The very phrase "HE WHO WALKS THROUGH WALLS"™ is a trademark of SHADOWDANCERS L.L.C. so made for "BEYOND WAR"™, a registered property and American Literary fiction work registered with the UNITED STATES LIBRARY OF CONGRESS by JAMES ALLEN and SHADOWDANCERS L.L.C.

This is necessary to say, the mechanic is not a 'monopoly' of thought or fiction owned by other parties now (and since 2010) seeking to disable the writer in interest of a political extremist action since 2001 in Dallas Texas, involving kidnapping of a child under false claim a felony act.

Mechanically, other properties by PARAMOUNT PICTURES (STAR TREK: DEEP SPACE NINE, VOYAGER, ) and NBC (QUANTUM LEAP, 1989) have used this mechanic of characters walking through solid objects (walls) but not through floors. Recently, MY HERO ACADEMIA (Kohei Horikoshi/VizMedia, 2014) have also used the concept, as well as Hellsing (Kouta Hirano, Shonen Gahosha, 1997 May) from which characters in 1991-1994 by James Allen in FASA SHADOWRUN demonstrated at events in Oklahoma for promotion and sale of products and fiction solely owned by James Allen, legally "STRYX" in business and registration then a promoter for a registered firm SHADOWDANCERS PRESS (later incorporated in reorganization SHADOWDANCERS L.L.C. as permitted state law changes).

The storytelling, artwork, and character concepts of a high technology soldier with ability to incorporate shadows and to step from place to place using darkness under control of the player, similar to other works in CLOAK AND DAGGER (Bill Manitio, 1982 - Spider Man #64) is neither new nor unusual in similar ability to Stan Lee's DOCTOR STRANGE illustrations (July 1963). The style precluded Todd McFarlane's artistic styles of May 1992, which evoked early cloth rendering and film-noire elements of Kevin Eastman and Peter Laird's work for Mirage Studios 1984 "Teenage Mutant Ninja Turtles" strong use of 'negative space' due to limitations in color printing costs for independent comics.

In the Allen character, the half-man cybernetic soldier would produce from under the coat a pair of high caliber cannons designed for anti-vehicle operations, under-slung to the body and ordinarily impossible for a normal human or other character to lift; and these weapons serve as a sort of 'flak battery' suddenly in contact with pursuing forces in a paramilitary world where the private police often use flying tanks and other weapons to respond to military intruders (see also: DOMINION TANK POLICE, SHADOWRUN, AKIRA, et al).

The Character Concept was employed in several early games as part of demonstration work by SHADOWDANCERS L.L.C., for which no contract or agreement of sale or surrender was made; and apparently so impressive that in 2013-2020 several companies began trying to use the concept AND THE NAME simultaneously; during the dispute to coerce James Allen to forfeit the property owned then by SHADOWDANCERS L.L.C. and exclusive license to RACCOON TECHNOLOGIES INCORPORATED and DEEP LAYER INC. for a sophisticated space-war property with avionic automation governed by practical dual-use under the WASSENARR ARRANGEMENT.

Fraud to confuse this mechanic with similar illustration in film and art as seen in Monogatari (series, 2005-) by the character Shinobu Oshino, who literally "resides in Koyomi Aragi's shadow", made famous the translation from 2-dimensional to 3-dimensional movement, despite having no claim over the concept in prior works dating back to 'mirror portals' and mythology of European folklore.

Efforts to allege this mechanic a 'unique and original invention' by WHITE WOLF PUBLISHING further distorted their credibility prior to their championing of neo-nazi hate crimes against homosexuals during the actual killing of such persons in Europe, for which their parent company PARADOX INTERACTIVE of Sweden promised their management would change staff completely. During this time (2013-2020) harassment by WHITE WOLF PUBLISHING contractors disclosed to be working for TROKIA GAMES in California, became elements of the "myluv187" death and murder threats toward James Allen to suppress his rightful 1991 claim to the characters in "BEYOND WAR" on concealment of his child.

This human trafficking link to abuse by a foreign company, formerly a property made in GEORGIA from which racism and ANTIFA policies were evident, human trafficking prominently featured a component of the game, and sex and sexual themes incorporated regularly to target young audiences using public domain Vampire and Werewolf concepts mixed with racist and eugenic 'tribes' and 'extermination' fantasies linked to previous works in the American horror genre - sustained pushback against the American author in Oklahoma. The fact that the WHITE WOLF PUBLISHING game literally cited "NEAR DARK" and other major works as the basis for their 1st book, and such film by MGM made also in Oklahoma, seemed lost on many fans unfamiliar with copyright and trademark rule.

