GDC Founder Chris Crawford's Dragon Speech

[Music] was it so very long ago when I before I knew the dragon that was in 1975 when I first encountered the concept of a computer game that was A New Concept to me for me the computer had always been a a tool for scientific calculation and now the notion of using it to play well that was a fascinating and utterly unconventional concept to me and so I decided to begin to acquaint myself with this technology I had no dream as yet for me the dragon still slept but I wanted to learn and so I set to work I uh started programming a Mainframe computer that was technologically eons go forr punched CS

JCL IBM main frames but in the life of one man it's not that but not so very long ago and in 1976 I got my first computer game running strategy war game on a hex grid and at the same time I decided that I was going to get a micro computer I wanted to own my own machine I wanted to understand this technology and so I set to work teaching myself everything I could about TTL and power supplies LM 309k voltage regulators and 7476 JK flipflops and the difference between a tantalum and an electrolytic capacitor and which end of the soldering iron gets [Applause] top and then in January of 1977 I got my first computer a kim1 single board micro computer with a 65

processor 1K of RAM and I was set and you know within one month I had got that thing hooked up and running I had learned a code in 6502 machine code and I had written a game and gotten it working in 1K of around little strategy war game on a hex grid and then I like all micro computer hobbyists I started expanding my system and expanding my game and then in 1978 I bought my first Appliance computer Commodore pet with 8K of RAM and in the same year I sold my first commercial computer gang that was in 1978 15 years ago it's been a long time in 1979 I joined Atari did a game on the video computer system then I went to work on the Atari 800 because this was the premier graphics and the sound

machine of the industry the 800 was so far ahead of everything else it was the machine to learn on and I knew nothing about graphics and sound so I hurled myself into the machine absorbing everything I could learning all about graphics and sound some of you may find it ironic to learn that for a time there I was known as the graphics wizard of Atari and indeed there was a period of time there where my game Eastern Front was the most graphically Advanced products on the marketplace because that was a phase I needed to go through I needed to understand Graphics deep level I needed to feel that I had a good grip on it and so all through this period from 1975 for 1981 for 6 years I was apprenticing myself to this technology I was turning it over and over in my hands I was getting the feel of it in my fingertips and for 6 years I had no dream of saw all I did was learn by 1981

I felt that I understood the technology I felt that I knew what this medium was about but I had no dream I could I couldn't see the dragon but by 1981 I could hear him brashing about in the forest I knew he was out there somewhere I knew he was big whatever he was and I wanted to find it and then in one of those fortuitous circumstances that is so perfectly timed that we can only ascribe it its event its occurrence to the the workings of Faith then Allan K came into my life Allan had been hired at Atari to form a corporate research group and uh first thing he did when he got the T was he asked around to see if there were any Angry Young Turks who were possibly in danger of leaving the company and every finger pointed

okay I'll take your job Allan so I went to work in corporate research and then Allan very carefully set about planning his Division and starting to interview and hire other people but it was 3 months before he hired anyone else which means that for 3 months I had Alan K all to myself this is the computer scientist equivalent of being marooned on a desert island Marland brother Allan and I talked about all kind kinds of things and I learned so much from him you know some of you may have noticed over the years that I tend to have a fairly generous assessment of my own talents you don't have to laugh that and a correspondingly ungenerous assessment a lot of evil St let me tell you this Alan K is so much SM harder than I am I feel stupid

when I'm talking to him I mean most other people when they think they they go in in little tiny Steps A B C D E F G Allan doesn't work that way he goes in big leads a j m r q and boy if you want to keep up with Alan when he's talking you got to run along behind him filling in the blanks BC d e f and it's hard you have to work to keep up with this guy I used to to walk out of meetings with him saying Allan I can't take it anymore I got to go back to my office stare at the wall for a while so I learned a tremendous amount from Allan but you know the tricky thing is most of what I learned were the blanks that I filled in and it's impossible to say whether the blanks that I filled in were blanks that he intended for me to fill in or blanks that just came from my own experience

