Most entries between all Eras use the Three-Act Structure. They have a generally clear start, middle, and end but sometimes the plot and narrative are entirely done at random. Act I introduces the setting, characters, and what kickstarts the plot while Act II is about how the characters deal with what is thrown at them while Act III is all about how the story ends and the conclusion of it.

Most entries in the series start out with a basic introduction that says it is a fantasy setting before abruptly subverting it with graphics of something modern and/or mundane. Sometimes the setting is in something like a computer, so it'll go with something like "In the typical world of Windows XP...".

This bit works in conjuction with the above, while the above subverts the expectations of the readers/viewers, this one functions to completely draw them into the story and narrative. Just in case, most premises of the Sis RPG Series are by default wacky. The premise acts as the starting point of Act I such as a Necromancer being hired by a food processing company so they can have them raise the dead in order to turn them into a food business.

The series is known for having most of their narratives starting out with a very interesting premise/arc, spending a brief amount of time introducing the setting and characters to the readers/viewers. But then suddenly and abruptly throwing it out the window either through an Ass Pull and/or a Conflict Killer. Sometimes the Aborted Arc occurs when the Protagonist is killed off out of nowhere and/or when another character introduces a Conflict Killer that stops everything that is going on and causing the characters to deal with the new plot development.

A Conflict Killer is what happens when the narrative spends a good amount of time with the initial conflict or problem before shoving in something without proper build up and/or Foreshadowing. An example can be like a cat going out of his comfort zone to save the world from a Dark Lord, just as they're about to confront them, they're informed that the Dark Lord has died out of nowhere and that a huge space rock is about to crash onto the Earth.

Ass Pulls is what happens when a new plot development is suddenly thrown into the narrative out of nowhere without any proper development and/or Foreshadowing. In the case of the series, it happens on the regular and almost all the time - it can happen literally at the start of Act I and at the end of Act III. A example can be like a Hero stops the Dark Lord starting their evil plan but then all of a sudden the Dark Lord pulls out a second form when the entire narrative says that they only have one form.

The series loves throwing in An Aesop at the end of an entry's narrative. Generally is done either by the antagonist, the real main character, or a completely different character who has no bearing in the plot at all. The Aesop is generally giving out a message about something related to the narrative. An example can be like a story about two Dark Lords and their power-flexing contest, and how their reckless behavior ended up destroying the entire world in the process. It goes onto explain that they should've considered using their powers for the forces of good instead of seeing who is the better of the two.

This is universal usage as every entry has a narrative bloated with characters that only appear once. A One-Shot character is a character that appears once in a narrative and generally they leave it before it ends. Their functions can serve a variety of things, such as pushing the narrative forward, worldbuilding, enhancing and improving another character, and to shake up the narrative itself. They can take up different kinds of roles but generally they are used as throwaways than anything important or meaningful. In this series, they can be a main character, an antagonist, or the second most important thing in the narrative.

As the series developed from the Early Era, the usage of One-Shot characters lessened as Kuniko Takahashi started reusing the same characters she had developed over the years. Her usage was where they were once important but became generally disposable over time to having a pool of characters to rinse and repeat aka Recurring Characters and Recurring Elements.

A good example of a One-Shot character or a cast is the entire cast of Jurrasex Park as the main character, the antagonist, and the supporting cast all appear in that entry specifically and never appear in any other afterwards.

This is the pure evolution of years and years of developing narratives and carefully crafting elements from One-Shot characters. Borrowing several elements from them and making them in the form of characters that either return as Recurring Characters or a specific kind such as a Recurring Element. In this series, despite reusing the same characters, almost every character is either an iteration with the same base character traits of the original or a character element returning with a different face and purpose.

• Example - Recurring Character - Naotsugu Kanae, a character who appears in Sexy Winter Vacation, Erobian Nights, and An Ecchi Summer Break. His base character traits are him serving as the reader/viewer's point-of-view, an everyman who is either a highschool student or working-class man, always having a thing for women, always thrown into situations he can never overcome, and tends to be the source of everything wrong. He is generally put into main character-like roles where he is the point-of-view and assume the main character role with internal monologues and narration.
• Example - Recurring Element - Dark Lord, an element that is almost always designated to an antagonistic character, appearing in a majority of entries. They always appear to assume the generic villain template that always wants to do something evil or horrible to the other characters because they can or something. Despite having a generic title, they're always different from each other with different kinds of purposes and depths to their characters. Sometimes they're the antagonist and sometimes they assume the main character role.

Over the years, as the narratives developed, so has the writing style and dialogue. From casual and throwaway lines to memorable and quotable lines. I'll provide a general list separate from this instead of providing examples.

Most narratives in the Early Era are simple and straightforward with a simple premise that anyone can understand from the get-go. The flow of the narrative is as simple as Point A to Point B, but sometimes the initial premise is just window-dressing and completely forgotten in insanity. This mainly happens in any entry with a CYOA or Choose your Own Adventure-style story as they're seemingly and completely random.

