It also has religious concepts, like angels. Maybe Capra and Stewart are able to make a story about a man seeing the importance he has had on others during Christmas, but it won't resemble the OTL film.
Reds fanfic
- Thread starter E. Burke
- Start date
It also has religious concepts, like angels. Maybe Capra and Stewart are able to make a story about a man seeing the importance he has had on others during Christmas, but it won't resemble the OTL film.
E. Burke
Banned
Is culture that secularized, I know politics is. But is media, like I'm a huge fan of religion and shit. I don't believe it, Judeo-Christian mythology is one of my favorite things. It makes me sad that thats removed from culture
Well, it probably isn't removed. The UASR is a freer socialist society, and allows religion, as shown with Trinidadian Christianity. It's just that it is heavily secularized, and religion has no place in public places, including, perhaps, the movies.
Casino Royale
by Ian Fleming
MCEA[1] agent James Bond is sent to Havana to play cards. Specifically, against a wealthy Cuban only named La Clava (The Cypher), who is the financier of a trade union with ties to the underground Communist Party of Cuba, and SIS suspects, to American intelligence agency Section 9. La Clava, originally operating in Paris, had gotten millions from the KGB and Section 9, intended to fund the CPC and other communist parties in their revolutionary struggle, but wasted that money on investments in brothels. Then, the FBU outlawed prostitution, and he lost all his investments and the money the socialists gave him. Now, he is in Havana, hoping to win the money back before the Americans catch up to him. Bond, as one of SIS's best card players, is sent to ensure that La Clava never gets that money. Bond is helped on this mission by fellow MACE agent Rene Mathis (who had hunted La Clava or Le Chifree as he was known there, throughout France), and Vesper Lyd, assistant to Section S (for Socialists). As the game goes on, Bond notices a man suspiciously standing , watching the game. He is ostensibly a member of the exile American junta, enjoying the casino. When La Clava wins the first round, and wipes out Bond's funds, Mathis provides him with some money set aside in the event of Bond losing. Bond is able to win the second round, clearing out La Clava's accounts.
Frightened, La Clava kidnaps Vesper Lynd, and traps Bond while he tries to rescue her. La Clava tortures Bond, until he gets his money back. However, the same American man from the casino arrives and shots La Clava. He introduces himself to Bond as Felix Leiter, agent of Section 9 of the Secretariat of Public Safety. He had been at the casino to ensure La Clava won back the money he owed to the Americans, and kill him if he didn't. Leiter releases Bond, but puts a large S (for spy) on his hand to show any American and Soviet agent that he was a dangerous foe.
While recovering, Bond is tended to by Vesper, whom he steadily fell in love with. He even considers leaving the Service to be with her. However, one day, they see a man tracking their movements. Vesper, distresssed by this, commits suicide. In it, she confesses to be a Soviet double agents, since her husband was held captive by Soviet agency SMERSH. Bond, distraught, coldly tells his superiors that "the bitch is dead."
[1] Ministry of Counter Espionage Acivities, (or
Ministère des Activités de Contre-Espionnage) is the main military intelligence agency for the Franco-British Union, a merger of the British Secret Service and the French Deuxième Bureau
by Ian Fleming
MCEA[1] agent James Bond is sent to Havana to play cards. Specifically, against a wealthy Cuban only named La Clava (The Cypher), who is the financier of a trade union with ties to the underground Communist Party of Cuba, and SIS suspects, to American intelligence agency Section 9. La Clava, originally operating in Paris, had gotten millions from the KGB and Section 9, intended to fund the CPC and other communist parties in their revolutionary struggle, but wasted that money on investments in brothels. Then, the FBU outlawed prostitution, and he lost all his investments and the money the socialists gave him. Now, he is in Havana, hoping to win the money back before the Americans catch up to him. Bond, as one of SIS's best card players, is sent to ensure that La Clava never gets that money. Bond is helped on this mission by fellow MACE agent Rene Mathis (who had hunted La Clava or Le Chifree as he was known there, throughout France), and Vesper Lyd, assistant to Section S (for Socialists). As the game goes on, Bond notices a man suspiciously standing , watching the game. He is ostensibly a member of the exile American junta, enjoying the casino. When La Clava wins the first round, and wipes out Bond's funds, Mathis provides him with some money set aside in the event of Bond losing. Bond is able to win the second round, clearing out La Clava's accounts.
