SHADOWDANCERS DIGITAL PRESS

Rather than have a 'Master Class' on Literature and Copyright Law, which is much better made by Hoyt L. Barber (ISBN 0-8305-0233-X, COPYRIGHTS PATNETS& TRADEMARKS WORLDWIDE); a crash course is necessary to correct some "criminal misinformation" being used to incite fraud in the United States and Chickasaw Nation Reservation jurisdiction.

Central to this is the dismissal of one "Theo De Raddt" and his labor union of pot smoking commie pinko traitor Canadian Canoe lovers, that no one owns anything that is not a 'registered property'. This is both backwards and stupid, and contrary all common law and copyright rules in the United States, The Berne Convention, and worldwide among actual developers.

Mr. De Raddt would suggest that properties in development are, as if manuscripts not sold, somehow not the intellectul property of their creators.

This claim is aboslute horseshit; and the fastest way to get yourself 'force retired' from any lawful United States literature or fiction group, programming group, or other creative industry.

True, that work which is DERIVED FROM OTHER PRIOR WORK OF OTHER PERSONS is not yours; is wrongly construed to suggest by these dick sucking liberal ass pirates that ALL WORK IS DERIVED FROM OTHER WORK, and therefore no individual person is capable of making or raising a claim of original intangible property; only in the receipt of a commission by the state or other godfather of dick pirates themed a King or similar juridictional circle jerk not afforded legal standing among real men, known as a "Letter of Marquis and Reprisal", a commission of office to carry out in the name of the King an act against which his sovereign majesty sets his hand as if his own, to suggest opposition to such force and claims are opposition to the authority of the King. In doing so, suggesting such "commission" or "title" as framed in United States Constitution Article I section 9 and 10 were powers of the state or United States as a government; is treason, sedition, insurrectin, and rebellion.

The state registration of works is solely to the protection of duplication of the claim of specific credit to a specific work, for which the immitation or taking of claim is a heinous crime and form of fraud against the actual creator or originator of the work - a natural person, and in such legal fiction as a trust created to represent a legal person of legal fiction such as a business, corporation, or a government.

Ordinarily this sort of cock sucking stupidity would not be an issue, but between Islamic State sex trafficking and racially bias property and financial reparations called for by the Democratic Progressive Socialist Party of the United States, making demands on a person for "imaginary slights" to extend those claims to "all future monopoly, franchise, liberty, and right to work" are quite popular among leftist baby raping community 'organizing' in the United States and Canada, and among several nations of very low age of consent with strong pedophile sex tourism industries predicated on long-haul optical internet and illicit (darkweb) child sex trafficking; these claims by Theo de Raddt and the labor group he supports in FreeBSD and Nation of Japan and other asian and muslim communities have begun to expand in following.

To that end, the monopolies (and their limits) of such claims should be discussed, and such claims dismissed with ease on a quick analysis of factual rights and rules.

Propertys of Record

GAMES WORKSHOP PLLC: "Warhammer 40,000"

