Once there was this kid who
Got into an accident and couldn't come to school
But when he finally came back
His hair had turned from black into bright white
He said that it was from when
The car had smashed so hard
Mmm Mmm Mmm Mmm
Mmm Mmm Mmm Mmm
Once there was this girl who
Wouldn't go and change with the girls in the change room
But when they finally made her
They saw birthmarks all over her body
She couldn't quite explain it
They'd always just been there
Mmm Mmm Mmm Mmm
Mmm Mmm Mmm Mmm
But both girl and boy were glad
'Cause one kid had it worse than that
'Cause then there was this boy whose
Parents made him come directly home right after school
And when they went to their church
They shook and lurched all over the church floor
He couldn't quite explain it
They'd always just gone there
The Short Version? 27 Weeks Earlier... in an isolated building... zombies attack. What Is It? Survival Horror. Who Is In It? Spaniards Should I See It? No.
Like The Blair Witch Project, [*REC] was a single camera movie in which the lens served as a proxy for the viewer’s virtual involvement in the proceedings. [REC] traded on the sense of the film being recorded live and in a reality too near to our own for comfort. Like The Blair Witch Project 2: Book of Shadows, [*REC]2 is a glossy Hollywood sequel that chucks everything that worked about the first film out the window so that the filmmakers could prove they were capable of hacking out the usual bullshit. Instead of a low-res real time environment, [rec2] is a multi-player first person shooter with shifting vantage points, flashbacks, and techno-tomfoolery.
A big part of what made [REC] work was its simplicity. Common everyday people found themselves in an extraordinary, terrifying circumstance. Tension built slowly, until the levees broke, and then the situation became bad topped by worse along a progressive trip through the infernal. The characters didn’t need to be developed, because they were, like you, innocents caught in a harrowing ordeal folks could sympathize with. [REC2] begins fifteen minutes after the conclusion of the original, in which a SWAT team enters a building full of 28 Days Later… Rage rejects to investigate the cause of a viral outbreak. Instead of taking the audience with them, the viewer is a passive spectator in a video game movie derivative of Aliens and Dawn of the Dead. The perspective camera constantly changes, gets dropped on its side, loses sound, blinks out-- incessantly reminding the audience they're watching various recordings from a prior time. Only one of the SWAT team members exhibits any personality, and that one is of an obnoxiously over-reactive nature, so the rest are essentially the players’ various “lives” in progressing through the game. First time players, I should say, because everyone in this flick is a nimrod of the type audiences impatiently wait to see die for their stupidity. Could someone please explain to bad "comedy" and "scary" movie directors that the only response having your actors shouting all their lines invokes is a desire for them to shut. the fuck. up?
One of the most common faults of horror movie sequels is to build on an ongoing mythology. The more familiar you are with something, the less frightening it is, and the better equipped you are to deal with it. Even if crosses or garlic fail to kill your particular vampire, just keep going down the checklist until you find something foolproof. Once you demystify a threat, you remove much of the horror, and are left with a fantasy or science fiction story. In [REC,} one of the more effective reveals toward the end of the picture was the true nature of the contagion. [REC]2 picks up from that point, and then negates its impact with a litany of direct swipes from other pictures/familiar mythos. “Your mother sucks cocks in Hell” is easily repurposed, as are visual ticks from the last decade of Japanese horror exports. Even [Rec]’s own technique of still creatures suddenly rushing the camera is abused so often and reproduced so exactingly that it begins to feel more like a replay than anything to shriek at.
[REC] 2 is a predictable franchise killing knock off of a shitload of other movies, right up to its unsurprising “twist” ending. If you found yourself haunted by [REC], this sequel is the perfect antidote, as it effectively neutralize any residual impact of the original. Unless you've been anxiously anticipating a truly faithful screen adaptation of House of the Dead, leave this lie.
John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.
The Night of the Demons remake is going straight to DVD after vsitting on the shelf since 2008. John Connor looks like the love child of Sean Patrick Flanery, and k.d. Land.
Todd Solondz's Life During Wartime, or as I like to think of it, Happiness 2
Fractured Fables (Free Book Comic Day Edition) Love and Capes #13
The Oni Press Free-For-All Yow!