I learned from Allan was how to dream well you know before I met Allan I I dreamed like most other people and most people dream in a very shoddy fashion very lazy dreaming good dreaming is hard work it takes energy and talent and experience but mostly work and one way to understand dreams is to uh to think of them as existing between two extremes fantasy and planning fantasy is the free Indulgence of human desire un unconstrained by the craft limitations of reality whereas planning exists entirely in the world of reality when we plan we have a narrow objective that we've already boiled our desires down to a specific objective and then we create a sequence of steps that will achieve that objective and it all lives and breathes the the air of reality in it

dreaming dreaming exists in the Nether world between easy fantasy and quading planning dreaming is is an odd mixture an integration of fantasy and planning to Dream well we must weave together the the warp of fantasy with the Woof of of reality to create a fabric that is strong that fabric if we do it well is a good dream a dream a fantasy spreads its wings and soes off into the cosmos where a plan plogs along Earthbound but a dream a dream you uh you take takes a running leap and and and jumps up as high as it can to catch a hand hold by which it can Heist itself up and that that's hard because there are lots of people who can fanze and there are lots of people who can Dot eyes and cross tees but people who can

do both well at the same time people who can keep their eyes on the Stars even as they walk without tripping across Broken Ground such people are very rare and it takes work another way of viewing dreaming is to think in terms of alternate realities there is of course reality the real reality but when we fantasize we create an imaginary a desired universe but we don't care about whether the universe works whether it's possible only when we dream do we create a universe that is actually possible a dream universe is a desirable universe that is possible and that means that we have to work out the ramifications of our fantasies we have to figure out the consequences and how everything fits together oh sure I can fantas about Sally sex bomb I can

fantasize about what it would be like to go to bed with Sally sex bomb but if I'm going to dream about Sally sex bomb well then I'm going to have to think about where we're going to live and maybe whether we're going to have children and who's going to do the dishes that's part of the dream too so under Allan's voting I set to work to dream about computer games when you know most people when they dream they draw a sketch of the Dragon but they do it in pencil and all they do is sketch out the beest outlines of the Dragon Under Allan's goting I I had to fill in every detail I had to see every scale every eyelash I had to know what was inside the dragon where the kidneys were how big the lungs were and what the skeletal structure was and so it took me a year and a half just to hammer together my basic dream I worked as part of this as an exercise I wrote a

book The Art of computer game design and that was really an exercise to help me dream more clearly and by 1983 I had my dream I could see the dragon clearly in my mind's eye let me tell you about my dream I dreamed of the day when computer games would be a viable medium of artistic expression an art form I dream the computer games in compassing the broad range of human experience and emotion computer games about tragedy or self-sacrifice games about Duty and honor patriotism satirical games about politics or games about human Folly games about man's relationship to God or to Nature games about the passionate love between a boy and a girl or the Serene and mature love between husband and wife of decades games about family

relationships or or or death mortality a boy becoming a man or a man realizing he is no longer young games about a man facing Truth at High Noon on a Dusty Main Street or a boy in his dog or a prostitute with a heart of gold all of these things and more were part of this dream but by themselves they amounted to nothing because all of these things have already been done by other art forms there's no Advantage no purchase no nothing Superior about this dream it's just an old rehash all we are doing with the computer if if if all we do is just reinvent the wheel with poor Gray materials well we don't have a dream worth pursuing but there was a second part to this dream that catapulted it into the stratosphere the second part is what made this dream important and worthy that is interactivity let me explain to you why interactivity

is so overwhelmingly important let me talk about the human brain you know our minds are not passive receptacles they are active agents it's not as if we have a button on the side of our head and they come along and push the button and the top of our head flips open and then they take a picture full of knowledge and pour it into our skull and then they close the top of our head and shake well and say congratulations you're educated now it doesn't work that way how does a little boy learn about butterflies does he read a big thick book about butterflies no he catches one tears its wings off that what's the green stuff coming out of his body I wonder what it tastes like that's how they learn and it this isn't some gross characteristic of little boys only the only difference

between us and Them is we've learned to hide that this is fundamental to our nature it's wired into our brains and if you really want to understand that concept sometime you ought to watch a couple of kittens to play here are these two kittens here what do they do well one of them sees a little bug and so he he decides to follow that bug all through the house okay the second kitten well he sees the first kitten and he gets an idea what does he do well he gets down who he folds his ears down flat so it'll be harder to see and then he creeps forward stealthily until he gets close enough and then he gets ready and then he pounces on the kitten haha and he kicky kicky kicks and he cl cl Claws and he bite B bites and the two kittens roll around on the floor and we all laugh we say kittens are having fun kittens do nothing but play all day long kittens don't have a c in the

