[SKRIVA] Wikipedia om intriger

Hm,  det visste jag inte - men allas vår Wikipedia (iaf den engelska versionen) 
har en hel uppsättning beskrivningar av olika intrigelement. Gå till:

http://en.wikipedia.org/wiki/Category:Plot

Läs t ex om den MacGuffin, som Hitchcock ofta använde, eller om "plot 
immunity", eller "story within a story", eller varför inte den intressanta 
artikeln om de olika mekanismerna bakom s k "twist-ending:

http://en.wikipedia.org/wiki/Twist_ending

Njae, det är lika bra att köra huvuddelen av den artiklen här. Wikipedias 
intrigsida har iaf massor av intressant material. Enjoy:

Mechanics of the twist ending

[edit] Literary devices
Anagnorisis, or discovery, is the protagonist's sudden recognition of their 
own or another character's true identity or nature. Through this technique, 
previously unforeseen character information is revealed. A notable example of 
anagorisis occurs in Oedipus Rex: Oedipus kills his father and marries his 
mother in ignorance, learning the truth only toward the climax of the play. 
This technique is very commonly used in J K Rowling's Harry Potter series, 
where the main antagonist's identity is usually disguised as an ally to the 
protagonist until the very end.[1]

Flashback, or analepsis, is a sudden, vivid reversion to a past event. It is 
used to surprise the reader with previously unknown information that provides 
the answer to a mystery, places a character in a different light, or reveals 
the reason for a previously inexplicable action. The TV show Lost utilizes this 
technique frequently, as the show's mythos relies heavily on flashbacks. The 
finale of its third season used a twist on the flashback revelation; a 
flashforward revelation. The acclaimed Alfred Hitchcock film Marnie also 
employed this type of twist ending. Another example of reversing a flashback 
for dramatic effect is used in the anime film Grave of the Fireflies. The House 
of Yes uses this device, in the form of home video footage. See also Racconto.

An unreliable narrator twists the ending by revealing, almost always at the 
end of the narrative, that the narrator has manipulated or fabricated the 
preceding story, thus forcing the reader to question their prior assumptions 
about the text. This motif is often used within noir fiction and films, notably 
in the film The Usual Suspects (which, in turn, produced multiple imitators 
such as The Rich Man's Wife and Lucky Number Slevin). An unreliable narrator 
motif was employed by Agatha Christie in The Murder of Roger Ackroyd, a novel 
that generated much controversy due to critics' contention that it was unfair 
to trick the reader in such a manipulative manner [2].

Peripeteia is a sudden reversal of the protagonist's fortune, whether for good 
or ill, that emerges naturally from the character's circumstances. Unlike the 
deus ex machina device, peripeteia must be logical within the frame of the 
story. An example of a reversal for good would be the transition of Wart from 
subservience to sovereignty in The Sword and the Stone. An example of a 
reversal for ill would be Agamemnon's sudden murder at the hands of his wife 
Clytemnestra in Aeschylus' The Oresteia. Peripeteia is an extreme type of plot 
point. The film, Match Point, also uses Peripeteia when the protagonist is 
about to be caught for his crime, when an earlier action (presumed to be a 
mistake) turns out for the better. Also, in the film Shawshank Redemption the 
main character Andy seems to have lost hope after purchasing a length of rope 
presumably for a suicide but suddenly escapes from jail and goes on to live his 
dream of freedom.

Deus ex machina is a Latin term meaning "god out of a machine." It refers to 
an unexpected, artificial or improbable character, device or event introduced 
suddenly in a work of fiction to resolve a situation or untangle a plot. In 
Ancient Greek theater, the "deus ex machina" ('??? ??????? ????') was the 
character of a Greek god literally brought onto the stage via a crane (????????
mechanes), after which a seemingly insoluble problem is brought to a 
satisfactory resolution by the god's will. In its modern, figurative sense, the 
"deus ex machina" brings about an ending to a narrative through unexpected 
(generally happy) resolution to what appears to be a problem that cannot be 
overcome. This device is often used to end a bleak story on a more positive 
note. For example, in William Golding's Lord of the Flies, a ship arrives at 
the island to rescue the boys just in time to prevent the band of "hunters" 
from killing the protagonist, Ralph.[3] Sometimes, the deus ex machina approach 
is used to end a story on a non-positive note, as in Catherine Breillat's A ma 
soeur.

