HE WHO WALKS THROUGH WALLS
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Not every company is hostile to Beyond War or its publisher. Some are very good at what they do. Among them, the British Broadcasting Corporation (BBC) and Paramount Pictures, and also MGM Holdings, Inc.
These firms own "DOCTOR WHO", "STAR TREK", and "NEAR DARK" - separate legal properties from "BEYOND WAR" and its components ("STRYX", "SANGUINE", "SHADOWGEIST").
It bears mention that each property is well known for specific elements that laypersons may not be fully aware of rights and limitations to each property.
"DOCTOR WHO", for instance, is well known for its (formerly) not immortal character "THE DOCTOR" (real name unknown), who is a "TIME LORD" and member of "GALLIFREY". The Doctor had 12 actors portray them in a limited run; but cheated this rule with the role of actor Matt Smith, who was given reprieve by the Time Lords via a crack in time leading to Gallifrey. He was succeeded by Peter Capaldi, who after appearing to fumble the role in theatrical stage fashion flipped the switch on audiences to carry out a stupendous performance worthy of William Hartnell (The First Doctor, and man behind the movement of 'serious' science fiction programming for Children).
We all tip our hat to William Hartnell, because unbeknownst to everyone for 1966-2020, he insisted that the levers, buttons, and machines of the TARDIS (the time ship) be precise and accurate from show to show, because "The Children Will Notice! And we will not treat them like morons!". God Bless William Hartnell. This one moment, recounted in the BBC series reviewing the actors life, affirmed so well the power of the program to convey to children the importance of its mission - to communicate the wrong in the acts of socialism and genocide carried out by Darwinist Eugenics, made famous in the character of "THE DALEKS".
That one person, like God, stand against this no matter the odds and for all time, is the great testament of Peter Capaldi, then also, and screenwriter Steven Moffat. Moffat's work in Season 9 after prior work by Russel T Davies in Season 1 and 2, salvaged the franchise from obscure tripe to serious drama, before Chris Chibnall and Vinay Patel crushed the program back into a waffle with identity politics made paramount to writing for Jodie Whittaker - closing with a death blow of "The Timeless Child" - a break in canon to imagine the entire Doctor Who Universe was akin to a season finale of "DALLAS", a dream sequence of an immortal alien child kidnapped to Gallifrey and raised and abused by conservative (Republican) male society from which they drew all their power.
It was, and is, a bloody disgrace - but it is 'canon', and thus... 'the escape clause' for other writers risk of intruding on the burning dumpster fire that is the BBC "Progressive" propaganda movement to reduce the role of Peter Capaldi to a 'daycare mother promoting social services and labor party platforms to ages 3-9.
Fans who believe the claim "Doctor Who is a children's program" in perpetua, and have supported the program for years via OKLAHOMA ENTERTAINMENT TELEVISION ASSOCIATION (OETA), find this effort to infantilize the values and character and situations into themes based on 'crude socialist political values' a disgrace, disbarring all the work of Hartnell and others to make it a show as serious if not more reliable a franchise than Star Wars and Star Trek combined.
DOCTOR WHO, the show (not to be confused with the character, known simply as "The Doctor"), is a screenplay vehicle for individual knowledge to overcome planetary (and sometimes empire-wide) value systems and ignorance, injecting the perspective of an outside observer into the culture while enabling that character (The Doctor) to be himself a 'vehicle' for a 'companion' - a person from that society or culture, or one like it, to transition their views in contrast to each new setting and culture.
Mechanically, this is brilliant.
Time Travel was not designed to be a tool to enter relevant 'Earth history', but rather to avoid dull continuity of 1000s of years and various planets and civilizations development and fall in a non sequitur fashion. Instead, in 2019, BBC turned it into a "Quantum Leap" (Scott Backula) production, center on relevant and highly fictional account of American and Islamic conflict regions, destroying the objectivity of the show in favor of radical British fantasies supporting immigration and cheap labor similar to the policies leading to the destruction of FRANCE and other countries national identity and laws.
Time Travel creates numerous problems.
The DOCTOR WHO premise that time has 'fixed points' and cannot be changed, to avoid doing "Marty McFly" (BACK TO THE FUTURE) alterations which ultimately upset the timeline permanently for a traveler, has been a tenuous excuse to escape the conflict Capaldi assaulted in "Hell Bent", when he saves a person a fraction of a second prior death, and reveals that the Time Lords have been doing this for awhile, although in his case he intended it to be perpetual in effect - risking all of time and space for one person who he could not abandon unless he altered his own mind. Even doing so, he remembered her, and she survived, visiting him once and prompting a potential spin-off series never pursued (yet).
These issues, as values, are similar to those in BEYOND WAR, but the mechanism and the means are exceedingly different - which is what makes for original writing and character design.
Star Trek, likewise, has played with overt time-travel in "STAR TREK IV: The Voyage Home"; in which the crew retrieve a whale to answer an alien probe that is destroying Earth. That premise, which a writer couldn't sell to their own mother, was carried by Leonard Nemoy and the cast brilliantly through chemistry and a deep love of the franchise beyond all expectations, and continues today in the "Red Matter" reboot of the timeline caused by success of many spin-off series. One of which was played by the same Scott Backula, formerly of Quantum Leap.
