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| Ex Juris Claims | Fraud - Logical Fallacies Used in 2001-2022 Fraud |
| Article XXIII-1A Issue | Abuse - Modern "Vernichtung durch Arbeit" |


Literary Works


The father of the child is a business owner and writer resident in Ada, Oklahoma since 1975 without any change in that residency - and a computer science officer for several business ventures prior to and after the taking for abuse of the child.

One such work is based on "gothic horror" - a genre of supernatural fiction popular in the 1950s to 1970s in print. Elements of prior works popularized by other properties and films including Ridley Scott and H.P. Lovecraft, as well as Hideyuki Kikuchi, and popular characters of IPC Media and Rebellion Developments "Judge Dredd" franchise constitute other workers in the "Dark Future" and "Post Apocolyptic Space" genre.

Other popular works familiar with the public include "Battlestar Galactica (1978)" and "Berzerk" (by Saberhagen), as well as "Starship Troopers" by Robert A. Heinlein.

Efforts to try to dilute and damage the works of the Oklahoma author by competitors who have falsely bought tendered work to damage his registered tradename and incorporated those works contrary DMCA notice in other books, include "Warhammer 40,000" franchise work by GAMES WORKSHOP GROUP and Swedish owned Iceland based "White Wolf Press" products themed on the prior and well acknowledged source material illegally adopted from MGM Studios film set in the State of Oklahoma known publicly as "Near Dark" with actor Bill Paxton, are generally continuing this illicit and knowing infringement in concert with the child concealment and abuse.

While artist Timothy Bradstreet has admitted and stated his use of MGM Studio art and inclusion of such screenplay material by the White Wolf Studio / White Wolf Press group; Mr. Bradstreet had no legal role in the pretext of a legal franchise or claims over broad areas of other public domain works and public names as "characters" in this work of PARADOX INTERACTIVE AB or its parent company TENCENT HOLDINGS CO LTD of China. Use of popular words like "Witch" in Mexican language are evident in the publication, phonetic keys in the 1st printing, and other Italian and European and Irish names incorporated with racial stereotypes to publish a "progressive pro-violent socialist revolutionary neo nazi roleplaying experience" wherein players under the age of 18 take on the roles of actual nazi party members and Holocaust architects - and in publications continue to carry out commercialization of real world anti-gay disappearances themed war crimes as part of the product. While the management have apologized for this, the use of blood rituals, sexual bondage, and repeated and deliberate use of the word "Thrall" (Nordic for "slave") in the work; suggest a solicitation of minor audiences in publications which included a "vagina with teeth" and playable games under an alternative impressium "Black Dog Games" logo that included a "pedophile character" in the book "Human Occupied Landfill" (H.O.L.), who carried a bag fo nail clippings from children as one of his possessions.

This organization, incorporating its failed TV Series "Kindred: The Embraced", was terribly received by the public, and even barred from participation in some events in Oklahoma due to a pattern of their demo team appearing unable to perform at events and conduct before minor audiences.

Efforts to sell a "book" themed a "theatrical aid" and later styled a "licensed performance or screenplay product" falsely to seek to obtain a monopoly over the for-profit public and private theatrical performance work by customers; ultimately exposed a false claim of "monopoly" rights sought by the firm which are illegal in the State of Oklahoma and fraud in license of a theatrical product as support for other commercial work and development in public events. Despite this failure, the organized labor group styling themselves as a "fan club" initially, and later the "official exclusive group" of the company with required dues and exclusive registration to show legal interference in children's use of games sold as a monopoly over theatrical franchise falsely tendered and to minors, operated under a name and out of Canada for years, and are now resold out of California using incorporated trademarks registered in Oklahoma in gross imitation of Oklahoma literary authors opposed to this corruption of minors. In those books, the company styles the Oklahoma author as a sociopath demon with no body, and such works incorporated in the 2013 extortion letters by alleged employees of the firm in the concealment of a child to extort control over that trademark and Oklahoma registered real business.

Efforts to finance and support regional events to promote this "monopoly" and "identity taking" activity, in a fraud to suggest "creative credit and exclusive rights" are absurd on examination of the 1st printing and 2nd printing books, changes in terms, and active incorporation of registered trademarks to replace prior work in a "scrambling possession" to establish a namespace over all "Vampire" lore after a failed "Kindred" tradmark to brand the unique fiction utterly ended in total public disaster.

Vampire, Werewolf, Mage, Changling, and Wraith - are common words in the English Language - and as titles of a book not themed a character original to the author, have no copyright claim or trademark claim whatsoever.