Irony creates a gap or incongruity between what the writer presents and what 
is understood. This often works in narratives to create a twist of fate, in 
which an eventual event reverts back to a previous one.

Poetic justice is a literary device in which virtue is ultimately rewarded or 
vice punished in such a way that the reward or punishment has a logical 
connection to the deed. In modern literature, this device is often used to 
create an ironic twist of fate in which the villain gets caught up in his/her 
own trap. For example, in C. S. Lewis' The Horse and His Boy, Prince Rabadash 
climbs upon a mounting block during the battle in Archenland. Upon jumping down 
while shouting "The bolt of Tash falls from above," his hauberk catches on a 
hook and leaves him hanging there, humiliated and trapped. A more recent 
example of poetic justice is in the film The Departed, in which Sullivan (Matt 
Damon), the cop who is a double agent for the mafia, is ultimately and 
unexpectedly killed for his crimes. Sullivan somewhat expects his poetic 
justice; when he confronts his killer, he says the movie's last line: "...
Okay."

Chekhov's gun refers to a situation in which a character or plot element is 
introduced early in the narrative, then not referenced again until much later. 
Often the usefulness of the item is not immediately apparent until it suddenly 
attains pivotal significance. A perfect example of this is the tapir trap in 
Apocalypto, which serves as a way to fool and stop the Holcane leader from 
chasing Jaguar Paw permanently. A similar mechanism is the "plant," a 
preparatory device that repeats throughout the story. During the resolution, 
the true significance of the plant is revealed. Both Chekhov?s gun and plants 
are used as elements of foreshadowing. Villains in Scooby-Doo, Where Are You! 
were often Chekhov's guns?they would be introduced early on as "innocuous 
secondary characters" (as remarked by Jason Fox), then ignored until they 
turned out to be the one in the scary costume driving people away to get at a 
hidden fortune.

A red herring is a false clue intended to lead investigators toward an 
incorrect solution. This device usually appears in detective novels and mystery 
fiction. The red herring is a type of misdirection, a device intended to 
distract the protagonist, and by extension the reader, away from the correct 
answer or from the site of pertinent clues or action. An example would be the 
way such information is used in the film Saw (2004).[4]. TV series Law & Order 
and its spin-off, Law & Order: Special Victims Unit use red herrings repeatedly 
in several episodes. A red herring can also be used as a form of false 
foreshadowing.

A cliffhanger is an abrupt ending that leaves the main characters in a 
precarious or difficult situation, creating a strong feeling of suspense that 
provokes the reader to ask, "What will happen next?" Cliffhangers often 
frustrate the reader, since they offer no resolution at all; however, the 
device does have the advantage of creating the Zeigarnik effect. A cliffhanger 
is often employed at the end of an installment of serialized novels, movies, or 
in most cases, TV series. A literal cliffhanger can be seen at the end of The 
Italian Job. also R.L Stein's Goosebumps (children's book series), often 
utilizes this technique.

In medias res (Latin, "into the middle of things") is a literary technique in 
which narrative proceeds from the middle of the story rather than its 
beginning. Information such characterization, setting, and motive is revealed 
through a series of flashbacks. This technique creates a twist when the cause 
for the inciting incident is not revealed until the climax. Perhaps the 
earliest notable instance of this technique's use is in The Iliad, which begins 
in medias res, about nine and a half years into the ten year Trojan War. This 
technique is used effectively within the film The Prestige in which the opening 
scenes show one of the main characters drowning and the other being imprisoned. 
Subsequent scenes reveal the events leading up to these situations through a 
series of flashbacks. Another interesting version of this is in the Star Wars 
movies series: the story begins in the middle, in "Episode IV" rather than 
"Episode I", so that the truth about Luke and Leia's parentage is unknown to 
the viewer. Parts I through III were subsequently made to fill in the 
backstory, revealing the information that would be plot twists in the later 
stories. In medias res is often used to provide a narrative hook.

