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OrangeMacawWorld PM
Joined Jan '18


Greetings, everyone! Otherwise known as Orange, OMW, or OrangeMacaw (not to be confused with the DeviantArt user of the same name), I am OrangeMacawWorld, an administrator on the Rio Discord Server and an author on the Rio Fanfiction Archive. In some capacity or another, I've been a storyteller since my days in preschool, and have been writing prose fiction since at least early 2013. Owing to the first movie's profound impacts on my life as an artist and my keen interests in metaphysics and Brazilian history, I have held a great affinity for Rio ever since its theatrical release in 2011. From October 2015, part of this affinity has included Rio fanfiction, and I have been writing Rio fanfiction in various modes of productivity since August 2016. In January 2018, I would become an active participating member of Rio's online fandom when I registered for FFN, and am currently active on the Rio Discord Server and r/RioMovie on Reddit.

Outside of the Rio fandom, I primarily invest myself in European history (especially that of the 19th and early 20th Centuries) and Neoplatonist philosophy, both fields to which I apply an ethically and theologically Catholic perspective. To varying extents, I also study geography (often excessively), political science, economics, sociology, law, linguistics, gastronomy, art history, artistic critique, and architecture, along with whichever subject matters catch my interest along the way. In my free time, I go on walks, I write detailed outlines for hypothetical buildings and public parks, I dine and dialogue with friends, I cook for my parents, and I try to win the heart of a certain someone who I've loved very deeply for over 6 years. Some of my interests can be traced back to my childhood fascinations, while I have pursued others more recently for the sake of knowledge or introspection, truth, and honesty. It is in my stories that I hope the very highest literary and moral standards are reflected, and that any potential insights that they present leave an impression on my readers for the better.

My Username and Avatar

Though I have been known on the Internet as OrangeMacawWorld since 2018, it was already in the summer of 2016 when I first devised it, shortly after I made the decision to become a Rio fanfiction author. In selecting my future username, I first decided to use SpixMacawWorld, with the ending "world" being added on out of my guilty pleasure for Jurassic World at the time. Soon thereafter, this was changed to OrangeMacawWorld, though whether I immediately associated "orange" with the plumage of the Cuban macaw or not is a question with an answer that I do not know.

Certainly, it was associated with the Cuban macaw by the spring of 2017, in which I wrote a draft for a Q&A entry that was never published on FFN, owing to site rules. The Q&A featured a self-insert Cuban macaw OC answering hypothetical questions in an interview chair from Blu and Jewel. When selecting an image of a Cuban macaw to use as my avatar, I decided to use an early 19th Century print by Jacques Barraband, who was perhaps the most scientifically accurate illustrator of tropical birds during his lifetime.

For any readers of mine who also happen to browse DeviantArt, I have no relation whatsoever to the Rio artist by the name of OrangeMacaw, and the great similarity in our usernames is entirely coincidental. As previously mentioned, however, I am active on the Rio Discord Server as a moderator, and am always available for questions, greetings, or general messaging. Additionally, I am also present on Reddit, YouTube, and DeviantArt under the same name.

Why Do I Love "Rio"?

Almost from the day that it was released in the US on 15 April, 2011, I have always been an exceptional fan of Rio, and found myself particularly obsessed with it from my discovery of Rio fanfiction on 10 October, 2015 until the summer of 2017 when I truly started pursuing political science. Before I delve into why Rio still remains (and probably always will remain) my personal favorite film of all time, I will first name what I do not like in Rio, as by any objective standard, it is not a perfect film. Indeed, as excellent as it is even a decade later, it is flawed as is virtually any other film in the world.

Paramount among these few flaws is Jewel's development as a character, as it could have been made significantly better with only two or three minutes added to the runtime to provide an insight into the journey through Rio with Blu from her perspective. While the relationship between her and Blu is conveyed incrementally enough to where its evolution into a romantic one can be believed, tapping into Jewel's innermost feelings about the situation would have provided much more storytelling depth to the film overall. As is, Blu's three intertwined arcs (in which he is forced to sacrifice his personal comforts for the collective good of his species, gradually rediscovers his past memories and homeland, and finally learns to use his natural ability to fly) are compelling enough as a whole to keep an adult audience invested, but would most definitely have been helped by the addition of what I just mentioned relating to Jewel. More minor flaws include the inconsistency in what can and cannot injure the characters (e.g. any of the slapstick scenes featuring Blu and Jewel versus the fight between them and Nigel on the SC-7 Skyvan), a few plot holes (no humans notice the Samba Club brawl and Fernando somehow has enough pieces of cloth to lead Linda and Tulio to the airport, yet the Skyvan doesn't fly over Cosme Velho until well after dawn), and a handful of jokes that were either childish or didn't land well.

In virtually every other respect, however, Rio is simply extraordinary. Blu's character arcs not only succeed in complementing each other and resolving well, but allow Blu to be classed as a three-dimensional character (one that is given a complete arc with progression and development) and to be separated from his base archetype of the "fish-out-of-water nerd." The rest of the characters are at the very least utilized with clear intent and purpose, even in the case of those that are placed in very minor roles. None of the film feels structurally entangled within itself, with the two subplots (that which focuses on Linda, Tulio, and Fernando and that which focuses on Nigel and the smugglers) making relevant contributions to the main plot of the film centered on Blu and Jewel.

Almost everything about the visual department (from the animation quality to the cinematography and from the portrayal of each location to the character design and movements) was flawless for the time (except for the somewhat distracting reuse of character models for background characters), and the quality of the animation is still impressive ten years later. Rio de Janeiro itself is the main star of the film besides Blu and Jewel, and the amount of precision and accuracy that was taken into portraying the city quite obviously reflects Carlos Saldanha's passionate feelings about it and of Brazil as a whole. Subtle details and homages to Rio de Janeiro even go so far as the sidewalk patterns of Ipanema and Copacabana forming the backgrounds of the end credits, and the design of the royal palm avenue leading to the aviary is clearly modelled after that in Rio's Botanical Gardens.

As for the music, it ranges from simplistic pop (not that there's anything inherently wrong with simplicity) to complex and swelling orchestral melodies that throughout the film, serves its purpose very well. The film's songs with vocal components are nicely balanced between those in English that form the central focus of Rio's musical element and those in Portuguese that while always confined to the background, match very well in their lyrics with the scene taking place in some way (especially the film's rendition of Mas Que Nada, which I prefer over any other versions.)

Finally, before I touch upon why Rio is my personal favorite film and not just a great one, it is worth noting that I do not factor in the film's use of cliches as a major flaw, unlike many, if not most who have analyzed it in the past. Why is this? First, a "cliche" is simply an established storytelling trope or tradition, and as tiring some may seem if they appear on too many occasions, they have existed across all the world's storytelling traditions for a reason, because they either mirror reality or reflect the author's view of something (or someone.) To tell any story that is absolutely not derivative is utterly impossible. In my view, the use of commonly established cliches devolves into lazy writing only when the author does little to nothing to separate a story's plot, characters, and other elements from the base cliches and archetypes that are used as their frameworks when such separation is necessary. In the case of Rio, Blu is most definitely separated from their respective base archetypes of "fish-out-of-water nerd" and "beautiful free spirit." Even before Blu arrives in Rio de Janeiro, he is a well-read pet who holds contempt for the idea of leaving Minnesota and only agrees to do so because of Linda's assurances and because the "mission" after all is the last hope in saving the Spix's macaw from extinction.

Now, why is Rio my personal favorite film ever, even if there are plenty of others that objectively outclass it? Upon my first viewing of Rio in the theater (which I still vividly remember, despite being only 7 years old at the time) and even since, it has easily been the most formative film in my life, changing my entire outlook towards character, music, and romance in film and indirectly leading to my interests in history, ornithology, and the existential concept of identity (resulting from Blu's arc in which he discovers his past memories.) Had I not seen Rio in 2011, it is probable that I would not be the same person today.

My Journey to Becoming a Rio Fanfiction Author

Though I have been a loyal fan of Rio ever since its release in 2011, it was only on 10 October of 2015 when I became familiar with Rio fanfiction, then reading the Idea Wiki's entry on a hypothetical outline of Rio 3 (which more or less was fanfiction.) This came as a result of me searching for any possible information on the production of Rio 3, and it was only a few months prior when I discovered the Rio Wiki. While the outline in question on the Idea Wiki was genuinely difficult to read in many instances owing to its poor writing quality, I still found its plot thoroughly engaging (at least at the time) and it allowed me to feel inclined when reading further non-canon materials.