Frightened, La Clava kidnaps Vesper Lynd, and traps Bond while he tries to rescue her. La Clava tortures Bond, until he gets his money back. However, the same American man from the casino arrives and shots La Clava. He introduces himself to Bond as Felix Leiter, agent of Section 9 of the Secretariat of Public Safety. He had been at the casino to ensure La Clava won back the money he owed to the Americans, and kill him if he didn't. Leiter releases Bond, but puts a large S (for spy) on his hand to show any American and Soviet agent that he was a dangerous foe.
While recovering, Bond is tended to by Vesper, whom he steadily fell in love with. He even considers leaving the Service to be with her. However, one day, they see a man tracking their movements. Vesper, distresssed by this, commits suicide. In it, she confesses to be a Soviet double agents, since her husband was held captive by Soviet agency SMERSH. Bond, distraught, coldly tells his superiors that "the bitch is dead."
[1] Ministry of Counter Espionage Acivities, (or
Ministère des Activités de Contre-Espionnage) is the main military intelligence agency for the Franco-British Union, a merger of the British Secret Service and the French Deuxième Bureau
Last edited:
Star Squadron
Star Squadron was a science fiction comic series created by Joe Shuster, and released in 1939. It ran until 1948, and had revivals in 1964 and 1990. It revolves around a distant future, where humanity had expanded beyond the solar system. The series revolves around members of an elite squad of scientists, explorers, and adventurers called "Star Squadron". The series was forgotten until Alan Moore revived the series in 1990, (after a failed revival in 1964 by Jack Kirby), but largely praised for its scientific accuracy, its epic storytelling, and its optimism. It was published by Red and Black Publications, and its successor, Marvel Comics Group.
First Run: Shuster (1939-1948)
Joe Shuster, after creating the tremendously popular character Superman and drawing him for several years, left Syndicated Features, and began freelancing for other groups. He first hit upon the idea of Star Squadron after reading through an issue of Spec. Worlds, and coming across an article describing current rocketry research, conducted by those like Robert Goddard. He also came across a retrospective of Konstatin Tsiolkovsky's work around this time, and conceived of the idea of making a series based of the vision displayed. He took this idea to Red & Black Publications, and he was commissioned to write a story to test the waters. All-Star Comics debuted the first story of the series, "Star Squadron" in 1939. The story revolved around a research mission to a desert planet gone awry, with the crew forced to endure harsh condition. The description of the rocket launch, (a multi-stage rocket) and functions of it, are lifted straight from Tsiolkovsky's work. The society portrayed, (an intergalactic country called the Star Federation) was also dogmatically socialist, with only realistic science (or as realistic as Shuster could make it) The series became popular enough to warrant its own book. Here, Shuster was able to use the series to explore the future of space travel, and shows a variety of planets, creatures, and civilizations. It was an anthology series, each story exploring one Star Squadron (a futuristic scientific/military force a la Star Trek). His stories ranged from observing a race of beings evolve into a space fairing society to initiating a revolution in a distant world. Concepts explored included human survival in space, robotic probes, and the nature of alien beings. Shuster, who had no scientific training, was helped by a number of correspondents, who would advise him on space science and rocketry. . After writing it for 9 years, Shuster left the series, and as part of R&B's "New Direction" books, the title was changed to Weird Science Fantasy, and its focus was changed to generic science fiction anthology stories. Still, as one of the first hard science fiction comics, it helped bring many new concepts(previously restricted to Spec. Worlds, and other such publications), such as realistic space flight, missions to other planets, and even hydrogen fusion, to a wider audience.
Second Run: Kirby (1964)
Over 16 years later, after R&B merged with Timely Publications to form Marvel in 1957, editor Julius Schwartz (a former science fiction editor), after reviving several characters from the old R&B and Timely collection, decided to bring back Star Squadron for the space age. However, Shuster had largely retired, due to his declining eyesight. To replace him, he chose prominent artist (and loyal communist) Jack Kirby to write a new series. This series would last 6 issues, which would be expanded if successful. Kirby's run was more whimsical in tone. The realistic science aspect was downplayed, and more mystical elements were added, like a mystical "Space Force," which binds all lifeforms in the universe. Kirby's signature art style exploded in each issue, turning the Star Federation into a bizarre, scientific(-ish) paradise. The short lived revival revolved around an intrepid team in the Star Squadron, who explore the universe, even in the face of opposition of the fascist Union of Planets (a Green Lantern reference), who try to exploit the planets they hope to preserve. The military aspect of Star Squadron was also emphasized in accordance with this. In the story, the team come across ruins on a certain Union Planet, which has ruins, that resembled human civilizations, but were actually millions of years older. There was an implication that humanity was much older than initially thought. This plot point would have been explored further had the series been picked up. Ultimately, the series failed to pick up, and the revival ended within the year.