Damn it! I should have raided my naughty box and dug out some old porn comics for #69! Too late now...
Fractured Fables (Free Book Comic Day Edition) (Image, 2010, $0.00)
Take a cartoon series that was old when I was young, centered around a very specific design sense and Yiddish humor. Alter the name juust enough, then offer it as a wildly divergent anthology to a generation who think Yids are something the Mario Brothers fight. The end result is maybe better than you might expect, but so far afield from the source material, I hardly see the point of infringing trademark with the name.
"Little Red Riding Hood" by Bryan Talbot and Camilla d'Errico is the prettiest piece of the bunch, with some stabs at humor, but is too post modern to serve. The story is fairly faithful up to a "twist" ending that feels like a too often told joke. Hell, the black and white boom of the '80s was built on it. "Rumplestiltskin" by Doug TenNapel is the funniest and least faithful story of the bunch.
"The Real Princess" has a story by Alexander Grecian that seems pretty straightforward, then takes a turn halfway through before totally jumping the tracks toward the end. That would have been fine with the right artist, but Christian Ward is too dark and impressionistic. Once the gags kick in, you're not entirely sure you're meant to laugh, like maybe something went awry in a translation.
"Rapunsel" by Derek McCulloch and Anthony Peruzzo comes the closest to being a legit Fractured Fairy Tale, which means it's screwball and old-fashioned, but still fun. "Hey Diddle, Diddle" closes out the book on a disappointing note, as the usually daring Ted McKeever just visually represents the rhyme on an urban tip.
Each story passes the time, and might even elicit a chuckle, but I imagine I'd be worm out by the shtick spread out over a 160 page hardcover. Your own mileage may vary.
Love and Capes #13 (Maerkle Press, 2010, $0.00)
Remember when Clark Kent finally married Lois Lane? I never hated on that, because Superman pushing up on Wonder Woman or any other single ladies doesn't get my rocks off. So yeah, marry him off, and then focus on making his rogues gallery not suck, alright? Still though, there were a lot of dumb ass stories that revolved around the marriage, like how an army of super-heroes defended Metropolis during their honeymoon, or how the entire JLA membership became "married" to the team to cover up for a reporter snapping a picture of Superman wearing a wedding ring. None of that shit was going to win people over, but it was alright once everything settled down.
So here's this book, see, where they take out all the super-heroics and just focus on the marriage bullshit. Didn't Bryan Singer prove once and for all how boring Superman was when he stopped punching shit? At least with the Donner pictures, you still had the neurotic romance and intrigue of high stakes journalism. Here, we cut straight to the sitcom domesticity, and instead of reporters, these guys are accountants and book retailers. I'm barely conscious while typing that.
Someone once said that if you write a super-hero story where the main character could be fairly easily replaced with another character, you're doing it wrong. Love and Capes could just as easily be Love and Spies or even just Love and Marriage. It's a romantic comedy like many others, in that it's not actually funny, and just coasts along on affability. It's a comic book, and figures super-heroes will best serve as a hook, but it might as well be Caroline in the City for all it matters. This book essentially exists for people who would really like to see Batman and Wonder Woman date without anyone around them getting raped or murdered. It's easy listening music for bone weary super-hero fans who continue to buy comics as a compulsion rather than a desire. Plus, it's in full color, unlike those other dirty indie books, because I know mainstream readers hate to slum.
The Oni Press Free-For-All (Oni, 2010, $0.00)
Another fucking all-ages anthology, more excerpts from larger volumes, and this time in black and white. Could it possibly be any good? Yes, actually.
"Salt Water Taffy: The Seaside Adventures of Jack and Benny: The Tale of Captain Hollister and Old Salty." That is one hell of a long name, and really, two colons? Regardless, this is the best foot forward-- clever, amusing and drawn in a distinctive style I enjoyed mightily. I'll be keeping my eyes peeled for more of Matthew Loux's stuff.
"Midnight Snack," from Ray Fawkes Possessions, didn't impress me as much. It comes from the Charles Addams school, but coasts on the attitudinal girl Gurgazon the Unclean's contrary personality. We all love characters who speak in the third person and rooms full of gorillas, but they don't gel into a story, and the goth backdrop doesn't represent more than Hot Topic pandering.
