With EJ never being around when Alex is, and vice versa, John is beginning to think the other two komikeros are actually (dramatic pause) THE SAME PERSON!  Keep listening to Tres Komikeros to get to the bottom of this chilling mystery.

Oh also we read some comics: Blackest Night #5, Image United #1, and New Avengers #59.  After an audience review and a round of quick shots, the boys played a healthy game of thumb warfare.

Lastly, a sensitive topic is tackled in this week’s panel discussion — Comic Book Elitism.  Yeah.

You know who you are.

Download knowledge here.

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By Robert Kirkman (writer) Erik Larsen, Rob Liefeld, Todd Mcfarlane, Whilce Portacio, Marc Silvestri & Jim Valentino (artists)

The Story: Super-villains are attacking major cities around the world simultaneously, setting the greatest Image Comics heroes on a course that will bring them together for the first time in over a decade!  Youngblood.  Savage Dragon. Spawn.  Cyberforce.  Witchblade.  Fortress.  Shadowhawk.  They’re all here, each penciled by their individual superstar creators!

What’s Good: Kirkman does an admirable job here, but by admirable, I don’t necessarily mean good. What I mean is that it’s obvious that he tried his best.  The writer has a marked appreciation for these characters and this era of comic publishing and that affection gives this first issue a lot of positive energy. It’s fair to assume that Kirkman didn’t have an easy task before him on this project.  Trying to write a cohesive story and service the fact that he’s writing for six different artists and six different franchises is enough to bring any solid writer down, and though he does prove somewhat susceptible to that weakness, there still manages to be some fun to be had with his execution.

Now, no matter how good Kirkman’s plot is, what everyone really cares about with this comic book is the artwork.  While this is certainly not the first time the gimmick of different artists working on the same page has been done, this is certainly the first time such high-profile artists have done so.  That fact alone makes this worth checking out.  Well, provided you’re a fan of at least a few of these artists.  I was surprised that, overall, the mixture of six different styles never really distracted me much from the flow of the story.  An interesting experiment…

What’s Not So Good: Well, if you read between the lines of my “What’s Good” section above, you’ll notice that the best I could say about this comic book was that no one ruined it.  That obviously doesn’t mean that it’s very good.  Let me put it another way.  This comic book would have kicked my skinny little ass when I was in high school.  I would’ve eaten it up and come back for seconds.  Unfortunately, it is not 1992 and, also, I had a pretty shitty sense of what was good back in high school (Except for The Good Son.  I’m standing by The Good Son, you hear me?!).  I don’t even see this appealing to the kids of today as it’s very much of it’s time and most of these characters haven’t exactly been bank-breakers for a very long while.  This might have been a momentous occasion ten years ago, but now?  Too little , way too late.

To further cement my opinion here, let’s list a bunch of stuff within these pages that High School Joe would have overlooked, but Early 30’s Joe can’t help but groan at.  Spawn’s cape (Which is mammoth!  I mean, it’s, like, his whole costume.) disappearing between pages.  One second it’s there, the next, gone.  This is not okay.  How about an explosion knocking everyone off their feet, but the only character who’s literally knocked on her ass so that she can lie in a sexy pose is the hot chick wearing a metal bikini.  Hot?  Well, yes.  Okay?  Not really.  Everyone standing in exaggerated poses while they’re talking to each other and often screaming things through gritted teeth like, “We are all going to die!”, when the person they’re speaking to is, oh, six feet away.  Obnoxious and lazy?  Yep.  Okay?  Nope.  Sound effects spelled “GOOM!”  “Goom”?  “Goom”?  Is this the sound of a goat exploding?  I understand that boom can get old pretty quickly, but there’s obviously a reason it’s lasted so long, people. “Hey, that bomb’s about to go off!”  “GOOM!”  So not okay.

Conclusion: There’s an exchange around the midpoint of this issue between Badrock and the Savage Dragon that goes like this:  Badrock:  “This is going to ROCK!”  Savage Dragon: “Grow up,  already.”  Those two lines perfectly summarize everything to be said about this comic book.

