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72 KiB
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Information Communication Supply 03/01/93 Vol.1:Issue.2
|
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Email To: ORG_ZINE@WSC.COLORADO.EDU
|
||
|
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E D I T O R S: Local Alias: Email: ICS Positions:
|
||
Daniel Frederick -Ram/Rom STU445666405 Corrections, Role Playing
|
||
Russell Hutchison -BurnouT STU524636420 Subscriptions, Editor
|
||
Benjamin Price -Dreamweaver STU406889075 Submissions, Final Opinion,
|
||
Letters Section
|
||
Luke Miller -Aminohead/DUB STU521532642 Subscriptions, Role Playing
|
||
Donald Sanders -Zorro ORG_ZINE Critical Editor, Story
|
||
Section Editor
|
||
George Sibley -MACFAC FAC_SIBLEY Faculty Supervisor
|
||
Matthew Thyer -Mr. Touch STU523086351 Chief Editor
|
||
Deva Winblood -Metal Master ADP_DEVA Technical Director, WorldNet
|
||
Tour Guide, Tales of The
|
||
Unknown
|
||
|
||
_____________________________________________________________________________
|
||
/ \
|
||
| ICS is an Electrozine distributed by students of Western State |
|
||
| College in Gunnison, Colorado. We are here to gather information about |
|
||
| topics that are important to us all as human beings. If you would like |
|
||
| to send in a submission please type it into an ASCII format and mail it |
|
||
| to us. We operate on the assumption that if you mail us something you |
|
||
| want it to be published. We will do our best to make sure it is |
|
||
| distributed and will always inform you when or if it is used. |
|
||
| See the end of this issue for submission information. |
|
||
\_____________________________________________________________________________/
|
||
|
||
REDISTRIBUTION: If any part of this issue is copied or used elsewhere
|
||
you must give credit to the author it and indicate that the information
|
||
came from ICS Electrozine ORG_ZINE@WSC.COLORADO.EDU.
|
||
|
||
DISCLAIMER: The views represented herein do not necessarily represent the
|
||
views of the editors of ICS. contributors to ICS assume all
|
||
responsibilities for ensuring that articles/submissions are not violating
|
||
copyright laws and protections.
|
||
|
||
|\__________________________________________________/|
|
||
| \ / |
|
||
| \ T A B L E O F C O N T E N T S / |
|
||
| / \ |
|
||
| /________________________________________________\ |
|
||
|/ \|
|
||
| Included in the table of contents you will see some|
|
||
| generic symbols to help you in making your |
|
||
| decisions on whether an article is something that |
|
||
| may use ideas, and/or language that could be |
|
||
| offensive to some. S = Sexual Content |
|
||
| AL = Adult Language V = Violence O = Opinions |
|
||
|____________________________________________________|
|
||
|
||
|
||
I. FIRST OPINION: By Matthew Thyer, ICS Chief Editor.
|
||
The Higher Education Quagmire.
|
||
II. A NANOTECHNOLOGY PRIMER: By Kenneth Beal.
|
||
A look into a promising future technology that may one day
|
||
have importance to everyone.
|
||
EMAIL: KBEAL@AMBER.SSD.CSD.HARRIS.COM
|
||
III. QUERY on MIND < - > COMPUTER CONNECTION: By Paul Robinson.
|
||
Brief comments and research into Computer Direct connection.
|
||
EMAIL: 0005066432@MCIMAIL.COM
|
||
IV. WORLDNET TOUR GUIDE: F.T.P. : By Deva Winblood, ICS Technical Director.
|
||
This is a brief instruction/help guide to aid ICS readers in learning
|
||
to use Internet File Transfer Protocol.
|
||
V. SETTING SUN AND FADING MEMORIES: By Russell Hutchison, ICS Staff Member.
|
||
Short Story: Sometimes life just doesn't go the way you thought it
|
||
would.
|
||
VI. MARTIAN SAFARI: By H.G. Emert.
|
||
Short Story: Strange worlds often birth strange customs.
|
||
EMAIL: BERT@ESU.EDU
|
||
VII. BAPTISM OF FIRE: By Ted Sanders, ICS Submissions Editor.
|
||
Short Story: In Germany and on the edge of discovery. Sometimes
|
||
other people have more to say about your life than you do.
|
||
VIII. TWO POEMS: By Heather Elliot.
|
||
Computers, terminology, and other things.
|
||
EMAIL: HELLIOT@CLEMSON.CLEMSON.EDU
|
||
IX. ROLE PLAYING GAMES: UNDERSTANDING WHAT THEY ARE.
|
||
By Daniel Frederick, ICS Corrections, and Role Playing Editor.
|
||
Just another witch hunt in the modern times. This article was written
|
||
to hopefully clarify some things for our readers.
|
||
X. SHADOWRUNS AND CYBERPUNKS: By Luke Miller, ICS Subscriptions, and Role
|
||
Playing Editor.
|
||
A scene from a ShadowRun session, and a commentary on the allure of
|
||
CyberPunk genre Role Playing Games.
|
||
XI. TALES OF THE UNKNOWN: By Deva Winblood, ICS Technical Director.
|
||
The second tale entitled "The Pile of Hair."
|
||
XII. LETTERS TO I.C.S. Edited by Benjamin Price.
|
||
These were some of the many responses we received from our readers
|
||
with editor's responses at the end of each.
|
||
XIII. FINAL OPINION: By Benjamin Price, ICS Final Opinion Editor.
|
||
|
||
|
||
*************************
|
||
First Opinion
|
||
*************************
|
||
|
||
|
||
The Higher Education Quagmire
|
||
|
||
by Matthew Thyer
|
||
|
||
Ecstasy overwhelmed my soul as I finished my 1992 income tax
|
||
return. A miracle occurred for me. Over the past year I maintained
|
||
one-hundred percent continual support of myself which, considering my
|
||
status as a student, is quite a miraculous feat. No loans -- all
|
||
scholarship, but looking forward into time I see difficult situations
|
||
creeping up to ambush me, and others, as we trudge our way through the
|
||
mire of higher education's financial swamp.
|
||
This seems to be the mean for my comrades and peers. Every year
|
||
less reinforcement for the student is coming from both private and
|
||
public sponsors of education. As a friend put it, "You have to be a
|
||
blind, female, Afro-American, Eskimo in a wheel chair with strait A's,"
|
||
to qualify for most financial aid. Moreover, a person must be willing
|
||
to subject themselves to that kind of bureaucratic torture and scrutiny
|
||
to get a check. I am not implying, by any stretch of the imagination,
|
||
that financial aid capital of any kind be accessible to "everyone" -- the
|
||
money should be ready for those who require it to improve both
|
||
themselves and their society -- if that were the case education would
|
||
be free, without competition (a notion with many redeeming qualities).
|
||
What I am suggesting is that more value be put into the education of
|
||
the world's younger, learning members.
|
||
Like many others, I have learned to deal with little or no
|
||
back-up in my life and education. However, I know that this sense of
|
||
single-mindedness has made me selfish in many respects. Most of the
|
||
first world's students are the same way, and are only in this race of
|
||
rats to help themselves. If the companies of the future want to develop
|
||
a loyal employee for the future they could start by nurturing those
|
||
prospectives rather than alienating them.
|
||
|
||
|
||
|
||
________________________________
|
||
/ \
|
||
| A Nanotechnology Primer |
|
||
|/\__ By Kenneth Beal __/\|
|
||
V \______________________/ V
|
||
|
||
Introduction
|
||
|
||
Would you like to live for thousands of years? Would you like to rid
|
||
yourself of the common cold? Would you like to not work for a living,
|
||
but rather do what interests you? What about being able to create
|
||
anything you can think of? All of this and more is possible with
|
||
nanotechnology.
|
||
|
||
Nanotechnology is still in its infancy. However, visionaries can
|
||
already see where this technology may take the human race. It is a
|
||
future worth striving for, although there are bound to be problems
|
||
along the way. This article will introduce the reader to
|
||
nanotechnology as well as discuss its benefits and potential dangers.
|
||
|
||
Definition of the word "machine"
|
||
|
||
The word "machine" will be used throughout this document, and may seem
|
||
confusing. A machine to most people means something fairly large,
|
||
metal, and operated by humans. Examples are cars, bicycles, hair
|
||
dryers, and sewing machines. However, in a nanotechnological sense, a
|
||
machine is any collection of atoms which performs a task. Thus,
|
||
bacteria and virii are machines, as are the cells in your body. The
|
||
smallest machines we create will have less than one hundred atoms,
|
||
which is quite small.
|
||
|
||
What is nanotechnology?