Finally, "Runnin' Late," a David Crogan pirate adventure, was a nice bit of fun. Chris Schweizer's character designs are nifty, and I like the juxtaposition of heavy detail or chiaroscuro effects against the cartoons in the strip.
Yow! Drawn & Quarterly Presents A John Stanley Library Grab-Bag For Free Comic Book Day 2010 (D & Q, 2010, $0.00)
I remember reading Nancy as a kid when she turned up in the newspaper funny pages. I didn't much like her then, either. In "Oona Goosepimple's Uncle Oaf," she's her usual bratty self, just in a haunted house. Then Marge's Tubby turns up one morning with a mustache for a surreal adventure that didn't win me. Judy Junior reminds me of Little Rosie, which should be a horrifying proposition, but worked for me here. All of Stanley's characters seem to be little jerks, but Judy is the most nakedly so, lacking the cutesy vibe of the rest. Her "Arts and Crafts" is plum mean, but I appreciated that honesty. Nancy returned for "A Chase of Nerves," which was predictable, but not without its charms. Aunt Fritzi was hot, and the final panel was darling. Then came Melvin Monster, and combined with the first Nancy story, I suspect Addams wasn't Ray Fawkes most direct inspiration. The designs of the family are pretty cool, and the gag-to-panel ratio was better than average. Choo-Choo Charlie closed out the book weak, but it was alright overall.
John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.
Damn it! I should have raided my naughty box and dug out some old porn comics for #69! Too late now...
Hellcyon #1 (Dark Horse, 2010, $3.50)
An Amerimanga artist best known for work on Star Wars licensed comics offering a creator owned sci-fi mini-series? Clearly I bought this at a discount solely for negative review, so imagine my surprise to find I liked it. Lucas Marangon wears liberal leanings on this work’s sleeve, as a fascist military drives student protesters on an alien world toward outright insurrection. The cast is introduced in rapid but organic order, their personalities distinct. There’s mech action, intrigue, and enough story to make you want to come back for more. Recommended for fans of Jim Cameron and Macross.
Hit-Monkey (MDCU) #1 (Marvel, 2010, $3.99)
I burned through this book in about five minutes on the can, but it was a free loaner, so I might have been more critical if I’d been out four bucks instead. It’s a fable, sort of crossing Rudyard Kipling with Robert Ludlum, and answers only enough questions to get a basic origin across. Daniel Way’s story is fine while it lasts, and the art by Dalibor Talajic is nice in a Peter Snejbjerg vein.
The Light #1 (Image, 2010, $2.99)
A few years back, there was a movie called The Signal which was an anthology about what happens when humanity is exposed to a stimulus that turns just about everyone homicidally insane. This book's protagonist is such a piece of shit asshole, I expect the mini-series will take a similar course. This time though, the stimulus is exposure to sunlight causing almost everyone to spontaneously combust. The story's lead doesn't though, since he has welder's goggles on. That would be fine, except he wears them after having lost his job and hung around his house in work clothes for a full day. Speaking as a blue collar worker, that is total fucking bullshit, especially in the absence of mood altering substances/motionless depression/etc. Further, the art is that crappy sketchbook shit glossed over by watercolors Ben Templesmith deserves to have his ass kicked for popularizing. Capped off with a pretentious afterword from the writer, this book is a total ineffectual turd to be sidestepped.
Remember that feeling of euphoria at discovering the first season/album/etc. of something toe-curlingly great? How about the second round, when you notice that the stuff you were introduced to is now just being tweaked into variations? It’s still good—probably much better than whatever else is around, but that thrill of the new is seeping out. Next comes volume three, by which time the vitality is seriously compromised. Either the wheels start spinning, or after a sophomore slump, they progress in an undesirable direction. What was once novel turns contemptuously familiar and whether it’s the fall from lofty heights or actual mediocrity, that thing you loved isn’t all that great anymore.
