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4029 lines
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Sunlight Through The Shadows
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Volume III, Issue 2 Mar 1995
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Editorial: The Internet........................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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>> --------------- Feature Articles --------------------<<
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>> ------------------- Reviews -------------------------<<
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>> ------------------- Fiction -------------------------<<
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>> ------------------- Poetry --------------------------<<
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>> ------------------- Humour --------------------------<<
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>> --------------- Advertisements ----------------------<<
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>> ----------------- Information -----------------------<<
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End Notes......................................Joe DeRouen
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Editorial: The Internet . . .
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Copyright (c) 1995, Joe DeRouen
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All rights reserved
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STTS has been exploring the Internet. There are worlds of information,
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news, games, and even oddities among the many, many parts of the
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Internet. Soon, STTS will join them.
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We're working on setting up a World Wide Web home page for Sunlight
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Through The Shadows Magazine. From there, you'll be able to download
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the current (and past issues!) of the magazine, send comments to some of
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the authors, and visit other links of interest. It should be great!
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Watch for more news as it develops!
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And speaking of Internet news, your editor just just become a level 60
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immortal on The Farside MUD. (telnet to zeus.atinc.com 3000 to check it
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out) I've begun writing a newsletter for the MUD and have included a
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copy in this issue. It's in the Feature Articles section. Let me know
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what you think of it, and, if you stop by the MUD, be sure to tell
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AsaMaro hello. It's good for one free level, if you're a new player. :)
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If you're currently reading this in the Readroom or ASCII version, check
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out our new NeoBook version! Look for the file SUN9503N.ZIP and
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download it. It's chock full of exciting graphics, great sound, and all
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sorts of cool features. Kudos to Asst. Ed. Shawn Aiken for doing
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excellent work with this!
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That's all for now. See you at the races!
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Joe DeRouen
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March 1995
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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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Albert Johnston........................Poetry
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Seth A. Robinson.......................Essay
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Daniel Sendecki........................Fiction, 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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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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Seth A. Robinson is the author of the bestselling BBS door games
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Legend of the Red Dragon and Planets: The Exploration of Space.
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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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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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excellent and 1 being awful. (if no opinion, X)
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Fiction ___ Poetry ___ Movie reviews ___
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Book reviews ___ CD Reviews ___ Feature Articles ___
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Software reviews --- Humour --- Top Ten List ---
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Question&Answers ___ Editorial ___ ANSI Coverart ___
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The Sports Page --- My View --- STTS BBS News ---
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RIP Coverart ___ Misc. Info ---
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13. What would you like to see (or see more of) in future issues
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of STTS Mag?
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___________________________________________________________________
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___________________________________________________________________
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___________________________________________________________________
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___________________________________________________________________
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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Return the survey to me via any of the following options:
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A) Pen & Brush Net - A PRIVATE, ROUTED message to JOE DEROUEN at site
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->5320, in any conference.
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B) RIME Net - A PRIVATE, ROUTED message to JOE DEROUEN at site ->5320,
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in either the COMMON or SUNLIGHT THROUGH THE SHADOWS MAGAZINE
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conference.
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C) WME Net - A PRIVATE message to JOE DEROUEN in the NET CHAT
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conference.
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D) Internet - Send a message containing your complete survey to
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Joe.DeRouen@Chrysalis.org
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E) My BBS - (214) 629-8793 24 hrs. a day 1200-14,000 baud. Upload the
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file SURVEY.TXT (change the name first! Change it to something like
|
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the first eight digits of your last name (or less, if your name
|
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doesn't have eight digits) and the ext of .SUR) Immediate access is
|
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gained to my system via filling out the new user questionnaire.
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F) U.S. Postal Service - Send the survey either printed out or on a disk
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to: Joe DeRouen
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3910 Farmville Dr. # 144
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Addison, Tx. 75244
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> Monthly Columns <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
STTS Mailbag
|
|||
|
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
Dear Joe,
|
|||
|
|
|
|||
|
|
Have had trouble finding STTS lately. It's seems to have gotten off
|
|||
|
|
schedule. What's the deal?
|
|||
|
|
|
|||
|
|
|
|||
|
|
Sue Thomson
|
|||
|
|
Dallas, Texas
|
|||
|
|
|
|||
|
|
<Exactly that - that's it's gotten off schedule. We're trying to put it
|
|||
|
|
back into the schedule it so rightly deserves. Thanks for your patience
|
|||
|
|
and happy reading! -jd>
|
|||
|
|
|
|||
|
|
|
|||
|
|
========================================================================
|
|||
|
|
|
|||
|
|
Dear Sunlight Through The Shadows,
|
|||
|
|
|
|||
|
|
Really, really love the new (NeoBook -jd) version of the magazine!
|
|||
|
|
It was really nice to be able to print out that survey from directly in
|
|||
|
|
the program. You've done an excellent job on this! The graphics and
|
|||
|
|
sounds are a vast improvement over the old ANSI/RIP graphics. Keep up
|
|||
|
|
the great work!
|
|||
|
|
|
|||
|
|
Dell Littleton
|
|||
|
|
Chicago, Illinois
|
|||
|
|
|
|||
|
|
========================================================================
|
|||
|
|
|
|||
|
|
|
|||
|
|
QUICK TIPS AND FIXES
|
|||
|
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
[Originally published in March 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. While we can't print all questions, we
|
|||
|
|
do read them and will reply personally when the situation warrants it.
|
|||
|
|
Keep those cards and letters coming, folks. But, please, don't try this
|
|||
|
|
at home.
|
|||
|
|
|
|||
|
|
|
|||
|
|
Q: Dear Joe,
|
|||
|
|
I recently purchased a new 14.4K modem, and something really strange
|
|||
|
|
happened. I get television reception via antenna rather than cable,
|
|||
|
|
and, upon installing my modem, I discovered that I no longer was able
|
|||
|
|
to receive Channel 4. When I turn the power off on my computer,
|
|||
|
|
Channel 4 comes in fine, but, when the power is on, I cannot receive
|
|||
|
|
it no matter how much I fool with the antenna. Do you have any idea
|
|||
|
|
why this is?
|
|||
|
|
|
|||
|
|
Sincerely,
|
|||
|
|
Jean Sanders
|
|||
|
|
via Internet
|
|||
|
|
|
|||
|
|
|
|||
|
|
A: Dear Jean,
|
|||
|
|
As I'm sure you're aware, all electronic devices contain magnetic
|
|||
|
|
fields, and what is probably happening is that the magnetic field
|
|||
|
|
contained by your modem is on the same frequency on which Channel 4
|
|||
|
|
is broadcast. There is not a whole lot that can be done - either get
|
|||
|
|
a different modem (which, by statistical probability, will contain a
|
|||
|
|
field with a different frequency), just turn off the computer when
|
|||
|
|
you want to watch Channel 4, get cable, or increase the shielding
|
|||
|
|
around your computer (make sure that all the vacant slots in your
|
|||
|
|
chassis contain metal tabs, etc.). These disturbances can also be
|
|||
|
|
caused by electrical appliances, stereos, or any other item that
|
|||
|
|
emits a magnetic field, so if any of you encounter a similar problem,
|
|||
|
|
just go around the house unplugging items until you find what is
|
|||
|
|
causing the disruption. They can also be caused by "sunspots", so
|
|||
|
|
there's a possibility that none of this will work. (Grin) Good
|
|||
|
|
luck!
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
Q: Joe,
|
|||
|
|
Several months ago, you printed the telnet address to a MUD called
|
|||
|
|
The Farside. [Oct. '94 issue. JD] Now that I finally have full
|
|||
|
|
internet access, the address doesn't seem to work. What gives? Was
|
|||
|
|
the address printed wrong, or did it change? Or am I doing something
|
|||
|
|
wrong?
|
|||
|
|
|
|||
|
|
Thanks,
|
|||
|
|
Luis Salvadore
|
|||
|
|
Arlington, Tx.
|
|||
|
|
|
|||
|
|
|
|||
|
|
A: Luis,
|
|||
|
|
No, you're not doing anything wrong. And no, the address wasn't
|
|||
|
|
printed wrong. As can happen all too frequently in the world of the
|
|||
|
|
internet, the address to The Farside MUD (Multi-User Dungeon)
|
|||
|
|
changed. The new address is ZEUS.ATINC.COM and the port number is
|
|||
|
|
3000. Remember, when entering a telnet address you'll need to put
|
|||
|
|
the address and port together. Thus, you'd enter the telnet section
|
|||
|
|
and "Open ZEUS.ATINC.COM 3000" to reach The Farside MUD. If you'd
|
|||
|
|
rather visit Farside's new World Wide Web site, start up Mosaic or
|
|||
|
|
Netscape and go to http://zeus.atinc.com/mud.html.
|
|||
|
|
|
|||
|
|
For those of you that didn't read the column to which Mr. Salvadore
|
|||
|
|
is referring, a MUD is a text-based multiple-player gaming
|
|||
|
|
environment found on the Internet. Much like Dungeons and Dragons or
|
|||
|
|
Zork computer games in it's execution, a MUD involves users playing
|
|||
|
|
the role of a (usually) fantasy character in the game. You can be an
|
|||
|
|
elven warrior, for example, or a dwarf magic-user. On some MUDs, the
|
|||
|
|
possibilities are almost endless. Your goals in these games range
|
|||
|
|
from simply killing monsters for experience points (to gain levels)
|
|||
|
|
to questing after hidden treasure and rescuing maidens fair.
|
|||
|
|
Certainly a far cry from HERETIC or other such graphic game fare.
|
|||
|
|
MUDs aren't for everyone, but The Farside is one of the best I've
|
|||
|
|
found out there and you should give it a try.
|
|||
|
|
|
|||
|
|
MUDS you might check out include:
|
|||
|
|
|
|||
|
|
The Farside ZEUS.ATINC.COM 3000 (Fantasy)
|
|||
|
|
Another MUD SPIDER.COMPART.FI 4000 (Fantasy)
|
|||
|
|
Thunder Dome II TDOME.MONTANA.COM 5555 (Futuristic)
|
|||
|
|
Dark Gift SNAKE.LIBRARY.CMU.EDU 6250 (Vampire)
|
|||
|
|
|
|||
|
|
Whatever your role-playing interest might be, chances are that
|
|||
|
|
there's a MUD out there to fit your personality. Oh, and if you hook
|
|||
|
|
up to The Farside look me up. Names AsaMaro, and I'm an Immortal
|
|||
|
|
on there now . . .
|
|||
|
|
|
|||
|
|
|
|||
|
|
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) 1995 Joe DeRouen. All rights reserved.
|
|||
|
|
|
|||
|
|
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><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>
|
|||
|
|
<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)
|
|||
|
|
<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><>
|
|||
|
|
<20><> <20><> <20><> <20><> <20><> <20><> <20> <20><> <20><> <20> <20><> <20><> <20><> <20> <20><>
|
|||
|
|
<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>
|
|||
|
|
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* INTERNET/Usenet Access * DOS/Windows/OS2/Mac/Amiga/Unix
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> Feature Articles <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
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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><EFBFBD><EFBFBD>
|
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|
|||
|
|
Essay
|
|||
|
|
Copyright (c) 1994, Seth A. Robinson
|
|||
|
|
All Rights Reserved
|
|||
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|
|||
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|
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|
|||
|
|
Equality - Whats so equal about it?
|
|||
|
|
an essay by Seth A. Robinson
|
|||
|
|
12/28/94
|
|||
|
|
|
|||
|
|
Today, it's popular to believe all people are created equal.
|
|||
|
|
|
|||
|
|
This might be true - but all people are NOT equal.
|
|||
|
|
|
|||
|
|
At birth, we are all the same. Screaming babies with ugly puffy red faces.
|
|||
|
|
A few hours later, we begin to show some of our emotional characteristics.
|
|||
|
|
From this point on we go our seperate paths. Are some people 'better' than
|
|||
|
|
other people? Yes. How are they better? How can a person be measured?
|
|||
|
|
These are not socially acceptable questions; these thoughts are taboo.
|
|||
|
|
|
|||
|
|
Yet, everytime we look around us, we silently measure people. The shaggy
|
|||
|
|
faced teenage gas attendent you try not to make eye contact with - when you
|
|||
|
|
do you are greeted by a blank stare. The greasy hair and yellow teeth say
|
|||
|
|
"I don't take care of my body", the lack of communication skills combined
|
|||
|
|
with an extremely poor command of the english language (much less others)
|
|||
|
|
denote a resistance to learning. A failure to apply ones self. No self
|
|||
|
|
respect.
|
|||
|
|
|
|||
|
|
Two weeks later, you read about this 'misguided youth' in the paper.
|
|||
|
|
Killed in a car crash. The paper fails to mention it was the boys fault, who
|
|||
|
|
ran a stop sign going 120 mph, thus totally demolishing his one and only
|
|||
|
|
true love, his hot rod - a piece of trash not worth the money to haul it
|
|||
|
|
away. The thing he and his 'buds' talked about one hundred percent of
|
|||
|
|
the time they felt like talking in what barely passes as legible english.
|
|||
|
|
|
|||
|
|
Am I beastly because I feel no remorse for him, but for the mother and
|
|||
|
|
three children that were killed in the collision instead? I think not.
|
|||
|
|
|
|||
|
|
You see, if this lad was not killed at the age of 19, things would NOT
|
|||
|
|
have been better. At 19, he already been arrested thrice. At 22 he would
|
|||
|
|
be convincted of manslaughter, possion of illegal narcotics and be sentenced
|
|||
|
|
to a ten year jail term. When parolled at 26, he would only be on the
|
|||
|
|
street 5 months before going to prison.
|
|||
|
|
|
|||
|
|
He was destined to fail at whatever he tried. The reason? He was never
|
|||
|
|
going to try something RIGHT. He had no honor, no dignity and most
|
|||
|
|
definatly the correct frame of mind.
|
|||
|
|
|
|||
|
|
Moving on, I want to make it clear I am not suggesting we enable some sort
|
|||
|
|
of euthinasia and start judging who should live or die - Not at all. I am
|
|||
|
|
suggesting that we understand the people we live with. We will be better
|
|||
|
|
able to cope with the homeless, drug, violence and abuse problems.
|
|||
|
|
|
|||
|
|
There ARE born leaders, there ARE born followers. You can know which one
|
|||
|
|
you are by which one makes you happy.
|
|||
|
|
|
|||
|
|
There are bad seeds. The phrase 'If he hits you once, he'll do it again'
|
|||
|
|
is a true one. People don't often change inside. When a boy becomes a man,
|
|||
|
|
he is who he is. The age that this happens is different for each of us.
|
|||
|
|
|
|||
|
|
If you know a bad seed, drop him/her. Get away while you can, it's going
|
|||
|
|
to be a minus on your life.
|
|||
|
|
|
|||
|
|
I urge all of you: Start judging people by what they do. Not by their
|
|||
|
|
parents, not by their friends.
|
|||
|
|
|
|||
|
|
And lastly, expect to BE judged.
|
|||
|
|
|
|||
|
|
|
|||
|
|
Farside Gazette Vol II, No. 5
|
|||
|
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
|
All Rights Reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
======================================================================
|
|||
|
|
The Farside Gazette Vol II, No. 5 Mar. 19th 1995
|
|||
|
|
======================================================================
|
|||
|
|
|
|||
|
|
-------------------------------------------------------------------
|
|||
|
|
The Farside Gazette is published twice a month by AsaMaro in
|
|||
|
|
conjunction with (and full permission of) The Farside Staff
|
|||
|
|
|
|||
|
|
The Gazette is written in 100% pure ASCII to assure maximum
|
|||
|
|
compatibility for all readers using whatever system they use
|
|||
|
|
|
|||
|
|
Subscribe by writing to jderouen@crl.com and including just one
|
|||
|
|
word - Subscribe - in the body of your text
|
|||
|
|
|
|||
|
|
Telnet to Farside at: mud.atinc.com 3000
|
|||
|
|
-------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
Table of Contents
|
|||
|
|
-----------------
|
|||
|
|
|
|||
|
|
|
|||
|
|
Page 1 Introduction
|
|||
|
|
Page 1 Table of Contents
|
|||
|
|
Page 1 AsaMaro's Editorial
|
|||
|
|
Page 2 Back Issue Notice
|
|||
|
|
Page 2 Player Bio: Leorick
|
|||
|
|
Page 3 Immortal Bio: Reflection
|
|||
|
|
Page 4 Building An Area by Draeger
|
|||
|
|
Page 8 Museum Field Trip by Marat
|
|||
|
|
Page 10 Interviewed by the Vampire by Dizzy
|
|||
|
|
Page 11 Interview With Two Clerics by Arundel
|
|||
|
|
Page 13 Top Ten List by Draeger
|
|||
|
|
Page 13 Additions to Farside by AsaMaro
|
|||
|
|
Page 13 Farside Birthdays by Ambrosia
|
|||
|
|
Page 14 Farside News
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
*
|
|||
|
|
* We Have a Winner *
|
|||
|
|
*
|
|||
|
|
|
|||
|
|
|
|||
|
|
Draeger won The Farside Gazette's "The Future of Farside" contest with a
|
|||
|
|
group of proposed ranger spells. His prize was a level. As fate would
|
|||
|
|
have it, the won level took him to level 51, hero. Congratulations,
|
|||
|
|
Draeger!
|
|||
|
|
|
|||
|
|
Terrapin took second place with his idea for an improved Flee command
|
|||
|
|
while Arundel took third with a suggested Thank/Herothank modification.
|
|||
|
|
Each won (or will be awarded, when I find then) an item or their choice
|
|||
|
|
and cash, respectively. Congrats, guys, and thanks for entering!
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
"A Helpful Guide to Building An Area", a collaborative effort by Crom
|
|||
|
|
and myself, has been released. The guide gives clear, concise
|
|||
|
|
instructions on building an area and should be helpful to novice and
|
|||
|
|
expert alike.
|
|||
|
|
|
|||
|
|
You can request the guide by sending e-mail to AsaMaro at
|
|||
|
|
jderouen@crl.com. Include in the body of your text:
|
|||
|
|
|
|||
|
|
get builder.txt <mud name> <real name>
|
|||
|
|
|
|||
|
|
Let me know what you think of it! As always, suggestions and comments
|
|||
|
|
are very welcomed and desired.
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
This issue is a tad bit late due to the personal life of Joe DeRouen
|
|||
|
|
interferring with the MUD life of AsaMaro. My apologies to anyone who
|
|||
|
|
was inconvenienced by the lateness of this issue.
