Discussion in 'Alternate History Discussion: After 1900' started by E. Burke, Jan 17, 2015.
ITTL, Pelley and Effinger would enjoy reading it as they burn in hell.
I think that the FBU's counter-insurgency tactics would resemble that of OTL's Rhodesian SAS and Rhodesian Light Infantry. Racist bastards, to be sure, but FireForce tactics were pretty top-notch.
This contribution is meant to bring back one of my favorite characters:
The Life and Death of Emile DuMont
The Life and Death of Emile DuMont is a 2013 BBC film biography. It stars Daniel Auteuil
Emile DuMont was a Belgian author and political activist who gain fame for writing about his experience in Henry Ford's factories in the Nobel Prize-winning book Faith In Darkness. He would be immortalized in Sidney Lumet's adaptation of his memoir Factory of Tears.
The film dramatized the life he lived after his freedom, his post-war celebrity, his conflict with socialist forces in Europe, and his right-wing political turn he engaged in the later years of his life. The film earned controversy because it directly claimed that the UASR had ordered DuMont's harassment at the hands of Belgium's socialist parties.
Excerpt from "Screenplay of The Life and Death of Emile DuMont"
Aired on BBC, April 10, 2013
(Emile DuMont is limping on his crutches across the Columbia University campus. His is wearing a suit, which makes him stand out among the underdressed students and faculty, some of whom are giving him odd looks)
STUDENT #1 AND STUDENT #2: Comrade DuMont!
(The two students run up to a somewhat alarmed DuMont, holding up copies of Faith In Darkness)
STUDENT #1: We loved your book.
STUDENT #2: Can you give us your autograph?
DUMONT (smiling): Of course. Let us go somewhere I can sit down.
(The students and DuMont walk over to an outdoor table. DuMont and the students happily signs the books)
DUMONT: I'm glad some people your age like my book. (Smiling) Even my own children have never read it.
STUDENT #1 (disbelief): Really?! I mean, I found it really sad.
STUDENT #2 (apologetic): Yeah, I'm sorry you went through all that, it was so horrible that-
(DuMont holds up his hand, the student stops)
DUMONT (smiling, albeit sadly): Young man, I am appreciative of your concern. But today is too beautiful to spend talking about old-
(DUMONT feels a splat on the back of his head. The two students look at him in shock. He feels and finds someone through a pie at the back of his head. The three look back and see some sniveling jerk grinning)
PIE-THROWER: Take that, you pig.
(Pie-thrower runs away, and one of the students gives chase)
STUDENT #1: Get back here, asshole!
STUDENT #2: (sad) Comrade, I'm so sorry, please let me help you get cleaned up.
DUMONT (flummoxed): Sure, allons-y.
(DUMONT and Student #2 walk down the campus, only to be confronted by a gang of students clad in red and black clothing)
GANG LEADER: Eat this, you capitalist kiss-ass.
(DUMONT and Student #2 get pelted with eggs)
(Cut to DuMont and an administrator walking down a hall, the former's suit completely covered with egg stains. DuMont's face is in a state of eerie calm)
ADMINISTRATOR: Monsieur DuMont, the board wants to express our most sincere apologies.
DUMONT (quietly): Yes.
ADMINSTRATOR: I assure you that the children of our nation believe in treating our guests well.
(The adminstrator hands DuMont a suit, to his surprise)
ADMINSTRATOR: This is a spare suit. You can keep this as a token of apologies.
DUMONT (nonplussed): Thank you.
(DuMont and the administrator walk toward a door)
ADMINISTRATOR: Here is our locker room. Go change in there.
(DuMont walks in, sits down in a chair, and takes off his ruined suit. As he takes off his pants, revealing his prosthetic leg, he notices a noise behind him, and sees a female student, Janey, stripping off a red and black skirt. She has a toned body and shapely legs)
DUMONT: Mon dieu!
(Janey heres the scream, and looks at DuMont in confusion)
DUMONT (panicking): Madame, je suis vraiment desolee. I thought this was the male, um...locker room.
(Janey laughs at DuMont, to his confusion)
JANEY: Locker rooms aren't segregated by sex, comrade. I'm not scared of seeing the male anatomy. (Smiling). In fact, I see it quite a bit. (Puts chin in hand). Oh, wait, your the French guy with the book.