Attempts to "append a suffix to make a claim" further are legal fraud, as the "LEGAL NAME" of a book, work of print literary copyright, or other physical or electronic title are "THE NAME OF THE BOOK by THE NAME OF THE AUTHOR", and may collide in the namespace only where the title and the author are of the same name to merit a legal contest for publication. Franchise claims, which incorporate the prior "Judge Dredd" case correctly in the United Kingdom wherein GAMES WORKSHOP did assert ownership and development of a look-alike character and art and franchise given life solely by their prior discovery and paid contractual and limited printing of the Judge Dredd comic book and art from the original artist and firm before "plagiarizing the setting, architecture, characters, costumes, uniforms, names, and storyline" to create "Warhammer 40,000" in 1987 - 10 years after the original "Judge Dredd" work was established as a unique property of IPC Media (Fleetwood Publications).

Similar lawsuits by the creator of "ABC Robots" to stop GAMES WORKSHOP from using its distinctive "robots" desings in Warhammer 40,000 "robots" and giant war machine boxed-set dice-based games, reflect a poor attitude of some countries and "bad actors" to copyright; and had precedence in the "Robotech" film mutiliation of the original work "Super Dimensional Fortress Macross" in Japan, and in the "Harmony Gold" ownership of those characters and designs then illegally and knowingly incorporated without shame or license or fee into FASA CORPORATION products and later PIRANNA GAMES online game "Mechwarrior Online".

Other companies, specifically "Troll Lord Games", which were formed after the sale of TSR INC. to WIZARDS OF THE COAST of California for a fair price and to pay outstanding debts, comprise of incompetent claims that a duplicate of work sold as a body of art and franchise by the employer should be illegally retained or resumed work by the employees of that company and to compete with the buyer of the product - a violation of "merchantability and fitness of purpose" in any such acquisition of a "franchise" and its related works to reasonable and distinct exclusive rights over the content and franchise against competition by former labor under W2 employment.

Countries like PEOPLE'S REPUBLIC OF CHINA do not recognize or respect W2 employee terms, and style falsely all workers as 1099m workers with ownership (equity, interest) of a legal stake in the franchise they are hired to contribute and transfer (in clear title) those products of their labor to a receiver as fundamental to creative work.

This would be like a stone mason building a castle for a Baron or Duke, and then returning to occupy and sleep in the castle as if they were the buyer of the product they had delivered to the party paying for the construction.

Real Estate Law has very clear terms for this work, with the creation of the physical improvement or building as a fixture on the deed of land and clear title of use, and in such creation the legal transfer substantially confirmed by the endorsement of papers and physical handing over of a key to the new structure.

Intangible property, while governed by the same laws, is diluted by "false professioanls" engaged in writing and distribution and vanity publishing, who are obsessed with a right to take from other works and "struggling possession" for public acceptance as a true author of a work by violence and narcissism of a pathological degree, to suggest the risks of publication and plagiarism of work have only intensified in electronic media.

Academic plagiarism in the West is viewed very harshly in any commercial work, and legal remedy does exist. But where such fraud is entitled a foreign "safe harbor" to practice, enforcement of such rights is often impossible and public contempt for the very claim evident in the movie and audio piracy organizations witnessed in 1990-2022.

That some of the proponents of those activities are publicly hosting events and soliciting children to entice into that work is exceptionally disturbing in the 21st Century; and evidence of the ability of foreign organized crime to present a not-for-profit and "public charitable" face under color of other "virtue signalling" activity and "minority class rights movements" to corrupt and promote syndicated criminal activity in the public eye.

Real authors work, draft, and then check their work against other existing and prior works in a "reasonable due diligence", which incorporates a clear recognition against such "boundary issues" violation such as making a character or screenplay similar to other work evident in the public or private circle of the author. A good example of this is how "Fifty Shades of Gray" became a separate work, having its origin in a "fan fiction" online adaptation with sexual components of another very popular but wholly aame work of fiction. When the illicit work began to gain public attention and support, the author removed the work from the online environment and changed the character names (a second draft) to remove express evidence of exploitation of a prior author's real and protected work. Whether such removal was "sufficient" is a matter of debate, but it did create a new work of some original substance, which was then accepted and underwritten for film and public distribution.

Authors therefore often meet, discuss, and even occassionally share "preliminary information in the interest of establishing fair and equitable boundaries for their long term and larger works", just as city planners and construction architects do - ensuring that a substantial work and long-term venture does not fail due to a "struggling possession" for a corner of land or element of common ground that might result in a "coin-toss" or race to market with inferior results. Among older authors, this was a very well understood cultural norm.

As foreign influence and organized piracy, fraud, and overly broad trademark claims in the 1990-2022 period came about, such "civil and ordinary" converstations became one of "industrial espionage and sabotage" activity similar to the Japanese industrial efforts of the 1970s and 1980s in electronics and automobile markets.

