Voting is open
5. I'm not sure I understand?

7. Wait, shouldn't the half year rate be 4%? Because an 8% grwoth rate over 6 months is... ah... something.

8. What sorts of favours?

[...]

Am I reading this right? Are Emergency Training and Expand Medical Education sub-actions of Reduce Social Control? o_O
5. Automatization makes robots into Heavy Ind, then Light Ind, then Military, then Agri+Aquaculture. You need to put in an actual effort to connect a whole sector together under your CyberSyn, Mingxiang. Automation=Automatic, Cyberization=Action Required.
7. The year is prognosed to have a ~6.5% growth rate, due to a spike in births next year. You do not gain 8% of your whole population again in half a year.
8. Doing their Political Actions. :V
Edit-Answer: No, that's a spelling mistake.
So far I have no complaints with [] Plan: Red's Anatomy, as for personal actions, hmmm... I can at least offer one:

-[] Wei Jungming - (RP)
--[] Personal Action: Go to West Germany to speak directly with the Wolfsmenschen

Never trust the West to speak on behalf of their own oppressed masses! This calls for a public diplomatic sally. How are they really doing? Are they free to leave, and do they want to?
You'll be able to do so if/when you partake in the diplomatic meeting in 2 Turns/1 Year.
 
[] [International Congress For All Mankind] (Who will be sent?)

Do we have to decide this now, or can we do it next turn?
 
You can just not do anything with that if that floats your boat.

I was gonna suggest an action next turn:

[ ] Prepare for the International Congress For All Mankind (Sub-Vote)

edit: One thing that we might want to think about is the eternally expanding ameoeba that is Das Capital. We should really consider doing a national urbanization plan that distributes growth more evenly around the nation as a way to prevent the administrative and social centralization of a megapolis like that, which will wield out-sized power over the rest of the nation.
 
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One thing that we might want to think about is the eternally expanding ameoeba that is Das Capital. We should really consider doing a national urbanization plan that distributes growth more evenly around the nation as a way to prevent the administrative and social centralization of a megapolis like that, which will wield out-sized power over the rest of the nation.
Set up a port city on either end of our island and we can not only be the shield of China but also the toll-booth of China! /s
 
Set up a port city on either end of our island and we can not only be the shield of China but also the toll-booth of China! /s

I don't think that works so well? A lot of the traffic is going to come up from the south (straight of Malaca), between Taiwan and China. Not a lot of shipping routes seem to cross Guangchou.

Added RP actions:

-[] Wei Jungming - (RP)
--[] Personal Action: A Belated Birthday

Now that things have settled down a bit compared to the hustle and bustle of managing the Sino-Soviet reconciliation, you friends have thrown you a belated birthday party to mark your big 3-0. You're not old, you're not old! (You are old.)

Wei has gifted you a cane.

--[] Personal Action: Oh No

You are visiting the Twin Sickles campus and the 3G chickens have gotten loose.

--[] Lover Action: Parent Teacher Conference
You and Mai check in on what your kids have been up to at school.
 
Y'all remember to vote for Commiewood stuff! There have been lots of good suggestions for previous turns that should really be resubmitted!
 
Man's joking, but considering the other straights are through Taiwanese and Japanese waters, with the only thing left being a Korean Line, and you could make mad bank while pissing off the Chinese.
Something to keep in mind if deng comes to power, I suppose
 
Commiewood - Finished And Proposed Projects
This list is by no means exhaustive, nor does it contain the full breadth of proposed pieces, merely those I have been able to find. If your proposal got overlooked, please notify me. If you wish to add one, post it in the thread.
Ashaum is an Agricultural World, rich in resources that the Fascist Empire has been exploiting especially hard for four or five years, but to a lesser extent before it became all Fascist for decades. In an obscure corner of this planet lives two tenant farmers and their nephew. Their nephew is secretly the son of a famed revolutionary who was killed, and is feisty and wants to get out into the galaxy to fight evil... even when he doesn't know who his father is. [A], said Revolutionary's sister, wants him to go out into the world but knows it isn't time. He's learning The Way of Universal Listening or something like that, a means of communing with spirits and reaching into other worlds to communicate with and understand the world and ask it politely to give up its secrets and powers.

One day, Death Trupen (or something) show up and kill him. Vibes should be: very Jackboot, but they also have laser-sword Katana sidearms and at least the commander might sound a bit British. Very pastiche.

A escapes into the wilderness where she's saved by a wise four-armed alien who should give off buddhist monk vibes, but based, and apparently was training Nephew before his death. They journey to the capital, looking for a smuggler [A] knows.

It is forbidden for any of the rich and great foods of Ashaum to be wasted on the peasants, and so the only food people get is Nutrient Paste or something. So the smuggler smuggles that, drugs, guns for revolutionaries, pornography, all sorts of stuff. Rough but has a heart of gold, unlike her robotic friend, tall and rather mercenary, at least at first.

Before they can get any further than cutting a deal, they find and save a revolutionary spy, from a Changeling-like sorta species, (and an enby, of course), who is trying to find someone.

Fifteen Years Ago, a General of the quasi-liberal Empire quit in disgust in a very public way, denounced the Empire and Imperialism. Now a new coalition of Liberal Democracies, breakaway states, and revolutionaries wants this person (man or woman, decide later) to join them as a figurehead and leader because there is news about an impending attack.

The General is in prison, having gotten in a bar fight... but refused to throw even a single punch. They rescue them after an action sequence, and then off they go!

They're attacked, and are forced to land on a desert planet with mines, where they discover that a strange rare metal is being mined for weapons of some kind, and they run across and defeat a Space Prussian Noble who has information about the plans and a location.

This finally leads them to planet three, where they infiltrate this military base and blow part of it up, escaping with the plans. Character beats include the Changeling Spy's identity issues, the Aunt feeling over her head because she's a farmer, the smuggler and Robot arguing about the nature of personhood, and plenty of slapstick.

They join up with the Revolutionary/Rebel/etc fleet, and stage an ambush on a planet that was destroyed by the failed superweapon test of the Fascist Empire, a gun designed to destroy entire planets that blew itself up in the process of destroying an entire system. In the ruins of this destroyed planet and asteroid field there's a big space battle and a land battle, and the Empire deploys their new weapons, the Not-Tigers.

Meanwhile our band of heroes flies in under cover of the conflict and the General has a confrontation with their old friend and now Grand Admiral in which they break their vow of pacifism and ultimately the Dreadnaught is destroyed.

Everyone escapes off it, the enemy is in disarray despite the power of their Not-Tigers, and some of them are captured.

Aunt is awarded a medal and vows to learn about the Listening Way, Smuggler becomes an irregular Partisan Captain, Mercenary Robot sticks with him but gets a salary and we learn that he's saving up to buy other robots their own freedoms (aww, he's not so bad.) Four-armed Alien is going to be Aunt's teacher, Changeling Spy is given a big secret award and now has friends, General doesn't want to lead a war but will use his knowledge for good, roll credits.