For a while after that, the extent of Rio fanfiction that I read was based within fandom wikis and not actual fanfiction databases. However, this changed completely in March of 2016, when I discovered FFN and read Rio Last Goodbye, a short story by benderjam that focuses on Blu and Linda's complications in moving from Moose Lake to Rio de Janeiro. Would I currently consider it a masterpiece? No. But did it immediately hook me into this site? Yes, it most certainly did. On that same day, I looked for more Rio fanfiction and stumbled upon The Estrella by Sorrelwing, which served as the final stepping stone in facilitating my interest in Rio fanfiction. For the next six days, I took the time to read The Estrella with almost every spare moment at my disposal, and it was immediately after that when I started reading Sorrelwing's prequel stories Before Jewel Met Blu and All of My Heart.

In April of 2016, I voraciously read Rio: The Series by Ricardo the Black Hawk and numerous stories by Sorrelwing, AquillaPrime, YootisPoshil, Bluetech, Blu Razgriz, EgilMaster365, Assassin's Creed Master, Rapper the red macaw, MCGamemaster90, among many other authors. It was finally in July that I made the decision to join the Archive once I became old enough to do so (I was still 12 years old at the time) and once my writing quality became comparable to that of Sorrelwing, my main inspiration. From the end of August of 2016, I started writing what I intended to publish as my first story, titled A Vacation in San Diego (based partially on my own travel to San Diego the previous year), and though I put great effort into writing it, it was more or less abandoned in October. In September, wanting to create a prequel story that replicated the immense tragedy of Sorrelwing's Before Jewel Met Blu and All of My Heart but nonetheless had an identity and a plot of its own, I formed the first handwritten outlines for Don't Go.

Actual work on the first draft did not begin until late October, and only 23 pages (separated into 6 chapters) were complete by the time that said first draft was abandoned in January of 2017. While it is indeed true that the original draft of Don't Go was one of my greatest writing projects up to that point, it is quite embarrassing for me to read now, especially in light of its laughable political dialogue. After that, I started experimenting with war-themed one-shots (specifically focused on WWI and WWII, titled World War Rio and Glory for Blu, respectively), but these still dissatisfied me in spite of the latter story being finished. In February of 2017, it was just after watching a few Rio SMF shorts on YouTube showing Blu and Jewel on what appeared to be a Pacific island with a port and searchlights that I devised Don't Lose Your Way, another epic and quasi-sequel to Don't Go set three years after Rio 2. From my first draft of the story's first chapter until August of 2017 when the first 41 pages were complete, the quality of my writing evolved so rapidly that it was difficult to believe that Don't Go as of January and its sequel as of August of that year had been written by the same person.

From July to August, I gradually restarted work on Don't Go with an entirely new second draft, with work being complete on the first chapter in January of 2018. By then, I felt that I was finally ready to publish content comparable to that which I admired, and it was thus that I joined FFN that month.

OrangeMacawWorld Trivia

I - outside of Rio, my favorite movies tend to be period pieces produced from the 1920s to the early 80s, while my favorite TV shows tend to be British (either ITV or BBC) and also comparatively vintage. Among these are Barry Lyndon, Waterloo, Zulu, The Gods Must Be Crazy, Raiders of the Lost Ark, and the 1981 mini-series adaptation of Brideshead Revisited (especially Episodes 1 - 4 and 7.)

II - at least one person has asked if I had attended writing classes before joining the Archive. Beyond the standard English curriculum in American public school, I had no formal academic training in writing whatsoever before I joined FFN, though I was exceptionally good in elementary school at spelling and detailing, and became particularly renowned for my creativity and my penchant for storytelling. It was only in 11th Grade (the second half of high school) when I took a dedicated creative writing class, in which I learned very little. Almost all of my current writing skill is derived from introspection, self-criticism, the incorporation of my life experiences into the prose and dialogue, my own analysis of the books I have read and what they did exceptionally well, my perfectionist regard for quality control (which I will discuss in a moment in further detail), and Kraft58's detailed advice in showing, rather than telling (though I took some of it to an extreme early on.) I do not use any editing software outside of the basic spelling and grammar-checkers in Google Docs and Microsoft Word, and do not ever intend to in the context of prose fiction (writing emails is a different story.)

VI - overall, the most prominent influence on my writing style rests with J.R.R. Tolkien, whose work served for a number of years as my essential guide in writing literary exposition. As great as Tolkien was, however, his writing style was not flawless in any objective sense, and it is because of this that I do not try to necessarily emulate the quality of those writers whom I take inspiration from, instead attempting to surpass them. Other inspirations on my writing style to lesser degrees in descending order include Sorrelwing, Michael Crichton, John Steinbeck, and James Hurst... And also orchestral music. As odd as it may sound, I also now use orchestral music as a guide for eliciting emotions in an audience, and in doing so attempt to model my narrative structure on such music with progressive building and unwinding of tension and emotion that is maintained through each and every paragraph. Thus, if I do not find a sense of musical harmony in my writing as I proofread it, I will usually rewrite whatever part dissatisfied me from scratch.

VII - throughout my life, I have been quite open about the fact that I was born with high-functioning autism (HFA). During my early childhood, my condition was certainly more of a curse than a blessing, as I was affected by a significant speech delay (I could not speak whatsoever until the age of 3 and it was only at 4 when I could speak in coherent sentences), an ineptitude of describing my emotions to others, great difficulties in forming and maintaining friendships, highly paranoid and anxious behaviors, frequent and deliberate social isolation and seclusion, extreme sensitivity to sound and certain textures, difficulties in grasping empathy, difficulties in acquiring legible handwriting and basic gross motor skills, and a constant lisp and stutter that lasted until the age of 8. At the same time, however, some of my deficits quickly became simultaneous advantages in the long-term. Among them was my social seclusion, which allowed me to not only isolate myself from negative influences in school, but to also exercise my creativity in storytelling and to study my earliest subjects of interest, including herpetology and paleontology. By the onset of my teenage years, I had more or less learned through experience how to adapt to my surroundings and maintain friendships, and it was shortly afterward when I began using my condition to help myself develop as a person. From the age of 14, my own family theorized that my eye for detail in literary exposition stemmed primarily from the hypersensitive perception of the human senses and the systemization of factual information that are often associated with high-functioning autism. It was from this explanation onwards when I viewed autism, despite its ills against me in my early life, as something not to be ashamed of, but to take pride in. Of course, some of autism's less desirable aspects are still present in my life, as I still find difficulty in pouring salt over my meals, cutting meat properly, and feeling empathy in the majority of situations where it is expected.

VIII - among all of the characters in Rio, Blu is by a greatly significant margin, my favorite, due not only to his development as a character in the first film, but also because of my ability to relate to him in many, many regards. As I was born with high-functioning autism, Asperger's Syndrome, and ADHD, I often found great difficulty in interacting with others through my resultant awkwardness, was unable to truly describe my emotions, and generally struggled in grasping empathy during the first thirteen or so years of my life. Thus, when Rio was released in 2011, I immediately grew attached to Blu personally, as his character's own social troubles in some ways resembled several of my own quite vividly. All of this which I have thus far described does not even hold account for Blu's timid and anxious nature, which is again, an aspect of the character that I could truly connect with. Even to this day, I can act quite timidly given the right circumstances, and up until I reached the age of ten, I was stricken with a highly prevalent sense of anxiety which felt nigh-constant.

VIII - My favorite song in the entire lyrical soundtrack of the Rio franchise lies with Real in Rio, and when choosing a piece from both scores, my favorite would be Birdnapped, due to its joyful opening and frightening conclusion. Of all time, my favorite piece of music from any soundtrack is Lazy Summer Skies from the score of The Life of Birds, both due to its splendid chorus and composition, as well as its connections to a very special event in my life (thus far at least.)

IX - For almost as long as I have been a fan of Rio, I have held an utmost fascination with exotic birds and have studied them quite thoroughly since approximately July of 2011. Some strangers have even bestowed upon me the title of "The Bird Man," as whenever I travel to a zoo or attraction which carries an area where the general public may feed birds, I stand in place quite steadily with my arms raised horizontally, a technique that has often helped me achieve instant success among the birds themselves, who thereafter tend to land on my arms as perches. Several years ago, I was even offered a volunteer job at a privately-owned parrot sanctuary and conservation center, though I turned the position down due to the long distance of travel from my residence to the sanctuary itself.