Warhammer, based on the book "Rogue Trader" in 1987, is a solid property by Rick Priestley. Although it borrows from Mad Max the ilulstration is strong, styling Germans as green skinned ork neo-nazi bikers fighting heavily armored aryan supersoldiers and feral 'apache' warriors in a Robert Heinlein style "Starship Troopers" squad game for 32mm and 28mm tabletop miniatures; the game contained substantial backstory about the year 30,000 to 40,000 war similar to Frank Herbert's Dune.
Since that time, the game has phased out the racially motivated and locally popular Norman vs Saxon themes of Chaos (Vikings) versus Order (English) space war; and incorporated due to excellent pen artwork elves in space themed on names owned by H.P. Lovecraft inspired horror. The name "Eldar" has legally been changed to Aeldari, a mix of letters to attempt to distance the work from its source material in literature of inter-dimensional horrors of the mind and madness on space ships, and matured beyond its initial adoption of H.R. Geiger aliens into tight corridors chasing marines, released just 1 year prior the 1987 book, a direct adapataiton of and boardgame made called 'Space Hulk".
Later additions including socialist class based slavers themed 'Tau" (literally, a phonetic for 'The Way' in religious theology) and creeping effort to suppress the overt occult demonology - broken down into psychotic murder cult, sex cult, disease and immortality cult, and money cult - representing the gods of the two major books "The Lost and The Damned" and "Slaves to Pleasure".
This adult content made the transition to childrens toys and online games difficult, and the company never managed to successfully apply its franchise as Star Wars and Star Trek did otherwise until late 2010, despite aid by a competent game developer - THQ. Styling itself as a family friendly game for collectors and hobbyists, the game focused on ages 13-17, despite fans in their 20s and 30s who appreciated the incorporation of public well known World War I tanks and trench warfare a refreshing retro fashion to other properties in 4th Generation warfare (remote, intercontinental, and end of conventional war) prior the 1990s Middle East wars.
The company had brief success with a very-small scale (2mm) "EPIC" version of their product, importing fans of 1981 "FASA BATTLETECH" land war and tank war into the hobby, using robots styled to be 3-16 floors tall. Unfortunately, the robots used were property of ABC Robots comic book artist, a 3rd party, and forced to be removed from the game after legal action; similar to the Harmony Gold lawsuit against FASA CORPORATION for similar import without license or royalty of the Dougram (Fang of the Sun) Japanese series; which produced a wonderful and highly technical toy line in the early 1980s from which the 'classic' batteltech 'mechs' were direct theft of.
Warhammer 40,000 also included "dwarves", making no apology for this adaptation of J.R.R. Tolkien's "LORD OF THE RINGS" books, as basis, but later licensed the sale and manufacture of such products rather than suffer a terrible suit; which seemed kind of the Tolkien estate in consideration of value lost. However, actual "little people" were offended at the "beared motorcycle riding dwarves" and pressure to stop using legally "designated disabled" persons as a character, led to the removal and scrubbing of all history of the "Dwarves" from the Warhammer 40,000 properties in the late 1990s-2020.
Most offensive, yet absent most criticism, is the direct import of "Judge Dredd" look and feel and style of character and artwork to the product, and the course of such theft due to having published the comic book while operating "White Dwarf Magazine", a general game magazine of GAMES WORKSHOP LTD and its affiliates, which became a dedicated magazine solely to their game; unlike Dragon magazine in the United States for Dungeons and Dragons game consumers. The ability to therefore "claim" ownership of the space marine or other art so derived from "Judge Dredd" remains practically impossible; as well as the awkward changes to the "Titan" robots to use square flat angles to differentiate them from ABC ROBOTS amazing designs and body styles, denoted by round spherical and human-like faces in abstract.
In an effort to protect their claims, Games Workshop became very litigous in the late 1990s and early 2000s, with lawful cause due to many companies trying to directly copy their game design, templates, create miniatures to sell into use with their toys at like scale; and as a result the firm wrongly asserted some "monopoloy" claims and alleged "league play" to exclude these models, contrary the 1987 rules encouraging the use of any item that suited the tabletop game as good form. The result destroyed all confidence in GWUK and GWUS before consumers, resulting in model prices driving up over $100 for a box set, discontinuing of cheaper $30 figure kids of 30+ troops, and alienating all large-scale groups then interested in massive games spanning entire rooms and sandtable battlefields suitable for future computer simulation use.
In these claims, Games Workshop alleged laughably that they owned the words "Space Marine", "Terminator", "Tyranid" (king Insects), and other terms found in their games. They engaged in printing of comic book runs only to obtain "comic illustration look-and-feel" protection similar to that used to stop their theft of Judge Dredd property; a rule in England. And ultimately made their effort to create a monopoly over all "space war" games a laughing stock of the literary and professional franchise world, while other properties like Star Trek and Star Wars, Battlestar Galactica, and Doctor Who rallied to assert strong market identification.
"Terminator" is a well known brand of character in the American Movie played by Arnold Schwartzenigger in 1984, not a suit of armor made by Games Workshop as a toy charcter; and such "robots with human skin" found in their red book a direct adaptation then and since removed from the future publications to conceal their inclusion of screenplay content in false claims of intellectual property license or franchise.
"The Terminator" screenplay actually lost to a suit from the Twillight Zone screenplay writers, which demonstrated how the character in the 1984 movie was adapted from their time-travelling 'grease' style biker characters, without royalty, and such penalty for use of the charcter then a substantial obstacle leading to the franchise sale for less than $75 million USD at one point.
Despite this, Warhammer 40,000 has made some progress in original artwork for oil paintings and works including spaceship designs that are characteristically "too stupid to be in any other space war story". Specifically giant cities on beams of armor like long ships which circle and ram each other in slow turning fights with volleys, similar to British Naval ship war in the age of sail; and in which vast crews of penal system workers and soldiers die in huge numbers defending like bulwark fortress walls, these battles - so that the disabled ships drift about after such battles with damage that forces them to be abandoned in space warfare, themed 'space hulks'.
On these "hulks", all sorts of bad things and creatures cling to life, often for hundreds of years before rescue or contact, creating the dystopian society and world-gone-feral that Judge Dredd and other properties thrived on in the late 1980s, as if by accident.
When these "hulks" approach a planet, the conventional wisdom is that sophisticated defense forces and ships will destroy them before they make landfall; but due to non-linear travel models, the ships can come out just on a planet and land - disgorging their contents like an alien invasion of feral soldiers bent on no political agenda other than murder and scavenging from civilized worlds. This is a unique genre, but not exclusive to Games Workshop Warhammer 40,000 - and the vehicle of this "alien barge" used in "Alien Nation" in 1989-1990 quite well; before the game ever fully employed or exploited it. Other series like "Defiance", on SyFy Channel also used this to great effect, salvaging it from a very racist writing and cultural progressive socialist drama due artwork similiar in quality to Hallmark Entertainment's "Farscape" series, a mixed and distant culture shock and vehicle to explore dramatic contact owing its origin back to Gene Roddenberry and Star Trek The Classic Series.
By and large, Warhammer 40,000 degenerated from a great "warrior monks on a lost wasteland in post-industrial collapse" to a very highly industrialized Interstellar civilization at war, in which life is worthless and violence a constant and cheap commodity; bordering on psychotic neo-nazism. Human officers can even execute troops to "intimidate the units to fight" like the Russians did in World War II, and such actions ultimately not suitable for marketing to ages 13-17 in mass media; a core value of the English property, despite having excellent and historic basis for mature players in more advanced books and literature not well explored.
The problem with such fiction, however, is that it exposes the "satire" of real world genocide and the Holocaust, from which its content is predicated - directly - and thus reduces the "original story" value as a protected property from adaptation or similar use. Therefore Warhammer 40,000 remains a small and under-utilized franchise that does not seem to know its place in the $3 billion/year market of Trek and Star Wars ongoing development and licensing.
Star Wars

