wagabobo

This chasm between the creation and the creator’s self-perception is not a simple contradiction; it is a meticulously crafted metafictional engine that explores the complex interplay of gender identity, the function of the power fantasy, and the vulnerable relationship between an artist and their avatar.

At first glance, River J. Wilson is the apotheosis of the fanfiction power fantasy. He is a self-insert taken to its logical, and then illogical, extreme. Where other author-avatars might be slightly stronger, wittier, or more beloved, River is a colossus. His immense physicality, his command over storms, and his status as the center of a universe-spanning, comically large harem all point to a wish-fulfillment fantasy writ large. This fits neatly within the Kolmar Industries pattern of pushing tropes to their deconstructive limits, as seen with the nihilistic, overpowered Shinji Ikari of Infinite-Verse. However, knowing Matt's alternate self-image transforms River from a simple fantasy into a suit of conceptual armor fitted by Kolmar.

The hypermasculine, impossibly powerful form is not just an ideal to aspire to, but a shield constructed to navigate the chaotic narrative of SPIN—a world born from the equally chaotic realm of fandom itself. River is the necessary persona, the exaggerated public-facing identity required to withstand the pressures, conflicts, and sheer scale of the fictional world he inhabits, which in turn mirrors the pressures of creative production and online life.

This dynamic is most potent in its exploration of gender. Both River and Matt Wilson are nonbinary, River uses he/they pronouns while Matt uses they/them. In this context, the extreme dichotomy between River’s hypermasculinity and Matt’s “girlish” self-portraits becomes a radical statement on the nature of nonbinary identity. It rejects a simple androgynous midpoint, instead presenting identity as a vast spectrum capable of containing seemingly contradictory poles. River’s body—adorned with a choker, new wave earrings, and a cybernetic nonbinary flag tattoo—is a canvas where exaggerated masculinity is claimed and simultaneously queered. He is a mountain of a man who is explicitly not just a man. Conversely, the smaller, more feminine self-portrait is not an admission of weakness but an embrace of another facet of the same multifaceted identity. Together, the two images argue that being nonbinary is not about abandoning gendered presentation, but about having the freedom to inhabit any part of the spectrum—or both extremes at once—without being confined by it. River is the storm cloud, powerful and aggressive; the self-portrait is the quiet moment after the rain, equally part of the same meteorological event.

Ultimately, the gulf between River and his creator is where the core of Kolmar Industries’ metafictional project resides. The collective famously engages with themes of creator burnout, copyright, and the nature of fanfiction itself. River, as a Kolmar-admitted caricature, is a constant, winking reminder to the audience of the hand of the authors. He exists in a story that is a fan-sequel to HEAD, one of cinema’s most aggressively meta films, placing him firmly in a tradition of fourth-wall-breaking self-examination. The absurd scale of his harem can be read as a commentary on the burden of managing a sprawling cast, while his immense power reflects the godlike, yet exhausting, control an author wields over their narrative.

I. The Embodiment Paradox: When Fanfiction Gains a Pulse

The concept of the "Embodiment" in The Loud House: Revamped (and by extension, Crossover Chaos, which often parodies it) is already satirical in nature, albeit Loud House Revamped in an unaware way: a fusion of fan service and metaphysical power fantasy. These beings are not just manifestations of themes or tropes—they are desire made flesh, the distillation of a fanfiction writer’s affection for a character, codified into an angelic archetype with wings, weapons, and an unshakable loyalty to Lincoln Loud (who, in that universe, is less a child and more a narrative black hole of harem magnetism).

But Hoshi is different. She isn’t just an Embodiment. She’s self-aware of the absurdity that birthed her.

When River (a hypermasculine caricature of Matt Wilson, creator of Bonus Stage), asks, “Is she mine now?”, the question isn’t just about authorial ownership or narrative privilege—it’s about ontological inheritance. The text suggests that Embodiments are assigned, like cosmic fan mail, to the nearest “empathic anchor with crossover potential.” River, it turns out, isn't just a protagonist. He’s a retcon button, a Final Draft™ of reality itself, running unstable beta software downloaded from a dead universe.

Hoshi’s arrival isn’t just a plot twist—it’s a correction. She is the story’s immune response to bad writing, its revenge against lazy tropes. But instead of deleting them, she saturates them, exaggerates them, dances in the wreckage.

