Friday, June 29, 2007

FINDER interview -- go read it!

Carla Speed McNeil talks about FINDER with Newsarama. It opens with this exchange:

NEWSARAMA: Carla, despite your popularity on the internet, there are a lot of folks to whom your work is still an unknown. Can you give us a quick overview of Finder?


It is otherwise and interesting interview with the creator of one of my favorite comics, who you don't really see the comics sites talking to that much. She's putting out a hardcover collecting SIN-EATER volumes 1 & 2 into one book this summer, digest-size for the bookstores, which I think is a great idea. I hope the copious footnotes remain -- in addition to helping me understand what the frak is going on sometimes, they're a really fun and honest insight into Carla's creative process. It's probably the footnotes on SIN-EATER Vol. 1 that brought me back for Vol. 2. If you don't read FINDER -- start!

Wednesday, June 27, 2007

What we talk about when we talk about search terms

A quick recap of the most popular Google search terms that brought visitors to the Heart this month...

-"call yourselves men" + "frank miller"

-john byrne racist

-"mystic arcana handbook"

-shaolin cowboy 8

-"shi long pang"

I hope you find what you're looking for, in comics and in life.

Sunday, June 24, 2007

Review - Buddha Vol. 4: The Forest of Uruvela

By Osamu Tezuka
Published by Vertical, November 2006 (pub. in Japan 1987), $14.95

Whenever I talk to folks about manga, I can count on the same two or three things coming up: they don’t know what these kids today see in the stuff, it’s intimidating to have to buy into a 30+ volume series just because you want to read a comic book, and Osamu Tezuka doesn’t count as manga, because he’s just too good. It’s the same point of view that leads MAUS and PERSEPOLIS to be shelved anywhere but the graphic novel section in your local chain bookstore -- if it’s that good, it must not be comics.

BUDDHA really IS that good, and that’s why it’s important to remember that they ARE manga. They’re about as good as manga gets, but still -- it’s a nice reminder that Japanese comics aren’t all cat people and yaoi, you know? Assuming you’re not into cat people and yaoi, that is.

BUDDHA’S most valuable asset is that it’s telling one of the Greatest Stories Ever Told -- literally, the story of Siddhartha achieving enlightenment -- but it never forgets to have fun with it. When Siddhartha spends a year sucking the pus out of a diseased and disfigured woman, he notes that it’s a bit scandalous for a man to spend so much time with his lips on the body of another man’s wife. “Skip the dialogue,” he says, “and this panel would look like --” But of course, he’s cut off by another ascetic stumbling upon the scene, one who doesn’t have the benefit of reading the words on the page. The story ranges from melodrama to slapstick, with characters such as Assaji -- a snot-dripping buffoon who can tell the day and details of anyone’s death simply by looking at them -- but rather than feeling scattered, BUDDHA instead feels intricately woven, a masterwork by a comics master.

Tell me more: Osamu Tezuka official site, Osamu Tezuka wikipedia page, Tezuka: The Marvel of Manga at the San Francisco Asian Art Museum, Vertical, Inc., Buddha (the dude).

Saturday, June 23, 2007

Review - Hellboy: Darkness Calls 2

By Mike Mignola & Duncan Fegredo
Colors by Dave Stewart, Letters by Clem Robbins
Published by Dark Horse Comics, May 2007. $2.99

Oh, Hellboy. I remember asking my folks to drive me to Raven’s Haven in Day Heights, Ohio, seeking out the first issue of HELLBOY: SEED OF DESTRUCTION, because MONKEYMAN & O’BRIEN by Art Adams was going a back-up feature in each issue. I wasn’t the least interested in this red dude with sawed-off horns, drawn by a guy whose art I’d hated in the Marvel Comics “Days of Future Present” storyline, but a talking gorilla and a hot redhead? Thank you, yes!

But as I picked up each issue of that first miniseries, I found myself drawn more to the story of a hulking devil with a red right hand fighting off Nazis and a ghostly Rasputin, than the misadventures of a monkey doing … whatever they did in that Monkeyman story. The point is, Hellboy is one of the few mid-90’s indie creations that’s been published (semi)consistently since its inception, and with DARKNESS CALLS it’s still finding new ground to cover. This is the first series drawn by someone other than Mignola, and while Duncan Fegredo’s art is discernably different, it still feels like the same world. Ghastly ghouls and speaking skeletons are still around, the pacing that feels Hellboy-unique is consistent with previous series.

