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Beyond War - Contrast to other Modern Works

Star Trek: Discovery
Rebooted by CBS, this show illustrates how foreign purchase of traditional American titles through International investment and alteration of cultural treasures, properties, and mythology in a modern socialist dialectic with strong feminist extremist mysandry evident in the writing and performance under license by CBS. (est cost $125 million USD)

  • "All life is born from chaos and destruction." - S1 E1
  • "Saruth's Kelpian, he thinks everything is malicious." (racism) - S1 E1
  • Striking a senior officer to assume command of a ship. - S1 E1
  • Classification of Klingons, an empire and state, as terrorists. - S1 E1
  • Endorsement of sociopath tendencies in place of reason. - S1 E1
  • Targetting of historical objects as a tactic. - S1 E1
  • False report of 'engaging' the Klingons in first contact. - S1 E1
  • Recasts Klingons as 'black' and whites as Nature's Mistake. - S1 E1
  • Gross insubordination to a final decision in violation of all military protocol - S1 E1
  • Placing explosives in enemy soldiers bodies - S1 E1
  • Boarding actions after a cease-fire to assassinate an officer - S1 E1
  • Derogatory portrayal of people of Indian Origin - S1 E3
  • Refers to criminals as 'animals' - S1 E3
  • Numerous instances of women attacking men physically in war - S1 E3
  • Use of prison labor to win a war without constant slavery - S1 E3
  • "I never met a female named Michael." (sexism) - S1 E3
  • Use of the term "lurker" as a derogatory meme - S1 E3
  • Racist representation of Irish ethnicity with NPD - S1 E3
  • Gross misconception of physics and biology in broad terms - S1 E3
  • "They beamed on to steal our tek" (use of slur Tek) - S1 E3
  • Suggestion of breach of the arms treaties in unsanctioned war - S1 E3
  • "Universal law is for lackeys. Context is for Kings." (core non-principled socialism) - S1 E3
  • Cultural assimilation through racial references - S1 E4
  • Progressive assumption of prejudgement and stereotyping - S1 E4
  • (male) officers lying to female superiors regarding deliverable goals - S1 E4
  • "... a selfish little man, who put his own ego above the survival of others." (socialist dialectic shaming and emasculation in gender defamation for the greater good) - S1 E4
  • Theft of vital supplies without authorization due to feminine trust as a value - S1 E4
  • Creation of a Klingon House of Matriarchs that practice lies and deceit in place of honor - S1 E4
  • Nipple Clamp Starship drive (really, look at the clamps) - S1 E5
  • "Why give everyone another reason to judge you?" (socialist rationalization) - S1 E5
  • "Choose your pain." Torture of unconscious prisoners my masculine Klingons - S1 E5
  • Patronizing of male scientist in a socialist persuasion effort to stop POW torture - S1 E5
  • "I never knew my father." (normalizing father's as abandoning children, single mother was a teacher of elementary school - substituting for security clearance and vetting of officers by stereotypes and socialist genocide activity) - S1 E6
  • "Rules are for admirals." (justification for unrestricted eugenics war) - S1 E6
  • "You sleep with a phaser in your bed!" (radical feminist diagnoses mental health and qualification to command based on possession of a firearm) - S1 E6
  • "I can't leave Star Fleet's most powerful weapon in the hands of a broken man." (mysandry emasculating a man after sexual intercourse, using rank and psychological invalidation in classic radical feminist abuse) - S1 E6i
  • "I don't want to ruin your career, but when you return we'll talk about how you stepped down. And after you get some help, maybe we'll put you back in that chair." (passive aggressive socialist threat of blackmail, common in the socialist dialectic) - S1 E6
  • "I used to go for soldiers, but now I'm into musicians." (Tilly, Irish stereotypical supporting cast girl) - S1 E7
  • Princess Leia hairdo on Tilly, like anyone wants that look, especially when disclosing confidential medical information and prior a Johnathan Archer pre-battle speech - S1 E9
  • "I've treated patients with PTSD symptoms. He's in shock. He's not going to be of any help anytime soon." (emasculating and disabling the male commando on facing his torturer immediately, just seeing her face) - S1 E9
  • "Terran strength is born out of necessity, out of fear." - S1 E10
  • "Whatever you do, or this place makes you do, I am here to protect you..." (male affection portrayed as mental illness and dom/sub sexual roles) - S1 E10
  • "In his Universe Stemets corrupted the network for his own gain. He's the one who corrupted it." (strike against for-profit activity as evil in a metaphysical model) - S1 E12
  • "Eva. Her name was Eva. But you know how it is. Somebody better came along." (demonizing all male affection as improper sexual attraction) - Lorca, S1 E12
  • "The Terrans must be aware of this flaw. It is unsustainable." (abuse of slipstream drive to blow up planets) - S1 E13
  • Let's throw in a Klingon 'species reassignment' (gender reassignment, emasculation of masculine character into beta male) for good measure, along with PTSD caused by this without consent. Being justified because 'he was white' (and therefore escaping racism among the Klingons) - S1 E15
  • Letting a genocidal maniac go, because she looks like your mum. - S1 E15
  • Justifying unity by threatening to blow up your home world (eco terrorism) - S1 E15
  • And finally - creating a warship that runs on LSD (mushrooms), with a surfing reference, to justify killing an entire ship full of 'human supremecists'. - S1 E14
  • And tricking the main character into sleeping with the 'species' that killed her parents, specifically her mother... slowly... in front of her. To forgive them (progressive theology). - S1 E14
Beyond War does not gender stereotype, portray masculine values as 'war like', or inferior to women in leading character roles. Nor stereotype persons as characters based on social and moral judgement or identification, to serve a public presumption of rational relative morality, racism, and identity politics essential to the mein kampf scarcity model of the socailist dialectic.

