Review: New Deal Coalition Retained

New Deal Coalition Retained

I’ve finally felt it’s time for this blog to come full circle and return to internet alternate history. Now knowing so much more about the depth and context, I feel comfortable returning at last to a topic I’ve mostly avoided since starting this blog. This has not been a light decision.

Most TLs on I’ve avoided-in hindsight, most that aren’t eventually commercialized in some fashion are shallow pieces of de facto fanfiction. I’ve found that, once one moves past the board drama, there isn’t really much to say. But for this one, I found a lot. Especially as it has a standout (in a bad way) Third World War.

New Deal Coalition Retained is one of the most infamous TLs, and it includes a conventional World War III in its second arc. Now for the others I read, I maintain by the Iceland post that they “weren’t particularly good, bad, or representative” any more than, say, Command and Conquer fanfiction. The WW3 in NDCR is bad, and it is representative, but not of conventional WW3s. In fact, its massive distinctiveness from other World War IIIs is because it’s representative of a trend in internet alternate history, what I call “trinketization”. And it seems to perfectly and eerily show that at its absolute worse.

I got this name from an Alexander Wallace post on Sea Lion Press. The entire article is very much worth reading, but here’s the most relevant part.

A mistake many newcomers make (and this is a nation encouraged by many online historical discussion fora, not just alternate historical spaces) is assuming that history is simply the aggregation of bits of trivia, whose own complex interrelationships are neglected. This reduces the study of history to a collection of trinkets rather than the system of the world that many academics spend entire lives studying but a tiny portion.

In some ways, this trinketization was inevitable. The fandom was going to grow larger and more “diluted”, and the internet made it far easier to find broad surface facts than deep knowledge. Audience attitudes shifted from nitpicking to fanfic consumption, with updating frequently and playing to the crowd taking precedence over all else.

I’ve softened somewhat on severe rivet counting because of its comparative infrequency, but also because it’s still preferable to trinketization. At least rivet-counting means substantial research has been done in at least one area.

Trinketization in practice means that it feels like just a collection of names, numbers, and events tossed out, with divergences being for their own sake and no attempt to work them into a bigger whole. Often the names are of semi-obscure figures who feel like they were just yanked out of Wikipedia or somewhere similar. AH works consisting purely of maps are often vulnerable to this, because they represent just one object. But those are nothing compare to the grand emblem of trinketization: The wikibox. Wikiboxes remove the need to add any sort of context or detail to the event. Simply put, they merely list the event itself. Imagine a sports story reduced to just the game score.

NDCR’s first act is essentially impossible to summarize beyond “Sherman Adams dies in 1957 and then a ton of weird stuff happens.” There are election wikiboxes, war wikiboxes, and stock photos interspersed with long blocks of exposition that are too big to be concise but too dull to be engaging, especially when one realizes the lack of research. Events simply happen.

One of the first things that jumped at me was Pakistan not only winning decisively against India (very, very unlikely), but annexing the Hindu nationalist stronghold of Gujarat. The alarms this set up (especially since looking up the relevant demographics is not truly difficult) were an indication of how everything else was going to go. Most relevant for the WW3 to come, there’s a bizarre and nonsensical situation where the Prague Spring ends up breaking Czechoslovakia into western-aligned Czech and eastern-aligned Slovak states.

This goes on and on. Imperial Germany and Japan somehow get restored. One of Richard Nixon’s daughters ends up marrying into the British royal family, earning the timeline the nickname “Queen Nixon” among detractors. Cuba stops being communist while Brazil starts. It’s a giant jumble.

And then comes the most legitimately creepy part, which is that almost every postwar neo-fascist figure ends up “redeemed” in some way, with the biggest example being German Gerhard Frey. What makes this stand out is that looking around for these figures seems to be the only legitimate, serious research done in the TL. Frey creates one of those “Notzi” ideologies where it comes across as “We support a state with that triumph-of-the-will stuff, but it’s for GOOD and not EVIL”. For all the alarm bells it trips up, I want to downplay this part for the review. However, it exists and needs to be mentioned.  