Time Travel, and 'Time War', are therefore not "exclusive properties" or monopolies of either BBC or PARAMOUNT PICTURES, but a well established and accepted genre of science fiction which BEYOND WAR does not dip its toe in - at least, not directly.
Akira Matsumoto, author of "Captain Harlock", known for his characters having the same faces and style regardless of many settings and different names - did not so much dip his toe in time travel as in mythology itself, with "Harlock Saga", a retelling of Norse mythology, a testament to the substantial influence that Aryan mythology promoted by Nazi media in the 1940s influenced the young artist (in a good way), to create in his character a missing eye and patch similar to Odin, and inspired by a famous Japanese ace who was hit in the eye by an American rear two-man bomber gun then featured in a newspaper the young artist saw during the war.
Captain Harlock is, plainly, a badass who refuses to give up after his country surrenders and - enabled by a single engineer ("Tochiro") is given a battleship (The Arcadia) to carry on the resistance to the cultural idea of 'occupation' after Earth loses a war against the Gamalons.
This weird 'alien enemy' conflict between Harlock and the Gamalons begun in 1978 evolves in Star Blazers and other programs (Robotech) that Matsumoto worked on later, in which the (predominately green, often themed giant) aliens in drab olive similar to UNITED STATES forces then in Japan, slowly become allies and share values under which a truce developers by which the two forces become allies against a sinister force controlling the conflict. Not particularly deep, as writing goes, but deeply moving as programs for younger audiences go.
At one point after fighting for rights in court for years, Akira Matsumoto rebooted Harlock in films and a CGI movie using the latest techniques. During this period of 'RECONSTRUCTION', Harlock finds himself literally in Hell with his best friend, TOCHIRO. Tochiro has made a special bullet, just for Harlock, and he shoots the sky in Hell blowing it open, allowing him to fly his ship (The Arcadia) back into normal space and destroy the enemy.
This echos the GREEK and NORSE mythology of heroes which Harlock represents in modern fiction, and also gives rise to the death of his friend from a common disease, of the love between the little engineer and a beautiful woman, and of Harlock's role as godfather over this child in whose care he places on Earth; reasoning that while his life is dangerous he would not place the child in danger so Earth will be spared as long as they protect his friend's child and care for her. Despite this, all of Earth's government wants Harlock dead; and use the child as bait simply to lure him into traps and threaten him.
Not exactly what you expect from "children's television", but very much the value of this work.
At one point Harlock encounters a demon race that can turn back time, repairing their ship as if it were never harmed. Despite this, and killing Harlock, he returns from the dead and destroys them as if he himself is the 'fixed point in space' for which defeat cannot be admitted or accepted in any form. This "Bushido" commitment to a total mind toward a purpose, is a very central theme of the character and of his popularity over 42 years of film.
Contrary the space battleships and huge planetary armies, the world of Captain Harlock is one of the Old Southwestern United States - filled with saloons and gunfighters, horses, and spandex uniforms not unlike Star Trek, only with flair and capes, icons, and distinct uniform boots and gloves inspired by French magazine runway fashion - a fact Matsumoto admits inspired the women of his Universe and the huge flowing floor-length hair distinctive of his style of character in 'Emaraldas', a virtual gender-opposite clone of Captain Harlock; often confused with her ship the "Queen Emaraldas", a Zeppelin with a pirate ship attached at bottom for a gondola.
If you haven't seen these films, or find the former weird, that might be why. Their acceptance in UNITED STATES and by American audiences were not strong, nor the language barrier and presumption of "suitable for young audiences" censorship in 1977-2000 a strong factor in genuine translation.
James Allen, author of Beyond War, was watching the shows since the 1980's thanks to his family being stationed overseas in Japan with the United States Army, and a technology called "VHS" and "Betamax".
The man practically grew up on Harlock, Transformers, Gobots, and other technical art found in and inspired by mechanical artists like Matsumoto; for which other studios spent 20 years playing catch-up. Today, you see the style in BONES Studio work for "Eureka Seven", "Bleach" and other high-quality film; but the animation styles later developed did not exist in the United States at that time; and strongly contributed to the ascetic interest in technical craft and stagecraft by BEYOND WAR developers; later consulting on projects before BONES and other producers (WHITE RADISH) in films better known by their live-action adaptations, "GHOST IN THE SHELL", and "PRINCES MONOOKE".
The man got around in the 1990s, before his child was abducted.
Those properties, which are 'franchises' are the original works of their respective artists because the character, mechanical design, technology, and canon are all distinctive. Although some talk about "LFO" tech with BONES did occur, and the term "LFO" arising from audio engineering work by James Allen in "Low Frequency Oscillation" used in the music industry below 20 Hz to create a rhythmic pulse or sweep, then incorporated with NATIVE INSTRUMENTS GmbH of Germany; and used by SHADOWDANCERS L.L.C. in BEYOND WAR development.
