Reds fanfic

generalurist

So, I wonder how porn/hentai games will develop in this timeline? On one hand, the crusade against outdated taboos about sexuality is probably going to significanly reduce the stigma that very explicit material has in OTL. On the other hand, the much greater prevalence of strong feminist ideals might make society significantly less tolerant of media that exists to let men indulge in their fantasy of sexually dominating people. I couldn't say which side the balance swings towards.

Either way, unless East Germany's anthem is different in TTL, the fact that Red Germany is alive and well-connected with the world means that the Reds! version of the Rance series is not going to get away with having the main character rape people to the tune of an epic remix of Auferstanden Aus Ruinen. :p
 
Caucus-Ruso-Persian

Caucus-Ruso-Persian

The_Red_Star_Rising said:
Just a polite reminder that this is for fan contributions for the Reds timeline, not a "biggest possible soviet bloc" thread.

https://www.alternatehistory.com/forum/threads/reds-a-revolutionary-timeline-special-edition.168330/
https://www.alternatehistory.com/forum/threads/the-great-crusade-reds-part-3.270711/
Click to expand...

good, I was worried it was one of those, I made the picture in 5 minutes just as a meme, but I included semi-realism, but since you said that I'm actually interesting,
I'll be working on a cold war map, except this would be based on if the Bolsheviks and Stalin were less worried about producing multiple communist states to show they were not that imperialist. May include what the new Russia will look like after the USSR collapses!
 

Bookmark1995

Banned
This post is going to have a reference to @The_Red_Star_Rising 's Waververse.


Excerpts from Michael Tilden, Anti-Catholicism in America Film (Boston, 2002)


Fuck the Pope. How many divisions does he have?

-Stalin, Epigraph

Among the many villains of American cinema (landlords, fascists, Western European billionaires), one the most reviled villain is the once worshiped and respected Vatican. Most Americans see the Vatican as a symbol of the worst aspects of religion: dogma, reaction, and allegiance to bourgeois power over liberation of the masses.

This enmity, however, was more than a people throwing off the opiate of religion, but the anger of a disillusioned people discovering a rotten kingdom hiding underneath a heavenly facade, as well as the prejudice of many Protestants.

*****

Many American Catholics, many of them impoverished urban dwellers or immigrants from Southern and Eastern Europe, found themselves in the labor movement of the early 20th century. They ironically looked to the magnanimous values of Catholicism as their inspiration for the desire to improve their plight.

But after the horrors of World War I, and the Bienno Rosso, the labor movement evolved from merely demanding more crumbs from the capitalist overlords to demanding control of the means of production. This was now a movement that threatened structures of power.

One of these power structures was the Catholic American hierarchy. By the 1920s, Catholic priests began pushing and prodding their congregants into rejecting the principles of socialism.

For many left-wing Catholics, this created a serious crisis of faith. For generations, their families had endured not only poverty, but prejudice from the then dominant WASP community. To see their faith rewarded with the message of surrendering to the status quo was a punch in the face.

"I have the found the kingdom of God," a Polish American once said,"and I am told to reject in the name of God."

*****

The 1934 Papal Bull condemning the Second American Revolution provoked incredible outrage and anger among American Catholics. But like many acts of oppression, the Bull was a self-fulfilling prophecy: in trying to stem humanism and the downfall of religious hierarchy, the Vatican accelerated the process, driving many of their congregants either to Trinitarianism or to atheism and the hedonism of the First Cultural Revolution.

Among these betrayed figures was Frank Capra. A young Italian whose family immigrated to America seeking opportunity, he also looked to the Catholic church as a guide toward his belief in liberty and human emancipation, a theme which was present in many of his pre-Revolutionary works [1].

Like many former Catholics, the reject of the Revolution drove him to anger. Capra, however, had the artistic means to express his rage toward a Papacy that he now regarded as the den of Satan.