This jumble of trinkets clunks along until the World War III comes along to lend it some tiny attempt at cohesiveness. And here is where it gets interesting. It feels cargo-culted. It has the very basic and shallow box-checks of Hackett/Clancy/Bond knockoffs. It has a conventional WW3 happening at all, it has an invasion of Iceland, and it has a plotnuke conclusion. But when examined in any sort of detail, the World War III doesn’t feel like them in any way.

If it was shallowly copying techothrillers, the war would be over quick and involve NATO airpower and smart weapons crushing the Soviets. It isn’t that. If it was shallowly copying primary sources, it would probably resemble a knockoff The War That Never Was. It isn’t that. In fact, with its jumbled beginnings and strange numbers/conduct, this comes across as the complete antithesis of those kinds of works.

The OOB-person in me noticed the wikibox for the initial offensive listed the Warsaw Pact as having only 1,028 tanks for a force of 222,361 men (look at those exact numbers) carrying out a high-priority operation at the beginning of the war, the initial attack in the Prague area. This amounts to only around 3 or so divisions worth for something involving three whole field armies, and it’s where the formations would be as close to paper strength as possible. Also, the operation takes 37 days, longer than some estimates of the whole war, even with nukes handwaved away. (If the Soviets could stay at their planned advance rates, they’d be in Madrid by that point). For a conventional narrative, I’d be totally willing to let it slide if the story was good, but for something that’s pure description, the description needs to be of a higher standard.

But that’s small potatoes compared to what happens next. The big push appears, with close to 4 million Soviet troops grinding forward across West Germany against around 3 million NATO ones over the course of several months. To the extent where there’s any constant inspiration at all, it feels inspired by World War II. Everyone has totally mobilized drafted armies with huge numbers. Heavy bombers just level-bomb cities en masse like it’s 1943. A part of me thinks this theme might be taken at least in part from Anglo-American Nazi War, a timeline on the same site (published and reviewed as Festung Europa), which is another rote tale of giant armies and giant casualties struggling across the continent for years as seemingly horrific events are flatly described. At least it feels closer to that than pretty much any actually published World War III story.

The Soviets reach the east side of the Rhine, and the button is not pushed. They cross the Rhine, and the button is not pushed. They move some distance into France and the button is not pushed by either NATO or the French themselves. In that and every other theater there are stock photos, battles, and yes, wikiboxes. On every continent. The troop numbers are consistently too big by postwar standards, and when mentioned, the tank numbers are consistently too small-especially since they often depict situations where the explanation of realistic attrition isn’t usable.

The East Germans eventually mutiny due to “pervasive pan-German sentiment” as part of the tide turning. I should note in real life, they were considered trustworthy enough to be plugged right into GSFG-but of course, this is after thirty years of scrambling. The tide turns in more wikibox battles, with NATO eventually counter-invading the USSR itself, including an Arab-Israeli alliance pushing into the Caucasus. NATO crosses the border and the button is not pushed. Baku and Leningrad are overrun and the button is not pushed. Eventually, with Moscow on the brink, the Soviet leader orders the launch-and it’s portrayed as insane with a scramble to stop. One missile makes it aloft but a Star Wars satellite shoots it down. The end. Somehow this lasted for two and a half years of high-intensity fighting and had over forty million military deaths alone distributed evenly among the two sides.

I hope the feeling of this timeline can be determined from the review/summary here. If it sounds jumbled, it’s because it is. If it sounds like it doesn’t make any sense, it’s because it doesn’t.

There’s a postwar part which returns to the trinketization along with other creepy element common to it and some other trinketized online AH with fairly recent divergences. This is real living people turned into vastly different ones, with one of NDCR’s most prominent and bizarre examples being real actress Mariska Hargitay turned into a Freyist political figure. But little about that can be said beyond what’s been said about the first two parts.