Grade: D

-Joe Lopez

This episode is about as good as it gets as we talk Horror, Beatles, and comics. And semi in depth look into the master film making of that perennial classic Jeepers Creepers and TJ’s favorite film franchise SAW. We then discuss the beatles remasters; Find out who is a Paul Person and who is a John Person, or don’t, i really don’t care. We then touch on the solo careers of the two intelligent beatles and discuss which is better. IN comic talk we discuss Return of Shadowhawk on the iPod and Spacedoubles. Then Kevin talks about the Fable Novel, Peter and Max. Just like Deadpool 900 this episode is dedicated to the loving memory of Bea Arthur.

Get it on iTunes, or www.fbombcast.com, or download directly from here: http://media.libsyn.com/media/fbombcast/fbc56.mp3

So, aside from my various dribbles, I’ve got another regular feature that I’d like to try here on this blog. Basically, every time I go to a comic-book convention – yes, we do have them in Australia, if infrequently – I like to buy a longbox. For those that don’t know, a longbox is pretty much what it sounds like – a long box full of comics, usually of shall we say lesser popularity and from more forgiving times. Basically, these are 10 cent comics. And what I’d like to do is read every last one I get. So this ‘From The Longbox’ feature is part review, part discussion, and probably all snark. Hope you enjoy.

So, for the first From The Longbox, it’s somewhat fitting that the comic I pull at random holds the dubious title of ‘Comic I Own The Most Copies Of’ at thirteen. So gird your loins and lock the children in the cupboard, it’s time to plunge the X-TREME depths of:

REFLECTIVE: X-TREME

SHADOWHAWK #13

Now, I’ve not read any of the previous Shadowhawk issues, so arses if any of it’s going to make sense. I’m already beginning to dread the amount of ’90s contained within it, because on the cover alone we have POUCHES, which is comic talk for GRITTY AND REALISTIC BUT ACTUALLY JUST STUPID – and it’s guest-staring WildC.A.T.S. So, time to crack this baby open and see what it’s made of.

Okay, already. He’s apparently on a quest to find a cure for AIDS. And apparently his most hated enemy is Hawk’s Shadow. Real original there. Next issue of Action Comics is bound to feature that dastardly Man Super, and boy should Hal look out for that fearsome Lantern Green. Anyway, the issue opens with Shadowhawk tumbling face-first out of a pink energy portal (pink being the colour de jour of mysterious energies) and of course, he’s narrating to himself about what happened to put him in this situation. Exposition has always been a bitch in comics. It’s so unrealistic and yet no-one seems to bother trying to come up with a new way of doing it.

Okay, pages two and three. Apparently he’s talking to himself? Or is that his suit. Think it’s his suit. Oh, wait, it’s that Phoebe chick that has something to do with something. There’s a bit of an awkward reminder that he’s supposed to have AIDS in the second panel, having him pop some pills and going “cough”. As we’ll learn by the end of the comic, the only way he can take medication is to throw it at his face, mouth agape, and I suppose just hope it goes in. Anyway, as is always convenient, that portal thingy has dumped him next to what appears to be a warehouse where some dudes with some X-TREME ABS are holding a couple of other dudes with terrible fashion sense (seriously, blonde hair in a green suit, and green hair in a bright blue suit. Shoot the fuckers.) Phoebe makes mention that the hostage takers are called the Black Razors and they’re going to kill their hostages.

How does she know that? Either she’s in on it, psychic or she’s helpfully concluded that these guys are the worst kidnappers and / or killers ever. Anyway, cue up another cliché as Shadowhawk swoops in dramatically through a window, swinging by a line so thin that if granted to us mere mortals would revolutionise textiles technology. Oh, and Shadowhawk has claws on his fists. Did I mention that? This was the ’90s.

I really don't want to know what porno this is traced from.

Of course the blonde guy has a goat’s tuft beard and beatnik glasses. Anyway, Shadowhawk is beating up some guys and talking to himself – well, thinking to himself, more accurately, demonstrating that one of his powers must be super-accelerated thinking in order for him to get out a couple of paragraphs between throwing punches and doing splits mid-air. So Blondy and Green Hair wake up, see what’s going on, and decide to help. Blondy looks like he’s Hulking out and Greeny looks like someone’s urinating stainless steel onto him, so I’m going to go out on a limb here and say these are some of those WildC.A.T.S we read about earlier.

