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Four kingdoms, each one portrayed by a different method of animation, are forced into war by a cruel pantheon of “Gods” who are portrayed by live-actors.
SYNOPSIS:
Aeon is a large supercontinent surrounded by a vast ocean. It’s where the four kingdoms of the Trexars, the Doxist, the Parada, and Yanshi reside. To the north of Aeon is a small island with a single mountain the size of Olympus Mons. It is atop this mountain that the Gods reside. The Trexars (portrayed by 3D computer animation) are the youngest and currently the most powerful empire on Aeon. They are systematically conquering the three other kingdoms. But their conquest is partially stymied by a brewing civil war between the magic-using Classico-Trexars (who are portrayed with stylized 3D animation) and the technology embracing Neo-Trexars (who are portrayed using photorealistic performance-captured animation). Their culture is reminiscent of the Ancient Roman Empire, mixed with a post-cyberpunk futuristic aesthetic.
The Doxist (portrayed using traditional 2D animation) where once the most powerful kingdom in Aeon, until the Trexars conquered large swaths of their territory, but before the Trexars appeared and began their conquest, the Doxist was embroiled in a civil war between the rigidly-traditionalist Alpha-Doxist (portrayed using classic anime-style) and the radically progressive Proto-Doxist (portrayed using anatomically-accurate rotoscoping animation). Faced with the threat of the Trexars, the two sides have formed an uneasy truce. Their culture is a mixture of Ancient East Asia and contemporary society.
The Parada (portrayed by stop-motion animation) used to be an isolated kingdom, one that always tried to stay out of the affairs of the other kingdoms. But their land has resources that both the Trexars and the Doxist desperately desire. So the Parada have been forced to fight for their kingdom’s survival. Parada have shape-shifting magic-users (portrayed with stop-motion clay animation) and partially mechanical cyborgs (portrayed by solidly-constructed stop-motion puppets). Their culture resembles Western Europe during the colonial period.
Finally, we have the Yanshi (portrayed with animatronic and/or hand-operated puppets) the oldest kingdom on Aeon by a huge margin, having existed for thousands of years before any of the other three kingdoms arose. However, over the past century, all of their land has been conquered and fought over by all of the other kingdoms. So the Yanshi are now a “nomadic kingdom” of people traveling from place to place, but with no land to call their own. They resemble Ancient Arabic cultures, with some aspects of American Aboriginal cultures.
All of these races are dominated by a race of Gods (portrayed using live-action actors) who manipulate the affairs of the four kingdoms for their own amusement. The Neo-Trexars and the Proto-Doxist reject any belief in the Gods; the Classico-Trexars are largely agnostic; the Alpha-Doxist consist mostly of secularists; the Parada embrace stories of the Gods as culturally indispensable myths, but don’t necessarily believe them to be real; and the Yanshi are deeply religious and have long believed in the Gods as real. The Gods have a culture akin to the Ancient Greek Pantheon, with an Avant-Garde aesthetic to their design.
An ancient legend of Aeon states that at their world’s creation, the Nativity Sword, in its golden, diamond-studded sheath, fell upon the mountain to the north; the sword brought life to the mountain, from which the God’s arose. One of the God’s, named Cristiani, removed the sword from its sheath and fled with it to Aeon. At the southernmost point of the continent, he planted the sword in the ground. From there, life came to the continent, and the four kingdoms ultimately arose. The Nativity Sword was ultimately lost, while its sheath remained in the realm of the Gods, serving as the source of their power over Aeon. It is said that if the Nativity Sword is ever found, that whomever manages to place it back in its sheath, will achieve ultimate power over the world.
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