One can neither copyright a mythological creature, not trademark a word, and such suits to follow attempting to do so resulted in the renaming of the 'race' made by the studio as 'The Kindred', another adaptation of 3rd party work to evade incompetence of rule in broad and baseless claims. Eventually the firm sold to CCP Inc. of ICELAND, in an alleged merger, and later the owner PARADOX INTERACTIVE of Sweden, which sold off its CCP assets to PEARL ABYSS in 2018.

The Mechanic of stepping into and out of shadow that can be controlled by the user of very advanced technology to appear and disappear, seemingly moving through solid objects and disappearing from normal space quickly to avoid harm, is therefore not a patent or protected work, nor a basis for claim on a 'mechanic' used extensively in BEYOND WAR as part of a larger character set and backstory covered by copyright claim.

Specifically, what the technology is and does and how it works is copyright-protected.

Whereby the character may remove themselves to a non-linear space, reappearing in other locations connected solely by quantum particle entanglement, dissimilar to 'teleporter' technology in PARAMOUNT PICTURES "STAR TREK" - which requires a direct transmission distance despite the same ability to 'pass through solid objects and reassemble people' (or weapons) on the other side.

WHITE WOLF PUBLISHING incorporated this ability to explore how their versions of the werewolf character did not get exterminated from the face of the planet, giving them the ability to travel via reflective surfaces and supernatural ability to do so made easier when such reflection was made by moonlight, a 'magic' ability not science or technology in nature.

Efforts to later incorporate this broadly by plagiarism of "ZEN AND THE ART OF MOTORCYCLE MAINTENANCE" (Robert M. Pirsig, 1974) concepts directly applied to "MAGE" and other works, style the movement as 'technology' only in the sense that 'all technology is really magic, accepted as strictly made on rules which create the real world', a concept lifted unabashedly from the prior "ZEN" book. Therefore the claim of original work is, neither original, nor subsequent the lifetime of James Allen and other artists, and a gross plagiarism around which broad claims of copyright not owed are made.

Foreign publishers, like those in PEOPLE'S REPUBLIC OF CHINA and NATION OF JAPAN, are not as quick to recognize this right, or its ability to nullify all derived works alleged a claim of unique and defensible properties; and so the products were sold to a neutral country with a history of piracy (SWEDEN) and from there sold to SOUTH KOREA (a receptive market equally unconcerned with plagiarism from English-Speaking nations.

This "recycling of ideas as original works" by a 1990-1999 generation of college students expressly undermines the academic rights of other artists and writers to their own works in so much that persons unfamiliar with the concept of lawful use and public domain assert some loss of authority in the creation of ordinary and quite well exercised visual and physical effects, to presume a lack of academic license otherwise a protected right in literature and film, where such works are incorporated also of public domain materials in mythology and folklore.

James Allen lectured on this issue in 1991-1999 at literature and science fiction events, before attending staff of foreign corporations and studios from Japan and other nations, prior to radical socialist takeover of these events in 2007 supporting the American Socialist movement and its financial backing by NATION OF JAPAN and PEOPLE'S REPUBLIC OF CHINA against such conservative writing, a la "HEINLEIN, STEAKLY, et al".

BEYOND WAR™ features the use of this ability primarily to act as a mechanism for the lack of real and physical barriers to advanced singular warfighters, similar to the mobility theory of helicopter warfare introduced in Korea and Vietnam conflicts by UNITED STATES ARMED FORCES; and fast patrol boat tactics in the South Pacific against IMPERIAL JAPAN by the UNITED STATES NAVY; upon which James Allen was raised to revere in accounts of action by his grandfather - a merchant marine and veteran of World War I and World War II.

This fascination with naval warfare, tactics, and conflict in the Pacific and East Coast anti-submarine warfare against "Operation Drumbeat", classified war stories for 70 years after the end of hostilities; themed "secret wars" by those who fought in them during classified operations to conceal the high cost in lives, men, and ships before the AXIS were overcome in Europe and the Pacific; are integral to the BEYOND WAR™ product and storyline.

Among these, the legend of inspector "KILROY", and claims of the inspector who got tired of finding false approvals so he began signing his consignments in odd places "KILROY WAS WHERE" to assure his work, then appearing to forces afield as a legendary mark of quality which became a sign of presence in the theater of war for special operators - similar to "Robert Paulson" in "Fight Club" (movie, 1999) fame.