DUMONT (firmly): Belgium.
JANEY: My name is Janey. (Sadly) Listen, I'm so sorry my friends attacked with eggs.
DUMONT (angrily): I knew the red and black was familiar! Why did your hoodlum friends try to attack me? For fun?!
JANEY: (remorsefully): No. Some of them were confused. They wondered why you were wearing the skin of the enemy, and thought you were trying to placate him.
DUMONT (confused): What enemy?
JANEY: Your enemy. The men who...
(She pauses and points a finger at DuMont's prosthetic leg, which he covers defensively with his pants)
DUMONT (firmly): The enemy of my past was the German Reich and their servant Henry Ford. My current enemy are those Kaiser-Nazi bastards, and anyone else who would resurrect Hitler and his madness. That's why I wrote my book. To warn people from bringing back the madness.
JANEY (disappointed): But those two are supported by the same evil. One you seem to ignore.
DUMONT (narrowing his eyes): And what is that?
JANEY: The capitalist pigs.
JANEY: No, seriously. Who worked you and your father to death for a war machine? Who funds those Nazis monsters and the so-called West Germany? The captains of industry, who despite their evil, still rule over parts of Germany.
DUMONT (angrily): If you ever read my paper, you know I lobby those greedy couchons to pay every man who they exploited back.
JANEY: Actually, we do read your paper. Ever since your book got published, the English language version has become very read here and elsewhere.
(Janey hands DuMont a copy of Les Affaires De La Nation from her shirt pocket and walks over to give it to DuMont)
DUMONT (somewhat ecstatic): I never imagined young people would care about my paper.
JANEY: Your story has made us interested. And we do think its good that you're trying to get justice for your other fellow comrades. (Narrowing her eyes) But do you honestly think that those bourgeois monsters will ever pay you one cent.
DUMONT( nervously): With enough pressure...
JANEY (angrily): Are you kidding?! They can plunder and cheat at will. Those men have no souls, and you can't reason with men who lack souls. (calming down.) If you want justice, why not join the cause of liberation. You don't have to pick up a gun, but you can use your writing too.
DUMONT (sighing): Yes, I hear this time and time again. You Reds seek to make me one of you. I say no. Because I cannot write fairly if I am in the pocket of Reds.
JANEY (walking away): Oh right, and you can write so freely when your in the pocket of the blues.
(Janey walks out, while DuMont glares at her)
DuMonts got a pretty good point there: it's very hard to write with integrity when in the pocket of ideologues, even if those ideologues are kinda right.
I hope you understand DuMont isn't just concerned about his integrity. He also motivated by his own prejudices. He's a Catholic raised man, and he's in a country with unisex locker rooms.
The Reds can't comprehend why a man who suffered probably the worst example of economic exploitation in modern times wouldn't be on their side. The radical East Germans, with his campaign against West German megacorps, would love to hire.
Of course, this only pushes him from mild sympathy with Communism into outright contempt. Nobody likes being told what to do.
I understand what he is entirely. He remin d s ne of my own mother who is a deep social conservative due to being rasied by Dutch Catholics. In fact, I doubt id be able to get adjusted to same sex locker rooms either.
All I'm saying is thst it is indeed hard to write with integrity when employed by idealogues.
The Reds, however, think he's in the pocket of the opposite side too.
Well, the Reds are the Reds. In saying this as a Red myself. I believe the Radical Left is correct, but they often lack a certain level of nuance, espeiclaly those who are more into activism.
As someone not on the radleft, can confirm. Between their hard-leftness and Americaness, the UASR will be some of the most atrocious propagandists known to man.
I'm not the kind of person that should answer the question, but I think that many cases of vaiurism will be regarded as persecution. It's not that he stares at her, it's bad that he violates her personal space. Yes, and I hope that this will be spread a bit less - we have a lot of sexual content in advertising, but the naked body is tabooed. With greater openness, the voltage should be removed.
As for the rest, I do not know, but I remember the "typical comedy" situation - the guy is looking at the decollete. The girl with irritation says - "Look at the top! Why do you guys all the time staring at the chest!" He - "Then why do you need a decollete?"
True, Jacques Fresco talked about a tribe in the Pacific Ocean, which almost did not wear clothes, but at the same time men did not stared themselves to the female buttocks.