These works, in contrast to American productions in "PARAMOUNT PICTURES" films themed the "STAR WARS" Franchise (1977-2020) just a year prior, defined the baseline from which "Space War" pictures and scenes were then well known. Even though Lucas admitted he used techniques from war footage to matte his rotoscope effects, now a well known technique, then innovative prior computer systems to perform the same tasks with green screen techniques.
Star Wars does not admit 'time travel' at first, but in DISNEY COMPANY animated series does then employ it to create more context for American audiences with similar "canon-breaking impact" akin to the Jodie Whittaker disaster; though less visible due to the distribution and nature of the content to a much younger audience than fans of the motion picture franchise and characters.
BEYOND WAR breaks this model, by employing memory technology which allow the audience to see events when they happened through the eyes of people who were there, but have no actual presence in them. This has been used to some effect by films like UNDERWORLD, but is a genre of the prior psychic powers frequently used in films for viewing at a distance (GREEK mythology, films, et al) and also DOCTOR WHO (time viewer, able to see not just other places but also other times).
BEYOND WAR refines this technology to disclaim any 'supernatural' ability in its making or use, as a technology - and explain how it works both on objects as well as people to create a 'data store' similar to a CD ROM or hard drive, filled with data that represent billions of people and billions of years of experience and direct emotional data; and that such information can be read by skin contact with a device or person so installed with this technology; regardless of whether they are "SANGUINE" or human or any other living thing.
This differs substantially from the 'blood' memory and 'blood sorcery' featured in Doctor Who, Star Wars (The Force is Strong, a bloodline of little critters attributing some science lost on the mysticism of later destruction of the religious JEDI order of monks), and World of Darkness powers broadly based on classic European 'psychometry' - the reading of objects for auras and vibes and other information which has been in the TSR spellbook since Gary Gygax left his house to publish those books.
BEYOND WAR is central tot his tool of 'direct mental and emotional contact' which is a powerful and unmitigated 'empathy' without loss of self-identity common in other fiction; using computer terms and concepts now broadly familiar to general audiences to convey the distinct way that the Sanguine can 'search, access, read, and close' experience without being deeply harmed by the direct contact with the simulation of others lives.
This simulation of real live in virtual playback is featured in "SIMSENSE" chips and VR tech in SHADOWRUN by FASA, indicating a reduced and unreal level of sensation set by limits that are regulated, and a criminal market of "BEYOND THE LIMIT" (BTL) chips which give stronger experiences while damaging the nervous system and becoming addictive to the user; a drug of technology and street life. Virtual constructs like this are used in other products also, like the work of R. Talsorian for CYBERPUNK; and movies and films like "READY PLAYER ONE" recently illustrated the nature of such experiences as realistic in many ways for audiences. Further, films like "Lawnmower Man", "Ghost in the Shell", and "The Matrix" raise the same question - is life better if it is real, or simulated, also disclosed in "Inception".
How we use technology, and in what way we apply it, matters.
In the case of Beyond War, the SANGUINE 'weaponize' this technology, creating HELLRAZORS that absorb the sensations of the dying along with all their memories and feelings, and the apply those in an uncontrolled massive flood of information when the weapon strikes a target, disabling the person while sampling the confusion, fear, and emotion in a feedback to make the weapon more destructive with every person it harms or kills.
They can put it into bullets as well, and transmit the information into small drones the size of a grain of sand, which move like lightning and fly in large swarms the size of small nations - creeping into every place people hide and cutting through air filters, exhaust systems, and atmosphere scrubbers to reach even isolated pockets of resistance in bunkers.
The drones destroy the bodies, too. Or assume control over the carcass and "ride it like a pony" around while hunting for more victims and gathering intelligence which is then relayed in real-time back to the Sanguine controlling the swarms; so he can watch and direct the swarm.
In this sway, entire planets are swept of ordinary armies and populations of entire cities wiped out in hours; and over 124 million people killed per hour on average in the first 24 hours of a Sanguine invasion. It is really, truly, a rain of death.
The drones can even manipulate atmospheric conditions, build hives to create and dispatch more drones, and overcome entire planets as fast as a small ship could circumvent the globe at light speed; making weapons like intercontinental ballistic missiles seem like old ships of sail in comparison to the firepower in the hand of a single Sanguine soldier on the ground.
With that kind of power, if you are still worried about it 'touching you' through a wall, your heart is in the wrong place. The Sanguine only shows up on the battlefield "If it wants to talk." And talk is probably your best weapon against such a creature, who has eternity to listen - unless you give it a reason to be 'quick'. The best strategy is not to give it a reason at all.
As a screenwriter, special effects artist, and technical consultant - the ability to produce such a monumental encounter in theater and the format of the media (SD to 4K HD) television and game content; is not an easy one. Only twenty years ago, only the concept of animation or high budget film could achieve that goal. James Allen has been working on that production technology for this purpose since 1998 with firms in Germany, England, France, and the United States.
So, like the BBC, Paramount, and Disney - SHADOWDANCERS L.L.C. is very keen on protecting its investment in that technique and discovery; in exactly the same way George Lucas was upset about use of his 'proprietary techniques' by competitors at NBC UNIVERSAL for "BATTLESTAR GALACTICA" (BSG) in 1978-1979.