Space Wizards, unseen forces, mind control, blasters, and very very impressive strong women who turn out to be your sister. That summarizes the moving plot of Star Wars I-IX well; including some emotionally beautiful moments of male bonding and trust arising from love triangles, chase scenes, smugglers smiles, and political causes that seem like a good idea for progressive values and inclusion, only to turn out to be pro-slavery, pro rape, child trafficking, and kill everyone in the core worlds while blaming it all on your daddy issues.
There are also snot-nosed kids who serve no purpose, snot nosed aliens who make those kids look all right by contrast (and may be Sith Lords in disguise), old men who never seem to die, teddy bears that never lose at chess, and some of the best stolen IP in motion capture from real world dogfights that ever existed - none of which you can copyright as a motion capture concept, but nice try Lucas.
In truth, George Lucas was right to sue the Battlestar Galactica production team for stealing his innovative trade secret techniques in shooting realistic well lit space war battles and scenes; which is sad, because we loved that more than anything as an audience: the idea that these things "looked real" and the light was physical (props) rather than cheesy bad or painterly and burrly lights. This work belonged to Star Wars, though it made a showing in Star Trek first - technically - and set the stage for a whole industry which gave rise to Stargate SG-1, Farscape, and hundreds of television shows thereafter involving giant alien ships (Independence Day) that leave audiences cheering!
So why is that bad? Because the characters are the property of the screenplay writer, and the image of the film and cast, but the way we make such images in film were so valuable, no one was willing to abide by the "do not reverse engineer" principle on seeing the things this technique could help imagine. Or the creatures it could bring to life, as the Rancor or Ton Ton installed in all children a belief in things that were not 'real' animals, and that passed on in films for horror and comedy like "Evil Dead 2".
Is Star Wars and "the Force" a protected property? Certainly. It has mechanics, characters, places, backstory, and is uniquely "hokey" in its theory and collapse of that to please ever increasingly unsophisticated audiences - especially those who just want to see a fairly athletic woman in a tight uniform, as the sequels show, depsite being extremely racist toward black, chinese, and other ethnicities - contrary a virtue signalling system that would make long distance calls to Close Encounters of the Third Kind seem like an etch-a-sketch. But like most franchises, with a transgender suicidal femenist at the helm of a starship, that dream collapsed as quickly as it came, upon the raw face and emotion of the leading lady who canned the franchine in 2020; coming in a far second to the performance of a very old and beloved Harrison Ford as the father who never gave up on his son.
Good for the property, bad for the cast and everyone involved in the "last season" of that reboot - leaving the door open for a new series that focuses on the characters that 'Progressive Socialist" culture tried to eradicate and dismiss; and many fans just angry at the prostitution of the franchise to "please" populist themes which ultimately led to riots and violence in the real world no more effective than the "Rebellion" at saving "The Core Worlds" from the survivors of their terrorist strike on the 'Death Star'.
It's entirely possible the franchise owns free and clear: "The Ewoks", because nobody wants them. But the Mon Chi-Chi's cartoon (1983) owner still hasn't fully weighed in on that. Like "The Snorks" and "The Smurfs", the IP law on this was not even cold when executives green-lit turning Chewbacca's people into midgets in costumes with sticks acting like primitive children, degrading native peoples all over the world to make a buck. Even "Avatar" didn't save that, pouring human waves on armed gunships to show the 'noble savage' myth of white power lives on in the finance department of many of these shows. Yet we all miss it, because when the alien's face is covered in fur, you can't quite see the racism we readily recognize that was representative of the backstory exposed in passing flight.
Star Trek

More Venerable still, is the classic space opera with geopolitical elements, closely presenting asians as "Klingons" and using a warship as a vehicle to move characters into conflict in weekly serialized episodes that afford new challenges and constant cast with a guest character lineup and plot devices immune to being entangled in ordinary political policy. Brilliant, and in its making, also simple. Phasers, Photon Torpedoes, Disruptors, Cloaking Devices, Transporters, Warp Drive... the stuff of legend. And all very much a clear and unique intangible property owned by Gene Roddenberry, sold to a studio that fucked it up sideways and threw him off the set for disagreeing with their child-like approach to selling tampons.
And that, per the Next Generation series actor, is what the series did - sell a lot of tampons.
Because the property was a media made for television, and the buyers of advertising time to pay the production cost of such work were based on real world sales, the nature of the content became more soap-opera than sci-fi, more about marriage, relationships, dating, long term family and life goals in space, and emotional and religious topics that... simply put, sold tampons.
Even as the series revived around rebooted cast to introduce J.J. Abrams style of action, the series continues to be aimed at a very female and naive audience who do not understand or appreciate the fiction of older technical and moral screenplay work; instead central to themes of belonging, forgiveness for offensive behavior, socialist integration of opposing sides by circumstances and by persuasion in a very distorted and inexscapable 'interstellar government drama' of politics and policy similar to West Wing rather than the old "Kirk versus God" moments on the frontier of space; that core fans suffer through this out of love for the men and women who made those memories and strong portrayals - like Patrick Stewart - rather than for the property itself or its value.
Trek has managed its Intellectual Property incredibly well, however, allowing its fans conventions, works, and art to integrate with and sustain the genre, especially with Star Trek Online, which keeps alive much of the world for new audiences and in social context allows players to cooperate and enjoy the stories they all love together. It may not be a technical marvel, but commitment to the low cost of access and participation has won over long term fans and IP respect for the work that is immortal.
The property has also not sought to "monopolize" on its claims, instead affording licensing to hobby ventures to do new shows in a completely unofficial but legally sound way; contributing to the community and love of Star Trek; and to run conventions for the gathering of fans and families in the generation of Star Trek from one generation to another; off set rather than on. The scale of the Star Trek Universe affords this, and more; while leaving places to 'park' the less sophisticated fans away from everyone else.
In this way, Paramount Pictures has succeded in being 'non-judgy' while upholding a high standard - similar to the first moments of Battlestar Galactica, before it became a political show out of touch with the reality of its fans and driven by the studio and state it was produced, just like the 1980 "sequel" that 'destroyed' the show for 20 years. This was, in no small part, only because of dear Richard Hatch, a dedicated and loving man who persisted in bringing back his story and others, even after the commercial value and those holding the reins had given up. Star Trek also benefited from this, in the actors support of the property, long after the official curtain had closed, and were surprised to find their fans included the best and brightest people, world leaders, and those in industry who supported their commitment to keep returning - and to uphold the best in humanity regardless of central authority or rules - a sharp contrast to "progressive socialism" popular in many countries today.
H.P Lovecraft - Call of Cthulhu

