2089 lines
96 KiB
Plaintext
2089 lines
96 KiB
Plaintext
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Sunlight Through The Shadows
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Volume I, Issue 1 July 1, 1993
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Welcome....................................Joe DeRouen
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Editorial..................................Joe DeRouen
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Staff of STTS.........................................
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---------------- MONTHLY COLUMNS ---------------------
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Letters to the Editor.................................
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For Sale/Wants Ads....................................
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Monthly Contest.......................................
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---------------- FEATURE ARTICLES --------------------
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Cancer: Surviving The Fear.................Joe DeRouen
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-------------------- REVIEWS -------------------------
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(Movie) Jurassic Park........Bruce Diamond/Randy Shipp
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(Movie) Cliffhanger......................Bruce Diamond
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(Shareware) Monster Bash.............Russell Mirabelli
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(Shareware) Thelma Thistlebloom......Russell Mirabelli
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(Music) Power of Ten/Chris deBurgh.........Joe DeRouen
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(Book) Zeus and Co/David Lee Jones......Jason Malandro
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(Book) Poss. Secret of Joy/A.Walker....Heather DeRouen
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-------------------- FICTION -------------------------
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The Roger and The Dragon...................Joe DeRouen
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ÿ Advertisement-Relative Software
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-------------------- POETRY --------------------------
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Desperately Seeking.............................Tamara
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The Moment Now.............................Joe DeRouen
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ÿ Advertisement-Pen & Brush Net
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----------------- INFORMATION ------------------------
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How to get STTS Magazine..............................
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Submission Information................................
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Advertiser Information................................
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Contact Points........................................
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Distribution Sites....................................
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Donating Prizes For The Monthly Contest...............
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End Notes..................................Joe DeRouen
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========================================================================
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Welcome to......
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S u n l i g h t T h r o u g h T h e S h a d o w s (tm)
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O n - L i n e M a g a z i n e
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========================================================================
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Welcome
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Copyright (c) 1993, Joe DeRouen
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All rights reserved
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Welcome to the first issue of Sunlight Through The Shadows magazine! In
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this issue, as well as in the future, STTS will strive to bring you the
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best in fiction, poetry, reviews, article, and other assorted reading
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material.
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This issue wouldn't have been possible without the aid, support, and
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guidance of three women:
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Inez Harrison, publisher of Poetry In Motion newsletter. Her's was the
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first electronic magazine I ever laid eyes upon, and also the first such
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magazine to publish my work. She's given me advice, and, more
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importantly, inspiration.
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Lucia Chambers, publisher of Smoke & Mirrors Elec. Magazine and head of
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Pen & Brush Network. She gave me advice on running a magazine,
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encouragement, and hints as to the kind of people to look for in
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writers.
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Heather DeRouen, my wife. Listed last here, but always first in my
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heart. She's proofread manuscripts, inspired me, listened to me, and,
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most importantly, loved me. Never could I find a better woman to live
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life by my side, nor a better friend.
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Now that that's said and done... Again, welcome to Sunlight Through The
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Shadows Magazine! I hope you enjoy it.
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Joe DeRouen
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STTS Editorial
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Copyright (c) 1993, Joe DeRouen
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All rights reserved
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As I write this, I'm only about 3/4th's of the way finished with the
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first issue of Sunlight Through The Shadows. It's 12:30am June the 14th,
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exactly 24 hours before my self-imposed deadline for the release of the
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first issue.
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If this editorial sees the light of day (or should I saw the glow of
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your monitor?) then you'll know that I made it.
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There's several other electronic/on-line magazines out there. Poetry In
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Motion, Smoke & Mirrors, Ruby's Pearls, ModemNews, On-Line News and
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Review, Dallas/Ft. Worth On-Line, Eeek! Bits... and several others that
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I can't recall at the moment but I'm sure are good magazines all the
|
||
same.
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So why bring STTS Magazine into existence, with all these other's out
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there?
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The world of electronic publishing is just now opening up, and I'm
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||
sure that my magazine won't be the last to debut. There's plenty of
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room out there in the electronic world for magazines, as there's
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virtually no overhead involved in producing one. What IS involved,
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though, is time. Lot's of it, too. When I first started this, I really
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didn't know what I was getting myself into. Now, I think I'm finally
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beginning to realize.
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And you know what? I'm not going to give up. Producing this first issue
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||
has been a real challenge, and I don't foresee things getting any easier
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||
in the near future. My goal is to bring to you, the reader, some of the
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best writing available. A lot of it will be mine at first. This isn't
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||
because I'm over egocentric (well, maybe a little) but because the BBS
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world at large seems hesitant to submit stories or articles to the
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||
various magazines out there. I'm not exactly sure why, but I'm hoping
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that as this medium grows and matures that that'll change. I'll do my
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best to help bring about the change.
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Which brings us to my original rhetorical question: Why bring out such a
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magazine, with all the others already out there? STTS isn't going to try
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||
to compete with any of the others. There's no need for that. We'll try
|
||
and find a loyal readership and give them a reason to stay loyal. We'll
|
||
try to bring innovative ideas and concepts to the world of electronic
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||
publishing. More than anything else, though, we'll try to have FUN and
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||
to help YOU have fun. If you don't have that, there's really no point to
|
||
any of it.
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If you have any comments, compliments, or criticisms, direct them to
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||
myself, Joe DeRouen, through any of the addresses listed in CONTACT
|
||
POINTS elsewhere in this magazine.
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Thank you, and happy reading!
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|
||
Joe DeRouen
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The Staff and Contributing Writers of Sunlight Through The Shadows
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------------------------------------------------------------------
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Joe DeRouen............................Publisher, Editor
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Heather DeRouen........................Book Reviews
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Bruce Diamond..........................Movie Reviews
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Jason Malandro.........................Book Reviews
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Russell Mirabelli......................Shareware Reviews
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Randy Shipp............................Movie Reviews
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Tamara.................................Poetry
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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 spare
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time, he enjoys reading, running his BBS, collecting music, playing
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||
with his five cats, singing opera, hunting pseudopods, and most
|
||
importantly spending time with his beautiful wife Heather.
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||
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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
|
||
magazine has been immeasurable.
|
||
|
||
Bruce Diamond, part-time pseudopod and ruler of a small island
|
||
chain off the coast of Chil‚, spends his time imitating desk
|
||
lamps when he isn't watching and critiquing movies for LIGHTS
|
||
OUT, his BBS movie review publication (now syndicated to over 15
|
||
boards). Bruce started reviewing movies for profit in 1978, as
|
||
part of a science fiction opinion column he authored for THE
|
||
BUYER'S GUIDE FOR COMICS FANDOM (now called THE COMICS BUYER'S
|
||
GUIDE). LIGHTS OUT, now a year old, is available through Bruce's
|
||
distributor, Jay Gaines' BBS AMERICA (214-994-0093). Bruce is a
|
||
freelance writer and video producer in the Dallas/Fort Worth
|
||
area.
|
||
|
||
Russell Mirabelli is currently pursuing his Master of Science
|
||
degree in Information Systems at the University of Texas at Arlington.
|
||
He works for an educational software company as a multimedia programmer.
|
||
He enjoys playing bass, cycling and rollerblading. He lives in Arlington,
|
||
Texas, with his wife and two cats.
|
||
|
||
Jason Malandro resides in Dallas, Texas, and has for most of his 24
|
||
years on Earth. He enjoys reading, writing, bowling, fencing, and
|
||
several other unrelated activities. Jason works in the publishing
|
||
industry and runs a successful florist business part-time. Single, he
|
||
shares his apartment with Ralphie, his pet iguana.
|
||
|
||
Randy Shipp is a sometimes-writer who specializes in half-finished works,
|
||
an idea he decided was chic and the sign of genius after hearing about
|
||
some unfinished symphony. The generous offer from Bruce Diamond to join him
|
||
in publishing (plus free movie passes!) led Randy to take up movie
|
||
criticism. When he's not picking movies apart, he's showing conservative
|
||
political thinkers the error of their ways, reading, or playing bass or the
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||
guitar (depending on the day of the week) He occasionally works selling
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||
computers, too. When he grows up, he expects to teach high school history.
|
||
|
||
There is very little known about Tamara, and she prefers to let it
|
||
remain that way. She's a woman of mystery and prefers to remain hidden
|
||
in the shadows of the BBS world. (Actually, I didn't get her profile in
|
||
time for the first issue, but it sounds much more enigmatic this way,
|
||
don't you think?)
|
||
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||
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ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ ÃÄ¿
|
||
³ Monthly Columns ³ ³
|
||
³ ³ ³
|
||
ÀÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ ³
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||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
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|
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|
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|
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|
||
|
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|
||
|
||
Letters To The Editor
|
||
|
||
|
||
There are no letters this month, as this is the first month of the
|
||
magazine. Those wishing to comment on something in STTS, critique a
|
||
review, or just sound off in general can contact me via any of the
|
||
addresses listed under CONTACT POINTS elsewhere in this issue. When
|
||
sending your letter, make "STTS Letters" as your title.
|
||
|
||
Letters may or may not be answered personally, and we reserve the
|
||
right to edit those selected for publication for clarity and length.
|
||
|
||
|
||
|
||
|
||
|
||
For Sale/Wanted Ads
|
||
-------------------
|
||
|
||
|
||
As this is the first issue of STTS, there aren't a whole lot of for
|
||
sale/want ad's in here. In fact, there's only one, and it's mine.
|
||
|
||
To place a for sale/want ad with us, free of charge, send an ASCII ad
|
||
(fifty words or less) to me via any of the addresses listed under
|
||
CONTACT POINTS elsewhere in this issue.
|
||
|
||
Private ads only, please. Business aren't allowed. If you're a business
|
||
and wish to place an ad in STTS, please refer to ADVERTISERS elsewhere
|
||
in this issue.