Capra's first film in the post-Revolution era was the 1935 historical drama Galileo. In the film, it depicts Galileo's persecution and capitulation at the hands of a superstitious, all-powerful papacy that sought to suppress rational thought. Taking advantage of the lack of bourgeois censorship, it made no bones about medieval torture and corruption. The film would mark Capra's drift from rosy working class fables to angry cultural populism, would set the tone for American anti-Catholicism in media.

Other films in the era would depict other atrocities of the Vatican, from the murder of Native Americans, to the persecution of Protestants, to the expulsion of Jews from Spain, (which also gained traction as many Central European Jews were running from a fanatical tyranny). And they gained a following among former Catholics and those who held anti-Vatican mindsets.

Catholic -inspired villains would also be present in other media, like the villainous Raena Caudilla of the Waververse.

*****

The Second Cultural Revolution saw anti-Catholicism take on a different levels.

While the proponents of the Cultural Revolution often had little memory of American Catholicism, Cold War hatred and a desire to upend society only served to create a deeper wedge between young Americans and a cruel Vatican society that rejected their newfound social freedoms, as sought to destroy them.

One film that was an outgrowth of this mentality was Billy Wilder's The Cathars, a dramatization of Albigensian Crusade, the vicious campaign by the papacy of Pope Innocent III against the Cathars, a religious order that contradicted Catholic doctrine. The Cathar's relatively progressive values [2] that the Vatican despise them made them seem as martyrs of progess to Wilder, who in the film, depicted them as a quasi-utopian society unjustly destroyed by greed, decadence, and reaction. The film had such an impact in the time period, it even led to a revival of Catherism in parts of the UASR.

Others films also depicted societal scale persecutions of pagans, and the brutality of the Crusades.

As the values of the UASR continue to drift from the continued conservatism of the Vatican, the anti-Catholic themes in American movies will remain.

[1] Capra OTL was motivated by religious belief in many of his works.

[2] The Cathars supported an odd form of gender equality and even opposed the death penalty. But it had less to do with socialist belief and more to do with spiritual belief.
 
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The_Red_Star_Rising

The_Red_Star_Rising

Bookmark1995 said:
This post is going to have a reference to @The_Red_Star_Rising 's Waververse.


Excerpts from Michael Tilden, Anti-Catholicism in America Film (Boston, 2002)


Fuck the Pope. How many divisions does he have?

-Stalin, Epigraph

Among the many villains of American cinema (landlords, fascists, Western European billionaires), one the most reviled villain is the once worshiped and respected Vatican. Most Americans see the Vatican as a symbol of the worst aspects of religion: dogma, reaction, and allegiance to bourgeois power over liberation of the masses.

This enmity, however, was more than a people throwing off the opiate of religion, but the anger of a disillusioned people discovering a rotten kingdom hiding underneath a heavenly facade, as well as the prejudice of many Protestants.

*****

Many American Catholics, many of them impoverished urban dwellers or immigrants from Southern and Eastern Europe, found themselves in the labor movement of the early 20th century. They ironically looked to the magnanimous values of Catholicism as their inspiration for the desire to improve their plight.

But after the horrors of World War I, and the Bienno Rosso, the labor movement evolved from merely demanding more crumbs from the capitalist overlords to demanding control of the means of production. This was now a movement that threatened structures of power.

One of these power structures was the Catholic American hierarchy. By the 1920s, Catholic priests began pushing and prodding their congregants into rejecting the principles of socialism.

For many left-wing Catholics, this created a serious crisis of faith. For generations, their families had endured not only poverty, but prejudice from the then dominant WASP community. To see their faith rewarded with the message of surrendering to the status quo was a punch in the face.

"I have the found the kingdom of God," a Polish American once said,"and I am told to reject in the name of God."

*****

The 1934 Papal Bull condemning the Second American Revolution provoked incredible outrage and anger among American Catholics. But like many acts of oppression, the Bull was a self-fulfilling prophecy: in trying to stem humanism and the downfall of religious hierarchy, the Vatican accelerated the process, driving many of their congregants either to Trinitarianism or to atheism and the hedonism of the First Cultural Revolution.

