Haphazard: Episode 16: ToeJam and Earl

Haphazard: Episode 16: ToeJam and Earl

Title image source: Gamefabrique

Get Funky

Get Funky

  ToeJam and Earl is a comic satire video game in which two funk driven aliens parody early 90’s urban culture.

  The game’s creator, Greg Johnson, was working for Electronic Arts on games such as Starflight (1986) and Starflight 2 (1989), when one day – while on a beach in Hawaii no less – he came up with the idea for his own franchise, ToeJam and Earl.

  First, he envisioned the two funk-tastic main characters: ToeJam, a short, three-legged, red alien wearing a backwards baseball cap and gold medallion around his neck, and his companion, Earl, a tall, obese, orange alien rocking high-top sneakers and over-sized sunglasses. Their over-the-top attire, use of slang words, and funky tunes were meant to mimic the early 90’s popular urban culture.

  After creating his characters, Johnson developed the odd plot. ToeJam and Earl were designed as two funky alien rappers who had crash-landed on Earth. In the wreck, their “highly funky, ultra-cool, righteous, rap master rocket ship” broke into pieces, and they were to collect them in order to fix the ship and return to their home planet, Funkotron.

  Johnson was soon introduced to programmer Mark Voorsanger through a mutual friend, and while walking on Mount Tam in 1989, unveiled the concept of ToeJam & Earl to him.

  Intrigued, Voorsanger reached an agreement with Johnson, and soon the two formed Johnson Voorsanger Productions, where serious work on the game began.

  The original game takes place from a 3/4 perspective in a 2D game world, as its game play mechanics were inspired by the game Rogue. It is considered a dungeon-crawl game, which means the heroes navigate a labyrinthine environment while battling various monsters and collecting items. It also featured randomly generated levels, had both single and two-player modes, and was equipped with the funkiest soundtrack you’ve ever heard.

  Because Johnson and Voorsanger both worked as commercial game designers, they were easily able to arrange a meeting with Sega of America to pitch their creation. They used cards covered in landscape drawings to demonstrate the idea of randomly generated levels, which immediately intrigued Sega marketing manager Hugh Bowen.

  Sega was seeking innovative games and new mascots to compete with Nintendo, and was highly impressed with the concept. But when the game was released in 1991, Sega deemed it a commercial failure due to low initial sales. 

  Some reviewers claimed that the game was addictive and original, but found it too easy.

  Mean Machines – a UK based gaming magazine that ran from 1990-92 – found fault with the games slow-paced combat, with one reviewer stating, “Not everyone will like it—it’s not normal enough for mass appeal—but I think it’s destined to become a massive cult classic”.

  Giving the franchise another go, a sequel, ToeJam & Earl in Panic on Funkotron, was released by Sega in 1993.

  The story picks up after ToeJam and Earl return to their home planet of Funkotron, where they discover that Earthlings have stowed away on their spacecraft. These Earthlings wreak havoc across the planet, and the player must hunt down and imprison them in jars in order to send them back to Earth.

  The game received positive reviews and commercial success, but some fans of the original were disappointed and confused. The sequel had abandoned its predecessor’s design as a treasure hunt game with randomly generated levels, becoming a more generic side-scrolling game. Creators Greg Johnson and Mark Voorsanger had planned to design the sequel like the original, but Sega showed a lack of support, and called for the change.

  Personally, I loved ToeJam and Earl in Panic on Funkotron. I still have a copy for my Sega Genesis; my favorite part of the game being the beat-boxing challenges.

  Because of the drastic change in game play, ToeJam and Earl in Panic on Funkotron developed a reputation as a sell-out, and Johnson and Voorsanger have stated they regret moving from the original format to a side-scrolling game. Even so, Johnson maintains “ToeJam & Earl 2 was a very original side-scrolling game”, and asserted that Toyoda Shinobu – who had been Sega’s Vice President of Development at the time – “admitted that it was probably a mistake on Sega’s part to jump to a side-scroller”. 

  ToeJam and Earl became one of Sega’s second tier mascots, right next to Sonic the Hedgehog, and are still considered one of the Sega Genesis’s “key exclusive franchises”. However, due to poor North American sales of the Sega Saturn upon its release, Sega neglected the ToeJam & Earl franchise. A game was planned for the Sega Dreamcast, but it was cancelled.

