Page 15
T h e T Y R O N E R e s t o r a t i o n s
Fig. 1. Presenting the lead character: Tyrone A. Saurus.
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How a simple idea evolved into a major, out-of-control project.
More than twenty years after two neighbors made some tee-shirts together, the rise of the personal website -- built by novices -- has breathed new life into an extinct film and merchandising enterprise.
A lot has changed since 1993. A lot. No single element contributed more to these changes than the advent of the personal computer. The omnipresent PC has so altered our ways of living -- and thinking -- that it's hardly an exaggeration to describe the past twenty years as "pre-computer" years versus "post-computer" years. And nowhere is this dichotomy more evident than in the film and book industries.
Cases in point: Steven Spielberg's Jurassic Park films and the BBC's documentary series: Walking With Dinosaurs. Let alone the advent of the "eBook" and the millions of new volumes that line the virtual shelves of Amazon, Barnes & Noble, and other outlets. The revolution that began in the early nineties and continues to present day, serves as both the inspiration and nemesis of creative minds seeking to take advantage of the nonstop possibilities coming online -- a term which has taken on a whole new relevance for both amateurs and professionals alike.
During the immensely transitional period of the nineteen-nineties, the Tyrone project was one of the casualties of the new paradigms taking place everywhere, seemingly in every industry, vocation, artistic and intellectual endeavor. The ability to produce artworks and books faster and cheaper than ever before was a seductive and ultimately counter-productive force that doomed many entrepreneurs to years of frustration and losses of small fortunes in the process.
As much as things change, they remain the same. Such is an old adage that remains as true today as when it was first put into words. Two things that should have gone together -- but didn't ever -- was first the idea that a lack of inventory was all that stood in the way of success for an eager enterpriser, and secondly that the new PC's, printing methods, and other technologies could now produce the required products necessary to sell virtually anything. What could possibly go wrong? The answer lie with the proverbial Murphy's law, which meant that a lot could -- and would -- go awry. Murphy definitely represented a newer adage, the veracity to which I and my friend, Len, can readily testify.
Both of us should have learned our lessons from the expenses incurred during the similar transitions from eight-track tapes to cassettes, and finally CD's. Likewise, the moves from VHS to Laserdisc, and finally to DVD's. The moral to be learned was the same in every case: today's miracles are tomorrow's obsolescence. An even more sinister, if not diabolical effect lurked just below the surface, however, and like a predator in wait and hiding, was ready to victimize all who dared to tread within its territory.
I refer to the enticement that appeals to the creatively naive among us. That reaches out to those persons who would have otherwise understood how the truly big dreams in life ordinarily remain out-of-reach. Certainly with respect to the more imaginative, intellectual realms of human endeavor. Big dreams in this context refer to unrealistic aspirations by persons who possess neither the acumen, knowledge, or inside contacts necessary to take an original property from conception to execution to final sale, especially within the entertainment industry. The same applies, as Len and I soon learned, to the literary fields as well.
Whether writing a fiction novel or a treatment for film, the addictive lure of the new technologies, which simplified and expedited the production of all things creative, doomed most players to suffer from neurotic "delusions of grandeur". The true end-products of which were lots of lost time and even larger losses of money. Live and learn? Indeed.
The chances for fame and financial success in the entertainment industry today is worse than ever. If for no other reason, due to the sheer numbers of those competing for some small piece of an always limited (and highly nepotistic) pie. That said, such aspirations are also more fun, productive, inventive, and unrestricted than ever. One of the big causes for this stems from the fact that more knowledge -- even wisdom -- is available today and derives directly from the internet. The web serves as the ultimate guru who, instead of sitting in seclusion atop a tall mountain, is at your fingertip disposal 24/7. Literally everything that Len and I had to learn the hard way, so to speak, is accessible -- and teachable -- from the nearest keyboard.
Another old saying, to wit if I only knew then what I know now, is not so far fetched in terms of how it applies to the "walking wounded" still limping about -- survivors of those days who can honestly submit that, given the same amount of energy, time, and money (plus the internet and abundance of social sites) their chances for a certain degree of success would have been greatly enhanced if not guaranteed. Indeed.
As a tiny, imperceptible re-step in these directions, my personal website affords me the opportunity to re-introduce the world to Tyrone and his many friends. I do so not because I still suffer from delusions of one form or another -- well, maybe a little -- but chiefly because the cost to do so is virtually nonexistent. All that's required is the time and energy (and some amount of talent) to display our wares and let the world make of things what it will -- or won't.
Thus presented here for your edification, amusement, entertainment -- or sympathy -- are the bits and pieces that lay buried beneath more than twenty years of dust. Akin themselves to the very fossils portrayed in Tyrone's story, enough of the remnants of the original project are still around such that a verbal and artistic presentation is both possible and worthwhile.
And while neither Len nor I harbor any illusions about resurrecting our dinosaurs like modern-day Jurassic clones, it's a joyful hoot giving them the long overdue exposure they've always deserved. Little different from how the world itself has changed, is the obvious need for Tyrone and friends to get an equally past-due upgrade. Reimagining the story from its essentially pre-computer beginnings into the post-computer era represents its own new project of sorts. Some amount of time and effort will go into revising and updating the basic plot and other story elements to better coincide with both scientific advancements and the increased sophistication of our potential readership.