This guy, was a racist and an ass - but his suffering and his struggle with this - led him to be a better person and a great literary writer, putting into words the fear and uncertainty we all feel in a tangible form of otherworldly monsters, from which we give form to our fears and share in the horror and the incapacity they bring. Of course he made up some things about Muslims, just like Frank Herbert, but it was not all bad - adding to the mystery and making an interest in the culture in the same way that Native American mysticism and religious oral legends created a culture the colonization and relocation and destruction of the Native People by design could not wipe away or drive out of those who sustained the rites and beliefs and passed them on beyond the certainty of 'strongly documented and authoritarian referenced works' which other cultures now and presently (overly) rely.
The "uncertainty" of fact in the Lovecraft Mythos has, as a result, carried it forward 100 years, making in this a great intellectual property for which software developers continue to find value; if uncertainty about their royalty checks and to whom to address the payments to; signs of Lovecraft appear in almost every Horror movie and game of recent memory; and were first created in the absence of a concrete style of description, filtered through perception of an observer, for which there can be many interpretations and such images and scenes pained in such a way as to allow the reader to impose their own worst fear and imagination on the horror; much like Bella in Twillight, who is in text hardly ever described - allowing the reader to insert themself into her position, melting a million teenage hearts despite wholly incomplete experience and solely on fantasy to base such aspirations of idealized married life and love on.
FASA CORPORATION: SHADOWRUN

Well known and perhaps hardly liked, the game based on prior CYBERPUNK fiction and PHILLIP K. DICK books which inspired "Bladerunner", and later "Neuromancer", are "style over function personified" - and at the same time a shameless incorporation of Gary Gygax "Dungeons and Dragons" with "Cyber Punk" (Gibson) and "Cyberpunk 2012" game of yet another property owner. The game mechanic, in dice system, however set the game apart - and gave it a life which broke out from traditional number games themed 1981-1991 hobbies and games.
The artwork, drawn in a serious style of film noire, further added to this, and content made to support a very real and tangible world written from first person experiences, carried this property.
Despite this, a competitor hired the employee of such company and made a clone of that game system then using the intellectual property of FASA CORPORATION, then under legal stress for its theft of character images by the true owner and Harmony Gold; unable to fully defend itself or assert its rights against this industrial espionage of 'game design and mechanics'.
As a result, Shadowrun faded into many later reprintings, seeking younger audiences and in doing so alienating its more serious fans and customers; until it was almost forgotton after several failed software attempts to conver the game in the era of 8 bit consoles.
WHITE WOLF PUBLISHING: WORLD OF DARKNESS

