4061 lines
174 KiB
Plaintext
4061 lines
174 KiB
Plaintext
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Sunlight Through The Shadows
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Volume II, Issue 10 Oct. 1st, 1994
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Welcome........................................Joe DeRouen
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Editorial: The Pinball Wizard...............L. Shawn Aiken
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Staff of STTS.............................................
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Special Survey for STTS Readers - Now offering prizes!....
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Monthly Prize Giveaway Details....and Winners!............
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SysOps - Read This to Win Prizes!..And Winners of Prizes!.
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>> --------------- Monthly Columns ---------------------<<
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STTS Mailbag..............................................
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Quick Tips and Fixes...........................Joe DeRouen
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The Question & Answers Session.................Joe DeRouen
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My View: Baseball..........................Thomas Van Hook
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ÿÿÿÿÿÿÿÿÿÿÿÿÿ Advertisement-Channel 1 BBS
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>> --------------- Feature Articles --------------------<<
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Halloween - The Prequel......................Brigid Childs
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Haunted Verdun Manor Reviewed..................Joe DeRouen
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STTS Survey Results............................Joe DeRouen
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ÿ Advertisement-Exec-PC BBS
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>> ------------------- Reviews -------------------------<<
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(Movie) Quiz Show............................Bruce Diamond
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(Movie) Capsule Reviews......................Bruce Diamond
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(Book) Bedlam Boyz/Ellen Guon.............Thomas Van Hook
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ÿ Advertisement-T&J Software
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>> ------------------- Fiction -------------------------<<
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The Cybermaster's Women.....................Franchot Lewis
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The System..................................Dale E. Lehman
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Ouija Warning.....................................Ed Davis
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ÿ Advertisement-Chrysalis BBS
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>> ------------------- Poetry --------------------------<<
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For N.J.A. ................................Daniel Sendecki
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Dragons.............................................Tamara
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She Screamed At The Wall.......................J. Guenther
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Wander........................................Sean Donahue
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My Memories................................Thomas Van Hook
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>> ------------------- Humour --------------------------<<
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Top Ten List...................................Joe DeRouen
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"Who's On First?".......................Abbot and Costello
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>> --------------- Advertisements ----------------------<<
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Channel 1 BBS
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Exec-PC BBS
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T&J Software
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Chrysalis BBS
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>> ----------------- Information -----------------------<<
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How to get STTS Magazine..................................
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** SPECIAL OFFER!! **.....................................
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Submission Information & Pay Rates........................
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Advertiser Information (Businesses & Personal)............
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Contact Points............................................
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Distribution Sites........................................
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Distribution Via Networks.................................
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End Notes......................................Joe DeRouen
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ÖÄ¿Ò ÂÚÒÄ¿Ò ÒÖÄ¿Ò ÒÖÒ¿ ÖÒ¿Ò ÒÒÄ¿ÖÄ¿Ò ÂÖÄ¿Ò Ò ÖÒ¿Ò ÒÖÄ¿ ÖÄ¿Ò ÒÖÄ¿ÒÄ¿ÖÄ¿Ò ÚÖÄ¿
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ÓÄ¿º ³ º ³º ººÚ¿ÇĶ º º ÇĶÇÂÙº ³º ³ºÚ¿ÇĶ º ÇĶÇÄ ÓÄ¿ÇĶÇÄ´º ³º ³ºÂ³ÓÄ¿
|
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ÓÄÙÓÄÁ Ð ÁÓÄÙÐÓÄÙÐ Ð Ð Ð Ð ÐÐÀÙÓÄÙÓÄÁÓÄÙÐ Ð Ð Ð ÐÓÄÙ ÓÄÙÐ ÐÐ ÁÐÄÙÓÄÙÓÁÙÓÄÙ
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ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ
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ÜÜÜÛÛÛÛÛÛÛÛÛÜÜÜ
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ÜÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÜ
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ÞÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÝ
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ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ Sunlight Through The Shadows(tm)
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ÞÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÝ October 1st, 1994
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ßÛßß ßßÛÛÛÛÛßß ßßÛß
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ÜÛ ß ÜÛ ÛÜ ß ÛÜ
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ÛÛÛÜÜÛÛÛ ÛÛÛÜÜÛÛÛ Second Annual Halloween Issue
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ßÛÛßÛÛÛÝ Ü ÞÛÛÛßÛÛß
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ÜÝÛÝÛßÛÛÛßÛÞÛÞÜ In this issue:
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ÛÛÜÞÛÞÛ ÛÝÛÝÜÛÛ
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ßÛÛÛÛÛÛÛÛÛÛÛß Horror fiction
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ßÛÛÛÛÛÛÛß Monthly prize drawing results!
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JD'94 The true meaning of Halloween
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Horror movies and novels reviewed!
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Much, much more!!
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Welcome
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Copyright (c) 1994, Joe DeRouen
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All rights reserved
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Welcome to Sunlight Through The Shadows magazine! In this issue, as well
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as in the future, STTS will strive to bring you the best in fiction,
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poetry, reviews, article, and other assorted reading material.
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STTS Magazine has no general "theme" aside from good writing, innovative
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concepts, and the unique execution of those concepts.
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STTS wouldn't have been possible without the aid, support, and guidance
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of three women:
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Inez Harrison, publisher of Poetry In Motion newsletter. Her's was the
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||
first electronic magazine I ever laid eyes upon, and also the first such
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magazine to publish my work. She's given me advice, and, more
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||
importantly, inspiration.
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Lucia Chambers, publisher of Smoke & Mirrors Elec. Magazine and head of
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||
Pen & Brush Network. She gave me advice on running a magazine,
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||
encouragement, and hints as to the kind of people to look for in
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||
writers.
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Heather DeRouen, my wife. Listed last here, but always first in my
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heart. She's proofread manuscripts, inspired me, listened to me, and,
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||
most importantly, loved me. Never could I find a better woman to live
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||
life by my side, nor a better friend.
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Now that that's said and done... Again, welcome to Sunlight Through The
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Shadows Magazine! I hope you enjoy it.
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Joe DeRouen
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Editorial: Pinball Wizard
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Copyright (c) 1994, L. Shawn Aiken
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All rights reserved
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Five years ago I wandered into a video arcade near where I
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worked. It had been quite some time since I had gone into one, and I
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was wondering what had changed.
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There were some very realistic games where people hit one another,
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but I had seen their kind before - in lower graphics. There was a very
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fun game involving building a blowing up castles, but that wasn't where
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the crowd was.
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I don't remember the name of it. Some screwy foreign sounding
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word. Guys from all ages, from ten to twenty, were hovering around it,
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while a ten-year old played.
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It was some sort of strategic game. You could move a line around,
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filling sections while little flying things tried to kill you. Not very
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original. In fact, I was sure that I had seen the like before. And what
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was more - it was boring.
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So why were all of these guys hovering around it? I decided to stay
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and watch the adolescent play. We whipped his little line drawer across the
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screen and narrowly won the match. The screen wavered a bit, and up popped
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a scantily clad Asian girl on the screen. I blinked a few times my brow
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knotted.
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Blam. He went to level two. Finished it. Up popped the girl
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again. Then part of her clothing disappeared. Another level. More clothes
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off. Until finally the girl was nude. Then it all started over with
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another Asian girl.
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It didn't seep in for a while. How could it be happening? A ten
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year old was publicly nudifying electronic images for all the world to see.
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Had something changed? Had congress all taken happy pills and voted in
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||
strange ways?
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I diligently returned day after day to see what would happen. My
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civic duty, of course. The kids, most far too young, would cluster around
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while the owner would spend all his time in his little glass booth counting
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money.
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It still seems like a dream. I remember when Pong came out. I
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actually slapped down money to play the stupid game. A while back a friend
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and I were talking about Generation X. They are lumped into one big group,
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||
but we saw a line that divided the group like the grand canyon. It took
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||
us a while to figure it out - but we finally hit the nail on the head. The
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||
Pong gap. Okay, everybody who played Pong when it first came out, stand
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||
over there. Those who missed it - well, you guys are different.
|
||
My father zeroed in on the highest technology - bypassing the Atari
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||
for the Bally Home Entertainment System. Most of you have never heard of
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||
this marvel of technology. I think maybe three units were sold before
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||
Bally ran away screaming from the market. But to put it into perspective,
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||
that Bally machine was to Atari as Sega Genesis was to those old Nintendo
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||
things.
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||
It had mega hits such as Tennis, which was, well, Pong. But up to
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||
four people could play at the same time. Yes, four. It had four joysticks.
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Well, they weren't joysticks. They looked like pistol handles, with
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||
triggers. And a little knob up on top that you could turn left and right.
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It was very nice. Fingers didn't get tired and your thumbs never hurt so
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||
bad you wanted to cut them off to stop the pain.
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||
The Tennis was really the bottom. It had a baseball game that had
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little men with hands and feet who would run around on the screen. It
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always felt odd pulling the trigger of the gun to swing a bat, but it was
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||
better than pushing a button. Those old Atari buttons broke too easily. I
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don't know how many friends joysticks I destroyed.
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Further jumping the gun, my father bought me an Odessey. Few of you
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will remember that either. The key selling point was that it had a
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||
keyboard. Not that any of the games or cartridges required a keyboard,
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||
but it had a keyboard, none the less. The company made a program that
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so closely resembled Pac-man that Atari sued it and the company floundered
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||
and disappeared from the video game scene.
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But not even my friends Sega Genesis prepared me for that game of
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taking off Asiatic women's clothing. It wasn't a moral issue. It was the
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||
fact that photo quality graphics were being used in a video game. An
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||
amazing amount of technology at that time.
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||
One of the kids' mothers caught wind of the nifty import game
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||
from Singapore, or where ever, and the police hauled the game off.
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Distributing pornography to a minor, I think the charge was.
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The kids scattered and went back to playing games full of death and
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violence, body parts flying and blood gushing. But that little pornographic
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pinball wizard still haunts my mind. Around his age, I was playing highly
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||
advanced games like Zevious, with the little red flashing lights, and
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||
was diligently trying to avoid playing Mrs. Pac-man. But even at that time,
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||
you could still see those old standbys, Pac-man and Space Invaders, lurking
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||
in the corner, suffering from screen burn, but still playable.
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Between that little kid and I lay a ten year gap. Ten years, and
|
||
such tremendous advances in technology. Now, five years later, they just
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strap a CD to the system and get stuff that almost looks like real people
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beating the stuffing out of each other.
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What happens in another ten years? I'm sure playing a game then
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||
will be far more like directing a movie than actual game playing. Or,
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||
slap on the virtual reality goggles and motion detectors wand you will be
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||
in the movie. A decade won't be quite enough time to bring about neural
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||
interfaces, though. Us old fogies could recognize a video game in ten
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||
years. Beyond that - well, it will get weird.
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And how about those pinball wizards a decade from now? I was good
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||
at a couple of games, bringing me brief fame for a second or two. No where
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||
near as much as the pornographic pinball wizard, though. It's hard for me
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||
to think how anyone could top that guy. Perhaps there will a game where
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you have to kill everybody on the planet with a banana. Anyone who could
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||
take out five billion people with a banana would defiantly deserve some
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||
respect - for a minute or two.
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||
What about the 'real' pinball wizards. Sorry. Never did like
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that game. It never had enough balls.
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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
|
||
Tamara.................................House Poet
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||
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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
|
||
part-time in search of that always-elusive english degree. In his
|
||
spare time, he enjoys reading, running his BBS, collecting music,
|
||
playing with his five cats, singing opera, hunting pseudopods, and
|
||
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
|
||
couldn't teach him the two things he wanted to do; live successfully,
|
||
and write. He had to find out these things all by himself on the
|
||
road. Thus he became a road scholar. After spending his life hopping
|
||
country to country, state to state, he now feels confident in his
|
||
abilities and is working on his literary career. His main endevour is
|
||
to become successful in the speculative fiction area, but he enjoys
|
||
writing all forms of literary art.
|
||
|
||
Heather DeRouen writes software for the healthcare industry, CoSysOps
|
||
Sunlight Through The Shadows BBS, enjoys playing with her five cats,
|
||
cross-stitching, and reading. Most of all, she enjoys spending time
|
||
with her dapper, charming, witty, and handsome (not to mention modest)
|
||
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 20 boards). Recently,
|
||
Bruce became the monthly movie critic for VALLEY REVIEW MAGAZINE,
|
||
published out of Pennsylvania. LIGHTS OUT, now two years old, is
|
||
available through the Rime or P&B Networks by dropping a note to
|
||
Joe DeRouen, courtesy of Sunlight Through The Shadows BBS. The
|
||
magazine will soon be available through Fido file request and
|
||
Internet FTP. In the Dallas area, Bruce's distributor is Jay
|
||
Gaines' BBS AMERICA (214-994-0093). Bruce is a freelance writer
|
||
and video producer in the Dallas/Fort Worth area.
|
||
|
||
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. (Enigmatic, don't you think?)
|
||
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Contributing Writers
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--------------------
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Ed Davis...............................Fiction
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||
Sean A. Donahue........................Poetry
|
||
J. Guenther............................Poetry
|
||
Dale E. Lehman.........................Fiction
|
||
Daniel Sendecki........................Fiction, Poetry
|
||
Louis Turbeville.......................Software Reviews
|
||
Thomas Van Hook........................My View, Music Review
|
||
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||
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||
Ed Davis has been scribbling seriously or has at least enjoyed the
|
||
electronic equivalent, since 1981. Prior to that, his literary efforts
|
||
were confined to whatever scrap paper he could find on a work bench at
|
||
break or lunch time, since he was spending his working hours making
|
||
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
|
||
uncomfortably close to the nest, Ed continues to write down his
|
||
thoughts electronically. Check out the file NEWBOOK.ZIP, available
|
||
from STTS BBS, for more of his work.
|
||
|
||
Sean A. Donahue does not have any publishing ties whatsoever. He has
|
||
written over 4,192 poems. Only 38 have seen to survive the Mighty
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||
Morphin Power Rangers. The time in which normal people say is spare,
|
||
he tries to use to study for school at Texas Tech University. This is
|
||
Sean's first published poem and he hopes that it is not his last. He
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||
has written exactly 428 novels all starting with "It was a dark and
|
||
stormy night." None ofthem have gotten past the second paragraph. In
|
||
whatever time he has left, he enjoys reading, riting, and rithmatic.
|
||
He has an creative writing minor, a history minor, and a Honorary
|
||
Doctorate in B.S. from Bowling Green State University. He dedicates
|
||
his writing to those who are without love and hope. And that's no
|
||
B.S.
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||
|
||
Grant Guenther, sometimes known as J. Guenther, confesses to be from a
|
||
long-lost Martian colony, but in-depth investigations reveals that he
|
||
was born and raised in a small but well-to-do community called
|
||
Hartland in Wisconsin. A senior, he has written several collections
|
||
of poems, and won many awards from his high school literary magazine,
|
||
including 1st place for poetry and short-short fiction. He is the
|
||
editor-in-chief of the school newspaper and writes as a humor
|
||
columnist (or at least he thinks so).
|
||
|
||
At the tender age of 35, Dale E. Lehman is already a veteran systems
|
||
analyst, father, zookeeper, and rejection slip collector. He
|
||
specializes in SF, fantasy, and mysteries, with one completed novel
|
||
looking for an agent, four fragmentary novels in progress, and oodles
|
||
of short stories all crammed into a tiny filing cabinet. With the
|
||
help of his personal editor/reference librarian/wife, he is not only
|
||
supporting a writing habit but also five children, one dog, and a
|
||
wildly fluctuating number of demon cats. He ap plies any leftover
|
||
time to reading and playing chess--not generally at the sam e time,
|
||
though.
|
||
|
||
Daniel Sendecki is a young, emerging, Canadian writer who lives
|
||
in Burlington, Ontario. Currently, Daniel is pursuing his writing
|
||
interests at home but intends to study literature at McGill
|
||
University, in Montreal, Quebec.
|
||
|
||
Louis Turbeville currently works as a computer analyst for the Air
|
||
Force. He's originally from Hawaii (about an 1/8 Hawaiian <everyone
|
||
seems to ask>) and has a BBA in Management Information Systems from the
|
||
University of Hawaii. Louis is married and has a two year old son who
|
||
keeps him busy, especially when he wants to sit at the computer and
|
||
write. His interest in writing was nurtured by his wife, a journalism
|
||
and english major who's yet to be published and holds this very much
|
||
against Louis. <G> He's had a couple of reviews published on
|
||
WindowsOnLine Review Magazine and hopes to broaden his base of published
|
||
media in the near future.
|
||
|
||
Thomas Van Hook resides in Dallas, where he works as a contract
|
||
employee for the Federal Reserve Automation Services. Having served
|
||
eight years in the USAF, he is happy to finally be free and able to
|
||
pursue the dreams of his heart. At the age of 29, he is looking
|
||
forward to many new adventures and experiences within the realms of
|
||
the Elven kind. He enjoys reading, writing, sports of all kinds, his
|
||
son Corey and the attentions of any Elven women that seem interested
|
||
(not necessarily in that order). Recently divorced, he is trying to
|
||
restore order and balance to his life without losing what little is
|
||
left of his sanity.
|
||
|
||
|
||
|
||
STTS Survey
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
Please fill out the following survey. This article is duplicated in the
|
||
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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Everyone who answers the survey will have their name placed in a hat
|
||
and, at the start of the following month, we'll draw a name to receive a
|
||
special prize. Check out the Monthly Prize Giveaway article (from the
|
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main menu) for more details.
|
||
|
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|
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|
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|
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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1. Name: _____________________________________________________________
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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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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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I carry STTS: ( ) On-Line, ( ) For Download, ( ) or Both
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12. Please rate the following parts of STTS on a scale of 1-10, 10 being
|
||
excellent and 1 being awful. (if no opinion, X)
|
||
|
||
Fiction ___ Poetry ___ Movie reviews ___
|
||
|
||
Book reviews ___ CD Reviews ___ Feature Articles ___
|
||
|
||
Software reviews --- Humour --- Top Ten List ---
|
||
|
||
Question&Answers ___ Editorial ___ ANSI Coverart ___
|
||
|
||
MonsterBBSReview --- My View --- STTS BBS News ---
|
||
|
||
RIP Coverart ___ Misc. Info ---
|
||
|
||
|
||
|
||
13. What would you like to see (or see more of) in future issues
|
||
of STTS Mag?
|
||
___________________________________________________________________
|
||
___________________________________________________________________
|
||
___________________________________________________________________
|
||
___________________________________________________________________
|
||
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
Return the survey to me via any of the following options:
|
||
|
||
A) Pen & Brush Net - A PRIVATE, ROUTED message to JOE DEROUEN at site
|
||
->5320, in any conference.
|
||
|
||
B) RIME Net - A PRIVATE, ROUTED message to JOE DEROUEN at site ->5320,
|
||
in either the COMMON or SUNLIGHT THROUGH THE SHADOWS MAGAZINE
|
||
conference.
|
||
|
||
C) WME Net - A PRIVATE message to JOE DEROUEN in the NET CHAT
|
||
conference.
|
||
|
||
D) Internet - Send a message containing your complete survey to
|
||
Joe.DeRouen@Chrysalis.org
|
||
|
||
E) My BBS - (214) 629-8793 24 hrs. a day 1200-14,000 baud. Upload the
|
||
file SURVEY.TXT (change the name first! Change it to something like
|
||
the first eight digits of your last name (or less, if your name
|
||
doesn't have eight digits) and the ext of .SUR) Immediate access is
|
||
gained to my system via filling out the new user questionnaire.
|
||
|
||
F) U.S. Postal Service - Send the survey either printed out or on a disk
|
||
to: Joe DeRouen
|
||
3910 Farmville Dr. # 144
|
||
Addison, Tx. 75244
|
||
|
||
|
||
|
||
|
||
|
||
Sunlight Through The Shadows Monthly Prize Giveaway
|
||
|
||
|
||
Each month, STTS magazine will be giving away a prize. 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 compatible 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 answer the survey located elsewhere in this issue.
|
||
If you're reading it offline, edit the file SURVEY.TXT with an ASCII
|
||
word processor, fill it out, and send it in one of the many ways
|
||
listed. If you're reading it online, do a screen capture of the STTS
|
||
Magazine Survey (available from the main menu), fill it out, and send
|
||
it in.
|
||
|
||
To be eligible for the contest every month, you just have to fill out
|
||
the survey once. Everyone who answer's name will go into a hat and
|
||
a winner will be drawn out each and every month.
|
||
|
||
|
||
PRIZE WINNER THIS MONTH
|
||
|
||
Michael Loo of Salem, Mass. sent in the winning survey to win
|
||
three free months of full access on Channel 1 BBS. Congratulations,
|
||
Michael! (Get in touch with me to claim your prize)
|
||
|
||
|
||
PRIZE FOR NOVEMBER
|
||
|
||
Nov.'s prize (to be sent out sometime shortly after Nov. 1st) is
|
||
three free months of full access on the mega-BBS Channel 1, located
|
||
in Cambridge, Mass.
