A 25th Anniversary Edition of your Sherlock Holmes meets Dracula graphic novel, Scarlet in Gaslight, is being published in December. How does that make you feel?
Very lucky! Scarlet in Gaslight has been, in many ways, my most significant book since it was the start of everything for me. This was during the Black and White Glut of the 1980s, as it was called, and I never ever thought the book would survive beyond that time. This will be its seventh printing. Miraculously, it’s never been out of print, and continues to enjoy a new life. The Washington Post recently gave the book a very flattering review. Sherlock Holmes has been very good to me.
HEY! I’LL TAKE IT!
Coming to you in December via Pulp 2.0 Press. The graphic novel The Washington Post said is, ” …more satisfyingly cinematic than many of the movies”
Every LOONEY TUNE Fan has a favorites character – and director. We open up the floor on that topic with animation superstar PAUL DINI, plus we slip backstage for the start of our look at USA Network‘s COVERT AFFAIRS and just where the band REM fits in.
Just in time for Cyber Monday, the Kindle Edition of White Rocket Books’ new anthology series, Blackthorn: Thunder on Mars is now available for purchase at Amazon for the low, low price of $2.99. Direct link: http://www.amazon.com/Blackthorn-Thunder-on-Mars-ebook/dp/B006FBRHG8 Print editions will follow in about two weeks.
ABOUT BLACKTHORN: THUNDER ON MARS: Betrayed and left for dead on the battlefield, US Army General John Blackthorn awakens many thousands of years later to find himself trapped amidst the ruins of a post-apocalyptic Mars, his only companions a savage Mock-Man and a mysterious sorceress.
Their war to free this strange new world from oppression won’t be easy: Arrayed against them are the four tyrannical First Men–masters of magic and technology alike–the dreaded Sorcerers of Mars!
BLACKTHORN: THUNDER ON MARS is a post-apocalyptic adventure saga in the spirit of “Thundarr the Barbarian” and “John Carter of Mars,” featuring original stories by New Pulp luminaries Mark Bousquet, Joe Crowe, Bobby Nash, James Palmer, Van Allen Plexico, Sean Taylor, and I. A. Watson, and illustrated by Chris Kohler.
“Original, entertaining, action-packed!” –Wayne Reinagel, author of the Pulp Heroes and Modern Marvels novels.
BLACKTHORN: THUNDER ON MARS Cover by James Burns Interior art by Chris Kohler Stories by Mark Bousquet, Bobby Nash, James Palmer, Van Allen Plexico, Sean Taylor, and I.A. Watson. Bonus e-book stories by Mark Beaulieu and Danny Wall. Created and edited by Van Allen Plexico.
In the spirit of “Thundarr the Barbarian” and “John Carter of Mars,” it’s action and adventure as General Blackthorn and his companions battle the tyrannical Sorcerers of Mars!
BLACKTHORN: THUNDER ON MARS debuts first on Kindle!
General Blackthorn and his Companions Battle Evil– on Amazon’s Popular e-Reader (November 28, 2011) White Rocket Books proudly announces the release in Kindle format of BLACKTHORN: THUNDER ON MARS, a science fiction action-adventure anthology set on far-future post-apocalyptic Mars.
Created by Van Allen Plexico (Sentinels, Lucian), the book features stories by New Pulp luminaries Mark Bousquet, Joe Crowe, Bobby Nash, James Palmer, Sean Taylor, I. A. Watson, and Plexico, along with six full-page illustrations by Chris Kohler (Sentinels). In addition, the Kindle edition includes two bonus stories not included in the upcoming trade paperback edition, by Mark Beaulieu and Danny Wall. Cover art and design are by James Burns (Lance Star: One Shot).
The book will debut in trade paperback format later in December of this year. In the spirit of “Thundarr the Barbarian” and “John Carter of Mars” comes the gripping saga of US General John Blackthorn. Betrayed and left for dead on the battlefield, Blackthorn awakens many thousands of years later to find himself trapped amidst the ruins of a post-apocalyptic Mars, his only companions a savage Mock-Man and a mysterious sorceress. They battle to free this strange new world from oppression, but it won’t be easy, for arrayed against them are the tyrannical First Men: the Black Sorcerer, the Sorcerer of Fatal Laughter, Lord Ruin, and the Sorcerer of Night—masters of magic and technology alike—the dreaded Sorcerers of Mars!