A very special thanks to @Mr. C for looking over this post.
"The Fascists were livid. "Communists defile Shakespeare", wrote Il Popolo d'Italia; "Judeo-Bolsheviks murder the Bard", said Der Sturmer; I think their version of "Merchant of Venice" was an attempt to one-up us. The cast and I even had to have security around us, because of death threats from the Sons of Liberty. However, whatever threats came to us were overwhelmed by the acclaim that we received from everyone, from the highest levels of the Union government, to the everyday workers and activists. It was the spark needed to start my film career..."
- Orson Welles, Interviewed in Orson Welles: A Life in Frames by Peter Bogdanovich, 1978
Directed by Orson Welles
Adapted from William Shakespeare's "Julius Caesar" by Orson Welles
Joesph Holland as Julius Caesar
Orson Welles as Marcus Brutus
Martin Gabel as Cassius
Vincent Price as Octavian Caesar
George Coulouris as Marcus Antonius
Norman Lloyd as Cinna
Muriel Brassler as Portia
Evelyn Allen as Culpurnia
The late 30's saw the rise of anti-fascist media. With funding by CulSec and the Academy of Arts and Sciences, entertainment in the UASR took the rise of European Fascism and the implied approval of the bourgeois powers to task. Slowly, the public was prepared for the war to liberate Europe. In this atmosphere, actor and playwright Orson Welles, leading figure in the Mercury Theater, staged a production of Shakespeare's Julius Caesar. However, given it is one of Shakespeare's more political plays, Welles staged the play as a commentary on the rise of fascism and demagogues. The usual Roman garb was replaced with costuming resembling that of Mussolini's Blackshirts. Mark Anthony's "Friends, Romans, Countrymen" speech is framed in the same manner that Hitler and Mussolini would use pathos to rouse their audiences.
The success of the play prompted a roadside version to tour. However, feeling a larger audience was needed for it to be truly effective. So, SecCul approached Welles with a possible film version. Welles only agreed on the condition that he directs, writes, and edits the entire feature himself.
The cast for the original returned, with the exception of Francis Carpenter, who played Octavian. Mercury player Vincent Price was called to replace him. Welles took full advantage of the expanded settings outside of the stage, and had sets constructed for the scenes set in Rome. The sets chosen primarily evoked a modernized version of Rome, (indeed, some see parallels between it and Mussolini's evocation of the Roman Empire), than a historical one. Some scenes were filmed in the Hearst Castle (left unfinished by the Revolution, and seized by the California Soviet for public use), and the battle scenes were filmed in Northern California. The garb matched that of the stage play, with Caesar himself given make-up to resemble Mussolini.
When release, the production received predictable results. Commentators in fascist nations lambasted the film, calling it "an insult to one of the greatest artists of all time," and implying that its anti-fascism went against the intentions of Shakespeare. It received moderate praise for its production design and Welles' direction in Britain. In America, the film was hailed as a masterpiece, with critics such as Berthold Brecht praising Welles on his courageous stance and ambitious production. Welles would find himself the biggest name in Hollywood, and would go on to become one of America's finest filmmakers.
The film would help establish the aesthetic of "Eternal Rome", which would define other Roman-based Shakespeare productions produced in the UASR to make the production more relevant and modern. Though, in film, most Roman films produced following the Second World War (mostly about either Jesus or Roman history) would use historical elements as opposed to modern ones. The film won several Oscars, and would be chosen for preservation by the Library of Congress in 1990. It frequently tops lists of the greatest films ever made, and is sometimes shown in schools (even in many capitalist nations), while teaching Shakespeare.
 Cast list from Internet Broadway Database: https://www.ibdb.com/broadway-production/julius-caesar-12311. The only replacement is Vincent Price, because he was a Mercury Theater player at the time, and I felt the reader needs at least one actor they recognize.
In this kind of interpretation, have they already been? It has always occurred to me that such a move is an invention of postmodernism (and this method in my opinion is not entirely justified, since each era has its own psychology).
