Public Domain

In recent years, we have encountered some criminal elements trying to blackmail and extort writers in Oklahoma. i

Prior, Oklahoma was a refuge for writers nationwide, and held conventions in the 1970s-1995 for fans of serious science fiction and fantasy novels.

Since the advent of public Internet, some very deeply mentally ill people have forced themselves into these events, actually threatening established businesses and writers to claim false credit and seek public support for their imitation of real art.

Art may seem snobbish to people who are not educated in the rules, code of conduct, and basic premise of writing and creative intangible property (IP).

These rules are made to stop such abuse, and were taught up to the earliest of 5th grade basic public education until 1991. At which time standardized teaching de-prioritized basic creative rights - and afforded a generation of plagiarism and fraud which ushered in services like Napster and eDonkey, and afforded companies like YouTube to exploit artist works for-profit under false applications of law.

In any creative work, there are two kinds of rights - those which are proprietary, inherent on creation of a work; and those rights given over to the public for their use without rule by express grant or failure to assert a right in early publication law, from which a claim of 'public domain' could be a DEFENSE to such later claims made against specific developers.

As a rule, if a work is derived from a prior work and it is an adaptation of a protected element fundamental to that work, it is then not protected by copyright against the owner of that original work.

This does not mean it is not protected by its own copyright, which is inherent on creation and such REGISTRATION of a work with a state only a means by which the STATE may FORCE ANY PERSON WHO VIOLATES THE COPYRIGHT TO PAY SUBSTANTIAL DAMAGES. Unregistered works may still obtain an injunction to CEASE PUBLICATION AND RECOVER ANY COPIES OF THE WORK DISTRIBUTED OR SOLD AT ANY COST REQUIRED. Meaning, unregistered works are still legally protected, but immune from fines beyond the cost of recovering all illicit works and the destruction of such works obligated as unauthorized copies of a protected property.

Despite this, we see a number of foreign businesses create adaptations of major films like Star Wars, Star Trek, the Terminator, Bladerunner, et al. When studios do not take action against these parties, the rights of the studio to broad claims may be reduced to the public domain. Specific rights remain regardless over "characters", "names", "specific named places", and items that are unique to a property, but not to general terms like space-war or cinematography like adapted scenes from World War footage.

The content (style) of those shots - because they were directly taken from public domain (World War II) footage, cannot be claimed by the studio as a proprietary technique.

The same is true of "public mythology", like legendary monsters.

Vampires, werewolves, dragons, trolls, elves, and other 'popular media' in folklore are the very definition of "public domain". This is why there are so many "vampire" movies, stories, and pictures. Popular monsters not claimed by an estate, such as the H.P. Lovecraft or Tolkien estate, do not have broad claims for protection. A "Wizard" is - therefore - just a character in popular public domain, not a property. But a "Wizard" named in a movie "Wizards" and his mannerisms and appearance, would be a "unique character" owned by the company that paid the artist and the actor and the screenwriter for their contributions to that specific wizard, a character.

Which brings us to "flying castles, high technology disguised as primitive tools, and interstellar travel in a tribal and early human society", the ancient aliens myth.

Cities in the sky have been discussed since the Bible and the Torah, and as public domain do not impair writers to make claims over their specific design not illustrated or made a separate "work of art", and then only in context to the artistic interpretation made rather than the concept.

Real artists know all these rules, but the public is often deceived by meth huffing middle aged bald sociopaths afforded too much credit and access to young audiences.

Rhocropolis is designed to look like a deep dive into broad context of the public domain, with many prior works featuring the same themes in floating cities with ancient technology and moving castles. These appear in Japanese and European fiction, and merged with other public domain (vampire) fiction, do not on face duplicate the style and characters of specific properties popular in the genre.

The broad stroke is designed to mislead and simplify a portion of audiences to accept the more sophisticated and complex technology and new alien characters behind the myth in Beyond War, by creating a common and low-level portal which requires little if any understanding of the technology.

