Culture & Literature

Legal Lecture Aside, the Rhocropolis Portal is here to help non-writers understand the common history of concepts not protected by proprietary character or device, and their use in other properties by other artists.

This culture, the common law and customs of the people prior creators of such works in American Literature, is alien to some audiences now under socialist authority in Japan, China, and other countries now entering into New Racism under the socialist movement themed "progressive" or "Democratic Socialist" movements, and "Democratic Socialist Insurgency" (DSI) in the United States as foreign influenced civil unrest to overthrow the United States.

Attacks on developers in 1999-2001 and kidnapping in 2001-2020, are symptoms of the 2020 civil unrest and development in State of Texas and other hostile racially charged refuges of the old Klu Klux Klan movement.

The "Rho" in "Rhocropolis", is in Beyond War a surviving 'fragment' of this 'class and race-based commission oriented culture', for which entire planets and solar systems were shattered by the Sanguine and other forces. Rho typically carry forward these racist and class-based prejudice of validity installed by society or authority, from which the Sanguine most often take offense and in many cases take down entire civilizations and population centers across multiple star systems when issues of ethics or injury to even One are dismissed as inferior to the gains of a society.

The "Rhocropoli" are therefore a "Character" in the "Beyond War" Universe, and a named place and population representative of socialist collective self-importance. On the scale of justice, it is a small 10 gram weight, which when placed in any balance against the value of the dignity installed in the individual estate, is inherently wrong in its method and liable for all taking from the individual before Sanguine values and justice.

The "Rho" are therefore generally both an ignorance antagonist, and representative of the status quo in the society versus individual contest common in Beyond War.

Individual "Rho" are, inherently, not automatically guilty, but often the victims of their simple residence in the community that is deemed an enemy at the time of such act - and the concept of 'collective liability for collective justice' fundamental in the stories of Beyond War and the role the Rho play as survivors isolated by media and distance from the battlefields and injuries their people committed and continue to support by their operation and presence, customs, and culture against others and each other.

"Rhocropoli" as the place, and interchangeably as "the city, its people, and its legal person as a nation-state", closely approach the concept of modern nations in 2020, and serve to explore the identity of culture in the mobility of a people and culture; as well as the vulnerability of such association when the center of such community is utterly destroyed. A people who define themselves by a place, after such place is destroyed, often are changed by it and their willingness to assimilate or adapt to the places they must flee a topic of immigration and war central to Beyond War as a story.

In this mechanic, the device of the "Rhocropolis" is a weapon - much like the ship or tank, or starship, a device to move the plot along and place the crew in danger and contact contrary ordinary and slow evolution of relationships. This concept is present in BBC and Paramount Pictures, and every other man versus nature or naval piece of fiction.

Beyond War features starships, moving cities, and soldiers who can travel from galaxy to galaxy without a starship - or raise up vast fleets and armies with a simple motion of their hand or a word, contesting even the most vast industrial empire.

Such technology makes resource gathering and refining in an industrial society obsolete, as well as service industry and transportation. Beyond War cultures have moved beyond these primitive needs, but contrast this with many species of players who are still bound to the economy and social and sexual relationships of ordinary mortal primitive city-building societies. Whereas those cultures with this power have moved beyond the need for social populations to sustain vast industry, empire, and war machines.

This concept of war-on-an-industrial-scale with vast redundant and resistant technology and manufacturing which require no theoretical skill to employ in the warfighters, give rise to the concept of magic and the use of forces ordinary life simply cannot survive in witness of these events and powers.

To walk between these two worlds - the automated and the industrial - is to be a witness to power beyond belief and aware of value in individual people which is absent in an utilitarian society which still relies upon sentient life as a source of physical labor or information or other skill.

Rhocropoli maintain some sense of purpose, work, duties, and activities for the passengers of the vessel, sometimes solely to sustain a previous standard of life or tribal values. This is why the fortress ships have survived, and seem to sustain their life-giving ability to provide food, medicine, and security despite collapse of ordinary trade and peer cities to trade with or consume their goods. It is not socialism. It is over-production and automation of work, with exemption to reserve a prior and non-essential culture which is themed a vital component of the character of the people.

As such, you will see laser rifles and swords carried in the same manner, despite little value or context, because the sword remains a part of the culture of the population and the rifle is rarely ever needed, safely behind the armed walls and capital weapons of the city. Unlike the ant-like cities of unrestricted growth and toxic atmospheres popular with other genres of fiction, Rhocropoli are efficient in their operation to a terrifying fault, disposing of even the dead and their remains to leave the battlefield untouched and renewed, covering its own tracks as a defensive strategy.

As a result the Rhocropoli have appeared in the past and left with no evidence of their presence beyond the cultural influence and impact upon the native people. These stories were popular in religious texts, such as the Vimanas and other stories of wars witnessed by primitive civilizations.

Rather than a legacy of decay and concrete, a popular carry over from national socialist unrealistic narcissism and lack of practical engineering skills in 'great works' and 'giant structures', the Rhocropolis use advanced technology and materials to build the most durable vessels in the Universe, even though their occupants know very little about the compounds and technology that bind the great ships together and repair them during travel in space and extreme conditions ordinary cities could not withstand.

Some of the Rhocropoli are sentient, having advanced computer cores installed, and these machines similar to the Tyec and Genosect, are almost living creatures rather than machines or security systems.

This genre is explored heavily in Nighflyer, 2001: A Space Odyssey, Resident Evil, The Terminator (Skynet), and in general is public domain in its application.