Authors began to see their works improperly and quickly exported and published under false title and false claims to overcome their prior art and prior work; in a systematic and criminal manner by Scandenavian and European parties; whose courts remained incompetent of the value of franchise and legal rights falsely claimed; and at times in overly broad efforts to lay claim at law to public domain fiction like "folklore" and broad genres.

One such author, bragging about the legal ease to escape these claims, actually suggested just spelling the name of the copyright protected character "backwards" to make a new claim, in odious fraud.

Despite these childish acts of plagiarism, some of those works were quite good regardless the "tainted origin" of their character; and further pushed and diluted the original works into the public domain purposefully.

Unfortunately, such taking is detrimental to the real authors and their estate.

We see this in the damage to the TOLKEIN ESTATE and H.P. LOVECRAFT estate in the many direct shameless and legally indefensible applications of WARHAMMER FANTASY characters and races, use of "ORC" characters as "ORK" (with a K) to distinguish the property from the prior obvious source material, and eventually in some cases (GAMES WORKSHOP GROUP) a civil settlement themed to suggest a final immunity for having taken and abused the natural right of copyright knowingly in such a way as to impair the real author their full and total franchise for those works. In the case of such claims arising both from "public domain folklore", those "races" are not entirely a clear title of either author - but are distinct in memorable and clear characters and fictional places and style as to be substantial and clearly identifiable works.

Unfortunately, works by H.P. Lovecraft are not as well protected - and we see innumerable games containing those properties without royalty or credit or degree - daily - enter market.

Some examples include "DARKEST DUNGEON", a video game that is clearly Lovecraft in style and feel; as well as the adaptation by GAMES WORKSHOP GROUP of the (again, prior limited term license) of Lovecraft work to create a whole set of "REALMS OF CHAOS" books (2) which gave rise to adult, sexual, and highly detailed "Chaos" forces and characters derived expressly from the prior "H.P. Lovecraft" style and scale of fiction and point of view in conspiracy.

To call such work "original" is like calling a landscape painting or a copy of the Mona Lisa "original art". It is, in almost every way, based on something. And the closer it is based on something, the less claim it has. Any degree of such basis is "derived work", contrary many populist "Progressive" art teachers fraudulent legal advice that any degree of change creates a legal basis for authority and franchise - a fraud often used to excuse the failure to teach law before teaching basic art skills to minor children necessary to help them approach industrial and commercial employment in the arts. These claims are not a "white lie", as many students carry those claims directly into my office and after pissing on a Monet (painting) claim they own it like a dog marking a carpet.

Original Art requires both an appreciation for prior art and a strict knowledge of art history to avoid creating virtually duplicate "good composition" and design, which is based on several mechanical factors as to how the human brain processes art - from which duplication of "classic" and "prior" works is not only very easy without intent, but actually very difficulty to avoid without "design, review, revision, and planning of a fine art work".

This "planning" and "legal review" stage, common in the pubilsher and market, is contrary the intial "creative urge" many students are incorrectly presented as a sole requirement to work in the industry or in real content development roles of a legally commercial value. Ordinarily it is overseen by an Art Director, whose responsibility is to examine and evaluate those younger artists under their direction. And to guide, direct, and require works meet the minimum distinctiveness and design goals to stand as original pieces in the free market.

This is not to say that works imitative or adaptive of other prior works are not valuable contributions.

Derived work, such as additional modules or stories for "GAMES" and "GAME SYSTEMS" and "ESTABLISHED CHARACTERS" are a makret of demand among public audiences - but they cannot be offered for sale without consent of the owner of the real franchise or character or copyright of the specific "GAME" without violating the law.

GAMES WORKSHOP GROUP has observed that many groups have undertaken full film production of their franchise without license, hoping to be awarded a favorable agreement after putting in work and paying for product development. These groups, once informed that their price or terms are not acceptable, wrongly and illegally are publishing the works then to recoup their losses without consent; as if they own the derived work - and this has caused friction with the company that has resulted in many legal letters and lawful demands to cease this activity. While some good actors are creating genuine works distinctly to be "DERIVED WORK" and alleging no claim on such works or any profit, the ultimate right of the company to demand that the author remove their work or surrender it for cause in scope to any property they own - and exclusive of other property like the name of the author of the work as a separate legal asset - appear grossly misrepresented by both sides effort to intimidate the other wrongly; a product of incompetence in the labor and education of those persons in the United Kingdom and other franchise market regions.

If organized and such claims were limited to real work, in a non-diluted non-derived work, such contributions can be extremely positive. That is not the present marketplace.

Instead, we see Disney Company turning Star Wars into a "Virtue Signal" of family incest, hatred, patricide, and a medium for as many gender issues as the company can install without starting an open war with Mainland China.