However, unlike Castlevania and other properties identical to its premise that did precede and were not licensed to Castlevania, the technology is very defined and strictly made - while those properties are 'steampunk' and 'magic' in origin, a form of illustration and rendering of equipment as huge wheels and gears that turn the ship like a mechanical representation of a large engine for space travel. This 'dumbing down' of technology or 'tek' movement in California and New York, presumes that the cost of specific science and the risk of legal liability for its display exceeds the production studio mission - and as such is substantially suppressed in American media. Even to the extent of making any focus on the detail of such things a negative by performers and fans.

British Broadcasting Corporation (BBC) did say this to the first actor to portray Doctor Who, and his response was, "The children are not stupid, and they will know." At which point he insisted on the technical attention to detail in his performance that sustained the great show for 50 years, ending with the 13th Doctor and a return to oversimplification and national socialist identity propaganda similar to Hitler and the Nazi Party used.

Such attention to detail, in elements, is what "character" and "setting" create a unique property memorable and workable to fans over decades.

Without it, the show is just a 'womens channel interpretation of a fiction, to make very young children ages 3-7 feel good without understanding the negative aspects of propaganda presented to their developing minds', a crime of propaganda.

All stories carry focus, but this 'dismissal of the audience as emotionally and intellectually stunted' or only suited to concepts of very early human ages, is a form of extreme abuse of mass media - and a taking of many ideas into the domain and 'reboot' of many historical facts, similar to Mein Kampf and 'Triumph of Will'.

To writers who appreciated the 'anti-nazi' themes of "Early Doctor Who", this is repugnant and criminal abuse of the property, including systemic racism evident in the shows production under Jodie Whitaker.

It doesn't take much - a single episode and a contradictory statement of fact in the fictional background - to kill a property. At best the episodes are disclaimed, but in most cases, such changes break the back of a major property forever.

For this reason, the adaptation and derived work of a major property is an assault on its very value, which in cases like Star Wars and Star Trek constitute $2 billion USD per year in gross revenue from derived works and brands, images, and products.

Writers therefore take care in observing the 'boundaries' in any other legitimate writer or artist's work, as the damage to such brand by abuse is 'impossible to estimate' in the words of violation or sale of the office of the public trust created by that credibility, in Marbury v Madison.

Despite this, some property owners - often due to shareholder demands and false claims made to solicit investment in a property publicly traded by non-artists - will assert overly broad claims or attempt to attack other artists for their work.

Games Workshop is a classic example of this, in their claims for broad exclusive use of the term "Terminator" and "Space Marine", to represent derived works from Robert Heinlein, John Steakly, and Ridley Scott (Alien/Aliens) in their 1987-2020 work. The "Terminator" was made in the United States in the early 1980s, and an icon and such content visible in the "CHAPTER APPROVED" red book by Games Workshop. Artwork and styles of robots using smooth metal bodies and round edges made famous by the "ABC Robots" comic, and other fashion and dress used without license in the "Judge Dredd" comic books, were unlawfully adapted and incorporated into the Warhammer 40,000 property.

Likewise, White Wolf Publishing - now sold to CCP INTERACTIVE MEDIA of ICELAND, and then to PARADOX INTERACTIVE, a representative of TENCENT HOLDINGS CO LTD; did in its biography admit all property was derived from the MGM movie "NEAR DARK", and use the synopsis of the NEAR DARK film in their first book to sell the game system obtained by hiring a FASA CORPORATION employee to clone the mathematical system already in use and proprietary to SHADOWRUN, 1st Edition; White Wolf claimed it had invented this by changing the six-sided die to a ten-sided die, and then sought to sue other companies who used a twenty-sided die for similar methods, in overly broad claims not warranting any right to act. This was not fully prosecuted, due to foreign investment in WIZARDS OF THE COAST and their impact on FASA CORPORATION in context with lawsuits filed against the firm for the property "Battletech" and "Cititech", which used characters owned by Harmony Gold, and created at the artistic direction of Akira 'Leiji' Matsumoto.