X - my preferred musical genres are baroque, Argentine tango (and to a lesser extent, Finnish tango as well), Bossa Nova, jazz, Samba, Bel Canto opera, and the folk music of numerous European, Polynesian, and East Asian cultures. In practice however, there are very few musical genres that I do not like to at least some extent (especially in the context of film and video scores), save for perhaps impressionist music and a few sub-genres of heavy metal and hip-hop. Currently, I am somewhat of a musician myself (albeit not a particularly good one), owning three Bb trumpets, a single clarinet, and an electric piano, coupled with several minor percussion instruments and a harmonica that I never use. Of these instruments, I can only truly play trumpet and not particularly well, though I still enjoy doing so, while my piano is primarily used as an instrument to help me improve my knowledge of music theory. On three occasions, I have also attempted to compose a piece of music, including two band marches and one opera that took significant inspiration from Finnish tango. However, I found all of my compositions to be too derivative and generally unimpressive. I am not a good singer either, which is not helped by the fact that my voice sounds nothing at all to others how I myself perceive it. Despite my deficiencies in music, I nonetheless continue to study music theory.

XI - gastronomy (the study of the culinary arts and its practices) is among my favorite subjects, and has led to a rapid development in my taste palate over the years. However, what hasn't changed is that I generally prefer Italian cuisine over all others. The only aspect of a meal in which I believe Italian is comparatively lacking is its array of desserts, outclassed by those in French and Belgian cuisines. Other cuisines that I regularly eat include Brazilian, German, Japanese, some elements of Dutch cuisine, and certain dishes from the Cajun, New English, and Californian US regional cuisines. Greek and Bahamian cuisines are also favorites of mine, though it is quite rare when I eat dishes from either. For those curious, my least favorite cuisines in the world tend to include "Americanized" versions of foreign cuisines, with some exceptions (e.g. Brazilian-American or some aspects of Italian-American.) This is perhaps no better exemplified than by the typical "Chinese" restaurants that one will see in the US, using overly sweet sauces, dry and unseasoned rice, and often a plentiful number of American dishes that I would likely rather eat at any major fast food chain. On a final note, what are my opinions concerning fast food? To answer this question, it depends on one's definition of "fast food." Generally, I enjoy "fast casual" restaurants provided that the quality of the ingredients used are of a relatively high standard, while true "fast food" is something I eat to temporarily satisfy my appetite and nothing more.

XII - though English is currently the only language I am fluent in for the time being, (as it is my first language, after all) I have extensively studied German and can read and write in it, albeit to a very limited extent. I also study Portuguese and to a more limited extent, Latin as well, the latter for religious reasons.

XIII - in my opinion, the greatest Rio stories ever written are All of My Heart and The Estrella, both written by Sorrelwing (though only the latter is still extant.) All of My Heart succeeded in nearly everything that it attempted to do, (its only flaws being the lack of development for most of its supporting characters and some errors in the dialogue punctuation) and holds the position today as being the only tragedy I have ever read that has made me nearly shed a tear. The Estrella, though not quite as good in its more psychological aspects, was still a masterpiece, and its action scenes are possibly the most heart-racing and intense that I have ever seen in Rio fan fiction. It was also the story which inspired me to join this community in the first place.

XIV - one of my greatest weaknesses is my almost-complete lack of athleticism outside of swimming and archery, (as there is indeed a reason I received the nickname "Toucan Legs" in the 9th Grade) of which are both activities that I am only mildly proficient in. Occasionally, I venture into the lands off lakes and rivers for the purpose of hiking and recording sightings of wildlife.

XV - while I will not discuss my political views here publicly as to not alienate any of those holding different opinions who nonetheless enjoy my work, I do not pretend that I am apolitical or unbiased, as I hold the belief that a man who is apolitical does not exist so long as he is aware of abstractions. After all, an ideology, whether it be right or wrong, or somewhere in between, is simply a synthesis of certain moral convictions, and it is moral conviction that serves as one of the defining traits of mankind.

XVI - concerning genres in fiction that I enjoy, my favorite would have to be romantic tragedy by far. Science fiction, as well as fantasy also stand among it in this regard, though it is worth noting that I gravitate more towards the former than the latter, as today's fantasy mostly consists of unoriginal imitations of Tolkien.

XVII - for several years, gathering historical knowledge has been one of my favorite activities in life, but I do not work with history professionally, nor do I intend to as a full-time job. In particular, my area of "expertise" is studying esoteric areas of naval history (circa 1890 - 1945.)

XVIII - unfortunately, it is at the moment that I cannot work in any capacity on this site as a true beta reader, due to the amount of time that I must invest in my own work and helping other authors improve in their work. However, if you would like me to review your story, please visit the Review Policy section of this bio page for further information before considering a request for my assistance.

XIX - for several of my early years, I not only wrote, I also made short films. These films were absolutely void of editing and sound effects (all of the audio was done on my part by some method in the raw footage of each short film that I produced) and my line delivery was quite simply atrocious.

XX - during the first nine or so years of my life, I will admit that at that time I was a staunch atheist, despite the fact that I was raised Protestant. However, after that point, I became more agnostic than atheist as I felt that a greater power could be responsible for such beauty within the natural world. By the time I was 14, I had more or less embraced my parents' non-denominational Protestant faith after affirming my own hypothesis which surrounded a worldwide natural hierarchy, as its only logical conclusion was the existence of a god. Once I was done studying the doctrines of other religions to see whether or not I was making the right decision in choosing Christianity, I read extensively on Christian history and studied virtually every aspect of it, becoming more and more sympathetic with Catholicism and Eastern Orthodoxy as I felt their doctrines were both consistent with my original hypothesis. In July of 2018, I visited the Hillwood Estate and became greatly intrigued by the Eastern Orthodox Church, briefly thinking about converting to it but retaining my Protestant faith out of caution. From the beginning of 2019 onward, one of my primary studies was theology and Catholic doctrine, and eventually, I declared on the night of June 7th of that very same year that I was to follow the Roman Catholic Church. Today, I am religious enough to be considered a traditional Catholic, (though I do not affiliate myself with Sedevacantism, as it is inherently flawed in premise, not to mention schismatic) and thus repudiate the materialistic outlook of the world which I possessed during my early years.

Update: 7/12/2019 - Biographies for my OC's

César Torres - overall the 19th Patriarch of the Spix's Macaw Tribe, César began his reign in 1978 upon the death of Almir the Great, his father. After he married Eduarda Alto in 1980, the latter bore him a daughter (Mimi) in 1982 and subsequently a son (Eduardo) in 1983. By the time of Don't Go, the Patriarch was not particularly popular with anyone outside of the circles of merchants whose trade syndicates had received much support from the Patriarch. He was not all that favored by the military commanders of the Spix's Macaw Army as he focused on trade and cared little about defense, while at the same time not being liked very much by the general populace either, due to his bombastic and often arrogant attitude. Thus, the majority of the Tribe's Great Council in 1989 voted to implement a regency in the Tribe with Eduarda as ruler, but this decision was overturned almost immediately, as the Matriarch held a very sparse amount of experience in dealing with serious matters.

Eduarda Torres - spending much of her early childhood as a storyteller and a mercantile assistant, the 21st Matriarch of the Spix's Macaw Tribe was at the time of her 1980 marriage to César, a member of the aristocratic Alto family, which at that point had held a great amount of influence in the Tribe's policies relating to efforts intended to discover more about the human world to the north. In the eleven years she held her title as Matriarch before the events of Don't Go, she was known to intervene in public affairs to only a limited extent, as she felt that her mate was far more experienced in the role of exercising authority in the Tribe. Though often much more open than her mate to dissenting opinions from the Great Council and the general public on certain issues, she was known to exhibit considerably less charisma than the Patriarch and was at times, very hot-headed and simultaneously overly-sensitive.


In spite of how divided the six Macaw Tribes in the Amazon (as well as those that lied outside it) could become given the right set of circumstances, there were two uniting prospects of the Tribes that they all had in common; those two factors were language (Birdish) and their ancient religion, often referred to by its adherents as "Tradição divina neotropical," though it is best described as parrot polytheism. But what is this ancient faith that these birds all practice?