This 'presence on the battlefield' and 'deep movement' tactic in 'fire and maneuver' action for a military element consisting of individual warfighter strategy in small unit tactics became elementary to BEYOND WAR™ lore, fiction, and legend; largely because of the 'demonstration power' of the ability to dishearten ordinary enemy troops - literally having them afraid of every shadow around them until they submit or abandon the fight. Far from being a dangerous element, it is a tool to disable without killing, using force and presentation without massive loss of life, and an escape mechanism later employed substantially by other properties like "RICK AND MORTY", as well as a vehicle of literature to allow the SANGUINE to "pull someone into shadow", whereby a person without the ability can be transported out of a situation ordinarily so dangerous it cannot be a survival situation - such as a strategic nuclear strike on a major population center.

It is a power, as mechanics go, to allow a person to move one person and themself - not entire armies as we saw in "AVENGERS: END GAME" (Aug 19 2019; $2.798 billion revenue), and thus an existential question, "If you could save anyone - just one - who would that person be."

Because of this limitation, of the scale of weapons, and the nature of conflict in BEYOND WAR™, the Sanguine™ tend to actually be the saviors and defenders of very large population centers despite having no love whatsoever for everyone in general. They would save the whole world, if only to save one person they like. In this way, in parable to Sodom and Gomorrah of the Christian religious fable, they are "Greater than God" in their desire and promise - yet lesser in their inability to do so - a limited being - against which stupidity and war often overcome all their best efforts to protect what they love. This makes them a 'tragic figure' similar to GREEK literature, rather than an all powerful god, because like the GREEK gods, their interests are not in the power invested in themselves, but rather in the people around them who do not share it and are not burdened with the immense responsibility and danger in its very nature a prize to be won by all the threats and monsters of the Universe.

That dynamic, as character backstory, is copyright-protected material, and subject claims based on the unique ability and specific character names and relationships of major characters, such as the "STRYX", an alien species in BEYOND WAR themed "The 13th Species", itself actually one single individual being with the ability to appear as many throughout the Universe, and aware of each instance of itself part of the same singular creature, most frequently appearing then as a large 3-foot tall mute owl who does not speak but communicates only by performing human-like tasks and routines - having dinner at the table, using the shower, going to the toilet alone, and walking upside down and sideways on ceilings and walls as if gravity obeys its very whim. The nature of the character is designed to be unnerving, disturbing, and able to appear only to individual persons of its choosing - while other people do not perceive or believe it exists and cannot touch or interact with it, much like an imaginary creature. It's nature is actually quite jovial, a comedy relief in a world of utter darkness, and a suggestion that the Universe itself is not unconcerned with the goings on of ordinary people and lives. This character, from 1998 illustration by SHADOWDANCERS L.L.C., in comic design and depiction, is protected from claims and impersonation to defame, libel, and damage the rights of the creator - and in science fiction a unique element having no peer.

Comparison to darker elements, like "HARVY" (UNIVERSAL PICTURES, 1950) or "HAPPY" (NBC Universal Television Distribution, Dec 2017 to May 29 2019) of imaginary creatures who break the rules of ordinary 'delusion' and appear interactive with the real world; may be fair in the sense that "The STRYX are a real alien, not a delusion or projection in the mind of the observer, and like the SANGUINE able to manipulate energy which makes up space-time in ways beyond even other beings, while maintaining a singular character and identity which is difficult to imagine from the point of an observer subject to normal space-time."

Similar characters to this perspective may be John Criton's FARSCAPE (JIM HENSON COMPANY, March 19 1999 to March 21 2003) aliens, who upon knowing the power of wormhole technology as a weapon sought to conceal it from the Universe, while still admitting the need to grant limited use to save a specific person.

In "BEYOND WAR"™, the STRYX (13th Species) are the alleged cause of the sudden disappearance of 99% of life in the Universe, and such event alleged to be their response to being created for use as a weapon - a disagreement settled by their power under their own direction in a single decision.

Infringement, therefore, of either the "shadow" movement ability or "STRYX" would be an effort to undo the ability to tell the "BEYOND WAR"™ story, and so confessed in criminal plan by the parties responsible for the taking, removal, concealment, and abuse of the child of its author contrary a court order for his return - one of the most serious HOBBS ACT VIOLATIONS in modern history since the Lindberg Baby.

