4467 lines
205 KiB
Plaintext
4467 lines
205 KiB
Plaintext
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Sunlight Through The Shadows
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Volume III, Issue 1 Feb 1995
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Welcome........................................Joe DeRouen
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Editorial: Changes.............................Joe DeRouen
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Staff of STTS.............................................
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Special Survey for STTS Readers...........................
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>> --------------- Monthly Columns ---------------------<<
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STTS Mailbag..............................................
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Quick Tips and Fixes...........................Joe DeRouen
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The Sports Page............................Thomas Van Hook
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> Advertisement-Channel 1 BBS
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>> --------------- Feature Articles --------------------<<
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Hula Hoops and Tinker Toys.................Nancy VanWormer
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<20> Advertisement-Exec-PC BBS
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>> ------------------- Reviews -------------------------<<
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(Software) Heretic.............................Joe DeRouen
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(Software) Al Michaels Hardball III........Thomas Van Hook
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(Music) Out of the Silence/Yanni...........Thomas Van Hook
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(Music) Hell Freezes Over/The Eagles.......Thomas Van Hook
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(Music) We Salute You/ACDC.................Thomas Van Hook
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(Music) Diary Madman/Ozzy Osbourne.........Thomas Van Hook
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(Book) Shadow Oak King/Courtway Jones.....Thomas Van Hook
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(Book) The Rose Sea/Sterling & Lisle......Thomas Van Hook
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(Book) Fire In the Mist/Holly Lisle.......Thomas Van Hook
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(Book) Red Dwarf: Infinity../Naylor.......Thomas Van Hook
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<20> Advertisement-T&J Software
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>> ------------------- Fiction -------------------------<<
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The Beacon..................................L. Shawn Aiken
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Experiment........................................Ed Davis
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<20> Advertisement-Chrysalis BBS
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>> ------------------- Poetry --------------------------<<
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The Wind............................................Tamara
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The Human Tide.............................Daniel Sendecki
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Monday, 9:07 pm................................J. Guenther
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Wrong Side of the Bridge...................Thomas Van Hook
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Nevermore...................................Author Unknown
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>> ------------------- Humour --------------------------<<
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Top Ten List...................................Joe DeRouen
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<20> Advertisement-The Blue Horizon Event
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>> --------------- Advertisements ----------------------<<
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Channel 1 BBS
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Exec-PC BBS
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T&J Software
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Chrysalis BBS
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The Blue Horizon Event
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>> ----------------- Information -----------------------<<
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How to get STTS Magazine..................................
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** SPECIAL OFFER!! **.....................................
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Submission Information & Pay Rates........................
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Advertiser Information (Businesses & Personal)............
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Contact Points............................................
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Distribution Sites........................................
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Distribution Via Networks.................................
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End Notes......................................Joe DeRouen
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Sunlight Through The Shadows Magazine Vol III No. 1 Feb. 1995
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ
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<20> <20> <20> <20> <20> <20> <20> <20> <20> <20> <20> <20>
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<20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20>
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<20> From: <20> Dallas, TX <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ<EFBFBD><C4BF><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ<EFBFBD><C4BF><EFBFBD><EFBFBD>> <20>
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<20> Joe DeRouen <20> February 14th <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>ĺ<EFBFBD><C4BA>ĺijĺij<C4BA><C4B3><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>> <20>
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<20> 3910 Farmville Dr. <20>Valentine's Day<61> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>> <20>
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<20> Dallas, TX. 75244 <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> USA 32<33> <20><> <20>
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<20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20>
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<20> <20>
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<20> <20>
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<20> <20>
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<20> <20>
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<20> To: <20>
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<20> STTS Reader <20>
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<20> 123 Generic Ave. <20>
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<20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> Anytown, USA 10101 <20>
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<20> <20> HAPPY <20> <20>
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<20> <20> VALENTINE'S DAY <20> <20>
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<20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20>
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<20> JD <20>
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<20> <20>
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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Welcome
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Copyright (c) 1995, Joe DeRouen
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All rights reserved
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Welcome to Sunlight Through The Shadows magazine! In this issue, as well
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as in the future, STTS will strive to bring you the best in fiction,
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poetry, reviews, article, and other assorted reading material.
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STTS Magazine has no general "theme" aside from good writing, innovative
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concepts, and the unique execution of those concepts.
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STTS wouldn't have been possible without the aid, support, and guidance
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of three women:
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Inez Harrison, publisher of Poetry In Motion newsletter. Her's was the
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first electronic magazine I ever laid eyes upon, and also the first such
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magazine to publish my work. She's given me advice, and, more
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importantly, inspiration.
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Lucia Chambers, publisher of Smoke & Mirrors Elec. Magazine and head of
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Pen & Brush Network. She gave me advice on running a magazine,
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encouragement, and hints as to the kind of people to look for in
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writers.
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Heather DeRouen, my wife. Listed last here, but always first in my
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heart. She's proofread manuscripts, inspired me, listened to me, and,
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most importantly, loved me. Never could I find a better woman to live
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life by my side, nor a better friend.
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Now that that's said and done... Again, welcome to Sunlight Through The
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Shadows Magazine! I hope you enjoy it.
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Joe DeRouen
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Editorial: Changes . . .
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Copyright (c) 1995, Joe DeRouen
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All rights reserved
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In it's continuing dedication to being a reflection of the time in which
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it exists, STTS Magazine is going through changes. In addition to the
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Readroom.Toc and straight ASCII format that STTS brings to you now,
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we're in the process of adding a graphics/sounds version as well.
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We're also changing things around a little here and there, in an attempt
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to further streamline the magazine. We'l be adding features you've
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requested as well as ditching parts of the magazine that just haven't
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caught on.
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Stay tuned for further developments!
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Joe DeRouen
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The Staff and Contributing Writers of Sunlight Through The Shadows
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------------------------------------------------------------------
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The Staff
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---------
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Joe DeRouen............................Publisher and Editor
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L. Shawn Aiken.........................Assistant Editor
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Heather DeRouen........................Book Reviews
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Bruce Diamond..........................Movie Reviews
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Tamara.................................House Poet
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Thomas Van Hook........................Poetry Editor
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Joe DeRouen publishes, edits, and writes for STTS magazine. He's had
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poetry and fiction published in several on-line magazines and a few
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paper publications as well. He's written exactly 1.5 novels, none of
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which, alas, have seen the light of publication. He attends college
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part-time in search of that always-elusive english degree. In his
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spare time, he enjoys reading, running his BBS, collecting music,
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playing with his five cats, singing opera, hunting pseudopods, and
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most importantly spending time with his beautiful wife Heather.
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L. Shawn Aiken dropped out of college when he realized that they
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couldn't teach him the two things he wanted to do; live successfully,
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and write. He had to find out these things all by himself on the
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road. Thus he became a road scholar. After spending his life hopping
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country to country, state to state, he now feels confident in his
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abilities and is working on his literary career. His main endevour is
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to become successful in the speculative fiction area, but he enjoys
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writing all forms of literary art.
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Heather DeRouen writes software for the healthcare industry, CoSysOps
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Sunlight Through The Shadows BBS, enjoys playing with her five cats,
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cross-stitching, and reading. Most of all, she enjoys spending time
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with her dapper, charming, witty, and handsome (not to mention modest)
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husband Joe. Heather's help towards editing and proofreading this
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magazine has been immeasurable.
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Bruce Diamond, part-time pseudopod and ruler of a small island chain
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off the coast of Chil<69>, spends his time imitating desk lamps when he
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isn't watching and critiquing movies for LIGHTS OUT, his BBS movie
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review publication (now syndicated to over 20 boards). Recently,
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Bruce became the monthly movie critic for VALLEY REVIEW MAGAZINE,
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published out of Pennsylvania. LIGHTS OUT, now two years old, is
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available through the Rime or P&B Networks by dropping a note to
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Joe DeRouen, courtesy of Sunlight Through The Shadows BBS. The
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magazine will soon be available through Fido file request and
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Internet FTP. In the Dallas area, Bruce's distributor is Jay
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Gaines' BBS AMERICA (214-994-0093). Bruce is a freelance writer
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and video producer in the Dallas/Fort Worth area.
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There is very little known about Tamara, and she prefers to let it
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remain that way. She's a woman of mystery and prefers to remain hidden
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in the shadows of the BBS world. (Enigmatic, don't you think?)
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Thomas Van Hook resides in Dallas, where he works as a contract
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employee for the Federal Reserve Automation Services. Having served
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eight years in the USAF, he is happy to finally be free and able to
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pursue the dreams of his heart. At the age of 29, he is looking
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forward to many new adventures and experiences within the realms of
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the Elven kind. He enjoys reading, writing, sports of all kinds, his
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son Corey and the attentions of any Elven women that seem interested
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(not necessarily in that order). Recently divorced, he is trying to
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restore order and balance to his life without losing what little is
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left of his sanity.
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Contributing Writers
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--------------------
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Ed Davis...............................Fiction
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Sean A. Donahue........................Poetry
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J. Guenther............................Poetry
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Daniel Sendecki........................Fiction, Poetry
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Nancy VanWormer........................Feature Article
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Author Unknown.........................Poetry
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Ed Davis has been scribbling seriously or has at least enjoyed the
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electronic equivalent, since 1981. Prior to that, his literary efforts
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were confined to whatever scrap paper he could find on a work bench at
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break or lunch time, since he was spending his working hours making
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chips and money in the guise of a Journeyman Machinist. Married to
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the same lady for 26 years and with two children still hovering
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uncomfortably close to the nest, Ed continues to write down his
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thoughts electronically. Check out the file NEWBOOK.ZIP, available
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from STTS BBS, for more of his work.
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Sean A. Donahue does not have any publishing ties whatsoever. He has
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written over 4,192 poems. Only 38 have seen to survive the Mighty
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Morphin Power Rangers. The time in which normal people say is spare,
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he tries to use to study for school at Texas Tech University. This is
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Sean's first published poem and he hopes that it is not his last. He
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has written exactly 428 novels all starting with "It was a dark and
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stormy night." None ofthem have gotten past the second paragraph. In
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whatever time he has left, he enjoys reading, riting, and rithmatic.
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He has an creative writing minor, a history minor, and a Honorary
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Doctorate in B.S. from Bowling Green State University. He dedicates
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his writing to those who are without love and hope. And that's no
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B.S.
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Grant Guenther, sometimes known as J. Guenther, confesses to be from a
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long-lost Martian colony, but in-depth investigations reveals that he
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was born and raised in a small but well-to-do community called
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Hartland in Wisconsin. A senior, he has written several collections
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of poems, and won many awards from his high school literary magazine,
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including 1st place for poetry and short-short fiction. He is the
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editor-in-chief of the school newspaper and writes as a humor
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columnist (or at least he thinks so).
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Daniel Sendecki is a young, emerging, Canadian writer who lives
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in Burlington, Ontario. Currently, Daniel is pursuing his writing
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interests at home but intends to study literature at McGill
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University, in Montreal, Quebec.
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Author Unknown (oddly enough, his real name) has had several stories,
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poems, novels, plays, and pieces of artwork published throughout the
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world dating back to the dawn of man. So far, he hasn't received one
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red cent in royalties.
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STTS Survey
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Copyright (c) 1994, Joe DeRouen
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All rights reserved
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Please fill out the following survey. This article is duplicated in the
|
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ZIP archive as SURVEY.TXT. If you're reading this on-line and haven't
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access to that file, please do a screen capture of this article and
|
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fill it out that way. If all else fails, just write your answers down
|
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(on paper or in an ASCII file) and include the question's number beside
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your answer.
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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1. Name: _____________________________________________________________
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2. Mailing address: __________________________________________________
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__________________________________________________
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__________________________________________________
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__________________________________________________
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3. Date of birth: (Mm/Dd/YYyy) _______________________________________
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4. Sex: ______________________________________________________________
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5. Where did you read/download this copy of STTS Magazine? (Include BBS
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and BBS number, please)
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___________________________________________________________________
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___________________________________________________________________
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___________________________________________________________________
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6. Do you prefer to read STTS while on-line or download it to read
|
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at your own convenience? ( ) On-Line ( ) Download
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7. Are you a SysOp? ( ) Yes ( ) No (if "No", skip to 10)
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8. If so, what is your BBS name, number, baud rate?
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___________________________________________________________________
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___________________________________________________________________
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___________________________________________________________________
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9. Do you currently carry STTS Mag?
|
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( ) Yes ( ) No ( ) I don't carry it, but I want to
|
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|
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I carry STTS: ( ) On-Line, ( ) For Download, ( ) or Both
|
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10. What do you enjoy the MOST about STTS Mag?
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___________________________________________________________________
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___________________________________________________________________
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___________________________________________________________________
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11. What do you enjoy LEAST about STTS Mag?
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___________________________________________________________________
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___________________________________________________________________
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___________________________________________________________________
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12. Please rate the following parts of STTS on a scale of 1-10, 10 being
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|||
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excellent and 1 being awful. (if no opinion, X)
|
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Fiction ___ Poetry ___ Movie reviews ___
|
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|
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Book reviews ___ CD Reviews ___ Feature Articles ___
|
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|
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Software reviews --- Humour --- Top Ten List ---
|
|||
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|
|||
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Question&Answers ___ Editorial ___ ANSI Coverart ___
|
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|
|||
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The Sports Page --- My View --- STTS BBS News ---
|
|||
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|
|||
|
RIP Coverart ___ Misc. Info ---
|
|||
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|
|||
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|
|||
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|
|||
|
13. What would you like to see (or see more of) in future issues
|
|||
|
of STTS Mag?
|
|||
|
___________________________________________________________________
|
|||
|
___________________________________________________________________
|
|||
|
___________________________________________________________________
|
|||
|
___________________________________________________________________
|
|||
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
|||
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|
|||
|
Return the survey to me via any of the following options:
|
|||
|
|
|||
|
A) Pen & Brush Net - A PRIVATE, ROUTED message to JOE DEROUEN at site
|
|||
|
->5320, in any conference.
|
|||
|
|
|||
|
B) RIME Net - A PRIVATE, ROUTED message to JOE DEROUEN at site ->5320,
|
|||
|
in either the COMMON or SUNLIGHT THROUGH THE SHADOWS MAGAZINE
|
|||
|
conference.
|
|||
|
|
|||
|
C) WME Net - A PRIVATE message to JOE DEROUEN in the NET CHAT
|
|||
|
conference.
|
|||
|
|
|||
|
D) Internet - Send a message containing your complete survey to
|
|||
|
Joe.DeRouen@Chrysalis.org
|
|||
|
|
|||
|
E) My BBS - (214) 629-8793 24 hrs. a day 1200-14,000 baud. Upload the
|
|||
|
file SURVEY.TXT (change the name first! Change it to something like
|
|||
|
the first eight digits of your last name (or less, if your name
|
|||
|
doesn't have eight digits) and the ext of .SUR) Immediate access is
|
|||
|
gained to my system via filling out the new user questionnaire.
|
|||
|
|
|||
|
F) U.S. Postal Service - Send the survey either printed out or on a disk
|
|||
|
to: Joe DeRouen
|
|||
|
3910 Farmville Dr. # 144
|
|||
|
Addison, Tx. 75244
|
|||
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|
|||
|
|
|||
|
|
|||
|
|
|||
|
STTS Mailbag
|
|||
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Dear Joe,
|
|||
|
|
|||
|
I miss the Questions and Answers. Any chance of bringing that back?
|
|||
|
|
|||
|
Shelby Morris
|
|||
|
Ontario, Canada
|
|||
|
|
|||
|
========================================================================
|
|||
|
|
|||
|
Dear STTS,
|
|||
|
|
|||
|
Really loved Robin Aiken's "This Little Piggy." [Nov/Dec. Issue. ED]
|
|||
|
Is she related to L. Shawn Aiken? Any chance we'll see more of her
|
|||
|
fiction in the magazine?
|
|||
|
|
|||
|
Gates Delmar
|
|||
|
Springfield, Illinois
|
|||
|
|
|||
|
|
|||
|
<Indeed, they are related. Robin is Shawn's sister. Hopefully we will
|
|||
|
be seeing more of her work in the month's to come. Stay tuned! JD>
|
|||
|
|
|||
|
========================================================================
|
|||
|
|
|||
|
|
|||
|
QUICK TIPS AND FIXES
|
|||
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
[Originally published in Feb. issue of Computer Currents Magazine]
|
|||
|
|
|||
|
|
|||
|
If you're having a problem you just can't seem to solve, a question you
|
|||
|
want answered, or just an inherent need to bend a lonely writer's ear,
|
|||
|
you've come to the right place. Keep those cards and letters coming,
|
|||
|
folks. Also, please include a daytime and a nighttime phone number with
|
|||
|
your question. I might have to ask you a couple of questions to get at
|
|||
|
the source of the problem or question. And, I promise, I won't write
|
|||
|
your numbers on the walls of bathroom stalls at the Infomart.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Q: I read your column regularly, and thought I'd run a problem by you.
|
|||
|
I have a 486slc 50Mhz 4 Meg of RAM and a 345 Meg hard drive. Also
|
|||
|
a Omni CD-Rom drive and a soundblaster16 with terrible labtec
|
|||
|
(battery operated) speakers. Is it possible to connect my Sound
|
|||
|
Blaster card to my auxilary jack in the rear of my stereo, or am I
|
|||
|
just asking for trouble? Your advice will be greatly appreciated.
|
|||
|
|
|||
|
Thanks,
|
|||
|
John Broadnax
|
|||
|
via Prodigy
|
|||
|
|
|||
|
|
|||
|
|
|||
|
A: Thanks for writing, John! Your question is one of the easier ones
|
|||
|
I've gotten. In a word, yes, you can (and should!) hook up your
|
|||
|
Sound Blaster card to your stereo. The sound quality will improve
|
|||
|
tremendously over your labtec speakers, and you'll have better
|
|||
|
volume control as well.
|
|||
|
|
|||
|
All you really need to do to accomplish this feat is purchase a
|
|||
|
stereo cable. The cable you're looking for should have a single
|
|||
|
plug-in jack on both ends. After you've made your purchase
|
|||
|
(the cable is under $10.00 and should be available at any Radio
|
|||
|
Shack or store that offers stereo equipment) you need simply to
|
|||
|
plug one end into the audio output jack on your sound blaster
|
|||
|
and the other end into your auxilary jack on the stereo.
|
|||
|
|
|||
|
Viola! Your mission is accomplished. You'll have to play around
|
|||
|
with the volume control on both your stereo and your Sound Blaster
|
|||
|
to get the right static-free output, but that shouldn't take you more
|
|||
|
than a moment or two. Soon thereafter, you'll be enjoying the sounds
|
|||
|
of DOOM II and MYST through your stereo. Happy listening!
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Q: I'm not sure if this really fits into your column, but I'll ask
|
|||
|
anyway. What can I do to insure that the BBS I'm calling is
|
|||
|
legitimate and not some hacker teenager bent on ruining my
|
|||
|
reputation and wreaking havoc in my life? I recently logged onto
|
|||
|
(BBS name withheld) and filled out all the new user questionnaires.
|
|||
|
The BBS seemed normal enough. It didn't really have what I was
|
|||
|
looking for, though, and I never called back. I later found out that
|
|||
|
someone was logging onto other area BBS's using my name and password!
|
|||
|
It had to be this SysOp, as it started happening about 24 hours after
|
|||
|
I logged onto his board. After about a week of explaining and some
|
|||
|
long telephone conversations, I was finally able to convince the
|
|||
|
other BBS operators that it wasn't me that logged on and left nasty
|
|||
|
comments to everyone, and they let me back onto their systems with
|
|||
|
new passwords. How can I prevent this from happening in the future?
|
|||
|
|
|||
|
Sincerely,
|
|||
|
Peggy Madison
|
|||
|
Ft. Worth, Texas
|
|||
|
|
|||
|
|
|||
|
A: I sympathize with you, Peggy. Something similar happened to me
|
|||
|
several years ago. First and foremost, do NOT use the same password
|
|||
|
on any BBS that you log onto. I know it's tempting to just use the
|
|||
|
same password over and over - that's what got me into trouble those
|
|||
|
several years ago - but the ease of remembering the password isn't
|
|||
|
worth the potential trouble. That's rule #1 - use a different
|
|||
|
password on every system you call. And make it a hard-to-guess one,
|
|||
|
too. Use lot's of symbols and numbers in there, and don't pick
|
|||
|
anything that'd be at all easy to guess.
|
|||
|
|
|||
|
Your comment on the "teenage hacker bent on ruining your reputation",
|
|||
|
while understandable, really isn't fair. 99.9% of the SysOps out
|
|||
|
there, whether they run pay systems or free ones, are decent, honest
|
|||
|
people. That includes the teenage hacker types. It's that .01% that
|
|||
|
you have to watch out for, and those SysOps can come in any shape,
|
|||
|
size, race, age, or profession. Just like non-online life, most
|
|||
|
of us are "good guys" but you run into the occasional bad apple
|
|||
|
every so often. When you happen to bite into one of those sour
|
|||
|
apples, to further the analogy, just spit it out and go on looking
|
|||
|
through the orchard. You'll find even sweeter apples for the
|
|||
|
tasting and quickly forget the sour ones.
|
|||
|
|
|||
|
|
|||
|
Q: Joe, several weeks ago Windows 3.1 failed startup with "Error
|
|||
|
loading PROGMAN.EXE". Obviously, there is a problem loading
|
|||
|
the program manager. I have no idea what the problem is and
|
|||
|
what's causing it. I do not recall changing anything in Windows
|
|||
|
setup, etc. Maybe only moving/deleting some icons from
|
|||
|
application groups.
|
|||
|
|
|||
|
Thanks,
|
|||
|
Philip Baughman
|
|||
|
via Internet
|
|||
|
|
|||
|
|
|||
|
|
|||
|
A: Philip, It sounds to me like you might have a hard drive problem in
|
|||
|
the way of a unlocked physical defect on one of the sectors. The
|
|||
|
reason I suspect this is that the error is recurring in the same file
|
|||
|
when the stuff is reloaded. The best way to detect if this is the
|
|||
|
case is to rename the file PROGMAN.EXE to a dummy file name, then
|
|||
|
reload that file onto the hard drive. Resume your normal operations,
|
|||
|
and, if the error doesn't recur, you've solved the problem. Just
|
|||
|
leave the dummy file on the hard drive, and you won't have to worry
|
|||
|
about those sectors ever being used by another application or data
|
|||
|
file.
|
|||
|
|
|||
|
You can also run a variety of disk doctor programs to diagnose this
|
|||
|
problem, but, in my opinion, this is the quickest and easiest way to
|
|||
|
do it.
|
|||
|
|
|||
|
If this doesn't work, write me back, and I'll try to see if I can
|
|||
|
think of anything else that might be happening.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Are you having a problem with your computer? Write to Joe at Computer
|
|||
|
Currents or via Sunlight Through The Shadows BBS at 214/620-8793.
|
|||
|
|
|||
|
(c) 1994 Joe DeRouen. All rights reserved.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
The Sports Page
|
|||
|
Copyright (c) 1994, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
Welcome to yet another edition of the Sunlight Through The
|
|||
|
Shadows Sports Page! It's a strange world out there in sports,
|
|||
|
so let's all pretend to understand it, shall we?
|
|||
|
|
|||
|
By the time you read this, it will more than likely be 1995. Do
|
|||
|
you ever wonder if there is going to be Major League Baseball in
|
|||
|
1995? Well, you are not the only one. There are approximately
|
|||
|
800 ball players wondering the same thing. The owners have put
|
|||
|
off implementing the salary cap for one week, in order to
|
|||
|
continue negotiations with the Players' Union. It looks like the
|
|||
|
two sides are at least starting to talk with one another. It's a
|
|||
|
good thing that some progress was being made. The prevalent
|
|||
|
rumor was that the Clinton Administration was going to ask former
|
|||
|
President Jimmy Carter to mediate if talks continued to stall.
|
|||
|
Anyway, on to the sweaty jocks in the NFL locker rooms.
|
|||
|
|
|||
|
It's almost playoff time. Suddenly, the Dallas Cowboys don't
|
|||
|
look like the "sure thing" that they once were. It looks like
|
|||
|
the San Francisco 49ers have much more drive/hunger than the
|
|||
|
'Boys. It's a good thing too. I, for one, was getting sick of
|
|||
|
the Buffalo Bills (already eliminated from the playoffs) and the
|
|||
|
Dallas Cowboys playing the final game of the season. However, I
|
|||
|
didn't get my wish for the playoffs. While the Oilers eliminated
|
|||
|
themselves with a poor record, my request to form a team from the
|
|||
|
centerfolds of Playboy's past was nixed by the Commissioner's
|
|||
|
office. The explanation that I was given was that the team MUST
|
|||
|
wear something besides shoulder-pads.
|
|||
|
|
|||
|
The other night, I went to watch a basketball game at Reunion
|
|||
|
arena. The game was between the Los Angeles Lakers and the
|
|||
|
Dallas Mavericks. At this game, I saw Jesus Christ...and he was
|
|||
|
wearing a Lakers uniform. Nick Van Exel shot the lights out of
|
|||
|
the arena that night, raining three-pointers from everywhere on
|
|||
|
the floor. If you ever had doubts about the second coming of
|
|||
|
Christ, Nick Van Exel will put those doubts to rest. At the same
|
|||
|
game, Mavericks forward Roy Tarpley was suspended for arguing
|
|||
|
with coach Dick Motta. The incident was really strange. Tarpley
|
|||
|
had turned the ball over a bit too much for Motta's liking.
|
|||
|
Motta pulled Tarpley out of the game, and Roy commented that the
|
|||
|
move was "bullshit." Motta promptly told Tarpley to "sit your
|
|||
|
ass down at the end of the bench and shut up." Tarpley continued
|
|||
|
the argument in the locker room at the half, and Motta suspended
|
|||
|
him on the spot. What does this say for the Dallas Mavericks,
|
|||
|
Roy Tarpley, and Dick Motta? The Dallas Mavericks showed great
|
|||
|
poise as a team by ignoring what had happened between Motta and
|
|||
|
Tarpley, while Roy Tarpley showed us why he should never have
|
|||
|
been reinstated in the NBA. And Dick Motta proved to the Dallas
|
|||
|
Mavericks, it's fans and the media that he is the ONLY coach of
|
|||
|
the Dallas Mavericks. Bravo for Dick Motta.
|
|||
|
|
|||
|
Boxing-On-Ice (Hockey) is still in a state of limbo. Not being a
|
|||
|
big fan of this game, I personally could care less. However,
|
|||
|
there are people out there that adore this sport. Of course, if
|
|||
|
I wanted violence in my life, I would date a Dominatrix.
|
|||
|
|
|||
|
Speaking of violence, the word is out that the doctors have
|
|||
|
cleared Evander Holyfield to come back and fight again.
|
|||
|
Holyfield was forced to retire with a heart condition that could
|
|||
|
have killed him. While I admire Evander's drive/desire to fight
|
|||
|
again, I think this moron needs to have his brain checked out to
|
|||
|
see if he is fit enough to think.
|
|||
|
|
|||
|
Well, here's to hoping that we can get a nationally sanctioned
|
|||
|
Female Mud Wrestling League going in the near future. The only
|
|||
|
question that I have is: What group of people should we target
|
|||
|
as a potential audience?? (grin)
|
|||
|
|
|||
|
Till next month....
