THE ORIGINAL INSPIRATION FOR THE “STARGATE” & “STAR WARS” FRANCHISES
– A GENRÉ NOIR STUDY IN RETROFUTURISTIC MYTHOPŒIC SURREALITY FROM MY MAJOR MENTOR IN ADULT-MARKET GRAPHIC ILLUSTRATION
“IMMORTEL (‘IMMORTAL’)” is a captivating Tour of Near-Future 中-越 (“ƵChuōngg-Yuè [‘Sino-Việt’]”)-Occupied New York City whilst watching it straight, but Scan The Full Length of my Column Below Prior R/E-viewing The Film Toward[s] Contextual Appreciation of its Content(s) [— DDD]).
SEE FULL-FEATURE(D) “IMMORTEL”-LE FILM @:
When I was Professionally Illustrating Pornographic Comics for The Adult Publishing Industry before I was even of Legal Age to Purchase Them, My Primary Inspiration per Illustrative Technique was The Socialsurrealist Graphic Novel(s) Creator ENKI BILAL (born ENES BILALOVIĆ, 1951—[Aged 68 Yrs]).
Enki Bilal’s Illustrative Vision(s) reveal(s) a Degenerate American Dystopia, overwhelming and baroque, Inspired by Directors like The Most Famous Советский (“sƵoŵjetskiy [‘Soviet’]”) Cinematographer Since СЕРГЕИ МИКХАИЛОВИЧ ЕИСЕНСТЕИН (“SERGEI MIKHAILOVICH EISENSTEIN,” b[irthed] 1898—d[eceased] 1948): sƵoŵjetskiy (“Soviet”) and (Later) Российский (“Rossijskij [‘Russian’]”) Filmmaker, Writer, Film Editor, Film Theorist, Theatre and Opera Director АНДРЕИ АРСЕНЫЕВИЧ ТАРКОWСКЫ (“ANDREI ARSENYEVICH TARKOŴSKY,” b1932—d1986) of “СОЛЯРИС (‘SOLYARIS [1972],’ released in The West as ‘SOLARIS’)” and “СТАЛКЕР (‘STALKER [1979]’)” Fame. Like Андре́й Тарко́вский (“Andrei Tarkowvsky”), Bilal’s Plotting is dense, unpredictable, and really repays close attention. There is also a dark, Absurdist Humour in Bilal’s Early Nineteen-Eighties (1980s) Anticipation of Extreme Self-Scarification and Body-Modification(s) becoming Symptomatic of American Cultural Descent Into Mass-Pathology.
An important Break came from a Great Admirer Whose Own Cinematographic Career Has Extended Over More Than Six Decades: Française (“French”) Film Director and Editor ALAIN PIERRE MARIE JEAN GEORGES RESNAIS (b1922—[Aged 91 Yrs]), Most Known for his Masterpiece: “広島 (‘HIROSHIMA’), MON AMOUR (‘HIROSHIMA, MY LOVE [1959]’),” who Gifted Enki Bilal The Chance to Design The Posters and some Painted Glass Sets for his Films.
Yet Another Opportunity presented itself when American Film Director, Screenwriter and Producer MICHÆL KENNETH MANN (b1943—[Aged 70 Yrs]; Ranked by ENTERTAINMENT WEEKLY as No. [number] 8 on their 25 Greatest Active Film Directors List), Most Known for his Masterpiece: “THE LAST OF THE MOHICANS (1992),” was Shooting “THE KEEP (1983).” Dissatisfied by the appearance of The Entity so pivotal to the Plot of that Motion-Picture, he Hired Bilal because he was familiar with his Illustrative Albums (Portfolios).
Bilal learnt from Michæl Mann that ALL The Albums by Practitioners of The Franco-Belgian Bande Dessinées Tradition (Contextually Denigrated by The Ænglish-Speaking US [United States] Anticulture as “Comics [whereas Same Profession is Highly Respected in 日本人 – ‘Nīpp-Hôn-Jīn,’ or ‘Japanese People’s’ – Culture as ‘Manga’]”) – Française Artists like Visual BD (Bande Dessinées) Design Innovator PHILIPPE DRUILLET (b1944—[Aged 69 Yrs]), BD Illustrator and Storyboard Writer MŒBIUS (born JEAN HENRI GASTON GIRAUD, 1938—d2012), BD Pioneer JEAN-CLAUDE MÉZIÈRES (b1938—[Aged 75 Yrs]) and Bilal himself had been lying around in EVERY American Film Studio. Americans had been Shamelessly Plagiarizing them for Years.