Traditional introductions. They are the WildC.A.T.S, surprise surprise. Two of them, at least. A Hulk and a Wolverine. Hulk is “bellowing out his rage!” which is an awkward line. There’s more muscle lines and clenched fists in these two pages than I’m sure is allowable by law these days. The warehouse seems to be pulling a TARDIS as I’m sure as fuck it wasn’t this huge. Oh, and blood! Our first gory casualty of the day. Wolver- erm, Warblade snik’d skewered a guy with his metal claws his metal claws. And Shadowhawk punched a guy so hard that speed lines came out.

And Hulk – or Maul, or Mauler, or whatever – has busted through the roof of the warehouse. There goes that TARDIS theory. Anyway, apparently he gets dumber the bigger he gets, which begs the question of “why does he need to be 40ft tall when no-one he is fighting is even 7ft” but hey, it’s a good shot of stompy action. Warblade seems unable to touch anyone without them exploding in blood, whilst Shadowhawk seems content with punching glass – red glass, mind you – out of helmets.

And here’s the rest of the WildC.A.T.S, jumping down from… nowhere, apparently, to make a dramatic and conveniently framed entrance! And more dialogue that couldn’t possibly be all said in the time it’s taking them to fight. We’ve got CHESTplate Void, Spartan, Weeaboorella Zealot, Grifter, and Voodoo, all namechecked of course for your convenience. Grifter punches a guy so hard his trench coat becomes short-sleeved and Voodoo goes to calm down and shrink Maul down to his former size, which could be a great metaphor for sex (the raging bull of instinct calmed by the soft touch of a woman), but in reality it’s probably just ANGRY = BIG = DUMB = BAD = MAKE SMALL, which is a shame.

He's always showing off his super-ventriloquism.

Anyway, Void spouts some zen nonsense as the fight winds up and Shadowhawk collapses. Spartan recognises him and Voodoo says there’s some sort of monster inside him (AIDS or something more sinister? Wait, ’90s, so yeah, it’s the AIDS) and they all teleport to Halo, INC, which is their headquarters I presume. Voodoo tries to exorcise the ‘demon’ within him, but she can’t, because Dwarf Magneto Look-Alike In A Suit walks in and announces that it’s AIDS (surprise surprise). Of course, everyone is shocked, but Spartan has a solution – they’ll just transfer his mind to one of his robotic bodies, and as we all know, machines can’t get viruses so he’ll be safe! Also, he’s a robot? I just assumed the lack of pupils was due to… yep, you guessed it, the ’90s. The Spartan is obviously a robot supremacist as he spouts some pro-robot body nonsense.

Shadowhawk conveniently regains consciousness long enough to inform them all that HE AIN’T GOT NOTHING LEFT TO LOSE, MAN so any and all ethical and moral concerns about turning a man into a robot are thrown out the window. We then move on to a double-page splash with the ‘new’ Shadowhawk standing triumphant, his new body coming with a brand new shiny metal crotch and spiked kneecaps. The rest of the WildC.A.T.S team is standing around in the background, hips and shoulders swaggered in ways that would make a supermodel cringe. Dwarf Magneto Look-Alike In A Suit – who is called Lord Emp, apparently – is standing underneath aforementioned chrome jockstrap, smoking his cigar, which is code for “he’s the boss”.

Mr. Shadowhawk, are you trying to seduce me? Lord Emp reveals a fetish for over-developed abs and spikes.

And now we come to the portion of every team-up comic where everybody fights, because that’s just what happens, damnit. Lord Emp offers the helpful advice that he’s going through transplant rejection, which doesn’t make any sense whatsoever because nothing was actually transplanted, and I can’t remember the last time someone with a new liver that didn’t take decided to begin punching people, but hey – COMICS, right? They use their fists to solve the problem and are about to kill him – bwah? – when that Phoebe woman says not to, and just transfer him back into his original body. Void says “Yeah, I totally knew she was there the whole time. I just didn’t feel like telling ya’ll, totally.” and just as fast as he was transferred into the new body, he’s transferred out (and we don’t get to see either procedure) He pops some pills – because remember, AIDS – and he teleports out of there, leaving the WildC.A.T.S standing dramatically in shadow, having obviously forgotten to pay the lighting bill. Apparently this whole experience has convinced him that there is a cure for AIDS somewhere in the world, which is a bit of a leap of logic considering that the only ‘cure’ he came close to realising in this comic was simply doing the biological equivalent of jumping ship into a shiny new metal body.

HIGH FIVE! *snuffle* Aw gross, anyone got a tissue?

So What Did You Think?