Nonlinear narration works by revealing plot and character in non-chronological 
order. This technique requires the reader to attempt to piece together the 
timeline in order to fully understand the story. A twist ending can occur as 
the result of information which is held until the climax and which places 
characters or events in a different perspective. One of the earliest known uses 
of non-linear story telling occurs in The Odyssey, a work that is largely told 
in flashback via the narrator Odysseus. The nonlinear approach has been used in 
works such as the films Highlander, Mulholland Drive, Reservoir Dogs, Pulp 
Fiction and the books Catch-22 and The Corrections.[5][6]

Reverse chronology works by revealing the plot in reverse order, i.e., from 
final event to initial event. Unlike traditional chronological storylines, 
which progress through causes before reaching a final effect, reverse 
chronological storylines reveal the final effect before tracing the causes 
leading up to it; therefore, the initial cause represents a "twist ending." 
Examples employing this technique include the film Irréversible and the color 
sequences from the film Memento, and the play "Betrayal" by Harold Pinter.

Repetition is a plot device in which the events that have taken place continue 
to repeat themselves, sometimes with different characters. Examples include the 
Twilight Zone episode Dead Man's Shoes. Czech Surrealist Jan Svankmajer has 
used this plot device frequently.


[edit] Narrative elements
Amnesia (particularly retrograde amnesia, the inability to recollect long-term 
memories) is often used to create mysteries in which the protagonist must 
attempt to recover his or her identity. Usually his quest leads him to 
surprising revelations about himself and others. The protagonist may also 
experience strong feelings of paranoia, since he is unsure whom he can trust. 
An example is the film Spellbound, in which the protagonist has amnesia. The 
film Memento alters the standard technique slightly, using reverse 
chronological order to depict a character with anterograde amnesia. Repressed 
memory, Alzheimer's disease, and Lacunar amnesia may also be employed in a 
similar fashion.[7][8][9][10]

The gynoid/android element is similar to the puppet element, in that an 
apparently human character is ultimately revealed to be a robot. Due to the 
advanced technology needed to produce such a robot, this element is almost 
exclusively utilized within science fiction. Examples of films that feature the 
gynoid/android element include Alien and its sequel Alien: Resurrection. In 
Ridley Scott's film Blade Runner, an adaptation of Philip K. Dick's short story 
"Do Androids Dream of Electric Sheep?", it is suggested that the protagonist, 
Rick Deckard, is an android or replicant.

In a narrative with multiple antagonists, the reader is led to believe there 
is one villain when in fact there are two or more, a fact that is usually not 
revealed until the climax. The first Scream film is a notable example of this. 
Agatha Christie utilized this ploy several times in her mysteries by revealing 
the murderer (through her detective/narrator), then going on to reveal the 
murderer's accomplice(s). The film Saw II reveals that Amanda was not a victim 
of the games, but an apprentice, In Legend Of Zelda: Twilight Princess, The 
villain you chase most of the game turns out to be a henchman of sorts to 
Link's arch-enemy Ganondorf.

Betrayal, also called the "double cross," is when one character trusts another 
character for most of the story, only to have that trust betrayed later in the 
story. Betrayal can become more complex when the writer chooses to have the 
character who was double-crossed betray the other character as well, then 
referred to as a "triple cross." Writers rarely employ more counter-betrayals, 
as it is considered to be overly complex (such as in the films Employee of the 
Month (2004) and Circus (2000) in which the characters cross one another 
several times). Another prime example would be the films Wild Things and The 
Eyes Of Laura Mars. Betrayal is often coupled with the con artist motif, since 
trust must be initially present in order for a scam to be successful.

Blackout, similar to amnesia, is used to withhold information from both the 
protagonist and the observer. However, instead of the loss of the character's 
entire memory, only a short portion is missing. A blackout is often the result 
of a blow to the head, a medical disorder, or excessive alcohol consumption. A 
blackout contributes to a twist ending when a key event occurs during the 
missing moments and is not revealed until the conclusion. For example, in the 
film noir classic Black Angel, a character is unable to remember the night of a 
murder due to excessive alcohol consumption. The film The Butterfly Effect 
features a protagonist who experiences multiple blackouts, and later finds 
himself in drastically changed timelines. Eventually he discovers that during 
these blackouts he went back in time and made changes that altered his present. 
In the video game Silent Hill 2, the main character erases from his mind the 
fact that he killed his ill wife, replacing it with a memory of her dying in a 
hospital.