*****

This is a *very* vague outline, but.

Also, every single name is 100% provisional.
Literally just Gundam...but Guangified!
Straight up VOTOM. This time, with Mecha based on the Iron Tigers. Really rub it into the world's face.
A commie, sex-liberal version of Bible Black, somehow.
An ancient play of Guangchous past, though one usually played with heavy input from the audience. Within, a Queen is being seduced by a Tiger Demoness disguised as a Courtesan, a play of intrigue, romance, and corruption that sets even the most cold-hearted person to tears when the Demoness admits her true love to the dying Queen.
A dramatic yet realistic re-enactment of the last days of the fleet of Guangchou, before the Imperial Japanese Navy got handed a humiliating defeat at the cost of all hands and ships of Guangchou. Let the world know the bravery of these men and women, and let their deeds inspire new generations of sailors.
An adventure romance series playing in a fantastical world of humanoid animals and runic magic (which anyone can learn, but only the dedicated, intelligent, or powerful/rich can do so to any great effect). Within, a Tigress Warrior and a Cat Runescribe (with a rotating set of allies and help) fight against an evil king that keeps the people poor, desperate, and against each other. And anyone saying that the Tigress and Cat are blatantly Mai and Jungming are lying!
Comedic democracy to fascism. Kind of 'Death of Stalin' but if it charted Hitler's rise. Or, since this probably resonates more, Death of Stalin but it's Imperial Japan's High Command and the destruction of Japan's tentative democracy. Complete with 'here's what they're all doing now' at the end that shows how the US pretty much ignored everything so they could focus on Korea and the Soviets.
Victorian occult space opera with demon-thermal powered steam rockets, girls dressing as boys to join spaceship crews, and Space!Colonialism.
A complete re-imagining of the Soviet classic in a hard sci-fi setting where a rogue planet has destroyed the Earth and humanity was forced to evacuate into space where the Cold War began anew between the United Stations of America, and the Union of Soviet Space Republics.
An Action space opera revolving around two ideologically opposed nations fighting desperately against the encroaching empire. The show/movie should have protags from both of the defending factions, as they face the world that is larger than they thought, and get embroiled in internal conflicts that may or may not be enflamed by spies, and self-interested traitors. And yet, in spite of the fanned strife, both defending factions are filled with people whom want to do what's right, or simply to protect their homes and their family. To show why the empire invests in trying to keep them divided, have the separate forces being designed 'incidentally' in a way that supplements each other, while still feeling like a result of more natural development, with possibly even having different doctrines that led to such being a point of contention.
A serialized comedy/drama that some from another timeline would recognize as a Soap Opera, the show depicts the interpersonal struggles of a family divided: the home of Auntie (name tbd by someone more Asian than me) of Guangchou, whose extended family have, through a series of events, come to stay for a time at her home in Guangchou. Her nephew, who fled to America during the time of Wei Cai, and his family, and her niece, who left for China. Both hold Auntie in great regard, and each episode shows the two sides of the family disagreeing on some matter due to their acculturation and only being kept from breaking into a deep family-ending feud by their mutual respect for Auntie and the rest of The Old Family. To be produced in both English and Mandarin, so as to drive the very blatant point home across the seas both wide and narrow.
Foreign Diplomatic assessment: The Most Glorious Democratic People's Republic of Guangchou, Light of All Nations, Defender of Humanity, and Paradise on Earth sure is full of themself
A soft sci-fi comedy set in a post-revolution world where Communism is global and automated to the point where a job is a want rather than a need, the final frontier to be explored is space. But look away from those big names, the famous Pioneers charting the wonders of the universe and spearheading the expansion of Communism from the Captain's chair; here's the hijinks of a bunch of low-rank nobodies, who secure in their knowledge that the machines can take over their duties whenever they don't feel like doing them, become the worst nightmare of superior officers anywhere: bored soldiers.

Two parts comedy, one part agitprop meant to slip through censors easier by satirizing the post-revolution world in government-approved ways (such as poking fun at Guangchou's habit of excessively verbose names) in order to spread what the actual goal of Communism is to areas that before would only have learned from Red-Scare propaganda, and topped off with a dash of military kickbacks by making the Explorer corps an explicitly military organization, implying that even in a post-revolution world with no war the military will still have a place. Unlike many other soft sci-fi shows, it intentionally does not contain alien societies or true artificial intelligence to avoid distracting from the ideal post-revolution world and the question of AI slavery with all the automation respectively.

TL;DR Bored soldiers, the slice-of-life sci-fi anime.
Not a movie per say, but rather a first attempt at a professionally done documentary series from Guangchou. The world is divided because no one sees other people as people. And what brings people together better than food? Interviews with elderly grandmothers and the best professional cooks in the country, about who they are, what they do and what food means to them, as they exhibit the traditional cuisine of Guangchou. Intended for international consumption.
It is a series based on the various attempts to kill, hurt, spy on, intimidate, and generally harm Wei Jungmin, his family, and Guangchou. Very strongly inspired by various actual attempts (although modifying the details enough for anyone trying to get information and idea on how to harm Guangchou, Jungmin, or others from this series get a very very unpleasant surprise) and a lot of invented ones, too (which are real and which are fictive will be precise at the beginning of the episode), the tone is mainly humorous, humiliating the agents and making fun of their mistake. However, there are some somber and dark moments when the situation requires it (examples include a foreign agent killing an innocent person to disguise themselves as them, targeting the Great Leader's children, torturing a security agent for information on the Great Leader, etc.) and sometimes epic when the guards save the situation heroically, sometimes if the agent is caught and has not committed a truly heinous act or discovered crucial information he will be offered a lesser punishment and a strong endorsement for his acting skills in exchange for playing his own role in the series.
Basically an eldritch sci-fi magical girl series (animated of course).
Tian is one of the inhabitants of Last Point: a vast city/country on an otherwise barren asteroid, once part of an Earth that was shattered millenia ago. Her life is that of a mundane schoolgirl, the city of millions maintained by the great God-AI Elis (it's basically a land of Fully Automated Gay Space Communism). Until one day, a huge monster, seeming to be made of blue mirrors, appears within the city's dome; although fended off by the City Guard and Spacer's Covenant, the creature breaks Elis's metamagical core and steals most of it, leaving Elis dormant and the city's life-support systems damaged and running on simple automated programs. The city reeling from the attack, Tian takes time off school to help with the reconstruction of some of the most damaged areas, which results in her being present when a second, clearly more powerful monster attacks, tearing its way through the defenses with ease on its way to the remaining pieces of the core.
Pushing a girl out of the way of the way of a attack, Tian's back is turned into grass and she is unable to move. As the monster approaches, an odd little creature pops up out of nowhere, tosses an oddly shaped pendant at her and in a flash of light she transforms into the Light of the Stars, Protector Finale. A strange battle within the monster's grassland like body follows, which Tian wins, gaining a small piece of Elis's core.
In the aftermath, the creature that gave her the pendant introduces itself as Piar, a VI created by Elis in case of attack, and tells Tian she is Last Point's only hope.
Over many episodes, they battle the Dreams of the Dark, strange and weird creatures made from pieces of Elis's core and created by Endless, an enclave of humans under the control of the High Node, an oligarchy of uploaded humans from before earth's destruction.
Around episode 5, the first Enemy General (or more acurately one of the Hands of the Node) a cyborg teenager named En. Alongside Iesanne, the girl who Tian saved in episode 1 (and who is eventually revealed to be an artificial Intelligence within a robot chassis infiltrating Last Point) and Aru (a Dream of the Dark who obtained sentience), they form a complex love quandrangle, while accompagnied by a revolving cast of various figures, in a coming-of-age story exploring topics such as artificial intelligence, the emergence of sapience and surrealism, as well as Last Point's social and political situation, with monsters heavily inspired by the surrealism movements to fight.
Midaway through the series, it is revealed that the High Node wants Elis's core to create a weapon to destroy the Worldbreakers, aliens thought to have destroyed the Earth and most of humanity. Tian hesistes for awhile, and considers allying with them against this greater threat, but enough of Elis's core is eventually restored for them to tell Tian the truth: the Worldbreakers do not exist. It was the High Node themselves that destroyed Earth in a war against what would become Last Point and Elis's creators, and they intend to use Elis as hostage to force Last Point into subjugating to their rule.
During the climax of the show, the High Node merges with Elis's last shards, their cyborgised citizens and the remains of the weapon that was used to shatter Earth and narrowly defeats Tian (as well as En, lesanne and Aru, who had allied with her in prior episodes), but as it prepares to crush Last Point for not surrendering fast enough, its citizens rally together in its defence, managing to push it back as its assimilated citizenry tears the construct apart from within.
Gathering the last of her strength, Tian deals the final blow, destroying the High Node once and for all.