Simply put, the ancient mythology of the original macaws claim that eleven gods and goddesses belonging to the Realm of the Sky (with Selva being the king of the gods whose power peaks at sunset, while the other ten have their power divided evenly between the time of night and daylight) rule the world and control all of its aspects by some degree. Parrot polytheism also taught that Selva created a giant ball of mud in the Night Sky Realm, which was complemented by oceans and seas by the goddess of water Astuta, as well as with more land and the jungles by Selva, resulting in the birth of the world. Moral teachings were stated to be sourced from both Selva and Astuta, and were passed on verbally. Often times, followers of this religion would set out to kill dangerous beasts or even go so far as to mutilate themselves if they violated their sacred codes. This practice eventually ended however by the early 1500's, as too many macaws were being eaten by bull sharks and crocodilians for the tradition to be considered efficient. To compensate for this, Macaws would fly into the Catholic churches built by the Portuguese in order to inspect them, and not long thereafter adopted a similar form of confession and repentance that these churches used. As mentioned before, there were eleven gods and goddesses in macaw mythology, as listed below:

I - Selva; considered the king of the gods, as well as the god of the jungle, birds, pleasant weather, valiance, and morality. The Macaws tend to worship Selva most often out of all the gods as he is their king, and in mythological epics and stories passed down by the Macaws themselves, Selva is generally portrayed as the most fair and forgiving of all the gods as well. In the Macaws' quintessential epic poem entitled The Starlight at Sunrise, Selva is depicted to constantly remind the Tribal Patriarchs of his moral codes, regarded as arguably more sacred by the Macaws than weekly prayer to the gods themselves. These moral codes included refraining from causing harm to others without just reasoning, general obedience to the Tribal elders, (and later Patriarchs) remaining with a single mate until death, preening every Saturday to cleanse one's body of evil spirits, assisting the hatchlings of one's Tribe in their education, and aiding in the survival of one's species.

II - Astuta; traditionally stated to be the sister of Selva, and considered the goddess of water, reptiles, aquatic creatures, and stormy weather. In most mythological stories depicting her, she was usually portrayed as being the most honest, yet wrathful of the eleven gods and goddesses. This is due to the macaws' mostly-stigmatized view of water, (as they cannot swim, adding onto the fact that the Amazon River contains piranhas, stingrays, bull sharks, and caimans) and because of this, they thought of the rivers, seas, and ocean as a realm of judgement for the living. For quite a while in macaw societies, funerals were not held for individuals who died by drowning or were killed by an aquatic predator, as it was thought that their demise meant that they were being delivered fair punishment from Astuta.

III - Alvorada; depicted to be the goddess of love, parenthood, fertility, beauty, family, and hierarchy. In most macaw Tribes, (this was never practiced by parakeets, conures, or parrotlets, however) it was once a common practice for a porcupine to be sacrificed to Alvorada (by being thrown in the Amazon River, in the hopes that it would be eaten by piranhas) on the "mate bonding ceremony" between a Patriarch and a Matriarch. One quill though would be dipped in water borne from a waterfall purported to carry the aquatic blessing of Astuta and the terrestrial blessing of Selva (due to the water running off a cliff, which was considered land) and then be stabbed by only an inch into the Matriarch's abdomen, a ritual that was considered necessary in order for the ruling family of a Tribe to bear healthy offspring. This practice fell out of use in the 1740's after the Matriarch of the Red-bellied Macaw Tribe was accidentally killed during this ritual, as the porcupine quill punctured far too deep.

IV - Cantora; in early Macaw mythology, the goddess of song, and later on, also of the sky, the stars, and mammals, she is most often acknowledged by the Macaws' scholars as the wife of Selva, and perhaps the gentlest and kindest, (albeit not the most forgiving) of all the gods. Her role in The Starlight at Sunrise involves her providing a navigation route through the stars to Antonio, the epic's protagonist. With the exception of the month of April, the birds prayed to her at night, especially during those without rain when the sky was clear enough for the North Star to be visible, of which is according to legend, said to contain her palace made entirely of kunzite, as well as her similarly-constructed tower of light, reputed to be responsible for transitioning the time of day to night and vice versa.

The Early History of the Macaw Tribes

Throughout my prequel story Don't Go, much is explained directly to the audience via mostly narration, regarding the histories, cultures, traditions, customs, and spiritual beliefs of the many Macaw Tribes. However, as I would prefer not to give too much exposition concerning them while still maintaining a proper narrative, I will detail the history of macaw society in this very long section of my bio:

To begin, before the Gregorian Calendar year of 1498, parrots lived together in many small communities within the jungle that were typically comprised of a dozen or so families each. These families sometimes communicated with one another, but not one group of macaws ever called for a unification of their respective species as a single tribe. Their language, Birdish (that is what it is called, according to Rodrigo Santoro in an interview) is of its own origin with no discernible roots, though parrots' given names were generally of Old Tupi origin (one of the primary indigenous languages of Brazil at the time.) From the very beginning of living in any sort of civilization, macaws, parakeets, conures, and parrotlets all despised mankind, as they were the only creatures roaming South America whose languages were not passed on to them by the birds themselves; for thousands of years, the parrots had spread their language all across the continent and beyond, until eventually, all non-human animals capable of speaking spoke no language of their own, but the one of the parrots.

Despite never having truly unified, these small communities of parrots often attacked not only humans, but other parrots as well. By the early 1400's, macaws and conures entered a war competing for dominance over the continent, and the war continued for another century. Along with the wars that took place between other families of parrots, different species of macaws constantly fought each other, due to divisions concerning values, traditions, cultural rectitude, morality, etcetera. In short, the only characteristics that unified all parrots at the time was the language they used to communicate, the religion that they had practiced for many centuries, and the fact that they were all birds.

In 1496, a single Hyacinth Macaw originally named Pira that lived in what would be named Para by the Portuguese during the Age of Discovery decided that he had enough conflict within his life; most of his family had been killed at the behest of two conure communities, and as revenge, he sought to unify all Hyacinth Macaws across Brazil as one tribe, in order to finally end the Endless War. This macaw then spread his sentiment, expressing his desires for the unification of all Hyacinth Macaws. He was almost immediately met with admiration and praise, and one by one, communities composed of members of the same species as Pira joined his cause. His goal was finally accomplished on April 27th, 1498, when the Tribe of Blue Macaws was formed in present-day Mato Grosso, consisting mostly of Hyacinth Macaws. However, a sizable minority of Glaucous, Lear's, and Spix's Macaws all made their presence within this new Tribe. With its territory spanning from eastern Bolivia to Para, and from Bahia to northern Argentina, the Tribe finally turned the tide of the Endless War in the macaws' favor. This is why April 27th is considered New Years Day in virtually all macaw tribes located in the north of Brazil, rather than January 1st.

In 1500, Pira explored the areas that were being settled by the Portuguese and renamed himself Joao. Thenceforth, he further developed the civilization that he had created, then moving his massive Tribe's influence to the north, spreading much of his influence into the Amazon Basin. There, the Tribe quickly defeated the small Scarlet Macaw families that lived there, taking over what would eventually become the Spix's Macaw Tribal Territory. The Blue Macaws' way of life was then spread to the Scarlets. One after another, more and more tribes of macaws were formed, until all macaw species were unified by some measure by 1530. However, the unification attempts were not as successful for the Scarlet Macaws, which was still divided after much conflict. As a result, the species divided itself into multiple different tribes located all across South and Central America, as well as southern Mexico, in order to ease tensions. Suddenly, Joao died in 1532 at the age of 50, and the Blue Macaw Tribe disintegrated, plunging the four species of the former Tribe into conflict. By 1534, the Hyacinth, Lear's, Glaucous, and Spix's Macaws had all divided themselves into their own Tribes. Joao II came to rule the Hyacinth Macaws, Herberto I came to rule the Lear's Macaws, Leonardo I came to rule the Glaucous Macaws, and Jacinto I came to rule the Spix's Macaws. Out of the four, the Spix's Macaws held the largest geographical advantage of being positioned with the Amazon, while the other Tribes lived mostly in more open climates, making their populations easier to attack in the event of war.