Among these betrayed figures was Frank Capra. A young Italian whose family immigrated to America seeking opportunity, he also looked to the Catholic church as a guide toward his belief in liberty and human emancipation, a theme which was present in many of his pre-Revolutionary works [1].

Like many former Catholics, the reject of the Revolution drove him to anger. Capra, however, had the artistic means to express his rage toward a Papacy that he now regarded as the den of Satan.

Capra's first film in the post-Revolution era was the 1935 historical drama Galileo. In the film, it depicts Galileo's persecution and capitulation at the hands of a superstitious, all-powerful papacy that sought to suppress rational thought. Taking advantage of the lack of bourgeois censorship, it made no bones about medieval torture and corruption. The film would mark Capra's drift from rosy working class fables to angry cultural populism, would set the tone for American anti-Catholicism in media.

Other films in the era would depict other atrocities of the Vatican, from the murder of Native Americans, to the persecution of Protestants, to the expulsion of Jews from Spain, (which also gained traction as many Central European Jews were running from a fanatical tyranny). And they gained a following among former Catholics and those who held anti-Vatican mindsets.

*****

The Second Cultural Revolution saw anti-Catholicism take on a different levels.

While the proponents of the Cultural Revolution often had little memory of American Catholicism, Cold War hatred and a desire to upend society only served to create a deeper wedge between young Americans and a cruel Vatican society that rejected their newfound social freedoms, as sought to destroy them.

One film that was an outgrowth of this mentality was Billy Wilder's The Cathars, a dramatization of Albigensian Crusade, the vicious campaign by the papacy of Pope Innocent III against the Cathars, a religious order that contradicted Catholic doctrine. The Cathar's relatively progressive values [2] that the Vatican despise them made them seem as martyrs of progess to Wilder, who in the film, depicted them as a quasi-utopian society unjustly destroyed by greed, decadence, and reaction. The film had such an impact in the time period, it even led to a revival of Catherism in parts of the UASR.

Others films also depicted societal scale persecutions of pagans, and the brutality of the Crusades.

As the values of the UASR continue to drift from the continued conservatism of the Vatican, the anti-Catholic themes in American movies will remain.

[1] Capra OTL was motivated by religious belief in many of his works.

[2] The Cathars supported an odd form of gender equality and even opposed the death penalty. But it had less to do with socialist belief and more to do with spiritual belief.
Click to expand...
Pardon me for asking but I don't see it.

It does seem like a realistic take though.
 
The_Red_Star_Rising

The_Red_Star_Rising

Caucus-Ruso-Persian said:
good, I was worried it was one of those, I made the picture in 5 minutes just as a meme, but I included semi-realism, but since you said that I'm actually interesting,
I'll be working on a cold war map, except this would be based on if the Bolsheviks and Stalin were less worried about producing multiple communist states to show they were not that imperialist. May include what the new Russia will look like after the USSR collapses!
Click to expand...
Stalin dies in 1941 in this timeline and Marxism-Leninism is very much not the dominant tendency in TTL's communism.
 
The_Red_Star_Rising

The_Red_Star_Rising


Hail Columbia! A television experience of the new era (Part 1)

- By Ahmed ibn Al-Fakir for the Daily worker, 2017


While children's serial animation in the Alliance has a reputation for being glorified twenty minute long advertisements for merchandise; with European giants Lego, Vilac, and HTI dominating the younger children's market and the miniature gaming giant Games Workshop, Rai Partha*, and Lego fighting furiously for the teens and adults sector and funding myriad shows for the express purpose of interesting people in purchasing more merchandise of their brands; the Comintern has long taken a rather different approach to the subject of children's animation. With a much weaker consumer culture and an entirely different televised entertainment culture, the "four minutes of commercials for every eleven minutes of content" ratio that is practised as gospel in Alliance visual serial fiction never took root. Furthermore, while toys and other physical goods are still made for shows simply out of recognition that many children and viewers will want some sort of tangible representation of their favoured characters; the desire to push auxiliary merchandise has never been quite so fanatic. And whereas the squabbling to gain the license to make products for successful IPs is infamously vicious in the Alliance, the Comintern's far less stringent take on copyright and its wholly different stance on the concept of intellectual property has lead to even its most iconic creations long leaving the exclusive hands of their creators and disseminating themselves into the public.