The series ends a few years after the defeat of the High Node: Last Point has grown greater than ever, the freed cyborgs of Endless mingling with its citizens and En, Tian, Iesanne and Aru have solved their love quadrangle by getting into a bisexual polycule, and are getting ready to go on the first interstellar ark built by humanity



Produced Media:
High-fantasy drama showing a young woman's coming of age story in high society occurring in the midst of a pseudo-historical capitalist republic unravelling due to increasing authoritarianism and populism leading to fascism justified under the auspices of protecting the population where a chance encounter hands her a thread that reveals to her the political cynicism and games of the politicians in the republic.
"If we're going to get hard-banned, we're gonna [fucking] earn it!"
-Pān Ayano, Director

It's agitprop. It doesn't even pretend not to be. But it's fucking good.
Extremely loosely based on the US-based domestic terrorist group Jane's Revenge, JANES is a radfem John Wick miniseries following the exploits of a team of female assassins taking out a series of deplorable authority figures.
The show blends tightly choreographed ultraviolence with biting social commentary about the injustices that radicalized these women and their complex relationships. It's part power fantasy and intersectional criticism of America - with enough sex scenes to appeal to the broadest slice of American malcontents, it possibly can.
This thing knows it would never be legally distributed and embraces the fact to tell a story without any pretense of coddling the censors. If it doesn't trigger a moral panic about foreign-funded feminist terrorists, it would consider itself a failure.
In an unidentified nation in Eastern Europe lies the Capital City of Tembara, where Sergei Romm is leading a meeting of his factory's union. With the recent revolution in neighbouring Russia, he argues that war is imminent and the chance to improve their working conditions is rapidly closing. While concerns are raised about the affordability of strike action, Mikhail Jung argues in favour of solidarity with the Communists. As Romm responds, his daughter Olga arrives to gives him a letter, at which point he leaves claiming to have a meeting with the factory's owner, Anastasia Pushkin. He takes a bus into a residential part of town, checking over his shoulder as the shadows seem to close in on him. He arrives, unlocks the door, and is surprised to see a shadow moving inside


Meanwhile, Nikolai Eisenstein – a rookie detective for Luthpol Metropolitan Police – is awoken in his spartan apartment. As he prepares for work, he shares with his friendly Landlady Alma Zedov that he has been assigned as lead – indeed, as only officer - on a murder case. However, he hasn't been allowed access to the body, and was only briefed on the victim's name – Sergei Romm. Lacking any leads, he resorts to census data to find Romm's contact details, address and place of work – the Pushkin factory. With a destination set, Eisenstein makes his way there by tram. Upon disembarking, however, Eisenstein finds himself lost in an unfamiliar part of the Capital of Luthpol, bewildered by a completely different set of street-maps for the alien city of Tembara.

Eventually, Eisenstein gets directions to the Pushkin factory, where a small group of workers are picketing outside. Disguised, he meets Mikhail and Olga – who are struggling to warm and feed the picketers – and offers to help. Mikhail tells him about Sergei's disappearance the previous night, his relative affluence, and how that alienated him from the union. Eisenstein notes this rapid timeframe for the case, leaving Mikhail to quietly meet with Pushkin using his authority as a detective. Pushkin is uncooperative, however, and refuses to discuss the case without a warrant – however, she does slip that she has been under pressure to clamp down on the unions by the more militant members of the Senate, particularly the Treasury Minister Alexander Alexandrov.

On the way out, Mikhail attempts to warn Eisenstein that the police are after him, but is unsuccessful. Eisenstein is arrest in front of the assembled crowd – being identified as a detective in the process – and is taken back to Luthpol Constabulary by car. Commissioner Krym berates Eisenstein for both failing to investigate the murder, and for overstepping his jurisdiction by travelling to Tembara. Furthermore, he claims that a prominent witness has come forward - the Minister Alexander Alexandrov – and that a clandestine meeting has been him and Eisenstein for the following morning. Eisenstein – realising the depth of foul play he is now involved in – secretly deduces which morgue the body is being kept at, and makes his way there. Here, he meets with the kindly Dr Doller, who agrees to help Eisenstein. Together, the two evaluate the body, deducing that Sergei was killed while naked, redressed post-mortem, and subsequently beaten – presumably to make it look like a mugging. They also note the abnormally severe frostbite damage to the body, to the point where he was only identified from his effects. Eisenstein takes these, and makes his way home.

Eisenstein returns to his apartment, where his Landlady chastises him for his late return. Planning to investigate Sergei's belongings in the morning, Eisenstien goes to sleep. Unfortunately, he is woken early by a call form Commissioner Krym telling him the meeting has been brought forward due to the forecast for a blizzard that evening. Entrusting the effects to Zedov, Eisenstein makes his way to the meeting at the senate building. He is brought to Alekandrov's office, where Alexander briefly plays along with the interview before dropping the act and telling Eisenstein to stop investigating the case. When Eisenstein questions this, Alekandrov has his guards attack Eisenstein, beating him before Eisenstein escapes. He is then chased through the building by both guards and strange figures made entirely out of shadow, similar to the ones that stalked Sergei. Eisenstein is pursued out the back exit, but escapes in the crowd and leaves stealthily via bus.