Many people lost their lives and property in similar ways to the national socialist movement of the 1930s, and the repeat of this abuse by the STATE OF TEXAS and its associates in the UNITED STATES to compel such forfeiture under fraud of civil procedure not met (NO DUE PROCESS, NO LEGAL TRIAL), affirms the radical socialist abuses and claims since made issue in the growing neo-nazi movement and platforms of 'DEMOCRACY' wrongly themed a foreign government and strategy of NATION OF JAPAN and PEOPLE'S REPUBLIC OF CHINA to buy UNITED STATES media and properties during harassment and fraud to injure its people, assert socialist pragma, and assert falsely monopoly, entailment, and primogeniture themed on eugenics and identity claims offensive to the Constitutional Republic of the UNITED STATES and the rights of its people against foreign activity under color of law and regular business.

In many ways, the "shadow" ability reminds us in its use to bypass ordinary safeguards, how an enemy may assert itself simply by appearing in places it is not intended to occupy - like that of public office or media (CNN/MSNBC) and acting there against the public without ordinary gatekeepers and safeguards necessary to stop antitrust and monopoly over regular activity and security of our nation and identity - an assault that is intent on changing the very character and values of our community predicated on business interest and obligations not ordinary to the charger of government, from which slavery and indenture are the obvious outcome when resistance is not quickly and forcefully made; regardless the direction of attack or abuse.

In this way, "BEYOND WAR" and the 'shadow' mechanic are a metaphor of Chinese national socialism stepping into United States political and family life, changing definitions of ordinary law and rule to injure persons and sell the rights guaranteed to them prior under a Republic back to them solely predicated on a 'group identity' and 'utility to the greater state'; and the importance of gatekeepers to safeguard that power from such populist whims and authority as its abuse would be of tremendous destruction and exploitation of ordinary people - specifically individuals and the dignity of human life inherent in the welfare of the individual contrary all demands of the group.

Thus, "The Ability to Walk Through Walls" is a military 'super power', and a vehicle in "BEYOND WAR"™ for which the public both desires and fears; and a reserved power of the SANGUINE™ character which they also fear equally - citing the meme "HE WHO WALKS THROUGH WALLS" written in the "PRAYER OF BLOOD", their internal operating manual encoded in the "SANGUINE"™ underlying systems and weapons; for which "It is written" the "HE" referred to is "THE SANGUINE SERAPHIM PRIMO DE NEPHILIM EN SILENTIUM".

Literally, "The Blood of the Lord of the First Angel (in Silence)".

This name, not spoken aloud for fear he hear it, is the name of the KING OF KINGS, written there in THE PRAYER OF BLOOD, the first SANGUINE, and he may step from the shadow or turn an eye on any who speak it or think it; and rise to answer.

A godlike being that can move the stars and direct the flight of galaxies, and by reputation does not barter or enjoy being invoked, dwelling in a place that is without sound or word or claim, and may require nothing for nothing is beyond him - frighten even the Sanguine. For those who speak his name disappear as quickly as worlds of victims taken by the war, and the very Universe itself draws its focus at the utterance of the words; time appears to stop, and a shadow walks by in the corner of your eye, waiting for the next word which is your last if poorly said.

Or so.... it is written.

The Sanguine™ therefore fear their god-king, because they do not 'believe' in him as other faiths do. They 'know' him by his thoughts, feelings, words, and presence - which reside in the PRAYER OF BLOOD, and in those words are the death of all living things and judgement beyond redemption, the promise of death itself to come when called upon the Earth against all life - for the love of one.

The SANGUINE™ therefore walk gently on the shadows, and between worlds, for they are as much prey as predator; and their belief in the eternal life of the King as real a nightmare as they are to worlds who rise against their will; few having resisted and lived to tell of their hubris.

"Nothing that is static may hold against the Dark."

So it is written.

Even the SANGUINE™ themselves.

"He Walks", often all that is said, among themselves, to refer to the belief that "He lives," and therefore we must not trespass against his law - or we will die - a caution to stop before Sanguine make resistance toward other Sanguine, invoking the name of the King their cause to call to arms against their own kind.

Many species have heard these words as the final transmission before offensives and battles that destroyed entire galaxies, and in answer to declarations and demands for surrender by worlds whose people are barely able to rise out of the mud and look to the sky; that answer - the terror that drove stars down upon the home worlds of the Ogrey and drowned the people of the Ethran in "Cold Sunshine"™, the death of men and worlds alike, the repetition of a SANGUINE™ whispered in challenge as his systems restrictions are lifted to arm all combat capabilities and offensive mechanisms. The very planet such a being stands upon hums with the frequency of the low energy and high energy reactors, causing weather changes and light to change course - day becomes night - the stars are concealed across lightyears of space near the solar system, and detection systems fold out into the nearby space between worlds and interstellar space to act as the eyes and ears of the singular warfighter prepared to engage ongoing fleet actions, interstellar weapons, and solar flares and gamma radiation bursts that would silence any ordinary world.