• Act I

Most starts of the narrative for Act I typically introduces either the main character or the antagonist first. The main character is either going to work, is at work, or is being sent in to resolve a conflict while the antagonist either has a abstract issue with the world such as a Dark Lord, something against the main character for no sensible reason like a Company Manager, or something out of the blue like a Super Robot. Sometimes the main character has no antagonist at all and they're just doing their own thing that usually ends up creating an antagonist.

The world is generally at peace and nothing is going on until something does happen, the main character finds themselves in a situation where their everyday life is turned upside down by the antagonist or by something completely random. Act I is spent establishing the characters, both setting and premise, and building up to Act II.

• Act II

The narrative structure for Act II follows how the main character deals with the situation they're in because of the antagonist or chilling and doing their own thing. They're either fighting their way, running away, and/or fumbling their way to the antagonist for the most part. Regardless of what they're doing, the antagonist is either doing nothing, doing their absolute best to get rid of the main character and/or is finding out that the main character is somehow a problem to everyone.

Sometimes the main character dies out of nowhere and is replaced by someone who killed them by accident and sometimes the antagonist is the Starter Villain and gets replaced by an even bigger threat or killed off.

Sometimes, the main character is brought back to life and sometimes they're just gone and replaced with someone else.

• Act III

The narrative for Act III is the confrontation of the main character and whoover is left as the antagonist. Typically they either fight against each other in a bombastically top-down shooter or in a one-on-one duel via Turn-Based Combat. The antagonist is either killed or spared by the main character and the narrative ends with an anti-climatic ending where they're either nuked by a different country or it just ends abruptly.

Sometimes the both of them just hang out with each other like best buddies and nothing really happens or there is no resolution at all. The Aesop is done by them and typically the messages they deliver is done from a good place... kind of.

The Middle Era is filled with high chances of death, and usually most narratives have a Decoy Protagonist driving the first half before getting killed off either due to plot or something entirely random. Readers/viewers can expect the first character they're introduced to unexpectedly not being the main character despite eating up a lot of the screentime.

While the protagonists of the Early Era were as straight-laced as a rope in terms of their morality, the protagonists of the Middle Era either devolve or start out as a Villain Protagonist with a few exceptions. Typically, the protagonist starts off with a decent motive of goodness in their heart but they gradually start piling up a body count and proceed to do comedically horrible things in the name of their goals, and sometimes the situation of the narrative has them cross the line into villainy either unknowingly and/or willingly.

This is the Era where Kuniko Takahashi becomes the Mad Genius of Kawagoe, turning herself into a writer and a household name in Japan. Most narratives in this Era are both simple and complex at the same time, going from the simple and easy to understand narratives of the Early Era to what would become Kuniko Takahashi's best works in the series and what most readers/viewers would become familiar with, the sheer insanity and unpredictability that would become the hallmark of her work.

The premises of the Early Era are completely overshadowed by what the premises of the Middle Era as while they seem normal at first. From a simple invasion between America and Demons comes the insanity of talking horses racing to win money to save the North Pole, cavemen going forward in time to find a cure for their mortal wounds, to a young college student staging a daring plan to save his beloved dog from living the life of an assassin dog.

• Act I

Most starts of the narrative open up with a "In the typical world of swords and magic..." before introducing either the main character or the Decoy Protagonist. They either talk about who they are and what their life is up until their involvement with the narrative, the narrator gives out a brief backstory of their life, doing their everyday life, and/or jumpstarting the narrative by doing something horrible from the get-go. The antagonist is either introduced during the introduction of the protagonist, not present at all until the very end of the narrative, and/or is revealed within minutes later. The problem the main character has to face comes right out the gate, it is either self-inflicted or caused by someone else in the narrative.

Act I generally ends with the main character resolving to confront the problem themselves which involves a frontal assault of the antagonist's area, doing something incredibly mundane such as training or looking for a job, or doing a favor for someone that also includes the antagonist.

• Example #1 - An army of roaches rise from the depths of a basement, encroaching and infecting the towns around them as the owner of the home of said basement calls in a team of cleaners to exterminate the roaches. Two of the three cleaners die in the operation, leaving in the new meat of the team to deal with the situation.
• Example #2 - After a horrible investment gone wrong, a polar bear from the North Pole's hopes and dreams are swiftly saved by a talking Horse. The Horse enters a deadly race in hopes of winning money to save the North Pole.
• Act II

The narrative flow of Act II is where everything spirals out of control. No matter what happens, the main character is thrown into some sort of insane action sequence akin to Tohou occurs where the screen is covered in technocolored bullets and explosions. Most of the enemies they face are generally innocent people defending their home, terrorists, or they just happened to be in the way of the main character. As the main character racks up a body count, the narrative goes crazy and throws in multiple Plot Twists, The Reveals, and Ass Pulls it could feasibly muster and throw at the reader/viewer.