|
||
|
||
Nanotechnology works with matter at the molecular level. Current, or
|
||
bulk technology, deals with many millions of atoms at once. In bulk
|
||
technology, the atoms themselves are not particularly important
|
||
because there are so many of them. Nanotechnology, on the other hand,
|
||
accounts for each and every atom. A nanomachine will be built as
|
||
small as possible, because atoms are the building blocks of nature.
|
||
|
||
Nanotechnology has already been proven in nature. Within each of your
|
||
cells is a description of how to make a human. You are a result of
|
||
your cells carrying out that code. Pioneers in nanotechnology stress
|
||
that if nature can create nanomachines by random chance, then we will
|
||
have much better luck creating nanomachines on purpose.
|
||
|
||
Scientists can manipulate single atoms with the scanning tunneling
|
||
microscope, but only one at a time and quite slowly. Building
|
||
nanomachines is a more complex prospect. To create working
|
||
nanomachines, we must first build protein machines. Proteins are easy
|
||
to work with, as they exist in nature and can be synthesized in the
|
||
lab. Protein machines can then, in turn, build the nanomachines we
|
||
design. An analogy to this downward-building methodology would be
|
||
that we need to build precise machinery before we can manufacture
|
||
computers or cars. We cannot do it with our hands. Likewise, nothing
|
||
we have built to date is able to manipulate atoms to the degree
|
||
necessary for the creation of nanomachines.
|
||
|
||
Applications
|
||
|
||
Nanotechnology has applications in practically every industry. Some
|
||
of the most obvious are the health, energy, automotive, and computer
|
||
industries.
|
||
|
||
Nanomachinery can swim through your blood vessels, destroying fat
|
||
deposits and making sure that all of your cells match a certain
|
||
pattern. Thus, any cancer-causing agents will be trapped and
|
||
eliminated in a matter of days, or even hours. This is similar to
|
||
current anti-virus software for computers, except that it will work
|
||
for humans. It will be possible to make ourselves more resistant to
|
||
extremes, such as temperature, vacuum, or shock. We would not need
|
||
environment suits to operate in space or underwater, since we could
|
||
modify our bodies to exist under such conditions.
|
||
|
||
With nanotechnology, it will be possible to capture close to 100% of
|
||
the sun's energy. Current solar cells in production capture about
|
||
17%, and the most recently developed solar cells capture about 33%.
|
||
This will make solar energy a much better alternative to coal, oil,
|
||
gas and nuclear methods of power generation. It will also help repair
|
||
the damage we have done to the environment through industry.
|
||
Additionally, nanomachines could fly through the upper atmosphere,
|
||
rebuilding the ozone layer.
|
||
|
||
Nanotechnology will completely change transportation as well. Energy
|
||
will be much less expensive as a result of increased solar cell
|
||
efficiency. This means a solar car would be competitive with today's
|
||
gas-powered automobiles. At night, batteries would power the vehicle.
|
||
These batteries would hold many times the energy that current
|
||
batteries hold, due to superior design.
|
||
|
||
The most exciting industry, however, is that of computers. We could
|
||
build a nanocomputer which takes up only one cubic inch, but is one
|
||
million times more powerful than the human brain. (This leads to
|
||
risks, which will be discussed in the next section.) The possible
|
||
uses for such a computer are practically endless: we could increase
|
||
the computing power of the human brain, develop new technologies
|
||
quicker through better simulations, and connect every household to a
|
||
global computer network. A lot of work remains to be done in
|
||
artificial intelligence; even so, this future may be only ten years
|
||
away.
|
||
|
||
Dangers
|
||
|
||
Nanotechnology may also be harmful. Just as we now have virii in our
|
||
computers, nanomachines can be designed for destructive purposes far
|
||
more dangerous than a mere computer virus. A computer virus can only
|
||
destroy what is on the computer. A nanovirus will function much as
|
||
current virii do, but it will be possible to tailor a virus to kill a
|
||
certain race, or even an individual. This is similar to genetic
|
||
engineering; however, once we have achieved nanotechnology, completing
|
||
the current Human Genome Project (mapping the hundred thousand human
|
||
genes) will be a much quicker and easier process. In fact, most
|
||
everything we are now striving for will be easier to accomplish once
|
||
we are able to build nanomachines.
|
||
|
||
Preventing attempts at creating killer nanomachines will be difficult.
|
||
We cannot police every laboratory developing nanomachines, nor can we
|
||
prevent their research. Killer nanomachines will probably be
|
||
prevented, though, by the amount of good that will come from
|
||
nanomachines. Since they will provide benefits in everything from
|
||
cosmetics to agriculture to space flight, people will live much
|
||
happier lives. While it is still conceivable that one of the first
|
||
few applications will be a nanovirus to wipe out the leaders of
|
||
another country, it is not probable and hopefully can be prevented.
|
||
|
||
Another possible future is the one seen in the Terminator movies. In
|
||
these movies, the future was a wasteland in which the machines had
|
||
destroyed civilization because they had determined that humans were
|
||
inefficient. Since nanocomputers will be vastly more powerful than
|
||
our own brains, they may possibly decide to eliminate us.
|
||
|
||
How can we avoid destruction at the hands of our creations? There are
|
||
several ideas; the first is to ban nanotechnology. This would only
|
||
work if every nation chose that, and enforced it rigorously. That
|
||
would be a sad decision, blocking us from a future that has been
|
||
compared to Utopia. A better idea involves enclosing the developing
|
||
nanomachines in specially-designed shells. If the shell detected
|
||
something trying to get through (from the inside or the outside), it
|
||
would explode, destroying the nanomachines inside. This would provide
|
||
some measure of safety. There would be electronic links inside the
|
||
shell so we could examine and communicate with the nanomachines that
|
||
we are developing. Once the nanomachines have been properly developed
|
||
and are working correctly, they can be removed from the shell and put
|
||
to use.
|
||
|
||
Morals and ethics must guide us in our technology. Just as fission
|
||
can generate power more cheaply than oil, coal or gas, it can also
|
||
destroy cities. Nanotechnology, like most other technologies, has
|
||
dangers associated with it. However, through careful planning,
|
||
widespread debates, and logical development, we should be able to
|
||
avoid most of the dangers.
|
||
|
||
For more information
|
||
|
||
There are many scientific articles about nanotechnology being
|
||
published monthly. These should be available in your campus library.
|
||
Additionally, the book Engines of Creation, by K. Eric Drexler, is a
|
||
fascinating, in-depth introduction to nanotechnology and other future
|
||
developments. For more information on papers and other publications,
|
||
contact The Foresight Institute, Box 61058, Palo Alto, CA 94306. This
|
||
is a non-profit organization dedicated to distributing information
|
||
about nanotechnology.
|
||
|
||
A few extra things
|
||
|
||
Some new information I have recently learned: you can build a scanning
|
||
tunneling microscope (mentioned above) for about $500 for parts plus a
|
||
computer (which could be anywhere from $800 or so to a few thousand;
|
||
free if you already own one! :-) ). Follow the sci.nanotech newsgroup
|
||
for more info on homebrew STMs; from what I've read there, it seems
|
||
several people are taking research into their own hands. Hopefully,
|
||
their efforts will help to bring about the "society of abundance" that
|
||
nanotechnology offers.
|
||
|
||
Also, there are a _ton_ of other ideas in Dr. Drexler's second book,
|
||
_Unbounding the Future_. (I think I had only read _Engines of
|
||
Creation_ when I wrote this.) I'd like to write a paper on that as
|
||
well; perhaps for inclusion in a future issue?
|
||
|
||
The third book I have by him is _Nanosystems_, which is much more
|
||
technical than the first two. This book springs from his thesis; I
|
||
have yet to start reading it (too many priorities!), but hope to
|
||
someday soon.
|
||
|
||
|
||
__________________________________________________________________
|
||
| Query on Mind < - > Computer Connection, Inter-Mind Connection |
|
||
| By Paul Robinson |
|
||
\________________________________________________________________/
|
||
|
||
One of the recent developments in the Science Fiction genre is the
|
||
concept of attaching one's mind by inserting a device into it or
|
||
connecting it to a computer.
|
||
|
||
The "Device Connection" concept is used in Larry Niven's "Ringworld"
|
||
and "The Ringworld Engineers" with the concept of a "wirehead".
|
||
The concept of a device connection is done with the "moddy" and
|
||
"daddy" personality modifier and memory enhancement chips from
|
||
G. Effinger's "When Gravity Fails."
|
||
|
||
The Connection to a computer is used in the movies "Brainstorm",
|
||
"Total Recall," and "The Lawnmower Man." Lawnmower was the first to
|
||
allow multiple people to share the same experience (if you've seen
|
||
the "people spiraling like water down a drain" sequence, often used
|
||
for previews of the movie, you know what I mean.)