Indeed: Mœbius and American Film Director, Screenwriter and Occasional Actor DANIEL THOMAS “DAN” O’BANNON (b1946—d2009) Originally Created much of The Mood and Style of “BLADE RUNNER (1982)” in their Collaborative Effort: “THE LONG TOMORROW (1975)” Years Earlier; and It Is No Secret At All Across The Atlantic that The Founder, Company Chairman and CEO (Chief Executive Officer) of Lucasfilm Limited: American Film Producer, Screenwriter, Director and Entrepreneur GEORGE WALTON LUCAS, J(UNIO)R (b1944—[Aged 69 Yrs]) Completely Ripped Off The Entire “STAR WARS” Franchise from “THE VALERIAN ALBUMS (iBooks)” as Writ by Bilal’s Old Collaborator: Renowned Française Storyboard Writer PIERRE CHRISTIN (b1938—[Aged 75 Yrs]) – and Drawn by Jean-Claude Mézières – In EVERYTHING From The Look of The Millennium Falcon to The Alien Cantina (Starport Bar) Scene.
Under Threat of Class-Action Creative Properties Litigation: Transatlantic Directors Finally Deigned to Legitimately Commission these Visionary Française Artists to Contribute to Productions (exempli gratia: Bilal was Hired to Produce Preparatory Drawings for “THE NAME OF THE ROSE [1987, starring Scottish Actor and Producer SIR THOMAS SEAN CONNERY, Most Excellent Order of the British Empire, b1930—; Aged 83 Yrs, Net Worth: Three Hundred Million United States Dollars]”).
With Guidance from Alain Resnais, Bilal went on to Direct his First Film: “BUNKER PALACE HÔTEL (1988)” – Routed in the same sensuous decadent Near-Future of his Graphic Novels. After Releasing his Second Feature “TYKHO MOON (1996),” Bilal Directed his Third Film Come 2004: His most ambitious and Big-Budgeted yet. “IMMORTAL AD VIVAM (‘IMMORTAL FOR LIFE’)” – Reinterpreting The Nikopol Trilogy (see Further Below) For The Screen by Combining Live Action w(ith) / Blue-Screen Digital Imagery Based on his Artwork for the stunningly realised Décors, Cityscapes and Extratemporal Characters: The Intradimensional Ægyptian Gods.
Not Surprisingly: The Film Received High Praise and Popular Reception in République Française (The “French Republic”) when Released. It should have made Bilal’s Name Internationally Renown – particularly in The Ænglish-Speaking World, as it was Filmed in that clumsy Tongue. Sadly – apart from some Festival Screenings and a Limited Canadian Release – it has so far Failed to be Granted Proper Cinematic General Release in the UK-GB / NI (United Kingdom of Greater Britain & Northern Ireland) or USA (United States of America). It has suffered Effective Suppression by the massive Hollywood Machine. IMMORTEL is already Out on DVD but really deserves to be seen on The Superscreen w / in Surroundsound of a Cinema House.
I am At Liberty to Inform The Public that The Man Known To The Rest of The World Only as Enki Bilal is the Son of a Босански (“Bosanski [‘Bosnian’]”) Father and a Čeština (“Čzesckhyái [‘Czech’]”) Mother. Bilal spent his First Nine (9) Years in Београд (“Beogradt [‘Belgrade’],” literally “White City”), in The Former Социјалистичке Федеративне Републике Југославије (“Socijalističke Federativne Republike J’Yugoslăvijyæ [‘The Socialist Federative Republic of Yugo-Slavia’]”), a Countryland of Nations Under Tyranny of Communism still struggling Under Shadow of its own Genocidal Ethnoreligious Conflict(s) as Concurrently Compounded by Prosecution of Proactive Hostilities amidst The Second World War In Central Europe (in disambiguation from World War II in West[ern]-Med[iterranean] Europe [see Historical Post-Script Appended to Column]) – Propagandized in The Western World as The “Cold War (WW—II, Eurasian Frontal Conflict = CAN [Combined Axis of Nations: Dæirs Dritten Reiches-Novum Romanum Imperium Maius, or ‘The 3rd Empire / State-New Greater Roman Empire’ & Axial Allies] v[ersu]s CCCP [‘SSSR,’ id est The ‘USSR’: Союз Советских Социалистических Республик, or ‘Sojuz sƵoŵjetskih Socialističeskih Respublik;’ id est The ‘Union of Soviet Socialist Republics’]: Proactive Prosecution of Hostilities Commencing w / sƵoŵjetskiy Invasion of Dæirs Fennoreich [‘Finland’] in The Winter of The White Death: [11 / 30] 1939—Termination of sƵoŵjetskiy Hostilities Against The World: Christ’s-Mass Day [12 / 25], 1991 – Советский союз [‘sƵoŵjetskaiyah Sojuz,’ or ‘Soviet Union’] Defeated & Dismantled + КПСС [‘KPSS’], or: Коммунистической партии Советского Союза [‘Kommunističheskojaya Partiiya sƵoŵjetskiyogo Soyjuza,’ or: ‘Communist Partii of The Soviet Union’] Outlawed).”
