|
|
Post by codystarbuck on Nov 21, 2023 11:54:33 GMT -5
Fabian Nicieza and Alpha Flight.....don't get me started on that one. Hey, let's finally admit that Northstar is gay and have him come out....in the middle of a fight scene.....against some conservative jerk called Major Mapleleaf....in a Mountie's uniform! Wonder why Neil Gaiman got awards from GLAAD and other LBGT advocacy groups and Nicieza didn't? Scott Lobdell had taken over from Nicieza as writer by the time Northstar flew out of the closet in Alpha Flight #106. I suppose it was. They all blended together, to me, at the time. Just bad, bad writing and ghastly art, particularly that book. |
|
|
|
Post by commond on Nov 21, 2023 19:20:01 GMT -5
I read some of the X-Men issues from around this time... I've vaguely been collecting them when I see them cheap... they are... really bad. The only issue that was decent was Wolverine and Rogue try to escape Genosha. The one where Polaris has her powers stolen is nearly incomphrensible, then a bit later she essentially turns in to She-Hulk (she's like 8 feet tall and invulnerable... I didn't know about that). The bad guys seem to be Donald Pierce and the Reavers, which are pretty generic. The last one was Hulk-Polaris, Amanda Sefton, a very young and crazy Legion and a bunch on non powered support characters defending Muir Isle from the Reavers. Boy, did Claremont run out of ideas. I read X-Men up until the end of Claremont's run and at no point did I feel like it was getting bad or that I wanted to stop. It would have been a tough book to read random issues of, especially once they go through the Siege Perilous and the characters were scattered all over the place. Reading the ideas that Claremont had planned for the book, I would have much preferred that he stayed on. IIRC, Marvel later published some of those stories, but I never got around to reading anything Claremont did after he returned to the X-Men. |
|
|
|
Post by commond on Nov 21, 2023 19:22:51 GMT -5
I hadn't made the connection to Comico folding and other indies struggling. Still impressed that Marvel published some of this stuff. June, July & August 1990Marvel really flogged its faithful during the summer of 1990. Not only did the annuals have individual crossovers amongst titles, but more titles than ever before went bi-weekly during the summer and the majority featured multi-part storylines. Add to that a growing number of one shots, limited series, prestige format books and graphic novels, it was almost impossible to keep up with it all There was so much on the market that they even released a special Marvel Age preview issue to cover everything. Not a lot of the content is memorable 33 years later. In fact, you'd be hard pressed to find a classic storyline among the summer offerings. I ate up The Return of the Sinister Six storyline at the time, but don't know if it's still fun all these years later. Not part of the Heroes for the 90s campaign during the first six months of the year, but still receiving a revamp, was Deathlok, or rather a new Deathlok for the 90s. His four part prestige format series did well enough that he earnt an ongoing series the following year. This marks Dwayne McDuffiie's shift from an editor to a freelance writer. Fabian Nicieza stepped up as a full-time writer during the summer and was charged with revamping Alpha Flight and launching The New Warriors. Tales from the Heart of Africa shifts over to Marvel, and I'm sorry to say I don't know much about this 1980s strip, but it sounds like something I should be aware of.
Brute Force is an odd series about bionic animals fighting to save the environment. Knights of Pendragon is a decent Marvel Universe title produced by Marvel UK. Marvel continues to release a ridiculous amount of Punisher material per month. There's even a comic released detailing his armory, ffs. Spider-Man #1 debuts and sells 2.5 million copies thanks to the Marvel marketing team playing the market like a fiddle. Spider-Man continues to be the best selling book in the industry for the rest of the year despite criticisms of McFarlane's writing ability and the pacing of his initial storyline. Todd begins to clash with editorial over the dark content matter of his stories despite the sales.
It was written by a former Peace Corps volunteer and is definitely through that perspective. They credit Dan Chichester as shepherding them at Epic, but not much is said how it went to Epic, after a couple of issues at Slave Labor Graphics. My guess would be that maybe Dan Vado helped steer them to Archie, as he took his own, The Griffin, to DC, after doing a couple of issues at SLG, and then wrote some comics for them, for a bit. SLG continued publishing; but, they were usually small releases. Plus, with the industry instability, SLG might have needed to curtail things a bit. I don't know how long it took to publish books, but Archie had been gone for over a year by this point. |
|
|
|
Post by commond on Nov 21, 2023 20:30:44 GMT -5
October 1990
This month saw the debut of Steve Gerber's Foolkiller series. I haven't read it, but it's worth noting that despite Marvel's reputation for driving writers away in the early 90s, DeFalco was still willing to give jobs to guys like Steve Gerber. Granted, he worked on a ton of crappy jobs before they were willing to give him his own series, but he got a chance to produce something more substantial with Foolkiller.