How NOT to Write a Rio Fanfiction Story

On the Rio Fanfiction Archive, there is a plentiful number of excellent works ranging from romance to tragedy and from fantasy to science fiction, but there are unfortunately hundreds of stories that I would only recommend as an instructional material for how NOT to write fanfiction (or anything else, for that matter) or as a test subject for humorous read-along videos on YouTube. Less fortunate still is that many authors of fanfiction don't seem to think through their writing whatsoever and cobble whatever poor excuse for a first draft they are willing to offer for public scrutiny, all the while expecting reviewers and the casual reading public to laud their work with praise.

To anyone reading who aspires to become a fanfiction author and even to those who may already be authors with years of experience, the fact that a work is one of fanfiction does not excuse poor quality. As a writing medium, fanfiction is separated from original fiction only by the former using another's work as a basis. Otherwise, all of the same basic rules of writing apply to fanfiction. In some cases, fanfiction can be even more challenging to perfect than a work of original fiction, as faithfully expanding upon any given source material and perhaps even surpassing the original work(s) in quality is by no means a simple task, even for short stories and one-shots.

As an art form, fanfiction is NOT about posting lemons with wretched prose or throwing in random self-insert OCs and Mary Sues into the original work's important moments. Fanfiction, once again, is about cementing a given work's importance to a fan writing a story in which that work or elements from it reach new developments that build upon its basis or its core ideas. Because of this, it goes without saying that I take fanfiction very seriously as an art form, and Rio fanfiction is certainly no exception since it forms 100% of the fanfiction that I write, in fact. What are some things that one should not do when writing fanfiction? As it turns out, there are so many things one shouldn't do that the only proper way to describe them all is by listing them below, as follows:

1 - Capitalizing every last noun, verb, adverb, an article as if you are trying to re-Germanize the English language, but with zero knowledge of how German capitalization rules work; it is not only incorrect, but visually disorienting to see Every Single Sentence And Paragraph And Chapter Being Written Just Like This. Please, unless it's part of a title (and not an article) or unless you have a good reason to do so otherwise, don't capitalize improper nouns.

2 - Using commas to fulfill every role in punctuation; yes, seriously, I have read a number of stories written by those who are apparently unaware of periods / full stops, quotation marks, question marks, colons, semi-colons, dashes, and so on. Are commas extraordinary versatile? Certainly, relative to other forms of punctuation at least, but they are not comparable to Swiss Army Knives in this regard. Using them as such can not only make a story borderline incomprehensible, but it also implies that the author of said story cannot understand a keyboard or its basic functions. Unless your computer is highly susceptible to typing malfunctions, please, pretty please, if you know only the comma, look to the key immediately to its right.

3 - Not consulting a foreign language's native speakers before you publish in said language; this mistake that I see among non-native speakers of English in particular (as 77.1% of the Archive's content is in English, the rest almost entirely in Spanish) is unfortunately quite a common one. If you are an author who uses English as a second language, I have little issue with a handful of narrative errors or a misspelling here and there (after all, English is notorious for its inconsistent phonology and its abundance of homonyms and homophones), but it is all too often when mistakes that simply bar a story from perfection become so numerous as to bar it from being comfortable to read in any capacity. If you are not confident about your current writing level in English, there are plenty of beta readers on this Archive who can assist you in this matter. If for whatever reason you are not confident about communicating with beta readers, ensure that you are using vocabulary correctly with a dictionary, or if need be, use Google Translate if you must. In the year of 2022, there is simply no excuse for not at the very least trying to improve one's writing ability in English. With all of that said, this rule goes both ways, in that I would expect a native English speaker to do all of what I just mentioned when writing in a foreign language.

4 - Having the characters of Rio speak in dialects and accents that differ from their official canon counterparts for no discernible reason; whether one story portrays Blu's use of double negatives as rivaling that of Alabama or another gives him a posh accent so persistent that he may as well be handed a monocle and a wine glass, there are legitimate reasons to change the manner in which characters speak. Lack of attention to detail isn't one of them! If you do not have the time to rewatch the films and analyze the manner of speech attributable to each character, I recommend having a look at the quote sections for each character's respective article on the Rio Wiki. I myself have used these quote sections as a resource, and there is no shame in you doing the same.

5 - Believing that detail or conciseness is automatically equivalent to higher quality; across all forms of literature in today's world, there are countless authors who are obsessed with including as much detail as physically possible, while there are others who conversely emphasize conciseness (i.e. the use of only as many words as one needs.) Both categories of authors are equally mistaken. Why so? In simple terms, writing is an art form and as such is a medium of all kinds of creative manifestations that span ideas that may or may not contradict one another. Because of this, what constitutes or doesn't constitute good writing is dependent on how well a given work is able to communicate the intentions of the author. As general rules, however, detail and brevity can NOT come at the expense of narrative structure and rhythm, and both elements must be balanced as required by what the author wants to say. When regarding the concise, the difference between "trimming fat" and narrative cutting to the detriment of the entire story is often subtle enough to where it requires case-by-case evaluation. As for narrative exposition, my foremost rule is to know why you are writing something before asking what you are writing. If a particular detail is thrown in with no relevance to anything or if that detail's description is cluttered or unfocused, either make it of relevance or delete it. This rule is also applicable to the story as a whole, in that every last word or punctuation mark has to serve some form of purpose, whether it is telling something new to the audience or reinforcing something just mentioned for the sake of narrative build. Once you have figured out as to why you write in the details, show and do not tell as much as possible, unless doing the former actively inhibits the chapter's focus or its narrative structure and rhythm. By this, I refer to using events and imagery to show the audience something, rather than simply informing them of that something. This is an absolutely critical skill in prose writing.

6 - Throwing out political opinions and using political allegory without having any concept of reason or nuance; arguably, it is utterly impossible to write a story that is wholly absent of politics or ideological bias, as an ideology in itself is merely a collection of moral convictions (be they right or wrong) that form a systemized worldview. Even the first Rio movie can be interpreted from multiple political angles -- one could argue that the film has a socially traditionalist perception of the relationship between the individual good and the collective good, while others (have in fact) argued that the film casts a negative bias towards men. With that said, there is a massive difference in the skill required to present political ideas consciously and deliberately as opposed to vague political notions arising in the background of the plot. If you want to include a situation or conflict with political undertones into your story or even write an entire story that revolves around a political topic, do NOT appeal to sentimentality. By this, do not rely on cheap emotional appeal to reassure your target political audience that what it already believes is correct, as doing so offers no actual purpose but self-congratulation. Instead, try to make the audience think, so that your political content has meaningful reason to exist. If you have any desire to change the minds of those who oppose you, show that segment of the audience why it is wrong, rather than insult it and its intelligence with non-arguments and logical fallacies.

7 - Giving your original characters names that do not at all correspond to the geographical area in which your story is set; now, within the context of the setting of Rio, it is certainly acceptable to give your Brazilian characters a name every once and awhile that is not Portuguese in origin (such as Jewel.) That said, however, if you cannot be bothered to even Google "Portuguese names," and end up giving every single one of your Brazilian characters an English name, I will take it that you are just lazy. As you've probably already guessed, this rule logically applies to other areas of the world as well if your story is set within them. For example, if you were to send Blu and Jewel to Costa Rica or Argentina in your story for whatever reason, I would expect for the names of the birds that they encounter there to be Spanish in origin, rather than Portuguese.

8 - Creating OC's that are far superior to the original characters in (or almost) every way and possess no meaningful faults in their actions or personality; honestly, one of the most important aspects in being able to relate to a character is whether they feel like an actual person that could exist and exert all of the emotions, thoughts, and actions that they do. Naturally, humans are prone to being imperfect and miscalculate everything that they do far more than they believe, which is why characters who do not grow as people in any discernible way and are completely incapable of failure as displayed by their relevance in the plot almost never succeed as protagonists. In fact, one of the key reasons why fanfiction itself has gained such a notorious reputation among many people (aside from the copious amount of lemons found in the M-rated section) lies in the abundance of Gary Stews and Mary Sues. If you are going to write a story on not just this Archive, but in any medium of fiction, I strongly advise that you do not make your characters as boring as they could be by displaying a complete ignorance of humanity, and by writing them as absent from mistakes in their journeys towards character growth.