After a short ride, Eisenstein disembarks, only to become lost in a thick, dark layer of smog. Several of the living shadows are tracking him, and he narrowly avoids detection with the help of several locals, who are dressed in thick black overcoats. They tell him that he is in the Capital City of Prizgrad, the heart of the Government's – and Aleksandrov's – power, where living shadows lurk that consume men whole. They ask him to save Pushkin before smuggling him onto a passing tram and warning him not to return.

Eisenstein arrives in Tembara, and makes his way to the Pushkin factory, despite his injuries. Once there, he discovers that, following the revelation of Sergei's death, the union has resolved to strike. There is a confrontation at the picket line between Mikhail – the new de-facto head of the union – and Pushkin, who's attempts to placate the strikers are undermined by paranoid accusations of foreign spying, sabotage and communism. Eisenstein is forced to break up a confrontation between the two, with Pushkin leaving. Mikhail, seeing Eisenstein's wound, takes him to his apartment to treat him, where Olga is sleeping. As Mikhail treats Eisenstein, they discuss their work, particularly the poor conditions that young police officers are subjected to in order to bring them into line. Mikhail is surprised by this, and offers his solidarity to Eisenstein: particularly, he shares the open secret that Sergei Romm was trying to seduce Pushkin, and that most of the union suspects that Anastasia used this to lure him into a trap and murder him.

Eisenstein makes his goodbyes and takes the tram back to his apartment in Luthol, where he reconvenes with his Landlady. She has kept Sergei's belongings safe, despite an inquiry by the police. She returns them, but tells Eisenstein that she will be evicting him at the end of the month. Eisenstein takes this with good grace and leaves to examine the belongings. He finds the note that Olga delivered to him, which specifies an address in Luthol. He sleeps for the night as the blizzard approaches.

The following morning, the blizzard begins to abate, and Eisenstein makes his way to the specified address despite the heavy snows overnight. He sneaks in and discovers the murder scene virtually undisturbed. He decides that he has sufficient evidence to pursue warrants against Pushkin, and is about to leave when he notices a clock damaged by the incident, and realises that he was assigned the murder investigation before the murder took place. Before he has time to contemplate this, he notices several living shadows outside, and makes a sneaky escape. With options running out, he makes a run for the Constabulary, where he heads for his desk. He furiously assembles his notes for the case, and leaves them on the desk of a junior officer when Commissioner Krym arrives accompanied by living shadows. The Commissioner makes one final speech to Eisenstein about how he should have just let the case go cold and be buried – showing little understanding of Eisenstein's character. He attempts to feed Eisenstein to the shadows, but he tricks them by abandoning his overcoat.

When Eisenstein leaves the Constabulary, however, he finds himself back in Prizgrad. It begins to snow, and Eisenstien is called to a brazier by the same civilians who saved by earlier. They once again protect him from patrolling shadows by disguising him with one of their overcoats, which adheres to Eisenstein. One of them hand him a charred book, telling him that he should read it now that he has joined them. An exhausted Eisenstein asks him what he means, and realises to his horror that his new overcoat is growing and spreading across his body. As he panics, he is told cryptically that the case is over now, and that all that happens now is on his conscience. Eisenstein tries to talk back, but is swallowed by the growing shadow.

When Eisenstein awakens, the blizzard has begun in earnest, leaving the streets unrecognisable. He stumbles through the snow to find shelter, only to discover that he has fallen into another city called Morozsk. He hears laughter on the wind, and tries in vain to find any signs of life, instead being driven back by driving snow and thick ice at every turn. The blizzard momentarily abates, and Eisenstein reaches the dreadful realisation that the Frost that has been impeding his investigation is alive, and is trying to end him. He begins to break down, crying for mercy and begging to be saved, but the only answer is the laughing wind. As he collapses from the cold, his overcoat begins to spread over him like a flame, and he whites out.

Eisenstein comes to at Mikhail's apartment in Tembara, where he is being tended to. Mikhail informs him that Pushkin has been found dead – her remains recovered from her town-house after a fire – and that Aleksandrov has seized control of the factory. Moreover, he sent strikebreakers after the union, with many of them either badly injured of frightened back into line. Eisenstein tells him about the case being forcibly shut down, and the two men try to console each other, only to grow increasingly passionate. They strip – with Mikhail removing the overcoat of shadow to reveal burns underneath – and have sex with each other.

Early the following morning, Eisenstein reads Pushkin's journal, and is surprised by what he finds. Not long afterwards, Mikhail awakens alone. Despite the white-out snow, he can't find Eisenstein – although he does see the overcoat burning in the fireplace, keeping a sleeping Olga warm. Eisenstein has also left Mikhail his police badge and personal lighter. The films ends with Eisenstein narrating a love poem Pushkin wrote for Romm, while he walks out into the snow.
"Songs of the City, A First From Guangchou
A bold new movie experimenting in the animated medium, pushing forward techniques and processes unknown and untested until now, paving the way for more daring and grander projects in its wake. Enchanting in its visuals as it is in the tale it weaves for audiences worldwide!"
-Workers Movies United - USSR

"Delete This Immediately
Seriously, what is this filth?"
-Hayes Committee - USA

"A Classic And Unsung Hero Of The Animated Medium
Songs of the City is an old movie from the late 1970s, the first production created by the now (in)famous "Commiewood" located in Guangchou. Striking with its visuals and bold experimentation, the movie has, throughout the decades, served as inspiration and standard for many following projects, pushing a slowly calcifying industry to shake off its rust and start moving ahead with new strength. Though some critique the movie for being "woke," actual critics will be amazed to discover that the producers and animators were rather conservative within their portrayals of non-standard relationships and cultural norms, further [...]"
-Online Review from the Festival of Unbanned Media - FRG
A hard sci-fi version of Star Trek with strong social and political commentary, Cosmos follows the crew of the interstellar vessel Rosetta on their mission to explore the galaxy. Told in a 12 episode mini-series with overarching character development arcs but serialized A-plots.


After the release of Songs of the City, the people responsible for putting out new media into the cinemas of the world and onto the televisions screens across the world didn't rest on their laurels and the accolades given from abroad and within Guangchou. The newest addition to the nation's cultural exports and achievements is twelve episodes (for now, more are planned after the excellent reception and high popularity) of the show Cosmos.

Now, this may be your personal bias peeking through, but you absolutely love everything about the show! (Some things needed to be changed, though. For example, the psychic powers were now a result of direct technological experimentation, rather than inherited genes and some other minor ideological fixes stemming from inattentive or overeager writers.) However, you remain skeptical that the gene-soldiers who held up a sub-plot about the dangers of bio-engineering humanity into servile soldiers/enslaved people aren't a thinly veiled excuse to show off sexy tiger people.
An animated historical fantasy drama following the 588th Night Bomber Regiment during the Great Patriotic War, exploring the lives of those soviet airwomen - in a setting where they're re-imagined as literal witches. It's, at heart, a war movie and a love letter to aircraft combat but tempered by its exploration of the horrors of industrial warfare, ethnic tensions, and the side effects of rapid societal change. An instant cult classic among lesbians everywhere. Notable for its realism - Commiewood got a ton of actual footage of the real planes IRL and interviewed surviving members of the Night Witches to capture both the tone and technical details.