Ever since he was young, Bilal had a passion for Graphic(s)-Illustrated Literature and for The Big Screen, going every week to The Movies, especially his Favourites: The Westerns. When he was Nine, he Landed a Part in a Short Film being made in Beogradt (“Belgrade [‘White City’]”): “It was about two street kids wandering around the city. They would stop and sketch out fights in chalk on the pavements, one drawing cowboys, the other Indians. Being a budding actor suddenly expanded my universe (He was a budding Cartoonist too, but as luck would have it, he had to leave his Homeland before the Film was Completed [he was never to learn what became of it, as his Family Fled the Communist Dictatorship and The Then-Ongoing Second World War in Central Europe to Resettle in Paris Come 1961]).”
La Cinquième République Française (“The Fifth French Republic”) was to prove a New Culture and provide a New Life of Cinema and The Bande Dessinées.
In The Early Nineteen-Seventies (1970s) Bilal was to find his First Calling as a BD Artist when he Won a Talent Competition for the Magazine PILOTE (“DRIVER” – at the time The Cutting Edge of The Dawning BD Revolution and Home since 1959 of the Cartoon Character famous throughout All European Culture as ASTERIX). Here – and later in METAL HURLANT (“HEAVY METAL”) – Bilal began to Write and Draw a Series of Short SF (Social Fiction) Stories, Two Books of which have since been Collected into One Volume of “MEMORIES (2005; part of ‘The [hideously referenced] Good Value Bilal Library Collections’ from Humanoids and DC [Detective ‘Comics’] Publishing).”
His most important Collaborator at PILOTE was The Aforementioned Pierre Christin. Together they Developed a Trilogy of Contemporary Tales of The Fantastic – partly Social Satire, partly Chillers Inspired by American Fascist and Countercultic Mythographer HOWARD PHILLIPS “HP” LOVECRAFT (b1890—d1937), as Set in different Present-Day Cities beset by Mysterious Cosmic Forces. These Three formative Stories (La Croisière des oubliés, Le Vaisseau de pierre and La ville qui n’existait pas) are Compiled in “TOWNSCAPES (2004).”
Espionage, Régime Change, Terrorism and Resistance were ingredient in Bilal & Christin’s Later, more Politically Charged Projects: “LA BRIGADE DE L’ORDRE NOIR (‘THE BLACK ORDER BRIGADE [1989]’)” and “LA PARTIE DE CHASSE (‘THE HUNTING PARTY [1990]’)” are Combined in the Book: “L’EFFET DU CHAOS (‘THE CHAOS EFFECT [2005].’)” Bilal’s Art evolved a greater sophistication, as he moved away from Detailed Linework towards more Fully Painted Rendering and a richer Colour Palette.
