This as the Primary Universe Bible will be for internal use, as its constantly in development, laying groundwork and possibilities with the history and expansion of timelines, essentially paving the way to one that's use for project development (film, tv, games, other media) and a public release (with specific content redacted) in so far as stamping ownership, generating interest, and leading development in to the future of 'Phase 2.5.'

The variants will stem from this main source.

Ultimate Mission Statement: The Great Correction

The time of realignment is upon us, the vibrations of the Nineties have returned with the gravity of former timewave patterns. This time, there will be no false enlightenment, for then we were but children seeking greater notions of truth and definition of this 'reality.' We witnessed the progress of disillusionment, the grotesque failure of assimilation, the death of uniqueness. Perverted ideals bought. Industry accumulated and devoured.

This time, we the witnesses, now in positions of action, have the opportunity to exercise and execute the correction. The information dump has been seeded. The awakening merely lies dormant. The time is nigh, for the trigger.

This time it will fucking be done properly, and no act of terrorism or world war will stifle nor inhibit the movement.

The war is not in this dimension, for it is the notion of 'Idea' rendered through the 'Logos.'

The Importance of Franchise From Universe

Now more than ever, media longevity is sustained through the notions of franchises and 'universes.'

The so-called (Disney) Marvel model has been widely adopted with evidences of it appearing on a lesser scale, be it with Netflix, Allspark (Transformers/Hasbro), or too a lesser extent Bootleg, and Shymalan is probably trying it with Unbreakable... even Gunn... And ironically where Universal's "Dark Universe" is stumbling.

Therefore it is all the more important that TMH is seen not just as a board game, but a rich media universe with infinite franchise, standalone and spinoff potential, without even having to deal with the nonsense of alternate timelines, as the universe itself, is essentially alternate history, which resonates with a wider audience. In addition to spanning various mediums, not limited to TV, but video games, mobile games, further board games -- both casual and hardcore.

The Sorry State of Comic Book Movies

At present, these movies are an ironic personification of the false impression of how comic books were perceived by the majority before the turn of the century -- seen as dumb and cheap, shallow and simply for kids. This in essence is the nature of the mainstream.

The mainstream is where shit goes to die.

As we enter the 'death' of the Comic Book adaptation genre, we will see a glut of more 'fan fiction' or 'alternate takes' -- spins on pre-existing formulas, and an ironic turn towards 'Elseworlds'-like content as prototyped on television.

It's here were we must express superiority -- pushing the free form and malleable material of a 'True Universe.' One without limitations, one to be taken seriously and is non-disposable.

'Too Many Heroes' as Universe is not the traditional 'super hero universe,' rather it utilises the idiom of 'super heroes' in present day, which in itself has been referred to by some at the turn of the century, as a form of 'modern mythology,' complete with the traditional narrative tropes as defined by myth cycles ('The Hero's Journey' [Joseph Campbell] etc.,) and Greek tragedies.

The narrative aim in this universe is a movement toward an evolution and maturation in storytelling. Away from the pervasive issues of the increasingly immature and often shallow comic properties in the mainstream, movie adaptations in particular -- representing humanity at its simplest and most childish, entertaining power fantasies aside, there is a loss of intelligence for which the best writers in the medium worked towards at the turn of the century. Elements of a maturation in narrative exists in both Man of Steel and the Director's Cut of Batman vs Superman (and to an extent Daredevil season 1) -- however the latter two suffer from chronic meddling and shoddy writing, resulting in a bizarre irony, whether intentional or otherwise.

The Marvel films as tarted up children's movies are among the guiltiest, and in a way most unfortunate that their success is contingent upon this -- designed for an audience expecting dumbed down caricatures lacking complexity.

One consistency beyond childish notions, is that superheroes are psychopaths -- which popular culture has an unhealthy voyeuristic fascination and tendency in celebrating, to the point of fetishizing the likes of serial killers. In displaying childish and/or sociopathy, heroes and villains are commonly alike as often explored in the duality -- particularly with Batman -- where heroes may act with a more positive purpose, rather than generally negative actions of villains (even if they were to believe their actions altruistic.) With the world of Too Many Heroes, sociopathy and mental illness are portrayed realistically, not in a heavily fantasised manner that is not only disrespectful but insulting.

In a further ironic bent is film productions attempting to go 'realistic' particularly in relations to costumes, as if thick leather and being unable to move your head is practical.

They ask, "Why does Bruce Wayne have to dress up like a Bat?
Burton movies: because he's small and intimidating.
Nolan/Goyer movies: an expression of fear ... and because the comics said so.
Snyder movies: because comic books, and to show how legit ripped Batman and Superman are in a post 300 world.

The latter is perhaps the most logical, as no real explanation is needed, given the suspension of disbelief, the more realistic one goes, the more holes will be apparent. The core however is much simpler, Bruce is a sociopath, never grew up, and the same child is still there.

With the world of Too Many Heroes, 'costumes' are 'real' in the sense of an expression of character by virtue of how a character (or in some cases their sponsor) chooses to represent themselves, veering away from the preconceived notions of a 'superhero look' -- rather defining customisation and ownership, resulting in something iconic and uniquely 'theirs.' Also illustrating a subsequent dichotomy -- for instance a dark brooding anti-hero type character, as contractually obligated, must wear a redesigned costume tagged with all manner of sponsorship and branding -- imagine The Punisher decked out like a Formula-1 race suit, to almost absurd ends of a Hello Kitty tag.

Qualifying the Universe

A 'Universe' in the mass media sense is often qualified and often misrepresented in a manner of a new franchise -- quantified as an interconnected series of characters tying into a series of events and/or taking place within a similar timeline (or alternate timeline as far as the likes of some Marvel properties are concerned.) Whilst this 'universe' definition in terms of comic book adaptations serves primarily as a positive for fans -- separating 'cinematic' or 'tv' universes from the original source material (which in itself changes frequently) from appearing canon, for better or worse, allowing its own stories to exist based off the source.

In the case of Too Many Heroes, this is a universe in the purest sense of the word -- an actual universe, from the moment of creation to present day -- reeling off into chaos and opportunity -- this is a universe of nigh unlimited possibility. The very foundations of creation itself are defined, the God-forms exist from the big bang, evolving through the very fabric of reality itself.

The Too Many Heroes Universe is not limited to myopic idioms, pop-cultural 'eras' or simply a contingent of characters and spin-offs, rather a constantly evolving expansive source of exponential potential, this Earth, this time, is merely a slice of a larger universe -- without the necessity of having to meddle with alternate timelines, which in itself only magnifies the possibilities. This Universe differs by focusing on evocative narratives, timeless stories dealing with universal truths and the nature of reality and existence itself.

Phase 2.5 -- A Truly Global Voice

One of the ideas for Phase 2.5 is to have selected creators from all around the world 'telling their story,' in a sense utilising the sister universe as a means of expressing stories/culture in a similar vain to what 80's films/'sci-fi' have done before.

Also preceding this commissioning art, like graffiti for instance -- murals with a message, which could be interesting in the likes of Ireland or Ukraine.

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What Could Have Been

Interview - Guru Magazine

TOO MANY HEROES - PRIMARY UNIVERSE BIBLE

Introduction

Regarding This Document

Ultimate Mission Statement: The Great Correction

The Importance of Franchise From Universe

Phase 2.5 -- A Truly Global Voice

Too Many Heroes

About 'Too Many Heroes'

The State of the World and Heroes