Neither Rome nor prehistory were built in a day (as the saying goes?) and therefore all the bones, fossils, and other artifacts are still being assembled, collated, cleaned, identified and organized. I don't think a real paleontologist -- or archeologist -- has anything on us. In the meantime, feel free to don your pith helmet, magnifying glass, and childhood sense of humor. A cross among Rocky the Flying Squirrel, The Three Stooges, and Warner Brothers' Road Runner cartoons -- with hat tips to Steven Spielberg and the late Michael Crichton, the Clonosaur Adventures, starring Tyrone A. Saurus, is born anew.
A lot has changed since 1993. A lot. No single element contributed more to these changes than the advent of the personal computer. The omnipresent PC has so altered our ways of living -- and thinking -- that it's hardly an exaggeration to describe the past twenty years as "pre-computer" years versus "post-computer" years. And nowhere is this dichotomy more evident than in the film and book industries.
Cases in point: Steven Spielberg's Jurassic Park films and the BBC's documentary series: Walking With Dinosaurs. Let alone the advent of the "eBook" and the millions of new volumes that line the virtual shelves of Amazon, Barnes & Noble, and other outlets. The revolution that began in the early nineties and continues to present day, serves as both the inspiration and nemesis of creative minds seeking to take advantage of the nonstop possibilities coming online -- a term which has taken on a whole new relevance for both amateurs and professionals alike.
During the immensely transitional period of the nineteen-nineties, the Tyrone project was one of the casualties of the new paradigms taking place everywhere, seemingly in every industry, vocation, artistic and intellectual endeavor. The ability to produce artworks and books faster and cheaper than ever before was a seductive and ultimately counter-productive force that doomed many entrepreneurs to years of frustration and losses of small fortunes in the process.
As much as things change, they remain the same. Such is an old adage that remains as true today as when it was first put into words. Two things that should have gone together -- but didn't ever -- was first the idea that a lack of inventory was all that stood in the way of success for an eager enterpriser, and secondly that the new PC's, printing methods, and other technologies could now produce the required products necessary to sell virtually anything. What could possibly go wrong? The answer lie with the proverbial Murphy's law, which meant that a lot could -- and would -- go awry. Murphy definitely represented a newer adage, the veracity to which I and my friend, Len, can readily testify.
Both of us should have learned our lessons from the expenses incurred during the similar transitions from eight-track tapes to cassettes, and finally CD's. Likewise, the moves from VHS to Laserdisc, and finally to DVD's. The moral to be learned was the same in every case: today's miracles are tomorrow's obsolescence. An even more sinister, if not diabolical effect lurked just below the surface, however, and like a predator in wait and hiding, was ready to victimize all who dared to tread within its territory.
I refer to the enticement that appeals to the creatively naive among us. That reaches out to those persons who would have otherwise understood how the truly big dreams in life ordinarily remain out-of-reach. Certainly with respect to the more imaginative, intellectual realms of human endeavor. Big dreams in this context refer to unrealistic aspirations by persons who possess neither the acumen, knowledge, or inside contacts necessary to take an original property from conception to execution to final sale, especially within the entertainment industry. The same applies, as Len and I soon learned, to the literary fields as well.
Whether writing a fiction novel or a treatment for film, the addictive lure of the new technologies, which simplified and expedited the production of all things creative, doomed most players to suffer from neurotic "delusions of grandeur". The true end-products of which were lots of lost time and even larger losses of money. Live and learn? Indeed.
The chances for fame and financial success in the entertainment industry today is worse than ever. If for no other reason, due to the sheer numbers of those competing for some small piece of an always limited (and highly nepotistic) pie. That said, such aspirations are also more fun, productive, inventive, and unrestricted than ever. One of the big causes for this stems from the fact that more knowledge -- even wisdom -- is available today and derives directly from the internet. The web serves as the ultimate guru who, instead of sitting in seclusion atop a tall mountain, is at your fingertip disposal 24/7. Literally everything that Len and I had to learn the hard way, so to speak, is accessible -- and teachable -- from the nearest keyboard.
Another old saying, to wit if I only knew then what I know now, is not so far fetched in terms of how it applies to the "walking wounded" still limping about -- survivors of those days who can honestly submit that, given the same amount of energy, time, and money (plus the internet and abundance of social sites) their chances for a certain degree of success would have been greatly enhanced if not guaranteed. Indeed.
As a tiny, imperceptible re-step in these directions, my personal website affords me the opportunity to re-introduce the world to Tyrone and his many friends. I do so not because I still suffer from delusions of one form or another -- well, maybe a little -- but chiefly because the cost to do so is virtually nonexistent. All that's required is the time and energy (and some amount of talent) to display our wares and let the world make of things what it will -- or won't.