world and we would be wrong because you see those kittens are not poofing off they're engaged in some very serious business and to understand the nature of this business you need merely ask yourself the question what is the job description of an adult Pat here's the adult cat standing in the house just keeping an eye on things when all of a sudden he sees a mouse what does he do well he gets down and he folds his ears down flat so he'll be harder to see and then he creeps forward stealthily until he gets close enough and then he gets ready and then he pounces on the mouse haha and he kicky kicky kicks and he clwy clwy claws and he bite bitey bites and that's how adult Pat earn their living so you can see except at my house

see you can see these kittens are not wasting their time in Idol entertainment they're engaged in job training this is serious business for you don't see a bunch of kittens lined up in nice neat brows with some old gezer of a cat standing at a chalkboard drawing anatomical diagrams of mice with approach angles and attack [Applause] vectors they don't do it that way all the higher mammals learn by playing by doing by interacting and indeed the higher the mammal the more of its life it spend in play to prepare itself for adulthood so you can see this active role of the Mind Is Fundamental to the way we think it's wired into our brains suppose after this lecture I go down to

the lunchroom and I eat the orange hamburger and it makes me sick and I come back to you and say hey don't eat the Orange Hamburger it's going to make you sick well that way you've learned something without ever having to get sick and that's good and in fact most of the things that you know most of the facts in your mind are things that you learned from other people so language is a way of allowing one person to learn from many different people but you know we've also learned to turn that concept around to use language as a way of allowing one person to teach many people this is the concept of mass media and in fact we we I by mass media I don't mean just radio and television mass media goes back a 100,000 years to a circle of people sitting around a fire with one guy telling a story this lecture is mass media look right now I'm teaching 200 people think about how how tremendously efficient that is that's

that's really an enormous Improvement in the efficiency of a single conversation however we've learned over the years that there's a responsibility associated with this that is if I'm going to give you guys this lecture if I'm going to take up all of your time it is incumbent upon me to do a good job I better prepare this lecture carefully I better outline it plan it and rehearse it over and over until I have a lecture that is worthy of all of your time so there's a real responsibility here in fact over the years we have also learned that if you if you run with that responsibility if you do a really good job why lots and lots of people will want to hear about your communication for example suppose this lecture was a really fantastic lecture suppose I prepared it and I had special effects of spaceship shooting cross behind me and all sorts of fabulous things going on

and and this lecture was just so great so wonderful that after it was over you all went running out into the Hall saying hallelujah brother Crawford has show me the word and and everybody wanted to buy Chris Crawford lecture vide tape and everybody wanted to buy Chris Crawford lecture audio tape Chris Crawford lecture t-shirt C yes but uh I'm not that good I think we'll have to scratch the t-shirts and coffee mug but uh the principle Remains the Same and in fact this is the Genesis of art because art really is is just a way of communicating ideas for example consider Michelangelo's statue the P showing mother Mary holding the crucified body of her son this tells you something about the nature of motherly

love and Michelangelo invested so much talent into that statute so much energy and so much time that the result conveys to you the audience its message of motherly love with tremendous power it is compelling it is clear it is powerful and because of these things it is it is so great that we call it beautiful that that is the the spring that is how our comes about however we have also learned over the years that the responsibility works both ways this is a two-way street honey you don't get all Scott three you have a responsibility too your responsibility is not to mess up my beautiful speech I mean if I went all of trouble to prepare this damn thing you better not disrupt it so don't get up and move around don't don't uh russle your papers and drop them on the floor don't stomp your feet don't crack your knuckles don't Bouch

don't fart don't do nothing just sit there quietly passively wait didn't I just say uh I think it was about here somewhere didn't I say something about the human mind being an active agent not a passive receptical what gift I mean here we have the march of civilization every day and everywhere getting better and better and the grand culmination of this glorious March is the creation of art which puts you the audience in a passive role which we have just shown to be fundamentally in conflict with the basic structure of the human mind what G well maybe I can uh illuminate the nature of this contradiction a little with an imaginary alternative suppose suppose I were to to give the instead of giving this lecture

suppose I would to take each of you one at a time you know we start with you D and you and I would go off to a little room together and and we would have a conversation instead of a lecture an interactive conversation instead of an expository lecture and so I would start saying something about my dream and then you might ask a question and then I'd answer your question and then you might have another question I'd answer that and then you'd start to argue with me I'd argue back we go back and forth and back and forth and we would interact and that would be a lot different wouldn't it because because you'd be a lot more active you wouldn't be sitting there on your fat butt you'd be You' be doing something the juices to be blowing the wheels would be turning your mind be going a mile a minute you'd learn a lot more wouldn't you yeah and and from my point of view I would convey my message a lot more effectively wouldn't I the problem is there are 200 of you and there's only one of me and if I were to use that method why I'd be here forever