It’s very rare that a work of fiction manages to somehow include all the negative elements of its genre in a way that highlights every single one of them. But New Deal Coalition Retained is such a work. One can sometimes get a feel for the flaws of a genre by looking at something that prominently displays them. Such is the case for later Tom Clancy books and technothrillers, and it’s the case for this and internet alternate history. If those are Chronicles of the Conference Room, this is like a research paper without any research.

Review: Ward


The sequel to Spacebattles darling Worm, Ward arrived to much fanfare, to the point where the end of its author’s last web serial was overshadowed by antsy fans waiting for it to start. Now Ward itself has just finished.

When I started reading it, I saw that Wildbow’s literary issues didn’t change. The prose was too flat. The action likewise was too flat. The pacing had only two speeds: “Way too fast” and “Way too slow”. The descriptions are either overdetailed or underdetailed. I’d tried to follow all of his serials after Worm itself when they were written, and ended up just abandoning them.

Reading more of Ward, it has Worm’s problems, if not more. The structural issues mentioned above. The tendency to write into a corner and then ESCALATE out of it. The way the cosmology becomes ridiculous (you don’t include precognition as a power without good reason, much less two super-precogs, and that’s just one problem).

But really, Ward is a tragedy. I don’t mean inside the story itself, although it has plenty of dark moments. I mean that it’s dragged down by two big factors. The first is the legend of Worm bringing up unrealistic expectations (something Wildbow himself mentioned in his retrospective). The second is that its predecessor had just the right amount of factors to make it popular. Lightning was never going to strike twice.

One strange effect was that an improvement in the characterization actually doomed the serial. Worm’s fandom success hinged on Taylor, its protagonist, and her lack of what would normally be considered substance. Someone who was about 30% power fantasy of fighting back against the people who were just UNFAIR TO HER and 70% blank slate camera RPG protagonist created some strange incentives.

If you saw Worm as something that was more of a superhero RPG let’s play than anything else (which it comes across as), then the fanfiction boom made sense. Taylor’s bug power was just one “build” among others, and if the sole part of her character that filtered down was that wish fulfillment, then it’s easy to see why (combined with bandwagon inertia) why it got all the fanfiction it did on one small part of the internet.

So Victoria Dallon may have been an improved character, but the mystique was lost. Ward ended up as feeling to me like the kind of webfiction that, if you’re into it from the start (I wasn’t) you’d follow until it finished and then leave it behind.




Review: Worm


This is a weird story to be reviewing on Fuldapocalypse, and it’s a weird context. But Worm has been so crazy on Spacebattles to the point where the mods had to make a separate forum specifically for Worm fanfics.

Worm is a story about a teenage girl in a rough and tumble city who, after being shoved into a filthy locker by bullies, develops superpowers. Much, much, much more happens after that.

Worm has a lot going for it. It’s a superhero story that keeps the basic archetypes everyone knows and loves while shedding every last piece of baggage the big two comics have dragged over decades. The powers are interesting and distinct-for instance, the closest prominent figure you can find to the main character’s power set of insect control is a boss in Metal Gear Solid 3. There aren’t lazy “Superman” or “Batman” figures made with the minimum distinction. The characters are well developed and sympathetic in a truly dark world. It sounds very good……


……until it’s actually read. The fundamentals are ‘iffy’ enough that it becomes a slog. Especially early on, events happen and pass very quickly, not helped by the prose. But on the other side of the coin, the story as a whole is over one and a half million words long-longer than War and Peace and Atlas Shrugged combined. And I’ve found the prose to be simply dull.

In no small part because of this, every flaw in the worldbuilding comes up in a way that it wouldn’t in a better story. The biggest issue I’ve found is trying to have its cake and eat it too. Worm goes into a huge amount of in-universe detail to try and justify its common superhero-vs-supervillain tropes. To me the amount of raw effort required has the effect of making it seem less, rather than more plausible.

But I don’t want to be too hard on Worm-I can see its appeal, and consider it “not for me” rather than outright “bad”. It just didn’t really “click” for me, and I don’t want to read a million+ words of something that didn’t do that.