Thus presented here for your edification, amusement, entertainment -- or sympathy -- are the bits and pieces that lay buried beneath more than twenty years of dust. Akin themselves to the very fossils portrayed in Tyrone's story, enough of the remnants of the original project are still around such that a verbal and artistic presentation is both possible and worthwhile.
And while neither Len nor I harbor any illusions about resurrecting our dinosaurs like modern-day Jurassic clones, it's a joyful hoot giving them the long overdue exposure they've always deserved. Little different from how the world itself has changed, is the obvious need for Tyrone and friends to get an equally past-due upgrade. Reimagining the story from its essentially pre-computer beginnings into the post-computer era represents its own new project of sorts. Some amount of time and effort will go into revising and updating the basic plot and other story elements to better coincide with both scientific advancements and the increased sophistication of our potential readership.
Neither Rome nor prehistory were built in a day (as the saying goes?) and therefore all the bones, fossils, and other artifacts are still being assembled, collated, cleaned, identified and organized. I don't think a real paleontologist -- or archeologist -- has anything on us. In the meantime, feel free to don your pith helmet, magnifying glass, and childhood sense of humor. A cross among Rocky the Flying Squirrel, The Three Stooges, and Warner Brothers' Road Runner cartoons -- with hat tips to Steven Spielberg and the late Michael Crichton, the Clonosaur Adventures, starring Tyrone A. Saurus, is born anew.
T h e C L O N O S A U R A D V E N T U R E S
Featuring TYRONE and his Friends:
AMBER STONE, Li'l' Saurus, PROFESSOR PROSAURUS
plus JEFF and REBECCA PROSAURUS.
Also starring the DINOBYTES:
Digit, Widget, and Fidget
as featured in:
New, over-the-top 2014 title slide. Go to next page of The Tyrone Restorations to see original 1993 version.
Fig. 4. Real amber crystal. Credit: rockhounds.com
Fig. 7. A series of never-ending chases, bites, and totally unexpected transformations.
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Leader of the pack: The clever Digit.
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Fig. 6. A cheeseburger? Duhhh.
Fig. 8. The blood palette used for cloning purposes.
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During the early part of the twenty-first century, few would have suspected that hidden away in a secret laboratory, inscrutable forces were at work that would forever change the course of human history. History that was about to repeat itself. Prehistory, that is. Not only in the form of Jurassic Park giants who could stomp about and trample everything in their path, but also in the guise of the smallest things, those that buzzed instead of went bump in the night, and whose appetites were the equal of their most immense and impressive cousins.
So begins a tale of extraordinary proportions. Both in size and aspirations. A story that would have remained buried among the fossilized crystals of prehistoric amber from which it was spawned -- had it not been for the curiosity of a gifted professor and his two, equally talented grandkids.
Written and illustrated in the early 1990's, Attack was a collaborative work co-created with my good friend, Len Gould. As a result of the popularity of the book and movie, Jurassic Park, we were both inspired by the novel idea that something which was the very antithesis of gigantic dinosaurs -- namely tiny, mosquito-like bugs -- should play such an important role in writer Michael Crichton's original story.
For those unfamiliar with the basic concept, the idea was devised -- on scientifically sound principles -- which suggested how a number of prehistoric, blood-sucking insects that were trapped and preserved in the once sticky, but now fossilized sap of trees, might theoretically contain the blood of the dinosaurs they fed upon as their last meal. Since blood is a good source of a creature's DNA, it was further theorized that modern-day dinosaurs might be "cloned" from the chromosomes extracted from any one of the insects in question.
Len's and my story, intended as a comedic, slap-stick spoof, originally focused only on a family of dinosaurs, male and female T-Rexes, plus a small, unknown species dubbed simply as "Li'l Saurus". Tyrone, the male, along with Amber (a voluptuous female), were the more-than-successful results of Professor Prosaurus' private experiments, each of the three dinosaurs having been cloned from the three recovered, prehistoric midges in his possession.
The professor's two young grandchildren, Jeff and Rebecca, assist and participate in their grandfather's highly secret lab work. Once the friendly and intelligent dinos are "hatched", the kids grow quickly attached to all three, adopting them not only as pets, but as beloved family members. All other scientists have failed where Prosaurus has succeeded, and he intends on keeping it that way until he can guarantee the safety of everyone concerned -- especially the dinosaurs'.
The remainder of the plot was then to have been little more than an ongoing series of both adventures and misadventures as the professor and the kids attempt to keep the dinos' existence a secret. Moving to Prosaurus' cabin in the mountains, the professor retires from his employment at a local research facility, but not before some with a militaristic bent catch wind of what he's been up to. And kidnap his daughter and son-in-law. The two will not be released until Prosaurus divulges (only to them) his secrets to the successful cloning of dinosaurs.
Concerned for the well being of their "clonosaurs", the professor and the kids employ a number of bizarre solutions to their dilemma, one of which involves snail-mailing all of Prosaurus' colleagues, around the world, divulging to them the secret to cloning dinosaurs. The professor uses the postal system because he has created a special cloning "kit" that he sends to all the recipients on his list. The professor figures his daughter and son-in-law will be released once the secret has been revealed to all the world's scientists.