I love the pacing -- the silent reaction panels, the close-ups of strange statues and weird birds -- you know you’re reading a Hellboy comic with the tiny panels and big-eyed owls. Though Hellboy lost his supporting cast a series or two ago (effectively spun-off into BPRD), this has actually managed to free the series to delve deeper into the Lovecraftian supernatural of his world. Issue two has witches, undead armies, Baba Yaga, battling zombies, more witches, mustachioed imps, and a cameo by Hellboy’s devilish dad -- the result is that it feels packed without being frantic. HELLBOY is probably best read in trades, which almost always contain a bonus epilogue not seen in the miniseries, but as single issues go, HELLBOY: DARKNESS CALLS is the only reason to paw through the otherwise license-cluttered Dark Horse shelf these days.

Tell me more: Hellboy, Dark Horse Comics,

Friday, June 22, 2007

Review - Hunter's Moon 1

By James L. White and Dalibor Talajic
Colors by Juanmar, Letters by Ed Dukeshire
Published by Boom! Studios, April 2007. $3.99

The cover of HUNTER’S MOON tells me it’s written by James L. White, writer of the Academy Award-Winning RAY, and the script feels like an early draft of a screenplay. There’s so much dialogue it doesn’t leave much work for the art to do, and the dialogue itself has the bloodless efficiency of movie-talk to it. The plot concerns Linc (short for Lincoln), who wants nothing more than to take his latest hot girlfriend up to a secluded cabin for the week -- until he gets saddled with the son he just can’t seem to connect with! His son wants to be a rapper … but Linc wants him to go to law school! Linc wants to order a piece of pie (“apple’s usually safe”) … but the eccentric waitiress won’t stop yappin’! We quickly discover that small town yokels pull guns on black kids for bumping into white folks, all Linc and his son need are some quality alone-time to find their stride, and that Strong Men Sometimes Cry.

I picked this book up because of two threads on the Engine, one wondering what Boom! Studios titles anyone was reading, and the other asking about titles featuring black women as lead characters. The ads for other Boom! titles on the back cover illustrate that they’re designed to option their titles as movies (“Cover Girl … A Lethal Weapon and Rush Hour-style action-comedy!” & “Dominion -- A new series that takes the storytelling tone of the TV show Heroes and gives it an Independence Day twist.”), and while it’s nice to see in HUNTER’S MOON a title that features black folks in lead roles, it would be nice if those roles, and the story they inhabit, were doing something new. Even the first issue’s twist ending (spoiled on the Boom! website if you’re interested) isn’t enough to bring me back for issue two -- it really just sets the story up to cover even more well-tread territory.

Tell me more: Boom! Studios.

Thursday, June 21, 2007

Review - Amazing Spider-Man 541

By J. Michael Straczynski, Ron Garney, and Bill Reinhold
Colors by Matt Milla, Letters by VC’s Cory Petit.
Published by Marvel Comics, $2.99

Marvel recently announced they’ll be canceling the two regular Spider-Man titles that aren’t AMAZING in favor of a three-times-a-month schedule for their flagship title, edited by Steve Wacker of DC’s 52, presumably with a staff of writers and artists working in concert, much like the way network TV is created these days. The change is coming after the “One More Day” storyline, which threatens to “change everything!”, which, itself, comes after “Back in Black,” in which we are smack dab in the middle. That makes the next few issues of AMAZING the end of a long, storied, Spidey-chapter, and since I've written before that I love Spider-Man the character and not-so-much SPIDER-MAN the comic, I thought I’d stop by AMAZING and see how the end of everything we know is shaping up.