It is easy to destroy a star, much easier than this, and many species possess the capability however crude. But when those words are paired with their counterpart, written also there, "She died", and the flood of emotions and memories of a star being destroyed; Sanguine™ instinctively know they are followed by "He Walks", an affirmation of unparalleled revenge and destruction which the words "He Walks" already represent, as if an "unstoppable force" sole in its commitment and purpose a pure force of Bushido-like zen - war itself made manifest in a singular being and its purpose; few who have witnessed the answer having provoked the place these words were spoken ever dare utter or admit they be said again.

It is the only warning Sanguine™ admit; and a promise that should their purpose be unjust in the eyes of the King, that they swear he taken them then before they act without quarter or reservation.

The significance of the phrase, therefore, a cultural element and rare moment of reveal from which the ordinary Sanguine™ character in "BEYOND WAR"™ does not often exercise or need - and all who know those words in his own people among his enemy then without great cause 'step aside' into 'shadow'; for they take no part in the apocalypse that comes next without the greatest purpose - nothing less than their one - at stake.

The parallel between the Bonsai Tree and the Bushido Code, in this - a living cause and the abandonment of self in the warrior element - are integral to the "SANGUINE"™ character as a whole, yet not without individual depth in each individual warrior to imply some automaton or themselves a vehicle of the PRAYER OF BLOOD, like a machine, are they so made.

This 'human inside the machine' and 'machine inside the human' is best described in similar literary use by author "John Steakly" of McKinney, Texas; in his book 'Armor' (Dec 1984); and lesser known 'Vampire$' (Nov 1990); in which he described the post-traumatic stress disorder of a soldier in a HEINLEIN-like war, including his murder by his own forces because the physicians could not believe he survived so many missions, then altering his record to use only one of the two digits thinking it an error in the computer record; at which point the soldier snapped and was killed by his own men in self-defense.

Knowing firms like GAMES WORKSHOP GROUP PLC seek to make broad claims over "Power Armor" after works like "Starship Troopers" and "Armor" by John Steakly, is insulting to all American authors and writers, producers, and people. Yet the 'look and feel' claims of GREAT BRITAIN sustain these claims as if original works in broad assertion, even though such rights are limited only to the 'image, style, and design' of such armor themed by WARHAMMER 40,000 and exclusive of the rights and iconography by original artists for Judge Dredd and other franchises that WARHAMMER 40,000 derived from.

Those unfamiliar with "Vampire$" would better recognize it in the film-adaptation "Vampires" by John Carpenter (1998); for which the 1984 novel still represents prior content themed exclusive of WHITE WOLF PUBLISHING or any other firm to adapt and insist is 'original content' with broad copyright claims.

The use of characters like "The Prince" even, in WHITE WOLF PUBLISHING are actually very plainly derived from Niccolo Mchiavelli, and have no literary or orderly right or protection whatsoever; a contrivance of former works now in the public domain.

It is therefore absurd, in context, that such claims in broad scope that "James Allen" think himself "STRYX" or "THE PRINCE" or other absurd allegation a delusion invented by the abductors of his son as a conspiracy against rights (18 USC 241) to conceal his child, sustain false claims (31 USC 3729(a)), and embezzle from the UNITED STATES benefits then associated with the estate thereof (18 USC 666), or dilute the brand, value, and original work of "BEYOND WAR"™ or "SANGUINE"™ or "STRYX"™ or other marks so made and characters therein of literary fiction, unique to this property.

Such claims arise from a radical socialist extremism in American college and literature programs, aided by foreign false claims, from which a forced taking of a wholly American work describing conditions similar to the HEINLEIN and STEAKLY era, mixed with elements of American Horror broadly themed Cosmicism, and Christian theological perspectives and symbolism of Baptist traditions in which James Allen, the author of "BEYOND WAR"™, was himself raised. Further, that such claims of right to works which contest socialist values and systems of religious atheism are - on face - an assault against the right of religious remonstrance (II-3) set in Oklahoma Law and Constitution, for which this work of fiction and its incorporation of Zen Buddhism and Bushido values are not a monopoly of cultural right excluding the American military heritage and history driving development of "BEYOND WAR"™.

In summary, Socialists hate a good story where the hero is without personal fault an instrument of something otherworldly and pure in belief, beyond personal interest of self, and at the same time subject human flaws and human suffering in ordinary life; a contest of the fallacy that 'power corrupts' so it must be distributed until no responsibility of action remains to hold it to account.