  On October 23, 2002, ToeJam & Earl III: Mission to Earth was released for the Xbox. This third installment in the franchise was designed to mimic the platform of the original game, but brought the two would-be heroes into the third dimension. It was met with mixed reviews, and was deemed “mediocre” by GameSpot.

  Though it looked like the end for ToeJam and Earl, Greg Johnson continued to work toward staging a comeback for the franchise. A new game called ToeJam & Earl Back in the Groove was funded through Kickstarter in 2015, and was originally estimated for release last year. It was planned for release on Linux, Mac, and Windows PC, while a release for PlayStation 4, Wii U, and Xbox One were listed as stretch goals on the Kickstarter campaign. Unfortunately, those goals were not met.

  The game is being created by Johnson’s independent game developing company HumaNature Studios, in conjunction with Adult Swim Games. The two companies describe Back in the Groove as “a mash-up of the very best features from the classic console games [ToeJam & Earl and Panic on Funkotron], with a pile of new features thrown in.” It is expected to be released sometime in 2017.

  Though it looked like the end for ToeJam and Earl, Greg Johnson continued to work toward staging a comeback for the franchise. A new game called ToeJam & Earl Back in the Groove was funded through Kickstarter in 2015, and was originally estimated for release last year. It was planned for release on Linux, Mac, and Windows PC, while a release for PlayStation 4, Wii U, and Xbox One were listed as stretch goals on the Kickstarter campaign. Unfortunately, those goals were not met.

The game is being created by Johnson’s independent game developing company HumaNature Studios, in conjunction with Adult Swim Games. The two companies describe Back in the Groove as “a mash-up of the very best features from the classic console games [ToeJam & Earl and Panic on Funkotron], with a pile of new features thrown in.” It is expected to be released sometime in 2017.

  A teaser trailer was released by Adult Swim on Aug 24, 2016.

  As a long-time fan of the franchise, I am eager to see what ToeJam and Earl: Back in the Groove will be like.

  Until the new game is released, you can find me with a wired Sega controller, jamming to a funky soundtrack, while playing this Sega classic.



Did you enjoy this read? Leave your thoughts in the comment section below!


ToeJam and Earl: https://en.wikipedia.org/wiki/ToeJam_%26_Earl 

ToeJam & Earl in Panic on Funkotron: https://en.wikipedia.org/wiki/ToeJam_%26_Earl_in_Panic_on_Funkotron

ToeJam & Earl III: Mission to Earth: https://en.wikipedia.org/wiki/ToeJam_%26_Earl_III:_Mission_to_Earth



Haphazard: Episode 15: Earthworm Jim

Haphazard: Episode 15: Earthworm Jim

Unique Franchise

Unique Franchise

 If you had a Sega Genesis in the 90’s, you just had to have this game.

 Earthworm Jim was a video game released for the Sega Genesis system in 1994. This incredible game introduced us to its namesake hero, Jim, an earthworm possessing a super-suit which gave him super-human-like abilities.

 The game originated when Playmates Toys decided to start their own franchise after being inspired by the success of the Sonic the Hedgehog series. In rare fashion, they decided to start their franchise as a video game too, and began with Douglas TenNapel‘s simple sketch of an earthworm.

 He later presented it to Shiny Entertainment, where programmer David Perry and the rest of Shiny decided to buy the rights.

 In developing the game, TenNapel still worked on the game design, creating level ideas and voicing Jim’s character, while other characters and game mechanics were designed by Perry and the other programmers.

 Before working on Earthworm Jim, the developers had been limited by their customers as to the content they could create. With this project, they could design it however they desired, and made it a satire of platform video games. For instance, one character, “Princess-What’s-Her-Name”, was added as a parody of how many video games of the era had female characters in lack-luster roles, in need of saving.

 The game itself played as a 2D side-scroller, and had elements of a run and gun game as well. The object was to maneuver Jim through the levels while avoiding obstacles and enemies. Jim’s gun was his major defense against enemies, but he could also whip them with his head.

 Using the whip move, the player could also grab hold of, and swing from, certain hooks in the game.

 In the game, Jim’s task is to evade the game’s many antagonists who are after him for his suit, and also rescue and protect “Princess What’s-Her-Name” from them. If you made it all the way through the game, Jim saved Princess What’s-Her-Name, but it’s no fairy-tale ending. The Princess does not return Jim’s affection, and – hilariously enough – is also crushed by the flying cow that Jim launches at the beginning of the game himself.