Somewhere along the lines, the main character and sometimes the antagonist undergo some level of Character Development that fuels the rest of their actions. And in between all the general insanity and crazy stuff, Deconstruction occurs as well - and typically it is reserved for both the main character and the antagonist.

• Example #1 - Main character goes on a quest to save their beloved from their captor by agreeing to their terms of doing a job for them. After a long journey, the main character's beloved transforms into a giant monster out of nowhere as their captor reveals to the main character that they included a bonus for them.
• Example #2 - Main character pulls off a rescue mission to save their beloved but accidentally kills them in the process of trying to get them to remember who they are. Despite being grief-striken, the main character writes it off as nothing even though they spent most of the narrative loving them to death.
• Example #3 - After a long long fight, the main character is tired out and swiftly defeated by the antagonist and their forces. Just as they're about to be finished off, a completely different group comes in and betrays them in a bid to take over the world as more people come in out of nowhere.
• Example #4 - Main character finds themselves awakening in a different era in time after deep-freezing their body to stop their mortal wounds from killing them, their goals of finding a cure for it becomes dashed as the doctor who they turn to for help wants to capture them and sell them because they're from a different time period.
• Act III

The narrative for Act III is the accumulation and buildup of the first two Acts, this typically results in the main character and/or their antagonist undergoing some Character Development and going off of it. Sometimes their Character Development nets them a good ending but most of the time Character Checks reverts them back to Pre-Character Development. A good example would be The Great Bosom Plot's Richard who constantly regrets losing his supposed loved ones before dumping his grief into the dumpster and repeat his mistakes again by replacing them without a second thought.

Outside of that, the climax of the narrative as a whole happens as the main character and whoever the antagonist is duke it off. Sometimes it is a verbal confrontation, sometimes they just fight off - but the confrontation usually has the antagonist reveal why they're even doing anything in the narrative that is somehow more sensible than whatever the main character is doing. Most of their motives are either good in nature or as nonsensical as the main character's motives.

• Example #1 - After some roughousing, the antagonist reveals to the main character that the reason why they separated from the nation with their country is because wanted to their country to be recognized as their own.
• Example #2 - A young cat questions their human father of why they're doing evil things for his wife who is possessed by a demon. He tells his cat of his tragic backstory of how his wife, of how she murdered everyone on their wedding day. Instead of running away in fear of her evil deeds, he fell in love with them to the point he himself turned evil himself.
• Example #3 - A cyborg highschooler confronts the leader of a terrorist cell that has taken over the only potato factory in his town. The terrorist leader reveals that they only took over the potato factory because of an online article told them that potatoes are good for their health. The cyborg highschooler internally monologues that he feels guilty for posting the article that lead to the entire situation, steeling himself to end the villain he had created.

Sometimes, Act III is just the main character fumbling up their life and seeing it unravel in front of their eyes, getting that Deconstruction injected in their very bones and stuff.

The endings generally have the main character killed off by the antagonist or by mere chance. Instead of the main character delivering the Aesop except on certain occasions, a Broken Aesop is done by the antagonist and whoever is alive if the antagonist bites it. Sometimes there are no resolutions to the narrative and it just cuts off and ends right there.

• Example #1 - After defeating the enemy general, the main character realizes that their attempts of giving their country name and respect should be honored. But instead of respecting their honor, the main character proceeds to completely disregard their struggles and indirectly disrespects them.
• Example #2 - After stopping the world from being ended by a giant space rock that housed an entire civilization of moon people or something, the main characters realize they either had to let the Earth end or the giant space rock and the moon people. Stating that it was a hard choice to make despite making it clear they selfishly abandoned the moon people.
• Example #3 - After a series of gambits against other games and gameboards with severe case of cheating, the Shogi pieces delivers a message about maintaining and playing by the rules while stating that rulebreakers should be punished. But all of a sudden, China jumps in and accuses the country of Japan of breaking international law over detaining fishers within their lands.

While Character Development in the series has or have been relatively low for the most part, the Late Era exchanges Character Development for Hidden Depths. Hidden Depths are basically layers of characterization that is used as a tool of exploring both characters and the narrative they're in. Like, you may have a character that is as bland as cardboard for most of the story, but they get a huge amount of character depth through Hidden Depths such as a small amount of character narration. In some cases, Hidden Depths can help a character who is lacking in the development department look and feel like an actual character but sometimes it does not work because it's either done too late or done in a way that does not satisfy the reader/viewer.