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
Special thanks this issue to Arundel, Marat, Dizzy, and Draeger for
|
|||
|
|
their contributions! (And for making this issue win the title for
|
|||
|
|
Gazette With Most Interviews In It! <grin>)
|
|||
|
|
|
|||
|
|
And thanks to all of you for reading,
|
|||
|
|
|
|||
|
|
--AsaMaro
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
Back Issues of The Farside Gazette
|
|||
|
|
|
|||
|
|
Back issues of the Gazette are now available for FTP at atinc.com in
|
|||
|
|
/pub/mud/gazette . While you're scuttling about the internet, check out
|
|||
|
|
Farside's new WWW page at http://zeus.atinc.com/mud.html .
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
* Farside Player Bio *
|
|||
|
|
|
|||
|
|
Name: Leorick RL: Michael Orr Age: 77 (RL) 18
|
|||
|
|
Race: Half-Orc Class: Warrior Current level: 45
|
|||
|
|
|
|||
|
|
|
|||
|
|
Interests and Background:
|
|||
|
|
|
|||
|
|
"After moving around so often (well, at least in his opinion), Leorick,
|
|||
|
|
when asked where he's from, usually just replies 'The Maritimes'. For
|
|||
|
|
those unfamiliar with the area, the Maritimes comprise the three
|
|||
|
|
provinces (of Canada, of course) north of Maine (PEI, New Brunswick, and
|
|||
|
|
Nove Scotia). He is presently going to the University of Prince Edward
|
|||
|
|
Island, in (you guessed it!) Prince Edward Island. He has been playing
|
|||
|
|
since about late October of 1994, when a friend (Alamar) first
|
|||
|
|
introduced him to the Farside, and hasn't left since. After several
|
|||
|
|
unsuccessful starts with various classes, he finally settled on the
|
|||
|
|
warrior class after watching Alamar race through the levels very
|
|||
|
|
quickly, while he was having trouble levelling as a ranger."
|
|||
|
|
|
|||
|
|
|
|||
|
|
Advice to Other Players:
|
|||
|
|
|
|||
|
|
"Leorick's advice: Group. I just can't emphasize the importance of
|
|||
|
|
grouping. If you're a warrior (like me) groups like you because you
|
|||
|
|
have the 'rescue' skill. Warriors: practice that skill right away. It
|
|||
|
|
keeps people alive, and can sometimes save your life too. In case you
|
|||
|
|
didn't know warriors, you have the track skill as well, and no, you
|
|||
|
|
don't have to practice it. This skill (although it often leads you to
|
|||
|
|
your destination the longest way possible :) is very useful. For
|
|||
|
|
example, if you're trying to find the Tower of High Sorcery. Before
|
|||
|
|
someone told me that I had the track skill, I would wander around,
|
|||
|
|
getting myself quite frustrated, looking for the Tower. But with the
|
|||
|
|
track skill, I just go to the Shadow Grove, and track the adventurer.
|
|||
|
|
Leads me right to it. If you know the name of a mob in an area, but
|
|||
|
|
don't know the exact directions, try the track skill.
|
|||
|
|
|
|||
|
|
Also, you can use the 'where' command to locate a mob in the area you
|
|||
|
|
are in, but you have to know the name of the mob. If you're locked in
|
|||
|
|
Midgaard, try a 'where mayor' to find him and hunt him down! This can
|
|||
|
|
also be useful in quests like the greased pig, and you want to know
|
|||
|
|
where the mob is."
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
* Farside Immortal Bio *
|
|||
|
|
|
|||
|
|
Name: Reflection RL Name: Sara Wisking Age: (Game) Old (RL) 16
|
|||
|
|
Race: Elf Class: Cleric Current level: 60
|
|||
|
|
|
|||
|
|
|
|||
|
|
Real Life Interests and Background:
|
|||
|
|
|
|||
|
|
Reflection lives in Ottawa, Canada and enjoys reading, writing, and
|
|||
|
|
spending time with her friends. She's been playing Farside for eleven
|
|||
|
|
months. When asked to describe herself, she said: "I'm 5'7", have long,
|
|||
|
|
light brown (almost blond) hair, dark brown eyes, and an average build.
|
|||
|
|
I'm very enthusiastic, and very optimistic as well."
|
|||
|
|
|
|||
|
|
|
|||
|
|
Advice to Players:
|
|||
|
|
|
|||
|
|
"The best advice i can give you guys, is to GROUP! Each class was made
|
|||
|
|
so it would go well with the other classes. So be friendly, and people
|
|||
|
|
will be glad to group with you, and they'll be helping you just as much
|
|||
|
|
as you're helping them. Farside is full of friendly people, who will all
|
|||
|
|
be GLAD to help you out, so be nice to them! Also, remember that mudding
|
|||
|
|
takes patience. In general, a patient mudder is a succesful mudder. If
|
|||
|
|
things are getting you frustrated, take a break! Everything will be
|
|||
|
|
there when you get back. Most of all though, have fun out there! That's
|
|||
|
|
what Farside is for."
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
Building An Area
|
|||
|
|
by Draeger
|
|||
|
|
|
|||
|
|
FOREWARD
|
|||
|
|
|
|||
|
|
Writing an area for your favorite mud can be an enjoyable process. The
|
|||
|
|
thrill one gets from the successful completion of an area is much like
|
|||
|
|
the one achieved by doing a job well done. Sometimes, however, little
|
|||
|
|
things can mar the overall greatness of a completed area. Many times
|
|||
|
|
these detractors are things that could have been avoided by careful
|
|||
|
|
planning and design before work even commenced on the area. In this
|
|||
|
|
guide, one can find information on how to write a creative, themed
|
|||
|
|
area. Not all good areas abide by these general rules; Indeed, many is
|
|||
|
|
the time that the author himself has broken them. Nevertheless, a firm
|
|||
|
|
understanding and utilization of these guidelines will help one to
|
|||
|
|
design, construct, and debug one's own area. A final note is that this
|
|||
|
|
guide will not attempt to teach the reader how to create mobiles,
|
|||
|
|
rooms, etc. It is assumed that you have mastered those skills. If that
|
|||
|
|
is not the case, please refer to AsaMaro and Crom's excellent
|
|||
|
|
builder.txt for instructions first.
|
|||
|
|
|
|||
|
|
Design : The Missing Link
|
|||
|
|
|
|||
|
|
Design is a crucial component of a good area. Design is largely what
|
|||
|
|
will let you transform the vague, misty images and ideas in your mind
|
|||
|
|
into a specific, concrete area. Sadly, this step is often skipped or
|
|||
|
|
minimized, resulting in confusing, odd, or boring areas. There are
|
|||
|
|
several aspects of the successful creation of an area design. Some may
|
|||
|
|
not apply to a particular theme or idea, but they are all good
|
|||
|
|
guidelines to start by.
|
|||
|
|
|
|||
|
|
Acquiring a medieval viewpoint
|
|||
|
|
This step is one that is almost never used by the typical area
|
|||
|
|
builder. However, if one wants to create a successful unique
|
|||
|
|
area, it is an important step. It is very hard to successfully
|
|||
|
|
plan and write a medieval-based area while surrounded by and
|
|||
|
|
absorbed into a twentieth century world. The solution used by
|
|||
|
|
the author is simple. Typically, before starting planning an
|
|||
|
|
area, he will sit down and read a chapter of JRR Tolkien's "The
|
|||
|
|
Lord of the Rings". This proves to be a good "mindlink" to a
|
|||
|
|
fantasy/medieval outlook. Other good ideas would include any
|
|||
|
|
other fantasy/medieval author, perhaps some medieval music, or
|
|||
|
|
sitting in the woods or wilderness for a time. All these will
|
|||
|
|
help to shape your thoughts, and provoke ideas and images that
|
|||
|
|
otherwise would remain hidden. Some have found that modern
|
|||
|
|
music will have the same affect for area building, but the
|
|||
|
|
author's experiments are to the contrary. Listening to
|
|||
|
|
industrial, rock, or pop-style music is not the best way to
|
|||
|
|
drop into a fantasy mindset! Classical music or "soft" rock
|
|||
|
|
would work however.
|
|||
|
|
|
|||
|
|
Create a history
|
|||
|
|
This guideline is much less obvious than one would think. Most
|
|||
|
|
people, when creating an original area, will think up a area
|
|||
|
|
theme, draw a map, then get started. Despite being the most
|
|||
|
|
used method, however, it has some drawbacks, namely the lack of
|
|||
|
|
any background or historical involvement in the area.
|
|||
|
|
Therefore, it is important to create a story that fits into
|
|||
|
|
your area. If the area is set within a large castle, for
|
|||
|
|
instance, the area will be much more interesting and exciting
|
|||
|
|
if it has a background, rather than just another generic
|
|||
|
|
castle. An area lacking a story or background is easily
|
|||
|
|
visible, by the somewhat generic feel to the place. The best
|
|||
|
|
areas will look and feel almost like a novel, with respect to
|
|||
|
|
the overall involvement in the area.
|
|||
|
|
|
|||
|
|
Creating a convincing area map
|
|||
|
|
Drawing a map for one's area is, thankfully, a given. Without
|
|||
|
|
an area map, it is exceedingly difficult to create a
|
|||
|
|
consistent, realistic area. Therefore, this step is paramount
|
|||
|
|
to the success or failure of an area. To plan out an area map
|
|||
|
|
is simple. Most people will use a blank sheet of paper and a
|
|||
|
|
pen or pencil, though graph paper would probably be better. The
|
|||
|
|
author typically starts with a very rough sketch of the
|
|||
|
|
hallways, passages, rooms, etc, disregarding any details like
|
|||
|
|
room numbers. Then, the actual buildings and scenery is
|
|||
|
|
sketched in, even that which is beyond the rooms. This allows
|
|||
|
|
one to get a better grasp of one's own area. Usually after
|
|||
|
|
several refinements of the design, the final draft is crafted.
|
|||
|
|
Make sure to label all the important rooms, and to mark clearly
|
|||
|
|
where each "room" will be in your passageways, wilderness, etc.
|
|||
|
|
When it is completed, then carefully mark where each important,
|
|||
|
|
non-moving mob will be. Also, the author will usually make a
|
|||
|
|
short list of what each mob will carry, so as to make creating
|
|||
|
|
resets simpler.
|
|||
|
|
|
|||
|
|
Creative Writing : The Heart and Soul of an Area
|
|||
|
|
|
|||
|
|
The most memorable part of an area is usually the setting and/or theme
|
|||
|
|
that the area is built upon. While design gives the content of the
|
|||
|
|
area, the writing element is the tool used to convey one's ideas to
|
|||
|
|
the players. As such, special emphasis should be placed on creating
|
|||
|
|
especially evocative images, sounds, and smells in the player's mind.
|
|||
|
|
These basic rules of creative area writing are based and drawn from
|
|||
|
|
the rules of a short story. Any who have taken even a high-school
|
|||
|
|
freshman English course should be familiar with the concepts presented
|
|||
|
|
herein. Nevertheless, even a moderately proficient writer should
|
|||
|
|
review these simple rules.
|
|||
|
|
|
|||
|
|
Writing Style
|
|||
|
|
The writing style of the creator of the area greatly influences
|
|||
|
|
the final quality of the area. Writing style is a relatively
|
|||
|
|
nebulous thing. Every individual has their own opinions about
|
|||
|
|
different modes of writing, and each individual is right and
|
|||
|
|
wrong. Therefore, the best guideline is to stay consistent
|
|||
|
|
within the area. Changing from a poetic, light style to a
|
|||
|
|
gloomier, naturalistic style will destroy whatever realism you
|
|||
|
|
are attempting to create.
|
|||
|
|
|
|||
|
|
Atmosphere and Descriptive Language
|
|||
|
|
A critical part of writing a well developed area is imaginative
|
|||
|
|
and invocative imagery. Ideally, the player should almost see
|
|||
|
|
in his mind the vision you are projecting. In reality, this is
|
|||
|
|
seldom achieved, but that should not discourage one from
|
|||
|
|
trying. The area should have an overall "feel", one that will
|
|||
|
|
become apparent to one reading the document. For example,
|
|||
|
|
consider the following passage from one of the author's areas:
|
|||
|
|
|
|||
|
|
Stretched out before you is a forest of immense proportions. The
|
|||
|
|
blustery sun of a midsummer's day makes you seek comfort beneath the
|
|||
|
|
cool leaves of the tall trees. The buzzing of insects and the
|
|||
|
|
twittery chirping of birds is in the warm air. You travel into the
|
|||
|
|
shadows of the forest, feeling the heat of the day evaporate as you
|
|||
|
|
enter the cool dampness under the canopy. You may leave into the
|
|||
|
|
forest in any direction.
|
|||
|
|
|
|||
|
|
Disregarding the style used, this represents a fairly good
|
|||
|
|
representation on the balance between terseness and
|
|||
|
|
descriptiveness. In other rooms in that same area, the same
|
|||
|
|
summer-forest atmosphere is carried along. A general tone and
|
|||
|
|
mood is set for the whole area, which, when explored in,
|
|||
|
|
creates a powerful experience for the player.
|
|||
|
|
|
|||
|
|
Plot
|
|||
|
|
Plot in an area is unusual, for a good reason. The players on a
|
|||
|
|
mud are usually expected to create their own plot by
|
|||
|
|
adventuring. This is usually the case. However, in some
|
|||
|
|
situations, a storyline or plot can enhance the enjoyment of an
|
|||
|
|
area. A good example would be to include in the mobile
|
|||
|
|
descriptions bits of conversation. "Talking" to an old pirate,
|
|||
|
|
for instance, might clue the player in to the location of a
|
|||
|
|
secret room or passage. This can also be extended to rooms and
|
|||
|
|
objects; For example, looking at a note smeared with blood
|
|||
|
|
might reveal the will and testament of a powerful king. The
|
|||
|
|
will could then clue the player in to where a specific mobile
|
|||
|
|
is. Another way to involve the player is to write a custom
|
|||
|
|
spec_fun for the mobiles in your area. However, this method is
|
|||
|
|
generally frowned upon by upper management, because it
|
|||
|
|
introduces complexities into the already complex mud code.
|
|||
|
|
|
|||
|
|
Tricks and Technique for Area Construction
|
|||
|
|
|
|||
|
|
The best design and writing will create a fun and exciting area, but
|
|||
|
|
there remains still the finishing touches that all areas should
|
|||
|
|
receive. This category is not a guideline for a well written area.
|
|||
|
|
Rather, it is a list of the many and varied ideas that can be used to
|
|||
|
|
heighten the drama, create interest, and more.
|
|||
|
|
|
|||
|
|
Death Traps
|
|||
|
|
While hardly new, death traps can introduce tension into one's
|
|||
|
|
area. A deathtrap is defined as "unescapable" death, and is
|
|||
|
|
usually triggered by a player walking into a room with no
|
|||
|
|
exits. While the recall command has reduced the potency of
|
|||
|
|
deathtraps, a no-recall flag can be set on the worst
|
|||
|
|
deathtraps. The main problem with deathtraps is that players
|
|||
|
|
will often blunder into them completely unawares. The area
|
|||
|
|
author must therefor be careful to give strong clues and hints
|
|||
|
|
as to the nature of the deathtrap in the rooms around it. This
|
|||
|
|
will ensure that the player is given fair warning, if he or she
|
|||
|
|
is reading the room descriptions.
|
|||
|
|
|
|||
|
|
Secret Doors and Items
|
|||
|
|
While somewhat similar, secret doors and items are created much
|
|||
|
|
differently. Secret doors are made by constructing a normal
|
|||
|
|
door, but not giving any clues to its existence in the room
|
|||
|
|
description. Since this is a true secret door, one that is not
|
|||
|
|
likely to be ever found, most authors take a "semi-secret"
|
|||
|
|
approach. That is, they give hints to its existence through the
|
|||
|
|
room description. For example, this excerpt is from one of the
|
|||
|
|
author's areas:
|
|||
|
|
|
|||
|
|
You are creeping down a long hallway. Your footsteps seem to echo
|
|||
|
|
everywhere, disturbing the fragile silence with every step. The
|
|||
|
|
eastern and western walls are decorated with many tapestries,
|
|||
|
|
depicting a fierce battle between mages and clerics.
|
|||
|
|
|
|||
|
|
The description hints of the existence of the secret exits without
|
|||
|
|
being obvious about it. Secret items are made much differently.
|
|||
|
|
There are several ways of creating them. The simplest is to
|
|||
|
|
make the item invisible. This will make it unaccessible by all
|
|||
|
|
without detect invisibility. To be fair, if this method is
|
|||
|
|
used, a short-duration potion of see invisible should be
|
|||
|
|
located somewhere in the area to give non-mages and their ilk a
|
|||
|
|
fair chance. The other method only makes semi-secret items. To
|
|||
|
|
use the second method, one has only to place the item on a
|
|||
|
|
mobile, or in a room, that is unaccessible without a special
|
|||
|
|
condition or key. An example would be a secret laboratory
|
|||
|
|
outside the main house, accessed only by entering a secret
|
|||
|
|
trapdoor in the woods.
|
|||
|
|
|
|||
|
|
Adding Extra Item and Room Descriptions
|
|||
|
|
Again, this technique is not so much new as under utilized. The
|
|||
|
|
ability to add extra descriptions to items and rooms is a
|
|||
|
|
fantastic plot and storyline device. These descriptions add to
|
|||
|
|
the atmosphere of the mud, helping to fulfill the vision of the
|
|||
|
|
area in the mind of the creator. The primary usage of
|
|||
|
|
item-extra descriptions is to give the player a better
|
|||
|
|
understanding of the nature of the item. For example, this
|
|||
|
|
excerpt is again from one of the author's areas.
|
|||
|
|
|
|||
|
|
You see a small, ornately carved ring. Beautiful golden mosaics are
|
|||
|
|
carved in bas-relief into the sides of the ring, and a sparkling,
|
|||
|
|
glittery sea-green emerald is carefully placed in the center of the
|
|||
|
|
jewel's golden palace.
|
|||
|
|
|
|||
|
|
The second, less used usage of item descriptions is as a plot device.
|
|||
|
|
An example of this type of description is the sword Excalibur
|
|||
|
|
in Camelot. By advancing the plot with items held by mobiles,
|
|||
|
|
control can be placed over when the player acquires information
|
|||
|
|
on secret rooms, etc.
|
|||
|
|
|
|||
|
|
Conclusion
|
|||
|
|
|
|||
|
|
As a final note, remember that these are guidelines, not rules set
|
|||
|
|
into stone. Following these guidelines to the letter does not
|
|||
|
|
guarantee a good area. The decisive factor in an area is the
|
|||
|
|
creativity and patience of the area designer. Only with those two
|
|||
|
|
traits can a writer successfully combine the many important
|
|||
|
|
components, and develop a grand, exciting, and fun area.
|
|||
|
|
|
|||
|
|
PS: If you have any suggestions, comments, or additions, please
|
|||
|
|
contact Draeger.