 The game’s popularity grew, as did its franchise, with eventual releases of Earthworm Jim 2 in 1995, Earthworm Jim 3D in 1997, and Earthworm Jim: Menace 2 the Galaxy in 1999. There was also a line of Earthworm Jim toys and action figures released in late 1995.

 From 1995 to 1996, the franchise ran an animated series based on the Earthworm Jim series of video games. In total, 23 episodes in 2 seasons ran on the Kids’ WB programming block on The WB Television Network.

 This meant even us 90’s kids who grew up without cable were able to enjoy its absurdist and surreal humor.

 Earthworm Jim 3D was the beginning of the downfall for the franchise. It was not considered a commercial success, and many reviewers claimed it was mediocre It couldn’t compete with other games out at the time, such as Super Mario 64, Rayman 2, or Banjo Kazooie.

 Earthworm Jim: Menace 2 the Galaxy was even more poorly received. Reviewers stated that it had lost the charm of what made the originals good, and pretty much “killed the series”.

 Even if the franchise did turn out a few bad eggs, I will forever be a die-hard Earthworm Jim fan. The series fluid animation, hand-drawn style, and wacky surrealism captured my youth.  It’s safe to say, there will never be another hero quite like Earthworm Jim.



Did you enjoy this read? Leave your thoughts in the comment section below!



Haphazard: Episode 14: Ren and Stimpy

Haphazard: Episode 14: Ren and Stimpy

Cult Classic Cartoon

Cult Classic Cartoon

 If you’ve never heard of The Ren & Stimpy Show, I don’t know what you’ve been doing with your life. This cult classic cartoon was one of my favorites, and was riddled with controversy; on and off screen.

 The series was created by John Kricfalusi for Nickelodeon, and follows the adventures of title characters Ren, an erratic, unstable Chihuahua, and Stimpy, a good-natured, empty-headed cat. It premiered on August 11, 1991 as one of the original three Nicktoons. Throughout the shows run, it featured controversial off-color humor, sexual innuendos, dark humor, adult jokes, and violence; more so than any other cartoon of the era.

 According to animator William Wray, John Kricfalusi created the two iconic characters Ren and Stimpy in 1978 for “personal amusement” while studying at Sheridan College.

 Production of a pilot episode began in 1989 by Kricfalusi’s Los Angeles-based animation company, Spümcø, after he pitched and sold The Ren & Stimpy Show idea to Nickelodeon. For several months, the pilot screened at film festivals until it was announced that it would be part of Nickelodeon’s 1991 cartoons line-up.

 Spümcø produced the show for two years, while encountering issues with Nickelodeon’s Standards and Practices. Kricfalusi, in his early period with Nickelodeon, got along with the sole executive of the program, Vanessa Coffey, but when another executive was added, the desire to alter or discard some of the episodes grew. Kricfalusi says the episodes stayed intact only because he made a deal with Coffey, in that he would keep some “really crazy” episodes intact in exchange for creating some “heart-warming” episodes too.

 Looking past the controversial themes and actions sprinkled throughout the series, the show had some – for lack of a better word – unique characters besides Ren and Stimpy.

 Mr. Horse was a straight-talking, thoughtful, and serious, full-sized male horse, who usually stood on two legs. He was one of the most common secondary characters, and played a part in a wide variety of non-continuous roles. Mr. Horse has been a victim of a fall from a skyscraper, a GI returning from war in love with a sheep, a dog-show judge, a neighbor hiding a dark past, a tester for Gritty Kitty cat litter, and even a psychiatrist. His iconic catchphrase was “No sir, I don’t like it.”

 Another iconic character from the series is Powdered Toast Man. This character was a melodramatic, oblivious superhero, and spokesperson for Powdered Toast – a breakfast treat that “tastes just like sawdust”.  Pastor Toastman by day, a “cool youth deacon”, this super hero had the ability to fly by releasing flatulence, or by inserting his head into a special toaster and launching himself from it. Importantly, he flies backwards.

 Depicted as entirely made of Powdered Toast, he can produce Powdered Toast by flicking his wrist or by separating his head and scraping the interior with a butter knife. Each of the two pieces of bread comprising his head has a face of its own. He was alerted to danger by strange methods too, including his tongue phone, the inflation of his briefs, the dissipation of the toast particles in his head, or the reading of emergency messages encoded in slices of olive loaf.