|
||
|
||
Someone mentioned "Robocop" as another movie - I'd forgotten that one.
|
||
|
||
I'd like to hear from other people of specific books or movies that
|
||
they've seen. Even if you can't remember the title, what they did
|
||
would help. This is part of some information I'm collecting and I
|
||
need it within a short period of time, two weeks or so.
|
||
|
||
Responses may be made directly to this 'Zine or to my Internet address,
|
||
TDARCOS@MCIMAIL.COM . Thank you for any information.
|
||
|
||
Paul Robinson
|
||
|
||
--------------------------------------------------------------------------------
|
||
|
||
_________________________________________________
|
||
/ W o r l d N e t \
|
||
\____________ Tour Guide #1 ____________/
|
||
\_______________________/
|
||
| File Transfer |
|
||
| Protocol |
|
||
\___________________/
|
||
|
||
|
||
WorldNet Tour Guide is intended to be appear in each issue. It is to
|
||
contain articles to help in using the WorldNet to the fullest potential.
|
||
The articles here will generally be anything from tutorials on aspects
|
||
of WorldNet to reviews of places of the WorldNet.
|
||
If you feel that you are qualified to write a document to appear
|
||
in this section, please do so. Send your final copy to
|
||
ORG_ZINE@WSC.COLORADO.EDU
|
||
-------
|
||
Though it may be common practice to many of the readers of ICS,
|
||
File Transfer Protocol (known as FTP) is not known to all of our readers.
|
||
Also, since FTP is such an important feature to users with Internet
|
||
access it probably is something that needs to be explained to all
|
||
ICS readers before continuing with further WorldNet Tour Guide
|
||
articles.
|
||
File Transfer Protocol is a standard adopted for transmission
|
||
of data between machines on the Internet. It is used to copy files
|
||
from one place to another.
|
||
Through use of FTP you can obtain information, shareware,
|
||
public domain software, pictures, songs, etc. FTP also enables you
|
||
to put such files in places for other people to gather and use.
|
||
FTP can usually be accessed by typing FTP <address> at a
|
||
command line prompt. For example: $ FTP WUARCHIVE.WUSTL.EDU.
|
||
This would cause my local process to attempt a connection with
|
||
WUARCHIVE.WUSTL.EDU.
|
||
There are several things that can happen at this stage.
|
||
#1) No Route To Host: This means your local machine does not know
|
||
how to reach the specified address.
|
||
#2) CONNECTION REFUSED: This generally means that the address you
|
||
chose does not accept FTP connections.
|
||
#3) CONNECTION TIMED OUT: This can mean many things. It usually means
|
||
that part of the net between your computer and the address you
|
||
requested is down. It can also mean that the computer at the address
|
||
you are attempting to contact is powered down at the moment. Try
|
||
it again some other time.
|
||
#4) You're in! They have an FTP server and you will generally see
|
||
some information scroll by. READ IT. Also, you should eventually
|
||
get to a prompt. The prompt will generally be the name of the host
|
||
you have connected to, or sometimes FTP>.
|
||
|
||
Now you have established contact with the computer, but you
|
||
are NOT LOGGED IN yet. This means you still have to LOGIN with some
|
||
USERNAME and PASSWORD. To do this you type LOGIN <username> <password>.
|
||
The password will not show on the screen.
|
||
There are many internet sites that allow login as 'anonymous'
|
||
and the password is generally your EMAIL address. For example:
|
||
|
||
LOGIN anonymous ORG_ZINE@WSC.COLORADO.EDU
|
||
|
||
My email address would not show up as I typed it.
|
||
Once you are logged in you can proceed to the next stage.
|
||
FTP generally uses UNIX type commands. Here is a brief list of the
|
||
ones I will cover in this WorldNet Tour Guide.
|
||
GET <filename> - This will enable you to copy a file from the
|
||
FTP site into your own account.
|
||
PUT <filename> - This will enable you to copy a file from your
|
||
local account into the FTP site.
|
||
DIR - Will show a directory listing for the directory
|
||
of the FTP site you are in.
|
||
LS - Another directory command.
|
||
TYPE <type identifier> - This will enable you to change file types.
|
||
I.E. change from ASCII to BINARY or vice-versa.
|
||
CD <directory name> - Change Directories
|
||
CDUP - Go back to parent directory.
|
||
EXIT - This will disconnect you from FTP and return
|
||
you to your local host.
|
||
One thing that quickly confuses people unfamiliar with UNIX is the
|
||
case sensitivity of FTP sites. In other words, filenames and directory
|
||
names must be typed exactly as they appear in the directory. For
|
||
example, if it is 'WorldNet.example' in the directory, then calling it
|
||
'worldnet.example' will not work. The reason is found in comparing
|
||
WorldNet and worldnet. One has upper case letters and the other does
|
||
not have those upper case letters. UNIX recognizes the difference. So,
|
||
you MUST type it exactly as it appears.
|
||
Each command is described in more detail as follows.
|
||
GET <filename>
|
||
This enables you to grab the file and it will prompt you
|
||
for a local file name. At the local file name prompt type in the name
|
||
you wish to give the file once it is copied into your own account.
|
||
If everything has been done correctly it should begin transferring the
|
||
file.
|
||
PUT <filename>
|
||
This is exactly like GET, but instead of copying from the
|
||
site to your account it copies from your account to the site.
|
||
DIR & LS
|
||
These commands reveal directories and files. You can tell
|
||
whether it is a file or a directory by looking at the left most letter
|
||
on the line with the file/directory you are viewing. It will either
|
||
be 'd', 'l', or '-'. The 'd' means that it is a directory.
|
||
The 'l' means that it is a list. A list is usually a guide that tells
|
||
you how to find what you are looking for by looking at the name given to
|
||
the file. The '-' means that it is something other than a list or
|
||
directory. This must mean that it is a file.
|
||
TYPE <file type identifier>
|
||
This command enables you to switch between BINARY and ASCII
|
||
transmission. It is important to do this. If you get a binary file
|
||
and it seems corrupt then there is a possibility that you forgot to
|
||
change to BINARY mode before using the GET or PUT command.
|
||
To change to binary you can type TYPE BINARY or TYPE I.
|
||
To change to ascii you can type TYPE ASCII.
|
||
CD <directory name>
|
||
This command enables you to move into a sub-directory off of
|
||
your current directory. PLEASE REFER to DIR & LS above.
|
||
CDUP
|
||
This command moves you backwards out of one sub-directory.
|
||
For example: say you were in directory 'pub' and then you typed
|
||
CD misc. Now you would be in 'pub/misc.' If from this point you type
|
||
CDUP, you will be back at 'pub.'
|
||
EXIT
|
||
This takes you out of FTP mode and puts you back in your own
|
||
account at your own site.
|
||
|
||
NOTICE: The FTP described here can only be used from an internet
|
||
connected site. Some time in the future WorldNet Tour Guide will
|
||
hopefully cover FTPMAIL. FTPMAIL can be used by most other Network
|
||
users that do not have internet access.
|
||
--------------------------------------------------------------------------------
|
||
_________________________________
|
||
/ \
|
||
| Setting Sun And Fading Memories |
|
||
| |
|
||
| By Russell Hutchison |
|
||
| STU524636420@wsc.colorado.edu |
|
||
\_________________________________/
|
||
|
||
He was on his hands and knees for at least two seconds before
|
||
this fact seeped through the alcoholic haze clouding his thoughts. He
|
||
tried to command his body to stand and after a few seconds his limbs
|
||
began to move slowly...stubbornly. But his muscles betrayed him and
|
||
dumped him face first into the rocky ground. 'Ouch, my left knee hurts,'
|
||
he thought. "So what?" John said to himself. 'So you're supposed to bitch
|
||
about things when they hurt,' his thoughts told him evenly. "Ouch!" He
|
||
bellowed. "There are you happy?" His knee began to throb in time with
|
||
his breathing. HUAAA HAAAH, HUAAA HAAAH. The steady rhythm would have
|
||
been relaxing if John wasn't so winded. "I need to stop smoking," he
|
||
mumbled into the ground in front of his face. Some dirt got kicked up
|
||
into his nose and mouth from his talking, and his head lifted to
|
||
sneeze, then was shoved back into the pebble filled soil by the force.
|
||
John lay there and watched the white mist of his condensing breath obscure
|
||
the ground every time he exhaled. After a few more labored breaths John said,
|
||
"I need to get up before I passout." The sloping ground was already starting
|
||
to get warm and comfortable.