So it went with Empowered Volume Three, which I probably should have reviewed when I read it last year. Somewhat put out by the seriousness and longer form stories of the second volume, I thumbed through this one when I first got it in early 2008, maybe read a story or two, but couldn’t commit once the sprawling began. You see, I loved the first volume because it was fun, genuinely funny, and compelled you to keep reading one very short story after another. Even there, drama and excess length crept in toward the end, as writer/artist Adam Warren had burned through previously crafted material and opened up the narrative. It’s so much harder to write tight, entertaining bits than to delve into the mythology, or whatever they’re calling Stan Lee’s old con of stretching out stories to fill pages these days.
The longest thread of the book revolves around Ninjette’s former clan finally catching up with her (sorta.) Warren eventually makes a point of mentioning all the nihilistic books he’s written where scads of major characters got iced in nasty business like that found here. My issue is that it mostly served to point out how similar a book like Empowered, which at one time would have been quite daring, is to current bloodthirsty DC Comics fare. Either you’re going to do the deed, which means snuffing a likable character that hasn’t reached their full potential, or you won’t, wasting as much time as an over-hyped crossover book. Empowered is best in its more intimate moments dealing with human frailties, not wasting page after page on silent action.
Much of this edition feels like noodling. There's too many stories about mundane events, puttering subplots, and revisited subjects. I also get the feeling some of these stories were commissioned, as there's a ridiculous amount of bondage fetish bullshit this round. The Superhomeys are generally background players this time. The Caged Demonwolf has officially jumped the shark here, going from a draw to an irritant. Warren also succumbs to the dreaded stylistic experimentation, doing a terrible riff on the Frank Miller Sin City chiaroscuro style entirely too many people shat out in the early '90s. Damn near three-quarters of the book reads like total filler. The best story revolves around an origin sequence for Thugboy, continuing a strong if pitch black strand from the previous edition. Otherwise, this edition was a misstep and a disappointment.
John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.
General/Entertainment
Art & Photograpy Edward Norton (Rob Kelly Illustration)
Written By: Milton Ager and Jack Yellen
Released: 1927
Album: Ain't She Sweet
Single?: Yes, and is now a much covered hit standard.
Anecdote: Just one from my pappy's vault o' music. Ager wrote the song for his daughter, who grew up to become the 60 Minutes "Point-Counterpoint" liberal commentator Shana Alexander.
Lyrics:
Oh ain't she sweet,
Well see her walking down that street.
Yes I ask you very confidentially:
Ain't she sweet?
Oh ain't she nice,
Well look her over once or twice.
Yes I ask you very confidentially:
Ain't she nice?
Just cast an eye
In her direction.
Oh me oh my,
Ain't that perfection?
Oh I repeat
Well don't you think that's kind of neat?
Yes I ask you very confidentially:
Ain't she sweet?
Oh ain't she sweet,
Well see her walking down that street.
Well I ask you very confidentially:
Ain't she sweet?
Oh ain't that nice,
Well look it over once or twice.
Yes I ask you very confidentially:
Ain't she nice?
Just cast an eye
In her direction.
Oh me oh my,
Ain't that perfection?
Oh I repeat
Well don't you think that's kind of neat?
Yes I ask you very confidentially:
Ain't she sweet?
Oh ain't she sweet,
Well see her walking down that street.
Well I ask you very confidentially:
Ain't she sweet?
Well I ask you very confidentially:
Ain't she sweet?
John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.
The Short Version? 27 Days Earlier... in an isolated building... zombies attack. What Is It? Survival Horror. Who Is In It? Spaniards Should I See It? Yes.
The better modern zombie movies have two things in common: fast monsters and exhilarating first quarters. Dawn of the Dead offered its opening ten minutes online, making it one of the most badass trailers of all time, because who didn’t crave more after that? Of course, the movie couldn’t sustain that momentum, and most of the characters, once properly introduced, proved rather unlikable. Regardless, it was still good stuff, and sustained the heat zombies had picked a few years prior.
[rec], on the other hand, is like extending that prologue to full length (though not quite feature length, coming in at just over one-and-a-quarter hours.) It’s about a television crew working on a puff piece finding themselves trapped in an apartment building with a deeply unhealthy element. After a deliberate build, mayhem erupts that runs through the end of the picture. The cast is made up of unknowns who speak in brief bursts of dialogue, and you really don’t get to know anyone. There’s a cute, toothy reporter that’s a bit more polished than the rest, and though clearly ambitious and somewhat opportunistic, she never beats the audience over the head with her character flaws. The true point of view character is the cameraman Pablo, through whose lens the viewer sees the proceedings, essentially turning the film into a virtual first person experience. That makes for a harrowing trip, as finding oneself in the path of mindless humans moving with the speed and ferocity of the rage carriers in 28 Days Later will twist your panties up tight.