Usually, having twelve women in your office wouldn't be a problem, and for some attracted to that gender, it would be seen as a net positive, especially as all twelve women were in their military uniforms and doing their best to appear as charming as possible toward me.

Joke's on them; command chose me precisely because they couldn't seduce me. Score one for Team Aero-Ace!

The joke's on me; they could still make my life difficult by appealing to a humans base nature: our weakness against cute and adorable things.

"Oh, come on, Chi~! Nobody would ever know~," Squadron-Leader Li spoke, giving me her best "puppy eyes" as the rest of her team provided auxiliary support, trying to whittle me down with sheer numbers alone. "We could even make it ~worth your time~ for any troubles?" She continued, pouting as I didn't move a single muscle, and my face still conveyed my thoughts on what was going on.

"SL Li," I began, making her look at me with big, hopeful, teary eyes. "No."

"OH FUCK YOU!" Came her immediate retort, flipping me off as various disappointed exclamations came from the background crew. "Why the Marx not? Third Squadron got to change their name and paint jobs; why can't we?"

"Because they did so after a year of studious review, with a rational reason given for the use of runic decals from Runic Wars, rather than your desire to rename yourself as the "Black Demon Slayer Witch Squadron" with erotic pin-ups of the Nachthexen crews on the side so you, and I am quoting the official paperwork here," I spoke, looking at Li with an even gaze, putting every ounce of judgment I could into it; "Can "Pick up hot bitches while being sexy witches!"" A moment passed in silence after my retort, just long enough for me to think that, maybe, they realized why their request was denied.

"And?" One of the Pilots said, making me wish I still had that bottle of cheap vodka my aunt had sent me from Russia.
***​
>AdamAndSteve said: Oh, I LOVE that movie! I first watched the remake and censored version in 2004, when I was a wee little girl.
>AdamAndSteve said: Begged my parents for /weeks/ to let me watch the "Cool Magic War Movie," as I put it.
>AdamAndSteve said: Mom didn't like it at all, but Dad eventually let me watch it with my brother just to make me stop bugging him!
>AdamAndSteve said: Said: "What's the worst that could happen?"
>PurpleIsSuspicious said: LOL
>HumanRightsNow said: LOL
>PuppyPoster said: OLO
>PurpleIsSuspicious said: PP, why
>PuppyPoster said: :7
>PuppyPoster said: But ya, "worst that could happen"
>PuppyPoster said: Bet he wasn't happy when you got out
>AdamAndSteve said: Yep! But hey, I got to watch the uncensored org from '78 with my then GF
>AdamAndSteve said: Then I got shipped to the conversion camp in Newcastle-under-Lyme 'cause they found us.
>AdamAndSteve said: If I had watched that the first time 'round, I probably would've gotten shipped then and there.
>AdamAndSteve said: 'Cause Visha in the censored got me interested in girls after *That Scene*.
>AdamAndSteve said: And in the uncensored. ///WHOOF///
>HumanRightsNow said: I'd make a bone joke, but I am 90% sure it'd be racist to puppy
>PuppyPoster said: I give you 1 (One) permission for that.
>HumanRightsNow said: :>
>AdamAndSteve said: Please no.
>HumanRightsNow said: *Inhales*
>AdamAndSteve Logged Out
>PuppyPoster said: Coward!
>HumanRightsNow said: BOOO!
>PurpleIsSuspicious said: >:<
Following in the footsteps of CommiePop, Commiewood has turned its eyes on graphic novels as a niche to expand into. Lessons have been drawn (he he he) from American superhero comics and spawned an entire genre of deconstructions and reconstructions, often grappling with topics such as the political ramifications of so much power invested in individuals for good and ill. A particular standout is showing American heroes like Superman or Captain America having to deal with systemic injustices that can't simply be punched. Still, the propaganda is no less incisive when critiquing communist projects. Natchnik, for instance, is a thinly veiled Batman Expy that features the billionaire son of an oligarch assassinated for his philanthropic efforts in a corrupt and dystopian Russia where the Soviet Union stagnated and collapsed under the mismanagement of a gerontocratic elite.


Critics often say that the Bronze Age of comic books was either the best or worst Age for comics, with Naysayers saying that the overuse of grim, dark, and depressing themes led to a gradual decline in both memberships across the First World, alongside growing attacks by "Concerned Parents" regarding the graphic depictions of mental illnesses, gore, and violence, alongside the increasingly visceral depictions of women as sexual objects for the sexual gratification of and submission to men. Those who laud the Bronze Age typically refer to the unearthing of those themes to be made pliable for the modern audience, giving the teething issues time to be ground down and made socially acceptable while also turning rightful critique from fans into sledgehammers with which they were able to correct several of the problems into vessels for moving along the social and moral messages from comics and enable them to reach a wider audience by turning comics into a socially acceptable "adult" pastime.

And yet, both of those same sides of the coin denounce and denigrate the gradual birth and flowering of the Rust Age, where biting social, political, and ideological deconstructions, critiques, and reconstructions happened, focused on the morality and psychology of the massive amount of personal power within fallible humans, the impacts upon societies where less ideological or nationalistic fervors lead to warlordism, and the gradual shattering of religions, ideology, and politics in a world where "Mortal Gods Walk Among Humanity" as one intro to Nachnik put it.

In this TED-Talk, I will [...]
A Sesame Street clone that focuses on Guangchou values while providing basic entertainment and education for preschool kids. A serialized show featuring live-action actors, puppets, and animated shorts where famous figures from Guangchou history and public life can appear to provide quick and straightforward education segments.


"Why that does sound downright frightening," Tiga Tigress said, hugging a scared Yeung, who tried to bury himself into her fur. "Why would someone do that?" She asked, looking at the guest star of the third episode: Kai Lang, Professor at the TSBRI, who had come to explain the basics of ecological conservation.

"Greed and ignorance," he readily answered, several puppets nodding at that, one of the trio of ratolutionaries loudly gasping. "There are many people that just don't know their seemingly innocent actions can hurt the planet, though most can be taught how to stop doing so," he added, smiling all the while.

"But what about the others, the greedy ones?" Yeung spoke, the sheep looking out from Tiga, eyes large.

"Well, those are the ones that know their actions cause harm but continue because they profit," one of the ratolutionaries fainted, "from doing so." Again, gasps were heard as the show continued, now going over into the ideological part of the show, gently introducing the communist ideology in small understandable bits without being condescending to children. One was always surprised by how intelligent kids were; they just lacked experience putting those smarts to use.
This is a mecha show. No. Strike that. This is THE mecha show. It's not the most well-animated. Nor the best acted. Nor the most competently written. But it is the mecha show that came out from Guangchou at the same time as they unveiled real Mecha to the world, so it is the most well-known because everyone was watching it out of curiosity.