The public loved the old (1970s) show; but it was a direct theft of 'trade secrets' from George Lucas and his team on STAR WARS, at PARAMOUNT STUDIO. Originally called "Adam's Ark" in the late 1960s screenplay, BSG was based on Mormon philosophy, including concepts like "marriage for eternity" and "the council of twelve", a lost "thirteenth tribe of humans", KOBOL (anagram for KOLOB, a world in Mormonism), and Glen A. Larson's membership in "The Church of Jesus Christ of Latter-day Saints", until after Star Wars was produced in 1977.
The property, too, enjoyed benefit of Fred Saberhagen's "Berzerker" stories, and "The Builders" in those stories, whose "Sliding single red eye" was iconic in the BSG "Cylons". The shortened three-hour "Saga of a Star World" was screened in Canada, and such work done under ABC at that time. The program did not reach television until September 17 1978, but the Egyptian-Israeli accord at Camp David interrupted the broadcast, causing many viewers to leave before the rest of the show was aired. The short lived series only lasted to April 1979, and last episode broadcast April 29th.
Only 17 episodes were made (five of them two-part shows), for a total of 24, but cost overruns led to the series cancellation in just one season by modern (24 episode) models.
The show then, in classic "Jodie Whittaker Style", sought in Autumn of 1979 to renegotiate the terms with Glen Larson, as ABC executives wanted to make it more 'kid friendly' and on present day "earth", proceeded with "Galactica 1980". It failed because it was never properly financed, reused old footage from the original show (which fans remembered, and were very upset by, technically, as prior actors like Hartnell has cited left them feeling like the network was treating them like morons for watching a re-cut of a semi-serious drama); and included 'value misplaced' child actors and characters similar to the "Jodie Whittaker" socialist identity politics instead of Cylon Warriors and adaptation of 'space war', a carry over from actual Vietnam news coverage and American fatigue of censorship concealing the reality of the war (until Full Metal Jacket aired, by Stanley Kubrick in 1987).
Films like "AVATAR" (2009, James Cameron) again captured a harsh realistic warfighter genre appealing to former soldiers of the wars in Afghanistan and Iraq, for which empathy with civilians and people whose national identity were under assault could equally relate; show us what Battlestar Galactica 1980 and ABC executives ultimately missed; and what Battlestar Galactica (2003) and later full series (2004) funded by SyFy Channel (then Sci-Fi Channel); essentially pissed away after a good start with more socialist identity politics contrary insanely strong performances by Edward James Olmos, and prior carried by Lorne Greene in the original series.
When we look back on the origin of these properties, we can see the military writing of Robert A. Heinlein (Starship Troopers, 1959) and Fred Saberhagen (Fortress Ship / Berzerker Franchise, 1963) paired with the work of Boris Vallejo (art, cover) to evoke a very serious style which was express in games like STAR FRONTIERS (TSR), while each property stood alone and brought unique elements to the table.
Without discounting Fred Saberhagen, whose work centered on replicating machines that could not be stopped as adversary predating the CYLONS, and lager MGM works like "STARGATE SG-1" television series "REPLICATORS", - and reprise that role well in short fiction film like "MOONTRAP" and "SCREAMERS"; the reboots done over the years in film for similar derived works leave much to be desired (STARSHIP TROOPERS, 1997), despite prior publication in 1988 without license by Sunrise and Bandai Visual in the making of a six-part video; but all licensing was made for film were not made until 1990.
Unlike the book, Paul Verhoeven (that basich) who found the book too boring to read before directing the film, took effort to make the military of the film fully integrated between men and women just to spite Robert Heinlein, and styled the entire production off of "Leni Riefenstahl's" nazi made film "TRIUMPH OF THE WILL (1935)", including SS and Nazi paramilitary uniforms. The Democratic Progressive thought this was "funny", and in doing so - destroyed the franchise in 2004, 2008, 2012, and 2017 direct to DVD products that require heavy drugs just watch with a straight face; a testament to Verhoeven's reading of the novel and imagination.
Because of this "industrial sabotage" none of the products made for the franchise have succeeded whatsoever, leaving it to appear as a 'distressed property' similar to the low-point of the TERMINATOR franchise;
In the meantime, 'woke' critics continue to misinterpret the entire element of Robert Heinlein's work by suggesting his use (and thus awareness, and preparation for future elemental questions as a writer regarding human and dehumanizing aspects of war) were 'racist' for their very use - calling the aliens "bugs" and "Skinnies", and efforts to suggest this use of literary license in plain language to convey forward operations without a sick media filter popular with hawkish socialist war language, were 'actual racism toward Koreans as if made to their person', inferring correctly the use of terms like "gook" and other labels "abusive and biologically inaccurate". A very stupid point to raise, considering that the whole book is about killing an entirely mobilized race engaged in a ground war, and such moral questions as to civilian versus military targets and genocide came in second in socialist values to "offensive language".