The solution to successfully cloning the dinosaurs, which had eluded all other scientists -- including the military -- was the professor's discovery of a missing ingredient -- found when some of the cheeseburger Prosaurus was eating at the time, accidentally contaminated the DNA mixture being used to fertilize the eggs from which the mutant clones were created. Since the average cheeseburger contains over 18,000 separate chemicals and ingredients, trying to isolate the one or two that solved the riddle seemed pointless. Thus it was far easier to put the sandwich through a blender and inject a tiny amount into the rest of the mix.
As a fortuitous result, the two, carnivorous T-Rexes not only crave cheeseburgers as their food of choice, but the burgers keep them relatively tame and passive. It is this clandestine discovery and all the directions necessary, that the professor decides to share with the scientific world, hoping to divert the military from their attention solely on himself, and thus guaranteeing the release of his family from their captors. But as they say in show-biz lingo, this was only the beginning. Something new was about to be added to the mix and forever change the face and pace of the basic story itself.
While Len and I were sharing our tale with friends and business associates, a clever and innovative addition to the essential storyline was conceived. We suddenly realized that an exciting part of the "big picture" had been missing all along -- one that we'd inadvertently ignored, but once acknowledged, turned everything on its proverbial head and gave rise to what began at first as a sequel, but soon became the basis for the entire second half of the story -- from the beginning.
The missing ingredients were the three bugs themselves, whose blood had been used as the source of the dinosaur DNA, and who themselves were strangely and profoundly mutated as a result of the professor's experiments. Thus The Clonosaur Adventures is essentially a story in two parts. The first half of the tale sees the creation of the dinosaur clones and their assimilation into the Prosaurus family. The second part introduces readers to the three insects that the professor labels as dinobytes. Once they make their comedic appearance, the two otherwise separate stories quickly overlap and become a single, integrated chronicle.
Just as the main dinosaurs were endowed with intelligence and gentility as a side-effect of their transformation, so were the three prehistoric mosquitoes changed in similar but also extraordinarily different ways. At first, their story runs parallel with, but initially separate from the exploits of the hugely expanded Prosaurus "family". As mentioned, it isn't long before the bugs find the dinos (their natural prey) and the clonosaurs become aware of them. Adding to the awkward situation is the fact that Tyrone and his saurian companions are instinctively afraid of the aggressive insects whose bite is apparently very painful.
As the second part (chapter) of the Clonosaur Adventures begins (now known as Attack of the Amazing, Prehistoric, Blood-Sucking Dinobytes) and temporarily takes center stage, a series of background adventures detailing the bugs' escape from their containment cages demonstrate the individual personalities and mental savvy of the three. Once loose in the forest, they live off the local wildlife until the day comes when they spot the familiar looking beasts from millions of years earlier, on which they were used to feeding. Dinosaurs! Afterwards, all bets are off when utter mayhem ensues as the dinobytes endeavor to satisfy their hunger for dinosaur blood. Similar to that coyote who devised endless schemes all designed to catch the road runner, much of the subsequent story involves an ongoing battle between the clonosaurs and their small but persistent pursuers.
With a virtual banquet awaiting them, the three bugs waste no time in drinking their fill from Tyrone and Amber, while Li'l Saurus is too fast and agile to get caught. Meanwhile, it isn't long before we begin to witness the bizarre ramifications and consequences of mutant mosquitoes sipping the blood from equally mutated dinosaurs. With their bellies full, the dinobytes undergo yet another evolutionary change that the professor could not have imagined in his wildest dreams.
As a result of feeding, the trio whose names are Digit, Widget, and Fidget, metamorphose into full-size dinosaurs themselves. They are virtual duplicates of Tyrone and Amber which is not, however, as complicated as it might sound at first. Another transformation has also taken place, simultaneously, and again something that no one could have foreseen or anticipated.
Tyrone and Amber, once bitten, then shrink in size and they themselves transmogrify into dinobytes. In other words, the bugs are now dinosaurs and vice versa. Important to note is that everyone is still the same in all other respects; only their bodies have changed.
Growing hungry and craving blood, Tyrone and Amber (as dinobytes) are forced to hunt down and bite their maniacal namesakes who have been causing endless havoc, inadvertently betraying the dinosaurs' hideaway location and alerting the military. Prosaurus and the kids don't understand, at first, not realizing the dinosaurs are no longer themselves. It again doesn't take long, though, before the truth becomes all too evident.
Once the Digitized version of Tyrone, and the Widgetized version of Amber (Fidget is too inept to catch anyone) convert again to their former mosquito selves -- a result of being bitten by the dinobyte versions of the original two clonosaurs, Tyrone and Amber, the professor and his grandchildren soon figure out what's really happening. And will continue to happen unless Prosaurus can capture the original dinobytes and again trap them in a cage. And keep them imprisoned at least until he can figure out a plan of some kind. One thing is for sure: dinobytes and dinosaurs are a volatile mix and must never be exposed to one another.