|
||
He crushed some sage brush as he rolled onto his back, but it didn't
|
||
bother him. The smell of sage is stronger when it gets broken and he
|
||
liked the smell. Besides, the sage propped him up enough so he could
|
||
look out across the valley.
|
||
"I must be three miles into the mountains already," he said aloud,
|
||
as if it would help him think clearer by talking to himself. 'I never walked
|
||
this much in my life,' John thought. He gazed out at the valley through
|
||
the white vapor created by his breath as the twilight slowly began to fill
|
||
the lowest areas with darkness. To him the terrain looked like Afghanistan
|
||
in Rambo III. He imagined that on the ridge across the way he could
|
||
see Rambo running along with Russkie tanks chasing him. The pain in his knee
|
||
began to die down.
|
||
Low scrub brush filled his field of vision as far as John could see.
|
||
'God this place is ugly,' he thought. "Dull, drab, humdee humdee, boring,
|
||
grayish-green land that fades into a darker blah black-and-grey color as
|
||
the sun slowly sets. Say that ten times fast." John challenged the wind.
|
||
A metallic glitter caught his eye a couple of feet to his right. He
|
||
picked the object out of the dirt and cleaned it off with some spit. It
|
||
was a spent shell from a 30.06 bullet. "Cool." John said in a tone of voice
|
||
that he usually reserved for church prayers. He put the cold casing up to his
|
||
lips and blew across the top like it was a glass bottle. A deep whistle came
|
||
from the shell. After he blew across it a few times and knew how to hold it
|
||
so that it would carry a constant tune, he began to play the theme song for
|
||
Rambo. John added in parts of the drums with a "Bah thump bah bah thump"
|
||
whenever it seemed appropriate. It was during one of the drum solos that he
|
||
noticed the wind was whipping the white mist from his mouth.
|
||
"Shit, I'd better get to some trees to get away from this wind or I'm
|
||
S.O.L." He slipped the shell into one of the pockets of his old army fatigues,
|
||
the kind of clothes any self-respecting seventeen year old has in his wardrobe.
|
||
Costing only $25.00 at B.J.'s Army Surplus store.
|
||
Patting one of his army jacket pockets, John made sure that the silver
|
||
survival blanket was still there. It was one of those strange blankets that
|
||
came in a package as big as a folded wallet until you unfolded it. Then if you
|
||
tried to fold it up again you would need a huge ziplock plastic bag to store
|
||
it in. John had brought it along because he knew it would be getting cold this
|
||
night.
|
||
The sound of glass bumping into rock reminded him of the bottle
|
||
of brandy, still half-full, that was in one of his thigh pockets. His
|
||
Mom was going to be pissed that he had taken the bottle. But that didn't
|
||
bother him. John felt that he deserved this bottle though. He felt he
|
||
needed it.
|
||
John carefully got to his feet and dusted himself off with only a
|
||
little swaying. As he bent over a zippo lighter fell out of his pocket and
|
||
tumbled to the ground. "I'm always dropping that thing!" John said
|
||
loudly. Stooping, he grabbed the zippo off the ground on his third try.
|
||
He looked at the polished surface to see if it had been scratched
|
||
again, but no new blemishes had appeared on the lighter. The
|
||
inscription still gave him a happy feeling when he read it. Even if it
|
||
was from Lisa. 'The bitch' John thought. While they had gone steady he
|
||
had asked her what lengths she would go to for him. She had said to
|
||
hell and back if she had to. Then on his sixteenth birthday she had
|
||
given him the lighter with the inscription 'Hellfire, for John' on the
|
||
side.
|
||
John reached into a breast pocket of his jacket and gently pulled
|
||
out a package of cigarettes, CAMEL filters hardpack, the cigarette of
|
||
choice, and pulled a cigarette out. Placing the cigarette between his
|
||
lips and staring intently at his lighter, John tried to get the flame to
|
||
catch. But the wind was too strong despite his attempts to shield the
|
||
flame. "Frustrating piece of..." John mumbled around his CAMEL.
|
||
Replacing the lighter and cigarette in the pockets they came from, he
|
||
pulled out the brandy and took several long swallows. Refreshed, John
|
||
brushed the brownish hair that had gotten into his eyes back behind his
|
||
head and retied his ponytail.
|
||
Glancing up the slope John saw the stand of pine trees that had
|
||
originally caught his eye and were the reason he started the trek up this
|
||
slope. 'The trees will be perfect to stop the wind. Then I can be warm.'
|
||
John thought. Swaying and staggering only slightly, John slowly began to head
|
||
up the slope.
|
||
The frozen ground crunched like it was covered in snow but there was
|
||
none in sight. His hiking boots found good purchase on the cold soil as
|
||
he wove his way up the brush covered slope. For the amount of money
|
||
that Lisa had spent on them, they had better do a good job. Only eight
|
||
months old, the boots had been a gift on his seventeenth birthday.
|
||
Looking at his boots reminded John too much of Lisa, and his eyes began
|
||
to develop some moisture.
|
||
"God damn her!" he yelled. "Two years of my life wasted!" John
|
||
waited for an echo to return, but the wind stole away any chance of it
|
||
happening. He stopped momentarily to wipe away tears from his eyes then
|
||
continued his slow ascent.
|
||
John's mind raced over the events of the past week. The talks
|
||
between him and his woman, the arguments too.
|
||
"Why does she have to be so smart!" he wailed. "Why can't she
|
||
go to college when everyone else does? ... When I do." Her words popped
|
||
unbidden into his mind.
|
||
"I've got to take this opportunity." she had said.
|
||
"But why do we have to break up for you to take this 'Great
|
||
Opportunity'?" John asked.
|
||
"I'm going to be 2,000 miles away, John. It's just not going to be
|
||
worth it to stay together."
|
||
John noticed some thick bark-covered roots poking up from the
|
||
ground and jerked to a halt. Taking his eyes off the laces of his
|
||
boots, John noticed that he had reached the bottom of the tree stand.
|
||
Another step or two and he would have been kissing one of the trees.
|
||
'That would have hurt.' he thought. 'Then I'd have yet another thing to
|
||
bitch at.' John took the last couple of steps to the tree trunk and
|
||
rested against it while he caught his breath. His knee hurt again. His
|
||
thoughts about Lisa had kept his mind preoccupied enough that the last
|
||
100 yards to the trees had seemed less then ten, yet the light had faded
|
||
so much that he knew he only had twenty minutes, at most, before he would
|
||
be stumbling around in the dark gloom.
|
||
"Two years and it 'wouldn't be worth it'." John mumbled, contempt
|
||
thick in his voice.
|
||
He turned to face the trees and walked into the deepening shadows
|
||
of the stand. He only watched his shoes occasionally because he needed to pay
|
||
attention to the low branches that sporadically stuck down into his path.
|
||
The wind had been reduced to a tolerable level by the trees, so John produced
|
||
the lighter and cigarette from the pockets he had stashed them in and
|
||
lit up the smoke. When he had a cherry glow on the end of his cigarette he
|
||
continued his walk dodging trees and deer shit that was scattered about.
|
||
For a while, John followed the foot prints of some other people. It
|
||
was hard to guess how long ago the prints had been made because of the light,
|
||
but John guessed maybe two days ago, at the most. He was good at tracking
|
||
and took pride in this skill. 'Awfully cold for a hike.' John thought.
|
||
His cigarette was burned to a stub so he ground it out on a tree and
|
||
began to look for a sheltered nook to sleep in. He spotted an area where
|
||
several trees had fallen down and made a low wall that would work well for this
|
||
night's refuge. John ran and tried to hop over the low trees, but his
|
||
feet caught on the branches of the top tree. In his tumble to the
|
||
ground, he saw his lighter sail off into the murky light. A muffled
|
||
curse escaped his lips as he crashed with a dull thud to the pine-needle
|
||
covered earth...needles pricking his cheek. His knee throbbed with heat
|
||
and pain. Slowly, John got to his feet and raised his head. Nausea
|
||
filled his stomach and threatened to drop him back to his knees.
|
||
Doubling over at the waist and placing his hands on his knees, John
|
||
remained still until the world didn't spin when his eyes opened.
|
||
John checked his pocket to make sure that his lighter had indeed
|
||
fallen out before he started to search for it. Still bending over, he began
|
||
to walk in small circles looking for his lighter. 'This is like looking for
|
||
your candy on the floor of a half-dark movie theater.' John thought.
|
||
After almost a full minute of looking for the lighter he spotted it on a
|
||
bed of pine-needles.