It follows an anti-imperial struggle by a group of rebels on a distant planet (it's basically a synthesis of many South American anti-US conflicts in a sci-fi setting) with low gravity, a thin atmosphere, and rugged terrain borne of the world's geological youth. In this environment, the most prominent weapon of war is the Universal Soldier - a bipedal mechanical humanoid used ubiquitously in the military and select civilian applications.

A lot of fucked up Japanese and American mecha designs can trace their roots to this anime because the Guangchou Army extensively consulted on how these Mecha should be depicted, and the references and advice they gave the animators and show-runners were all for engineering dead ends and horrible solutions that had been discovered during the ITs development process.


Many say that the Universal War has laid the foundations for how Mecha are depicted within the media, particularly within fictional stories revolving around their use outside history or on earth. A few even go so far as to suggest that Universal War had an outsized influence on how Mecha would be developed within the real world due to being the only place where designers could get an idea on how these things could slot into the military, ideas which were bolstered by the show being made by the nation that had developed these machines.

Few understand that this show single-handedly wasted billions in research budgets for the Japanese and American Militaries, with only the European efforts being spared due to the initial aversion to adopting these machines because of the buy-in costs associated with all new technologies and the possibility of another, immediately available, military counterpart capable of independent multiplication.

Though by no means a dedicated effort to undermine or mislead the research efforts of the western world, the show had still been created with that idea in mind, seeking to nudge the mindset of people from sensible and proven designs after boondoggles and moonshots to increase the time Guangchou and Commieterm Engineers and Scientists had to push the technologies used further along to maturity and develop the needed expertise required for the massive deployments the Mecha would soon see within the Eastern World.

However, what the makers of the show failed to account for was that, once the people sent onto dead-ends realized they were treading water without result, those same people suddenly found themselves in ownership of research worth billions about nearly every facet of the construction, operation, maintenance, and more of Mecha. Something which would lead to the development of-[End of Free Trial, Purchase Article to continued reading.]
-Media Mecha Madness, A introductory history on the most significant waste of money in history.
Commiewood has gotten into the spirit of the Plan Goals and the recent reveal of the Wolfsmenschen by debuting a series based on the Sector General books written by Irish author James White. A medical drama with pacifist themes set on a hospital station in deep space where doctors of various species must treat an equally diverse cast of patients, Sector General was praised for its animatronic non-human aliens and its use of parabolic flight to simulate zero gravity (usually during rocket ambulance rides - holy shit you would not believe how much of the budget those ate).


Sitting in his living room, James White stared at the ending credits of the show he had just watched, the last episode finishing in the same manner as the previous 23. Then, standing up, White slowly crosses the room to eject the cassette from his TV, looking at the label denoting the name of the episode and length of the same.

"The Price of War," White spoke gently, softly, as if tasting the words to see if they made sense or fit within his work. A slow nod followed, his mind going through the happenings again, a piece he had written last year but nearly scrapped altogether because he hadn't liked what it spoke of, what it entailed, and the viewpoints said within. Above that, it just hadn't fit within the setting and the characters, so it almost went into the bin.

Until he got a call from someone wanting to produce a show based upon Sector General, seeking his approval or refusal. To say that the realization of said person being from the other side of the world and economic ideology had been a shock was to call a sleeping cat uncomfortable.

And yet, he hadn't seen the reason to refuse. After all, what was the worst that could happen? That they slandered his work to shoehorn in their propaganda, causing him trouble with the government? He had given them the okay but refused the money to stave just such accusations off, on the off chance that they would produce a lasting legacy in the minds of the newer generations he couldn't do with books alone.

Putting the cassette into its box with the others, he turned to the kitchen, Peggy having called him to help her deck the table. A smile was on his lips, and a vigor in his steps, feeling younger and more hopeful for a better future than ever. The show had been more faithful than any counterpart produced in the West would have been.
In a departure from the visual medium, Commiewood focuses on releasing several music albums featuring their take on western pop music. The (cheekily) so-called CommiePop genre borrows the repeated choruses and hooks, short to medium-length, basic format, and rhythms or tempos that can be easily danced to that Pop is known for but engages heavily with political and social themes instead of eschewing them.


Though somewhat a break from their focus on the visual mediums, the music produced by several authorized bands has slowly, and with growing steam, brought change into the musical scene of Guangchou. The borrowed format from the West was converted for the animation of an episode for a fantasy show for its intro. After catching the attention of several staff members, it was pitched for approval in a mass-media campaign. Since then, the songs produced have gained a growing audience and following, from primarily the youth, though several older people have grown to enjoy them. In a bizarre (for those from the West) turn, the oldest generation has a primarily positive outlook upon the new music, seeing the political messages inherent in them as a fun way to teach the "youngin's" what they fought for and what task they will have to pick up in the coming years.
Not a movie per se, but rather a first attempt at a professionally done documentary series from Guangchou. The world is divided because no one sees other people as people. And what brings people together better than food? Interviews with elderly grandparents and the best professional cooks in the country about who they are, what they do, and what food means to them as they exhibit the traditional cuisine of Guangchou. Intended for international consumption.


"This is a recipe my father would always make me when I was sick," Ju Ni said, gently cutting apart the fish on the table and setting aside the various parts for later use. "It has always brought me comfort when I couldn't run around and play, helped me far later in life when I was an adult, and has brought my children and grandchildren comfort, too," he continued, grabbing various herbs taken from his garden before mixing them together, to later season the fish with. "It helps the immune system, and it tastes good too!" He says with a laugh, gently sizzling the prepared fish before laying the food out. A light meal for a weak stomach, but one filled with good things and full of taste for numb tongues.
-Episode 2 - Meals That Heal
A satirical look at human nature and a warning on what could happen if we don't reign in our worst impulses.


"'Love, Death, And Robots; The End Of All' is a masterstroke of combining deep philosophical thoughts and the underlying worries of the current generation regarding the future and the myriad ways in which humanity could end the world and itself with comedy that mixes black, gallows, and environmental humor alongside sight gags throughout the six movies featuring one thematic issue that dominates the story and the characters that observe its end effects. From a nuclear holocaust to bioengineered plagues, over rampant machine "intelligences" into practical extinction by stagnation and mindless pleasure, each issue shows one fear of the era taken to its extremes and how they could be avoided, as narrated by a trio of robotic tourists visiting an Earth entirely (or practically) devoid of human life. While there is a heavy slant in the solutions commentary toward the Guangchou nuances of communism, it nonetheless remains an enjoyable animated series that can be watched by the whole family."
-Russian Cinema Critic
The secret agents of the Cats International Agency have a collar tag to kill as they pursue the destabilization of Mausengrad through various harebrained schemes, but most commonly through their ridiculous attempts on the life of Comrade-Leader Maose. Wholly Tom-and-Jerry level shenanigans, very little tension, with the cats being portrayed as a mixture of menacing as they plot and pitiable as they get lambasted for their comical failure by their intransigent superiors, General Smilodon and Senator McCarthy. Any resemblance to actual attempts on the life of Wei Jungmin or Fidel Castro is coincidental, honest.