Worse yet, the professor then realizes that he's failed to warn the other scientists of the new and dangerous development. Dangerous because the dinobytes when small are unpredictable and less than well mannered. When in the bodily form of multi-ton behemoths, the creatures are both destructive and abusive of their newfound power and strength. When Prosaurus' colleagues begin cloning their own dinosaurs from the mosquitoes in their labs, it will be too late to warn them; the cycles will have begun -- on a global scale.
When male and female dinobytes find each other, they'll reproduce in large numbers and the world will never be rid of them -- or the new herds of carnivorous dinosaurs that would then come and go, one day as a thirsty mosquito, the next as a very hungry T-Rex clonosaur. And without a steady supply of cheeseburgers to keep the reptiles tame, only the professor, Jeff, and Rebecca, with the help of Tyrone, Amber, and Li'l Saurus, can save the world from being overrun before it's too late.
And to do that, Prosaurus will have to ask Digit, Widget, and Fidget for their help -- a feat whose chance of success is dubious at best, and may make things even worse, at worst.
So begins a tale of extraordinary proportions. Both in size and aspirations. A story that would have remained buried among the fossilized crystals of prehistoric amber from which it was spawned -- had it not been for the curiosity of a gifted professor and his two, equally talented grandkids.
Written and illustrated in the early 1990's, Attack was a collaborative work co-created with my good friend, Len Gould. As a result of the popularity of the book and movie, Jurassic Park, we were both inspired by the novel idea that something which was the very antithesis of gigantic dinosaurs -- namely tiny, mosquito-like bugs -- should play such an important role in writer Michael Crichton's original story.
For those unfamiliar with the basic concept, the idea was devised -- on scientifically sound principles -- which suggested how a number of prehistoric, blood-sucking insects that were trapped and preserved in the once sticky, but now fossilized sap of trees, might theoretically contain the blood of the dinosaurs they fed upon as their last meal. Since blood is a good source of a creature's DNA, it was further theorized that modern-day dinosaurs might be "cloned" from the chromosomes extracted from any one of the insects in question.
Len's and my story, intended as a comedic, slap-stick spoof, originally focused only on a family of dinosaurs, male and female T-Rexes, plus a small, unknown species dubbed simply as "Li'l Saurus". Tyrone, the male, along with Amber (a voluptuous female), were the more-than-successful results of Professor Prosaurus' private experiments, each of the three dinosaurs having been cloned from the three recovered, prehistoric midges in his possession.
The professor's two young grandchildren, Jeff and Rebecca, assist and participate in their grandfather's highly secret lab work. Once the friendly and intelligent dinos are "hatched", the kids grow quickly attached to all three, adopting them not only as pets, but as beloved family members. All other scientists have failed where Prosaurus has succeeded, and he intends on keeping it that way until he can guarantee the safety of everyone concerned -- especially the dinosaurs'.
The remainder of the plot was then to have been little more than an ongoing series of both adventures and misadventures as the professor and the kids attempt to keep the dinos' existence a secret. Moving to Prosaurus' cabin in the mountains, the professor retires from his employment at a local research facility, but not before some with a militaristic bent catch wind of what he's been up to. And kidnap his daughter and son-in-law. The two will not be released until Prosaurus divulges (only to them) his secrets to the successful cloning of dinosaurs.
Concerned for the well being of their "clonosaurs", the professor and the kids employ a number of bizarre solutions to their dilemma, one of which involves snail-mailing all of Prosaurus' colleagues, around the world, divulging to them the secret to cloning dinosaurs. The professor uses the postal system because he has created a special cloning "kit" that he sends to all the recipients on his list. The professor figures his daughter and son-in-law will be released once the secret has been revealed to all the world's scientists.
The solution to successfully cloning the dinosaurs, which had eluded all other scientists -- including the military -- was the professor's discovery of a missing ingredient -- found when some of the cheeseburger Prosaurus was eating at the time, accidentally contaminated the DNA mixture being used to fertilize the eggs from which the mutant clones were created. Since the average cheeseburger contains over 18,000 separate chemicals and ingredients, trying to isolate the one or two that solved the riddle seemed pointless. Thus it was far easier to put the sandwich through a blender and inject a tiny amount into the rest of the mix.
As a fortuitous result, the two, carnivorous T-Rexes not only crave cheeseburgers as their food of choice, but the burgers keep them relatively tame and passive. It is this clandestine discovery and all the directions necessary, that the professor decides to share with the scientific world, hoping to divert the military from their attention solely on himself, and thus guaranteeing the release of his family from their captors. But as they say in show-biz lingo, this was only the beginning. Something new was about to be added to the mix and forever change the face and pace of the basic story itself.
While Len and I were sharing our tale with friends and business associates, a clever and innovative addition to the essential storyline was conceived. We suddenly realized that an exciting part of the "big picture" had been missing all along -- one that we'd inadvertently ignored, but once acknowledged, turned everything on its proverbial head and gave rise to what began at first as a sequel, but soon became the basis for the entire second half of the story -- from the beginning.