9 - Writing action scenes with little to no buildup; with the correct application, this is actually not a mistake in general. However, if you are going to write an action scene with no buildup, it is generally necessary to open the story depicting it using indirect exposition and cut to why the action took place later on. Since there are exceptions to this rule, it is worth mentioning that if you are attempting to recreate an action scene from one of the films, buildup and exposition would simply not be necessary, as all of that is already in the minds of the audience who have watched the films themselves. But, outside of the few exceptions though, writing an opening for your story that is almost devoid of detail with said lack disguised by pitiful amounts of direct exposition before proceeding with the action will spell utter disaster for the quality of your work. In this event, in which suspense, tension, and potential for emotional impact are all crucial elements that are abandoned in favor of carelessness, your story will almost certainly end up as not a satisfying read for your viewers, but instead as a perplexing mess with no passion or effort placed into its composition.

10 - Attempting to build emotion without actually describing the nature of the emotion itself; similar to action scenes, scenes that convey a great amount of emotional output need buildup or explanation of some kind (and the same exceptions in the last entry on this list apply to this entry as well.) Also, if you have characters crying or characters that are practically screaming at one another, please do not just say that they screamed or they cried, as doing so would tell but not show. Actually take the time to observe the look on a person's face when they become instilled with fury, or observe how a person is eventually brought to tears so that you can really describe an emotional event playing out.

11 - Completely forgetting about detail; it's well-known that I am an author that emphasizes extremely intricate detail in my own work, and I advocate for the implementation of cohesive detail in other authors' stories as a result. Keep in mind that when I mean detail, you don't have to write like Michael Crichton or J.R.R. Tolkien in order for me to like your story. That being said, if you simply establish the setting and the characters in a chapter while also using direct exposition without actually accomplishing what direct exposition is supposed to do to begin with, there is a very likely chance that I will not be able to comprehend your barren story's contents. Please, at least attempt to write enough detail to where I can get a general idea of what you're trying to convey.

12 - Writing stories that are only done to capitalize off of a holiday or the release of a movie; in case you're wondering, no, I do not think all stories centered around holidays or the release of a movie are poorly-done. Some of them are actually amazing. But if you are planning on writing a story that fits into one of these two categories, (or possibly both) only do so if you actually have a passion for that holiday or that movie. If your only goal is to rake in more views or get a larger following, don't even bother. In the world of fan fiction, passion is everything.

13 - Shoving in songs that are completely unrelated to Rio and have no effect on anything; seriously, if you are going to put a song in your story, write down somewhere an actual reason for why you want to use the song in particular, other than the fact you like it. For example, using a Bruno Mars pop song during a dance scene featuring Roberto makes actual sense due to the singer playing the part of Roberto in the series. Also, if you want to use an unrelated song, make sure that it at least fits with the events in the story itself or contributes to the plot by some measure. On the other hand, please don't throw in a completely unrelated rap song that has nothing to do with the characters, the world, or the events that go on in the plot.

14 - Passing off recycled Internet memes and vines with Rio characters thrown in as "comedy"; though this one is more of a matter of personal opinion, if you are going to write a comedy, actually try to write a story with your own jokes. Simply taking Internet videos and making everyone Rio characters while adding on absolutely nothing else isn't comedy, it's lazy recycling. If you are going to write a parody of an online video, please make the characters authentic to who they actually are so that your parody is not completely pointless. The same thing applies to recreations of historical events or movies with Rio characters. If you want to write a story with Rio characters in the Battle of the Bulge or whatever else, actually make Blu act like Blu instead of a generic soldier so that your plot is worth my time. If you are going to write a historical fiction book about generic soldiers, don't try and pass it off as Rio fan fiction, pass it off as Hollywood war film tripe instead.

15 - Giving everyone a love interest because that's apparently some kind of literary law nowadays; look, I love romance, (in fact, romantic tragedy is my favorite genre by far) but please do not give every single character a love interest for the heck of it. Take the time to actually develop your romance and put all of your passion into it, don't just shove it in. Also, if you cannot write romantic dialogue already, either watch the movies again or get a love interest yourself so that you know how people talk when they fall in love. One last thing for this entry, try to refrain from using the "love at first sight" cliche unless you are very skilled in writing romance already. Most of the time, this trope does not work, however.

16 - Breaching community guidelines; this one is a given rule for pretty much any fan fiction archive, and the Rio archive is no exception. Actually take the time to read the guidelines before publishing a story. Don't put Q&A's, rants, reviews, polls, award ceremonies, or lone author's notes in the story section, put them in the forums for Heaven's sake. Don't post chapters as separate stories. If you have trouble with that, send me a private message and I will assist you. Don't write a lemon and slap a K or T rating on it. In fact, if its graphic enough, don't put it on this site at all, put it on another site that allows that sort of material.

17 - Treating critics as "haters" or "trolls" regardless of whether they are being honest or dishonest in their criticism; don't attack anyone who criticizes your work unless you want your efforts to backfire on you. As a word of advice, only consider a critic a "hater" if they give you criticism that has nothing to with the story (example would be an accusation of writing Star Wars material, and yes, I have received that one) or if they just spam curses in the review section. If a respected author simply tells you that you need to improve or even if they tell you that you have no talent whatsoever, I hate to burst your bubble, but they're probably right. If you are met with the latter, seek a profession that you're actually talented at.

18 - Giving your villains no motivation whatsoever besides acting evil for the sake of being evil; last time I checked, the villains of Rio actually have motivations for their actions. If you are trying to write avian villains that express a boiling hatred for birds of another genus or species, actually take the time to explain why this is the case instead of just saying "Oh, I'm way too lazy to actually make my villain act like an actual person, so I'll just write him as a fairy tale villain." Seriously, villains are an extremely important component in stories, and if you want to write a villain that is worth my time, listen to my aforementioned advice.

19 - Writing lemons in general; although this entry onto the list is much more of a matter of personal opinion, I am putting it here because of the simple fact that you cannot get me to enjoy a lemon story, period. If you attempt to persuade me into writing a lemon, tough luck, it is against my religious values to write something even akin to one. However, if you disagree with my opinions regarding the subject and decide to write a lemon, please... At the very least, take the time to study parrot anatomy and gynecology beforehand so that your story is less disturbing than it probably already is.

20 - Not naming your chapters; though this issue is really not all that major in comparison to some of the others on this list of mine, it is always a good idea to provide your chapters a title so that in-story navigation is easier for your audience, especially those that are looking for specific scenes in the story for whatever reason.

21 - Not writing any sort of plan for your story and making things up as you go along; though it is fine to include new elements every once and awhile into your story in the midst of writing it, actually plan how your story will proceed from beginning to end so that your plot is not a completely incomprehensible mess. Only add on elements if they are necessary to fill in plot holes, fix pacing issues, or actually complement the plot or the characters in some way. If it is complete filler, don't add it in. Again, if you can only tell a story by making up everything on the fly, stick to writing one-shots until you learn how to plan out a plot line.

22 - Writing crossovers with no faithfulness to either source material; part of the fun of crossover stories is that they combine two different universes with unique aspects, characters, and said characters' personalities. If you are going to throw Rio characters into a crossover, make both sets of characters from the universes act like themselves so that your characters do not feel as if they are completely interchangeable with those from another franchise.

23 - Having characters act like completely different people for no real reason; now, this does not mean that I think changing the Rio characters is necessarily a bad thing. However, if you are going to change the characters, expand them and give them new and interesting archs, plot lines, and relationships that bring change for the better. But please, do not make Blu a space alien from "Men In Black" all of the sudden. If you're going to write stories where the characters are entirely different people in all but name, you might as well just change the names and try and publish the story as a novel.

24 - Dragging along characters that have no effect on the plot; if you decide to throw in a ton of background characters into your story, there's nothing wrong with it; I do it myself. But please, do not drag along all of your characters into one location if they serve no actual purpose to the plot besides a few jokes. Doing so will make your story feel incredibly cluttered and sometimes even incomprehensible.

25 - Creating fictional languages that have no thought put into them; though constructed languages are not at all common in this fandom, I cared to point this out nonetheless. If you're going to create a fictional language, actually put in the effort required to actually build a language -- and no, I don't mean that you have to write a whole dictionary of your language. What do I mean by this then? For starters, don't be lazy and make all of your languages feature the same exact word order as English (unless these languages are all supposed to be part of one fictional language family.) Actually construct root words instead of making up complete gibberish, and lastly, don't put ten acute accents into every single word unless your language is supposed to be tonal.