AMAZING, and most mainstream superhero comics, are already taking several cues from TV. Most every issue starts out with a “Previously…” page to get you caught up in case you’re a new reader, or maybe just confused by all the competing Spider-appearances since the last issue of your preferred title. It’s interesting that in a given episode of, say, RESCUE ME, the previouslies take a good two minutes, getting us up to date on the goings-on of the expanded supporting cast, but with AMAZING, with 540 previous installments over the course of 40+ years, the previouslies consist of:

-Peter Parker was bitten by a radioactive spider, and is now Spider-Man

-Spider-Man revealed his identity to the general public

-Spider-Man and Iron Man got really mad at each other

-Aunt May got shot because the Kingpin wanted to kill Spider-Man

-Spider-Man got really mad at the Kingpin

On a TV show, the actor portraying Mary Jane might pull the executive producer aside and mention her disappointing at being a series regular, and a recognizable cog in the Spidey machine, and yet left with nothing to do these days but sit in a hospital room and offer Peter Parker an ignored shoulder to cry on. At least Aunt May, unconscious she may be, is a plot point. As it stands, Peter’s supporting cast a) doesn’t seem to exist in this issue, and b) for those who are around, don’t have much to do but watch this installment of AMAZING happen around them. Some might say, hey, if you want Mary Jane, go read SPIDER-MAN LOVES MARY JANE, about to be handed off to the capable Terry Moore -- but really, if this is the flagship Spidey title, and has been for the aforementioned 40+ years, why can’t I get it all for my three bucks? The internets points to Morrison and Quitely’s ALL-STAR SUPERMAN as superheroes done right, with every 22-page issue crammed full of ideas, drama, and modern mythology -- but really, we should be demanding the same of all of our periodical entertainment. Here’s hoping the upcoming sea change gives Spidey and his cast the depth they deserve.

Tell me more: Amazing Spider-Man, Marvel Comics.

Sunday, June 17, 2007

Review - The Black Diamond Detective Agency

By Eddie Campbell
Based on a screenplay by C. Gaby Mitchell
Published by First Second, $16.95

A fellow blogger picked up BLACK DIAMOND here at Heart HQ and gave it a flip recently. “It’s a good explosion,” she said. It sure is!

(From Publishers Weekly's 13-page preview)

Eddie Campbell’s artwork is gorgeous throughout. It’s a story of 19th Century America, which returns Eddie to the time period of FROM HELL -- but even though some of the mustaches might bring back memories of his seminal collaboration with Alan Moore, BLACK DIAMOND is a whole other creature. Instead of relying on a standard nine-panel grid, Eddie’s page layouts are more varied and inventive, and the use of color throughout paints (ha!) a more dynamic view of the world than the black and white sooty oppressiveness of his Jack the Ripper examination.

And while the internets tell us that Eddie took liberties with BLACK DIAMOND’S basis, a screenplay by Charles Gaby Mitchell, its plotting and pacing and scripting aren’t on the same level as FROM HELL. The book is essentially a mystery, and as Eddie says in the above-linked CBR interview, “I thought the mystery ought to be more complicated, being a long time reader of the greatest detective mystery writer Raymond Chandler. I believe that a book can bear more of that kind of complexity than a movie, because the reader is more at liberty to back a few pages to resolve difficulties, while a movie moves relentlessly forward.” The mystery is suitably complex, but it doesn’t possess the graceful efficiency of a movie like BRICK, which takes a complex mystery, drives it relentlessly forward, and yet still offers the viewer -- whether a first-timer or someone coming back for more -- a satisfactory experience. BLACK DIAMOND can be confusing for the sheer number of characters -- detectives and secret service agents -- that people its pages. I think some of them even died, but it was honestly hard to tell.

The dialogue tried to do a lot of expository work, but not always to the best result. We get a villain’s recap of his plan at the end, and his statement that his revelations are possibly “out of sour grapes” doesn’t lessen the fact that it’s a terrible cliché. On the other hand, there are also a lot of moments of pure dialogical bliss -- “You don’t know a goddamn thing about a goddamn thing” was a simple thing that made me smile, and of course “Up yours, modern times!” might as well be engraved on a plaque and hung in Mr. Campbell’s home.

Spending time with BLACK DIAMOND is a lot like Eddie’s Batman one-shot from a few years ago, BATMAN: THE ORDER OF THE BEAST. It’s fun to see him work in color, and an interesting Campbellian aside into the worlds of Batmen or American gangsters, respectively. But what I’m really looking forward to is THE AMAZING REMARKABLE MR. LEOTARD, his promised next book, and one that springs, presumably, in its entirety from Eddie Campbell’s mind.

Tell me more: Eddie Campbell, First Second Books.