Likewise, it admits that such interest is singular, without assessment or commodity in its very nature unique to each belligerent, and at times opposed to the degree of existing beyond the realm of compromise or concession - a concept alien to feminist extremism and that hostility as a religious faith against stereotypes of 'masculine' values and ideas as certain, fixed, and well worth dying (or killing) for - alien to a certain kind of coward who hides behind the gender and fear of reproductive vulnerability a sick and deviant hatred of all judgment and authority not their own.

In this, women are just as likely to be "SANGUINE"™ as men, and the ability of the species as a weapon to disguise itself by changing its body and appearance to any degree make the question of 'male' and 'female' limited by biological norms impossible to resort, while it sustains the value and importance of each character in distinct rights, and makes no distinguishing claims to love or affection between persons based on outward appearance or inward 'character' to wrongly entail 'male' or 'female' mind a determination relevant to the "SANGUINE"™ as 'alien, wholly" to the human concept of being locked in a body or resentment and fears arising from such body and its function, for which medical alteration to 'create a female appearance or function' in envy of another gender by surgery or chemistry is butchery at best and murder of the individual in their right to be free of a society defining their character based on hormones and stereotypes of gender not a scientific fact or basis - popular with 'feminists' and critics of Heinlein, Steakly, and others with military experience or insight, similar to Gene Roddenberry.

"That we are even talking about gender, or trying to use bathrooms without disturbing each other, is offensive in context to 400,000 people dying in Iraq and other countries for lack of military security and obligations a duty of any ordinary modern country engaged in war or other martial exercise - and a duty not to leave those who risked their lives and the lives of their families and children behind when we withdraw from such conflicts, a perfidy not permitted the UNITED STATES."

BEYOND WAR™ is written in such interest, and the 'mechanic' of the 'shadow' movement technology therein a mechanism to move beyond such obstruction in the protection of people from all faiths, places, and cultures in whom place their trust in the cause and the will of American soldiers and American values.

For this, some assholes at Enid Oklahoma college programs have threatened to kill the author and his staff; as well as persons in Bentonville Arkansas and Denton Texas (The Home of Happiness, per ROCKY HORROR PICTURE SHOW set there, smirk).

These threats, not unlike the "Klu Klux Klan" incitement of violence and to style all persons involved in the black suffrage movement and black soldiers honors for their bravery along with Japanese-American and Apache members of UNITED STATES ARMED FORCES, expose the ongoing systemic racism in STATE OF TEXAS, STATE OF OKLAHOMA, and STATE OF ARKANSAS from which SHADOWDANCERS L.L.C. and other firms formulated "BEYOND WAR"™ and further defined the idea and franchise as a property separate from other well established and wholly different bodies of fiction already well documented.

False claims that such features before the public are plagiarism or unfit for registry or not protected prior such registration of works; are crimes under 31 USC 3729(a) and related abuse to sustain war crimes acts in the UNITED STATES by the Democratic National Party and its members in Texas, Oklahoma, Michigan, California, New York State, and other areas heavily influenced by foreign commercial trade with NATION OF JAPAN and PEOPLE'S REPUBLIC OF CHINA, competitors in fact of SHADOWDANCERS L.L.C. in this area of industry, and false claims under international law made to influence the UNITED STATES in "RIGHT TO WORK" (XXIII-1A) violations themed INTERFERENCE IN INTERSTATE COMMERCE; piracy, and illegal arms trading in export to disable dual-use goods in software and avionic combat arms technology inherent in the technical and protected rights of the "BEYOND WAR"™ technology.

These technologies, applications, and theoretical uses are express in the publication of documents and information themed science fiction, for which exploration of specific applications in advanced warfighter technology and arms and incident response are tested similar to "MUTUALLY ASSURED DESTRUCTION" and other platforms broadly in use prior 1996 collapse of the Soviet Union.

'Shadow' movement technology, mechanisms, and literary use are therefore a protected and clear element in this threat prospectus; to ordinary combined arms and mosaic warfare models otherwise better known in UNITED STATES MILITARY ARMED CONFLICT. Similarly is combined arms and artillery coordination and logistics fire control across networks a critical portion of the "BEYOND WAR"™ solution, software, design, and fiction then integral to the character design of this work; and not subject prior use or claims admitted in any way - a sole copyright work of SHADOWDANCERS L.L.C. - including the 'flash' (excess plastic on a sprue in a mold, or fiction not expressly related the prior technical goals and objectives so made) often called 'lore' or 'background' literary work; by which such work stands apart from other products and properties as a specific implementation in 'game design' not solely predicated on unique mechanics and formulas for which this property operates as a software under copyright law.