It's actually surprised me how many assignments Roy Thomas got before returning to Conan. Much of it seems like mediocre work by Roy's standards, but he even makes the cover of Marvel Age plugging him taking over West Coast Avengers while Larry Hama does the East Coast book.
What really appeared to be happening was editors giving other editors freelance gigs. Something Shooter would have never allowed to happen. That leads to a rise in pretty mediocre books across the line. In some cases, it's tough to know what direction a book should go in. What do you do with Excalibur, for example, after Claremont and Davis have left? The book doesn't really serve a purpose without those creators. In other cases, the title should have been cancelled, but DeFalco wanted as many books out there as Marvel could produce.
A lot of the books released seem pointless. There's an X-Factor special by Jim Starlin and Jackson Guice that survives no purpose whatsoever. You would have been hard pressed to get me to buy the regular X-Factor book in 1990 let alone a meaningless one shot.
Fred Hembeck pokes fun at the current trends in the business with Fred Hembeck Sells the Marvel Universe. Walt Simonson would soon do a clever parody of his own within the pages of Fantastic Four.
John Byrne takes over on Iron Man, and is supposed to continue an Armor Wars sequel that was started by Bob Layton, but proceeds to completely ignore what Layton intended and goes ahead with his own Iron Man story. Marvel calls it Armor Wars anyway and it winds up be a mess, but at least JRJR gets to draw an amazing Fin Fang Foom.
Silvestri has joined Larry Hama on Wolverine. Wolverine is a decent severance package if you're going to be kicked off X-Men. I feel like Silvestri was one of the guys who came out of the whole Image thing with his reputation intact.
One of the very best books of the year is released in Chaykin and Mignola's Fafhrd and the Gray Mouser. Now whether you can claim this as a Marvel book or not is up to interpretation, but they did publish it and it is one of their strongest releases of the year. It's also Mignola's favorite pre-Hellboy work for those of you who've never read it.
|
|
|
|
Post by codystarbuck on Nov 21, 2023 21:16:28 GMT -5
October 1990This month saw the debut of Steve Gerber's Foolkiller series. I haven't read it, but it's worth noting that despite Marvel's reputation for driving writers away in the early 90s, DeFalco was still willing to give jobs to guys like Steve Gerber. Granted, he worked on a ton of crappy jobs before they were willing to give him his own series, but he got a chance to produce something more substantial with Foolkiller. It's actually surprised me how many assignments Roy Thomas got before returning to Conan. Much of it seems like mediocre work by Roy's standards, but he even makes the cover of Marvel Age plugging him taking over West Coast Avengers while Larry Hama does the East Coast book. What really appeared to be happening was editors giving other editors freelance gigs. Something Shooter would have never allowed to happen. That leads to a rise in pretty mediocre books across the line. In some cases, it's tough to know what direction a book should go in. What do you do with Excalibur, for example, after Claremont and Davis have left? The book doesn't really serve a purpose without those creators. In other cases, the title should have been cancelled, but DeFalco wanted as many books out there as Marvel could produce. A lot of the books released seem pointless. There's an X-Factor special by Jim Starlin and Jackson Guice that survives no purpose whatsoever. You would have been hard pressed to get me to buy the regular X-Factor book in 1990 let alone a meaningless one shot. Fred Hembeck pokes fun at the current trends in the business with Fred Hembeck Sells the Marvel Universe. Walt Simonson would soon do a clever parody of his own within the pages of Fantastic Four. John Byrne takes over on Iron Man, and is supposed to continue an Armor Wars sequel that was started by Bob Layton, but proceeds to completely ignore what Layton intended and goes ahead with his own Iron Man story. Marvel calls it Armor Wars anyway and it winds up be a mess, but at least JRJR gets to draw an amazing Fin Fang Foom. Silvestri has joined Larry Hama on Wolverine. Wolverine is a decent severance package if you're going to be kicked off X-Men. I feel like Silvestri was one of the guys who came out of the whole Image thing with his reputation intact. One of the very best books of the year is released in Chaykin and Mignola's Fafhrd and the Gray Mouser. Now whether you can claim this as a Marvel book or not is up to interpretation, but they did publish it and it is one of their strongest releases of the year. It's also Mignola's favorite pre-Hellboy work for those of you who've never read it. Fafhrd and Gray Mouser was excellent, with Al Williamson inking Mignola. Much better adaptation of the material than the previous Sword of Sorcery, at DC (with Chaykin on art, for a few issues). They also teamed on Chaykin's Ironwolf, for DC, released in 1992 (along with John Francis Moore, on the writing side & P Craig Russell inking Mignola). |