The market is, therefore, very tainted and its employees threats against the Beyond War developers to compel their abandonment of the Rhocropolis and Beyond War property on kidnapping and concealment of the child of the developer void all claims by all parties against SHADOWDANCERS L.L.C. of Oklahoma and any party licensing that work with written consent from the firm.

Respectfully, there are some very good properties not related the prior works that are not well known outside of their home county and language. Godzilla, for instance, is legendary and strictly controlled, despite clear adaptation of the scale and character in "Adeptus Titanicus" products by GAMES WORKSHOP, and creation of similar creatures for their "Tyranid" 28mm and 2mm line.

The style and character of such works are still protected, but not capable of making 'broad claims' as has been their habit in court filings, due to the dilution of established works and derived elements, and weak branding - like naming characters "Dominatrix", or using names from Roman history like "Magnus" for characters in new works of fiction.

When these claims rise to the level of ignorance to incorporate registered marks using 'fanciful trademark' (customized spellings) already in use since 1992 and well known worldwide before their incorporation by GAMES WORKSHOP in "Stryx" - and similar abuse by sound-alike "public domain" Latin words to create characters sound-alike to competitor employees and officers in an industry, the malice of WHITE WOLF PUBLISHING and CCP INTERACTIVE becomes evident in their replacement for prior works 1st edition, and to incorporate the character, name, or identity of a person as if a fictional work or right not granted to that company whatsoever.

Professional writers, not high as fuck on cocaine, do not do this sort of thing, but publish on demand and International publishing by digital masters have made this sort of "chipping off the nose of the competition" popular in Egyptian publication a popular trend by Great Britain and Iceland, and to sell this fraud to the Norwegian and South Korean people as if a legitimate claim not permitted in Western Law and The Bern Convention.

Asian culture has a grossly incompetent idea of copyright, where it claims that registration is the moment of protection - a commission of rights a privilege made by the state. This is illegal under The Berne Convention, and such violation in "Stryx" and similar works is a forfeiture of all protections made by such state where it is used or sustained in the prior cases - to disbar any defense or damages for infringement by injury to Nation of Japan, Korea, China, Norway, Sweden, Denmark, Iceland, and Great Britain.

Therefore Beyond War is not concerned with such claims against the firm or its property as kidnapping to extort rights is a matter of public record and threats made against the writers and their families in their work in effort to forfeit the intellectual property of this content and to do so on no legal basis or claim and no cause of record upon such abuse.

The collapse of intellectual property and The Berne Convention, more serious than COVID-19 or other threats of conventional war, may end our peaceful exchange of ideas in the 2020-2030 period.

To fail to understand the inherent rights (76 O.S. 76-1) rights and Constitutional rights of the authors of the works, for which neither the State of Oklahoma nor its incorporated government or UNITED STATES is authorized to waive those rights (Constitution of the State of Oklahoma, Article XXIII-8 and XXIII-9). The claim that such demand should suspend the civil honors or right to work by such organized labor, is likewise a crime (XXIII-1A), and immune to statutory law contrary among the incorporated nations admitted the court, even under Treaty or agreement such as The Berne Convention. Only a Constitutional Amendment, and then without relief to any ex post facto (after the fact change) would Beyond War remain a protected property and "Stryx" remain a registered 'fanciful trademark' in use since 1992.

The great loss of credibility to the prior nations does not disclaim the beautiful and venerable work of Akira 'Leiji' Matsumoto or Hideyuki Kikuchi (Vampire Hunter, 1983).

The genre of these works established space-war long before George Lucas was able to finance his first space film, and developed the beautiful artwork of cities and culture in class warfare among advanced technology to the same degree Heinlein and Steakly personified the American experience of foreign war.

Western culture has long drawn on other nations stories and legends without credit, and this is evident in the "Last Castle" use by the Matrix and other films, which artists like Tarantino and Raimi made approachable to American Audiences. Ownership of a genre or broad topic is not permitted, despite the many variation on this theme, and while the Japanese are notorious for this concept being abused over decades of small studio production - the recognition of pioneering writers and artists is due to those like Tomy Toys, Toho, and Harmony Gold. Unfortunately these companies handling of their property has not always been successful or well managed, and so many Japanese artists are suppressed in favor of their organizations (Nintendo) to the end of their own lifetimes.