[I'd say this version resembles Kirby's 2001 comics mixed with a proto-Fourth World]
Third Run: Moore/Starlin (1990-1996)
In 1986, English writer Alan Moore announced that he had teamed up with Marvel to produce a new Star Squadron., drawn by Jim Starlin. The 1990 version is said to be a restoration of the Shuster version. Moore largely restored the original scientific accuracy of the series, and even added new elements based off of new advances in space technology. He also returned to the more anthology elements of the series, focusing on a different team. However, he also occasionally referenced Kirby's series (which Moore admitted was his first exposure to the series, and what caused him to seek out the reprints of original in Great Britain) , including the "Space Force,", and the occasional appearance of Kirby's team. However, going with Moore's darker works, like Suprememan (a reboot of a British Superman rip-off) and Watchmen, the series became an exploration of the genre. Here, the aliens were grotesque and incomprehensible (in an homage to HP Lovecraft), and technology has allowed humanity to advance their evolution, becoming new species in some cases. There was even an issue, which revealed that a planet they had explored was in fact inhabited by hyper evolved humans, who had transcended their forms. The series became critically acclaimed, and is listed among the best comics runs of all time. There have since been several more series by Marvel.[/QUOTE]
Star Squadron was a science fiction comic series created by Joe Shuster, and released in 1939. It ran until 1948, and had revivals in 1964 and 1990. It revolves around a distant future, where humanity had expanded beyond the solar system. The series revolves around members of an elite squad of scientists, explorers, and adventurers called "Star Squadron". The series was forgotten until Alan Moore revived the series in 1990, (after a failed revival in 1964 by Jack Kirby), but largely praised for its scientific accuracy, its epic storytelling, and its optimism. It was published by Red and Black Publications, and its successor, Marvel Comics Group.
First Run: Shuster (1939-1948)
Joe Shuster, after creating the tremendously popular character Superman and drawing him for several years, left Syndicated Features, and began freelancing for other groups. He first hit upon the idea of Star Squadron after reading through an issue of Spec. Worlds, and coming across an article describing current rocketry research, conducted by those like Robert Goddard. He also came across a retrospective of Konstatin Tsiolkovsky's work around this time, and conceived of the idea of making a series based of the vision displayed. He took this idea to Red & Black Publications, and he was commissioned to write a story to test the waters. All-Star Comics debuted the first story of the series, "Star Squadron" in 1939. The story revolved around a research mission to a desert planet gone awry, with the crew forced to endure harsh condition. The description of the rocket launch, (a multi-stage rocket) and functions of it, are lifted straight from Tsiolkovsky's work. The society portrayed, (an intergalactic country called the Star Federation) was also dogmatically socialist, with only realistic science (or as realistic as Shuster could make it) The series became popular enough to warrant its own book. Here, Shuster was able to use the series to explore the future of space travel, and shows a variety of planets, creatures, and civilizations. It was an anthology series, each story exploring one Star Squadron (a futuristic scientific/military force a la Star Trek). His stories ranged from observing a race of beings evolve into a space fairing society to initiating a revolution in a distant world. Concepts explored included human survival in space, robotic probes, and the nature of alien beings. Shuster, who had no scientific training, was helped by a number of correspondents, who would advise him on space science and rocketry. . After writing it for 9 years, Shuster left the series, and as part of R&B's "New Direction" books, the title was changed to Weird Science Fantasy, and its focus was changed to generic science fiction anthology stories. Still, as one of the first hard science fiction comics, it helped bring many new concepts(previously restricted to Spec. Worlds, and other such publications), such as realistic space flight, missions to other planets, and even hydrogen fusion, to a wider audience.