P.S - I found an interesting piece about the hippies - "But this freedom did not give the main thing - the ability to move on." After overcoming the "bourgeois prohibitions", it was time to create our own norms - but this did not happen for the generation of "flower children." After receiving all the blessings "on a saucer with a blue border "(and from previous generations, for more than a century leading an uninterrupted class struggle against the masters of the world, and from the USSR, which has become a powerful tool of pressure on the bourgeoisie), they did not have the models of behavior required for this. Naturally, for some reason, the hippies, with all their "advancement" and "counterculture", have chosen the same philistine philosophy that they themselves despised, namely, they were going to "Just live." Let him not in the notorious "philistine paradise" with dusty curtains and a mountain of unnecessary "rags" in cupboards, but in "free communes", with "free love," but still, not perceiving the world as the field of his activity . In the end, they lost. Yes, the kind and talented hippies missed the victory, their green field with unicorns lying at their feet, they themselves gave all this into the hands of predatory and treacherous "yuppies", "professionals", the only professional skills was the ability to cling to the throat ... Was this inevitable? The answer to this question lies far beyond our topic. However, briefly, it can be formulated as follows: in the current conditions - it was. From people who do not see the cruelties of the surrounding world, or rather do not see the basis of this cruelty associated with the existing economic system, it would be difficult to expect the development of skills to combat it. If the world at some point created a "lacuna of good", which allowed a person to finally "splash out" its positive potential, this does not mean that it becomes capable of manifesting it beyond this "lacunae." Therefore, the period of the triumph of the "children of flowers" turned out to be so short. "Rushing" into the embrace of unexpected freedom, catching all the pleasures granted to it, they only weakened and so the decreasing pressure of society on the elite - which she used for her own purposes. Replacing with the love of imperialist wars is a good alternative, but a real civil war can really change the imperialist war. Even if it is relatively peaceful, if the "lower classes" are really organized and united, and most importantly, they are supported by the pressure of the world's first dictatorship of the proletariat (let it be virtual in reality). But all this is true only if the conditions remained the same as in the current reality. If the "stars" were more favorable to humanity, and the pressure of the bourgeoisie would be weaker - and the pressure of the USSR is stronger, then it is entirely possible that the "consciousness revolution" could have moved into the Revolution in a broader sense. Ie, having satiated with "free love", smoking jambs and mass concerts, the youth could very well proceed to active political activity. Actually, this has already begun in the current reality - if you recall the "Red May" of 1968, that's only from the demand of its "narrow-group" interests, this protest could well go to a more serious stage. And, of course, to what ... And then - the transition from "psychedelic relaxation" to real activity would become massive - after all, for a rational being there is only one act that is "natural" (in terms of what the mind is "tuned to"). This is a reasonable change in reality. "Narcotic Paradise" is good in comparison with the bourgeois swamp, and even more so, with the hell in which the lower classes exist. However, compared with creativity, the more active, he can not stand comparison. That is why even in the most difficult conditions there are "locuses of the future" in which people go to serious losses and sufferings for the sake of the very opportunity to change the world. Therefore, there is nothing improbable in that, under different conditions, "cultural counterrevolution" could not be defeated, and instead of becoming "flower children", we would receive their "communion". This is all the more true for younger generations - younger brothers and children of the "hippie generation", in reality "devoured" by neoliberalism. They could be the basis for further movement towards freedom ... "
Didn't know! Thank you so much!
This is interesting, because it illustrates the fundamental difference between radical socialists and social democrats: One side believes the capitalists can be tamed with enough force, the other side believes they can't be controlled.
I myself am currently on the fence in that question.
Would anyone be interested in more Jack Stern stuff?
All right, I got ya.
Jack Stern in The Land of the Tiger King
Stern's first appearance was in the short story "Land of the Tiger King", published in Argosy magazine in 1948. While many Sternologists have debated its place in the Stern canon, given how different it is compared to other stories in the canon, Max Kaplan has said that it was "a part of Stern's life" and later re-wrote it to be more like later Stern stories.
In this story, set in 1945, Stern is stranded in the Himalayas after his plane is shot down over Burma by the Japanese army. He wakes up to find himself surrounded by tribesmen speaking a language unknown to him; "It sounds nothing like Nepali or Hindi, and if it was Tibetan, it was probably a dialect only spoken by old yak herders. I think I've landed in Shangri-La."