Tuesday, June 12, 2007

Review - Mystic Arcana Handbook 1

By lots of people
Published by Marvel Comics, $3.99

Okay, nerds -- I love this kind of stuff. It’s a whole lot of pages of obscure magic-related minutiae, featuring profiles of characters you might know, like Alpha Flight’s Talisman or the Fantastic Four’s resident witchy babysitter Agatha Harkness, but mostly it’s page after page of folks I defy you to have ever heard of, like Bible John, who looks like a serious Lynyrd Skynyrd fan and apparently hangs out a lot with Blade, and Papa Shorty, who is from New Orleans, has no legs, and seems to levitate.

I wasn’t going to actually this review this masterpiece -- and in fact hadn’t done more than flipped through it -- but then I happened on this excellent capsule review from Hannibal Tabu and the Buy Pile. Mr. Tabu pointed out the supertrash magnificence of MYSTIC ARCANA, which spends a lot of its time summarizing various magic-related storylines from Marvel’s storied history.

My hands-down favorite, from the entry on Black Talon, who is a voodoo master dressed up like a rooster, reveals that “Having grown tired and angry at Eric’s (the Grim Reaper -ed.) constant racism, (Black Talon) and another ally, Man-Ape, abandoned Eric during the battle.”

Man-Ape, in case you’re not a Marvel Comics nerd, is this guy:

I mean, how much of a racist do you have to be to piss off a black guy who calls himself Man-Ape? I’m not saying that Black Talon and Man-Ape, as fictional characters, shouldn’t be outraged at racism. I’m just saying that, as fictional characters, a black houngan who dresses up like a rooster, and a black African who dresses up like a giant monkey, aren’t inherently sensitive depictions of African or African-American culture. And that it’s pretty funny for one of them to stand up and say, “Enough with the racism, The Grim Reaper.”

What this teaches me is that magic-based Marvel comics should stop trying to be so serious, and should revel in their ridiculousness.

There’s also a guy named Cadaver who is, naturally, a reanimated corpse, and whose magic sword was created when he pulled out one of his own ribs. And let’s not forget the previously mentioned Talisman, daughter of the super-heroic Shaman, and whose last name is “Twoyoungmen.” Ahh, classic John Byrne!

Seriously, dudes -- buy this book as soon as you can. It’s got to be the funniest Marvel comic in years.

Tell me more: Mystic Arcana.

Monday, June 11, 2007

Review - American Elf, Book 2

By James Kochalka
Published by Top Shelf Productions, $19.95

I had a friend over the other day and she was looking through my stacks and shelves of graphic novels, looking for something to read. She picked up AMERICAN ELF BOOK TWO, a collection of James Kochalka’s diary comics from 2004 to 2005, and she flipped through a few pages, made a funny face, and said, “Are these supposed to be funny?”

And I said, “Well … they’re about real-life, so sometimes that’s funny.”

She kind of scrunched up her face and flipped through a few more pages, and then picked up a copy of STRANGERS IN PARADISE to read instead.

I love James Kochalka, and I love American Elf -- as a character, a book, a website, a philosophy. I read them everyday on, but it’s a different experience to read them in a book. I look at the dates and think about where I was on Novemer 29th, 2004, and where I’ve been since then. I watch the daily snapshots in the life of this other artist, and the lives of his family, as they gather momentum day by day. I can see them from a different perspective and take in years in a life in just a few hours. It’s truly a whole that’s more than its pieces.

It’s a little strange to think that this is probably his life’s work -- that James Kochalka’s life has come to be about chronicling his life -- but it’s such purely enjoyable work that I can find no flaw in it. That’s not to say it’s flawless -- simply that its flaws are part of its beauty, just like every day of life itself.

Tell me more: American Elf, Top Shelf Productions.

Sunday, June 10, 2007

Review - Madman Atomic Comics 2

By Michael Allred
Colors and Separations by Laura Allred, Letters by Nate Piekos
Published by Image Comics, $2.99

The first awesome thing about the 2nd issue of the MADMAN relaunch is that the entire first issue is reprinted inside of it -- granted, without dialogue and all on one page -- but it’s still a pretty cool recap. The second awesome thing about the 2nd issue of the MADMAN relaunch is that Madman is in it, and he’s all existential!