26 - Thinking every "Rio" story is a good one; unfortunately if you're this kind of reader and or writer, I'm a person who believes in varying degrees of effort. If your story does not feature a single sentence that is absent of mistakes, I'm sorry, you did not do a wonderful job. If your story has no grammatical mistakes but is an incoherent mess with no substance in its plot, you did not do a wonderful job. Period.

27 - Using script-format writing; before I delve into why I do not recommend writing in this manner, (other than the fact that it's banned as per site rules, which many people seem to ignore willfully) I just want to state this first. If you want to write a movie, write a script. Don't write a script if you're trying to write a fan fiction story, write a story with actual narration and detailing of how characters speak. The reason scripts don't need to be so visually detailed in film is largely because of story boarding and plot synopses. Of course, fan fiction stories have neither of these things, and because of that, preparing a script in this context comes across as incredibly lazy as there is often times little detail to speak of. Again, if you want to write a movie, write a movie. Don't write a movie only to just dump your script onto FFN, which is again, a violation of site rules.

My Collections

Ever since early childhood, I have been a highly avid collector, with this trait first manifesting within me not long after I was able to communicate with my parents on a functional level, specifically at the age of 3 when I began collecting LEGO sets. Of course, the subject of what I would collect and why I collected it changed considerably with time, and continues to do so even now. Today, there are two collections in my home that I own and maintain, one of all manners of things related to Rio and one of objects that are of historical, cultural, or military significance.

Despite having been a fan of Rio since its release in April of 2011, I was hardly interested in buying, let alone preserving Rio merchandise and "artifacts" until the winter of 2016. Up until then, all in my possession related to Rio amounted to both films on DVD, Rio 2 on Blu-ray, the Rio 2 junior novel, a Rio 2 bookmark that I had fished out of a trash can, the children's' book Rio: Birds of a Feather that I had happened to come across at a Goodwill in 2013, and four McDonalds' toys that I had received with Happy Meals in 2011 (I was 7 at the time of the first film's theatrical run.) After a gradual start, the collection grew so rapidly from September of 2016 onwards that by the middle of 2018, there was a great shortage of Rio memorabilia and merchandise that I did not already have myself. Since then, further purchases have been largely occasional and sporadic.

Currently, my Rio collection spans a grand total of 350 items, including 335 physical objects and 15 digital files, representative of not only Rio's commercial and cultural presence in the US, but also that in the UK, Canada, France, Italy, Thailand, Germany, Austria, Brazil, Chile, Mexico, China, Japan, South Korea, Australia, and Israel. The items in question range from promotional sun shields in car windows to exclusive cast and crew tickets to the first screenings of Rio 2, as well as autographs, plush toys, books, figurines, clothing, postcards, decorative cake rings, bodily care products (yes, really), trading cards, temporary tattoo sets, and even an original Rio 2 cardboard shelving display.

As mentioned earlier, however, Rio is not the only area of interest from which I collect. The overwhelming majority of my collecting "budget" (if one is inclined to call it that) is instead focused towards historical objects, especially those of military subject matter. This collection, even larger than my Rio holdings with a total of 433 items to its name, continues to expand and forms my personal library of reference and research. As a general rule, I accept nothing less than original period pieces, with any replicas or non-period books not being counted towards that total.

The objects themselves, originating from 31 countries and dating primarily to the Second World War and its prelude, span helmets, uniforms, field equipment, medallions, literature, technical and medical instruments, documents, postcards, pins, flags, maps, newspapers, magazines, and items related to economic activities and daily life. Almost half of the collection (44.6%) is of German origin, representative of every German government that has existed since 1871.

Cancelled Projects and Story Concepts

Have you ever wondered why I do not publish all that many stories on this site? Well, that is easy to explain; dozens and dozens of projects of mine never went beyond being a mere concept, and on only a few of these cancelled concepts and projects did writing actually begin, as again, I am dedicated to "quality over quantity" in all respects. As a matter of fact, almost every story I plan on publishing on this site has been planned from beginning to end across the span of several years. This is not a full list of the cancelled stories, as many of them relate to later elements and events in Don't Go that I would rather not reveal before its completion. Nearly all of the stories were cancelled largely due to the fact that I simply came up with these ideas out of nowhere, did not develop them into becoming anything acceptable by my standards, and thought that only stories in which I truly put passion and a regard for the source material into would be kept in consideration for publishing on this site. With that said, with each story listed, I will also cite any other reasons explaining why I did not go through with the particular story. Another thing of note is that all of these concepts and projects did in fact receive names. Well, here we are:

World War Rio - essentially a retelling of your typical World War I trench battle with Rio characters thrown in as an afterthought, only less than a page of the first chapter was completed before I abandoned the project in late March of 2017. It would have featured Blu as a Sergeant in the US Marine Corps landing at Cantigny, France, and Felipe would have portrayed Kaiser Wilhelm II in at least one scene. Reasons for abandoning this project included the inconsistency in tone between sentences, the lack of vision and ideas for the plot, as well as the bland concept that I felt did not fit into Rio fan fiction at all. I also felt that the planned character archetypes that I had in mind for characters other than Blu were too stereotypical and overdone. Overall, I can say now that the only reason I even thought of writing this is because of my fascination of military history, and I am truly grateful that I never published nor wasted my time trying to complete it.

Glory for Blu - this story would have been similar to the aforementioned cancelled story, except it would have been set during World War II during D-day. Felipe would have portrayed Erwin Rommel, and Blu would have been a US Marine Corps soldier. Reasons for cancelling this story were mostly the same as World War Rio, though another reason I abandoned the project was the unnecessary exposition and cliche dialogue. The two drafts of this story also bore quite a few historical inaccuracies, and not to mention, my basic motivation for even advancing the story was stopped after my opinion of Saving Private Ryan changed massively (I do not like Hollywood war films anymore, period.) Again, like World War Rio, I did away with this concept after realizing that combining Rio and the world's greatest conflict would result in not only a very uninteresting tone that did not feel like the source material whatsoever, but also a very awkwardly-executed plot line.

Rio FPS Parody - I honestly have no clue what I was thinking with this one; the story was essentially non-existent and bore no substance at all. As the name implies, it was supposed to have been a satirical work that poked fun at first person shooter video games. Hardly any material for this project was ever written, and after deciding there was nothing at all that could be expressed by this story other than poorly-executed satire with no relation to the franchise or even some fascinatingly wild alternate canon, I cancelled the project in September of 2016. The story would have been tone-deaf and the writing would have been far too mediocre for my standards. Another reason for the cancellation of this story was my lack of knowledge of the subject matter that I was parodying, as I rarely play video games for extended periods of time.

Bia's Time Machine - just from the title alone, you can probably assume why I scrapped this project almost immediately after I listed it as one of my possible stories in my private notes. The plot would have involved Bia building a time machine for (I am going to be brutally honest to myself) no particular reason, then getting her family stuck in the Jurassic on accident until she could construct a new machine. Besides the fact that nothing in the plot made any sense by any measure, I cancelled this project mainly due to the badly-planned surreal story line I was planning on giving this story. It was another story whose idea came about in my line of thinking, and as I took no care into planning it out or even further developing the core of the story, I recognized that it would stand as unacceptable compared to other works which I do invest hours upon hours of my spare time into. A third factor in the cancellation of this story was its lacking of a clear theme, carrying no discernible message besides "events of unexpected nature can occur upon the occurrence of mistakes." Although this message is indeed true, I thought that I lacked the passion to twist this overdone message into something compelling, and that marked the end of this utterly bizarre project.

Rio 2 vs Reality - this was a planned satirical story which would have involved Blu in a theater with Jewel, giving commentary on Rio 2 and making note of its many mistakes. I halted the project just before work began on the initial phases of writing. This was due to my inexperience in the field of satire, deciding my talents were better suited to tragedies, adventure and family stories, and thrillers. Other reasons that I cancelled this project included the fact that it was a borderline review, feeling that it was completely unnecessary to publish such a concept as a story, as well as believing that a lot of my opinions and gripes with Rio 2 (although I still watch the film on many occasions) would upset quite a few people. It is safe to say that the last thing I wanted to do was anger my fan base, and because I genuinely care about those who read my work, I ultimately did not write the project, as in the end, it would have inflicted a great deal of damage upon my reputation.