It’s typically a backhanded compliment to refer to a film in “thrill ride” terms, but in the most glowing sense, [REC] is just that. When The Blair Witch Project was being ridiculously over-hyped, this was the movie everyone was expecting to see. [REC] is easily one of the finest straight horror movies of the past few decades, and will likely earn a place on a great many "all time greatest" lists. See it in the dark with someone you trust...
Extras?
REC: Making ofA fast paced documentary running a bit under 19 minutes gives you all the information you need about the production, from the actors not knowing what they were in store for due to having scripts withheld until the start of each chronological shot day, to real time takes lasting twenty minutes and from the ground to the roof. All killer, no filler.
Previews Not as bad as you might think for something like a dozen b-grade horror trailers, including the U.S. remake of this flick
John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.
DC Comics Mega Sampler 2010 Fearless Dawn/Asylum Press Sampler #1
S.E. Hinton/Fame FCBD 2010 Edition The Tick's Free Comic Book Day Special Edition #1
DC Comics Mega Sampler 2010 (DC, 2010, $0.00)
I don't know how I missed this book, but when all my fellow Martian Manhunter fans told me he made an appearance within, I schlepped to the LCS and asked for it by name. I was half a week late, but the all ages books were all they had left, in droves, so they gave it to me anyway. The Batman: Brave and the Bold tale took the seemingly compulsive liberties granted every writer of J'Onn J'Onzz. There was some illogic you'd have to apply for a No-Prize to explain, and I'd have liked a more faithful revival of one Manhunter villain instead of the hodge-podge of three smooshed together, but it's a friggin' kids comic. The design work on the new characters was nice, and it was a pleasant enough seven page done-in-one.
Since I started my review at the back, I guess I'll work my way up to the front. I don't know if the Martian Manhunter tale will show up elsewhere, but the other two stories are incomplete and somewhat frustrating previews. Tiny Titans, a book geared a might too young for me to appreciate to begin with, was downright annoying in this truncated form. If this is geared for kids, how come there are jokes dependent on unexplained references to rather complex mainstream continuity? Those unnecessary ties have me recalling Psimon's deprivations in The Outsiders when I'm supposed to be focusing on a simple snowball fight. Then again, these stories are so basic, I expect my mind would have wandered anyway. I'm not a convert to Art Baltazar's childlike drawings either, so I guess I lack the gene that makes others giddy over this stuff.
Firstly/Finally, there's a Billy Batson & the Magic of Shazam adventure, this time only written by Baltazar, for a somewhat higher age bracket. Another excerpt, this cow stealing tale is at least serviceable when portioned out, and the winning art of Mike Norton put it over the top. Not quite enough to get me to try the full issue, but I'm certainly more open to trying the series should a favored guest star appear at a later date.
Super Friends is only represented through activity pages, but those are always a good time, and I love the design template on that book. All in all, this was a pretty decent sampler, with the self-contained Batman team-up insuring at least one complete adventure worth giving the whole thing a spin.
Fearless Dawn/Asylum Press Sampler #1 (Asylum Press, 2010, $0.00)
I’ve never heard of Steve Mannion, but he’s got this Dave Stevens/Mike Hoffman/Mitch Byrd good girl art look down. His dialogue is sophomoric and his captions don’t even make sense, but I can look at pretty pictures for his seven page Fearless Dawn preview and be content.
Based on the four page preview, Warlash: Origins is a Rob Liefeld script painted by some chump from a lesser issue of Heavy Metal. Brevity has its benefits.
Have you ever seen those creepy pornographic chicks-impregnated-by-aliens “3D Comics” on the intarwebs? The nine page Black Powder: Bloody Frontier Adventure looks and reads likes one of those done on the cheap, substituting cum shots for really phony looking bloodshed.
The eight page Farmhouse preview vaguely resembles a passable cable television movie, but the art looks like it was drawn with the drippings of the plastic ink cartridge of a ballpoint pen.
