Chan Tien Yee was manufactured on the tenth day of the tenth month of the
year 1982 Anno Domini [common era] and presently dwells in Winnipeg,
Manitoba under the supposed appellation "Erik Chan". He abides at a height
two inches short of six feet, presumes a vague resemblance to his Asian
heritage, and prevaricates the portrayal of his corpulence by a weight
of 140 pounds.

Chan Tien Yee's devotion to the proverbial "drawing board" is virtually
dwarfed by his manifold supplemental interests, primarily that of footbag
which he claims particular partiality to. Additional fascination exists
in the art of table tennis, however not to nearly as excessive a degree
as the aforementioned.

Musical passions exist in consonance of [progressive] trance/happy
hardcore/house/dance/hip hop/industrial focusing essentially on the
unrefined genius of Robert Miles/Circle of Dust. "Spinning vinyls"/"djing"
unfailingly remains an unattainable aspiration.

Chan Tien Yee tends to contribute the majority of all and any funds
deposited in his benefit to his continuously expanding concentration of
collected sequential art in its unfathomably multifarious forms. Texts
referred to most habitually in the inert designing of his own works
include Adam Warren's "Dirty Pair", Kosuke Fujishima's "Oh, My Goddess",
Joe Madureira's "Battle Chasers", and Jhonen Vasquez' "Johnny the Homicidal
Maniac".

When not dwindling mindlessly at his computer or maintaining the airbound
properties of a certain bag of ultrasuede and plastic beads in his
livingroom, Chan Tien Yee can undoubtedly be found disbursing incessant
consecutive hours in front of his Playstation console gaming system.
Favoured relating entertainment is not limited to "Tekken 3", "Final
Fantasy VII", "Metal Gear Solid", "Vagrant Story", "Dance Dance Revolution",
and "Tony Hawks Pro Skater 2". Chan Tien Yee is also substantially
vulnerable to "anything Pokemon".

Not omitting the web design and maintenance which bore this biography, Chan
Tien Yee is limitlessly inspired by the Asiatic cultures whose lineage he
haughtily represents, Japanese animation/Hong Kong cinema [especially
performances by Liu Chia Hui] and the spellbinding pulchritude of the
conventional Asian female in pigtails.