Introduction

THE KINGFISH

Gone Fishin'
Introduction
Hello everyone! This is my first alternate timeline here on this site! Alternate history has always fascinated me. The idea of another world - or another chain of events in history has fascinated me ever since I started learning about history. I first got into alternate history proper after watching Alternate History Hub’s “What if the Communists Lost the Chinese Civil War” video. Now I’ve thought about “serious” alternate history projects before. These include ones where Teddy Roosevelt won the 1912 Election, one where the Cold War ended with both the United States and the Soviet Union collapsing, and one where the entire world becomes communist, eventually leading to a new Cold War between authoritarian socialist dictatorships and rouge AIs. But this project is not one of those.

This is one centered on something less influential than big border changes - but nevertheless results in interesting changes. This will be a timeline centered around pop culture! I’ve lurked on this site for a while now - and I’ve seen my fair share of timelines. Among these are pop culture timelines. Some that have inspired me the most have been Dirty Laundry: An Alternate 1980s by @Andrew T and A Hippie in the House of Mouse by @Geekhis Khan - both of which I highly recommend checking out if you haven’t already. Anyways, I digress - I’ve decided to make my own pop culture-centered timeline centered around the decade just about everyone (well, everyone on the internet at least) seems to be nostalgic about: the 1990s.

Despite me personally not having been alive during the time, the 1990s have stood out to me as a decade where a whole lot of things were very volatile - from cultural zeitgeist to the fabric of the world order. If I were to summarize the 90s in just three words, it would be “everything went global.” For better or for worse, the 90s brought us the fall of the Soviet Union and the rise of the United States as not just the sole superpower - but also the world policeman. Democracy and capitalism were seemingly enshrined in the global order. The rise of the internet also made the world far more interconnected than ever before. The Information Age was taking its first steps, and advances in computer technology had made their mark on everything from business operations to special effects in blockbuster movies. Culture and goods and services flowed freely through countries via globalization, and from a pop culture perspective brought us the likes of anime to the Western world. From a purely Western or American perspective, it was one of the most peaceful times in human history - and one that’s considered the “last great decade” by many - before being put to an end by the September 11 attacks and other future events. We will not be elaborating on said events here - lest the mods come breathing down my neck about “current politics.”

So yeah, as it turns out, changing history in America around the late 80s/early 90s can bring countless changes down the road. And that is why I chose this. As for what I will change - well, it involves two iconic pieces of 90s media. The first being Nirvana, the grunge rock/alternative rock band that defined a generation of youth angst and anxiety. The second is The Ren & Stimpy Show, the deranged cartoon about a psychotic chihuahua and a dimwitted cat which redefined the boundaries of animation. Both of these have had a lasting impact on the landscape of entertainment - despite the dubious history of the latter’s creator. But what if I were to tell you that there was a rumor were one almost wrote a song for the other? How would this impact each other at their height in popularity in the early 90s? And how would this affect everything else?

The answer awaits in the coming chapters!!

But before we begin, I have a few things to say:


1. Any resemblance this timeline may have to others on this site or elsewhere is purely coincidental. Although some may point out similarities with some timelines, such as Player Two Start by @RySenkari and @Nivek, I try to put an original spin on things in order to stand out.

2. Constructive criticism and feedback is more than welcome - it’s encouraged. If you have any ideas that you want me to cover, feel free to PM me and I’ll see if I can work it in. But please, be civil.

3. Since this is my first alternate timeline project for this site - there may be times where this goes on hiatus - as well, I have a life, and I need to balance my niche hobbies with my job and my school work. But rest assure, expect this timeline to continue to receive updates.

4. I do not condone the actions and behavior of the real-life John Kricfalusi towards his production staff, nor his sexual misconduct towards Robin Byrd, Katie Rice, and many other young female artists. My intention of depicting Kricfalusi in this scenario is not to be sympathetic to him, but to show that he did not always have to go down the path of being a monster.

5. Lastly, I’d like to thank the following for helping me with ideas: @Otakuninja2006 @TheFaultsofAlts @kirbopher15 @ExowareMasses @UNIVERSAL.EXE @CourtlyHades296 @Nivek @SultanArda @TheGuyWhoHeartsHistory @Screwhorn77 Thank you all so much for the support, I wouldn’t have gotten this far without all of you guys with your suggestions and your helpful criticisms.

So sit back, relax, and without further ado, here is…..

Man’s Best Friend: An Alternate 1990s and Beyond

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Chapter I: Something in the Way

THE KINGFISH

Gone Fishin'
From Music to Making Animation
Excerpt from the Stefanimania interlog, 11 May 2010


You guys ever wonder why a ton of my contributions to the animation world somehow involve music? Well, this is why.

It was around 1986 when Gwen, Spence and I were peddling around the idea of starting a band together. We were huge fans of the whole late 70s/early 80s ska/punk thing from a few years back.[1] Now I wasn’t the most musical man - in fact I didn’t even know jack shit about music theory - but somehow a part of me just had that musical talent. I was mostly on the keyboards, but Gwen and I would team up to write the songs for the band. We also had our friends Jerry on the guitar, Leal did the bass, Webb did the drums, Alan and Gabriel did the trumpet. Together we formed No Doubt - a band that had the potential to become one of the most iconic bands of the 90s….. had I not gotten distracted.