Well, the above was written pretty raw, as I didn’t want to dilute any impressions that I had by knowing what was coming next / where they were coming from, but now I’ve Googled and Wiki’d my way into a bit of background knowledge.

I suppose this was all rather topical in the ’90s, being the decade where AIDS really freaked the shit out of people when it started killing straight people they cared about instead of gay people they could ignore. Having a character with AIDS today seems cliché, but back when this was written it was probably a bit more fresh, because that’s where the cliché started. But the whole AIDS thing doesn’t really make a huge impact on the storyline – it’s more a bio-Mac Guffin than anything. It’s why he’s looking for the WildC.A.T.S and it’s why they give him a new robot body, but for something mentioned so much it doesn’t really do anything that couldn’t be replaced with “the common cold” or “techno-organic virus“. AIDS implies a certain level of intimacy and reaction on the part of society that just feels missing here. And when he lifts up the mask to take his pills, I have to say he’s certainly got a healthy complexion for someone so sick.

It’s never explained in-story just what the hell Warblade and Maul are doing in that warehouse, and Spartan’s initial reluctance to help or have anything to do with Shadowhawk because he’s a wanted fugitive is dropped as soon as it’s mentioned (and it’s even him that tries to help him with the whole robot-body thing) At least they didn’t cop out and just give him the robot body – the whole AIDS thing already felt a little undermined when Voodoo tried to exorcise it, not to mention that despite being sick, he’s still healthy enough to fight crime. I did read that eventually he dies from it, which is a nice morbid end to it all I suppose.

The whole comic doesn’t really stand out as being too bad, but it’s not too great, either. It’s part of an arc, so I suppose any momentum would have been lost on me, but as a stand-alone issue it’s readable if forgettable. Would I have done anything different?

Well I’m a stickler for moral issues and the nature of people, so I probably would have focused more on the seemingly throw-away option of just putting him in a robot shell. That doesn’t cure AIDS, just lets your mind live on beyond the death of your body. It doesn’t cure anything, and you don’t put on tights and punch people if you aren’t a bit selfless, so that wouldn’t have sat well with Shadowhawk. Spartan’s reaction intrigues me – at first he didn’t seem to like Shadowhawk, but as soon as he found out he had AIDS, he was the first to volunteer a solution. There might have been a nice character moment between the two if that was explored further. Overall it felt as though the WildC.A.T.S weren’t being used that much – they felt like a gimmick, which many team-up comics are. It’s hard to give everyone to be themselves, but it’s something I maybe would of tried to do harder. Maybe drop the completely pointless hostage opening hook and use those pages time to build up more of an interaction / conflict with Shadowhawk.

But for the first From The Longbox, it’s not entirely awful. Here’s hoping for next time, huh?

]]> http://bbvm.wordpress.com/2009/03/30/why-secretly-funded-dea-surveillance-planes-arent-flying/ Mon, 30 Mar 2009 20:50:44 +0000 BBVM http://bbvm.wordpress.com/2009/03/30/why-secretly-funded-dea-surveillance-planes-arent-flying/

WASHINGTON — The first sign of trouble with the Drug Enforcement Administration’s new surveillance planes surfaced almost immediately.  On the way from the manufacturer to the agency’s aviation headquarters, one of them veered off a runway during a fuel stop.

The malfunction last spring was only the beginning.  A month later, the windshield unlatched in mid-flight and smashed into the engine.  Then, in a third incident on the same plane, a connection between the propeller and the engine came loose and forced an emergency landing.

In January, after less than 10 months of operation, the cascade of mechanical problems forced the DEA to ground the planes.

The planes recently were scheduled to be “cannibalized” so the DEA could sell the parts and recover as much of its money as possible.

The story behind why the DEA sought out the three planes, only to become the second federal agency to give them up, illustrates the pitfalls of “black,” or classified, budgeting in which Congress approves tens of billions of dollars for intelligence agencies outside the public’s view.

The twin-engine planes, manufactured by Schweizer Aircraft, likely came out of an even more shadowy funding provision known as “black earmarks,” according to government officials with knowledge of the contract.  The officials asked to remain anonymous because the planes, known as “Shadowhawks,” received funding secretly.

Lawmakers often earmark projects to score sought-after contracts for companies back home.

The idea is to encourage cutting-edge research and development that wouldn’t otherwise get approval during the ordinary budgeting process.  During the regular and more transparent budgeting process, earmarks can sometimes pay for worthwhile projects, experts said.

