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    Feveryn Ardacia (dramatized manga)

    Hi Everyone!

    Feveryn Ardacia is a weekly series that I want to put on YouTube (auditions have been posted on 3 voice acting websites).

    When I say 'dramatized manga,' I mean that it'll be kind of like the cross between a manga and a radio play, with the images providing visual impact to the audio part of the story (like an anime, but with manga panels instead of animation).

    This is intended to be a weekly series, 7-8 minutes per episode, but the series could run for 60+ episodes.

    The plan is to put it on YouTube and earn money through advertising revenue. I can offer an artist a percentage of the revenue, but no money up-front.


    Now before you call me crazy!!

    I realize how long it takes to draw things, and I don't want to put too much work on the artist. For example, I don't expect an artist to spend 2 hours drawing an image, and I don't expect the image to be drawn with a lot of detailed artwork.

    The story could demand a new image every 20 - 30 seconds, but for 7-8 minutes a week that's 20 - 30 images. If an artist draws 4 images a day (4 x 7 = 28), but takes 2 hours to draw an image, that's a full-time job. I will not expect that from an artist!


    The story is written in screenplay format (for movie or TV scripts), and I can work with the artist on deciding how to present the story visually. Sometimes backgrounds can be reused (stock production images), or a images of individual characters can be reused in other places.

    We can work something out. More details in the Help Wanted section.

    I was thinking of an art style somewhere between the animes of Gundam Wing, Rideback and Birdy The Mighty: Decode.

    But I'm willing to look at Any manga/anime art style if the artist is good at drawing subtlety and emotional expression (facial expressions and body language).

    I'm not looking for a lot of detail in the art, but I need an artist who can draw emotional expression to match the quality of the voice acting.

    But for a basic guideline: I would like the size of each character's eyes to be proportional to the size of a human head, and I would like the nose to look like a nose, not a protrusion of the top lip.


    Here's the first 3 episodes of the script! The forum is going to mess up the formatting (the script was exported from a screenwriting program).


    Feveryn Ardacia
    Smartryk Foster (Story & Screenplay)

    Episode 001

    FADE IN:

    INT. COLONY DOCKING BAY - DAY
    The docking bay is big, full of activity. People dressed in overalls are using large machines, that look almost like forklifts, to unload storage containers from spaceships.

    (Note: The storage containers are 8 foot cubed.)

    A LONG SHOT shows part of some spaceships in the frame. A woman walks from near the entrance of one spaceship to a man who is standing nearby. (The space ship is a freighter that transports 8 foot cubed cargo containers. There should an entrance large enough to accommodate that.) The man is wearing a business suit and standing next to a luggage suitcase. The man is wearing a wrist watch (an old fashioned watch face with arms). The woman is dressed in professional attire, a jacket and vest, wearing white gloves and a captain's hat. We go to a MEDIUM SHOT of the man and the captain. The captain holds out her hand for a handshake.

    SONIA PETRAUSKAS
    (cheerful)
    Hello. I'm Captain SONIA PETRAUSKAS.

    HARUTO YAMADA
    (nervous)
    H-Hello, ma'am. I'm HARUTO YAMADA.

    Haruto shakes Sonia's hand.

    SONIA PETRAUSKAS
    (slight giggle)
    Don't worry, I don't bite.

    HARUTO YAMADA
    (nervous)
    S-Sorry, ma'am. It'll be my first time on a spaceship.

    SONIA PETRAUSKAS
    (smile)
    Don't worry, you'll get used too it. Just make sure you keep your passport valid. Are you ready to go?

    HARUTO YAMADA
    (smile)
    Yes, ma'am.

    A low-level Port Authority worker comes running toward them from behind Haruto.

    PORT WORKER
    (catching breath)
    Captain Petra! -gasp- I'm glad I found you. They want you back at the Port Authority office.

    Sonia turns toward the Port Authority worker.

    SONIA PETRAUSKAS
    (surprised)
    Oh?

    PORT WORKER
    (whisper)
    I'm not supposed to tell you this, but it's the police ...and they don't look happy.

    Sonia looks even more surprised. Haruto looks a little shocked and confused.

    SONIA PETRAUSKAS
    (to Port Worker)
    Oh, thank you...