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ
|
|||
|
<EFBFBD> 110 Nodes * 4000 Conferences * 30.0 Gigabytes * 100,000+ Archives <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD> (R)
|
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<20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20> <20><> <20><> <20> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><>
|
|||
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<20><> <20><> <20><> <20><> <20><> <20><> <20> <20><> <20><> <20> <20><> <20><> <20><> <20> <20><>
|
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><> <20><> <20><><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> * Winner, First Dvorak/Zoom "Best General BBS" Award <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|||
|
* INTERNET/Usenet Access * DOS/Windows/OS2/Mac/Amiga/Unix
|
|||
|
* ILink, RIME, Smartnet * Best Files in the USA
|
|||
|
* Pen & Brush, BASnet. * 120 Online Games
|
|||
|
* QWKmail & Offline Readers * Multi-line Chat
|
|||
|
|
|||
|
Closing Stocks, Financial News, Business/Professional Software,
|
|||
|
NewsBytes, PC-Catalog, MovieCritic, EZines, AbleData, ASP, 4DOS
|
|||
|
Huge Windows, Graphics, Music, Programming, Education Libraries
|
|||
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<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ
|
|||
|
<EFBFBD> Channel 1 Communications(R) * Cambridge, MA * 617-354-3230 14.4 <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD>faster<EFBFBD>better<EFBFBD>less expensive<76><65><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> "Best Files in US" <20>
|
|||
|
|
|||
|
|
|||
|
Hula Hoops and Tinker Toys
|
|||
|
Copyright (c) 1995, Nancy VanWormer
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Hula Hoops and Tinker Toys
|
|||
|
by Nancy VanWormer
|
|||
|
|
|||
|
|
|||
|
When I was small, we didn't have this problem. It wasn't
|
|||
|
available to us (mere children) and if it were, we wouldn't
|
|||
|
have had the money anyway. Then one day, in school, no less,
|
|||
|
we were introduced to them. By our teacher.
|
|||
|
|
|||
|
Oh, the glory of them! They tried to show us that only
|
|||
|
"stupid" people played with hula hoops and tinker toys. But,
|
|||
|
in doing so, they made it most attractive. Their so-called
|
|||
|
bad boys were the cutest and most popular. The girls were the
|
|||
|
prettiest. They showed them having great fun, while nerdish
|
|||
|
(even back in those days) kids looked on disaprovingly.
|
|||
|
|
|||
|
The nerds got good grades and listened to their parents.
|
|||
|
The hula hoop crowd, slowly disintegrated into the scum of
|
|||
|
society.
|
|||
|
|
|||
|
What? From merely playing with hula hoops and tinker toys?
|
|||
|
How can it be so? They have already showed us the joys of
|
|||
|
playing with them. We couldn't ask our parents, because they
|
|||
|
didn't know anything about it.
|
|||
|
|
|||
|
So we grew. And as we matured, we became more enchanted with
|
|||
|
hula hoops and tinker toys, until the day finally came when
|
|||
|
we could play with them ourselves.
|
|||
|
|
|||
|
What a great day. These toys opened new worlds to us! We saw
|
|||
|
every day life in a whole new way. Mysteries of the universe
|
|||
|
were being unveiled to us.
|
|||
|
|
|||
|
The funny part was that we shared them. We never stole, or
|
|||
|
killed somebody over our toys. There was always somebody
|
|||
|
willing to share with us! We were always willing to share
|
|||
|
with others. It was like a secret family. We were brothers
|
|||
|
and sisters together.
|
|||
|
|
|||
|
As we grew our tastes grew also. We wanted more advanced
|
|||
|
toys. Toys made for adults. They were a bit more expensive,
|
|||
|
and harder to master, but we did it. We were in control.
|
|||
|
|
|||
|
Then one day, as young adults, some of us "grew up". We
|
|||
|
realized that we could not play with our hula hoops and
|
|||
|
tinker toys forever, and that there were other things in life
|
|||
|
to do. Things that were more important maybe? So we slowly
|
|||
|
weaned ourselves from our toys, and developed.
|
|||
|
|
|||
|
And as we did, we watched the few that decided that hula
|
|||
|
hoops and tinker toys were what they wanted most out of life.
|
|||
|
They stayed children, playing with their toys, while the rest
|
|||
|
of us went on to better things. It is funny, now, when we
|
|||
|
look at those lost children, we still see the innocence in
|
|||
|
them, but it is surrounded by an old person's body. They
|
|||
|
seemed to have aged outwardly much faster than we did. Oh,
|
|||
|
they still have the same beards and long hair, but it is
|
|||
|
peppered with grey and started to thin out. They still wear
|
|||
|
the same style clothes, I wonder where they buy them. The
|
|||
|
years of playing with hula hoops and tinker toys have taken
|
|||
|
their toll.
|
|||
|
|
|||
|
Now we have children of our own. Our children don't want to
|
|||
|
play with our toys, they have their own, more advanced and
|
|||
|
technological versions of our toys. They have roller blades
|
|||
|
and boomboxes.
|
|||
|
|
|||
|
The toys are different, dangerous. They were made to be
|
|||
|
dangerous. They have a power over people and are even
|
|||
|
capable of killing them. Their sole purpose is to hurt.
|
|||
|
They were made by different people than made our hula hoops
|
|||
|
and tinker toys. They were made for a different reason.
|
|||
|
|
|||
|
The kids are different. They are not playing with their toys
|
|||
|
the same way that we did. They are very protective of them,
|
|||
|
and will do anything to get more. They lie, cheat, steal and
|
|||
|
even kill to be able to play with their roller blades and
|
|||
|
boomboxes.
|
|||
|
|
|||
|
We are scared for our children in a way that our parents
|
|||
|
never were. We played with hula hoops and tinker toys, and we
|
|||
|
know the power that is in them. But our children, our babies,
|
|||
|
are playing with something more potent. Can they handle it?
|
|||
|
We handled it, but it was a different time, with different
|
|||
|
kids, and different toys.
|
|||
|
|
|||
|
We have to take care not to push them towards it like we
|
|||
|
were. After all, these are not hula hoops and tinker toys,
|
|||
|
the "toys of choice" of the peace generation. These are
|
|||
|
roller blades and boomboxes!!
|
|||
|
|
|||
|
|
|||
|
|
|||
|
ް<EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD>
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<EFBFBD> <20> 280+ dedicated phone lines - NO busy signals - 24-Hour access <20>
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<EFBFBD> <20> Over 650,000 files and programs - DOS, Windows, OS/2, Mac, Unix, Amiga <20>
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<EFBFBD> <20> Lightning fast - Search 20,000 files in 2 seconds with Hyperscan feature <20>
|
|||
|
<EFBFBD> <20> Over 42 CD-ROM's online - Scan all of them at 1 time for keywords <20>
|
|||
|
<EFBFBD> <20> Special Apogee games, Moraffware games, and Adult file areas <20>
|
|||
|
<EFBFBD> <20> Extensive message system with QWK compatability - Also, Fidonet areas! <20>
|
|||
|
<EFBFBD> <20> Online Doors / Games / Job Search / PC-Catalog / Online Magazines <20>
|
|||
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|
|||
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|
|||
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|
|||
|
|
|||
|
|
|||
|
Software Review
|
|||
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
Heretic Reviewed
|
|||
|
by Joe DeRouen
|
|||
|
|
|||
|
|
|||
|
|
|||
|
I wanted to dislike the game. I really did. It just isn't the sort of
|
|||
|
entertainment I normally enjoy. I'm more the Return to Zork or Myst
|
|||
|
type, and I rarely play shoot-em'-up graphic violence types of games.
|
|||
|
After about fifteen minutes of playing ID Software's new shareware
|
|||
|
release Heretic, however, I was hooked.
|
|||
|
|
|||
|
Heretic is a sequel of sorts to Doom and Doom II (also from ID) in terms
|
|||
|
of the 3D game engine and style of execution, however the setting is in
|
|||
|
another world entirely. In Doom, your avatar is a marine bent on
|
|||
|
ridding Hell of all it's demons and devils. In Heretic, you play the
|
|||
|
role of a vengeful Sidhe (pronounced "She") out to right the wrongs laid
|
|||
|
upon his race by the evil Order of the Triad. The Sidhe, offers the
|
|||
|
manual, are a race of ancient elves adept in arcane sorcery and keepers
|
|||
|
of the tomes of power. You must find your way through ruins filled with
|
|||
|
gargoyles, golems, undead warriors, and several other gruesome fiends
|
|||
|
bent on forever ending your quest. Several powerful Sidhe weapons and
|
|||
|
equipment, such as the powerful Dragon's Claw and the healing quartz
|
|||
|
flask, lie hidden in the ruins. It's up to you to find them - as well
|
|||
|
as the keys that unlock the doors to deeper levels - before the monsters
|
|||
|
find you. Your ultimate goal is to gain revenge for your race and maybe
|
|||
|
even kill D'Sparil, one of the members of the Order of the Triad, in the
|
|||
|
process.
|
|||
|
|
|||
|
Sound convoluted? It is. The plot is summed up in about six paragraphs
|
|||
|
in the manual and is even less clear than the synopsis I just attempted.
|
|||
|
Get past the absence of a plot, however, and you'll find yourself having
|
|||
|
fun and enjoying Heretic for what it is: an excellent arcade game
|
|||
|
complete with stunning in-your-face graphics, a hauntingly brooding
|
|||
|
sound track, and spine-tingling special effects that help to make this
|
|||
|
illusion of reality complete.
|
|||
|
|
|||
|
The fluid movement and quick reaction time of your player (not to
|
|||
|
mention that of his enemies!) provides the final touch of realism.
|
|||
|
Movement is controlled by either keyboard, mouse, or joystick. You can
|
|||
|
turn and maneuver in any direction, even staring at the ceilings or the
|
|||
|
floors. I've played Heretic for hours, always with a critical eye, and
|
|||
|
have yet to find a glitch in graphics or movement continuity.
|
|||
|
|
|||
|
If you have access to a LAN, modem, the Internet, or the new DWANGO
|
|||
|
network, you can play in multi-player mode. You can team up with a
|
|||
|
friend or two to combat the forces of evil or pit forces against each
|
|||
|
other in Deathmatch mode. Up to four people can play Heretic via
|
|||
|
multi-player mode, and instructions on setting up such a game are
|
|||
|
explained clearly in a text file called README.TXT included with the
|
|||
|
game.
|
|||
|
|
|||
|
A lot of people are going to view Heretic as Doom in a fantasy world.
|
|||
|
Up to a point, that's true. You shoot monsters using a variety of
|
|||
|
weapons, as you do in Doom. You search for treasures. You look for
|
|||
|
entrances to other levels of your confines. You can play multi-player.
|
|||
|
Doom has all that as well. But Heretic does it all better. ID managed
|
|||
|
to top themselves and in doing so set a new standard to be beat.
|
|||
|
|
|||
|
The game, however, is not without it's flaws. Installation from the CD
|
|||
|
ROM (or four 3.5" floppies) requires a whopping 20 Meg of free hard
|
|||
|
drive space. When installed, though, the game only takes up 12 Meg. I
|
|||
|
had to delete several programs and files to make room for the game. If
|
|||
|
the decompression program had been different, it wouldn't have had to
|
|||
|
require more space than it actually needed. That's going to be a
|
|||
|
problem for some people and something that probably could have been
|
|||
|
prevented with a little foresight and work.
|
|||
|
|
|||
|
Also, the very selling point about Heretic - it's realism - gives me a
|
|||
|
headache. Literally. You can get so lost in the game that you become
|
|||
|
dizzy simply following your character's descent through twisting
|
|||
|
passages and winding hallways. Finally looking up, you'll be stunned
|
|||
|
to realize that you've spent the last three hours staring at the screen
|
|||
|
pressing your keys or turning the joysticks. Just remember to take a
|
|||
|
break now and then and come back to the real world for a bit.
|
|||
|
|
|||
|
All in all, though, Heretic is well worth the registration price of
|
|||
|
forty dollars. Thus far, I've enjoyed nearly ten hours of
|
|||
|
heart-pounding game excitement and I'm just barely past the third level
|
|||
|
of Episode One. A good gamer can look forward to literally dozens of
|
|||
|
hours of monster chasing and treasure hunting fun.
|
|||
|
|
|||
|
Heretic requires a minimum IBM compatible 486/33 with 4 megs of RAM as
|
|||
|
well as a 100% Sound Blaster compatible sound card.
|
|||
|
|
|||
|
Heretic is available from ID Software. You can download the shareware
|
|||
|
version on your better BBS's around the country. The shareware version
|
|||
|
includes only the first of three episodes and, while certainly playable,
|
|||
|
is more of a sampler than a main dish. To purchase the registered
|
|||
|
version ($40.00) call 1(800)ID-GAMES. Specify CD or 3.5" when ordering.
|
|||
|
|
|||
|
(c) 1995 Joe DeRouen. All rights reserved.
|
|||
|
|
|||
|
|
|||
|
Software Review
|
|||
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
all rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Al Michael Announces Hardball III
|
|||
|
By Accolade (c) 1992
|
|||
|
|
|||
|
Design and Programming by Jeff Sember & Mike Benna
|
|||
|
Produced by Pam Levins
|
|||
|
Art by John Boechler
|
|||
|
Music by Alistair Hirst
|
|||
|
Sound by Mike Benna & Russel Shiffer
|
|||
|
Manual by Jeff Wagner & Richard Moran
|
|||
|
Creative Services by Lisa Marino & Shirley Sellers
|
|||
|
Tested by James Kucera & Robert Daly
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Most sports computer simulations use the same type of game
|
|||
|
engine. Hardball III is no exception to that rule. The game is
|
|||
|
relatively simple to use, but there are some pitfalls the user
|
|||
|
will have to overcome.
|
|||
|
|
|||
|
Strengths: The game allows you to choose a Manage-Only mode at
|
|||
|
any time in the game. This puts you in the manager's spot,
|
|||
|
making the calls as to what type of play to run. The success of
|
|||
|
the play depends on the players that you have in the game at the
|
|||
|
time. In Player mode, you will still get to call the plays, but
|
|||
|
you will control the actions of the players on the field, thereby
|
|||
|
being ultimately responsible for the success of the play. The
|
|||
|
game also gives you a picture of every player in the game, which
|
|||
|
is quite a pleasing look for a sports simulation. While the
|
|||
|
players on the field generally all make the same movements, the
|
|||
|
speed of their movements is determined by their abilities, which
|
|||
|
is a big plus for this game. This provides some form of reality,
|
|||
|
especially since an Eddie Taubensee can run nowhere near the
|
|||
|
speed of Deion Sanders. There is also a chance that a player
|
|||
|
will "muff" any given play, providing yet another stab at
|
|||
|
reality. The season scheduler is nothing short of pure genius.
|
|||
|
I have been playing this game for nearly two months now and am
|
|||
|
only now getting past the All-Star break (81 games). The All
|
|||
|
Star game is kind of neat, in that it never chooses the same
|
|||
|
players. The game goes into the current season stats and looks
|
|||
|
for players that are playing the best at their positions. It
|
|||
|
then applies them to the All Star game in their respective
|
|||
|
leagues. I have never seen any other sports simulator do
|
|||
|
anything of this sort.
|
|||
|
|
|||
|
Drawbacks: There are quite a few drawbacks to this game. The
|
|||
|
most glaring one is the lack of any ability to trade players from
|
|||
|
team to team in this game. I found that the only way to
|
|||
|
accomplish this feat was to write down the player's stats from
|
|||
|
his old team, find a player on the new team that is not there
|
|||
|
anymore and edit his stats accordingly. Quite time consuming to
|
|||
|
say the very least. Another glaring drawback is some of the
|
|||
|
play-calling in the game. For instance, the following situation
|
|||
|
is called for. With a runner on first, you call for a "hit and
|
|||
|
run" and opt for the batter to butn the ball. The runner takes
|
|||
|
off for second when the pitcher starts his windup, but the batter
|
|||
|
won't bunt the ball unless it is a pitched strike. In reality, a
|
|||
|
batter would do everything in his power to bunt that ball in
|
|||
|
order to protect the runner going to second. A very bad error in
|
|||
|
realism for this game. Yet another programming error lies in the
|
|||
|
manner that the computer changes pitchers. The computer will
|
|||
|
leave it's starter in the game until he tires, and only then will
|
|||
|
he substitute a relief pitcher. After this, the computer starts
|
|||
|
subbing pitchers like there is no end to the world. The only
|
|||
|
managers that I have ever seen do this were Little League
|
|||
|
coaches.
|
|||
|
|
|||
|
Conclusion: Realism is something this game tries to emphasize
|
|||
|
highly, but fails very badly at. With a promising engine driving
|
|||
|
this game, it is not that far from being great. However, it
|
|||
|
might benefit this system to add a trading system that allows you
|
|||
|
to swap players between teams. Also, some of the programming
|
|||
|
would have to change, forcing players to make decisions at the
|
|||
|
plate that are a bit more realistic.
|
|||
|
|
|||
|
Grade: C-
|
|||
|
Engine Grade: B
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Music Review
|
|||
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
Out Of The Silence by Yanni
|
|||
|
Production/Copyright 1987, Private Music
|
|||
|
|
|||
|
Track Listing
|
|||
|
1. Sand Dance (5:10)
|
|||
|
2. After The Sunrise (4:40)
|
|||
|
3. Standing In Motion (5:20)
|
|||
|
4. The Mermaid (3:46)
|
|||
|
5. Within Attraction (4:12)
|
|||
|
6. Street Level (4:18)
|
|||
|
7. Secret Vows (3:55)
|
|||
|
8. Point Of Origin (6:05)
|
|||
|
9. Acroyali (5:05)
|
|||
|
10. Paths On Water (3:51)
|
|||
|
|
|||
|
Total Time: 46:22
|
|||
|
|
|||
|
|
|||
|
Yanni is one of the most well-known New Age composers. His
|
|||
|
music has a quality that surpasses the level of most New Age
|
|||
|
musicians. Instead of writing songs, he vividly paints
|
|||
|
emotional, musical pictures for your mind. His 1987 release
|
|||
|
entitled "Out Of Silence" is no exception.
|
|||
|
The disc opens with five extremely good songs. "Sand Dance"
|
|||
|
races you through it's selection, giving off mental pictures of
|
|||
|
couples dancing on the beach. "After The Sunrise" is clearly the
|
|||
|
best track on the entire disc. With images of a cloudless
|
|||
|
morning embracing the listener from the very start, it's clear to
|
|||
|
see why this is one of the more popular pieces he has composed.
|
|||
|
"Standing In Motion" and "Mermaid" are not quite as strong as
|
|||
|
"After The Sunrise," but their imagery is just as good as that of
|
|||
|
"Sand Dance." "Within Attraction" is a stunning piece. I was
|
|||
|
left in awe of the imagery I received while listening to this
|
|||
|
track. After this point, Yanni's next five tunes are mere
|
|||
|
exercises of the first five. "Street Level" is clearly the most
|
|||
|
boring, offering very little in the way of imagery. "Secret
|
|||
|
Vows" starts out with a good movement, transporting the listener
|
|||
|
instantly into the imagery, but he quickly loses this feeling
|
|||
|
with some strange flourishes in the middle of the piece.
|
|||
|
"Acroyali" and "Paths On Water" are easily forgettable, making
|
|||
|
this a rather flat ending to the disc.
|
|||
|
All in all, this is a good Yanni disc. However, it is
|
|||
|
clearly not his best piece of work. If you love Yanni, you will
|
|||
|
like this disc. If you like quiet, "New-Agish" music, you will
|
|||
|
like this disc. If you are looking for a master-piece in the
|
|||
|
vein of David Arkenstone's "In The Wake Of The Wind" disc, you
|
|||
|
will be thoroughly disappointed.
|
|||
|
|
|||
|
|
|||
|
Overall Grade: C+
|
|||
|
Stellar Track: After The Sunrise
|
|||
|
Lackluster Track: Acroyali
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Music Review
|
|||
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Hell Freezes Over by The Eagles
|
|||
|
Copyright/Production 1994
|
|||
|
Produced by The Eagles with Elliot Scheiner and Rob Jacobs
|
|||
|
|
|||
|
Track Listing
|
|||
|
1. Get Over It
|
|||
|
2. Love Will Keep Us Alive
|
|||
|
3. The Girl From Yesterday
|
|||
|
4. Learn To Be Still
|
|||
|
5. Tequila Sunrise (Live)
|
|||
|
6. Hotel California (Live)
|
|||
|
7. Wasted Time (Live)
|
|||
|
8. Pretty Maids All In A Row (Live)
|
|||
|
9. I Can't Tell You Why (Live)
|
|||
|
10. New York Minute (Live)
|
|||
|
11. The Last Resort (Live)
|
|||
|
12. Take It Easy (Live)
|
|||
|
13. In The City (Live)
|
|||
|
14. Life In The Fast Lane (Live)
|
|||
|
15. Desperado (Live)
|
|||
|
|
|||
|
|
|||
|
The Eagles. Possibly the most successful rock band of the 1970s.
|
|||
|
Their music is loved and adored by millions around the world.
|
|||
|
Their style has been imitated by country-rock bands in the 1990s.
|
|||
|
In a sense, their songs define a large part of the music
|
|||
|
industry.
|
|||
|
|
|||
|
Shortly after The Eagles had broken up, Drummer/Singer Don Henley
|
|||
|
was asked about when The Eagles would get back together again.
|
|||
|
Henley's reply was "When Hell freezes over!" His musical
|
|||
|
differences with Guitarist/Singer Glenn Frey were so great, that
|
|||
|
hatred had begun to enter into the equation. But it did make for
|
|||
|
a good album title.
|
|||
|
|
|||
|
In reality, this disc is nothing more than a live album. With
|
|||
|
only four new tracks, it's more along the lines of an Extended
|
|||
|
Play (EP) disc. Sadly, of the four tracks, only one is really
|
|||
|
worth a damn. "Get Over It" is an angry, cynical look at the
|
|||
|
world around us. It's growled musings make for one of the best
|
|||
|
songs I have ever heard. "Love Will Keep Us Alive" reminds one
|
|||
|
of the "countrified" music the band released on it's Desperado
|
|||
|
LP. "The Girl From Yesterday" really fits no mold that the band
|
|||
|
had carved in their earlier niches, but still breaks very little
|
|||
|
new ground. "Learn To Be Still" sounds great musically, but
|
|||
|
lyrically it leaves a lot to be desired.
|
|||
|
|
|||
|
Tracks 5 through 15 are all live versions of old Eagles'
|
|||
|
standards. They all sound great (except for a really lame
|
|||
|
version of "Hotel California"), but two really stood out from the
|
|||
|
others. "New York Minute" and "The Last Resort" sound even
|
|||
|
better live than they did in the studio.
|
|||
|
|
|||
|
In summary, this is one of the most awaited for albums in the
|
|||
|
history of Rock and Roll. But was it worth the wait? Not in my
|
|||
|
opinion. The album's four studio track leave you wanting more
|
|||
|
original material, while the live tracks leave wanting the old
|
|||
|
Eagles back. If nothing else, the band will get exactly what
|
|||
|
they wanted out of this disc....money.
|
|||
|
|
|||
|
Grade: C-
|
|||
|
Stellar Track: The Last Resort (Live)
|
|||
|
Lackluster Track: The Girl From Yesterday
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Music Review
|
|||
|
Copyright (c) 1994, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
For Those About To Rock (We Salute You) by AC/DC
|
|||
|
Copyright/Production 1981
|
|||
|
ATCO Records 92412-2
|
|||
|
Previously Released as Atlantic #11111
|
|||
|
Produced by Robert John "Mutt" Lange
|
|||
|
|
|||
|
|
|||
|
Track Listing
|
|||
|
1. For Those About To Rock (We Salute You)
|
|||
|
2. Put The Finger On You
|
|||
|
3. Let's Get It Up
|
|||
|
4. Inject The Venom
|
|||
|
5. Snowballed
|
|||
|
6. Evil Walks
|
|||
|
7. C.O.D.
|
|||
|
8. Breaking The Rules
|
|||
|
9. Night Of The Long Knives
|
|||
|
10. Spellbound
|
|||
|
|
|||
|
|
|||
|
AC/DC are one of the most well-known bands in the Hard-Rock and
|
|||
|
Heavy Metal genre. Their success is due primarily to two albums,
|
|||
|
"Highway To Hell" and "Back In Black," which are the two albums
|
|||
|
immediately before this one in their discography. Since this
|
|||
|
album followed those two, it's easy to see why it is easily
|
|||
|
forgotten by most fans.
|
|||
|
|
|||
|
Despite being an album that most fans forget, "For Those About To
|
|||
|
Rock" is quite a solid effort. The title song leads the album
|
|||
|
off, and provides a back-drop of one of the most memorable parts
|
|||
|
of an AC/DC concert. That's right, this is the song that has the
|
|||
|
cannon fire on it. It is followed by a showcase of very
|
|||
|
forgettable pieces by the band. To put it bluntly, "Put The
|
|||
|
Finger On You," "Let's Get It Up" and "Snowballed" would have
|
|||
|
been better off being left off the album. "Inject The Venom" has
|
|||
|
a bit more flair than most AC/DC songs, with quite an inventive
|
|||
|
opening for a guitar solo by Angus Young. "Evil Walks" and
|
|||
|
"C.O.D" provide some really different lyrics for the band. Both
|
|||
|
songs espouse the darker side of the world around us, which seems
|
|||
|
to be something that the band is reluctant to do since the death
|
|||
|
of original vocalist Bon Scott. "Night Of The Long Knives"
|
|||
|
brings us once more to some really boring material for the band.
|
|||
|
"Spellbound" closes the album with some very rhythmic material.
|
|||
|
This song has never been played in their live sets after this
|
|||
|
album's release. That's a shame, since it provides some really
|
|||
|
tasty chops with some hard-hitting rhythm.
|
|||
|
|
|||
|
If you are an AC/DC fan, you should already have this album.
|
|||
|
However, for those of you that are looking for good, hard-driving
|
|||
|
rock and roll, this is not the album for you.
|
|||
|
|
|||
|
Grade: C+
|
|||
|
Stellar Track: Evil Walks, C.O.D. (tie)
|
|||
|
Lackluster Track: Snowballed, Night of the Long Knives (tie)
|
|||
|
|
|||
|
|
|||
|
Music Review
|
|||
|
Copyright (c) 1994, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Diary Of A Madman by Ozzy Osbourne
|
|||
|
Jet Records ZK 37492
|
|||
|
Copyright/Production 1981
|
|||
|
|
|||
|
Track Listing
|
|||
|
1. Over The Mountain
|
|||
|
2. Flying High Again
|
|||
|
3. You Can't Kill Rock And Roll
|
|||
|
4. Believer
|
|||
|
5. Little Dolls
|
|||
|
6. Tonight
|
|||
|
7. S.A.T.O.
|
|||
|
8. Diary Of A Madman
|
|||
|
|
|||
|
|
|||
|
This will sound kind of scary, but I really identify with John
|
|||
|
"Ozzy" Osbourne. No, I don't want to run around snacking on the
|
|||
|
heads of small animals, nor do I want to shave all the hair off
|
|||
|
of my head (been there, done that, got the T-Shirt). I identify
|
|||
|
with the angry, bitter lyrics that he wrote during his early
|
|||
|
Black Sabbath days, and during the early part of his solo career.
|
|||
|
|
|||
|
This album, his second, is easily considered a classic among the
|
|||
|
Heavy Metal crowd. To me, it is easily the one album that
|
|||
|
accurately described my life during that period: confused,
|
|||
|
angry, and scared.
|
|||
|
|
|||
|
The album opens with "Over The Mountain," which is one of the
|
|||
|
most over-looked and under-played songs in the Ozzy repertoire.