so the lecture method is a lot more efficient than the conversation method and that is the basic problem we Face the interactive conversation is effective but the expository lecture is efficient that's the trade-off we make and over the centuries we humans have learned that the gains in efficiency outweigh the losses in Effectiveness and therefore or we choose expository methods but the sacrifice remains real we haven't ever solved that problem it's been with us since the beginning of History every single artist has faced it every Communicator every teacher every novelist every sculptor every singer every musician every painter every novelist every single artist through all of human history has been forced to sacrifice Effectiveness for efficiency

until now because now we have a technology that changes everything with the computer I can take my ideas that I want to communicate I can express them in the form of an algorithm then I can take that algorithm and I can write it up as program code and then I can put that program code onto a floppy disc and then we can Mass produce that floppy disc we can make millions of copies of spread it all over the world to it millions of people can play my game they can interact with my ideas and because they are interacting I achieve Effectiveness and because we are mass producing the diss I achieve efficiency that that is the Revolutionary nature of the computer it the we it allows us to automate interactivity to achieve both effectiveness and deficiency that was

the most important part of my dream and so 1983 I set about the long task of realizing that dream now of course any truly worthy dream cannot be realized in a year or two or five a truly good dream needs a lifetime realized but that didn't stop me from at least identifying the fundamental problems that had to be solved and and the very first problem that required my treatment the very the biggest problem we Face here is the lack of people in our games have you ever noticed computer games all all of our games are about things not people we shoot things we Chase things things shoot us things chase us we manipulate things maneuver things allocate things manage things but it's always things things things there are never any people in any of our games no sure I've I've

seen the pitiful excuses for characters in our games and their face they are Pon Villages the the characters in our games are like a cardboard box with a with a picture of a face pasted onto the front but nothing inside there's no heart and soul in them all they have are a couple of buttons on front you push one button and he says I am your friend now and you push the other button and he says I am your enemy now that that the characters we have in our games have as much to do with real characters as an inflatable doll has to do with sex that may be good enough for most people that's not good enough for me if we want real characters in our game there are three fundamental techn olical hurdles that we must jump

first the technology of human facial expression we've got to be able to show people's faces emoting we've got to show our characters laughing and smiling and crying looking frightened and skeptical and suspicious and and greedy and lustful and romantic we've got to have a library of a hundred different facial expressions Each of which can be put onto the face of of any member of our cast you can't do that yet can you I can I have the second thing we need is artificial personality the algorithms of human behavior we need equations that show how people feel how they behave how they react to different situations and we need this on a gigantic scale we need to be able to handle hundreds upon hundreds of different behaviors with thousands of different equations you can't do that yet can you I have and lastly we need a language of

emotional expression we need to allow our players to interact with the characters in an emotionally significant fashion it's not good enough to be able to stab them or shoot them or or take something away from them or give something to them or talk to them about where the princess is that's not good enough we' got to be able to talk about feelings and emotionally significant events you can't do that yet can you yes I have and I don't say these things to both I say them to point out how long I've been working on it and how long the path in front of you is I've been working on this stuff for 10 years you got a lot of catchup to do my very first interpersonal relationships game gossip was published in 1983 it had human facial expressions artificial personality and a language of emotional expression it was primtive but you know

this industry still hasn't published anything as good as gossip that's pretty sad well I continued to advance my work on it and on a very opportunistic basis trying different approaches successes and failures it was a very Herky jerky development path I followed in 1987 I published a gang called trust and betrayal Legacy of setin and that one was a commercial failure at the time I blamed it on my own failings I thought well you know I'm still learning this stuff this is I was way out on the limb I thought that the fault was all mine what I didn't understand was that I was really up against some fundamental forces that work in the industry forces that I didn't understand at all but in 1990 something else happened that served as the kick in the side of the head that woke me up and that was the reaction to my game balance of the planet when I set out to do balance of the planet I wanted to do a game about Environmental Policy but I wanted to do