The tribesmen take him up a mountain to a shrine overlooking a cliff top, where he meets their leader. The leader introduces himself, in perfect English, as Suntang, the Tiger King of Lhampsong, and asks Stern what he is doing in his kingdom. Stern, remembering his training, lies to the king and says that he was a diplomatic officer headed to meet with Wang Jingwei at the American consulate at Chongqing."
The king, after a period of silence, asks him "And what are America, Wang Jingwei, and Chongqing?"
"These guys don't know that a war is going on, I thought. Those poor, lucky bastards."
After he explains the war to the Tiger King, Suntang tells him not to worry about it. "He told me 'our people despise and detest war! As such, we are honored to host you as a refugee!' Now, I'm suspicious for a lot of reasons, like how he speaks English while his people are speaking their native languages, but I figured I could bide my time while trying to find a way out of here"
The king declares a feast for Stern, and he samples the local cuisine, which he describes as tasting "like an explosion at the Chinese place." After the meal, Stern is shown where he would be staying in a lavish monastery. But the king's servant, Rutka, gives him a warning: don't leave after sundown
But, as Stern says, "the number one rule in the Lower East Side is that rules are made to be broken"
He sneaks out of the monastery, and is shocked at what he sees:
"There was a whole line of people tied to stakes. Some were white, probably spies like me. Some were Indian, Chinese, and Japanese. But most of them were subjects of the king. Someone came up with a gun and shot them one by one."
Having already had his suspicions, Stern returns to his room. When he wakes up, he asks Rutka about the "strange noises" that had happened the previous night.
"Rutka looked both ways and nervously said 'It just water buffalo. No worry!' I stared him in the eyes and told him 'I heard screaming. What's going on?' He started sweating, nervously, and then whispered 'Meet me at big gold idol, in five hour. Tell you everything!'"
After breakfast, Stern meets Rutka at the idol statue. Rutka then reveals the truth. "Those people? Most from South. South people come here, they come from Nepal and Bengal, used as labor by nobles. Suntang go crazy, think they British spies. He kill them along with other spies. We know war is happening. Suntang think any person who is not Lhampsong native is spy. Suntang was try to make you feel safe so he can kill you later. You have 3 days until you shot. I know man in resistance. He help you get to where you want to go if you help him with something."
Stern and Rutka leave to meet the Resistance leader, Torgray, at an abandoned ashram. Torgray tells Stern that he'll be taken to Lhasa, his actual destination, if Stern helps the resistance assassinate the Tiger King. Stern reluctantly accepts, and the group returns to the capital city of Shandrigora, where the king is preparing to give a speech.
Stern, using a stolen Indian sniper rifle, takes aim at the king through an open window, and kill him with one shot.
But one of the resistance members turns out to had been a plant from the King, and he attempts to arrest them. Stern fights him off, and he, Torgray, and Rutka barely escape with their lives. He finally reaches Lhasa, posing as a refugee, and runs into his boss, Mr. Crumar, in a bar. Crumar asks him what took him so long, and Stern says "Long story, might tell you later"
Max Kaplan was actually stationed in Lhasa when he wrote the original story. The inspiration for the story came from the rumors surrounding Bhutan that had circulated around the intelligence community. "Everyone that was stationed in Lhasa thought Bhutan, which for centuries has been both neutral and closed to outsiders, was either some magical, romantic land of pacifists, or a backwards ethnostate run by crazed cultists who didn't want people to see what they were doing. The story was a mixture of both depictions, as well as a partially unfinished parody of the book Lost Horizon, which I hated."
The original story was, according to Kaplan, "made solely to fill time during the lulls in activity in Lhasa", and as such he didn't pay any mind to the story after submitting it to Argosy under the pseudonym Robert Bowman. But the reaction to the story was so positive that Kaplan was asked by Argosy to write another one, and he got offers from several more respected publishers in NYC. "And I figured, well someone liked it, so I should probably write more for that someone"
In 1983, as part of the 35th anniversary book Stern: The Declassified Files (which collected all the Argosy stories, many of which hadn't been republished since their original publication), Kaplan updated the story to better reflect the later incarnations of Stern. Among the changes were Nathan Turner crash landing in Lhampsong with Stern (and the Lhampsongers' confusion as to how his skin got so dark), Rutka speaking better English, a scene showing Torgray's resistance group raiding a cache of weapons, and some lines of dialogue implying that Stern's most famous enemy, Nikolai Barbarossa was present during the execution scene. The general consensus among Sternologists was that the revised version was what happened in canon, while the Argosy version was a censored account that removed details that were classified.