Much of these "degradingly stupid criticisms" are the result of American media outlets concealing the brutal violence of revolution from the American People in the overthrow of the Chinese government by the revolutionary army under Mao, and establishment of "The People's Republic of China" - a brutal regime opposed to American values and human rights, for which Heinlein and other consultants knew full well would not be an easy conflict if hostilities in Asia resumed to the prior level of those in Europe. American soldiers in Korea and Vietnam likewise - facing divisions of enemy forces versus company strength defending elements - never doubted the resolve of the Communists or Heinlein in his criticism; sadly lost on the American People at that time outside of military circles.
"The story portrays the Arachnids as so alien that the only response to them can be war." is a criticism similar to BEYOND WAR, and question there raised toward the prior SANGUINE race; a force so dangerous that 'democracy' has no hope against their weapon systems and technology other than to obtain the same abilities or kill them without provocation.
Critics go on to suggest that fact that "only men had power-enhancing prosthetic" a sign that such society makes women unequal and inferior, contrary the very statement "women are the motivation for men to fight in the military", suggesting men still value women more than their own lives in Heinlein's world.
Still, radical feminists like Steffen Hantke describe the armor technology as "something intensely physical, based on animal power, instinct, and aggression" and goes on to show the inept Progressive slander of socialist extremist hate speech similar in offense to the 'gook' language by calling this "all body, so to speak, no brain", an assessment of power armor as a vehicle of fiction and military technology as seen through gender-phobic American Democratic blinders.
The dumb fuck then goes on to mention that "women pilot the ships", as officers - and the men being dropped represent some Freudian 'fear' express in gender-oriented security roles that arise in the science fiction prior cited; dismissing any ordinary empathy to protect the pilot or parallel of United States Armed Forces Mobile helicopter conflicts and courageous actions, since remade in "WE WERE SOLDIERS ONCE" (2002) by Mel Gibson.
This is the same disturbed half-ass analysis BEYOND WAR received; including comments like "Though Rico says he finds women 'marvelous', he shows no desire for sexual activity; the war seems to have subsumed sex in this respect."
Clear gaps in the ability to understand subject matter that is written about explicitly by the latter generation, and never mentioned at all despite its existence in society, culture, and daily life by the former, is evident in the writing of critics of the day (Samuelson, David N. (1979). "Starship Troopers". In Magill, Frank N. (ed.). Survey of Science Fiction Literature: Volume V. Englewood Cliffs, New Jersey, US: Salem Press. pp. 2173–2177. ISBN 0-89356-199-1.i)
Most disturbing, since these reviews were written since 2001, showing a continued interest in this bullshit analysis of historical and ordinary fiction taken out of context of the time and sexual norms in which it was written to imply "Rico should have instagrammed a dick pick to some girls, to assert his masculinity was no-homo" before we move on with our own criticism.
To that end, Howard Phillips Lovecraft (H.P. Lovecraft) comes to mind, then an author in 1890 to 1937, the short lived Lovecraft died just a few years older than Allen now (2020) by age; and suffered extensively the love (and hate, and reversal of fortune on fraud) brought by radical socialist efforts to appropriate his work for their purposes.
A more popular (and more identity-policy) man than Heinlein, Lovecraft wrote such poems as "New England Fallen" and "On the Creation of Niggers", and was published in other works in 1912 by 2000 A.D. (a futurist magazine) in which he described the overrun of English people by "Irish, Italians, Portuguese, and Jews". This was 1912, just before the first World War.
Lovecraft further criticized American playwright Fred Jackson of creating romantic tripe that "delicate passions and emotions proper to negroes and anthropoid apes". Pretty harsh stuff, Mr. Lovecraft, prior stating in 1911 of the work was "trivial, effeminate, and, in places, coarse." His actions garnered him a post with the United Amateur Press Association, despite many critics and harassment to intimidate him to stop writing about what was, basically, porn to sell pulp fiction, and similar sordid stories targeting immigrants and the uneducated - he was outnumbered and his style of 'high English' rules and personal language themed 'archaic'; which is uneducated slang for 'too high born and technical to be admitted valid in the bar level audience of media then developing worldwide prior the War.
We tend to look past tragedy and ignore it in favor of these "easy shots" history takes at people on their worst; as Lovecraft himself - with whom he had a close bond with his mother and recited Shakespeare and other works (which friends foolishly mistook for argument, the ignorant lot they were) - for his sorrow in the commitment of his mother in March of 1919, in what we now broadly recognize as "Schizophrenia" with delusions of creatures. Having spent time visiting her and realizing she would not be released from care, and then she died after surgery May 24 1921 therein; driving him to deep grief and suicidal thoughts admitted in his letters.
Despite this overt racism in early life, Lovecraft made friends with Jewish community members in New York, but robbed of all his things near Red Hook, New York, and afterward created "The Call of Cthulhu" outline substantiated on the 'insignificance of all humanity' in its core value - a theme that would go on to be known as the 'Cosmicism' - an atheist view that humans are just like ants in the cosmos, and a fear of the size of the Universe that inherently harm human psyche when confronting this vast space - which he themed 'the void'. Such statements as "Coming to New York was a mistake", understated memes of his time, now famous in their retort among fans of the "Cthulhu Mythos".