|
|||
|
It's got a quick, catchy beat that has you wondering how far the
|
|||
|
talent of the late-Randy Rhoads could have gone. "Flying High
|
|||
|
Again" is a bit overplayed on the radio, but it is one of the
|
|||
|
very best pieces of work Ozzy has ever done. Following these two
|
|||
|
is the Metal anthem, "You Can't Kill Rock And Roll." It's lyrics
|
|||
|
approach the level of Robert Conrad daring you to knock the
|
|||
|
Everyready battery off his shoulder. Sadly, the music is written
|
|||
|
close to the level of a ballad, which deflates the power of the
|
|||
|
lyrics greatly. "Believer" is one of the many songs that Ozzy
|
|||
|
has written to attack the people that attack him. It is angry
|
|||
|
and sarcastic in nature, but is not helped by the "funky" bass
|
|||
|
grove that Rudy Sarzo lays down in it's support. Randy Rhoads
|
|||
|
pulls off one of the most incredible solos I have ever heard on
|
|||
|
this song. "Little Dolls" is a play on the concept of Voo-doo
|
|||
|
and comes off a bit "cheesy" in a lyrical manner. The music for
|
|||
|
it, however, is tight and extremely well done. "S.A.T.O." is one
|
|||
|
of the weirdest songs that he has ever put on a recording. You
|
|||
|
need to borrow a De-Ciphering Specialist from the Army just to
|
|||
|
understand the lyrics. The music comes off weak, despite another
|
|||
|
stellar guitar solo by Rhoads. "Diary Of A Madman" is the
|
|||
|
clinching track on the recording. It's look inside the sick and
|
|||
|
twisted mind of a madman makes an erie ending to the album. The
|
|||
|
lyrics are some of the best I have EVER read. In short, this
|
|||
|
song is a masterpiece.
|
|||
|
|
|||
|
Granted, I see you reading this and wondering, how can he speak
|
|||
|
so lovingly of this album in the beginning and then proceed to
|
|||
|
trash all but three of the songs? Easily. This album, in 1981,
|
|||
|
was one of the best I have ever heard. However, it has not
|
|||
|
withstood the acid-test of time.
|
|||
|
|
|||
|
Grade: B-
|
|||
|
|
|||
|
|
|||
|
Book Review
|
|||
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
In The Shadow Of The Oak King by Courtway Jones
|
|||
|
Copyright 1991, Baen Books
|
|||
|
1st Printing May 1992
|
|||
|
ISBN 0-671-73404-0
|
|||
|
340 Pages
|
|||
|
|
|||
|
|
|||
|
The story and tales behind the legend of Britain's King Arthur
|
|||
|
are numerous and well-known. With the exception of Marion Zimmer
|
|||
|
Bradley's "The Mists of Avalon," most stories told from this
|
|||
|
storyline are bland and repetitive. This is not the scenario
|
|||
|
concerning Courtway Jones first installment in his Dragon's Heirs
|
|||
|
trilogy.
|
|||
|
|
|||
|
Mr. Jones paints one of the most vivid and captivating pieces of
|
|||
|
work with this novel. It portrays the early years of King Arthur
|
|||
|
as told through the eyes of his Pictish half-brother Pelleas.
|
|||
|
What Jones offers to the reader is a compelling page-turning
|
|||
|
novel. Jones gives Pelleas the task of providing insight to
|
|||
|
Arthur's nature within the story. This proves to be interesting
|
|||
|
and extremely entertaining. Pelleas' comments are sometimes much
|
|||
|
too priceless. I found myself wiping tears from my eyes while I
|
|||
|
was laughing. Pelleas' insight to the lovely (and stupid)
|
|||
|
Gueneviere is strange since it portrays her as nothing more than
|
|||
|
a piece of art for Arthur's side.
|
|||
|
|
|||
|
With Pelleas' as the main character, the story does not follow
|
|||
|
Arthur once Camelot is built, but it does look into what the rest
|
|||
|
of the kingdom is like during his (Pelleas') travels. The
|
|||
|
jousting tournaments is where Pelleas starts his travels, beating
|
|||
|
all the knights including the handsome Lancelot. This makes
|
|||
|
Lancelot and Pelleas enemies from the beginning of their initial
|
|||
|
meeting, although the young lady known as Nithe provides even
|
|||
|
more reason for the rivalry to heat up. From the tournaments,
|
|||
|
Pelleas' travels find all the Picts adoring him for what he has
|
|||
|
done. Eventually, he ascends (reluctantly) into the position of
|
|||
|
being their King.
|
|||
|
|
|||
|
If you are looking for a very enjoyable read, and you love the
|
|||
|
mystery of old England, then you must acquire this book and
|
|||
|
devour it. It's depictions will have you laughing, crying, and
|
|||
|
smiling at Pelleas, Nithe, Arthur, Myrrdin (Merlin), Lancelot and
|
|||
|
a host of others.
|
|||
|
|
|||
|
Overall Grade: A-
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Book Review
|
|||
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
The Rose Sea by S.M. Stirling and Holly Lisle
|
|||
|
Copyright 1994, Baen Books
|
|||
|
ISBN 0-671-87620-1
|
|||
|
1st Printing, September 1994
|
|||
|
Pages: 412
|
|||
|
|
|||
|
|
|||
|
While I have never heard of S.M. Stirling before, Holly Lisle is
|
|||
|
a well-known writer to me. With her introduction to readers
|
|||
|
through the infamous Mercedes Lackey, Miss Lisle has lived up to
|
|||
|
all expectations. Her previous three novels, along with a
|
|||
|
combined effort with Miss Lackey, have shown a steady progress of
|
|||
|
in-depth character creation. "The Rose Sea" is no exception to
|
|||
|
this rule.
|
|||
|
|
|||
|
Stirling and Lisle bring us to a world that is ruled in two
|
|||
|
halves. The northern half is controlled by a race of peoples
|
|||
|
known as Tykissians. They resemble Roman legionnaires within the
|
|||
|
Army, while the common citizens are not much different than most
|
|||
|
Americans. The southern half is controlled by the Tseldenes, who
|
|||
|
are ruled by a centuries-old wizard named Darkist. This society
|
|||
|
seems to be modeled after a tyrannical theocracy. The two halves
|
|||
|
are at war with one another, both vying for control of the known
|
|||
|
world. Our main characters enter into the story within the
|
|||
|
Tykissian realm. They are "pressed" into the service of the
|
|||
|
army, where they learn to get along with one another, and how to
|
|||
|
be a soldier. After their training is semi-completed, they are
|
|||
|
sent south across the sea to help invade the Tseldene empire.
|
|||
|
And thus the adventure begins.
|
|||
|
|
|||
|
The characters are given identities that are set in stone from
|
|||
|
the first word on the page. However, they are allowed to grow
|
|||
|
and change as most individuals do throughout their lives. In
|
|||
|
this manner, the reader develops a very strong bond to the
|
|||
|
characters as the story continues. The story's twists and turns
|
|||
|
are handled magnificently, while some really strong political
|
|||
|
intrigue is thrown in for a very ironic twist. The shipwreck
|
|||
|
scenes are written in a very realistic manner, as is the
|
|||
|
"pressing" of the characters into the military and the training
|
|||
|
that they receive. In short, the story-telling for this novel is
|
|||
|
nothing short of magnificent.
|
|||
|
|
|||
|
If you have been reading most of my book reviews, you already
|
|||
|
know that I don't like to give away plots or endings to the
|
|||
|
novels I review. This is because I want you the reader to judge
|
|||
|
the quality of it for yourself. After all, this is only my
|
|||
|
opinion. This review will be no different. But the ending to
|
|||
|
"The Rose Sea" is so stirring and emotional, if you don't feel
|
|||
|
the pull at your heart-strings, you are already dead.
|
|||
|
|
|||
|
Grade: A+
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Book Review
|
|||
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Fire In The Mist by Holly Lisle
|
|||
|
Baen Books, Copyright 1992
|
|||
|
ISBN 0-671-72132-1
|
|||
|
1st Printing, August 1992
|
|||
|
Cover Art by Stephen Hickman
|
|||
|
Map by Ellen Kostyk
|
|||
|
Pages: 291
|
|||
|
|
|||
|
|
|||
|
Have you ever wondered what it would be like to have some latent
|
|||
|
magickal power suddenly awaken within you? Have you ever thought
|
|||
|
how hard it would be to control such a power without adequate
|
|||
|
training? Obviously Holly Lisle has, since this is part of the
|
|||
|
opening premise of the novel "Fire In The Mist."
|
|||
|
|
|||
|
Mercedes "Misty" Lackey (my favorite writer) described Holly
|
|||
|
Lisle as "one of the hottest writers I've come across in a long
|
|||
|
time." I figured that if Miss Lackey had lumped such heavy
|
|||
|
praise on Miss Lisle, that I had better check out her first
|
|||
|
offering as soon as I could. It was not a disappointing
|
|||
|
excursion to say the very least. As a matter of fact, I came
|
|||
|
away from the book having felt every single emotion there
|
|||
|
was....and then some that I never even realize existed!
|
|||
|
|
|||
|
Miss Lisle's characters in this book are very well-written. The
|
|||
|
reader starts off with a shell of what the character is about and
|
|||
|
then gets to fill in the missing pieces through the character's
|
|||
|
actions throughout the book. This gets the reader very involved
|
|||
|
in the characters and really adds to the enjoyment of the story.
|
|||
|
This simple manner of "evolving" her characters is woven around
|
|||
|
an exquisite plot that will have you thinking on several levels
|
|||
|
at once. She really works some magick with this novel.
|
|||
|
|
|||
|
I highly recommend this novel. At times, the story-line plods
|
|||
|
along, but for the most part it hurls you through the action at
|
|||
|
break-neck speed. Be sure that you keep your hands inside the
|
|||
|
cart during this ride.
|
|||
|
|
|||
|
Grade: A-
|
|||
|
|
|||
|
|
|||
|
Book Review
|
|||
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
Red Dwarf: Infinity Welcomes Careful Drivers by Grant-Naylor
|
|||
|
ROC Books, (c) 1989
|
|||
|
1st ROC Printing, September 1992
|
|||
|
ISBN 0-451-45201-1
|
|||
|
Pages: 298
|
|||
|
|
|||
|
|
|||
|
Take today's society. Allow for two hundred years or more of the
|
|||
|
inevitable moral decay that comes with civilization. Focus on an
|
|||
|
ore-mining ship called "Red Dwarf." Add a degenerate punk with
|
|||
|
an attitude problem. Mix in an insecure, power-hungry buffoon.
|
|||
|
Stir generously with an on-board nuclear disaster, and allow to
|
|||
|
sit for 3,000 years. Top it off with a ship's computer that has
|
|||
|
an IQ of 600 or more, and sprinkle gingerly over the first erect-
|
|||
|
species of Feline. What do you get? The hilarious BBC-TV comedy
|
|||
|
called "Red Dwarf."
|
|||
|
|
|||
|
While the book goes into a lot more detail than the TV show, I
|
|||
|
found it lacking the constant hilarity on the show. This does
|
|||
|
not, however, take anything away from the book, which is one of
|
|||
|
the most enjoyable books I have ever read. The situations that
|
|||
|
this cast of misfits gets into border on the totally insane. I
|
|||
|
found myself constantly trying to put this book down, and failing
|
|||
|
to do so. The characters of David Lister (the last surviving
|
|||
|
human being), Arnold Rimmer (the totally obnoxious Hologram), Cat
|
|||
|
(the very self-centered and lazy Feline Erectus), and Holly (the
|
|||
|
sarcastic ship's computer) will have you on the floor begging for
|
|||
|
more between the tears of laughter. The banter between the
|
|||
|
characters is lost a bit in the book (the TV show does a much
|
|||
|
more vivid job of depicting their constant sniping), but
|
|||
|
nonetheless it is VERY amusing.
|
|||
|
|
|||
|
If you liked "Hitch-hiker's Guide To The Galaxy," you will really
|
|||
|
find this book to be a great treat. Don't miss it. A word of
|
|||
|
caution though: I had an extremely hard time finding a copy of
|
|||
|
this book. I located it at a local Comic Book shop (Lone Star
|
|||
|
Comics). I was lucky enough to find it in the second store that
|
|||
|
I checked for it. You might not have as much luck though. Keep
|
|||
|
searching for it, simply because it is very well worth your time
|
|||
|
and effort.
|
|||
|
|
|||
|
Grade: A+
|
|||
|
|
|||
|
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> "Bringing our software to your home"
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><> <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> (717)325-9481 14.4
|
|||
|
<20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> 2 NODES
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20> <20> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><><EFBFBD> <20><>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|||
|
Prize Vault Lemonade Scramble Dollarmania ANSI Voting Booth
|
|||
|
Studs! Studette BadUser Convince! OnLine!
|
|||
|
GoodUser T&J Lotto T&JStat TJTop30 Environmental QT
|
|||
|
Video Poker Announce Bordello! Money Market Bordello
|
|||
|
T&J Raffle RIP Lemonade AgeCheck Strip Poker RIP Voting Booth
|
|||
|
...and more coming!
|
|||
|
|
|||
|
|
|||
|
Beacons of Light
|
|||
|
Copyright (c) 1995, L. Shawn Aiken
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Beacons of Light
|
|||
|
by L. Shawn Aiken
|
|||
|
|
|||
|
The ebon craft burst forth from nowhere, literally, but did not
|
|||
|
disturb the velvety curtain of stars draped behind it. From its
|
|||
|
womb sprang seven silvery children that plunged toward the bright
|
|||
|
orb swirling nearby.
|
|||
|
One hesitated briefly, rejecting the ever present tendrils of
|
|||
|
force. Instead, it fell forever around the planet, carefully
|
|||
|
watching the other six as they began to sparkle with ions.
|
|||
|
The ebon craft lurched and drug itself out of the gravity well,
|
|||
|
then vanished, returning to the nothingness which had spawned it.
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
Brenn watched the star-like sparks dance above the biomass
|
|||
|
reactor as if somehow they were the real stars with their proper
|
|||
|
motions advanced a million-fold. The simple arrangement of stone
|
|||
|
and wood was far from efficient, but at least it warmed half of his
|
|||
|
cloaked body. Regretfully, his backside was frozen in the crisp
|
|||
|
night air.
|
|||
|
Beyond the fire sat his wife, suckling their bald child while
|
|||
|
her deep green eyes watched him like a cat. *She is too young,*
|
|||
|
Brenn thought, *her skin too soft, her mind too new. Slypha does
|
|||
|
not deserve to be away from her family, up here, with the beasts.
|
|||
|
And me.*
|
|||
|
Her large green eyes caught his, and she smiled. Brenn sighed
|
|||
|
and smiled back.
|
|||
|
"The beasts are quiet," he said. Her smiled faded.
|
|||
|
"Perhaps they think the storm will miss us," she removed the
|
|||
|
child from her breast and snuggled him tightly. "It's late. It's
|
|||
|
been so long. I feel ready. Let's go to bed."
|
|||
|
Brenn stood up and stretched his legs. The flickering fire
|
|||
|
light caught the grey streaks in his beard. "Let me check on the
|
|||
|
boy first. I think he's asleep."
|
|||
|
Slypha walked to him and kissed him on the cheek, her eyes
|
|||
|
sparkling. "Must you call him a boy still? Phenris has gone
|
|||
|
through the change."
|
|||
|
"Men do not sleep while watching beasts." They smiled in unison,
|
|||
|
for they both knew Brenn had his surrendered his watch many times to
|
|||
|
the sandman.
|
|||
|
He turned and stepped into the dark of night. *I am too old,*
|
|||
|
he sighed to himself. *My joints creak. My hair has shifted from
|
|||
|
my head to inappropriate parts of my body. I am too old to be with
|
|||
|
her.*
|
|||
|
The forest gave way to clearing and the rumbling of snoring
|
|||
|
beasts. Brenn was sure one of the snores belonged to Phenris, but
|
|||
|
sound alone could not distinguish them. Then another sound came.
|
|||
|
An old sound. One that he had not heard in three decades, and not
|
|||
|
hoped to hear again. A beeping.
|
|||
|
He glanced at the culprit, the chronometer strapped to his
|
|||
|
wrist. The signal. Brenn glanced up at the heavens. Bright lights
|
|||
|
shone down. Foreign constellation made familiar over thirty-six
|
|||
|
years, girdled by two shadows. The eastern shadows were the spiky
|
|||
|
teeth of the Ramphast Mountains. The west was more nebulous, a thin
|
|||
|
line over the flat lands. The coming storm.
|
|||
|
Between the two a fiery streak, followed by another, and
|
|||
|
another. Six in all. They did not fade like falling stars, but
|
|||
|
stayed bright as they disappeared behind the clouds.
|
|||
|
Brenn slumped to the ground. Why had they taken so long? And
|
|||
|
why now? Wouldn't some earlier time have done? When his bones did
|
|||
|
not creak and his hair was still stable? Why had they not come when
|
|||
|
he had been ready?
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
The lightning crackled down like a witch's hand, briefly
|
|||
|
illuminating the humanoid figure running quietly through the
|
|||
|
rain-soaked streets. It's strides were long. It's leaps longer.
|
|||
|
But no one was awake to see. No one oohed and ahed. No one bowed
|
|||
|
down to the power of Akhenaton.
|
|||
|
He broke a sweat in the confines of the suit, away from the
|
|||
|
chilly air, as he bounded across the Square of Freedom to the
|
|||
|
presidential palace. One guard had time to widen his eyes before
|
|||
|
the meter long razor slaughtered the lot. But the splatter of blood
|
|||
|
failed to stain Akhenaton, for he crashed ten meters up into a third
|
|||
|
story window.
|
|||
|
A figure cowered in the silk sheets of the canopied bed, amidst
|
|||
|
the finely carved bas-reliefs on the walls and the cherubs looking
|
|||
|
down from the vaulted ceiling. Akhenaton opened a link to the
|
|||
|
satellite floating above and stepped toward the trembling figure.
|
|||
|
"President Cambridge of the Free World of Charadri, I bring you
|
|||
|
a gift from the Emperors of the Triad," his voiced boomed out of the
|
|||
|
metal and ceramic suit of armor. "You may broadcast a word to those
|
|||
|
you offended with treason."
|
|||
|
The figure stopped shaking and sat up. A wise-looking man, but
|
|||
|
confused. "You have no right . . ."
|
|||
|
Electric sparks bluer than sapphires shot from Akhenaton's arm,
|
|||
|
striking the president full force in the chest. He erupted into
|
|||
|
flames, squealing.
|
|||
|
"Just one word, dear President," Akhenaton said as he cut the
|
|||
|
link. Movement. His sensors detected movement. A woman by the
|
|||
|
door, paralyzed with fear.
|
|||
|
A burst of blue light reduced the president's wife to ashes.
|
|||
|
Noise. Beyond the door. In the hall. He jumped into it.
|
|||
|
A short person. A child. In bootied blue pajamas. Clutching a
|
|||
|
stuffed creature from beyond the Human Zone. The offspring of
|
|||
|
Cambridge. Akhenaton aimed and fired.
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
Brenn looked back through the veil of rain and waited for Slypha
|
|||
|
to catch up. She sloshed through the mud, the baby's pannier
|
|||
|
strapped to her back and a useless umbrella sticking up through the
|
|||
|
wooden frame.
|
|||
|
He reached his hand out to help her, but she brushed past him
|
|||
|
roughly.
|
|||
|
"Sylph!" he sucked his boots out of the mud. His son whined at
|
|||
|
him from her back.
|
|||
|
"Why?" Slyph hissed as her head spun toward him. He blinked to
|
|||
|
force the rain from his eyes. *She's too young to go through this,*
|
|||
|
he thought as he examined the way her wet hair hung to her face in
|
|||
|
swirls.
|
|||
|
"It is not a thing to talk about. Just believe that it is
|
|||
|
necessary," he coughed up the words.
|
|||
|
"What about Phenris?" she asked. "He's too young to herd the
|
|||
|
beasts by himself!"
|
|||
|
He sighed, remembering how, months ago, she had argued that her
|
|||
|
nephew was old enough to follow them into the hills. "He'll be
|
|||
|
okay. I have to get you back to the village."
|
|||
|
"Why?" she yelled over the thunder. "Why must you leave?"
|
|||
|
"Look!" he pointed to a strange metal scaffolding looming above
|
|||
|
the trees. "The microwave tower. We are almost there. Let's get
|
|||
|
you too your mother's before it get's dark!"
|
|||
|
He knew they would make it to the village of Psittac long before
|
|||
|
night fall, but he wanted to be well away from there before anything
|
|||
|
might happen. They continued to slosh through the mud, their boots
|
|||
|
slurping and sucking, and the baby randomly wailing.
|
|||
|
The rain had died down, only dribbling from the sky, as they
|
|||
|
entered the wooden village, biomass reactors churning dark smoke
|
|||
|
through chimneys into the sky.
|
|||
|
Brenn did not stay long at the Dowager's home, only taking time
|
|||
|
to change his clothes and give his wife a brief farewell. He wanted
|
|||
|
to stay longer, but knew that Slyph would probably find some way of
|
|||
|
coaxing him into staying the night.
|
|||
|
He did not leave rustic Psittac immediately. Through the mist
|
|||
|
he trudged up the hill to the microwave station to see Slyph's
|
|||
|
sister. With a few bangs on the metal door, Neridia opened the door
|
|||
|
and a blast of electrically heated air greeted him.
|
|||
|
"Thank God you are here," she said, pulling him into the room
|
|||
|
full of lights and banks of switches. She was older than Slyph by a
|
|||
|
few years, but with golden hair and brown eyes - a product of the
|
|||
|
Dowager's first marriage. She sat him down at the console and
|
|||
|
nervously poured him a steaming cup of bark juice.
|
|||
|
"What is going on?" Brenn asked, tapping several consoles in
|
|||
|
hopes that their numbers would change. They did not.
|
|||
|
"It's a blackout," she nervously fretted over the consoles,
|
|||
|
readjusting what he had touched. "At least that's what Eshan at the
|
|||
|
Black River relay said just before he went off. Eshan also said to
|
|||
|
initiate the civil defense plan. I've looked through the manuals.
|
|||
|
There is nothing about a plan like that. He also said there was an
|
|||
|
attack on the capital. Interstellar missiles, he said he heard.
|
|||
|
You were a warrior. What does it mean?" Her brow knotted and she
|
|||
|
looked at him, until she realized he was not looking at her.
|
|||
|
Somewhere else. Somewhere but nowhere. She took a deep breath and
|
|||
|
stood in front of him.
|
|||
|
"Brenn?" she said.
|
|||
|
"They are not missiles, they are people," he looked up at her
|
|||
|
and gulped his juice. "The Beacons. They are here." He stood up
|
|||
|
and set down his drink. "Inside of drop pods."
|
|||
|
"An invasion." she said.
|
|||
|
"Sort of." he replied, and went to the door.
|
|||
|
"Wait!" she ran after him, "What about the defense plan? You
|
|||
|
were a warrior. You know what to do. Please help us."
|
|||
|
"I'll do what I can," he opened the metal door and rain splashed
|
|||
|
at his foot. "But I can't do it here."
|
|||
|
"But what do *we* do?" she asked.
|
|||
|
"There is nothing you can do. Not against the Beacons, anyway."
|
|||
|
Brenn slammed the door behind him and crept down the hill, wrapping
|
|||
|
his cloak around his tired bones.
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
A different microwave tower, this one much taller, loomed far
|
|||
|
above on the top of the craggy peak of Mount Ptilogon. *I shouldn't
|
|||
|
have looked at it,* Brenn thought as he stumbled and fell off the
|
|||
|
path. He clambered back on it, careful not to catch a glimpse at
|
|||
|
the green valley below, and continued through the mud.
|
|||
|
A muscle between his rib cage and his shoulder throbbed.
|
|||
|
Thirty-six years ago he could have pulled himself up the cliff with
|
|||
|
no problem. But then again, thirty-six years ago he wouldn't have
|
|||
|
stumbled.
|
|||
|
The path widened out. It was a eerie sight, even to one who had
|
|||
|
seen it before. All of those toad trees with their green, knobby
|
|||
|
bark. And the way they swayed back and forth. Springy. Totally
|
|||
|
unlike real trees. They were, by definition, alien.
|
|||
|
Brenn began to walk through the toad tree grove, toward a
|
|||
|
boulder. It was a large boulder, about the size of a man. He
|
|||
|
lifted it. The fiberglass shell lifted easily, exposing a parabolic
|
|||
|
dish spinning slowly about a base.
|
|||
|
He crouched down, his knees popping, and removed a panel. Data
|
|||
|
flashed across the screen and he sighed. Everything checked out.
|
|||
|
They had come. With several button punches the dish stopped
|
|||
|
spinning and zeroed in on the tower.
|
|||
|
Blackness. Nothing. No transmission. He leaned back and sat
|
|||
|
in the mud. The eastern continent beyond the mountains was under
|
|||
|
blackout as well.
|
|||
|
His backside was no longer just cold, but wet. And muddy. A
|
|||
|
cold wind whisked up his cloak as he stood up. His knees popped.
|
|||
|
His shoulder ached. Brenn swore he could feel his arteries
|
|||
|
hardening. *I'm too old for this. If they would have only come
|
|||
|
later. When I am dead and buried. Then I would be prepared.*
|
|||
|
Slyph's round face flashed before him. She was still a baby.
|
|||
|
He had no right to marry her. *Things are all backward here, on
|
|||
|
this planet a thousand light years from nowhere.*
|
|||
|
He looked started again through the mud and quickly came to the
|
|||
|
cave. It was still there after all of these years. A big gaping
|
|||
|
maw cut in solid rock by the trickling of water. He could feel the
|
|||
|
water in his boot and on his backside. Bits of him were being
|
|||
|
eroded too.
|
|||
|
A cool draft of air fluttered about him in the darkness. He dug
|
|||
|
through his pockets and flicked on the retrieved torch. Glistening
|
|||
|
sparkles danced before him. Some from water dripping off
|
|||
|
stalactites. Some from the fools' gold that infested Mount
|
|||
|
Ptilogon.
|
|||
|
He stepped deeper into the pit, down a natural staircase
|
|||
|
lovingly caressed for millennia by water trickling from above.
|
|||
|
There was a flutter of something that the bioengineers had meant to
|
|||
|
eradicate, but couldn't. Just like the herd beasts. Whatever it
|
|||
|
was would probably have been good eating, but his mind was not on
|
|||
|
food. He had to get past the balcony in one piece.
|
|||
|
It dropped off before him, into the darkness below. It seemed
|
|||
|
to Brenn that it had changed. It was more slippery. Smoother. And
|
|||
|
there was less of a ledge. Three decades of trickle had eaten away
|
|||
|
the footholds leading down to the floor, perhaps some twenty meters
|
|||
|
below. And the torch refused to light up what was below.
|
|||
|
He knelt and banged the torch against the floor. The beam
|
|||
|
wavered, but refused to spit out more light. Geological processes
|
|||
|
had cut him off from his buried treasure. But something fell loose
|
|||
|
in his mind. It rattled about, then he remembered.
|
|||
|
The rope! It had to be around somewhere. He began looking
|
|||
|
around at the boulders on the stone balcony. How many years ago had
|
|||
|
he fastened it? Too many. But he had. Around a boulder. On top
|
|||
|
of the balcony. But where?
|
|||
|
There! He saw it and grabbed it up. It crumbled into his hand.
|
|||
|
Dust. Clogging up the torches beam. *Damn surplus. Hemp? He said
|
|||
|
it was plastiweave. Bastard.*
|
|||
|
Brenn made a mental note to demand a refund from the weasely
|
|||
|
trader. But he crumpled up the note and threw it away. The trader
|
|||
|
was probably dead by now and his sons were cheating other, younger
|
|||
|
customers.
|
|||
|
"If the emperor can't go to the sun, bring the sun to the
|
|||
|
emperor," Brenn muttered to himself. Could it hear him? Would it
|
|||
|
still respond?
|
|||
|
"Tighra!" he yelled into the darkness as he perched on the edge.
|
|||
|
"Tighra! Activate!"
|
|||
|
Amidst the echoes he though he heard something. Something down
|
|||
|
below. A muffled hum?
|
|||
|
"Turn on your God damned lights, Tighra!"
|
|||
|
The immense cavern burst with light, blinding him.
|
|||
|
"Down down down, tone it down!" He carefully unshielded his eyes
|
|||
|
with his arm.
|
|||
|
There it was, glowing it all it's glory. A bulky humanoid
|
|||
|
figure, twenty meters below, forty out. Black stripes played about
|
|||
|
on it's glowing apricot skin.
|
|||
|
"Tighra unit on," a voice boomed. "One point one nine to the
|
|||
|
ninth power second since last activation, Commander Brenn Ortiz, CTM
|
|||
|
7789-007."
|
|||
|
"Brenn Kschted, actually. I got married."
|
|||
|
"Congratulations, Commander," boomed the emotionless voice.
|
|||
|
Brenn started to tell it he wasn't a Commander anymore, but who knew
|
|||
|
how the software would respond then.
|
|||
|
"Diagnostic?"
|
|||
|
"Urgent repairs needed. Priority level. Suggest going to
|
|||
|
nearest shipyard for repairs."
|
|||
|
"I know that!" Brenn yelled. "I knew that three god damned
|
|||
|
decades ago. Can you move?"
|
|||
|
The suit paused for a moment. "Diagnostic reports fifty percent
|
|||
|
chance of movement capabilities, with a plus or minus fifty percent
|
|||
|
error."
|
|||
|
Brenn shook his head. One day he would find the technician who
|
|||
|
wrote diagnostic programs and . . . *That's odd,* he thought.
|
|||
|
*It's been a while since I imagined hurting anyone.*
|
|||
|
Images flashed before him. Beautiful orange explosions searing
|
|||
|
flesh and bone. Horrified faces screaming for mercy. The darkness
|
|||
|
of space and dehumidified, crumbling corpses who turned to dust just
|
|||
|
like the rope.
|
|||
|
"Move your leg!" he yelled down to it. Tighra, a machine that
|
|||
|
cost more than the entire planet was worth, completed the first step
|
|||
|
of the hokey-pokey flawlessly.
|
|||
|
"Good. Now get the weapons pack. Attach it to your chest.
|
|||
|
Then jump up here and let me take a look at you."
|
|||
|
Tighra lurched forward. Dust spilled off from its head and
|
|||
|
shoulders. It quickly found a metallic case and slapped it to its
|
|||
|
chest. It hung there immovable with a magnetic seal.
|
|||
|
Then suddenly the machine bounded up the cliff, but not quite.
|
|||
|
It missed the top and hurtled downward, barely catching itself,
|
|||
|
hanging on with two fingers of one hand.
|
|||
|
"Jesus," Brenn muttered as it slowly pulled itself up and
|
|||
|
crawled toward him. "Stand up, Tighra, and turn off your skin
|
|||
|
lights. Just the top will do."
|
|||
|
The cavern dimmed appreciable and he looked over the mechanical
|
|||
|
entity. Under the patchy layer of dust he could see the blast
|
|||
|
marks, the twisted bits of metal, and the ruined left hand.
|
|||
|
"Servo mechanisms in the left leg failed," it commented. "Test
|
|||
|
leap indicated seventy percent of systems operating at forty
|
|||
|
percent. Unit is beyond repair. Suggest entire Tighra unit be sent
|
|||
|
to the nearest military scrap heap and disposed of by qualified
|
|||
|
personnel."
|
|||
|
"That's a pretty high regard you have for yourself," Brenn
|
|||
|
detached the case and set it down on the ground. "Is the grenade
|
|||
|
launcher still working?"
|
|||
|
"Shall I test it?"
|
|||
|
"No," his eyes widened. Not in here. You'd bring the whole
|
|||
|
cave down. Just a diagnostic."
|
|||
|
There was a brief pause. He opened the case. Wrapped in foam
|
|||
|
were five grenade, as well as some spare parts and a radio. Four of
|
|||
|
the grenades had red bands around them, one with green. He
|
|||
|
carefully pulled it out.
|
|||
|
"Launcher unit seventy percent reliable, plus or minus ten
|
|||
|
percent."
|
|||
|
"Can you handle this? I picked it up long after I stashed you
|
|||
|
in here. After the war," he held the green tear-shaped object
|
|||
|
before its sensor.
|
|||
|
"Affirmative. But caution, Tighra unit is not reliable.
|
|||
|
Entering combat is not suggested."
|
|||
|
"I know how you feel," Brenn popped open the tube connected to
|
|||
|
the left forearm. The grenade clip was still half full. Just like
|
|||
|
that day long ago. He carefully slipped the green grenade at the
|
|||
|
bottom of the clip. Two reds, and a green. He slammed the lid
|
|||
|
down.
|
|||
|
"Okay, I want you to pop your head open so I can crawl in. And
|
|||
|
Tighra, I order you not to do a med scan of me. I *order* you."