Not all authors feel this is "good", but have to navigate an ever-changing and aggressive polarized and absurd degree of "cancel culture" violence to bring even simple properties to market without being "hijacked on the road to the publisher by literal bandits running around with pirate flags and pretending to sail the Sea of Stars like some 1970s cartoon show out of Japan".

Japanese telecom, aiding this, has always made money on tentacle porn, schoolgirl sex content, and adult pornography in a repressive culture that can't have enough babies to even replenish their population; having no mind to blame it on the cuttlefish fiction their government officially sanctions as a vital export of the country and its economy.

While H.P. Lovecraft did employ his experience at the docks to inspire his other-worldly and multi-dimensional science-fiction, which in turn inspired Hideyuki Kikuchi in his 12000 A.D. fiction and future-war stories about a ravaged Earth in the 1984 film and 1990 book series following "Demon City Shinjuku"; the increasing sexual overtones and androgeny did not translate well to Western Audiences any better than "Devil Man" or "Devil Man: Crybaby" convince theaters to show the gore, dismemberment, and rape popular in Japanese culture animation.

If anything, these efforts were imitative of prior Ralph Bakshi films in the 1970s, which established adult animation as a genre.

While Lord of the Rings (1978) and "Fritz the Cat" (1972) were shocking in their own way, similar to the casual style of "Wizards" (1977), they are hardly the high point of media today. These works brought in Laserdisc with projects like "Fire and Ice" (1983), and look-alike works by Steven Hahn like "Starchaser: The Legend of Orin" (1985) - which we can see today in later films adaptation of "Firefly" (2002, TV series) and "Serenity" (2005, movie); these are still derived works evidently from the prior art and not entitled franchise on their own merits as a unique series.

Fans of Josh Whedon, upon hearing such news, are obviously extremely upset - but it doesn't change the fact that the ship existed prior to the Whedon-verse effort, in virtually identical design and function 20 years prior.

Copyright is "The Life of the Author plus 75 years", and longer in some Trusts where copyright is assigned under various laws in some nations. As such, this is not suitable use of prior art, and exposes issues with any complex project and recognizable work - including the 1978 Battlestar Galactica reboot in 2003 which virtually pulverized the fanbase beyond recognition with "Virtue Signal" and "progressive" labor and criminal syndicate and human trafficking themes to normalize sex work and populist G.W.F. Hegel claims of moral ambiguity and economics in the platform - culminating in the Progressive myth that Justice and Right are a compromise between people which lack any real basis in the convictions of either party - and are essentially the product of illegal force used against other minorities.

Not the moral lesson an author would expect, but a right of a creative work to apply in a free society as a work created and made under the sole franchise of one writer.

What is offensive about "Cancel Culture" is its rejection of that "franchise" to suggest that a writer who disagrees with the "populist" or "authoritarian" unregistered and violent society members shall be extinguished. That their "RIGHT TO WORK" shall be suspended as it is conditional to the creation of works that "endorse the populist/violent dominant group" and may be removed as it is only in-consideration to that implied show of support (virtual signal).

This is like being expressly expected to say "good day" in German, and raise your right hand, when passing a member of the National Socialist Party; to such consequence as many paid with their lives in the prior Century.

That a work is liked and employed by the author is not the "franchise" of any other party or audience to dictate or install in the creative content role of their product or office; and subject endorsement and comment only as a separate assessment of the work for the purpose of commercial or personal use by the audience - not over the author or other people - is utterly lost in the present "radical socialist" violence of the "Progressive" movement. Whether you call it "nazi" or "Woke" or "Cancel Culture" - it is still "Hegelian Dialectic Socialism" and the basis for the Holocaust and Cultural Revolution (mass murder) in the overthrow of government and society by force and violence under color of a civil action and civil access to the public market afforded by abuse of the office of the public trust and administrative powers of electronic and modern mass communication technology.

The work of the Oklahoma parent in the dispute, named in the child taking, is about this very abuse and the tendency of very sophisticated 3rd Industrial Revolution cultures to try to overcome the "Franchise" of individual people; from which the 4th Industrial Revolution annihilates that form of criminal genocide and systematic economic murder by use of advanced technology and media which suprass 21st Century Earth and its present electronic gate-based computer systems.

Gene Roddenberry wrote about how these issues would affect the public and society, but he was unable to find buyers for his works in the 1960s-1990s. From the moment of his death, everything went bad - literally.