"The first episode of Cats in Mausegrad had been released a week before that fateful day that saw over a million people vanish in nuclear fire and millions more suffer and die from the fallout, literal and metaphorical, that resulted due to the bombings. As such, it has to deal with a legacy of both being under the shadow of nuclear annihilation and that of fond nostalgia as thousands of children within Guangchou, and soon within their Asian sphere of media influence, were sat in front of the TV where able to distract them from the reality that happened, especially within the refugee centers within China itself, where thousands of orphans, injured and hale alike, needed to be distracted as social workers tried to figure out how to proceed from there. It is little wonder then that those who grew up with the story often remember, falsely, episodes that dealt with nuclear themes or used nuclear weaponry as a plot point."
-Introduction to "False Memories - From Cause To Cell"
An animated series presenting through various love/relationship stories a maximum of the genders, sexual and Romantic orientations that exist to the best of the current knowledge.
The objectives of the series are:
1. Be an entertaining, wholesome series with (for once) healthy and functional relationships.
2. To educate people about the different sexualities/genders/etc. (It would do a world of good in many places.)
3. Allow people with a non-standard gender/sexuality living in countries less tolerant/educated than Guangchou to be able to put a name to what they feel/are and to know that, no, they are not weird monsters for what they feel or want.


"The animated edutainment (educational entertainment) series "So Many Ways To Love" is a series created by a small team from within the Third District of Guangchou, and had, at its beginning, to struggle with budget allocations and a lack of talented animators, leading to the early-series janky-ness that nonetheless managed to be turned into a strength by the team with a simple yet ingenious trick. In the show, an Artificial Intelligence is sent to Earth by an unnamed space-faring nation to study and catalog humanity, with said AI kidnapping a trio of humans from the planet; a Guang, a West German, and a South African, to help it in its understanding by providing varied understanding and context to gathered information. The sections where the AI and the trio interact with each other are animated to the expected standard of Commiewood. However, that quickly changes once the narrative of each episode dips into the story segment. There, the style and quality is of noticeably lesser quality, but is outweighed by providing three distinct styles of visuals to the audience depending on who tells the story. The Guang visuals are akin to theater cut-outs moving across the screen, rigid poses, and limited action sets moving about; the West German has a blocky and functional appearance with plenty of pencil strokes and sketch visuals, while the South African shows their segments with watercolors and shapes draped in colors that coalesce and dance, rather than adhere to rigid forms. Each story is started with the AI asking a question about human life, typically something regarding inter-human interaction, and the trio answers in turn, engaging with both the AI and the audience to whom the stories are told. Said stories are typically centered around sexuality, gender roles, norms, and love in all its forms, relayed by the experiences of the trio, and heavily show functional relationships rather than the usual standard of entertaining and drama-filled relationships usually shown in TV that would be unimaginably toxic in the real world. Surprisingly, the show has become a far greater success story in West African Countries than in Guangchou."
-A Retrospective On The Cultural Impacts Of Commiewood, 2000.
A series presenting throughout episodes factual history, fairy tales, legends, and myths from all over the world and from all eras (although the first episodes focus on stories from Guangchou dear to the animators). Unlike Disney and other modern producers, it was chosen not to sugarcoat the stories but to reproduce them much more faithfully (although a segment at the beginning of the episode putting the story in its context was added in cases where the story would have aged badly from a moral point of view, would be racist, etc.) in all their tragedies, joy, horror, exaltation, anger, strangeness, because sometimes things go wrong, sometimes the story doesn't end well, sometimes there is no good or justice if people don't all fight for it, and that's a good lesson to teach.


"Tales of Humanity is a long-running series founded in the beginning of 1984, with nearly 1.400 episodes created within its current 26 years of existence, most containing up to four different stories from around the world. As an attempt to teach the world of the various myths, folklore, legends, and similar stories, it succeeded, with many aspects of Asian and Indian culture gaining a spot in the light of the world it wouldn't have had had it not existed, alongside the manifold stories from Oceania. Yet, as a history teacher, it was a failed product, as tales of dragons and gods were far more popular to audiences than those of some noble who did a thing and then vanished from the world stage. A message quickly understood by its producers and given to their showrunners, ensuring that funding would remain constant despite the low ratings."
-The Economist; "Edutainment: Its Successes And Failures."

"Yeah, we kind of got sidetracked when we made that seventy-episode special on human/non-human love and relationship special. Can't say that I regret doing it, though!"
-Ma Chi, Lead Artist of the "Tales of Humanity" project from 1986-88.
 
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This list is by no means exhaustive, nor does it contain the full breadth of proposed pieces, merely those I have been able to find. If your proposal got overlooked, please notify me. If you wish to add one, post it in the thread.
Ashaum is an Agricultural World, rich in resources that the Fascist Empire has been exploiting especially hard for four or five years, but to a lesser extent before it became all Fascist for decades. In an obscure corner of this planet lives two tenant farmers and their nephew. Their nephew is secretly the son of a famed revolutionary who was killed, and is feisty and wants to get out into the galaxy to fight evil... even when he doesn't know who his father is. [A], said Revolutionary's sister, wants him to go out into the world but knows it isn't time. He's learning The Way of Universal Listening or something like that, a means of communing with spirits and reaching into other worlds to communicate with and understand the world and ask it politely to give up its secrets and powers.

One day, Death Trupen (or something) show up and kill him. Vibes should be: very Jackboot, but they also have laser-sword Katana sidearms and at least the commander might sound a bit British. Very pastiche.

A escapes into the wilderness where she's saved by a wise four-armed alien who should give off buddhist monk vibes, but based, and apparently was training Nephew before his death. They journey to the capital, looking for a smuggler [A] knows.

It is forbidden for any of the rich and great foods of Ashaum to be wasted on the peasants, and so the only food people get is Nutrient Paste or something. So the smuggler smuggles that, drugs, guns for revolutionaries, pornography, all sorts of stuff. Rough but has a heart of gold, unlike her robotic friend, tall and rather mercenary, at least at first.

Before they can get any further than cutting a deal, they find and save a revolutionary spy, from a Changeling-like sorta species, (and an enby, of course), who is trying to find someone.

Fifteen Years Ago, a General of the quasi-liberal Empire quit in disgust in a very public way, denounced the Empire and Imperialism. Now a new coalition of Liberal Democracies, breakaway states, and revolutionaries wants this person (man or woman, decide later) to join them as a figurehead and leader because there is news about an impending attack.

The General is in prison, having gotten in a bar fight... but refused to throw even a single punch. They rescue them after an action sequence, and then off they go!

They're attacked, and are forced to land on a desert planet with mines, where they discover that a strange rare metal is being mined for weapons of some kind, and they run across and defeat a Space Prussian Noble who has information about the plans and a location.