The missing ingredients were the three bugs themselves, whose blood had been used as the source of the dinosaur DNA, and who themselves were strangely and profoundly mutated as a result of the professor's experiments. Thus The Clonosaur Adventures is essentially a story in two parts. The first half of the tale sees the creation of the dinosaur clones and their assimilation into the Prosaurus family. The second part introduces readers to the three insects that the professor labels as dinobytes. Once they make their comedic appearance, the two otherwise separate stories quickly overlap and become a single, integrated chronicle.
Just as the main dinosaurs were endowed with intelligence and gentility as a side-effect of their transformation, so were the three prehistoric mosquitoes changed in similar but also extraordinarily different ways. At first, their story runs parallel with, but initially separate from the exploits of the hugely expanded Prosaurus "family". As mentioned, it isn't long before the bugs find the dinos (their natural prey) and the clonosaurs become aware of them. Adding to the awkward situation is the fact that Tyrone and his saurian companions are instinctively afraid of the aggressive insects whose bite is apparently very painful.
As the second part (chapter) of the Clonosaur Adventures begins (now known as Attack of the Amazing, Prehistoric, Blood-Sucking Dinobytes) and temporarily takes center stage, a series of background adventures detailing the bugs' escape from their containment cages demonstrate the individual personalities and mental savvy of the three. Once loose in the forest, they live off the local wildlife until the day comes when they spot the familiar looking beasts from millions of years earlier, on which they were used to feeding. Dinosaurs! Afterwards, all bets are off when utter mayhem ensues as the dinobytes endeavor to satisfy their hunger for dinosaur blood. Similar to that coyote who devised endless schemes all designed to catch the road runner, much of the subsequent story involves an ongoing battle between the clonosaurs and their small but persistent pursuers.
With a virtual banquet awaiting them, the three bugs waste no time in drinking their fill from Tyrone and Amber, while Li'l Saurus is too fast and agile to get caught. Meanwhile, it isn't long before we begin to witness the bizarre ramifications and consequences of mutant mosquitoes sipping the blood from equally mutated dinosaurs. With their bellies full, the dinobytes undergo yet another evolutionary change that the professor could not have imagined in his wildest dreams.
As a result of feeding, the trio whose names are Digit, Widget, and Fidget, metamorphose into full-size dinosaurs themselves. They are virtual duplicates of Tyrone and Amber which is not, however, as complicated as it might sound at first. Another transformation has also taken place, simultaneously, and again something that no one could have foreseen or anticipated.
Tyrone and Amber, once bitten, then shrink in size and they themselves transmogrify into dinobytes. In other words, the bugs are now dinosaurs and vice versa. Important to note is that everyone is still the same in all other respects; only their bodies have changed.
Growing hungry and craving blood, Tyrone and Amber (as dinobytes) are forced to hunt down and bite their maniacal namesakes who have been causing endless havoc, inadvertently betraying the dinosaurs' hideaway location and alerting the military. Prosaurus and the kids don't understand, at first, not realizing the dinosaurs are no longer themselves. It again doesn't take long, though, before the truth becomes all too evident.
Once the Digitized version of Tyrone, and the Widgetized version of Amber (Fidget is too inept to catch anyone) convert again to their former mosquito selves -- a result of being bitten by the dinobyte versions of the original two clonosaurs, Tyrone and Amber, the professor and his grandchildren soon figure out what's really happening. And will continue to happen unless Prosaurus can capture the original dinobytes and again trap them in a cage. And keep them imprisoned at least until he can figure out a plan of some kind. One thing is for sure: dinobytes and dinosaurs are a volatile mix and must never be exposed to one another.
Worse yet, the professor then realizes that he's failed to warn the other scientists of the new and dangerous development. Dangerous because the dinobytes when small are unpredictable and less than well mannered. When in the bodily form of multi-ton behemoths, the creatures are both destructive and abusive of their newfound power and strength. When Prosaurus' colleagues begin cloning their own dinosaurs from the mosquitoes in their labs, it will be too late to warn them; the cycles will have begun -- on a global scale.
When male and female dinobytes find each other, they'll reproduce in large numbers and the world will never be rid of them -- or the new herds of carnivorous dinosaurs that would then come and go, one day as a thirsty mosquito, the next as a very hungry T-Rex clonosaur. And without a steady supply of cheeseburgers to keep the reptiles tame, only the professor, Jeff, and Rebecca, with the help of Tyrone, Amber, and Li'l Saurus, can save the world from being overrun before it's too late.
And to do that, Prosaurus will have to ask Digit, Widget, and Fidget for their help -- a feat whose chance of success is dubious at best, and may make things even worse, at worst.
DIGIT: Smartest of the three, sort of.
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WIDGET: Not quite sure of anything.
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FIDGET: Not quite aware of anything.
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The Best Laid Plans of Dinobytes and Men . . .
Over the next few years, Len and I pitched the Dinobytes project to several Hollywood and TV studios, hoping for an animated feature to evolve from the stacks of drawings, paintings, and paperwork he and I had compiled together. A veritable mountain of materials had been developed by both of us which included silk-screen tee-shirts, prints, pins, an assortment of other artifacts, and even a large, heavy bible that represented the full compendium of ideas and story concepts designed and intended as an animated feature film, a television cartoon show, or anything else someone might envision -- and pay us for, accordingly.