|
|
|
Post by Chris on Nov 21, 2023 23:50:08 GMT -5
October 1990...DeFalco wanted as many books out there as Marvel could produce. A lot of the books released seem pointless... ...One of the very best books of the year is released in Chaykin and Mignola's Fafhrd and the Gray Mouser. Now whether you can claim this as a Marvel book or not is up to interpretation, but they did publish it... This column from Amazing Heroes #197 (December 1991) might help explain some of why so many books - from mediocre to arty and everything in between - were being published, as well as possibly answering some other questions raised in this thread.  |
|
|
|
Post by codystarbuck on Nov 22, 2023 0:28:58 GMT -5
Yeah, I've talked about that before, in regards to discussions of the 90s. Perelman had also acquired Revlon, and spent a fortune doing it. Marvel was churning out the cash to pay off the debt for Revlon. Thing was, Perelman and his McAndrews Group was skimming off the top, first. After issuing the stock, they then issued a round of junk bonds, with the stock as collateral. They pocketed the proceeds and, if memory serves, issued a second round, a bit later. They then went into acquisition mode to buy up companies who had Marvel licenses to produce trading cards, toys, etc, including Fleer and a stake in ToyBiz, plus Panini. The market dropped out on trading cards and Fleer started bleeding money. The sold off Panini and bought Heroes World to self-distribute.
Marvel was pushed to make more and more money, because nothing else was. Once they were hemorrhaging cash with Heroes World, Marvel became so saddled with debt that they started rounds of layoffs, before going Chapter 11, to hold off a takeover bid by Carl Icahn, who had bought up the junk bonds, to take over and piecemeal the company.
This would take several years to play out, and DeFalco would be out before it came crashing down.
There was a great book on the subject, published in 2002: Comic Wars: How Two Tycoons Battled Over The Marvel Comics Empire...and Both Lost, by Dan Raviv. The book illustrates how cosmic powers and mutants were no match for venture capital sharks and corporate raiders and the company ended up in the hands of Ike Perlmutter and ToyBiz, who squeezed it tightly to get his money back, before Disney gave it to him in spades.
|
|
|
|
Post by commond on Nov 22, 2023 17:59:53 GMT -5
Tom DeFalco Year Three
The Good, the Bad and the Ugly:
The Andrews Group bought Marvel in 1989, forcing the company to become even more commercially driven than before. Marvel scores a big hit with Spider-Man #1, which exceeds sales predictions thanks to clever marketing involving variant covers, however the full force of the speculator boom is yet to be unleashed upon the comic book market. At this stage, it's still mainly hype over the release of new books like Legends of the Dark Knight and Spider-Man. To DeFalco's credit, the newly released books in 1990, referred to as Heroes for the 90s in promotional ads, gain more traction than previous efforts.
Jim Lee takes over X-Men, Rob Liefeld is on New Mutants, and Erik Larsen replaces McFarlane on Amazing Spider-Man. Their work is fresh and exciting for young readers such as myself. The best way to describe it is that it's like Art Adams doing a monthly book. Unfortunately, the young guys start to get itchy feet about plotting the books themselves, which causes friction with the young standing writers on the books. Jim Salicrup's solution is to avoid losing McFarlane to another editor by giving him his own Spider-Man book. Bob Harras, on the other hand, sees the artists as the main selling point of the books and begins pushing the writers out the door. Harras is often painted as the bad guy in this scenario, but it's worth noting that the plots he's been receiving from Claremont and Simonson have been somewhat self-indulgent. Unlike Shooter, who oversaw everything with an iron fist, DeFalco barely has any communication with Harras because the books are selling. This hands off approach leads to a bunch of editors giving other editors freelance gigs. When DeFalco does intervene, such as the case of John Byrne's Immortus storyline, Byrne spits the dummy and quits. DeFalco's attitude, however, is if you wanna quit, we'll give the book to someone else. He doesn't pander to creative at all. He lets the Image guys up and leave instead of agreeing to their demands, and to a certain extent this mentality helps Marvel to keep moving forward with new creative teams on the books.