    SONIA PETRAUSKAS (CONT'D)
    (to Haruto Yamada)
    Please excuse me, I have to go.

    Sonia takes a small hand-held computer out of her pocket. It has a touch-screen display. Take a CLOSE SHOT of the computer display screen. While she's talking, she presses the 'Set Key Card' button, and it asks her for a room number. She types 'D32.'

    SONIA PETRAUSKAS (CONT'D)
    Here's the key to your room. If anyone on the ship asks, show them the key and tell them that you're the new accountant.

    Return to a MEDIUM SHOT. The Port Authority Worker has started walking toward the Port Authority office. Sonia, in a rush, pulls a key card out of her other pocket and swipes it across the screen of the hand-held computer. As the key card moves away from the screen, we see something displayed on the screen in bright green. Sonia is talking while she does this.

    SONIA PETRAUSKAS (CONT'D)
    There are information screens all over the ship. You can use them to check the ship's map and find your room.

    SONIA PETRAUSKAS (CONT'D)
    (smile)
    Here. It's room D33. Sorry to run off like this.

    Sonia gives Haruto a quick, hurried smile, puts the key card in his hand, and quickly walks toward the Port Authority Office.

    HARUTO YAMADA
    Thank you, ma'am. I'll--

    Haruto looks confused and curious as he watches Sonia walk away.

    HARUTO YAMADA (CONT'D)
    --see you... later...

    Then Haruto looks at the key card, looks at the ship in front of him, and starts walking toward the ship.

    HARUTO YAMADA (CONT'D)
    (whisper)
    D33, D33, D33...

    CUT TO...

    INT. SONIA'S SHIP: HALLWAY - DAY
    Haruto arrives in front of a door that says 'D33' alongside the side the door, above the 'key and communicator' screen. Haruto looks at the door. (His suitcase is on the floor beside him.)

    HARUTO YAMADA
    D33.

    Haruto swipes the key card across the door's key pad, and a red light glows on the pad.

    HARUTO YAMADA (CONT'D)
    Huh?

    Haruto tries again, and the red light appears again. Haruto tries swiping the other side of the card, and a red light appears again. He looks at the card, a bit confused.

    HARUTO YAMADA (CONT'D)
    D... 33?

    Haruto looks right, then left. PAN the screen Left, to show a door marked 'D32.' Haruto picks up his suitcase and walks to the door. He swipes the key card across the door pad of D32, and a green light appears on the pad.

    HARUTO YAMADA (CONT'D)
    Huh, guess I was wr--

    The door opens, to reveal a classy, up-scale room. The type of room that you think is reserved for important guests.

    HARUTO YAMADA (CONT'D)
    (shocked)
    Wow.

    Haruto cautiously enters the room and looks around. CUT TO...

    INT. SONIA'S SHIP: GUEST ROOM - CONTINUOUS
    The door automatically closes behind him. There's a large bedroom with a double bed, dresser, mirror, and an adjoining bathroom with a jacuzzi. The floor is nicely carpeted, and the bed looks beautiful with fluffy pillows and a high quality blanket. Next to the bathroom is a walk-in closet (the closet door is closed; Haruto doesn't open the door).
    Haruto is in awe. Then a smile breaks out across his face. He puts his suitcase on the floor.

    HARUTO YAMADA
    I think I'm going to -yawn- like it... here.

    Haruto checks his wrist watch (old fashioned watch face with arms).
    CLOSE SHOT on the wrist watch display. It says 3:32am.

    HARUTO YAMADA (CONT'D)
    (yawn)
    Oh... no wonder.

    CUT TO...

    INT. COLONY DOCKING BAY - DAY
    A small army of police officers run toward, and into, Sonia's ship. OFFICER PETER CONNERS stops near the entrance by a communicator screen on the wall. Officer Conners' voice is spoken over a SERIES OF SHOTS: INT. SONIA'S SHIP - HALLWAYS, CARGO HOLD, MESS HALL. The police are running through all these places, securing the area, motioning to the crew to leave the Hallways and Cargo Hold and, from the Hallways, motioning the crew to get into their rooms and checking faces against a crew list on hand-held computers.

    OFFICER PETER CONNERS (V.O.)
    (stern)
    This is the police! This ship under lockdown. Go to your quarters and wait for the a police officer to confirm your identity. After you have been identified, your quarters will be locked. You are to remain inside them until further notice. Anyone who resists will be arrested.