While the works of Mr. Roddenberry continue to inspire, they are not the integrity or value they once were in the hands of others, nor improved by the collective will of many people who turn them to suit their own agenda and image of the future as a "unity" without "dissent" or other "objection" to the imposition of self and ego disorders which impact our public culture and obsession with 3rd Generation Industrial Technology. In many ways, it is similar to the fascination with sabers and muskets and uniforms of the Napoleonic Era, even as the real world confronts the machine gun and the howitzer and mortar of the trenches of World War. Any belief in those outdated concepts of honor and equity, have no place on a battlefield of immense force that is de-coupled from the will of society and reliance on trade and industry to support populations and create false codependency in a contest of ideas, rights, and boundaries against Statism.

In a sense, the world is like a locked room full of children playing with a flamethrower. Just taunting each other to see who will set it off first so the others can blame them - without regard to the fact there are no windows or doors to escape from; and no reason to back down and let the child with the flamethrower have everything they want.

Modern technology and science surpass the ability of the species to survive war on this scale, if traditional rules and laws were to be set aside as we can now operate and develop exceptionally dangerous technology on a very simple industrial scale. 4th Industrial Revolution is a constructive test of the advancement of part of society away from labor and service to a work-free society, while being still reliant on some component of society to produce goods and consume goods which are distracting from the technology to end hunger and overcome disease and death.

Very good works in this area include "District 9" (2009) and "Elysium" (2013); which focus on class warfare and poverty in Continental Africa contrasted with modern industrial work. Similar examples include "In Time" (2011), which confronts the concept of a world where death is perpetually avoidable, but everyone buys and sells and is paid in literal time - in an economy managed by the rich and power, a parable of modern billion Dollar dealings by executives of supply chain work ilke Jeff Bezos and Elon Musk market-shaping activities.

Creative works that criticize "State Welfare" and "Work For Rights" inclusion like those of the NORDIC MODEL (70% Union Inclusion) and Japanese and Chinese extremist views of the value systems and "mental health" claims of Chinese Communist Party in impersonation of free market industrial activity using optical telecom and national infrastructure, media, and content targeting (and indoctrinating) children - are central to the opposition of such "criticism of social constructs" that promote and sustain human slavery and human trafficking in the 3rd Industrial Revolution; and act as a barrier to the 4th industrial revolution - literally styling proponents as insane in the same way slaves were abused for talking about racial equality and freedom in the 1850s in North America.

Once the serf-based claims are evident, by true freedom being explained and exposed, it is impossible to return to a state of former slavery. Contest, now, is therefore about discrediting those works and misrepresenting them to deny the works a platform in the public media - including abusing or eliminating authors contesting the "Marxist-Leninist Model" and later "Mao / Obama" policies that began human slavery again in the United States in 1996 under the Bill Clinton Administration.

Even where the Supreme Court has struck down these frauds (2019), former slave-states and economic partners of China, Japan, The Netherlands, Germany, and Scandinavia - continue to promote this content and call for the extermination of persons who object to their complaints - like ethnic Russians living in the former Soviet Union break-away republics.

Just as H.P. Lovecraft sought to bring criticism to the World War I horror and abuse of his sister in a mental institution that led to her death, using "imaginary and other-worldly monsters", so too does the present work incorporate those themes in the "alien races" and "conflict" of the body of works under development in Oklahoma, and reflect on that experience with the United States creation of Indian Territory. As well as its destruction and resumption and conflicted sovereign authority now under McGirt v Oklahoma Supreme Court Ruling.

The presumption that there is only one "right way to live" and any other effort is "irrational and dangerous" is a criminal genocide against the people of the Americas and other nations; and arises from the gross incompetence and lack of boundaries and literacy which gives rise to the populist use of force and fraud and taking and child abuse to impose their own false narrative in obliteration of real people and real rights to property and security.

This ignorance is fundamental, that it has to be enjoined a proxy to even discuss - an alien "other" - that the reader can see and fight and confront - before becoming aware that it is a metaphor of their own conduct and prejudice, arrogance, and ideals that were a part of a real form of genocide and violence; but in the scope of their own limited power they could not see or understand there was any other point of view and any other way to live.

James Cameron's "Terminator" and later "Avatar" series did good justice to this work. It is not, enough, however.

Building interactive systems and virtual reality environments to create a multi-regional product which can scale to the network and deliver content in this genre is the basic building block of the Oklahoma corporation and its work; as well as the intellectual property and copyright protected characters, aliens, fiction, fictional places, technology therein, and application to a design and tool which requires quite a bit of real-world computer and network technology to execute and implement and to support; constitute one of those "big projects" that "old writers" once cooperated to make possible.

The fraud in public deceit and to conceal a child is a concerted effort by special interest and multiple groups to disable that and destroy the communication, discovery, and legal right to a constructive exchange of ideas without "struggling possession" at each disclosure - for which the States and sovereign nations who are engaged in that lynching and looting activity in overt piracy, find no opposition in the United States or the State of Oklahoma now to stop them.