a game that had some honesty in it some Integrity I didn't want to do dolphin dancing across the screen I didn't want to do zor dressed up in Green Peace clothing I wanted a game that honestly addressed Environmental Policy issues and that that was a pretty tough problem but I was very proud of the approach that I I came up with the solution I came up with was a pretty good one really did address those issues and in fact balance of the planet Remains the best way to learn about about environmental policy tradeoff it's better than any book or television show or video tape if you really want to understand it that's the best way so boy was I proud of that product and so I was really stunned when the industry rejected it pretty widely the uh Distributors retailers customers press game designers too pretty much rejected this game turned thumbs down no good

perhaps the uh I think the the overall reaction of the industry was best summarized in a review of the game written by some fellow at uh computer gaming World let me just read you few he said regarding balance the planet it is the closest thing to Art so is Computer Entertainment but it's just not fun therefore or the game is not fun it simply wouldn't be right to Endor more explicit rejection of my dream Cannot Be Imagined here here they are saying yes it's art but it's not fun therefore now I'm sorry Mr Shakespeare you're playing MC boy it kept me up with nightmares for three nights but gosh well it's just not fun I mean can't we

get a few belly laughs in there maybe we can have the best tell a few mother-in-law jokes to his wife yeah and you Mr Boven your Ninth Symphony ho ho it makes my heart sore in awe at the Majesty of the cosmos but you know it's just not fun I mean we need something we can dance to we need some cute catchy little Tes we can snap our fingers too what can I do at first I fought this I just couldn't believe it I I was Furious I fought back but then then I realized that this was not really attributable to any fundament to any to the obtuseness of individuals no no this was a fundamental Force this was the marketplace at work let me explain to you what was going on what is still going on in our our industry think in terms of a scale of difficulty with

simple games at the bottom and hard games at the top but the scale applies to people as well with inexperienced people at the bottom and very expert game players at the top now any given game Falls somewhere on this scale but it doesn't fall at a single point it actually has a window there's the lower level of difficulty and the upper level of difficulty help you now when you first start playing a game you normally start off below the lower level and what happens you get stunk the game clob you and you lose but no problem you come back and try again and you learn you get better so you start climbing the ladder and as you climb the ladder pretty soon you climb above the lower level of difficulty and you climb into the Fun Zone where the game is challenging and interesting and fun but you keep playing and so you keep learning you keep climbing the ladder as you do the day

comes when you climb above the upper level now the game is too easy to beat it's boring you don't play it anymore you put it aside and then what do you do well you buy another game but this game is going to be a little more difficult than the previous one it's going to be higher up on the scale and so you'll climb up through that game and put it aside by another game and another and another and you're going to just climb right up that ladder improving your expertise and the result is something I call games literacy and it really depends on the genre for example I'm really literate when it comes to flight simulators I played a lot of these and so when I got secret weapons of the Lota I took that thing plugged it in fired it up and within five minutes I was shooting down p51s but uh when it comes to graphic Adventures uh I every year or two I get the latest graphic adventure I plug it in fired up and within 5 minutes I'm bashing my head against a brick wall

stumped and frustrated I mean I'm so bad at this I had to call up Brian lardi and get hint for [Laughter] little but we all have different literacy and so if you think about the population of people out there there it's divided into three groups at the very bottom of the scale are the millions of personal computer owners who are not literate they don't play games very often so they're way down at the bottom then there's a very small group of people climbing the ladder at in given time and then at the top of the ladder there are the officient AOS the experts the people who play the games a lot there are a few hundred thousand of these people now simple question if you're a developer or a publisher or a distributor or a retailer which of these these three groups who you want to sell to and the only possible answer is group

number three the afficianados why because they're so easy to sell to they're connected they read all the magazines they're on the electronic networks they all have a big circle of friends they're always talking about the latest greatest games they hang around the stores all the time and they spend money these people buy games a lot and so they're easy to sell to Ian best proof of how easy they are look at the success of Wolfenstein 3D here's a game with zero formal marketing and everybody's talking about it how did they find out about it the network the connections everybody here in this group knows about Wolfenstein 3D that's the proof of just how powerful this roof really is by contrast how do you sell to the people at the bottom end of this scale how can you even tell them that your game exists advertise on Nightly News I mean these people don't read any any of the regular magazines they don't