If you follow all that, you know what we are doing here with the 'mechanic', as a legal fiction and component. If you do not, that's fine, so long as you don't try to make "legal claims" against the property for which a severe rendition of property, rights, and express civil and criminal liability may arise themed false PROSPECTUS claims then in a pre-existing criminal case and civil suit contingent on human trafficking and child snatching already made RECORD.

Pretty much, don't pull it (a claim) unless you intend to use it (shoot, or get shot), in legal terms predicated on the American Midwest and trial by combat there a remedy to more serious consequences of law and the public loss of privacy to quash such false claims.

The author has spend 29 years in this field, and has 'very detailed files' to quote a peer property. He's very certain this right will stand, and regardless, its use already exceeds the authority of law to compel as a 'religious remonstration' protected in the UNITED STATES. Such rights may not be present in China and other nations, but do not afford then the violation or theft of content in acts to compel their suppression or abuse; or other cause not lawful. Such action will be construed as criminal violence, and the nation of sponsorship be held liable in sanctions and suspension of ordinary trade as a consequence of such rights injury. 95% of the complaining party work is 'racially appropriated from Irish and Scottish works, family names of Italian and noble families, and appropriation of history including use of persons and their reputation to perpetuate jingoist Islamic slander against former rulers of small countries who resisted the Ottoman Empire (An ally of Germany in World War I and II), for which AMERICAN MILITARY SCHOLARS are quick to cite appears to be just a third-edition of the AXIS socialist propaganda now appearing in 2001-2020 with the rise of China and increasing leverage to re-arm Japan under false threat of a Chinese superpower enabled by NATION OF JAPAN, Australia, and India.

The United States and Russian Federation are pretty committed to not "doing that again" with socialism and radical communism - and joint in their position that such claims can be shoved up the ass of these unregistered foreign agents of China and Japan, and that ass kicked off the pier back to a country where 'wrong-think' is still a concept, like North Korea. In fact, Kim will welcome such 'workers' with open arms, and we would be happy to send them to him if this abuse keeps up - citing he knows exactly what to do with such people already (points to anti-aircraft gun emplacement he loves).

"Wrong Think" is a crime in academic literature and science fiction communities; a claim that beliefs expressed in a work are 'unfit' for publication, because they conflict with radical socialist / communist / conformist values and ideals. George Orwell, who coined the phrase, along with "NewSpeak" said it best in his book, "1984", written in 1949.

"BEYOND WAR"™ explores when the powers otherwise attributed to a state like Orwell's work are placed in the hands of an individual, and what that individual can and would do with the force of an interstellar army and navy to protect one person they love. It is a complex story of geopolitical elements and scope, more similar to Casablanca (1942), and perhaps the age and generational distance of the public from those very grounded ideas of anti-socialist anti-fascist resistance and true-crime film noir the reason that modern college-age students are so quick to misjudge the subtle and emotional issues in the fiction on cover and suggestion of any other point of action or war-movie more familiar to them.

Rather than being 'flagrant and out' in stereotypical SYFY style (April 1 2016-, SyFy), "BEYOND WAR"™ takes on a more subtle "Heinlien" style of storytelling without the racy sex of Argosy (1882) hated by H.P. Lovecraft; or the intense religious monster hunt of "Supernatural" (Warner Bros., 2005-present), with stories about war but not set on the battlefields of war; similar to 1940s American film following the World War II era. Owing if anything only tertiary duty to the fantasy fiction of Alexander Dumas (The Three Muskateers) or 1950 film "Cyrano de Bergerac", based on the 1897 French verse drama of the same name by Edmond Rostand, themed itself neo-romanticism.

To be fair, its style is more akin to "The Blues Brothers" (Universal Pictures, June 20 1980) than "Hannible" or "Silence of the Lambs" (novel - Thomas Harris, 1988 May 19). Whereby the main characters are, despite their immense power and probable danger to all life itself, quite melancholy interposed with brief efforts of social grace and awkward - even anachronistic - effort to be a part of ordinary life and people who have no context to the horror, violence, and scale of destruction they have witnessed.

Russel T. Davies installed this briefly in his rendition of "The Doctor" for British Broadcasting Corporation (BBC) in March 26 2005 performance by Christopher Eccleston. The success of which was destroyed by Jodi Whittaker's character and Chris Chibnall as writer, October 7 2018 after struggling with socialist political influence and increasing racial profiling to dilute the show and character to an equivalent of a muppet opposite socialist opponents given screen qualities not unlike "Oscar, the Grouch" on American children's programming "Sesame Street".