This finally leads them to planet three, where they infiltrate this military base and blow part of it up, escaping with the plans. Character beats include the Changeling Spy's identity issues, the Aunt feeling over her head because she's a farmer, the smuggler and Robot arguing about the nature of personhood, and plenty of slapstick.

They join up with the Revolutionary/Rebel/etc fleet, and stage an ambush on a planet that was destroyed by the failed superweapon test of the Fascist Empire, a gun designed to destroy entire planets that blew itself up in the process of destroying an entire system. In the ruins of this destroyed planet and asteroid field there's a big space battle and a land battle, and the Empire deploys their new weapons, the Not-Tigers.

Meanwhile our band of heroes flies in under cover of the conflict and the General has a confrontation with their old friend and now Grand Admiral in which they break their vow of pacifism and ultimately the Dreadnaught is destroyed.

Everyone escapes off it, the enemy is in disarray despite the power of their Not-Tigers, and some of them are captured.

Aunt is awarded a medal and vows to learn about the Listening Way, Smuggler becomes an irregular Partisan Captain, Mercenary Robot sticks with him but gets a salary and we learn that he's saving up to buy other robots their own freedoms (aww, he's not so bad.) Four-armed Alien is going to be Aunt's teacher, Changeling Spy is given a big secret award and now has friends, General doesn't want to lead a war but will use his knowledge for good, roll credits.

*****

This is a *very* vague outline, but.

Also, every single name is 100% provisional.
Literally just Gundam...but Guangified!
Straight up VOTOM. This time, with Mecha based on the Iron Tigers. Really rub it into the world's face.
A commie, sex-liberal version of Bible Black, somehow.
An ancient play of Guangchous past, though one usually played with heavy input from the audience. Within, a Queen is being seduced by a Tiger Demoness disguised as a Courtesan, a play of intrigue, romance, and corruption that sets even the most cold-hearted person to tears when the Demoness admits her true love to the dying Queen.
A dramatic yet realistic re-enactment of the last days of the fleet of Guangchou, before the Imperial Japanese Navy got handed a humiliating defeat at the cost of all hands and ships of Guangchou. Let the world know the bravery of these men and women, and let their deeds inspire new generations of sailors.
A satirical look at human nature and a warning on what could happen if we don't reign in our worst impulses.
An adventure romance series playing in a fantastical world of humanoid animals and runic magic (which anyone can learn, but only the dedicated, intelligent, or powerful/rich can do so to any great effect). Within, a Tigress Warrior and a Cat Runescribe (with a rotating set of allies and help) fight against an evil king that keeps the people poor, desperate, and against each other. And anyone saying that the Tigress and Cat are blatantly Mai and Jungming are lying!
High-fantasy drama showing a young woman's coming of age story in high society occurring in the midst of a pseudo-historical capitalist republic unravelling due to increasing authoritarianism and populism leading to fascism justified under the auspices of protecting the population where a chance encounter hands her a thread that reveals to her the political cynicism and games of the politicians in the republic.
Comedic democracy to fascism. Kind of 'Death of Stalin' but if it charted Hitler's rise. Or, since this probably resonates more, Death of Stalin but it's Imperial Japan's High Command and the destruction of Japan's tentative democracy. Complete with 'here's what they're all doing now' at the end that shows how the US pretty much ignored everything so they could focus on Korea and the Soviets.
Victorian occult space opera with demon-thermal powered steam rockets, girls dressing as boys to join spaceship crews, and Space!Colonialism.
A complete re-imagining of the Soviet classic in a hard sci-fi setting where a rogue planet has destroyed the Earth and humanity was forced to evacuate into space where the Cold War began anew between the United Stations of America, and the Union of Soviet Space Republics.
An Action space opera revolving around two ideologically opposed nations fighting desperately against the encroaching empire. The show/movie should have protags from both of the defending factions, as they face the world that is larger than they thought, and get embroiled in internal conflicts that may or may not be enflamed by spies, and self-interested traitors. And yet, in spite of the fanned strife, both defending factions are filled with people whom want to do what's right, or simply to protect their homes and their family. To show why the empire invests in trying to keep them divided, have the separate forces being designed 'incidentally' in a way that supplements each other, while still feeling like a result of more natural development, with possibly even having different doctrines that led to such being a point of contention.
There was also At Aunties House
 
Runic Wars is a thought, but seems a bit on the nose right now. On the other hand, could help swing public opinion? Idk. It's something to consider at least.
 
[X] Plan: Red's Anatomy
[X] Commiewood: Love, Death, and Robots
 
If your proposal got overlooked, please notify me.
There was also Pioneers, a sort of Lower Decks expy in a hypothetical post-Fully Automated Luxury Gay Space Communist revolution world, that's a mix between just a pure comedy show, and Communist propaganda that uses self-satire to look less dangerous and better embed itself overseas.

Commiewood: Pioneers
A soft sci-fi comedy set in a post-revolution world where Communism is global and automated to the point where a job is a want rather than a need, the final frontier to be explored is space. But look away from those big names, the famous Pioneers charting the wonders of the universe and spearheading the expansion of Communism from the Captain's chair; here's the hijinks of a bunch of low-rank nobodies, who secure in their knowledge that the machines can take over their duties whenever they don't feel like doing them, become the worst nightmare of superior officers anywhere: bored soldiers.

Two parts comedy, one part agitprop meant to slip through censors easier by satirizing the post-revolution world in government-approved ways (such as poking fun at Guangchou's habit of excessively verbose names) in order to spread what the actual goal of Communism is to areas that before would only have learned from Red-Scare propaganda, and topped off with a dash of military kickbacks by making the Explorer corps an explicitly military organization, implying that even in a post-revolution world with no war the military will still have a place. Unlike many other soft sci-fi shows, it intentionally does not contain alien societies or true artificial intelligence to avoid distracting from the ideal post-revolution world and the question of AI slavery with all the automation respectively.

TL;DR Bored soldiers, the slice-of-life sci-fi anime.
 
not sure about the love death and robots, its an amazing series, but I don't think we have sufficient technology and animation capability to produce a film that would make this impactful. with story telling capability
 
[x] Love, Death, And Robots; The End Of All
[x] Last Starlight
 
not sure about the love death and robots, its an amazing series, but I don't think we have sufficient technology and animation capability to produce a film that would make this impactful. with story telling capability
Its for experimental stuff and it can be hit or miss but can't figure out what works without trying in the first place? Also hope that like the one we have this quests version of it doesn't pull punches and makes fun of both sides of whatever each short/episode is about.
 
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Comedic democracy to fascism. Kind of 'Death of Stalin' but if it charted Hitler's rise. Or, since this probably resonates more, Death of Stalin but it's Imperial Japan's High Command and the destruction of Japan's tentative democracy. Complete with 'here's what they're all doing now' at the end that shows how the US pretty much ignored everything so they could focus on Korea and the Soviets.
I want to do this one so that in the sequel where we make a comedy of Imperial High Command we can have a live action nuclear detonation in the film serve as part of the press release for the creation of our bomb.
 
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