Based entirely on an MGM movie screenplay, "NEAR DARK", this game hired the developer of SHADOWDRUN to create a slightly different range variant of the prior system, and then co-opted the intellectual property of the MGM film shot in Oklahoma, to market it as if there were a small shred of anything original in the work. Excellent art by Tim Bradstreet overcame this shortfall, aided also by the popularity of "LOST BOYS", "BLADE", and other vampire movies which helped secure the supernatural genre and narcissistic elements which appealed to ages 14-24 playing the game. However; the strong drug abuse and sex culture in the content quickly turned older audience members in mainstream business away from the property; while it continued to adapt content from other games, well known language, and import wholesale the racial and ethnic and cultural characteristics of Ireland and Scottland, as well as other nations in later works; increasingly becoming more confused, until the 5th volume (Wraith) was so mixed up it could not be played in the format it was shipped. When the demo team of this company appeared at our events, they were under the influence and in an altered state of mind suggesting they were unable to perform even the most basic theatric work, and in interaction with minor audiences suggested "lets get drunk, get stoned, and get high" to rally minors to follow their direction to suicide themselves into the game so they would "use the boxed set commercial mechanics" and stop simply playing pretend without any need for the game system rules in a very social manner.
After being banned from several Oklahoma events and told not to return by promoters, the company began seeking to assert it had a 'monopoly' on the 'performance' of its literry works in "Minds Eye Theater", and such claims were wholly false in the license and predicated written claim it was an 'aid to existing live action and event hosts' sold for use without royalty or limitation then; after which in 2013 December the company re-issued the game to defame the performers who stood up to this fraud and union activity, including the name of their chief officer as a mosnter in teh game "Vampire: Requiem".
This really is childhish and criminal, and in context to the "Camarilla" group monopoly over all "vampire-like performance" in the state of Oklahoma, barred at law, a form of foreign taking by Sweden and Iceland themed racketeering under color of ordinary literary license; for which little credit whatsoever can be given to the WHITE WOLF PUBLISHING company.
As if to put icing on the cake, the company then championed killing gay and transgender people as playable neo-nazi characters who were responsible for the Holocaust, during the actual murder of several people in this manner; resulting in their parent company PARADOX INTERACTIVE to promise all senior staff would be removed.
Additional harassment in this matter further led to discovery that 10% of the PARADOX INTERACTIVE company is owned by TENCENT HOLDING CO LTD, a chinese firm that owns 50% of "EPIC MEGAGAMES" and 50% of "RIOT GAMES", and such activity to harm the officer prior named in 2013 December extortion threats and false sale for TROKIA GAMES contractor for his project, are in sustained threats of a similar nature continued in 2013-2020 on GOOGLE INC. websites, engaging in this racketeering activity while directly competing against the United States firm, and doing so to force forfeiture of the intangible intellectual property in false claims.
It is therefore impossible to suggest WORLD OF DARKNESS has any legal claim to any works other than their direct reprint, and all such claims made over any real person or property therein are not enforcable as of 2020 or prior at any time. The bibliography of their "source works" is retained by SHADOWDANCERS L.L.C., and clearly demonstrates in their first printing all rights actually belong to other works, for which they incorporated into a game as content without legal license, and sold in Iceland and Sweden.
Many people, frustrated by this sudden 'criminality' entering into tabletop and prior small-localized community events as a racketeering effort to monopolize the genre, left the hobby and never returned, ending the 1991-1995 period of roleplaying game practices in that era; only recently gaining some attention on Twitch.tv in 2018-2020. Dungeons and Dragons still outranks this property, as many professional parties will not aid such a company ever again. Failure to pay artist Tim Bradstreet led him to break from the firm, along with other developers; and form their own companies, which carried on the work well in properties like "ARMAGEDON", a great product that deserves more attention than WHITE WOLF PUBLISHING in original content and narative basis, wholly original works.

Summary

There is - therefore - a right way and a wrong way to go about managing an intellectual property. And failure to give regard to such boundaries and conduct create permanent and lasting division from which ordinary civil and business relationships cannot again emerge. When these 'toxic' properties are integrated into larger firms, they impair all operations of those companies, and create the apperance of illegal trust activity where sustained violence or harassment to quash legal claims against racketeering and coercion are ongoing to all parties in any way engaged with a toxic asset or franchise.

BEYOND WAR

SHADOWDANCERS L.L.C. owns wholly "Beyond War", a property that is not related to Battlestar Galactica, Star Wars, Star Trek, H.P. Lovecraft, the J.R.R. Tolkien Estate, WHITE WOLF PUBLISHING, PEARL ABYSS, TENCENT HOLDING CO LTD, Nippon Telegraph & Telephone, Alphabet Inc., any joint trust between those parties in part or full, nor are any claims against it valid arising form such allegations in concert with child kidnapping and child abuse to quash its right to seek investment in 1991-2020.

Beyond War does not take place in the year 30,000 to 40,000 A.D.; nor in the "GAMES WORKSHOP PLLC" universe so made on that concept themed "Warhammer" or "Warhammer 40,000" content; despite the many genres of prior properties those assets enjoin illegally.

Beyond War is also not a game based on the clone by Crowd Control Productions Inc. made after refusal to hire James Allen and threat to create and sell Beyond War overseas in 2001, prior the creation of the product then in 2003 May on credit by the Icelandic business and national support for such product to suggest a monopoly over proprietary technology retained and never licensed to CCP Inc.; PARADOX INTERACTIVE, TENCENT HOLDING CO LTD.; PEARL ABYSS, or other firm.

Effort to coerce Beyond War to use or adapt the Unreal engine to produce the game are themed criminal racketeering on concealment of a minor child, with threat of murder; and will not be applied now or ever. These claims by NTT employees and contractors in the United States and other countries increased the delay in shippment of Beyond War, and damaged its accessibility to national audiences.

Beyond War is a proprietary engine for spatial navigation and signal warfare based on a new type of software design not common in the microcomputer server area; reliant on specific hardware, and efforts to purchase such hardware by SOFTBANK GROUP INC. in joint with TENCENT HOLDING CO LTD appear anti-competitive practices linked to a formal antitrust complaint, barring access to market in light of discovery of TENCENT HOLDING CO LTD interest in RIOT GAMES and EPIC MEGAGAMES.

Beyond War is a space-war simulation themed a "serious warfighter and signal warfare" system described in 1997-1999, from which the labor export without license to falsify and sell the product in effort to discredit the United States developer escalated to the kidnapping of his family members and their 17 year concealment in effort to force surrender of Oklahoma trade secrets in this commercial industry, including false comparison of Beyond War to several opther properties and claims themed "monopoly claims" seeking to disable the Oklahoma Constitution XXIII-1A "RIGHT TO WORK" of the American developers, a form of credit sabotage and false prosepctus activity.

Beyond War is themed on several principles of character and warfighting technology, interpretation, and parallel technology now widely known as cloud computing and artificial intelligence in advanced avionics guidance and aerospace technology covered by the Wassenaar Arrangement, themed "dual use military technology" and its forced export or sale from the United States subject import/export laws; for which the joint activity of funds by SoftBank Group Inc, and Saudi Arabia, are a reported threat to the United States national security in interest in these coercive claims and frauds to disable Beyond War and its developer, SHADOWDANCERS L.L.C. of Oklahoma.