    OFFICER PETER CONNERS (V.O.) (CONT'D)
    Please return to your quarters Now.

    CUT TO...

    INT. SONIA'S SHIP: BRIDGE - DAY

    JOHN ARMSTRONG
    (angry)
    I'm the ship's First Officer, and I demand to know what's going on, Now!

    JOHN ARMSTRONG, a middle-aged African-American man, is on the bridge of the ship with the ship's purchasing officer, ANASTASIA NOVIKOVA. Officer Conners wants them to leave the bridge. Anastasia is also angry.

    OFFICER PETER CONNERS
    Sorry, Mr. Armstrong, but that's classified. Please return to your quarters.

    ANASTASIA NOVIKOVA
    (upset)
    Oh, and where's the Captain? Can you tell us that? I'm staying here until you give me some answers!

    OFFICER PETER CONNERS
    (irritated)
    Look, we have our orders! If you don't return to your quarters peacefully, you'll be arrested, do you understand?

    JOHN ARMSTRONG
    (angry)
    Do what you want, but I'm staying Right Here until I speak to the person in charge!

    OFFICER PETER CONNERS
    (irritated)
    Fine!

    The Officer Conners pulls out his communication device. CUT TO...

    INT. PORT AUTHORITY OFFICE - DAY
    Standing in the room is a tall, tough guy with a strong build and white hair. He has a short, white beard around his jaw and he's wearing a dark coat. We see the front of his body in the frame.
    We hear a phone ring from his pocket. He's looking down toward someone who is in front of him (out of frame) as he takes the phone out of his pocket and answers it.

    DONAGH VALERIO
    Yes?

    OFFICER PETER CONNERS (O.S.)
    (over the phone)
    Sir, there are two people on the bridge -first officer, John Armstrong, and Anastasia Novikova- who refuse to budge until they speak to you.

    DONAGH VALERIO
    Hmm... I'm busy. If they won't move on their own, move them by force.

    OFFICER PETER CONNERS (O.S.)
    (over the phone)
    Yes, sir!

    DONAGH VALERIO
    Has the special unit arrived yet?

    OFFICER PETER CONNERS (O.S.)
    (over phone)
    No, sir. Word is, they're about thirty minutes out.

    DONAGH VALERIO
    Good. Stay on top of things over there.

    OFFICER PETER CONNERS
    (over the phone)
    Yes, sir!

    CUT TO...

    INT. SONIA'S SHIP: BRIDGE - CONTINUOUS

    OFFICER PETER CONNERS
    (stern)
    You either move by yourselves, or I move you by force. Those are my orders.

    Officer Conners raises his gun, indicating that he is willing to shoot them.

    JOHN ARMSTRONG
    (angry)
    Then you ca--

    ANASTASIA NOVIKOVA
    (annoyed)
    Fine, okay. My room is down the hall, the second door on the right.

    Anastasia steps in front of John, then steps toward the door. John is surprised for a moment, then tries to contain his anger -he assumes that Anastasia has a plan.

    OFFICER PETER CONNERS
    (annoyed)
    Move it, Armstrong.

    Officer Conners motions for John to walk toward the door. John grudgingly walks toward Anastasia, who is waiting by the door. CUT TO...

    INT. SONIA'S SHIP: HALLWAY - CONTINUOUS
    Officer Conners, John Armstrong and Anastasia Novikova stand outside Room D30, Anastasia's room. (There is a door of room D32 is across from Anastasia's room door.) Anastasia puts her hand on the key pad to open the door (it scans the veins in her hand like a fingerprint) and walks inside. John hesitates, then Officer Conners pushes him through the doorway.

    OFFICER PETER CONNERS
    Get in!

    John stumbles in... CUT TO...

    INT. SONIA'S SHIP: ANASTASIA'S ROOM - CONTINUOUS
    ...and quickly turns around to protest.

    JOHN ARMSTRONG
    (angry)
    Hey, you--!!

    Then the door slides shut in front of him, and the 'key and communicator' pad beside the door displays 'LOCKED.'

    Anastasia sits on the bed; she's annoyed. On the far side of the room, opposite of the door, there's a big flat screen with rounded edges. The screen looks like it's embedded in the wall. The screen has a matt surface, so that there's no glare seen on it, and the screen is black (it's turned off). CUT TO...