We played our first gig at Fender's Ballroom in Long Beach, California. It was a pretty big deal for us, and we were all nervous as hell. But as soon as we hit that stage, everything just clicked. The crowd loved us, and we knew right then and there that we were meant to do this. From that point on, we played every show we could get, from backyard parties to local bars and clubs. In those days, we were all honing our sound and perfecting our performance. We were all determined to make it big, and we worked hard every day to improve our craft. I remember spending countless hours in Gwen's parents' garage, writing and rehearsing songs until we got them just right. We then got the news that we were gonna play one for a group of record label executives at The Roxy Theater. We were all really hyped. This was the moment we all hoped we were gonna be famous…

It wasn’t what it meant to be.



In December of ’87, Spence took his own life. The band never really recovered from this. We disbanded briefly for a couple of weeks, but ultimately decided to group back together with Alan taking Spence’s role. But then he left and so Gwen had to take over lead vocals. And then Jerry quit. And then Webb left. It was like our band was tearing itself apart at the seems before we can even break out![2]

It was around this time that I started to take up a job as an animator on the seminal cartoon series Mighty Mouse: The New Adventures.[3] There, I was acquainted with John Krickfalusi - who at the time was an aspiring young animator and one of the main creative directors on Mighty Mouse. And oooohhhh boy, where do I start. Well…. John Krickfalusi was a very eccentric artist - to put it lightly. He was a huge fan of old-school cartoons from the 40s, specifically the works of Bob Clampett - he believed that no other animator than him had the ability to distort and exaggerate the expressions of cartoon characters. To say that Krickfalusi admired Clampett would be an understatement. Krickfalusi wanted to go above and beyond and try to stretch the limits of what could be done in a cartoon.[4]

Needless to say, this made him exceedingly hard to work with. You see back then, Krickfalusi was a huge asshole. He would always try to push the boundaries to what could be done in a cartoon at the time, even if it made the workplace an absolute nightmare to be in. He had absurdly high standards, and would only approve drawings and works that conformed to his standard. Otherwise he would toss it out and bark at them to start over.[5]

I would follow with him to his own studio, Spümco, in 1988 to work on the ill-fated Beany and Cecil revival for ABC. Krickfalusi’s perfectionist tendencies caused the show to go through a tumultuous production, and ABC struggled to approve Kricfalusi’s insane ideas and adult tone for the show.[6] All the while, the production atmosphere was as toxic as can be, and many young artists suffered Krickfalusi’s wrath. I was no exception.

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One day in the winter of ’89, I was in the break room one day when I saw Krickfalusi walk down the hallway. Wanting to impress him, I decided to show him my rough sketch drawings in my notebook. “Mr. Krickfalusi,” I shouted, “would you like to see some of my sketches?” I saw him turn around with a clearly stressed expression on his face. “Sure, what is it,” he spouted as he audibly sighed. As I came towards him I pulled out my notebook and showed him sketches. I drew many of the Spümcø characters, including a certain chihuahua and cat for a show in development at the time. I also drew many of the Looney Tunes characters using reference from the old 1940s and 1950s cartoons. Clearly, I thought, I was studying directly from the masters.

Unfortunately for me, my heart sunk when Krickfalusi cringed and grimaced at what I was showing him. “No, No, No, NO,” Krickfalusi barked, “all of these expressions are the exact same!!” Oh, right. It was a known rule at Spümcø back in the day that any exaggerated expression - or wild take as Tex Avery called it - HAD to be different every time. Or else, Krickfalusi would flat out reject it. “We’re NOT Filmation, Eric. You can’t get away with lazily shitting out a formulaic, reused expression beaten into the ground by third rate Saturday morning cartoon studios here,” Krickfalusi snarled, particularly spitting out the phrases “reused expression” and “Saturday morning cartoon”. “Who gave you the inspiration to draw some of these, huh?!” I hesitated. I knew Krickfalusi had a knack for being intimidating, but I never knew it was this malicious. “F-F-Friz Freleng, sir,” I muttered.

“FRIZ FRELENG?!?!” “MOTHERFUCKING FRIZ FRELENG?!?!?!” Krickfalusi was at this point screaming at the top of his lungs. “HE CAN’T MAKE A GOOD CARTOON EVEN IF HE TRIED,” roared Krickfalusi, “HIS TWEETY CARTOONS ARE GARBAGE COMPARED TO THE GREAT BOB CLAMPETT!!!!!” In a fit of rage, Krickfalusi punched a hole in the wall and hung his head down. “No wonder the bleeding heart d*kes in Network Standards & Practices adored him in the 70s,” growled Krickfalusi.[7]

I was shellshocked. As I literally walked on eggshells I remarked “OK, OK, look, I promise that I will improve my talent to meet your standards.” Kricfalusi tilted his head upwards to reveal a scornful look on his face. “I will go straight to CalArts and become a better artist,” I asserted. “NO,” affirmed Krickfalusi, “Don’t go to CalArts. Buncha’ hacks trying to copy Disney.”[8] “Go to…” Krickfalusi paused, twiddling his fingers and looking off to the side, “Go to Sheridan College instead. That’s were I went.” Kricfalusi continued by explaining, “That place will teach you all you need to know about classic animation by the likes of the Fleischer Brothers, Bob Clampett, Tex Avery and the like.” “But mark my words: You’re not stepping foot in this office again until you can prove your talent. Got that?”