Beyond War in its fiction is predicated on unique mechanisms of data information storage and retrieval with human-machine interfaces themed science-fiction literature, and so protected in registry of trademark already and in formal notice also against infringement; to include direct mind to mind transfer of memories and their organizaton and use as files or signal weapon systems; high speed movement not consistent with motion in any other conventional game so far produced - and representation of this movement in a manner consistent with a theory of physics in high and low energy which is related quantum technology not to be confused with 'black holes', 'collapsed stars', or other smaller low-gravity stellar events. Reactor technology in this is proprietary to Beyond War, and affects causality in non-linear time and space; whereby potential energy is harvested and deployed annihilating alternate realities and patterns of life on a cosmpic scale each time a weapon is fired or a ship engages its engines - literally destroying reality to fuel war machines that can devastate solar systems and move galaxies or stop their motion. IN this regard, no other work in science fiction has approached this level of energy in simulation or illustration, and such claims to mitigate it to that of a smaller event like "The Black Hole" by Walt Disney, are like looking at a toilet flush and suggesting it a simulation for naval warfare in the Pacific like "Axis and Allies" tabletop games. Prussian "Hegelian" critics, unable to accept these denials of access, have imagined this to be a world of chaos and abuse of players similar to a "god mode" game, to justify their lifetime ban from all future access or play. This mindset suggests a serious mental illness, and Beyond War is a satire of this "limited capacity to think" which may upset some players or political groups.

Beyond War suggests, in the final war, only one person will be the winner - and that is not only good, but has already happened. The ablity to live with that knowledge, like the increasing awareness of the "Mythos" in H.P. Lovecraft genre properties; although completely different, compose the "horror" that such experience suggests, while players struggle to interact with each other in the 'dirt' like the monkey in 2001: A Space Oddesy, unable to comprehend the scale of events and future as time allows them at that stage of their development, while the Universe stares back from a position that is outside of linear time and space, considering them as well. This "consideration" is the basis for "Beyond War", contrary all claims of technical elements, and fundamental to its overall design and application structure as a simulation with layers of complexity above and below the fundamental 'player experience' or 'close-quarters-battle (CQB) between capital warships that have interstellar and intergalactic capability of travel'. The scale of the Universe itself, is captured, in the conflict and the scope of Beyond War, and such tools and technologies to understand how that is not overwhelming are component to its secret and design a function of the player's enjoyment in discovery, similar to a good 'detective' in a Lovecraft-themed game.

Therefore, comparing it to a 'trench warfare' game in an era of modern mosaic combat arms and air support - is absurd. As is suggesting it maintains in common much with Battlestar Galactica or Star Wars logistics and regional conflicts; themed 'the death of a few solar systems a significant moment' in Star Wars, but never in Beyond War. Nor to minimize the death of billions of people, or suggest it less relevant in the loss of even one person on one planet in one small house - somehow less relevant than all those worlds; alien to Beyond War in style.

Every person matters, to a warrior who can be anywhere and everywhere at once... it is not the scale of war that imparts its fury or terror. It is the possibility that we should lose the one we love, for which all others are lesser still - and still have value; that vexes the Progressive socialist mind and its tenancity to convert people into commodities or rationalize the loss of any life.

The power of Beyond War is this "value" system, which cannot be monetized; and the importance of each life - even when life is eternal - because it cannot be replaced.

In Beyond War, you do not fight for the planet - for all the people - for the glory of their endorsement and praise. You are fighting for one person. Just one. And the Universe, which stands against that One, should be afraid.

The lesson of which is simple: Do not harm the One, because He is Forever and Unforgiving - and He is Real.

In Warhammer - you Fight the enemy to exterminate them.
In Star Wars - the Emperor and the Empire
In Star Trek - the loss of courage and faith in others
In Lovecraft - the desire to discover will kill you
In Shadowrun - the world that doesn't value you at all
In Vampire - the old fight the young, for power over nothing
In Beyond War - the fight is to survive, not to win, against God, and the fear you become Him

"The One" is not a chosen or special title of the God at the end of the tunnel. The One is the person or thing that is most special to the people who possess the power to utterly destroy your entire world and all the stars for as far as you can see. The One may be a particular beautiful woman, or a small child, or a man who has no idea how important he really is to her - but you cannot know, and so you must tread softly - for you tread upon His dreams - in this world... Beyond War.

The very idea that an offense against an individual, even by proxy, can destroy your entire planet and civilization, is a step back into the sacred and the legends that caution those species who have lived - and the discovery that those who did not - suffered more than even death can bear to watch.

There will be those that search for this power, who will seek to seize it, but the power itself is in the hand of an individual - not a collective or community - to give, or take, or use. And in that way, it terrifies the "socialist community", who rely on the concept of consent to suggest the sole use of force and authority a political right. It is offensive in every way to their mind, and for this reason, it is a story that must be told to this generation - before they learn of the basis for the deep dread that very idea instills in the heart of everyone who hears it - as if a genetic memory of the last time this occurred; and fear that stretches billions of years down their bloodline to their very soul at its consideration. At the prospect of the wrath of a living God who knows them and all they do.

In Beyond War, that is the story of the "STRYX", and the use of that by those who wish it were not against their person, offensive in the extreme to the point of deceit and fraud to dilute the very name - the alien being that spoke a word, and left the Universe silent and empty and still - to contemplate the question again.