Despite being the first Stern story, it spent years without any adaptations, mostly due to its obscurity and episodic nature relevant to the other stories. The first adaptation was in the television series Stern, who adapted it as the first episode of the first season in 2008. Critics and Sternologists have praised this version for its atmospheric qualities and depiction of ethnic cleansing, and it won an Academy Television Award.
As a side note, as Lhampsong was based on Bhutan, the depiction of ethnic cleansing eerily parallels Bhutan's own ethnic cleansing against the Nepali minority and the subsequent refugee crisis in the 1990's. The term the Bhutanese government uses for the Nepali peoples, Lhotshampa, translates as "Southerners", like how Rutka describes them in the Argosy version. One of these refugees was actor Aadarsh Baral, who would go on to play Rutka in the episode of Stern.
I'm glad you found it interesting.
But the clash between the two is not just political, but cultural.
DuMont and "Janey" are people who have been raised and educated a certain way.
DuMont came from a middle class family, he was raised Catholic, and was taught "Nazis are evil. That's it!" Janey is someone who was born into a hard-left family, was raised in a very libertine way, and was taught "Nazism is an outgrowth of capitalism."
Janey doesn't get why someone who lost his father and his leg to Nazism wouldn't be a radical leftist, since it defies her expectations. DuMont is a middle class man who believes in the path of moderation, and himself thinks the Reds are a bit loony.
I decided to return to one of the most interesting lines among the desktop role-playing games - the World of Darkness. Here I will give a brief description of the game dedicated to the Werewolves. If there is a comment to this post (or typed seven likes, but comments are preferable), then I will make an "issue" about the Mages ("The Top Three" of the World of Darkness - Vampires, Werewolves, Mages).
Werewolves: the Rage - Tabletop role-playing game, and produced by the company White Wolf Publishing. Included in the lineup of role-playing games, united by a common setting, the so-called World of Darkness. The main theme of the setting - "monsters" as a part of human society. Before that the players mostly played for the characters who are fighting with monsters. However, in the later editions of the opportunity to play for the people. It should be noted that the game as well as for supernatural creatures, and for the people contains elements of horror. The original concept was called "controversial" in the American media, but welcomed by the West European.
Unlike the Vampires, the Werewolves Settlement is designed more for the power solutions to conflicts. Also it should be noted that all werewolves stay away from the mortal world, and have a more detailed mythology (which confuses human beliefs).
The history of werewolves goes back to the legend of the pristine world, which today is called Pangea. Although not all werewolves believe in this legend, many of the events mentioned in it are reflected in the modern life of their people.
In the distant past, people lived side by side with spirits - godlike creatures who were forced to feed on the emotions of intelligent creatures. While some spirits soaked up positive emotions and created the blooming corners of nature, many of them differed in predatory nature and burst into people's lands to quench much more dark passions.
Such spirits were expelled by Father Wolf - a great hunter, who was following the preservation of the established order. The spirits at the same time feared and honored him, and even genuine monsters recognized Father Wolf as the right to guard Pangea from the destructive influence of spirits. The valor and beauty of Father Wolf won the heart of the Moon itself, which he liked to watch at night. One day, the Moon took on a human form and descended from the horizon to give its beloved children - the first human wolves, or Urat.
Being half-spirits and half made of flesh and blood, Uratha was able to change its appearance just as their mother changed her heavenly form every few nights. Father Wolf has raised this first flock, so that she can guard with him the boundaries between the worlds of flesh and spirit. Thus came the golden age of Pangea.
The father taught his offspring to combine human intellect and bestial strength, and together they managed to drive many monsters into the far corners of the primordial world. At the same time, Urata made their first enemies, although they could not pose a threat to the werewolves while Father Wolf was near.
For people, the appearance of werewolves has become both a salvation and a nightmare. On the one hand, the descendants of the Moon and the Wolf protected them from dangerous spirits, on the other - when human tribes grew too large, werewolves reduced their numbers, restoring the natural balance.
Many years passed before Father Wolf finally began to lose his strength and speed. More and more spirits slipped into the world of people, and more monsters crossed the road of Uratu, seeing the weakness of their leader.