Second Run: Kirby (1964)
Over 16 years later, after R&B merged with Timely Publications to form Marvel in 1957, editor Julius Schwartz (a former science fiction editor), after reviving several characters from the old R&B and Timely collection, decided to bring back Star Squadron for the space age. However, Shuster had largely retired, due to his declining eyesight. To replace him, he chose prominent artist (and loyal communist) Jack Kirby to write a new series. This series would last 6 issues, which would be expanded if successful. Kirby's run was more whimsical in tone. The realistic science aspect was downplayed, and more mystical elements were added, like a mystical "Space Force," which binds all lifeforms in the universe. Kirby's signature art style exploded in each issue, turning the Star Federation into a bizarre, scientific(-ish) paradise. The short lived revival revolved around an intrepid team in the Star Squadron, who explore the universe, even in the face of opposition of the fascist Union of Planets (a Green Lantern reference), who try to exploit the planets they hope to preserve. The military aspect of Star Squadron was also emphasized in accordance with this. In the story, the team come across ruins on a certain Union Planet, which has ruins, that resembled human civilizations, but were actually millions of years older. There was an implication that humanity was much older than initially thought. This plot point would have been explored further had the series been picked up. Ultimately, the series failed to pick up, and the revival ended within the year.
[I'd say this version resembles Kirby's 2001 comics mixed with a proto-Fourth World]
Third Run: Moore/Starlin (1990-1996)
In 1986, English writer Alan Moore announced that he had teamed up with Marvel to produce a new Star Squadron., drawn by Jim Starlin. The 1990 version is said to be a restoration of the Shuster version. Moore largely restored the original scientific accuracy of the series, and even added new elements based off of new advances in space technology. He also returned to the more anthology elements of the series, focusing on a different team. However, he also occasionally referenced Kirby's series (which Moore admitted was his first exposure to the series, and what caused him to seek out the reprints of original in Great Britain) , including the "Space Force,", and the occasional appearance of Kirby's team. However, going with Moore's darker works, like Suprememan (a reboot of a British Superman rip-off) and Watchmen, the series became an exploration of the genre. Here, the aliens were grotesque and incomprehensible (in an homage to HP Lovecraft), and technology has allowed humanity to advance their evolution, becoming new species in some cases. There was even an issue, which revealed that a planet they had explored was in fact inhabited by hyper evolved humans, who had transcended their forms. The series became critically acclaimed, and is listed among the best comics runs of all time. There have since been several more series by Marvel.[/QUOTE]
If someone produced BSG (the 2003 version) exactly as is, with its religious themes, paranoia, and general pessimism in this timeline, how would it be received?
Well, that's another work with heavy religious undertones. Glen Larson, the creator of the originald BGS, wanted to create a work to espouse his Mormon beliefs the same way Roddenberry did with his secular beliefs in Star Trek. I'm not sure how religion is viewed in the UASR media. If works with religious themes are tolerated, or they are heavily discouraged. I know the government is secularized, but I don't know about the media.
Excerpt from alternatehistory.com discussion thread "Doing a project on India"
[QUOTE="AVeryTrueDemocrat] I'm sorry; Hindutva?[/QUOTE]
[QUOTE="AVeryTrueDemocrat] Oh, you gave me more than enough for research. Thanks![/QUOTE]
AVeryTrueDemocrat said:
Kalki said:
[QUOTE="AVeryTrueDemocrat] I'm sorry; Hindutva?[/QUOTE]
Kalki said:
[QUOTE="AVeryTrueDemocrat] Oh, you gave me more than enough for research. Thanks![/QUOTE]
RuledBritannia said:
Kalki said:
This piece reminds me of what Hvratskiwi wrote on India in the "Stars and Sickles" TL, only less extreme.
With Maoism as we know it supplanted by an alt-Zapatista ideology ITTL and presumably an earlier move toward industrializing across the OTL's "Global South," an equivalent to the Naxalite insurgency would either take on a different form or be butterflied away.
I know that Red Star speculated a bit on the role of Warhammer 40k in the Reds timeline, specifically in the FBU.
I've been thinking what a Warhammer 40k cinematic universe, starting about the same time as the Marvel Cinematic Universe IOTL would be like.