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
"You are fatigued, Commander Kschted," the suit chimed. Brenn's
|
|||
|
lungs were burning. Spasms raced up and down his spine. And he had
|
|||
|
just walked a little under a kilometer.
|
|||
|
"I *told* you no med scan!" he hissed between clenched teeth.
|
|||
|
Armor wasn't as easy as everyone thought. A warrior couldn't just
|
|||
|
sit in it and have it walk around for you. The legs still moved.
|
|||
|
The arms still moved. And the suit, left to its own, would pop the
|
|||
|
wearer's limbs out of joint. One *had* to move with it.
|
|||
|
"Request initiation of muscle relaxant injection," it said.
|
|||
|
"No!" he hissed. "Not yet. I'll be needing all of it for
|
|||
|
later." His eyes swirled, but not only from the pain. The
|
|||
|
heads-up-display was driving him mad. He was not used to the three
|
|||
|
hundred and sixty degree display. It seemed everything was in front
|
|||
|
of him - including the bits that were receding behind him.
|
|||
|
"Gimme a shot," Brenn finally broke down as he passed a ridge.
|
|||
|
"A little one. Analgesic or something." He felt the pressure at the
|
|||
|
base of his neck as the drug was injected. "Hey, Tighra, what's the
|
|||
|
shelf life of analgesic? I mean, does it break down into any other
|
|||
|
chemical components? Like some kind of neurotoxin?"
|
|||
|
"That information is not available in my databanks."
|
|||
|
Brenn took a deep breath. Perhaps it would be all over now.
|
|||
|
Done in by his own suit. Then it hit.
|
|||
|
"Ah," he gurgled. Thirty-six years without so much as an
|
|||
|
aspirin. He felt good. Almost high. The aches had drifted away
|
|||
|
like the dust falling off of the suit. But then he remembered.
|
|||
|
Everything felt ten times worse after the drugs wore off.
|
|||
|
"No more med scans unless it's an emergency," he told the
|
|||
|
machine.
|
|||
|
"Your body is eliciting danger signs right now," the suit said.
|
|||
|
"I mean, don't poke around with my body unless I'm unconscious
|
|||
|
or my arm is ripped off. Okay?"
|
|||
|
"Okay, Commander Kschted."
|
|||
|
Brenn huffed and puffed away from the mountain. His popping
|
|||
|
joints were outmatched by the squeaks and groans coming from the
|
|||
|
suit. *We should both be retired, living on some zero-gee station
|
|||
|
somewhere. Me and Tighra floating around a breakfast table, sipping
|
|||
|
tea from little baggies. Or he could sip silicon gel. Or
|
|||
|
whatever.* Brenn stopped thinking a moment, and came up with the
|
|||
|
conclusion that it wasn't just ordinary aspirin coursing through his
|
|||
|
veins.
|
|||
|
"You suck," he said a they stumbled into the green valley.
|
|||
|
"I said, you suck." Then he remembered. Suits weren't designed
|
|||
|
to respond to insults. Something the technicians thought up. It
|
|||
|
was suppose to keep the warriors out of trouble. But there was a
|
|||
|
way around it.
|
|||
|
"You suck, do you hear? You suck."
|
|||
|
"I hear you." Brenn smiled and they began going up the far side
|
|||
|
of the valley. As the drug began to wear off, they clambered up a
|
|||
|
hill and took up position.
|
|||
|
Brenn adjusted the HUD to small field magnification and zoomed
|
|||
|
in on a nearby mountain. It's peak was taller than Mount Ptilogon,
|
|||
|
put with a more gentle slope. Snow sparkled at it's summit, and he
|
|||
|
zoomed in on it.
|
|||
|
IR was useless, so he changed to visual. There it was. The
|
|||
|
chalet. Or what was left of it. His mind drifted back to when he
|
|||
|
had first arrived . . .
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
"Christ it's hot. Tig, dehumidifier on full," Brenn had always
|
|||
|
hated the fact that while in a suit you couldn't just wipe the sweat
|
|||
|
from your forehead.
|
|||
|
"Cancel that," a voice crackled in his ear. He turned to
|
|||
|
Akhenaton, trailing him several paced.
|
|||
|
"Sir, if I'm going to do point, I should at least be able to
|
|||
|
see," he waved his arms about. Akhenaton stopped, along with the
|
|||
|
four other Beacons behind him.
|
|||
|
"Thermals must remain low. Your power plant is almost visible,"
|
|||
|
Akhenaton replied calmly.
|
|||
|
"I'm sweating like a swine. Can't I just open my visor. There
|
|||
|
is snow all over the place. Can't I just pour a handful of snow on
|
|||
|
my face?"
|
|||
|
"Unexceptable, Commander." Akhenaton signalled with his hands to
|
|||
|
end the conversation. Brenn opened his mouth, then shut it. They
|
|||
|
continued on up the mountain towards the chalet.
|
|||
|
Of course they weren't supposed to be anywhere near mountains.
|
|||
|
They were supposed to be near the shore, bolstering the ground
|
|||
|
troops. Four years of fighting and the Corian Triad was actually on
|
|||
|
the defensive. Triad troops were being slaughtered left and right
|
|||
|
by farm girls and back water bureaucrats. The real problem was that
|
|||
|
the same thing was happening on seventeen planets in this sector
|
|||
|
alone. Something had to be done.
|
|||
|
So it was, or rather, it was not done. The fly boys up in
|
|||
|
darkie-darkie land miscalculated and sent the Beacons of Light, the
|
|||
|
most skilled and heavily equipped Corian foot soldiers, straight
|
|||
|
into a mountain, a thousand klicks away from where they could do any
|
|||
|
good. And with the EMP satellites in orbit, no one could get a
|
|||
|
message through and have the fly boys executed.
|
|||
|
So they had to walk. But for some reason the commander wanted
|
|||
|
to walk straight up a mountain to investigate a chalet they had seen
|
|||
|
some kilometers back. *Of all the stupid, idiotic things . . .*
|
|||
|
Brenn grumbled in thought, because the Akhenaton could hear
|
|||
|
everything he said.
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
"You know, Tighra, we didn't even know if we were in hostile
|
|||
|
territory or not," Brenn scanned the chalet closely. From what he
|
|||
|
could tell, the roof had caved in. At least half of the supports
|
|||
|
had collapsed. Time had taken it's toll on the building. Just like
|
|||
|
Tighra. Just like him.
|
|||
|
"Energy surge directly ahead," the machine's cold voice informed
|
|||
|
him.
|
|||
|
"What?"
|
|||
|
A blue arc of light gracefully flew from the mountain, across
|
|||
|
the valley, and incinerate a pine tree two meters away.
|
|||
|
"Jesus Christ! Fire!" Brenn yelled.
|
|||
|
"Please be specific," The suit replied. "Nothing is within
|
|||
|
degraded weapons range."
|
|||
|
"I see you," a voice crackled in his ear. It was Akhenaton.
|
|||
|
Brenn's eyes widened.
|
|||
|
"Thermals, Tig, thermals! Drop 'em!" Brenn cried, and began to
|
|||
|
run.
|
|||
|
"Please be more specific."
|
|||
|
Another blue arc lashed out, ripping in two the tree that he had
|
|||
|
been diving for. He hit the ground with his shoulder and bright
|
|||
|
sparks dashed before his eyes.
|
|||
|
Brenn shook his head to clear it. He was lying face to the
|
|||
|
ground next to a burning tree.
|
|||
|
"Thermals! Don't exhaust the heat, Tig!" he moaned.
|
|||
|
"Ports sealed." Brenn did not argue as he felt pressure on his
|
|||
|
neck.
|
|||
|
"What was that blue streak? A particle beam?"
|
|||
|
"That information is not in my data banks," Tighra told him. Of
|
|||
|
course. They must have improved the suits and invented new weapons.
|
|||
|
What in the hell was he up against? And there were six of them!
|
|||
|
"I knew you'd come back, Tighra," the voice crackled it his ear.
|
|||
|
For a moment Brenn wondered why Akhenaton was talking to his suit.
|
|||
|
Then he remembered. Call names. In Akhenaton's eyes, or rather, in
|
|||
|
Captain Harmsworth's, he was still called by his suit's name.
|
|||
|
"I knew you would too . . ." he cut himself off, almost saying
|
|||
|
'sir'.
|
|||
|
"Teredo is here as well. We have some unfinished business."
|
|||
|
"Hey Tighra, it's me," an asian voice said. "It's time, you
|
|||
|
know. Meet us at the site and we can finish this."
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
"I swear it looks like a ski lodge, boss," Teredo accented voice
|
|||
|
hissed into Brenn's ear as he peeked over the snow bank.
|
|||
|
"I'm picking up about ten people all moving around on the upper floor,"
|
|||
|
Brenn sunk back down and turned to the squatting Beacons. "What's a
|
|||
|
ski lodge?"
|
|||
|
"I thought you were from Switzerland, Tig," Teredo said.
|
|||
|
"I was born there, but I went to school at Ishtar South. What's
|
|||
|
a ski lodge?"
|
|||
|
"Cut the chatter," Ahkhenaton ordered. "That building may be an
|
|||
|
enemy outpost."
|
|||
|
"A ski lodge is where you strap plastic panels to your feet and
|
|||
|
slide down the side of a snowy mountain." Teredo continued.
|
|||
|
"Sounds pretty stupid to me," Brenn chuckled. "Besides,
|
|||
|
Switzerland hasn't had snow in two centuries."
|
|||
|
"Will you two shut up?" Ahkhenaton yelled. "Tighra, do a scan
|
|||
|
under it. See if it has any lower levels."
|
|||
|
"Yes sir," Brenn stood up. It would take the sensors two
|
|||
|
minutes to pierce all of that granite. He looked at the chalet as
|
|||
|
sweat poured down his face. Snow in Switzerland? Ha. That was
|
|||
|
like saying it rained in Central America. Ludicrous proposition.
|
|||
|
"Sir," Brenn spoke with his back to the commander, "I take it we
|
|||
|
are going to kill everyone and secure the building?"
|
|||
|
"Yes."
|
|||
|
"After that can we toss Teredo off the mountain strapped to a
|
|||
|
piece of plastic?"
|
|||
|
Before Akhenaton could get everyone to quit laughing, Brenn
|
|||
|
spotted somthing on the corner of his screen.
|
|||
|
"Uh, sir, something's coming. It's hugging the terrain at 100
|
|||
|
meters."
|
|||
|
"What is it?"
|
|||
|
"Uh, Tig says it's a L-53 troop transport. No markings. No
|
|||
|
ident signal." Brenn saw the white speck grow on his monitor.
|
|||
|
"Looks to be headed this way. Oh. It's armed."
|
|||
|
"Who the hell could it be?" Teredo voiced.
|
|||
|
"No respectable pilot would strip Triad symbolds off a vehicle,"
|
|||
|
the commander said. "It's got to be those bastard rebels. We're in
|
|||
|
luck, men and women, we've stumbled across the enemy."
|
|||
|
"Lemme shoot it, boss," Teredo said.
|
|||
|
"No, Tighra can have that honor."
|
|||
|
"Thanks," Brenn charged up his left arm and let loose with a
|
|||
|
particle beam. It was a direct hit, sending the flaming transport
|
|||
|
hurtling into the valley floor.
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
"Tighra," Teredo's voice echoed Brenn's ear canal. It was
|
|||
|
getting hot. His heat throbbed. His shoulder ached. And his groin
|
|||
|
was hurting in places it hadn't hurt since Slyph had been able to
|
|||
|
have sex.
|
|||
|
"Tighra. You can't hide. The boss still has your ident signal.
|
|||
|
Don't you remeber?"
|
|||
|
Christ, Brenn screamed at himself, staring up at the cloudy sky.
|
|||
|
*I would have been safer leaving the suit where it was. They might
|
|||
|
have never found me.*
|
|||
|
He started to tell Tighra to get up, but closed his mouth. It
|
|||
|
would be stupid to let Akhenaton listen in on everything was doing,
|
|||
|
so he stretched his neck out and poked several pressure sensors with
|
|||
|
his chin. The suit slowly stood up and his eyes flooded with tears.
|
|||
|
"Why the site?" he gasped as another squirt of pain killers
|
|||
|
flooded his system.
|
|||
|
"Everything must be coordinated properly," Akhenaton said
|
|||
|
coldly. It was that same statement that had initialized the
|
|||
|
massacre of the embryos on Brakor. Two thousand vat babies
|
|||
|
destroyed. The memory jarred something in him. Had he really
|
|||
|
killed them? For thirty six years he thought he had remembered.
|
|||
|
But now it seemed he had only remebered the concept, not the deed
|
|||
|
itself. But now he remebered.
|
|||
|
He remembered the melting of plastic, the tidal flood of
|
|||
|
embryonic fluid, the fire. The screams of an entire planet blasting
|
|||
|
through his speakers. And he remembered laughing. Laughing.
|
|||
|
The suit was moving but he didn't realize it, walking onward
|
|||
|
toward the site. The other two must have been on the other side of
|
|||
|
the valley, making the same journey.
|
|||
|
His baby's pudgy face flashed before his eyes. Baby Brenn.
|
|||
|
Slyph wanted to name him after his great father. She was so
|
|||
|
innocent. How could she know? How could she comprehend what he had
|
|||
|
done?
|
|||
|
It was almost impossible for him, but the dulling drugs seemed
|
|||
|
to unravel the strings tieing up the ancient memories. The
|
|||
|
slaughter of countless people on countless worlds. How could she
|
|||
|
comprehend what he was?
|
|||
|
He became aware of the muscles knotted up in his stomach, but
|
|||
|
could not feel the pain. It must have been horrific. Brenn gulped
|
|||
|
and headed along the gradient. The trees gave way and it came into
|
|||
|
view.
|
|||
|
Nothing. Flat land. A little stream. Scrub. Mud must have
|
|||
|
covered up the debris, just like the garbage in his mind had covered
|
|||
|
up the attrocities. *I havn't changed. I've just buried it. I'm
|
|||
|
the same person. I can't feel. I can't pity. I'm just like them.*
|
|||
|
But as he entered the clearing he saw something that hadn't been
|
|||
|
there that day. Something that had been added later. He walked
|
|||
|
over to it. A slab of granite. A marker. With words.
|
|||
|
"What's that?" Teredo suprised him. They both were standing on
|
|||
|
the other side of the clearing upon a sloping rise. Kings of the
|
|||
|
hill. Their suits were shinning in all of their glory, a bright sun
|
|||
|
on Akhenaton's chest, while Teredo's skin glowed white all over like
|
|||
|
luminesent puss.
|
|||
|
"Where are the others?" Brenn asked.
|
|||
|
"Others?" Teredo laughed. "You killed Sirrocco and Yoicks right
|
|||
|
over there," he stretched his arm out to the stream. "Don't you
|
|||
|
remeber, Tig?"
|
|||
|
Brenn looked and nodded, even though they didn't see it.
|
|||
|
Akhenaton spoke up. "And Gyrfalc died honorable on Brakor."
|
|||
|
"No he didn't. We all made it off," Brenn stepped away from the
|
|||
|
stone.
|
|||
|
"There was another insurrection. The planet had to be
|
|||
|
eliminated."
|
|||
|
"The planet?"
|
|||
|
"And Tesla bought it in the Weisa`cker vortex of Beta Pictoris.
|
|||
|
A minor revolt that turned into a major one," Teredo chuckled.
|
|||
|
"But I saw four others?" Brenn motioned to the sky.
|
|||
|
"Stupid boy," Akhenaton said. "Are you so all important to
|
|||
|
think that we are irreplaceable. We are just cogs. This business
|
|||
|
does not require their presence."
|
|||
|
Alarm bells rung in the back of his head. Something was wrong.
|
|||
|
Why would he feel that something was wrong? Here he was, ready to
|
|||
|
be slaughtered, and suddenly something Akhenaton had said was wrong?
|
|||
|
"Why?" his knee began to tremble. "Why not them?" Beacons
|
|||
|
rarely split up. They hung together as if they were magnetized.
|
|||
|
"Well, you see," Teredo started, "The boss here kinda told
|
|||
|
everybody you were dead. Summarily executed."
|
|||
|
"Shut up!" Akhenaton barked. "That oversight will soon be
|
|||
|
rectifed. Teredo, I give you the honor of killing him."
|
|||
|
"Great," Teredo said, begining to walk toward him. "Where do
|
|||
|
you want it, Tig, By the rock, in the stream, or in your back?"
|
|||
|
"Uh," his heart began to pound. Stimulants screeched into his
|
|||
|
neck. The suit knew he was about to die. Why was he having a hard
|
|||
|
time beleiving it?
|
|||
|
"Uh, waitaminute," Brenn said. "How have the gathagene
|
|||
|
treatments worked?"
|
|||
|
"What?" Teredo stopped.
|
|||
|
"Do you still look young? I mean, I only got one treatment.
|
|||
|
Open your visor and let me see."
|
|||
|
Teredo started again. "Gosh, Tig, can't you think of anything
|
|||
|
original. That's how you got Sirrocco."
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
The heat was building and his lips were chapping. After the
|
|||
|
vehicle went down, nothing had happened at the chalet. No gun
|
|||
|
turrets rose from the ground. No missile raced toward the sky and
|
|||
|
rained down on them, so Akhenaton set the priority to investigating
|
|||
|
the crash site.
|
|||
|
They were getting close. A few trees were smoldering. There
|
|||
|
was charred bits of things all over. Blackened arms and legs hung
|
|||
|
from trees like bizarre fruit. Brenn stumbled over a trunk and came
|
|||
|
into the clearing.
|
|||
|
Chunks of everything were scattered around. Seat stuffing blew
|
|||
|
about, mixing orange into the white snow. Part of a langing strut
|
|||
|
was wrapped, like a piece of string, around a tree. And he heard
|
|||
|
something. Something moved.
|
|||
|
"Sir," he said to Akhenaton, trailing behind. "A person over
|
|||
|
there."
|
|||
|
"Okay. Teredo, go find the black box. Maybe we can trace this
|
|||
|
to the rebel's base. Gyrfalc and Tesla, you come with me to find
|
|||
|
what's left of the weapons stores. And Sirrocco and Yoicks, you mop
|
|||
|
up the survivors with Tighra.
|
|||
|
Brenn looked down at the seat near him. A person was stil
|
|||
|
strapped to it. Charred over most of it's body. What looked like a
|
|||
|
male. Fifteen or so years old. Brenn had entered the military at
|
|||
|
fifteen. They must have been shiping new recruits somewhere.
|
|||
|
He leveled his arm and fired the laser. The head popped,
|
|||
|
splattering spongy chunks all over. Another semi-intact survivor
|
|||
|
behind a panel. Another shot. Another survivor. Another shot.
|
|||
|
Sweat was getting ito his eyes.
|
|||
|
"Sir," Brenn called out. "The fires around here will cloak us,
|
|||
|
won't they? I mean, can't I turn on the air conditioning?" There
|
|||
|
was a brief pause.
|
|||
|
"Negatory. It will waste power. If anyone is hot, just open
|
|||
|
your visors."
|
|||
|
Five 'thank gods' jammed the transmission frequency. Brenn slid
|
|||
|
the opaque shield from his face and breathed the cold air deeply.
|
|||
|
And he choked.
|
|||
|
"Crap," said Sirrocco next to him. "This stinks. Why can't
|
|||
|
people burn clean."
|
|||
|
"Bastard rebels stinking up the place," Brenn fired at another
|
|||
|
body near a clump of long plastic shards. He made his way slowly
|
|||
|
through the mess until he could register no more life. Then he
|
|||
|
walked toward Teredo.
|
|||
|
He was leaning up against a three meter tall hydrogen cannister
|
|||
|
that had somehow survived the crash. Next to him was an orange
|
|||
|
cylinder with wires leading toward Teredo's helmet. Akhenaton was
|
|||
|
with him.
|
|||
|
"Sir, I've accessed the navcom. Looks like they were way off
|
|||
|
course."
|
|||
|
"Why?"
|
|||
|
"Well, we are 900 klicks from any rebel territory that we last
|
|||
|
heard about. Dunno why they would penatrate Triad territory this
|
|||
|
far. Hold on. I'm patching into the database. Ah. Security
|
|||
|
sealed. Lemee break it. There."
|
|||
|
"Can you tell the registration?" Akhenaton asked.
|
|||
|
"It's owned by the Proconsul Whydt."
|
|||
|
"What?" Sirrocco walked up to them.
|
|||
|
"It's government property," Teredo looked up at them and smiled.
|
|||
|
"Well, it ain't he first time we've accidentally brought down one of
|
|||
|
our own."
|
|||
|
"What was it's flight path. It's manifest. I've seen no heavy
|
|||
|
weapons," Akhenaton said.
|
|||
|
"Fuck!" Teredo ripped the wires away and jumped up. "Fuck!" he
|
|||
|
walked away from the flight box. "Fuck!"
|
|||
|
"What?"
|
|||
|
"It was full of kids, headed for the chalet. For a skiing
|
|||
|
trip.
|
|||
|
"So?"
|
|||
|
"They were being evacuated from the capital. The Proconsul
|
|||
|
himself chartered the trip. It had his son on board."
|
|||
|
Ahkenaton suddenly straightened up.
|
|||
|
"Holy shit," Sirrocco said. "Are we in trouble?"
|
|||
|
Ahkenaton turned to face them. "We aren't in trouble."
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
Power surge, Tigrah's monitor read as Brenn watched Teredo point
|
|||
|
his arm toward him.
|
|||
|
"Stop! Wait!" Brenn yelled, waving his arm. "My laser is
|
|||
|
busted. It won't be a fair fight!"
|
|||
|
"So?"
|
|||
|
"Uh, well . . . don't I deserve a chance? I mean, let's go at
|
|||
|
it, hand-to-hand."
|
|||
|
"No," he laughed.
|
|||
|
Brenn pointed his arm and squeezed, launching the green-stripped
|
|||
|
grenade. It elongated as it flew, slapped into Teredo's arm and
|
|||
|
wrapped around the particle beam nozzle. Teredo fired, igniting the
|
|||
|
explosive.
|
|||
|
There was a burst of light and his arm sailed off.
|
|||
|
Brenn turned and ran, the radio frequency filled with screaming.
|
|||
|
He raced up the incline. His joints were on fire. Unknown liquids
|
|||
|
were being pumped into his spine.
|
|||
|
*Warning,* read Tighra's display, *you are severely fatigued.
|
|||
|
Rest is suggested.*
|
|||
|
"No Tig, no! We've got to get back to the cave! Keep running,
|
|||
|
even if you break my legs! Keep running!"