There are pockets of good work at the time -- Jim Starlin and Ron Lim's Surfer Surfer and Thanos Quest, Peter David's Incredible Hulk, Walt Simonson's Fantastic Four, the tail end of Nocenti and Romita Jr's Daredevil (if you can handle the weird), and the odd piece coming out of the Epic office. There are still traces of the "old" Marvel (by which I really mean 1980s Marvel or Shooter's Marvel), as the 90s haven't truly begun yet. The ugliest part of Marvel's increased commercialization is the glut of Punisher books on the market. How anyone could keep up with the dozens of different characterizations of Frank Castle is beyond me. It makes it even more confusing when they try as hard as possible to limit The Punisher's interaction with the rest of the Marvel Universe in his own books yet every editor on a regular book wants to use him for a guest appearance. I feel he's far more oversaturated than Wolverine at this point, and I actually like the character.
|
|
|
|
Post by commond on Nov 22, 2023 18:37:05 GMT -5
November 1990
I had been wondering why the Marvel Age issues from 1990 were so familiar to me, and I discovered that they experimented with releasing it on the newsstands during 1990, so that must have been where I was picking them up.
The X-Tinction Agenda begins this month, a fairly low key crossover compared to previous X-Men crossovers, however it is bolstered by the art of Jim Lee and Rob Liefeld, and finally reunited not only the X-Men but all three teams, who had been deliberately kept apart after the conclusion of Inferno. I'm sure Bob Harras was glad to put all that Disillusion and Rebirth nonsense behind him.
Fabian Nicieza and James Fry try to introduce a sexy new Nomad for the 90s. My reaction looking at it is, "no, just no."
Epic begins reprinting Mark Schultz' Xenozoic Tales as Cadillacs and Dinosaurs, which is cool, but also opens up a wider market for the book to the extend where it gets a TV series, an arcade game, action figures, candy bars and a Sega game. The power of Marvel.
Mark Evanier and Dan Spiegle try their hand at another Epic book, Hollywood Superstars, after their well-received Crossfire series. That series, however, was cancelled and so too will Hollywood Superstars. Tough crowd.
|
|
|
|
Post by codystarbuck on Nov 22, 2023 21:19:00 GMT -5
November 1990I had been wondering why the Marvel Age issues from 1990 were so familiar to me, and I discovered that they experimented with releasing it on the newsstands during 1990, so that must have been where I was picking them up. The X-Tinction Agenda begins this month, a fairly low key crossover compared to previous X-Men crossovers, however it is bolstered by the art of Jim Lee and Rob Liefeld, and finally reunited not only the X-Men but all three teams, who had been deliberately kept apart after the conclusion of Inferno. I'm sure Bob Harras was glad to put all that Disillusion and Rebirth nonsense behind him. Fabian Nicieza and James Fry try to introduce a sexy new Nomad for the 90s. My reaction looking at it is, "no, just no." Epic begins reprinting Mark Schultz' Xenozoic Tales as Cadillacs and Dinosaurs, which is cool, but also opens up a wider market for the book to the extend where it gets a TV series, an arcade game, action figures, candy bars and a Sega game. The power of Marvel. Mark Evanier and Dan Spiegle try their hand at another Epic book, Hollywood Superstars, after their well-received Crossfire series. That series, however, was cancelled and so too will Hollywood Superstars. Tough crowd. The Nomad mini was yet another attempt to do a grim & gritty urban vigilante, ala The Punisher and Miller's Daredevil. Fabian Nicieza did a decent enough job with it, compared to other drek along these lines. Nomad at least fit the psych profile, unlike some superheroes who got G&G makeovers. By the end, it is swiping from Lone Wolf and Cub, as Nomad ends up caring for a toddler, who he calls Bucky, who rides in a backpack carrier. The regular series, which began in 1992, was a step up, thanks to the Mike Grell-inspired art by Clarke Hawbaker, until he left it, not too far down the road. I met him a year or two later....really nice guy. |
|
|
|
Post by commond on Nov 23, 2023 18:42:32 GMT -5
December 1990 & January 1991
Walt Simonson begins his three issue story arc where Spider-Man, Wolverine, Ghost Rider and the Hulk temporarily become the new Fantastic Four. It was an amusing parody of where Marvel was at in the early 90s. Unfortunately, with Art Adams on art, it sold well and what future editors and creators gleaned from it was less parody and more dollar signs.