“The awesome array of talent assembled on this book really speaks for itself, and guarantees a fun time will be had by all,” promises Editor Van Allen Plexico. “Each of the writers jumped on the project with huge enthusiasm and each brought something unique and very exciting to the table. And there’s no question Chris Kohler, who is also interior artist on my Sentinels superhero novels, has done some of the best work of his career here with BLACKTHORN.”
Says noted New Pulp author Wayne Reinagel, “BLACKTHORN is one of the best sword-and-sorcery spaceman anthologies to arrive on Earth, or Mars, in the last century or more. Clearly inspired by an equal combination of Hanna-Barbera’s ‘Thundarr the Barbarian,’ DC Comics’ ‘Kamandi,’ and Edgar Rice Burroughs’ ‘John Carter of Mars,’ BLACKTHORN is an original, entertaining, action-packed saga.”
The Kindle edition presents all seven core stories in their entirety, including the double-length origin, along with two bonus stories not included in the upcoming trade paperback, plus Chris Kohler’s artwork—and all at the incredibly low price of only $2.99.
White Rocket Books is a leader in the New Pulp movement, publishing exciting action and adventure novels and anthologies since 2005, in both traditional and electronic formats. White Rocket books have hit the Amazon.com Top 15-by-Genre and have garnered praise from everyone from Marvel Comics Editor Tom Brevoort to Kirkus Reviews.
On sale as of November 28, 2011, BLACKTHORN: THUNDER ON MARS is a $2.99 e-book from White Rocket Books. http://www.whiterocketbooks.com/
One day only (that’s 11/28 until the morning of 11/29), get 30% off my just-released book, The Gantlet Brothers Greatest Hits. Normally, you’re looking at $11.95 (still a bargain in my completely biased estimation), but if you follow this link ( https://www.createspace.com/3621701 ) and use the discount code 5YRZ6A8W you get 30% off the cover price.
So what’s the book about? Here’s the back cover blurb:
“From the broken and dusty terrain of Egypt’s Qattara Depression to the grimy underbelly of New York City, erstwhile rock musicians and guns for hire, the Gantlet Brothers, use charm, blades, bullets, and fists to plow a path through amorous starlets with ill intentions, bounty hunters, a deranged serial killer and terrorists hell-bent on bringing down nuclear annihilation.
These are the Gantlet Brothers’ greatest hits collected for the first time and including two never before published stories.”
This book is just released so there are no reviews out yet. However, the inestimable Ron Fortier wrote a piece on the previous Gantlet Brother novel, The Nuclear Suitcase which you can still find at the Pulp Fiction Review Website. http://pulpfictionreviews.blogspot.com/2009/10/nuclear-suitcase.html
Me read Frank Miller’s blog and me think Miller is right. Me think all those people who am mad at Frank are dunderheads.
Me think protesters at Occupy Wall Street just don’t want to clean their own homes. It am easier to go live in a park in New York City and make a new mess there. After the protesters make the park is dirty Mayor Bloomberg is very nice. He send policemen to help protestors move to a new place.
Me heard that in Oakland the policemen did not think the place where the protestors were living wuz dirty enuf, so the policemen helped with tear gas. All the protestors am happy, they laugh and giggle and cry with joy.
Me saw students sitting on ground, me think they could not get up, like that nice lady in the TV ad. The nice policeman tried to help them by putting pepper spray in there faces so they wood sneeze, but me do not know how sneezing wood help the students get up. But at least the nice policeman try and help them.
Me heard a lady had a baby inside her and the policman hit her in the stomak to help the baby come out. Then the lady went to the doktor and the doktor said the baby am dead. The lady am very happy to not have a baby inside her any more.
Me think Amerika is a very noisy country. People yell and shout and march instead of going to their jobs. Me work hard. Me make lots of money and then I give it to the nice taxman. This am fair because if me not give money to taxman he will lose his job. Me not want nobody to lose there job.