The dispelling of a character shield through the death of a major character 
almost always shocks the audience because it is relatively uncommon for the 
protagonist or other major character to die. The death of Janet Leigh's 
character partway through Psycho is widely regarded as the first and best 
instance of this device in popular film. Additionally, in The Departed, both 
Sullivan and Costigan are ultimately bereft of character shields. Scream 
featured the best-known star to appear in the film, Drew Barrymore, being 
killed off in the initial sequence. The later novels of the Harry Potter series 
by J. K. Rowling also readily dispelled the shields of a number of major 
characters, some quite unceremoniously. The killing of a major character also 
emphasizes to the audience that the villain, or the unfortunate situation in 
general, is to be taken seriously. In Romeo and Juliet, the death of Mercutio 
provides the central turn of the plot towards tragedy. In some franchises, 
character shields are valid only for the duration of a single film, as major 
characters are killed off to wipe the slate clean for a new film. Alien 3, for 
example, begins with the deaths of Newt and Hicks, although the whole point of 
the previous film was their rescue. This device appears frequently in the work 
of Joss Whedon. It is also used in long-running television series when an actor 
decides to leave before the series ends, e.g. Tasha Yar's death in Star Trek 
TNG and Henry Blake's death in the M*A*S*H series. This technique is frequently 
overused in daytime drama, where there actor turnover is high. It can also be 
used multiple times on the same character for a comic absurdist effect, e.g. 
Kenny's deaths and the deaths of the main character in Groundhog Day.

A twist in the story's presentation of chronology may occur at the end of a 
film. For example, in Saw II, two storylines are shown as if occurring 
simultaneously, one in which several people trapped inside a house die one 
after another while in the other police observe the events on security camera 
monitors. However, it is later revealed that the events inside the house occur 
two hours before the police view the footage.

When cloning, often an element of science fiction, is used, the protagonist 
ultimately discovers that they are either a clone of another character or that 
they have been genetically altered in some manner (such as in the book The 
Barcode Rebellion or the film The 6th Day). Alternately, cloning may be used by 
the antagonist to create multiple copies of themself. This plot element has 
become more commonly used in contemporary literature to illustrate the ethical 
issues surrounding the advances in technology that make human cloning 
theoretically possible. See also Doppelgänger and Evil twin.

A con artist intentionally misleads another character (known as a "mark"), 
usually for the purpose of financial gain. In a twist, the con artist first 
tricks the mark into believing that they will work together to con a third 
party, while, in reality, the mark themself has been conned. The writer most 
often associated with this tactic is David Mamet, whose films such as House of 
Games con both the characters and the audience with a clever scam. In 
Matchstick Men, one con artist successfully cons another, further twisting the 
plot.

Conspiracies use rumors, lies, cover-ups, propaganda and counter-propaganda to 
frustrate the characters and to obscure the truth and reality. Conspiracies in 
fiction can be similar to simulated reality in that hidden organizations 
manipulate what the characters perceive to be true and factual. Conspiracies 
are often used in political thrillers as means to provide commentary upon a 
governmental system (such as John Frankenheimer's The Manchurian Candidate and 
Alan J. Pakula's The Parallax View). False perception of conspiracy is one form 
of paranoia. A double-twist on the conspiracy element is used in the Richard 
Donner film Conspiracy Theory, in which the viewer is challenged to determine 
which of the conspiracies are real. The video game Deus Ex also makes notable 
use of this twist, forcing the protagonist to decide which path is a 
conspiracy.

Cults can be used similarly to conspiracies. In a work of fiction, the cult is 
often a secret, sinister organization or group that is not revealed until the 
climax, usually in order to explain how characters are connected or how events 
and characters have been manipulated. Ira Levin's novel Rosemary's Baby is a 
notable example of the use of cults in fiction. The Wicker Man contains cult 
elements that are parodied in Hot Fuzz, in which the antagonists are revealed 
to be members of a murderous cult rather than of a real estate conspiracy as 
implied.

Dissociative identity disorder (formerly "multiple personality disorder" and 
often incorrectly called schizophrenia) typically involves the protagonist's 
ultimate discovery that the killer they have been searching for is in fact 
themselves, a fact of which their disorder made them unaware. This disorder 
often manifests in the protagonist's perception of other characters who are not 
really there. Dissociative identity disorder is used most notably in Robert 
Bloch's Psycho, which was so effective in its execution of the twist ending 
that it inspired a stream of imitations, almost to the point of overuse and 
cliché (such as William Castle's Homicidal and several Hammer Film Productions 
such as Maniac and Nightmare). Other examples include Chuck Palahniuk's Fight 
Club, French film Switchblade Romance/Haute Tension, the Robert De Niro film 
Hide and Seek, Stephen King's Secret Window, Secret Garden, and Joel 
Schumacher's The Number 23. For more examples, see Dissociative identity 
disorder in fiction.