"STRYX" literally means "Death, waiting for the answer." The watching one. The Call to Speak Your Name in Judgement, waiting for your answer. Waiting to see if you can speak the word, that is Beyond War, in reply.

The character is and has been a part of Beyond War for 28 years of work, featured in CELESTIAL KNIGHTS: BEYOND WAR, and is not "The King of Kings", or other characters also in this literary fiction. The effort to suggest as fact something about these components by any 3rd party is, on face - just fraud to deny the name, and only answer that those parties for their region or nation are permitted to give. The questions, simly, "Do you know His Name?" - the passphrase to the Dark that calls to him, where he dwells, the King of Kings.

Those who hate Christian mythology are furious, but this is not the Testament of any gosphel. Only the language of the people for something else that lies beyond your vision, waiting, listening - to hear your voice and your answer.

"Do you know his name?" He who dwells in The Dark.

Aliens and Beyond War

The aliens of Beyond War are, in some ways, similar to human beings. We are, in some ways, a fraction of just one subset of one 'species' of the 13.

Those who are small, those who are fat, those light and pale and old, those who stand upon the stars, those who hunt, those who count, the engines of war, the living volumes of knowledge, the bright and the dark people, the high tower lords, readers of souls, and the watcher.

Ships full of little people and old caretakers, short lived lovers, bitter eternal and childless men of steel, the wolf-father, the dragon-mother, the red breath, the dwellers, the seekers, the legends lost, the lonely seers, all the eyes of the forest - these are their names.

Their designation and relations, less important than the fact you will be overcome.

Not by the many. Nor by the few. But by One.

And in this, and only this - learn to stand alone.

To stare alone - into the dark - and know...

...you were never alone.

Such is Beyond War.

Monopoly Claims Versus Beyond War

Because of the media that Beyond War was actually written for - a proprietary private network for microcomputers that is physically distinct from the public INTERET, designed by a former senior software engineer and telecommnications adminsitrator with 25 years of independent tabletop game system experience and design; active in software testing and development for multiple firms and in film and video processing like WETA DIGITAL; this is not your 'television' screenplay moment to come forward and cry "monopoly".

Stern words, bordering on questioning your parentage and right to call yourself human, are sure to follow what has taken 29 years of work to bring forward over obstacles including attempted murder, a simple software product, that the word 'monopoly' should not roll off your lips in any form or fashion, not predicated with a fucking court order and citation of legal information supporting your treaty with the country publishing the application.

This game will make China and Japan look pretty incompetent, if not downright evil, after what their labor unions have done to delay and bar its release, defending the Holocaust and World War 2 activities still themed war crimes.

More to the point, no other firm has a history of clear title in the dispute, to raise legal claims whatsoever not then enjoined with violent child injury sustaining this illegal disruption of ordinary business, a point of foreign national acts of war, for which no franchise they commission should be an obstacle to this simple and fundamental publication; or injury justified to sustain any claim of payment or credit against its works; that does not impeach their entire catalog of copyright and patent claims on face.

Respectfully, many real authors have done good work, and do not deserve to be associated with Sweden and Iceland in their criminal taking of U.S. property and violent threats, credit fraud, and false claims to suggest some monopoly over space war games and concepts described in detail by Beyond War in early 1997-1999 hiring - which those nations felt a privilege to then extend 'offer to hire' to the actual owner of the property after direct harm to his child disabling his work then a crime under International Law, or sustained denial of service abuse similar to "Firewall" denial activity by Japan and China to sustain a loss of credit then in competition with the American Developer.

Those persons supporting these acts, on the basis of endorsement by such nations including SAUDI ARABIA, have harmd the technology sector to the breaking point of any mutual collaboration with those organizations, or ordinary rights.

Prior works, made for television and serialized entertainment, naturally developed based on general appeals and interest; and were privileged to enjoy film and later digital interactive media beneftis; for a very long time. Beyond War makes no claim to similar success, but retainst he right to compete or publish regardless of 'prospectus of income' or any 'projection', and such claims to prejudge the work outside of sales and offer or speak for the company are political and criminal activity aiding in human trafficking and crimes now against humanity and International Law.

Content designed for television is predicated on the audience that financially supports tht content. As such, the content in BEYOND WAR is predicated to its investors, not to those persons who want to make it into a "Battle Royale" or "First Person Shooter" or other product, and such demands are both ignorant and dangerous activity in the market not permitted.

Likewise, those persons who are alleged professional industry personnel, either in broadcast products or computer services, who are making demands to force disclosure of designs, predictions, elements, or other parts of a production prior its release - are not doing so to establish any "RIGHT TO WORK" in the field, and likewise are claiming that such release is copyright free and subject taking - a crime in orgainzed activity by the group so identified as a criminal racketeering extension and unregistered foreign agent of NATION OF JAPAN acting for PEOPLE'S REPUBLIC OF CHINA, and such actions are industrial sabotage under color of public non-commercial provocation - similar to ANTIFA paid rioters and terrorism during 2019-2020 acts of war by China versus United States equity holders.

We therefore condemn China and Japan for their actions, and their partners Iceland and Sweden, and Saudi Arabia.

Beyond War is built for a platform known as "Massive Multiplayer Operating System" (M2OS) owned exclusively by SHADOWDANCERS L.L.C. - and not for sale or license to any firm participating in these dealings, as shown on our chart of NTT / SoftBank / Tencent and associated brands activity and clients, in perpetuity.

Efforts to force or reverse engineer this technology will be considered criminal and acts of war.