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
Museum Field Trip
|
|||
|
|
by Marat
|
|||
|
|
|
|||
|
|
My editor was clamoring for another interview. But, who should I talk to?
|
|||
|
|
What do the readers want to see? With a heavy sigh and tired faerie toes
|
|||
|
|
(that were really not twinkling by the end of a long day) I wandered
|
|||
|
|
around Cobblestone Square. I found myself on a picturesque stone bridge.
|
|||
|
|
I listened to the grumblings of a troll under that bridge. He was
|
|||
|
|
mumbling nasty things about the museum just north of me. That troll has a
|
|||
|
|
real attitude problem; he hates the visitors, the guards and all
|
|||
|
|
the exhibits at the museum. Just to spite him, I decided to pay a visit
|
|||
|
|
to the Museum myself.
|
|||
|
|
|
|||
|
|
Having created the place, I was familiar with all involved; yet, I
|
|||
|
|
wondered how the museum monsters were getting along. Were they happy I
|
|||
|
|
had brought them into being? I walked north along the stone path,
|
|||
|
|
stopping to watch a pretty bird play in the bird bath, then walked up the
|
|||
|
|
broad marble steps to the impressive bronze doors that formed the entrance.
|
|||
|
|
|
|||
|
|
I smiled at the two stern-looking Museum Guards who stood stiffly before
|
|||
|
|
the door. They nodded in my direction as one of the guards took a sip
|
|||
|
|
from his canteen.
|
|||
|
|
|
|||
|
|
Marat: Hello, How do the two of you enjoy your job? (One guard motioned
|
|||
|
|
that the other should answer for the two of them.)
|
|||
|
|
|
|||
|
|
Museum Guard: 'S okay. Can't complain.
|
|||
|
|
|
|||
|
|
M: Have you found anything interesting about guarding the doors of a Museum?
|
|||
|
|
|
|||
|
|
MG: (The guard paused for a minute, looked up at the sky, then down at
|
|||
|
|
his feet.) Not really. Pretty much like guarding anything. We stand here.
|
|||
|
|
Visitors go in and out. (Both guards shrugged.)
|
|||
|
|
|
|||
|
|
I grew bored and impatient at this point, so after a mumbled 'thank you'
|
|||
|
|
I opened the heavy doors and walked into the hushed confines of the
|
|||
|
|
museum. I was nearly knocked down by a pair of visitors. The female of
|
|||
|
|
the pair was chattering inanely at the male. They rushed past me before I
|
|||
|
|
could ask a question.
|
|||
|
|
|
|||
|
|
I checked my timepiece, discovered I would be late for a meditation
|
|||
|
|
lesson with Wu Tak if I didn't hurry. I decided to get a true feeling for
|
|||
|
|
the progress of the museum by talking to the Curator. I found his office
|
|||
|
|
off the Weaving exhibit. I knocked on the door and heard a cultured voice
|
|||
|
|
invite me to enter.
|
|||
|
|
|
|||
|
|
Marat: Greetings, Curator. May I ask you a few questions?
|
|||
|
|
|
|||
|
|
The Curator: (He smiled and settled into the large chair behind his even
|
|||
|
|
larger desk. I sat in an uncomfortable chair across from him.) Of course,
|
|||
|
|
but I have only a few moments before I must meet some patrons. Funding is
|
|||
|
|
always a problem for a museum.
|
|||
|
|
|
|||
|
|
M: I understand. I also have a pressing appointment. I only had a chance
|
|||
|
|
for a cursory peek, but I think the exhibitions here are very attractive
|
|||
|
|
and instructive. Do you feel good about them?
|
|||
|
|
|
|||
|
|
TC: I am relatively happy. If I could I would change a few things. (The
|
|||
|
|
curator rolls his eyes.) That suit of armor who wanders is a bit much. I
|
|||
|
|
would have preferred he stay in his place. And the velvet dress is
|
|||
|
|
glowing pink! That is just not aesthetically pleasing. I blame it on my
|
|||
|
|
assistant.
|
|||
|
|
|
|||
|
|
M: Assistant? I didn't notice one.
|
|||
|
|
|
|||
|
|
TC: And you won't!. (The curator bellowed, startling me. He then seemed
|
|||
|
|
to calm himself settling farther back into his chair and steepling his
|
|||
|
|
fingers.) Even one mistake in an expensive exhibition cannot be
|
|||
|
|
tolerated. I dismissed my former assistant before the opening. I am
|
|||
|
|
however, quite happy about the majority of the displays and the things
|
|||
|
|
displayed. (I hear a tap at the door, the curator stands and welcomes in
|
|||
|
|
two patrons. I smile at them, realizing I am intruding on an important
|
|||
|
|
meeting.)
|
|||
|
|
|
|||
|
|
M: I can see you are quite busy, Curator. Perhaps another day when you
|
|||
|
|
can squeeze me into your schedule.
|
|||
|
|
|
|||
|
|
TC: (The curator looks distractedly at me, already dismissing my
|
|||
|
|
presence.) Yes, yes. Of course. Farewell.
|
|||
|
|
|
|||
|
|
I hastily exit his office and walk through the museum admiring a passing
|
|||
|
|
bronze statue. My visit was brief, but there will be other days to
|
|||
|
|
expand my mind. Other days to wool-gather among lovely art and
|
|||
|
|
artifacts. I hurry down the marble steps and run to my lesson with Wu
|
|||
|
|
Tak. He gets so irritated when I am late.
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
INTERVIEWED BY THE VAMPIRE
|
|||
|
|
by Dizzy
|
|||
|
|
|
|||
|
|
|
|||
|
|
Dissatisfied with life, repulsed by death, feeling bored and reckless I
|
|||
|
|
listened for the ten thousandth time as another nameless mob loosed yet
|
|||
|
|
another piercing cry. The protracted death rattle was the only
|
|||
|
|
remarkable feature I'd noted about its otherwise squalid existence. A
|
|||
|
|
chilling wind quickly froze the blood of my latest kill, effectively
|
|||
|
|
cementing the corpse to the stone that comprised the pavement of an
|
|||
|
|
otherwise uninteresting avenue.
|
|||
|
|
|
|||
|
|
While I'm usually possesed of a cheerful disposition and winsome way,
|
|||
|
|
the dismal weather and witless mobs had conspired to lower my spirits to
|
|||
|
|
one notch above comtemplation of a Hemlock Cocktail, and this was *not*
|
|||
|
|
a party town. That last kill gave me the usual, "earned 0 exp", I was
|
|||
|
|
hungry, thirsty, low on hp, mana and love for my fellow man.
|
|||
|
|
|
|||
|
|
Leaning against the pommel of my sword, and contemplating exactly
|
|||
|
|
why.....just WHY; I turned my head and found that I was no longer
|
|||
|
|
enjoying a moment of peaceful reflection in solitude. Considering my
|
|||
|
|
foul mood, I'm still not sure why I reacted as I did. But, and you'd
|
|||
|
|
have to experience it to fully appreciate it, I was drawn to the
|
|||
|
|
fastidious man seated next to me. Simply stated, his presence was
|
|||
|
|
magnetic. Strangely, no thought of lifting my sword and taking his head
|
|||
|
|
occured to me. Even in my dour mood I found myself smiling and eager to
|
|||
|
|
please this person I'd yet to speak a word to.
|
|||
|
|
|
|||
|
|
The moment was crystalline. I could no more break the silence than
|
|||
|
|
shatter my gleaming crystal statuette of Dizzy. Then, slowly and
|
|||
|
|
deliberately, he turned toward me. I was captivated by the golden color
|
|||
|
|
of his eyes. When I say "captivated", you must realize that I cannot
|
|||
|
|
express the quality of that unwavering stare. It was hypnotic.
|
|||
|
|
Literally.
|
|||
|
|
|
|||
|
|
I'm unsure how long we sat there. I don't recall how or when we left
|
|||
|
|
that dismal street and ended up here in this wretched house. There are
|
|||
|
|
blood stains everywhere, but no corpses. The Master, Tiersten is his
|
|||
|
|
name, requires me to stand watch over his repose all during the day and
|
|||
|
|
I greatly fear that I am enslaved. But I am even more greatly afraid of
|
|||
|
|
Tiersten. I marvel as I scramble to obey his slightest whim. I'm
|
|||
|
|
sickened as I lure innocent adventurers into this house of death. And
|
|||
|
|
yet...I find that I'm no longer bored, or hungry, or unfulfilled. I'm
|
|||
|
|
not my own man anymore, but this isn't bad at all....
|
|||
|
|
|
|||
|
|
Why not come in out of that nasty wind.....you could catch your death
|
|||
|
|
out there. Besides, I have a friend who would enjoy having you for
|
|||
|
|
dinner.....
|
|||
|
|
|
|||
|
|
>From recall to Tiersten:
|
|||
|
|
2N,4E,2N,E,N,E,S,8E,2N,4E,N,3W,U,N,E,U,S
|
|||
|
|
|
|||
|
|
>From Tiersten to recall:
|
|||
|
|
N,D,W,S,D,3E,S,4W,2S,8W,N,W,S,W,2S,4W,2S
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
Interview with Two Clerics
|
|||
|
|
--by Arundel
|
|||
|
|
|
|||
|
|
|
|||
|
|
Clerics. No group is really complete without one, and any group with
|
|||
|
|
two is doubly blessed. Some consider the Cleric to be the most powerful
|
|||
|
|
class on Farside. It's the only class which can fight well, protect the
|
|||
|
|
people in the group, AND heal everything in sight. However, a lot of
|
|||
|
|
people have also grouped with the inexperienced Cleric. I myself lost
|
|||
|
|
over 300hp mid-combat because the Cleric I was with cast a 'heal' spell
|
|||
|
|
while I was still fully pumped up by my +hp equipment. With this in
|
|||
|
|
mind, I hunted down two relatively high-level Clerics to see how they
|
|||
|
|
handled healing, fighting, and protecting, the triple role of their
|
|||
|
|
class.
|
|||
|
|
|
|||
|
|
Both Mistyblue and Lem were kind enough to come to the Temple of Dizzy
|
|||
|
|
to sit with me and talk. I remember running into Mistyblue in Gangland
|
|||
|
|
when that was THE place to be for leveling, and Lem, whom I had never
|
|||
|
|
heard of, has only been coming to the Farside for a month. Mistyblue is
|
|||
|
|
in her 40s, and Lem is in his 30s, which makes them the perfect couple
|
|||
|
|
to interview for a feature on their class. In the following interview,
|
|||
|
|
I have presented their words just as they were typed. My own words,
|
|||
|
|
however, I have changed quite a bit.
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
-Arundel: Warriors like me don't even put mana in our prompts. It is
|
|||
|
|
totally alien to us. First of all, how do you manage your mana?
|
|||
|
|
|
|||
|
|
-Mistyblue: I learned that, if it is a very hard mob, to only faerie
|
|||
|
|
fire it, and save my mana for healing and let my weapons do the rest.
|
|||
|
|
|
|||
|
|
-Lem : I usually don't worry about mana. I just go crazy till I'm out,
|
|||
|
|
but that doesn't happen in a battle. It depends on if I'm grouped or
|
|||
|
|
not. If I'm grouped, I just heal. If not, I'll cast offensive spells too.
|
|||
|
|
|
|||
|
|
-Arundel: What spells do you usually cast on the people in your group?
|
|||
|
|
|
|||
|
|
-Mistyblue: [I] always cast armor, protection, fly and bless if nothing
|
|||
|
|
else. I cast sanc to the tanker always and frenzy everyone else.
|
|||
|
|
|
|||
|
|
-Lem: I haven't been grouping much, but when I do, I cast sanctuary and
|
|||
|
|
all armor spells and bless, especially on tank. Then heal when needed.
|
|||
|
|
|
|||
|
|
-Arundel: Mistyblue, you mentioned two spells, fly and frenzy. Are they
|
|||
|
|
important?
|
|||
|
|
|
|||
|
|
-Mistyblue: *YES!!!* Fly is extremely important for everyone. It keeps
|
|||
|
|
you from bing tripped. If you are tripped, you lose two times to hit the
|
|||
|
|
mob. Those two times to hit that mob could be crucial.
|
|||
|
|
|
|||
|
|
-Arundel: Two times?
|
|||
|
|
|
|||
|
|
-Lem: Really?
|
|||
|
|
|
|||
|
|
-Mistyblue: Frenzy puts the person in a rage, they fight better with it,
|
|||
|
|
BUT it kills their AC. It raises the hit and damroll.
|
|||
|
|
|
|||
|
|
-Arundel: Kills their AC? Could be dangerous if the tanker flees.
|
|||
|
|
|
|||
|
|
-Mistyblue: Yep. (shrugs)
|
|||
|
|
|
|||
|
|
-Arundel: OK, now how do you handle your tanker?
|
|||
|
|
|
|||
|
|
-Mistyblue: I constantly type gr to make sure his/her [or it's, Arundel
|
|||
|
|
thinks] hp are ok, if not then I start healing. I try not to let it fall
|
|||
|
|
below the 200 hp mark.
|
|||
|
|
|
|||
|
|
-Lem: I constantly type gr and see if whoever is tanking is below 100hp
|
|||
|
|
from his max. and hope heal goes through the lag fast enough.
|
|||
|
|
|
|||
|
|
-Arundel: Great. Ok, now, another part of the game is healing, or down
|
|||
|
|
time. Just sitting around waiting for the clicks to pass. What do you do
|
|||
|
|
between fights?
|
|||
|
|
|
|||
|
|
-Mistyblue: My mana shoots right up, so then I heal everyone then sleep
|
|||
|
|
again.
|
|||
|
|
|
|||
|
|
-Lem: I either talk to others or change windows and read the usenet news.
|
|||
|
|
|
|||
|
|
-Arundel: That just about covers it. I have one more question. What pet
|
|||
|
|
peeve do you have as a cleric?
|
|||
|
|
|
|||
|
|
-Mistyblue: I don't like it when people demand sanc and they aren't the
|
|||
|
|
tanker.
|
|||
|
|
|
|||
|
|
-Lem: I hate it when people don't wait to get sancted, then get hit
|
|||
|
|
really hard and wonder why I didn't heal them.
|
|||
|
|
|
|||
|
|
-Arundel: Well, thank you both for your time.
|
|||
|
|
|
|||
|
|
-Mistyblue: Thank YOU. I'm honored.
|
|||
|
|
|
|||
|
|
-Lem: Sure. No problem
|
|||
|
|
|
|||
|
|
Mistyblue leaves north.
|
|||
|
|
Lem leaves north.
|
|||
|
|
Arundel has left the game.
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
Top Ten Things to do While Healing
|
|||
|
|
by Draeger (Written while healing)
|
|||
|
|
-=-=-=-=-=-=-====-=-=-=-=-=-=-
|
|||
|
|
|
|||
|
|
10. Compose real-time poetry for the enjoyment(?) of all.
|
|||
|
|
9. Listen to a group member's life story.
|
|||
|
|
8. Tell any who will listen your life story.
|
|||
|
|
7. Music all the lyrics to any song you can think of.
|
|||
|
|
6. Healing? Healing is for wimps. REAL mudders never heal!
|
|||
|
|
5. Explain the finer points of leveling to a newbie.
|
|||
|
|
4. Take a Coke(tm) break.
|
|||
|
|
3. Write a top ten list like this one.
|
|||
|
|
2. Write your term paper while also doing any of the above.
|
|||
|
|
1. Do absolutely nothing! Your supposed to be healing!
|
|||
|
|
get back to bed! :)
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
Additions to Farside
|
|||
|
|
by AsaMaro
|
|||
|
|
|
|||
|
|
|
|||
|
|
Several new areas have been added to Farside. Check the area list for
|
|||
|
|
details or ask around. Areas include Marat's Museum, Crom's House of
|
|||
|
|
the Brother's Grimm and Draeger's The Labyrinth of Silmavar.
|
|||
|
|
|
|||
|
|
Several other areas are also in the process of being tested.
|
|||
|
|
|
|||
|
|
The THANK command has been changed back to the social and a new command,
|
|||
|
|
HEROTHANK, has been instituted.
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
Farside Birthdays*
|
|||
|
|
Compiled by Ambrosia
|
|||
|
|
|
|||
|
|
|
|||
|
|
March
|
|||
|
|
-----
|
|||
|
|
Silk..................................March 1st
|
|||
|
|
Wish..................................March 3rd
|
|||
|
|
Aegis.................................March 6th
|
|||
|
|
Zipper................................March 9th
|
|||
|
|
Alamar................................March 10th
|
|||
|
|
Marat.................................March 16th
|
|||
|
|
Malad.................................March 25th
|
|||
|
|
Cult..................................March 28th
|
|||
|
|
|
|||
|
|
|
|||
|
|
* There are a *Lot* of names to be added to the list. Send birthdays
|
|||
|
|
as well as your character name to Ambrosia via a note in Farside or
|
|||
|
|
internet e-mail at Ambrosia@escape.com
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
*
|
|||
|
|
* News *
|
|||
|
|
*
|
|||
|
|
|
|||
|
|
Lone reached the ranks of hero shortly after the last issue. Congrats,
|
|||
|
|
Lone! Lone wanted to thank the following people for their help: Kariya,
|
|||
|
|
Adso, Chops, Marmot, Dazed, and Lax.
|
|||
|
|
|
|||
|
|
Draeger became a hero when he won the "Future of Farside" contest.
|
|||
|
|
Congrats, Draeger! He wanted to thank for following people for their
|
|||
|
|
help: Johnus, Zaknafein, Lurch, Chops Marat, Diamante, Balthazar, Samson,
|
|||
|
|
Maverick, Mega, and Dazed.
|
|||
|
|
|
|||
|
|
Chops left mortal life and ascended into the ranks of the gods.
|
|||
|
|
Congratulations, Chops, and welcome!
|
|||
|
|
|
|||
|
|
Hustler finally joined the ranks of heroes. He couldn't have done it
|
|||
|
|
without help from the following people: Lurch, Lone, Chops, Balthazar,
|
|||
|
|
Dazed, and Reflection. Congrats Hustler!
|
|||
|
|
|
|||
|
|
Wish, Leorick, and Fuzzy also heroed around the same time Hustler did.
|
|||
|
|
Congrats, guys, and good luck in gaining levels!
|
|||
|
|
|
|||
|
|
Ryu married Flute shortly after Darkyn wed Tiamat. Good luck with your
|
|||
|
|
marriages, and try not to die too quickly Darkyn. :)
|
|||
|
|
|
|||
|
|
Kylara joined the increasing ranks of women heroes! She wanted to thank
|
|||
|
|
Hustler, Lurch, Chops, Rackhir, Fuzzy, Beauford, and Marmot for helping
|
|||
|
|
her get there. Congrats, Kylara!
|
|||
|
|
|
|||
|
|
Shelby heroed shortly before this issue went to press. Congrats Shelby,
|
|||
|
|
and good luck!
|
|||
|
|
|
|||
|
|
------------------------------------------------------------------------
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
ް<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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|||
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|
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|
|||
|
|
<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>
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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>
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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><EFBFBD><EFBFBD>
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|||
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|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> Reviews <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
Computer Software Reviews
|
|||
|
|
Copyright (c) 1995, Louis Turbeville
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
Green Explorer
|
|||
|
|
Requires: Windows 3.1
|
|||
|
|
Commercial Program - List Price: $59.95
|
|||
|
|
MicroBase Publishing, Inc.
|
|||
|
|
(800)897-3637
|
|||
|
|
|
|||
|
|
If there is something you wanted to know about recycling, but were afraid to
|
|||
|
|
ask, then this is a program you definitely want to check out. This program
|
|||
|
|
will teach you most of what you will need to know about recycling and what you
|
|||
|
|
can do to help preserve our environment.
|
|||
|
|
|
|||
|
|
There is no fancy video or stunning audio, but this program is loaded with
|
|||
|
|
useful information that can be found and read in a easy manner. The
|
|||
|
|
information is concise, yet accurate and informative.
|
|||
|
|
|
|||
|
|
There are two sections of this program in which everyone will find some useful
|
|||
|
|
information. The first area is the house tour. In this section you are given
|
|||
|
|
a display of a house with which you can travel from room to room. In each room
|
|||
|
|
there is information on how to make that room a little more environmentally
|
|||
|
|
sound. Every room in the house is covered, from the kitchen to the bathroom
|
|||
|
|
to the home office. You will learn what components of your house are not very
|
|||
|
|
'green' and what you can do to improve the situation.
|
|||
|
|
|
|||
|
|
The second area of interest is called the Projects section. In this section
|
|||
|
|
there are numerous educational projects that make the environment a little
|
|||
|
|
safer. All of these projects can be done around the home; and a couple of
|
|||
|
|
these projects would be a great group or classroom project. There is a project
|
|||
|
|
here for everyone above the age of six. The projects in this section are just
|
|||
|
|
a few of the many great ideas for environmental protection that exit throughout
|
|||
|
|
the program.
|
|||
|
|
|
|||
|
|
The other areas of the program include:
|
|||
|
|
|
|||
|
|
- a Multiple Choice Quiz Section to test your environmental knowledge.
|
|||
|
|
|
|||
|
|
- a History Overview Section; this gives some background information on why
|
|||
|
|
recycling is important and some of the major developments concerning recycling
|
|||
|
|
and the green way of thinking.
|
|||
|
|
|
|||
|
|
- an Address Base Section that provides contact information on various
|
|||
|
|
companies and groups that are involved in the recycling movement, from
|
|||
|
|
companies that use recycled products in their manufacturing process to
|
|||
|
|
publications that cover environmental issues.
|
|||
|
|
|
|||
|
|
- an Index to asist you in quickly finding information on a topic of interest
|
|||
|
|
to you.
|
|||
|
|
|
|||
|
|
The only real drawback I had was the price. Sixty dollars seems a little
|
|||
|
|
pricy for a program that gives you the same information you could get in a
|
|||
|
|
book for half that price. However, the volumes of information are easily
|
|||
|
|
accessable.
|
|||
|
|
|
|||
|
|
If you are interested in learning about recycling and ways you can make a
|
|||
|
|
difference, than this program is worth a look. MicroBase has a reputation for
|
|||
|
|
making its products easy to use and loaded with information, and this program
|
|||
|
|
is vintage Microbase.
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
Software Review
|
|||
|
|
Copyright (c) 1995, L. Shawn Aiken
|
|||
|
|
All Rights Reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
Software Review:
|
|||
|
|
NeoBook and NeoBook Professional
|
|||
|
|
Reviewed by
|
|||
|
|
L. Shawn Aiken
|
|||
|
|
|
|||
|
|
For some years now I've been looking for a good way to present text and
|
|||
|
|
graphics files. I've seen some programs that do this, some quite
|
|||
|
|
expensive ones, in fact, but they never quite did what I wanted. But
|
|||
|
|
then I picked up NeoBook Professional.
|
|||
|
|
|
|||
|
|
NeoSoft touts NeoBook as "The latest in state-of-the-art electronic
|
|||
|
|
publishing." I may not know state-of-the-art, but I know what I like.
|
|||
|
|
With this program one can create interactive multimedia presentations,
|
|||
|
|
such as books, newsletters, magazines, or just about any type of
|
|||
|
|
publication you can imagine, spiced up with graphics, buttons, and even
|
|||
|
|
sound.
|
|||
|
|
|
|||
|
|
For those of you familiar with NeoSoft's DOS graphics program NeoPaint,
|
|||
|
|
NeoBook Professional will look familiar. It has the same easy to use
|
|||
|
|
feel. No strange new language to learn, just point and click with the
|
|||
|
|
mouse. NeoBook works on pages. A page can have a number of things on
|
|||
|
|
it, and be in just about any graphics mode, up to SVGA 1024x768
|
|||
|
|
resolution.
|
|||
|
|
|
|||
|
|
After picking the resolution, you can put scrolling windows anywhere on
|
|||
|
|
the page that display text files, captions, buttons that do a variety of
|
|||
|
|
function, simple stand alone graphics, and display a .gif or .pcx file.
|
|||
|
|
The buttons are one of the really neat things about NeoBook. Buttons
|
|||
|
|
can be any size, shape or color and be put anywhere on the page.
|
|||
|
|
|
|||
|
|
They can be assigned many different functions, such as turning to
|
|||
|
|
another page, displaying text balloons or files in a variety of fonts,
|
|||
|
|
displaying graphics, and playing sounds on the PC speaker. Buttons or
|
|||
|
|
even playing high quality sound files. The main difference between
|
|||
|
|
NeoBook and NeoBook Professional is the extra sound abilities.
|
|||
|
|
|
|||
|
|
There are many more button functions, and the functions can be combined
|
|||
|
|
in each button to create beeps, delays, play music and play FLC or FLI
|
|||
|
|
animation files. There is even a DOSCommand function that allows you to
|
|||
|
|
operate an external program from within the book.
|
|||
|
|
|
|||
|
|
With NeoBook you can make a very visually stunning publication and
|
|||
|
|
easily see run it from the editor. You can also go into other editors
|
|||
|
|
to edit or create text, sound, and graphics files without having to exit
|
|||
|
|
the program.
|
|||
|
|
|
|||
|
|
And there are still more little gadgets and tools, such as one of the
|
|||
|
|
button functions being allowing one to print a prepared file (such as an
|
|||
|
|
order form). But all of that is icing on the cake compared to when you
|
|||
|
|
compile your book. Even on my somewhat archaic 386, with the punch of a
|
|||
|
|
button NeoBook Professional compiles a 600K program in less than a
|
|||
|
|
minute. And the finished product is a stand alone .exe file, ready to
|
|||
|
|
be shipped off by disk or modem.
|
|||
|
|
|
|||
|
|
There are a few problems with the program. My big irk is a floating
|
|||
|
|
menu that hangs around the screen constantly. You have to get at the
|
|||
|
|
menu to get at the functions, and it makes them really easy to access,
|
|||
|
|
but the gol dern thing just sits there and I have as yet found a way to
|
|||
|
|
close it or minimize it. It gets in the way of working on the
|
|||
|
|
publication, especially if you are dealing with something that fills a
|
|||
|
|
large portion of the screen.
|
|||
|
|
|
|||
|
|
|
|||
|
|
Another is the size of the finished programs. The run module is some
|
|||
|
|
200K, and if you put a good deal of graphics in, you can get HUGE files.
|
|||
|
|
If you are planning to make a photo album, don't expect a 3.5" disk to
|
|||
|
|
handle it. NeoBook compiled programs do, however, compress well with
|
|||
|
|
Pkzip.
|
|||
|
|
|
|||
|
|
Overwhelmingly, NeoBook Professional is the best program I have seen for
|
|||
|
|
creating publications with text and graphics. It's so easy to use that
|
|||
|
|
I created a publication two hours after I unzipped it, without reading
|
|||
|
|
the manual. And it's abilities are so impressive that Joe DeRouen, the
|
|||
|
|
publisher of Sunlight Through the Shadows, and I, the Assistant Editor,
|
|||
|
|
have started to use it to publish our our NeoBook version of the
|
|||
|
|
magazine.
|
|||
|
|
|
|||
|
|
NeoBook and NeoBook Professional ar shareware and available for download
|
|||
|
|
on many local bbses. To order them, or for information, call NeoSoft at
|
|||
|
|
(503) 389-5489.
|
|||
|
|
|
|||
|
|
|
|||
|
|
Book Review
|
|||
|
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
Red Dwarf: Better Than Life by Grant-Naylor
|
|||
|
|
Penguin Books, Copyright 1990
|
|||
|
|
ISBN 0-451-45231-3
|
|||
|
|
Pages: 302
|
|||
|
|
|
|||
|
|
This is the second book in the Red Dwarf series, and by far by the most
|
|||
|
|
bizarre. But then, what do you expect from the former head writers of
|
|||
|
|
"The Spitting Image"?
|
|||
|
|
|
|||
|
|
Once again, we join the characters of Dave Lister (the last living
|
|||
|
|
human), Arnold Rimmer (the insecure hologram of one of Lister's former
|
|||
|
|
crewmates), Kryten (the ultra-clean, ultra-weird Robot), The Cat (an
|
|||
|
|
erect species of feline), and Holly (the schizophrenic ship's computer)
|
|||
|
|
for some of the zaniest misadventures from this side of the galaxy. But
|
|||
|
|
wait! Just before you thought that you had had enough, Grant-Naylor add
|
|||
|
|
another character into the mix: Talkie Toaster. This one character is
|
|||
|
|
the most ridiculous creation they have devised yet, which makes it one
|
|||
|
|
of the best ever.
|
|||
|
|
|
|||
|
|
While the writing style is kept simple, the gags come at a mile per
|
|||
|
|
minute. If you are looking for good, simple, yet strange entertainment,
|
|||
|
|
then look no further. You've found it in the universe of Red Dwarf.
|
|||
|
|
|
|||
|
|
Grade: A-
|
|||
|
|
|
|||
|
|
Book Review
|
|||
|
|
Copyright (c) 1995, Tommy Van Hook
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
Elvendude by Mark Shepherd
|
|||
|
|
Baen Books, Copyright 1994
|
|||
|
|
ISBN 0-671-87630-9
|
|||
|
|
Pages: 312
|
|||
|
|
|
|||
|
|
Mark Shepherd is probably best known as being the secretary for Fantasy
|
|||
|
|
writer Mercedes Lackey. With this book, he should break out of that
|
|||
|
|
shadow and start to prove what he's really worth as a solo writer.
|
|||
|
|
|
|||
|
|
"Elvendude" is set in Dallas, Texas, which brought some really good
|
|||
|
|
visual feeling on my part (especially since I live very near some of the
|
|||
|
|
areas that he describes and uses for background in this novel). The
|
|||
|
|
Elvish aspect of the book is handled very well, even better than the
|
|||
|
|
manner that Mercedes Lackey handles it in her books. Mr. Shepherd
|
|||
|
|
carries this genre way beyond the realm of a Fantasy setting. He almost
|
|||
|
|
makes you feel like you are a part of the story. The drug aspects of
|
|||
|
|
the novel are very well depicted, sometimes with frightening detail.
|
|||
|
|
|
|||
|
|
In short, this is an excellent novel, that is not being very well
|
|||
|
|
promoted by Baen Books. It's a shame too, since it has the possibility
|
|||
|
|
of outselling anything that Mercedes Lackey has put out.
|
|||
|
|
|
|||
|
|
Grade: A+
|
|||
|
|
|
|||
|
|
|
|||
|
|
<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
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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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<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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<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>
|
|||
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|
|||
|
|
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!
|
|||
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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><EFBFBD><EFBFBD>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> Fiction <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><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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|
|||
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|
|||
|
|
The Sapphire Affair: Part One
|
|||
|
|
Copyright (c) 1994, L. Shawn Aiken
|
|||
|
|
All Rights Reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
The Sapphire Affair: Part One
|
|||
|
|
by L. Shawn Aiken
|
|||
|
|
|
|||
|
|
|
|||
|
|
A muffled slap resounded from the creature's furry cheek. Adriana
|
|||
|
|
snatched the golden brush from it's slender fingers and dug out several
|
|||
|
|
curly red strands.
|
|||
|
|
"Look! Look what you have done, you awful thing!" she dangled hair
|
|||
|
|
in front of the lithe creature's noseless face. An infinite amount of
|
|||
|
|
Adrianas repeated the action in the mirrors surrounding them in her dressing
|
|||
|
|
room. Unnoticed, a black face emerged from behind the door, its eyes darting
|
|||
|
|
about to focus in on the real woman.
|
|||
|
|
"I do apologize, Miss Adriana," the tiny voice said as it's huge
|
|||
|
|
golden pupils turned a hazy blue.
|
|||
|
|
"What's going on?" the baron walked in and casually stepped between
|
|||
|
|
the lady and her servant. Adriana's cheeks were flushed and she was still
|
|||
|
|
breathing hard. He looked at the hair in her clenched fist and smirked.
|
|||
|
|
"Oh . . ." her eyes darted away from his and she looked at her own
|
|||
|
|
reflection. "You know what is wrong. *He* is coming."
|
|||
|
|
Baron Mauswa's teeth flickered in a brief grin. "You could have
|
|||
|
|
told Lord Breakman 'no'."
|
|||
|
|
Adriana fidgeted in her chair. "'Johnni' Breakman doesn't deserve
|
|||
|
|
that title. He's a self-centered, egotistical, boorish, troll-faced buffoon.
|
|||
|
|
And he's coming here, *here*, of all places." She threw the brush at the
|
|||
|
|
mirror, but it bounced of the high density polymer.
|
|||
|
|
Another grin flashed on the baron's dark face. "I'm glad I'm not
|
|||
|
|
your cousin - just your lowly husband."
|
|||
|
|
A sorrowful scream echoed from the hall into their ears. Adriana
|
|||
|
|
huffed.
|
|||
|
|
"The wretch is at it again. She won't shut up." she said.
|
|||
|
|
"Perhaps I should go see if she is all right."
|
|||
|
|
"No," Adriana shook her head. "Ignore her. We must go over the
|
|||
|
|
plans for the ball tonight."
|
|||
|
|
Baron Mauswa sighed and looked down at the orange furred, floppy
|
|||
|
|
eared servant. "Goolatoo, please go see to Lady Doogail. Try to console
|
|||
|
|
her. I'll try to console the red haired one who has little real to complain
|
|||
|
|
about."
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
The wind played about in Johnni's long golden hair as he looked out
|
|||
|
|
over the immaculate grounds bursting with red and yellow flowers. Their
|
|||
|
|
sweet scent mingled in his nose and brought a smile to his perfectly
|
|||
|
|
chiseled featured. The afternoon son glinted off of his teeth.
|
|||
|
|
"This is great," he said to Davies, who was struggling to get the
|
|||
|
|
luggage out of the limousine, "Finally, a little rest and relaxation."
|
|||
|
|
"Yes sir," the portly man grunted. "And don't forget tomorrow is
|
|||
|
|
the meeting."
|
|||
|
|
"Ah yes," Johnni's steel blue eyes drifted to the cacophonous
|
|||
|
|
mansion. "That would be Thursday?"
|
|||
|
|
"Today is Tuesday, sir." Davies' pot-marked face frowned. With the
|
|||
|
|
heap of luggage extricated from the trunk, he tapped the car on the back and
|
|||
|
|
it speed off down the circular driveway. He turned and noticed a gayly
|
|||
|
|
dressed figure coming from the building.
|
|||
|
|
"Ah yes." Johnni nodded absent-mindedly. The mansion was a
|
|||
|
|
horrendous sight. Strange spires sticking up in a random fashion from a
|
|||
|
|
lumpy structure that seemed to be designed after the shape of cow dung.
|
|||
|
|
Atop the spires were gargantuan rainbow colored wheels that spun in the wind.
|
|||
|
|
"Greeting to Hwaht Toogahkee, Lord Breakman," the black man in the
|
|||
|
|
bright yellow robe bounded down the cobblestone walkway and began pumping
|
|||
|
|
Johnni's hand. "It means 'House of the Creaky Knees' in Eshlu. I'm
|
|||
|
|
terribly happy to see you."
|
|||
|
|
"Eshlu?" Johnni looked at the strange man, not sure what to think
|
|||
|
|
of him. He was far shorter than Johnni's two meters, but he seemed to look
|
|||
|
|
Johnni in the eye.
|
|||
|
|
"The little furry people. They're all over the place. Good
|
|||
|
|
workers. They built the house a few hundred years ago. Of course it's
|
|||
|
|
been refurbished. Ceilings too small, you see. Had to knock out some
|
|||
|
|
floors."
|
|||
|
|
"And you are?" Johnni asked.
|
|||
|
|
"Why, I'm Baron Gebal Mauswa," he shook Johnni's hand again. "Your
|
|||
|
|
cousin's husband. Might I say how pleased I am to meet you?"
|
|||
|
|
"Well hello," Johnni smiled, shaking the baron's hand again, who
|
|||
|
|
seemed reluctant to let it go. "How is old Stinky-Drawers?"
|
|||
|
|
"Stinky-Drawers?" the baron cocked his head.
|
|||
|
|
"Childhood name. To get the wind up her."
|
|||
|
|
"Was it indeed," the Baron's eyes widened and his grin expanded
|
|||
|
|
until he looked like a gibbous moon on a dark night.
|
|||
|
|
Johnni glanced to Davies, who seemed to be swaying under the weight
|
|||
|
|
of the luggage. "We didn't expect to see you until we were inside."
|
|||
|
|
"I just had to come to meet you as soon as possible. Adriana has
|
|||
|
|
been climbing the walls ever since your grandfather told us you were coming.
|
|||
|
|
She hates you, you know."
|
|||
|
|
The sun's light stopped reflecting off of Johnni's teeth as hi
|
|||
|
|
s smile collapsed. "I thought surely ten years was enough time for her to
|
|||
|
|
forgive and forget."
|
|||
|
|
The baron began pumping Johnni's arm again. "Might I again say how
|
|||
|
|
pleased I am to see you?" He put his arm around Johnni and led him up the
|
|||
|
|
walkway. "So tell me what Adriana was like as a child. Was she fat? Did
|
|||
|
|
she have any diseases?"
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
Davies opened the window, letting the sunlight shine on his cratered
|
|||
|
|
face and into the rest of the room. Miles and miles of hedges blooming with
|
|||
|
|
yellow and red flowers could be observed, and in the distance a thin blue
|
|||
|
|
ribbon of river. He allowed himself a brief smile and then steeled himself
|
|||
|
|
before turning back to view Johnni and the baron.
|
|||
|
|
"This will be your room," the baron's arm swept over the spacious
|
|||
|
|
apartment. "You man-servant's quarters are adjoining." Johnni looked
|
|||
|
|
around and nodded with a smile.
|
|||
|
|
The baron grabbed his hand and pumped it again. "I must be off.
|
|||
|
|
The old ball and chain wants me to help prepare for the ball. Oh, I forgot
|
|||
|
|
to tell you, we are having a ball tonight. Informal. A few hundred guests.
|
|||
|
|
I must be off. I'll sent a servant to see to your needs." And with that
|
|||
|
|
the only thing left of the baron was the after image of his yellow robes
|
|||
|
|
burnt into Johnni's retina.
|
|||
|
|
"I do say," Johnni looked at Davies as the door slammed shut. "What
|
|||
|
|
an energetic fellow."
|
|||
|
|
"Yes sir," Davies muttered and went to the luggage. "I wished they
|
|||
|
|
would have warned us before we arrived on this planet that there would be a
|
|||
|
|
ball. I'm not sure you have anything to wear."
|
|||
|
|
Johnni waved the thought off with his hand. "I'm sure my uniform
|
|||
|
|
will do. One look at that, and the girls will be wobbling at the knees."
|
|||
|
|
"Indeed," Davies replied. The door opened, and a small furry Eshlu
|
|||
|
|
walked in carrying a vase full of flowers.
|
|||
|
|
"Pardons, my lords," it curtseyed, "I am Goolatoo and will be
|
|||
|
|
serving your needs for your stay." Goolatoo curtseyed again and placed the
|
|||
|
|
flowers on a desk. "Can I get you anything?"
|
|||
|
|
Davies grabbed the flowers and crammed them back in Goolatoo's
|
|||
|
|
hands. "We will have no need of mutilated flowers in here when there are
|
|||
|
|
live ones outside." The creature's golden eyes shifted to blue and it
|
|||
|
|
looked at the floor. What might have been a sniff sounded from it's nose
|
|||
|
|
holes.
|
|||
|
|
"Krike, Davies," Johnni walked up to them and knelt before the
|
|||
|
|
Eshlu. "Davies can be a bit gruff about killing flowers sometimes," he told
|
|||
|
|
it. "No need to be sad. A pretty young girl like you shouldn't be all
|
|||
|
|
upset now."
|
|||
|
|
"I'm not a girl," Goolatoo said, sniffing again.
|
|||
|
|
"Oh, well, a butch young boy like you shouldn't get all upset
|
|||
|
|
over . . ."
|
|||
|
|
"I'm not a boy," it said.
|
|||
|
|
"Oh dear. Did you have an accident and something come off?"
|
|||
|
|
"We are hermaphrodites. I have both a penis and a vagina."
|
|||
|
|
Johnni's face went red and his bolted up. "Er, well, I, er . . ."
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
As the baron collected Johnni to see Adriana, Davies once again
|
|||
|
|
reminded him of his meeting to following day. Johnni nodded vigorously and
|
|||
|
|
tilted his head as the sobbing reached his ears.
|
|||
|
|
"Who is that?" he asked the baron as they walked down a tall towards
|
|||
|
|
a twisting staircase.
|
|||
|
|
Baron Mauswa's face dimmed. "That is Lady Doogail. She used to be
|
|||
|
|
a neighbor. A dreadful thing. Her father has disappeared. She'll be at
|
|||
|
|
the ball tonight."
|
|||
|
|
"Can anything be done for her?" Johnni asked.
|
|||
|
|
"Hopefully the ball will lift her spirits," he said as they walked
|
|||
|
|
down the staircase. This lead them to a grand ball room filled with drink
|
|||
|
|
stands and flowers and well-attired servants dashing about. In the center
|
|||
|
|
of the maelstrom stood Adriana, her arms pointing this way and that, barking
|
|||
|
|
single word orders.
|
|||
|
|
She slowly turned and looked up at Johnni, her fiery hair piled on
|
|||
|
|
top of her head and her green eyes given added force by her blue dress. The
|
|||
|
|
red slash beneath her mouth smirked.
|
|||
|
|
"How pleased I am to see you," she reached out and hugged him. "I
|
|||
|
|
trust you are doing well?"
|
|||
|
|
"Yes, just peachy," he hugged her back, then stepped away. "And
|
|||
|
|
you?"
|
|||
|
|
"Just fine. I do hope you are okay. We heard so little about you
|
|||
|
|
during the war, didn't we, darling? We waited with baited breath until you
|
|||
|
|
were released from that mental hospital."
|
|||
|
|
"Uh, it wasn't really a mental hospital. Not a hospital at all,
|
|||
|
|
really. I was just under observation."
|
|||
|
|
"Oh and we worried so when Uncle Breakman had to intervene and break
|
|||
|
|
all of those rules to rescue you from those doctors with their nasty
|
|||
|
|
machines." Her eyes glimmered.
|
|||
|
|
"Really, it was nothing. You know father blows everything out of
|
|||
|
|
proportion." Johnni gulped, a sinking feeling in his guts.
|
|||
|
|
The baron grabbed him by the arm. "Come, Johnni. Let's not bother
|
|||
|
|
Adriana just now. She has a good deal of work to do. Don't you,
|
|||
|
|
Stinky-Drawers?"
|
|||
|
|
Adriana clutched her chest and inhaled noisily. "What?" she
|
|||
|
|
coughed, eyes bulging.
|
|||
|
|
"Stee-in-key-Draw-wus," the baron slowly sounded out with a grin.
|
|||
|
|
She hit him with a piercing look that made him instinctively rub his neck.
|
|||
|
|
"Nonsense." she said through gritted teeth. "I'd love to help show
|
|||
|
|
our dear Johnni around your collection. Shall we start with the rings?"
|
|||
|
|
"I suppose so." the baron replied.
|
|||
|
|
They made their way through several garish hallways, filled with a
|
|||
|
|
virtually random array of very expensive, if somewhat tasteless, object
|
|||
|
|
d'art. Then they came to one wing cram-packed with well lit display cases.
|
|||
|
|
"This is my ring collection," Baron Mauswa smiled as he patted one
|
|||
|
|
of the cases. "There are rings here from every culture and race that have
|
|||
|
|
an appendage to put one on."
|
|||
|
|
"Most impressive," Johnni nodded, strolling before them with his
|
|||
|
|
hands behind his back.
|
|||
|
|
"But not impressive as my only part of the collection," Adriana
|
|||
|
|
motioned to one of the cases. "Come." Johnni walked to it. A single ring
|
|||
|
|
sat in the case. It was cut from pure diamond and engraved with a platinum
|
|||
|
|
inscription on what would have been the gem-front.
|
|||
|
|
"Can I touch it?" Johnni asked with a wide smile on his face. The
|
|||
|
|
baron looked at him curiously and lifted the lid.
|
|||
|
|
"It's just her great-grandfather's old ring." the baron shrugged.
|
|||
|
|
Johnni picked it up and stroked it.
|
|||
|
|
"And it's mine, mine, mine," Adriana crossed her arms with a smug
|
|||
|
|
expression on her face. "Great-grandfather left it to me. Only me. No one
|
|||
|
|
else."
|
|||
|
|
"He was my great grandfather too," Johnni muttered, still gazing at
|
|||
|
|
the ring.
|
|||
|
|
"What's so special about it?" The baron looked at it with renewed
|
|||
|
|
interest. "It certainly can't be all that expensive."
|
|||
|
|
Johnni glanced up from the ring, the light from the case shining
|
|||
|
|
under his face. "The Emperor gave him this ring after great grandfather
|
|||
|
|
foiled a coup attempt. He was also awarded the Duchy of Mellfield. Its
|
|||
|
|
because of him that we are all titled nobility. He was the founder of the
|
|||
|
|
house. A brave man."
|
|||
|
|
"Yes," Adriana nodded. "And it's mine."
|
|||
|
|
Johnni looked at her. "May I wear it tonight? It'd be awfully nice
|
|||
|
|
of you."
|
|||
|
|
"No, you may not," the crimson gash under her nose widened. "Most
|
|||
|
|
certainly not."
|
|||
|
|
"But it'd be awfully nice," Johnni pleaded.
|
|||
|
|
"Come on," the Baron suddenly smiled. "Let him wear it. For
|
|||
|
|
tonight only. Just this once. It would mean so much to old Johnni here."
|
|||
|
|
*Exactly* Adriana's eyes said. "Sorry, Johnni. It's not insured
|
|||
|
|
for that. I can't allow it. I've got to thing of great grandfather."
|
|||
|
|
"Dear," the Baron's tone changed.
|
|||
|
|
She stared at him with a twinkle in her eye.
|
|||
|
|
"Dear, let Johnni wear the ring."
|
|||
|
|
She continued to stare.
|
|||
|
|
"Let him wear the ring this instant!"
|
|||
|
|
"How dare you raise your voice to me!" she bellowed, turning white.
|
|||
|
|
"I shall and I will! Let Johnni wear the ring!"
|
|||
|
|
Johnni's eyes widened. "I'm sorry. I didn't mean to . . ."
|
|||
|
|
"No." she smiled and looked at the wall.
|
|||
|
|
"I'll cut off your allowance!"
|
|||
|
|
"No." she began to sway back in forth, singing 'no' softly.
|
|||
|
|
"I'll revoke your traveling privileges!"
|
|||
|
|
"No. No. No," she sang.
|
|||
|
|
"Must I bring up ELSBURY!"
|
|||
|
|
She stopped.
|
|||
|
|
He stared at her.
|
|||
|
|
She stared at him.
|
|||
|
|
She threw her scarf to the floor.
|
|||
|
|
"Very well, Johnni," she turned to her cousin. "You may wear the
|
|||
|
|
ring tonight."
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
Johnni wasn't sure what to tell Davies when he asked how things when
|
|||
|
|
with his cousin. Luckily, Davies wasn't listening to his reply. He was to
|
|||
|
|
busy trying to make his white dress uniform look presentable.
|
|||
|
|
"I think I should wear the gold cuff-links grandfather bought me,"
|
|||
|
|
Johnni said while inspecting himself in front of the full length mirror.
|
|||
|
|
"Sir, those are not military code. If there are any military
|
|||
|
|
personnel at the ball, they will notice," Davies drug a comb through
|
|||
|
|
Johnni's hair.
|
|||
|
|
"Krike, Davies, no one is going to be wanting to discuss things like
|
|||
|
|
that tonight."
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
The ball was going particularly well. Plenty of young women had
|
|||
|
|
ganged up to coo and fawn over him. For some reason, Adriana kept on
|
|||
|
|
pulling him away to meet other people. Much older people. Ancient, grumpy
|
|||
|
|
men and women. But finally the dried up people seemed to have run out.
|
|||
|
|
"And this is Mr. Henry Clypse and his wife Pricilla," Adriana
|
|||
|
|
introduced them. Mr. Clypse was a few fingers taller than Johnni, had an
|
|||
|
|
expensive suit on, but was strangely not of noble blood. His wife was
|
|||
|
|
wearing a diamond tiara, however. Not that it meant much. "Mr. Clypse
|
|||
|
|
owns the Clypse Bank and Trust."
|
|||
|
|
"And what do you do," Mr. Clypse asked after shaking his hand. He
|
|||
|
|
seemed not to be looking at him; rather, he was looking over the top of his
|
|||
|
|
head as if scanning the party-goes behind him.
|
|||
|
|
"Well, I tour," Johnni nodded, trying to peek around to see what he
|
|||
|
|
was looking at.
|
|||
|
|
"Tour? What are you, some sort of artist? A lay-about musician,
|
|||
|
|
perhaps?"
|
|||
|
|
"Oh I love musicians," Mrs. Clypse winked at him. A chill went up
|
|||
|
|
and down Johnni's spine.
|
|||
|
|
"Uh, no, I just tour and look about," Johnni averted his eyes away
|
|||
|
|
from Mrs. Clypse, who was licking her lips in a strange manner.
|
|||
|
|
"A tourist? You get paid for that?" Mr. Clypse said disdainfully.
|
|||
|
|
"Oh," Johnni shook his head, "No, I actually do things. I inspect.
|
|||
|
|
For my grandfather. Inspect things of his. Look at them. And tell him.
|
|||
|
|
About the things. That he owns."
|
|||
|
|
"My word," Mr. Clypse rubbed his chin. "I'm expecting one of your
|
|||
|
|
grandfather's inspectors tomorrow. He owns half of the Pweeth Power Plant
|
|||
|
|
downtown. My bank owns the other half of it."
|
|||
|
|
Johnni nodded slowly, then a gear clicked. "I think that's the
|
|||
|
|
place I am supposed to see. Yes, I am. Thursday."
|
|||
|
|
"I was told the inspection was to be tomorrow," Mr. Clypse' eyebrow
|
|||
|
|
lifted. Then eyes focused in the distance as if he had spotted something.
|
|||
|
|
"You are probably right," Johnni nodded, trying to mentally figure
|
|||
|
|
when exactly his appointment was.
|
|||
|
|
Adriana laughed at his side, "Johnni never was good with figures.
|
|||
|
|
Or names. Or even remembering how to breath." Suddenly Mr. Clypse began to
|
|||
|
|
drift away.
|
|||
|
|
"If you'll excuse me," he said. "I must be off. Money doesn't grow
|
|||
|
|
in idle chatter."
|
|||
|
|
His wife watched with a stern expression as Mr. Clypse disappeared
|
|||
|
|
into the crowd, then followed after him.
|
|||
|
|
"Those aren't military issue, are they, boy," a grey-mustached man
|
|||
|
|
in the bright red battle coat motioned to Johnni's arm with his drink.
|
|||
|
|
"Uh, no," Johnni held up his arm to get a better look at the
|
|||
|
|
swirling gold dragons now attached to his arm for the duration of the night.
|
|||
|
|
The old man's uniform told that he was, or had been, a general.
|
|||
|
|
"Lord Ritt Johnni Breakman," Adriana smiled, sipping from her wine
|
|||
|
|
glass, "You must meet Lord Ritt Andrucletious Puphinston and Lady
|
|||
|
|
Cruenellette."
|
|||
|
|
Lord Puphinston looked like the perfect picture of a modern major
|
|||
|
|
general. Lady Cruenelltte, however, looked like a cannonball with arms and
|
|||
|
|
legs, wearing a conch shell for a dress.
|
|||
|
|
"A Ritt, are you boy?" the old man eyed him with what appeared to be
|
|||
|
|
his only good one, "So you earned that in combat?"
|
|||
|
|
"Well, for doing my job," Johnni nodded slowly.
|
|||
|
|
Adriana tittered. "Our dear Johnni was in the Kartikan Conflict."
|
|||
|
|
"I feel sorry for you, boy," Puphinston downed his glass of brandy.
|
|||
|
|
Johnni glanced at the floor and began to rub his cuff links. "What
|
|||
|
|
battalion were you in."
|
|||
|
|
"Several. Here and there. Most of the time in the 1st Rescue
|
|||
|
|
Battalion."
|
|||
|
|
"Rescue?" Puphinston shook his head. "Not a very honorable
|
|||
|
|
position."
|
|||
|
|
"Come now," Lady Puphinston piped up, "let's not talk of such boring
|
|||
|
|
things. Let's talk about current events. I know, the scandal!"
|
|||
|
|
"Cruenellette," Puphinston turned to his wife. "If we are going to
|
|||
|
|
talk about something different, I'd rather talk about the boat racing at the
|
|||
|
|
marina."
|
|||
|
|
"Scandal?" Adriana asked. "What scandal?"
|
|||
|
|
Johnni sighed and watched the woman's lips move. They flapped about
|
|||
|
|
as if some strange marine creature was trying to invent locomotion. His
|
|||
|
|
eyes drifted further about. There was Baron Mauswa dancing, flailing his
|
|||
|
|
yellow sheathed arms about, looking like a bird. Near the door was a short
|
|||
|
|
necked man who looked like a tortoise. They all seemed like clouds somehow.
|
|||
|
|
Across the room he spotted the very tall Mr. Clypse. His back was
|
|||
|
|
to Johnni. The man was talking to someone, hands shaking a bit. Was he
|
|||
|
|
angry? Who was he talking to? Johnni stealthily rose to his tiptoes. The
|
|||
|
|
other party came into view.
|
|||
|
|
It was a woman. Young. Blonde. Pretty. Blue eyes downcast.
|
|||
|
|
Definitely *not* his wife. They were both away from the main crowd in a
|
|||
|
|
darkened corner.
|
|||
|
|
"Adriana?" Johnni interrupted. "Who is that woman over there?"
|
|||
|
|
Adriana stared at him angrily, finished her sentence, then stood up
|
|||
|
|
on tiptoes and peered over.
|
|||
|
|
"Oh, that's our dreadful guest Sapphy. Quite a bore. Anyway," she
|
|||
|
|
turned back to Lady Puphinston, "I don't see anything wrong with it."
|
|||
|
|
Mrs. Puphinston shook her head violently. "Andru dear, tell her.
|
|||
|
|
Explain." She jabbed him in the ribs with her pudgy elbow.
|
|||
|
|
He cleared his throat and his eyes gave off a far away look, as if
|
|||
|
|
he was speaking to an audience. "Illegal indenture strikes at the heart of
|
|||
|
|
what has stitched our civilization together for these three centuries.
|
|||
|
|
Without rules on who may and may not be enslaved, why, might not you or I be
|
|||
|
|
subject to these illegal acts?"
|
|||
|
|
Adriana laughed. "Well, I'm not likely to be frequenting seedy bars
|
|||
|
|
on the waterfront."
|
|||
|
|
"Want to bet," the baron suddenly stuck his dark face between
|
|||
|
|
Adriana and Johnni. "What are we talking about." Adriana stared hatefully
|
|||
|
|
at him.
|
|||
|
|
"We are talking about that cargo ship full of illegal indenturees
|
|||
|
|
confiscated a month ago up in orbit," the rotund Mrs. Puphinston said.
|
|||
|
|
"They said they were all pressed into service while inebriated in bars along
|
|||
|
|
the waterfront.
|
|||
|
|
Johnni cleared his throat. "I don't think anyone should be
|
|||
|
|
indentured, illegal or legally."
|
|||
|
|
"Quite right," the baron put his arm around Johnni's shoulders.
|
|||
|
|
"All of this slavery leaves a bad taste in my mouth. It should all be
|
|||
|
|
banned."
|
|||
|
|
"But Johnni," Adriana's eyes flickered, "Isn't your servant Davies
|
|||
|
|
indentured. In fact, hasn't his family been indentured for the last three
|
|||
|
|
generations?"
|
|||
|
|
"Well yes," Johnni jammed his finger in his collar in an attempt to
|
|||
|
|
loosen it. "But I don't hold the indenture papers. Grandfather does.
|
|||
|
|
Davies is simply working off something his grandfather broke or stole or
|
|||
|
|
something."
|
|||
|
|
"But boy," Lord Puphinston shook his head. "That's what an
|
|||
|
|
indenture is. A person, or family, or multiple generations working off past
|
|||
|
|
debts. Surely you must see that it's necessary. Why, we can't go back to
|
|||
|
|
the way it was. People getting out of their debts by declaring bankruptcy?
|
|||
|
|
That's stealing!"
|
|||
|
|
Baron Mauswa shook his black fist at Puphinston, "But how many
|
|||
|
|
countless planets have we fought war with, then doomed them to eternal
|
|||
|
|
indenture to pay off their so-called war crimes debt?"
|
|||
|
|
Lord Puphinston smiled, "How many indentures do you have working
|
|||
|
|
for you?"
|
|||
|
|
"Well," the baron crossed his arms. "I have to work from within the
|
|||
|
|
system. With what free servants charge I can only afford a handful of them.
|
|||
|
|
The rest I *have* to make up with indentured servants. I couldn't run this
|
|||
|
|
house, my other estates, or my businesses without them!"
|
|||
|
|
As the volume level raised, Johnni carefully snuck out of the throng
|
|||
|
|
that was growing around them. Politics was a terribly dull subject that
|
|||
|
|
often brought out the worst and loudest in people.
|
|||
|
|
But there was something interesting about. Adriana had said her
|
|||
|
|
name. What was it? Her sobs had been echoing through the halls earlier.
|
|||
|
|
Something about her father. Johnni knew he could help. He was trained to
|
|||
|
|
help.
|
|||
|
|
He stood up on tip toes and looked where she had been. She wasn't
|
|||
|
|
there any more. That corner had been vacated of people. Mr. Clypse was
|
|||
|
|
gone as well. Perhaps they had gone somewhere?
|
|||
|
|
Johnni made his way through the empty hors d'oeuvres tables. It was
|
|||
|
|
like a pack of mad scavenger had hit them. Bits of trodden on food littered
|
|||
|
|
the floor. Broken wine glasses. The crowd had moved on. Johnni looked
|
|||
|
|
around to find them.
|
|||
|
|
There was a large cluster of people nearer the kitchens. The
|
|||
|
|
servants had put out more food there. Johnni stood on tip-toe. Aha.
|
|||
|
|
Mr. Clypse was standing there, waving his arms about. He was
|
|||
|
|
talking to someone shorter than he who was also waving their arms about.
|
|||
|
|
Johnni made his way closer. He gulped. It was the wife. The one who had
|
|||
|
|
given him that funny look. Johnni turned around and walked as fast as he
|
|||
|
|
could away.
|
|||
|
|
But where was the girl? Maybe she had left. Johnni sighed and
|
|||
|
|
began to wander about, eventually lighting on a sofa in the corner. No one
|
|||
|
|
was here to bother him. He sat his empty glass on a coffee table and leaned
|
|||
|
|
back.
|
|||
|
|
A blonde woman in a diaphanous gown sat next to him. Johnni looked
|
|||
|
|
at her. It was the woman!
|
|||
|
|
"Hello there," he smiled at her, "You must be . . ."
|
|||
|
|
"Lady Sapphire Doogail, but everyone calls me Sapphy. You are Lord
|
|||
|
|
Breakman?" she smiled, but it seemed to be empty of warmth.
|
|||
|
|
"Call me Johnni," he stood up and shook her hand. "How are you.
|
|||
|
|
I've heard that there has been some trouble."
|
|||
|
|
Her eyes darted around. "What trouble?"
|
|||
|
|
"Your father. The baron told me," he sat down again.
|
|||
|
|
"Oh," she sighed. "I . . ."
|
|||
|
|
"I see the two most useless people here have met," Adriana's voice
|
|||
|
|
waffed from behind.
|
|||
|
|
"Hello Baroness," Sapphy around looked glumly at her. "Your ball is
|
|||
|
|
magnificent, as usual."
|
|||
|
|
Adriana walked around the and sat on the sofa across from them.
|
|||
|
|
"You and your proletariat behavior caused quite a stir back there."
|
|||
|
|
"Me?" Johnni asked.
|
|||
|
|
"All that talk of freeing the indentured servants. You didn't put
|
|||
|
|
much thought in it before you said it. But then again, you were always like
|
|||
|
|
that. You'll find that out about him, Sapphy. He's awfully stupid."
|
|||
|
|
Sapphy looked at Adriana, then looked to Johnni.
|
|||
|
|
"What's this all about, 'Driana?" Johnni asked. "We haven't seen
|
|||
|
|
each other for ten years, and you have been acting . . ."
|
|||
|
|
"It's just a little time, Johnni. Do you think that time alone can
|
|||
|
|
change anything. Do you think just the movement of a watch can make thing
|
|||
|
|
s different?" Adriana stood up.
|
|||
|
|
"Well, I . . ."
|
|||
|
|
"Ask good old Bertha if time makes anything better," she said with a
|
|||
|
|
grin and a glimmer and glided away.
|
|||
|
|
Sapphy watched her go. "What was that about?" She turned to
|
|||
|
|
Johnni. "Why . . . are you crying?"
|
|||
|
|
"No, no," Johnni sat up from his hunched over position and blinked
|
|||
|
|
his eyes several times. "It was the smoke from her cigarette."
|
|||
|
|
"But she wasn't smoking."
|
|||
|
|
"I . . ."
|
|||
|
|
"Oh, I hate that wicked woman," Sapphy sniffed. Then with a sob she
|
|||
|
|
leapt up and ran through a side door.
|
|||
|
|
"Sapphy . . ." Johnni quickly wiped his eyes and ran after her. The
|
|||
|
|
hallway beyond the door was long and had several doors. He stopped. One
|
|||
|
|
was closing. He ran to it.
|
|||
|
|
"Sapphy?" he said as he walked in. It was a small, dim drawing room
|
|||
|
|
with a divan and a fireplace. She was laying on the rug before it sobbing.
|
|||
|
|
"What's the matter?" he asked, kneeling next to her. Sapphy's dress
|
|||
|
|
splayed out on the floor like a ruffled bedspread. "Is it about your
|
|||
|
|
father?"
|
|||
|
|
She sobbed louder. Her head was moving. Perhaps that was an
|
|||
|
|
affirmative. Johnni carefully touched her shoulder.
|
|||
|
|
"Oh Johnni!" she threw her arms around his neck and sobbed. He
|
|||
|
|
could feel wetness seeping through the fabric on his shoulder. Johnni's
|
|||
|
|
hands were outstretched. He didn't know quite what to do with them.
|
|||
|
|
"What has happened to your father?" he asked. She clutched him
|
|||
|
|
tighter. He tentatively began stroking her golden hair. It was much like
|
|||
|
|
his.
|
|||
|
|
"He's been kidnapped," she wailed with her face deep in his
|
|||
|
|
shoulder.
|
|||
|
|
"By thunder!" he jumped to his feet, his fists clenched. Sapphy
|
|||
|
|
fell to the floor. "I'll thrash the fiend who has done this! What do the
|
|||
|
|
police have to say?"
|
|||
|
|
"The police don't know," she wailed from his feet. His eyes widened
|
|||
|
|
and he grabbed the phone from the table. Sapphy shrieked.
|
|||
|
|
"No! You mustn't! He said if the police were told, he would kill
|
|||
|
|
my father!"
|
|||
|
|
"Who? Who said that?"
|
|||
|
|
"A man named Whiskers," she cried.
|
|||
|
|
"Ooh, sounds like a nasty, hairy man who picks at his and other
|
|||
|
|
people's scabs," Johnni shivered. "What does he want?"
|
|||
|
|
"A ton of cash, which I don't have!" she sniffed.
|
|||
|
|
"Hold on," Johnni jabbed his finger at buttons on the phone.
|
|||
|
|
"Davies. Sorry. How much money do I have. What? Really? Oh dear. Are
|
|||
|
|
you sure? Positive? Krike." He set down the phone and knelt next to her.
|
|||
|
|
"It appears I'm tapped out. But, by thunder, I vow to you that I will not
|
|||
|
|
let this crime go unpunished."
|
|||
|
|
"You'll help?" she looked up at him with her big, blue eyes.
|
|||
|
|
"On my honor," he leapt up again, fist clenched and chin out.
|
|||
|
|
"Where is your father?"
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
It was a dank and nasty street corner. Cardboard huts lined the
|
|||
|
|
sidewalk, illuminated by lewd holographic advertisements showing loose women
|
|||
|
|
doing loose thing. Johnni also caught the whiff of his incontinent
|
|||
|
|
grandmother, but was sure that she would not be in the vicinity.
|
|||
|
|
Sapphy had no idea where her father was. Or the Whiskers fellow.
|
|||
|
|
Apparently he had left a message for her at her net address.
|
|||
|
|
"The Friggin Fat Fish Bar and All Night Orgy Palace," read the
|
|||
|
|
flashing sign above his head. Yes, this looked like the place. Johnni was
|
|||
|
|
certain that he could find the Whiskers fellow here. Or somewhere nearby.
|
|||
|
|
Perhaps. Maybe he could find information. Scummy people frequented scummy
|
|||
|
|
places, and this Whisker person sounded very scummy indeed. He opened the
|
|||
|
|
door to hoots and hollers.
|
|||
|
|
Smoke clogged his eyes. Eventually they adjusted to the dim light.
|
|||
|
|
There was raised boxing ring in the center of the dark room. Two scantily
|
|||
|
|
clad women were doing something in the ring. Johnni couldn't understand
|
|||
|
|
what they were doing, but it looked like they were giving each other a
|
|||
|
|
massage. Grimy men in grimy suits were shouting things at them. Yes.
|
|||
|
|
These were the types of characters that could aid him.
|
|||
|
|
Sapphy had know little about what had happened to her father. Unti
|
|||
|
|
l recently, her father, Lord Doogail, had owned the estate next door. Ten
|
|||
|
|
kilometers next door, Sapphy had explained. She had grown up there. A
|
|||
|
|
dismal place, she described, sitting smack dab on a rotting swamp. Her
|
|||
|
|
father had run aground financially, and the bank foreclosed on the estate.
|
|||
|
|
Shortly thereafter, her father disappeared. Now this Whiskers fellow was
|
|||
|
|
threatening to kill him on Friday. Or was it Thursday?
|
|||
|
|
He walked closer to the ring, having to push by several people. At
|
|||
|
|
closer inspection, the women where not giving each other a massage. The one
|
|||
|
|
with the out of proportion upper feminine region had the smaller bosomed one
|
|||
|
|
by the hair and was punching her in the face. Johnni's eyes widened and he
|
|||
|
|
shoved through the crowd and leapt up in the ring.
|
|||
|
|
"Shame on you!" he batted the woman's hand that held the hair.
|
|||
|
|
"Stop that this instant."
|
|||
|
|
Both women stared at him with jaws agape. There were a few
|
|||
|
|
indecipherable shouts from the audience.
|
|||
|
|
"Whatever she did to you, it's not enough to fight over. And in
|
|||
|
|
public, of all places," Johnni shook his head disparagingly.
|
|||
|
|
The women looked at him, looked at each other, and did a combination
|
|||
|
|
karate kick in Johnni's important place and he collapsed on the canvas. The
|
|||
|
|
crowd cheered.
|
|||
|
|
Johnni struggled up. One of the woman kicked him in the face and he
|
|||
|
|
flew back. The big breasted one leapt on him.
|
|||
|
|
"Give it to him, Helga!" came a cry from the audience.
|
|||
|
|
Johnni struggled as a giant breast covered his face, suffocating
|
|||
|
|
him. She gave him repeatedly blows about the ears. He struggled to get her
|
|||
|
|
off, but only managed to get on top of her. Her arms flapped. He grabbed
|
|||
|
|
them, yanked off her bikini top, and tied them behind her back.
|
|||
|
|
"I must apologize for this . . ." he muttered as the other one leapt
|
|||
|
|
on top of him. The audience was howling in laughter. She punched him in
|
|||
|
|
the kidneys.
|
|||
|
|
"Please, miss," he cried and crawled about the ring with her on his
|
|||
|
|
back. She grabbed his hair and yanked. He reared up and bucked her off,
|
|||
|
|
loosing two handfuls of hair. With a scream she flew into the audience.
|
|||
|
|
"Krike," he muttered and stood up. Everything had gone silent. The
|
|||
|
|
audience was staring at him.
|
|||
|
|
"Good," he dusted his white uniform off. "May I have your
|
|||
|
|
attention. I am looking for a most despicable person who calls himself
|
|||
|
|
Whiskers. I have a score to settle with him. Do any of you know where I
|
|||
|
|
might find him?"
|
|||
|
|
The audience responded with laughter. A short man pulled himself up
|
|||
|
|
on the canvas and pointed a stubby finger at Johnni.
|
|||
|
|
"How dare you interrupt my fight!" spittle flew from his mouth.
|
|||
|
|
"Nibor, remove this idiot from the premises." Johnni blinked as another man
|
|||
|
|
came up on the ring. A big man. He removed his shirt. Muscles leapt out
|
|||
|
|
in all directions. He began circling Johnni, waving his fists about.
|
|||
|
|
"I have no fight with you," Johnni said, and received a belt in the
|
|||
|
|
jaw. Johnni sighed and hunkered down, circling Nibor with his fists out.
|
|||
|
|
"This isn't really necessary," Johnni dodged a punch. Nibor's eyes
|
|||
|
|
widened and he gave Johnni a strong left to the jaw. Johnni's mouth filled
|
|||
|
|
with blood, but he didn't quite know where to spit it.
|
|||
|
|
Nibor punched again, this time in the gut. Bloody spittle
|
|||
|
|
splattered his face.
|
|||
|
|
"So sorry," Johnni apologized. Nibor's face turned redder that the
|
|||
|
|
blood covering it and charged. Johnni gave him an uppercut to the chin.
|
|||
|
|
Nibor collapsed. He lifted his head, then fell back.
|
|||
|
|
"I do apologize," Johnni turned back to the crowd. "I just want to
|
|||
|
|
know of a man named Whiskers. If anybody can tell me . . . "
|
|||
|
|
The little short man was jumping up and down. "God damn bastard!
|
|||
|
|
Nibor, you are fired! Mooga, take this upper class fairy out of here!"
|
|||
|
|
An entity came up on the ring. It was short, covered with golden
|
|||
|
|
fur, and had great big ears. Johnni squinted at it.
|
|||
|
|
"My word, you are one of those Eshlu creatures." Mooga did not
|
|||
|
|
respond. It set it's feet in a peculiar manner and began circling.
|
|||
|
|
"You know," Johnni knelt down to look it in the eye. "You might
|
|||
|
|
want to leave before you get hurt. I'd hate to have to hit you."
|
|||
|
|
Mooga's tiny fist shot out like lightning and impacted on Johnni's
|
|||
|
|
chest. There was a crack.
|
|||
|
|
"Krike," Johnni said as the air rushed out of him. Mooga struck
|
|||
|
|
again, this time in the solar plexus. Johnni doubled over.
|
|||
|
|
"I don't think . . ." Mooga kicked him in the back of the head.
|
|||
|
|
Johnni saw pretty little stars, then darkness.
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
Johnni's eyes peeled open and slowly focused in on the glowplate
|
|||
|
|
above him. It flickered. His head throbbed. His back ached.
|
|||
|
|
He peeled himself up from the cold, aluminium floor. There were
|
|||
|
|
bars before him. Strong, tough, unyielding. Johnni yanked at them to no
|
|||
|
|
avail.
|
|||
|
|
The cell was like a coffin, with barely enough room for him to sit
|
|||
|
|
up. A dark hallway was beyond the bars, and he seemed to be at least a
|
|||
|
|
meter or two above the hall floor.
|
|||
|
|
"Krike," he muttered. The tiny room wasn't even fit for a dog. A
|
|||
|
|
particularly bad dog, in fact, who had become attached to a new
|
|||
|
|
acquaintance's leg. He laid back down and rubbed his hand over his face.
|
|||
|
|
Something was missing. Something bad. Johnni tried to recall. His
|
|||
|
|
hand! The ring! His great grandfather's ring which had been given to him
|
|||
|
|
by the Emperor! It was gone. It wasn't on the ring finger. Or the pinkie.
|
|||
|
|
Or even the thumb. What had happened?
|
|||
|
|
Adriana's blistering stare formed in his mind. How was to he
|
|||
|
|
explain. He didn't quite remember where it had gone himself. His stomach
|
|||
|
|
knotted. Then suddenly released. Nothing was amiss. The ring would be on
|
|||
|
|
his other hand, of course.
|
|||
|
|
He slowly brought his other hand into view. Not there. He turned
|
|||
|
|
it around to see the other side. Still not there. Oh dear. Adriana would
|
|||
|
|
have him shot. If, of course, she could find him.
|
|||
|
|
But could he find himself? Where was he? What evil mastermind had
|
|||
|
|
done this to him?
|
|||
|
|
Aha. Whiskers. The fiendish mastermind who had kidnapped poor
|
|||
|
|
Sapphy's father. Obviously, Whiskers had kidnapped Johnni as well. Then
|
|||
|
|
sequestered him beneath the catacombs of his hilltop castle.
|
|||
|
|
All fiendish masterminds had hilltop castles. Well, most. Johnni
|
|||
|
|
had met a few fiendish masterminds that lurked in one bedroom suburban
|
|||
|
|
flats. But this was obviously not in a suburban flat. Well, perhaps it
|
|||
|
|
*was* a suburban flat. Thus the ever so small jail cell slash torture
|
|||
|
|
chamber.
|
|||
|
|
Whatever the case, torture would be the order of the day. So he had
|
|||
|
|
to escape. Johnni knelt up close to the bars and stuck his hands through.
|
|||
|
|
Good. They fit between the openings and would allow him to strangle the
|
|||
|
|
fiendish mastermind's henchmen. Then he would grab the keycard and escape,
|
|||
|
|
rescue the father, and bring him safely back to Sapphy.
|
|||
|
|
Luckily, his appointment wasn't till Thursday. It must have been
|
|||
|
|
Wednesday by now. No time to wander through some enormous power plant for
|
|||
|
|
his grandfather.
|
|||
|
|
Footsteps. A henchman was coming. Johnni tensed up and made his
|
|||
|
|
hands ready to shoot out at the fiend.
|
|||
|
|
The fiend appeared. Johnni's hands shot through the bars. His
|
|||
|
|
fingers dangled in mid-air. The fiend watched him calmly from beyond a
|
|||
|
|
little yellow line on the floor.
|
|||
|
|
"If you would move your blamin' hands, I could open the blamin'
|
|||
|
|
door," he said. Johnni began to suspect something. The fiend was curiously
|
|||
|
|
dressed up just like a police officer. Behind him were Davies and Sapphy.
|
|||
|
|
"So sorry," Johnni drew his hands back in and the police officer
|
|||
|
|
swiped a card across the bars, opening them. Johnni jumped out.
|
|||
|
|
"Sir," Davies shook his head, "I do wish you would confer with me
|
|||
|
|
before venturing out on your own."
|
|||
|
|
"Well you see, Davies, I had a job to do," Johnni said as they
|
|||
|
|
walked down the hall into a room brimming with other policemen, desks,
|
|||
|
|
computers, big ugly thugs, and strangely dressed women.
|
|||
|
|
"Yes, Miss Sapphy has confessed her part in all of this to me,"
|
|||
|
|
Davies glanced at her. Sapphy's head was wrapped up in a scarf and
|
|||
|
|
sunglasses covered her eyes. Johnni couldn't fail to notice that the light
|
|||
|
|
in the room wasn't very bright. "I have arranged your bail. However, you
|
|||
|
|
must appear in court in two weeks."
|
|||
|
|
"For what?" Johnni stopped walking.
|
|||
|
|
"Sir, you are charged with four counts of assault."
|
|||
|
|
"But they started it!"
|
|||
|
|
"Two of them women?"
|
|||
|
|
"Well," Johnni stammered. "Those women did in fact start the entire
|
|||
|
|
mess. If I weren't a gentlemen, I might think of charging them myself. And
|
|||
|
|
anyway, I really only assaulted the one big man. I never touched the tiny
|
|||
|
|
one who knocked me . . ." he glanced at Sapphy. "The small furry person
|
|||
|
|
seemed to get the jump on me."
|
|||
|
|
"I shouldn't wonder," Davies said. "The Eshlu have a highly ferric
|
|||
|
|
bone structure."
|
|||
|
|
"What does that mean?"
|
|||
|
|
"Their bones are made of steel." At the entryway, Davies turned to
|
|||
|
|
Sapphy. "Miss Sapphy, I must again ask you to inform the authorities here
|
|||
|
|
of your circumstances."
|
|||
|
|
Sapphy backed up against the wall, looking from side to side like a
|
|||
|
|
hunted marmoset. "No! They said I mustn't tell anyone. *Anyone,* Davies,
|
|||
|
|
or they'd hurt father."
|
|||
|
|
"Those vicious miscreants," Johnni gnashed his teeth and clenched
|
|||
|
|
his fists. "So you see the problem, Davies. I'm her only hope."
|
|||
|
|
"God help her," Davies muttered.
|
|||
|
|
"Oh, and God too, of course. While the bad guys only have Satan and
|
|||
|
|
his little wizards behind them."
|
|||
|
|
"Indeed, sir." Davies said. "Miss Sapphy, you do realize that if
|
|||
|
|
you do not inform the police, Lord Breakman here will be the only thing
|
|||
|
|
standing between your father and death?"
|
|||
|
|
"Yes," she said, and kissed Johnni on the cheek. "I'm sure that he
|
|||
|
|
will perform spectacularly." Johnni blushed.
|
|||
|
|
"Sapphy," Johnni smiled from ear to ear, "We will do everything in
|
|||
|
|
our power to rescue your father."
|
|||
|
|
"We?" asked Davies.
|
|||
|
|
"We. You and me. We're a team. We've done tremendous feat of
|
|||
|
|
goodness. Who rescued that young girl on the Herikan Bridge?"
|
|||
|
|
"Lord Highwater, sir."
|
|||
|
|
"Oh. Then who bested the evil racketeers on Thobos?"
|
|||
|
|
"The Thobian police, sir."
|
|||
|
|
"Oh. Then who retrieved the Diamond Chandelier of Duke Markosie
|
|||
|
|
with only a few broken bits and cracks?"
|
|||
|
|
"We did, sir, but half of it was destroyed. When you dropped it,
|
|||
|
|
sir."
|
|||
|
|
"There you go," Johnni smiled. "We have done tremendous feats of
|
|||
|
|
goodness together. Let's be off!"
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
Johnny changed clothes in back of the limousine with the screen up
|
|||
|
|
to prevent Sapphy from seeing any indecent bits. As he pulled the screen
|
|||
|
|
down, he saw that Sapphy was crouched down in the seat and Davies was
|
|||
|
|
looking out the back.
|
|||
|
|
"They're back," she whined, hands over her face.
|
|||
|
|
"What is up?" Johnni tugged at his freshly starched collar. Davies
|
|||
|
|
loved starch. Gobs of it.
|
|||
|
|
"Sir," Davies turned back around. "When Miss Sapphy and I came to
|
|||
|
|
retrieve you from jail, a black vehicle started following us. I picked up
|
|||
|
|
the phone and dialed the police - then suddenly they vanished. But they
|
|||
|
|
appear to be back again."
|
|||
|
|
Johnni looked back at the traffic. Plenty of cars. Red ones, green
|
|||
|
|
ones, blue ones. Then he saw a black car far behind.
|
|||
|
|
"Shall I inform the police, sir?"
|
|||
|
|
"No. We can't risk the life of Sapphy's father. But I have a plan.
|
|||
|
|
Tell the driver to proceed normally.
|
|||
|
|
"Sir, the driver is proceeding normally."
|
|||
|
|
"Oh, well tell him to continue doing so until we get back home."
|
|||
|
|
They continued on slightly normally until they ventured out of the
|
|||
|
|
city and drove into Baron Mauswa's grounds. Sapphy was still hunkered down,
|
|||
|
|
and Johnni was watching them with binoculars.
|
|||
|
|
"Davies, both the driver and the passenger appear to be wearing
|
|||
|
|
funny hats. Wide brims," Johnni said.
|
|||
|
|
"Sir, those would be fedoras. And if that is so, they are probably
|
|||
|
|
Marcabian hit men. The most dangerous criminals around."
|
|||
|
|
"Good," Johnni said as they pulled into the driveway and got out.
|
|||
|
|
Sapphy hit behind the other side of the car.
|
|||
|
|
"What was your plan, sir?" Davies asked.
|
|||
|
|
"This," Johnni pulled the driver from the limousine and jumped in
|
|||
|
|
the seat.
|
|||
|
|
"Sir, if you plan on following them, I must remind you that you have
|
|||
|
|
an appointment today at three."
|
|||
|
|
"I thought that was on Wednesday?"
|
|||
|
|
"Today *is* Wednesday, sir. The meeting is at the Pweeth Power
|
|||
|
|
Plant. Starting in Mr. Clypse's office."
|
|||
|
|
"I'll try to be there." Johnni nodded, watching as the black car
|
|||
|
|
turned and sped off from grounds. Suddenly Sapphy pulled a pistol from her
|
|||
|
|
handbag and crammed it in Johnni's hands.
|
|||
|
|
"I can't take this," Johnni handed it back to her.
|
|||
|
|
"But you'll need it," she told him. He shook his head.
|
|||
|
|
"Nonsense. Someone might get hurt!" he slammed the door and floored
|
|||
|
|
the accelerator, sending the seven meter long limousine careening off after
|
|||
|
|
the sleek black sports car.
|
|||
|
|
|
|||
|
|
* * *
|
|||
|
|
|
|||
|
|
Wheels whined and left a long, black streak of polymer on the road
|
|||
|
|
as Johnni skidded onto the wide motorway. The villains were far ahead of
|
|||
|
|
him, somehow besting him through the winding dirt roads on the baron's
|
|||
|
|
estate.
|
|||
|
|
The limousine raced past several trucks. The traffic was getting
|
|||
|
|
thicker. He swerved between two sedans and raced toward the sports car.
|
|||
|
|
Johnni could see the two men in fedoras. One was moving. Climbing
|
|||
|
|
into the back seat. With something long in his hand.
|
|||
|
|
"Speed, speed!" Johnni yelled. "I've go to get closer." But luck
|
|||
|
|
was on his side. The sports car was slowing down.
|
|||
|
|
Suddenly the Marcabian in the back seat began kicking at the rear
|
|||
|
|
window. It popped out, and he stuck the long thing through the hole. It
|
|||
|
|
was a gun.
|
|||
|
|
"Krike!" A stream of pencil-thin laser blasts ricocheted off the
|
|||
|
|
windows. Sensor lights erupted all over the dashboard, indicating that the
|
|||
|
|
limousine's armor was under assault. Obviously the baron had spent a good
|
|||
|
|
deal of cash on the car.
|
|||
|
|
Suddenly the sports car swerved into another lane. The fedoraed
|
|||
|
|
Marcabian hung out of the window, aiming at the tires.
|
|||
|
|
"No!" Johnni yelled, hitting the accelerator and turning the wheel.
|
|||
|
|
The front corner of the behemoth slammed into the sports cars rear end and
|
|||
|
|
the gun flew out of the Marcabians hands, clattering under Johnni's tires.
|
|||
|
|
The lights flashed again. The car was telling him that a foreign
|
|||
|
|
object had punctured and wedged itself into, what it considered, a vital
|
|||
|
|
portion of the vehicle.
|
|||
|
|
"Ooops," Johnni muttered. The sports car accelerated and the
|
|||
|
|
dangling Marcabian dragged himself back inside. It changed several lanes
|
|||
|
|
and raced off the freeway. Johnni followed, spewing dechlorinated water
|
|||
|
|
from behind. The laser weapon had ripped open a hole into the jacuzzi near
|
|||
|
|
the trunk.
|
|||
|
|
They sped along city streets lined with skyscrapers, dodging cabs
|
|||
|
|
and an occasional cyclists. The sports car was gaining. Johnni slammed the
|
|||
|
|
accelerator harder, but to no avail. They turned sharply, and he took out a
|
|||
|
|
fire hydrant in the same move.
|
|||
|
|
He glanced at the newly created fountain in his rear view mirror and
|
|||
|
|
shrugged. Then he turned his attention in front of him. Bad.
|
|||
|
|
Traffic. Lots of it. All stopped at a red light. The Marcabians
|
|||
|
|
had stopped, wedged between two trucks. The limo screamed as Johnni tried
|
|||
|
|
to stop it. It stopped barely in time, just touching a red convertible's
|
|||
|
|
bumper.
|
|||
|
|
"Gotcha," Johnni opened the door. The Marcabians were only ten
|
|||
|
|
meters away and they weren't going anywhere. But then the noise started.
|
|||
|
|
A terrible whine followed by a furnace blast of wind hit Johnni.
|
|||
|
|
Suddenly the sports car lifted up into the air, wobbled a bit, sailed over
|
|||
|
|
the traffic, and set down beyond the intersection.
|
|||
|
|
"I *hate* jump jets!" Johnni lamented and hurled himself back in the
|
|||
|
|
limousine. He slammed the gears in reverse and floored it. He barely
|
|||
|
|
avoided compacting an already compact car and mounted the sidewalk.
|
|||
|
|
He accelerated down the sidewalk, smashing newspaper stands,
|
|||
|
|
crushing kiosks, and leaving a red hot trail of sparks where the right side
|
|||
|
|
of the limousine met the sides of the buildings. By the time two more fire
|
|||
|
|
hydrants were demolished, he had a clean view of the villain. They were a
|
|||
|
|
quarter of a kilometer down the street.
|
|||
|
|
Johnni gulped. He would never catch them. But he had to try.
|
|||
|
|
They turned down another street. At full acceleration, he made the
|
|||
|
|
turn. Almost. There was a terrible rending and crashing noise from behind
|
|||
|
|
him and he began to spin. He noticed a slight draft.
|
|||
|
|
The limousine came out of the spin and he was moving in their
|
|||
|
|
direction. And catching up with them. He was going faster. Johnni
|
|||
|
|
smiled. He looked back to see what had made the terrible noise and the
|
|||
|
|
smile disappeared.
|
|||
|
|
The slight draft was explained by what he could see at the corner.
|
|||
|
|
A mangled light post lay in the middle of the road, wrapped up in what
|
|||
|
|
appeared to be the back half of the vehicle. The truck, the jacuzzi, the
|
|||
|
|
seats, the wet bar, the refrigerator, and several other accommodations
|
|||
|
|
littered the road. Including the rear axle. Luckily the car had ten sets
|
|||
|
|
of wheels.
|
|||
|
|
He was gaining on them. So much so, in fact, that he slammed into
|
|||
|
|
them. The little sports car swerved away and turned down another street.
|
|||
|
|
Johnni grinned and turned the corner.
|
|||
|
|
There was a little old lady crossing the street up ahead, arms laden
|
|||
|
|
with groceries and wrapped up with twenty leashes connected to twenty
|
|||
|
|
yapping dogs. The Marcabians were barreling straight for her.
|
|||
|
|
"Vile . . . evil . . ." Johnni muttered when he saw their
|
|||
|
|
intentions. He raced up along side them and yanked the wheel. One side of
|
|||
|
|
the sports car collapsed and it flipped over, smashing into a building.
|
|||
|
|
"Ha," Johnni laughed, then eyes widened as he saw the little old
|
|||
|
|
lady straight in front of him. He slammed on the brakes, turned the wheel,
|
|||
|
|
and flipped the now five meter long limousine. Smash. It was airborne.
|
|||
|
|
Smash. It was bouncing.
|
|||
|
|
The limousine bounced over the little old lady and her dogs and
|
|||
|
|
sailed sideways into a dumptruck, knocking it over on its side. Johnni hung
|
|||
|
|
upside down for a moment, then looked around.
|
|||
|
|
The lady finished crossing the street, completely unaware that
|
|||
|
|
anything had happened. The sports car was in a mangled heap, halfway inside
|
|||
|
|
of a department store. A confused little man in a grey jumpsuit stumbled
|
|||
|
|
out of the dumptruck and scratched his head.
|
|||
|
|
Johnni extricated himself from the baron's very expensive wreckage
|
|||
|
|
and ran to the sports car. There was no way they could have survived. He
|
|||
|
|
peered inside. They were gone. But he saw a white card in the floorboard
|
|||
|
|
and picked it up.
|
|||
|
|
Screams pierced his ears. They were from inside the store. He
|
|||
|
|
squeezed through the aperture and saw the men, one armed, running through
|
|||
|
|
the aisles knocking over customers.
|
|||
|
|
"Come back here and fight like men!" Johnni screamed at them. The
|
|||
|
|
armed one whipped around and level a volley of laser fire at him.
|
|||
|
|
Johnni jumped behind a hat display, which was promptly incinerated.
|
|||
|
|
Flaming bits of woolen caps fell on him. There were more screams.
|
|||
|
|
Johnni poked his head above the wreckage. They were running into
|
|||
|
|
the "Girls: 12-16" region. He raced after them.
|
|||
|
|
They ran through a door. He followed. More screams. It was
|
|||
|
|
brightly lit and there were tons of mirrors. Girls in bras and panties were
|
|||
|
|
throwing things at him.
|
|||
|
|
"So sorry, excuse me, so sorry, I do apologize," he ran through the
|
|||
|
|
dressing room. An emergency door was closing. He raced through it and came
|
|||
|
|
out into an alley.
|
|||
|
|
Two figures disappeared around a corner. He chased after them and
|
|||
|
|
saw them running down steps into a subway station.
|
|||
|
|
Johnni had them now. All he had to do was . . .
|
|||
|
|
He leapt on the banister and slid down, down past the two
|
|||
|
|
Marcabians, down past the end of the rail, straight into a turnstile.
|
|||
|
|
Sprawled on the floor, he watched the two evil men race by and go into a
|
|||
|
|
subway car. The doors swished close behind them.
|
|||
|
|
The car began to move. Johnni leapt on it's side, his fingernails
|
|||
|
|
gouged into it's metallic casing. He pulled himself up higher and laid
|
|||
|
|
prone on the roof.
|
|||
|
|
The acceleration increased. Johnni started to slide back. His foot
|
|||
|
|
caught on a cable and he slid off the car.
|
|||
|
|
All the breath in his lungs spewed out as the cable yanked his leg,
|
|||
|
|
then slammed him into the back of the subway car. And slammed him again as
|
|||
|
|
it stopped.
|
|||
|
|
In a haze he saw the two Marcabians exit the car and run into the
|
|||
|
|
new station. He pulled himself up, released his leg from the cable, and
|
|||
|
|
crashed into the tracks below.
|
|||
|
|
Johnni struggled to his feet and looked around. They were running
|
|||
|
|
up the steps to the surface.
|
|||
|
|
He bolted after them. His leg throbbed. His stomach was in knots.
|
|||
|
|
His eyes couldn't quite focus. But he still ran.
|
|||
|
|
Air. Fresh air hit him. Sunlight. Large buildings. Squat.
|
|||
|
|
Warehouses. Industrial buildings. A low throbbing sound that vibrated his
|
|||
|
|
bones. The street was empty. He knelt and breathed deeply.
|
|||
|
|
"Krike," he gasped. He had lost them. If only . . .
|
|||
|
|
A door to a building was closing. That must be it. He ran. His
|
|||
|
|
lungs burned. Sweat poured into his eyes. He yanked the door open.
|
|||
|
|
Huge pipes spewed steam everywhere. The bone vibrating sound was
|
|||
|
|
coming from here. Big metal things moved up and down and sideways. Two
|
|||
|
|
figures disappeared into the mist. He yelled. They fired. He ducked.
|
|||
|
|
They missed.
|
|||
|
|
He raced off into the cloud and up metal steps that were immediately
|
|||
|
|
in front of him. He could here the Marcabians metallic footsteps clanging
|
|||
|
|
up beyond. He came to a door that was closing and threw himself in.
|
|||
|
|
"Lord Breakman . . ." Davies stood up from a blue couch. Three
|
|||
|
|
other men were sitting next to him with briefcases and business suits.
|
|||
|
|
Beyond them a secretary sat at a desk. ". . . you are five minutes late,
|
|||
|
|
sir. Mr. Clypse is eager to have us tour the power plant as soon as
|
|||
|
|
possible."
|
|||
|
|
Johnni blinked. "I think I just toured it," he blinked again. Just
|
|||
|
|
great. He had lost the kidnappers, he had lost Adriana's ring, and now he
|
|||
|
|
was going to actually have to do what he was paid for - i.e., work.
|
|||
|
|
|
|||
|
|
END OF PART ONE
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
Born a Bastard
|
|||
|
|
Copyright (c) 1995, Ed Davis
|
|||
|
|
All Rights Reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
BORN A BASTARD
|
|||
|
|
by Ed Davis
|
|||
|
|
|
|||
|
|
|
|||
|
|
The labor pains were growing in intensity and were closer together
|
|||
|
|
now. The slender red head with the sprinkle of freckles dusting her
|
|||
|
|
nose and cheeks clenched her hands even tighter and tried very hard not
|
|||
|
|
to cry out again. Looking between her upraised and wide spread knees
|
|||
|
|
she saw that the doctor shook his head each time an anguished cry
|
|||
|
|
escaped the control she had been battling to maintain. Through the red
|
|||
|
|
veil of agony that had become her world, old memories returned to carry
|
|||
|
|
her back along her own trail of tears. Pain was not new to the
|
|||
|
|
nineteen year old. Her mother's departure for greener pastures
|
|||
|
|
thirteen years earlier had been the beginning.
|
|||
|
|
Life slid downward for the family and finally crashed to the bottom
|
|||
|
|
when her father had placed them all with The Children's Home Society
|
|||
|
|
for adoption. She was the eldest and kept her memories of how things
|
|||
|
|
had been. She also kept the child like hope that each dawn would bring
|
|||
|
|
her father, like a gallant knight, to rescue them. Her hopes died a
|
|||
|
|
slow death and she finally abandoned them when her brother and sister
|
|||
|
|
were adopted. She was totally alone, her family destroyed.
|
|||
|
|
The old pain faded to the background as the unstoppable power of
|
|||
|
|
nature and the baby's will to be born pushed the small head through her
|
|||
|
|
pelvis. She felt as if someone was pulling on each of her knees and
|
|||
|
|
she prayed silently that they would soon stop. Her narrow hips were
|
|||
|
|
aching from the hours of spread eagled captivity and labor agony.
|
|||
|
|
Suddenly, as if from another room, she heard the wail of a baby.
|
|||
|
|
Someone has had her baby, she thought. Her mind had finally retreated
|
|||
|
|
from the pain.
|
|||
|
|
She opened her eyes and was surprised to see the doctor, standing
|
|||
|
|
now, holding a blood covered form of a baby. She looked more closely
|
|||
|
|
and realized that the infant still had a cord protruding from its
|
|||
|
|
middle. My baby is here, she realized. She moved her hands to her
|
|||
|
|
suddenly deflated belly and her senses caught up with the reality that
|
|||
|
|
had occurred without her conscious participation. It was over.
|
|||
|
|
The doctor plopped the new born down on her flattened stomach and
|
|||
|
|
began tying the umbilical cord. Three deft moves and the baby was an
|
|||
|
|
independent human, no longer kept alive by the slender lifeline
|
|||
|
|
attached to its tiny body.
|
|||
|
|
"It's a boy." The voice belonged to the nurse with the pleasant
|
|||
|
|
eyes and friendly smile. The white delivery room costumes robbed the
|
|||
|
|
medical people of their identity but their voices gave them away. The
|
|||
|
|
doctor nodded his affirmation and resumed his out of sight position
|
|||
|
|
between the new mother's knees. He was nearly done and the night would
|
|||
|
|
soon become day. He detested having to be on call, but in a time when
|
|||
|
|
people had very little money they had even less for doctors. His
|
|||
|
|
position with The Salvation Army Home was to be envied, not looked down
|
|||
|
|
upon. He just hated the idea of bringing nothing but bastards into the
|
|||
|
|
world.
|
|||
|
|
The morning sun filled the drab room with yellow light and woke the
|
|||
|
|
new mother. She slid her hands across the unaccustomed flatness of her
|
|||
|
|
stomach and smiled. He really is here. Now I have someone of my own,
|
|||
|
|
and he will always love me. No matter what all the stuffed shirts
|
|||
|
|
around here think, we will stay together.
|
|||
|
|
She turned to watch one of the grey and white nurses glide down the
|
|||
|
|
long ward. They all moved with the same motion. They did not walk,
|
|||
|
|
they moved more like they were ice skating.
|
|||
|
|
From her position at the end of the long room she could watch the
|
|||
|
|
long skirted nurse for a long time, as she moved gracefully down the
|
|||
|
|
isle between the beds. Some of the beds were occupied, supporting a
|
|||
|
|
burden of pregnancy swollen young woman. The sleeping figures remained
|
|||
|
|
motionless while the passing nurse went on her way.
|
|||
|
|
Most of the beds were empty but there were still too many full, the
|
|||
|
|
nurse reflected, as she passed through the swinging doors at the end of
|
|||
|
|
the ward. Kids never learn.
|
|||
|
|
The passage of the nurse brought the new mother back to the sharp
|
|||
|
|
edged reality of her dilemma. Now that her baby was here, in the stark
|
|||
|
|
world of missed meals and cold nights and no longer safely hidden,
|
|||
|
|
decisions had to be made. A place to stay, a job, someone to care for
|
|||
|
|
Him, and a whole world of problems faced her. She was too confused and
|
|||
|
|
exhausted to battle the world. Must be the stuff the doctor gave me,
|
|||
|
|
she rationalized, as a form of sleep embraced her and carried her to a
|
|||
|
|
less pressing world. The world of dreams.
|
|||
|
|
Her first remembrance, as always, was the warmth and joy of her
|
|||
|
|
first encounter with the baby's father. She basked in the warm feeling
|
|||
|
|
again and recalled the happiness she felt when he would arrive at her
|
|||
|
|
foster parent's home to take her out. They usually went to a movie and
|
|||
|
|
then had a coke. Later, before he returned her to her house, they
|
|||
|
|
would drive to one of the out of the way spots frequented by their
|
|||
|
|
generation. Gentle touches and unsure caresses gave way, over the
|
|||
|
|
weeks, to more assured and more daring explorations. Finally, the
|
|||
|
|
familiarity became intimacy and a new and strange pleasure was added to
|
|||
|
|
her limited experience.
|
|||
|
|
Three months later, with her monthly periods stopped and her heart
|
|||
|
|
thudding in her chest, she listened while the sober faced doctor told
|
|||
|
|
her she was pregnant. Suddenly the weekly minutes of pleasure carried
|
|||
|
|
a new and more expensive price tag. She returned to her job at the
|
|||
|
|
tobacco processing plant and waited impatiently for Friday.
|
|||
|
|
That Friday, the last one in September, ended more than a month.
|
|||
|
|
Her stolen months of affection and its accompanying warmth and
|
|||
|
|
closeness were shattered when her young lover told her that he still
|
|||
|
|
had four years of college to attend before he could even think about
|
|||
|
|
marriage and he was not even thinking about changing those plans. She
|
|||
|
|
was once again on her own. Since she had broached the subject prior to
|
|||
|
|
their customary arrival in their quiet place, she did not even have one
|
|||
|
|
last memory to carry back with her. She was not sure she wanted the
|
|||
|
|
last time, but she ached for the suddenly lost closeness. Her world
|
|||
|
|
was suddenly just like it used to be, only now she was pregnant. She
|
|||
|
|
watched her first love drive away into the cold darkness and felt a
|
|||
|
|
part of her life depart as well.
|
|||
|
|
The world of dreams was invaded by the confusion of reality. Time
|
|||
|
|
to feed the baby.
|
|||
|
|
The small form, less wrinkled now that his skin was dried and
|
|||
|
|
lightly oiled, lay in her arm and wrapped his small lips around the
|
|||
|
|
brown nipple of her breast and filled her being with a new and totally
|
|||
|
|
different feeling.
|
|||
|
|
As the infant fed, she watched and renewed her pledge to herself
|
|||
|
|
that some how they would stay together. She would not abandon her
|
|||
|
|
baby. Not like her mother had done.
|
|||
|
|
|
|||
|
|
Six months later, the reality of being a mother and not a wife began
|
|||
|
|
to overwhelm the new mother. She returned to the only source of hope
|
|||
|
|
and help she knew, The Children's Home Society. She was determined
|
|||
|
|
that her baby would have a home and knew she could not provide that
|
|||
|
|
home. She had come to the decision to give her baby up for adoption.
|
|||
|
|
One small bag carried the infant's meager possessions, when his
|
|||
|
|
mother handed him over to a uniformed nurse who would place him in a
|
|||
|
|
foster home until his adoption was arranged. The nurse carried the
|
|||
|
|
slim child in one arm and managed the small bag easily with her other
|
|||
|
|
hand. "He'll be better off, now."
|
|||
|
|
The words were intended to comfort but they demolished what was left
|
|||
|
|
of the young mother's resolve and the tears flooded out. She retreated
|
|||
|
|
from the home, vowing to return and get her baby back one day, like a
|
|||
|
|
knight arriving in the nick of time.
|
|||
|
|
|
|||
|
|
At six foot three and nearly two hundred and twenty pounds, the man
|
|||
|
|
towered over the nine month old infant tugging at his pant leg. For
|
|||
|
|
the fourth time the giant man bent down and pulled the small fingers
|
|||
|
|
loose from his cuff. He handed the small, blonde child to the waiting
|
|||
|
|
matron again.
|
|||
|
|
For the fourth time the matron tired of the wriggling burden and
|
|||
|
|
released him back to the less confining plateau like flatness of the
|
|||
|
|
floor. The child rolled from his padded bottom and attacked the
|
|||
|
|
distance separating him from the towering man. What had worked before,
|
|||
|
|
worked again. The exhilaration of the ascent to the towering heights
|
|||
|
|
was the same, but the result was different. This time the strong hands
|
|||
|
|
continued to hold him, he was not summarily delivered to the matron.
|
|||
|
|
The sensations were pleasing, even to a child who knew nothing about
|
|||
|
|
the intellectual aspect of sensations or pleasure.
|
|||
|
|
Soon the child felt himself being returned to the matron. The man
|
|||
|
|
was leaving. He wanted a new born baby, and none were available. The
|
|||
|
|
tall man and his wife left.
|
|||
|
|
The couple shared their disappointment in silence as they started
|
|||
|
|
the sixty mile trip to their home. The miles slipped past in the
|
|||
|
|
gathering darkness, and the couples thoughts were still behind them,
|
|||
|
|
the distance growing with each minute.
|
|||
|
|
"He's not a baby," she opened the conversation.
|
|||
|
|
"I know... Let's go back and get him."
|
|||
|
|
"Let's."
|
|||
|
|
|
|||
|
|
The adoption proceeded. The small boy went to live with the tall
|
|||
|
|
man and his wife. The faint memories, sensations really, of a freckled
|
|||
|
|
breast and the warmth of another woman's touch faded into the back of
|
|||
|
|
the child's mind with the flood of new and pleasing sensations.
|
|||
|
|
The boy prospered. His mother would have been pleased with the
|
|||
|
|
stability and security of his new home.
|
|||
|
|
Years passed swiftly for the tall man and his family. The secret of
|
|||
|
|
the child's slightly tainted origin held and its importance faded.
|
|||
|
|
|
|||
|
|
The kitchen was still the same. The formica topped table and the
|
|||
|
|
red plastic chairs were exactly where they were a few seconds earlier.
|
|||
|
|
The only difference was the conversation that had just taken place.
|
|||
|
|
That conversation had flipped the world for the twelve year old boy.
|
|||
|
|
Everything and everyone who had made his world stable was suddenly
|
|||
|
|
changed. He had just discovered he was adopted.
|
|||
|
|
"That's how we got you." Those words destroyed all of the boy's
|
|||
|
|
reality and he instantly felt totally alone. All relatives and family
|
|||
|
|
friends were suddenly strangers. If he was adopted, all his relatives
|
|||
|
|
were elsewhere. The woman standing before him was just that, and
|
|||
|
|
definitely not his mother. Besides that, he reasoned, she's been
|
|||
|
|
living a lie for years.
|
|||
|
|
The woman who eleven years earlier had returned to arrange for the
|
|||
|
|
adoption of a small child who liked to climb pant legs, knew she had
|
|||
|
|
made a radical mistake. She had been given little advice by The
|
|||
|
|
Children's Home Society on how to deal with this situation. The wisdom
|
|||
|
|
of the time was that adoptees were never to be informed, denial was
|
|||
|
|
better than truth. Now when she was without the presence of her
|
|||
|
|
husband and faced with a bewildered child she was lost.
|
|||
|
|
Years of reflection have brought a tentative peace to the boy and
|
|||
|
|
have left many questions unresolved.
|
|||
|
|
How many other children have been treated the same way, over the
|
|||
|
|
years?
|
|||
|
|
How many agencies are still using the same wisdom today?
|
|||
|
|
How many mothers of relinquished children wish things were
|
|||
|
|
different?
|
|||
|
|
|
|||
|
|
The list of questions is as endless as the list of adoptees would
|
|||
|
|
be, if all adoptees were known.
|
|||
|
|
Or if all adoptees knew.
|
|||
|
|
|
|||
|
|
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><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> Dallas/Ft Worth's First & Longest Running Multi-User BBS <20>
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<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><EFBFBD><EFBFBD>
|
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|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
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|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> Poetry <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
The Veil
|
|||
|
|
Copyright (c) 1995, Tamara
|
|||
|
|
All Rights Reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
The Veil
|
|||
|
|
|
|||
|
|
sacrificial three part harmony
|
|||
|
|
a destiny of twisted lives
|
|||
|
|
braided in a silver chain
|
|||
|
|
a testament of matrimony
|
|||
|
|
taken cross the threshold
|
|||
|
|
of a never ending mind
|
|||
|
|
The illusion speaks of golden mists
|
|||
|
|
of silver cords, of wedded bliss
|
|||
|
|
but down thru ages long foretold
|
|||
|
|
a glimpse through veils that cant be sold
|
|||
|
|
our lives are intertwined by chance
|
|||
|
|
a testament of circumstance
|
|||
|
|
Though the veil is all I see
|
|||
|
|
By chance? Or synchronicity?
|
|||
|
|
|
|||
|
|
Written 9/5/92 by Tamara (c)
|
|||
|
|
|
|||
|
|
|
|||
|
|
Farmer's Market
|
|||
|
|
Copyright (c) 1994, Albert Johnston
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
Farmer's Market
|
|||
|
|
|
|||
|
|
The child of eight
|
|||
|
|
strains to lift
|
|||
|
|
the heavy crates.
|
|||
|
|
While his father
|
|||
|
|
who drives
|
|||
|
|
the truck talks to us
|
|||
|
|
of the last woman
|
|||
|
|
he had.
|
|||
|
|
|
|||
|
|
|
|||
|
|
Gertrude Offered Herself
|
|||
|
|
Copyright (c) 1994, Daniel Sendecki
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
Gertrude Offered Herself
|
|||
|
|
------------------------
|
|||
|
|
|
|||
|
|
He and Gertrude
|
|||
|
|
Thought it would be romantic
|
|||
|
|
to take on the lassitude of the Autumn
|
|||
|
|
fell on each other
|
|||
|
|
laughing - left no
|
|||
|
|
leaf unturned
|
|||
|
|
|
|||
|
|
|
|||
|
|
Morbidity As a Friend
|
|||
|
|
Copyright (c) 1989, Tommy Van Hook
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
Morbidity As A Friend
|
|||
|
|
By Tommy Van Hook, 9/7/89
|
|||
|
|
Copyright 1989, Birchleaf Productions Ltd.
|
|||
|
|
|
|||
|
|
|
|||
|
|
The blade
|
|||
|
|
The bullet
|
|||
|
|
The rope
|
|||
|
|
My friends these are
|
|||
|
|
|
|||
|
|
Give me life ending - never-ending
|
|||
|
|
Show me darkness eternal
|
|||
|
|
Slow my heartbeat quickly
|
|||
|
|
Capture my lifeblood
|
|||
|
|
|
|||
|
|
Spill my blood
|
|||
|
|
Scatter my brain
|
|||
|
|
Steal my breath
|
|||
|
|
Be my friend
|
|||
|
|
Handcuff me with death
|
|||
|
|
|
|||
|
|
It's a hard life to love
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
<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>
|
|||
|
|
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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|
|||
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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>
|
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|
<20><><EFBFBD><0F><><EFBFBD> DreamTide 雜<><E99B9C><EFBFBD><EFBFBD>
|
|||
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<15><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
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|
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>
|
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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>
|
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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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|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> Humour <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
|||
|
|
<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|
|
|||
|
|
|
|||
|
|
|
|||
|
|
Top Ten List
|
|||
|
|
Copyright (c) 1995, Joe DeRouen
|
|||
|
|
All rights reserved
|
|||
|
|
|
|||
|
|
|
|||
|
|
Top Ten Most Frequently Used Pick-Up Lines In E-Mail
|
|||
|
|
|
|||
|
|
10. "People are always telling me I could be Brad Pitt's twin."
|
|||
|
|
9. "I'm such a baaaaad girl!"
|
|||
|
|
8. "I'm not wearing anything but a smiley face . . . "
|
|||
|
|
7. "I've got to go to cheerleading practice."
|
|||
|
|
6. "My wife just doesn't understand me!"
|
|||
|
|
5. "Wanna come play in the MUD with me?"
|
|||
|
|
4. "Let's download each other's GIFs."
|
|||
|
|
3. "Your home page makes me soooo hot!"
|
|||
|
|
2. "I write for Computer Currents Magazine."
|
|||
|
|
1. "I'm female."
|
|||
|
|
|
|||
|
|
(c) 1995 Joe DeRouen. All rights reserved.
|
|||
|
|
|
|||
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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><EFBFBD><EFBFBD>
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> Information <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
|
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
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<EFBFBD><EFBFBD><EFBFBD>۲<EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> <20><><EFBFBD>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2>۲<EFBFBD><DBB2><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>۰<EFBFBD><DBB0>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2> <20><><EFBFBD>۰<EFBFBD><DBB0>۲<EFBFBD><DBB2>
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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><EFBFBD><EFBFBD>
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|
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|
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|||
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|
|||
|
|
There are several different ways to get STTS magazine.
|
|||
|
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|
|||
|
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|
|||
|
|
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.
|
|||
|
|
|
|||
|
|
|
|||
|
|
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: jderouen@crl.com
|
|||
|
|
|
|||
|
|
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 ........... 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 ........... 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 ........... Wild Fire BBS
|
|||
|
|
Location ........... Dallas, Texas
|
|||
|
|
SysOp(s) ........... Archie Parker
|
|||
|
|
Phone ........... (214) 272-3748 (28.8k 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.
|
|||
|
|
|