rather...unhealthy way, determined to make it alone. Already the archetypical Jerkass with a buried Heart of Gold, his previous role as a alpha/beta-tester sees him rise to the rather coveted position as one of the best players in the whole game, everything some manner of terrible joke with an even worse punchline for him. And then, as everything else, this game he only bought into because he was having fun, takes a few turns for the worse, leaving him with only one goal: Survival.

Book 2: Gunter Online: (WIP)
Wade Watts [Parzival] as MC

Book 3: Elfline Online: (WIP)
Suguha Kirigaya [Leafa] as MC

Book 4: Call of Duty Online: (WIP)
Karen Kohiruimaki [Ren] as MC

Book 5: DataKrash: (WIP)
Ensemble Cast (Above) creates a Netrunner Society, the final event culminating in Bartmoss' DataKrash attack.
 
Last edited:
Deus Ex: Machina (a R. Talsorian Cyberpunk Story)
You know I like it.

[]I think it's Time to Start Thinking of the Future (Mike Pondsmith begins creating his history of the Cyberpunk Universe, meaning it will be far more detailed than the original.)
[]You've been Hit By a Cyberpunk (Dave Alister becomes friends with Mike Pondsmith, and develop a close working relationship)
[]This is going to get weird, but all those characters you made, deserve their own show. (Unknown effect)
 
Last edited:
[]I think it's Time to Start Thinking of the Future (Mike Pondsmith begins creating his history of the Cyberpunk Universe, meaning it will be far more detailed than the original.)
[]You've been Hit By a Cyberpunk (Dave Alister becomes friends with Mike Pondsmith, and develop a close working relationship)
...honestly, I'm torn. I want both, I needs both.

[X] I think it's Time to Start Thinking of the Future (Mike Pondsmith begins creating his history of the Cyberpunk Universe, meaning it will be far more detailed than the original.)
 
Help, My Wife's a Stepford Smiler!, or How Bruce Learned to Sing
Help, My Wife's a Stepford Smiler!, or How Bruce Learned to Sing:

Bruce O'Brian had never been a fan of singing. He always felt awkward and self-conscious whenever he tried to sing (odd, he thinks to himself, for an actour), and he avoided it whenever possible...except at the pub, but nobody ever batted an eye at his performances. But his wife, Carrie Fisher, was an accomplished singer, and she had been trying to get him to sing for years. A harsh taskmaster when it came to singing, and she never let Bruce off easy. He had been ducking her previous lessons for mont- almost a year at this point actually - but she was determined to teach him how to sing, whether he liked it or not.

One day, Carrie cornered Bruce in their living room, a sheet of music in one hand and a stern look on her face. "You're going to learn how to sing," she said, her voice leaving no room for argument. "And you're going to do it right now."

Bruce sighed, knowing that he was in for a long and difficult lesson. Carrie was a perfectionist, and she demanded nothing less than his best effort. He reluctantly took the sheet of music from her and cleared his throat.

Carrie began to play the piano, and Bruce tentatively started to sing. At first, he stumbled over the words and his voice cracked, but Carrie pushed him to keep going. She corrected his pitch and his timing, and she didn't let up until he got it right.

Bruce felt frustrated and embarrassed, but Carrie refused to let him give up. She was relentless in her coaching, and she never let him rest until he had mastered a song. Over time, Bruce began to slowly improve, and he found that he actually enjoyed singing.

Everyday, Carrie had a few different methods for teaching Bruce how to sing she would cycle through. In addition to traditional vocal exercises and piano accompaniment, she also used visualization techniques to help him improve his singing. Carrie would have Bruce imagine himself singing in front of a large audience, and then she would guide him through the emotions and physical sensations that he might experience in that situation. She would encourage him to project his voice and to use his body language to convey the meaning of the song.

Another method that Carrie used was recording Bruce's singing and playing it back for him to critique. This allowed him to hear his own mistakes and to work on improving his technique. Despite the intensity of her teaching style, she was also supportive and encouraging of Bruce's progress. She praised him when he did well and offered constructive feedback when he needed it. Her tough love approach may have been challenging for Bruce, but it ultimately it would help him to become a better singer and to discover a new talent.

At first, Bruce was resistant to Carrie's teaching style, which could be quite intense and demanding. He found it frustrating when she pushed him to his limits and corrected his mistakes, and he sometimes felt discouraged by her relentless coaching. However, over time, Bruce began to appreciate Carrie's approach. He realized that she was pushing him because she believed in his potential as a singer, and he knew that he wouldn't have made progress without her guidance.

Despite the challenges, Bruce also found that he enjoyed the process of learning how to sing. He was surprised to discover that he had a natural talent for it, and he started to look forward to his lessons with Carrie. As he improved, Bruce also began to feel a sense of pride and accomplishment. He was amazed at how much he had grown as a singer, and he knew that he owed much of his success to Carrie's tough but loving teaching style.

And then, one day he sang without prompting in his deep, deep bass.

At the end of it - [Roll D100 => 98] - Carrie looked at her husband with wonder...and then playfully swatted at his shoulder.

"See, was that so hard?" she said walking away, leaving Bruce with an utterly haunted look on his face.

"Yes." he whispered, a lone tear streaking down his face, "Yes, it was."
 
Last edited:
Help, My Wife's a Stepford Smiler!, or How Bruce Learned to Sing:
Fine, I'll give a reward for that.

[]I learned how to Sing, Happy! (Bruce, finally knows how to sing. Just not very well)
[]Carrie, please don't do that? (Carrie gains a +30 to her off-screen rolls for the next turn)
[]Every Marriage has some hiccups (Debbie learns of Bruces trouble with how to sing, and offers her help. Singing autopasses next turn)
 
Back
Top