Axis and Entente?
Unless the American/German alliance wasn't called the Philadelphia-Berlin Axis
Axis and Entente?
Unless the American/German alliance wasn't called the Philadelphia-Berlin Axis
I think they were still going by the Central Powers during the Second Great War
Deleted member 82792
I saw one post in the photos thread about one with Raccoons (standing in for the blacks) being an analogue.
I am kinda wondering what a Song of Ice and Fire or The Witcher series would look like in timeline 191.
Perhaps ASOIAF could be more based off of German History and Witcher might be a bit more popular in America.
Likewise I am wondering what the Silent Hunter video games might be like in TL-191?
Here is the post
Concept art from the Pulitzer Prize winning graphic novel 'Coons' by Tacitus Smith, son of Agrippa Smith a survivor of the Population Reduction and a former co-worker of Jefferson Pinkard (regarded as one of the architects of the Confederate Mass Murder). Tacitus tells his fathers story from birth until his death from natural causes in 1969 and his use of anthropomorphic animals to stand in for the various groups (racoons for negros, dogs for Confederates, eagles for Federals, mice for Jews, bees for Mormons, etc) was hailed as symbolic genius. 'Coons' became required reading at many universities in the former Confederate States and in Britain and France
The fictional German spy, Simon Gruber (played by Mishca Salinger in this scene from the 1962 film the Big Boss) first appeared in novel form in 1953. Gruber was created by retired special forces officer and Second Great War veteran Waldemar Fegelein. Fegelein drew on his personal experiences and that of colleagues such T.E. Lawrence and the late Ian Fleming. His first novel, the Quickening, was a massive success and was lauded by critics and outstanding fans such as Fritz Lang, Albert Einstein, American ambassador Joe Kennedy, even the Kaiser. Fegelein published three more novels before producers from Nuremberg (ooc: German Hollywood I guess) beckoned for the rights to films his novels. Director and producer Leni Riefenstahl won the bid and production began immediately in 1957 on the first Gruber film, the Man with the Iron Heart.
Today the Gruber franchise is the third longest running franchise, behind the Japanese-American Godzilla series and the Forever Timely Comics cinematic universe. There have been 26 entries with the 27th, Command from the Dark, due out in June of 2020.
Here is a-list of all the actors whom have played Gruber:
Horst Buchholz 1958-1962
Mishca Salinger 1962-1971
Jürgen Prochnow 1971-1983
Klaus Brandauer 1983-1987
Jeroen Krabbé 1987-1991
Herbert Grönemeyer 1991-1999
Heino Ferch 1999-2005
Alexander Johan Hjalmar Skarsgård 2005-2015
Nikolaj Coster-Waldau 2015-present
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Babelsberg ? They are OTL German Hollywood after all
I think there won´t be anything comparable in America. The special hate an ideological civil war create, let nothing good expect for the treatment of POW´s, at least nothing you write later a sitcom about.
In Europe it depends how the WK goes and how POW`s are treated. Let say there is a german sitcom in the sixties. Here I have the idea, that in the UOB camps were propably guarded by female militias. The joke could be, that there are "romantic collaboartion" between the german POW´s and their female british guards.
Well they were all Born in former Confederate States, but by the time they were all Born its been a while since the end of the war so it really depends on what continuation timeline we are talking about. For Instance in After the End they'd grow up in a relatively prosperous country thats been Reunified for the entirety of their parents lives. So probably a fairly similar career Trajectory
On the Complete other end of the Spectrum in Yankee Spring they'd have all been born right before or right after the American Collapse in a newly Revived Confederacy propped up by Germany, only to come of age during the rise of Walter Peterson. Worst case scenario they end up local singers or doing ADR over German Sitcoms for Confederate TV. Best case scenario they end up meeting, starting an anti-peterson/authority in general punk rock band and being their timelines version of Pussy Riot.
I do wonder how the Southern Gothic genre would evolve in timeline 191 with the course that the South took. Since it probably would have taken off following the great war before being suppressed by the Featherstone regime and second great war.
The 70's are often considered the Animé Golden Age for a good reason; the genre had matured from its humble beginning and the economy of the rebuilt France and England finally allowed for larger projects and a diversification in the studios, producers and distribution channels. While IAP (Image Animé Production, the studio of Jean Image) would emerge from the ''Verne Era'' stronger then ever, the Vichy Clique was no longer the only player on the field.
Indeed, while Vichy had survived the war (and post-war) intact, Paris had been devastated by German Sunbomb. While at first the German had no interest in rebuilding it, they would however clean the radioactive rubbles during the 50's. The new french state, coming out of German occupation during the 60's, decided otherwise and planned the reconstruction of ''La Ville Lumière''. The German empire, now fully secure as the sole power in Europe, agreed to finance the project (secretly) in exchange of France abandoning its plan to re-introduce mandatory military service and keeping a small professional army instead. While the Eiffel tower and the Notre-Dame Cathedral would be re-built as they were, the rest of the city was drastically changed and ''modernized". The new pre-planned city would be centered around a core of ''Cité citoyenne'', large habitation block linked to a subway (or light rail, or monorail) transportation system and having space inside dedicated to shops and services, creating mini ''self contained'' cities tied to the rest of the larger urban area and the country.