America has its share of these mistakes as well, as in Wozniak versus Steve Jobs, and credit is often wrongly given when the creative elements and innovation of a product for computing and computer use fall to attorneys and property lawyers at the expense of many companies - ultimately leaving us with monopolies like Intel, Nvidia, and Microsoft who have created price-fixing strategies in the market.

Writers are not as guilty, because their products are not as strictly judged as engineers and mathematicians working in software and applied science. However, the impact of this abuse is evident in modern technology, and nearing an impasse similar to imposed privileges of Rome over the right of basic subsistence and medicines, which in turn are costing lives in the United States COVID-19 Pandemic and mass media abuse of research and discoveries including a cure for the disease and correct treatment not prior admitted by insurance and state-sponsored medicine.

These products are also intellectual property, and governed by the same rules as writing. When the very right to discuss a topic or make a comparison is suspended, we have little defense to the loss of such rights. Likewise, when a person is accosted and separated from their family to coerce them to sell or suppress their right to resist the sale of their creative work, the entire intellectual property system at law has utterly failed and has no further claim against that person.

When a nation falls, its entire registry of patents and literary works likewise fall to the victors or the victims entitled restitution (18 USC 1593). Nations who license and commission the franchise of such claims should remember well these consequences should their agents engage in the activity which hampered Beyond War from 2001-2020 in a felony kidnapping for perpetual concealment of a child so described a 'war crime' by the International Treaty "The Convention on the Prevention and Punishment of the Crime of Genocide".

It is like justifying the seizure of paintings from the Jews, the claims made by the abusing parties and use of registered pen name (trademark) of "Stryx" et al, in this matter, to seek to further impair this work, or criticize it for its reliance on broad concepts prior its detailed reading and disclosure of character, names, places, and history in difference from the previous works. We love those artists who in their genuine creativity did make such works, but deny and disclaim those corporations and nations who seek to assert as a gag order any claims against the broad and sweeping genre of art that their commissioned franchise (businesses) have suggested or committed in 2001-2020.

In the case of 'Vampire Hunter', the closest comparison of any, the English date of publication was 2005.

On May 11, 2005, the first official English translation was released by DH Press and Digital Manga Publishing, translated by Kevin Leahy. To date, the first 19 novels have been released in English across 24 volumes, along with Dark Nocturne, the Vampire Hunter D: Reader's Guide, and two artbooks.

Beyond War was published in 1998 in the game "Celestial Knights", and such documents and characters including the Rhocropolis and Sanguine then so described, as genetic and transmaterial (multi-dimensional, 4D) technology - used to fabricate special effects and visual images characteristic to the production and software title related (Beyond War).

Language can make these issues and their use in a regional jurisdiction complicated, but the right to publish and continue independent of other works and alien to their invention or use of similar technology, as we see in Cyberpunk versus Shadowrun and similar works whose style, background, and fiction differ dramatically from the resources and Public Domain works used in common, such as Palladium Games "Rifts" or similar works (TORG, PARANOIA by Steve Jackson Games), and close association between such firms in State of Texas and writing groups in the State of Oklahoma from 1980-2020.

Assault, abuse, and harassment themed 18 USC 2261A felony stalking to coerce any position other than the prior, will be regarded as felony criminal activity and 21 O.S. 21-2268 acts of Terrorism under the Oklahoma Anti Terrorism Act.

"Beyond War", "Stryx", "Sanguine", "Rhocropolis", are protected trademarks of SHADOWDANCERS L.L.C. and not in the public domain. Claims to the contrary of a legal nature or public as if fact will constitute part of a 'Terrorist Hoax' under 21 O.S. 21-2268, a felony activity in conspiracy against rights (18 U.S.C. 241) in the United States and by any signatory country of the Berne Convention.

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.