This dilution on masculinity and family is evident in such series, where the biological father of characters are treated as worthless animals at the door, based on Chinese 'utility of parent' to the child and society, and other blackface portrayals of Indian men as 'insane, effeminate, psychotic, and ultimately a trope of radical feminism' in recasting of "The Master".

"BEYOND WAR"™ is a rebellion against such offensive media and misgendering stereotypes popular in radical socialist nations like China and Japan, which are increasingly encroaching in the same way the "German-American Bund" once did for Adolph Hitler's Nazi Germany in New York State and other critical areas of Infrastructure and utilities vital to American National Internet and telecommunications services (Dallas, Texas; Kansas City, Kansas; Chicago, Illinois; New York City, New York; and State of California).

This movement to install radical violence without a clear neck between the head and the bite of anonymous 'black bloc' terrorism, evident in Portland (Oregon) and Michigan, now in civil unrest and riots; demonstrate the full motif of 'shadow' movement mechanic and false legal separation of 'private color revolutions' (coup activity foreign sponsored under local incitement of violence and media abuse in mass communications), and the impact of such abuse disclaimed by "BEYOND WAR"™ in its relative non-interference by the "SANGUINE"™ as an alien 'species' largely consisting of individuals who are so widely distributed as to have rarely more than one individual per solar system; and of the conflicts that arise when two or more appear, or between other species and the place they live in peace and quietly, from which conflicts that dwarf all military action in human history today then occur.

It is epic science fiction, retold via the vehicle of an information system unique to the "SANGUINE"™ technology, allowing for this sort of "broad scope and access" by audiences similar to elements in "The Highlander" (Highlander Productions, 7 Mar 1986); whereby audiences enjoy more insight into the character than the theatrical scene or dialog of a single moment ordinarily allow. A technique now common in series like Vikings (MGM, Mar 3 2013 - present).

To an unsophisticated screenwriter or cinematographer, or layperson, the use of such techniques and the background related to the story and 'mechanic' as vehicle of scale and movement of setting; or other resource ordinary to a storyteller in context to theater, may seem overwhelming. This is because of the intimate knowledge of the developer with computer visualization, special effects, and the industry and vendors, software, and technology in final media (interactive software, PC ray tracing) subject the development studio, for which prior mediums were not sufficient or available in direct on-demand formats to support longer (60+ minute) story arcs or continuity due to broadcast industry production and season-frameworks still in-use today.

"BEYOND WAR"™ therefore represents a 'new media' product, and its application both visually and in preliminary screenplay and fiction, character, names, designs, and rights are expressly copyright protected, © with all rights reserved. Claimants should take care before making false statements, claims, or other acts which could be construed a forced or false cause taking of such rights, in an industry where franchise value is estimated between $1 and $3 billion USD.

In the end, the "SANGUINE"™ are just one of 13 characters in the "BEYOND WAR"™ property, and only keep coming up because they tend to have a very strict language reference that binds their diverse culture together - similar to "The Constitution of the United States", for which dissent and rebuke and contempt are themselves a form of struggle among revisionist historians and progressive socialists, unable to admit any meaning placed there prior or accept any risk to themselves predicated on the rights of others and their security against abuse - even of reputation - so made then in 1907 amendment of "The Constitution of the State of Oklahoma" to those laws for all members states thereby and after enjoined to the same protection, a 14th AMENDMENT protection, and other ordinary rule against international offenses then made "United States Treaty" (1988, a U.S. Treaty - disbarring any statutory reference not a legal resort then from the language expressly pledged and to the public and notice of all persons, for which denial or remission of duty is perfidy under General Order No 100, the articles of war.) Matters for which STATE OF TEXAS has fraudulently declared 'sovereign immunity' against and in rem defense in violation of UNIFORM INTERSTATE FAMILY SUPPORT ACT section 604(d) rule, to sustain abuse not dissimilar Chinese 're-education' camps and abuses, not sustained under Federal Register Vol 81 No 244 and 45 CFR Federal Law barring this embezzlement of United States benefits in 2001-2020.

The technologies of Beyond War are built to raise awareness of the cultural and individual injury of genocide and policies themed complicity with genocide under color of law, for audience ages 24 and up.

As a work of fiction, Beyond War uses several terms to explain to modern culture how their use of defensive claims to normalize genocide are accessory to the actual crime and aggravate such injury. "Beyond War" and "Sanguine" are trademarks of SHADOWDANCERS L.L.C., so registered.