And then one day the day came when the ferocious worm of destruction, Wyrm, burst into Pangea. At the price of his life, Father Wolf stopped the world. The world split in two, marking the death of Pangea. Between the possessions of people and the lands of the spirits an invisible wall was formed, later called the Veil. From that moment the spirits could no longer freely penetrate into the flesh world, but people were also cut off from the living energy that once filled the earth.
Spirits accused Urat of cowardice. Even their mother disowned her own offspring, which made lunar metal - silver - deadly for every werewolf. Although later Urata gained the Mother's forgiveness by faithful service, this curse still continues to function.
Creatures that turn into other animals - also known as feral - attribute their origin to completely different events, rarely associated with the myths of the Father Wolf.
Signs: Every werewolf has a sign - an inborn quality that determines its role in the culture of Urath. The sign of the character depends on the phase of the moon that shone in the sky at the time of its First transformation. Werewolves marked with the same sign are endowed with a similar worldview, strength and character traits. Although it is traditionally believed that it is the sign that dictates Urat's behavior, some believe that the werewolf intuitively passes the first transformation when the moon shines with a suitable sign. -
Rahu - fierce fighters born at Full Moon. Rahu lead a mobile, militant way of life, fighting for territory and protecting friends from dangers. Some penetrate into other people's possessions, dealing with enemies before they get a chance to strike. Others wait until the last, relying on peculiar codes of honor and sometimes even warning opponents of their offensive. Among them there are both astute strategists, accustomed to using their intellect for victory, and inhuman barbarians obsessed with blind fury. In their team there are also unscrupulous killers, masters of discipline, and even noble blood people who use their position to solve political or social conflicts.
Cajalites - orators and visionaries born under the light of Brokeback Moon. Most Kahalites try to motivate others to commit feats and overcome difficulties. Some of them have a prophetic gift and intuitively feel the future. Others come up with legends and rumors, manipulating the actions of their comrades-in-arms. Anyway, any Kahalit craves fame and sees himself as a hero of history, the finale of which depends only on his own actions. The latter means that the Kahalit rarely hesitates before committing acts capable of perpetuating his name, even if for this he needs to be subjected to a flock of serious danger.
Elodots - honest, restrained and fair werewolves, born in the Crescent Moon. Elodoty in everything look for several points of view and avoid simple answers. Ability to listen to both sides of any conflict and offer a competent compromise ensured them the reputation of exemplary judges, negotiators and peacekeepers. Some Elodots use their status for mercenary purposes, but in many schools it is considered a sign of shame. In general, each of them tries to combine in itself different sides of the same line. Some adhere to half measures, observing a balance in behavior, relationships or even food. Others rush to extremes, alternating cruelty and compassion, restraint and aggression, passion and rationality.
Itehuro - thoughtful and attentive researchers, born under the Crescent Moon. In addition to the developed intellectual abilities, Itehram inherent in the innate understanding of the world of spirits. Many of them become mystics, shamans and guardians of supernatural knowledge, but it depends only on Itheur how he will treat Hisil. Some see in the spirits of allies and patrons, learning to negotiate with them. Others hunt the inhabitants of the Shadow only to enslave or exterminate them all. Some avoid open communication with Hisil, accumulating knowledge about this ghostly world in self-defense. Others so become accustomed to their role as envoys in the realm of shadows, that they begin to lose contact with other Urata or spend no less time in Hisil than on earth.
Irrak - a secret and unsociable predator, as elusive as the appearance of their Mother in the New Moon period. Each Irrak plays in the pack as an observer and a killer. Due to their inconspicuousness, many of them also spy on others, collecting secrets, which can be useful for eliminating competitors. Irrak is notorious for excessive craving for precautions, often bordering on paranoia. A typical Irraka determines in advance how he will deal with others if a conflict breaks out. Sometimes this even encourages him to study the vulnerabilities of his own flock. The latter does not mean that every Irrak is ready to attack his friends for self-defense. However, it is really difficult for him to feel safe until he makes a plan of action in case of a sudden attack or strife.