THE NIKOPOL TRILOGY
Bilal made his greatest Breakthrough in Bande Dessinées when he went Solo on his First Full-Length Graphic Novel “DIEUX DANS LE CHAOS (‘GODS IN CHAOS [1988]’)” in 1980. The Primary Character: LÉGIONNAIRE FRANÇAIS (“FRENCH FOREIGN LEGIONNAIRE”) ALCIDE NIKOPOL is a Man Who (literally) Fell To Earth from LAO (Low Atmospheric Orbit[ing])-Detention Under Cryogenic Suspension (Suspended Animation) – having been Sentenced To Inanimate Imprisonment In Open Observation For Military Desertion Under Mitigating Circumstances (Sans Extraordinary Circumstance[s] he would otherwise have been Shot) in a Day and Age when Légion Étrangère (The “French Foreign Legion”) has been greatly expanded and Contracted by Le Troisième Paix Gaulois (“The Third Gallic Peace”) as The Armed Force of The United Nations whereby to (finally) Professionally Enforce Operational Peacekeeping as Deployed to Disaster-Impact(ed) Zones Worldwide.
His miserable Mortal Life alters radically when he is Revived in New York City (wouldn’t anyone’s [usually for The Worst]?) – Injured but Unchanged Two Decades (Twenty Years) Later In A World where Everyone Else has not only Aged but has been Contaminated Unto The Cellular Level by all-pervasive Environmental Pollutants. His Severed Leg is Replaced by a Metal Graft Welded by None Other Than The Ancient Ægyptians’ National Patron God Gone Renegade: HR.W (“*ḤĀRU [‘HORUS’];” literally “FALCON”) – The Peregrine-Headed God of The Sky, Protection, and Vengeance.
Nikopol can No Longer Call His Life or Body His Own because *ḤĀRU (“HORUS”) Need(s) Possess him to Act as his Instrument of Revenge Against His Fellow Gods hovering in their Pyramidal Chronopolis (Time City) Above 中-越 联 (“ƵChuōngg-Yuè Lián [‘Sino-Việt Union’]”)-Occupied New York City. Inside The Body of Nikopol, *ḤĀRU Infiltrates The Chambers of a Literary Villain: THE “PAINTED GOVERNOR” CHOUBLANC (Française [“French”] for “LOSER”) w / Intent, Nikopol Suspects, to Seize Power in The 中国特色的主权共和国联盟 (“ƵChuōngg-kHóuá Tè-sè dí Zhǔ-quán Gòng-hé-khóuá Lián-méng [‘Union of Sovereign Sinitic Republics,’ id est a new, Eastasian ‘USSR’]”)-Administered North American Capital.
Bilal Returned to The Saga with: “LE PIÈGE DE LA FEMME (‘THE WOMAN TRAP [1986]’)” – therein Introducing The Exotic Femme Fatale JILL BIOSKOP (The Srpski [“Serb-Language”] term for “CINEMA”) – a Blue-Haired Mutation of The Near-Future convinced that she has (Blue?) Blood On Her Hands. Bilal eventually Completed The Saga in “FROID ÉQUATEUR (‘COLD ÆQUATOR [1992]’).”
In All: The Nikopol Trilogy took Bilal Over a Decade (Twelve Years) to Complete whilst he Pursued his other great obsession and eventual Career in Film-Making. Herein Than The Master’s Cinematic Interpretation of His Own Work(s) of New York City, circa Anno Domini MMXCV Commonal Èræ / Year 2095. A Floating Pyramid has Appeared in The Skies Above Manhattan Island, apparently Inhabited by The Ancient Ægyptian Gods. They have Cast Judgement Down Upon *ḤĀRU (THE “FALCON”) – One Of Their Own. With But Seven Days to Preserve His Immortality He must find a Human Host Body to Inhabit and Search for a Mate.
In The Multileveled Megalopolitan Sprawl Below: A Young Woman – JILL CINEMA – with Blue Hair, Blue Tears and a Power Unknown to herself, Wanders The City in Search of her Identity even whilst Studied by a Doctor who recognizes her as a Mystery of Unnature. Reality in This World has a whole New Meaning as Bodies, Voices and Memories Converge with Gods, Mortals, Mutants and Extradimensionals.
Ældritch Ægyptian Yore Bespeaks: The Goddess ISIS Married Her Ældær Brother OSIRIS and they were deeply in love. SƐT’h-ĒN, a Dæmon of Envy – God of The Darkness, The Desert, Storms, Disorder, Violence and Pestilential Foreigners, set about to destroy their happiness (it be Common Knowledge that my Former Charge-in-Responsibilities: COL[ONEL] D[OCTOR] MICHÆL ANGELO AQUINO, US ARMY, RET[IRED] [b1946—; Aged 67 Yrs], doth Worship SƐT’h-ĒN [from whence is Etymologically Derived the Terminological Convolution of: “SATAN”], which Itself is a Humanic Manifestation of the Pre-Humanic Stygian Serpent God: SƐT’h [Originally Uttered in its Non-Humanic Vocalization as Something akin to: “YIG”]).