    INT. PORT AUTHORITY OFFICE - CONTINUOUS
    Officer Valerio puts the phone back into his pocket.

    DONAGH VALERIO
    That means we've got thirty minutes--

    The view cuts to Sonia Petrauskas, sitting on a chair in front of him, hands cuffed behind the chair's back. Her hat is ungracefully sitting on the floor, one of her eyes is half-closed, and there's a reddish 'slap' mark on her cheek under the half-closed eye.

    DONAGH VALERIO (CONT'D)
    --for you to tell me why you have a nuclear weapon on your ship.

    Sonia slowly looks up at him; she's confused and in pain, and angry.

    FADE OUT:

    Episode 002

    FADE IN:

    INT. SONIA'S SHIP: ANASTASIA'S ROOM - DAY
    ANASTASIA is sitting on the bed, annoyed. On the far side of the room, opposite the door, there's a big flat screen with rounded edges. The screen looks like it's embedded in the wall. The screen has a matt surface, so that no glare is seen on it, and the screen is black (it's turned off.)

    Anastasia touches a bottom corner of the screen, and a computer navigation display appears beneath her fingers. She touches a 'display' button, and the screen suddenly shows the stars from the view point of a camera opposite the screen on the hull of the ship.

    Meanwhile, JOHN is pacing back and forth...

    JOHN ARMSTRONG
    (angry)
    Who do they think they are!?

    CLOSE UP on Anastasia.

    JOHN ARMSTRONG (O.S.) (CONT'D)
    We have rights!! And where's the captain!?

    Anastasia looks like she's thinking, while John is ranting. Return to Medium Shot.

    JOHN ARMSTRONG (CONT'D)
    They won't even tell us--

    Anastasia cycles through live security camera footage in public areas on the ship. Each shot is from the perspective of a camera being in a ceiling corner of the room. SERIES OF SHOTS: Mess Hall, Gym, Cargo Hold. She stops at the Cargo Hold.

    ANASTASIA NOVIKOVA
    John.

    CLOSE UP of the black display screen. The camera view on the display screen is a LONG SHOT of the cargo hold, from the perspective of the security camera being near the ceiling of the cargo hold. The camera shows a few police officers, guns drawn, standing on the floor, and a corner of the camera's view shows the bottom part of two or three cargo containers.

    There are many containers in the cargo hold. The containers are 8 foot cubed and stacked side by side and one on top of the other. Each container is secured to the floor and each other at the corners. The containers are stacked to the ceiling, but we don't see that yet. The ceiling is about 24 feet above the floor.

    JOHN ARMSTRONG (O.S.)
    --what they're looking for or how long--

    Part of Anastasia's body, like an arm or her head, can be in the close up shot.

    ANASTASIA NOVIKOVA
    John!

    Return to MEDIUM SHOT, from the perspective of the black screen.

    JOHN ARMSTRONG
    What?

    ANASTASIA NOVIKOVA
    Look.

    Anastasia looks at the screen and turns up the volume, while John walks over and, a little confused, looks at the screen.

    JOHN ARMSTRONG
    Hmm...?

    Change view to look at the black screen. CLOSE UP on the black screen.
    One of the police officers is talking into a communicator.

    POLICE OFFICER 1
    (audio from the screen)
    ..ea secured. We're looking for the container. This could take a while.

    Two other police officers talk amongst themselves.

    POLICE OFFICER 2
    (audio from the screen)
    Does anyone know how to operate this thing?

    POLICE OFFICER 3
    (audio from the screen)
    I do. Worked in a warehouse once. But we're supposed to wait for a special unit to arrive.

    POLICE OFFICER 2
    (audio from the screen)
    The special unit? ...hey, don't they deal with hazardous waste!?

    POLICE OFFICER 3
    (audio from the screen)
    Yeah. Rumor has it, they're looking for a nuclear weapon on the ship.

    POLICE OFFICER 2
    (audio from the screen)
    What, are you kidding!? A dirty bomb!? And no one told us!?

    POLICE OFFICER 3
    (audio from the screen)
    Yeah. Apparently, we have to confirm its location before they call in the military.

