Factions leaders have an overall effect on various aspects of your faction. These can be found in the faction overview screen. What type of effect the leader has is based on his traits. Effects include public order, and empire maintenance among others.
Transformation requires a person face that their fantasy-self--the one who always makes a good decision, is always in control, always caring and selfless, etc., is not real.The person must then come to terms with their real self, which includes positive traits and also all those elements which are difficult to accept because they are not god-like strengths but very human frailties: weakness, selfishness, indecision, fear and a host of other unappealing faults.
Traits Talents And Toadies
Measured by the dominance of self-serving Elites, we are nothing but a large-scale banana republic, a simulacrum of democracy with limitless high-quality official propaganda masking an economy and political machinery completely ruled by a tiny, utterly self-serving financial and political Elite. Just as in banana republics we once scorned, a shadow system of governance actually rules, while a phony facade of "democracy," "rule of law" and "liberty" is propped up by a servile mass media of bought-and-paid-for toadies.
In a perceptive review in Das Neue Tagebuch in 1937 Herman Kesten rightly suggested that perhaps the author wanted to show a real actor among the bloody amateurs in the horror play. He went on: ‘The author goes further: he gives us a paradigm of the “fellow-traveller”, one of the millions of petty crooks who themselves commit no grand crime but sup with murderers, not principals but accessories after the event; they do not kill but conceal the corpse, and in order to get more than they deserve lick the blood of the innocent from the boots of the mighty. This host of petty toadies and bootlickers are the prop of the powerful.’
This is exactly the type I wanted to draw: I couldn’t have stated my intentions better myself. Mephisto is not, as some people have maintained, a roman-à-clef. The infamously brilliant and cynically ruthless go-getter, who is the central figure of my satire may have certain traits in common with a certain real actor still allegedly with us. Is my character Councillor and Director-General Höfgen a portrait of the friend of my youth, Councillor and Director-General Gründgens? Not entirely. There are many differences between Höfgen and my erstwhile brother-in-law. But even if the character were closer to the original than it is, Gründgens is not the ‘hero’ of my tract for the times, since it is not about an individual at all but about the type. Others could have served as a model just as well. My choice fell upon Gründgens not because he was outstandingly awful (indeed he was rather better than many another idol of the Third Reich) but simply because I happened to know him well. It was precisely our earlier acquaintance which led me to make a novel out of the incredible, fascinating and fantastic story of his rise and fall.
The claim was rejected by the Landgericht Hamburg. Thereupon, in September 1965, the complainant published the novel with a foreword stating ‘All characters in this novel are types, not portraits. K.M.’ On 23 November 1965 the plaintiff obtained an interlocutory injunction from the Hanseatic Oberlandesgericht in Hamburg and the following foreword was included:
Klaus Mann wrote this novel in Amsterdam in 1936, having left Germany voluntarily on grounds of conscience. In it he gives a critical view, animated by his hatred of Hitler’s dictatorship, of contemporary conditions in the German theatre. While there are undeniable resemblances to actual figures of the day, the characters are primarily creatures of the author’s imagination. This is especially true of the principal character, whose conduct and beliefs are at any rate largely imaginary. That is why the author prefaced the book with the explanation: ‘All characters in this work are types, not portraits.’
Legendary figures, who often represent a people or race, have always been found in societies and have existed in the hearts and minds of humans for centuries, but it was only with the establishment of the modern nation state that animated national symbols emerged. National symbols, which have come to reveal the ideologies, myths, artistic forms and literary conventions that constitute a nation's changing image, appeared for the first time during the eighteenth century in England. (1) Once created, they were accepted and took on an instant identity. However, a symbol's effectiveness and popularity were often determined by the illustrator's talents to capitalize upon positive and negative reactions generated in the graphic images. Consequently, various interests groups and political factions manipulated these images's good and evil characteristics to their own ends. Symbols were sometimes metamorphosed into new forms which brought on unanticipated
John Bull's "biography" records how he suffered through some of these experiences prior to his emergence in Victorian England as the most readily recognized male national image in the world. Before he became the Victorians' national icon, before he became a personification of many Victorian values, and before his fictionalized existence became a political reality through the press and cartoons, John Bull, like the Victorians who were immortalized in biographies, endured many changes and passed through a number of "identity crises" before becoming an adult who could make any contributions to the Victorian way of life. Like most humans, whose personalities form early, John Bull's character traits are evident from the time of his creation, and although they...