SƐT’h Murdered OSIRIS. Then – to Prevent Even The Possibility of His Resurrection – He Dismembered OSIRIS’ Body and scattered the parts in various places along The Nile River. When ISIS learned what Set had done, she Appealed Unto THOTH, God of ÆTERNITY, to Cease The Flow of Time. In Cessation of Time, ISIS plied The Banks of The Nile, Recovering All of OSIRIS’ Bodily Parts Afore Sunset. When she found all of them, she Performed The Black Rite – thereby Revivifying OSIRIS – upon which ÆTERNITY Gave Birth To Time Again and History Continued On. *ḤĀRU is The Child Begotten of this Love between ISIS and OSIRIS.
Col Dr Michæl Aquino, US Army, Ret,’s Grandmaster: The Self-Anointed “GREAT BEAST OF REVELATION,” Ænglish Occultist, Ceremonial Magickian, Obscene Poet and Master Mountaineer EDWARD ALEXANDER “ALEISTER” CROWLEY (b1875—d1947) Founding The Diabolatrous Religion and Philosophy of Thelema, in which Role he Identified himself as The Antiprophet Entrusted with Misguiding Humanity into The Æon of *ḤĀRU Early in Le Vingtième Siècle (“The Twentieth Century [XXe Siècle / ‘C20’]”). In his Introduction to “THE BOOK OF THE LAW” – a Brilliantly Apocayptic (literally “Revelatory”) Work Penned in 1904 – Edward Aleister Crowley described The World from The Eyes of The Okkultist (Negative Occultist). He Proclaimed The World be Entering The Age of *ḤĀRU by dint of Violent Change.
Aleister Crowley Explained that certain Constellations of Space-Time – or “Aggregates of Experience” – maybe described as unto Gods. Each God has been Charged The Destinies of The Earth for Bimillennial Ages comprising Two Thousand Years. In THE BOOK OF THE LAW, Crowley expounded his Thesis that there have only been Three such Gods in The History of The World. They Be:
— “ISIS, The Mother, when The Universe was Conceived as simple nourishment drawn directly from Her; this ÆON Marked by Matriarchal Government.” Women Ruled The Governments of The World. They were seen as Goddesses.
— OSIRIS, The Father, Began His Reign circa AChN D ANCÈ (“Antechristum Natum [Latin: ‘Before Christóús was Born’]” 500 “Avant Notre Commonal Èræ [Française: ‘Before Our Common Èræ’]”). By This Time (c[irc]a BC / È 500) The Universe was Imagined as Catastrophic. Crowley Asserts Love, Death and Resurrection were The Way(s) by which Individuals accumulated Experience. Kings Ruled The Earth amid this ÆON.
— Now *ḤĀRU, The Lovechild, is Coming Into Power. Crowley so Wrote: “This Period involves Recognition of The Individual as The Unit of Society. Every Event – including Death – be but One More Accretion to Our Experience, so Freely Willed by Ourselves From The Beginning and therefore also Predestined.” Crowley Wrote The Following Description of The Régime Under Constellar Throne of *ḤĀRU, ca AD 1904 CÈ – the very Year 大日本 (“Daï Nīpp-Hôn [‘Greater Japan’]”) attained Great Power Status through Victory in The Русско-日本人 (“Russko-Nīpphônjīn [‘Russo-Japanese’]”) War (1904—1905), which Served Operational Template for Conduct of Combat Come World War I (1914—1919 [sic]) a Decade Into The Future:
“Everywhere His Government is taking root. Observe for Yourselves the decay of the sense of Sin, the growth of innocence and irresponsibility, the strange modifications of the reproductive instinct with a tendency to become bisexual or epicene, the childlike confidence in progress combined with a nightmare fear of catastrophe, against which we are yet half unwilling to take precautions. Consider the outcrop of Dictatorships, only possible when Moral growth is in its earliest stages, and the prevalence of infantile Cults like Communism, Fascism, Pacifism, health crazes, Occultism in nearly all its forms, Religions sentimentalized to a point of practical extinction. Consider the popularity of The Cinema, The Wireless, The Football Pools and Guessing Competitions – all devices for soothing fractious infants, no seed of purpose in them. Consider Sport, the babyish enthusiasms and rages which it excites, whole Nations disturbed by disputes between boys. Consider War, the Atrocities which occur Daily and leave us unmoved and hardly worried. We are children.”