Wolf Nations: After Pangea collapsed, Utara was shocked by the civil war. The descendants of the survivors in it founded the peoples - each one follows his own path. -
Guardians of the Veil - Hunters for monsters who have penetrated into the world of flesh through the veil. From the psychological point of view, they maintain a balance between human morality and bestial motives. They are the descendants of Urat, who are ready to atone for their cowardice, to protect people from spirits. Nevertheless, they are concerned about the growing population, and the environmental contamination. They treat the spirits with extreme suspicion. Are the main characters of the players.
Wandering In The Shadows - A tribe of hunter-shamans, and the following Hysil (World of Spirits). They are in contact with harmless spirits, and track down dangerous (Like perfume generated by negative emotions, and the offspring of the Wyrm). They are known for their thoughtfulness and caution. They are a fairly conservative tribe, poorly absorbing the culture of people. Most of the flocks originate from the South of the American Union, Eastern Canada, Central America, Egypt, India, the Himalayas, and the Far East. Small groups have a relationship with the Indians of the Amazon, the Indigenous peoples of Siberia and South Africa, with the aborigines of Australia.
Silver Fangs - Tribe of Warriors and Diplomats. Native leaders. They consider themselves to be the first line of defense against the "Thoroughbreds" and the Wyrms. They follow the philosophy of inner purification, which consists in getting rid of bodily, mental and mental deficiencies. Representatives of this tribe are merciless towards themselves and in everything try to achieve mastery. They test themselves for strength, considering any weakness as a sign of shame. Even moral fluctuations are often considered in their collective as an impermissible luxury, which often leads to a misunderstanding between them and their wards. The tribe is known for the fact that it sifts out of its ranks bloodthirsty berserks, criminals and sadists. Usually, the Flocks conduct a pedigree from the inhabitants of Scandinavia, Eastern Europe, the Balkans, the Middle East, and the Northwest of North America.
Iron sculptors - A tribe of werewolves closest to humans. They are interested in the possibilities of technology and the human way of life. In contrast to other tribes, they prefer to live in cities. The centers of tribal origination are Messopotamia, British islands, India, North Africa.
Thoroughbreds - The descendants of Urat accused the Moon of collusion with Wyrm. They consider people to be servants of a worm of destruction. They look at civilization and have a poor understanding of morality. Often cooperate with spirits. They regard the moon signs as curses. Thoroughbredsones burn out this "lunar filth" in the course of the monstrous ritual known as the Ritual of Abdication. This process is irreversible: once having renounced the lunar sign, the werewolf will forever lose his gifts. At the same time, he receives gifts from spirits. Initially, they were antagonists. Later, additional rules were issued, revealing the customs and motivation of the people.
Blood claws - a tribe of conquerors and hunters, enjoying a primitive life in the bosom of nature. Bloody predators, often hunting people for food. Most of the tribe's representatives come from the wolves, but some still got ancestors from Scandinavia, the indigenous peoples of Alaska, Canada, the Great Plains, and Siberia.
Shadow Lords - a tribe of lawmakers and rulers who observe the purity of their blood. The snow-white paws lead long-term operations and unite the Thoroughbred tribes in difficult times. Many of them crave fame or influence, often considering the leadership position smaller, to which the heirs of Father Wolf may aspire. Others take the reins of government not so much because of ideology, but as a matter of habit, as they revolved in higher circles or ruled large organizations before the First Transformation. Snow-white paws consider themselves to be real nobility and even ascribe to themselves formal titles that confer them different powers. They maintain incessant contact with people, understanding the value of such ties, although they usually refer to humanity as a race of eternal slaves. In cities with a large number of these werewolves, white feet can determine the moral principles and behavioral features of all Thoroughbreds, in fact creating secret princedoms with their own laws and traditions. Coming from Eastern Europe and Japan.
Dancers of the Black Spiral - a tribe of cruel and unprincipled occultists, wandering in Hysil, in order to obtain secrets of spirits. They hope to use this knowledge in the fight against Wyrm. It's easier to treat others than purebred people, but the technology of the weapon of Wyrm and his servants is still used for technology. The tribe has a very homogeneous genealogy. All schools have Scottish roots.
Defilers - Werewolves seduced by Wyrm. Everyone lives exclusively in human cities, where they harm the environment in every possible way. They regard Wyrm as the inevitable harbinger of the end of time. Because of the not too population and homogeneity of ideology, not to be divided into tribes. Often recruit werewolves from other tribes. They have relatives all over the world.
Separate names with a comma.