This is the Era where the Three-Act Structure is fully realized and used to its fullest potential despite the entirety of the Middle Era's narratives are. The narratives of the Late Era have a clear and defined structure while still being incredibly unclear and unpredictable, going all out to deliver a narrative that goes away from being simple and complex to deep and well-thought narratives that somehow tackled the middle of the 2010s. While a good portion of the Middle Era Deconstructed a good number of Tropes in few of the entries, the Late Era fully embraces it left and right like no other to the point of becoming a Deconstructor Fleet.

The unique thing about the premises of the Late Era is how most of the narratives are full blown Deconstructions and examinations of certain aspects of the middle of the 2010s, unintentionally becoming Harsher in Hindsight due to real-life events occurring similarly or otherwise. Instead of the insanity of the Middle Era, the Late Era indirectly and/or directly gets straight to the point with its narrative, characters, and themes while Deconstructing them. From a simple "rescue" mission of a man's beloved dog comes stories of how bad Social Media can drive a person to commit horrible things to Robot Presidents stopping Presidents from nuking the world with nuclear weapons. From straightforward to insanity-induced and complex to well-thought out narratives.

Most of the narratives of this Era are exaggerated examinations of rising issues such as Social Media and depictions of how a President without restraints would act to name a few. Although, Kuniko Takahashi unintentionally comes across as insensitive and tasteless depending on how the reader/viewer views these works.

• Act I

The narrative flow starts out with the "In a typical world of swords and magic..." as it opens up to either the main character fighting a Recurring Element, the main character's everyday life getting disrupted by someone else or by their own mistakes, or the main character going out of their way to jumpstart the narrative. In any case, despite the introduction focusing on a world of fantasy, everything is set within the Modern Era and generally within Kawagoe, America or otherwise. From there, it's either all non-stop action propelled by the main character, the everyday life of the main character improving and abruptly disrupted by something, or both the main character and antagonist amping up the stakes.

• Example #1 - The leader of a nation decides out of nowhere that he and his co-horts must take over the world. Launching nukes and bringing in countries that bend to their almighty military strength, taxing them 99.9%, and calling them inferior beings.
• Example #2 - The hero of humanity fights against the true evil in the form of a Dark Lord, despite having the upper hand in the battle. The hero is taken off-guard by an attack and completely at the mercy of the Dark Lord. Instead of being swiftly ended by a final attack and fatal strike, a photo is taken of them being down on their knees and posted on Social Media.
• Example #3 - A small town is wiped off the face of the Earth with all of its humans killed. The reason is because it had gone through the democratic process of voting between two potential mayors for the town. Due to one man's unwillingness to abide by his rights to vote, his mother alongside everyone in his town were massacred in order for Demonkind to thrive and replace the population.

Most of the main characters are either Decoy Protagonists and/or Villain Protagonists with most of Act I exploring their character and actions, and sometimes it isn't about them but the themes and tropes of the narrative being examined. It's either character-driven and/or plot-driven/narrative-driven from onward with the stakes risen higher and higher like the sun.

• Act II

The narrative flow of Act II is an exploration of how the characters and the examination of the tropes blend in with each other. It goes deeper into its Deconstruction while weaving the characters and narrative into its comedic nature as a Meme and/or Shitpost.

Usually, Act II is about how the main character overcomes the trials caused by their actions, deciding that they must try harder and amp up the stakes due to the antagonist's actions, attempting to get back to their everyday life by doing unspeakable things to achieve that return, or purposely causing the situation to spiral out of control. In most cases, the main character becomes worse over time while the antagonist in question becomes morally better than them, and sometimes they replace the main character as the protagonist.

Act II is like a Hourglass Plot where two characters and their respective character arcs have them transition through a journey where one gets worse while the other becomes better. They often mirror each other in more ways than one, but this series generally does not tackle doing a Hourglass Plot due to how the characters are written and the plot development of them.

• Act III

Act III's narrative flow is all about completing the Deconstructions that were set in place within Act I, bringing whatever the characters and narrative to the most natural conclusion. Although, this series often doesn't do an ending naturally or conclusively for most of the Early Era and half of the Middle Era. The Late Era actually has a conclusion to most of their narratives for Act III and typically it's about how everything is returned to normal or in terms of Stan Lee, "The illusion of change" aka the Status Quo.

While Chracter Devleopment for most of the series is regulated to the main characters and the side characters, the Late Era abandons Character Development and opts to give the characters Hidden Depths. Although, most of the Character Development goes to the antagonist instead of the main character as the Hidden Depths enhances them due to the Deconstruction angle the Late Era is attempting to go for.

The general flow of Act III is about the conclusion of the narrative and how everything goes back to normal aka the Status Quo. The general situation of the narrative concludes with most of the characters either dying because of their choices, things getting reversed via Time Travel, the events not even occurring at all and ending anti-climatically, everything ends well for everyone but the antagonist.

The body count is also insanely high as a number of unnamed characters and cannon fodder like most Eras, the Late Era plays everything for laughs and comedic effect.