I am releasing this sequel as a comic series instead of a feature-length movie because I HATED the frustration of making movies with the Troop 4 scouts and never want to do that again.
This comic series is based on a script (though I tweak it a little here and there) and it's also known as Troop 4: Diamond War, in the same way that Pt.3 was once called "Troop 4: Stranded".
Though now, as then, I resign myself to the fact that no matter what I want or try to call it, people will inevitably refer to it as "Troop 4: Uncensored" plus a number.
As a movie, this would be 90 minutes long. As a comic book, it's maybe 45 pages. It is being released in episodic installments because that seems preferable to making everyone wait with bated breath for the whole thing to be finished.
It is of course, very silly and a snide commentary on Troop 4, scouting in general, and pretty much whatever.
| EPISODE 1 - PREVIEWS/INTRO DOWNLOAD
SYNOPSIS: A dire warning about the offensiveness of troop 4 movies, followed by ludicrous advertisements for nonexistent movies and products. |
| EPISODE 2 - DISCOVERY, DISCUSSION DOWNLOAD
SYNOPSIS: People are concerned when Minhthien asserts ownership of a newly discovered diamond. The PLC convenes to abuse Morgan and to deal with the problem of mysteriously missing scouts. |
| EPISODE 3 - THEFT AND SUSPICION DOWNLOAD
SYNOPSIS:Jesse and Michael arrange to steal the diamond from Minhthien in a daring raid, and everyone gets suspicious about Anthony. |
| EPISODE 4 - RISING TURMOIL DOWNLOAD
Michael and Jesse infiltrate Troop 4 with fake accents, becoming boy scouts. Scout Sunday preparations begin and Christian heads a discussion about what is wrong with Troop 4 (and why it's like Iraq). |
| EPISODE 5 - CONSPIRACY DURING YARD CREW DOWNLOAD
Saturday Yard Crew Begins, and Troop 4 prepares for Scout Sunday, totally unaware of the conspiracy involving El Fatso, Michael, Jesse, and a mysterious metal cylinder. |
| EPISODE 6 - N/A |
| EPISODE 7 - N/A |
| EPISODE 8 - N/A |
| EPISODE 9 - N/A |
| EPISODE 10 - N/A |
RETURN TO THE CINEMATOGRAPHY PAGE