Ah, the mid-90’s … I was in high school, my three favorite comics were MADMAN, BONE and JOHN BYRNE’S NEXT MEN (!), and I had a secret crush on a redhead named Mindy. For various reasons, none of these things are true anymore. All the same, it’s great to see Mike Allred back with Frank Einstein and a book where he can tell any kind of story he wants to tell. My love for the Dark Horse-era MADMAN COMICS sprang from the giddy fun Allred dove into with every issue -- there were mutated street beatniks, time machines, giant robots, gelatinous cubes, and true love. It started to lose me around the time when Madman crossovers became more prevalent than regular issues of MADMAN -- there was MADMAN/NEXUS, MADMAN/THE JAM, THE SUPERMAN/MADMAN HULLABALLOO … but in the process, the emphasis ironically shifted from ginchy fun to existential melodrama. The book became less about Madman and his love Joe and more about Madman thinking about Madman.

Unfortunately, as fun as it is to see old friends back in action, the first two issues of MADMAN ATOMIC COMICS have been mired in setting up some new kind of status quo. The first issue told us that “everything we knew was wrong!”, but the second issue tells us that “wait, everything we knew is still sort of right!” Which leaves me asking, “okay, then what happens next?” It still looks and feels like a Madman story, but I’m left wondering what the story is. If it’s still “Frank Einstein tries to find himself,” then I’m left a little wanting. The back cover reminds me of Madman of old -- Mott from Hoople, the Puke, bad robots, clone caves -- if MADMAN ATOMIC COMICS finds its way back there, I might be rushing to the comics shop every few weeks like it was 1994 again.

I’d have to revisit some of the old MADMAN COMICS issues to compare, but the art style seems a lot … broader, if that makes any sense. The panels are bigger, there are a lot of two-page spreads, and the art-on-the-page flows like it’s in command of itself, instead of adhering to panel restrictions. I like that a lot, but in a few cases it made the word balloons hard to follow. Particularly in the two-page spreads, it wasn’t always clear if I should go strictly left-to-right, up-to-down, or somewhere in between. Eddie Campbell has posted a series of blogs on balloons and their placement that has made me think about the flow of information on a comics page in different ways, and the balloon-sprawl in this issue was a little distracting.

But it still feels -- like MADMAN always has -- that these are the comics Mike Allred most wants to make, and I'm glad he's making them again.

Tell me more: Michael Allred.

Thursday, June 07, 2007

Review - The Sensational Spider-Man Annual 1

By Matt Fraction and Salvador Larroca
Colors by Paco Roca, Letters by VC’s Cory Petit
Published by Marvel Comics, $3.99

Spider-Man is hands down my very favorite comic book character. And while most of my weekday afternoons were spent watching G.I. JOE, and then playing G.I. JOE, I was usually pretending that the figures were really Spider-Man and his Amazing Friends.

But the thing is -- most Spidey comics aren’t so great. When the Ultimate line started I thought, at last, there would be a Spidey title I could pick up from time to time, whenever I wanted to read 20-odd pages of web-slinging and witty rejoinders. In practice, ULTIMATE SPIDER-MAN is now 100+ issues into its own complicated continuity, with a lot of time spent crying around kitchen tables, I think. And that’s okay -- it’s a pretty good book, just not the ideal Spidey comic for me.

And this is the part of the review where I say: SENSATIONAL SPIDER-MAN ANNUAL is the ideal Spidey comic for me. I’m sure it will definitely be seen as a comic of its time, what with the main story involving Peter Parker, whose identity the world now knows, conspiring to turn himself over to the authorities to spare his family any more pain and hurt, just as his wife Mary Jane conspires not to be arrested (by a former flame at that -- that’s classic Spider-Man!) on account of being the wife of the outlaw Spider-Man. But the story’s real charm comes from the flashbacks, illustrated with a lovingly Romita-influenced charm by Salvador Larroca, where we see the old days -- when Peter and Harry were pals, and the boys were dating Gwen Stacy and Mary Jane, respectively.

I guess it’s telling of where the Spider-Man franchise is in 2007 that my ideal Spidey story is a sad one, looking back at the past through rose-colored glasses … but with all things considered, it’s still a story of hope, and of love, and of web-slinging and witty rejoinders. If Matt Fraction ever signs on to write a regular Spider-Man book, that might just be the one that makes it fun to read Spidey again.