 His special superhero abilities were just as bizarre; high-velocity raisins shot from his mouth, hyper-corrosive croutons fired from his armpit, butter pats launched from the top of his head, and hyper-acidic marmalade shot from his navel.

 Nickelodeon was not in favor of some of the characters and situations presented in the show, and censored or changed pieces. When the character George Liquor appeared in episodes on Nickelodeon, his family name was edited out; a record-scratching sound effect in place of the word “Liquor”. In the episode “Powdered Toast Man”, a cross was removed from the Pope’s hat, and the voice actor’s credits were changed to “the man with the pointy hat”.

 The direction of the series was questioned by Nickelodeon, and it was later asked the new studio to make it lighter and less frightening. The episode that drove them to this assertion is said to have been “Man’s Best Friend”, which features a violent climax where Ren brutally assaults the character George Liquor with an oar.

 *The episode was shelved by Nickelodeon because of its violent content, and is now known as the “banned” episode. However, the show’s spin-off, Ren & Stimpy “Adult Party Cartoon”, debuted with this episode in 2003 on Spike TV.

 Eventually, the relationship between Kricfalusi and Nickelodeon worsened, coming to a point where Kricfalusi would only communicate with Nickelodeon through his lawyer. This caused delays. A Wizard magazine article, written by Andy Mangels, stated that “Kricfalusi’s lax treatment of deadlines pissed off not only the networks, but his loyal viewers as well”, however, some of the delays were attributed to Nickelodeon. Approvals were prolonged at times, and Nickelodeon would withdrawal approval from scenes and episodes that had been previously approved.

 I’m sure there were countless innuendos that Nickelodeon found inappropriate, but some of the imagery itself was just downright disturbing.  Several episodes had violent, gruesome, or suggestive scenes that were shortened or completely removed. Some of these scenes include a sequence involving a severed head, a close-up of Ren’s face being grated by a man’s stubble, and a scene where Ren receives multiple punches to the stomach from an angry baby.

 Nickelodeon eventually terminated Kricfalusi’s contract in late September 1992, but offered him the position of consultant for Ren & Stimpy. He refused. Production of the show then moved to Nickelodeon’s newly founded animation studio, Games Animation, which later became Nickelodeon Animation Studios. Fans and critics alike claim this was the turning point of the show. With Bob Camp as director, the new episodes were a considerable step down from the standard set by Kricfalusi. A resident critic of The Boston Phoenix, Ted Drozdowski, stated that “the bloom faded on Ren & Stimpy.”

 The series ended its original run on December 16, 1995 with the episode “A Scooter for Yaksmas”. One episode from the final season, “Sammy and Me/The Last Temptation“, remained unaired until almost a year later, when the episode aired on Nickelodeon’s sister network, MTV, October 20, 1996.

 Creeps like me are were just naturally drawn to the “outside-the-box” type of content that made this show so special. Attaining the status of “cult-classic” this series made a huge impact on my generations way of thinking. Though Ren and Stimpy is no longer airing on T.V., it will forever live on in all the hearts of its dedicated fans; not to mention a ton of bootleg videos on YouTube.



P.S. Here’s one of my favorite episodes of the Ren and Stimpy show; simply for the music video sequence at 2 minutes 50 seconds.

Did you enjoy this read? Drop your thoughts in the comments below!


Haphazard: Episode 13: Legends of the Hidden Temple

Haphazard: Episode 13: Legends of the Hidden Temple

Kid Gameshow

Kid Gameshow

 This classic game show is one of my favorites from the 90’s, which was centered around a temple “filled with lost treasures protected by mysterious Mayan temple guards”.

 Created by David G. Stanley, Scott A. Stone, and Stephen Brown, the show was produced by Stone Stanley Productions in association with Nickelodeon from 1993 to 1995.

 Six teams of two children (one boy and one girl) would compete in challenges to retrieve historical artifacts hidden deep inside the temple by answering questions related to history, mythology, and geography.

 The show was hosted by Kirk Fogg, assisted by the most notable item from the show, a talking Olmec Head simply named Olmec. These guides led the six teams – Blue Barracudas, Green Monkeys, Silver Snakes, Purple Parrots, Red Jaguars, and Orange Iguanas – through each round of the game.