log on to comp you serve every 35 minutes they you know they're they're these people the way they buy games they wander into the computer store once a year to get a new ribbon for their dot matrix printer they they get lost in the store and they they they Bumble into the game section and they say oh gosh computer games that's right you know I haven't played a game in uh two years maybe I ought buy one let's see oh look here's a pretty box Harpoon oh that's I think I'll buy it I bet it's about whales how do you sell to these people it's you know and these people here these are the ones they sell to because they tell you what they want I mean it's really designing for the bottom crowd it's it's hit or miss you you spend a half a million dollars on a game you put it out there if they don't like it they won't even tell you they don't like it they just won't buy it but

these people Bo try to stop them from telling they'll send you letters they'll fill out the feedback form send you email they'll they'll call you up in the middle of the night to tell you what's wrong with your game and how to make it better these people boy it's easy to figure out what they want and what do they want they want more debt yeah they they've invested a lot of money and a lot of time climbing that ladder and they don't want to throw away that investment they don't want to start all over on a new ladder they want to keep climbing the ladder they want to go higher and higher they want more depth in their game and think about how that compares to my dream as I want Encompass the broad range of human experience and emotion what I want is breath what the customers want is death I am at false purposes my a and there's only one conclusion I can

draw I have to leave I don't fit in here anymore now I realize that's uh that's kind of strange but you know many years ago I left the crowded cities of the Eastern Seaboard and crossed the Appalachian Mountains and came upon the Virgin forests of Kentucky and there I built myself a cabin and I hunted the dragon I wasn't very good back then I only bumped into him at Night by chance and my encounters with him were brief and desperate I'd wave my sword frantically and hear his claws hissing through the air and then he would be gone I was learning and it was fun and then more people came they uh Hardy pioneers and they they built cabins near mine and pretty soon we had a lot of cabins pretty soon we had a village there with with lots of houses and then more people came until now now we have a

town with stores and people being busy and and streets and and property lines and and lawyers and this place has gotten too damn civilized for me I mean I just don't fit in so I I hoist my backpack onto my shoulders and I walk down the Main Street one last time I wave goodbye to a few old friends but most of the faces I see belong to strangers they look a scance at me and turn to their neighbor and say who is that scuffy old anyway I'm glad he's leaving town we don't need his kind in our town at the edge of town I turn and look back one last time it's a good town I'm I'm proud of the role I played in its creation but out there the West beyond the

Mississippi beyond the Great Plains await the Rocky Mountains and no people there just rocks trees Clear Blue Sky the dragon he's there for you waiting for I can hear you saying Chris this is crazy I mean you don't want to leave all this behind you got too much invested here this is insanity and you know you're right this is crazy but let me tell you about another crazy old fool let me tell you about a guy by the name of donot DEA you know insanity is an inability to come to terms with reality donot was definitely insane because he couldn't come to turn but there was a reason the reality in which Don kote lived was a

sorted and ugly reality the people were scrabbling for survival zot didn't want that he wanted to live in a world where there was truth and and human dignity and yes love and try as he might he couldn't accommodate that to the real world other people were able to compromise enough to reach an accommodation donot for him the Gap was too great he couldn't Bridge it and so instead of giving up on it he imposed his reality onto the real world where other people saw a filthy country hostile he saw a castle where other people saw a flock of sheep he saw a mighty Army where other people saw a windmill es saw a dragon yes donot was a crazy old fool you know he was more honest about

his dreams than most people and for that I honor him so the time has come for me to make my commitment I am I am I have committed myself I have dedicated myself to the pursuit of the dragon and having made that commitment having having decided that once and for all now all of a sudden I can see him there he is right in front of me as clear as day I never thought that that I would see you this clearly I I always saw you with brief glimpes in the dark but now now you're so much bigger than I'd ever imagined I'm I'm not so sure I like this I mean yes you're you're glorious and beautiful but you're ugly too your breath reefs of death no I I never had

any childish fantasies of uh conquering you that that thinking is for children you are beyond that indeed I can see stretched around your feet the bodies of my predecessors and all you have to show for it is a few Nicks and scratches but do you have to laugh at me that way am I am I so pitiful that you can snear in my face like that yes yes you frighten me you hurt me I felt your claws dripping through my soul but I'm going to die someday and before I can do that I've got to face you eyeball to eyeball I've got to look you right in the eye and see what's inside but I'm not good enough to do that yet I'm not experienced enough I'm going to have to start learning today

here now come Dragon I will fight you s p my sword for Truth for beauty for [Applause] Char hey the radio

I