Rubyverse

The Rubyverse is the informal name, given by fans and scholars, of the fictional universe in which the Commander Columbia franchise exists, as well as various related media.

Conceived of and developed by Samantha Waver, the eponymous franchise began life as a series of animated films (of varying lengths) produced by Waver and her collaborators at Ruby Orchestra, itself made up of then-current and former animators for Termite Terrace. The original films, sometimes known as the 'Wartime Twelve' due to the circumstances of their production, form the foundation of what has since evolved into an complex an elaborate continuity, often redefined by new generations of creators and fans, but always adhering to it's roots.

The franchise has since found its way to comic books, prose, video and computer games, and various spin-offs.

Films
The foundation of the Rubyverse is a series of twelve animated films, released between 1939 and 1948. Written and produced primarily during the Second World War, these films served a dual purpose: They are thrilling entertainment, but also serve the purpose of propaganda, as the films were funded and produced by the government of the United Republics. Because of this, these films are very much of their time and place, and reflect political and social views that are controversial in the modern era. Common sticking points include the non-critical portrayal of Joseph Stalin, and portrayals of Japanese religion and military that are now considered racist.


 * Commander Columbia (1939): The eponymous debut film of Commander Columbia and her comrades. This film also debuts two of Columbia's most famous adversaries: the vampiric capitalist Friedrich and the teutonic fascist Siegfried.
 * Mission to China (1939): Released as a double billing with Commander Columbia and worked on at the same time, this film is significantly longer than its chronological predecessor but introduces the four "principle wartime villains" of Siegfried, Romulus, Explorador, and the goddess of darkness Idaina Kage; as well as her soon to be life long friends Valiente and Hua to expand the roster of heroes from Columbia, and her boyfriend Molotok.
 * Zeras the Hammer (1940): Features some cameos from Columbia but also introduces what is often called "Team 2", Zeras (local John Henry expy), Zaibas (electric Lithuanian-Russian in her first outing), Draguv (somewhat hulk like embodiment of industry from the USSR), and Heart Guard (Native American girl with psychic powers).  The last pre-war film made, introduces the British villain the White Duke; but this film ends up falling into obscurity in 1942 when the UASR forbids screenings of it for the remainder of the war due to being allies with the FBU.
 * Blood and Iron (1940): The first full-length film in the franchise, featuring a peril in the Amazon and the introduction of the robotic Mekmenschen. Considered a sort of a "love letter" to Latin America, the film is generally considered more basic in plot and premise than the first one.
 * Death on the Volga (1941): Back to Amanda and company, when in production it was already assumed that there would be a war in the Soviet Union, so in editing all they actually did was change any French flags to Italian ones and call it a day. This film introduces the villain Koschei and his sinister plot to render all of Russia a dead land for his undead warriors to rule hand in hand with Hitler to avenge his defeat by Prince Ivan long ago. Since the film was produced with the guideline that it could not show Sovet Russia in a critical light, the film is now somewhat infamous for its uncritical glorification of Joseph Stalin, going so far as to describe him as 'the La Fayette for the modern age'.
 * Peril in Chonqing (1942): Commander Columbia returns to China. This one brings together Zeras and Columbia; who are met with the perils of what is later often considered a deeply unfair depiction of Japanese religious practises in the form of Idaina Kage and her father Amatsu Mikabosh as they seek to cover the world in an endless night save for Japan itself. This film is often considered to be the first time that Amanda Aaron's sexuality is acknowledged to be non-hetero-normative, as the film portrays a good deal of flirty dialogue with Hua, famously showing the two holding hands and staring into each other's eyes as the sun sets. It would not be until the 1950s that Columbia's same-sex attractions would be acknowledged explicitly.
 * A Light In The Night (1943): This one is set in America itself, the first for the feature length movies.  Here it's a spy-buster piece.   Largely considered unremarkable save for having some...strange moments that become memes much later in the timeline. A lot born of Draguv's...strange expressions.   Also low key throws shade on the TDP with a highly John Nance Garner coded would be quisling on the phone with Ford later felt unwarranted.
 * Red Star, Black Sun (1944): Generally considered the strangest of the war time films due to its decision to double down on the mystic stuff. What is ostensibly a journey of self discovery for Amanda also is kind of low-key a diatribe on gnosticism mixed in among the importance of rejecting fascism and defending the collective freedom of the gentle labourer from the exploiter.  The actual story about a more personal confrontation between Amanda and Siegfried is also rather dark, especially his later famous rant inspired by things Erich Koch has actually said on why eastern Europe deserves to be conquered followed by what is outright stated to be him having a whole town burnt to death on Himmler's orders.
 * Battle for the Ages (1945): Features a time travel storyline that manages to be less weird than the prior film. Often also considered to be a dialogue on the merits of socialism and the achievements of the working class throughout history from Lenin and Reed to the brothers Gracchi and Spartacus. Creates the meme image of Amanda riding on a T.rex clad in all American armour to charge at Fafnir the Dragon deemed so ridiculously over the top it lives on forever in memedom.
 * A Long Way to Go (1946): The last wartime animated feature film, this one's a more personalized one about the cost of war and who's ultimately to blame for it all. The axis villains are portrayed as both deeply evil and maladjusted people and also kind of pathetic fanatics fighting for an already lost cause. Features a version of the "I'm escaping to the one place not yet corrupted by communism, SPACE!" line from the main villain; Lady Death Blossom; a high ranking Japanese official.
 * A Spark In the Heart (1947): The first post-war film, A spark in the heart sees the return of Koschei. The Deathless has a new scheme, one built around trying to marry the science of axis researchers including Doktor Vandal to his magic.   Some editing was done to account for the end of the war, re-framing it as one last struggle by the remains of the fascists to seize the world.   The film is notable for also featuring an appearance by Captain America and Doctor Fate.
 * A Dance in Starlight (1948): The last of the films to be considered part of the "wartime" lineup (being made during the latter part of the second world war), A Dance in Starlight was edited somewhat to cut down the references to the Axis powers and features an expedition to the moon of Ganymede to stop a pact from being made and to help the people of the largest moon liberate themselves from the tyranny of Kozorna the Grim.  Notable for being the first fully space based Rubyverse film.