All efforts to secure that, are in similar right of self-defense, that of a Sovereign Nation or People against such abuse, as the Native American People sustain are their lawful right and pledge of the United States to them expressly in McGirt v Oklahoma today.

These works have been undertaken for 30 years, with opposition involving collateral removal to conceal and extort using a real child for 20 years.

The effort to ask why such ideas are so threatening to so many people that there would be support for genocide in our Century to stop that work from being granted a fair hearing and 4th and 14th Amendment protections during its development as a free an independent product of a People - should express exactly how much those concepts and ideas could change the world and end the tradition of slavery and human trafficking and human exploitation if they were to be given air and freed of the false claims and effort to dilute the franchise by fraud, force, and threat of murder.

Eventually a People must cast off the "prior art" and all "civil claims" of the previous government, the 3rd American Government (Colonial, CAS, Union) and accept that the bonds which have been imposed upon them are unjust and immoral false claims derived from false acts and false hold against their legal person, for which no franchise or lien or other debt or claim can extend beyond the injury described in the Declaration of Independence or its sister documents in open violation by the Sovereign of one's own land or any influence or claim of any other.

This is not to say that there is no credit where credit is due, academically, but to set aside the legal question of "plagiarism" when "genocide" is the intent of such abuse or franchise to overcome the People and obliterate their works, deeds, acts, and record of them in the forced taking of a legal right of personhood or presence to the next generation in total severance and abuse of all ordinary and inherent rights.

Scandinavia, the Netherlands, Japan, China, and their partners in Canada, Brazil, Singapore, Australia, Texas, Oklahoma, Michigan, New York, and California have done this - and void any obligation to recognize those states or their monopoly claims over a network or franchise styled an "Internet Government" against the rights of real people and independent ideas, as to make void their legal and total authority under "The Berne Convention" or other treaty or agreement before the victims of such abuses.

By nations, not by individuals, are the legal registry of delibeate assemblies tallied in broad and unjust taking to use children as leveage to overcome the creative rights of persons and the equity all living people have to be admitted to the use of the market and fair and equal exchange of ideas without fee or interdiction for endorsement (XXIII-1A).

The works of the prior author are a testamony to that, and how that technology and its role in future civilizations and future wars changes the battlefield - remaking society.

Impressed in this is the courage of character that Alexandar Dumas imposed upon his works, the dignity of the State is the Dignity of the Individual and regardless the interest of the public a singular cause for which each soldier bears a professional duty regardless of whose side the person at the mercy of their weapon may be or for what cause or order they have contrary the mandate of the individual in the dignity of their fellow and the value of life. Ideals that are easily lost in war, but from time to time - should be purposefully found again.

Where nations ask what is best for all - few in the 21st Century ask what is best for even One. Fewer still can admit that the love of One is not exclusive or unique to a single point of view, but a common construct in which we accept each person has their "One", and in that empathy and awareness bear the franchise to direct our power and authority to the protection of more than ourselves and with our own self owing no other duty to any authority or King or community or construct - the better question of who we wish to be without respect to the presence of mind in who we are. These are the questions of soliders, the decisions of people, and the expression of our own power and our own authority to employ mercy without consent or reward - from which a competent people may emerge who are aware of both the ability to do great good and the duty to be on guard against the equal ability to do great evil.

That we accept the world or any Sovereign is correct, without our own measure and our own judgement - is to acquiesce to our role in great evil.

These are the stories of Beyond War.

The Monsters

The word "vampire" brings to mind so many stories. The fiction of Beyond War explores the origin of those stories in a much older myth, about a much different creature, which gave birth to legends on this and other worlds which only describe a fraction of the danger in those beings.

Other creatures in the fiction "Beyond War" are similar to folklore, but distinctly based in a pre-history of the common 10,000 years shared by modern humans on Earth.

Demons, Ghosts, Dragons, Half-Animal-People, Fair Folk, Tiny People, and the very ants and dinosaurs we find from the gravel pits to the local fried chicken greasy-spoon - are all part of Beyond War.

The modern world is a battlefield of such creatures described in the books; and its people and civilization a clod of dirt left stuck to the shoe of a conflict that rages throughout the Universe and into nearby dimensions.

Worlds within Worlds, stories hidden in plain sight, and monsters who can swallow oceans and disgourge armies like the very gates of Hell itself - are but the first few words of the fiction and warships, worlds, and living legends that populate the story of this place.

Unlike competitors versions of the Milky Way, there are no aliens under every rock and round each star - nor happy little trading posts and old-western shootouts and fist-fights where brave men get their shirt torn and couragous women have their gender identity questioned.

These worlds are impossible distances for ordinary people to cross - even in a lifetime.

Beyond War serves to take ordinary readers and players there, through the tools and doors hidden all around them, and into the awareness of such conflict that does not do away with the stillness of the tidepool they remember.