Women in the Beyond War and AM24 Universe are not based on the 'property' model of Islamic and Asian medieval exploitation common to Earth, as rape and sexual violence have evolved beyond gender limitations with the advent of genetic weapons and the Sanguine war engine. Interference in the reproductive rights of people have been escalated to war crimes and are treated as genocide acts even in isolated incidents by all forces, considered greater violations than use of nuclear weapons, biological warfare, and stellar mass destruction as a violation of racial identity. None are more violent in this case than the Sanguine themselves.

The Sanguine do not maintain human form out of necessity. They choose it out of religious conviction to the Prayer of Blood, which affirms respect for human life including the experience of mortality. Remaining masculine and feminine in form is their 'worship', and violation of those roles a deep offense against their seraphim - their 'Kings and Queens'. And when rebels arise who dispute these customs, the unrestricted use of the ancient powers are disturbing beyond even the imagination of H.P. Lovecraft's worst nightmares. Full unrestricted eugenics war with high energy technology integrated into the ground soldiers.

The sanguine are a weapon that can walk through a garden and kill only the aphids. As are the weapons that hunt them, able to kill based on eugenics. Like the Sanguine, those weapons can read a species with a touch, formulate a customized weapon, and deploy it within seconds - or detect the guilt or innocence of its purity.

Primitive worlds are not subject to the same conditions, nor subjugated worlds punished by the same standards, but Sanguine are known to retaliate in their own domain. Yet when these articles are violated, Sanguine reprisal is rarely far away, even in violation of treaty as they consider this a matter of honor - their one value over time they hold in higher worth than worlds or territory.

This may be why the Sanguine remain resilient despite computational computer automation and biological war machines created to combat them - because they do not fight for the rational or strategic values of accumulation - but for the simple value they see in the people, in individual people, and their ability to sacrifice many for the sake of even one

It is written in the Prayer of Blood that the entire Sanguine race was created for one purpose, to fight one endless war, for one person. As hard as this is to believe, or how many lives have been lost in the process of the War, one cannot doubt anything written in light of the weapons at the disposal of this race. Or the strength of the customs that endure in the memories passed on from one generation to another that prohibit their ability to yield or surrender even in the face of unimaginable terror. Somehow, nothing is more terrifying in all the War than some memory passed down since their beginning - which allows them to fight against all odds.

The Terminator
One of the great early 1980s properties, Terminator has suffered some tremendous reboot issues - over and over and over again. Surprisingly the television series, prior to taking on religious A.I. as a counterpoint 'progressive' development, was doing very well thanks in no small part to its female lead, portraying a young T-800.

Movie renditions have repeatedly attempted to portray a female terminator using the polymimetic alloy ended all stability for the series, followed by substitution of male actors until the return of Arnold to the role.