|
||
|
||
|
||
-----------------------------------------------------------------------
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||
Wanted: DIE PANISCHE HAND, a novel by Jonathan Carroll. Hard cover or
|
||
paperback. Will pay fair price. Contact Joe DeRouen via internet at
|
||
jderouen@sdf.lonestar.org, through RIME at ->SUNLIGHT (common conf.),
|
||
or call STTS BBS at 214/620-8793
|
||
-----------------------------------------------------------------------
|
||
|
||
|
||
|
||
|
||
|
||
Sunlight Through The Shadows Monthly Contest Giveaway
|
||
|
||
|
||
Each month, STTS magazine will be giving away two prizes. The prizes
|
||
will range from registered versions of popular shareware packages to
|
||
Compact Discs, to a year subscription (via a disk mailed to you) to
|
||
STTS On-Line! In other words, you never know what we'll be giving away
|
||
next!
|
||
|
||
If the prize is shareware/software, unless otherwise noted, the
|
||
versions available will be IBM compatiable only. If another version
|
||
is available, we'll make a note of that and ask you to let us know what
|
||
system you have.
|
||
|
||
To enter, please send me a note containing the following information:
|
||
|
||
1. Full name
|
||
2. Street/P.O. Address
|
||
3. City, state, zip
|
||
4. Country (if not USA)
|
||
5. Prize choice (first entry drawn gets their choice,
|
||
second entry gets the other prize)
|
||
6. Disk size (1.2 or 1.44, high density or low density)
|
||
7. Where you obtained your copy of STTS (if on a BBS, name
|
||
and phone number of BBS)
|
||
8. The current date (Mm/Dd/Yy)
|
||
|
||
This information can be sent to me via several different avenues. All
|
||
of the following should reach me.
|
||
|
||
PCRelay/RIME ->SUNLIGHT (in the Common conference)
|
||
InterNet: jderouen@sdf.lonestar.org
|
||
Pen & Brush Network - any conference
|
||
TTN Network - Net Chat, Poetry & Prose
|
||
|
||
US Mail: Joe DeRouen
|
||
14232 Marsh Ln. # 51
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||
Dallas, Tx. 75244
|
||
|
||
|
||
To be eligible for the contest every month, you have to register every
|
||
month. Try to send me your entry as soon as possible. If I receive it
|
||
after the 25th day of the month, I'll put it in with the following
|
||
month's entries.
|
||
|
||
|
||
Prizes for July
|
||
|
||
July's prizes (to be sent out sometime shortly after August 1st) will
|
||
be registered versions of Book-E and Quote! Descriptions of these
|
||
programs follow:
|
||
|
||
|
||
The Book-E v1.04 copyright (c) 1993, Relative Software. The Book-E
|
||
makes stand-alone EXE's from plain text files to distribute newsletters,
|
||
manuals, electronic books, and any disktop publishing material.
|
||
Customize your finished EXE with all different window colors and
|
||
borders. Shareware version includes SHELL1 (scrolling window).
|
||
Registered version includes SHELL1, SHELL2 (mouse, pd menus, and search
|
||
feature) and SHELL3 (mouse, pd menus, search, and print features)
|
||
|
||
Quote! v1.4 copyright (c) 1993, Joe DeRouen. Quote! is a random quote
|
||
generator that can quote from up to 9 different Quote files. Can be used
|
||
on boot-up to display a random quote to greet you as you begin your daily
|
||
computing. Registered version contains over 50 different Quote files! You
|
||
can easily write your own Quote files as well. .
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ ÃÄ¿
|
||
³ Feature Articles ³ ³
|
||
³ ³ ³
|
||
ÀÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
|
||
|
||
|
||
|
||
|
||
Cancer: Surviving The Fear
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||
Copyright (c) 1993, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
Nearly one year ago today, my wife was diagnosed as having terminal
|
||
cancer. She has atypical Mycosis Fungoites, which is a rare form of
|
||
lymphoma. Atypical means it isn't typical, so what it boils down to is
|
||
that she had a rare form of a rare form of cancer.
|
||
|
||
In other words, almost no one else in the world has exactly what she has.
|
||
This has been maddening but has also given us hope. The doctors refuse
|
||
to give us a life prognosis, saying that she could live as little as
|
||
three years or as long as thirty. They just don't KNOW. She's skipped
|
||
certain stages in the "normal" progression of the disease, and gotten to
|
||
other levels before she should have. In every sense of the world, her
|
||
case is abnormal.
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||
|
||
Heather's engaged in topical radiation therapy, PUVA light therapy,
|
||
Interferon injections, steroids, and several other drugs and treatments.
|
||
Sometime in the next two years, her doctors should know whether or not
|
||
her disease will go into remission.
|
||
|
||
The point of this article isn't to educate the readers of STTS on
|
||
cancer, nor is it to bring "get-well" mail to my wife.
|
||
|
||
When we discovered that she had cancer and had possibly lost years to
|
||
her life, we also discovered that we had lost something almost as
|
||
precious: friends. Before she was diagnosed we had several friends, all
|
||
open, intelligent, and generally good people. We now have very few, and
|
||
of those we DO have, fewer still feel comfortable talking about her
|
||
disease. Of her family, only Heather's mother will openly talk about it,
|
||
and even then you can tell she's uncomfortable.
|
||
|
||
"How're you doing?" They'll ask, not really wanting to know. Anything
|
||
more than a "Fine, thanks." and they close themselves off, and
|
||
physically leave the room if possible.
|
||
|
||
We're all afraid of death, and anything that reminds us of our own
|
||
mortality brings us a step closer to that Ultimate End. It's human
|
||
nature to hide from what we fear or don't understand, to bury our heads
|
||
deep beneath the covers of our life.
|
||
|
||
It doesn't have to be this way. Heather's still the same bright, warm,
|
||
funny woman that she was before she got sick. She still has the same
|
||
dreams, hopes, wishes, and ambitions. She's still the kindest women I've
|
||
ever had the pleasure to know. She doesn't deserve to be shunned from
|
||
those who once claimed her friendship, nor to be forced to pretend that
|
||
there's nothing wrong when there most definitely is.
|
||
|
||
I, too, have fallen prey to this most human failing. In the beginning, I
|
||
was strong and tried my best to be There For Her. As time went by, I
|
||
became frightened. What if her life span was to be closer to the three
|
||
years than the thirty? I'm 24. I didn't want to be left alone in the
|
||
prime of my life. For a while, I ran as far away mentally as I possibly
|
||
could.
|
||
|
||
I consider myself to be of above-average intelligence, open, honest, and
|
||
accepting of those different than me. One of the "enlightened crowd", if
|
||
you will. Yet here I was, running away from the woman who loved me more
|
||
than anyone else ever had, and who I, in turn, love with all of my
|
||
heart. It had to stop somewhere. And it did.
|
||
|
||
If you have a friend of relative who suffers from a handicap, who has
|
||
cancer or AIDS, who needs your support.. Go to them. Be their friend,
|
||
love them. Remember that, deep down, where it really counts, they're the
|
||
person that you know and love. Time is precious and the time we're given
|
||
to share the love within us all is far too often brief. Take advantage of
|
||
it. Listen to them, and, whatever you do, don't run away. If you do,
|
||
come back.
|
||
|
||
There are a multitude of support groups and counseling services out there
|
||
that will help you come to terms with your loved one's situation. If you
|
||
find you're having problems dealing with it on your own, seek one of
|
||
these out. Don't feel silly or bad for doing so. Believe me, you're not
|
||
alone. Look through the yellow pages under "counseling" or "support
|
||
groups" and look for a group or orginization that specializes in the
|
||
disease or handicap that you need help in coping with.
|
||
|
||
Sooner or later, we all die. Accept that, and you can get on with what's
|
||
important in life: living.
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ ÃÄ¿
|
||
³ Reviews ³ ³
|
||
³ ³ ³
|
||
ÀÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
|
||
|
||
|
||
|
||
|
||
Through The Magic Lantern
|
||
Copyright (c) 1993, Diamond & Shipp
|
||
All rights reserved
|
||
|
||
|
||
|
||
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
|
||
|
||
|
||
ÖÄÒÄ¿ · · ÖÄÒÄ¿ ·
|
||
º Ç· Ö· Ö· ·· Ö· Ç· º Ç· Ö·
|
||
Ð ÓÓ Ó Ó½ Ó½ Ó¶ ÓÓ Ð ÓÓ ÓÄ
|
||
Ó½
|
||
ÖÄÒÄ¿ þ ÒÄ
|
||
º º ³ Ú· Ö· · ÖÄ º Ú· Ö· ×Ä Ö· Ö· Ö·
|
||
Ð Ð Á ÀÐ Ó¶ Ó ÓÄ ÐÄÄÙ ÀÐ ÓÓ Ó½ ÓÄ Ó ÓÓ
|
||
Ó½
|
||
|
||
WITH BRUCE DIAMOND AND RANDY SHIPP
|
||
|
||
|
||
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ JURASSIC PARK: Steven Spielberg, director. Michael ³
|
||
³ Crichton and David Koepp, screenplay. Based on the ³
|
||
³ novel by Michael Crichton. Stars Sam Neill, Laura Dern, ³
|
||
³ Jeff Goldblum, Richard Attenborough, Bob Peck, Martin ³
|
||
³ Ferrero, B.D. Wong, Joseph Mazzello, Ariana Richards, ³
|
||
³ Samuel L. Jackson and Wayne Knight. Universal Pictures. ³
|
||
³ Rated PG-13. ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
|
||
BRUCE DIAMOND: Welcome to the first installment of THROUGH THE
|
||
MAGIC LANTERN, with Diamond and Shipp.
|
||
I'm Diamond.
|
||
|
||
|
||
RANDY SHIPP: And I'm Shipp.
|
||
|
||
|
||
DIAMOND: For this first installment, we'll be discussing Steven
|
||
Spielberg's new epic, JURASSIC PARK, taken from Michael
|
||
Crichton's best-selling novel. Billionaire John
|
||
Hammond (Richard Attenborough) creates a theme park on
|
||
an island off the coast of Costa Rica. His investors
|
||
are nervous about the park, so he invites two
|
||
scientists, paleontologist Allan Grant (Sam Neill) and
|
||
paleobotanist Ellie Sattler (Laura Dern) to give the
|
||
park their "stamp of approval." As added insurance,
|
||
the investors' lawyer, Donald Gennaro (Martin Ferrero)
|
||
brings along a brilliant mathematician, Dr. Ian Malcolm
|
||
(Jeff Goldblum), whose Choas-based theories foretell
|
||
the inevitable collapse of the park.