When all else failed, we turned to the production of the project as a formal literary property, a possible series of short stories or novels that might find new life in the hands of a book publisher or a literary agent. After dealing with Hollywood, a book deal seemed an easier and logical next step in the process of trying to sell our creative wares. As it turned out, the drudgery of writing even one novel had always seemed daunting and except for outlines, was ultimately undoable.
In the meantime, however, we continued to pitch the project to TV execs and nearly succeeded with the Hanna-Barbera studios who were looking for some new animation series to put on one or more of Ted Turner's cable channels. We came about as close as it was possible to come (complete with a talent agent signing us to a contract) and still not seal the deal. Promises were made, gifts were exchanged, so to speak, but final approval of the project remained elusive and in the bitter end, unconsummated.
One of the problems was that computers were undergoing huge advancements at the time; the whole animation scene was in flux and studios weren't quite sure what to do themselves with all the new technologies coming online. Len and I were, in hindsight, a fatality of those times, where our own naiveté and lack of experience doomed our efforts as much as anything else we might find to redirect the blame away from ourselves.
The book project, still in the form of little more than unfinished chapters and outlines, lived on for another couple of years, but finally ended when we realized the literary world is no less a jungle -- filled with the bones and remains of failed enterprises -- than Hollywood itself. Possibly even more so. This was, however, a time when I began to take a serious interest in writing, finally going it alone and having my eyes opened as to the long and difficult road ahead -- namely learning how to become an author. Although Len was still anxious to proceed (and had some good ideas on to do so), I had fallen out-of-love, so to speak, and decided my future lay elsewhere. Regrettably leaving Len in-the-lurch, as they say, I would soon abandon the Tyrone project altogether and each of us has gone our own way ever since.
To some extent, Len and I had put the proverbial cart in front of the proverbial horse. In retrospect, we should have first learned the writing game and written a full and complete story -- something which had always been missing from the otherwise completed project. I had written, with Len's help, a small collection of story vignettes, but nothing in the form of what would have proved truly helpful had we known or possessed the skills necessary.
Although we had a film treatment, it was incomplete without a screenplay or other fully fleshed-out story to support it. Especially when being pushed by a couple of absolute unknowns in the industry. The whole affair was a classic tale of the importance of having an inside track -- the old story of who you know and not so much what you know.
One of the more interesting developments to evolve from the project as a whole was the creation of what seemed -- at the time -- an exciting and innovative concept for the pervasive video game market. The idea of dinosaurs changing into dinobytes and then back again, opened the door for a new and fresh type of first-person shooter, chase, and capture game. Players could clone their own dinosaurs, care for them, and be forever at the mercy of escaped dinobytes. Tracking down and retrieving their original clonosaurs from among the swarms of others who were really dinobytes -- and vice versa -- posed as challenging scenarios capable of stymieing the most savvy of gamers. Alas, not all better mousetraps find manufacturers. If I can find the original paperwork, however, I'll post the game basics here on the site. It's actually quite good and a lot more fun than I may have described.
In the end, Len and I had neither an inside track nor a contact person who could help us. We were either very brave, very devoted or both. We were certainly foolish to believe we ever stood a chance of breaking into the entertainment industry. Although we came close more than once. I suspect that was a testimony to the dedication, hard work, and overall quality of the project Len and I had pieced together -- only a small percentage of which is on display here.
When time permits, more will likely be added to this section. If and when this website ever attracts any attention, it would be nice to have a more formal presentation assembled here. CGI being what it is, putting the horse in front of the cart this time around won't be nearly the challenge it was before.
When all else failed, we turned to the production of the project as a formal literary property, a possible series of short stories or novels that might find new life in the hands of a book publisher or a literary agent. After dealing with Hollywood, a book deal seemed an easier and logical next step in the process of trying to sell our creative wares. As it turned out, the drudgery of writing even one novel had always seemed daunting and except for outlines, was ultimately undoable.
In the meantime, however, we continued to pitch the project to TV execs and nearly succeeded with the Hanna-Barbera studios who were looking for some new animation series to put on one or more of Ted Turner's cable channels. We came about as close as it was possible to come (complete with a talent agent signing us to a contract) and still not seal the deal. Promises were made, gifts were exchanged, so to speak, but final approval of the project remained elusive and in the bitter end, unconsummated.
One of the problems was that computers were undergoing huge advancements at the time; the whole animation scene was in flux and studios weren't quite sure what to do themselves with all the new technologies coming online. Len and I were, in hindsight, a fatality of those times, where our own naiveté and lack of experience doomed our efforts as much as anything else we might find to redirect the blame away from ourselves.
The book project, still in the form of little more than unfinished chapters and outlines, lived on for another couple of years, but finally ended when we realized the literary world is no less a jungle -- filled with the bones and remains of failed enterprises -- than Hollywood itself. Possibly even more so. This was, however, a time when I began to take a serious interest in writing, finally going it alone and having my eyes opened as to the long and difficult road ahead -- namely learning how to become an author. Although Len was still anxious to proceed (and had some good ideas on to do so), I had fallen out-of-love, so to speak, and decided my future lay elsewhere. Regrettably leaving Len in-the-lurch, as they say, I would soon abandon the Tyrone project altogether and each of us has gone our own way ever since.