The dynamic of the player activity and communications systems, simulation, and multiplexor live audio and video special effects are all proprietary software, and do not afford to those countries or their franchies businesses or any other person any rights or claims as propreitary software of the same class as drivers for other proprietary hardware and software, themed trade secrets and not subject disclosure to enjoy rights and protections at law.

Public claims to the contrary, in fraud, are criminal enterprise which we now allege are a formal fraud by the prior nations, in concert with embezzlement from the treasury of the United States so alleged, and foreign to the CHICKASAW NATION RESERVATION so made in McGirt v STATE OF OKLAHOMA which situates SHADOWDANCERS L.L.C. now firmly inside such borders and in occupancy for 45 years its private freehold and protections at law and of the State of Oklahoma and common law themed 1907 treaty a full enforced right enjoining United States to their full protection and enforcement. By the grace of God, the actual country moved from under our feet, and so you should take a hint and stop any claims that do not have our contract to use our property or suggest fault or professional defect in your interest; if you value your own agreements and immunity whatsoever under law with any of our peers or neighboring country.

The scale of play afforded M2OS is expressly unique, pre-dates impementations of such design by UNITED STATES firms and MOJANG, and we hold a claim against such contest in regard to full rights and authority to disbar such patents filed in 2001-2020 or later arising from the prior use of this technology by Beyond War and M2OS, for which illegal lien and illegal coercion to surrender this property predate the sale of MOJANG and its incorporation. Mojang was founde din 2009 by Markus Perssen, after our designs in 1998 on limitless space and presenation on the database and organization of such space a property of SHADOWDANCERS L.L.C. so published.

While we appreciate the creative content in the products of similar concept, like Minecraft, we do not accept any patent claims for that product are valid in our state or region; nor preclude prior designs made; and such registration part of the suit in 2001-2020 extortion on threat of murder and attempted murder of our staff.

Our purpose is not to stop MOJANG in their business, but related to the infringement and fraud to deny access to ordinary systems and enerprise for which such claims have no legal basis in concert with criminal coercsion by NTT and other companies then enjonied to SWEDEN and ongoing active disruption of our business in promotion of false patent and false claims in infringement of commercial works.

We hold no grudge against Markus Persson for his work, but cite the involvement of PARADOX INTERACTIVE in SWEDEN and direct abuse by SWEDISH firms to threaten murder against our developers as lawful cause to terminate to SWEDEN all rights and claims of academic authority on such conduct, in neo-nazi activity suggesting a euginics cause for the taking and concealment of the child of our company founder.

There is - therefore - no legal correlation or substantial code comparison between the java-based MINECRAFT product and M2OS, and any suggestion is fraud designed to damage both companies work; in a pattern of look-alike fraud both firms experienced substantial difficulty to overcome.

Intimidation of game developers for content is one matter, but when it escalates to forced taking in the injury to their children it exceeds all civil rule of patent or other academic monopoly to suspend even national claims in cause of anti-Genocide rules and protections obligated non-participation in complicity.

The M2OS is a signal system among multiple decoupled server applications, creating a network product with proprietary API capable of enjoying multiprotocol encapsulation and future network technology beyond TCP/IP, whereby message systems allow for very large and scalable scientific computing themed in artificial intelligence research.

This sets M2OS above other client-server and multi-user stateful game worlds (sharded worlds), and has since become the central focus of criminal espionage to produce and assault the networks testing these platforms from encrypted private channels between server test sites.

Use of a product like this is like building a new kernel from scratch, designed to talk to other kernels as a core design feature and adapt to that 'knowledge network' with variable and identified capabilities over a progressive version control system inherent in the network fabric and routing system. As a result, ordinary softare developers may not understand the nature of this relationship or management, much as the telephone system operators did not understand packet switched data networks in the early years of the milnet and DARPA work for the later public INTERNET. Beyond War is a "vertical applicaiton" designed by and for this fabric, upon which other applications may later base substantial shared component libraries and standards, which are not at this time a shared or public licensed property nor optioned during ongoing 2001-2020 disputes with the UNITED STATES taking for concealment of a child to coerce their disclosure or sale in false claims.

Potential for "user happiness" and "player satisfaction" ordinarily drivers for specific audiences in target retail entertainment products and services, and the level of sophistication of such users, is not a relevant metric to suggest fitness of purpose or merchantability of product; and such claims are themed securities fraud in the United States by any person who is not a consumer reporting on their own product experience; and allowed to do so without prior civil non-disclose non-compete contracts for such use now.

Persons seeking to bypass those contracts are engaging in felony industrial espionage, industrial sabotage, and grossly misrepresenting the nature of the project due to interest in their own compeitive and high-value foreign industrial activity; for which our research has disclosed is an extensive illegal trust so formmaly alleged now in criminal complaint.

The artistic and literary fiction publicity made and generated by Beyond War now is specifically restricted to omit all technical claims and data, predicated on that threat and ongoing harassment not resolved by the parties in UNITED STATES themed 31 U.S.C. § 3729(a) "false claim", so subject relief in II-6 rule.

As competitors are devoting billions of U.S. Dollars to the disablement of any competitive project, in the effort to weaponize and market such technology first to specific clients; we are aware of such abuse - but warn the public not to participate on consequence of the most serious charges in this harassment, fraud, or other criminal activity to include commercial harassment or false claims; and be fully aware no burden of proof or disclosure is a duty of SHADOWDANCERS L.L.C. or any employee or licensee to require full and immeidate compliance.