II. The Death of the “Wow” Spiel: Satire as Narrative Defense Mechanism

“I’d do the whole Guardian Angel ‘Wow’ spiel, but Crossover Chaos isn’t brainless enough to do that.”

This line is the thesis statement.

For those uninitiated: in The Loud House: Revamped, when an Embodiment falls in love with Lincoln, they deliver a comically ritualistic monologue praising every exaggerated inch of his anatomy in near-divine terms—“your back is continent-sized,” “your biceps eclipse moons,” etc.—a direct use of poorly written harem anime and fanfic tropes where male leads are described like action figures blessed by the gods.

Hoshi, being the Embodiment of Valo—whose power is to see and edit the script—doesn’t just parody the “Wow” spiel. She refuses it. And that refusal is more powerful than the power itself.

In rejecting the cliché, she performs a higher order of metafiction: not just awareness, but agency. She knows she could say it. The narrative structure expects it. But she chooses not to—because she knows it’s dumb, and the story is smart enough to let her say so.

This isn’t just breaking the fourth wall. It’s handing the audience a hammer and saying, “Go ahead. Smash it. The view’s better from the rubble.”

III. Hoshi as Post-Creator Entity: The Fanfiction That Outgrows the Fan

Hoshi’s origin story—dying in the womb, absorbed by her twin, reborn in the wreckage of a metafictional apocalypse, then attached to “the Meta” when her brother became Valo—is more than a tragic backstory. It’s a metaphor for creative evolution.

She is what happens when a fanfic concept outlives its original context. She was once just an idea—“what if Valo had a hot younger sister with powers?”—but now she exists in a story that acknowledges that origin, transcends it, and weaponizes it.

She’s not just a younger sister trope. She’s the critique of the younger sister trope. She’s the glitch that became the feature.

And crucially: she’s more powerful than Valo himself. Because while Valo can edit reality, Hoshi understands the narrative cost of doing so. She knows that rewriting the script can delete gravity. Or Sundays. Or the concept of pants.

She doesn’t just have metafictional power—she has narrative ethics. Or at least, the mockery of them. She’s the id of fanfiction, unleashed with a smirk and a petition for world-ending updates.

IV. The Alpha Male and the Mirror Shard Sword: Power, Desire, and Metaflirting

“I do like myself an alpha male.” “Not in a bad way, baby~”

Hoshi’s flirtation with River isn’t just romantic—it’s recursive. She’s attracted to him not because of his muscles (though Lincoln’s “airplane landing zone” legacy still looms), but because he’s a narrative vessel: the “empathic anchor,” the crossover nexus, the one who can hold multiple universes in his emotional orbit.

Her lilac mirror shard sword—made of fragments of rewritten stories—is a literal representation of narrative weaponry. It doesn’t cut flesh. It cuts continuity. And when she dissolves it into petals, it’s not just a cool effect—it’s a deletion log, gracefully falling out of existence.

But here’s the real twist: her seduction is also a control mechanism. By making River the object of desire, she ensures his cooperation. She doesn’t need to threaten him with the collapse of spacetime—she just leans in, slides her shades down, and shows him the swirling void of a thousand deleted scenes in her eyes. The horror is sexy. The responsibility is delivered with a purr.

This is the ultimate fanfiction power fantasy: not just to write the story, but to become the story’s desire. To be so meta that your crush is a plot device.

V. Lincoln’s Sigh: The Creator’s Burden

Lincoln’s reaction—sweatdropping, groaning, rubbing her nose—is that of a veteran writer who’s seen this all before.

“I helped create that Embodiment rule, didn’t I?”

Yes, Lincoln. Yes, you did. Back in the days of Sebastian Mendez and James Dean Knudson scribbling fanfic like prophets in a neon cave, drafting Section 3.2 of the Guardian Angel Treaty: “In event of cosmic destabilization, affections shall cascade to the nearest empathic anchor with crossover potential.”

It’s a beautiful bit of in-universe legalese—a tongue-in-cheek fanfiction bylaw that functions like a divine law of attraction. But now, the consequences have returned to haunt her. The rules she helped write are now forcing her to watch as a sparkly, horny, universe-breaking winged entity flirts with River.