Alan Davis has his own Wolverine one shot out for the holidays, as he begins to transition to a writer-artist role. The Wolverine book isn't very well known, but has some nice looking Davis art and contains some ideas that Davis would draw upon when he returned to Excalibur.
Alan Grant, John Wagner and Mike McMahon have an Epic series out called Last American, which I can only imagine was a Marvel UK joint being published by Epic. 2000 AD had been branching out with sister magazines at the time, such as the fortnightly anthology series Crisis and the Judge Dredd mag. A lot of Grant and Wagner's American comics feel like something that could have been pitched for these sister mags, or even 2000 AD itself, but they took the idea to Marvel or DC instead.
Peter David and Dale Keown have started their run on Hulk, which is one of my favorite parts of the David era. David had been transitioning back to the green Hulk, and I have to say, aside from the black Spidey costume's longevity as Venom, grey Hulk was by far the most successful of the character redesigns and certainly lasted longer than any of the others.
The Barbie books launch and stick around for a surprisingly long time. Hi, Barbie! I think it's kind of cool that John Romita Sr did the covers on the Barbie books.
Marvel launches its first swimsuit issue. I'm not ashamed to admit I owned some of these. Okay, I am a little bit ashamed. It was supposed to be a parody of Sports Illustrated, but I don't think that's the reason why I bought them.
Marvel has a Zorro book out, because why not?
As for your curiosity, it's an Epic graphic novel by Doug Murray and Russ Heath called Hearts and Minds that explores the Vietnam conflict through the prism of a series of romantic entanglements. Interesting.
|
|
|
|
Post by codystarbuck on Nov 23, 2023 20:33:53 GMT -5
December 1990 & January 1991Walt Simonson begins his three issue story arc where Spider-Man, Wolverine, Ghost Rider and the Hulk temporarily become the new Fantastic Four. It was an amusing parody of where Marvel was at in the early 90s. Unfortunately, with Art Adams on art, it sold well and what future editors and creators gleaned from it was less parody and more dollar signs. Alan Davis has his own Wolverine one shot out for the holidays, as he begins to transition to a writer-artist role. The Wolverine book isn't very well known, but has some nice looking Davis art and contains some ideas that Davis would draw upon when he returned to Excalibur. Alan Grant, John Wagner and Mike McMahon have an Epic series out called Last American, which I can only imagine was a Marvel UK joint being published by Epic. 2000 AD had been branching out with sister magazines at the time, such as the fortnightly anthology series Crisis and the Judge Dredd mag. A lot of Grant and Wagner's American comics feel like something that could have been pitched for these sister mags, or even 2000 AD itself, but they took the idea to Marvel or DC instead. Peter David and Dale Keown have started their run on Hulk, which is one of my favorite parts of the David era. David had been transitioning back to the green Hulk, and I have to say, aside from the black Spidey costume's longevity as Venom, grey Hulk was by far the most successful of the character redesigns and certainly lasted longer than any of the others. The Barbie books launch and stick around for a surprisingly long time. Hi, Barbie! I think it's kind of cool that John Romita Sr did the covers on the Barbie books. Marvel launches its first swimsuit issue. I'm not ashamed to admit I owned some of these. Okay, I am a little bit ashamed. It was supposed to be a parody of Sports Illustrated, but I don't think that's the reason why I bought them. Marvel has a Zorro book out, because why not? As for your curiosity, it's an Epic graphic novel by Doug Murray and Russ Heath called Hearts and Minds that explores the Vietnam conflict through the prism of a series of romantic entanglements. Interesting. The Marvel Zorro was a licensed book, to tie in to the Family Channel series, starring Duncan Regehr and Efrem Zimbalist Jr. (later replaced by Filmation Zorro voice Henry Darrow). T'ain't bad, for what it is. No Alex Toth Zorro, but, then, what is? |
|
|
|
Post by zaku on Nov 24, 2023 2:21:07 GMT -5