|
||
As he reached out to pick it up John felt sharp pain in his
|
||
stomach and sides, and his breath was torn from his lungs. His
|
||
vision went black for a second and then he felt numerous pricks of pain
|
||
on the right side of his face. A thunder-like roar came to his ears
|
||
then faded. His eyes opened and John realized that he was on the ground
|
||
over a half dozen feet from where his lighter was, his face against the
|
||
pine-needle carpet again. John could also see the gaping exit wound of a
|
||
bullet in his belly just bellow the ribs on his right side. In the
|
||
post-evening light, he saw dark liquid flowing out of the wound on to the
|
||
ground. Trying to scream, John only managed to make weak gasping noises.
|
||
None of his muscles would respond to his commands. Many moments later he
|
||
heard the voices of people approaching.
|
||
"I saw him drop over there by those trees." came a scratchy
|
||
voice. "It was a good shot."
|
||
"Yup, I like my new rifle. A 200 yard shot and I hit. I didn't
|
||
even need my sight."
|
||
"Here we go, right on this side of the trees. It was getting so
|
||
dark that I didn't think that we were going to get any deer. Great how
|
||
our luck changed...holy shit...dear God. It's a man, Ed!"
|
||
"No Way! I know what I was shooting at. There ain't no way it
|
||
was a man!"
|
||
A blurry form knelt next to John. "Say something guy! Say something!"
|
||
But John had no energy left to bitch anymore.
|
||
|
||
|
||
--------------------------------------------------------------------------------
|
||
__________________
|
||
/ \
|
||
| Martian Safari |
|
||
| By H.G. Emert |
|
||
\__________________/
|
||
|
||
From the conservation of water to the way he must dress, everything is
|
||
very different here. Musing over the difference between his present location
|
||
and his personal stretch of North Carolina beach front on Earth, Major Graham
|
||
Wilson kicks at the crusty, red soil of this foreign world, stirring up dust
|
||
that quickly falls back to the surface. Graham's mandatory environmental suit
|
||
has a way of distorting his body into an almost unrecognizable, squat form with
|
||
tubular appendages for arms and legs. Graham is uncertain he would recognize
|
||
his own picture; of course the title "Boss-man" painted on his helmet by his
|
||
crew does make him stand out among the generic vanilla suits. Major Wilson is
|
||
the commanding officer for the geological survey team assigned to map and
|
||
sample this portion of Mars for the largest mining conglomerate on Earth.
|
||
After offering to finish packing up the remaining equipment for his men, Graham
|
||
Stands alone on the surface enjoying a few precious moments of solitude. His
|
||
crew is probably spending the extra time on the communications link before the
|
||
transmission window to Earth closes. The video messages sent to their families
|
||
will take several minutes to arrive at their destination; Graham imagines the
|
||
messages as bottled slices of time thrown into space and destined for a distant
|
||
shore.
|
||
|
||
"Major Wilson?" The voice of the dispatcher over the speaker in his
|
||
helmet interrupts Graham's daydreams of ancient sailing vessels.
|
||
|
||
Graham replies once the microphone in his helmet is open to transmit.
|
||
"Yes, Trevor, I'm here; what's the problem?"
|
||
|
||
"Sir, we are looking at fifty-nine minutes until night phase, and you have
|
||
a long drive back. It's going to get cold out there. Last night it got down
|
||
to minus one hundred and fifty-three celsius; the temperature could get dip
|
||
even lower tonight. Some of the equipment you are hauling can't take the cold
|
||
as well as your environmental suit. Control encouraged me to..."
|
||
|
||
"Control," Graham states breaking into Trevor's dialogue, "wants you to
|
||
talk me into hurrying back to the Base before their equipment freezes solid.
|
||
It figures that they are worried more about the condition of the equipment;
|
||
nobody down there gives a darn about the people that drag this stuff around
|
||
thousands of square miles of charred sulfur and silt traps."
|
||
|
||
"Yes sir, but you know they don't like it when you, I mean, anyone stays
|
||
out on the surface alone."
|
||
|
||
"Fine, I'll finish up here and be on my way soon. Trevor, please don't
|
||
forget to tell Control not to worry about me; I'll be fine, Wilson out."
|
||
|
||
"Trevor, I mean, Base M-32 out."
|
||
|
||
In slow, jerky motions which he never feels accustomed to, Graham packs
|
||
up the remaining measuring devices, meters and equipment. Graham's body mass
|
||
requires the same amount of effort to move about as it does on Earth, even
|
||
though he currently weighs only forty percent of his earth-weight, which can
|
||
lead to some very awkward moments. Graham brushes off the dust after climbing
|
||
into the large, open, four-wheel drive transport that is very similar to his
|
||
own dune-buggy. Reminded of the beaches at home, Graham wonders how the
|
||
martian sand would feel between his toes.
|
||
|
||
That, however, is impossible. This hauntingly elegant landscape does not
|
||
allow for the type of indulgences Graham enjoys. In the daylight, the surface
|
||
is an impressionistic finger painting in vibrant shades of red, black, orange
|
||
and brown; mammoth shield volcanos envelope the horizon; the view is
|
||
breathtaking. Lacking much of an atmosphere the temperature plummets after
|
||
sunset from a balmy minus ten to overnight lows in the negative one hundred
|
||
and sixty degree range. With deep shadows to hide large boulders or ravines,
|
||
Mars is left a cold, dark, dangerous, nightmare of a world.
|
||
|
||
Starting up his vehicle, Major Wilson heads for Base as the sun begins to
|
||
set. Like a large luminescent coin disappearing into a child's piggy bank, the
|
||
sun falls slowly behind the mountains, lacking the multi-colored spectacle of
|
||
an Earth sunset. Even with the starkness of the scenery, it irritates Graham
|
||
that this planet is considered no more than a rock that will be raped of every
|
||
mineral of value. Graham releases a deep sigh; "This has to stop," He said
|
||
talking to himself; "I'm really getting depressed. What I need is a vacation
|
||
or, at the very least, a diversion from all of this." The switch quickly opens
|
||
Graham's microphone once again.
|
||
|
||
"M-32, are you on line?" Graham called, "Trevor, are you still there?"
|
||
|
||
"Yes sir," Trevor responds.
|
||
|
||
"I need some traveling music, and this blasted buggy doesn't have a decent stereo."
|
||
|
||
"But sir," Trevor protested, "it's against regulations, and we got into
|
||
deep trouble the last time I did that for you."
|
||
|
||
"Control deprived me of my few precious moments of solitude. the least
|
||
they can do is allow me some tunes to tool on home by. So come on, Trevor,"
|
||
Graham said sternly; "You know what I want, and I live much closer to you than
|
||
those number crunchers down at Control, so please, just do it."
|
||
|
||
As the shadows cast by the cart lengthen into distorted, dark shapes that
|
||
sweep over the ground, Graham's head begins to bob up and down inside his
|
||
fish-bowl helmet with the first sweet notes of his favorite tune. With the
|
||
"pedal to the metal," Graham drives into the sunset with the music soothing the
|
||
realities of today by reviving memories of yesterday. "Let's go surfin' now,
|
||
everybody's learning how, come on and safari with me..."
|
||
--------------------------------------------------------------------------------
|
||
|
||
An interesting thing happened to me last Friday. I was working
|
||
on a paper, (okay I was MUD-ing!) at a VAX terminal, when all of a
|
||
sudden I got a message from an account in Eardeiger, Germany. All
|
||
attempts to trace the user failed, but when I read the message, or
|
||
account of this man, I was truly sparked with curiosity. The notions of
|
||
time travel have been examined from the time of H.G. Wells up to Steven
|
||
Boschco's, "Quantum Leap." Never has time travel been because of need!
|
||
|
||
________________________________
|
||
/ \
|
||
| "BAPTISM OF FIRE" |
|
||
| |
|
||
| BY |
|
||
| |
|
||
| TED SANDERS |
|
||
\________________________________/
|
||
|
||
|
||
My name and place of birth are irrelevant. All you need know of
|
||
me is that I am a scientist. My accounts are neither false, fictitious,
|
||
or hallucination. The epilogue of my horrific tale begins in
|
||
Eardeiger, a small village 10 kilometers from Braunschweig. I do not
|
||
know what achievement I hope to attain by publishing my personal
|
||
journal, except to stop the screaming of the children. My escape from
|
||
WWII Germany was granted by powers, (or science) not yet discovered in
|
||
this wonderful decade of ours. "God save the children!"
|
||
|
||
June 27, 1943- Eardeiger, Germany
|
||
"Today's experiment with Sodium reactive agents was a relative
|
||
failure. After the final result of an uncontrollable exothermic
|
||
reaction, my legs burst into flames due to the alcohol stabilizing
|
||
compound. I was temporarily disabled, but thanks to some unexplainable
|
||
factor, I found myself in a nearby stream of cool water. My only
|
||
assumption is that I blanked out or forgot running to the stream due to
|
||
shock. This assessment does not agree with me, yet for now, it must do."
|
||
|
||
June 29, 1943- Eardeiger, Germany
|
||
"Rumor has it that Hitler is making an elite force of scientists
|
||
from the countryside. I know it's only a matter of time until they ask
|
||
me. I've heard of the scientific atrocities at Auschwitz, of the
|
||
mutilated children, and electrolysis patients gone mad. These men are
|
||
not scientists, they are butchers! With God as my witness, I will have
|
||
no part of this!"
|
||
|
||
July 1,1943- Branschweig, Germany (Nazi experimental laboratory)
|
||
"The SS have found me. To storm troopers came to my laboratory
|
||
and seized all of my files. I'm now in the scientific center in
|
||
Branschweig. I've refused to assist in this so called scientific
|
||
experimentation, so therefore they put me among the, 'variables,' or
|
||
experimental subjects. My home, a padded room, my neighbors, a pregnant
|
||
woman, and a victim of electrolysis.
|
||
The scientists are quite interested in my mishap with the sodium
|
||
experiment. They have me scheduled for an experiment tomorrow. I believe
|
||
one of my worst fears has came true, I am now the guinea pig."
|
||
|
||
July 2, 1943- Branschweig, Germany (Left wing)
|
||
"The fates have either blessed me, or condemned me. The
|
||
experiment design was not well thought out, yet it got results.
|
||
I was placed in an airtight chamber of glass, with many probes
|
||
and cameras staring me on. The only articles that I had were my
|
||
trousers, and my personal diary that sat in my pocket. I feared of
|
||
death by asphyxiation, yet my torture would be even worse. As I stood
|
||
in my glass tomb, a steady flow of water poured into the chamber. My
|
||
instructions were to visualize being outside of the chamber, standing on
|
||
a piece of carpet marked with a red 'X.' Instead, just to spite the
|
||
bastards, I visualized being in the operating room next to my cell. Many
|
||
prayers came from my mouth, to many Gods, and with eminent doom waiting
|
||
for me, I assumed these were in vain. Just as I began to breathe in the
|
||
water, I found myself in the operating room! After a time of hacking,
|
||
choking, and giving thanks to God, I looked up to see two doctors
|
||
staring at me, the doctors were busy performing experiments upon a
|
||
young, pregnant, female. The standard tools were being used, forceps,
|
||
scalpel, and a syringe of synthesized musculine. They were trying to
|
||
abort the child! The only item not being used was a fountain pen, which
|
||
I stuck into one of the butchers arms. This was a vain attempt because
|
||
two security guards grabbed me and took me to my cell."
|
||
|
||
July 20,1943- Branschweig, Germany (cell)
|
||
"I am tired, and guilty. Over the past two weeks, I've been
|
||
submitted to many horrific tests, which would sicken even the toughest
|
||
of souls! Many tests of brain activity, biochemical analysis on my
|
||
blood, and the zinger of them all, rectal probes. After all tests have
|
||
been performed, they have found nothing! After the anatomical tests were
|
||
performed, a series of attempts have been performed upon my life. I
|
||
have been burned, gassed, and almost mutilated. These experiments are not
|
||
by volunteer status, they hold the victims of similar experiments in
|
||
front of me, and threaten their lives. I have no choice!
|
||
In 'repayment' for the living hell I've been put through, I am
|
||
granted access to the scientific library, and extra rations. My gift is
|
||
termed, 'mental-active transportation.' This is the ability to move
|
||
through space without aid of mechanical devices. As all of my research
|
||
has been studied, the Nazis now have derived a hypothesis. Any human
|
||
being with the mental concentration that I have attained, can perform
|
||
mental-active transportation.
|
||
I have heard the other victims at night. Mostly, they are young
|
||
men and children. When I sleep, which is rarely, they hold trials for
|
||
me. They say it's my fault for their horrid burns and mutilation. One
|
||
child sympathizes with me, his name is 'Peter.' He has acid burns all
|
||
over his face and neck. He tells me it is okay, yet I still wake in
|
||
dread horror of what I have done.
|
||
Peter told me that there's a way out for me. Peter explained to
|
||
me that time, and space, are relatively similar. I cannot transport out
|
||
of Germany, because I fear Hitler will soon rule the world, and I am his
|
||
number one guinea pig. He will find me! The past is no escape for me,
|
||
for eventually Hitler will show up. My only escape is the future. I
|
||
dream, at times, of a place where science is not adulterated, where
|
||
children can laugh and play in peace, and not be guinea pigs! Tomorrow,
|
||
I attempt my own experiment!"
|
||
|
||
July 21,1945- Braunschweig, Germany
|
||
" My life is no longer in my hands. I have tied my shoe laces
|
||
to the top of my cubicle and with delicate precision constructed a
|
||
hangman's noose. My destination, the future, my possessions my good
|
||
suit and both my scientific and personal journals. If I do not travel,
|
||
then I die! My only fear now is, will the children go forward with me?
|
||
Their tiny faces haunt me at night. All, except for Peter, still blame
|
||
me. They say if it wasn't for my 'baptism of fire,' then they'd still
|
||
live. If the alcohol would not have burnt my legs...if!"
|
||
|
||
---------------------------
|
||
/ T W O P O E M S \
|
||
| By Heather Elliot |
|
||
\___________________________/
|
||
|
||
----------------------------------------+---------------------------------------
|
||
|SPACE BAR
|
||
761-TIME |*
|
||
* |sittin at the bar
|
||
Hello you have reached... |with the reals
|
||
* |scoping missles
|
||
To commemorate the |in walked an hourglass
|
||
idiosyncrasies of |time warped
|
||
TIME |men were moving at light speed
|
||
It is currently 11:01pm.. |converging on a black hole
|
||
* |us reals inched along like sloths
|
||
Thank you for calling First National |realized we weren't chicks
|
||
|just flew the coop
|
||
----------------------------------------+---------------------------------------
|
||
|
||
_____________________________________________________
|
||
/ \
|
||
| Role Playing Games : Understanding What They Are. |
|
||
| By Daniel Frederick - Ram/Rom <20><> |
|
||
\_____________________________________________________/
|
||
|
||
For many years I have been playing Role Playing Games. I, like most of
|
||
my friends, gather 'ritually' to partake in a game for the mind. One that
|
||
requires imagination and mental skills. However, I hear things from people
|
||
that sound like "Wow, I heard about you people on Geraldo! You're an evil
|
||
worshipper of the Devil, right?" NO! Role Playing is not a Cult or
|
||
Demonic being. We don't gather and practice spells out of our rule books.
|
||
I never had to do any strange ritual to get a character up a level. No,
|
||
all I had to do was play good and be deductive enough to figure out what
|
||
had to be done to win the mission. Role Playing is a fictional world
|
||
where imagination takes over. It can portray violence, compassion,
|
||
friendship, and be an exotic realm where both the idea of magic and
|
||
great technologies can co-exist. It's all up the GM (Game Master). The
|
||
GM is the person who controls the weather, non-player characters (like
|
||
bystanders, bad guys, etcetera) and he tells the story. Characters serve
|
||
as an imaginary playing piece. You use the character to tell what you're
|
||
doing. Death is also involved in role playing, but it is only in a
|
||
virtual sense. If your character decides he wants to try to attack those
|
||
six bad guys over there to save the lady in distress, and he gets hurt
|
||
and killed instead then you're "dead" and you need a new character to play.
|
||
But, if you're smart and you/your character calls over to the cop not too
|
||
far away and then he arrests the bad guys, you live. Hopefully though
|
||
when you play a game you will have more than one character trying to
|
||
save that lady. If you and three friends are playing and then you get hired
|
||
to protect that lady, combined you should be able to handle the
|
||
situation....try out smarting them first then, if you must, attack. The
|
||
whole idea of Role Playing is to imitate life or bend it by playing in
|
||
a time period or universe that is not real, or is in the past or future.
|
||
Your character may have certain quirks about him, say he is a young
|
||
fellow in some medieval time period, an Elf lets say, living close to a
|
||
city of humans that hate any one who is not HUMAN. Then you are going to
|
||
have to play realistically and not bother those humans unless you are
|
||
looking for trouble. If you need some supplies you will have to disguise
|
||
yourself first or find a sympathetic human to help you. Playing in
|
||
character is important so it will be mentally challenging. Often, you might
|
||
play a character that knows how to use magic or psionics. I am sure you
|
||
have heard of magic, it is a force of nature that can be harnesed by a
|
||
single individual. The idea of Psionics is that a person can preform
|
||
things like magic but by drawing on their inner strength where you feed
|
||
on your own mental powers not those of nature. Remember he or she will
|
||
have these powers as a character only. In real life (RL) you aren't
|
||
magically empowered with these powers your character has. There is a real
|
||
definate line between RL and Virtual Life (VL). When playing in a game,
|
||
you act as your character would, in life you act like you. The books
|
||
gamers use to play are only outlines to form a story from. They are not
|
||
meant to be used as Spell Books or a way of life. They are only rules,
|
||
ideas, and a basic foundation to build upon. When you hear about some
|
||
person killing himself because his character died, then you are hearing
|
||
about a sick person who is/was in need of serious help! As in every
|
||
thing in life, Role Playing can be taken and turned into something
|
||
wrong. But it is a minority that do so. And those people are in need of
|
||
help if they think some spell in a book for gaming is going to really
|
||
work....let 'em try they will only be wasting their own time. Not to mention
|
||
making themselves look funny. Because there are a lot of people in my
|
||
community that enjoy Role Playing as a pastime, occasionally we formed
|
||
something close to a Cult. It is NOT a Cult! Where some people may
|
||
think it is, really it isn't! In fact it is only a club of sorts. Below
|
||
I have put part of the news letter we use to get people interested in joining
|
||
us in some fun. Would you rather go out and get drunk, be bored, rob a
|
||
bank, or get together with some friends and play a game of mental skill?
|
||
This is only an example of our Guild/Club.
|
||
|
||
The Role Playing Guild was created to bring role players in the
|
||
Gunnison area together with a little organization. It is also designed
|
||
to help in assisting the longevity of campaigns and plans. The basic
|
||
goals of the R.P.G. are to help give inspiration/incentive to DM/GMs to
|
||
keep campaigns going even though it is time consuming, help to inspire
|
||
the players themselves to Role Play at higher proficiency, and to codify
|
||
news and campaign announcements into a news letter that will come out at
|
||
least once a month with high quality.
|
||
|
||
So, as I hoped to show you, Role Playing is not a EVIL thing,
|
||
really it is just the same as any other sport, club, or activity.
|
||
Daniel Frederick - Ram/Rom <20> : Stu445666405@wsc.colorado.edu
|
||
------------------------------------------------------------
|
||
____________________________________
|
||
\ /
|
||
\ Shadowruns and Cyberpunks /
|
||
\ By Luke Miller /
|
||
\ /
|
||
\/\/\/\/\/\/\/\/\/\/\/\/\/\/
|
||
|
||
You crouch in a dark alley, sweat drips off your forehead. Your
|
||
shoulder aches from holding your pistol trained on the doorway across
|
||
the street. Suddenly the door flies open and a half dozen men swarm out.
|
||
Each one of them is heavily augmented with cyberware and heavy weaponry.
|
||
You fire twice...*BLAM* *BLAM*...two of the razorguys fall clutching
|
||
their bellies. There are shots from the rooftop and three more fall. The
|
||
last one is off and running down the street. Two of your partners leap
|
||
from hiding to take up pursuit. One falls, blood spurting from the back
|
||
of his neck as the razorguy spins on wired reflexes and opens fire. The
|
||
other dives behind the burned out shell of an old car. Bullets rip into
|
||
the side of the car stitching lines across the door. You roll into a
|
||
prone firing position behind a pile of boxes. Your palms are slippery
|
||
with sweat as you attach your scope to the top of the gun. You've gotta
|
||
work quick or the razorguy will get away. Tightening the scope on, you
|
||
train the laser sight on the dumpster behind which the enemy hides.
|
||
Within ten seconds, he pops up to take another shot at your partner
|
||
behind the car. One quick shot is all it takes.
|
||
|
||
Why is the allure of cyberpunk role-playing games so strong?
|
||
I've been trying to answer that question for myself for a long time.
|
||
Since I began my first Shadowrun campaign several months ago, I have
|
||
almost totally dropped out of all other genres of role playing. I think
|
||
it's the dark side in us. To live in a world where the only goal is to
|
||
survive in the concrete jungle. To live by one's wits and skills. But
|
||
why is this any different than other games? I believe it's the mood, the
|
||
cyberpunk attitude is akin to that of industrial music and the digital
|
||
age of information and technology. To live life on the edge, where just
|
||
being alive is proof that you're good enough.
|
||
|
||
>>>>[Watch your back, shoot straight, conserve ammo, and never, ever
|
||
cut a deal with a dragon]<<<<<
|
||
|
||
--Famous street proverb from Shadowrun
|
||
|
||
|
||
___________________________
|
||
/ \
|
||
/ \
|
||
/ T a l e s \
|
||
/____________________o_f__________\
|
||
| |
|
||
|____ T h e ___ | The Pile of Hair
|
||
| | |_| |
|
||
|. | U n k n o w n #2 | By
|
||
| | | Deva Winblood
|
||
____________|___|_____________________________|____________________________
|
||
|
||
___
|
||
(_ _)
|
||
(_)he Tales of The Unknown is going to be a regular section in the
|
||
Information, Communication, Supply Electrozine. It consists of stories
|
||
that are supposedly based on actual happenings.
|
||
If you have such a tale to add to this section just write it up
|
||
and send it to ORG_ZINE@WSC.COLORADO.EDU.
|
||
----------
|
||
___
|
||
(_ _)
|
||
(_)he tale for this issue begins on a heavily forested mountain gulch
|
||
in the spring. The pack of men involved are all on horseback. The men
|
||
duck under the green aspen trees and past the thick pines. The smell of
|
||
nature is floating densely through the air. This particular gulch is well
|
||
known to these men.
|
||
The group of men ride on up the gulch, they enjoy the
|
||
beautiful forest scenery. Rays of sunlight beam through the forest
|
||
canopy, leaving light areas on the forest floor. The forest floor is
|
||
covered with green vegetation and the occasional pile of old leaves that
|
||
have not been pushed aside by growing spring plants.
|
||
As the men ride on, one of them stops and points at a large pile
|
||
of reddish brown fibers. The men quickly note it looks like hair of
|
||
some sort, but is far thicker than that of any animal they know of. They
|
||
quickly eliminate bear, dear, and elk, as they have all lived in the area
|
||
for a long time and have hunted these animals.
|
||
The men examine the hair and all are clueless. They remount
|
||
their horses and prepare to leave. Suddenly, a sound like some animal
|
||
they have never heard before resounds through the woods. The men
|
||
all get frightened and look around. They leave in fear of the unknown.
|
||
|
||
At the time of the telling one of these men mentioned seeing
|
||
some moving reddish brown form in the trees. These men now feel that it
|
||
was some unknown animal. Their belief is that they encountered a
|
||
Wendigo, Sasquatch, Big Foot, Swamp Devil, or whatever you prefer to
|
||
call it.
|
||
These men have gone up this gulch and many other areas in the
|
||
region for many years and many different seasons, but have failed to
|
||
locate the animal that had them so afraid on that spring encounter.
|
||
-----------------------------------------------------------------------------
|
||
|
||
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\
|
||
| |
|
||
| L E T T E R S T O I.C.S. |
|
||
| |
|
||
\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
|
||
|
||
Here we include some of the letters sent to Information,
|
||
Communication, Supply. The editors will also give feedback to the
|
||
authors of these letters at the end of the letters section.
|
||
|
||
--------------------------------------------------------------------------------
|
||
Date: Sat, 20 Feb 93 17:26:53 +0200
|
||
From: Yiannis Ventikos <yvent@areti.marinentua.ariadne-t.gr>
|
||
Message-Id: <9302201526.AA11169@areti.marinentua.ariadne-t.gr>
|
||
Subject: Neon Chrome
|
||
|
||
Hi,
|
||
I'll put my little bit of experience in this. When a mad dog attacked
|
||
me and a friend some time ago, it moved right towards him, ignoring me
|
||
completely. Somehow it could sense his fear (attacked by dog as a kid,
|
||
child trauma issues...) and went for it. Actually the dog ran to him
|
||
from a 50 meter distance with a strong wind blowing from its direction
|
||
(so I am pretty sure that no "smell of fear" could have done the trick)
|
||
A karate sensei who was trained in Japan told us the story (this is his
|
||
version though) that the masters in the Chinese island of Okinawa would
|
||
drive the wildcats away by presence only.
|
||
|
||
The zine, I liked.