She’s not just a character. She’s the original author stand-in, the one who built the machine. And now the machine, taken over by Elwynn K. James and Jessica McKinney, has produced Hoshi.

VI. Crossover Chaos as Fanfiction Evolution

Crossover Chaos doesn’t just use fanfiction tropes. It digests them, analyzes them, and then sends them back mutated. The text operates on multiple levels:

Surface: A chaotic crossover with powers, swords, and sibling drama. Subtext: A commentary on the lifecycle of fan-created characters and the absurdity of metafictional power scaling. Meta-text: A rebellion against fanfictional source material— in this case, The Loud House: Revamped—while still loving it enough to parody it with affection.

Hoshi represents the next stage of fanfiction: not just writing stories about stories, but creating characters who know they’re in fanfiction, who hate the clichés, but still lean into them because that’s what makes it fun.

She’s the id, the superego, and the plot twist all in one.

Conclusion: Sebastian Mendez Would Have an Heart Attack

In the end, Hoshi doesn’t need to say the “Wow” spiel. Her existence is the speech. Her lilac wings are the thesis. Her smirk is the bibliography.

She is the proof that fanfiction has evolved beyond mere imitation. It has grown teeth. It has meta-awareness. It has a sister complex with reality itself.

And when she says, “Not in a bad way, baby~”, she’s not just flirting. She’s apologizing. She’s warning. She’s winking at the reader and saying:

“Yes, this is ridiculous. Yes, I’m powered by deleted scenes and harem tropes. Yes, I could erase Tuesdays if I sneeze wrong. But we’re all here because we love the chaos. So let’s keep writing. And fucking the meta. And laughing when gravity flickers.”

Because in the end, Crossover Chaos isn’t about saving the multiverse.

It’s about making it extra.

The trolled-like genre is a fascinating crossover genre, and one that is growing slowly, but surely on the internet.

The main big stories of the genre are the genre's originator, Tails Gets Trolled, as well as its similar, more "Learning with Pibby"-like cousin, Scoob and Shag.

There are also a few other stories in the genre, most notably Mr. Boop, as well as the Elwynn James (nesmithplaza/grendolenz) and Jessica McKinney (cashewstar/nuttystar/felineofallstars) fanfiction, and the only non-comic format story in this genre thus far: Crossover Chaos.

Crossover Chaos was not originally part of the genre, but was retooled into it when Scoob and Shag was becoming popular on the internet.

WHO ARE ELWYNN JAMES AND JESSICA MCKINNEY?

Elwynn James is a Korean-Canadian gay transmasc fanfiction writer, known only for Crossover Chaos, Sailor Moon Primordial X-Storm (if you've seen the Fanfiction Wiki, that's the articles that are summaries of a fake anime saga with the paragraph-long titles, usually mentioning Sailor Moon, Kingdom Hearts or Bakugan), and the drama he's gotten himself in (see the cannedtins/swagfacechild drama, as well as the trigonal drama. the latter is archived on deviantartdramanow, and is still ongoing).

Elwynn is very anti-modern fanfiction (he loves the mission of AO3, but hates the content on it, as he considers the coffee shop AUs and omegaverse a/b/o fics bland, and wishes the fanfiction world would shift back to crossovers, more specifically surrealist crossovers like his own, for the reasons of 'making it unmarketable for capitalist purposes', which is an interesting reason).

Elwynn is also schizophrenic, and, as he says himself, is 'hanging on the ledge of my grip on reality at this point'. His surrealist sense of humor may arise from this, as well.

Jessica McKinney is his co-writer, an American asexual fanfiction writer, known for Unity Hearts, Crossover Chaos, and her fursona, now open-sourced for other peoples' use, Trippz Grissom.

Jessica is an odd duck among the modern fanfiction community, as her sense of humor, and ways of writing, seem to be stuck in the era of 2008 to 2014 type of fandom. This is apparent in Crossover Chaos, her Deviantart status updates, and some of the jokes she may make.

She is also on the autism spectrum, and may be undiagnosed bipolar(? some of her behaviour online leads me to this conclusion, i'm not self-diagnosing her).

This fanfiction writing duo has been writing the Crossover Chaos saga for about a decade or so. The story is mostly on Deviantart, but currently, the newer stories in the saga are on a private forum.