 *The voice behind this Olmec is actually Dee Bradley Baker, an American voice actor who has worked shows such as American Dad!, Codename: Kids Next Door, Gravity Falls, Phineas and Ferb, and more.

 There were three rounds leading up to the fourth and final round named the “Temple Run”

 First, the six teams would have to cross “The Moat” in a described manner, which changed frequently. Whichever team got both teammates across the moat would then hit a button on the other side showing completion of the task. Only four teams would advance from this challenge to the next round.

 I always dreamed of going on this show, but – as uncoordinated as I can be sometimes – I was sure I’d be the first kid drowning in that moat instead of crossing it.

 The four teams who made it through the moat challenge the fastest advanced to the next round, known as the “Steps of Knowledge”. Olmec would tell the episode’s legend – or story – featuring an artifact. At the end of the legend, Olmec told the teams what room the artifact could be found. Then, he asked the teams a series of multiple choice questions to test their memory.

 A team signaled to answer a question by stomping on a button on their step, which caused the front of the step to illuminate. If the question was answered correctly, the team moved down to the next level. If a team answered incorrectly, or ran out their three seconds’ time limit, the other teams were given a chance to answer. Each team had to answer three questions correctly to get down the stairs, and only two teams advanced to the third round.

 The third round was where competition got tense. Simply named the “Temple Games”, it featured three physical challenges for the two remaining teams. The games changed to reflect the episode’s legend, with most games lasting a maximum of 60 seconds.  After each challenge, the winning team received some portion of a protective “Pendant of Life”. The first two challenges put single members from each team against one another, and were worth one half of a pendant. However, the final challenge of the round included both contestants on both teams, and was worth a full pendant.

 The team that earned the most pendants earned entry into the final round. If a tie happened, the two teams stood behind a tiebreaker pedestal while being asked a question. Fogg asked the tiebreaker question originally, but in seasons two and beyond Olmec asked them. When a team hit the buzzer, they had three seconds to answer, and an incorrect answer meant the other team instantly won. This was later changed, in that the opposing team must answer the question correctly to enter the final round, named the “Temple Run”.

 In the final round, the last team would face a temple of twelve rooms. Olmec would first describe the rooms, and the challenges in each. The goal was to get through the challenges of the temple and recover the artifact described earlier in the show. Each room had a different theme, some having guards that would capture the contestant. If a this happened, a “Pendant of life” that they had acquired in the previous round could be used to continue, but only a full pendant allowed this.

 Each room had a locked door, and upon completion of the rooms task it would open. If the first member of the team was captured, or ran out the three-minute time limit, the second member of the team was then given a chance. The doors that had been opened remained open, and any guards that had been awoken did not return to their rooms either, giving an advantage. If either contestant made it to the artifact, all remaining temple guards vanished and all locked doors instantly opened, regardless of the time left on the clock.

Teams that made it to the final round automatically won a prize, and if they could get the artifact won a larger prize. If a team reached the artifact and escape the temple within the three-minute time limit, they won a grand prize, in addition to the two lesser prizes.

 I loved this show, and was surprised to find out that it was originally conceived under a much different premise. It was originally thought up under the title Secrets of the Haunted House, and was going to have monsters jump out and scare contestants while they tried to complete challenges. As awesome as that sounds, I can’t imagine how it would be educational, but either way I bet those actors loved their jobs.

Stranger: “What do you do for a living?”

Actor: “I scare the crap out of little kids.”

 The show won the award for best game show at the Sixteenth Annual CableACE awards in January 1995, but stopped producing new episodes by April 1996. Reruns ran for three years, until February 28, 1999, when the program stopped airing on Nickelodeon. It made a return on March 1,1999 on Nick GAS, running until that network ceased operations December 31, 2007.

 In March 2016, Nickelodeon announced a TV film version of the game show was in production. It revolves around three siblings who break away from a lackluster tour in the jungle, finding themselves immersed in a high-stakes adventure involving obstacles that they must complete in order survive. The film premiered on Nickelodeon on November 26, 2016.

 Though Legends of the Hidden Temple no longer runs, I still reminisce about it from time to time. I can’t help but have the show pop into my thoughts when I see something like Indiana Jones, from which the show’s theme was based. The idea of learning through discovery, and actually having fun, is a great idea, and I’d love to see a return of this show for today’s youth!