|
||
|
||
|
||
SHIPP: The visitors are astounded when they reach the park to
|
||
find that Hammond's team of geneticists have cloned
|
||
dinosaurs from DNA millions of years old. The group
|
||
quickly decides that perhaps Hammond's scientists have
|
||
acted too quickly, but are convinced by the jubilant
|
||
Hammond to withhold final judgement until after they have
|
||
had the grand tour of the park. But a tropical storm,
|
||
and the actions of a spy on Hammond's staff combine to
|
||
make for a less-than-pleasant tour. When Hammond's
|
||
dinosaurs are set free to roam the island, the visitors
|
||
are forced to survive against long-extinct predators.
|
||
|
||
|
||
DIAMOND: Well, Randy, I think you may have understated the case
|
||
when you say "less-than-pleasant tour."
|
||
|
||
|
||
SHIPP: You're right. I think that's one of the things that most
|
||
people, especially parents, may be interested in hearing.
|
||
JURASSIC PARK isn't exactly a kiddie movie. Steven
|
||
Spielberg's movie isn't gory, but it is suspenseful,
|
||
maybe too much for some younger kids.
|
||
|
||
|
||
DIAMOND: Suspenseful is, again, an understatement. JURASSIC is a
|
||
tense, scary movie, perhaps the best-made monster movie
|
||
ever. It will scare you. Bar none.
|
||
|
||
|
||
SHIPP: Maybe the fact that these monsters were once real makes
|
||
it even more scary.
|
||
|
||
|
||
DIAMOND: That's a good point. There's something primal about
|
||
dinosaurs -- practically every kid feels it at one
|
||
point or another. Maybe it's a racial memory that
|
||
keeps bringing us back to dinosaurs, even though
|
||
science tells us that humans and dinosaurs never
|
||
co-existed. Look at the popularity of Godzilla, for
|
||
example.
|
||
|
||
|
||
SHIPP: Right. There's been a real rush on dinosaur things
|
||
lately, and I think it's because they're the only
|
||
monsters we're allowed to believe in. Spielberg has
|
||
taken what may have been fascinating creatures for kids
|
||
and made them very believable and very scary. Of course,
|
||
it's worth noting that not all the dinos in JURASSIC are
|
||
killers.
|
||
|
||
|
||
DIAMOND: Too true. The brachiosaurs are one example of the
|
||
peaceful dinos in this film. The scene where Neill and
|
||
Dern first see a live brachiosaur is incredible. I
|
||
*felt* the awe they were feeling, and the computer
|
||
graphics are impeccable.
|
||
|
||
|
||
SHIPP: Yeah, in my opinion, I think the shots of peaceful animals
|
||
were more awesome than the dark, violent shots of T. Rex.
|
||
|
||
|
||
DIAMOND: A friend who accompanied me to the preview said he was
|
||
pulled in by the shot of the brachiosaurs in the lake,
|
||
mixed with smaller dinosaurs and birds. It was so
|
||
REAL.
|
||
|
||
|
||
SHIPP: Or the scene where the herd of small dinos flocked like
|
||
birds across a field. That's where JURASSIC PARK's
|
||
special effects people really succeeded: they managed to
|
||
really let you forget you weren't looking at models or
|
||
computer graphics. The effects, including the incredible
|
||
sound, convinced you for a while that all that was
|
||
possible.
|
||
|
||
|
||
DIAMOND: You know, I've already heard one critic complain that
|
||
the full-size animatronic puppets and the computer
|
||
graphics didn't blend together at all for him. He even
|
||
mentioned stop-motion animation, but the fact is that
|
||
while Industrial Light and Magic's "Go-Motion" team
|
||
(the same team responsible for the Landwalkers in THE
|
||
EMPIRE STRIKES BACK and other such movies) worked on
|
||
the dinosaur's movements, absolutely NO stop-motion
|
||
animation was used in the movie.
|
||
|
||
|
||
SHIPP: I think it's a tribute to ILM that I couldn't tell how the
|
||
effects were done. And I'm a person who usually pays
|
||
close attention to special effects. I think it's great
|
||
that the effects in this movie didn't vie for your
|
||
attention quite like TERMINATOR 2.
|
||
|
||
|
||
DIAMOND: T2 seemed more of an effects-for-effects'-sake movie,
|
||
whereas in JURASSIC PARK, the thrill-ride terror is
|
||
more of the focus. That may be the major distinction
|
||
between James Cameron and Steven Spielberg as
|
||
directors. Cameron's great with action flicks, but
|
||
NOBODY can do atmosphere and white-knuckle scenes like
|
||
Spielberg.
|
||
|
||
|
||
SHIPP: And they abound in JURASSIC PARK. I'll tell you, I'm
|
||
tempted to declare this movie Spielberg's best for that
|
||
very reason. At no point did the tension stop building
|
||
in this movie until the very end, when it climaxed and
|
||
then dropped off very suddenly. I thought that perhaps
|
||
there might have been a bit more denouement or epilogue
|
||
to the story, but then the ending was a weakness in
|
||
Crichton's book, which may have been difficult to remedy
|
||
in the screen adaptation.
|
||
|
||
|
||
DIAMOND: Yes, but there was more of a sense of closure to the
|
||
novel. The film, unfortunately, just leaves you
|
||
hanging. Perhaps deliberately for a sequel, which
|
||
Spielberg has dropped hints about lately. Spielberg
|
||
changed several things from the book, some for the
|
||
better, some for the worse. I'm not sure I agree with
|
||
his softening of EVERY character. Hammond, for
|
||
example, is not nearly as obsessed as he is in the
|
||
book. Crichton's Ian Malcolm was much more acerbic,
|
||
and his kids were quite annoying.
|
||
|
||
|
||
SHIPP: You're right. I worried that the kids would come out
|
||
badly in the film, and in fact they did quite well.
|
||
|
||
|
||
DIAMOND: I agree. The girl (Ariana Richards) plays absolute
|
||
terror so *well* that I was afraid for her!
|
||
|
||
|
||
SHIPP: As for a sequel, I think they might have used the
|
||
minimal epilogue of the novel to set us up for a
|
||
JURASSIC PARK 2, but instead, Spielberg chose not even to
|
||
give us a hint that there could be more action. I think
|
||
part of that comes from the fact that he was forced to
|
||
edit the story heavily. A time and money constraint
|
||
certainly must have led him to cut back some scenes in
|
||
the book, some of which suggested in no uncertain terms
|
||
the possibility of a sequel. But I think that with the
|
||
incredible box office success this movie is likely to
|
||
see, a sequel may be so financially sound an investment
|
||
as to be inevitable.
|
||
|
||
|
||
DIAMOND: A time and money constraint? I don't know. Considering
|
||
Spielberg spent somewhere between 50 and 70 million
|
||
dollars and spent two months filming in Hawaii, it may
|
||
have been more of a *dramatic* purpose to cut back some
|
||
scenes from the book. The whole business of dinosaurs
|
||
(velociraptors, actually) escaping to the mainland was
|
||
dropped entirely, and I think it makes for a stronger
|
||
film.
|
||
|
||
|
||
SHIPP: A little more focused, maybe.
|
||
|
||
|
||
DIAMOND: Which, frankly, film needs to be. The medium dictates
|
||
it.
|
||
|
||
|
||
SHIPP: It's hard to fault Spielberg for not making a four hour
|
||
movie, which JURASSIC PARK surely would've been had every
|
||
scene been recreated...but it would've been fun to see
|
||
two more hours of incredible dinosaur effects and to hear
|
||
more of John Williams' outstanding score.
|
||
|
||
|
||
DIAMOND: Williams has outdone himself here. It's not often I can
|
||
still hear the score in my head after I leave a movie.
|
||
Right now, the theme from JURASSIC PARK is playing over
|
||
and over in my mind. While it may not be his absolute
|
||
best work (and I might have to say that for Spielberg,
|
||
as well), it's certainly better than some of his more
|
||
recent efforts.
|
||
|
||
|
||
SHIPP: Yep. This soundtrack will join STAR WARS in my CD
|
||
collection. I found myself several times thinking, "This
|
||
is just like STAR WARS. Williams has actually WATCHED
|
||
this movie." His music will bring back the story when
|
||
you listen to it later.
|
||
|
||
|
||
DIAMOND: Do you maintain that this is Spielberg's best movie,
|
||
even in the light of JAWS, E.T., and THE COLOR PURPLE?
|
||
While it's an excellent job, and easily the most
|
||
exciting movie so far this year, I'm a little hesitant
|
||
to call it his best.
|
||
|
||
|
||
SHIPP: It's tough to decide which of those medalists should get
|
||
the gold, isn't it? I just feel that maybe Spielberg has
|
||
found a style which he might even refine more. The
|
||
suspense was so taut in JURASSIC, you'd think it was the
|
||
only style Spielberg had ever worked in. Perhaps I was
|
||
hasty to suggest it was his best, but then I hope that we
|
||
haven't seen Steven Spielberg's best movie.
|
||
|
||
|
||
DIAMOND: I hope we haven't, either. God knows, it'll take a lot
|
||
to surpass JURASSIC PARK. I've been maintaining for
|
||
the last two weeks that this is Spielberg's medium. He
|
||
works best with topics that at least have some
|
||
grounding in reality. When he takes off on a flight of
|
||
fantasy (viz. HOOK), he loses his footing, despite the
|
||
youth-based themes that he resonates so well with.
|
||
|
||
|
||
|
||
SHIPP: I think that may be why, surprisingly to some people,
|
||
JAWS sticks out among the list of movies you mentioned
|
||
earlier. It had the same sort of building fear that
|
||
JURASSIC PARK has, and it also deals with real-life
|
||
monsters. In JAWS, though, he had a much easier time
|
||
building suspense, since the menace was hidden and struck
|
||
without warning. In JURASSIC, I think Spielberg had to
|
||
work harder to be scary, so maybe I'm a little more
|
||
impressed.
|
||
|
||
|
||
DIAMOND: Well, in the end, all the arguments and little flaws in
|
||
the movie can be swept away by just two words: "WHO
|
||
CARES?" JURASSIC PARK is one mother of an amusement
|
||
ride, and everything else can just fall by the wayside.
|
||
On a scale of 1-10, I'd have to give JURASSIC PARK a
|
||
10!
|
||
|
||
|
||
SHIPP: I'm with you, Bruce. This movie sparkled the way only a
|
||
high-budget, high-quality film can, and is the first
|
||
movie in a while which left me breathless even during the
|
||
ride home. JURASSIC PARK was a perfect 10!
|
||
|
||
|
||
DIAMOND: That's it for this month's installment of THROUGH THE
|
||
MAGIC LANTERN, with Diamond and Shipp. Be with us next
|
||
month when we discuss another summer blockbuster.
|
||
|
||
|
||
SHIPP: I'm Diamond and he's Shipp...nononono...He's Diamond and
|
||
I'm Shipp...and we'll meet YOU at the matinee. See you
|
||
next time.
|
||
|
||
|
||
|
||
|
||
Reprinted by permission
|
||
from Lights Out magazine
|
||
Copyright (c) 1993, Bruce Diamond
|
||
All rights reserved
|
||
|
||
|
||
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ CLIFFHANGER: Renny Harlin, director. Michael France ³
|
||
³ and Sylvester Stallone, screenplay. Screen story by ³
|
||
³ Michael France. Based on a premise by John Long. ³
|
||
³ Stars Sylvester Stallone, John Lithgow, Michael Rooker, ³
|
||
³ Janine Turner, Rex Linn, Caroline Goodall, Paul Win- ³
|
||
³ field and Ralph Waite. TriStar Pictures. Rated R. ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
** Reviewed by Bruce Diamond **
|
||
(from the June issue of LIGHTS OUT)
|
||
|
||
|
||
Go for popcorn or whatever after the first ten minutes,
|
||
because by then you've already seen the most exciting moments of
|
||
CLIFFHANGER, the Sly Stallone starrer that's supposed to be his
|
||
mega-hit this summer. Here's a hint -- it ain't gonna happen,
|
||
despite a strong opening weekend. Some wags have already tagged
|
||
this movie as "DIE HARD on a mountain," and while there's some
|
||
truth to that description, you'll find that it doesn't hold true
|
||
for the length of the film.
|
||
|
||
Director Renny Harlin also directed DIE HARD 2, which is
|
||
where the comparison is coming from. Unfortunately, the same
|
||
weaknesses he exhibited in DIE HARD 2 (when compared with John
|
||
McTiernan's DIE HARD, the first film) are on display here. At
|
||
least with DIE HARD 2, he had a halfway-clever script and a
|
||
compelling villain to work with. There's no humor in CLIFF-
|
||
HANGER, at least not that I could find, and John Lithgow's
|
||
villain is scenery-chewing at its worst. He's almost as bad here
|
||
as he was in last summer's Hitchcockian stinker, RAISING CAIN.
|
||
Sporting what seems to be a South African accent, Lithgow's
|
||
dialogue, after the first half hour of exposition, is reduced to
|
||
endless variations on, "You bahstid." At one point, after dis-
|
||
covering that Stallone (playing rescue ranger Gabe Walker) has
|
||
survived yet another attempt on his life, he says into a walkie
|
||
talkie, "Walker, you're a bahstid, but you're a resourceful
|
||
bahstid." I can only assume that these lines are the result of
|
||
Stallone's wholesale rewriting of the script. They're definitely
|
||
on a par with, "Yo, Adrienne!"
|
||
|
||
I pray we eventually see the end of the Hollywood blockbus-
|
||
ter, the "high concept" film, soon. If you checked the credits
|
||
in the box before this review began, you'll have noticed that
|
||
CLIFFHANGER is "based on a premise by John Long." Based on a
|
||
premise? This has all the smell of a "high concept" thrown out
|
||
during a power lunch with studio executives. "How's this?
|
||
Stallone on a mountain! What do you think? Can't miss, eh?"
|
||
And whoever this John Long is (sounds like a pseudonym, doesn't
|
||
it?), he gets paid his "premise" money, the star and director are
|
||
signed, and THEN the script gets written. I'm willing to bet
|
||
that's exactly how the deal went down.
|
||
|
||
Gabe quits the Rocky Mountain Rescue Team when something
|
||
goes wrong during a rescue. His lover, Jessie Deighan (Janine
|
||
Turner), convinces him to get back on the mountain to rescue some
|
||
hikers who have lost their way. Hal Tucker (Micheal Rooker),
|
||
Walker's former partner, joins him in the rescue, even though he
|
||
still blames Gabe for what happened. What neither rescuer knows,
|
||
though, is that the hikers are actually criminals looking for
|
||
some lost U.S. Treasury money, led by Eric Qualen (Lithgow).
|
||
The band of criminals is pretty run-of-the-mill, although they
|
||
all seem to have ODed on testosterone before making the drop.
|
||
They are all, to the person, rude, egotistical, and basically
|
||
playing the same character.
|
||
|
||
The scenery and the aerial photography are tops, and the
|
||
only reason to see CLIFFHANGER. If you want really exciting
|
||
mountain climbing scenes, stay home and rent K2 from last year.
|
||
|
||
RATING: 3 out of 10
|
||
|
||
|
||
The Best on the Boards
|
||
Copyright (c) 1993, Russell Mirabelli
|
||
All rights reserved
|
||
|
||
|
||
Many bulletin boards across the nation have a huge amount of
|
||
software to choose from for download. Most have so many titles
|
||
that determining which ones might be worth the download time is
|
||
difficult. In this column, I will attempt to help you sort through
|
||
the huge morass of shareware available and let you know which
|
||
titles I feel are worth your evaluation. All the software reviewed
|
||
in this column is available on many bulletin boards throughout the
|
||
country. If you have difficulty locating a particular title, I
|
||
recommend that you contact its author at the address listed.
|
||
|
||
|
||
One of the recent trends in the commercial game market is
|
||
the horror genre, and Apogee software is joining in the fray
|
||
with their release MONSTER BASH. Weighing in at over 900k of
|
||
download time and well over 1MB of disk space (more for the release
|
||
version), monster bash is a great run-and-shoot style adventure
|
||
game. Its graphics are just a little bit on the horrific side,
|
||
but not so much as to cause any real concern.
|
||
|
||
Monster Bash supports joystick as well as keyboard controls, and
|
||
soundblaster/adlib cards are supported. This recent trend by the
|
||
major shareware game manufacturers to support these cards is
|
||
quite appreciated.
|
||
|
||
Monster Bash does require quite a bit of free memory to run, so
|
||
this can be a problem if you keep a lot of drivers loaded. Most
|
||
games have this problem these days, so you should be prepared
|
||
for this problem.
|
||
|
||
In Monster bash, Johnny Dash's dalmation, Tex, has been
|
||
kidnapped. As is usual, it is your job as JD to free all the
|
||
pets kidnapped and save the world from the scourge of all
|
||
humanity (of course, just as in every other game). You
|
||
are equipped with a magical slingshot that never runs out of
|
||
stones and can mutate if you jump and grab certain icons.
|
||
|
||
Although it is a quite large download, I feel that Monster Bash
|
||
is a really interesting and fun game, at least for a little
|
||
while. This reviewer has no fondness for PC arcade games (that's
|
||
why I got a SEGA), but Monster Bash may very well be just the
|
||
thing that some other gamers are looking for.
|
||
|
||
For your $39.00 registration fee, you receive hint/cheat sheets
|
||
and two more sets of levels (and even better graphics!). Apogee
|
||
is also one of the largest game companies in existence (even
|
||
though it is a shareware company) and boasts great service.
|
||
|
||
My rating for MONSTER BASH: (1-10)
|
||
|
||
Value 7
|
||
Graphics 8
|
||
Action 7
|
||
--------------
|
||
Overall 7
|
||
|
||
Monster Bash is a well-executed arcade game for the PC with
|
||
innovative, fresh graphics and good action.
|
||
|
||
MONSTER BASH
|
||
APOGEE SOFTWARE
|
||
PO Box 496389
|
||
Garland, TX 75049
|
||
|
||
If you are a shareware author and would like to see your product
|
||
reviewed in this column, please contact me either via e-mail at
|
||
the STTS bulletin board, through RIME (->SUNLIGHT), P&BNet, TTN (Net
|
||
Chat conference) or via conventional mail. My conventional
|
||
mail address is:
|
||
|
||
Russell Mirabelli
|
||
1216 Lamar Blvd E #508
|
||
Arlington, TX 76011
|
||
|
||
|
||
|
||
The Best on the Boards
|
||
Copyright (c) 1993, Russell Mirabelli
|
||
All rights reserved
|
||
|
||
|
||
Many bulletin boards across the nation have a huge amount of
|
||
software to choose from for download. Most have so many titles
|
||
that determining which ones might be worth the download time is
|
||
difficult. In this column, I will attempt to help you sort through
|
||
the huge morass of shareware available and let you know which
|
||
titles I feel are worth your evaluation. All the software reviewed
|
||
in this column is available on many bulletin boards throughout the
|
||
country. If you have difficulty locating a particular title, I
|
||
recommend that you contact its author at the address listed.
|
||
|
||
THELMA THISTLEBLOSSOM, by Timp Software, is a comprehensive
|
||
stand-alone spelling and grammar checker. This package allows a
|
||
user to review his or her documents for spelling and basic
|
||
grammatical errors. Although it has its weaknesses, Thelma is a
|
||
sound product.
|
||
|
||
The first thing that you encounter when you start this program is
|
||
a "beg screen" accompanied by the theme from Beethoven's Ninth
|
||
Symphony. This is a welcome item in the eyes of this reviewer, as
|
||
sometimes when these opening screens stay up too long, I will
|
||
reboot my system, suspecting a crash. The tune lets me know that
|
||
I'm intentionally being held at this point.