Red and Blu Sirens - besides the awful pun within the title, another reason I cancelled this planned story that would have parodied Cops was my inability to create comedy of any substance on paper, as well my feeling that the mere concept alone did not fit in with my planned library. The plot would have been very simple, involving Blu as an officer in the Miami Police Department catching criminals. As with many of the other stories mentioned here, I felt the story would have served as a complete waste of time to write, (as it adds nothing to the canon or to the universe established by the franchise) and felt the precious resource known as time could be spent on projects more worthy of being published.

Flying Lessons - unlike the rest of these stories that I have listed here, I actually put much thought and planning into the plot, despite its simplicity. The story would have involved Jewel essentially polishing Blu's flight skills upon recovery, taking place around six weeks after the first film. In spite of the passion I felt for writing a story such as this, I ended up cancelling it, feeling that the plot was too simple to be its own separate story, deciding instead to use this exact same concept as one or two chapters in A Blue Bride (which is currently still being worked on, though the first chapter has already been released.)

If you have any questions or commentary concerning these cancelled stories and concepts, please leave me a private message discussing the matter.

Update (12/16/2018) - The Making of Don't Go


Hello, everyone! In this new segment of my bio, I will be sharing with you all the process of writing Don't Go. As I previously mentioned, I first began writing unpublished Rio fan fiction in July of 2016, after I had been reading it since October of the previous year. However, Don't Go was not the first story I came up with while not yet on this site. In fact, I made many drafts for different story concepts, the first of which was A Vacation in San Diego, a story about Blu and Jewel celebrating their anniversary in San Diego, California. However, I abandoned this work only three chapters in, and in late September, I finally began the first draft of Don't Go. My reasons for even beginning the story had to do with the fact that the archive (at least to my knowledge) was devoid of any material covering the backgrounds of Eduardo and Mimi.

The first draft continued until January of 2017, when I decided to take a break until the next month and started work on the overall plot line for a future "Don't" trilogy, I guess you could call it. The first draft varied substantially from the final product, and it was only 25 pages in length. Some of the more minor differences were that the confrontation between Cesar and Alberto was much shorter, Eduardo and Mimi were actually allowed to attend the meeting in the Great Mouth, and the characters were much more knowledgeable about human technology. It is also worth mentioning that the original draft had characters that were cut from the published version.

For example, Cesar's military strategy in the first draft was thought up by a council member named Rameck, though I completely cut his character from the story; this was because I wanted to give Cesar a more important role in the story, though another reason was because of his name which was not at all Portuguese in origin, thus not making much sense at all. Major differences were the complete absence of the Cachoeira Cintilante and virtually all of the flying sequences, though one scene that was cut from the final product was one in which Cesar calms Eduardo down immediately after the council meeting.

However, there are plenty of characters in the final draft that were never in the original, such as Neto and Mateo for example. I added in Neto to serve as a great introductory character, though he does have importance later on, which has not been published yet. The reason that I created Mateo was to give the Great Mouth council meeting a great amount of tension. Also, besides the characters, it should be worth noting that there are hardly any similarities in dialogue between the original and final drafts, as in my opinion, the dialogue in the first draft was at times far too melodramatic, and many of the lines spoken by the characters made absolutely no sense.

Probably the biggest change in the story was its overall theme, and I'll be honest, the unpublished first draft was way too blatant with its political messaging to the point where it reached utter ridiculousness. In July of 2017, after finishing work on my plot outline for the planned "Don't" trilogy in which Don't Go would serve as the first installment, I finally began a second draft, which other from the length is mostly the same as the finished product, with all of the stupid political nonsense being scrapped. The only real difference in the story from the final version was that an entire chapter centered around the Scarlet Macaws and Caetano was present in the second draft. However, I did away with it, as I decided Caetano would be rendered a more intimidating villain if the audience kept having to guess who he is as a person for quite a while longer. The third and final draft is essentially, as mentioned before, a heavily modified and edited version of the second draft, and the first chapter was barely changed at all. Work on the final product began in November of 2017.


It is safe to say that on no other writing project have I put in anywhere as close to the amount of attention to detail that Don't Go features. Not only did I spend countless hours researching the Amazon's geography, nearby cities, currents, fauna, fruits, vegetation, waterfalls, seasons, etcetera on the Internet, I also went so far as to "experience the story." What do I mean by this, exactly? Apart from traveling from coast to coast across the US in search of aviaries and zoos where I can appreciate the sight of these lovely birds, I also studied the manners in which they eat, walk, fly, and much more. As the closest authentic tropical rainforest to my residence is approximately 2,200 miles away, I visited the United States Botanic Garden in Washington, DC, which bears within it perhaps the most realistic artificial rainforest that I can easily access. I studied virtually every angle of the tropical rainforest itself, took pictures and notes, as well as other observations, in order to describe the Amazon as accurately as possible. Other than that, I have also gone out of my way to purchase any Brazilian fruits that I can possibly acquire, as to properly describe the texture, taste, and flavor of every fruit that is depicted in the story by those means.

Update: 2/4/2019 - Collaboration Policy

If you wish to collaborate with me or be friends with me on this archive, I will in all probability, be happy to work with you. If I am to collaborate with you, I will automatically grant you full permission to use any of my OCs. That being said, I may refuse to work on certain collaboration projects if their subject matter simply stretches beyond my capabilities (especially poetry, which I have historically never excelled in, to put it mildly.) On a final note, I also have several rules describing which stories I will not involve myself with under any circumstance(s), these including:

1. A story that violates site rules, for obvious reasons. These include anything written in script format, interactive stories, Q&A stories, three-liners, etc.

2. Any story that contains "lemon" content, whether it is intended to be comedic or not; I utterly despise p*rn stories, case closed

3. Any story that blatantly and without nuance supports a particular political ideology or viewpoint; in other words, if you want to alienate your audience in any way, make it think, not bow over pathetically sentimental strawmans and non-arguments

Update: 3/9/2019 - Review Policy

Bear in mind that in initial reviews of an author's work, I will act as tactful and polite as I can, though I am not the kind of reviewer that gives nothing but praise to people. There are indeed good and bad stories folks, and if your story falls into the latter category, I will kindly explain why I did not enjoy your story and how you can turn yourself into a writer whose actual writing is worth reading and not utterly excruciating. If your story has good elements in it, I will mention them; if your story has no redeeming qualities at all, I will be honest about it. Also, if you write a story that violates community guidelines, I will mention the violation(s) in the review, and provided that you have a problem with following the basic rules, I will simply tell you to move your content to either the forums of this site or to the archive of another fan fiction site; in extreme cases of abuse of FFN's guidelines, I may even report a story, so please, just adhere to the rules so that I don't waste your time and so that you don't waste my time.

If you ask for assistance in your writing, I can certainly provide it, though I cannot work as a beta reader for now as I am quite busy with my own stories, as well as various other aspects of my life. Still, as long as you are polite and respectful to not only me but this whole community unless for a justifiable reason to be otherwise, I will definitely try to help you whenever I can. However, if you're the kind of person that exhibits a narcissistic attitude and cannot accept constructive criticism, it is not very likely that I will assist you at all. If I ever leave you a review that states "misinformation," please contact me and provide me actual evidence that I am wrong instead of immediately blocking me, which will give other people the perception that you cannot handle criticism and that I am right.

One last thing, if you happen to be a writer whose attitude is negative towards criticism, I urge you to realize that without criticism, there can be no such thing as improvement. It's the lesson that I learned when I began the activity of writing, and is arguably more important than fully comprehending the English language. There was indeed a time when my writing was absolute garbage, but I kept improving it after receiving criticism from friends and family until I got to where I am today.

Other than what I have already mentioned, there is not much else to say. However, I am still thoroughly looking forward to writing stories for this archive for quite a while. If there are any elements of my work you would like to criticize, please do not hesitate to speak to me of any issues in any of my written material on this website.

If you happen to find any errors at all within my writing, (whether pertaining to continuity or whatever else) please notify me, and I will immediately correct my mistakes accordingly. Provided that you have any further questions, comments, bits of advice or knowledge, or any other written phrase of note that you wish to present to me, please do not hesitate to PM me or review one of my stories. Thank you, to all readers and fans!

From, OrangeMacawWorld

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