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
Akhenaton watched from on high as Tighra raced up the side of
|
|||
|
the valley and into the trees. *He's still got spunk,* he thought,
|
|||
|
*even if he is an idiot.*
|
|||
|
The eternally young warrior with articficial nanobots coursing
|
|||
|
through his arteries walked down the hill toward his fallen
|
|||
|
companion. Teredo was twitching a bit. The explosion had done just
|
|||
|
enough damage to rip off the arm, not sear the wound. Red blood
|
|||
|
pumped out into the muddy earth.
|
|||
|
Akhenaton knelt down and slid open Teredo's visor. His eyes
|
|||
|
were wide open and his mouth was gasping.
|
|||
|
"Sear it, boss, sear it,"
|
|||
|
"Sorry," Akhenaton aimed his arm and fired. Teredo's suit
|
|||
|
sparked like a metal fork in a microwave oven. Sparks, smoke, and a
|
|||
|
final twitch. *At last that mouth will be silent. But there is
|
|||
|
still another.*
|
|||
|
"No Tig, no! We've got to get back to the cave! Keep running,
|
|||
|
even if you break my legs! Keep running!" came through on his
|
|||
|
speakers.
|
|||
|
*A man who holds some of the highest honors in the Triad, forced
|
|||
|
to live in a cave,* Akhenaton shook his head.
|
|||
|
But then he though. *No. He is not one to run home from
|
|||
|
battle. It's a trap. The cave must be a trap. He intends to lure
|
|||
|
me there. He must have enough explosives to bring down the whole
|
|||
|
cave and entrap me.* Akhenaton laughed. *He's still up to his old
|
|||
|
tricks.*
|
|||
|
He started his suit at a mild gait until he picked up the IR
|
|||
|
trail. *The idiot is venting all of his heat. Of course, he wants
|
|||
|
me to follow it. Right into his cave. The fool will be suprised,
|
|||
|
though.* He increased his speed.
|
|||
|
The trail wound across the hills, back through the valley, and
|
|||
|
up the slopes of an impressive mountain. Strange trees bobed up and
|
|||
|
down in a strange rhythm, and then he saw it. The mouth of the
|
|||
|
cave. But in front of it was Tighra.
|
|||
|
He was on his hands and knees, crawling, grasping, desperately
|
|||
|
trying to reach the cave. Akhenaton fired over his head.
|
|||
|
"Stand and fight like a man," he yelled. Tighra stopped and
|
|||
|
collapsed.
|
|||
|
"Why? Why kill me?" Akhenaton heard wheezing sounds. The boy
|
|||
|
was in pretty bad shape.
|
|||
|
"You killed the Proconsul's son. You are a traitor,"
|
|||
|
"But you gave the order," Tighra slowly turned over on his back.
|
|||
|
"You forget War Law. You can't blame your sins on me."
|
|||
|
"But you are responsible. You gave the order."
|
|||
|
"And no one must know that. Such news would have scrapped the
|
|||
|
Beacon Project. Loosing this planet almost did that anyway. But we
|
|||
|
were succssessful elsewhere and now there are twenty Beacon units
|
|||
|
from Persei to Saggittarii. We couldn't loose that merely because I
|
|||
|
made a mistake."
|
|||
|
With a verbal grunt, Tighra stood up. Ahkenaton powered up his
|
|||
|
particle beam.
|
|||
|
"I'm an old man. Spare me. I won't tell," he gasped.
|
|||
|
"Sorry," Akhenaton fired and the blue arc raced towards Tighra's
|
|||
|
chest and struck. It collapsed and shrapnel burst forth from
|
|||
|
behind. The scream of a lungless man echoed in Akhenaton's ears,and
|
|||
|
the body collapsed.
|
|||
|
It was done. Akhenaton turned his weapon's power off. *He's
|
|||
|
dead. They are all dead. I am safe.*
|
|||
|
Just then came a beeping. From a strange looking boulder. *A
|
|||
|
bomb!* He did a scan. Not a bomb. A chonometer. On top of the
|
|||
|
boulder. He walked over to it and picked it it with the suits
|
|||
|
stubby fingers. Tighra's service piece. With a message blinking.
|
|||
|
"Sorry," it read, "couldn't get the message to you sooner. You
|
|||
|
see, the watch has been on record. And patched into the satellite
|
|||
|
dish under the boulder. What you just said went up to your
|
|||
|
superiors. Sorry."
|
|||
|
Akhenaton's eyes flashed open wide. "No!" His scream echoed
|
|||
|
amongst the stars.
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
The birds sang merrily in the abnormally warm weather, but he
|
|||
|
just didn't feel their joy. He had been betrayed by his own
|
|||
|
friends. Now he was stuck on this planet forever. If he dared
|
|||
|
venture off, he would be executed by the Triad.
|
|||
|
But that didn't matter. The only thing that mattered to him was
|
|||
|
Slyph and Brenn Jr. And they were on this planet. But would he
|
|||
|
ever see them again.
|
|||
|
He shuffled thorugh the mud on his jury-rigged crutches.
|
|||
|
Nothing was really borken, but Tighra had told him there were
|
|||
|
microscopic cracks all throughout his legs. Poor Tighra. Honorable
|
|||
|
to the end. He couldn't even give in a proper burial. A half ton
|
|||
|
of high density alloys was just impossible to move.
|
|||
|
First he had though of luring Akhenaton into the cave and
|
|||
|
blowing it and him up. But that was a stupid thing to do. He had
|
|||
|
to see Slyph again. Pain shot through his legs and he coughed
|
|||
|
blood. The last of Tighra's pain shots were wearing off. He
|
|||
|
moaned, but continued along the trail.
|
|||
|
Akhenaton had been furious. From where Brenn was hiding in the
|
|||
|
cave, he could have sworn he saw the man was frothing at the mouth.
|
|||
|
Of course he had blasted the boulder and dish to tiny bits, but
|
|||
|
Brenn didn't need it anyway.
|
|||
|
He peered up into the sky above the trees. It wasn't there.
|
|||
|
The microwave tower was gone. He increased the pace. The pain was
|
|||
|
mind numbing.
|
|||
|
The village spread before him. Smoke came from the hill. The
|
|||
|
tower was gone. A huge shuttle was in the town square and had
|
|||
|
collapsed several buildings in his way. His ears began to burn and
|
|||
|
he coughed blood again.
|
|||
|
People were screaming. He hobbled down the street.
|
|||
|
A huge suit stood before him. It's back was to him. Villagers
|
|||
|
were being crowded into the center of the square. Four Beacons were
|
|||
|
roughly shoving them. Several houses had been set on fire and a
|
|||
|
pile of laser rifles was forming at the other end of the square.
|
|||
|
They had found the Dowager's secret stash!
|
|||
|
She was there, amongst the screaming people, trying to calm them
|
|||
|
down. But where was Slyph? There was a pile of bodies. Men,
|
|||
|
mostly. A few women. His stomach turned.
|
|||
|
"Move it, peon," a Beacon kicked a boy in the back. There was
|
|||
|
an audible crack as his spine snaped. His father ran at the soldier
|
|||
|
and burst into flames. Where was Slyph?
|
|||
|
An unarmored soldier dashed out of the shuttle and ran to the
|
|||
|
Beacon in front of Brenn.
|
|||
|
"Sir, his suit has been found on the side of a mountain," Brenn
|
|||
|
heart pounded. They knew about him! Where was Slyph?
|
|||
|
"Crazy bastard," a laugh came from the suit. "We should have
|
|||
|
known he would have run. After that speech he gave to the
|
|||
|
satellite."
|
|||
|
Brenn gasped. It was Akhenaton! They were looing for him! He
|
|||
|
stumbled toward the Beacon and a hand latched around his throat.
|
|||
|
"What is it, old man?" the Beacon asked as he lifted him in the
|
|||
|
air by his neck. Brenn gurgled and coughed, then fell to the
|
|||
|
ground.
|
|||
|
"Sir," he gasped. "I have just journeyed over the mountains. I
|
|||
|
saw an officer. With no suit. Headed east. There is an abandoned
|
|||
|
chalet to the east."
|
|||
|
"Hot damn," the Beacon laughed. "All right!" he sceeched, "Load
|
|||
|
up the shuttle and let's pick up Ahk. Then we can get off of this
|
|||
|
God forsaken rock!"
|
|||
|
|
|||
|
* * *
|
|||
|
|
|||
|
Within minutes they were gone in a blast of dirt. Brenn layed
|
|||
|
in the mud, looking at the shuttle drift away. Where was Slyph?
|
|||
|
"You look like a corpse," Nerida said as she and the Dowager ran
|
|||
|
up to him.
|
|||
|
"Where is Slyph? The baby?" he groaned and tried to sit up.
|
|||
|
"Stop your whining," The Dowager turned her cracked face down at
|
|||
|
him. "What did you say to that goon?"
|
|||
|
"Nothing. Where is Slyph?" tears welled up in his eyes.
|
|||
|
"I'm right here. Baby too," Slyph came out from the crowd and
|
|||
|
knelt next to him. His eyes widened and he grasped her tightly too
|
|||
|
him. The images of horror and war flooded into his mind. Dead men,
|
|||
|
dead mothers, dead babies. And he remembered that his long years in
|
|||
|
exile had tought him to learn how to make life and love it.
|
|||
|
"I'm not too old," he sobbed into her ear.
|
|||
|
"Of course you are," she said. "You're as old as the hills.
|
|||
|
But I love you anyway."
|
|||
|
|
|||
|
|
|||
|
The End
|
|||
|
|
|||
|
|
|||
|
Experiment
|
|||
|
Copyright (c) 1993, Ed Davis
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
EXPERIMENT
|
|||
|
|
|||
|
|
|||
|
The speeding vehicle, built to resemble an elongated rain drop,
|
|||
|
raced across the plains, rushing toward the mountains ahead. Safely
|
|||
|
and comfortably nestled inside, seventeen young people napped, chatted,
|
|||
|
or watched the video monitors built into the overhead. Their journey
|
|||
|
was nearly over, another two hours and they would step out of their
|
|||
|
metallic cocoon and bask in the sunny radiance of the western beaches.
|
|||
|
The excitement ahead was too much on their minds to allow the sameness
|
|||
|
of the passing scenery to attract their notice.
|
|||
|
Their slim bodies, with cleanly formed limbs and torsos, were store
|
|||
|
houses. Store houses of untainted genetic messengers. They were,
|
|||
|
along with seventeen other youngsters making the same trip on the
|
|||
|
northern route, unique in their society. Most people were tainted with
|
|||
|
mutated genes, a side effect of the massive, cumulative effects of
|
|||
|
chemical contamination. The thirty four young people were the pampered
|
|||
|
objects of a massive government effort. Success would restore genetic
|
|||
|
sanity to a world no longer polluted but gravely damaged. Scientists
|
|||
|
were talking hopefully about gene transplants, to restore normal
|
|||
|
procreation. The hopes of the nation rode in two silvered cocoons.
|
|||
|
As is always the case, one passenger was different. One black
|
|||
|
haired man was turned away from the hectic entertainment filling the
|
|||
|
video screen. Since his was the only single seat in the two rows of
|
|||
|
twined bucket seats, he was not involved in conversation with anyone.
|
|||
|
Instead, his face was plastered against the two inch thick glass of the
|
|||
|
small window. His eyes darted from one passing landmark to another, as
|
|||
|
the sleek train slashed across the dusty landscape. Surface travel, at
|
|||
|
nearly three hundred miles per hour was swift but not scenic. To a
|
|||
|
young man, however, the newness of the experience was excuse enough to
|
|||
|
keep him glued to the view port.
|
|||
|
Matthew Brogan, still clenched tightly in his deeply molded chair by
|
|||
|
the twin shoulder harness and single lap strap, was the first to notice
|
|||
|
the vibration. His inexperience with the newly encountered mode of
|
|||
|
travel caused him to hesitate before saying anything to his fellow
|
|||
|
passengers. His sixty second delay carried the seventeen youths
|
|||
|
twenty-six thousand feet further toward their destination and saved
|
|||
|
them the foreknowledge of their impending crash. He, however, was not
|
|||
|
spared the visual impact of watching the ground vanish below his view,
|
|||
|
as the vehicle levitated and left the single track guiding its
|
|||
|
direction. Vibration was gone and the sudden lack of the soft hum of
|
|||
|
the track alerted all the young people that a change was taking place.
|
|||
|
The next change was drastic and terrifying. Pivoting on its axis,
|
|||
|
the train twirled slowly. The plush interior changed suddenly, from
|
|||
|
the friendly clutter of people traveling a long distance, into a
|
|||
|
turning collage of cups, papers, clothing and disoriented bodies.
|
|||
|
Suddenly heads bumped, arms twisted and legs kicked in futile attempts
|
|||
|
at balance.
|
|||
|
The sleek tear drop fell gradually to earth again, its speed slowed
|
|||
|
below two hundred miles per hour. The grasses of the prairie could do
|
|||
|
little to cushion the fall and the soil beneath became a two mile long
|
|||
|
strip of sand paper. The titanium skin of the right side abraded away
|
|||
|
quickly with a small shower of sparks. The skeleton of aluminum struts
|
|||
|
lasted but a few seconds longer, giving off no sparks. The speeding
|
|||
|
projectile was traveling at less than one third of its peak speed when
|
|||
|
the interior wall abraded through. Seats vanished in a gut wrenching
|
|||
|
scream of torn metal. Four people strapped in their seats vanished
|
|||
|
into the speeding earth instantly and four more screamed into oblivion
|
|||
|
before the still moving train gouged into a small hill and stopped
|
|||
|
abruptly. The remaining passengers, not strapped in or fortunate
|
|||
|
enough to have become wedged between seats, were smashed into
|
|||
|
unrecognizable oblivion.
|
|||
|
|
|||
|
The only sound in the destroyed vehicle was the soft clump of sandy
|
|||
|
soil falling from the remains of the fuselage's left hand section and
|
|||
|
the ragged breathing of the four survivors still buckled in their
|
|||
|
seats. None of the four were aware of their survival, they were safely
|
|||
|
wrapped in the protection of unconsciousness. Small beams of light
|
|||
|
penetrated the settling dust and awaited the young people's return to
|
|||
|
the world.
|
|||
|
|
|||
|
Matthew felt something prying at the clasp on his safety harness and
|
|||
|
struggled to maintain his only chance of surviving the crash he did not
|
|||
|
remember. He opened his eyes and saw a female form attacking his waist
|
|||
|
in a renewed effort to loosen the stubborn clasp.
|
|||
|
"Quit. I'll do it." His own voice sounded alien, distant. He was
|
|||
|
confused.
|
|||
|
"Well, hurry. Everyone else is outside. We're worried about an
|
|||
|
explosion, like on the videos." The form withdrew, limping painfully.
|
|||
|
Matthew speeded up his efforts and was soon startled to find himself
|
|||
|
falling nearly ten feet to the earthen wall below his right shoulder.
|
|||
|
Nothing was right. The floor was a wall and the wall, with its
|
|||
|
accompanying row of seats was missing. In its place was a solid dirt
|
|||
|
surface, barely visible but eminently touchable, sprinkled liberally
|
|||
|
with large, sharp edged stones. He brushed his arm, then his hip, and
|
|||
|
struggled to find the exit the female form had used. The pain in his
|
|||
|
stomach, a seat belt abrasion he would later discover, and the
|
|||
|
stiffness in his neck were his sole discomfort. He was grateful and
|
|||
|
surprised.
|
|||
|
The cave like interior was barely illuminated and the opening to the
|
|||
|
outside was small. Finally, he spotted a brighter area ahead and
|
|||
|
crawled toward the expected opening.
|
|||
|
Shocking brilliance greeted the last escapee. The fiery ball of the
|
|||
|
setting sun passed behind a thin strip of clouds and created a
|
|||
|
temporary, reddened Saturn. The newly formed planet lost its shape
|
|||
|
quickly as the lowering sun rushed behind the horizon. Matthew could
|
|||
|
see little except the brilliant redness. Knowing that he had hung
|
|||
|
there in the opening while the sun set, he was nevertheless unable to
|
|||
|
restore his sense of timing. Minutes slipped past in an instant.
|
|||
|
Darkness fell like a wetted blanket. Blackness ate the remaining
|
|||
|
light in another misadjusted time interval, hiding the other survivors
|
|||
|
from the last man out of the shattered train.
|
|||
|
"Over here!" Three voices called from the darkness.
|
|||
|
Voices seemed to come from everywhere. Matthew's bewilderment was
|
|||
|
total.
|
|||
|
"Where are you? I can't see you."
|
|||
|
"Stay there, I'll come get you." A small feminine voice called from
|
|||
|
the cloying darkness. Without the accustomed comfort of air
|
|||
|
conditioning, the air passing over his body seemed to have tentacle
|
|||
|
like appendages, which clutched at his skin and caused his flesh to
|
|||
|
crawl.
|
|||
|
The touch of the young woman was another irritation until he
|
|||
|
recognized that she was there to lead him away from the destroyed
|
|||
|
train. He reached for her arm, his fear more evident than he liked.
|
|||
|
"Thank you." His voice carried a tremor which passed unnoticed in
|
|||
|
the clatter of his descent down the side of the train's smooth carcass.
|
|||
|
Matthew kept the feminine hand clutched tightly in his own.
|
|||
|
Starlight helped little as the lonely prairie waited for the moon's
|
|||
|
arrival. Without light there were no shadows. The invisible earth
|
|||
|
beneath their feet was covered with dry, crackling grasses.
|
|||
|
Suddenly they were confronted with two blacker forms in the darkness
|
|||
|
of the night. The survivors were all together.
|
|||
|
"They will send help..." The second small voice, feminine and
|
|||
|
trembling in the darkness, was more a question than a statement. None
|
|||
|
of the stranded foursome had any idea where they were or what they
|
|||
|
could expect.
|
|||
|
Time passed slowly and the young people soon huddled together,
|
|||
|
gathering what little comfort they could from the presence of the
|
|||
|
others. The deep darkness of sleep finally wrapped them in its folds.
|
|||
|
|
|||
|
The alarm bell clanged loudly for a full second before the robot
|
|||
|
manager silenced it with an electronic command. The same command
|
|||
|
passed through the computer forming the robot's brain and sent another
|
|||
|
alarm coursing along the slender glass fibers connecting the train
|
|||
|
command center with the transportation center, three hundred miles
|
|||
|
away.
|
|||
|
The man working the console watched the panel of lights blinking, as
|
|||
|
the different transportation systems performed their ritual like
|
|||
|
movements. Nothing ever happened. The robots managed the repetitive
|
|||
|
tasks of switching, routing, and flow control, without a single glitch.
|
|||
|
Jason Malcom was bored. His only consolation was that his mundane
|
|||
|
job was scheduled for replacement with one of the new computers. Great
|
|||
|
strides had been made recently in Mechanical Intelligence, and the new
|
|||
|
machines were said to be wonders of logic. The newest, his
|
|||
|
replacement, was capable of creative thought and was therefore a
|
|||
|
suitable manager for the complexities of the West Coast Transportation
|
|||
|
System. Two more months, Jason mused, as a new light came to life.
|
|||
|
The red lens over the glowing lamp radiated more than light; there
|
|||
|
was danger and probable disaster beaming out from the control panel.
|
|||
|
Jason pushed the reset button for the light, asking the robot on the
|
|||
|
other end of the circuit to recheck the alarm. The light lost its glow
|
|||
|
for almost fifteen seconds and then renewed its gleaming alarm status.
|
|||
|
"Damn!"
|
|||
|
Jason swiveled his chair and reached for the microphone resting on
|
|||
|
the counter. He hesitated before pressing the switch. He knew the
|
|||
|
words he would speak would cause a fury. The train had carried a
|
|||
|
precious cargo and the chances that there was a minor derailment were
|
|||
|
slim. At three hundred miles per hour, any loss of rail contact was
|
|||
|
certain to be disastrous. He also knew how limited the response would
|
|||
|
be, rescue from the vastness of the central prairie was a major
|
|||
|
undertaking. Once filled with life, the area was now a place of
|
|||
|
dangers and difficulties. Thousands of square miles of grass and
|
|||
|
rolling earth made searching nearly impossible. The broiling sun
|
|||
|
scorched everything, with no trees to provide shelter from the hammer
|
|||
|
blows of the heat. Most dangerous of all were the creatures of the
|
|||
|
area. He was glad he would not be one of those chosen to venture into
|
|||
|
the area. He grasped the microphone and keyed the transmitter to life.
|
|||
|
"Communication Center, this is Jason at Transportation. Come in
|
|||
|
please."
|
|||
|
Seconds ticked away while the man on the other end of the radio link
|
|||
|
awoke and realized that something had happened.
|
|||
|
"This is Comm Center, Morton here. Go ahead."
|
|||
|
"I have an derailment signal from the Prairie Bullet. The initial
|
|||
|
alert has been confirmed. All communications with the Bullet are out
|
|||
|
and all indications point to a major crash."
|
|||
|
Jason listened to the hiss of static and could almost hear the
|
|||
|
"Damn" originating on the other end of the radio link.
|
|||
|
"Roger, I understand. I'll contact the Governor and the Coastal
|
|||
|
Guard. Out."
|
|||
|
"This is Transportation, out."
|
|||
|
Jason released the microphone and could imagine the furor he had
|
|||
|
caused with his announcement. The limited resources of the Coastal
|
|||
|
Guard and the Governor's office would soon be strained to the limit,
|
|||
|
but the effort had to be made. The seventeen people on that train were
|
|||
|
half of a group who represented the last hope for the country. Their
|
|||
|
perfect genetic pool was to be the new beginning for a repopulation
|
|||
|
effort unmatched in human history. Without them the effort was doomed
|
|||
|
to failure.
|
|||
|
Jason did not understand all the complications involved, but knew
|
|||
|
that cloning and in vitro fertilization were producing mutants not
|
|||
|
healthy babies, and that the powers of government were frantic to
|
|||
|
reverse the situation. There had been no normal conceptions in human
|
|||
|
memory. The thirty-four youngsters were the sole hope for a renewed
|
|||
|
genetic pool. If the program failed, Jason knew, the country would
|
|||
|
soon be populated with robots, androids and the wild creatures of the
|
|||
|
wildernesses. His heart lay heavy with fear as he leaned back in his
|
|||
|
chair and returned to watching the battery of blinking lights.
|
|||
|
|
|||
|
The sun was high in the eastern sky before the sleeping quartet
|
|||
|
roused. They had tossed and turned fitfully during the early hours of
|
|||
|
darkness after surrendering to exhaustion in the first hours of
|
|||
|
darkness. None of them expected to be alive when the sun rose. All
|
|||
|
the stories of the horrors waiting in the wild areas haunted the group
|
|||
|
and made their last hours of sleep far less than restful.
|
|||
|
Matthew was the first to open his eyes and face the fact that they
|
|||
|
had managed to survive an entire night in the open. His grumbling
|
|||
|
stomach was the first sound he heard. The second belonged to the other
|
|||
|
male member of the group, echoing the thought racing through his mind.
|
|||
|
"What do we do now?"
|
|||
|
"We find some food, first."
|
|||
|
"Then we better find the rail that thing was traveling on. The
|
|||
|
rescue teams will be looking along the track first and we will have a
|
|||
|
better chance there than here." The man's voice was strident, near the
|
|||
|
edge of panic.
|
|||
|
"But where is the track?" The higher pitched voice of one of the
|
|||
|
women was also edged with hysteria, as she looked around the grassy
|
|||
|
expanse of their new world.
|
|||
|
"That way." Matthew thrust his thumb in the direction the train had
|
|||
|
traveled in its airborne trip to the present resting place. "We are
|
|||
|
probably ten to fifteen miles from the track. We were in the air for
|
|||
|
more than a minute."
|
|||
|
"How do you know?"
|
|||
|
Matthew turned to face the frightened and sneering questioner, the
|
|||
|
last female member of the group.
|
|||
|
"I was watching out the window when we left the rail. We were
|
|||
|
traveling very fast and flew through the air for a long time. At the
|
|||
|
speed we were traveling we covered five miles in a minute. Walking
|
|||
|
back will take a lot longer."
|
|||
|
The small figure confronting Matthew lost her belligerence and
|
|||
|
surrendered to the reality of his revelations. Her smile was weak but
|
|||
|
sincere.
|
|||
|
"I'm sorry. You aren't to blame for this mess. My name is
|
|||
|
Christina, Christina Mobely. What is yours?"
|
|||
|
"Matthew Brogan."
|
|||
|
"Lois Benneman," the nearly hysterical woman injected.
|
|||
|
"Martin Halvet."
|
|||
|
The introductions were less formal than the participants were
|
|||
|
accustomed to, but the circumstances seemed to call for informality.
|
|||
|
The small group of chastened youngsters followed Matthew as he
|
|||
|
returned to the demolished train. The shattered spheroid had not
|
|||
|
exploded as they feared and was sparkling in the sunlight. From their
|
|||
|
vantage point it looked as if it had settled gently to the earth and
|
|||
|
rested there, half buried. They all realized that the unseen half was
|
|||
|
spread out behind the gleaming remainder like a grotesque tail. None
|
|||
|
of them looked in that direction, fearing they might see the remains of
|
|||
|
their companions. All four limped down the small hill, hesitant but
|
|||
|
hungry. While not seriously hurt, they each had twisted muscles and
|
|||
|
darkening bruises.
|
|||
|
Matthew stopped beside the half train and waited to see if any of
|
|||
|
the others would enter the shattered cylinder.
|
|||
|
The others stood, accepting Mathews's leadership and waiting for his
|
|||
|
guidance.
|
|||
|
"Who helped me get out last night?"
|
|||
|
"I did," The slender red head, Christina, stepped forward,
|
|||
|
answering softly.
|
|||
|
"Does the help extend to getting me back inside," Matthew smiled.
|
|||
|
"Sure, what can I do?"
|
|||
|
"Put your hands together and give me a step up."
|
|||
|
The young woman flinched when he put his weight on her clasped hands
|
|||
|
but held her position despite the pain of her twisted wrist. Matthew
|
|||
|
noticed the flinch and scrambled quickly out of the volunteered stool
|
|||
|
and up the slope of the train's shell.
|
|||
|
Darkness faced the reluctant explorer and he hesitated momentarily
|
|||
|
before clenching his teeth and slipping inside.
|
|||
|
The familiar interior was twisted ninety degrees, but was
|
|||
|
recognizable, and Matthew went directly to the pantry compartment.
|
|||
|
Fortunately it survived with the left half of the train. The heavy
|
|||
|
door was twisted enough to make easy access impossible. Matthew looked
|
|||
|
around the cluttered ground, searching for something to pry the door
|
|||
|
open. He ignored the crumpled bodies which were piled together at the
|
|||
|
base of the bulkhead, and concentrated his search in the less grisly
|
|||
|
areas of the cabin.
|
|||
|
Behind a sprung open door he located a tool box and quickly
|
|||
|
discovered a long screwdriver. The other tools were unfamiliar, except
|
|||
|
for a sheath knife. He tucked the knife in his belt and returned to
|
|||
|
the reluctant door with the screwdriver.
|
|||
|
The stubborn panel swung open with infuriating ease, when persuaded
|
|||
|
with the leverage of the screwdriver, and revealed its treasure. Food
|
|||
|
for seventeen people, even the two meals he found, amounted to a large
|
|||
|
stack of envelopes, packets, and cans. Matthew was smilingly pleased
|
|||
|
when he made his way back to the entrance and called for some help.
|
|||
|
The slim legs sliding into the sunlit opening belonged to the red
|
|||
|
head, Matthew recognized her white canvass shoes. The other woman wore
|
|||
|
leather sandals. He was glad she had come, he liked her willingness to
|
|||
|
help and her ability to control the panic she felt. She accepted his
|
|||
|
assistance and entered the darkened interior.
|
|||
|
The two survivors were strangers, but similar in their understanding
|
|||
|
of what was now required to survive. Neither wished to face the
|
|||
|
possibility of prolonged living in the wild area they had heard so many
|
|||
|
frightening stories about. They each knew, however, that they would
|
|||
|
face that dilemma when and if they must.
|
|||
|
"Food. The pantry survived and there's some canned and packaged
|
|||
|
food in it."
|
|||
|
"A tool box, with a knife. A screwdriver too." Matthew added his
|
|||
|
discoveries like news clips tacked to the bottom of video broadcasts.
|
|||
|
"Great, we could use some light in here. There must be more things
|
|||
|
we can use. A weapon would be handy if we run into some of the wild
|
|||
|
animals that roam this area."
|
|||
|
"Let's get the food out first."
|
|||
|
"Here, use this pillow case and I'll find another."
|
|||
|
The labor of the unloading and packing the food was quickly ended
|
|||
|
with the prompt and efficient division of labor. Christina was able to
|
|||
|
wriggle around the twisted wreckage and retrieve five hidden pillows
|
|||
|
and several leather pouches, carried aboard the train by some of the
|
|||
|
male passengers.
|
|||
|
The two young people worked around the piled corpses and ignored the
|
|||
|
issue of disposing of their dead fellow passengers. None of the
|
|||
|
seventeen people had ever met before the train left the nation's
|
|||
|
capitol, making the crumpled bodies less of an emotional strain than if
|
|||
|
they had been friends.