Ironically, the mythos produced in its humbling suffering a significant platform just prior the Great Depression from which Lovecraft himself died March 15 1937, years into constant pain from small colon cancer, brought on by his fear of doctors until examination just one month before his death. His views, since the 1929 period he succumb on pain of his poverty and inability to support himself with fiction to 'socialism'; and likely for this and the martyr figure he continues to represent - monetizing only after death the insight of schizophrenia as a literary vehicle either by proxy of his mother or he himself afflicted, a form of idol among some esoteric 'steampunk' fans of Poe and similar works, if for his use of language (archaic, but correct and beautiful if emotionally draining); from which we enjoy great strides of creative freedom to explore beyond ordinary rule the suspicions of cosmic fear and alien intent; clear metaphors for the impending influx of foreign people to the world of British culture and aristocracy Howard Lovecraft was raised to fulfill - but found absent in the changing nature of society and national identity between the first World War and his death in 1937 just prior the second World War.
That his experience was not singular, and a function of his time and many people's loss, makes him remarkable even in failure as a commercial writer; for the value others derived from his work in unusual subjects and theology not afforded the public other than among peers in the high theoretical sciences.Modern games that carry on the legacy of Howard P. Lovecraft include "THE DARKEST DUNGEON", a stunningly well made piece by RED HOOK STUDIOS.
His work also clearly instilled character to the GAMES WORKSHOP GROUP PLC "WARHAMMER 40,000" 'chaos' forces and 'demon' worlds; in rebellion against the 'order and (British) might of the EMPEROR OF MANKIND'. In short, the rubbish has not changed much, and "On the Creation of Niggers" not two steps from the d1000 chart for creating 'mutants' of the 'ruinous powers' in the book "THE LOST AND THE DAMNED: SLAVES OF DARKNESS"; which features hermaphrodite 'demons' with worm like faces and long probing tongues, sexual leather strapped demons, and a god of pleasure and war styled along similar lines of 'thought crime' summoning entire worlds dedicated to perverse murder by Ian and other writers of GAMES WORKSHOP GROUP PLC.
Granted such competitors, who also use herniated fat toad-like demons that reek disease and crap small fat round cat-sized little versions of themselves like 'babies born of immigrants by the dozen', who crawl inside your body and make you explode with more of them.... (called "Nurglings"), it's clear to see where British Science Fiction has not moved two-ticks from Howard P. Lovecraft's worst day.
To our knowledge, as formally made, nothing is that "rapey" in BEYOND WAR, even the Sanguine. Nor any race by its crude features or character even on the worse day themed as if it will 'cross breed with your bunghole' or other body part, to tell a story. At worst, the Leupos - a race of half man, half animal soldiers from many different species across the Universe, love their families and children - a trait that makes their duty to their creators and their mission constantly challenged by their own duty to their family and communities who were lost or forgotten after the wars... often stranded on worlds with human beings over whom they were to occupy and control - now enclaves of survivors for empires dead and gone. Their living on the fringe of society, legends, like the wolf-people of the Americas and other continents - very real, but hardly supernatural.
Critics who see in this, "an absence of the mention of sex and sexuality," are themselves betraying a singular focus on the need to explain 'how sex works on a starship' or 'sex among officers and enlisted' in a property like STAR TREK. Or to quote a classic moment, 'sex between an android and a human' who herself grew up on a world of gangs, rape, and violence before joining the 'civilized' crew of a Federation ship. I am, of course, speaking of the character: 'Tasha Yarr'; and like her, the obvious fan appeal for characters cast solely to suit the audience demographic for this content, like "Seven of Nine"; who remains even in CBS "PICARD" series as actors mature and carry on their roles in new stages of life, a good thing - not a bad - depending on who plays the role and how it is portrayed. A task made easier with talent of the quality of Sir Patrick Stewart at your right hand, and despite the failure of casting in 'Captain Janeway' and other atrocious racial profiles inserted in 'Voyager' and 'Discovery' solely "to satisfy" the identity-based socialist inclusive profiling of a community dedicated to continuing to see race and not people equally. Such conduct resulting in a weaker and less capable crew due to the actors chosen based on their sexuality and political direction, rather than the character and quality of their performance (LeVar Burton & Michael Dorn).
As properties (franchise) like STAR TREK and STAR WARS continue forward, we all hope this 'political shit show' as carried by proponents of the American Democratic Party can spare us the horror that "CBS" "LOWER DECKS" continues to rape the franchise like a dead horse; bringing to mind episodes of "The Berbils" in THUNDERCATS and "SILVERHAWKS" as the "best American Animators and Writers can accomplish under Socialist influence in California and New York State".
God knows the last "TERMINATOR: DARK FATE" proved that such 'immigrant public policy' stories have no value or appeal; dragging down the freedom of science fiction in a sale of value to satisfy and pander to a lowest common denominator which serves political election more as a tool of propaganda than by challenging hard questions of social concern like Classic Star Trek under direction of Gene Roddenberry; and in hope that values contrary the socialist agenda do not further destroy products like that of his works post-Federation; or actors who try to portray them against political opposition like Kevin Sorbo, who reports his Christian faith led to a blacklisting by Hollywood industry casting after his successful role on Hercules.