I've reached a few conclusions, please feel free to critique them:
i) I don't think a Warhammer Cinematic Universe would be as grimdark as the tabletop wargame, either ITTL or OTL. It would be more between Gaunt's Ghosts and Ciaphas Cain than 3rd Edition.
ii) The Space Marines won't be that dominant. I suspect there will be at least a 'good' Space Marine Chapter like the Ultramarines and an 'evil/morally ambigous' chapter like the Blood Ravens, with maybe one of the weirder chapters like the Space Wolves getting a film or two. I think the main focus for the majority of the films, maybe not so much at first, would be on the more 'ordinary' groups like the Imperial Guard etc... with the Inquisition and Adeptus Mechanius also being thrown in. [Although they are hardly normal, just potentially very cool
]
iii) The aliens never get a movie of their own. Hardly surprising given how human-centric 40k is IOTL, and it will be worse ITTL as the Eldar and Tau serve as the psuedo-communist threat. That doesn't mean we won't occasionally see the Eldar and Tau ally with the humans against more pressing threats, which ties into how FBU culture seems to depict the western states as the primary opponent of Nazism with the communists just being ungrateful hangers on.
So how would Phase I of the Warhammer Cinematic Universe go? Here are my ideas:
Warhammer 40,000: Space Marine
Basically the video game. The game is a really good introduction to the setting, features a good mix of characters and has Chaos. Probably the biggest change is that the regiment Titus and his subordinates rescue early in the story is the 201st Valhallan and the lieutenant is Regina Kasteen of the Ciaphas Cain novels. Basically the same ending.
Ending credits: Titus is being interrogated by the Inquisition, including a certain Inquisitor by the name of Amberley Vail.
Warhammer 40,000: Gaunt's Ghosts
Sharpe in space is kind of hard to pass up, so Gaunt is the second film in the series. Plus it introduces the Imperial Guard in a way that goes beyond the General Failure stereotype.
The film's primary story is the Tanith First and Only hunting down a traitorous Imperial general who was responsible for the destruction of Tanith. The regiment's early history is told primarily through flashbacks.
The end credits sequence features Gaunt's superior officer, Lord-General Slaydor receiving a request for assistance from the Eastern Fringe, where something massive is heading towards the Imperium.
Warhammer 40,000: Blood Raven
In some respects similar to Dawn of War but the Orks are unambiguously the main villain (although it is hinted that they are working for someone else) out to steal a powerful Warp artefact. I'm cutting Chaos from this film to stop the first phase having too much Chaos in it. The main Ork warboss is called Onty Burn. Introduces Gabriel Angelois as a Blood Ravens Captain and the Eldar.
Warhammer 40,000: Commissar
More or less the first Ciaphas Cain novel but with a pre-credits sequence that covers Cain's defeat of a Genestealer infestation of Perlia [instead of an Ork invasion] at the beginning of his career. As Phase I takes place prior to the arrival of the Tyranids, they are not mentioned by name and it is simply assumed the Genestealers have their own reasons for taking over worlds. Is more heavy-handed in general about the Tau sympathizers/communist subversion parallel.
The mid-credits sequence features Captain Titus still a prisoner of the Inquisition. Gabriel Angelois arrives, however, and orders his release. The Inquisitor present objects but Angelois draws his bolter and asks "You were saying." The Inquisitor relents and Angelois reveals that the Ultramarines have need of him once again.
In the end credits sequence, it is simply a blank screen with the colony Tyran begging for help from an unknown alien force before cutting off.
Warhammer 40,000: Behemoth
Behemoth brings all the main threads of Phase I together. A big change I made was to have the Tyranids still not be present in the last century of the 41st millennium and move Gaunt's Ghosts forward two hundred years and this is the reason - so there can be a big battle to save the Ultramarines homeworld from the Tyranids. Maybe has the Tau show up as support, maybe not. Either way, the storylines of Phase I are resolved - Titus is accepted back into the Ultramarines, the 597th Valhallan, and the Tanith First and Only gain full cohesion.
The mid and end credits sequence tease issues which will dominate Phase II and III - the growing internal friction within the Imperium, the expansion of the Tau Empire, and the building Black Crusade by Abbadon.
*
teg
I've been thinking what a Warhammer 40k cinematic universe, starting about the same time as the Marvel Cinematic Universe IOTL would be like.