While production quality has improved, the imagination of the HK and time travel elements continue to degrade due to writing flaws repeating old gags. The Terminator franchise was infringed by Games Workshop during the early (1987-2002) period of Rogue Trader. Like the ABC robot and Tomy Zoid properties Games Workshop used to launch their Judge Dredd comic adaptation to tabletop wargames, despite no license in any case, the Terminator franchise sought to protect itself with aggressive litigation.

Almost 40% of our work for Beyond War has been in an effort not to duplicate the Terminator franchise - including a ban on all time travel in the canon of the Beyond War Universe. Terminators are, technically, robots with camouflage made of organic tissue, not true cyborgs composed of living tissue or 'synths' commonly found in Fallout 4 and the BBC series 'humans'.

Synths, in this sense, are distinguished by no discernable element other than a synth component (Fallout 4) or green blood (BBC Humans). Both series have overcome the stigma, rightly earned through gross abuse of B-films ripping off the property - some (Nemesis 1) better than others.

In Beyond War, an artificial self-replicating species designated as the Tyec, short for Azure Technologies, and a sarcastic comment on the abuse of the word 'Tek' by Star Trek liberal writers failure to grasp hard science behind the work they perform, often generalizing technology badly. Two movies provide a great reference of similar concepts in auto-replication technology: Screamers, and Moon Trap. The original of each film demonstrates excellent weapons technology concepts mutually exclusive of the Terminator franchise. This was seen to a lesser degree in the Stargate SG-1 series aliens 'The Replicators', who eventually took human form as well (synths).

Star Wars
As much as we all love 'the force', it is a terrible plot device. At one point a story about childhood alienation and bad parenting, we came to realize over time it was a story about child kidnapping, parental kidnapping, the protection of slavery to protect socialist 'greater good' values, and ultimately a rebellion against that rape and torture by the destruction of all the core worlds - even if it cost us a good man (Han Solo, the Dad who would never give up on his son).

The Jedi are some real dicks, telling Luke's mother her husband was a child killer to track him down - then carrying her away after leaving him to die on fire then purposefully hiding his children with their friends and an abusive uncle who basically slaved the kid out. It turns out the Sith just wanted to stop the bad guys that apologist socialism and the attempt to overthrow the republic that the Jedi planned prior the death of Mace Windu. Anakin was right, and all the things that the Rebels did - only justified his actions. A man of his word, he did kill Palpatine and save the day. Sadly, Luke has become more of a symbol of socialist values than his sister, right down to the 'dust off the shoulder' symbol of invalidating disrespect used by Antifa.

Frankly, we want none of that. So no trademark 'lightsaber' technology and precognition, or ability to move things with magical midi-chlorians, nor any excuse for microscopic life form governing a religion which can be rationalized or measured scientifically.

Beyond War uses spatial manipulation to alter conventional movement, jumping from point A to point C without passing through point B, unlike ILM hyperdrive or Battlestar Galactica. After all, if you don't have shields and hit a mouse in space, it's much worse than a birdstrike on a 747. Direct jumps through physical space are primitive and dangerous, like old moonshots. Not common in Beyond War, even if possible.

Turbo lasers and other sublight and near-light speed weapons are also not the common class of weapon in Beyond War, making direct point defense the only instance that cannons and turrets ever become effective. Like old dogfights that no longer occur most kills occur at greater than one light second distance, but also like the legacy of dogfighting - occasionally you need a cannon. In those roles, traditional weapons still have a place, but are mostly for fighter and drone defense, torpedo defense, and missile defense.

This makes Beyond War more similar to films like "The Last Ship" than Star Wars.

Warhammer 40,000
Based on the Judge Dredd license, and content from ABC robots and other properties by Tomy, Games Workshop played a license violation into a large body of fiction and several editions from 1987 to 2018, including many video games. The game system and artwork produced by the company, along with their take on the Roman Empire and adaptation of racial parodies of the Nazi German troops as 'green-skinned Tolkein Orks' and space elves, space dwarves, goblins, and so on. Since this time efforts to impersonate the Games Workshop products maliciously, GW UK took extreme action. This action created backlash, and substantial loss of confidence in the product, despite many game titles, with little improvement to the core engine or dynamic. Eventually, the litigation reached a point that GWUK and Blizzard Entertainment entered into suit over the 'look and feel' of their giant shoulderplates, prior claim by the correct author (Judge Dredd comic books) asserted their right to protection and prior use.

