In characterising the "development of art" as being "bound up with the duality of the Apollonian and the Dionysian, just as reproduction similarly depends upon the duality of the sexes", Nietzsche has effectively represented a singular natural fact which has this aspect of opposing forces, "two very different drives [going] hand in hand, for the most part in open conflict with each other and simultaneously provoking each other all the time"¹ (11). Nietzsche's conception², as a whole, is juste this connexion between the labour of a general physiology and its extension, or what are the same things, its self-perpetuation & its self-reflectivity, into that equally volatile realm of thought. It signifies less an appeal to metaphysics (but at once a preservation of virginal metaphysics) & more a kind of being restricted within temporal phenomena.

We shall now exercise a level of blind faith in the proceeding moment, by pointing a Hegelian mirror at this idea, a mirror which regards the nature of conscious Understanding & its being related in no insignificant manner to forces which are freely observed in the natural manifold, by casting these godly ikons in the role of said forces, & seeing if they in fact reveal each other: "The interplay of the two Forces thus consists in their being determined as mutually opposed, in their being for one another in this determination, and in the absolute, immediate alternation of the determination--consists, i.e. in a transition through which alone these determinations are[,] in which the Forces seem to make an independent appearance . . . The first Force has its determinateness only through the other, and solicits only in so far as the other solicits it to be a soliciting Force"³ (84). Also, "these two sides are moments of Force; they are just as much in a unity, as this unity, which appears as the middle term over against the independent extremes, is a perpetual diremption of itself into just these extremes which exist only through this process", (83) and "the dispersal of the independent 'matters' in their [immediate] being, is the expression of Force; but Force, taken as that in which they have disappeared, is Force proper, Force which has been driven back into itself from its expression" (81). This "singular natural fact" which was juste recently established by Nietzsche is likewise conceived through the phenomenologist's observation, & this will only become apparent to us so long as we have taken up the Nietzschean drive (der Trieb) & the Hegelian Force (die Kraft) in an amalgamation which, incidentally, raises the significance of the gendered articles in parentheses, a synthesis which may be called die Triebkräfte⁴, or roughly, the "driving force", i.e., the primum mobile which has freed the anonymous narratour of Poe's "Imp of the Perverse".

So, in our case, the WM_CREATE message is initially sent when we create the parent window. That message is sent out, & instead o' Windows doing its thing by using DefWindowProc(); willy-nilly, we, the programmer, intercept or HANDLE that message & specify that, when that message is sent out, all these other child windows will be created. Simplifying to the extreme, that's all that "handling a message" means. It means we set up a case in our switch statement to run code whenever that case matches the message being passed into the WndProc(); function. If you understand that, programming with Win32 API becomes all the more easier.

Now, our game/application loop, is essentially a while loop that is conditioned by Win32 API messages. Back in our WinMain function, Ln. #109, we've created a MSG object, that will be updated with all the messages. "msg" with all lowercase letters is that object, & one of its properties "msg.message" is (gasp!) the message that is currently being sent out. Or will be sent out. Going down to Ln. #149, we're telling the while loop that its condition is true so long as the message is not WM_QUIT. So it will always be true, & the while loop will always run so long as the message is not WM_QUIT, & to ensure that that is our beginning state, we set "msg.message" to "not WM_QUIT" (Ln. #148). In order to handle both Win32 API messages & process SFML stuff, we use an if statement conditioned by the return value returned by the PeekMessage(); function. Microsoft does a better job o' explaining juste exactly what PeekMessage(); does:

The Beast (1988) is the greatest contemporary mainstream war movie in existence. "Mainstream" is a little deceptive, as it perhaps falls neither within the mainstream nor the underground categories, & this its place in the annals o' film history being unclear positions it in a strange geography.

The Beast has all the makings of a big budget flick, though it fails in a number of key aspects: its lead actours command respectable, albeit long-faded, star-power; it likewise avoids all bathetic emotionalism in which even the most critically-acclaimed pieces (Saving Private Ryan, e.g.) cannot help indulging, mostly preferring, e.g., a minimalist, semi-avant-garde assortment o' cues which serve all-around to increase its oppressive circumambience, or favouring terse, substance-fraught dialogue over heart-string-pulling quotables. It performs this--let's call it a--tight-rope act which never takes a plunge into the abstract abysses in which The Thin Red Line, Apocalypse Now, Der Hauptmann, & Idi i smotri gleefully lose their expression. Naturally, The Beast's weaknesses reveal themselves to be its strengths.