I've reached a few conclusions, please feel free to critique them:
i) I don't think a Warhammer Cinematic Universe would be as grimdark as the tabletop wargame, either ITTL or OTL. It would be more between Gaunt's Ghosts and Ciaphas Cain than 3rd Edition.
ii) The Space Marines won't be that dominant. I suspect there will be at least a 'good' Space Marine Chapter like the Ultramarines and an 'evil/morally ambigous' chapter like the Blood Ravens, with maybe one of the weirder chapters like the Space Wolves getting a film or two. I think the main focus for the majority of the films, maybe not so much at first, would be on the more 'ordinary' groups like the Imperial Guard etc... with the Inquisition and Adeptus Mechanius also being thrown in. [Although they are hardly normal, just potentially very cool
]iii) The aliens never get a movie of their own. Hardly surprising given how human-centric 40k is IOTL, and it will be worse ITTL as the Eldar and Tau serve as the psuedo-communist threat. That doesn't mean we won't occasionally see the Eldar and Tau ally with the humans against more pressing threats, which ties into how FBU culture seems to depict the western states as the primary opponent of Nazism with the communists just being ungrateful hangers on.
So how would Phase I of the Warhammer Cinematic Universe go? Here are my ideas:
Warhammer 40,000: Space Marine
Basically the video game. The game is a really good introduction to the setting, features a good mix of characters and has Chaos. Probably the biggest change is that the regiment Titus and his subordinates rescue early in the story is the 201st Valhallan and the lieutenant is Regina Kasteen of the Ciaphas Cain novels. Basically the same ending.
Ending credits: Titus is being interrogated by the Inquisition, including a certain Inquisitor by the name of Amberley Vail.
Warhammer 40,000: Gaunt's Ghosts
Sharpe in space is kind of hard to pass up, so Gaunt is the second film in the series. Plus it introduces the Imperial Guard in a way that goes beyond the General Failure stereotype.
The film's primary story is the Tanith First and Only hunting down a traitorous Imperial general who was responsible for the destruction of Tanith. The regiment's early history is told primarily through flashbacks.
The end credits sequence features Gaunt's superior officer, Lord-General Slaydor receiving a request for assistance from the Eastern Fringe, where something massive is heading towards the Imperium.
Warhammer 40,000: Blood Raven
In some respects similar to Dawn of War but the Orks are unambiguously the main villain (although it is hinted that they are working for someone else) out to steal a powerful Warp artefact. I'm cutting Chaos from this film to stop the first phase having too much Chaos in it. The main Ork warboss is called Onty Burn. Introduces Gabriel Angelois as a Blood Ravens Captain and the Eldar.
Warhammer 40,000: Commissar
More or less the first Ciaphas Cain novel but with a pre-credits sequence that covers Cain's defeat of a Genestealer infestation of Perlia [instead of an Ork invasion] at the beginning of his career. As Phase I takes place prior to the arrival of the Tyranids, they are not mentioned by name and it is simply assumed the Genestealers have their own reasons for taking over worlds. Is more heavy-handed in general about the Tau sympathizers/communist subversion parallel.
The mid-credits sequence features Captain Titus still a prisoner of the Inquisition. Gabriel Angelois arrives, however, and orders his release. The Inquisitor present objects but Angelois draws his bolter and asks "You were saying." The Inquisitor relents and Angelois reveals that the Ultramarines have need of him once again.
In the end credits sequence, it is simply a blank screen with the colony Tyran begging for help from an unknown alien force before cutting off.
Warhammer 40,000: Behemoth
Behemoth brings all the main threads of Phase I together. A big change I made was to have the Tyranids still not be present in the last century of the 41st millennium and move Gaunt's Ghosts forward two hundred years and this is the reason - so there can be a big battle to save the Ultramarines homeworld from the Tyranids. Maybe has the Tau show up as support, maybe not. Either way, the storylines of Phase I are resolved - Titus is accepted back into the Ultramarines, the 597th Valhallan, and the Tanith First and Only gain full cohesion.
The mid and end credits sequence tease issues which will dominate Phase II and III - the growing internal friction within the Imperium, the expansion of the Tau Empire, and the building Black Crusade by Abbadon.
*
teg
I don't really see the Red Sea as being in danger of falling to communism any sooner than the FBU proper. Trying to exert influence in the mediterranean with the domineering influence of western europe when the Soviets are easily bottled up in the dardanelles and America's as far away as it is challenging enough when it's just Palestine, Lebanon and Syria. Trying to topple the Sauds as long as the money flows is probably out of the question based on historical precedence. The edge of the Peninsula were outright British colonies to begin with and people tend not to rebel when times are good, and with oil money being the economic instant win condition it is when prices are high; the money should flow for a good while. Particularly with a developing India that's going to want oil.