Other series, like those on the British Broadcasting Corporation (BBC) have done something like this - giving a vast canvas of information and possibility before crashing down into the mundane again with all that experience. It is a trope of all science fiction, from Stargate to Picard, to travel with knowledge into places and see things from a perspective that forces us to re-examine our prejudice and our reactions from other points of view; and to see ourselves as the visitors rather than the visited.

This was the great vehicle of "empathy" that Gene Roddenberry understood, along with Rod Serling, as they tried to struggle with the culture and the fear of war in the Pacific - just as we do now in economic war with the Japanese and Chinese and Nordic nations "racial supremacy" and "marxist/socialist justice" in extremis - a movement that invalidates any opposition to its violent and ultra-collective-nationalist goal of dominance.

Beyond War will teach you that the world exists not in spite of Monsters, but because of them.

Because unlike us, we powerless human beings, the Monsters possess the power to destroy entire solar systems and planets - but they choose not to do so, because unlike us - they have a real and first-person knowledge of how that begins and how that process once started never ends.

We are like the children, running through the park, unaware of the fear and the desperation of the weather and the cold rain should we never be able to go home again or trust anyone else to share their shelter with us for less than our very dignity and our lives.

The Monsters know this, and look upon us kindly, for they wish like children to know what that still feels like having tasted the fruit of knowledge and having done so - are forever unable to go back to innocence.

Beyond War is therefore a story for mature readers, not children, because it treasures the value of that innocence as a necessity and the most valuable resource in the Universe - one that should not be marred by hate or deceit or incincerity or fraud. Beyond War - for all its technology and terror and scale - is about love, and how we as a race are just a child in whom some silent watchers aware of the harm that could be done should we see them or know their purpose, remain nearby. To imagine they protect us, is to be naive, for nothing can. But to dismiss the value of that lack of fear - to suggest it has no value where such certainty is true - and whole worlds can be torn to ashes in a motion or with the slash of a single weapon in the hands of a single solider - leaves the world we have now something more than we take it for. As we should also value our children, and the people around us, and those of us who will not enjoy the benefits of eternal life because they were but a step or breath too late in the generations who accepted even Death May Die, and bravely drew their sword to strike the blow.

Hegelian Dialectic Socialism - Lebensraumd as Adolph Hitler put it (living space) - or "Scarcity Economics" as other economists phrase it - would suggest fear should stay our hand against such reckless acts as laying low even Death. We have no solution for the problems that may arise, if we did act, or authority to strike in the name of those who would then suffer for the change in circumstances, expectations, and plans. Progressive fiction would have us solve one problem and then another, and give confidence to the loudest fool yelling the longest that it should suffice to make their plan an action at the expense of others - because they are valid and liked and others less than them.

Zen Buddhism teaches us that it is the stroke that is made without intent - but solely with action and purpose - that most purposefully executes the motion. To move without ego, without self, and without purpose other than the stewardship and interest of others made personal purpose by "Franchise of self" alone and without reward - election of will; that may strike most true and without fear. Consequences are, after all, fear of the unknown rather than acceptance and ackwnolwedgement of the unknown - without faith or false hope, a choice to act in the moment for conscience sake - sufficient of an aware and sentient living being.

Scarcity would suggest this is irresponsible - and that the franchise of action is that of the collective agreement and external to the franchise of any "One" person or for any "One" other than the actor.

Love would suggest, that for "One", we should strike down death - and let the world decide how to cope with that after we have served our truest purpose.

It is this contest - between the value that can exist in "One" and the value we place on the need for support and approval, that the purest moral decision is clear. It is the Hegelian fallacy to suggest that "acting on behalf of One is alien to the consideration or love for any other or society or the world".

Beyond War simply examines the question - "Can any aware being allow the Universe to collectively deprive even One of their rights or the entitlement to be loved more?"

To a Hegelian, the two concepts are mutually exclusive. To a being in the 4th Industrial Revolution, the awareness of the welfare of others and their potential harm is not nor ever can be separate from the welfare of the One, and such incapacity to see how the welfare and dignity of a single life is wrongly styled as a taking of value from others in any giving of value to that purpose - is the decisive measure of a non-sentient species versus a sentient being. Further, that such assessment is not made on a collective or species or racial level - but on an individual level where each member of each species may or may not be sentient despite the general consensus they are a member of a class of sentient beings. Sentience, and awareness of love other than for one's self and one's own interests, and such love not exclusive of one's self or others - is the baseline for sentient life.

Even in a Universe consumed by war.

Criticisms

Despite this, there are still critics trying to figure out how werewolves screw in space and seemingly obsessed with that with pretty gay overtones that would make a Brownie-convention blush and look away.