A dream sequence can be used to create a twist ending when the writer reveals 
that a significant portion of the previous narrative was actually a dream, a 
combination of flashbacks, fantasies, and visions that created a sort of 
simulated reality initiated by the character's own mind. Film director David 
Lynch is known for utilizing this element, most notably within his film 
Mulholland Drive. In Terry Gilliam's Brazil ("The Director's Cut"), the drive-
into-the-sunset, happy ending scene turns out to be a dream. In the final 
episode of the television sitcom Newhart, it is revealed that the entire series 
was simply a dream in the mind of Bob Newhart's character from his earlier 
sitcom The Bob Newhart Show. Another example would be the television series St. 
Elsewhere, which created controversy when the final episode revealed that the 
entire series occurred only in the imagination of Tommy Westphall.

Gender confusion creates a twist ending by revealing at a pivotal moment that 
a particular character is not of his or her apparent sex, as when a woman has 
been masquerading as a man, or vice versa. This motif is notably used in The 
Crying Game and in the Italian giallo genre. See also Transsexualism and 
Transgender.

Imitation is an element by which one character pretends to be another 
character, thereby tricking both the other characters and the reader, until 
their true identity is ultimately revealed. In the murder mystery The Last of 
Sheila, one character imitates the voice of another in order to mask his 
identity. In Anthony Shaffer's Absolution, a student fools a priest into 
believing that he is a different student. A variation on imitation is 
ventriloquism, in which a character manipulates his voice to make it appear to 
come from elsewhere. A famous example is the ending of Invasion of the Body 
Snatchers, in which Donald Sutherland is revealed to have been converted by the 
aliens and points out the non-transformed Veronica Cartwright in the film's 
final seconds. Another famous example is the role of the T-1000 in the film 
Terminator 2: Judgment Day, where the shapeshifter is able to mimic the 
appearance and behavior of characters from police officers to its target's own 
mother. See also Impressions.

Incest can be an effective twist ending, since it violates the expectation 
that sexual activity should not be performed among members of the same family. 
Sexual relationships among closely-related members (such as mother and son) are 
especially shocking. Examples of this element include Roman Polanski's 
Chinatown, Park Chan-wook's Oldboy, and Zhang Yimou's Curse of the Golden 
Flower.

Multiple births can create a twist ending when a character is revealed to have 
an identical twin or even identical triplets. Often the conclusion reveals that 
the siblings were working together throughout the narrative, unbeknownst to the 
other characters. Multiple birth resolutions are common in many works of 
Gilbert and Sullivan. Other examples include The Prestige, House of Wax and The 
Crimson Rivers. See also Evil twin.

Pseudocide, the reverse of the undead twist (see below), is a situation in 
which a character thought to be dead is revealed to be alive. Examples include 
the film adaptation of the classic Mission: Impossible television series and 
the first Saw film.

In the puppetry twist, the protagonist discovers that another character is 
only a puppet being controlled by a puppeteer, rather than the actual human 
being they appear to be. This element is most often found within horror 
fiction. An episode of Alfred Hitchcock Presents entitled The Glass Eye twisted 
this further, revealing that the story's puppeteer was the puppet, while the 
puppet was the actual puppeteer. A more recent example is the horror film Dead 
Silence, in which a character who appears to be alive is revealed to be dead, 
his corpse having been turned into a puppet.

A quibble occurs when a character discovers a crucial flaw or technicality 
that changes an expected outcome. For example, in the Shakespeare play The 
Merchant of Venice, Shylock's triumph appears certain until Portia observes 
that his bargain called only for flesh, effectively preventing him from 
shedding Antonio's blood. In Ruddigore, the baronets of a certain line are 
doomed to die if they do not commit a horrible crime every day; however, by 
failing to commit a crime, they are effectively committing suicide, which is a 
horrible crime.