|
||
|
||
Once the intro screen goes away, Thelma asks for the file you wish
|
||
to check. It accepts documents in two formats: ASCII text and
|
||
WordPerfect. The WP format is nice for those users who don't wish
|
||
to export from their word processor. It also is not a surprise, as
|
||
Timp software comes from Orem, Utah (the city where WP
|
||
headquarters is located). It uses a relatively strong file-opening
|
||
dialog sequence, though the user does need to understand the use
|
||
of DOS wildcards to get full use.
|
||
|
||
The first of Thelma's two functions is that of a spell checker.
|
||
Although people who use a full-featured word processor might not
|
||
need this, those (like myself) who prefer small text editors will
|
||
find this useful. Thelma's dictionary size of 89,000 words is
|
||
actually a bit small compared to other shareware spell checkers,
|
||
but it certainly is adequate. Upon finding a misspelled word, it
|
||
will offer selections for replacement (using letter keys), or allow
|
||
the user to edit the word manually (if the word is not found).
|
||
|
||
The spell checker falls down in one major respect: the dictionary is
|
||
fixed. I personally dislike the fact that my name is considered
|
||
misspelled every time it comes up, or that major computer terms
|
||
are not in the dictionary. A user-extensible spell checker would
|
||
take care of this problem.
|
||
|
||
The second and more unique of Thelma's functions is that of a
|
||
grammar checker. It checks for technical errors, such as doubled
|
||
words, overuse of technical words, and long sentences. Its
|
||
function in that regard is adequate: it does help pick up on things
|
||
that I might have missed otherwise. I personally have the problem
|
||
of overuse of the passive voice, and Thelma reminds me to not
|
||
overuse it.
|
||
|
||
The grammar functions are not entirely perfect, either. For
|
||
example, the proper way to use a period on a typewriter is to
|
||
follow it with two spaces, but on a laser printer (especially with
|
||
good fonts) it is proper to use a single space. Also, the advice
|
||
given is a bit stoic: it offers no real solutions to your problem,
|
||
it merely points out the problem.
|
||
|
||
Thelma's registration fee is $29.00, and for this you get quite a
|
||
bundle of goods: a grammar reference and tutorial, a printed
|
||
manual and quick reference, and one shareware update. The intro
|
||
screens also go away. Comparatively, this is a quite good value,
|
||
and extremely competitively priced in comparison to commercial
|
||
products (Grammatik, Correct Grammar, etc.).
|
||
|
||
My rating for THELMA THISTLEBLOSSOM: (1-10)
|
||
|
||
Value 8
|
||
Usability 5
|
||
Performance 6
|
||
--------------
|
||
Overall 6
|
||
|
||
Thelma Thistleblossom performs as well as one would expect, and it
|
||
compares favorably to commercial software. However, grammar is not
|
||
a set of cut-and-dry rules, and this makes it a difficult task for
|
||
any computer program. If your writing could use a little touch-up,
|
||
I wouldn't hesitate to recommend that you give Thelma
|
||
Thistleblossom a try!
|
||
|
||
THELMA THISTLEBLOSSOM
|
||
Timp Software
|
||
758 East 100 North
|
||
Orem, Utah 84059-4910
|
||
|
||
|
||
If you are a shareware author and would like to see your product
|
||
reviewed in this column, please contact me either via e-mail at
|
||
the STTS bulletin board, through RIME (->SUNLIGHT), P&BNet, TTN (Net
|
||
Chat conference) or via conventional mail. My conventional
|
||
mail address is:
|
||
|
||
Russell Mirabelli
|
||
1216 Lamar Blvd E #508
|
||
Arlington, TX 76011
|
||
|
||
|
||
|
||
Lyrical Leanings
|
||
Copyright (c) 1993, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
POWER OF TEN
|
||
Chris deBurgh
|
||
A&M Records
|
||
|
||
POWER OF TEN, Chris deBurgh's first release of new material since
|
||
1988's disappointing FLYING COLOURS (he released a "best of" collection,
|
||
SPARK TO A FLAME, and the live album HIGH ON EMOTION - LIVE IN DUBLIN in
|
||
1989 and 1990, respectively) marks a return to the styles and passions
|
||
embodied in earlier works such as THE CRUSADER and AT THE END OF A
|
||
PERFECT DAY. Filled with grace, style, and most importantly powerful
|
||
lyrics and music, POWER OF TEN is a definite winner.
|
||
|
||
Opening with Where We Will Be Going, a beautiful song that takes us
|
||
through a bit of history and beyond, the album gets better and better.
|
||
Each song flows into the next, and it's smooth without being slick.
|
||
|
||
The album's first single release, Separate Tables, tells the tale of
|
||
a broken love affair with the hint of hope and gentle wit. (At separate
|
||
tables we sit down to write/The separate letters that never see the
|
||
light/If only we could just agree/To read between the lines) It's a
|
||
wistful, heartbreaking tale of love gone awry and lost chances.
|
||
|
||
Talk To Me, the album's 6th track, is an emotional, energetic foray into
|
||
obsession and desperation. (I am the one, yes I know I am the one/I am
|
||
the one for you now/I want you beside me/I dream of your body/I see you
|
||
and me there forever) It's one that leaves you breathless and wanting
|
||
for more.
|
||
|
||
The Connemara Coast, the 7th track, features a guest appearance by
|
||
irish/celtic folk band The Chieftains. The Chieftains' Paddy Moloney
|
||
arranged the piece, and deBurgh plays a beautiful acoustic guitar in this
|
||
haunting love song.
|
||
|
||
Brother John, the CD's 8th track, returns to the world of religion
|
||
with a twist recounted in Spanish Train (SPANISH TRAINS & OTHER
|
||
STORIES) and The Devil's Eye (THE CRUSADER). Brother John tells the
|
||
story of a priest that eventually gives in to temptation, and shows off
|
||
deBurgh's strong sense of the ballad as well as his sense of humor.
|
||
|
||
The CD's last track, Making The Perfect Man, is the weakest of the set
|
||
but also the most innovative. An energetic, modern version of
|
||
Frankenstein's Monster, (So they called the doctor, the doctor said
|
||
'it's strange/He's got pistols on his fingers, he's got love on the
|
||
brain/He's got a tongue good for lying and the legs to run away/He will
|
||
fool all the people all the time some day!') it's certainly a break from
|
||
his usual style of ballads and wistful love songs. It doesn't work on
|
||
all levels, but it doesn't really have to.
|
||
|
||
About the only negative thing I can really say about POWER OF TEN is the
|
||
fact that it was released in 1992 and STILL isn't available in the USA.
|
||
Alas, deBurgh's music seem to be destined to remain strictly a European
|
||
delicacy. Except for Lady In Red (INTO THE LIGHT), a 1986 mega-hit, and
|
||
1982's Don't Pay The Ferryman (THE GETAWAY), deBurgh's music has managed
|
||
to elude the vast collective consciousness of most Americans. Perhaps that's
|
||
part of what keeps it fresh and alive despite well over 10 albums. If you're
|
||
a fan of deBurgh's (or think that you might like to give his music a listen)
|
||
I'll urge you to pick up this CD. If you're American, that'll mean having to
|
||
go to a bit of trouble, but it's definitely worth it.
|
||
|
||
My rating, on a scale of 1-10: 10
|
||
|
||
|
||
|
||
Book Reviews
|
||
Copyright (c) 1993, Jason Malandro
|
||
All rights reserved
|
||
|
||
|
||
ZEUS AND CO.
|
||
David Lee Jones
|
||
AvoNova Fantasy
|
||
$4.99 US, $5.99 Canada
|
||
|
||
|
||
Cyrus Major, Computer programmer, night shift computer security officer,
|
||
and California surfer, was readying to shut down the Sigma Systems
|
||
computer for the night when something strange happened. His monitor began
|
||
to glow a phosphorescent green, fading only moments after it appeared.
|
||
In it's wake were a few lines of an unknown poem, words that would draw
|
||
Cyrus deep into the heart of the biggest, funniest mystery that he'd
|
||
ever known.
|
||
|
||
Thus starts ZEUS AND CO., David Lee Jones' second novel (he also authored
|
||
UNICORN HIGHWAY). Cryus is drawn deeper and deeper into the plot, as he
|
||
discovers that an unauthorized user using the codename Iberlin has
|
||
created a 100 Meg file on the mainframe's Top Secret hard drive. Soon
|
||
after his discovery, he meet a beautiful blonde who claims to be the
|
||
Greek Muse of love poetry Erato. It seems as though, through accident or
|
||
scheme, her sister Euterpe (the Greek Muse of lyric poetry) has managed
|
||
to get herself trapped on the very hard drive that Cyrus discovered the
|
||
100 Meg file on earlier. As Cyrus - a former hacker-turned-surfer -
|
||
delves deeper into the mystery, he finds he must fight his own disbelief
|
||
at the situation he's found himself in at every turn. Adventure ensues,
|
||
drawing bikers, FBI agents, employees of Sigma Systems, the owner of the
|
||
company herself, and even the thunderbolt-tossing God of Mount Olympus
|
||
Zeus himself into the fray.
|
||
|
||
It takes over half of the book before Cyrus let's himself believe that
|
||
Euterpe is trapped on the mainframe hard-drive, and he's just as stubborn
|
||
about falling in love with Erato. A goodly portion of the book seems to be
|
||
devoted to waiting for Cyrus to come around and accept what's happening to
|
||
him. This gets a bit tedious at times - especially after the third or
|
||
fourth time that he and Erato decide that they can't be together. The
|
||
story slows at these points, but manages to pick itself back up again
|
||
without being much the worse for the wear.
|
||
|
||
Despite these problems, ZEUS AND CO. is an enjoyable read, and
|
||
definitely worth the price of the paperback. Jones' style seems to be
|
||
developing well as a writer, and, in time, he'll overcome these stumbling
|
||
blocks. He has the potential to go far in the genre of Comedic Fantasy,
|
||
and I wouldn't bet against him.