|
|||
|
The piled up pillow cases, articles of clothing, and the remains of
|
|||
|
the tool box made a rather pitiful stack under the opening to the
|
|||
|
outside. Matthew boosted Christina back through the opening and began
|
|||
|
passing the scavenged supplies up to her waiting grasp. He heard the
|
|||
|
scuffing sounds and the rattle of the canned goods as she let the bags
|
|||
|
slide down the rounded skin of the train. The last load raised a loud
|
|||
|
din and Matthew knew the tool box was on the ground. He decided to
|
|||
|
take one last look through the demolished interior. He wanted all the
|
|||
|
help he could get and was still looking for a weapon, something more
|
|||
|
effective than the sheath knife still stuck in his waist band.
|
|||
|
"Nothing, damnit." He muttered under his breath, barking his shin
|
|||
|
on a protruding seat back. He shook his head in frustration and bent
|
|||
|
forward to rub the tingling bump on his leg. The light from the
|
|||
|
opening over his head fell on a squared off shaft of what appeared to
|
|||
|
be wood.
|
|||
|
Matthew grasped the whitish protrusion and pulled. The length of
|
|||
|
wood moved slightly and stuck solid. Determined now not to lose his
|
|||
|
battle with the reticent shaft. He renewed his grasp and double
|
|||
|
gripped his left hand with his right. He set his feet firmly and
|
|||
|
pulled with all the strength he could muster. The shaft, nearly six
|
|||
|
feet long, pulled free slowly and finally bumped against the wall over
|
|||
|
Matthew's head. The center of the six foot length was smoothly rounded
|
|||
|
and fit his hand comfortably. Someone, dead now, had fashioned the
|
|||
|
staff with loving care. The workmanship was evident even in the
|
|||
|
darkness, the wood had the smooth feel and almost sticky grip of sanded
|
|||
|
and waxed wood. Matthew was pleased, here was a weapon of real value.
|
|||
|
The smile on his face lasted until he handed the staff out to the red
|
|||
|
head, climbed out of the train, and witnessed the other two members of
|
|||
|
the group tearing into the bags of foodstuffs and supplies. They were
|
|||
|
stuffing the choicest morsels from each bag into their mouths and
|
|||
|
pockets as quickly as they could manage to open a new bag.
|
|||
|
Matthew allowed all his pent up anger and fear, accumulating since
|
|||
|
he first detected the train moving off the rail, to burst over the pair
|
|||
|
of greedy youths feeding below him. He fell on them with kicks, curses
|
|||
|
and thrusts of his new weapon. The woman fell back instantly but the
|
|||
|
man, taller and broader than Matthew by six inches, fought for the
|
|||
|
booty he had done nothing to earn.
|
|||
|
The struggle was short lived and the tasty morsels the larger man
|
|||
|
had gulped down ended up on the ground, as he threw up what had been
|
|||
|
his hastily consumed lunch.
|
|||
|
Matthew calmed down as quickly as he had begun. The food stores
|
|||
|
were safe, for the moment at least.
|
|||
|
Christina chastised the wrong doers with a surprisingly sharp tongue
|
|||
|
and left them feeling like a cross between a petty thief and a child
|
|||
|
molester. She moved to Matthew's side and smiled her approval of his
|
|||
|
rescue of their scanty resources.
|
|||
|
"We'll have to watch that pair..." Matthew grunted.
|
|||
|
"You're right, but we need to get started back toward the rail. If
|
|||
|
we ever hope to get rescued."
|
|||
|
"Christina, don't count too heavily on getting any help. Our
|
|||
|
government has very little power at home and still less here. If there
|
|||
|
was any hope of being rescued, we would have seen something by now.
|
|||
|
Governments are terribly good at making noises, and plans too for that
|
|||
|
matter, but they seem to fall apart when it comes to achieving
|
|||
|
anything. I am afraid we were another grandiose plan that died."
|
|||
|
"But what are we to do?"
|
|||
|
"Survive."
|
|||
|
The single word hung in the air like a strong smell, unpleasant, but
|
|||
|
undeniable.
|
|||
|
|
|||
|
Sunset found the foursome stretched out single file along a quarter
|
|||
|
mile of the dry plain. Matthew was leading, with Christina following
|
|||
|
close behind. Her shorter legs were no match for his long strides, but
|
|||
|
her gameness kept her close. The other couple straggled behind. Lois
|
|||
|
was close to the lead couple and Martin was several hundred yards
|
|||
|
further back. Each person carried a leather pouch, a pillow case, and
|
|||
|
a slim flask of water. As Matthew watched, Martin tossed his water jug
|
|||
|
aside, the drained container carelessly littering the prairie. Matthew
|
|||
|
shook his head in exasperation. Would the foolish man never learn.
|
|||
|
Martin had eaten nearly half of his share of the rations before the
|
|||
|
first hour of the march was over. Now his water was gone as well.
|
|||
|
Christina caught up with Matthew and followed his frown back toward
|
|||
|
the stumbling Martin.
|
|||
|
"He's not going to make it, he's already eaten nearly all his food."
|
|||
|
"Yea, and he just threw his water flask away. Damn fool."
|
|||
|
Matthew's sympathy for the greedy man was thin indeed. He despised
|
|||
|
people who could not see the obvious, especially when their nose was
|
|||
|
soiled with the truth.
|
|||
|
Lois huffed and puffed up the small incline and flopped at
|
|||
|
Christina's feet. Her smile was weak but still showed her gameness.
|
|||
|
"Never thought I'd have to walk all the way to this new and exciting
|
|||
|
life we were promised. You two don't think this is what they meant, do
|
|||
|
you?"
|
|||
|
All three young people laughed, a bitter edge touching their humor.
|
|||
|
They had been promised a new and exciting part to play in the
|
|||
|
restoration of man as the dominant species on the continent... Or
|
|||
|
something like that. All the fancy speeches began running together
|
|||
|
into a jumble of long and meaningless words. They all figured they
|
|||
|
were to be some sort of experimental animals for the geneticists on the
|
|||
|
west coast. Well fed and pampered, they all planned to have their
|
|||
|
leisure hours filled with pleasure and self oriented activities.
|
|||
|
Matthew had designs on broadening his study of history and science.
|
|||
|
Christina was interested in botany and biology, with a smattering of
|
|||
|
painting thrown in for leavening. Lois had planned to pursue her
|
|||
|
interest in old literature and new theater. Martin was dedicated to
|
|||
|
his appetites, culinary and sexual, calculating that among the pampered
|
|||
|
and the pamperers he would find plenty to satisfy all his needs.
|
|||
|
The four represented a strange mix of interests and experience.
|
|||
|
None was trained for the situation they now faced. Their moment of
|
|||
|
strained humor emphasized their desperate situation. Concern marked
|
|||
|
their faces, especially Martin's. His struggle to cross the remaining
|
|||
|
ground between himself and the small gathering was pitiful to watch.
|
|||
|
Twice he started to discard the pillow case slung over his shoulder and
|
|||
|
twice remembered the food inside. His steps, merely reluctant at
|
|||
|
first, had become the shuffling movements of an old man. With rescue
|
|||
|
moments away, he had voted to stay beside the shattered train. He left
|
|||
|
only after everyone else vanished from his sight.
|
|||
|
Matthew turned away from the struggling man and scanned the scene
|
|||
|
before him. The gently undulating land was unmarked by trees or any
|
|||
|
landmarks. He knew a little of the history of the area, but nothing
|
|||
|
much about current life forms. Traditionally the vast areas of the
|
|||
|
continent's center were the breadbasket of the nation. Pollution and a
|
|||
|
sharp decline in the population halted the massive farm machines faster
|
|||
|
than the energy shortages of the previous century. The carefully
|
|||
|
tended acreages fell fallow and slowly returned to their former
|
|||
|
wildness. The cities faded more slowly, as tax rolls emptied and
|
|||
|
people abandoned them for the more lively coastal areas. Finally the
|
|||
|
cities were inhabited by the few diehards and those who could not move.
|
|||
|
Their mutated offspring became the monsters mothers threatened children
|
|||
|
with, instead of the bogey man. The passage of time left the center of
|
|||
|
the country in the control of those mutants. Their numbers and the
|
|||
|
exact nature of their mutations were never recorded. Those who tried
|
|||
|
to find out never returned.
|
|||
|
What lay ahead for the ragged foursome looked bleak. Twenty year
|
|||
|
old Matthew shuddered despite his conviction that he would survive this
|
|||
|
horror. His plans for the future did not include bleaching his
|
|||
|
fleshless bones on this barren plain.
|
|||
|
His jaw was set in firm determination when he turned to face the
|
|||
|
other three members of the group. He would bring all of them out, if
|
|||
|
he could.
|
|||
|
|
|||
|
Three days later the sun was sliding to its nightly repose, but a
|
|||
|
jagged line of mountains was marking the horizon instead of the
|
|||
|
straight line of more prairie. The next few sunsets would find the
|
|||
|
four walkers in a land of trees, water and hopefully food.
|
|||
|
Matthew and Christina huddled together against the evenings cold and
|
|||
|
whispered their hopes for the future.
|
|||
|
"Will there be people, there?"
|
|||
|
Her question served to ask a multitude of other questions. Neither
|
|||
|
of them could answer, they were afraid of a negative answer. Their
|
|||
|
plans were made for a future only hours away, instead of years. Their
|
|||
|
hopes were for food, water, and the other necessities of life, not the
|
|||
|
gentler study of this ancient custom or that.
|
|||
|
"Whatever there is, we'll be better off than out here in this
|
|||
|
desolation We should be able to find some shelter, or build some. And
|
|||
|
I hope we can find some source of food. Our supplies are getting low."
|
|||
|
The pair fell into reflective silence and finally sleep. Their
|
|||
|
problems would have to wait for another day. The chilled air pushed
|
|||
|
them together for comfort, their loneliness and growing affection bound
|
|||
|
them tight.
|
|||
|
Lying beside Lois, but terribly alone, Martin accepted his fate.
|
|||
|
His choices were gone. His plans of hedonistic leisure were gone.
|
|||
|
Unfair or not, he could fight or starve. His last choice was
|
|||
|
starvation.
|
|||
|
|
|||
|
The day of their arrival was delayed by six. More distant than
|
|||
|
their eyes had judged, the mountains finally surrendered their bounty
|
|||
|
to the exhausted foursome. Rabbits, unconcerned for the arrival of the
|
|||
|
people, fell to Matthew's thrown staff. Greens, some from the slow
|
|||
|
moving stream and some from the lush floor of the forest, added to
|
|||
|
their diet, as did the grains they gathered from the tall plants of the
|
|||
|
prairie itself. Work was required, but their survival was no longer a
|
|||
|
desperate concern. Life began to assume a new normalcy. With their
|
|||
|
days timed to the metronome rising and setting of the sun, they each
|
|||
|
found a way to rationalize their new existence.
|
|||
|
Martin's first voluntary efforts were the last sign Matthew needed
|
|||
|
to reassure him that they did indeed have a chance. The challenge was
|
|||
|
enormous, the needed skills being gleaned like precious metal from the
|
|||
|
surrounding mass of experience. Some lessons were painful, but the
|
|||
|
four individuals slowly became a working team.
|
|||
|
|
|||
|
Their first celebration was the formalization of Matthew and
|
|||
|
Christina's living arrangement. A fact since the first glimpse of the
|
|||
|
mountains, they announced their happiness with each other and
|
|||
|
celebrated with baked grain, broiled rabbit, and fresh water, their
|
|||
|
customary meal.
|
|||
|
Their second celebration followed Martin's fortunate killing of a
|
|||
|
deer: he was quickly becoming their best hunter. Lois decided her
|
|||
|
options were limited and accepted Martin as her mate.
|
|||
|
The marriages began a time of intense work. Winter was hovering and
|
|||
|
food would be scarce. All four young people had faced starvation, all
|
|||
|
four wanted their larder filled.
|
|||
|
|
|||
|
Matthew stood at the edge of the Aspen forest and looked out across
|
|||
|
the prairie. The sharp bite of the autumn wind pierced his rabbit
|
|||
|
fur cloak and chilled his darkly tanned skin. He leaned on his staff
|
|||
|
and wiped his hand down his well muscled leg. The few burrs clinging
|
|||
|
to the hairs on his leg tumbled to the ground, scattering the parent
|
|||
|
plant onto a wider range. Nature's plan was working.
|
|||
|
Christina walked through the trees and wrapped her arm around
|
|||
|
Matthew's waist.
|
|||
|
"Seems like another lifetime ago, doesn't it?"
|
|||
|
"Yes. We've covered a lot more than miles since we straggled up
|
|||
|
that hill. Even Martin has changed. He and Lois seem happy enough."
|
|||
|
"Maybe next year, after their baby comes they can make their try to
|
|||
|
reach the coast. That would make him a lot happier."
|
|||
|
"That will make things tougher on you, if we stay. Changed you
|
|||
|
mind?"
|
|||
|
"No. I'm happier than I have ever been. We'll stay. I want our
|
|||
|
baby to be free, like we are. Not a hermit in a cave, being led by a
|
|||
|
group of recluses.
|
|||
|
The two fur wrapped people turned and walked back toward their dome
|
|||
|
shaped hut. The mound of her swollen belly was their promise to each
|
|||
|
other that there was a future. Their dreams went beyond that single
|
|||
|
life. They were no longer the carefree youths who had agreed to the
|
|||
|
demands of their government. They were their own government now, and
|
|||
|
had decided that there was a better life. Their pledge to each other
|
|||
|
would form the foundation of an entire race. Living with nature, not
|
|||
|
trying to dominate and alter the world, was the promise. It would last
|
|||
|
a long time.
|
|||
|
|
|||
|
The scientists on the two coasts had been right. Normal conception
|
|||
|
with normal men and women produces normal children. They would
|
|||
|
probably not approve of the way the experiment was done. But the
|
|||
|
experiment went forward.
|
|||
|
The hope that their plan would repopulate the continent would not be
|
|||
|
realized for many thousands of years. But even that hope would be
|
|||
|
fulfilled, although the originators of the plan would be long dead and
|
|||
|
forgotten. The civilization they belonged to would be gone as well.
|
|||
|
An unforeseen cold cycle, part of the earth's usual ups and downs,
|
|||
|
caused a minor ice age, dropping the Arctic ice line down the west
|
|||
|
coast, to the thin neck between the two halves of the continent. The
|
|||
|
clones, robots and androids passed into extinction, leaving nothing but
|
|||
|
a small, tenuous experiment in biology.
|
|||
|
|
|||
|
Thousands of years after the four young people began their struggle
|
|||
|
to survive, other young people from another continent embarked in
|
|||
|
wooden vessels and discovered the descendants of Matthew, Christina,
|
|||
|
Martin, and Lois.
|
|||
|
They named them Indians.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
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<EFBFBD> Internet E-Mail, FTPmail, Archie, Oracle, Usenet Groups <20>
|
|||
|
<EFBFBD> Over 35+ Gigabytes of Files Represented - 12 CD-Rom Drives Online <20>
|
|||
|
<EFBFBD> NO File Upload or File Ratio Requirements <20>
|
|||
|
<EFBFBD> Interactive Multiuser Chat Conferences <20>
|
|||
|
<EFBFBD> Dozens of Interactive, Real-Time, Games of Chance & Excitement <20>
|
|||
|
<EFBFBD> Text, Graphics, & ANSI Color Completely Supported <20>
|
|||
|
<EFBFBD> Dozens of Special Interest Areas - Literally 1000s of Messages Online <20>
|
|||
|
<EFBFBD> USA Today Online Each Business Day <20>
|
|||
|
<EFBFBD> Thousands of Interesting, Intelligent, Diverse Members <20>
|
|||
|
<EFBFBD> Connex (Tm) - The Biographical, Friendship, and Matchmaking Service <20>
|
|||
|
<EFBFBD> Voted # 1 BBS in Texas by Boardwatch BBS Magazine <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ĵ
|
|||
|
<EFBFBD> High Speed: (214) 690-9296 Dallas (817) 540-5569 Ft. Worth <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|||
|
|
|||
|
|
|||
|
========================================================================
|
|||
|
<PRIVATE><RECEIVED>
|
|||
|
Number : 2913 of 3006 Date : 12/28/94 15:28
|
|||
|
Confer : Private Electronic Mail
|
|||
|
From : Lisa Tamara
|
|||
|
To : Joe Derouen
|
|||
|
Subject : January STTS
|
|||
|
------------------------------------------------------------------------
|
|||
|
Guess what - i'm actually submitting something on time! :)
|
|||
|
|
|||
|
This is a recent one called Wind
|
|||
|
|
|||
|
The Wind
|
|||
|
|
|||
|
|
|||
|
I hear the wind blowing
|
|||
|
it's calling my name
|
|||
|
whispering my secrets
|
|||
|
again and again
|
|||
|
|
|||
|
Up thru the rafters
|
|||
|
and down thru the vale
|
|||
|
the thundering echo
|
|||
|
remembers it well
|
|||
|
|
|||
|
One day I was crying
|
|||
|
the next day it rained
|
|||
|
followed soon after
|
|||
|
by the influx of change
|
|||
|
|
|||
|
Death is a doorway
|
|||
|
when the moon wanes
|
|||
|
a transition of sorts
|
|||
|
for those who remain
|
|||
|
|
|||
|
I hear the wind blowing
|
|||
|
it's calling my name
|
|||
|
come hither young gypsy
|
|||
|
come hither to me
|
|||
|
|
|||
|
Wherever I wander
|
|||
|
and wherever I go
|
|||
|
my destiny takes me
|
|||
|
where ere the wind blows.
|
|||
|
|
|||
|
|
|||
|
By Tamara
|
|||
|
|
|||
|
Written Dec 9th, 1994 (c)
|
|||
|
|
|||
|
|
|||
|
========================================================================
|
|||
|
|
|||
|
|
|||
|
|
|||
|
The Human Tide
|
|||
|
Copyright (c) 1994, Daniel Sendecki
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
The Human Tide
|
|||
|
--------------
|
|||
|
|
|||
|
Line them up six abreast forever
|
|||
|
drive wearied truckhorses
|
|||
|
through tombstone whitecaps
|
|||
|
the pearl dead
|
|||
|
like swollen marshmallows
|
|||
|
rise and fall
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Monday, 9:07 pm
|
|||
|
Copyright (c) 1994, J. Guenther
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Monday, 9:07 pm
|
|||
|
|
|||
|
It's just another day you're not here;
|
|||
|
(Hell, the sexes are equal when they're blown sky high--
|
|||
|
I believe another comic character said that in a film)
|
|||
|
|
|||
|
shatter * rumble * rattle
|
|||
|
|
|||
|
[I could have sworn I heard your ebony voice in our ivory hall]
|
|||
|
|
|||
|
fight the right
|
|||
|
slamshot ramrod slang rimshot
|
|||
|
|
|||
|
BANG!
|
|||
|
|
|||
|
When I was young I thought I<>d be on top
|
|||
|
and not a bit of blood I would ever drop;
|
|||
|
It would seem my wrong was always to be right
|
|||
|
and I raised my white flag high early in the fight.
|
|||
|
|
|||
|
The thunder calls your name in a low purr
|
|||
|
while the sky flashes your neon name.
|
|||
|
The clouds cry a tear for every minute I miss you.
|
|||
|
Phantom voice images of ours tickle my ear as
|
|||
|
spectre mirages of your reflection wade in the misty glass windows in front of me while the frustrated summer rain taps its chaotic chorus against you.
|
|||
|
|
|||
|
--I was not naked, or at least not now--
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Wrong Side of the Bridge
|
|||
|
Copyright (c) 1994, Tommy Van Hook
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
Wrong Side of the Bridge
|
|||
|
By Tommy Van Hook
|
|||
|
5 November 1994
|
|||
|
|
|||
|
|
|||
|
I wandered through a forest
|
|||
|
Darkened and dismal it was
|
|||
|
Certainly a frightening stroll
|
|||
|
Not one I would usually take
|
|||
|
...at least not in those days
|
|||
|
|
|||
|
I came upon a small bridge
|
|||
|
Which crossed a small gorge
|
|||
|
It's depth I could not see
|
|||
|
For it went on forever
|
|||
|
...whatever that could be
|
|||
|
|
|||
|
To one side of the bridge
|
|||
|
Sat a gnarled old gnome
|
|||
|
A scowl permanently fixed
|
|||
|
Below his red, glowering eyes
|
|||
|
...what lovely sight he was
|
|||
|
|
|||
|
"Good day toy you sir,"
|
|||
|
I said as I crossed over
|
|||
|
"You mean good riddance,"
|
|||
|
Came the nasty reply.
|
|||
|
...Temper, temper brother dear
|
|||
|
|
|||
|
I must apologize for the gnome
|
|||
|
On the other side of the bridge
|
|||
|
He's just sullen and angry since
|
|||
|
I woke up on the wrong side of the bridge
|
|||
|
...I sit on the other side
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
NEVERMORE
|
|||
|
By Author Unknown
|
|||
|
|
|||
|
Once upon a midnight dreary, fingers cramped and vision bleary,
|
|||
|
System manuals piled high and wasted paper on the floor,
|
|||
|
Longing for the warmth of bedsheets,
|
|||
|
Still I sat there, doing spreadsheets:
|
|||
|
Having reached the bottom line,
|
|||
|
I took a floppy from the drawer.
|
|||
|
Typing with a steady hand, I then invoked the SAVE command
|
|||
|
But got instead a reprimand: it read "Abort, Retry, Ignore."
|
|||
|
|
|||
|
Was this some occult illusion? Some maniacal intrusion?
|
|||
|
These were choices Solomon himself had never faced before.
|
|||
|
Carefully, I weighed my options.
|
|||
|
These three seemed to be the top ones.
|
|||
|
Clearly, I must now adopt one:
|
|||
|
Choose Abort, Retry, Ignore.
|
|||
|
|
|||
|
With my fingers pale and trembling,
|
|||
|
Slowly toward the keyboard bending,
|
|||
|
Longing for a happy ending, hoping all would be restored,
|
|||
|
Praying for some guarantee
|
|||
|
Finally I pressed a key --
|
|||
|
But on the screen what did I see?
|
|||
|
Again: "Abort, Retry, Ignore."
|
|||
|
|
|||
|
I tried to catch the chips off-guard --
|
|||
|
I pressed again, but twice as hard.
|
|||
|
Luck was just not in the cards.
|
|||
|
I saw what I had seen before.
|
|||
|
Now I typed in desperation
|
|||
|
Trying random combinations
|
|||
|
Still there came the incantation:
|
|||
|
Choose: Abort, Retry, Ignore.
|
|||
|
|
|||
|
There I sat, distraught, exhausted, by my own machine accosted
|
|||
|
Getting up I turned away and paced across the office floor.
|
|||
|
And then I saw an awful sight:
|
|||
|
A bold and blinding flash of light --
|
|||
|
A lightning bolt had cut the night and shook me to my very core.
|
|||
|
I saw the screen collapse and die
|
|||
|
"Oh no -- my database", I cried
|
|||
|
I thought I heard a voice reply,
|
|||
|
"You'll see your data Nevermore."
|
|||
|
|
|||
|
To this day I do not know
|
|||
|
The place to which lost data goes
|
|||
|
I bet it goes to heaven where the angels have it stored.
|
|||
|
But as for productivity, well
|
|||
|
I fear that it goes straight to hell
|
|||
|
And that's the tale I have to tell
|
|||
|
Your choice: Abort, Retry, Ignore.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Top Ten List
|
|||
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
Top Ten Worst BBS's in the Dallas/Ft.Worth Area
|
|||
|
|
|||
|
10. Cavity Lovers of America, Unite!
|
|||
|
9. Newt Gingrich's House of Fun
|
|||
|
8. Online Coronor and Floral Design
|
|||
|
7. Federal Witness Protection BBS (anonymous logon only!)
|
|||
|
6. Massive Head Wound BBS
|
|||
|
5. Caffeine BBS (24 hrs., 28.8k connection only)
|
|||
|
4. 24 Hr. Chat BBS (1 Line Only)
|
|||
|
3. Fresh Produce BBS - We're All About Vegetables!
|
|||
|
2. Pog Traders Anonymous
|
|||
|
1. Rush Limbaugh GIFs Unlimited
|
|||
|
|
|||
|
(c) 1994 Joe DeRouen. All rights reserved.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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|||
|
<20><> <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> (717)325-9481 14.4
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|||
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<20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> 2 NODES
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|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20> <20> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD>
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|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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<20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><><EFBFBD> <20><>
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|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
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|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|||
|
Prize Vault Lemonade Scramble Dollarmania ANSI Voting Booth
|
|||
|
Studs! Studette BadUser Convince! OnLine!
|
|||
|
GoodUser T&J Lotto T&JStat TJTop30 Environmental QT
|
|||
|
Video Poker Announce Bordello! Money Market Bordello
|
|||
|
T&J Raffle RIP Lemonade AgeCheck Strip Poker RIP Voting Booth
|
|||
|
...and more coming!
|
|||
|
|
|||
|
|
|||
|
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ
|
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<EFBFBD> 110 Nodes * 4000 Conferences * 30.0 Gigabytes * 100,000+ Archives <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><><EFBFBD> (R)
|
|||
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<20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20> <20><> <20><> <20> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><>
|
|||
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<20><> <20><> <20><> <20><> <20><> <20><> <20> <20><> <20><> <20> <20><> <20><> <20><> <20> <20><>
|
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><> <20><> <20><><EFBFBD><EFBFBD> <20><> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> * Winner, First Dvorak/Zoom "Best General BBS" Award <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
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|
|||
|
* INTERNET/Usenet Access * DOS/Windows/OS2/Mac/Amiga/Unix
|
|||
|
* ILink, RIME, Smartnet * Best Files in the USA
|
|||
|
* Pen & Brush, BASnet. * 120 Online Games
|
|||
|
* QWKmail & Offline Readers * Multi-line Chat
|
|||
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|
|||
|
Closing Stocks, Financial News, Business/Professional Software,
|
|||
|
NewsBytes, PC-Catalog, MovieCritic, EZines, AbleData, ASP, 4DOS
|
|||
|
Huge Windows, Graphics, Music, Programming, Education Libraries
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ
|
|||
|
<EFBFBD> Channel 1 Communications(R) * Cambridge, MA * 617-354-3230 14.4 <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD>faster<EFBFBD>better<EFBFBD>less expensive<76><65><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> "Best Files in US" <20>
|
|||
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|
|||
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|
|||
|
ް<EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ 2400bps & (414) 789-4210 <20>
|
|||
|
<EFBFBD> <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> "The best connection your USR HST 9600 (414) 789-4337 <20>
|
|||
|
<EFBFBD> <20> <20> modem will ever make!!" USR HST 14400 (414) 789-4352 <20>
|
|||
|
<EFBFBD> <20> <20><><EFBFBD>Ŀ v.32bis 14400 (414) 789-4360 <20>
|
|||
|
<EFBFBD> <20> <20><><EFBFBD><EFBFBD><EFBFBD> <20> <20> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> Compucom 9600 (414) 789-4450 <20>
|
|||
|
<EFBFBD> <20> <20> <20><><EFBFBD> <20><><EFBFBD><EFBFBD> <20> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20> Hayes V-Series (414) 789-4315 <20>
|
|||
|
<EFBFBD> <20> <20><><EFBFBD><EFBFBD>Ŀ <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20> <20><><EFBFBD><EFBFBD><EFBFBD> v.FC 28800 (414) 789-4500 <20>
|
|||
|
<EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20>
|
|||
|
<EFBFBD> <20>
|
|||
|
<EFBFBD> <20> Exec-PC BBS is the largest LAN and microcomputer based BBS in the world! <20>
|
|||
|
<EFBFBD> <20> 280+ dedicated phone lines - NO busy signals - 24-Hour access <20>
|
|||
|
<EFBFBD> <20> Over 650,000 files and programs - DOS, Windows, OS/2, Mac, Unix, Amiga <20>
|
|||
|
<EFBFBD> <20> Lightning fast - Search 20,000 files in 2 seconds with Hyperscan feature <20>
|
|||
|
<EFBFBD> <20> Over 42 CD-ROM's online - Scan all of them at 1 time for keywords <20>
|
|||
|
<EFBFBD> <20> Special Apogee games, Moraffware games, and Adult file areas <20>
|
|||
|
<EFBFBD> <20> Extensive message system with QWK compatability - Also, Fidonet areas! <20>
|
|||
|
<EFBFBD> <20> Online Doors / Games / Job Search / PC-Catalog / Online Magazines <20>
|
|||
|
<EFBFBD> <20> Over 5000 callers per day can't be wrong - 35 gig of online storage! <20>
|
|||
|
<EFBFBD> <20> Low subscription rates: $25 for 3 months, $75 for a full year <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Call<EFBFBD>the<EFBFBD>BBS<EFBFBD>for<EFBFBD>a<EFBFBD>FREE<EFBFBD>trial<EFBFBD>demo,<2C>and<6E>FREE<45>downloads<64><73><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
ް<EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD>
|
|||
|
|
|||
|
|
|||
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|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> "Bringing our software to your home"
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><> <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> (717)325-9481 14.4
|
|||
|
<20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> 2 NODES
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20> <20> <20><><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><> <20><><EFBFBD> <20><>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|||
|
Prize Vault Lemonade Scramble Dollarmania ANSI Voting Booth
|
|||
|
Studs! Studette BadUser Convince! OnLine!