    POLICE OFFICER 2
    (audio from the screen)

    POLICE OFFICER 2 (CONT'D)
    Man, they don't pay me enough for this!

    POLICE OFFICER 3
    (audio from the screen)
    You 'n' me both, man. You 'n' me both.

    Return to MEDIUM SHOT. John and Anastasia are both stunned. Anastasia looks a little worried. She mutes the screen audio.

    JOHN ARMSTRONG
    (stunned)
    No wonder... Oh, man...

    ANASTASIA NOVIKOVA
    (worried)
    We need to find Sonia, ASAP.

    JOHN ARMSTRONG
    But we don't know where she is, do we?

    ANASTASIA NOVIKOVA
    She left the ship to meet the new accountant. But if there's a nuclear weapon, who are they going to hold responsible?

    John gives Anastasia a nervous look. Anastasia gives John a worried look and then switches on the external camera feed that shows what happens outside the ship's entrance. Anastasia rewinds the video until they see Captain Sonia Petrauskas walking toward Haruto Yamada. The camera shows a LONG SHOT that is the same as the LONG SHOT in Episode 1, Scene 1.

    John and Anastasia see captain Sonia walking toward Haruto. (Anastasia fast-forwards the video to the important parts.)

    ANASTASIA NOVIKOVA (CONT'D)
    That should be the new accountant.

    Then they see the Port Authority Worker run up to Sonia.

    JOHN ARMSTRONG
    Who's he?

    ANASTASIA NOVIKOVA
    No idea, but he's from the Port Authority.

    They see Captain Sonia walk away in a hurry, and see a confused Haruto walk toward the ship's entrance.

    ANASTASIA NOVIKOVA (CONT'D)
    She walks away, that guy waltzes onto the ship--

    Anastasia fast-forwards the video until it shows the police entering the ship.

    ANASTASIA NOVIKOVA (CONT'D)
    --and a few minutes later, the police storm in!

    JOHN ARMSTRONG
    Where is he now?

    ANASTASIA NOVIKOVA
    How should I know? You know there are no cameras in the hallways!

    JOHN ARMSTRONG
    So you didn't get that 'spy camera in the crew quarters' thing to work?

    ANASTASIA NOVIKOVA
    I tried! But--

    Anastasia suddenly freezes, realizing what she's saying, then she slowly, nervously looks at John. John looks at her scoldingly.

    JOHN ARMSTRONG
    (disapproving)
    *mmm-hmm.

    ANASTASIA NOVIKOVA
    (guilty)
    Ehe...

    JOHN ARMSTRONG
    (thinking)
    So how did a nuclear weapon get aboard the ship?

    ANASTASIA NOVIKOVA
    Maybe it was smuggled in? We look at the contents description on the shipping order, we don't look inside the containers. Privacy restrictions, all that stuff. If it clears Port security, it's good enough for us.

    JOHN ARMSTRONG
    (thinking)
    And it was a guy from the Port Authority Office who talked to the captain...

    ANASTASIA NOVIKOVA
    (surprised)
    Are you thinking it was a setup!?

    JOHN ARMSTRONG
    (thinking)
    But why would they wait until now? We finished loading the cargo hours ago.

    ANASTASIA NOVIKOVA
    (shocked)
    ...what if it's a sting!?

    JOHN ARMSTRONG
    (surprised)
    Huh?

    ANASTASIA NOVIKOVA
    (thinking)
    What if this was a sting operation? The Port Authority guy only talked to Sonia after she met with the accountant! What if the accountant is an undercover cop!?

    JOHN ARMSTRONG
    (sigh)
    If we're being framed--

    ANASTASIA NOVIKOVA
    (determined)
    We've got to get to Sonia, now!

    JOHN ARMSTRONG
    (surprised)
    Seriously? The ship is crawling with cops! And we don't know where she is!

    ANASTASIA NOVIKOVA
    But smuggling nuclear weapons is an act of treason! If they've got her...

    JOHN ARMSTRONG
    Not unless we can prove our innocence!

    ANASTASIA NOVIKOVA
    (determined)
    The cops wouldn't be here if there wasn't a nuclear weapon on this ship!

    JOHN ARMSTRONG
    Do you have any idea what we'd going up against!? If we can't prove our innocence, everyone, All of us, will be held responsible!