Just as Neuromancer by William Gibson derived independently the same conclusion reached by Philip K. Dick in "Do Androids Dream of Electric Sheep", and was itself delayed by the adaptation "Bladerunner" in 1982, the concept of artificial persons and artificial intelligence and reincarnation has been carried forward in Altered Carbon and prior by Aeon Flux (movie), all adaptations of the "Replicant" character made famous by late actor "Rutger Hauer" (a master of the method).

Rhocropoli are therefore also a "Character", in context to the creation of their use and prior culture, role, and views, specific to the counter-point of the singular super-soldier and immense threats similar to mutually assured destruction themes of "War Games" and "World Gone Wild". Nuclear war, as a genre, is not owned by any writer, nor the post-apocalyptic theme used by "Scavengers of the Mutant World" (Interstellar, 1986), "Fallout" (Interplay, 1987), and "Wasteland" (Electronic Arts, 1988).

When you put the prior games in perspective and chronological order, the creative rights in each work of independent fiction, disclaims any popular license. Beyond War just adapts the interactive game element to this and scale of a game engine built for very large procedural and persistent world management. For some companies popping that out in an player-versus-player model with a two line backstory is ideal. For Beyond War, the property development of the characters and rights are more critical than the first generation software or hardware limitations we face as a platform developer. Efforts to force the sale or dilute the rights in claims to benefit foreign businesses in competition with the firm and this product do nothing but dilute the claims of those firms by nation and franchise to any objection in production.

This harassment, forcing us to recite the litany of legal precedents to stop the abuse and suppress violent threats against our developers and their families, are reminiscent of "Enemy Mine" (1985). This conduct, in the 1980s or early 1990s, would have resulted in the perpetrators being banned from publication and all public events in the future - but commercial interest paired with loss of adult audience to Internet media and film, substituted by uneducated and narcissistic academics deeply entrenched in socialist values and hostile to private property led Beyond War to form a private secure network with strong identity for its development and use, similar to government military networks and corporate VPN for International enterprise activity in intangible scientific industry.

Cancel culture and the 'populist culture of taking and assimilation' popular among racial supremacists (identity politics) and human trafficking, compelled our work to be delayed from 2001 to 2020. Supply chain issues in processor, PC bus, operating system monopolies and anti-trust issues, and price fixing in discreet graphics processors further made entry to such business and media prohibitively difficult prior to COVID-19 (2020 Pandemic).

The ability to walk away from the information after abusing rights holders, and rely on the conventional economy to minimize and marginalize such content creators and artists, in populist taking and 'socialist secular taking' are reflected in the content and themes in Beyond War and supportive of the values that oppose 'human trafficking' as used to impair and obstruct this publication.

Like Holocaust deniers, there are still dedicated groups trying to call for the forfeiture of the Beyond War product, all trademarks, and to dilute and destroy its equity in favor of Nation of Japan, China, and their representatives in the United States, Korea, England, Italy, Iceland, Norway, Sweden, and other refuges of those values after World War II. These are hard-line AXIS supporters who are still loyal to the eugenics and invalidating policies of race under socialist extremism and "(G.W.F.) Hegel" theology backing that mass murder.

Beyond War stands against this, and the Rhocropoli are a presence of those "innocent" Nazi population centers and supporters, who through their desire to sustain their lifestyle and elite rank over others - were the cause of the utter destruction of their people and their worlds.

When ethics of an entire culture boil down to "I have friends and you are alone," a justification for utterly dehumanizing and destroying the individual by a society or community, there must be an objective question and a force that will oppose this, or history will repeat itself. In Beyond War, the Sanguine are that force of elite isolated super-soldiers, capable of fighting entire civilizations in the authority incorporated into a single soldier - to make war. This concept is as disturbing as possible to the collective authority installed in the Rho, who view their collective and elite separation from the outside world as a form of authority to rule over others, and why so many Sanguine keep the empty shells of such people as their personal trophy - much like stripping the shell off a hermit crab and wearing it as a house by the victor, a smaller crab.

The empty Rhocropolis that litter the stars are the discarded shells of millions of such 'hermit' civilizations, hunted to extinction and destroyed in principle by the Sanguine. The beautiful shell cast aside and left behind, because it is without value to the Sanguine gull who plucked the meat from it and flew away.

A reading of "Johnathan Livingston Seagull" by Richard Bach (1970), may give some insight to the concept of this ability to move on beyond the physical of the city, and to be alive and secure in the power that the whole of the Universe belongs to the Sanguine - and the Rhocropolis is, in the end, just one place. Only in Beyond War, the answer is the extermination of the Rho, not just their abandonment, for love of the people who cannot achieve these dreams while left in chains - whether physical or other debt or class system imposed upon them from which escape is not possible without outside help.

The Rhocropolis is, therefore, a tragic character, doomed but too arrogant to know its fate, similar to the Nazi trope of enemies in American war films and MPAA stories from 1943-2020 (Greyhound, the wolf pack sub commander).

Like Akira 'Leiji' Matsumoto, who based his story of the four great warships of which the Battleship Arcadia was based and story told in "Captain Harlock", the Yamamoto and her canceled three sister ships; the influence of our fathers before us to the legends today - stories young Akira learned of his father as he learned to draw mechanically precise ships as a child, the Rhocropolis are the force of the collective personified as is the ignorance and fear of its people endemic to the failure of its will required for war against an enabled singular combatant using next-generation weapons.

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.