|
|||
|
GoodUser T&J Lotto T&JStat TJTop30 Environmental QT
|
|||
|
Video Poker Announce Bordello! Money Market Bordello
|
|||
|
T&J Raffle RIP Lemonade AgeCheck Strip Poker RIP Voting Booth
|
|||
|
...and more coming!
|
|||
|
|
|||
|
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ
|
|||
|
<EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD>˿ <20><> ˿ <20><><EFBFBD><EFBFBD><EFBFBD>˿ ڻ ɿ <20><><EFBFBD><EFBFBD><EFBFBD>˿ <20><><EFBFBD><EFBFBD><EFBFBD>˿ <20><> <20><><EFBFBD><EFBFBD><EFBFBD>Ϳ <20><><EFBFBD><EFBFBD><EFBFBD>˿ <20>
|
|||
|
<EFBFBD> <20><> <20><><EFBFBD><EFBFBD><EFBFBD>δ <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD>Ѽ<EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD>˿ <20><><EFBFBD><EFBFBD><EFBFBD>δ <20><> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD>˿ <20>
|
|||
|
<EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><> <20><><EFBFBD> <20><><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><> <20><> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20>
|
|||
|
<EFBFBD> Dallas/Ft Worth's First & Longest Running Multi-User BBS <20>
|
|||
|
<EFBFBD> Online Since 1979 <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ĵ
|
|||
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<EFBFBD> (214) 690-9295 Dallas (817) 540-5565 Ft. Worth <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ĵ
|
|||
|
<EFBFBD> 64 Telephone Lines <20>
|
|||
|
<EFBFBD> Internet E-Mail, FTPmail, Archie, Oracle, Usenet Groups <20>
|
|||
|
<EFBFBD> Over 35+ Gigabytes of Files Represented - 12 CD-Rom Drives Online <20>
|
|||
|
<EFBFBD> NO File Upload or File Ratio Requirements <20>
|
|||
|
<EFBFBD> Interactive Multiuser Chat Conferences <20>
|
|||
|
<EFBFBD> Dozens of Interactive, Real-Time, Games of Chance & Excitement <20>
|
|||
|
<EFBFBD> Text, Graphics, & ANSI Color Completely Supported <20>
|
|||
|
<EFBFBD> Dozens of Special Interest Areas - Literally 1000s of Messages Online <20>
|
|||
|
<EFBFBD> USA Today Online Each Business Day <20>
|
|||
|
<EFBFBD> Thousands of Interesting, Intelligent, Diverse Members <20>
|
|||
|
<EFBFBD> Connex (Tm) - The Biographical, Friendship, and Matchmaking Service <20>
|
|||
|
<EFBFBD> Voted # 1 BBS in Texas by Boardwatch BBS Magazine <20>
|
|||
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ĵ
|
|||
|
<EFBFBD> High Speed: (214) 690-9296 Dallas (817) 540-5569 Ft. Worth <20>
|
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<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
Lets go MUdding - Online Feb 15th - Call (214) 373-6732
|
|||
|
MUD
|
|||
|
Multi-User-Dungeon
|
|||
|
Become a Wizard and build you own Zone in the MUD.
|
|||
|
|
|||
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<20> <20> <20>
|
|||
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<20> <20> <20> <20> <15><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
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<20> <20> <20><><EFBFBD> <20> <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
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<20> <20> <><7F><EFBFBD><7F> <20> <20><14><><EFBFBD><EFBFBD>
|
|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><EFBFBD><F3A9AAA9>
|
|||
|
<20><><EFBFBD><0F><><EFBFBD> DreamTide 雜<><E99B9C><EFBFBD><EFBFBD>
|
|||
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<15><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
Takes you to a future Ice Age!
|
|||
|
Text, Ansi, RIP154, RIP 2.0
|
|||
|
The Blue Event Horizon - the "first" BBS MUD site.
|
|||
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<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
<EFBFBD>
|
|||
|
Enter 'EXIT' to return to PROCOMM PLUS
|
|||
|
C:\TEST>
|
|||
|
|
|||
|
|
|||
|
|
|||
|
There are several different ways to get STTS magazine.
|
|||
|
|
|||
|
|
|||
|
SysOps:
|
|||
|
|
|||
|
Contact me via any of the addresses listed in CONTACT POINTS listed
|
|||
|
elsewhere in this issue. Just drop me a note telling me your name,
|
|||
|
city, state, your BBS's name, it's phone number and it's baud rate, and
|
|||
|
where you'll be getting STTS from each month. If your BBS carries RIME,
|
|||
|
Pen & Brush Network, or you have access to the InterNet, I can put you
|
|||
|
on the STTS mailing list to receive the magazine free of charge each
|
|||
|
month. If you have access to FIDO, you can file request the magazine.
|
|||
|
If you don't have access to any of these services - or do but don't
|
|||
|
wish to use this option - you can call any of the BBS's listed in
|
|||
|
DISTRIBUTION SITES and download the new issue each month. In either
|
|||
|
case contact me so that I can put your BBS in the dist. site list for
|
|||
|
the next issue of the magazine.
|
|||
|
|
|||
|
(Refer to DISTRIBUTION VIA NETWORKS for more detailed information about
|
|||
|
the nets)
|
|||
|
|
|||
|
|
|||
|
Users:
|
|||
|
|
|||
|
You can download STTS each month from any of the BBS's mentioned in
|
|||
|
DISTRIBUTION SITES elsewhere in this issue. If your local BBS isn't
|
|||
|
listed, pester and cajole your SysOp to "subscribe" to STTS for you.
|
|||
|
(the subscription, of course, is free)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
If you haven't any other way of receiving the magazine each month, a
|
|||
|
monthly disk subscription (sent out via US Mail) is available for
|
|||
|
$ 20.00 per year. Foreign subscriptions are $ 25.00 (american dollars).
|
|||
|
|
|||
|
Subscriptions should be mailed to:
|
|||
|
|
|||
|
Joe DeRouen
|
|||
|
3910 Farmville Dr. # 144
|
|||
|
Addison, Tx. 75244
|
|||
|
U.S.A.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
* Special Offer *
|
|||
|
|
|||
|
Having trouble finding back issues of STTS Magazine? (This is only the
|
|||
|
eighth issue, but you never know..)
|
|||
|
|
|||
|
For only $ 5.00 (count 'em - five dollars!) I'll send you all the back
|
|||
|
issues of STTS Mag as well as current issues of other magazines, and
|
|||
|
whatever other current, new shareware will fit onto a disk.
|
|||
|
|
|||
|
Just send your $ 5.00 (money order or check please, US funds only, made
|
|||
|
payable to: Joe DeRouen) to:
|
|||
|
|
|||
|
Joe DeRouen
|
|||
|
3910 Farmville Dr. # 144
|
|||
|
Addison, Tx. 75244
|
|||
|
U.S.A.
|
|||
|
|
|||
|
Tell me if you want a high density 5 1/4" disk or a high density 3 1/2"
|
|||
|
disk, please.
|
|||
|
|
|||
|
(The following form is duplicated in the text file FORM.TXT, included
|
|||
|
with this archive)
|
|||
|
|
|||
|
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
|||
|
|
|||
|
Enclosed is a check or money order (US funds only!) for $ 5.00. Please
|
|||
|
send me the back issues of STTS, the registered version of Quote!, and
|
|||
|
whatever else you can cram onto the disk.
|
|||
|
|
|||
|
I want: [ ] 5.25" HD disk [ ] 3.5" HD disk
|
|||
|
|
|||
|
Send to:
|
|||
|
|
|||
|
________________________________________
|
|||
|
|
|||
|
________________________________________
|
|||
|
|
|||
|
________________________________________
|
|||
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|
|||
|
________________________________________
|
|||
|
|
|||
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|
|||
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|
|||
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|
|||
|
|
|||
|
Submission Information
|
|||
|
----------------------
|
|||
|
|
|||
|
|
|||
|
We're looking for a few good writers.
|
|||
|
|
|||
|
Actually, we're looking for as many good writers as we can find. We're
|
|||
|
interested in fiction, poetry, reviews, feature articles (about most
|
|||
|
anything, as long as it's well-written), humour, essays, ANSI art,
|
|||
|
and RIP art.
|
|||
|
|
|||
|
STTS is dedicated to showcasing as many talents as it can, in all forms
|
|||
|
and genres. We have no general "theme" aside from good writing,
|
|||
|
innovative concepts, and unique execution of those concepts.
|
|||
|
|
|||
|
As of January 1st 1994, we've been PAYING for accepted submissions!
|
|||
|
|
|||
|
In a bold move, STTS has decided to offer an incentive for writers to
|
|||
|
submit their works. For each accepted submission, an honorarium fee
|
|||
|
will be paid upon publication. Premium access to STTS BBS is also
|
|||
|
given to staff and contributing writers.
|
|||
|
|
|||
|
In addition to the monthly payments, STTS will hold a yearly "best of"
|
|||
|
contest, where the best published stories and articles in three
|
|||
|
categories will receive substantial cash prizes.
|
|||
|
|
|||
|
These changes took effect in January of 1994, and the first yearly
|
|||
|
awards were presented in the July 1994 issue.
|
|||
|
|
|||
|
Honorariums, yearly cash awards, award winners selection processes, and
|
|||
|
Contributor BBS access is explained below:
|
|||
|
|
|||
|
|
|||
|
HONORARIUM
|
|||
|
|
|||
|
Each and every article and story accepted for publication in STTS will
|
|||
|
received a cash honorarium. The payment is small and is meant as more
|
|||
|
of a token than something to reflect the value of the submission.
|
|||
|
|
|||
|
As the magazine grows and brings in more money, the honorariums will
|
|||
|
increase, as will the yearly award amounts.
|
|||
|
|
|||
|
|
|||
|
Fiction pieces pay an honorarium of $2.00 each.
|
|||
|
Poetry pieces pay an honorarium of $1.00 each
|
|||
|
Non-fiction* pieces pay an honorarium of $1.00 each
|
|||
|
|
|||
|
|
|||
|
You have the option of refusing your honorarium. Refused funds will be
|
|||
|
donated to the American Cancer Society.
|
|||
|
|
|||
|
Staff members ARE eligible for honorariums.
|
|||
|
|
|||
|
* Non-fiction includes any feature articles, humor, reviews, and
|
|||
|
anything else that doesn't fit into the fiction or poetry category.
|
|||
|
|
|||
|
|
|||
|
YEARLY CASH AWARD
|
|||
|
|
|||
|
Once a year, In July, the staff of STTS magazine will meet and vote on
|
|||
|
the stories, poems, and articles that have appeared in the last six
|
|||
|
issues of the magazine. Each staff member (the publisher included) gets
|
|||
|
one vote, and can use that vote on only one entry in each category.
|
|||
|
|
|||
|
In the unlikely event of a tie, the winners will split the cash award.
|
|||
|
|
|||
|
Winners will be announced in the July issue of the magazine.
|
|||
|
|
|||
|
Yearly prize amounts
|
|||
|
--------------------
|
|||
|
|
|||
|
Fiction $50.00
|
|||
|
Non-fiction 25.00
|
|||
|
Poetry 25.00
|
|||
|
|
|||
|
|
|||
|
The winner in each category does have the option of refusing his cash
|
|||
|
award. In the event of such a refusal, the entire sum of the refused
|
|||
|
cash awards will be donated to the American Cancer Society.
|
|||
|
|
|||
|
|
|||
|
STTS BBS
|
|||
|
|
|||
|
Staff members and contributing writers will also receive level 40
|
|||
|
access on Sunlight Through The Shadows BBS. Such access consists of 2
|
|||
|
hrs. a day, unlimited download bytes per day, and no download/upload
|
|||
|
ratio. A regular user receives 1 hr. a day and has an download/upload
|
|||
|
ratio of 10:1.
|
|||
|
|
|||
|
Staff and contributing writers also receive access to a special
|
|||
|
private STTS Staff conference on the BBS.
|
|||
|
|
|||
|
|
|||
|
LIMITATIONS
|
|||
|
|
|||
|
STTS will still accept previously published stories and articles for
|
|||
|
publication. However, previously published submissions do NOT qualify
|
|||
|
for contention in the yearly awards.
|
|||
|
|
|||
|
Furthermore, previously published stories and articles will be paid at
|
|||
|
a 50% honorarium of the normal honorarium fee.
|
|||
|
|
|||
|
|
|||
|
RIGHTS
|
|||
|
|
|||
|
The copyright of said material, of course, remains the sole property
|
|||
|
of the author. STTS has the right to present it once in a "showcase"
|
|||
|
format and in an annual "best of" issue. (a paper version as well
|
|||
|
as the elec. version)
|
|||
|
|
|||
|
Acceptance of submitted material does NOT necessarily mean that it
|
|||
|
will appear in STTS.
|
|||
|
|
|||
|
Submissions should be in 100% pure ASCII format, formatted for 80
|
|||
|
columns. There are no limitations in terms of lengths of articles, but
|
|||
|
keep in mind it's a magazine, not a novel. <Grin>
|
|||
|
|
|||
|
Fiction and poetry will be handled on a pure submission basis, except
|
|||
|
in the case of any round-robin stories or continuing stories that might
|
|||
|
develop.
|
|||
|
|
|||
|
Reviews will also be handled on a submission basis. If you're
|
|||
|
interested in doing a particular review medium (ie: books) on a
|
|||
|
full-time basis, let me know and we'll talk.
|
|||
|
|
|||
|
ANSI art should be under 10k and can be about any subject as long as
|
|||
|
it's not pornographic. We'll feature ANSI art from time to time,
|
|||
|
as well as featuring a different ANSI "cover" for our magazine each
|
|||
|
month.
|
|||
|
|
|||
|
In terms of articles, we're looking for just about anything that's
|
|||
|
of fairly general interest to the BBSing world at large. An article
|
|||
|
comparing several new high-speed modems would be appropriate, for
|
|||
|
example, whereas an article describing in detail how to build your
|
|||
|
own such modem really wouldn't be.
|
|||
|
|
|||
|
Articles needn't be contained to the world of computing, either.
|
|||
|
Movies, politics, ecology, literature, entertainment, fiction,
|
|||
|
non-fiction, reviews - it's all fair game for STTS.
|
|||
|
|
|||
|
Articles, again, will be handled on a submission basis. If anyone has
|
|||
|
an idea or two for a regular column, let me know. If it works, we'll
|
|||
|
incorporate it into STTS.
|
|||
|
|
|||
|
Writers interested in contributing to Sunlight Through The Shadows can
|
|||
|
reach me through any of the following methods:
|
|||
|
|
|||
|
|
|||
|
Contact Points
|
|||
|
--------------
|
|||
|
|
|||
|
CompuServe - My E_Mail address is: 73654,1732
|
|||
|
|
|||
|
The Internet - My E_Mail address is: jderouen@crl.com
|
|||
|
|
|||
|
RIME - My NODE ID is SUNLIGHT or 5320. Send all files to
|
|||
|
this address. (you'll have to ask your SysOp who's
|
|||
|
carrying RIME to send it for you) Alternately, you
|
|||
|
can simply post it in either the Sunlight Through
|
|||
|
The Shadows Magazine, Common, Writers, or Poetry
|
|||
|
Corner conference to: Joe Derouen. If you put a
|
|||
|
->5320 or ->SUNLIGHT in the top-most upper left-hand
|
|||
|
corner, it'll be routed directly to my BBS.
|
|||
|
|
|||
|
Pen & Brush Net - Leave me a note or submission in either the Sunlight
|
|||
|
Through The Shadows Magazine conference, the Poetry
|
|||
|
Corner conference, or the Writers Conference. If
|
|||
|
your P&BNet contact is using PostLink, you can route
|
|||
|
the message to me automatically via the same way as
|
|||
|
described above for RIME. In either case, address
|
|||
|
all correspondence to: Joe derouen.
|
|||
|
|
|||
|
WME Net - Leave me a note or submission in the Net Chat
|
|||
|
conference. Address all correspondence to:
|
|||
|
Joe Derouen.
|
|||
|
|
|||
|
My BBS - Sunlight Through The Shadows. 12/24/96/14.4k baud.
|
|||
|
(214) 620-8793. You can upload submissions to the
|
|||
|
STTS Magazine file area, comment to the SysOp, or
|
|||
|
just about any other method you choose. Address all
|
|||
|
correspondence to: Joe Derouen.
|
|||
|
|
|||
|
US Mail - Send disks (any size, IBM format ONLY) containing
|
|||
|
submissions to:
|
|||
|
|
|||
|
Joe DeRouen
|
|||
|
3910 Farmville Dr. # 144
|
|||
|
Addison, Tx. 75244
|
|||
|
U.S.A.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Advertising
|
|||
|
-----------
|
|||
|
|
|||
|
Currently, STTS Mag is being "officially" carried by over 90 BBS's
|
|||
|
across the United States. It's also being carried by BBS's in the
|
|||
|
United Kingdom, Canada, Portugal, and Finland.
|
|||
|
|
|||
|
Unofficially (which means that the SysOps haven't yet notifed me that
|
|||
|
they carry it) it's popped up on literally hundreds of BBS's across the
|
|||
|
USA as well as in other countries including the UK, Canada, Portugal,
|
|||
|
Ireland, Japan, The Netherlands, Scotland, and Saudi Arabia.
|
|||
|
|
|||
|
It's also available via Internet, FIDO, RIME, and
|
|||
|
Pen & Brush Networks.
|
|||
|
|
|||
|
Currently, STTS has about 10,000 readers worldwide and is available
|
|||
|
to literally millions of BBSers through the internet and other
|
|||
|
networks and BBS's.
|
|||
|
|
|||
|
If you or your company want to expose your product to a variety of
|
|||
|
people all across the world, this is your opportunity!
|
|||
|
|
|||
|
Advertising in Sunlight Through The Shadows Magazine is available
|
|||
|
in four different formats:
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
1) Personal Advertisements (NON-Business)
|
|||
|
-----------------------
|
|||
|
|
|||
|
Personal advertisements run $5.00 for 4 lines of advertising, with each
|
|||
|
additional line $1.00. Five lines is the minimum length. Your ad can be
|
|||
|
as little as one line, but the cost is still $5.00.
|
|||
|
|
|||
|
Advertisements should be in ASCII and formatted for 80 columns. They
|
|||
|
should include whatever you're trying to sell (or buy) as well as a
|
|||
|
price and a method of contacting you.
|
|||
|
|
|||
|
ANSI or RIP ads at this level will NOT be accepted.
|
|||
|
|
|||
|
Business ads will NOT be accepted here. These ads are for non-business
|
|||
|
readers to advertise something they wish to sell or buy, or to
|
|||
|
advertise a non-profit event.
|
|||
|
|
|||
|
BBS ads are considered business ads.
|
|||
|
|
|||
|
|
|||
|
2) Regular Advertisement (Business or Personal)
|
|||
|
---------------------
|
|||
|
|
|||
|
We're accepting business advertisements in STTS. If you're interested
|
|||
|
in advertising in STTS, a full-page (ASCII or ASCII and ANSI) is
|
|||
|
$25.00/issue. Those interested can contact me by any of the means
|
|||
|
listed under Contact Points.
|
|||
|
|
|||
|
If you purchase 5 months of advertising ($125.00) the sixth month is
|
|||
|
free.
|
|||
|
|
|||
|
|
|||
|
3) Feature Advertisement (Business or Personal)
|
|||
|
---------------------
|
|||
|
|
|||
|
We'll include one feature ad per issue. The feature ad will pop up
|
|||
|
right after the magazine's ANSI cover, when the user first begins to
|
|||
|
read the magazine. This ad will also appear within the body of the
|
|||
|
magazine, for further perusement by the reader.
|
|||
|
|
|||
|
A feature ad will run $50.00 per issue, and should be created in
|
|||
|
both ANSI and ASCII formats.
|
|||
|
|
|||
|
If you purchase 5 months of advertising ($250.00) the sixth month is
|
|||
|
free.
|
|||
|
|
|||
|
|
|||
|
4) BBS Advertisement (Business or Personal)
|
|||
|
-----------------
|
|||
|
|
|||
|
Many BBS SysOps and users call STTS BBS each month to get the current
|
|||
|
issue of STTS Magazine. These callers are from all over the USA as well
|
|||
|
as Canada, Portugal, the UK, and various other countries.
|
|||
|
|
|||
|
Advertising is now available for the logoff screen of the BBS. The
|
|||
|
rates are $100.00 per month. Ads should be in both ASCII and ANSI
|
|||
|
format. We're accepting RIP ads as well, but only for the this
|
|||
|
advertising option.
|
|||
|
|
|||
|
If you purchase 5 months of advertising ($500.00) the sixth month is
|
|||
|
free.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Advertisement Specifications
|
|||
|
----------------------------
|
|||
|
|
|||
|
Ads may be in as many as three formats. They MUST be in ascii text and
|
|||
|
may also be in ANSI and/or RIP Graphics formats.
|
|||
|
|
|||
|
Ads should be no larger than 24 lines (ie: one screen/page) and ANSI
|
|||
|
ads should not use extensive animation.
|
|||
|
|
|||
|
If you cannot make your own ad or do not have the time to make your
|
|||
|
own ad, we can make it for you. However, there is a one-time charge of
|
|||
|
$10.00 for this service. We will create ads in ASCII and ANSI only. If
|
|||
|
you absolutely need RIP ads and cannot create your own, we'll attempt
|
|||
|
to put you into contact with someone who can.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Contact Points
|
|||
|
--------------
|
|||
|
|
|||
|
|
|||
|
You can contact me through any of the following addresses.
|
|||
|
|
|||
|
|
|||
|
Sunlight Through The Shadows BBS
|
|||
|
(214) 620-8793 12/24/96/14,400 Baud
|
|||
|
|
|||
|
CompuServe: 73654,1732
|
|||
|
|
|||
|
InterNet: joe.derouen@chrysalis.org
|
|||
|
|
|||
|
Pen & Brush Net: ->SUNLIGHT
|
|||
|
P&BNet Conferences: Sunlight Through The Shadows Conference
|
|||
|
or any other conference
|
|||
|
|
|||
|
WME Net: Net Chat conference
|
|||
|
|
|||
|
PcRelay/RIME: ->SUNLIGHT
|
|||
|
RIME Conferences: Common, Writers, or Poetry Corner
|
|||
|
|
|||
|
US Mail: Joe DeRouen
|
|||
|
3910 Farmville Dr. # 144
|
|||
|
Addison, Tx. 75244
|
|||
|
U.S.A.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
You can always find STTS Magazine on the following BBS's.
|
|||
|
BBS's have STTS available for both on-line viewing and
|
|||
|
downloading unless otherwise marked.
|
|||
|
|
|||
|
* = On-Line Only
|
|||
|
# = Download Only
|
|||
|
|
|||
|
|
|||
|
United States
|
|||
|
-------------
|
|||
|
|
|||
|
BBS Name ........... Sunlight Through The Shadows
|
|||
|
Location ........... Addison, Texas (in the Dallas area)
|
|||
|
SysOp(s) ........... Joe and Heather DeRouen
|
|||
|
Phone ........... (214) 620-8793 (14.4k baud)
|
|||
|
|
|||
|
(Sorted by area code, then alphabetically)
|
|||
|
|
|||
|
BBS Name ........... ModemNews
|
|||
|
Location ........... Stamford, Connecticut
|
|||
|
SysOp(s) ........... Jeff Green
|
|||
|
Phone ........... (203) 359-2299 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Party Line, The
|
|||
|
Location ........... Birmingham, Alabama
|
|||
|
SysOp(s) ........... Anita Abney
|
|||
|
Phone ........... (205) 856-1336 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Left-Hand Path, The
|
|||
|
Location ........... Seattle, Washington
|
|||
|
SysOp(s) ........... Mark Pruitt
|
|||
|
Phone ........... (206) 783-4668 (14.4k baud)
|
|||
|
|
|||
|
# BBS Name ........... Lobster Buoy
|
|||
|
Location ........... Bangor, Maine
|
|||
|
SysOp(s) ........... Mark Goodwin
|
|||
|
Phone ........... (207) 941-0805 (14.4k baud)
|
|||
|
Phone ........... (207) 945-9346 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Northern Maine BBS
|
|||
|
Location ........... Caribou, Maine
|
|||
|
SysOp(s) ........... David Collins
|
|||
|
Phone ........... (207) 496-2391 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... File-Link BBS
|
|||
|
Location ........... Manhattan, New York
|
|||
|
SysOp(s) ........... Bill Marcy
|
|||
|
Phone ........... (212) 777-8282 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Poetry In Motion
|
|||
|
Location ........... New York, New York
|
|||
|
SysOp(s) ........... Inez Harrison
|
|||
|
Phone ........... (212) 666-6927 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Wamblyville
|
|||
|
Location ........... Los Angeles, California
|
|||
|
SysOp(s) ........... John Borowski
|
|||
|
Phone ........... (213) 380-8090 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Aaron's Beard BBS
|
|||
|
Location ........... Dallas, Texas
|
|||
|
SysOp(s) ........... Troy Wade
|
|||
|
Phone ........... (214) 557-2642 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Archives On-line
|
|||
|
Location ........... Dallas, Texas
|
|||
|
SysOp(s) ........... David Pellecchia
|
|||
|
Phone ........... (214) 247-6512 (14.4k baud)
|
|||
|
Phone ........... (214) 406-8394 (14.4k baud)
|
|||
|
|
|||
|
# BBS Name ........... BBS America
|
|||
|
Location ........... Dallas, Texas
|
|||
|
SysOp(s) ........... Jay Gaines
|
|||
|
Phone ........... (214) 680-3406 (9600 baud)
|
|||
|
Phone ........... (214) 680-1451 (9600 baud)
|
|||
|
|
|||
|
BBS Name ........... Blue Banner BBS
|
|||
|
Location ........... Rowlett, Texas
|
|||
|
SysOp(s) ........... Richard Bacon
|
|||
|
Phone ........... (214) 475-8393 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Blue Moon
|
|||
|
Location ........... Plano, Texas
|
|||
|
SysOp(s) ........... Roger Koppang
|
|||
|
Phone ........... (214) 985-1453 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Bucket Bored!