Black earmarks, however, receive almost no scrutiny.  Even worse, there’s little accountability when the technology doesn’t work.

The lack of transparency has led to some staggering boondoggles.  In 1991, then-Defense Secretary Dick Cheney canceled the troubled A-12 Avenger II after the secret aircraft program consumed nearly $3 billion of taxpayers’ money.

In one of the most notorious cases, former California Republican Rep.  Randy “Duke” Cunningham is serving just over eight years in prison for taking bribes in exchange for secretly steering classified contracts to favored companies.  A congressional report concluded that the contracts totaled $70 million.

Despite calls to end it, lawmakers have continued the practice.

In this case, Schweizer received $13.5 million from Congress for the now-defunct planes and could be paid an additional $1.75 million by the DEA for retrofitting them.

Where the DEA got the planes is unclear.  William Brown, the special agent in charge of the aviation division in Fort Worth, Texas, said he was under the impression that the funding for the planes was earmarked for the State Department, but officials with knowledge of the transaction said the planes had been intended for another agency for intelligence purposes.  The officials couldn’t be named because they weren’t authorized to speak publicly.

Sikorsky Aircraft, a unit of defense conglomerate United Technologies, bought Schweizer in 2004.

Schweizer officials said they didn’t know where the original funding came from because Schweizer got the contract before Sikorsky bought the family-owned company.  Schweizer, founded in 1937 and based in Elmira, N.Y., specializes in light helicopters, reconnaissance aircraft, and unmanned aerial vehicles.

Critics say the DEA’s decision to acquire the planes not only raises questions about the secrecy of intelligence budgets, but also about the leadership of the DEA’s aviation division.

Last month, McClatchy reported on a separate controversy sparked by Brown’s decision to spend more than $123,000 to charter a private jet to fly Acting DEA Administrator Michele Leonhart to Bogota, Colombia, in October.

Government watchdogs called the charter excessive, considering the DEA could’ve rescheduled the flight on one of the agency’s 106 planes.

Brown also sought out the Schweizer planes.  He said he first heard about them during a sales pitch by then-President Paul Schweizer, who couldn’t be reached for comment.

“I thought it was good fortune for us because we were thinking of buying similar planes anyway,” Brown said, “Paul told us that it looked like this other agency doesn’t want them anymore, but they might work out well for you.  That sounded like a good deal to us.”

There was one problem: The planes were untested.  They represented the first three of the model, which was handcrafted instead of mass produced.  As a result, they were listed with the Federal Aviation Administration as “experimental.”

DEA officials with knowledge of the malfunctioning planes said that pilots feared flying them, especially in high-elevation areas.  “Anybody who flew the aircraft was a test pilot,” said one of the officials.  The officials didn’t want to be identified because they disagreed with the DEA’s official stance on the aircraft.

Brown, however, said he didn’t cancel the program because of safety problems, but decided the planes were simply too difficult to repair because the manufacturer didn’t have spare parts on hand.

He said the problems were not surprising considering the planes were new.  “When you have a first of anything — whether it’s a Chevy or a Ford or a plane you expect they will need to be tweaked.”

Officials with Schweizer also said the planes were safe.

“From a safety standpoint, our record is perfect,” said David Horton, the president and general manager of Schweizer Aircraft Corporation.  “We have not had anybody hurt.”

Horton said the DEA “loved the planes,” which were designed to fly long distances quietly.  “There’s really no any other airplane in the world that can do what these airplanes can do.”

While Brown said he thought the DEA wouldn’t have to pay Schweizer the remainder of the contract, company officials said those details were still being worked out.  Schweizer already received more than $583,000 for retrofitting work on the planes, which the DEA is unlikely to recover.

“We’ve agreed between the two parties that we’re not going to operate the ( Shadowhawk ) planes anymore,” Horton said.  “Anything beyond that has not been decided.”

Jim Henderson, a retired DEA agent and pilot who hasn’t flown the planes, but was given details about them by McClatchy, said the agency should’ve realized the planes hadn’t been adequately tested.

To insure the quality of its planes, Henderson said the DEA usually puts out a request for bids or proposals in a much more formalized process.  Even when the DEA acquires planes after seizing them from drug traffickers, the planes undergo rigorous tests before they’re scheduled for flyovers.

