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.