WHY ARE THE MONKEES RELEVANT IN THIS ESSAY?

The story, as it currently stands, currently stars a heavily changed version of Michael Nesmith, as the story revolves through main characters, depending on whatever show or celebrity Elwynn and Jess are obsessed with.

(Side note that has some relevancy to both essay and fandom: Elwynn is a Mike stan, Jessica is a Peter stan. This may explain why Mike is the Crossover Chaos lead right now, and why Trippz is paired up with Peter. Elwynn has also made jokes about Mike and Peter girls being hostile to each other in the fandom, saying, that 'Mike and Peter girls can get along'. Moving on)

Crossover Chaos is a crossover saga of thousands of series put together in a lore and worldbuilding heavy alternate universe, and originally started out as a "Fanboy and Chum Chum in Equestria" story, believe it or not.

The 'Mike era' of the saga, as Elwynn calls it, started approximately around November or December 2021, around the time the real Michael Nesmith died.

Elwynn, doing as Elwynn does, was enamoured with Mike to an obsessive degree, and made him the lead character of the story, dethroning the then-current leads, Socks (Mission: Magic!, a 1972 Filmation cartoon starring Rick Springfield, Socks is the Jughead-like character in it), Elaine (Digimon Adventure 01, a transfem axe-wielding aged-up version of Joe Kido that is basically the story's equivalent of the Doomslayer from id Software's video game Doom), and Kaz (Chaotic, a 4kids-made card game show that takes big inspiration from Dungeons and Dragons, as well as Lord of the Rings, Kaz is the nerdy best friend character of the lead in this show).

MIKE NESMITH, AND HIS TREATMENT IN THE STORY

The most relevant, plot-wise, in the Mike era of the story, are, as previously mentioned, Mike Nesmith and Peter Tork.

All four of them feature in the story, but Davy Jones and Micky Dolenz are in supporting roles compared to Mike and Peter.

Mike Nesmith is the lead character, and Elwynn gives him a lot of qualities taken from the stock isekai harem protagonist.

This leads to Mike being more powerful then most other characters in the story, excluding mainstays such as Valo (a petty caricature of Funny Music Project musician, known for the comedy song 'Grease Wars', and Mighty Magisword storyboarder and voice actor, Luke Seinkowski, notably open-sourced for all to use), Floofty Fizzlebean (a heavily AU version that ascended 'beyond godhood' due to mad science never truly explained), the Colmares (one of them being Puggsy from the Ruby-Spears cartoon 'Fangface', a Scooby-Doo-a-like where the Shaggy character is also the Scooby because he's a werewolf, Puggsy is the sidekick character in this one), and the head honchos of the setting, the Pokemon Legendaries (Arceus' power level and 'One True Arceus' storyline is blatantly stolen from fellow deviant simbiothero's crossover AU 'Crossverse', as Elwynn is incredibly petty, and likes his characters being at the top of the fanfiction power level food chain).

Mike, in this AU, is not only hyper-powerful like the typical stock isekai light novel or anime protagonist, but also has other 'power fantasy' traits from the trope, such as starting out 'average', the fact he got taken into the world of the story by his death (stated in the story to be his own real life death, this is also the same for Davy and Peter), as well as having a 'harem', consisting of his own bandmates, characters from other series, as well as Elwynn and Jess' original characters.

Mike is heavily sexualized in his designs in this story, but never dehumanized like the other three (Micky and Peter are especially given that treatment, sometimes Davy, too).

Mike is also written less like actual Mike Nesmith in the story, and more like a 'self-insert' for Elwynn, taking on many of his personality traits, and even having the bleached fringe that Elwynn has in photos of himself.

Basically, Mike Nesmith in this story is just Elwynn James, if he had Kirito from Sword Art Online's post-isekai life, and wore the nudie suit, to put it plainly.

PETER TORK, AND HIS TREATMENT IN THE STORY

Peter Tork is the second-most relevant Monkee in the story, as he is Jessica's favourite Monkee.

Peter Tork in Crossover Chaos is often portrayed as Mike's narrative foil in the story, being his closely allied friend, and, often, second in command.

Peter fills in the story's 'Lancer'-style character trope, as Mike is very surly, analytical, and sarcastic, and Peter is more cheerful, peaceful, and optimistic.