BEYOND WAR may seem brutal, but that is the teaser. The actual work is predicated on something far more elemental than the 'sex' or 'tiddy count' (to use a metric of famous B-movie host JOE BOB BRIGGS).
That we are still in pre-production and there is porn of it by our critics, might be a good indicator we have the high ground (little Star Wars humor there), but with death threats coming to the offices of SHADOWDANCERS L.L.C. on the eve of the 2020 November United States Presidential election, and with 28000 fake requests per hour from September 2019 to August 2020, those signs also point to a lynch party of Klansmen wearing Democratic National Committee underwear sneaking around in the bushes and leaving dead animals (and one mole) on our porch. Not a good sign, America. Not a good sign.
Not a good argument, either, of any real literary claim or credit other than a burning cross to offer either.
Our advice, to the BBC and PARAMOUNT PICTURES, MGM, and other legitimate responsible publishers on that note is, "Stay the hell out of our property (Franchise), and we will be fine."
Sure, DOCTOR WHO uses tissue compression (shrink rays); and STAR WARS now has "dipoles" (evil socialist twin-universe force using cousins: who kiss - Rey and Kylo), but for the most part; your space wizards are about the same in our book. Neither does the FASA CORPORATION own "The Ghost Dance" or the "White Buffalo", and even bringing that up in consideration of the 'magic' returning to SHADOWRUN might truly upset the CHICKASAW NATION RESERVATION or other government now back-in-control in (former-Oklahoma).
Quantum Singularities and Harsh Language
Thus far the sole word anybody has dispute with other than "STRYX" being our mark, and an alien species in our literature and science fiction since 1998 works so made and written in press; is the argument about 'Quantum Singularity', and how to stick one in a 'reactor', or what that means and if you can copyright that (a black hole, used to generate power, using a poor name for such phenomenon since wholly disproven by later science and quantum technology in application of the word).
Answer: No. And to assert such claims makes you look like a dumbass of the highest caliber, on par with other remarks H.P. Lovecraft might use, which are suitable to people seeking to 'allege monopoly over the right to use black holes or other terms describing black holes in their fiction as protected characters'.
The "Quantum Singularity Reactor" is not a "Black Hole" reactor. To suggest such is to try to have a serious physics discussion over "SLIDERS" (Sci-Fi Channel, 1995) or asserting some similarity between that 'portal gun' and later "RICK AND MORTY" (Dec 2 2013) concept.
BEYOND WAR uses "Quantum Singularity Reactor" technology to alter timelines and destroy potential Universe futures and segments of exiting time, in order to blow holes in things, people, planets, stars, and even the occasional Sanguine that crosses the line.
SANGUINE Are literally 'riddled' with Quantum Singularity Reactors (QSR), which make killing them a 'very bad idea', as well as any part of their body a 'very dangerous and valuable property'; and such technology incredibly dangerous for any primitive culture to use or employ without a full working knowledge of the technology and device - which you aren't going to obtain by cutting off its arm as the damn things are by nature hyper-dimensional (existing both in physical space and outside physical space).
So if you cannot move 'outside physical space-time' trying to hot-wire one of the damn things might be catastrophic. For you. For your planet. For your solar system. And for your galaxy.
Just one of these things went off in the Milky Way once, and now it spins around the debris field.
"Do you feel me yet, dawg?" - a good conclusion to such claims that "its just a black hole" engine... or some such warp field trash, when talking to BEYOND WAR writers and developers. Like Lovecraft, the scale of "oops" is off the chart in contrast to STAR WARS or STAR TREK events; and the reason that such 'information saving devices' used by the SANGUINE are essentially the "only reason anyone who witnessed one of these things go bad" exist today. Everything that was present in witness of the event is dead, or worse than dead. And yes, that is also a thing (to be discussed, later, in BEYOND WAR).
Respect the mystery. Stop trying to figure it out and watch the next episode. That's how it works.
Thus far, Nobody has Called to Complaint (CEASE AND DESIST)
With this in mind, and substantial respect to 'knowing our shit' when it comes to observing and (purposefully) not stepping on (or in) other properties without being formally invited in writing, SHADOWDANCERS L.L.C. has been pretty explicit about its position as a competitor with PARAMOUNT, MGM, and DISNEY in these activites - as well as respectfully humble in context to Akira Matsumoto and other content creators on a legitimate 'level' (Masonic Tradition joke there, or not).
Despite this, we have a LOT - and I mean A LOT - of hate mail from "Socialist elements" really pissed off at the very idea that an individual might somehow "not be solely dependent upon a society or industrial civilization to live and define their life exclusively based on that endorsement and rules made by their dear beloved (cough cough) friends and immortal leader who shits sunshine".
P.S. - We love you Kim, keep up the good work. Please don't eat our cats. They are all SANGUINE. Be (really really really really) forewarned in that thought.