EEEK! is three two-page previews of Charlton quality Warren rip-offs of their own EC-knockoffs by Jason Paulos. I mention him by name because he’s only the second person involved in this project to not embarrass themselves to the point that I feel bad for referring to them directly. Paulos nails the period look of those old Charltons, but I can't speak for the stories, since none of the presumed twist endings are spoiled.
Finally, the four page Warlash: Zombie Mutant Genesis looks like it was drawn with the residue on the cotton at the end of the ink cartridge used on Farmhouse, as written by the guy what done Warlash: Origins after having smoked some of the used cotton.
In conclusion, someone at a proper publisher ought to write for Steve Manion, and Asylum Press needs to have a fight to the death with Bluewater Comics, because there should be only one publisher this lousy inflicted on the market at any given time.
S.E. Hinton/Fame FCBD 2010 Edition (Bluewater, 2010, $0.00)
In this seven page preview of the Lady Gaga story, a fat redneck slob bitches about the current state of music, becomes fixated on the singer, and thinks she’s a modern descendant of Bowie/Queen/Blondie. The video for “Alejandro” came out this week, which was over eight minutes of royalties due to Madonna circa the Blonde Ambition tour, plus some plagiarism of Ace of Base (“Don’t turn around, Alejandro—I saw the sign!”) One of the statements in the past two sentences contradicts the other. I’m late enough with this review that the actual book shipped today, and the fucktard lead character goes on to crossdress and sing karaoke. Whiskey Tango Foxtrot, who submitted this story as a cruel prank/lost bet/sociological experiment to low rent publisher Darren G. Davis? No one wants this, anywhere, at any point in human history.
Next there’s a four page preview of the far more run of the mill Rock n’ Roll Comics style bland unauthorized biography of Taylor Swift… who is a nineteen year old country music artist with a squeaky clean image. You’d have trouble keeping the interest of an enthusiastic suburban teen if the entire Swift biography were four pages, and that’s including the Kanye incident and every publicist arranged relationship this chick has ever constructed. The best thing here is the nightmare inducing artist’s interpretation of Ellen DeGeneres, who is just waiting for you to fall asleep so she suffocate you with her vagina.
On the flip cover is S.E. Hinton’s “The Puppy Sister” adaptation. Like many Bluewater licenses, I know the original author, but the actual work is completely unfamiliar. It’s also absolutely dreadful, with art so amateurish it doesn’t deserve to be colored, outshone by the fucking digital lettering. Either it was ineptly scanned, or produced in the third world on a computer several generations out of date. Hand members of the intended underage audience crayons and see them come up with something more aesthetically suitable.
The Tick's Free Comic Book Day Special Edition #1 (NEC, 2010, $0.00)
I recall in the late ‘80s checking out some nth printing copies of the early Mirage Teenage Mutant Ninja Turtles comics, and finding them just alright. I couldn’t quite understand how a mild Frank Miller parody had been parlayed into triple digit back issues, but I still had a set of the original four Turtle action figures before the end of the decade. I just thought it was cool that someone who owned their creation, working outside the Big Two, could end up with a cartoon phenomenon within just a few years.
I recall in the late ‘80s reading some reprints of early Tick issues, and liking them well enough, but was unwilling to continue paying a premium price for a lightweight black and white comic. It seemed pretty clever to mix the TMNT Miller parody with a cold lift of Keith Giffen’s Ambush Bug. Publisher NEC had shrewdly marketed the book to TMNT collectors via their comic store chain and prominent mail order ads in Big Two comics. It wasn’t a surprise that toy lines, a cartoon, and a live action show followed. I’m glad they had success slavishly copying the TMNT business model to an acceptable level of multi-media gain.
Point being, while I think the Tick was the more entertaining enterprise, looking back, it all seems a bit cynical and underwhelming. The art on the original stories is nice, the stories are amusing, but that’s about it. Goooooo pandering!
John Henry gave his life against the Inky Poo to prove a man could overcome a machine. Frank Lee Delano fights a losing weekly battle against the internet, so that his sacrificed time might save your own.
All books, titles, characters, character names, slogans, logos, and related indicia are trademarks and/or copyright of their respective rights holders.