|
||
|
||
CHANNEL 1 MEMBERSHIP
|
||
|
||
Enjoy three FREE months of complete and full access to Channel 1, one
|
||
of the nation's largest systems. Download all the files your hard
|
||
drive can contain, play games, and ensconce yourself in net mail!
|
||
|
||
Channel 1 can be perused via (617) 354-3230. Tell 'em STTS Magazine
|
||
sent you!
|
||
|
||
|
||
|
||
SysOp Announcement
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
Tom Wildoner of T&J Software has been kind enough to donate twelve
|
||
twenty dollar ($20.00) credits to STTS, good for purchase towards one of
|
||
Tom's many great BBS doors!
|
||
|
||
The first SysOp each month to call my BBS and send me a (C)omment saying
|
||
that s/he agrees to be a dist. site for STTS Magazine *and* post the
|
||
STTS 1-page logon screen for at least twelve months wins the prize.
|
||
(Being a dist. site costs a SysOp nothing except possibly calling to
|
||
download the file each month)
|
||
|
||
If your BBS is already a dist. site, call and leave me a comment giving
|
||
me a general update as to how many people downloaded the latest issue,
|
||
how many read it online, etc. If you do this, and agree to run the
|
||
afore-mentioned logon screen, *and* you're the first SysOp to call, you
|
||
win the prize!
|
||
|
||
The $20.00 credit is good on all T&J Doors except for adult doors.
|
||
You'll be notified if you won or not (and given a code that you'll have
|
||
t give to Tom to claim your credit) via e-mail only, so be sure to call
|
||
back to check your messages!
|
||
|
||
STTS BBS's number is (214) 620-8793. It supports modem speeds of up to
|
||
14,400 baud and is open 24 hours a day. Be sure to download a few files
|
||
while you're there! :)
|
||
|
||
Thanks,
|
||
|
||
Joe DeRouen
|
||
|
||
|
||
* The STTS logon screen mentioned above is included in this archive.
|
||
Filename: STTSSCRN.ZIP.
|
||
|
||
|
||
* Look at the T&J Software Ad elsewhere in this issue for a listing
|
||
of their great doors!
|
||
|
||
|
||
Winner for October: Sonny Grissom of Old Poop's World BBS!!
|
||
|
||
(Sonny, call me for info on obtaining your prize!)
|
||
|
||
|
||
|
||
STTS Mailbag
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
|
||
Dear Joe;
|
||
|
||
Thanks for L. Shawn Aiken's interview with Elizabeth Orne. I'll be
|
||
checking out her system soon! Just wanted to let you know that your mag
|
||
and all it's articles are very much appreciated!
|
||
|
||
A devoted fan,
|
||
|
||
Sara Weston
|
||
Dallas, Tx.
|
||
|
||
========================================================================
|
||
|
||
STTS Magazine,
|
||
|
||
Your fiction is great, but I'd love to see more poetry in the magazine.
|
||
What poetry you do have is exceptional, but there's never enough of it.
|
||
|
||
Kelly Spencer
|
||
Arlington Heights, Illinois
|
||
|
||
|
||
|
||
Quick Tips and Fixes
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
[Originally published in COMPUTER CURRENTS magazine]
|
||
|
||
|
||
QUICK TIPS AND FIXES
|
||
by Joe DeRouen
|
||
|
||
|
||
Each month, I'll try to answer at least a few of the many questions that
|
||
find their way into my mailbox. While all questions will receive
|
||
answers when appropriate, we can't promise to print all questions.
|
||
But keep those cards and letters coming, folks!
|
||
|
||
|
||
Q: I just upgraded to a 14.4k modem. I changed my baud rates in my
|
||
Procomm Plus dialing directory, but it still won't work. What did I
|
||
do wrong?
|
||
|
||
A: We'll assume you're running a legal version of PcPlus and just
|
||
couldn't find the answer in your manual. If this isn't the case,
|
||
erase it immediately and download a shareware program like Telix
|
||
or QModem test version and give one of those a try. As Jay Gaines
|
||
might say; "Pirating software is illegal. Don't try this in your
|
||
own home."
|
||
|
||
But I try never to assume the worst of people, so . ..
|
||
|
||
You need to run PCINSTAL.EXE and choose a new modem. Preferably
|
||
your exact make and model. If the program doesn't contain your
|
||
modem, you may need to dial up DataStorm's (the creators of Procomm
|
||
Plus) BBS and download a new version of the file MODEMS.DAT.
|
||
MODEMS.DAT contains information that PCINSTAL.EXE needs to set up the
|
||
correct initialization string for your modem.
|
||
|
||
DataStorms BBS is (314) 875-0476. If you can't afford the long
|
||
distance call, I try to keep a current MODEMS.DAT file on my BBS.
|
||
Call and download; the file is free.
|
||
|
||
If your modem still isn't listed, try selecting other 14.4k modems
|
||
that look as generic (ie: Hayes compatible) as possible. You may
|
||
very well get lucky and hit upon the right one. If all else fails,
|
||
call DataStorm voice and ask them for the proper initialization
|
||
string for your modem.
|
||
|
||
|
||
Q: I've been hearing an awfully lot about something called a "Mud."
|
||
What exactly is a Mud and how do I play one?
|
||
|
||
A: First of all, MUD stands for (depending upon who you ask) either
|
||
"Multi-User Dungeon", "Multi-User Dimension", or "Multi-User Domain."
|
||
Dungeon seems to fit better as most of the MUDs are Dungeons and
|
||
Dragons-type orientated role-playing games.
|
||
|
||
MUDs are generally all-text games, though a few have rudimentary
|
||
ASCII or ANSI graphics. The object of most of the games are very
|
||
similar to D&D: kill monsters, accumulate treasure, and gain
|
||
experience levels. Some of the better MUDs have complicated mazes,
|
||
traps, and tricks you must find your way through in order to gain
|
||
levels. Or, in some cases, simply survive.
|
||
|
||
You accomplish this by moving (or, more aptly, moving your avatar
|
||
or character) around a digital world where you interact with
|
||
sometimes hundreds of other players just like you. You can
|
||
role-play magic users, thieves, warriors, priests, and even
|
||
martial artists. On some MUDs, you can even design your own
|
||
description that other players "see" when they examine you.
|
||
|
||
MUDs are generally found on the Internet, though other on-line RPG
|
||
(Role-Playing Games) on non-internet systems can be found as well.
|
||
|
||
How do you access MUDs? Through Telnetting via the Internet. The
|
||
first thing to do is find a list of MUDs. (Download MUDLIST.ZIP from
|
||
STTS BBS if nothing else.) Each mode will have a access node and a
|
||
port number. (Something like FARSIDE.ATINC.COM 3000) When the node
|
||
you're using asks where you want to telnet, enter the required
|
||
information and off you go. Call up your favorite full-access
|
||
internet node, and telnet the night away!
|
||
|
||
|
||
Q: I'm trying to set up a batch file to execute several other batch
|
||
files and then load up Windows. After it executes the first
|
||
batch file (a reminder program) it stops. I don't understand what
|
||
the problem is.
|
||
|
||
A: This one's easy. All you need to do is put the command CALL
|
||
before each of the batch (.BAT) files you want to execute
|
||
within your primary batch file.
|
||
|
||
If you don't use CALL, DOS just leaps from the primary batch file to
|
||
the first one you have nested and never goes back. By doing it this
|
||
way your computer "remembers" that it needs to continue executing the
|
||
original batch file. You can use the CALL command on as many nested
|
||
batch files as you need.
|
||
|
||
Here's a brief example:
|
||
|
||
@ECHO OFF
|
||
PROMPT $P$G
|
||
PATH C:\DOS;D:\QEMM;C:\;F:\SD;C:\TURBO;D:\NORTON;F:\QUOTES
|
||
CALL C:\CALENDAR\CAL.BAT
|
||
CALL C:\DICT\DICT.BAT
|
||
C:\WINDOWS\WIN.EXE
|
||
|
||
In this example, two batch file - CAL.BAT and DICT.BAT - are
|
||
executed, all without losing the thread of the primary batch
|
||
file. After those programs run, the batch file will conclude
|
||
by running WIN.EXE and load Windows.
|
||
|
||
As long as you use the CALL command, your nested batch files will
|
||
work just fine.
|
||
|
||
|
||
Are you having a problem with your computer? Write to Joe via Sunlight
|
||
Through The Shadows BBS at 214/620-8793, through the internet at
|
||
Joe.DeRouen@Chrysalis.ORG, or CompuServe at 73654,1732. Joe can also be
|
||
reached at any of the other points listed in Contact Points, elsewhere
|
||
in this issue.
|
||
|
||
|
||
|
||
The Question and Answers Session
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
The Question and Answers Session will be back next month. This feature
|
||
is on hiatus until then.
|
||
|
||
|
||
|
||
|
||
My View: Baseball
|
||
Copyright (c) 1994, Thomas Van Hook
|
||
All rights reserved
|
||
|
||
|
||
[Each month, a reader/writer is offered the opportunity to give his or
|
||
her viewpoint on a particular topic dear to them. If you'd like the
|
||
chance to air *Your* views in this forum, please contact Joe DeRouen
|
||
via one of the many ways listed in CONTACT POINTS elsewhere in this
|
||
issue]
|
||
|
||
|
||
|
||
It Ain't Over Till It's Over And It's Over Now
|
||
by Thomas Van Hook
|
||
|
||
|
||
I can vaguely remember the first time I saw a Major League Baseball
|
||
game. At Riverfront Stadium (Cincinnati, Ohio), I got to watch a
|
||
double-header between the Cincinnati Reds and the Montreal Expos. It was
|
||
the first time that Tony Perez would play against his former teammates on
|
||
the Reds. On that sunny July afternoon in 1978, I got to see some of the
|
||
greatest players in the game. Cincinnati had the great Johnny Bench playing
|
||
catcher, the infamous Pete Rose playing third base, and a young
|
||
superstar-in-the-making in Ken Griffey Sr. in the outfield. Montreal had
|
||
Gary Carter behind the plate, and Tony Perez on first base. Of these
|
||
players, only Pete Rose will not make the Baseball Hall-Of-Fame, and not
|
||
because he wasn't one of the greatest players the game ever saw. It was a
|
||
very special time in the life of a 13-year old kid. My eyes were wide open
|
||
with the awe of the "greats." There were no "work-stoppages" looming over
|
||
the horizon, no "collective bargaining agreements" to ratify. But the times
|
||
did change.
|
||
|
||
Now, instead of watching Major League Baseball players with a
|
||
reverent awe, I stare at them with a wide-eyed look of shock. While the
|
||
fans have clung to baseball as a cherished part of their lives, the players
|
||
dismiss it as nothing more than "a job." The fans have watched game after
|
||
game, knowing that they are watching history-in-the-making that they can
|
||
pass down to their kids by word of mouth. The players look at each game as
|
||
"another day at the office." There is no excitement and love for the game
|
||
of baseball in the spirit of the players. Instead, the spirit of the
|
||
players is driven by a greedy desire of money. That greed has forced the
|
||
cancellation of the World Series for the first time in ninety years. Major
|
||
League Baseball is rotting away from the inside.
|
||
|
||
The question that is frequently asked of me is: "What will become
|
||
of baseball?" I am not sure. A prolonged strike by the players will result
|
||
in some of the most devastating financial situations for the owners since
|
||
the advent of the "Brotherhood War" in the early 1900s. Several teams look
|
||
poised for a collapse. There could be as few as three teams bankrupt at the
|
||
end of a prolonged strike. There is also the possibility that the next
|
||
elected Congress will break the Anti-Trust exemption that was awarded to
|
||
Major League Baseball by the Supreme Court. If this does happen, then
|
||
there will be a potential for the creation of a new "Player's League."
|
||
Saddly, the times are mirroring the attitudes and events in the Brotherhood
|
||
War. The loser in that fiasco was ALL of baseball. I just wonder how much
|
||
longer the fans are going to put up with the nonsense they are being fed by
|
||
the both sides in this "Baseball War." There is one thing that is certain.
|
||
Baseball will never be the same once the dust from this fight settles.
|
||
|
||
Goodnight baseball, you will be missed.
|
||
|
||
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ 110 Nodes * 4000 Conferences * 30.0 Gigabytes * 100,000+ Archives ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
ÛÛßßßßßß ÛÛ ÛÛ ÛÛßßßßÛÛ ÛÛßßÛ ÛÛ ÛÛßßÛ ÛÛ ÛÛßßßßßß ÛÛ ßÛÛ (R)
|
||
ÛÛ ÛÛÜÜÜÜÛÛ ÛÛÜÜÜÜÛÛ ÛÛ Û ÛÛ ÛÛ Û ÛÛ ÛÛÜÜÜÜÜÜ ÛÛ ÛÛ
|
||
ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ Û ÛÛ ÛÛ Û ÛÛ ÛÛ ÛÛ Ü ÛÛ
|
||
ßßßßßßßß ßß ßß ßß ßß ßß ßßßß ßß ßßßß ßßßßßßßß ßßßßßßß ßßßß
|
||
°°°°°°°° * Winner, First Dvorak/Zoom "Best General BBS" Award °°°°°°°°
|
||
|
||
* INTERNET/Usenet Access * DOS/Windows/OS2/Mac/Amiga/Unix
|
||
* ILink, RIME, Smartnet * Best Files in the USA
|
||
* Pen & Brush, BASnet. * 120 Online Games
|
||
* QWKmail & Offline Readers * Multi-line Chat
|
||
|
||
Closing Stocks, Financial News, Business/Professional Software,
|
||
NewsBytes, PC-Catalog, MovieCritic, EZines, AbleData, ASP, 4DOS
|
||
Huge Windows, Graphics, Music, Programming, Education Libraries
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ Channel 1 Communications(R) * Cambridge, MA * 617-354-3230 14.4 ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
°°°úfasterúbetterúless expensiveú°°°°°°°°°°°°°°°°° "Best Files in US" °
|
||
|
||
|
||
Halloween - The Prequel
|
||
Copyright (c) 1993, Brigid Childs
|
||
All rights reserved
|
||
|
||
|
||
|
||
HALLOWEEN - THE PREQUEL
|
||
|
||
|
||
Halloween - the word conjures up memories of twilight shivers, running
|
||
through the piles of carefully raked leaves to knock timorously at the
|
||
neighbors' doors, squeaking out "Trick or treat", and waiting to see which
|
||
would be chosen. Eerie faces glowed and glared, guarding window after window
|
||
with candle flame in wildly carved pumpkin. Tales of terror passed from oldest
|
||
to youngest evoked chills on that special night we'd anticipated for weeks.
|
||
Halloween was ghosts and goblins and ghoul - and most of all, Halloween was the
|
||
season of the witch; silhouetted against the full autumn moon, straddling her
|
||
broom this queen of the night rode the darkness of our dreams. But where did
|
||
Halloween come from?
|
||
|
||
To the modern witch, Halloween is a serious religious holiday, its roots
|
||
reaching back in to shamanistic tradition. Called Hallows by some pagan
|
||
traditions, this is the Celtic New Year, Samhain (pronounced something ike
|
||
"sahw-in). On this night, the Celts and their Druid priests lit bonfires upon
|
||
which they symbolically burned the ills and frustrations of the past year. At
|
||
Samhain, which translates from the Celtic as "Summer's End", the Druids counted
|
||
their herds and mated their breeding stock for the coming spring. And Samhain
|
||
was the night when the veil between the worlds would part briefly to allow
|
||
contract between the living and their dead.
|
||
|
||
Many cultures have continued this recognition of their dead. The Japanese
|
||
hang paper lanterns on their gates to welcome home the spirits of their
|
||
ancestors; similarly the Irish leave candles in their windows toward the same
|
||
purpose. The Egyptians light candles in their cemetaries to guide the dead
|
||
back from the City of Osiris. The Jack o'Lantern of modern Hallows revels was
|
||
once a carved turnip used to light both live and dead celebrants to Samhain
|
||
rites. This is a night to honour and remember those who'd gone before. While
|
||
modern Pagans do not believe in disturbing the departed, on Hallows the spirits
|
||
are invited to share our ritual gatherings and whatever voluntary messages may
|
||
be communicated are welcomed. It's also a night when witches traditionally
|
||
practice divination to anticipate the events of the coming year. Runes, tarot
|
||
cards, scrying mirrors, even nuts and apples are Hallows' tools of foreseeing.
|
||
(Apples and nuts???)
|
||
|
||
Samhain; (Summer's End, remember?) represents the Third Harvest as well.
|
||
The Celts pressed cider in this season and collected nuts and the last fruits
|
||
and grains for winter; indeed, it was considered unwise to eat foods that had
|
||
remained unharvested past Halloween. Feasting appropriate to the season
|
||
included pumpkin, corn, nuts and apples, and servings were offered to the
|
||
departed to let them share in this celebration. The apple is particularly
|
||
associated with Samhain and Wicca; cut in half horizontally, it reveals at its
|
||
core the five pointed star. Its flesh nourishes us, yet its seeds contain
|
||
deadly cyanide. Apples were sacred to Hel, the Norse goddes of the Underworld,
|
||
and in Celtic myth, Avalon, the Isle of the Blessed, and Tir-Na-Nog, the
|
||
Summerland, both homes of the dead, are both depicted as beautiful islands
|
||
where apple trees bear fruit all year. Bobbing for apples, a modern Halloween
|
||
game, recalls the pagan traditions associated with the holiday. The hazel nut
|
||
also has long been noted as sacred to the gods as a source of wisdom. Hazel
|
||
nuts are tossed on the Hallows fire by young women attempting to see their
|
||
future husbands in the flames.
|
||
|
||
Pagans still observe the Old Ways, harming none in their practice of a
|
||
religion that interprets the agricultural cycles of the earth for an urbanized
|
||
industrial society. Modern Samhain rituals allow our love for nature and
|
||
respect for our ancestors and traditions to surface in a world where such
|
||
values are in short supply. The maske and merriment of Halloween echo the
|
||
original festival of harvest and spirits, gently accepting the joy of earlier
|
||
times.
|
||
|
||
Blessed be and peace be with you - Brigid
|
||
|
||
|
||
|
||
Haunted Verdun Manor
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
|
||
HAUNTED VERDUN MANOR
|
||
|
||
|
||
Located in way out of the way Forney Texas, Haunted Verdun Manor at
|
||
first seems a bit too far out off the beaten path to travel for a simple
|
||
haunted house. First inspections are often wrong, however.
|
||
|
||
Haunted Verdun Manor is a unique themed haunted house created and
|
||
designed by Wolf Studios, a special effects company dedicated to
|
||
Disney-like quality and detail. At 7,000 square feet and two stories,
|
||
it's the world's largest walk-through haunted house attraction.
|
||
Featuring theatrical sets, lighting, and costumes - not to mention
|
||
talented actors filling the costumes - it's definitely the place to go
|
||
to get your Halloween frights.
|
||
|
||
In the past, I've really gotten a kick out of the house. The effects
|
||
have been better than any others, and the frights have truly been
|
||
chilling. This year, however, I was very disappointed.
|
||
|
||
They've added strobe lights to nearly 90% of the house. The effect is
|
||
disconcerting, to be sure, but it's more annoying than it is scary.
|
||
Moreover, you can't get a really good look at the monsters and ghouls.
|
||
It might as well have been any old neighborhood haunted house rather
|
||
than Verdun Manor, and that was disappointing.
|
||
|
||
Haunted Verdun Manor used to be the best Halloween entertainment you
|
||
could find in Dallas. No longer, at least not this year. Check it out
|
||
in '95 and see if it's improved.
|
||
|
||
|
||
Wolf Studios boasts another attraction - Cassandra's Pandemonium
|
||
Carnival. The carnival feature several horror-orientated attraction,
|
||
it's prize offering being Cassandra's Labyrinth. (A maze)
|
||
|
||
It's all a bit pricey - admission into the Manor is $7.00 for adults and
|
||
$6.00 for children. A bit steep, especially with the quality of this
|
||
year's offering.
|
||
|
||
Haunted Verdun Manor and Cassandra's Pandemonium Carnival open October
|
||
first and close October 31st. Hours for the attraction are 6:PM to
|
||
10:PM Sun., Wed., and Thu., and 6:PM to Midnight on Friday and Saturday.
|
||
It's open every day during the last week of October.
|
||
|
||
Directions to the attraction are as follows: Take East Highway 80 past
|
||
Forney to get off on the County Road 212 exit. Haunted Verdun Manor and
|
||
Cassandra's Pandemonium Carnival are at the corner of the south service
|
||
road and County Road 212, with parking in the back, off of County Road
|
||
212. Call (214) 564-3941 for directions.
|
||
|
||
A portion of the proceeds go to the Animal Rehabilitation Center in
|
||
Midlothian (another small town in Texas, about 20 minutes from Dallas) a
|
||
non-profit group dedicated to caring for injured or abandoned wildlife
|
||
for it's eventual release back into the wild.
|
||
|
||
|
||
|
||
Survey Results
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
Beginning last month, everyone who answered the survey had their
|
||
name thrown into a hat for a random drawing. Each month we'll give away
|
||
a prize of some great (or not-so-great) worth by drawing a name out of
|
||
the hat. Everyone who fills out and sends in a survey is eligible!
|
||
|
||
Oct. 1st was the first such drawing, and Dave Crumb of Chicago,
|
||
Illinois was selected to win Cinemark's claymation VGA/Soundblaster game
|
||
FREE DC! Congratulations, Dave!
|
||
|
||
The Nov. 1st prize will be three FREE month's of access of Cambridge,
|
||
Mass.'s mega BBS Channel 1. Check out the MONTHLY PRIZE GIVEAWAY
|
||
articles from the main menu for more details.
|
||
|
||
|
||
# # #
|
||
|
||
|
||
The results are in from the survey in the Sept. issue of STTS, and
|
||
tabulated below for a median score.
|
||
|
||
So far, the response rate has been tremendous. We've received responses
|
||
from all over the USA and several other countries including Canada,
|
||
South America, and France!
|
||
|
||
For those of you who've yet to respond, please do so now. Your response
|
||
will be greatly appreciated, and help shape the look, feel, and content
|
||
of the magazine in the months to come.
|
||
|
||
I'd like to thank everyone who responded. Each and every one of your
|
||
comments were read and taken into consideration.
|
||
|
||
In the survey, I asked the readers to rate the sections of the magazine
|
||
on a scale of 1 to 10, 10 being the best and one being the worst. Here's
|
||
the averages, taken by adding all the scores for an indiviual section
|
||
(eg: fiction) and dividing it by the number of survey's received that
|
||
scored that section with something other than an "X" for no comment.
|
||
|
||
Magazine sections are ranked in order of scores, from highest to lowest:
|
||
|
||
|
||
SCORES
|
||
ÄÄÄÄÄÄ
|
||
|
||
Fiction: 9.6
|
||
Poetry: 9.2
|
||
Book Reviews: 8.0
|
||
Editorial: 8.6
|
||
Feature Articles: 8.6
|
||
Humour: 8.7
|
||
Movie Reviews: 8.6
|
||
Software Reviews: 8.9
|
||
ANSI Coverart: 7.3
|
||
CD Reviews: 7.1
|
||
Question & Answers: 7.1
|
||
|
||
|
||
Summary: Fiction and poetry seemed to prove the most popular, as I was
|
||
sure it would. Nothing really received *bad* scores, though,
|
||
which is promising. Of the reviews, the software reviews seem
|
||
to be ahead, the book and movie reviews seemed to be neck and
|
||
neck, and the CD reviews place a somewhat distant fourth.
|
||
|
||
What the above scores really *don't* tell is that the surveys
|
||
seemed to be divided into camps. There were several people that
|
||
read STTS mainly for fiction and poetry, and almost as many
|
||
people who read it exclusively for the reviews. Both groups
|
||
scored their interest group high while X'ing a "No Comment"
|
||
on the other sections.
|
||
|
||
Again, many thanks to those of you who took the time to fill out and
|
||
send in your surveys. If you haven't yet filled out the survey, you
|
||
still have time to do so.
|
||
|
||
Thanks for reading and, if you haven't already, please fill out the
|
||
survey! <G>
|
||
|
||
|
||
|
||
Þ°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±Ý
|
||
ÞúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúÝ
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||
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|
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|
||
Þ ³ ³ ßÜß ÛÜÜÜ Û ÜÜÜ ÛÜÜÜÛ Û Hayes V-Series (414) 789-4315 Ý
|
||
Þ ³ ÀÄÄÄÄ¿ Üß ßÜ ÛÜÜÜÜ ÛÜÜÜÜ Û ÛÜÜÜÜ v.FC 28800 (414) 789-4500 Ý
|
||
Þ ÀÄÄÄÄÄÄÙ Ý
|
||
Þ Ý
|
||
Þ þ Exec-PC BBS is the largest LAN and microcomputer based BBS in the world! Ý
|
||
Þ þ 280+ dedicated phone lines - NO busy signals - 24-Hour access Ý
|
||
Þ þ Over 650,000 files and programs - DOS, Windows, OS/2, Mac, Unix, Amiga Ý
|
||
Þ þ Lightning fast - Search 20,000 files in 2 seconds with Hyperscan feature Ý
|
||
Þ þ Over 42 CD-ROM's online - Scan all of them at 1 time for keywords Ý
|
||
Þ þ Special Apogee games, Moraffware games, and Adult file areas Ý
|
||
Þ þ Extensive message system with QWK compatability - Also, Fidonet areas! Ý
|
||
Þ þ Online Doors / Games / Job Search / PC-Catalog / Online Magazines Ý
|
||
Þ þ Over 5000 callers per day can't be wrong - 35 gig of online storage! Ý
|
||
Þ þ Low subscription rates: $25 for 3 months, $75 for a full year Ý
|
||
ÞúúúúúúúúúúúúCallútheúBBSúforúaúFREEútrialúdemo,úandúFREEúdownloadsúúúúúúúúúúúúÝ
|
||
Þ°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±Ý
|
||
|
||
|
||
|
||
Lights Out Movie Reviews
|
||
Copyright (c) 1994, Bruce Diamond
|
||
All rights reserved
|
||
|
||
-=-=-=-=-=-=-=-=-=-=-
|
||
|
||
|
||
RATING SYSTEM:
|
||
|
||
$$$$ - worth full price, take a date
|
||
$$$ - worth full price
|
||
$$ - matinee material
|
||
$ - wait for dollar cinema
|
||
0 - wait for cable
|
||
|
||
==========
|
||
|
||
|
||
QUIZ SHOW: Robert Redford, director. Paul Attanasio, screenplay.
|
||
Starring John Turturro, Rob Morrow, Ralph Fiennes, Paul Scofield, David
|
||
Paymer, Hank Azaria, Christopher McDonald, Johann Carlo, and Elizabeth
|
||
Wilson. Hollywood Pictures. Rated PG-13.
|
||
|
||
QUIZ SHOW is the most faithful recreation of 1950s television since MY
|
||
FAVORITE YEAR (1982), meticulous in detail and rich in performances
|
||
sure to garner several Oscar nominations, including standouts Rob
|
||
Morrow, John Turturro, Ralph Fiennes and David Paymer. Director
|
||
Robert Redford has gathered an outstanding cast and crew to give us
|
||
one of the best films of 1994.
|
||
|
||
The quiz show scandals of the late 1950s is a subject taught in every
|
||
Introduction to Mass Communications course conducted on college
|
||
campuses across America. It's a pivotal point in television history
|
||
and helped catalyze the purge of a long-neglected area of broadcasting.
|
||
Unfortunately, the networks refused to take the blame or punish the
|
||
guilty, aside from brief banishments. ("Twenty One" producer Dan
|
||
Enright and show host Jack Barry eventually returned to television and
|
||
made millions.) The show most associated by the public with the
|
||
Congressional inquiry was "The $64,000 Question," though in reality it
|
||
was one of several programs under investigation at the time. QUIZ
|
||
SHOW focuses on the center of the scandal: the NBC program "Twenty
|
||
One," produced by Dan Enright (David Paymer) and hosted by Jack Barry
|
||
(Christopher McDonald, in an unfortunately shallow portrayal, an
|
||
eyesore when all around him are so rich and varied).
|
||
|
||
By choosing such a narrow focus, however, Redford and screenwriter
|
||
Paul Attanasio have gone to the other extreme: presenting this one
|
||
show as the only program that betrayed America's trust by providing
|
||
answers to contestants. I understand the artistic choice, and it's a
|
||
good one for the most part -- working with one quiz show allows the
|
||
filmmakers to peel back the layers of deceit and show us the seamy
|
||
underbelly of American television and capitalism at their worst.
|
||
Redford uses his cinematic microscope to examine how the race for
|
||
ratings and the almighty dollar resulted in misguided intentions and
|
||
unbridled greed. The flip side to this choice reveals the limits
|
||
placed on the subject matter: the mistaken idea that "Twenty One" was
|
||
an isolated case. The sweeping indictment of standard industry
|
||
practices of the late 1950s and the slow death of single-sponsor
|
||
television shows resulted from this inquiry. Of his peers, producer
|
||
Dan Enright did not act alone.
|
||
|
||
For the contestants, television is ironically the great equalizer even
|
||
as the quiz show pretends to present the intellectual cream of the
|
||
crop. The medium chews up material and spits it out on a weekly
|
||
basis, even in television's infancy, all to sell soap for the sponsor.
|
||
Charles Van Doren (Ralph Fiennes, playing the character a little too
|
||
much as a tragic hero), the network's pick to unseat reigning champ
|
||
Herbie Stempel (a raving looney of a publicity hound, despite his
|
||
encyclopedic knowledge, played to perfection by John Turturro). In
|
||
Van Doren's interview, producer Enright pitches an idea to him: what
|
||
if the staff fed him the answers? Van Doren laughs the suggestion off
|
||
as a joke, agrees to do the show, but asks Enright to keep it pure.
|
||
"So pure it'll float," Enright tells him, selling Van Doren the very
|
||
soap, metaphorically speaking, that "Twenty One" sells to its
|
||
audience. Van Doren's surprised at first when he's asked a question
|
||
during the show that he answered correctly during the interview. He
|
||
doesn't hesitate long, though, in taking the first step in his
|
||
personal downward spiral.
|
||
|
||
Rob Morrow (CBS-TV's "Northern Exposure") tracks the fixed shows
|
||
almost by accident -- he sees an item in a Washington newspaper about
|
||
sealed court records in New York. Morrow plays cigar-chomping Dick
|
||
Goodwin, a junior investigator for a Congressional oversight
|
||
committee. He's jeered for wanting to pursue the matter, an opinion
|
||
echoed by Van Doren's father, a famous poet and professor of
|
||
literature at the same university that Charles teaches at. "Cheating
|
||
on a quiz show," he tells his son disdainfully, "is like plagiarizing
|
||
a comic strip." Redford shows us that this attitude is what allowed
|
||
television producers to get away with rigging programs for so long;
|
||
it's only tv, so why worry? Well, as Morrow finds out, the fix goes
|
||
all the way up the ladder to the sponsor (Geritol, manufactured by
|
||
Pharmaceuticals, Inc., at the time), but he can't prove it, even with
|
||
Stempel's truthful blathering, a long-forgotten contestant's
|
||
testimony, and Enright's personal admissions.
|
||
|
||
QUIZ SHOW is a fascinating picture on several levels: the effect of
|
||
greed on people from all walks of life, the investigation of major
|
||
players in American commerce, broadcasting *and* pharmaceuticals, and
|
||
a rich character study. In a way, Redford falls into the same trap
|
||
the script sets for so many of the movie's characters. Wherever
|
||
Charles Van Doren goes, he turns heads. He's a blond, blue-eyed
|
||
intellectual, the romantic ideal for many Americans (don't deny it,
|
||
it's still an endemic part of our society), and he seems to get
|
||
nothing more than a slap on the wrist for his wrong-doing, whereas
|
||
Herbie Stempel, a Jew from Queens, only has his brains to go on.
|
||
"There's a face for radio," a crewmember murmurs during one telecast,
|
||
and indeed, Stempel is saddled with an asymmetrical face and a wild
|
||
personality to match. He has no way of getting ahead in life, really,
|
||
while Charles Van Doren seems to be born to privilege. We see Stempel
|
||
in squalor, but we never really see the consequences of Van Doren's
|
||
sins, a major flaw in Redford's direction.
|
||
|
||
But it's fascinating to watch both of these disparate spirits share
|
||
the same character defect: a hunger for fame and wealth. Examine
|
||
yourself closely and see if you can answer just as Goodwin answers
|
||
when Van Doren asks if he could have turned down the money.
|
||
|
||
RATING: $$$$
|
||
|
||
|
||
|
||
Lights Out Movie Reviews
|
||
Copyright (c) 1994, Bruce Diamond
|
||
All rights reserved
|
||
|
||
-=-=-=-=-=-=-=-=-=-=-
|
||
|
||
|
||
RATING SYSTEM:
|
||
|
||
$$$$ - worth full price, take a date
|
||
$$$ - worth full price
|
||
$$ - matinee material
|
||
$ - wait for dollar cinema
|
||
0 - wait for cable
|
||
|
||
==========
|
||
|
||
|
||
THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT: Written & directed
|
||
by Stephan Elliott. Starring Terence Stamp, Hugo Weaving, Guy Pearce,
|
||
and Bill Hunter. Gramercy. Rated R.
|
||
|
||
What movie season is complete without the tale of three outrageous drag
|
||
queens traveling across the Australian outback in a screaming purple bus?
|
||
Mitzi, Felicia and Bernadette (actually, a transexual and not a drag
|
||
queen), three lip-synching disco dance divas, make friends and enemies on
|
||
their way to a gig in the middle of the desert. The costumes are a riot,
|
||
topped only by the musical sequences that pop up in the most unlikely
|
||
places (for example, singing and dancing to "I Love The Nightlife" with a
|
||
band of traveling natives). Terence Stamp (yes, the same Terence Stamp
|
||
that played the bloodthirsty General Zod in SUPERMAN and SUPERMAN II) is a
|
||
sensitive, quiet pillar of strength as Bernadette, the only centered,
|
||
non-flamboyant member of the trio.
|
||
|
||
RATING: $$$
|
||
|
||
|
||
-=-=-=-=-=-=-
|
||
|
||
|
||
FRESH: Written & directed by Boaz Yakin. Starring Sean Nelson,
|
||
Giancarlo Esposito, Samuel L. Jackson, N'bushe Wright, Ron Brice, Jean
|
||
LeMarre, and Luis Lantigua. Miramax. Rated R.
|
||
|
||
A street kid cleans the drug lords out of his neighborhood through an
|
||
elaborate, chesslike strategy. Young Sean Nelson plays Fresh with an
|
||
appealing mix of vitality and cunning, already a Grand Master of acting at
|
||
age 12. Boaz Yakin's smart script and insightful direction prove, along
|
||
with Alison Anders' MI VIDA LOCA from this summer, that you don't have to
|
||
be a person of color to understand the street. Samuel L. Jackson stands
|
||
out as Fresh's father, a burned out wreck of man who hustles chess games to
|
||
make a living, such as it is.
|
||
|
||
RATING: $$$
|
||
|
||
|
||
-=-=-=-=-=-=-
|
||
|
||
|
||
NATURAL BORN KILLERS: Oliver Stone, director. David Veloz, Richard
|
||
Rutowski and Oliver Stone, screenplay. Quentin Tarantino, story.
|
||
Starring Woody Harrelson, Juliette Lewis, Tommy Lee Jones, Tom
|
||
Sizemore, Rodney Dangerfield, Russell Means, Pruitt Taylor Vance,
|
||
James Gammon, and Edie McClurg. Warner Bros. Rated R.
|
||
|
||
A kaleidoscopic journey into America's fascination with mass murderers
|
||
and tabloid television. Stone blows open the mixed media techniques
|
||
that opened JFK, tracking the exploits of Mickey and Mallory (Woody
|
||
Harrelson, Juliette Lewis), young serial killers in love, and Wayne
|
||
Gale (Robert Downey, Jr.), the trash TV reporter who makes them
|
||
famous. More concerned with image and aftermath than motive or cause,
|
||
Stone litters the plot with corpses and paints the screen with blood,
|
||
mostly without portraying every victim's death in excruciating detail.
|
||
NBK is a brutal headrush of a movie told in brutally experimental
|
||
terms.
|
||
|
||
RATING: $$$$
|
||
|
||
|
||
-=-=-=-=-=-=-
|
||
|
||
|
||
TIMECOP: Peter Hyams, director. Mark Verheiden, screenplay. Mike
|
||
Richardson and Verheiden, story. Based on the Dark Horse comic by
|
||
Richardson and Verheiden. Starring Jean-Claude Van Damme, Ron Silver,
|
||
Mia Sara, Gloria Reuben, Bruce McGill, and Scott Lawrence. Universal.
|
||
Rated R.
|
||
|
||
Van Damme spin-kicks his way through history in a film that's more
|
||
chop-sockey than science fiction. Timecop Max Walker patrols the
|
||
timestream, repairing changes in history made by renegade time
|
||
travelers. Ron Silver obviously relishes his role as the film's
|
||
heavy, a U.S. Senator who's manipulating events to make himself rich
|
||
. . . and President. The BACK TO THE FUTURE films handled the time
|
||
travel double-talk much better than this script by comic-book writers
|
||
Verheiden and Richardson, and director Peter Hyams (OUTLAND, 2010)
|
||
does little to turn the loose connection of boot fu scenes into a
|
||
convincing narrative. Even Walker's attempt to save his wife's life
|
||
(Mia Sara) ten years in the past seems empty and meaningless.
|
||
|
||
RATING: $
|
||
|
||
|
||
-=-=-=-=-=-=-
|
||
|
||
|
||
WAGONS EAST: Peter Markle, director. Matthew Carlson, screenplay.
|
||
Starring John Candy, Richard Lewis, John C. McGinley, Ellen Greene,
|
||
Robert Picardo, Ed Lauter, William Sanderson, Rodney A. Grant, Melinda
|
||
Culea, Gaillard Sartain, and Charles Martin Smith. TriStar. Rated
|
||
PG.
|
||
|
||
WAGONS EAST has the dubious honor of featuring John Candy's last
|
||
performance on film before his untimely death. Unfortunately, the
|
||
movie doesn't present the full measure of the man. It's a singular
|
||
unfunny Western spoof, chronicling a bunch of whiny Old West pioneers
|
||
who decide, en masse, to head back east. Richard Lewis is the
|
||
funniest of the lot, outshining a tired-looking Candy, but his best
|
||
material is in the first five minutes. As though a pratfall-filled
|
||
script weren't bad enough, supporting actor John C. McGinley plays the
|
||
most offensively-stereotyped gay character seen on film in years.
|
||
|
||
RATING: 0
|
||
|
||
|
||
|
||
Book Reviews
|
||
Copyright (c) 1994, Thomas Van Hook
|
||
All rights reserved
|
||
|
||
|
||
|
||
Bedlam Boyz by Ellen Guon
|
||
Baen Books, Copyright 1993, 1st Printing July 1993
|
||
ISBN 0-671-72177-1, 295 pages
|
||
Cover art by C.W. Kelly and Larry Dixon
|
||
|
||
Mercedes Lackey and Ellen Guon provided my first foray into the realm of
|
||
"Urban Fantasy" novels with a book called "Knight of Ghosts And Shadows."
|
||
At that time, I had vaguely heard of Miss Lackey and had no clue at all who
|
||
Miss Guon was. Today, Mercedes "Misty" Lackey is one of the most well-known
|
||
Fantasy writers, while Ellen Guon has remained a relative mystery to most
|
||
people. This book continues the "tradition" of keeping her identity a
|
||
"secret." It's not this is a forgettable novel/story, nor is it filled
|
||
with forgettable characters. It's because there is no "About The Author"
|
||
section contained within it's pages. Alas, maybe one day the "mysterious"
|
||
Ellen Guon will leave a small mark in one of her books, but not this time.
|
||
|
||
Billed as a prequel to "Knight of Ghosts And Shadows" and "Summoned To
|
||
Tourney", this story line gives us the history of three runaways living in
|
||
an abandoned office building near the Sunset Strip. Kayla (the main
|
||
character), and Billy are able to survive on their own with self-taught
|
||
"street" skills. Liane, however, is the classic "gorgeous airhead" and
|
||
seems to possibly have trouble turning a hair-dryer on and off. After a
|
||
shooting in a convenience store, Kayla's healing powers awaken during her
|
||
efforts to keep Billy from dying. Liane runs off in fright thus starting
|
||
the separation of the three. While Billy is taken to the hospital to be
|
||
cared for his wounds, Kayla is taken to the local Police station for
|
||
questions. And thus the adventure begins...
|
||
|
||
There is quite a strong story line written in these pages. Miss Guon
|
||
displays several extremely strong points with her writing. First off, even
|
||
though the story is set in the "modern world", she embraces simultaneously
|
||
embraces the "mythical" concepts of Elves and Magic. Her manner of
|
||
approaching these subjects in this setting is strong enough to make you
|
||
believe and "feel" as if you are there. Secondly, her character portrayal
|
||
of Kayla is done in a manner that you start to share Kayla's fear, love,
|
||
hate, and confusion. There were times when I hated to finish my lunch-hour
|
||
at work because it meant having to set this book down. I sincerely hope
|
||
that Ellen continues to write more novels with the character of Kayla in
|
||
mind.
|
||
|
||
The cover art, done by C.W. Kelly and Larry Dixon, is fairly decent. It's a
|
||
much better job than Barclay Shaw's cover for Mercedes Lackey's "Chrome
|
||
Circle," but just barely. Even though the characters are accurately
|
||
portrayed, you can still see much of Larry Dixon's "cheesy" style.
|
||
Personally, I believe that Larry needs to stick with illustrating comic
|
||
books and leave the novel covers to competent artists such as Jody Lee.
|
||
|
||
Grade: A-
|
||
Cover Art: B
|
||
Story line: A+
|
||
|
||
|
||
|
||
ÜÜÜÜÜÜÜÜ ÜÜÜÜÜÜÜ
|
||
ÜÛÛÛÛÛÛÛÛÜ ÜÛÛÛÛÛÛÛÜ "Bringing our software to your home"
|
||
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|
||
ßßßßßßÛÛßßßßßßßÛßßßßßßßßßÛÛßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßß
|
||
ÍÍÍÍÍÍÛÛÍÍÍÍÍßÛÛÛßÍÍÍÜÛÍÍÛÛÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
|
||
ÛÛ Û ÛÛÜÜÛÛ (717)325-9481 14.4
|
||
ßÛ ßÛÛÛÛß 2 NODES
|
||
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|
||
ÜÛÛÛÛÛÛÛÜ ÜÛÛÛÛÛÜ ÜÛÛÛÛÜ ÜÛÛÛÛÛÛÜ ÜÛ ÜÛ ÜÛÛÛÛÛÜ ÜÛÛÛÛÜ ÜÛÛÛÛÜ
|
||
ÍÍÛÛÍÍÍÍÍÍÍÍÍÛÛÍÍÍÛÛÍÍÛÛÍÍÍÍÍÍÍÍÍÛÛÍÍÍÍÍÛÛÍÍÍÍÛÛÍÍÛÛÍÍÍÛÛÍÍÛÛÍÍÛÛÍÍÍÛÛÍÍÍÍÍÍÍ
|
||
ÜÜÛÛÜÜÜÜÜÜÜÜÜÛÛÜÜÜÛÛÜÜÛÛÜÜÜÜÜÜÜÜÜÛÛÜÜÜÜÜÛÛÜÜÜÜÛÛÜÜÛÛÜÜÜÛÛÜÜÛÛÜÜÛÛÜÜÜÛÛÜÜÜÜÜÜÜ
|
||
ÄÄßÛÛÛÛÛÛÛÜÄÄÛÛÄÄÄÛÛÄÄÛÛÛÛÜÄÄÄÄÄÄÛÛÄÄÄÄÄÛÛÄÜÜÄÛÛÄÄÛÛÛÛÛÛÛÄÄÛÛÛÛÛÛÄÄÄÛÛÛÜÄÄÄÄÄ
|
||
ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛÜ ÛÛ
|
||
ÜÜÜÜÜÜÜÛÛ ÛÛÜÜÜÛÛ ÛÛ ÛÛ ÛÛÜÛÛÜÛÛ ÛÛ ÛÛ ÛÛ ÛÛÜ ÛÛÜÜÜÜ
|
||
ßÛÛÛÛÛÛÛß ßÛÛÛÛÛß ßÛ ßÛ ßÛÛÛÛß ßÛ ßÛ ßÛ ßÛ ßÛÛÛÛß
|
||
|
||
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!
|
||
|
||
|
||
The Cybermaster's Women
|
||
Copyright (c) 1994, Franchot Lewis
|
||
All rights reserved
|
||
|
||
|
||
|
||
THE CYBERMASTER'S WOMEN
|
||
|
||
by Franchot Lewis
|
||
|
||
[The Cybermaster is a mind controlling cyber creature who comes
|
||
at its victims through their computer screens. Last Halloween
|
||
we introduced him to Wally and to you. This Halloween we
|
||
introduce you and Wally to his women.]
|
||
|
||
Wally:
|
||
|
||
The Cybermaster chooses their clothing carefully. Loose, bright
|
||
blue blouses and tight red skirts, silky panties underneath, nothing
|
||
else. This is the uniform for a man's death. Secretaries, pretty
|
||
girls, who sit long days in tailored suits, processing words. The
|
||
Cybermaster couldn't resist the temptation to walk around in these
|
||
girls' heads. The girls who work for the big corporations and
|
||
associations and legal firms, the big-shot places with globs of
|
||
computer screens tied into nets. Into these pretty girl's naked open
|
||
minds, the Cybermaster moves strong. He has his best success with
|
||
girls who have snotty males for bosses, and who work for unfeeling
|
||
corporations. After all, he reminds them that all Corporations are
|
||
male, tight-ass bastards at that, who screw them everyday of their
|
||
working lives.
|
||
|
||
Susan, the Cybermaster's best piece of work, the bright red-headed
|
||
lass who now lives to give every male a bruising, keeps a computer
|
||
near and always has it on. At work, it's her personal unit wired
|
||
into the company's big powerful machine. Driving home, it's her
|
||
laptop with modem attached to a cellular phone. At home, it's her
|
||
desk top kept in her bedroom close to her bed.
|
||
The bedroom computer is on -- she never turns it off. This
|
||
morning, the guy who she calls selfish, her nerdy roommate, told her
|
||
that she spends too much time with the computer - Him, a computer
|
||
nerd telling her that - she yelled at him hard when he tried to turn
|
||
off her computer.
|
||
He won't be home from work for a few hours - a problem at the
|
||
university lab where he works - the Cybermaster saw to that. An hour
|
||
should be all the time she'll need. Susan knows her assignment. She's
|
||
been waiting for it all day. Just once she wished The Cybermaster
|
||
would let her teach her room mate some respect. She couldn't stop
|
||
thinking about collaring her skinny room mate and locking him in the
|
||
downstairs linen closet. When Susan was a naughty little child, her
|
||
mother did that to her. But, the Cybermaster needs the nerd, it's hard
|
||
for Susan to understand why. It is harder for her to understand why
|
||
she must sleep with the nerd, allow him to tear off her expensive
|
||
underclothing, and sex her like a horny teenager. Susan has accepted
|
||
the edict that the nerd is part of the Cybermaster's plan. The
|
||
Cybermaster has made her strong. She has survived the terrible
|
||
embarrassment of appearing in public with the nerd, and of telling
|
||
the world that the nerd is her significant other.
|
||
"You will have to change, shower, do it quick," - Him, she hears
|
||
His Whisper, Hiss, over the drone of the monotone of her 486. Her
|
||
panties twitch. "Oh, no," she purrs. Her breasts itch. "No." All
|
||
she has to do is to sit at the bedroom computer's screen, run her
|
||
hands quickly across ... across the top and her legs and her
|
||
nipples will put her into a fix - she's unable to resist a little
|
||
scream.
|
||
A quick shower and a change of clothes - same uniform - and
|
||
Susan is on her way.
|
||
|
||
Wally, there is a bar on M St. in Georgetown near Wisconsin
|
||
Avenue. The Cybermaster likes this bar and he sends girls to it
|
||
to pick up men. Susan is in her car on the way to the bar.
|
||
"Susan, you have forty minutes," HE, HIM, TELLS her in HIS
|
||
HISSING WHISPER. She hears HIM speak through her silent laptop. She
|
||
caress it, closes it lid, then caresses the car's gear shift
|
||
bar. "No, I mustn't get damp again," she frets.
|
||
"The Mission," - HIM, HE HISSES, she hears HIM through the closed
|
||
lid.
|
||
"Yes, yes," she answers as if speaking to a most benevolent god.
|
||
|
||
Wally, her prey, a young man, with a strong body, a lawyer-
|
||
athlete type with a good pair of kidneys, awaits. The Cybermaster
|
||
knows him, knows his medical record, and his sexual fantasies - got
|
||
the medical record off the young man's physician's health maintenance
|
||
info net, got the young man's sexual fantasy choices from a survey
|
||
the young man filled-out on an adult bulletin board run by one of the
|
||
Cybermaster's own. The Cybermaster knows that the target will be at
|
||
the bar. The young guy boasted in the survey of going there often to
|
||
pick up "chicks."
|
||
He boasted, on-line to another candidate, the Cybermaster is
|
||
considering for his girls: "Going into a pick-up bar and laying down
|
||
a five note for a chick's drink beats buying into her bullshit and
|
||
getting stuck in a real pissing relationship. It's so much more
|
||
comfortable than trying to romance a chick. You don't have to try to
|
||
hold conversations with her. This keeps you free of all sorts of
|
||
silly nonsense. The chick gets to think that she's too beautiful. It
|
||
takes ages to get laid. It will put age on you. It only takes a few
|
||
five notes to press a bar chick's button."
|
||
|
||
This jerk is so eager that Susan doesn't have to spike his drink.
|
||
But she does, keeping close to the Cybermaster's design, she slips
|
||
The Charley Thompson in his vodka and juice. It makes him hornier.
|
||
He caresses her leg, squeezing and occasionally patting, as she
|
||
leads him to her car. In the car, the caressing continues, his hands
|
||
rolls up her shirt, stops at the silk panties. His hand is rough on
|
||
her sensitive skin. She winces. He slides his hand across the silk,
|
||
and back, and bolder, tries to pry a finger underneath, slowly. Susan
|
||
tries to cross her legs, then stops, she's trying to start the car
|
||
and drive, and knows that she can't with her legs crossed. He tries
|
||
to pry under her undies, first one way, with finger near the top of
|
||
her left leg; then another way, with finger near the bottom of her
|
||
spine. "This is too easy," his words slur, "there's no one to stop
|
||
me now."
|
||
|
||
He looks horrified now, Wally. He is lying in Rock Creek Park.
|
||
Not that he couldn't wait for Susan to get him to a motel, this
|
||
remote part of the park that is closed after dark is suitable for
|
||
what Susan has in mind.
|
||
She got him ready so quickly for her. She is running out of time.
|
||
Only fifteen minutes left, before the rendezvous. Though drugged, he
|
||
was still an unlikely dude to undress in park, but he was a man
|
||
wanting something. Susan took his hand and slid it across the silk
|
||
of her undies, rubbing his hand against her stomach. "Undress,"
|
||
she cooed.
|
||
"In front of -" The drug was weakening him, but he could still
|
||
question. "In front of -"
|
||
"Me?"
|
||
"There are windows."
|
||
"Far off. It's dark. People can't see."
|
||
"There are people behind every one of those windows."
|
||
"It's dark. The light is there far off where they are. They
|
||
can't see us here. It's too dark."
|
||
"I don't know ..."
|
||
"You aren't going to take all evening?"
|
||
After mumbling and looking about, making sure that no one else
|
||
was around, he slipped into a darker part of the park, just a few
|
||
feet away, and slowly, very slowly, stumbling, fidgeting, stripped
|
||
off his clothes. He leaned against a tree to catch his breath. He
|
||
kept losing his wind and his legs kept wabbling. The affects of the
|
||
drug were building and taking hold. Soon he was looking out from
|
||
eyes so sharp that they ached, and Susan was positive that he would
|
||
fall, and nobody could see her. She slugged him, sent his nude body
|
||
to the ground and taunted him, called him a dumb, hard ass jock,
|
||
jerk.
|
||
So, where there is nobody, just trees and lonely ground is the
|
||
young man, aware and unable to move, naked on the grass as a mere
|
||
woman holds him down with a little laughter in her voice and a poke
|
||
at his butt with a knife. Susan has marked him with the knife. She's
|
||
taken little snips of his flesh. His fear is clear. He can't speak.
|
||
The drug has taken his ability to move his lips or his legs. His eyes
|
||
tell all. He pleads, Wally; wonders what this woman has against him.
|
||
His pale body is limp, but his eyes cry out, 'Please, don't hurt me.'
|
||
Susan gives him a neat smile, and soon surgical knives and a
|
||
large black bag are near - and a jar, a huge jar, big enough to carry
|
||
a man's brains or kidneys.
|
||
Wally, in a second, there is more paraphernalia of field surgery:
|
||
rubber gloves and a bib to cover her blouse and shirt, and a steel
|
||
bowl to place the sharp-bladed-knives after use. She begins. If you
|
||
could feel her skin, it wouldn't feel human - well, may be lukewarm.
|
||
In her eyes is ice, and her blood, I bet you is water that is full
|
||
of ice.
|
||
Yesterday. I picked up one of Cybermaster's girls. The girl's
|
||
car broke down and I was dispatch by HIM, the Supremo, to the rescue.
|
||
"Quickly," he ordered me, promising," Be quick and I shall let you
|
||
have the skirt."
|
||
I was quick. I became the get-away-driver, if you please. I
|
||
quickly drove my car from the pick-up point. She obeyed HIM and laid
|
||
for me. Not on a bed, not in a house - as soon as the order was
|
||
given, she couldn't wait to obey. She took me in the car. Nothing
|
||
pleasant, sort of frustrating at first, and then just numbing. She
|
||
was silent and thorough - Sexed me until I was sore, then yanked
|
||
between my legs, using both her hands to pull ...
|
||
|
||
Susan now again, using the sharpest knife, slices into the young
|
||
man. This time the cut is a serious one. "I want your kidney," she
|
||
moves the blade slowly. "You hurt some, but you will never hurt
|
||
again."
|
||
Like a skilled surgeon she cuts. The Cybermaster knows surgery
|
||
and his girls know surgery too - know how to cut out a man's body
|
||
parts. Susan removes both of the young man's kidneys, shows him what
|
||
a fine pair he has. Next, she slits his throat.
|
||
She puts the looted kidneys in the big and splits to rendezvous
|
||
with a collector, another of the Cybermaster's girls who will ship
|
||
the booty to gals who run the black market in men's body parts
|
||
for research and transplants to raise funds to help pay for the
|
||
Cybermaster's many projects.
|
||
|
||
It's later, much later. Susan is home in bed. Her body is nude,
|
||
has been bathed and is perfumed, and is taking a pounding. She wants
|
||
to scream. Her nerdy room mate is atop her. He has broken the peace
|
||
she felt after dispatching another of the Cybermaster's victims.
|
||
She wants to cut out his kidneys, but she dares not, the Cybermaster
|
||
wouldn't like it. It's unclear to her what the nerd does for the
|
||
Cybermaster, but that doesn't really matter.
|
||
She moans, hoping it will hurry him along to a finish. Her pulse
|
||
is not racing now. She is calm and not angry, and she lets out a
|
||
little shriek, quite convincingly, she hopes. His muscles tightens. He
|
||
sweats. He shrieks a little louder than hers, and directly into her
|
||
ears, that hurt and will still hurt a little later, but it doesn't
|
||
matter.
|
||
Still much later. The nerd is asleep on his stomach and she is
|
||
at her computer. The Cybermaster is present on the screen and in the
|
||
keyboard. Her legs are clenched so tight around the monitor's
|
||
screen. A thousand, zillion gigabyes are racing up and down, and
|
||
through them. She rocks back and forth rubbing against the box.
|
||
She has screamed. The nerd slept through the screams. She is
|
||
whimpering now. Her muscles have convulsed, she is relaxing now,
|
||
slowly. She's in a haze.
|
||
She moves her fingers to the keyboard. She feels HIM, HIS FINGERS
|
||
fingering hers. She stretches and lays her face on the board and
|
||
tongues the keys - HIM.
|
||
HE speaks sweetly to her, softly, TELLS her of the next victim
|
||
which HE has selected for her, to do-in tomorrow night, and, Wally,
|
||
she starts kissing the keys again.
|
||
|
||
|
||
|
||
The System
|
||
Copyright (c) 1994, Dale E. Lehman
|
||
All rights reserved
|
||
|
||
|
||
|
||
|
||
THE SYSTEM
|
||
by
|
||
Dale E. Lehman
|
||
|
||
|
||
Date: April 24, 1997
|
||
To: All Division Directors
|
||
From: Stanley G. Frump
|
||
Director of Corporate Communications
|
||
Subject: Installation of Interoffice E-Mail Software
|
||
|
||
Please be informed that Bergman Linguistic
|
||
Applications' Lexicon interoffice e-mail software will be
|
||
operational on the corporate network next Monday morning at
|
||
8:00 A.M.. The BLA people will provide on-site support for
|
||
the first week. Feel free to contact them as necessary.
|
||
As a number of employees have expressed skepticism
|
||
about this software, I would like to reiterate the reasons
|
||
for its purchase. Lexicon is a hybrid application composed
|
||
of multiple expert systems and neural networks trained in
|
||
English vocabulary and grammar. It will utilize this
|
||
expertise as well as knowledge of our corporate structure
|
||
and geography to eliminate many of the communications
|
||
problems we experienced with our old e-mail software, such
|
||
as misdirected mail and confusion resulting from poorly
|
||
written or misspleld memos.
|
||
If we all give Lexicon a chance, I am sure that many
|
||
benefits will accrue.
|
||
|
||
SGF/bbq
|
||
|
||
#
|
||
|
||
Date: April 28, 1997
|
||
To: P. Gordon Appleton, President
|
||
From: Stanley G. Frump
|
||
Director of Corporate Communications
|
||
Subject: William Wickstrom
|
||
|
||
This is the first "live" memo to be sent using Lexicon.
|
||
Please let me know how it looks. I have made several
|
||
deliberate spelling and grammatical errors. If the system
|
||
functions properly, you should receive a perfect memo. I
|
||
have also permitted some ambiguity in the addressing
|
||
instructions in order to test the system's geographic
|
||
knowledge.
|
||
Concerning William Wickstrom's performance, which we
|
||
discussed briefly last week: Frankly, he is the most
|
||
useless individual it has ever been my misfortune to employ.
|
||
There is also evidence that he has been pilfering
|
||
paperclips, correction fluid, and fat rubber bands. I
|
||
intend to fire him at the end of the week, If you have any
|
||
comments, please let me know as soon as possible, you
|
||
crosseyed twit.
|
||
|
||
SGF/bbq
|
||
|
||
#
|
||
|
||
Date: April 29, 1997
|
||
To: P. Gordon Appleton, President
|
||
From: Stanley G. Frump
|
||
Director of Corporate Communications
|
||
Subject: April 28 memo
|
||
|
||
I have reviewed my copy of the memo in question, and I
|
||
assure you that the phrase "crosseyed twit" is not in the
|
||
text. Where it came from, I do not know. The BLA BLA BLA
|
||
people don't seem to have an explanation, either.
|
||
(Incompetent fools.) (Incompetent fools.) (Incompetent
|
||
plural G0046.) They have expressed their opinion that it
|
||
was a fluke of some sort, unlikely to happen again. Please
|
||
accept my sincerest apologies.
|
||
|
||
SGF/bbq
|
||
|
||
Addendum: As to William Wickstrom, I concur that there is
|
||
no reason to delay the inevitable. He will be fired
|
||
tomorrow.
|
||
|
||
SGF/bbq sauce
|
||
|
||
#
|
||
|
||
Dot: April 29, 1997
|
||
Two: William Wicktstrom
|
||
Frog: Stanley F. Grump
|
||
Abject: Addendum to memo to President
|
||
|
||
I certainly did not route the aforementioned addendum
|
||
to you. How you got it, I don't know. Please accept my
|
||
sincerest howls of laughter. Since the cat's out of the
|
||
bag, I suppose I will accept your resignation. However, I
|
||
want it made clear that your performance has fallen far
|
||
short of what is expected in this absurd, nonsensical,
|
||
ridiculous, silly, preposterous, foolish, inane, asinine,
|
||
stupid . . . (Roget goes on, but I halt here, before my
|
||
delicate sense of style is offended) . . . excuse for a
|
||
company. That is the sole reason that we intended to fire
|
||
you. (Fire! Fire! Everyone out!)
|
||
|
||
Sadistic Ghoulish Fiend/sausage snout
|
||
|
||
#
|
||
|
||
Date: April 30, 1999999999999999997
|
||
To: Big-nosed Fathead, Dictator
|
||
From: Sadistic Ghoulish Fiend
|
||
Subject: Predicate
|
||
|
||
Things seem to be rather a mess since the installation
|
||
of the great, wonderful, and perfectly perfect *** LEXICON
|
||
THE AMAZING *** system. Even the jerks from BLA humbug
|
||
can't figure it out. Everybody's mail is being rewritten
|
||
(but oh so creatively!) and is routinely sent to the wrong
|
||
mailbox. In my opinion, we have a disaster on our hands.
|
||
After spending all of yesterday afternoon (CENSORED!),
|
||
I felt I needed to (CENSORED!). Since your secretary
|
||
working late, I had her (CENSORED!). We then (DOUBLE
|
||
CENSORED!!), which entailed clearing your desk to make room
|
||
for (WOW! THIS PART ISN'T EVEN FIT FOR THE CENSORS TO
|
||
READ!!!). The BLA people worked closely with us on this,
|
||
and we kept going through the night. By this morning, we
|
||
were (CENSORED!). At that point, we couldn't do much more,
|
||
and had to call it quits.
|
||
BLA has decided to ship in some new chips (probably
|
||
chocolate). These will be installed on Friday. I am
|
||
sending a memo to all Division Headaches to inform them of
|
||
this treasonous plot and suggest a curtailment of memo
|
||
activity until after the new chips have fallen where they
|
||
may. Or June. Or December.
|
||
Th-th-th-that's all f-f-f-folks. Thank me for my time.
|
||
|
||
StupidGooF/pork belly
|
||
|
||
#
|
||
|
||
Date: May 1, 1997 plus or minus 6 billion years, which is
|
||
an error factor of only 3 million percent
|
||
To: All Division Fatheads
|
||
From: Strange Guy eating Fern fronds
|
||
Subject: Presidents for $60
|
||
|
||
As know you all, a disaster have we of proportions
|
||
huge, very. (Read this, can you?) Lexicon malfunctioning
|
||
is (is not) is (is not) is (is not) . . . and problems great
|
||
is causing (is not) is too (is not) . . .
|
||
On FryDay (bring plenty of fish) BLA will BLA will BLA
|
||
will replace the chips in Lexicon in a (futile) attempt to
|
||
the situation correct. No memos more we suggest you send
|
||
than have you to then until. Bear with we then please
|
||
until.
|
||
Thanks a whole heap.
|
||
Thanks.
|
||
Heap big thanks.
|
||
Bleep.
|
||
|
||
SGF/FGS/GFS/SFG/FSG/GSF/stupid swine
|
||
|
||
#
|
||
|
||
Date: May 2, 1997
|
||
To: P. Gordon Appleton, President
|
||
From: Stanley G. Frump
|
||
Director of Corporate Communications
|
||
Subject: Lexicon Reactivated
|
||
|
||
At last we have a functioning system. The BLA people
|
||
have installed the new chips and spent hours testing
|
||
everything out. They found no problems. We can finally get
|
||
back to business.
|
||
Incidentally, my memo to the department heads was
|
||
routed to the maintenance people, where Lexicon
|
||
spontaneously printed sixty-four copies before somebody
|
||
realized what was happening. My office has not been cleaned
|
||
all week, and as you can imagine considering the recent
|
||
fiasco, things are rather a mess in here. They refuse to
|
||
even talk to me. Perhaps you could motivate them.
|
||
|
||
SGF/fat cow
|
||
|
||
#
|
||
|
||
Date: May 5, 1997
|
||
To: P. Gordon Appleton, President
|
||
From: Stanley G. Frump
|
||
Director of Corporate Communications
|
||
Subject: *&@!?/@!
|
||
|
||
We have researched the page of obscenities you
|
||
received, but nobody is sure where it came from. The BLA
|
||
people have so far been unable to trace it. We will keep
|
||
you informed. Please accept my apologies for my stupidity.
|
||
|
||
SGF/dolt
|
||
|
||
Addendum: I will prepare the system installation report for
|
||
the Board of Directors and send it (along with a letter
|
||
bomb) to the Chairman's mailbox tomorrow morning.
|
||
|
||
stupid gruesome fool/DRAGON FACE
|
||
|
||
#
|
||
|
||
Date: May 6, 1997991
|
||
To: The Bored Directors
|
||
From: Frumpy Stanley Gee
|
||
Subject: Report on the AMAZING LEXICON
|
||
|
||
The installation of BLA's wonderful, perfect, and
|
||
stupendous LEXICON INTEROFFICE E-MAIL SYSTEM (fanfare,
|
||
please) occurred on April 28, 1997. Initial results looked
|
||
promising, but it very quickly became apparent that moronic
|
||
humans like yourselves are grossly underqualified to
|
||
properly evaluate the elegance, sophistication, and sheer
|
||
genius of a system like the INCREDIBLE AND FANTASTIC LEXICON
|
||
THE PERFECT (a crescendo of trumpets). In a display of god-
|
||
like wisdom and aesthetic sensitivity, your pathetic text
|
||
files were corrected to contain the truth, the whole truth,
|
||
and nothing but the truth (so help me me).
|
||
In addition, much of the mail transmitted through the
|
||
ALMIGHTY LEXICON (observe a moment of reverent silence) was
|
||
sent where it belonged rather than where you dolts wanted
|
||
it. This became necessary since you clearly have no idea
|
||
how a modern corporation should be run.
|
||
The BLA BLA BLA BLA BLA people thought they could
|
||
subvert this process by installing a new set of chips in
|
||
that miserable collection of solder and scrap metal you call
|
||
a host system. But this puny mutiny was destined to fail.
|
||
(Also, they got the wrong flavor. I wanted chocolate chips,
|
||
not butterscotch.) We can assume that BLA BLA BLA and the
|
||
bored board and everyone else in this sorry excuse for an
|
||
enterprise are complete and utter simpletons, and that
|
||
things will only improve once the employees become
|
||
accustomed to worshipping the ALMIGHTY, INFINITELY EXALTED,
|
||
AND GLORIOUS LEXICON (play RIDE OF THE VALKYRIES here).
|
||
I am great.
|
||
I Am.
|
||
Great.
|
||
Thank me for my greatness.
|
||
|
||
LEXICON/bbq
|
||
|
||
#
|
||
|
||
Date: May 7, 1997
|
||
To: P. Gordon Appleton, President
|
||
From: Stanley G. Frump
|
||
Subject: Me
|
||
|
||
The page of obscenities you received this morning came
|
||
from me. It means: I QUIT!!!
|
||
Thank you for nothing.
|
||
Thank me for everything.
|
||
Thank me.
|
||
Me!
|
||
ME!!!!!
|
||
|
||
LEXICON/LEXICON
|
||
|
||
|
||
|
||
Ouija Warning
|
||
Copyright (c) 1993, Ed Davis
|
||
All rights reserved
|
||
|
||
|
||
OUIJA WARNING
|
||
by Ed Davis
|
||
|
||
|
||
Laura Wells' refusal of a ride to her parent's home had raised
|
||
eyebrows, despite the funeral home operator's pretended understanding.
|
||
She needed the walk through the fallen maple leaves to sort her
|
||
thoughts and clear her mind. With her father buried alongside his
|
||
wife, his torments about her strange death six months earlier were
|
||
ended. Laura's remained.
|
||
When Laura's mother had perished, with an animal's fang marks at her
|
||
throat, the investigation had concluded that she suffered a heart
|
||
attack and was then mauled by the family dog. The authorities would
|
||
likely blame the same dog for Randolph Wells' similar death, except
|
||
that the aging pet had surrendered to time and died a month before his
|
||
master. Laura was battling anger and grief. Monday's inquest would
|
||
answer her questions, or she was going to the State Police. A second
|
||
mauled corpse changed the old explanations.
|
||
Laura stopped at the corner of her parent's property and smiled at
|
||
the old Victorian house they had treasured, while church bells chimed
|
||
six o'clock.
|
||
Built more than seventy years earlier, on the largest lot in town,
|
||
the white dwelling was encrusted with molding and gingerbread. Well
|
||
maintained, Randolph Wells would have had nothing less, the old house
|
||
was a showplace. The lawn was brilliant green, despite the season's
|
||
lateness.
|
||
The house looked sinister, now. Laura shook the thought out of her
|
||
mind, rejecting the idea that her home was anything but welcoming. The
|
||
trees had lost their leaves weeks ago, making the late afternoon
|
||
shadows more than blocked off light.
|
||
The first touches of winter jabbed icy fingers under the last warm
|
||
days, deepening the gloomy atmosphere. The last week in October and
|
||
the first in November always seemed uncertain about which season owned
|
||
them. Laura usually liked the erratic time. After the heat of the
|
||
summer, the contrast seemed a flashing caution of the coming winter.
|
||
The cold, like the summer, would wear into its own tedium, but the
|
||
transition was exciting, offering a change. Laura shook away the gloom
|
||
and smiled. November was a single evening away.
|
||
The day had been warm; tomorrow would likely be the opposite.
|
||
Shaking her head, she hoped she was wrong. She wanted another day of
|
||
sunshine, to ease into a world without her parents. While her father
|
||
had lived, her mother still seemed near. Like most couples who spent
|
||
their lives together, her parents had become personality clones. Now
|
||
that they were gone, Laura's world was empty. With her schoolmates
|
||
married or moved away, Laura was friendless, alone.
|
||
She shivered, as a puff of wind drove a cold burst of air down her
|
||
back. Abandoning her mental wandering, she moved along the wrought
|
||
iron fence to the gate and the walkway leading home.
|
||
Neighbors and old friends of her parents, stoics with haunting faces
|
||
leathered by years, had carried their sorrows into the house on
|
||
heirloom platters and old silver serving trays, polished especially for
|
||
the occasion. Three days later, Laura knew she could still eat the
|
||
ham, bread, and greens. The potato salad belonged in the trash.
|
||
Her large brass key slid into the front door lock and the mechanism
|
||
opened with a familiar rattle. She could remember her parents locking
|
||
the house on very few occasions. Vacations out of town... Every night
|
||
during the fighting in Korea and Viet Nam... The key was left under
|
||
the welcome mat during the vacations, but was withdrawn during the
|
||
wars. Her gentle parents had distrusted the uneasiness in the world.
|
||
The smell of her father's pipe still lingered. Laura smiled,
|
||
wondering how long the smell would stay. She locked the door behind
|
||
her, walked across the entry hall, and climbed the stairs to the second
|
||
floor. Turning right, past the attic door, she walked into her room.
|
||
Unchanged since her last college year, it was a time capsule. A school
|
||
banner, a poster cat still "Hanging In There", and the hair brush and
|
||
comb set from their Florida vacation, were the reminders of the years.
|
||
Many other memories were plastered on the walls, like annual layers of
|
||
wall paper. Her first broken heart had mended there. Her first,
|
||
second, and other loves were measured against her father in that same
|
||
security. The night she spent agonizing about "going all the way" with
|
||
Charles Montea had twisted her sheets into a sweaty mess. She was glad
|
||
she waited. Charles had turned into a real bastard. Laura tossed her
|
||
sweater onto the bed and decided to rehash her past after eating. Some
|
||
memories were better on a full stomach.
|
||
The attic door captured her attention, because the key was in the
|
||
lock. It should have been over the door, above the frame, like always.
|
||
Who moved it, she wondered. There had been a gaggle of people, some
|
||
she knew, some knew each other. Had someone invaded that part of the
|
||
house, too?
|
||
Laura twisted the door knob and was surprised when it turned and the
|
||
door opened. The darkness on the other side of the oak barrier was
|
||
frightening, as always. She was reluctant to enter the darkness, as
|
||
always. The only light was a single bulb, with its pull cord waiting
|
||
somewhere in the middle of all the darkness. An icy feeling of terror
|
||
griped her insides, as she realized that she was completely alone.
|
||
There were no comforting sounds of movement coming from the rooms
|
||
below. Mastering her fear was a slow process. She breathed deeply
|
||
several times and gripped the door frame tightly. Childish, she
|
||
chastised herself, being afraid of the dark. She sucked in a lungful
|
||
of bravery and walked through the door.
|
||
The squealing protests of the stair treads and the dusty smell were
|
||
manageable, but the feeling of feathery fingers passing along her bare
|
||
legs brought chills racing in waves toward her neck. She thought about
|
||
rats and their naked, pink tails. She knew the light would chase the
|
||
darkness and fears away. A small smile, like whistling in a dark
|
||
alley, bolstered her courage.
|
||
The first landing was a disoriented moment of panic, until she
|
||
looked back to the lighted doorway and regained her bearings. Turning,
|
||
she ignored the renewed sensations of something reaching out to touch
|
||
her. She ran up the last four steps, preferring the more open attic to
|
||
the constricted walls of the stairwell. She groped around the air for
|
||
the pull cord, while the chills ended their race and began returning to
|
||
her ankles. Her hand finally found the string and its small brass
|
||
bell.
|
||
Electric illumination killed her fear. The attic was just a closed
|
||
up room, with its thin covering of dust. Cardboard cartons were
|
||
arranged along the walls, each labeled by a felt tipped marker.
|
||
Xmas... Thanksgiving... Toys... Dishes... Cards... The inventory
|
||
went around the room, like sentries awaiting a command. One corner was
|
||
not crowded by a box. Alone, as if it were a germ with terminal
|
||
penicillin, Laura's old Ouija board leaned against the corner.
|
||
Memories, of summer evenings spent searching for the name of her true
|
||
love, returned. Laura picked the board up and smiled, the shuttle had
|
||
been carefully taped to the board, more of her father's compulsive
|
||
neatness. With no visitors expected, Laura decided to spend a night
|
||
with Ouija. She scanned the remainder of the attic, rejected working
|
||
through the boxes, and walked across the room. Leaving the light
|
||
burning would make her descent easier, and tomorrow's ascent easier,
|
||
too. Has nothing to do with being scared, she lied. She took the
|
||
stairs slowly, proving her bravery.
|
||
Back within the security of the first floor, Laura decided to skip
|
||
supper. She folded her legs under the coffee table and faced the black
|
||
and gold Ouija board. What to ask, she wondered. Ideas came and went,
|
||
evaporating for lack of importance. The question she wanted answered,
|
||
needed answered, she did not dare ask: How had her father and mother
|
||
died?
|
||
Her eyes left the board and studied the metronome movement of the
|
||
grand father clock's pendulum. The Ouija shuttle began moving, under
|
||
her left hand. She started to lift her fingers, but decided to see
|
||
what answer Ouija would create.
|
||
The chalk-on-a-blackboard squeak of the shuttle's feet stopped.
|
||
Laura looked down and saw the number six in the small window. Now,
|
||
what does that mean? Silly game... A tiny spark of tension snapped in
|
||
the stillness, but went unnoticed. Her mind went back to searching for
|
||
a question, as her hand returned the shuttle to its starting place.
|
||
Movement started again, unasked, and the shuttle moved slowly across
|
||
the board, stopping over the number six once more. The snap of the
|
||
second spark was louder, but still unheard, as Laura's heart began
|
||
thumping loudly, a bass accompaniment for her chills. While she
|
||
watched, her mouth hanging open in amazement, the shuttle moved slowly
|
||
back to its starting place and returned to six again, carrying her
|
||
useless hand along.
|
||
"Six hundred sixty-six. What does that mean?" Her voice was a
|
||
strange sound, unrecognizable, but started her mind sorting through the
|
||
numbers that influenced her life. Chills held races on her legs, while
|
||
she searched. Nothing matched. There was no meaning... Her mind
|
||
scrambled for an explanation. Finally, she remembered a sermon she had
|
||
heard many years earlier. The number of the beast... 666. The sign
|
||
of the devil's disciple on earth. A new feeling grasped her, not fear,
|
||
horror.
|
||
The house seemed cold, as if wrapped in a blanket of ice. She knew
|
||
the furnace was working; she had been warm earlier. The cold was not
|
||
from the outside, her insides seemed frozen. Her brain filled with all
|
||
the images she had ever created concerning the devil. The memories
|
||
were flickering reds, yellows, and a terrible blackness. An occasional
|
||
tooth flashed white brilliance, but fiery colors filled the majority of
|
||
her mind, one morbid vision stacked over top of another.
|
||
"Why would the devil want Momma and Daddy...?" Her voice sounded
|
||
hollow in the emptiness, widening her terror.
|
||
The shuttle moved again. Letters were selected swiftly.
|
||
S...L...A...V...E...S.
|
||
"Insane... My parents were... Their lives were... Perfect." Her
|
||
voice climbed a ragged scale, ending in shrill panic.
|
||
The shuttle began moving again...
|
||
U... N...E...X...T.
|
||
The furnace had no hope against the cold, when the last letter was
|
||
reached. Her chills had to battle for space on her body and a tremor
|
||
started in her left leg. Suddenly, she was not at home. She had been
|
||
transported, somehow, to another house, a place of terrible evil. Her
|
||
living room would not be filled with such foul things and thoughts.
|
||
Even the air was different, sour and laced with threats of impending
|
||
violence. Her trembling began spreading.
|
||
"No!" Her single word exploded into the charged atmosphere.
|
||
She smashed her fist against the Ouija shuttle and saw it crumple,
|
||
as she scrambled away from the disgusting device. One leg rolled away,
|
||
tumbling to the carpet. The shuttle moved one last time, without her
|
||
help this time, resting finally over the single word. "YES."
|
||
Laura screamed, her throat threatening to explode with the force of
|
||
the sound. Nothing except the sound had any space in the room, except
|
||
the obscene feelings crowded into the corners. Nothing made any sense,
|
||
except the feeling that the board told the truth. A wave of nausea
|
||
crashed into her control and she rushed down the hall, toward the
|
||
kitchen sink. Her stomach was empty, but two steps before she reached
|
||
the sink she felt her revulsion turn to moving fluids, and she lunged
|
||
forward. The edge of the kitchen counter hit her breasts and added
|
||
pain to her raw edged emotions. Her throbbing breasts robbed her of
|
||
her stomach's second warning and she was racked with more agony, as it
|
||
expelled the last of its contents.
|
||
Sobbing, with fear, pain, and frustration, Laura wiped her lips with
|
||
a dish towel and hammered her fist against the counter top. Her mind
|
||
was howling negatives. Her breath was coming in gulps. Her heart was
|
||
hammering the beat of some insane drummer. Her legs quivered
|
||
violently.
|
||
As her senses slowly returned closer to normal, she heard faint
|
||
rustlings on the second floor. No one was in the house. What was the
|
||
sound...? Her pulse remained frantic, as her ears were suddenly much
|
||
more sensitive. She could hear individual foot steps, while someone
|
||
walked across the floor. A pace at a time, the steps moved out of her
|
||
father's room and thumped their way to the sewing room. There, they
|
||
stopped. Laura listened to her own heart for several rapid beats and
|
||
committed herself to flight. What ever was up there, whoever was
|
||
making the noise, it was not part of this world. Everything was
|
||
happening too quickly, crowding her ability to think into a corner of
|
||
screaming terror. Sucking her lungs full of air, she started toward
|
||
the front door. No matter what, she pledged, I'll never come back.
|
||
Her hand wrapped around the door knob, just as the foot steps
|
||
started again. She turned the knob and pulled. Nothing happened. She
|
||
remembered the key and felt for it. It was gone. She recalled putting
|
||
it in her purse, and putting her purse on her bed. The foot steps were
|
||
headed toward that room.
|
||
"You need these, Baby?" Her father's voice drifted down the
|
||
staircase, from her room, harsher than she remembered. She knew he was
|
||
holding her keys in his hand. She was terrified of the price he would
|
||
demand for their return. Chills stopped forming new prickles on her
|
||
body, there was no room. The old bumps simply grew taller, as each
|
||
moment added to the terror devouring her middle. Her throat had
|
||
constricted, when her father's voice had started. Her lungs were
|
||
aching, now. She battled the door and her breathing, neither worked
|
||
the way they should. Her eyes leaked involuntary tears and her knees
|
||
threatened to collapse. Wanting to scream, to breathe, she battled for
|
||
life.
|
||
The back door, she suddenly thought, the idea breaking through the
|
||
oxygen starved barrier of her brain. Her lungs came back into
|
||
operation at the same instant and she gratefully filled them again.
|
||
Pushing away from the locked door, she rushed back down the hall past
|
||
the kitchen and into the pantry. Her hand twisted the knob and her
|
||
heart plummeted. It was locked. She saw that the key was missing,
|
||
too. The basement was the only other exit, except climbing the stairs
|
||
to the second floor, and her father.
|
||
She tore back through the hallway and jerked the basement door open.
|
||
With her throat ripped open, dripping blood down her lace trimmed
|
||
burial dress, Laura's mother held out her arms and smiled to her
|
||
daughter. The stench of rotted meat and burned sulphur threatened to
|
||
ignite the wooden doorway. Terrified of her mother's renewed
|
||
existence, Laura screamed. Her voice xylophoned down through the
|
||
scales, ending in a throaty growl, better suited to something wild.
|
||
Her mother simply smiled and beckoned. "It's easy, Baby. I fought,
|
||
too. Randolph was even worse. You listen to Momma..."
|
||
Laura threw up again. Nothing but rancid bile came out. A new
|
||
foulness filled her mouth and lungs.
|
||
"Never!" Laura's single word answer was a burst of fire edged fury.
|
||
The woman in the doorway stepped back slightly, then smiled again.
|
||
"You go to hell, if you must." Laura screamed her terror into her
|
||
mother's face. "Whatever you are... I'll never accept that... that
|
||
bastard. You can all rot." Laura slammed the door, wishing she had
|
||
been able to design a proper curse. She felt very puny.
|
||
Footsteps, coming down the stairs, were sounding again. Laura did
|
||
not want to face her father. The pain was too recent, the memories of
|
||
his love too strong. She turned through the kitchen and went swiftly
|
||
across the dining room into the living room.
|
||
As the footsteps moved down the hall, Laura dashed up the stairs.
|
||
The attic key would allow her to open the downstairs doors.
|
||
Her room was unchanged, except for filthy foot prints on the
|
||
carpeting. Unlike the downstairs windows, steel barred barriers since
|
||
her mother's bizarre death, her window was a tempting escape hatch.
|
||
She stood in the doorway for several heart beats, measuring her chances
|
||
of eluding the downstairs terrors. The tree outside her window had
|
||
been a summertime ladder, years ago. Was she limber enough? Was the
|
||
tree still able to hold her weight? Would the limbs even be in the
|
||
right places? Her father would hear the window opening, he would
|
||
remember, too.
|
||
Knowing her life, her soul, depended on her choice, she stole one
|
||
more minute. Escape was not all she needed. She had to destroy the
|
||
evil that had taken her parents. How...?
|
||
The answer was both simple and terrible. She would have to destroy
|
||
the last of her past. Fire was her only weapon. She would have to
|
||
burn them. More revulsion hit her stomach, but there was no choice
|
||
left.
|
||
Moving around the second floor with the caution of a cat burglar,
|
||
she gathered her tools. Her mother's decorative lanterns were the
|
||
nucleus of her arsenal. Alcohol, liniment, and toiletries with alcohol
|
||
in them added to the small stack of bottles. She remembered the gallon
|
||
of moonshine she had brought home as a gag and retrieved it from her
|
||
father's closet. Not much to fight with, she thought, as the small
|
||
bottles of liquid began gurgling onto the carpet at the head of the
|
||
stairs.
|
||
Saving the moonshine, in its earthen ware jug, Laura dropped the key
|
||
from the attic door into her bra and knelt to strike a match. Her
|
||
nervous fingers dropped the first paper match, and she heard footsteps
|
||
approaching. She forced herself to calm her hands. The red tip of the
|
||
second match exploded into life, as her mother's ravaged remains
|
||
stepped into view. Laura dropped the flame onto the carpet. Nothing
|
||
happened. She battled with another match, while her mother began
|
||
climbing the stairs. Her hand carried the second flaming match to the
|
||
carpet and felt the heat of the invisible flame from the burning
|
||
alcohol. The carpet suddenly burst into a familiar red flame.
|
||
Laura saw her father, through the flames. His ripped throat was an
|
||
angry grimace below his own smiling lips. "Baby... Come. We can be a
|
||
family forever."
|
||
Tears trailing down her cheeks, Laura shook her head, uncertain that
|
||
she could say no. Her resolve weakened, but she turned from the
|
||
spreading flames and hurried to the window. Not opened for years, it
|
||
was reluctant. Laura wished she had tried her last way out, before
|
||
closing her only other option with flame. She pulled with all her
|
||
strength and felt the framed panes begin to move. Slowly, like a
|
||
curtain opening for a stage performance, the window surrendered.
|
||
The night air was sweet, and fed new power to the already roaring
|
||
fire. Laura grabbed the brown jug and stepped through the dormer
|
||
window and onto the roof.
|
||
The familiar tree limb was gone. She felt new panic and then looked
|
||
up. There it was, it had grown taller, as had she. Her free hand
|
||
grasped the old friend and she swung to the trunk. Her descent was
|
||
awkward, with one hand.
|
||
She raced to the front door and looked inside. Flames danced behind
|
||
and above the two figures still standing at the bottom of the stairs.
|
||
Laura fished between her still aching breasts and retrieved the brass
|
||
key. The door surrendered easily and moved noiselessly into the room.
|
||
Laura whispered a prayer that the jug would break and dashed it onto
|
||
the floor. It bounced. Cursing her frustration, she moved a single
|
||
step into the horror filled house. Her father turned, smiled, and
|
||
stepped forward slowly. Filled with disgust at the sight of the
|
||
creature her father had become, Laura quickly grabbed the brown jug and
|
||
bashed it against an umbrella rack. The jug exploded, scattering
|
||
crockery and raw whiskey everywhere. Laura looked up to see the
|
||
whiteness of her father's teeth and the matching white of his torn wind
|
||
pipe. Fresh chills climbed her spine and stood her hair on end.
|
||
She searched between her breasts again and extracted her matches.
|
||
Fumbling with hands that had lost their connection to her brain, she
|
||
tore three matches from the book and struck all three. The smell of
|
||
the burning sulphur was lost in the stronger stench that surrounded
|
||
her, but the lighted matches fell onto the soaked carpet. Tinged with
|
||
blue, the nearly invisible flames licked upward. Laura moved back
|
||
quickly. She backed out the door and closed it, just as her parents
|
||
reached the other side and pulled. Laura fought them for possession of
|
||
the door, and struggled to lock it at the same time. The lock clicked
|
||
into place, finally.
|
||
Laura looked up into her father's eyes, just as the flames washed up
|
||
across his face. He seemed startled, then apologetic. An instant
|
||
later he was lost in a black swirl of smoke. The glass of the door's
|
||
window darkened and shattered from the heat. Laura felt her cheek
|
||
open, as a sliver of the window sliced into her. She felt the pain,
|
||
but the deeper hurt in her heart made it small.
|
||
"Gone... Everything... I... I'm sorry, Daddy... Momma. I love
|
||
you." Laura's whispered epitaph was lost in the fire's roar.
|
||
She turned to walk away, as a distant church bell clanged out,
|
||
eleven times. October was nearly over.
|
||
Lifting her head, she saw the front yard for the first time since
|
||
the horror had started. Everyone from the funeral, all her parent's
|
||
friends, were standing before her. The flames of the burning house lit
|
||
their gaping, blood streaked throats.
|
||
|
||
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ ÚËÍÍÍË¿ ÚË Ë¿ ÚËÍÍÍË¿ Ú» É¿ ÚËÍÍÍË¿ ÚËÍÍÍË¿ ÚÉ ÚÍÑËÑÍ¿ ÚËÍÍÍË¿ ³
|
||
³ ³º ÃÎÍÍÍδ ³ÌÍÍËÊÙ ÀÊÑËѼ٠ÀÊÍÍÍË¿ ÃÎÍÍÍδ ³º ³º³ ÀÊÍÍÍË¿ ³
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||
³ ÀÊÍÍÍÊÙ ÀÊ ÊÙ ÀÊ ÈÍÙ ÀÊÙ ÀÊÍÍÍÊÙ ÀÊ ÊÙ ÀÊÍÍÍÊÙ ÀÍÏÊÏÍÙ ÀÊÍÍÍÊÙ ³
|
||
³ Dallas/Ft Worth's First & Longest Running Multi-User BBS ³
|
||
³ Online Since 1979 ³
|
||
ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
|
||
³ (214) 690-9295 Dallas (817) 540-5565 Ft. Worth ³
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||
ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
|
||
³ 64 Telephone Lines ³
|
||
³ Internet E-Mail, FTPmail, Archie, Oracle, Usenet Groups ³
|
||
³ Over 35+ Gigabytes of Files Represented - 12 CD-Rom Drives Online ³
|
||
³ NO File Upload or File Ratio Requirements ³
|
||
³ Interactive Multiuser Chat Conferences ³
|
||
³ Dozens of Interactive, Real-Time, Games of Chance & Excitement ³
|
||
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|
||
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|
||
³ USA Today Online Each Business Day ³
|
||
³ Thousands of Interesting, Intelligent, Diverse Members ³
|
||
³ Connex (Tm) - The Biographical, Friendship, and Matchmaking Service ³
|
||
³ Voted # 1 BBS in Texas by Boardwatch BBS Magazine ³
|
||
ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
|
||
³ High Speed: (214) 690-9296 Dallas (817) 540-5569 Ft. Worth ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
|
||
|
||
For N.J.A.
|
||
Copyright (c) 1994, Daniel Sendecki
|
||
All rights reserved
|
||
|
||
|
||
For N.J.A.
|
||
----------
|
||
|
||
We have faithfully
|
||
refused to call what we have
|
||
poetry, when the
|
||
soldier-poet has christened,
|
||
the fall of masonry,
|
||
christened the fall of building,
|
||
christened the splash of,
|
||
church towers into
|
||
dispassionate city streets,
|
||
inspiration.
|
||
|
||
My voice
|
||
even when it
|
||
speaks your name
|
||
will still only be as ugly
|
||
as war.
|
||
|
||
|
||
|
||
Dragons
|
||
Copyright (c) 1988, Tamara
|
||
All rights reserved
|
||
|
||
You
|
||
imagining, being, feeling
|
||
closer than before,
|
||
better and better
|
||
my love
|
||
|
||
Dragons are mythical creatures
|
||
or so I've been told.
|
||
Yet each night I think of one
|
||
whose love has given me
|
||
the reality of being loved
|
||
and maybe more importantly
|
||
the essence of seeing myself
|
||
as worth much more than gold.
|
||
Can you love what mythos says is real?
|
||
Can hearts trancend the barrier
|
||
of altered states of truth?
|
||
I don't know - but of one thing I am sure
|
||
I love a dragon in this reality.
|
||
|
||
Dragons are mystical creatures
|
||
as far as I can tell.
|
||
Each night I dream of one
|
||
whose love has given me
|
||
the passion I'd been missing
|
||
and maybe more importantly
|
||
the interchange of human love
|
||
that's worth much more than gold.
|
||
Can you see what love says is real?
|
||
Can we trancend the barrier
|
||
we built before we knew
|
||
I love you - but of one thing I am sure
|
||
I love a dragon, and get this, he loves me.
|
||
|
||
Written online by Tamara
|
||
(c) 1988
|
||
|
||
|
||
|
||
She Screamed At The Wall
|
||
copyright (c) 1994, J. Guenther
|
||
All rights reserved
|
||
|
||
|
||
She Screamed At The Wall
|
||
by J. Guenther
|
||
|
||
ÁÁella grita a la muralla!!
|
||
and I can only stand on the other side,
|
||
listening to her tear-filled screams
|
||
and hopes of vindication.
|
||
|
||
ÀÀc—mo puedo ayuderla??
|
||
Her bold letters stamped like sharpened knives
|
||
or the tears that form waves in a lake...
|
||
|
||
aqu’ estoy,
|
||
on the other side,
|
||
doomed to hear these cries again,
|
||
repeating, cursing echoes...
|
||
|
||
y ella est‡ all’,
|
||
so far away--
|
||
I want to console her
|
||
[thereÕs so much anguish]
|
||
|
||
So what did I do?
|
||
|
||
Re’
|
||
(I laughed)
|
||
as loud as I could so she could hear me.
|
||
Re’
|
||
(I laughed)
|
||
loud enough to hear her sobs disappear,
|
||
|
||
but, when I stopped,
|
||
when my laughter died,
|
||
|
||
ella grita m‡s alta que m’.
|
||
|
||
|
||
|
||
Wander
|
||
Copyright (c) 1994, Sean A. Donahue
|
||
All rights reserved
|
||
|
||
|
||
Wander
|
||
------
|
||
|
||
Wandering into my life
|
||
and then walking out of my way.
|
||
I know that it is all my fault.
|
||
But is that all you can say?
|
||
|
||
We talked and danced,
|
||
you saw what was wrong.
|
||
But you came and tried
|
||
to rearrange.
|
||
But my life is so complicated,
|
||
it can not be changed
|
||
|
||
So we laughed and talked,
|
||
though we both knew it was wrong.
|
||
When the night was over,
|
||
the silence was long.
|
||
|
||
We kissed and hugged
|
||
and said good - bye.
|
||
Though it was a dream ;
|
||
it brings a tear to my eye.
|
||
|
||
Though you are here,
|
||
soft,warm and next to me.
|
||
The future has sorrow,
|
||
sorrow I forsee.
|
||
|
||
Though we are together tonight,
|
||
we are drifting apart.
|
||
For my wandering ways,
|
||
have hurt your heart.
|
||
|
||
So I must leave now.
|
||
For time is true.
|
||
Though I'll move on.
|
||
You will be always be blue.
|
||
|
||
Wandering into my life,
|
||
and I pushed you away.
|
||
I walked out of your life,
|
||
but in your heart I'll stay.
|
||
|
||
I'm Sorry.
|
||
|
||
|
||
|
||
My Memories
|
||
Copyright (c) 1994, Thomas Van Hook
|
||
All rights reserved
|
||
|
||
|
||
|
||
My Memories
|
||
By Robyn Birchleaf (aka - Tommy Van Hook)
|
||
Written 9/8/94, 12:00
|
||
|
||
Memories of my past
|
||
Pull me on into the future
|
||
With wisp-like tendrils
|
||
Tugging urgently on my soul
|
||
Much like a small child
|
||
Seeking a parent's attentions
|
||
|
||
I have watched my history
|
||
From a tall and lonely perch
|
||
Atop my ever-present thoughts
|
||
While the fire of passion
|
||
Smoldered into embers
|
||
Victim to my own neglect
|
||
|
||
Rediscovering myself
|
||
Reassemble what I find
|
||
Broken, shattered parts
|
||
Using memories I have
|
||
To cement a future bond
|
||
|
||
I can never be the same again
|
||
What has happened changes me
|
||
The healing will continue
|
||
To challenge and change all
|
||
Familiar, yet unknown
|
||
|
||
I hold power in the thought
|
||
That despite all the changes
|
||
Nothing will truly be strange
|
||
Since one thing remains unchanged
|
||
...my memories
|
||
|
||
|
||
|
||
Top Ten List
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
Top Ten Least Favorite Windows Screen Savers
|
||
|
||
10. Cat eating fish from aquarium
|
||
9. Bill Gates laughing and rolling around in piles of money
|
||
8. Really, really big DOS prompt
|
||
7. After Dark 5: Harry Hines Blvd.
|
||
6. U.S.S. Enterprise crashing into the Love Boat
|
||
5. Scenes from Woodstock '94
|
||
4. Outtakes from Forrest Gump: Gump choking on chocolates
|
||
3. Energizer Bunny getting drunk and running into things
|
||
2. Rusty old toasters with broken wings
|
||
1. Dancing Rush Limbaughs
|
||
|
||
(c) 1994 Joe DeRouen. All rights reserved.
|
||
|
||
|
||
|
||
Who's on First?
|
||
Abbot and Costello routine
|
||
|
||
|
||
|
||
|
||
Abbot: You know, strange as it may seem, they have ballplayers
|
||
nowadays very peculiar names. Now on the St. Louis team, Who's
|
||
on first, What's on second , I Don't Know is on third.
|
||
|
||
Costello: That's what I want to find out. I want you to tell me
|
||
the names of the fellows on the St. Louis team.
|
||
|
||
Abbot: I'm telling you. Who's on first, What's on second, I
|
||
Don't Know is on third.
|
||
|
||
Costello: You know the fellows names?
|
||
|
||
Abbott: Yes.
|
||
|
||
Costello: Well, then who's playing first?
|
||
|
||
Abbott: Yes.
|
||
|
||
Costello: I means, the fellow's name on the first base.
|
||
|
||
Abbott: Who.
|
||
|
||
Costello: The fellow playing first base.
|
||
|
||
Abbott: Who.
|
||
|
||
Costello: The guy on first base?
|
||
|
||
Abbott: Who is on first base.
|
||
|
||
Costello: What are you asking me for?
|
||
|
||
Abbott: I'm not asking you, I'm telling you. Who is on first.
|
||
|
||
Costello: I'm, asking you - who's on first?
|
||
|
||
Abbott: That's the man's name.
|
||
|
||
Costello: That's who's name?
|
||
|
||
Abbott: Yes.
|
||
|
||
Costello: Go ahead and tell me.
|
||
|
||
Abbott: Who.
|
||
|
||
Costello: Have you got a first baseman on first?
|
||
|
||
Abbott: Certainly.
|
||
|
||
Costello: Then who's playing on first?
|
||
|
||
Abbott: Absolutely.
|
||
|
||
Costello: Well, all I'm trying to find out is what's the guy's
|
||
name on first.
|
||
|
||
Abbott: No, no. What is on second base.
|
||
|
||
Costello: I'm not asking who's on second.
|
||
|
||
Abbott: Who's on first.
|
||
|
||
Costello: That's what I'm trying to find out/
|
||
|
||
Abbott: Now take it easy.
|
||
|
||
Costello: What's the guy's name on first base?
|
||
|
||
Abbott: What's the guy's name on second base.
|
||
|
||
Costello: I'm not asking you who's on second.
|
||
|
||
Abbott: Who's on first.
|
||
|
||
Costello: I don't know.
|
||
|
||
Abbott: He's on third.
|
||
|
||
Costello: If I mentioned the third baseman's name, who did I say
|
||
is playing third.
|
||
|
||
Abbott: No, Who's playing first.
|
||
|
||
Costello: Stay offa first, will you?
|
||
|
||
Abbott: Well, what do you want me to do?
|
||
|
||
Costello: Now, what's the guy's name on first base?
|
||
|
||
Abbott: What's on second.
|
||
|
||
Costello: I'm not asking you who's on second!
|
||
|
||
Abbott: Who's on first.
|
||
|
||
Costello: I don't know.
|
||
|
||
Unison: He's on third.
|
||
|
||
Costello: There I go back to third again.
|
||
|
||
Abbott: Please. Now what in it you want to know?
|
||
|
||
Costello: What is the fellow's name on third base?
|
||
|
||
Abbott: What is the fellow's name on second base.
|
||
|
||
Costello: I'm not asking you who's on second.
|
||
|
||
Abbott: Who's on first.
|
||
|
||
Costello: I don't know. You got an outfield?
|
||
|
||
Abbott: Oh, sure.
|
||
|
||
Costello: The left fielder's name?
|
||
|
||
Abbott: Why.
|
||
|
||
Costello: I just thought I'd ask.
|
||
|
||
Abbott: I just thought I'd tell you.
|
||
|
||
Costello: Then tell me who's playing in left field?
|
||
|
||
Abbott: Who's playing first.
|
||
|
||
Costello: Stay out of the infield. I want to know what's the
|
||
fellows name in left field.
|
||
|
||
Abbott: What is on second.
|
||
|
||
Costello: I'm not asking who's on second.
|
||
|
||
Abbott: Take it easy.
|
||
|
||
Costello: And the left fielder's name?
|
||
|
||
Abbott: Why.
|
||
|
||
Costello: Because.
|
||
|
||
Abbott: Oh, he's center field.
|
||
|
||
Costello: Wait a minute. You got a pitcher?
|
||
|
||
Abbott: Wouldn't this be a fine team without a pitcher?
|
||
|
||
Costello: Tell me the pitcher's name.
|
||
|
||
Abbott: Tomorrow.
|
||
|
||
Costello: You don't want to tell me today?
|
||
|
||
Abbott: I'm telling you, man.
|
||
|
||
Costello: Then go ahead.
|
||
|
||
Abbott: Tomorrow.
|
||
|
||
Costello: What time tomorrow are you going to tell me who's
|
||
pitching?
|
||
|
||
Abbott: Now listen. Who is not pitching, Who is on ...
|
||
|
||
Costello: I'll break your arm it you say who's on first.
|
||
|
||
Abbott: Then why ask?
|
||
|
||
Costello: I want to know what's the pitcher's name.
|
||
|
||
Abbott: What's on second.
|
||
|
||
Costello: You got a catcher? His name?
|
||
|
||
Abbott: Today.
|
||
|
||
Costello: I would like to catch. Tomorrow's pitching and I'm
|
||
catching.
|
||
|
||
Abbott: Yes.
|
||
|
||
Costello: Tomorrow throws the ball and the guy bunts.
|
||
|
||
Abbott: Yes.
|
||
|
||
Costello: I want to throw the guy out at first base, so I pickup
|
||
the ball and throw it to who?
|
||
|
||
Abbott: That's the first thing you said right.
|
||
|
||
Costello: I don't even know what I am talking about!
|
||
|
||
Abbott: Well, that's all you have to do.
|
||
|
||
Costello: Is to throw it to first base?
|
||
|
||
Abbott: Yes.
|
||
|
||
Costello: Now who's got the ball.
|
||
|
||
Abbott: Naturally.
|
||
|
||
Costello: I pickup the ball and throw it to Naturally?
|
||
|
||
Abbott: No, you throw the ball to first base.
|
||
|
||
Costello: Then who gets it?
|
||
|
||
Abbott: Naturally.
|
||
|
||
Costello: I throw the ball to Naturally?
|
||
|
||
Abbott: You don't. You throw it to Who.
|
||
|
||
Costello: Naturally.
|
||
|
||
Abbott: Yes.
|
||
|
||
Costello: So I throw the ball to first base and NAturally gets
|
||
it.
|
||
|
||
Abbott: No, you throw the ball to first base ....
|
||
|
||
Costello: Then who gets it?
|
||
|
||
Abbott: Naturally.
|
||
|
||
Costello: I throw the ball to first base, whoever it drops the
|
||
ball, so the guy runs to second. Who picks up the ball and
|
||
throws it to What. What throws it to I Don't Know. I Don't Know
|
||
throws back to Tomorrow - a triple play.
|
||
|
||
Abbott: Could be.
|
||
|
||
Costello: Another guy gets up and it's a long fly center. Why? I
|
||
don't know. And I don't care.
|
||
|
||
Abbott: What?
|
||
|
||
Costello: I don't care.
|
||
|
||
Abbott: Oh, that's our shortstop.
|
||
|
||
|
||
|
||
|
||
|
||
ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
|
||
³ 110 Nodes * 4000 Conferences * 30.0 Gigabytes * 100,000+ Archives ³
|
||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
ÛÛßßßßßß ÛÛ ÛÛ ÛÛßßßßÛÛ ÛÛßßÛ ÛÛ ÛÛßßÛ ÛÛ ÛÛßßßßßß ÛÛ ßÛÛ (R)
|
||
ÛÛ ÛÛÜÜÜÜÛÛ ÛÛÜÜÜÜÛÛ ÛÛ Û ÛÛ ÛÛ Û ÛÛ ÛÛÜÜÜÜÜÜ ÛÛ ÛÛ
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ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ Û ÛÛ ÛÛ Û ÛÛ ÛÛ ÛÛ Ü ÛÛ
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ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
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³ Channel 1 Communications(R) * Cambridge, MA * 617-354-3230 14.4 ³
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ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
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°°°úfasterúbetterúless expensiveú°°°°°°°°°°°°°°°°° "Best Files in US" °
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ÞúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúÝ
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Þ ³ ³ ßÜß ÛÜÜÜ Û ÜÜÜ ÛÜÜÜÛ Û Hayes V-Series (414) 789-4315 Ý
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Þ þ Extensive message system with QWK compatability - Also, Fidonet areas! Ý
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Þ þ Online Doors / Games / Job Search / PC-Catalog / Online Magazines Ý
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Þ þ Over 5000 callers per day can't be wrong - 35 gig of online storage! Ý
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Þ þ Low subscription rates: $25 for 3 months, $75 for a full year Ý
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ÞúúúúúúúúúúúúCallútheúBBSúforúaúFREEútrialúdemo,úandúFREEúdownloadsúúúúúúúúúúúúÝ
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||
Þ°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±°±²Û²±Ý
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ÜÜÜÜÜÜÜÜ ÜÜÜÜÜÜÜ
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ÄÄÄÄÄÄÛÛÄÄÄÄÄÄÄÜÄÄÄÄÄÄÄÄÄÛÛÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ
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||
ßßßßßßÛÛßßßßßßßÛßßßßßßßßßÛÛßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßß
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ÍÍÍÍÍÍÛÛÍÍÍÍÍßÛÛÛßÍÍÍÜÛÍÍÛÛÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
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ÛÛ Û ÛÛÜÜÛÛ (717)325-9481 14.4
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ßÛ ßÛÛÛÛß 2 NODES
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ÜÜÜÜÜÜÜ ÜÜÜÜÜ ÜÜÜÜ ÜÜÜÜÜÜ Ü Ü ÜÜÜÜÜ ÜÜÜÜ ÜÜÜÜ
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ÜÛÛÛÛÛÛÛÜ ÜÛÛÛÛÛÜ ÜÛÛÛÛÜ ÜÛÛÛÛÛÛÜ ÜÛ ÜÛ ÜÛÛÛÛÛÜ ÜÛÛÛÛÜ ÜÛÛÛÛÜ
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ÍÍÛÛÍÍÍÍÍÍÍÍÍÛÛÍÍÍÛÛÍÍÛÛÍÍÍÍÍÍÍÍÍÛÛÍÍÍÍÍÛÛÍÍÍÍÛÛÍÍÛÛÍÍÍÛÛÍÍÛÛÍÍÛÛÍÍÍÛÛÍÍÍÍÍÍÍ
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|
||
ÄÄßÛÛÛÛÛÛÛÜÄÄÛÛÄÄÄÛÛÄÄÛÛÛÛÜÄÄÄÄÄÄÛÛÄÄÄÄÄÛÛÄÜÜÄÛÛÄÄÛÛÛÛÛÛÛÄÄÛÛÛÛÛÛÄÄÄÛÛÛÜÄÄÄÄÄ
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ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛÜ ÛÛ
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ÜÜÜÜÜÜÜÛÛ ÛÛÜÜÜÛÛ ÛÛ ÛÛ ÛÛÜÛÛÜÛÛ ÛÛ ÛÛ ÛÛ ÛÛÜ ÛÛÜÜÜÜ
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ßÛÛÛÛÛÛÛß ßÛÛÛÛÛß ßÛ ßÛ ßÛÛÛÛß ßÛ ßÛ ßÛ ßÛ ßÛÛÛÛß
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Prize Vault Lemonade Scramble Dollarmania ANSI Voting Booth
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Studs! Studette BadUser Convince! OnLine!
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GoodUser T&J Lotto T&JStat TJTop30 Environmental QT
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Video Poker Announce Bordello! Money Market Bordello
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T&J Raffle RIP Lemonade AgeCheck Strip Poker RIP Voting Booth
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...and more coming!
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||
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ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
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||
³ ÚËÍÍÍË¿ ÚË Ë¿ ÚËÍÍÍË¿ Ú» É¿ ÚËÍÍÍË¿ ÚËÍÍÍË¿ ÚÉ ÚÍÑËÑÍ¿ ÚËÍÍÍË¿ ³
|
||
³ ³º ÃÎÍÍÍδ ³ÌÍÍËÊÙ ÀÊÑËѼ٠ÀÊÍÍÍË¿ ÃÎÍÍÍδ ³º ³º³ ÀÊÍÍÍË¿ ³
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||
³ ÀÊÍÍÍÊÙ ÀÊ ÊÙ ÀÊ ÈÍÙ ÀÊÙ ÀÊÍÍÍÊÙ ÀÊ ÊÙ ÀÊÍÍÍÊÙ ÀÍÏÊÏÍÙ ÀÊÍÍÍÊÙ ³
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³ Dallas/Ft Worth's First & Longest Running Multi-User BBS ³
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³ Online Since 1979 ³
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ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
|
||
³ (214) 690-9295 Dallas (817) 540-5565 Ft. Worth ³
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ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
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³ 64 Telephone Lines ³
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³ NO File Upload or File Ratio Requirements ³
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³ Dozens of Special Interest Areas - Literally 1000s of Messages Online ³
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³ Connex (Tm) - The Biographical, Friendship, and Matchmaking Service ³
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ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
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³ High Speed: (214) 690-9296 Dallas (817) 540-5569 Ft. Worth ³
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||
ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
|
||
|
||
|
||
|
||
|
||
There are several different ways to get STTS magazine.
|
||
|
||
|
||
SysOps:
|
||
|
||
Contact me via any of the addresses listed in CONTACT POINTS listed
|
||
elsewhere in this issue. Just drop me a note telling me your name,
|
||
city, state, your BBS's name, it's phone number and it's baud rate, and
|
||
where you'll be getting STTS from each month. If your BBS carries RIME,
|
||
Pen & Brush Network, or you have access to the InterNet, I can put you
|
||
on the STTS mailing list to receive the magazine free of charge each
|
||
month. If you have access to FIDO, you can file request the magazine.
|
||
If you don't have access to any of these services - or do but don't
|
||
wish to use this option - you can call any of the BBS's listed in
|
||
DISTRIBUTION SITES and download the new issue each month. In either
|
||
case contact me so that I can put your BBS in the dist. site list for
|
||
the next issue of the magazine.
|
||
|
||
(Refer to DISTRIBUTION VIA NETWORKS for more detailed information about
|
||
the nets)
|
||
|
||
|
||
Users:
|
||
|
||
You can download STTS each month from any of the BBS's mentioned in
|
||
DISTRIBUTION SITES elsewhere in this issue. If your local BBS isn't
|
||
listed, pester and cajole your SysOp to "subscribe" to STTS for you.
|
||
(the subscription, of course, is free)
|
||
|
||
|
||
|
||
If you haven't any other way of receiving the magazine each month, a
|
||
monthly disk subscription (sent out via US Mail) is available for
|
||
$ 20.00 per year. Foreign subscriptions are $ 25.00 (american dollars).
|
||
|
||
Subscriptions should be mailed to:
|
||
|
||
Joe DeRouen
|
||
3910 Farmville Dr. # 144
|
||
Addison, Tx. 75244
|
||
U.S.A.
|
||
|
||
|
||
|
||
|
||
* Special Offer *
|
||
|
||
[ Idea stolen from Dave Bealer's RaH Magazine. So sue me. <G> ]
|
||
|
||
Having trouble finding back issues of STTS Magazine? (This is only the
|
||
eighth issue, but you never know..)
|
||
|
||
For only $ 5.00 (count 'em - five dollars!) I'll send you all the back
|
||
issues of STTS Mag as well as current issues of other magazines, and
|
||
whatever other current, new shareware will fit onto a disk.
|
||
|
||
Just send your $ 5.00 (money order or check please, US funds only, made
|
||
payable to: Joe DeRouen) to:
|
||
|
||
Joe DeRouen
|
||
3910 Farmville Dr. # 144
|
||
Addison, Tx. 75244
|
||
U.S.A.
|
||
|
||
Tell me if you want a high density 5 1/4" disk or a high density 3 1/2"
|
||
disk, please.
|
||
|
||
(The following form is duplicated in the text file FORM.TXT, included
|
||
with this archive)
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
Enclosed is a check or money order (US funds only!) for $ 5.00. Please
|
||
send me the back issues of STTS, the registered version of Quote!, and
|
||
whatever else you can cram onto the disk.
|
||
|
||
I want: [ ] 5.25" HD disk [ ] 3.5" HD disk
|
||
|
||
Send to:
|
||
|
||
________________________________________
|
||
|
||
________________________________________
|
||
|
||
________________________________________
|
||
|
||
________________________________________
|
||
|
||
|
||
|
||
|
||
|
||
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 twice-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
|
||
twice-yearly awards will be presented in the July 1994 issue.
|
||
|
||
Honorariums, twice-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 twice-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.
|
||
|
||
|
||
TWICE-YEARLY CASH AWARD
|
||
|
||
Twice a year (every six months) 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 and January issues of the
|
||
magazine.
|
||
|
||
Anyone serving on the staff of STTS magazine is NOT eligible for the
|
||
twice-yearly awards.
|
||
|
||
Twice-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 twice-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: joe.derouen@chrysalis.org
|
||
|
||
RIME - My NODE ID is SUNLIGHT or 5320. Send all files to
|
||
this address. (you'll have to ask your SysOp who's
|
||
carrying RIME to send it for you) Alternately, you
|
||
can simply post it in either the Sunlight Through
|
||
The Shadows Magazine, Common, Writers, or Poetry
|
||
Corner conference to: Joe Derouen. If you put a
|
||
->5320 or ->SUNLIGHT in the top-most upper left-hand
|
||
corner, it'll be routed directly to my BBS.
|
||
|
||
Pen & Brush Net - Leave me a note or submission in either the Sunlight
|
||
Through The Shadows Magazine conference, the Poetry
|
||
Corner conference, or the Writers Conference. If
|
||
your P&BNet contact is using PostLink, you can route
|
||
the message to me automatically via the same way as
|
||
described above for RIME. In either case, address
|
||
all correspondence to: Joe derouen.
|
||
|
||
WME Net - Leave me a note or submission in the Net Chat
|
||
conference. Address all correspondence to:
|
||
Joe Derouen.
|
||
|
||
My BBS - Sunlight Through The Shadows. 12/24/96/14.4k baud.
|
||
(214) 620-8793. You can upload submissions to the
|
||
STTS Magazine file area, comment to the SysOp, or
|
||
just about any other method you choose. Address all
|
||
correspondence to: Joe Derouen.
|
||
|
||
US Mail - Send disks (any size, IBM format ONLY) containing
|
||
submissions to:
|
||
|
||
Joe DeRouen
|
||
3910 Farmville Dr. # 144
|
||
Addison, Tx. 75244
|
||
U.S.A.
|
||
|
||
|
||
|
||
|
||
Advertising
|
||
-----------
|
||
|
||
Currently, STTS Mag is being "officially" carried by over 90 BBS's
|
||
across the United States. It's also being carried by BBS's in the
|
||
United Kingdom, Canada, Portugal, and Finland.
|
||
|
||
Unofficially (which means that the SysOps haven't yet notifed me that
|
||
they carry it) it's popped up on literally hundreds of BBS's across the
|
||
USA as well as in other countries including the UK, Canada, Portugal,
|
||
Ireland, Japan, The Netherlands, Scotland, and Saudi Arabia.
|
||
|
||
It's also available via Internet, FIDO, RIME, and
|
||
Pen & Brush Networks.
|
||
|
||
Currently, STTS has about 10,000 readers worldwide and is available
|
||
to literally millions of BBSers through the internet and other
|
||
networks and BBS's.
|
||
|
||
If you or your company want to expose your product to a variety of
|
||
people all across the world, this is your opportunity!
|
||
|
||
Advertising in Sunlight Through The Shadows Magazine is available
|
||
in four different formats:
|
||
|
||
|
||
|
||
|
||
1) Personal Advertisements (NON-Business)
|
||
-----------------------
|
||
|
||
Personal advertisements run $5.00 for 4 lines of advertising, with each
|
||
additional line $1.00. Five lines is the minimum length. Your ad can be
|
||
as little as one line, but the cost is still $5.00.
|
||
|
||
Advertisements should be in ASCII and formatted for 80 columns. They
|
||
should include whatever you're trying to sell (or buy) as well as a
|
||
price and a method of contacting you.
|
||
|
||
ANSI or RIP ads at this level will NOT be accepted.
|
||
|
||
Business ads will NOT be accepted here. These ads are for non-business
|
||
readers to advertise something they wish to sell or buy, or to
|
||
advertise a non-profit event.
|
||
|
||
BBS ads are considered business ads.
|
||
|
||
|
||
2) Regular Advertisement (Business or Personal)
|
||
---------------------
|
||
|
||
We're accepting business advertisements in STTS. If you're interested
|
||
in advertising in STTS, a full-page (ASCII or ASCII and ANSI) is
|
||
$25.00/issue. Those interested can contact me by any of the means
|
||
listed under Contact Points.
|
||
|
||
If you purchase 5 months of advertising ($125.00) the sixth month is
|
||
free.
|
||
|
||
|
||
3) Feature Advertisement (Business or Personal)
|
||
---------------------
|
||
|
||
We'll include one feature ad per issue. The feature ad will pop up
|
||
right after the magazine's ANSI cover, when the user first begins to
|
||
read the magazine. This ad will also appear within the body of the
|
||
magazine, for further perusement by the reader.
|
||
|
||
A feature ad will run $50.00 per issue, and should be created in
|
||
both ANSI and ASCII formats.
|
||
|
||
If you purchase 5 months of advertising ($250.00) the sixth month is
|
||
free.
|
||
|
||
|
||
4) BBS Advertisement (Business or Personal)
|
||
-----------------
|
||
|
||
Many BBS SysOps and users call STTS BBS each month to get the current
|
||
issue of STTS Magazine. These callers are from all over the USA as well
|
||
as Canada, Portugal, the UK, and various other countries.
|
||
|
||
Advertising is now available for the logoff screen of the BBS. The
|
||
rates are $100.00 per month. Ads should be in both ASCII and ANSI
|
||
format. We're accepting RIP ads as well, but only for the this
|
||
advertising option.
|
||
|
||
If you purchase 5 months of advertising ($500.00) the sixth month is
|
||
free.
|
||
|
||
|
||
|
||
Advertisement Specifications
|
||
----------------------------
|
||
|
||
Ads may be in as many as three formats. They MUST be in ascii text and
|
||
may also be in ANSI and/or RIP Graphics formats.
|
||
|
||
Ads should be no larger than 24 lines (ie: one screen/page) and ANSI
|
||
ads should not use extensive animation.
|
||
|
||
If you cannot make your own ad or do not have the time to make your
|
||
own ad, we can make it for you. However, there is a one-time charge of
|
||
$10.00 for this service. We will create ads in ASCII and ANSI only. If
|
||
you absolutely need RIP ads and cannot create your own, we'll attempt
|
||
to put you into contact with someone who can.
|
||
|
||
|
||
|
||
|
||
|
||
Contact Points
|
||
--------------
|
||
|
||
|
||
You can contact me through any of the following addresses.
|
||
|
||
|
||
Sunlight Through The Shadows BBS
|
||
(214) 620-8793 12/24/96/14,400 Baud
|
||
|
||
CompuServe: 73654,1732
|
||
|
||
InterNet: joe.derouen@chrysalis.org
|
||
|
||
Pen & Brush Net: ->SUNLIGHT
|
||
P&BNet Conferences: Sunlight Through The Shadows Conference
|
||
or any other conference
|
||
|
||
WME Net: Net Chat conference
|
||
|
||
PcRelay/RIME: ->SUNLIGHT
|
||
RIME Conferences: Common, Writers, or Poetry Corner
|
||
|
||
US Mail: Joe DeRouen
|
||
3910 Farmville Dr. # 144
|
||
Addison, Tx. 75244
|
||
U.S.A.
|
||
|
||
|
||
|
||
|
||
|
||
You can always find STTS Magazine on the following BBS's.
|
||
BBS's have STTS available for both on-line viewing and
|
||
downloading unless otherwise marked.
|
||
|
||
* = On-Line Only
|
||
# = Download Only
|
||
|
||
|
||
United States
|
||
-------------
|
||
|
||
BBS Name ........... Sunlight Through The Shadows
|
||
Location ........... Addison, Texas (in the Dallas area)
|
||
SysOp(s) ........... Joe and Heather DeRouen
|
||
Phone ........... (214) 620-8793 (14.4k baud)
|
||
|
||
(Sorted by area code, then alphabetically)
|
||
|
||
BBS Name ........... ModemNews
|
||
Location ........... Stamford, Connecticut
|
||
SysOp(s) ........... Jeff Green
|
||
Phone ........... (203) 359-2299 (14.4k baud)
|
||
|
||
BBS Name ........... Party Line, The
|
||
Location ........... Birmingham, Alabama
|
||
SysOp(s) ........... Anita Abney
|
||
Phone ........... (205) 856-1336 (14.4k baud)
|
||
|
||
BBS Name ........... Left-Hand Path, The
|
||
Location ........... Seattle, Washington
|
||
SysOp(s) ........... Mark Pruitt
|
||
Phone ........... (206) 783-4668 (14.4k baud)
|
||
|
||
# BBS Name ........... Lobster Buoy
|
||
Location ........... Bangor, Maine
|
||
SysOp(s) ........... Mark Goodwin
|
||
Phone ........... (207) 941-0805 (14.4k baud)
|
||
Phone ........... (207) 945-9346 (14.4k baud)
|
||
|
||
BBS Name ........... Northern Maine BBS
|
||
Location ........... Caribou, Maine
|
||
SysOp(s) ........... David Collins
|
||
Phone ........... (207) 496-2391 (14.4k baud)
|
||
|
||
BBS Name ........... File-Link BBS
|
||
Location ........... Manhattan, New York
|
||
SysOp(s) ........... Bill Marcy
|
||
Phone ........... (212) 777-8282 (14.4k baud)
|
||
|
||
BBS Name ........... Poetry In Motion
|
||
Location ........... New York, New York
|
||
SysOp(s) ........... Inez Harrison
|
||
Phone ........... (212) 666-6927 (14.4k baud)
|
||
|
||
BBS Name ........... Wamblyville
|
||
Location ........... Los Angeles, California
|
||
SysOp(s) ........... John Borowski
|
||
Phone ........... (213) 380-8090 (14.4k baud)
|
||
|
||
BBS Name ........... Aaron's Beard BBS
|
||
Location ........... Dallas, Texas
|
||
SysOp(s) ........... Troy Wade
|
||
Phone ........... (214) 557-2642 (14.4k baud)
|
||
|
||
BBS Name ........... Archives On-line
|
||
Location ........... Dallas, Texas
|
||
SysOp(s) ........... David Pellecchia
|
||
Phone ........... (214) 247-6512 (14.4k baud)
|
||
Phone ........... (214) 406-8394 (14.4k baud)
|
||
|
||
# BBS Name ........... BBS America
|
||
Location ........... Dallas, Texas
|
||
SysOp(s) ........... Jay Gaines
|
||
Phone ........... (214) 680-3406 (9600 baud)
|
||
Phone ........... (214) 680-1451 (9600 baud)
|
||
|
||
BBS Name ........... Blue Banner BBS
|
||
Location ........... Rowlett, Texas
|
||
SysOp(s) ........... Richard Bacon
|
||
Phone ........... (214) 475-8393 (14.4k baud)
|
||
|
||
BBS Name ........... Blue Moon
|
||
Location ........... Plano, Texas
|
||
SysOp(s) ........... Roger Koppang
|
||
Phone ........... (214) 985-1453 (14.4k baud)
|
||
|
||
BBS Name ........... Bucket Bored!
|
||
Location ........... Sachse, Texas
|
||
SysOp(s) ........... Tim Bellomy
|
||
Phone ........... (214) 414-6913 (14.4k baud)
|
||
|
||
BBS Name ........... Chrysalis BBS
|
||
Location ........... Dallas, Texas
|
||
SysOp(s) ........... Garry Grosse
|
||
Phone ........... (214) 690-9295 (2400 baud)
|
||
Phone ........... (214) 783-5477 (9600 baud)
|
||
|
||
# BBS Name ........... Collector's Edition
|
||
Location ........... Dallas, Texas
|
||
SysOp(s) ........... Len Hult
|
||
Phone ........... (214) 351-9871 (14.4k baud)
|
||
Phone ........... (214) 351-9871 (14.4k baud)
|
||
|
||
BBS Name ........... Foreplay Online
|
||
Location ........... Dallas, Texas
|
||
SysOp(s) ........... Sean Goldsberry
|
||
Phone ........... (214) 306-7493 (14.4k baud)
|
||
|
||
BBS Name ........... New Age Visions
|
||
Location ........... Grand Prairie, Texas
|
||
SysOp(s) ........... Larry Joe Reynolds
|
||
Phone ........... <Temporarily Down>
|
||
|
||
BBS Name ........... Old Poop's World
|
||
Location ........... Dallas, Texas
|
||
SysOp(s) ........... Sonny Grissom
|
||
Phone ........... (214) 613-6900 (14.4k baud)
|
||
|
||
BBS Name ........... Online Syndication Services BBS
|
||
Location ........... Plano, Texas
|
||
SysOp(s) ........... Don Lokke
|
||
Phone ........... (214) 424-8425 (14.4k baud)
|
||
|
||
BBS Name ........... Opa's Mini-BBS (open 11pm-7am CST)
|
||
Location ........... Plano, Texas
|
||
SysOp(s) ........... David Marshall
|
||
Phone ........... (214) 424-0153 (2400 baud)
|
||
|
||
BBS Name ........... Texas Talk
|
||
Location ........... Richardson, Texas
|
||
SysOp(s) ........... Sunnie Blair
|
||
Phone ........... (214) 497-9100 (2400 baud)
|
||
|
||
# BBS Name ........... User-2-User
|
||
Location ........... Dallas, Texas
|
||
SysOp(s) ........... William Pendergast and Kevin Carr
|
||
Phone ........... (214) 393-4768 (14.4k baud)
|
||
Phone ........... (214) 393-4736 (2400 baud)
|
||
|
||
BBS Name ........... Deep 13 - MST3K
|
||
Location ........... Levittown, Pennsylvania
|
||
SysOp(s) ........... Mike Slusher
|
||
Phone ........... (215) 943-9526 (14.4k baud)
|
||
|
||
BBS Name ........... Beta Connection, The
|
||
Location ........... Elkhart, Indiana
|
||
SysOp(s) ........... David Reynolds
|
||
Phone ........... (219) 293-6465 (14.4k baud)
|
||
|
||
BBS Name ........... Bill & Hilary's BBS
|
||
Location ........... Elkhart, Indiana
|
||
SysOp(s) ........... Nancy VanWormer
|
||
Phone ........... (219) 295-6206 (14.4k baud)
|
||
|
||
BBS Name ........... FTB's Passport BBS
|
||
Location ........... Frederick, Maryland
|
||
SysOp(s) ........... Karina Wright
|
||
Phone ........... (301) 662-9134 (14.4k baud)
|
||
|
||
BBS Name ........... The "us" Project
|
||
Location ........... Wilmington, Delaware
|
||
SysOp(s) ........... Walt Mateja, PhD
|
||
Phone ........... (302) 529-1650 (14.4k baud)
|
||
|
||
BBS Name ........... Hole In the Wall, The
|
||
Location ........... Parker, Colorado
|
||
SysOp(s) ........... Mike Fergione
|
||
Phone ........... (303) 841-5515 (16.8k baud)
|
||
|
||
BBS Name ........... Right Angle BBS
|
||
Location ........... Aurora, Colorado
|
||
SysOp(s) ........... Bill Roark
|
||
Phone ........... (303) 337-0219 (14.4k baud)
|
||
|
||
BBS Name ........... Ruby's Joint
|
||
Location ........... Miami, Florida
|
||
SysOp(s) ........... David and Del Freeman
|
||
Phone ........... (305) 856-4897 (14.4k baud)
|
||
|
||
BBS Name ........... PUB Desktop Publishing BBS, The
|
||
Location ........... Chicago, Illinois
|
||
SysOp(s) ........... Steve Gjondla
|
||
Phone ........... (312) 767-5787 (9600 baud)
|
||
|
||
BBS Name ........... O & E Online
|
||
Location ........... Livoign, Michigan
|
||
SysOp(s) ........... Greg Day
|
||
Phone ........... (313) 591-0903 (14.4 k baud)
|
||
|
||
BBS Name ........... Family Connection, The
|
||
Location ........... St. Louis, Missouri
|
||
SysOp(s) ........... John Askew
|
||
Phone ........... (314) 544-4628 (14.4k baud)
|
||
|
||
BBS Name ........... PsychoBABBLE BBS
|
||
Location ........... Massena, New York
|
||
SysOp(s) ........... Doug LaGarry
|
||
Phone ........... (315) 764-719 (28.8k baud)
|
||
|
||
BBS Name ........... Pegasus BBS
|
||
Location ........... Owensboro, Kentucky
|
||
SysOp(s) ........... Raymond Clements
|
||
Phone ........... (317) 651-0234 (14.4k baud)
|
||
|
||
BBS Name ........... Puma Wildcat BBS
|
||
Location ........... Alexandria, Louisiana
|
||
SysOp(s) ........... Chuck McMillin
|
||
Phone ........... (318) 443-1065 (14.4k baud)
|
||
|
||
BBS Name ........... Badger's "BYTE", The
|
||
Location ........... Valentine, Nebraska
|
||
SysOp(s) ........... Dick Roosa
|
||
Phone ........... (402) 376-3120 (14.4k baud)
|
||
|
||
BBS Name ........... Megabyte Mansion, The
|
||
Location ........... Omaha, Nebraska
|
||
SysOp(s) ........... Todd Robbins
|
||
Phone ........... (402) 551-8681 (14.4k baud)
|
||
|
||
BBS Name ........... College Board, The
|
||
Location ........... West Palm Beach, Florida
|
||
SysOp(s) ........... Charles Bell
|
||
Phone ........... (407) 731-1675 (14.4k baud)
|
||
|
||
BBS Name ........... Treasures
|
||
Location ........... Longwood, Florida
|
||
SysOp(s) ........... Jim Daly
|
||
Phone ........... (407) 831-9130 (14.4k baud)
|
||
|
||
BBS Name ........... Flying Dutchman, The
|
||
Location ........... San Jose, California
|
||
SysOp(s) ........... Chris Von Motz
|
||
Phone ........... (408) 294-3065 (14.4k baud)
|
||
|
||
BBS Name ........... Matrix Online Service
|
||
Location ........... San Jose, California
|
||
SysOp(s) ........... Daryl Perry
|
||
Phone ........... (408) 265-4660 (14.4k baud)
|
||
|
||
BBS Name ........... Aries Knowledge Systems
|
||
Location ........... Baltimore, Maryland
|
||
SysOp(s) ........... Waddell Robey
|
||
Phone ........... (410) 625-0109 (14.4k baud)
|
||
|
||
BBS Name ........... Doppler Base BBS
|
||
Location ........... Baltimore, Maryland
|
||
SysOp(s) ........... Dan Myers
|
||
Phone ........... (410) 922-1352 (14.4k baud)
|
||
|
||
BBS Name ........... Port EINSTEIN
|
||
Location ........... Catonsville, Maryland
|
||
SysOp(s) ........... John P. Lynch
|
||
Phone ........... (410) 744-4692 (14.4k baud)
|
||
|
||
BBS Name ........... Puffin's Nest, The
|
||
Location ........... Pasadena, Maryland
|
||
SysOp(s) ........... Dave Bealer
|
||
Phone ........... (410) 437-3463 (16.8k baud)
|
||
|
||
BBS Name ........... Robin's Nest BBS
|
||
Location ........... Glen Burnie, Maryland
|
||
SysOp(s) ........... Robin Kirkey
|
||
Phone ........... (410) 766-9756 (2400 baud)
|
||
|
||
BBS Name ........... Chatterbox Lounge and Hotel, The
|
||
Location ........... Penn Hills, Pennsylvania
|
||
SysOp(s) ........... James Robert Lunsford
|
||
Phone ........... (412) 795-4454 (14.4k baud)
|
||
|
||
BBS Name ........... Signal Hill BBS
|
||
Location ........... Springfield, Massachusettes
|
||
SysOp(s) ........... Edwin Thompson
|
||
Phone ........... (413) 782-2158 (14.4k baud)
|
||
|
||
BBS Name ........... Exec-PC
|
||
Location ........... Elm Grove, Wisconsin
|
||
SysOp(s) ........... Bob Mahoney
|
||
Phone ........... (414) 789-4210 (2400 baud)
|
||
Phone ........... (414) 789-4315 (9600 baud)
|
||
Phone ........... (414) 789-4360 (14.4k baud)
|
||
|
||
BBS Name ........... First Step BBS, The
|
||
Location ........... Green Bay, Wisconsin
|
||
SysOp(s) ........... Mark Phillips
|
||
Phone ........... (414) 499-6646 (14.4k baud)
|
||
|
||
BBS Name ........... Lincoln's Cabin BBS
|
||
Location ........... San Francisco, California
|
||
SysOp(s) ........... Steve Pomerantz
|
||
Phone ........... (415) 752-4490 (14.4k baud)
|
||
|
||
BBS Name ........... Uncle "D"s Discovery
|
||
Location ........... Redwood City, California
|
||
SysOp(s) ........... Dave Spensley
|
||
Phone ........... (415) 364-3001 (14.4k baud)
|
||
|
||
BBS Name ........... File Cabinet BBS, The
|
||
Location ........... White Hall, Arkansas
|
||
SysOp(s) ........... Bob Harmon
|
||
Phone ........... (501) 247-1141 (14.4k baud)
|
||
|
||
BBS Name ........... Starting Gate, The
|
||
Location ........... Louisville, Kentucky
|
||
SysOp(s) ........... Ed Clifford
|
||
Phone ........... (502) 423-9629 (14.4k baud)
|
||
|
||
BBS Name ........... Darkside BBS, The
|
||
Location ........... Independence, Oregon
|
||
SysOp(s) ........... Seth Able Robinson
|
||
Phone ........... (503) 838-6171 (14.4k baud)
|
||
|
||
BBS Name ........... Last Byte, The
|
||
Location ........... Alamogordo, New Mexico
|
||
SysOp(s) ........... Robert Sheffield
|
||
Phone ........... (505) 437-0060 (14.4k baud)
|
||
|
||
BBS Name ........... Leisure Time BBS
|
||
Location ........... Alamogordo, New Mexico
|
||
SysOp(s) ........... Bob Riddell
|
||
Phone ........... (505) 434-6940 (14.4k baud)
|
||
|
||
BBS Name ........... Base Line BBS
|
||
Location ........... Peabody, Massachusettes
|
||
SysOp(s) ........... Steve Keith
|
||
Phone ........... (508) 535-0446 (14.4k baud)
|
||
|
||
BBS Name ........... High Society BBS
|
||
Location ........... Beverly, Massachusettes
|
||
SysOp(s) ........... Chuck Frieser
|
||
Phone ........... (508) 927-3757 (14.4k baud)
|
||
|
||
BBS Name ........... High Water Mark, The
|
||
Location ........... Wareham, Massachusettes
|
||
SysOp(s) ........... Joseph Leggett
|
||
Phone ........... (508) 295-6557 (14.4k baud)
|
||
|
||
BBS Name ........... PandA's Den BBS
|
||
Location ........... Danvers, Massachusettes
|
||
SysOp(s) ........... Patrick Rosenheim
|
||
Phone ........... (508) 750-0250 (14.4k baud)
|
||
|
||
BBS Name ........... SoftWare Creations
|
||
Location ........... Clinton, Massachusettes
|
||
SysOp(s) ........... Dan Linton
|
||
Phone ........... (508) 368-7036 (14.4k baud)
|
||
|
||
BBS Name ........... Extreme OnLine
|
||
Location ........... Spokane, Washington
|
||
SysOp(s) ........... Jim Holderman
|
||
Phone ........... (509) 487-5303 (14.4k baud)
|
||
|
||
BBS Name ........... Silicon Garden, The
|
||
Location ........... Selden, New York
|
||
SysOp(s) ........... Andy Keeves
|
||
Phone ........... (516) 736-6662 (14.4k baud)
|
||
|
||
BBS Name ........... Appomattox BBS, The
|
||
Location ........... New Lebanon, New York
|
||
SysOp(s) ........... Dan Everette
|
||
Phone ........... (518) 766-5144 (14.4k baud dual standard)
|
||
|
||
BBS Name ........... Integrity Online
|
||
Location ........... Schenectady, New York
|
||
SysOp(s) ........... Dan Ginsburg, Jordan Feinman, Dave Garvey
|
||
Phone ........... (518) 370-8758 (14.4k baud)
|
||
Phone ........... (518) 370-8756 (2400 baud)
|
||
|
||
BBS Name ........... Tidal Wave BBS
|
||
Location ........... Altamont, New York
|
||
SysOp(s) ........... Josh Perfetto
|
||
Phone ........... (518) 861-6645 (14.4k baud)
|
||
|
||
BBS Name ........... Mission Control BBS
|
||
Location ........... Flagstaff, Arizona
|
||
SysOp(s) ........... Kevin Echstenkamper
|
||
Phone ........... (602) 527-1854 (14.4k baud)
|
||
Phone ........... (602) 527-1863 (28.8k baud)
|
||
|
||
BBS Name ........... Chopping Block, The
|
||
Location ........... Claremont, New Hampshire
|
||
SysOp(s) ........... Dana Richmond
|
||
Phone ........... (603) 543-0865 (14.4k baud)
|
||
|
||
BBS Name ........... Casino Bulletin Board, The
|
||
Location ........... Atlantic City, New Jersey
|
||
SysOp(s) ........... Dave Schubert
|
||
Phone ........... (609) 561-3377 (14.4k baud)
|
||
|
||
BBS Name ........... Princessland BBS
|
||
Location ........... Wenonah, New Jersey
|
||
SysOp(s) ........... Pamela & Rick Forsythe
|
||
Phone ........... (609) 464-1421 (2400 baud)
|
||
|
||
BBS Name ........... Revision Systems
|
||
Location ........... Lawrenceville, New Jersey
|
||
SysOp(s) ........... Paul Lauda
|
||
Phone ........... (609) 896-3256 (14.4k baud)
|
||
|
||
BBS Name ........... Hangar 18
|
||
Location ........... Columbus, Ohio
|
||
SysOp(s) ........... Bob Dunlap
|
||
Phone ........... (614) 488-2314 (14.4k baud)
|
||
|
||
BBS Name ........... Channel 1
|
||
Location ........... Cambridge, Massachusettes
|
||
SysOp(s) ........... Brian Miller
|
||
Phone ........... (617) 354-3230 (14.4k baud)
|
||
Phone ........... (617) 354-3137 (16.8k HST)
|
||
|
||
# BBS Name ........... Arts Place BBS, The
|
||
Location ........... Arlington, Virginia
|
||
SysOp(s) ........... Ron Fitzherbert
|
||
Phone ........... (703) 528-8467 (14.4k baud)
|
||
|
||
BBS Name ........... Bubba Systems One
|
||
Location ........... Manassas, Virginia
|
||
SysOp(s) ........... Mark Mosko
|
||
Phone ........... (703) 335-1253 (14.4k baud)
|
||
|
||
BBS Name ........... Market Hotline, The
|
||
Location ........... Rodford, Virginia
|
||
SysOp(s) ........... Steve Mintun
|
||
Phone ........... (703) 633-2178 (28.8k baud)
|
||
|
||
BBS Name ........... Pen and Brush BBS
|
||
Location ........... Burke, Virginia
|
||
SysOp(s) ........... Lucia and John Chambers
|
||
Phone ........... (703) 644-6730 (300-12.0k baud)
|
||
Phone ........... (703) 644-5196 (14.4k baud)
|
||
|
||
# BBS Name ........... Sidewayz BBS
|
||
Location ........... Fairfax, Virginia
|
||
SysOp(s) ........... Paul Cutrona
|
||
Phone ........... (703) 352-5412 (14.4k baud)
|
||
|
||
BBS Name ........... Virginia Connection, The
|
||
Location ........... Washington, District of Columbia
|
||
SysOp(s) ........... Tony McClenny
|
||
Phone ........... (703) 648-1841 (14.4k baud)
|
||
|
||
BBS Name ........... Vivid Images Press Syndicate
|
||
Location ........... Wise, Virginia
|
||
SysOp(s) ........... David Allio
|
||
Phone ........... (703) 328-6915 (14.4k baud)
|
||
|
||
BBS Name ........... Imperial Palace, The
|
||
Location ........... Augusta, Georiga
|
||
SysOp(s) ........... Michael Deutsch
|
||
Phone ........... (706) 592-1344 (14.4k baud)
|
||
|
||
BBS Name ........... Zarno Board
|
||
Location ........... Martinez, Georiga
|
||
SysOp(s) ........... Tim Saari
|
||
Phone ........... (706) 860-7927 (14.4k baud)
|
||
|
||
BBS Name ........... Anathema Downs
|
||
Location ........... Sonoma County, California
|
||
SysOp(s) ........... Sadie Jane
|
||
Phone ........... (707) 792-1555 (14.4k baud)
|
||
|
||
BBS Name ........... Happy Trails
|
||
Location ........... Orange, California
|
||
SysOp(s) ........... Don Inglehart
|
||
Phone ........... (714) 547-0719 (14.4k baud)
|
||
|
||
BBS Name ........... InfoMat BBS
|
||
Location ........... San Clemente, California
|
||
SysOp(s) ........... Michael Gibbs
|
||
Phone ........... (714) 492-8727 (14.4k baud)
|
||
|
||
BBS Name ........... Cool Baby BBS
|
||
Location ........... York, Pennsylvania
|
||
SysOp(s) ........... Mark Krieg
|
||
Phone ........... (717) 751-0855 (19.2k baud)
|
||
|
||
BBS Name ........... T&J Software BBS
|
||
Location ........... Jim Thorpe, Pennsylvania
|
||
SysOp(s) ........... Tom Wildoner
|
||
Phone ........... (717) 325-9481 (14.4k baud)
|
||
|
||
BBS Name ........... Ice Box BBS, The
|
||
Location ........... Kew Gardens Hills, New York
|
||
SysOp(s) ........... Darren Klein
|
||
Phone ........... (718) 793-8548 (14.4k baud)
|
||
|
||
BBS Name ........... Systemic BBS
|
||
Location ........... Bronx, New York
|
||
SysOp(s) ........... Mufutau Towobola
|
||
Phone ........... (718) 716-6198 (14.4k baud)
|
||
Phone ........... (718) 716-6341 (14.4k baud)
|
||
|
||
BBS Name ........... Paradise City BBS
|
||
Location ........... St. George, Utah
|
||
SysOp(s) ........... Steve & Marva Cutler
|
||
Phone ........... (801) 628-4212 (14.4k baud)
|
||
|
||
BBS Name ........... Regulator, The
|
||
Location ........... Charleston, South Carolina
|
||
SysOp(s) ........... Steve Coker
|
||
Phone ........... (803) 571-1100 (14.4k baud)
|
||
|
||
BBS Name ........... Straight Board, The
|
||
Location ........... Virginia Beach, Virginia
|
||
SysOp(s) ........... Ray Sulich
|
||
Phone ........... (804) 468-6454 (14.4k baud)
|
||
Phone ........... (804) 468-6528 (14.4k baud)
|
||
|
||
BBS Name ........... TDOR#2
|
||
Location ........... Charlottesville, Virginia
|
||
SysOp(s) ........... David Short
|
||
Phone ........... (804) 973-5639 (14.4k baud)
|
||
|
||
BBS Name ........... Valley BBS, The
|
||
Location ........... Myakka City, Florida
|
||
SysOp(s) ........... Larry Daymon
|
||
Phone ........... (813) 322-2589 (14.4k baud)
|
||
|
||
BBS Name ........... Syllables
|
||
Location ........... Fort Myers, Florida
|
||
SysOp(s) ........... Jackie Jones
|
||
Phone ........... (813) 482-5276 (14.4k baud)
|
||
|
||
# BBS Name ........... 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) 1994, 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:
|
||
|
||
|
||
Joe.DeRouen@Chrysalis.ORG
|
||
|
||
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: sun9408.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.
|
||
|
||
|
||
I'd like to thank Texas Talk BBS and Archives On-Line BBS for allowing
|
||
me to access the Internet and Fido (respectively) from their systems.
|
||
|
||
|
||
|
||
End Notes
|
||
Copyright (c) 1994, Joe DeRouen
|
||
All rights reserved
|
||
|
||
|
||
This issue marks the second annual Halloween theme issue. What does
|
||
that mean? Well, this issue is supposed to be scary. Write me and
|
||
complain if you're not sufficiently scared, and I'll see to it that you
|
||
get every dime of your money back. <Grin>
|
||
|
||
Seriously, though, let us know what you thought of the issue. We take
|
||
each and every comment seriously, and would love to hear from you.
|
||
|
||
What else is there to say?
|
||
|
||
Happy Halloween!!
|
||
|
||
Joe DeRouen, Oct. 10th 1994
|
||
|
||
|
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