The Rashomon effect (named after Akira Kurosawa's film Rash?mon) refers to the 
way that the subjectivity of perception affects recollection, i.e., multiple 
observers produce substantially different but equally plausible accounts of the 
same event because they perceive the event in different ways. This concept 
works in film and literature by altering key elements and details to present a 
single event as unfolding in different ways, according to the perceptions of 
different characters. Some recent examples include Courage Under Fire, A Very 
Long Engagement, The Outrage , Hero and Vantage Point.[11]

In a self-deception twist, it is revealed that a character was not only 
deceiving other characters or possibly the audience, but also themselves; for 
example, in the film Memento, it is revealed in the film's climax that, 
although throughout the film it appeared that the protagonist was actually 
hunting for his wife's murderer (which was hindered by his anterograde 
amnesia), actually he had already discovered who was responsible for her death, 
but convinced himself otherwise so as to give his life direction and meaning.

In a sexual orientation twist, a character is presumed to be heterosexual 
until ultimately revealed to be homosexual, or vice versa. Examples include the 
films Heights and Clue.

Simulated reality describes a situation in which a hypothetical environment is 
experienced as real but is actually a highly-detailed simulation of reality and 
not reality itself. Narratives that utilize this plot element usually present 
the simulated world as a real setting, not revealing its true nature until the 
end. This motif is often found within science fiction literature (most notably 
in Philip K. Dick's works) and science fiction films (such as The Thirteenth 
Floor or the Matrix films), as the simulated world is usually created through 
technological means. Simulated reality also features in the film The Game.

Species reversal creates a twist ending by leading the audience to believe 
that a character is human until the climax, at which point they are revealed to 
be an animal, supernatural being or alien or vice versa. The character's true 
nature is revealed through metamorphosis (biological change), shapeshifting 
(supernatural or magical change), or mere costuming (such as in Men In Black, 
in which some humans are simply aliens wearing disguises). Species reversal is 
a common motif of Gothic fiction, such as Ann Radcliffe's A Sicilian Romance in 
which apparently supernatural events have rational explanations, the children's 
animation series Scooby Doo, and science fiction, such as Edmond Hamilton's 
story The Dead Planet and the episode of The Twilight Zone, Eye of the 
Beholder. Goosebumps author R. L. Stine has employed this in several of the 
Goosebumps novels such as My Best Friend Is Invisible and Welcome to Camp 
Nightmare.

Spiritual possession is used to create twist endings in horror and fantasy 
fiction by revealing late in the narrative that a character is acting under 
control of spiritual forces rather than their own free will. An example is the 
Asian horror film Dead Friend. Less often, the twist is that a presumably 
possessed character is in fact not under paranormal coercion, such as in the 
film Vertigo.

An undead character is one who is presumed alive but is ultimately revealed to 
be a member of the "living dead." This device has seen a recent resurgence due 
to the success of M. Night Shyamalan's The Sixth Sense. Other examples include 
Dead & Buried, Giuseppe Tornatore's A Pure Formality, 1962's Carnival of Souls 
and several episodes of The Twilight Zone.

Suspension of disbelief must exist for a twist ending to be accepted by the 
reader. Extreme implausibility may cause an audience to become frustrated or 
lose interest.

The reader may experience confusion if the twist ending is unnecessarily 
complex, possibly providing too many twists or a twist that does not make sense 
within the context of the story. As a result, the reader will not understand 
what has occurred and will be left unsatisfied. Some authors may use confusion 
as a deliberate device, meaning that the reader (or viewer) can only fully 
understand the story by re-reading or re-watching. Examples include the works 
of Gene Wolfe, and the film Primer.

Actions which are out of character, i.e., inconsistent with a character's 
previously established characterization, are usually seen as negative, possibly 
destructive to the narrative's credibility and foundation, and possibly 
indicative of the writer's lack of focus.

Plot holes may emerge when a twist ending is utilized at the story's 
conclusion. Narratives may have a twist ending purely for shock value and may, 
as a result, become inconsistent with events that occurred earlier in the 
story. This also causes disruptions in continuity.

The use of a cliffhanger may lead to the lack of any resolution, creating an 
anticlimax to a story in which the reader has already invested much time. The 
horror film genre frequently employs cliffhangers?often by revealing that the 
villain is not dead?in order to ensure material for sequel films.

--Ahrvid

-----
SKRIVA - sf, fantasy och skräck  *  Äldsta svenska skrivarlistan
grundad 1997 * Info http://www.skriva.bravewriting.com eller skriva-
request@xxxxxxxxxxxxx för listkommandon (ex subject: subscribe).

Other related posts: