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
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
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
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.