I nodded frantically, and left shortly afterwards that night. I told Gwen the news: that I, Eric Stefani, was leaving No Doubt for good.[9]



[1] This is OTL. No Doubt’s self-titled debut album would be released by Interscope Records in March 1992, and had a heavy ska/new wave pop sound to it. Problem is - 1992 is the peak of grunge rock, and so this album bombed and only sold 30,000 copies. The band would eventually find success in 1995 with the albums The Beacon Street Collection and Tragic Kingdom - the latter of which would spawn two of their most successful singles: “Don’t Speak” and “Just a Girl”.

[2] This is OTL. However, these replacements would yield the band’s most well-known line up, with Tom Dumont taking the guitar and Adrian Young taking the drums.

[3] AKA, the 80s cartoon notable for being canceled after a couple of angry parents thought the main character snorted cocaine. According to IMDb, Eric Stefani worked on this series as a layout artist.

[4] This is true IOTL. John Kricfalusi had personally met Clampett in his later years, and had claimed that the 1946 Looney Tunes cartoon The Great Piggy Bank Robbery had “completely changed [his] life, [he] thought it was the greatest thing [he’d] ever seen, and [he] still [thinks] it is.”

[5] Obligatory reference to his creepy behavior around women in 3… 2… 1…

[6] Kricfalusi had helmed this revival of Bob Clampett’s characters with support from the Clampett family. ABC would ultimately cancel this show after 6 episodes - much like most of Krickfalusi’s projects. Eric Stefani had also worked on this as a layout artist according to IMDb.

[7] Kricfalusi had provided commentary on Clampett’s Tweety cartoons on the Looney Tunes Golden Collection. In it, he claimed that Freleng had made Tweety too nice and sweet. Also, Krickfalusi had previously used the word “d*ke” - a slur for lesbians - on a special DVD feature of a certain adult spin-off, where he complained about network executives not letting him draw women his way.

[8] Kricfalusi notoriously hates CalArts, to the point of coining the term “CalArts style” to refer to animators imitating the style of Disney in movies such as The Iron Giant. However, it’s since been used by the online anime and cartoon communities as a pejorative to refer to the homogeneity of art styles seen in western (read: American) cartoons in the 2010s and early 2020s (notably Adventure Time, Amazing World of Gumball, Gravity Falls, Steven Universe, Star vs. The Forces of Evil, The Owl House, etc.).

[9] This is the Point of Divergence, or where this timeline deviates from our reality. IOTL, after the failure of No Doubt’s 1992 debut album, Eric Stefani gradually reduced his involvement in the band before leaving in 1994 to focus on his animation career for shows like The Simpsons. Here, due to his confrontation with Kricfalusi, Stefani leaves the band earlier - in 1989, and - heeding Kricfalusi’s advice - enrolls in Sheridan College, the very same Kricfalusi attended in the mid-1970s, to pursue an animation career.
 
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THE KINGFISH

Gone Fishin'
@THEKINGFISH217 I am interested in seeing the timeline where both the USSR and US collapse. Where can I read about it?
Well, I haven’t made a timeline per se - but I have made two maps - albeit in low-effort Mapchart.

And the US doesn’t collapse per se - but is reorganized into the dictatorial Union State of America.
 
The most incredible thing is that the Brother of Fucking Gwen Stefani did worked on with John K and did studied animation, OTL is the real ASB all along
 
The most incredible thing is that the Brother of Fucking Gwen Stefani did worked on with John K and did studied animation, OTL is the real ASB all along
I agree, but if John K. saw Gwen Stefani back then...

You know what? I'd rather not think about that.
 

THE KINGFISH

Gone Fishin'
The most incredible thing is that the Brother of Fucking Gwen Stefani did worked on with John K and did studied animation, OTL is the real ASB all along
Initially the POD was just John K accepting Kurt's song only to learn it did not exist IRL. So after learning that I basically gave up...

Until I realized that someone else could somehow convince Kricfalusi that it was worth it. Initially I chose Eddie Fitzgerald - whom Kricfalusi has praised in past interviews I saw for his skill, but then realized that not much is known about him and he probably wouldn't execute it correctly.

That's when I remembered Eric Stefani. Back when I was 13 - I was obsessed with electronic music and synthesizers and I heard a song from No Doubt that sounded like it was composed on a Moog synthesizer, and then I looked up the keyboardist and it was Eric Stefani. His Wikipedia page mentioned that he worked as an animator on The Simpsons and Ren & Stimpy.
 
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