|
||
|
||
My Rating: (out of 10 points) 7
|
||
|
||
|
||
Book Reviews
|
||
Copyright (c) 1993, Heather DeRouen
|
||
All rights reserved
|
||
|
||
|
||
POSSESSING THE SECRET OF JOY
|
||
Alice Walker
|
||
Pocket Books
|
||
$5.99 US, $7.50 Canada
|
||
|
||
|
||
"There are those who believe Black people possess the secret of joy, and
|
||
that it is this that will sustain them through any spiritual or moral
|
||
or physical devastation."
|
||
|
||
Thus begins "Possessing the Secret of Joy", the most recent novel by
|
||
Alice Walker, the Pulitzer-prize winning author of "The Color Purple".
|
||
From this point forward, we witness the voyage of self-discovery and
|
||
revelation of Tashi, the Olinkan wife of Adam. Adam was the son that
|
||
Celie put up for adopion at the beginning of "The Color Purple".
|
||
|
||
This book is neither a prequel nor a sequel to "The Color Purple", as was
|
||
"The Temple of My Familiar", but is rather a detailed development of two
|
||
of the characters introduced in "The Color Purple". It is the existing
|
||
familiarity with these characters that makes the reader feel all the
|
||
more intensely the joy, pain, and rage expressed within the pages.
|
||
With this book, Alice Walker has once again proven herself one of the
|
||
foremost storytellers of our time.
|
||
|
||
The book is a "coming of age" story for every woman who has ever
|
||
lived in the servitude of men, tracing Tashi's journey from
|
||
servitude to freedom as she realizes that "RESISTANCE is the secret of
|
||
joy".
|
||
|
||
I found this novel to be one of the most compelling I've read in many
|
||
years, and highly recommend it.
|
||
|
||
My rating: (out of 10 points) 8
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ ÃÄ¿
|
||
³ Fiction ³ ³
|
||
³ ³ ³
|
||
ÀÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
|
||
|
||
|
||
|
||
|
||
The Roger and The Dragon
|
||
Copyright (c) 1993, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
|
||
Logged in at 9600 baud
|
||
|
||
Welcome to..
|
||
|
||
N A T I O N A L C H A T !
|
||
|
||
|
||
|
||
<Access Number? N=New>=>83168
|
||
|
||
(Welcome Back... Suave Knight)
|
||
|
||
<Password please?>=>spells
|
||
|
||
|
||
Suave Knight 83168 logged on.
|
||
Time: 01:07:02 Level: 8
|
||
Date: 07-22-92 Mailslots: 40
|
||
|
||
There are 87 users on-line.
|
||
21 members are in the clubhouse
|
||
chat area.
|
||
|
||
You have mail waiting!
|
||
|
||
Would you care to read it?
|
||
|
||
|
||
<Read mail?>=>Y
|
||
|
||
MAIL CALL!
|
||
|
||
1. From: Sysop 1 08-04-93 06:15:37
|
||
Topic: Re: Out of curiousity..
|
||
|
||
2. From: The Barbarian 41453 08-04-93 07:45:22
|
||
Topic: D&D Friday!!!
|
||
|
||
3. From: Dragon Lady 83598 08-04-93 11:29:47
|
||
Topic: You..
|
||
|
||
|
||
Which message (? to list)=>3
|
||
|
||
To: Suave Knight 83168
|
||
From: Dragon Lady 83598
|
||
Topic: You..
|
||
Time: 08-04-93 11:29:47
|
||
|
||
Suave Knight,
|
||
|
||
I noticed your handle and, intrigued, decided to browse your
|
||
account. What I read there intrigues me even more. You and I share many
|
||
similar interests.
|
||
|
||
I'm looking forward to chatting with you sometime, and, eventually,
|
||
getting to know you.
|
||
|
||
Sincerely,
|
||
Dragon Lady
|
||
|
||
<End of message - A to abort, D to delete, R to reply>=>a
|
||
|
||
|
||
"Damn." Roger muttered under his breath, looking away from the
|
||
computer screen. He'd been calling bulletin board systems for nearly three
|
||
years now, ever since he'd gotten a modem for his 18th birthday. This was
|
||
the first time anyone had ever initiated contact with HIM.
|
||
Roger wiped a bead of sweat from his greasy forehead, in the same motion
|
||
knocking a pair of horn-rimmed glasses from his nose.
|
||
"Shit!" The glasses tumbled to the rug below. He couldn't see without
|
||
his glasses, not even barely. Momentarily forgetting the computer
|
||
(something Roger rarely did) he fumbled about on the floor until, eventually,
|
||
his akward hands managed to find his glasses.
|
||
Glasses perched percariously upon his large nose, Roger jumped back in
|
||
astonishment as the computer beeped at him, and words swept across the screen.
|
||
|
||
|
||
<Suave Knight 83168, Dragon Lady 83598 wishes to chat you! Y to chat>=>
|
||
|
||
|
||
Should I chat with her?, he thought. He'd managed to make many on-line
|
||
friends (many more than he had in real life) but, somehow, those friendships
|
||
had never developed into anything more.
|
||
He'd met maybe a half a dozen other users in his three years of BBSing,
|
||
and, of that half a dozen, only one did he even chat with anymore. None did
|
||
he ever see again.
|
||
The one that DID continue to chat with him was nearly as shy as he was
|
||
in real life and they had agreed upon mutual consent that they'd probably
|
||
get along better on-line than in person.
|
||
It wasn't that he was particulary hideous to look at. He stood an even
|
||
six feet tall, weighed nearly 250 lbs., and had short, greasy black hair.
|
||
Of course, he wasn't particulary handsome, either. And the thick, nerdy
|
||
glasses didn't seem to help matters.
|
||
He had just never learned to get along well with people. Dungeons and
|
||
Dragons groups were one thing, to be sure. But actually meeting people and
|
||
talking to them in REAL life.. That was something else alltogether.
|
||
Especially women. Even Marjorie, the only girl in his D&D group, made
|
||
him nervous. He'd never been able to muster up enough courage to ask a girl
|
||
out, and had only been on three dates in his life; they were all set up by
|
||
his mother. No, Roger didn't get along at all well with women.
|
||
Roger's thoughts were interrupted as the computer beeped once more.
|
||
|
||
<Suave Knight 83168, Dragon Lady 83598 wishes to chat you! Y to chat>=>Y
|
||
|
||
|
||
Dragon Lady 83598 Suave Knight 83168
|
||
Single female, 31 Single male, 22
|
||
|
||
Hello!
|
||
|
||
Hello. How're you this evening?
|
||
|
||
I'm doing just great, thank you. I glanced through your bio this
|
||
evening and found it to be really interesting.
|
||
|
||
Thank you. I haven't had the chance to peruse yours yet, but
|
||
I'm sure I'll find it equally as interesting.
|
||
|
||
Perhaps. So.. What do you do, Suave Knight? What keeps you awake at nearly
|
||
1 in the morning?
|
||
|
||
I'm a science fiction writer and I was working on my latest novel. Decided
|
||
to take a break and see what was happening on here.
|
||
|
||
Well, if you're busy..
|
||
|
||
No, no. That's allright. I was ready for a break.
|
||
|
||
Wellll.. In that case.. Tell me about yourself.
|
||
|
||
|
||
They had chatted the night through, finally logging off just as dawn
|
||
came. They had talked about everything.
|
||
She was from Britain and ran a successful import-export business here
|
||
in town. She refused to tell him her age, but she didn't sound a day over 30.
|
||
She'd never wed, had been BBSing only a short time, and absolutely LOVED to
|
||
read science fiction. .
|
||
This last bit of information had been given because Roger had mentioned
|
||
that he was a science fiction writer. Well, who could blame him? If he had
|
||
told her he worked at 7-11, would she have continue to chat with him? Of
|
||
course not! He'd managed to tell (mostly) the truth throughout the rest of
|
||
the conversation, though. Well, except for the fact that he doesn't REALLY
|
||
live in a penthouse apartment, nor does he drive a brand new (or even an
|
||
old) Jaguar. But those were minor details. She'd probably forget all of that
|
||
anyway. At least he'd told her his real name.
|
||
He couldn't get her off his mind. The way she typed. The way he
|
||
imagined she talked.
|
||
Roger knew; this time, it was for real! He was in love! Sure, he'd
|
||
thought the same thing a few times before, only to realize just before he
|
||
made that final step -before he actually met the person- that things couldn't
|
||
work out. But this time, this time would be different. They'd meet, she'd
|
||
fall in love with him, and they'd live happily ever after. He'd move out
|
||
of his parents house shortly after, of course.
|
||
Though only a few hours of sleep could be had before his mid-afternoon
|
||
shift at 7-11, Roger slept well. He slept the starry-eyed sleepy of love.
|
||
|
||
|
||
"Umm.. Er.. Sorry, I must have the wrong number." Roger slammed down
|
||
the phone, hands shaking. That was the third time in the last hour he had
|
||
dialed her number, only to have his nerve fail him.
|
||
It was only a little over an hour ago that Roger had logged onto the
|
||
computer -he always called immediately after work- to find her message
|
||
waiting for him. A simple 'Call me' with her phone number. That was it.
|
||
Brief, yet compelling.
|
||
And he had called her. Only to hang up when she answered. She had the
|
||
most beutiful voice Roger had ever heard. Exotic, deep, and, at the same
|
||
time, delicate. The british accent had been there, as promised. He could
|
||
almost hear bells as she fatefully intoned 'Hello.'
|
||
Unfortunately, at that instant, that brief pause between her
|
||
answering and his being required to speak, he'd clammed up. His heart
|
||
began to thunder in his chest, his legs got weak, sweat poured from
|
||
his brow, and his eyesight began to fail him. Meekly, he hung up.
|
||
The fourth time, just as his courage was about to fail him again,
|
||
he heard his name. "Hello? Roger, is that you?"
|
||
He wanted to answer. He formed the words in his mind. Unfortunately,
|
||
his mouth wouldn't cooperate. Defeated, he lowered the phone towards the
|
||
cradle.
|
||
"Roger, don't be scared. TALK to me!"
|
||
He froze. She KNEW it was him, for sure. If he didn't say something
|
||
now, he'd probably never have the chance again. Drawing up whatever
|
||
courage he has accumulated in 21 years, he spoke. "I'm sorry, there's
|
||
a bad connection here. Hold on."
|
||
"Allright Roger."
|
||
"There, is that better?" His heart pounded in his chest, threatening
|
||
to break out, but he managed to sound calm.
|
||
"Much better, Roger." Her voice resonated over the sprint lines. "I'm
|
||
glad you decided to call."
|
||
Silence. "Umm.. Yeah, me too. So.. You've never told me your name."
|
||
Laughter. "How silly of me, Roger. I thought I had. It's Tia." She
|
||
seemed to whisper over the phone, causing Roger's thick, hairy skin to
|
||
tingle with excitement.
|
||
"Pleased to talk to you, Tia." He tried to laugh, overcoming his
|
||
nervousness a little.
|
||
|
||
And so it went on, for three and a half hours. They talked about
|
||
everything. What Roger liked to do, where he liked to go, what he did for
|
||
a living. (he was even honest with her this time) By the end of the
|
||
conversation, Roger was even breathing normally.
|
||
"Roger, we're getting along so well. I have something to ask you, and
|
||
I hope you don't think I'm too terribly forward."
|
||
"Go ahead." He choked into the phone. This was it. She was going to ask
|
||
what he looked like, or if he'd ever done it with a woman. His hands started
|
||
to tremble.
|
||
"Roger, would you like to meet me?"
|
||
Silence.
|
||
"Roger? Are you there, Roger?"
|
||
"I'm here. Umm, what'd you say?"
|
||
"Would you like to meet me?"
|
||
"Of course I would." He did want to, didn't he? Yes, he did. He was done
|
||
with being a coward. He wasn't going to blow this one. "Yes, I'd very much
|
||
like to meet you Tia."
|
||
She almost seemed to smile over the phone. "Good. How about tomorrow?
|
||
What time do you get off work?"
|
||
"Tomorrow's my day off. Umm, what would you like to do?" He was getting
|
||
daring.
|
||
"Well, I was thinking you could come over for tea. After that, we'll
|
||
see what we feel like doing." She paused, letting her words sink in. "Roger,
|
||
I like you very much."
|
||
Roger gulped into the phone, fought not to faint, then responded with
|
||
a weak "Thanks."
|
||
"Well, then. How about tomorrow at eight? I'll leave you directions on
|
||
the BBS. Sound like a plan?"
|
||
He kicked himself. He'd had the chance to tell her how he felt about her,
|
||
and he'd blown it. Sure, she'd caught him off guard. But, still, that was no
|
||
excuse. Finally, Roger was really starting to see himself. He was scared.
|
||
Scared to take a chance. Her words interrupted his thoughts.
|
||
"Roger? If tomorrow's a problem.."
|
||
This time, his words interrupted hers. "Tomorrow'd be great, Tia. I
|
||
like you very much, too. Don't forget to leave me directions in E-mail. Did
|
||
I mention I like you a lot?" It all came out in a rush, leaving Roger
|
||
breathless.
|
||
Tia purred. "It's a date, then. And, Roger - I'm glad you like me,
|
||
too."
|
||
|
||
|
||
He'd woken early that morning. Actually, there hasn't been much sleep
|
||
to wake up from. He'd spent most of the night lying awake in bed, thinking
|
||
about what he was going to say to Tia, what she looked like, about where
|
||
they might go on their date, and, yes, about making love to her.
|
||
Over and over they'd make love, doing it in the bed, on the washing
|
||
machine, with her lying on the kitchen table. Every different way he'd ever
|
||
seen, or heard about. Every way he'd ever dreamed about.
|
||
His thoughts (not to mention the bulge in his shorts) were interrupted
|
||
by his mother's gruff voice.
|
||
"Roger!" She yelled through his bedroom door, before slamming it open.
|
||
"Roger, there's a phone call for you."
|
||
|
||
"Roger?" Came the voice from the other end of the phone. "It's me,
|
||
Tia. How're you this morning?"
|
||
"Great!" He smiled, as though she could see him. "I'm doing great.
|
||
Really looking forward to tonight!"
|
||
"Me too." She purred. "Listen, Roger.. About tonight.."
|
||
That was it. It WAS all too good to be true. She'd changed her
|
||
mind, finally realized what a nerd he really was.
|
||
"Roger, the BBS was busy and I didn't want to chance you're missing
|
||
my directions. If you don't mind, I'll give them to you over the phone.
|
||
Got a pen?"
|
||
|
||
Nearly 15 minutes early, his light blue '75 Pinto pulled noisly
|
||
into her driveway. The crunch of tires on gravel added to the
|
||
ever-present roar of the Pinto, and Roger was sure that he'd probably
|
||
scared off the entire neighborhood.
|
||
What there was of it. Tia's house - a beautiful victorian-style
|
||
brick home, flanked with amazingly tall trees and bushes - seemed to be
|
||
out in the proverbial middle of nowhere. He'd driven nearly a half hour
|
||
to reach it, and had never even been this far out of town before.
|
||
It'll be worth the drive, he thought to himself, smiling. If Tia
|
||
was even half as beautiful as the mental picture he'd formed, it'd be
|
||
worth it.
|
||
Clamboring out of the Pinto, he tried to shut the door with quiet,
|
||
calm assurance. Failing that, he DID managed to get it shut without the
|
||
usual grinding of metal against metal.
|
||
Slowly, with increasing nervousness, he walked the 10 feet to her
|
||
front door. Balling his hand into a fist, he willed it to knock. It
|
||
didn't. Trying again, he managed a faint tap against the wood. "C'mon,
|
||
Roger. It's now or never." He told himself with a half-smile. This time,
|
||
his fist swung hard at the door...
|
||
...just as the door opened inward. Stumbling with the momentum of
|
||
the swing, Roger twisted, turned, and fell head-over-heels at the feet
|
||
of the most beautiful woman he'd ever seen in his life.
|
||
"Tia, I presume?" He asked meekly, staring up at her long, sleek
|
||
legs. His eyes carressed her form, following up the tight silken skirt
|
||
that wrapped itself around her body, around her taut, firm breasts, and
|
||
ended in a face from heaven. Deep, silky hair fell down around her face
|
||
and full lips, as the deepest pair of blue eye's he'd ever seen gazed
|
||
down at him.
|
||
"Only if you're Roger." She smiled, offering her hand.
|
||
Meekly, Roger shook it.
|
||
"No, silly, I'm helping you up!" She laughed, and the air around
|
||
her seemed to tinkle with her laughter. Her hands enveloped Roger's and
|
||
she pulled him to his feet with barely an effort.
|
||
"Umm.." Mumbled Roger, and he rubbed the toe of his K-Mart sneakers
|
||
into the gravel pathway. "I.."
|
||
She leaned forward, sniffing him. "Roger.. You're a virgin, aren't
|
||
you?"
|
||
"What?"
|
||
"I said you're a virgin. You are, aren't you?"
|
||
Roger's face reddened, and he looked away. It was all a trick.
|
||
She'd set this whole thing up, to make fun of him. Suddenly, he felt
|
||
anger rising in his stomach, up through his throat, and he heard himself
|
||
saying: "So what if I am? Why does that matter?"
|
||
"Are you or not, Roger? You see," She smiled, licking her lips. "I
|
||
like virgins."
|
||
Roger started to get dizzy. Leaning against the doorway to steady
|
||
himself, he smiled back to her. "Well, yes, I am."
|
||
"That's all I needed to know." She purred, pulling Roger to her.
|
||
Her lips brushed gently against his, then harder, as her hands began to
|
||
trail slowly down his shaking body.
|
||
Never before having been in this situation and not knowing what
|
||
else to do, Roger kissed her back. His almost pulled back as her tongue
|
||
found it's way into his mouth, probing and seeking out his.
|
||
"Oh, Roger." She mumbled, as their kiss intensified. Her tongue
|
||
delved deeper into his mouth..and deeper..and deeper..
|
||
Roger couldn't breathe. Pushing her away, he nearly fell again
|
||
as serpent's eyes stared deep into his own. A long, forked tongue
|
||
flicked about her razor sharp incisors as her hands clamped firmly
|
||
around his arms.
|
||
Suddenly, she began to grow and change. Her body elognated as
|
||
bluish-green scales ripped through her designer dress, and her lips
|
||
turned to a snout. Roger stared helplessly as Tia held him tight, all
|
||
the while turning into a ten-foot-long blue dragon.
|
||
He struggled against her firm grasp as razor-sharp talons dug into
|
||
his arms. "Wha.. How? Why?" He managed to get out, as her diamond-hard
|
||
teeth edged ever more near his head.
|
||
*Simple*, he seemed to hear a voice echo in his head, and knew it was
|
||
her's. *I have special... tastes, Roger. I have a taste for you.*
|
||
Roger flung up an arm into Tia's face, pulling it quickly back
|
||
minus three fingers. "HelpOhShitHelp!!" He screamed into the night,
|
||
struggling against her steel-like grasp. "WhyTiaWhy??"
|
||
*Roger, my love.* The voice rang inside his head, cutting deep into
|
||
his psyche. *I have a taste for virgins. What better place to find a
|
||
virgin than on a BBS?*
|
||
His reply was drowned out by the sound of her teeth shredding
|
||
Roger's body in two.
|
||
|
||
|
||
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|
||
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|
||
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||
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||
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|
||
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|
||
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||
of the HomeWorks(tm) Home Management v4 Up $98 Stacker v3 $98 QEMM 386 v6 $65
|
||
System. Registration: $20 + $5 s/h. PC Tools 8.0 $119 C Point Anti-Virus $88
|
||
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|
||
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||
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||
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|
||
Computer Accessories $387 Crosstalk for Windows v2 $118 Home
|
||
3M Diskettes 5.25" DD $7/bx HD $10/bx Office (v. mail/fax/modem) $230 Complete
|
||
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||
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|
||
(holds 40) or 5.25(holds 50) $8ea. ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
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||
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|
||
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|
||
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|
||
³ a FREE box of TDK 5.25" DD Disks. ³ ³ (214) 681-8131 ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
Add $3 s/h each order (except shareware only orders) Texas res. add 7.25% tax
|
||
|
||
|
||
|
||
|
||
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ ÃÄ¿
|
||
³ Poetry ³ ³
|
||
³ ³ ³
|
||
ÀÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
|
||
|
||
|
||
|
||
|
||
Desperately Seeking...
|
||
Copyright (c) 1991, Tamara
|
||
All rights reserved
|
||
|
||
|
||
Look not and ye shall find
|
||
a mind of different worlds
|
||
a heart that in kind
|
||
is searching
|
||
Searching
|
||
not alone, not without
|
||
unaware even
|
||
that the search has begun.
|
||
|
||
Look not and ye shall find
|
||
a world of different choices
|
||
a life that portrays
|
||
a fulfillment
|
||
fulfilling
|
||
not of need, nor of want
|
||
unaware even
|
||
that the needs are there.
|
||
|
||
Look not and ye shall find
|
||
a choice of different hearts
|
||
a passionate companion
|
||
who's growing.
|
||
Growth
|
||
not of desperation, nor starvation
|
||
unaware even
|
||
of the passion growing within.
|
||
|
||
Look not and ye shall find
|
||
a heart of different loves
|
||
an intimate harmony filled
|
||
with symphonies
|
||
Symphonies
|
||
not of discord, nor melodious unity
|
||
unaware even
|
||
that the movement has begun.
|
||
|
||
Written online - by Tamara (c) 7/26/91
|
||
|
||
|
||
|
||
|
||
The Moment Now
|
||
Copyright (c) 1992, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
|
||
She smiles and takes his hand
|
||
Dancing in the wind, his breath taken
|
||
She runs from him wanting him to come
|
||
Taunting, whispering sweet carresses
|
||
|
||
Promises of today the moment now
|
||
Tomorrow a distant gleam in her eye
|
||
He catches her they tumble
|
||
Lying in the grass he notices she's gone
|
||
|
||
He cries hammering his fists
|
||
Against her memory he rages
|
||
Anger gives ways 'gainst sweet sorrow
|
||
He finds her in his heart
|
||
|
||
|
||
|
||
|
||
Thanks for your interest in
|
||
|
||
P&BNet(tm)
|
||
|
||
the Pen and Brush Network for Writers and Artists
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ P&BNet is a QWK-and-Postlink echo SPECIFICALLY for boards which ³
|
||
³ cater to creative people, writers, journalists and artists. Our ³
|
||
³ conferences are tailored especially for that purpose. P&BNet ³
|
||
³ is NOT an echo for general interest boards. ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
P&BNet espouses diversity in creativity. If your users are mostly
|
||
mature individuals who enjoy creativity and creative stimulus,
|
||
who do not need rules for conduct but conduct themselves with
|
||
wit and style, who enjoy a wide range of interests but would
|
||
rather not try to categorize each one... you've found the right
|
||
network for your BBS.
|
||
|
||
We don't call ourselves an "elite group" but somehow, that
|
||
description fits.
|
||
|
||
First and foremost, we are writers and artists. Some of us have
|
||
publications on the shelves at the local bookstores; others have
|
||
artwork in various museums and galleries. Above all, we share
|
||
the same muse - that dream we fall into when we create.
|
||
|
||
Many of us are professional publishers, too, and writers will
|
||
find a tremendous research, reference and electronic publishing
|
||
resource with P&BNet.
|
||
|
||
We also are a friendly lot with many interests, including
|
||
landscape arts (gardening <g>), cooking, birdwatching, and some
|
||
of the sciences such as astronomy. In order to keep our network
|
||
focused, we primarily offer conferences for networking between
|
||
writers and artists; but to not constrain ourselves to ONLY
|
||
those topics. To allow some free-flowing ideas exchange, we don't
|
||
hamper creativity within the bounds of a "conference." We use
|
||
the conferences for focus, but we don't want to stop a fascinating
|
||
thread that has gone askew of the subject matter. You see?
|
||
There is a balance... and we do our best to enjoy it.
|
||
|
||
If you can use a mail door, you can join P&BNet.
|
||
|
||
We are also using Postlink. If you are already set up with
|
||
Postlink for another network, you're in great shape to access
|
||
P&BNet from one of our Postlink-capable regional hubs.
|
||
|
||
Conference areas currently originated by P&BNet:
|
||
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
|
||
|
||
1 Writers.......A writers' salon plus discussions about writing
|
||
2 Artists.......An artists' salon plus discussions about art
|
||
3 Mystery.......Mystery books, films, etc.
|
||
4 Horror........Horror books, films, etc.
|
||
5 Cinema........Movies and reviews!
|
||
6 Sci-Fi........Science Fiction books, films, etc.
|
||
7 RareBooks.....Rare and Antique Books and Prints Sell/Swap
|
||
8 Garden........Gardening and Landscape Arts
|
||
9 Humor.........Mostly about humorous authors, but some joke-telling, too
|
||
10 Photography...Art, science; video, still - all aspects.
|
||
11 WaterMedia....Watercolors, Sumi-e, Pen and Ink
|
||
12 RubysPearls...Your host: Del Freeman, publisher, Ruby's Pearls
|
||
13 ModemNews.....Your host: Jeff Green, publisher, ModemNews
|
||
14 DPA...........Your host: Ron Albright, CEO Digital Publishing Assn.
|
||
15 PBMail........Comm support: Maildoors & Off-line Readers/CH: Michael Hahn
|
||
16 Grapevine.....General Chit-Chat
|
||
17 Soapbox.......A place for users to voice concerns (open forum)
|
||
18 NetAdmin......Network Administration (Required and Restricted)
|
||
19 P&BNet News...In The News, current events, journalism
|
||
20 Sculpture.....All forms and mediums
|
||
21 Oils&Pastels..Oil and pastel painting
|
||
22 Framing.......Framing - anything! Presentation and craft
|
||
23 Gadgets4Sale..Opaque projectors, brushes, wheels, looms, you name it...
|
||
24 Music.........Musicians, and everyone who loves to listen to or make music
|
||
25 Museums&Shows.Gallery Events; What's new to see? Who's showing right now?
|
||
26 Digital Art...Raytracing, fractals, etc. plus digital formats i.e. GIF, PCX
|
||
27 Poetry........Your host: Joe DeRouen
|
||
28 CAD Artists...CAD architects, engineers and scientists (and artists)
|
||
29 RdrmSuppt.....Support for the Readroom programs. Host: Michael J. Gibbs
|
||
30 SGML-Hyprtext.SGML and Hypertext - all media, applications, development
|
||
|
||
All participating systems MUST carry the "NETADMIN" conference.
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ VERY IMPORTANT: ³ We only have 3 "rules" by which I *insist* you abide:
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
[1] DO NOT join P&BNet if you don't have a decent writers, artists or
|
||
other "creatives" oriented user base at your BBS.
|
||
|
||
[2] Do your part to keep your local conference participation ON THE TOPIC
|
||
and AWAY FROM PETTY BICKERING. We rely on the local SysOp to
|
||
keep the network amicable.
|
||
|
||
[3] Do your part to remind users to CHANGE THE "SUBJECT:" HEADER when they
|
||
veer away from the original topic of a thread.
|
||
|
||
We do have a few Conference Hosts. These volunteers are leaders
|
||
in their respective fields and therefore are subject matter experts.
|
||
It's their job to help people, focus attention on the subject matter,
|
||
and enlighten everyone with news as it occurs. We do not want to
|
||
turn our CH's into some sort of police force and therefore ask the local
|
||
SysOp to help out by using common sense and good communication skills
|
||
to prevent, neutralize or "moderate" any bad vibes that may occur between
|
||
users.
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ VERY VERY IMPORTANT: ³ NO P&BNet SYSTEM may cross-echo network
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ messages with other echomail networks without
|
||
prior express permission of P&BNet(tm) and it's National SySop, Lucia
|
||
Chambers. Failure to abide by this request will most certainly result
|
||
in legal action initiated by P&BNet(tm).
|
||
|
||
Network Concepts
|
||
^^^^^^^^^^^^^^^^
|
||
NODE A bulletin board system that calls another
|
||
bulletin board system (a hub) in order to
|
||
transfer mail. A node doesn't receive its mail
|
||
directly from any other BBS (that is, no one
|
||
calls it to transfer mail.)
|
||
|
||
HUB A bulletin board system which may or may not
|
||
call another hub system in order to transfer
|
||
mail, but is called by one or more nodes to
|
||
transfer mail.
|
||
|
||
REGIONAL HUB A hub which calls another hub in order to
|
||
transfer mail. It's called a regional hub
|
||
because when designing a network, a hub is
|
||
usually placed in each of the major regions
|
||
serviced in order to minimize long distance
|
||
phone charges.
|
||
|
||
For example :
|
||
|
||
P&BNetHub
|
||
/ \ \
|
||
/ \ \
|
||
/ \ \
|
||
RUBYS BBS1 BBS2
|
||
/ \
|
||
/ \
|
||
BBS3 BBS4
|
||
|
||
|
||
P&BNetHub is the NATIONAL HUB because it does not call anyone for mail.
|
||
BBS1 and BBS2 are NODES, directly linked to P&BNetHub. BBS3 and BBS4 are
|
||
nodes connected to RUBYS. RUBYS is a node of P&BNetHub and also a
|
||
REGIONAL HUB since it calls P&BNetHub to transfer mail.
|
||
|
||
Each hub that is a regional hub has a HUB ID. This ID is used by the
|
||
regional hub to identify itself when it calls the hub "above" it to
|
||
tin board syste Stackeo QEMM 386 v6 $65
|
||
System. Registration: $20 + $5kIt's ol most certaind inf³
|
||
³ ns N ³ he hubelf dRelative Soso a
|
||
Tinf³
|
||
lb that is^^
|
||
Ho enjoy iltaind i people ^^TADMIN" confer
|
||
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