Henderson, who worked for the aviation division for 26 years, said if one of the two engines had failed, the Schweizer plane might not be left with enough power to fly out of a high elevation area such as Guatemala City.  Initially, one plane was flown into Guatemala, but pilots complained, and Brown decided to fly it in the Caribbean.

DEA flyovers can be risky.  Since the aviation division’s inception in the early 1970s, 16 pilots on DEA missions have died in plane or helicopter crashes, including four DEA agents during a reconnaissance mission in Peru, according to the agency’s Web site.

“The DEA should have known better,” said Henderson, who’s a former member of the DEA’s safety council.  “It was irresponsible and unsafe to put pilots in these planes.  I wouldn’t have flown them.”

Schweizer has no plans to give up on the planes anytime soon.  Congress, led by Kentucky Republican Rep. Hal Rogers, appropriated $48 million for the company to manufacture the next generation of the planes for the Coast Guard and Customs and Border Protection.  Company officials said the new version would have a more powerful engine than the planes the DEA rejected.  “We’ve learned a lot,” Horton said.

Coast Guard officials said they planned extensive testing before they fly the planes on missions.

The Coast Guard has had its own bad experience with earmark projects, including a $4.65 million patrol boat.  The Coast Guard couldn’t use the 85-foot craft, manufactured by Guardian Marine of Edmonds, Wash., for several reasons, including the vessel’s fiberglass hull.  Usually, Coast Guard boats are made of sturdier aluminum or steel, but the agency hadn’t requested the funding for the fiberglass boat.

At a loss over what to do with it, the Coast Guard allowed other law-enforcement agencies to bid on it.  The Alameda County Sheriff’s Office in California bought it for $1.

Meanwhile, the Schweizer planes, originally scheduled to be completed this year, have been delayed until 2012.  Asked whether such delays were common with such projects, Capt.  Michael Emerson, the chief of the Coast Guard’s office of Aviation Forces, responded, “It seems to be.”

“Unfortunately, with developmental projects like this, it’s not unusual for them to ’slip to the right’ as they say,” he said.  “It’s not desirable but there is an acknowledgement that you don’t want them to turn out badly.”

( Halimah Abdullah and Tish Wells contributed to this article.  )

ShadowHawk is a fictional comic book vigilante anti-hero created by Jim Valentino.

He was first introduced in the Malibu Sun free promotional magazine in May of 1992. His official Image Comics debut was in the second issue of Rob Liefeld’s Youngblood series.

Originally, the name Shadowhawk was to be used for the Marvel character Starhawk while he had darkness powers, but Tom DeFalco convinced Valentino to use the name for a new character instead.

After the robot is destroyed, Eddie Collins makes his debut as the new ShadowHawk. Having just moved to New York with his recently (one year) widowed father, James Collins, an electrician, Eddie a young high school student was walking down a street when the helmet literally fell into his hands. The helmet called Nommo contains the spirits of all people who were, at one time, inhabited by ShadowHawk, the Spirit of Justice. Eddie Collins tried to meditate with the Nommo on, meeting the spirit of Paul Johnstone, who tells Eddie that he is a reincarnation of a first dynasty Egyptian shaman, how he was the last ShadowHawk and that Eddie is destined to start anew.

At first Eddie Collins widowed father, James Collins ordered him to stop, thinking it would kill him. But Eddie is faster, stronger and more agile now and finds new responsibility to the people of New York City. After saving some hostages, Eddie meets Captain Nieves and starts working with him.

To download issues 1 shot, 2 1-3, 3 1-4, Creatures of the night 1,2 Images of 1-3, Special 1
Monster within 1-6, The next 1-4

Shadow1

To download issues The next 5-7, The return, v2 1-4, v3 1-15, Legend

Shadow2

Este año, definitivamente estos chicos de Shocker Toys, la están haciendo muy bien, ya que como no muchas de las empresas pequeñas del mercado juguetero, se han lanzado a los leones compitiendo y mostrando lo suyo en las mejores ferias de hobbies del mundo, dejando una muy buena impresión, o como mínimo, buena impresión.

Ahora es el turno de que veamos algunas de las figuras que en el año solo les mostramos como prototipos (el caso de Metalocalypse) y que revisemos algunas otras que ya habíamos revelado.

Veamos las fotelis:

Manténganse Informados!!

Spectr0