Did you enjoy this read? Have any memories you’d like to share? Leave your comments below!



Haphazard: Holiday Special

Haphazard: Holiday Special



 With Christmas only a few days away – or the winter solstice, or whatever holiday you celebrate – I’d like you all to take a moment to think about what this season is really about.

 This time of year is not about presents or gifts.

 The season is about coming together, showing gratitude, love, and caring about one another.

 So today, instead of reminiscing about a material item or classic show, I instead offer a message.

 “Take this time this holiday season, and spend it with those you love! Not on the internet, but in person!”

 I will be following this idea myself, as NO ARTICLES will be published until after the holidays! Articles will resume January 2, 2017, with Obscure: Episode 25.

 Have a safe and happy holiday!



Haphazard: Episode 12: SWAT Kats

Haphazard: Episode 12: SWAT Kats


The Radical Squadron

The Radical Squadron

 SWAT Kats was one of my favorite cartoons from the 90’s, which revolved around two vigilante pilots possessing a state-of-the-art fighter jet.

 Created by Christian and Yvon Tremblay, and produced by Hanna-Barbera Productions, the series takes place in the fictional metropolis of Megakat City. All residents of this city are anthropomorphic felines, known as “kats”, and are threatened by many villainous acts.

A paramilitary law enforcement agency, known as the Enforcers, is the cities only real defense, that is, besides two vigilante pilots known as the “SWAT Kats”.

 After disobeying orders, and because of a crash that resulted in the destruction of Enforcer headquarters, Chance “T-Bone” Furlong and Jake “Razor” Clawson were reassigned to work at the city’s military salvage yard to pay for the damage. Here the duo uses scrap military parts and salvaged weapons to build themselves a three-engine jet fighter called the Turbokat, and assist in the fight against threats to the city with anonymity.

 The team had a hidden subterranean hangar below the city junkyard, in which they hid the Turbokat, along with a few other vehicles, and a training area.

 The show quickly became the number one syndicated animated show of 1994, according to Nielsen ratings, and Hanna Barbera Productions even stated in a SWAT Kats Poster ad that same year that they were going to release new episodes, posters, and other works in 1995. However, this never happened.

 Ted Turner, owner of Turner Entertainment (which produced and aired the show), was reportedly unhappy with the amount of violence in the series, prompting a delay in merchandising and causing the show’s eventual cancellation.

 In a 1995 interview after the show’s cancellation, Turner explained that, “We (Turner Entertainment) have more cartoons than anybody: The Flintstones, The Jetsons, the Smurfs, Scooby-Doo. They’re nonviolent. We don’t have to worry that we’re encouraging kids to kill each other – like SOME of the other cartoon programs do.”  Source

 Sadly, the show was no more, however, there is a comeback staged for the near future.

 On July 23, 2015, Christian and Yvon Tremblay announced a Kickstarter campaign to revive SWAT Kats. They were seeking to produce a new series, and possibly a 70-minute film. The creators set a few different goals for the Kickstarter, and after only one day successfully reached its first funding goal of $50,000.

 The first goal was used for production of concept art and promotional material, to help them find an investor who would be interested in bringing back this classic show. A larger goal of $200,000 would allow the two to produce one 22-minute episode, while a pledge total of $1,000,000 would allow them to do a mini-series of five episodes.

 The campaign ended on August 22, 2015 with a total amount of $141,500 pledged, which was used to create the pitch trailer. On February 3, 2016, the Tremblay Brothers started development on the new trailer, which they attempted to use to peak interest in a revival of the series. The trailer convinced Warner Bros into bringing back SWAT Kats on the Boomerang Channel / Cartoon Network, but was unable to convince the parent network to commit for a new series.

 Disappointed, but not discouraged, Tremblay is currently working with investors to create independent episodes of Swat Kats. They will hopefully be available online for streaming, and Tremblay is also talking to VOD and others to accomplish the goal of producing new episodes in the near future.

There is a petition to get the show picked up by NETFLIX too. Check it out by clicking here.

 I, for one, would love to see this classic show make a comeback, and can’t wait to see what the revival will look like. With high hopes, I say to the Tremblay brothers, “Keep creating”!



Were you a fan of SWAT Kats? Did you enjoy this read? Leave your comments below!