Me heard there are some people who make so much money they are called the 1 per cent. Me heard me am part of the 99 per cent. Me not know what this means but the nice man with orange skin in the big house in Washingten must know because he said the 1 per cent does not need to give money to the taxman because they make jobs. Me not understand, because Mr. Robert Wood Johnson University Hospital makes my job. Me not know any body at my job named Mister 1 per cent. Me will rite the nice man with the orange skin in Washingten and ask him who Mister 1 per cent is. He am very smart. Me sure he will know.
Me went to school and learnt about Amerika. A long time ago some bad men did not want to pay taxes to the king. They said “no taxation without representation.” Me not know what that means, but the bad men throw tea bags into the cold water. They are very stupid. If me am there me wood tell them u need hot water to make tea. Me make tea at home every morning.
The bad men said “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof, or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.” Me not know what that mean.
The bad men said “We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of Amerika.”
Me not know what that mean, either. But silly bad men spelled Amerika wrong. Me fix it for them.
We already knew artist David Lloyd visited Occupy Wall Street when he was in town for the New York Comic Con and liked what he saw– now The Guardian has asked Alan Moore, the other half of the creative team of V for Vendetta how he feels about the image of V being used as the symbol of protest and revolution in the 21st century.
“I suppose when I was writing V for Vendetta I would in my secret heart of hearts have thought: wouldn’t it be great if these ideas actually made an impact? So when you start to see that idle fantasy intrude on the regular world… It’s peculiar. It feels like a character I created 30 years ago has somehow escaped the realm of fiction.”
V for Vendetta tells of a future Britain (actually 1997, nearly two decades into the future when Moore wrote it) under the heel of a dictatorship. The population are depressed and doing little to help themselves. Enter Evey, an orphan, and V, a costumed vigilante who takes an interest in her. Over 38 chapters, each titled with a word beginning with “V”, we follow the brutal, loquacious antihero and his apprentice as they torment the ruling powers with acts of violent resistance. Throughout, V wears a mask that he never removes: bleached skin and rosy cheeks, pencil beard, eyes half shut above an inscrutable grin. You’ve probably come to know it well.
“That smile is so haunting,” says Moore. “I tried to use the cryptic nature of it to dramatic effect. We could show a picture of the character just standing there, silently, with an expression that could have been pleasant, breezy or more sinister.” As well as the mask, Occupy protesters have taken up as a marrying slogan “We are the 99%”; a reference, originally, to American dissatisfaction with the richest 1% of the US population having such vast control over the country. “And when you’ve got a sea of V masks, I suppose it makes the protesters appear to be almost a single organism – this “99%” we hear so much about. That in itself is formidable. I can see why the protesters have taken to it.”
Moore first noticed the masks being worn by members of the Anonymous group, “bothering Scientologists halfway down Tottenham Court Road” in 2008. It was a demonstration by the online collective against alleged attempts to censor a YouTube video. “I could see the sense of wearing a mask when you were going up against a notoriously litigious outfit like the Church of Scientology.”
But with the mask’s growing popularity, Moore has come to see its appeal as about something more than identity-shielding. “It turns protests into performances. The mask is very operatic; it creates a sense of romance and drama. I mean, protesting, protest marches, they can be very demanding, very gruelling. They can be quite dismal. They’re things that have to be done, but that doesn’t necessarily mean that they’re tremendously enjoyable – whereas actually, they should be.”
At one point in V for Vendetta, V lectures Evey about the importance of melodrama in a resistance effort. Says Moore: “I think it’s appropriate that this generation of protesters have made their rebellion into something the public at large can engage with more readily than with half-hearted chants, with that traditional, downtrodden sort of British protest. These people look like they’re having a good time. And that sends out a tremendous message.”
It’s the most wonderful time of the year… or so the song goes. Except when it’s not.
I have my Christmas favorites on DVD or TV that I watch every year. They include A Christmas Carol (the Reginald Owen version and the much better Alastair Sim version as well as, oddly, Mister Magoo’s Christmas Carol which adds songs and does a pretty fair job of summing up the story in less than a half hour), It’s A Wonderful Life, A Christmas Story, and the cartoons – How The Grinch Stole Christmas (Karloff beats Carey hands down) and, of course, A Charlie Brown Christmas.
And, a day or so after Christmas, I add in Bad Santa just to wash all the treacle away. Your choices may differ and that’s fine – these are mine.
My best Christmas was probably the one when I proposed to my late wife, Kim Yale, on Christmas Eve. I had bought the ring and I was pretty sure she would say yes but I was still nervous. Kim and I opened presents on Christmas Eve so I mapped out my strategy. My gifts included a Tim Truman sketch of GrimJack (one of Kim’s faves and part of our becoming a couple), signed by Timbo and carrying the Gaunt message: “You’ve done right by my pal so far, sweetheart. How about makin’ it permanent?”
Then she got a specially made teddy bear (Kim was huge on teddy bears) that was a GrimJack teddy bear and he was holding a poem from me, a sonnet that would up with my proposal (I made her read it aloud) and as she finished reading it, I brought out the ring. Kim took a dramatic pause (she was great at dramatic pauses) that were the longest seconds of my life but then she said “Yes!” and we off to the races.
That was our first Christmas together. The hardest one was our last.
Kim had breast cancer and she was dying of it. I knew that but she didn’t; her cancer doctor had called me with the news but insisted I not tell her. It might make her give up, he insisted. So, for a while, I went along with that.
Kim was in the hospital a lot at that point; her immune system was in bad shape from the chemo and the radiation. She didn’t like being there alone so I spent a lot of nights there with her. It wouldn’t have been possible without our friend, Mary Mitchell, who spelled me many nights. We were joined later on by my friend Joe Edkin, who would spell us both.
It was trying some times. People would come to visit and Kim would rally her energy, putting on what we referred to as “the Kimberly Show.” This is no criticism of our visitors, who gave lovingly of themselves and were very welcome, but afterwards Kim would have no energy left for me, Mary, and Joe, and sometimes that was hard.
It came to a boil at Christmas. Holidays bring out the best and worst of us. Kim’s final Christmas brought a bit of both in me.
Produced by Buzz Feitshans and Raffaella De Laurentiis
Written by John Milius and Oliver Stone
Based on the character/stories created and written by Robert E. Howard
I knew that director John Milius and his screenplay co-writer Oliver Stone got the character of Conan five minutes into the movie.During the opening credits we see Conan’s father (William Smith) forging a mighty sword. He then takes the young Conan (Jorge Sanz) to the top of a mountain.He explains how The Riddle of Steel was stolen from Crom, the god of Cimmeria and that Conan must learn The Riddle of Steel for himself because as his dad succinctly sums up: “For no one in the world can you trust. Not men, not women, not beasts.But this-“ and he holds up the gleaming sword.“-this you can trust.”
It’s not long after this that Conan’s parents, along with all the other adults in his village are slaughtered by the servants of Thulsa Doom (James Earl Jones) a powerful sorcerer who is also the leader of a cult that worships the snake god Set.Conan, along with other children are taken as slaves and chained to The Wheel of Pain, a gigantic mill which they push night and day, through weather fair and foul.It’s torturous work but it has its benefits.The young Conan grows up into Arnold Schwarzenegger as pushing that damn thing has built up muscles of Herculean proportions.He’s bought by The Hyborian Age’s version of a fight promoter and wins fame as a gladiator.He’s freed by his master and after meeting up with the master thief and archer Subotai (Gerry Lopez) takes up a career as a thief himself.
It’s during their attempt to infiltrate The Tower of The Serpent and steal The Eye of The Serpent that Conan meets swordswoman and thief Valeria (Sandahl Bergman) who will become the great love of his life.It’s their successful and daring theft that brings them to the attention of King Osric (Max von Sydow) who hires the trio to rescue his daughter from The Cult of Set.While Valeria and Subotai see this as a chance for a really big payday, Conan has his sights on taking the head of Thulsa Doom.
Now, you can say whatever you want about CONAN THE BARBARIAN but it won’t faze me because if nothing else, John Milius and Oliver Stone respected Robert E. Howard’s enough that they obviously not only read his stories but incorporated elements of some of those stories into the movie including what is probably the most famous scene in any Conan story; his crucifixion and his killing of a vulture pecking at his flesh with nothing but his bare teeth.
This movie, along with “The Terminator” launched Arnold Schwarzenegger’s career and it’s easy to see why.Schwarzenegger at that time looked like he was designed by Frank Frazetta and he inhabits the role as well as Sean Connery did with James Bond or Michael Keaton did with Batman.For those who claim that Schwarzenegger can’t act, I point out a terrific scene where Conan, Valeria and Subotai plan their assault on Doom’s stronghold.While Bergman and Lopez have all the dialog, Schwarzenegger says far more than they do in the way he’s sharpening his sword.And even though Schwarzenegger gets a lot of mocking for his dialog and accent in this movie, I like it.I mean, the guy does sound like a barbarian from pre-history. In fact, I like it that 90% of the characters have accents in this movie as they do sound as if they come from another age rather than modern day Californians playing dress up.
The supporting cast is outstanding.James Earl Jones infuses Thulsa Doom with enormous presence and a true sense of not being entirely human.His henchmen, played by Sven-Ole Thorson and Ben Davison are suitably impressive. Bergman and Lopez back up Schwarzenegger well and create their own characters in some really wonderful intimate moments such as the one where Subotai tells the wizard Akiro (Mako) that since Conan, as a Cimmerian will not cry to show grief, Subotai must do it for him.Mako contributes comedy relief without being buffoonish or degrading his own character.But that’s to be expected because Mako is epic in everything he does.
And speaking of epic, the musical score by Basil Poledouris has become respected as one of the finest musical scores ever and rightly so.A large part of the enjoyment of watching CONAN THE BARBARIAN comes from the sheer power of the score.Poledouris also has done the scores for “Quigley Down Under” and “Lonesome Dove” that are easily as epic as the one for this movie.
So should you see CONAN THE BARBARIAN? No doubt you already have.It’s one of those movies that everybody and their mother has seen, it seems.Even chicks who normally shun this type of movie like it was the Ebola virus have seen CONAN THE BARBARIAN.It’s violent, it’s raw, it’s sexy, and it’s fun. There’s an excellent reason why CONAN THE BARBARIAN is rightly regarded as a classic.It truly is inspired by the spirit of Robert E. Howard in a way that the recent remake never even comes close to.If you’ve seen it, what the hell…watch it again.And if you haven’t, I envy you discovering it for the first time.Enjoy.
There has been a tremendous amount of talk in our world about reboots, successful or not, and I just got back from experiencing the year’s single best relaunch of a tired property. Deb, Kate, her guy Mike, and I saw The Muppets and pretty much smiled all the way through, guffawing with pleasantly regularity and wiping away a tear every now and then.
Ladies and gentlemen, please pay attention, because this is how it’s done.
Hello all! Welcome back to my little corner of the Internet. A place I’d like to think you’ve come to like. See what I’ve been doing with the place? I got the wet bar over there in the corner, next to the classic 1996 arcade machine Alien Vs. Predator. I put in those stadium style leather recliners in front of the 60” HD with Xbox 360, PS3, and Wii, in case you want to go faux-bowling. What’s that you said? You want to enjoy some tunage? Let me turn up the 5.1 surround sound, and blast a little Guster. We’ll take it all the way back to Goldfly. Mmmm, yeah, that’s the stuff.
OK, now that you’re all comfy and cozy, let’s chat a little, shall we? I want to address something that’s been nagging me now for a few months. It seems a few people in the industry working today, are pulling double duty. It’s grinding my gears just a bit. Ironic, I know, because I myself am both an artist and a writer. For me to spend the next few paragraphs bitching and moaning seems trite, doesn’t it? Well, that’s the funny thing kiddos. After you made yourselves comfortable, I went and sealed the room. The TV is unplugged, and the wet bar is going back into the closet. You’re stuck here with me, and you’re going to let me get this off my chest. Bwa ha ha ha ha ha ha. Ahem.
Let me start first with Tony Daniels. Most people know him as the consummate artist of Grant Morrison’s run on Batman a few years back. Daniels’ graceful and detailed figures come from that classic Image background, but over the years he’s added a moody elegance to his work. Such that when he made way to DC, he fit in instantaneously. I’d concur most critics enjoyed his work on the Batman R.I.P. series, and as such, his star was set to shine very bright. Under Morrison’s pen, he was subdued. His pages held back where they needed too… and when they were let loose, the dramatic moments elevated the book to something special. And with that success, he was given the reigns to the post-R.I.P. run, Battle for the Cowl. And more than just the reigns to the art, mind you. He took up both the Writer and Artist chairs for this one. It was, in a few words, a complete mess. Issue after issue Daniels packed his pages with beautifully overdrawn characters in an underdeveloped story. Knowing nothing of the back-room politics of DC, left me wondering how the hand of the editorial staff planted firmly up Tony’s rear felt. Perhaps they got a deal on his page rates? Why spend $150 a page on pencils, and $100 on script, when you can pay one guy $200? I don’t have any clue if that’s close, but, man is it ever a hunch.
And here we stand, years later after everyone thoroughly agreed “Battle” was a train wreck… with Daniels once again doing double duty on “Detective Comics.” What’s the definition of insanity again? Detective Comics has been a lesson in “Too-Much-Titude” if there ever was such a thing. Pages are drenched in details. Figures contort in amazingly moving, completely impossible ways. Gadgets fling and zzzzooom from Batman’s utility belt. And the villains are soaked in macabre costumes, and grimaces. But the story? Incoherent. violent, and dumb. Without a dedicated writer to constrain him, Daniels is producing little more than a highlight reel. The rub is though, he’s already in the big leagues. All this posturing will get him what? Another Batman book?
And Tony’s not alone. Long before he was mounting the double duty cannon, there was – and still is – the God-Damned-Frank Miller. When Frank’s not dropping a giant turd on the Occupy Wall Streeters, he’s peddling his book Batman Super Guy Vs. Mohammad. Holy Terror has been critically shat on… hard. What hurt here of course is the fact that Frank’s art is a personal love of mine. His mastery of simplicity mixed with an amazingly deft hand in page layout and composition is such that I’ve never not loved his art. Sin City? A masterpiece in noir. It’s when Frank turns that majestic hand to the rusty old typewriter in his dank basement that I shudder. It seems that he’s awash in nothing but profanity– in substance, and style. Every story he seems to write is the same. Shallow, angry, and drenched in “noir speak.” Sin City was good, seriously. But to rehash it, in theme, in tone, and in production every time thereafter? It rubs the sheen right off the apple.
We get it, Frank. You like crime. Prostitutes. Guns. Profanity. You hate brown skinned people. Hippies. Comic book fans. Without a guide through the muck, Miller’s overselling his anger. Want to do a book about Batman fighting terrorists? Give it to Brubaker, and I’d have no doubt there’s be gold on them there pages. In Frank’s complete control, we get books in near self-parody.
I could list a few other wrartists here, but I think my point is becoming pretty clear. The beauty of comics comes with the collaboration. When all you have to deal with is just the words, or just the art, it forces you to focus on the nuance of the final product. Forced with the task of doing both? It becomes a very rough mountain to climb. The best books in my collection – the ones I hand out willingly to those uninitiated with the medium, – are always ones where the team creates a work where the ends are much better than the means. On its own, Alan Moore’s script for The Watchmen is breathtaking (if a bit maddening). Dave Gibbons’ artwork for the series turned heads with its skillful pacing and solid figure work. Put together? The book is as perfect a thing as I could ever hope to produce with some Unshaven Lad someday. Left to their own devices though, a one man show skates thin ice trying to maintain both substantially hard roles.
Let’s bring this around, back to the irony at hand, before we end this li’l tirade. For those out there who’ve read an Unshaven Comic, there’s little doubt that this article would seem like the pot bitching at the kettle for being black. I myself have donned the solo credit in our last issue (well, for half the issue…). Am I so bold as to suggest I somehow surpassed Tony Daniels or Frank Miller? Hell no. I happily admit that I think my art stinks. I don’t have the skill or talent to compose a page the way those men do.
And hell, I’m a nobody. If I can’t take a little leap of faith in myself and try to tackle both roles in a book, what am I doing trying to break into the industry? Where Tony and Frank have already made it, and proven they have the skills to pay the bills… I’m still slinging logos and catalogs to feed my family. Until DC comes calling, offering me a role in the big leagues, I’m swinging for the fences, showing the scouts that I can pitch and bat if I have to. Just don’t ask me to do both at the same time.
OK, the door’s unlocked. The wet bar is back online. Who needs their drink freshened up? I’m sorry to have kept you so long. Don’t think of this as a rant though. Consider it an open forum. Do you think playing double duty leads to a lack of quality on one side of the page or the other? Speak, and be heard, my citizens of Fishtopia!
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