HPS (Historical Post-Script):
WORLD WAR II, Atlantic Frontal Conflict = CAN (Combined Axis of Nations) vs The Anglo-American Alliance: WWII Hostilities Commencing w / “The First Shots of The Second World War (As So Noted by None Other Than THE RIGHT HONOURABLE BRITISH PRIME MINISTER ROBERT ANTHONY EDEN, 1st EARL OF AVON & HER MAJESTY’S MOST CONSERVATIVE PRIVY COUNCIL OF THE UNITED KINGDOM [b1897—d1977; Lord Privy Seal: 1934—1935; Secretary of State for Dominion Affairs: 1939—1940; Secretary of State for War: 1940; Leader of the House of Commons: 1942—1945; Secretary of State for Foreign Affairs: 1951—1955; UK Prime Ministry: 1955—1957])”: Pending Italiano Invasion of The Holy Abyzzīnian Empire of Æithiyopiya In Vendetta for Adwa (Italiano: “Adua,” Ænglish: “Adowa”), c1896 (One of The most Decisive Defeats Suffered by Any European Colonial Army During The Age of Imperialism, The Butcher’s Bill out of an Original 10 600 Italiano-Man Army w / 7100 Native Askari Auxiliary & 56 Artillery Pieces was: 298 Italiano Officers – including 4 Brigadier Generals – Dead; 2918 Italiano Infantry Fatalities, 470 Casualties, 1900 Captured, & 945 Missing; 2000 Askari Fatalities, 958 Casualties, & 1800 Captured; Also Lost: 11 000 Rifles & All 56 Pieces of Artillery; Altogether Signaling The Decline of European Colonialism in Black Afrika) and The Deutschen (“German”) March on The Sudetenland Responsive to Čeština (“Čzesckhyái”) Pogroms of Persecution & Ethnic Cleansing Against Volksdeutsche (“Germanfolk”), as well as The Co-Ördinated Italo-German Intercession Against Allied-sƵoŵjetskiy Insurgency on The Iberian Peninsula in La Española Guerra de Intervención (“The Spanish War of Intervention [07 / 17, 1936—April 1st, 1939; All Fool’s Day]”) – All Consequent The First Assassination Ever (Intentionally [?]) Captured On Film (by Fox Movietone Newsreel Crew) – since heavily Edited & Banned Throughout The European Continent – of The Men Who Started World War II by Firing on КИНГ ОФ СЕРБС, ЦРОАТС, анд СЛОВЕНЕС АЛЕXАНДЕР И КАРАЈЂЗГЕОРЈЂГЕYОВИЋȞ ТХЕ УНИФИЕР ОФ YУГОСЛАВИА (“KRALJ . SRBVI, HRVATI i SLOVENCI ALEKSXANDER I KARAJĐZGEORJĐGEYOVIĆȞ UJEDINITELJ . J’YUGOSLĂVIJYÆ [‘KING OF SERBS, CROATS, and SLOVENES ALEKSXANDER I KARAJĐZGEORJĐGEYOVIĆȞ THE UNIFIER OF J’YUGOSLĂVIJYÆ’],” aka [also known as] “ALEKSXANDER THE UNIFIER,” Absolute Monarch of The Triune Kingdom of South-Slavdom [b1888—d1934; Personal Dictatorship Declared by Abolition of The First J’Yugoslăv Constitution and Dissolution of All Political Parties: 01 / 06, 1929—10 / 09, 1934; Assassinated] – Murdered Whilst Transiting Marseilles, Français, w / FRANÇAIS FOREIGN MINISTER LOUIS BARTHOU OF THE FOURTH RÉPUBLIQUE [b1862—d1934; Assassinated], Aleksxander I KarajĐgeorjđgevićȟ being Gunned Down by The Man Contemporarily Identified as The Most Dangerous Terrorist In Europe: Bulgarian-Born Греатер Мацедониан Натионал-Сепаратист [“Guryeatyer Matzyedonian National-Syeparatist,” or “Greater Macedonian National-Separatist”] ВЛАДАО ГХЕОРГХИЕФФ ЧЕРНОЗЕМСКИ [“VLADAO GHEORGHIEFF ČHERNOZEMSKI,” born ВЕЛИЧКО ДИМИТРОВ КEPИH, or “VELICHKO DIMITROV KERIN,” aka ВЛАДАО ШОФЬОР, or “VLADAO THE DRIVER”: 10 / 19, 1897—d 10 / 09, 1934; Escapee from Detainment Pending Two Separate Death Sentences Consequent Prior Political Assassinations and Leader of an Italiano-Trained Multinational Death-Squad of at least Six Anti-J’Yugoslăv ИМРО, or “VIMRO” – Греатер Интернал Мацедониан Револутионарy Организатион, or “Veća Intyernal Matzkyedonski Ryevolootionary Orguanization;” literally “Greater Internal Macedonian Revolutionary Organization” – Assassins Present in Marseilles on 100934 Intent on Killing Kralj Aleksxander The 1st; Vladao Himself Dying In Act of Deed, Mortally Beaten On-Site of Crime by Français Gent D’Armes] even as Français FM [Foreign Minister] Louis Barthou was simultaneously Taken Out In Crossfire Sourcing From Multiple Prepositioned Snipers of Civitas Vaticana [The “Vatican State”]-Sponsored Veća Hrvatska [“Greater Croatian”] Ûstačhšiæ [Hrvatski / “Croatian”-“ϟϟ;” or Armed Ideological Vanguard of The Croatian Catholic-Fundamentalist Movement] Under Direct Command of POGLĂVNIK [literally “HIS FIRST & FOREMOST EXCELLENCY;” FEÜEHRER of The Hrvatski Peoples] DOKTOR ANTE PAVELIĆ [b1889—d1959; Assassinated]: [10 / 09] 1934—Cessation of Overt Hostilities: [09 / 06] 1958 – Final Thermonuclear Salvo, OPERATION: ARGUS; Current Protracted Frontal Conflict = Dæirs Tausendjährigen Reiches-Im-Exil [“The Thousand Year Reich-In-Exile”] vs Anglo-American Allied United Nations: [08 / 27] 1958 [Opening Thermonuclear Salvo, OPERATION: ARGUS]—XXXXXX [Yet To Be Concluded], sic
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~ THE MOST DANGEROUS MAN EITHER SIDE ‘O’ THE PACIFIC – AMERASIAN AGENT ‘O’ THE PEACOCK ǼNGÆL مَلَك طَاوُوس (“TAWOÛSÊ-MELEIK [‘MELIEK TA’‘OUSI’]”) – HOLDS THE KEY TO BREAKAWAY PERCEPTION :
The Germanic Surname “Dietrich” – as Transliterated into The Ænglish – means “(The) Master Key, Skeleton Key, (a) Key That Can Open All Doors”
The Д‘трăцк’с (“D‘trăck’s [‘Dietrich’s,’ or ‘Dragon’s’]”) 中國人 (“ƵChuṑnggkGHuóuárén [literally ‘Middle-Kingdom People’s,’ id est ‘Chinese’]”) Lineage-Derived Surname is 「林 (“Lin [the iconographic character for ‘Tree’ represented in plurality – id est ‘Forest’ / ‘Jungle’]”)」; both ‘o’ his First Name Elements 「一 (“yĪ [‘One,’ ‘Singular,’ ‘Throughout’ – id est ‘Totality’]”)」 and 「平 [“Píng [‘Calm,’ ‘Peaceful’ / ‘Flat,’ ‘Level’]”);」 combining as 「一平 (“yĪ-Píng [‘Striving Toward Attainment ‘o’ Peace;’ ‘To Tie,’ as in ‘Even The Score’ / ‘To Draw-Up;’ ‘A-‘leveling’ / ‘An ‘Evening Up’ / ‘A-‘Reckoning’ – id est ‘Cosmic Balance’ / ‘Divine Retribution’]”);」 – Familial and First Name Elements combining yet again (in Proper Asian Order) as 「林 一平 (“Lin yĪ-Píng [‘Path ‘o’ Environmental Harmony’ or ‘Law ‘o’ The Jungle;’ something akin to ‘Gǣĩǣn Sustainability’]”)」。