Whether these are foreign unregistered agents, stupid American ANTIFA, or really deranged people - we honestly cannot tell from the letters and threats (since you all sound a hellofalot alike!).
What we do know is, "You don't have a fucking clue about the detail or history of the industry, our work, or any right regardless of your bullshit rape threats toward our models, staff, and families to talk."
So even if a claim could exist, it is pretty far past the pale gone you should seek to invoke a right now in conflict with 15 USC 1692d rule.
Any property that wants to keep its pants on should, therefore, back the fuck down or bring specific claims by which some serious offense is not prima facia for a 31 USC 3729(a) false claim in registry; fraud to the scope of $1 billion USD in equity theft not subject counter-claim.
Doubtful PARAMOUNT PICTURES, BBC, or DISNEY would do so - having good experience in such issues to recognize the techniques, styles, and copyright rules so shown. Nor MGM (owner of the property later themed then WHITE WOLF PUBLISHING) have cause to complaint versus a 'nuclear super-soldier that has more in common with Heinlein and Berzerk by product than NEAR DARK'.
Kouta Hirano (creator of "Hellsing") in October 10 2001 to January 16 2002, or its manga in May 1997 to September 30 2008, might have more luck; but considering their character's name is "DRACULA" spelled backward and predicated on public mythology published by Madman Entertainment / DARK HORSE COMICS, the claim to infringement for all the abilities prior described in quantum technology in the 1991-1998 property "CELESTIAL KNIGHTS: BEYOND WAR" and software special effects for such abilities in the engine design would probably tear that property apart in a conflict before admitting the OVA was not officially even released in NORTH AMERICA until December 5 2006 by Geneon USA; barring any claim of market presence prior the first use documents and character work by SHADOWDANCERS L.L.C. in the "STRYX" character and performance of the same in 1997-1999.
Studio Gonzo has no exclusive claim to 'vampires', 'zombies', or any character not specifically made in their series; and such abilities like razorwire well read a part of Japanese cultural mythology also featured in numerous animations Ninja Scroll (1993) and monomolecular wire by CYBERPUNK 2020 in the late 1980s.
You could sooner try a case on "Vampire Hunter D" (D for Dracula, again - and classic misunderstanding of copyright and trademark by Japanese industry) in the 1980 Hideyuki Kikuchi novels of 'post-space-age vampire' elements, themselves not OVA published in English prior 2005 by DH PRESS.
These properties are all distinct, 3rd party, and a person approaching SHADOWDANCERS L.L.C. to allege no right to produce or write or publish on such content or themes risks a crime in Oklahoma under Oklahoma Constitution Article XXIII-1A, an overt criminal act in threat or demand or public claim; to suggest no right to public use or trade based on some unsubstantiated claim of infringement to arrest our RIGHT TO WORK and market access.
In the prior, "D" (character full name) is the child of "Dracula" (public domain character), and a "Dhampir" (chinglish name for Vampire, meaning half vampire); so made copyright a class and "character" by definition of use. You won't find any "Dhampir" (or half anythings much really)... in BEYOND WAR... because we don't view the world of our characters in terms of 'race'.
Character 'race' groups like "Elan" or "Huemonn (He-you-mon)" are any hominid similar earth-like humans who have the same genome base, even if the "Elan" are immortal having disabled their telemeres so they may appear at any developmental age despite their chronological age; or the Heumonn who still live and die on terrestrial planets have gills or extremely long fingers, four hearts, or other 'minor abnormalities' easily adjusted with genetic weapons and medical tools to alter those 'purely vestigial' traits... like skin color.
For this reason, BEYOND WAR is not your Klan-pappy's kind of game, and never will be. We can rip you out of your skin and put you in another, easy peasy.
Oddly, the ability to rip your gender off and put you in a woman's body seems to be what really catches the attention of some of our critics - since they have issue with that sort of thing; even though 99.999% of people in our Universe are 'happy with their gender and nobody give anybody shit over who they love'. Much less treats it like it's unusual, much less important next to the five mile high lizard eating the space port and breathing on the population. Days like that, you really want a SANGUINE to show up. Bad news... that IS a SANGUINE, and it's just 'messing with you'.
FEAR. It's a whole chapter in SANGUINE tactics.
But for legal reasons we can't say its name and it cannot breath fire. You know why.
BEYOND WAR *could* absorb all your genre's if we get immunity from copyright, patent, and trademark suits as part of remedy from the 31 USC 3729(a) suit; but would we? Really, would we?
After all, we love what (some) of you do, and have no desire to damage any artist who is working earnestly 'inside their own lines' with some intent not to 'step on our property', nor we yours.
People who say otherwise, are pinko-commie traitors (to quote "PARANOIA", a Steve Jackson Games product; and probably Heinlein if he were still alive to see it).
Before you walk in our office - you better know this stuff. Or shut the fuck up and walk right back out.
I guarantee Moffat and the old crew at the BBC, Paramount, and Disney do; and so should you. That's the legal 'standard' to roll up in here and try to paint that smokewagon. (an American Term for slap leather, draw, or pull a gun - popularized in Old Westerns by John Wayne)