Arabia could easily deflect communist criticism with the combined cloaks of religious fundamentalism and oil economic prosperity well into the 2000s. And also, the idea that Western Europe and India would; in a million years; let the Suez be taken by anyone hostile would be as ridiculous as America letting someone conquer the Panama. Even if it means threatening to drop nuclear weapons on anyone who tries to seize it. And the two have much less reason to back down in a game of nuclear chicken. Which could very well be one of the major cold war defeats of the Internationale as the UASR and USSR end up blinking first and letting egypt remain in capitalist hands.
Arabia could easily deflect communist criticism with the combined cloaks of religious fundamentalism and oil economic prosperity well into the 2000s. And also, the idea that Western Europe and India would; in a million years; let the Suez be taken by anyone hostile would be as ridiculous as America letting someone conquer the Panama. Even if it means threatening to drop nuclear weapons on anyone who tries to seize it. And the two have much less reason to back down in a game of nuclear chicken. Which could very well be one of the major cold war defeats of the Internationale as the UASR and USSR end up blinking first and letting egypt remain in capitalist hands.
It sounds very interesting and more lengthy descriptions of each would be appreciated.
Though I dislike the execessive MCU-paralelism, I think that the Imperium would serve as a reverse Tony Stark, who is considered the ultimate conservative hero, by showing the Imperium (which is a stand-in for the FBU) as a dictatorship.
The Imperium is an incredibly decentralized oligarchy. Out of universe it's to enhance the medieval parallels, in universe it's an inevitable result of the speed and reliability issues of Imperial FTL comms and travel and the Imperium's scale. It's not star wars where you can hop onto an fighter sized craft and cross the galaxy in a few days or mass effect where you can literally have a space internet and have space people space respond to your space shitposts instantly.
Plus, I think the FBU and western europe as a whole would want to portray themselves as liberal democracies. So perhaps the Imperium is a more centralized state; where the high lords of terra are perhaps now a cabinet for an Imperial Parliament. There's still the dystopia and siege elements, but the Imperium is now fairly blatantly the hero of the setting. Meanwhile the post-scarcity Eldar are gross space commies, the Orks are rowdy space barbarians, the Necrons are probably still stogy old space feudalists, and the Tyranids of course have that whole "oneness in mind" thing to make them scary collectivists. And the Tau are smaller scale scary collectivists with confucianist bents while Chaos and the Dark Eldar are scary anarchists and stabby folks. And the Harlequins are weird space clowns.
40k could also still have the Squats/Demiurgs, have the Exodites pushed to a more major role, have an army for the Slann/Space Lizardmen, and some 40k equivalent to the Vampire Counts. Since GeeDubs is a Star Wars level "big thing(tm)", they probably have the resources to spread out to more armies than they do now.
Oh, I know that, I am quite versed in 40k's canon, it is very fascinating in a morbid kind of way. That many changes would not be welcomed by the game's fans (it seems that video games/comic book fans being screwed when it comes to cinematic adaptations is the only constant in the multiverse).
Speaking of video games, what about Warcraft (?) which is considered (for some unfathomable reason) to have socialist-ish themes - I don't know what kind of socialism can be applied to a medieval-ish video game about ethnic conflict, drug addiction and cartoon villains, but whatevs. It would be radically different from OTL.
A red sea, referring to the Comintern members in China, Iran, and the Soviet Union next India, not the literal Red Sea. I'm sure that is safely in capitalist hands for the moment.
Yeah, I agree. It's "red sea" in a sense that India is like a blue island in a red sea. Franco-British India is surrounded by communist giants like the USSR, Iran and China.
Iran has the population of a large european country and less than 5% of the population of the British Raj. It's hardly "giant."
Also, it'd be an island with roughly similar population to the above three states combined going by the census numbers of Bangladesh, India, Pakisan, Nepal, Bhutan, Sri Lanka, and Bhutan today. With Thailand, Malaysia, Indonesia, Australia, the Arabian states, New Zealand, and the Phillipines in the mix you've got an asian bloc that can more or less take care of itself.
In fact; the GiC may outgrow the FBU and the other members of the WEU as the heart of capital through nothing more than simple numbers once western europe's advantages in development are evened out. Much like how China is gradually supplanting America in OTL as Capital's center as the HDI gap closes. Essentially the Portugal-Brazil problem playing itself out again; where the colony due to its vastly greater size ends up supplanting the mother country as the center of power.
The student becomes the master so to speak.
That could mean that the Cold War might over-last the FBU, because when it colapses the GiC could continue to exist.