    John paces back and forth as he talks. Anastasia presses a button on the screen when John turns his back, but he doesn't notice the new, little light on the screen when he turns around again.

    JOHN ARMSTRONG (CONT'D)
    We're out-gunned, out-manned, and we don't have a plan! Sonia my friend too, but we can't just risk our lives to rescue her without a plan! Where would we go? How would we escape? How do we take back control of the ship?

    ANASTASIA NOVIKOVA
    (excited)
    I've got it covered! The Transport Authority rules state that every ship is allowed to have one gun for each person on board, and four rounds of ammunition per weapon! And Aysha just put in a new engine! If we use it, we can fly to some friends of mine before the cops can catch us!

    John is taken aback. Anastasia smiles sweetly.

    JOHN ARMSTRONG
    T-that doesn't explain how we're going to break out the captain, or even where she is!

    John gets back his steam.

    JOHN ARMSTRONG (CONT'D)
    We need a good plan, and the guts to pull it off! Do you think our crew has that kind of courage!? This wouldn't be a piece of cake! Have you thought about it? And about life running from the cops? Living in fear, lurking in the shadows--

    John looks surprised as he notices the light on the screen. A CLOSE SHOT reveals words next to the light: 'Crew Quarters.'

    John looks shocked. Anastasia grins sweetly. CUT TO...

    INT. SONIA'S SHIP: MATT AND JAKE'S ROOM - CONTINUOUS
    MATTHEW WILLIAMS is lying down on the top bunk of bunk beds that are built into the wall. JAKE ROBERTSON is sitting on the bottom bunk. Matt looks surprised and Jake looks enthusiastic as they listen to the audio from the black display screen.

    JOHN ARMSTRONG (O.S.)
    (audio from the screen)
    Oh no...

    CUT TO...

    INT. SONIA'S SHIP: AYSHA AND SELENA'S ROOM - CONTINUOUS
    AYSHA ALIZADEH and SELENA ROBERTSON are each sitting on chairs around a small table. Both women are wearing overalls. AYSHA is listening to the audio with a grin on her face and an open book in her hands. Selena's fists are clenched.

    AYSHA ALIZADEH
    (grin)
    Hehe.

    JOHN ARMSTRONG (O.S.)
    (audio from the screen)
    ...You didn't.

    SELENA ROBERTSON
    (angry)
    In My cargo hold!?

    CUT TO...

    INT. SONIA'S SHIP: ANASTASIA'S ROOM - CONTINUOUS
    John stands with his head resting in his hand, his other arm folded. His eyes are shut tightly, like he's embarrassed and thinking to himself 'How could I have been so Stupid?'

    Anastasia, with a smile, talks sweetly in an announcer voice.

    ANASTASIA NOVIKOVA
    May I have your attention please. All members of the crew who wish to leave the ship--

    CUT TO...

    INT. SONIA'S SHIP: ADRI'S ROOM - CONTINUOUS
    ADRI SHEKHAWAT is sitting on the bottom bunk of a bunk bed that's built into the wall. He's leaning forward, and grinning, as he hears Anastasia's voice.

    ANASTASIA NOVIKOVA (O.S.)
    (audio from the screen)
    --please submit a resignation form and leave within the next fifteen minutes.

    CUT TO...

    INT. SONIA'S SHIP: DR. SHUANG ZHAO - CONTINUOUS
    Dr. Zhao has his own room. There is a bookshelf where a bunk bed would normally be. Dr. Zhao's bed is on the other side of the room. He sits at his desk, which is next to the door and across from the black screen. He is wearing a white doctor's coat. His chair is turned slightly toward the black screen, as he glances over his shoulder at the screen.

    ANASTASIA NOVIKOVA (O.S.)
    (audio from the screen)
    Your outstanding pay and a termination fee will be sent to you as soon as reasonably possible.

    CUT TO...

    INT. SONIA'S SHIP: GUEST ROOM - CONTINUOUS
    Haruto Yamada is lying on the guest bed, wearing a t-shirt, boxer underwear and socks. Haruto is snoring, fast asleep.

    ANASTASIA NOVIKOVA (O.S.)
    (audio from the screen)
    This is your last chance to leave the ship. I repeat, this is your Last chance to leave the ship.

    FADE OUT:
    Last edited by SmartrykFoster; 08-26-2012 at 02:37 AM.

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