We love the content, but to ensure that Beyond War is not confused with Games Workshop, and their Orc/Ork controversy, our game avoids the use of Iron Crosses, German Helmets, oversized jump packs, chainsaw swords, and 'force' axes/swords, as well as explosive giant guys in crazy armor suits.

Instead, our Sanguine create biological weapons and armor based on their own genome, forging combat suits out of genetic material scavenged from the battlefield and reformed into sentient suits with coprocessors capable of augmenting and plotting the situational awareness and actions of the combatant in parallel with the wearer. There is no religious mystery in the technology of Beyond War for the primary races. Religious attribution to technology is offered only as a ruse to discourage primitive cultures from pursuing dangerous technology that must be controlled or restricted, and such discovery due to the null-point library system practically impossible to maintain. The entire knowledge of the human race can, literally, be contained on the head of a pin and read by a housecat, in the Beyond War Universe - making its control impossible to achieve without overwhelming loss of life.

Despite this, ships and fortresses are often built to pass as cities and fortifications on primitive worlds, and due to the ability to launch an entire planetary assault from a cadre of a single soldier in a fortress.

This scale of war is not within the scope of the Warhammer 40,000 Universe, even in the terms of Necron pyramids and Eldar worlds - the Beyond War Universe is a battlefield that can produce planetary populations in a few days for planetary assault, as well as individual soldiers with weapons capable of defending against and destroying those sort of forces. It is simply not on the scale of Warhammer 40,000 - which remains smaller and less organized in contrast to the communication technology of the empire and the Cataclysm in the Beyond War Universe.

While we provided content for players of Warhammer in the past as a fan, no content was paid for and never transferred to Games Workshop. When Games Workshop included the trademarked name 'stryx' in the last edition, it broke all agreements with the developers of the previous content, and lost any rights to the content prior produced including the 'Codex Squat', 'Codex Brain Boys', 'Codex Shadis' and other products of the SDA3 group in Ada, Oklahoma. The author of Beyond War was not amused by use of his name and the description of the alien in the last edition, at which point he withdrew his content supporting Warhammer tabletop games (5th Edition), after coining and codifying the editions publicly in the late 1990s.

Beyond War is not a miniature tabletop game, and does not intend to infringe upon the Warhammer 40,000 tabletop game that the work was performed nor share any of the same mathematical systems or limited scope (one galaxy, only - not multiple galaxies in Beyond War). With respect, errors by younger writers incompetent as to copyright and prior agreement and credit cited to aid Warhammer 40,000 as a small hobby, resulted in substantial effort to take the Beyond War video game and lore in a completely different direction.

Efforts to compare the two games or ignore the 1991-1999 professional promotion of the product which ended with the child kidnapping in 2001 and loss of support during the attempted murder of the developer. Ground war and fast strike forces are in no way similar to the classic seige defense concepts of Warhammer 40,000 and population management models by force and religion. In Beyond War, most battles are over in hours, not days or years - in Beyond War. There are no elite legions or fleets. Any strategic target or force that is static, is already dead in the Beyond War Universe. "That which is static cannot hold."

In this line, the Sanguine often hide among planetary populations and disguise themselves as little old ladies, old men, children, and even household pets. Your goldfish might be a planet killer. Or your mother-in-law.

Palladium Books was very successful with its dimension-hopping sci-fi mech plus magic game similar to FASA Shadowrun, in a war-torn post-apocalyptic Earth. The artists of this game were amazing, but the concept of psionic abilities, armored soldiers (Golden Boys), and terminator-like invading aliens and Lovecraft-like slavers, still leave a human empire based on xenomorphic paranoia and racism the likes of Steve Jackson's Paranoia (RPG).

Like Battletech, any weapon system large enough to be seen from the battlefield is vulnerable to weapons of immense power and force - including use of tactical nuclear weapons in day to day front-line combat. Mechs have no place, nor are there any such thing as 'psychic powers' or magic in Beyond War. Everything is technology, even if that is hard for most races to understand.

Doctor Who
Originally cast as 'Wizards in Space and Time' before the network saw the value of the Daleks as an obvious metaphor for the national socialist violence which many felt 'must be made' - Doctor Who is the longest-running series in television science fiction history. Like Doctor Who, nothing is magic - only science, often portrayed as Magic. A beautiful concept, which was dead at the time that Beyond War was written and formally drafted - prior relaunch of the series in 2005.

Other series (12 Monkeys) have taken on time travel very eloquently, as well as ancient aliens in concept of a long story (Battlestar Galactica), but few have discussed science and technology as much as Doctor Who.