The ugliest part of Marvel's increased commercialization is the glut of Punisher books on the market. How anyone could keep up with the dozens of different characterizations of Frank Castle is beyond me. It makes it even more confusing when they try as hard as possible to limit The Punisher's interaction with the rest of the Marvel Universe in his own books yet every editor on a regular book wants to use him for a guest appearance. I feel he's far more oversaturated than Wolverine at this point, and I actually like the character. The editorial parable of the Punisher is one of the most fascinating and unique things in the American superhero panorama. There truly was a time when he was omnipresent. And I don't know how many Graphic Novels, Specials, miniseries etc came out with him as the protagonist. Until a certain point, BOOM, basically gone. His last appearances before his rebirth as an "emissary of the angels" were sparse and bordering on self-parody. |
|
|
|
Post by commond on Nov 24, 2023 7:16:55 GMT -5
February & March 1991
Louise Simonson is gone from New Mutants and Rob Liefeld is in full control. The general sentiment appears to be that Simonson had been happy focusing on the New Mutants as a teen coming of age series whereas Rob wanted them to graduate and become the new X-Men for the 90s. Eventually, Bob Harras agreed with him and let him wrap up New Mutants and relaunch the series as X-Force. Rob had a million ideas but struggled to execute them, so Fabian Nicieza was brought onboard to work with Rob on his plots and to script the stories. As I mentioned before, Rob's work on New Mutants was notable for introducing a ton of new characters. According to Sean Howe, there were a lot of creators who held back on creating new characters for Marvel after the way they treated Jack Kirby and Steve Gerber in the 80s, but Rob was either too naïve or too hyped up to worry about that. Case in point: issue #98 introduces Deadpool, who'd go on to become one of Marvel's most popular characters.
Roy Thomas returns to Conan the Barbarian this month, and while you might think that would make Conan one of the better Marvel books of its time, I have my reservations based on the half a dozen or so issues I've read from Roy's return. I don't think the art is up to scratch, for starters, and what should feel like putting a comfortable pair of slippers doesn't feel that inviting.
Silver Surfer #46 sees the first appearance of Adam Warlock, Gamora, Pip, Kray-Tor and Autolycus in nearly 14 years. Some folks might be annoyed at Starlin messing with their childhood memories, but for this kid, it was the return of a host of characters I had no idea about.
Darkhawk launches in February, a character I was legitimately excited about at the time. The series lasted for 50 issues, which is decent I guess, but I thought he'd be a bigger deal.
NFL Superpro also debuts in the same month and sells fairly well. Things go downhill fairly quickly and the series becomes one of the most ridiculed Marvel series of all-time.
Barry Windsor-Smith's Weapon X begins in Marvel Comics Presents. I was never a big fan of the serial, but there are plenty of people who rate it as one of the best Marvel stories of the early 90s.
Gerry Conway is gone from Spectacular Spider-Man, presumably because of the Father Dowling Mysteries TV show, but possibly for other reasons as well. I liked Conway and Buscema's Spidey, but for a lot of people it was the epitome of boring Bronze Age Marvel house style, especially in the era of McFarlane and Liefeld. Once J. M. DeMatteis takes over with Bill Sienkiewicz inking Sal, it becomes one of the best Marvel books of the DeFalco era and produces at least two classic Spidey stories that deserve to be still talked about today.
If you're into weird, then Ted McKeever begins Metropol at Epic.
|
|
|
|
Post by codystarbuck on Nov 24, 2023 22:18:50 GMT -5
For the most part, I don't recall Starlin getting any backlash, especially since those were mostly "his" characters. Most seemed to be happy to see him back in that realm. He did come close to the edge, when he teased what looked like a Mar-Vell resurrection, but the story wasn't what it seemed, on the cover. Weapon X was different enough and a purported origin for Wolverine, which got me to read it. I like elements of it, but it is a rather confusing story and sparked a lot of belief that the bald scientist was Xavier, since there couldn't be two bald guys in the mutant world.  I didn't read Spidey; but, I recall a lot of jokes about Conway's poor sense of geography, as he had some real cities in locations that suggested he never looked at a map of the United States, in his life. |
|