|
||
|
||
----------
|
||
******************************************************************************
|
||
* Yiannis Ventikos * DISCLAIMER *
|
||
* Viscous Flows Group, * Any and all opinions that *
|
||
* Dept. of Naval Arch. & Marine Eng., * I have expressed so far *
|
||
* National Technical University of Athens, * reflect thoughts of mine *
|
||
* P.O. Box 64070, GR-15710, Zografos, GREECE * and mine alone and have *
|
||
* Voice: (301) 7700405 * nothing to do with the *
|
||
* Fax: (301) 7774478 * policy of the Department *
|
||
* e-mail: yvent@areti.marinentua.ariadne-t.gr * I currently belong to. *
|
||
******************************************************************************
|
||
God does not play dice with the Universe. HE just sets its Lyapunov Spectrum.
|
||
|
||
-------------------------------------------------------------------------------
|
||
Date: Sat, 20 Feb 93 11:19:28 UCR
|
||
From: "Daniel Chavarria M." <DCHAVARR%UCRVM2.BITNET@vaxf.Colorado.EDU>
|
||
Subject: Great mag
|
||
Message-id: <01GUXWB3W11E004SVX@VAXF.COLORADO.EDU>
|
||
|
||
I just read the first edition of your magazine, and I think it's
|
||
really something different from the other standard (mainly technical)
|
||
topics discussed on the Internet and Bitnet; keep on sending the next
|
||
editions, I really liked the first one.
|
||
|
||
|
||
Regards,
|
||
|
||
Daniel Chavarria
|
||
Computer Science Student
|
||
University of Costa Rica
|
||
|
||
{That is exactly what we hoped to accomplish. Thank you! -Editor}
|
||
------------------------------------------------------------------------------
|
||
From: tmr1@hotlg.att.com
|
||
Date: Fri, 19 Feb 93 09:26 EST
|
||
Subject: Re: Information, Communication, Supply Electrozine Document
|
||
|
||
Congratulations on your first issue of the ICS 'Zine. I especially liked
|
||
the story on MUD addiction. My only criticism is that the articles are
|
||
rather long for an E-mail message. I found that I had to save the message
|
||
and either read it out-of-hours (i.e. - not at work) or print a hard copy
|
||
and take it home to read. I just couldn't see myself sitting at my
|
||
terminal at work staring at the display for 1/2 hour or more.
|
||
|
||
I like the idea of abstracts for each article. It saves time if the contents
|
||
doesn't appeal to me. Keep up the good work. I look forward to the next
|
||
issue.
|
||
|
||
Tom Romalewski
|
||
AT&T Bell Laboratories
|
||
Holmdel, NJ
|
||
|
||
{It becomes hard to shrink what we use beyond a certain point, but we
|
||
will keep your comment in mind. -Editor}
|
||
--------------------------------------------------------------------------------
|
||
|
||
Date: Sun, 21 Feb 93 18:25:48 -0500
|
||
From: "William Dean Norris II" <wdn@beach.cis.ufl.edu>
|
||
Message-Id: <9302212325.AA10583@beach.cis.ufl.edu>
|
||
Subject: Information, Communication, Supply Electrozine Document
|
||
|
||
Hmmm, I hope this reaches you, you didn't specify an email address.
|
||
I liked your stories/articles. The Mud and Chi articles were well
|
||
done. I was wondering if Russell was a woman? If not, then he
|
||
can portray that POV very well. It was a good story, a little
|
||
predictable but overall a good story.
|
||
|
||
dean.
|
||
|
||
{Russel is indeed a male. -Editor}
|
||
-------------------------------------------------------------------------------
|
||
Date: Sat, 20 Feb 93 13:54:05 cdt
|
||
From: "Lowell (Vaughn,Lowell G)" <VAUGHNL@AC.GRIN.EDU>
|
||
Subject: your ICS Article
|
||
|
||
Since joing the internet about a year ago, my school has had a problem with
|
||
MUD players. In your article you called it an addiction. I agree with your
|
||
assesment of the situation. Do you have any medical evidence of this? Also,
|
||
do you know of any one who had treated people for this addiction. I am on a
|
||
committee here that deals with academic computing issues. MUDing had been a
|
||
recent issue, and I was wondering if you knew of any medical attention payed
|
||
to it.
|
||
|
||
Thanks in advance
|
||
Lowell Vaughn
|
||
VAUGHNL@AC.GRIN.EDU Snail: Box 14-78
|
||
VAUGHNL@GRIN1.BITNET Grinnell College
|
||
VAUGHNL@MATH.GRIN.EDU Grinnell Iowa, 50112
|
||
|
||
{The article on MUD addiction was based on the author's own observation,
|
||
combined with conversation with MUD players and personal experience.
|
||
If there is any concrete medical study on the topic out there, either
|
||
supporting or refuting, we would certainly be interested in it, though.
|
||
-Editor}
|
||
------------------------------------------------------------------------------
|
||
|
||
_____________________________________
|
||
/ F i n a l O p i n i o n \
|
||
| By Benjamin Price |
|
||
\_____________________________________/
|
||
|
||
|
||
I sit here in front of this terminal screen almost religiously. I
|
||
sometimes spend eight hours a day at it; often the stretch is far less,
|
||
but the extreme is still there. I'm not a MUDhead, although I will admit
|
||
that I enjoy them from time to time. I spend a fair amount of time
|
||
simply talking to people around the country, and around the globe, on
|
||
talk lines, or 'Havens' as the few I use are titled. When I tell my
|
||
friends that I have to check my mail, I don't go to the post office...
|
||
I go to the VAX lab and read email.
|
||
Although I have been exposed to Internet for maybe six months,
|
||
the computer lab has become one of the hubs around which my life
|
||
revolves. It is my strongest link to the rest of the world; living on
|
||
campus, when the television is on, it is on MTV, and newspapers are for
|
||
the majority a window to the sports world only. So for me, Internet
|
||
is much of my culture, conversation, and focus.
|
||
But because of my seeming attachment to a computer screen, I often
|
||
wonder if I am leading a healthy lifestyle; the same question many
|
||
others who know me have had. The games have a bad reputation, and that
|
||
carries over to the net in general often times. There are quite a few
|
||
good points, though, that I think the uninitiated often fail to see.
|
||
A computer screen and a connection to the world are the greatest
|
||
equalizing forces I have ever encountered. Once you sit down and enter
|
||
Cyberspace, there are no longer any judgements. There is no race, no
|
||
creed, no gender... you are defined simply by how much you know and how
|
||
you choose to use that knowledge. States and nations become points of
|
||
interest, instead of defining factors. It is not at all uncommon for
|
||
people who would never be able to interact in real life due to the
|
||
boundaries of conventional society to hold genuine, accepting
|
||
conversations because they never have a chance to form prejudice over
|
||
the net. Anyone can be anything.
|
||
Because knowledge is both power and prestige in Cyberspace, it
|
||
motivates its residents to learn in a far more effective way than I
|
||
have experienced during other aspects of scholarly life. It seems to me
|
||
that the most common attitude in high school, then college, and perhaps
|
||
beyond college is that the important thing is not learning, but rather
|
||
the piece of paper or size of the bank account that says you went through
|
||
the motions. Not so in the world behind a terminal.
|
||
I would like to think that perhaps someday the perspective we who use
|
||
the net have can be shared. It has been an awakening for me.
|
||
|
||
--------------------------------------------------------------------------------
|
||
ICS would like to hear from you. We accept flames, comments,
|
||
submissions, editorials, corrections, and just about anything else you
|
||
wish to send us. For your safety use these guidelines when sending us
|
||
anything. We will use things sent to us when we think the would be
|
||
appropriate for the goal of the issue coming out. So, if you send us
|
||
something that you DO NOT want us to use in the electrozine, then put
|
||
the words NOT FOR PUBLICATION in the subject of the mail you send us.
|
||
You can protect your material by sending a copy to yourself
|
||
through the mail and leaving the envelope unopened.
|
||
--------------------------------------------------------------------------------
|
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ICSICSICSICSICSICSICS/\ICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICS
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CSICSICSICSICSICSICS/ \CSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICS
|
||
ICSICSICSICSICSICSI/ \ICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSI
|
||
CSICSICSICSICSICSI/ \CSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSI
|
||
ICSICSICSICSICSIC/ I C S \ICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSIC
|
||
CSICSICSICSICSIC/ \CSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSIC
|
||
ICSICSICSICSICS/ Electro- \ICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICS
|
||
CSICSICSICSICS/ Zine \CSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICS
|
||
\ /
|
||
\ #2 /
|
||
\ /
|
||
\ / An Electronic Magazine from
|
||
\ / Western State College
|
||
\ / Gunnison, Colorado.
|
||
\ / ORG_ZINE@WSC.COLORADO.EDU
|
||
\/ '*'
|
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