In the Tom Baker years, 'E-Space' and 'N-Space' discussed alternate dimensions representing actual places like 'The Void' and parallel Earth. These ideas and mathematical concepts definitely expose manifold space engine concepts in Beyond War, but are dissimilar concepts and mechanisms. Perhaps we have Lalla Ward's performance as Romana to thank for this.

While Doctor Who utilized sonic technology, Nikola Tesla sympathetic vibration was never used frequently, while our Beyond War system employees HEART technology and variations. While Time Lords use contained black holes to alter space and time, which some authors confuse with 'quantum singularity' terms, a black hole is not a singularity nor by its nature a 'Quantum Singularity Reactor' in its core nature.

The actual creation of matter at the event horizon of a black hole from decoupled quantum particles is similar in principle to the QSR technology of Beyond War, but based on the observation of a more sophisticated field manifold interaction which does not require the use of a high mass object to manipulate space-time. Similar recycling of the 'quantum singularity reactor' by the Star Trek writers for Romulans likewise hijacked the Doctor Who energy source. Not explaining what the QSR is in Beyond War, is a part of our story, even though the writers already have that answer in the canon file.

Deception in the development of a plot is key to any story, and efforts to force the company to reveal the next section of the book or presume it is identical to another work, is both absurd and criminal. When you find out, you are going to feel stupid you ever asked. That's the idea. But yes, The Eye of Rassilon is a contained black hole, as is every TARDIS, but it is not in any QSR.

Other Dishonorable Mentions
And a special thanks to SyFy channel for making women's programs that are so racist and steeped in misandry that mere words fail to describe the harm done to women in the 21st Century that set us all back 200 years. Specifically:

  • Defiance (the tv series - With mad white privilege references and 'identity' class bs)
  • Wynonna Earp (drunk pregnant single mother who likes demon pron)
  • Van Helsing (more daddy issues than batshit in a belfrey)
  • Being Human (socialism, and vampires, and werewolves, oh my!)
  • Killjoys (because STDs are aliens too... )
  • Dark Matter (the day you become a number, just like Mao said - progressive drek)
  • Stargate Universe (because we couldn't afford to do socialism on Trek yet)

If you didn't produce such shit, there would be no opportunity in the market for real women and new product in women's science fiction.

Most of this socialist driven bullshit can be summarized with: We don't talk or explain anything, act like abusive parents, and force everyone to make up with the villain in an effort to justify non-judgement and 'progressive' values such as the 'utility of the individual upon submission to the community supersedes the ethical and emotional violations they ever committed' in a fairy-tale sort of model to preserve SAG member jobs in low-budget productions, plays, and acid trips paid for with underage favors.

Battlestar Galactica (remake) being the queens of these projects, and an ode to Buffy the Vampire Slayer and Charmed in the core values and drama. Pretending to be original stories, while cannibalizing the past and creating a socialist drama, do not pass for literature or good science fiction. It's mainly to sell tampons, to quote LeVar Burton, meaning to solicit advertising for women's issues.

We are not that sort of company. This is not your mom's science fiction.

The CW (TV Channel) does not even get a dishonorable mention, with Supergirl (witches from Krypton), Krypton (with more white guilt than you can shake a green meteorite at), The Originals (emasculate a vampire, please), The Vampire Diaries (two boys, one cup), The 100 (angry women rationalizing socialist unity politics), iZombie (proof the undead can sleep around without guilt, cause brains are like drugs).

AMC has been doing a bit better with Into the Badlands, but it is also showing the caustic elements of feminist socialism as seen in "Fear the Walking Dead", which practically drown the audience in secrecy and trust-issues amid plant hugging child alienation and pity. Descending into the absolute 'murder' of men in the series 'Dietland'.

In contrast, shows like The Last Ship and Falling Skies remain outstanding elements from competitor TNT, as did The Walking Dead prior series wind-up.

If the character you are portraying is defined more by the color of their skin or the kind of sexual bits they have, you are failing as a writer. And if the audience thinks for a second "this is a black man" instead of a Klingon or other alien, you are probably screwing up too, and guilty of writing-racist. Likewise, if your female leads could not pass for male characters with the same dialog, you are portraying a stereotype, not real women. Men do not need to be diminished or emasculated to make women prominent and powerful - if you are a real writer.