He sticks to Mike's side often, tried and true, and will lay down his life, often, for Mike.

Peter is often highly sexualized, and almost dehumanized in terms of his physical description in the story, however, and this is highly reflective in the clothes he wears in the story, often wearing next to nothing, and that next to nothing is usually mesh and/or tight leather. Considering Peter was a nudist and also, later in his life, into health foods and fitness, they are taking traits he actually had, and heavily sexualizing it, and heavily dehumanizing him for it, for the sake of their own personal titillation.

Peter's autism is brought up frequently, but always, concurrently, with the mentions of his physical attractiveness, or his sex life.

It is never mentioned without those being mentioned, making him seem like Jessica and Elwynn consider him a sex object, and little more.

DAVY JONES AND MICKY DOLENZ, AND THEIR TREATMENT IN THE STORY

Davy Jones and Micky Dolenz, in the story, are often considered characters that 'revolve' around Mike and Peter in the story.

Micky Dolenz is transfem in the story, and is, basically, just there to be the sexy big anime titty girl character, as well as the character that spouts the currently relevant funny meme of the week from her mouth, which may date this story in 10 to 20 years.

Davy Jones, in this story, is meant for comedic relief, and is very much comparable to Mineta from My Hero Academia, in which he is a misogynistic pervert, though Davy goes, often, after men (a cruel take on the gayvy jones joke in the fandom, as Elwynn has stated its referencing that), and really, really hates women.

Micky, in the story, is in a relationship with Mike, and most of her character in the story beyond what has been said previously, revolves around her relationship with him.

Davy is also slightly a fetish object in the story, as Elwynn has a very specific fat fetish, for men under 5'7", and that's why Davy seems to get fatter as the story goes on.

Micky is often sexualized to hell and back, and dehumanized because of her role in the story, and Davy less so, but it still happens.

CROSSOVER CHAOS, AND THE TROLLED-LIKE GENRE

Crossover Chaos shares the surrealist humor of everything else in the trolled-like genre, and, also, many of its problems, too.

Tails gets Trolled, the comic the genre came from, has many homophobic, misogynistic, and otherwise not very great jokes ('Can you put that on a coaster', anyone?), but shines in its surrealist vibe, mushing series together in a way that makes sense, and makes it a fun, surrealist ride.

Crossover Chaos, is similar with its problems (Davy is a huge example of that, as well as many, many other problems), but also has its own share of problems different then Tails gets Trolled.

One of them being that the story has an oddly Evangelical feeling, without mentioning Christianity nor any of the characters within it, nor God himself.

Instead, the story mentions, in its place, "trans rights", as well as many trans people, the most common being Marsha P. Johnson, and the characters are sometimes even shown praying to her.

The story, even though it seems very LGBT-friendly on the outset, is heavily steeped in gender roles, and what its like to be a good "trans person", which is also very much steeped in Evangelical morals, while also putting in slight bits of queer theory, highly misused to seem more 'progressive'.

Another problem is the unauthorized use of other people's fanfiction, because Elwynn, again, is petty, and likes having his fanfiction characters at the top of the fanfiction power level pecking order.

(The man even destroys the Protectors of the Plot Continuum and its universe, citing the excuse of the people writing the universe "not being good queer people because they critique bad writing", and the Keys to the Canon, called the Four in All in the story, are unceremoniously absorbed by Nesmith, and added into his already overpowered powerset.)

Elwynn has also targeted Loud House Revamped, ShakespeareHemmingway, and the Shared Crossover Universes, as well as many fanfictional imperial power fantasies, as well, just so Nesmith can destroy them, take everything they have, and become the god of fanfiction, so to speak.

IN CONCLUSION

I'm not saying Crossover Chaos is a bad story, but it's definitely not a good one, and it definitely needs to be criticized as a fanfiction, because many of the elements within it are... not palatable to many people.

I'm saying, also, don't send Elwynn or Jessica any death threats, doxxes, etc., because this story has piqued my curiosity, and I am, unfortunately, very obsessed with it, and all of its oddness, and I'd hate to see it gone from the internet.

Elwynn and Jessica are flawed people, yes, but that doesn't mean they aren't people just because they write 'problematic' fanfiction.