"Caleb," said he, "we are at length able to fulfil our promise. It is my pleasure to announce to you that a situation is procured for you, suitable to your talents, and agreeable to your feelings. We are both of us indebted to this good gentleman. In your name I have already thanked him, and in your name I have accepted the office which he has been at some pains to obtain for you."
It is quite as unfair, too, to accuse people of condition of bestowing all their favours upon toadies, tuft-hunters, and bear-leaders. The truth is, as they are not in the habit of going into the highways to lookout for persons whereupon to confer obligations, they are obliged to take up with such as offer themselves to their notice. While the man of independence is dreaming away his existence over books and papers in his closet, and cursing the barbarism of the age that does not take him by the hand, and set him up in high places, the man of the world is pushing his fortune in a worldly way, and is content not to talk of independence until he has secured it. The hard words, tuft-hunter, toady, and so forth, are applied, it may be, oftener than they are deserved: led-captain is a term of frequent reproach, but it must always be considered that that sort of talent will be chiefly noticed and rewarded which is in demand in certain circles; fashionable people desire neither to be deafened with wit, nor bewildered with philosophy, nor oppressed with learning; their business, to which they have been brought up, is to glide smoothly through life, and their patronage is chiefly extended to those who offer to relieve them of its petty cares and small annoyances, which men of solid and sterling merit are not able, and, if they were able, are not willing to do.
To the peculiar quietude of manner, and characteristic gentleness of persons of fashion, in their intercourse with each other, we have many concurring testimonies of impartial observers: of these, the most just at once, and eloquent, that we remember to have read, is that contained in an ever-memorable letter from a Mr Tomkins to a Mrs Jenkins, attributed (with what justice, deponent knoweth not) to a noble and learned lord, supreme in natural theology and excitability, remarkable for versatile nose and talents, and distinguished for chequered fortunes, and "inexpressibles" to match. This learned lord, or Tomkins aforesaid, or whoever may have been the inditer of the epistle ad Jenkins, is eloquent exceedingly upon the narcotine of fashionable life: declares that its soothing influences were unequalled by vapour of purest mundungus, or acetate of morphia, or even pill of opium, blended intimately with glass of eau-de-vie. Tomkins is quite right: no man, admitted by whatever door, or ascending by whatever staircase, to the salons of the great, fails to be impressed with the idea that there exists among what the Post calls the "gay and fastidious habitués" of the place, every disposition to place him perfectly at his ease: and, if he cannot be at ease, the fault is in him, not in his entertainers. To a great nisi prius lawyer, accustomed during a long life to the discrimination of character in the way of his profession, such a contrast as is presented by the repose and unobtrusive politesse of high life, compared with the brusquerie of the world below, must have been doubly delightful; and we are glad to have upon record the just and eloquent testimony to its existence and social value from so eloquent a pen.
His early career, too, has been manly. He was a soldier, and a gallant one. His mission to the Allied armies, in the greatest campaign ever made in Europe, showed that he had the talents of council as well as of the field; and his appointment as ambassador to Vienna, gave a character of spirit, and even of splendour, to British diplomacy which it had seldom exhibited before, and which, it is to be hoped, it may recover with as little delay as possible.
Still the Bavarian monarch deserves the credit of an unrivalled zeal to decorate his country. He is a great builder, he has filled Munich with fine edifices, and called in the aid of talents from every part of Europe, to stir up the flame, if it is to be found among his drowsy nation. 2ff7e9595c
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