|
|||
|
Location ........... Sachse, Texas
|
|||
|
SysOp(s) ........... Tim Bellomy
|
|||
|
Phone ........... (214) 414-6913 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Chrysalis BBS
|
|||
|
Location ........... Dallas, Texas
|
|||
|
SysOp(s) ........... Garry Grosse
|
|||
|
Phone ........... (214) 690-9295 (2400 baud)
|
|||
|
Phone ........... (214) 783-5477 (9600 baud)
|
|||
|
|
|||
|
# BBS Name ........... Collector's Edition
|
|||
|
Location ........... Dallas, Texas
|
|||
|
SysOp(s) ........... Len Hult
|
|||
|
Phone ........... (214) 351-9871 (14.4k baud)
|
|||
|
Phone ........... (214) 351-9871 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Foreplay Online
|
|||
|
Location ........... Dallas, Texas
|
|||
|
SysOp(s) ........... Sean Goldsberry
|
|||
|
Phone ........... (214) 306-7493 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... New Age Visions
|
|||
|
Location ........... Grand Prairie, Texas
|
|||
|
SysOp(s) ........... Larry Joe Reynolds
|
|||
|
Phone ........... <Temporarily Down>
|
|||
|
|
|||
|
BBS Name ........... Old Poop's World
|
|||
|
Location ........... Dallas, Texas
|
|||
|
SysOp(s) ........... Sonny Grissom
|
|||
|
Phone ........... (214) 613-6900 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Online Syndication Services BBS
|
|||
|
Location ........... Plano, Texas
|
|||
|
SysOp(s) ........... Don Lokke
|
|||
|
Phone ........... (214) 424-8425 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Opa's Mini-BBS (open 11pm-7am CST)
|
|||
|
Location ........... Plano, Texas
|
|||
|
SysOp(s) ........... David Marshall
|
|||
|
Phone ........... (214) 424-0153 (2400 baud)
|
|||
|
|
|||
|
BBS Name ........... Texas Talk
|
|||
|
Location ........... Richardson, Texas
|
|||
|
SysOp(s) ........... Sunnie Blair
|
|||
|
Phone ........... (214) 497-9100 (2400 baud)
|
|||
|
|
|||
|
# BBS Name ........... User-2-User
|
|||
|
Location ........... Dallas, Texas
|
|||
|
SysOp(s) ........... William Pendergast and Kevin Carr
|
|||
|
Phone ........... (214) 393-4768 (14.4k baud)
|
|||
|
Phone ........... (214) 393-4736 (2400 baud)
|
|||
|
|
|||
|
BBS Name ........... Deep 13 - MST3K
|
|||
|
Location ........... Levittown, Pennsylvania
|
|||
|
SysOp(s) ........... Mike Slusher
|
|||
|
Phone ........... (215) 943-9526 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Beta Connection, The
|
|||
|
Location ........... Elkhart, Indiana
|
|||
|
SysOp(s) ........... David Reynolds
|
|||
|
Phone ........... (219) 293-6465 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Bill & Hilary's BBS
|
|||
|
Location ........... Elkhart, Indiana
|
|||
|
SysOp(s) ........... Nancy VanWormer
|
|||
|
Phone ........... (219) 295-6206 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... FTB's Passport BBS
|
|||
|
Location ........... Frederick, Maryland
|
|||
|
SysOp(s) ........... Karina Wright
|
|||
|
Phone ........... (301) 662-9134 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... The "us" Project
|
|||
|
Location ........... Wilmington, Delaware
|
|||
|
SysOp(s) ........... Walt Mateja, PhD
|
|||
|
Phone ........... (302) 529-1650 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Hole In the Wall, The
|
|||
|
Location ........... Parker, Colorado
|
|||
|
SysOp(s) ........... Mike Fergione
|
|||
|
Phone ........... (303) 841-5515 (16.8k baud)
|
|||
|
|
|||
|
BBS Name ........... Right Angle BBS
|
|||
|
Location ........... Aurora, Colorado
|
|||
|
SysOp(s) ........... Bill Roark
|
|||
|
Phone ........... (303) 337-0219 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Ruby's Joint
|
|||
|
Location ........... Miami, Florida
|
|||
|
SysOp(s) ........... David and Del Freeman
|
|||
|
Phone ........... (305) 856-4897 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... PUB Desktop Publishing BBS, The
|
|||
|
Location ........... Chicago, Illinois
|
|||
|
SysOp(s) ........... Steve Gjondla
|
|||
|
Phone ........... (312) 767-5787 (9600 baud)
|
|||
|
|
|||
|
BBS Name ........... O & E Online
|
|||
|
Location ........... Livoign, Michigan
|
|||
|
SysOp(s) ........... Greg Day
|
|||
|
Phone ........... (313) 591-0903 (14.4 k baud)
|
|||
|
|
|||
|
BBS Name ........... Family Connection, The
|
|||
|
Location ........... St. Louis, Missouri
|
|||
|
SysOp(s) ........... John Askew
|
|||
|
Phone ........... (314) 544-4628 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... PsychoBABBLE BBS
|
|||
|
Location ........... Massena, New York
|
|||
|
SysOp(s) ........... Doug LaGarry
|
|||
|
Phone ........... (315) 764-719 (28.8k baud)
|
|||
|
|
|||
|
BBS Name ........... Pegasus BBS
|
|||
|
Location ........... Owensboro, Kentucky
|
|||
|
SysOp(s) ........... Raymond Clements
|
|||
|
Phone ........... (317) 651-0234 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Puma Wildcat BBS
|
|||
|
Location ........... Alexandria, Louisiana
|
|||
|
SysOp(s) ........... Chuck McMillin
|
|||
|
Phone ........... (318) 443-1065 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Badger's "BYTE", The
|
|||
|
Location ........... Valentine, Nebraska
|
|||
|
SysOp(s) ........... Dick Roosa
|
|||
|
Phone ........... (402) 376-3120 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Megabyte Mansion, The
|
|||
|
Location ........... Omaha, Nebraska
|
|||
|
SysOp(s) ........... Todd Robbins
|
|||
|
Phone ........... (402) 551-8681 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... College Board, The
|
|||
|
Location ........... West Palm Beach, Florida
|
|||
|
SysOp(s) ........... Charles Bell
|
|||
|
Phone ........... (407) 731-1675 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Treasures
|
|||
|
Location ........... Longwood, Florida
|
|||
|
SysOp(s) ........... Jim Daly
|
|||
|
Phone ........... (407) 831-9130 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Flying Dutchman, The
|
|||
|
Location ........... San Jose, California
|
|||
|
SysOp(s) ........... Chris Von Motz
|
|||
|
Phone ........... (408) 294-3065 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Matrix Online Service
|
|||
|
Location ........... San Jose, California
|
|||
|
SysOp(s) ........... Daryl Perry
|
|||
|
Phone ........... (408) 265-4660 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Aries Knowledge Systems
|
|||
|
Location ........... Baltimore, Maryland
|
|||
|
SysOp(s) ........... Waddell Robey
|
|||
|
Phone ........... (410) 625-0109 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Doppler Base BBS
|
|||
|
Location ........... Baltimore, Maryland
|
|||
|
SysOp(s) ........... Dan Myers
|
|||
|
Phone ........... (410) 922-1352 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Port EINSTEIN
|
|||
|
Location ........... Catonsville, Maryland
|
|||
|
SysOp(s) ........... John P. Lynch
|
|||
|
Phone ........... (410) 744-4692 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Puffin's Nest, The
|
|||
|
Location ........... Pasadena, Maryland
|
|||
|
SysOp(s) ........... Dave Bealer
|
|||
|
Phone ........... (410) 437-3463 (16.8k baud)
|
|||
|
|
|||
|
BBS Name ........... Robin's Nest BBS
|
|||
|
Location ........... Glen Burnie, Maryland
|
|||
|
SysOp(s) ........... Robin Kirkey
|
|||
|
Phone ........... (410) 766-9756 (2400 baud)
|
|||
|
|
|||
|
BBS Name ........... Chatterbox Lounge and Hotel, The
|
|||
|
Location ........... Penn Hills, Pennsylvania
|
|||
|
SysOp(s) ........... James Robert Lunsford
|
|||
|
Phone ........... (412) 795-4454 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Signal Hill BBS
|
|||
|
Location ........... Springfield, Massachusettes
|
|||
|
SysOp(s) ........... Edwin Thompson
|
|||
|
Phone ........... (413) 782-2158 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Exec-PC
|
|||
|
Location ........... Elm Grove, Wisconsin
|
|||
|
SysOp(s) ........... Bob Mahoney
|
|||
|
Phone ........... (414) 789-4210 (2400 baud)
|
|||
|
Phone ........... (414) 789-4315 (9600 baud)
|
|||
|
Phone ........... (414) 789-4360 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... First Step BBS, The
|
|||
|
Location ........... Green Bay, Wisconsin
|
|||
|
SysOp(s) ........... Mark Phillips
|
|||
|
Phone ........... (414) 499-6646 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Lincoln's Cabin BBS
|
|||
|
Location ........... San Francisco, California
|
|||
|
SysOp(s) ........... Steve Pomerantz
|
|||
|
Phone ........... (415) 752-4490 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Uncle "D"s Discovery
|
|||
|
Location ........... Redwood City, California
|
|||
|
SysOp(s) ........... Dave Spensley
|
|||
|
Phone ........... (415) 364-3001 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... File Cabinet BBS, The
|
|||
|
Location ........... White Hall, Arkansas
|
|||
|
SysOp(s) ........... Bob Harmon
|
|||
|
Phone ........... (501) 247-1141 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Starting Gate, The
|
|||
|
Location ........... Louisville, Kentucky
|
|||
|
SysOp(s) ........... Ed Clifford
|
|||
|
Phone ........... (502) 423-9629 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Darkside BBS, The
|
|||
|
Location ........... Independence, Oregon
|
|||
|
SysOp(s) ........... Seth Able Robinson
|
|||
|
Phone ........... (503) 838-6171 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Last Byte, The
|
|||
|
Location ........... Alamogordo, New Mexico
|
|||
|
SysOp(s) ........... Robert Sheffield
|
|||
|
Phone ........... (505) 437-0060 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Leisure Time BBS
|
|||
|
Location ........... Alamogordo, New Mexico
|
|||
|
SysOp(s) ........... Bob Riddell
|
|||
|
Phone ........... (505) 434-6940 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Base Line BBS
|
|||
|
Location ........... Peabody, Massachusettes
|
|||
|
SysOp(s) ........... Steve Keith
|
|||
|
Phone ........... (508) 535-0446 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... High Society BBS
|
|||
|
Location ........... Beverly, Massachusettes
|
|||
|
SysOp(s) ........... Chuck Frieser
|
|||
|
Phone ........... (508) 927-3757 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... High Water Mark, The
|
|||
|
Location ........... Wareham, Massachusettes
|
|||
|
SysOp(s) ........... Joseph Leggett
|
|||
|
Phone ........... (508) 295-6557 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... PandA's Den BBS
|
|||
|
Location ........... Danvers, Massachusettes
|
|||
|
SysOp(s) ........... Patrick Rosenheim
|
|||
|
Phone ........... (508) 750-0250 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... SoftWare Creations
|
|||
|
Location ........... Clinton, Massachusettes
|
|||
|
SysOp(s) ........... Dan Linton
|
|||
|
Phone ........... (508) 368-7036 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Extreme OnLine
|
|||
|
Location ........... Spokane, Washington
|
|||
|
SysOp(s) ........... Jim Holderman
|
|||
|
Phone ........... (509) 487-5303 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Silicon Garden, The
|
|||
|
Location ........... Selden, New York
|
|||
|
SysOp(s) ........... Andy Keeves
|
|||
|
Phone ........... (516) 736-6662 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Appomattox BBS, The
|
|||
|
Location ........... New Lebanon, New York
|
|||
|
SysOp(s) ........... Dan Everette
|
|||
|
Phone ........... (518) 766-5144 (14.4k baud dual standard)
|
|||
|
|
|||
|
BBS Name ........... Integrity Online
|
|||
|
Location ........... Schenectady, New York
|
|||
|
SysOp(s) ........... Dan Ginsburg, Jordan Feinman, Dave Garvey
|
|||
|
Phone ........... (518) 370-8758 (14.4k baud)
|
|||
|
Phone ........... (518) 370-8756 (2400 baud)
|
|||
|
|
|||
|
BBS Name ........... Tidal Wave BBS
|
|||
|
Location ........... Altamont, New York
|
|||
|
SysOp(s) ........... Josh Perfetto
|
|||
|
Phone ........... (518) 861-6645 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Mission Control BBS
|
|||
|
Location ........... Flagstaff, Arizona
|
|||
|
SysOp(s) ........... Kevin Echstenkamper
|
|||
|
Phone ........... (602) 527-1854 (14.4k baud)
|
|||
|
Phone ........... (602) 527-1863 (28.8k baud)
|
|||
|
|
|||
|
BBS Name ........... Chopping Block, The
|
|||
|
Location ........... Claremont, New Hampshire
|
|||
|
SysOp(s) ........... Dana Richmond
|
|||
|
Phone ........... (603) 543-0865 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Casino Bulletin Board, The
|
|||
|
Location ........... Atlantic City, New Jersey
|
|||
|
SysOp(s) ........... Dave Schubert
|
|||
|
Phone ........... (609) 561-3377 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Princessland BBS
|
|||
|
Location ........... Wenonah, New Jersey
|
|||
|
SysOp(s) ........... Pamela & Rick Forsythe
|
|||
|
Phone ........... (609) 464-1421 (2400 baud)
|
|||
|
|
|||
|
BBS Name ........... Revision Systems
|
|||
|
Location ........... Lawrenceville, New Jersey
|
|||
|
SysOp(s) ........... Paul Lauda
|
|||
|
Phone ........... (609) 896-3256 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Hangar 18
|
|||
|
Location ........... Columbus, Ohio
|
|||
|
SysOp(s) ........... Bob Dunlap
|
|||
|
Phone ........... (614) 488-2314 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Channel 1
|
|||
|
Location ........... Cambridge, Massachusettes
|
|||
|
SysOp(s) ........... Brian Miller
|
|||
|
Phone ........... (617) 354-3230 (14.4k baud)
|
|||
|
Phone ........... (617) 354-3137 (16.8k HST)
|
|||
|
|
|||
|
# BBS Name ........... Arts Place BBS, The
|
|||
|
Location ........... Arlington, Virginia
|
|||
|
SysOp(s) ........... Ron Fitzherbert
|
|||
|
Phone ........... (703) 528-8467 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Bubba Systems One
|
|||
|
Location ........... Manassas, Virginia
|
|||
|
SysOp(s) ........... Mark Mosko
|
|||
|
Phone ........... (703) 335-1253 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Market Hotline, The
|
|||
|
Location ........... Rodford, Virginia
|
|||
|
SysOp(s) ........... Steve Mintun
|
|||
|
Phone ........... (703) 633-2178 (28.8k baud)
|
|||
|
|
|||
|
BBS Name ........... Pen and Brush BBS
|
|||
|
Location ........... Burke, Virginia
|
|||
|
SysOp(s) ........... Lucia and John Chambers
|
|||
|
Phone ........... (703) 644-6730 (300-12.0k baud)
|
|||
|
Phone ........... (703) 644-5196 (14.4k baud)
|
|||
|
|
|||
|
# BBS Name ........... Sidewayz BBS
|
|||
|
Location ........... Fairfax, Virginia
|
|||
|
SysOp(s) ........... Paul Cutrona
|
|||
|
Phone ........... (703) 352-5412 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Virginia Connection, The
|
|||
|
Location ........... Washington, District of Columbia
|
|||
|
SysOp(s) ........... Tony McClenny
|
|||
|
Phone ........... (703) 648-1841 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Vivid Images Press Syndicate
|
|||
|
Location ........... Wise, Virginia
|
|||
|
SysOp(s) ........... David Allio
|
|||
|
Phone ........... (703) 328-6915 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Imperial Palace, The
|
|||
|
Location ........... Augusta, Georiga
|
|||
|
SysOp(s) ........... Michael Deutsch
|
|||
|
Phone ........... (706) 592-1344 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Zarno Board
|
|||
|
Location ........... Martinez, Georiga
|
|||
|
SysOp(s) ........... Tim Saari
|
|||
|
Phone ........... (706) 860-7927 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Anathema Downs
|
|||
|
Location ........... Sonoma County, California
|
|||
|
SysOp(s) ........... Sadie Jane
|
|||
|
Phone ........... (707) 792-1555 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Happy Trails
|
|||
|
Location ........... Orange, California
|
|||
|
SysOp(s) ........... Don Inglehart
|
|||
|
Phone ........... (714) 547-0719 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... InfoMat BBS
|
|||
|
Location ........... San Clemente, California
|
|||
|
SysOp(s) ........... Michael Gibbs
|
|||
|
Phone ........... (714) 492-8727 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Cool Baby BBS
|
|||
|
Location ........... York, Pennsylvania
|
|||
|
SysOp(s) ........... Mark Krieg
|
|||
|
Phone ........... (717) 751-0855 (19.2k baud)
|
|||
|
|
|||
|
BBS Name ........... T&J Software BBS
|
|||
|
Location ........... Jim Thorpe, Pennsylvania
|
|||
|
SysOp(s) ........... Tom Wildoner
|
|||
|
Phone ........... (717) 325-9481 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Ice Box BBS, The
|
|||
|
Location ........... Kew Gardens Hills, New York
|
|||
|
SysOp(s) ........... Darren Klein
|
|||
|
Phone ........... (718) 793-8548 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Systemic BBS
|
|||
|
Location ........... Bronx, New York
|
|||
|
SysOp(s) ........... Mufutau Towobola
|
|||
|
Phone ........... (718) 716-6198 (14.4k baud)
|
|||
|
Phone ........... (718) 716-6341 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Paradise City BBS
|
|||
|
Location ........... St. George, Utah
|
|||
|
SysOp(s) ........... Steve & Marva Cutler
|
|||
|
Phone ........... (801) 628-4212 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Regulator, The
|
|||
|
Location ........... Charleston, South Carolina
|
|||
|
SysOp(s) ........... Steve Coker
|
|||
|
Phone ........... (803) 571-1100 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Straight Board, The
|
|||
|
Location ........... Virginia Beach, Virginia
|
|||
|
SysOp(s) ........... Ray Sulich
|
|||
|
Phone ........... (804) 468-6454 (14.4k baud)
|
|||
|
Phone ........... (804) 468-6528 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... TDOR#2
|
|||
|
Location ........... Charlottesville, Virginia
|
|||
|
SysOp(s) ........... David Short
|
|||
|
Phone ........... (804) 973-5639 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Valley BBS, The
|
|||
|
Location ........... Myakka City, Florida
|
|||
|
SysOp(s) ........... Larry Daymon
|
|||
|
Phone ........... (813) 322-2589 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Syllables
|
|||
|
Location ........... Fort Myers, Florida
|
|||
|
SysOp(s) ........... Jackie Jones
|
|||
|
Phone ........... (813) 482-5276 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Nightline I & II
|
|||
|
Location ........... Crystal Lake, Illinois
|
|||
|
SysOp(s) ........... Ron Pena
|
|||
|
Phone ........... (815) 356-7061 (14.4k baud)
|
|||
|
Phone ........... (815) 356-7062 (14.4k baud)
|
|||
|
|
|||
|
# BBS Name ........... Renaissance BBS
|
|||
|
Location ........... Arlington, Texas
|
|||
|
SysOp(s) ........... David Pollard
|
|||
|
Phone ........... (817) 467-7322 (9600 baud)
|
|||
|
|
|||
|
# BBS Name ........... Second Sanctum
|
|||
|
Location ........... Arlington, Texas
|
|||
|
SysOp(s) ........... Mark Robbins
|
|||
|
Phone ........... (817) 784-1178 (2400 baud)
|
|||
|
Phone ........... (817) 784-1179 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Dream Land BBS
|
|||
|
Location ........... Destin, Florida
|
|||
|
SysOp(s) ........... Ron James
|
|||
|
Phone ........... (904) 837-2567 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Hurry No Mo BBS
|
|||
|
Location ........... Citra, Florida
|
|||
|
SysOp(s) ........... Roy Fralick
|
|||
|
Phone ........... (904) 595-5057 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Star Fire
|
|||
|
Location ........... Jacksonville, Florida
|
|||
|
SysOp(s) ........... Bruce Allan
|
|||
|
Phone ........... (904) 260-8825 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Tree BBS, The
|
|||
|
Location ........... Ocala, Florida
|
|||
|
SysOp(s) ........... Frank Fowler
|
|||
|
Phone ........... (904) 732-0866 (14.4k baud)
|
|||
|
Phone ........... (904) 732-8273 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Outlands, The
|
|||
|
Location ........... Ketchikan, Alaska
|
|||
|
SysOp(s) ........... Mike Gates
|
|||
|
Phone ........... (907) 225-1219 (14.4k baud)
|
|||
|
Phone ........... (907) 225-1220 (14.4k baud)
|
|||
|
Phone ........... (907) 247-4733 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Moonbase Alpha BBS
|
|||
|
Location ........... Bahama, North Carolina
|
|||
|
SysOp(s) ........... Steven Wright
|
|||
|
Phone ........... (919) 471-4547 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Outlands, The
|
|||
|
Location ........... Ketchikan, Alaska
|
|||
|
SysOp(s) ........... Mike Gates
|
|||
|
Phone ........... (907) 247-4733 (14.4k baud)
|
|||
|
Phone ........... (907) 225-1219 (14.4k baud)
|
|||
|
Phone ........... (907) 225-1220 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Legend Graphics OnLine
|
|||
|
Location ........... Riverside, California
|
|||
|
SysOp(s) ........... Joe Marquez
|
|||
|
Phone ........... (909) 689-9229 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Locksoft BBS
|
|||
|
Location ........... San Jacinto, California
|
|||
|
SysOp(s) ........... Carl Curling
|
|||
|
Phone ........... (909) 654-LOCK (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Image Center, The
|
|||
|
Location ........... Ardsley, New York
|
|||
|
SysOp(s) ........... Larry Clive
|
|||
|
Phone ........... (914) 693-9100 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... SB Online, Inc.
|
|||
|
Location ........... Larchmont, New York
|
|||
|
SysOp(s) ........... Eric Speer
|
|||
|
Phone ........... (914) 723-4010 (14.4k baud)
|
|||
|
|
|||
|
|
|||
|
Canada
|
|||
|
------
|
|||
|
|
|||
|
BBS Name ........... Canada Remote Systems Online
|
|||
|
Location ........... Toronto Ontario, Canada
|
|||
|
SysOp(s) ........... Rick Munro
|
|||
|
Phone ........... (416) 213-6002 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Source-Online
|
|||
|
Location ........... British Columbia, Canada
|
|||
|
SysOp(s) ........... Chris Barrett
|
|||
|
Phone ........... (604) 758-4643 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Encode Online
|
|||
|
Location ........... Orillia Ontario, Canada
|
|||
|
SysOp(s) ........... Peter Ellis
|
|||
|
Phone ........... (705) 327-7629 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Beasley's Den
|
|||
|
Location ........... Mississauga Ontario, Canada
|
|||
|
SysOp(s) ........... Keith Gulik
|
|||
|
Phone ........... (905) 949-1587 (9600 baud)
|
|||
|
|
|||
|
|
|||
|
United Kingdom
|
|||
|
--------------
|
|||
|
|
|||
|
BBS Name ........... Hangar BBS, The
|
|||
|
Location ........... Avon, England, United Kingdom
|
|||
|
SysOp(s) ........... Jason Hyland
|
|||
|
Phone ........... +44-934-511751 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Pandora's Box BBS
|
|||
|
Location ........... Brookmans Park, England, United Kingdom
|
|||
|
SysOp(s) ........... Dorothy Gibbs
|
|||
|
Phone ........... +44-707-664778 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Almac BBS
|
|||
|
Location ........... Grangemouth, Scotland, United Kingdom
|
|||
|
SysOp(s) ........... Alastair McIntyre
|
|||
|
Phone ........... +44-324-665371 (14.4k baud)
|
|||
|
|
|||
|
|
|||
|
Finland
|
|||
|
-------
|
|||
|
|
|||
|
BBS Name ........... Niflheim BBS
|
|||
|
Location ........... Mariehamn, Aaland Islands, Finland
|
|||
|
SysOp(s) ........... Kurtis Lindqvist
|
|||
|
Phone ........... +358-28-17924 (16.8k baud)
|
|||
|
Phone ........... +358-28-17424 (14.4k baud)
|
|||
|
|
|||
|
|
|||
|
Portugal
|
|||
|
--------
|
|||
|
|
|||
|
BBS Name .......... Intriga Internacional
|
|||
|
Location .......... Queluz, Portugal
|
|||
|
SysOp(s) .......... Afonso Vicente
|
|||
|
Phone .......... +351-1-4352629 (16.8k baud)
|
|||
|
|
|||
|
BBS Name .......... B-Link BBS
|
|||
|
Location .......... Lisbon, Portugal
|
|||
|
SysOp(s) .......... Antonio Jorge
|
|||
|
Phone .......... +351-1-4919755 (14.4k baud)
|
|||
|
|
|||
|
BBS Name ........... Mailhouse
|
|||
|
Location ........... Loures, Portugal
|
|||
|
SysOp(s) ........... Carlos Santos
|
|||
|
Phone ........... +351-1-9890140 (14.4k baud)
|
|||
|
|
|||
|
|
|||
|
South America
|
|||
|
-------------
|
|||
|
|
|||
|
BBS Name ........... Message Centre, The (Open 18:00 - 06:00 local)
|
|||
|
Location ........... Itaugua, Paraguay
|
|||
|
SysOp(s) ........... Prof. Michael Slater
|
|||
|
Phone ........... +011-595-28-2154 (2400 baud)
|
|||
|
|
|||
|
|
|||
|
Saudi Arabia
|
|||
|
------------
|
|||
|
|
|||
|
BBS Name ........... Sahara BBS
|
|||
|
Location ........... Dammam City
|
|||
|
SysOp(s) ........... Kais Al-Essa
|
|||
|
Phone ........... +966-3-833-2082 (16.8k baud)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
SysOp: To have *your* BBS listed here, write me via one of the
|
|||
|
many ways listed under CONTACT POINTS elsewhere in this
|
|||
|
issue.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
STTS Net Report
|
|||
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
Sunlight Through The Shadows Magazine is available through FIDO,
|
|||
|
INTERNET, RIME, and PEN & BRUSH NET. Check below for information on how
|
|||
|
to request the current issue of the magazine or be put on the monthly
|
|||
|
mailing list.
|
|||
|
|
|||
|
|
|||
|
FIDO
|
|||
|
|
|||
|
To get the newest issue of the magazine via FIDO, you'll need to
|
|||
|
do a file request from Fido Node 1:124/8010 using the "magic" name
|
|||
|
of SUNLIGHT.
|
|||
|
|
|||
|
|
|||
|
INTERNET
|
|||
|
|
|||
|
To get on the STTS mailing list, do the following:
|
|||
|
|
|||
|
|
|||
|
Send internet mail message to:
|
|||
|
|
|||
|
|
|||
|
JDeRouen@CRL.COM
|
|||
|
|
|||
|
And ask to be put on the list.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
RIME
|
|||
|
|
|||
|
To request the magazine via RIME, ask your RIME SysOp to do a file
|
|||
|
request from node # 5320 for the current issue (eg: sun9502.ZIP, or
|
|||
|
whatever month you happen to be in) Better yet, ask your SysOp to
|
|||
|
request to be put on the monthly mailing list and receive STTS
|
|||
|
automatically.
|
|||
|
|
|||
|
PEN & BRUSH NET
|
|||
|
|
|||
|
To request via P&BNet, follow the instructions for RIME above. They're
|
|||
|
both ran on Postlink and operate exactly the same way in terms of file
|
|||
|
requests and transfers.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
End Notes
|
|||
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
All rights reserved
|
|||
|
|
|||
|
|
|||
|
Be sure to write us and let us know what you think of this issue. Right
|
|||
|
now is a very influential time for STTS. What you say counts. Let us
|
|||
|
know what you like and what you don't like. STTS is for *You* after
|
|||
|
all, dear reader.
|
|||
|
|
|||
|
Thanks,
|
|||
|
|
|||
|
Joe DeRouen, Publisher
|
|||
|
Feb. 10th, 1995
|
|||
|
|
|||
|
|
|||
|
|