If your critic is more concerned with having sex with your fictional cartoon character than your actual book or art or film - that may not be a valid or fair assessment of the work.

From 2010-2022 we keep seeing these sort of "homo-erotic adaptations" trying to damage the work; defame the Zen framework, and misrepresent the allegorical and depicted mass casualty (planetary destruction) as some psychotic fap-fest. Reasonably, this has made the actual artists and computer image and asset developers very uneasy - to the point of no longer attending Texas and Oklahoma science fiction conventions after several assaults by fans affiliated with the Tulsa promoters and Enid and Ada residents; to suggest explicit threats toward women on the staff and to intimidate them against working on the project, art, and necessary voice and character modelling in ordinary product development for general audience film and games.

Cost per episode and overall cost for film, equipment and real estate to develop, shoot, cut, edit, and prepare work for broadcast and content master assets suitable for game design; are similar to any other project in the market - and as such, these threats and harassment of labor do not make working in the State of Texas and Oklahoma possible under present conditions within a realistic budget; frequently putting work on hold or impairing work prior a release or milestone date. To release improper work, like Cyberpunk or HEAVY METAL 2, would be worse; but the emotional toll this has taken on many contributors has been beyond the capacity any ordinary workplace could ask of talent with commitment to carry out shooting and appearances.

Capital depreciation over the course of this project has also not been insignificant, with costs over $5 million USD in losses due to harassment and interference, for which a civil counter-suit is appropriate and themed to restore losted industrial capacity caused by improper suit and illegal civil actions barred by Federal Law.

Efforts to dismiss this and suggest a legal right to continue in fraud activity while harassing creditors, labor, and real estate and residents do not actually accomplish a return to "normal commercial conditions"; and are a symptom of the failure to regard such work and franchise rights in copyright and trademarks appropriately in the State of Oklahoma and State of Texas aiding local organized crime.

Even as the firm works with Next Limit Inc. and other major providers, whose products are seen in other major films, the impact of such interference continues to lead our company to recurringly assess whether production should be moved out of Oklahoma - similar to the MGM film "Near Dark" - and to weigh such movement versus the syndicate benefits to placing such work in Canada or Australia where those nations are aiding in the fraud.

Ultimately, 35 years of media development and content do not offset the need to raise capital and restore normal credit and eliminate odious debt claims and false liens which are being employed to extort and coerce the firm to grant interest or equity to the child abductors and their accessories in the 2001-2022 concealment.

In context to such behavior, and presentation that such persons are using the persona of "EAST CENTRAL UNIVERSITY OF OKLAHOMA" students featured in photos, of false names of HALLIBURTON employees and regional persons, and in a pattern on contact with regional "science fiction convention" promoters engaged in fraud and competitor false police reports jointly to aid in the loss of contact and violate POSSESSION of a child and to continue in the concealment of a child; it damages irreparably our ability to have ordinary commercial relations with ECU students, local businesses, and the community where physical violence and property damage including vehciles driving purposefully through our lot at high speed to damage UNITED STATES POSTAL SERVICE and COURT SERVICE OF PROCESS in repetitive theft of mail and throwing rotten food and screws in the driveway of our office; ultimately harm economic development in the area linked to such organized "academic and commercial plagiarism" efforts.

In concert with review of the April 2022 threats, we see TROLL LORD GAMES is developing a "dark future wushu style" property, directly derived from our description of work at SOONECON in genre, and cite that activity as criminal interference in concert with the prior 2007-2013 death threats and child concealment, 2021 threats, and 2022 INTERNAL REVENUE SERVICE harassment incorporating impersonation of Dr. Ann Klepper M.D., to extort our office in direct communication exceeding 70 separate messages in November 2022 and April 2022.

For these reasons, we would seek Federal Justice Intervention in the matter, a U.S. Attorney General from the District of Columbia, and strongly consider foreign commercial offers of relocation citing the regional syndicate activity against commercial production without arrest or return or location of a missing and exploited child employed in such organized and ongoing abuse from 2001-2022.

Where 2013 threats cite these persons are self-identified WHITE WOLF PRESS employees, out of ICELAND, and in part with 2022 ICELAND based letters to extort; the firm shows a consistent nexus of activity against its commercial interest incorporating extortion to ovecome the copyright and trademarks of the company for illegal export and sale to a foreign government franchise in direct competition, as part of a taking and extortion of registered intellectual property.

The use of a child in such taking makes this a criminal matter on violation of ORDERED POSSESSION to obtain company property, regardless of the civil nature of such authority in the order to assign rights and with regard to the pattern of behavior in perpetual effort to leverage a surrender of property not entitled those claims and separate from the writer in registered business entity - the objective of such fraud, so prohibted per 18 USC §1341.

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