To some extent, Len and I had put the proverbial cart in front of the proverbial horse. In retrospect, we should have first learned the writing game and written a full and complete story -- something which had always been missing from the otherwise completed project. I had written, with Len's help, a small collection of story vignettes, but nothing in the form of what would have proved truly helpful had we known or possessed the skills necessary.
Although we had a film treatment, it was incomplete without a screenplay or other fully fleshed-out story to support it. Especially when being pushed by a couple of absolute unknowns in the industry. The whole affair was a classic tale of the importance of having an inside track -- the old story of who you know and not so much what you know.
One of the more interesting developments to evolve from the project as a whole was the creation of what seemed -- at the time -- an exciting and innovative concept for the pervasive video game market. The idea of dinosaurs changing into dinobytes and then back again, opened the door for a new and fresh type of first-person shooter, chase, and capture game. Players could clone their own dinosaurs, care for them, and be forever at the mercy of escaped dinobytes. Tracking down and retrieving their original clonosaurs from among the swarms of others who were really dinobytes -- and vice versa -- posed as challenging scenarios capable of stymieing the most savvy of gamers. Alas, not all better mousetraps find manufacturers. If I can find the original paperwork, however, I'll post the game basics here on the site. It's actually quite good and a lot more fun than I may have described.
In the end, Len and I had neither an inside track nor a contact person who could help us. We were either very brave, very devoted or both. We were certainly foolish to believe we ever stood a chance of breaking into the entertainment industry. Although we came close more than once. I suspect that was a testimony to the dedication, hard work, and overall quality of the project Len and I had pieced together -- only a small percentage of which is on display here.
When time permits, more will likely be added to this section. If and when this website ever attracts any attention, it would be nice to have a more formal presentation assembled here. CGI being what it is, putting the horse in front of the cart this time around won't be nearly the challenge it was before.
C R E T A C E O U S C R E A T I O N S
The no-nonsense, for-real name of the parent company under which all creative materials,
both literary and artistic, were (and still are) protected and officially copyrighted.
Fig. 12. Circa: 1992-1993.
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Fig. 13. Our official, semi-pre-computer logo designs.
C R E T A C E O U S
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Fig. 14. Full circa: 2014-20??
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The Clonosaur Adventures: Preliminary Visualizations
Fig. 15. Storyboards designed as "pitching" aids. Part 1: Death of the Dinosaurs.
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Fig. 16. Miscellaneous storyboard. The dinobytes make a beeline for Tyrone.
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Fig. 17. Miscellaneous storyboard. Prior to coloring with felt-tip pens.
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Fig. 18. Miscellaneous storyboard: Tyrone hanging out with his "family".
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Tyrone: The standard model. Big teeth needed to be moved back more.
The standard model: Tyrone standing
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Early t-shirt design. "Dressed to Kill."
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Fig. 22. Miscellaneous promotional poster art.
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The standard model: Amber standing
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Come up and see her sometime. Bring ladder.
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Fig. 25. "Dressed to Thrill."
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Fig. 26. Li'l (Little) Saurus: species unknown.
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Fig. 27. Jeff and Rebecca Prosaurus.
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The professor holding his famous Kloning kit.
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Building the Better Flytrap
Yes, we actually designed and manufactured the actual cloning kit that
professor Prosaurus (Protaurus, at the time) mailed to all his colleagues.
An advertising poster. Never produced.
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Fig. 30. Early, unused version with Tyrone on lid.
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All kits included a folded manual.
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Final version of kit exterior. Note side panels.
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Fig. 33. Lid detail. Note corner hinges for opening
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Fig. 34.
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Fig. 35. Official, super-top-secret plans for cloning dinosaurs. Unfolded. Side one.
Fig. 36. Official, super-top-secret plans for cloning a dinosaur. Unfolded. Side two.
Fig. 37. Kloning Kit: Back.
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Fig. 38. Kloning Kit: Front.
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Fig. 39. Kloning Kit: Front left.
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Fig. 40. Kloning Kit: Bottom right.
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Miscellaneum Infinitum
Fig. 41. Authentic size comparisons.
Original sign posted on Prosaurus property.
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Fig. 42. Note use of early version of dinobyte.
First sketch of the one, original "Megabyte".
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Fig. 43. A bachelor in need of a woman's touch.
Fig. 46. Revised sign posted on Prosaurus property.
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The attack has only just begun. . .
You're currently on page IMA15
listed under IMAGINOMICON.
Click below to return to Faviconopolis.
Click below to streak on over to IMA16
where The TYRONE RESTORATIONS
Continue. Be sure to stock up on
insect repellant. Lots of repellant.
Radioactive acid, if you can find it.
where The TYRONE RESTORATIONS
Continue. Be sure to stock up on
insect repellant. Lots of repellant.
Radioactive acid, if you can find it.