Even the Elysée Palace and the Paris city hall had been rebuilt in a modernist style and planned to be tied to the future transportation system to allow easier access.
The Elysée
Paris city hall
Completed in the 70's, the new city of Paris was the perfect image of this new France: efficient, class, modern and wealthy. And in Paris, a new studio, strongly influenced by IAP animé, was born: Studio d'Animation Lutèce (or SAL). Young french animators, some even part of the Vichy clique, moved to the new and shiny Paris where the economical effervescence was providing ample possibilities and perspectives. One of them being the television, indeed, with the French economical miracle of the late 60's and 70's, the public possessing a television post exploded, especially in Paris, offering a new medium and economical model of production and distribution. SAL was quick to capitalize on such opportunity with cheap and quickly produced animation that could be made in a week and aired for the next one. Their first project, aired on France 1, the main french broadcasting corporation, was Super Robot; the story of a young robot boy being created by his ''father'', a scientist, to be a surrogate son for him, but evil militarists (not so subtlety a mix of Action-Française and German caricature) try to capture both the boy and the scientist to create an army of robot soldiers. But Super Robot would thwart them to keep peace for him, his family and the world.
The series would be an immediate success and Super Robot would end up having no less then 7 seasons, securing the animé style popularity in the public consciousness and as a prosperous venture with its derivative produces.
In contrast to the Parisian renewal, the small provincial town of Vichy would not change a lot during and after the reconstruction and neither would IAP. Jean Image and his associated continued with their cinematographic continuity with the creation of a animé historical drama: The Rose of Versailles. The story of a young french noble girl falling in love with a royal guard coming from the regular citizen. Although they fell i love with each others, the French revolution would put their love in jeopardy as the royal guard loyalty began to shift toward the revolutionaries.
A great success, especially for the female audience, which began to get interest in the animé genre, this fracture between the style, with the new Parisian studios churning out futuristic action series while the Vichy clique continued their historical (or based on past novels) high quality movies, sparked for many the contrast between the flashy capital and the peaceful province.
The Rose of Versailles English traduction/Photo of Vichy in 1950, one of the last remnant of the french classicist and Haussmann architecture style after the destruction of Paris
But this vision is slightly simple as in 1974, after the release of the Rose of Versailles, IAP would release their first tv series for Télé-France, the main regional broadcaster: Heidi, la fille des Alpes. Heidi was based on a Swiss novel and seemed to follow the trend of Vichy doing mostly adaptation but this series, following the ordinary life of, well, Heidi, was the sign of IAP realizing the changing grounds and adapting to the new market with a tv division. While not as popular as Super Robot, Heidi would be much more exported, notably in Switzerland but also in England, Quebec, Italy and Belgium. Heidi would be briefly broadcasted in Germany from 1975 to 1977 from Strassburg-Rundfunknetz but the lack of interest from the public and the low-cost of the project meant that Heidi was only subbed in german while the french voices were kept. Quite ironic considering that RCB (Radio Canton Berne), the swiss distributor, would offer a (helvetic)german full voice translation in 1976.
Heidi opening/ Heidi DvD cover
In 1975, another studio, named Compagnie d'Animation Tricolor (or CAT) would debut in Paris with an ambitious animé series named ''Mimi et Compagnie'' (Mimi & co.). Drawn and pitched by Charline Gouzere, it would tell the story of Mimi France, an alien coming to earth, landing in France and being adopted by a couple of war refugees from Alsace (like Charline was). Mimi would then discover that she have supernatural powers in her teenage years and decide to protect not only her nation of adoption but also Earth. She would travel across the world and recruit girls ''with great potential'' to help her in her task. An enduring symbol of the female emancipation in this new France, Mimi & Co., despite the skimpy outfits, would broadcast a feminist message of women empowerment that would not only be popular with female audience but also male viewers thanks to its action-packed scenarios. Never acknowledged by either Charline Gouzere or CAT officials, many however suspected possible hint of romance between Mimi and Mariane, the first recruit of the series. Many, like the catholic church of France, would try to remove Mimi & Co. from the air based on this rumor, thanksfully unsuccessfully. While CAT would not have the same staying power as IAP or SAL, Mimi & Co. would outlive its producers in the public mind with no less then 5 seasons and 3 movies.
The English DvD cover of the 5 seasons pack/ Mimi and Mariane/ Charline Gouzere
A poster of the series/ The actual animation
The same year, IAP would produce the television movies Arsène Lupin, from the character of Maurice Leblanc. Another literature adaptation, it would however be small feature movies destined not to be projected in cinemas (although many did anyways) but bought and presented by television broadcast medias. The 24 books of the ''Gentlemen-cambrioleur'' were adapted into either short or full length movies and distributed across France, either on Télé-France, France 1 or even France-Inter, the international channel aimed at the Francophonie. A great surprise coming from the Arsène Lupin series would be the broad audience, not only teenagers or young adult would watch these movies but adults as well, interested in the more ''mature'' classical stories instead of the ''juvenile action series''. A fair commercial success, Asène Lupin would however fail to mark the minds as deeply as the others series would.
The third Asène Lupin movie: L'aiguille creuse (the hollow needle)
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