Colonel Columbia, part of the Rubyverse (or Waververse depending on how integral to the setting Samantha Waver's work is to the person in question), is one such example. Though strongly controlling of the setting in her younger years, as she aged Samantha became increasingly more permissive and even encouraging of experimentation. To quote "Stories have always been meant to be shared and modified by the people who partake in them. Reducing the audience to a simple, static listener instead of a contributor in my mind is to rob them of much of the impact fiction has. Imagine if Hercules or Beowulf were bound into eternal copyright statutes and estates for long dead authors! What an awful sight that would be." A quintessentially American character, Columbia has been simultaneously righteous and rebellious, committed to the cause but always willing to question the path, and optimistic yet pragmatic, flirty but sensitive, and perhaps a bit overly bellicose as a reflection on America’s own tendency to be quite eager to draw itself into proxy wars to erode the influence of the Alliance.

One of the show's more interesting decisions was a decision to focus much less on Columbia's traditional archnemesis Siegfried. The show's main writer; Daron Necfy, cited that Siegfried had been used and thwarted so often that the menace of what he represented had faded somewhat.

"It's hard to fear someone who's been defeated twenty times in major events and works in the past twenty years." She said, regarding the so called "King in the North" and "invincible champion of Aryanism"'s remarkably poor track record when it came to actually succeeding at any of his schemes. Alulim was similarly given some "time to rest", with the first King being deemed to be perhaps a bit too overused in recent times.

Instead the focus was put on a trio of villains; Raena Caudilla the Empress of Iberia, Koschei the Lich Tsar, and Mendrogan the star conqueror. Koschei was presented in particular as the most sinister and implacable threat; playing on the horror traditions of the Comintern where the supernatural was seen in a somewhat inherently terrifying light and in Koschei's long history of being used as a character in horror stories and as one of Columbia and especially Molotok's most dangerous enemies thanks to his genocidal hatred of all Slavic peoples for their role in his defeat in one of his attempts to conquer the world during the dark ages as well as his matchless mastery of necromancy and other forms of dark magic.

The series takes place in the present day, removed from the frequent second world war setting after a prologue episode featuring Columbia and her friends helping the great grand parents of the two "every man" characters, Jared Brown and Julia Diaz. The two soldiers are saved from Japanese soldiers and Koschei's undead during operation Damocles. Seventy years to the day after the end of the second world war, Columbia returns to visit the homes of the families of the two soldiers she helped, having not aged a day since she saw Jared and Julia. Their great grand children; Larry and Lola; who at first were rather sceptical of their great grandparents' claims to have met the world's most famous superheroes, are floored to find that Amanda Aaron is a downright down to earth person. She's spunky and energetic and perhaps a bit eccentric, but she carries herself more like a teenager their age than like the goddess she's often thought of being like. At first, they don't even quite believe that the teenagers having dinner with them are heroes like Hua, Molotok, or Columbia.

After an attempted attack by undead in Koschei's service to pay the two families back for their roles in helping one of his great enemies however, any doubt about their identities goes out the window. However, Columbia's just a bit suspicious since a lot of people have helped her over the years and Koschei rarely targets them personally. Especially when the two have never, to her knowledge; thwarted Koschei personally. She's also rather impressed by how their grandkids are so able to hold their own against Koschei's wights, ghouls and skeletons and even the vampire he sent to take care of them, which they at first explain away by saying they take martial arts and know how to use guns. Throughout the first season of the show, it's found that the Diazes and Browns both partook in special militia units dedicated to fighting extranormal threats to the people of the world, something they kept from their kids so that they wouldn't be influenced to try recklessly joining. But at some point the two grandparents were affected by the magic of the Eye of Horus during one operation to try and stop Koschei from taking over the Egyptian underworld after poisoning Anubis and Osiris.

Since then, that power has passed through their bloodline, and their kids have manifested it in their own supernatural abilities. The series combined elements of adventure, action, comedy and some drama; giving surprisingly deep looks at the effects of war, the pressures of expectations to preform well at a young age, the difficulties that young people in love face, the culture clashes faced between people going between the red and blue spheres, even touching on questions of religion, sexuality, politics, and extraterrestrial life through the lens of a show for kids and teens. One of the key messages of the show in particular is that no one can handle the world's burdens alone, and that greatness doesn't come from high and mighty leaders, but people pooling their efforts in the face of the situations they deal with every day. Something that many of the show's villains; who are obsessed with personal dominance, control, and power struggle to really grasp. Koschei in particular dreams of a world where nothing happens without his will, where all beings are his undead servants and all of humanity will be strong under his absolute guidance, and as such finds the way that the heroes work as a team and not a cabal under the leadership of any one of them to be mind boggling. The other key message; is the importance of finding new experiences, gathering more information, and seeing the ideas of others; rather than cloistering yourself with yes men as villains like Raena or Mendrogan often do.

Though the show is quite young; only being in its third season and the preference for high fidelity animation and stringent writing quality standards does result in a somewhat small episode count, the show is considered perhaps the defining way for new fans to get into the Rubyverse and an excellent way to introduce the series to a new generation. Freed from the profit motive, the show focused largely on artistic quality as opposed to output, and its cast of voice actors; young and old, are drawn largely from people known to be enthusiastic fans of the Rubyverse already; bringing passion and authenticity to characters new and old.

Contrast to another in a long line of "mass media sensation"s to emerge from India; the "Guru of Fists". Essentially embodying all the negative stereotypes of southern asian animation franchises such as heavy usage of recycled animation to save on cost, pointless fight scenes for the sake of having fight scenes, blatant usage of fanservice often with dubiously over the age of majority female characters, a needlessly complicated "harem" romance subplot that refuses to be settled despite being brought up over episode after episode, and a great many characters seemingly introduced at random simply because the Toymaking company demanded their presence. With the overbearing demands of Rai Partha to constantly serve their advertisement desires, the "plot", such as it were, of the main character Gunadhaya seeking to stop the great demon Hrafn from assembling the gems of the four elements to attain ultimate power; has gone almost nowhere over the course of fifty two episodes in a single year.

Perhaps most insulting is the show's anti-gun message despite the main character repeatedly beating numerous enemies to death with his fists. Apparently bludgeoning someone to death with your fists or a staff is fine, or perhaps slicing them with a sword or stabbing them with a spear? But a gun? Heavens no! But perhaps this is ultimately reflective of how the culture of the Alliance is one that has always been fearful of firearms being in the hands of the common folk. The Doctor, for example despite being perfectly willing to enact several counts of genocide; is deeply loathe to use so much as a pistol. Meanwhile american heroes such as Amanda Aaron and Steve Rogers have never balked from using all manner of ordnance if it would assist in their objectives. The Guru of Fists simply is another in a long line of such hypocritical heroes who are in favour of all but a very specific kind of violence that might be imitated in reality. And need I even mention the "rebellious streak" virtually every character mentions Gunadhaya as having, only for him to defer to the Police or Army in nearly every situation when they meet?

Hardly the equivalent of Amanda stabbing an American Army Group leader in the heart, crushing his neck with a shield bash, and then throwing him out the window to his heavily implied death upon spiked fences outside of his office when she found him to be a Koschei worshipper at the climax of the "corruption in high places" arc. No, the state is always Gunadhaya's friend and any misdeeds are the result of some sort of trickery or deception rather than people in power succumbing to its lures.

*Fictional Indian company
 
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Bulldoggus

Bulldoggus

Banned
I should do the same.
New AH.com Character Revison Edition

Name: The Blue Corporal
Real Name: John Hunter
Age: 39
Gender: Male
Sexuality: Straight
Ethnicity: Anglo-Saxon
Religion: Anglican
Place Of Birth: Wolverhampton, West Midlands, Franco-British Union
Currently Residing: Pernith, Cumbria, Franco-British Union
Political Affiliation: People's Alliance
Class: Middle
Occupation: Local Politician (has finally been given a safe seat for an upcoming by-election), veteran.
Favorite AH Work: Kaiserreich
Favorite Book: The Decline and Fall of the Roman Empire
Favorite Film: Goldfinger
Favorite TV: Premier League: The 91st Minute, Rugby Wrap-Up
Favorite Music: Prog Rock
Favorite Game: Computer Solitare Havana Pro Edition
Favorite Art: Caravaggio
Other Hobbies: Football, Rugby, Gardening, Politics, Reading, Calling the Cops on local Socialist demonstrations.
Likes: West Bromwich Albion, Sale Sharks, The People's Alliance, The Bond Films, Lager, Scotch
Dislikes: Socialism (although he's too friendly to have a problem with socialists), Noise, Disorder, Gossip
Favorite Quote:
"The urge to save humanity is almost always only a false-face for the urge to rule it."- H. L. Mencken
Demeanor: Friendly, avuncular, and something of a jolly old father figure for much of the board. See's Red_DevilDog as a brother that was misplaced by god, to be the Red Yang to his Blue Yin. Has a friendly yet grudging respect for Berserk Norscan because though he is a socialist he dislikes the Americans nearly as much as he does.
AH Works on the board: Rise of the Khanate: ROMAAAAAAAAAN!!!!
 
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Bulldoggus

Bulldoggus

Banned
Mosleyite Wing of Labour Carries On*
By Graham Douglass in The Guardian

Since the late 1980's, a wing of the Labour, informed by the Totalist Ideology espoused by Oswald Mosley, has grown and consolidated its power over the Labour Party in large swathes of the Midlands. They can be seen wearing their black quasi-uniform at party meetings in Solihull, selling copies of Action! at strikes in West Bromwich, and belting Mosleyite chants at Wolves matches in Wolverhampton. Says Shoreite Labour MP Steven Gunn of Birmingham Ladywood, "They'll use parliamentary means to gain power, but the moment they get it, they'll make it a one party state." So what is this group?

The core of the Totalist wing of Labour is the newspaper Action! This is the main outlet for Totalist ideas and their primary source of funding. Members are expected to regularly contribute money for the upkeep and publication of this newspaper. Their plan is for a Labour government dominated by Totalist ideas of Direct, Socialist Rule of the Franco-British Economy from London. Then, they will suspend "the unnecessary structures of parliamentary democracy, as the will of the people shall be expressed through totalism."

Says Gunn, "this group is a threat to Democracy, and must be rooted out of our party. I have been a hammer against the Totalist just as I have been against the Bolshies, and I shall continue to be such." Says Councillor John Hunter, Parliamentary Candidate for Pernith and the Border and a Wolverhampton native "The totalists are proof of concept that there is minimal difference between the reds and the fascists. Only the PA is committed to democratic government and the Constitution." Said Communist MP Jean-Luc Melanchon, "This proves the Labour Party are Social Fascists who will betray the Revolution at the first opportunity."

A spokesman for Labour Leader Richard Leonard expressed a commitment to anti-fascism. Labour MPs from Solihull, West Bromwich, and Wolverhampton, areas associated with Totalist control, refused to comment.

*Note, the Mosleyites are a tiny wing of the party, but a well-organized one that punches above its weight through strong influence in the "Enoch Country" of the West Midlands. Look at them as a TTL Militant. DO NOT interpret this as a mainstream Labour sentiment, for the love of God, we really don't need another flamewar.
 
Bulldoggus

Bulldoggus

Banned
The_Red_Star_Rising said:
With the overbearing demands of Rai Partha to constantly serve their advertisement desires, the "plot", such as it were, of the main character Gunadhaya seeking to stop the great demon Hrafn from assembling the gems of the four elements to attain ultimate power; has gone almost nowhere over the course of fifty two episodes in a single year.
Click to expand...
Sounds like an Anime to me...
 
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