Tell me more: Sensational Spider-Man, Matt Fraction

Wednesday, June 06, 2007

Review - All-Star Batman & Robin 5

By Frank Miller, Jim Lee and Scott Williams
Color by Alex Sinclair, Letters by Jared K. Fletcher
Published by DC Comics. $2.99

Rumor has it that ALL-STAR BATMAN AND ROBIN has seen a full year pass between issues 4 and 5. We here at Sequential Heart do not concern ourselves with such things as “release schedules” and “mathematics.” We are interested in the comic books and what is inside of them!

What is inside of this comic book is Wonder Woman getting really mad and saying things like “Shut up. You call yourselves men? Shut up,” and Superman being all “Damn you, Diana! Damn you and your Amazon arrogance! You don’t know anything!” and then Wonder Woman being like “I hate your guts. You make me sick,” and then Superman totally grabs Wonder Woman and kisses her and the narrator goes “Then Zeus stabs the world of man with thunderbolts and somewhere Poseidon roars with laughter. The thunderbolts. They stab them both,” and then Wonder Woman stomps off and goes “I hate you all.”

I picked up the first two issues of ALL-STAR BATMAN & ROBIN just like most everyone else did, and they were pretty much awful. Not just as “All-Star” titles, and not just as superhero titles, but as comic books and things that I trade money for. They were lousy. But the internets whispered that with this new issue, the title crossed from “bad comics” into the realm of “supertrash bad comics,” and I’m a pretty big fan of supertrash. Like that old issue of Superman where a tiny Superman grows out of Superman’s hand, with all the powers and abilities of big Superman, and it makes big Superman feel bad about himself that everyone loves tiny Superman just as much as him? Awesome. I don’t even know that it counts as supertrash, it’s so awesome. There are beans behind the beans in a thing like that.

But ALL-STAR BATMAN & ROBIN 5 doesn’t have any beans behind the beans. I’m not so sure there are even any beans in front. It’s just Frank Miller coming indoors for a few minutes after swimming in his Scrooge McDuck pool of gold coins, smearing Batman-shaped crap on a computer screen, and laughing maniacally as he sends it to Jim Lee to draw. I mean good for him for being able to write the kind of stories he wants to write and all … but as much as he or other readers might feel like there’s subtext and commentary and Art Worth Seeing in this title, there’s just nothing in this book for me to take away, except perhaps for the warning that “there but for the grace of God, etc. etc.”

Tell me more: DC Comics: All-Star Batman & Robin, the Boy Wonder

Review - Shaolin Cowboy 7

Reviews begin now!

SHAOLIN COWBOY 7 - by Geoff Darrow, colors by Alex Wald.
Published by Burlyman Entertainment. $3.50

This book comes out pretty infrequently, but I go to the comics shop pretty infrequently so we’re about even. The art is gorgeously and strangely detailed … the first issue, which is not this issue, featured a page in which our hero, the Shaolin Cowboy of the title, meeting his foes, a motley assortment of villains who conspired for his doom. They were met in a splash page the borders of which disappeared page-right. You turned the page and the splash continued, a whole new row of foes, and you turned the page again, and you turned the page again and again -- it was essentially a splash that bled on for about six pages before the panel ended and the Cowboy took up the task of defeating his enemies. A long story short, it was a book with a sense of fun that played with not only genre conventions, but technical conventions as well. Later issues featured attack-sharks and talking zombie heads.

SHAOLIN COWBOY 7 has all of those things on paper, but there’s a certain something missing from the mix … I suspect it’s “forward movement.” There are still ultra-detailed moving mountain-beasts, flying baby-seeking demons, mystic monkeys, and twain zombie heads whose word balloons are cut in two, but I’m missing the won’t-stop-to-breathe momentum of previous installments. It may simply be (and I suspect is) the pitfalls of serialized entertainment. The same way folks say LOST SEASON 2 plays a lot better on DVD than it did week to week, it’s possible this respite from non-stop Shaolinity is a welcome breather were one reading the Cowboy’s adventures in long gallop, or were one creating the Cowboy’s adventures at said speed. But like the swellest of season two LOSTS, as an issue standing alone it feels more like a gorgeous advertisement for the next issue than a completely satisfying experience of its own.

That said -- I’m glad Burlyman Entertainment still exists, that I might someday see SHAOLIN COWBOY 8. The ad in the back for DOC FRANKENSTEIN 6, which I can only assume is as infrequent, if not moreso, than SHAOLIN, states “We’re working on it … honest.” I believe you, Burlymen!

Tell me more: