Tagged: John Ostrander

Dennis O’Neil: Movies, Comics, and Heroes

oneil-art-121129-2964854Okay, first another bow toward my friend and colleague, John Ostrander. No sense in reviewing Skyfall, the new James Bond flick, since, in his November 18th column, John already wrote virtually everything I might have written about the entertainment. Let us agree: best Bond ever, for the reasons John cited.

It’s been a banner year for this kind of show, hasn’t it? We had two of the best superheroes – no, let’s not be mealy mouthed, Marvel’s Avengers and The Dark Knight Rises were, though quite different, the best superhero movies yet. (You want to disagree? Fine. This is only my opinion and, doggone it, I’ve misplaced my cloak of infallibility. Wonder if I could borrow the pope’s…) I think there’s been, among media types, a discernible learning curve. They have learned how to do this kind of material really well. Not that all such material is really good, but now there is the possibility of it being as good as anything out there. And, maybe more important, there has arisen the consensus that it ought to be good; no need to phone it in just because it’s that comic book stuff.

Reasons? Hey, do I look like a savant? Let’s just make one guess and hurry on.  The guess: for the past couple of decades, many (if not most?) of the bright, creative kids have been comics readers. The form is familiar to them and they’re friendly to it. “Of course the movies can be good,” they might say. “Why wouldn’t they be good?”

The first Hollywood guys who tried adapting comics to the screen were on unfamiliar turf; to the current guys it’s home territory.

That was the guess, plus addenda. Now, the moving on, in the form of a confession: When I was a drifting, quasi-beatnik/peacenik, still on the south side of the dreaded 30, Bond was a Guilty Pleasure. A peacenik buddy (who was not as quasi as I was) and I saw the movies, first run, and enjoyed the action and adventure and romance and pretty females – all the Bondian delights – but! There was what I thought was an unhealthy glorification of consumerism – no, whoever has the most toys when he dies doesn’t always wins – and this aspect is, blessedly, almost absent from Skyfall. The other guilt-inducer was a bit thornier: wasn’t James Bond a fascist?

Sure, the word “fascist” has been tossed around and in the process lost some precision, but it usually involves unquestioning obedience to some authority figure, presumably for the common good. (Has any leader ever claimed to act for the common bad?) Strongly implicit in this conduct is that the authority figure gets to decide what the good is. So enter Bond: His friendly neighborhood authority figure, M, tells him to go commit bloody mayhem and he does. No questioning of right or wrong–just do the mayhem, often merrily. Recent history has demonstrated the inadvisability of blind obedience to the boss.

Again, we can pretty much find Skyfall innocent. The authoritarianism is muted, and neither Bond nor M seem to be happy about the mayhem. And they both seem fallible.

Maybe this kind of analysis is bringing too much baggage to what is, after all, just show-biz. But I’m glad I did it 50 years ago, and I don’t think it’s unhealthy to do it now.

FRIDAY: Martha Thomases

 

John Ostrander: Dueling Capes

ostrander-art-121014-5946860There are the Great Eternal Fanboy Questions. (The Eternal Fanboys sounds like a comic itself or a geek Goth band.) One of them is “Who is stronger, the Hulk or the Thing?” Or the variation “Thor or the Hulk?” You can even ask who is stronger – the Hulk, the Thing, or Thor, but that gets complicated and a little metaphysical.

The Classic Eternal Fanboy question, though, predating the others is “who would you rather be, Superman or Batman?” Supes can fly and has all those powers; he’s become sort of the Swiss Army Knife of superheroes as more and more abilities were added over the years, like super-breath. There are mornings when I’ve had super-breath. Not quite like Superman’s but still pretty potent. It had me grabbing the Kryptonite mouthwash.

Batman, on the other hand, is all dark and moody and mysterious and he has all those wonderful toys! And, underneath that cowl and cape, he’s human. One of the prevailing arguments in the debate is that we could never be Superman because he’s an alien from another planet but if we really worked at it, if we were as dedicated as Bruce Wayne, we could become the Batman.

In your dreams, pal. Never going to happen. All us Eternal Fanboys also have second lives as the Eternal Couch Potatoes. Maybe we could be Herbie the Fat Fury, who got his powers from special lollypops, but not The Batman.

As a comic book writer, I’ve been asked the question more than once (and have pondered the answer a few times) which character would I prefer to write – Superman or Batman? Most of you who know my work would probably guess Batman and, for much of my early career, it was true. My forte are dark, moody, violent characters and Batman certainly fit into that. Superman was this big blue Boy Scout with an annoying girlfriend and a personality almost as thin as the paper on which he was printed.

Over the years, however, that’s changed and these days I find I’m drawn more to the Man of Steel. I suppose it started with Christopher Reeve’s portrayal in the 1978 Superman movie. It was Superman’s humanity that struck me. That also came out in Grant Morrison’s superb All-Star Superman run, simply one of the best incarnations of Superman that I’ve seen.

For me, the heart of Superman, the basis of who he is, is not the powers that he has. It’s that he was raised on a farm in Kansas and those are the values that were instilled in him. At heart, he is Clark Kent. Not Kal-El of Krypton and not Superman. Not even the Clark Kent as perceived at the Daily Planet. At heart, at his core, he’s that Kansas farm boy. There is a humility in him; his upbringing is what defines him as a character and not his powers and that, I think, is how it should be. It’s who he is and not what he can do.

Batman has become a much darker and less human character over the years. It’s his way or the highway. He no longer tries to intimidate just the bad guys but his friends and co-workers as well. Batman is the central personality; Bruce Wayne barely appears and then only to serve Batman’s needs. He’s a compelling character, no question – but not one I feel drawn to as much anymore.

Maybe it’s just that I’m growing older but I value Superman – Clark Kent – for that humility, that humanity, and find that it speaks more to me. For all his being an alien, I think Superman is more human than Batman. So, for me, the answer to the Eternal Fanboy question is – I’d rather be Superman.

Your mileage may vary.

MONDAY: Mindy Newell

 

John Ostrander says “Continuity Be Damned!”

ostrander-art-1209301-9288143Got The Avengers DVD on the day of its release and watched it all over again. My Mary and I enjoyed ourselves immensely and, from all indications, so did a lot of other people since its big screen release made more money than all but two other films.

Yes, previous Marvel films (Iron Man 1 and 2, Thor, Captain America, and the last Hulk film) all built up to it. It was great how it took the basic stuff we knew about all of them, including the initial Avengers comics, and was true to them but do you know what really made The Avengers such a juggernaut?

It was accessible.

You don’t need to know anything about the comics. You don’t need even to know anything about the other films. Everything you need to know to sit back and enjoy the movie is in the movie. Yes, if you know your Marvel lore it adds to the enjoyment but the fun of the movie and your understanding of the story is not predicated on that lore.

Over at DC, the Silver Age began when the legendary Julius Schwartz (hallowed be his name) took a bunch of character titles and concepts from the Golden Age, re-imagined them for what were more contemporary tastes, and re-ignited the superhero comic. He wasn’t concerned with continuity with the Golden Age, which was itself never too concerned with internal continuity; he wanted to sell comics.

When Marvel started (as Marvel) back in the Sixties, it started with all new characters at first so they didn’t have continuity problems. Even when they worked in Golden Age characters like Captain America and Namor, you didn’t need to have ever read any of the old stories. Everything you needed to know about those characters were in the stories.

Say that you’ve seen the movie The Avengers and you’d like to read a comic based on what you saw. So you go into a comic book shop and find: The Avengers, The Uncanny Avengers, The New Avengers, The Secret Avengers, Avengers Assemble, Avengers Academy, Dark Avengers, and, if you hurry, Avengers Vs. X-Men. This doesn’t include The Ultimates, which might be closest to the movie. Which one do you choose? And, if you do choose one, can you understand the story? Is it accessible or so caught up in past or current continuity as to not make sense to a casual reader?

I’m not excluding DC either. Say that you saw and liked The Dark Knight Rises and would love to know what happened next. So you go to the comic book store and you will not only find nothing that would tell you what happened next but nothing that isn’t tied to a crossover.

Look, I’m well versed in the ways of continuity. I’ve mined it for my own uses. However, when I started my run on Suicide Squad I essentially dropped everything but the title, even redefining the concept. Yes, I made use of continuity but I never assumed that the reader of the new book would know anything about the old series or care about the old characters.

I work in Star Wars and believe me when I say that the continuity there is as dense and complicated as anything at Marvel or DC. I’ve learned how to negotiate those reef filled waters by either creating new characters or going forward or backwards or even sideways in time. I research the continuity where my stories touch upon it but I don’t get tied down to it.

The ones who care about continuity are the fans and the hardcore fans care about it most. I’ve had all sorts of fans who want to tell a story based upon some obscure plot point that doesn’t fit quite snuggly enough into continuity (or how they perceive it) and explains it all. It’s hard to tell stories based on continuity alone. They’re bloodless. Story comes from characters and their desires and interactions.

This summer we’ve seen a load of very successful superhero movies – The Avengers, The Dark Knight Rises, The Amazing Spider-Man (itself a reboot from the last Spider-Man movie which was out only about five years ago). So there is a market out there. Yes, yes – comics and movies are two different media but the concepts are the same in both. Do we want to attract even a portion of that audience? For the survival of a medium we love, all of us – fans and pros alike – need to say yes.

The way to do that is with well-told stories that are accessible to all readers. Mary and I know a friend who watched The Avengers with her grandson and both enjoyed it. And they enjoyed watching it together. That’s something we should aim for.

In the end, if continuity gets in the way of a really good, accessible story, then I say – continuity be damned.

MONDAY: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Mike Gold: Four-Color Friendships

gold-column-art-1208012-5014667It was an interesting party. Held in a Mason lodge, I got to hang out with The Point’s Mike Raub, former ComicMix columnist and book writer and moviemaker Ric Meyers, and Adriane Nash, the one woman condemned to be both a ComicMixer and an employee of arrogantMGMS. And a whole bunch of old friends, about 72 of which used to be in the comic book retail business.

It’s not that I would be friendless if not for the comics racket. Since I spend a healthy amount of time in politics, social services, broadcasting and more dubious endeavors, I know a few folks who couldn’t tell the several dozen current Spider-Men apart – and politely couldn’t care less. They humor me nonetheless.

But it is safe to say most of my enduring friendships are comics-related. I’ve known Mr. Raub for, damn, three-dozen years. Glenn Hauman and I met when he was a “small” child hiding in DC’s darkroom, back when the Earth was still cooling. John Ostrander and I have been buddies since before Watergate; we met through Chicago theater connections and were both herded into a corner at a party in those ancient days because, as comics fans, we “had something to talk about.” Ah, those days when geeks were treated like… geeks.

The list goes on and on. I’ve had the privilege and honor to work with my friends and that has worked out wonderfully more than 99% of the time. There are maybe only two or three people I regret working with – I’ve mended fences with others; creative egos are a mixed blessing and I’ve got one that’s louder than a Sousa march. There’s only one person in comics I actually wish to murder; I’ve spent less time and energy in broadcasting and that list is both longer and older.

So this comics donut shop, to paraphrase Chico Escuela, has been berra berra good… to me.

I’m all backward-looking because this Saturday is my birthday – I turn real, real old; I mean, Mel Brooks old – and seeing all these old friends in one room was a heady event.

Despite its massive expansion (says the man who refers to the San Diego convention as the “black hole of media shows”) and the generational differences and the public’s near-acceptance of geekdom, there remains a closeness in the comics community that, to my experience, is unparalleled elsewhere. Even people who truly hate each other are on a first name basis.

I highly recommend it. This is one hell of a donut shop.

THURSDAY: Dennis O’Neil

 

John Ostrander: Death and Comics

ostrander-column-art-1206171-3150000At a convention I was at some years past I was having dinner with, among others, Howard Chaykin and Joe Rubinstein. Howard is always an interesting dinner companion; whether you agree with him or not on a subject, the conversation is going to be interesting. I didn’t know Joe Rubinstein much before that – except by his talent – but he raised a serious point with me. Joe knew about my late wife, Kim Yale, and her death and what he was interested in seeing coming from me was a story or stories about how you cope with the grief and the mourning that comes with the death of a loved one. It’s an interesting challenge and, while I’ve had some ideas about how to do it, I have yet to answer it.

I don’t think that comics, as a medium, deals well with death. It’s become a plot device, a sales gimmick, since we all know the character who has died is going to be back. I was staggered at the time of the Death of Superman storyline and by the number of people I knew who contacted me and breathlessly asked, “Is he really dead?” I pointed out that DC had too much money to lose from Underoos alone to let Kal-El stay dead.

Sure enough, Superman got better.

I will say that DC dealt well with the aftermath of Superman’s apparent demise in the World Without Superman follow-up storyline. There was real feeling, real emotion, by individuals and by the general population. And life went on without Superman.

That’s what happens. Your world ends; life goes on. The one you loved doesn’t come back. You cope however well or badly. You recover or you don’t.

I’m not saying that killing off a character can’t be effective or shouldn’t be done. When I was doing Suicide Squad over at DC, I was something of a literary mass murderer. I killed off lots of characters – mostly villains. I even killed off my own GrimJack character and brought him back albeit in a different, cloned body. I then reincarnated him somewhere further down his own timeline and, eventually, killed off that incarnation as well. So, how is that different, you ask.

Reincarnation doesn’t give you back the same body; it gives you a different one. The resiliency of the Doctor Who series rests on the title character’s ability to regenerate or reincarnate. Completely different actor, very different personality traits. There is change. That’s the difference and a key one.

Over at Marvel, the Pearly Gates is a revolving door. Captain America dies; oops, he got better. (Okay, it was really a “time bullet” but it was sold as the death of Captain America.) His teen sidekick in WWII, Bucky, dies in action. Oops, no, he gets better decades later. Both “deaths” generated interesting stories but is there anyone who really thought that the original Captain America wasn’t coming back?

Actions have consequences and death does as well. Grief should be shown; tears should flow. One of the major flaws, for me, of the first Star Wars film is that Luke barely sheds a tear at the death of the only parents he’s really ever known but then gets mopey about a mentor he’s known only a few days. Whereas, in the Harry Potter films, especially the later ones, when a character dies we see real grief and sorrow. It matters to the characters and therefore matters to us. And, yes, Harry dies and comes back to life but that doesn’t change my argument. His death grew out of the story and was, in fact, demanded by it; it was the way to resolve the story. That includes his resurrection. My gripe is with deaths that simply are “events” and meant to push sales.

Death in comics is too easy because resurrection is too easy. It doesn’t mean anything most of the time. It’s a cheat. Life – and death – doesn’t work that way. If death doesn’t mean anything, does life?

Monday: Mindy Newell and how she got that way.

MARC ALAN FISHMAN: “We Interrupt This Snark for a Shameless Plug”

Hello all. I thought I’d change things up a tad today… and not just tear into a character, creator, or comic that drives me bonkers. I figured instead it’d be fun to discuss a comic I actually love. OK, this may not actually count. Why? It’s my comic.

Unshaven Comics is my studio/self-publishing/merchandising pet project, alongside my brothers-from-other-mothers, Matt Wright and Kyle Gnepper. Back in 2006 we were lucky fuckers who were given a shot to make a book for an actual publisher. I won’t get into the details, but suffice to say we learned more lessons than we earned dollars. We wouldn’t trade that experience in for the world; especially because it’s how we came to meet Mike Gold. That’s not where the story ends though. In fact, it’s where it all begins.

Having finished a project on someone else’s terms, Unshaven Comics looked around for someone else to work for. Unlucky for us, publishing a tiny educational comic book about immigration isn’t the way to get on anyone’s radar. Thus, we looked inward. Why do a book for someone when you can do one for yourself, right? If comics aren’t going to pay our bills, it might as well be something we give a damn about. Thus, Disposable Razors was born. Pie-eyed, we pitched it to Mike. “Anthologies? They don’t sell.” And like happy drunks, we just kept on keeping on.

Disposable Razors conceptually isn’t a hard sell. For us? It’s an exercise. A single issue to tell a single story that leaves enough of a world developed that should we care to return to it, we can. Issue 1 was Kyle’s baby, Chasing Daylight, wherein a group of four guys learn about the frailty of friendship by way of a demon. Issue 2 was fishtastic: Iron Side: Living Will, wherein a retired geriatric superhero straps up his boots on one last mission before he meets his maker. And as I sit here looking at it… Issue 3 is now a reality as well. This time around the three of Unshaven lads really worked as a team (with Kyle penning half, Matt painting said half, and crazy me writing and drawing the other half). Issue #3 is homage to our childhoods. I need only give you the pitch on this one. The Samurnauts™! Astronaut Samurai led by an immortal Kung-Fu monkey fighting evil demon dinosaurs. I can’t even type that without smiling a little.

A recent exchange with my friends at ComicMix posed an interesting question. “What exactly are you looking for, Unshaven Comics?” In our wildest dreams, Marvel or DC comes to us and says “Hey, how about we give you a shot.” In our less-but-not-really-cause-it’d-be-amazing dreams, Image, Avatar, Boom or Dynamite comes to us and says “Hey, how about we give you a shot.” But in the real world? DC isn’t calling. Marvel ain’t either. Avatar and the like are after licenses, and their creative teams are generally established. Trust me, this kind of talk from me even two years ago, wouldn’t happen. I’m an admitted dreamer. But, getting married? A kid on the way? It has a knack for opening the bigger picture to a guy.

Unshaven Comics was founded because at the time, our early 20s, we had our future at our fingertips. We knew the traditional routes into comics. Matt could have easily made a portfolio, pitched himself to editors at con after con, and if he was lucky? Land a gig doing a backup in an annual. Once. And Kyle? Getting into comics as a writer is about as easy as… well… getting into comics as a writer. And me? A jack of all trades, a master at none. I can color. I can letter. I fancy myself a writer. And if I put my mind to it? I can pencil and ink. If I were lucky, a publisher might use me in a pinch (cough, The Original Johnson, Volume 2). But I digress… Like I said, we were founded on the idea that if we were to make it into the industry, it was all for one, and one for all. Insane? You bet your ass. But we wouldn’t have it any other way.

Doing our own books means I have to hang up the snark gloves and ask myself what I want to see in a comic. With backs against the wall, and your soul for sale for five bucks a pop, whilst sitting at a six foot table in the midst of real professionals? It’s exhilarating. And with every sale to a stranger, a knot in my stomach forms. Will they like it? Are fooling ourselves? Does the book look professional enough? Oh my god, is there a typo?

Sometimes, the reactions we get astound us. We had a girl buy book 1 on a Friday. She came back to the table on Saturday gushing. She bought book 2. Other times? We get slapped right in the jaws. Johanna Draper Carlson of “Comics Worth Reading” stopped by our table last year. She flipped through the issue and a long frown came upon her face. “This is just… not good. But I like your logo!” And she was off. She tripped a little over our now dead egos, and moved on. I could wax poetic as to why I think our comics are the bee’s knees… but frankly I’m the artist. Too close to my work to know if I should just be reading them, not writing them.

For the last five years I have given up a social life. Both my and Matt’s amazing wives have allowed their husbands to spend near every hour that isn’t at work, eating, pooping or sleeping… making comic books. Disposable Razors #3 in fact, was near 225 work-hours, last I counted. And those hours? Not 9 to 5. That’s every night after working day jobs. It’s weekends not spent relaxing on a couch, or watching a movie. From taking reference shots, scripting, penciling, inking, coloring, lettering, editing, reediting and prepping the book to print? The last four months of our life have been nothing short of exhausting. All for 36 quickly read pages of art and words. We’re tired. We’re cranky. We’re hoping people buy it, and don’t spit on us.

And we’ll do it all again tomorrow. Why? Because, when you’re living the dream, you never want to wake up.

SUNDAY: John Ostrander

MARC ALAN FISHMAN: X-Men – Built By The McMansion of Ideas

uncanny-x-men-500-variant-e1312006445215-1489585

Wikipedia (truly the only place to learn stuff these days) defines McMansion as “a pejorative term for a large new house which is judged as pretentious, tasteless, or badly designed for its neighborhood.” When I read that term, one comic franchise comes to mind. Color me snarky this morning, kiddos, but I feel the need to rant about those kooky carnival clowns known as the X-Men. Let me go tape up my fists and put in my mouth guard. This one’s gonna get ooogly.

I’ve little doubt when Stan and Jack (I’ve no right to call them that, but screw it…) created the titular teens with wonky talents, it was done for a reason. More than DC, Marvel’s characters come pre-baked with personal turmoil. Peter Parker, the every-nerd… Bruce Banner, the mild-mannered man who can’t get mad… and who would not list Hank Pym, the small-then-big-then-small-then-big wife-beating man-of-science? The X-Men were no different. Here we had basically innocent kids being picked on and ostracized for being not normal. Make any parable of that you want. Black? Gay? Bi-sexual? Transgendered? Jewish? OK, probably not Jewish. More to the point though… in the beginning, the X-Men were a fantastic concept, anchored by amazing art. Of course they were a direct rip-off of the Doom Patrol, but let’s not get into that argument. Since their humble start in the funnies, the X-Men have since become a continuity-hampered, impossible to follow nightmare.

(more…)

MIKE GOLD: Hey, Here’s A Surprise!

mike-gold-column-photo-8889817Well, I’m having fun.

Back when we started out, ComicMix used to run all these fabulous columns written by all these swell writers and, well, by me too. Those columns disappeared after about a year and a half and a lot of people told us they wanted ‘em back. Among those people were most of the columnists themselves. And me. Man, I bitched up a storm. And nobody can bitch up a storm like me.

So we re-geared out operations (that term creates the ambiance that we actually have a clue as to what we’re doing), and, effective right now, we’re reinstating our daily columns. Joining returning writers Dennis O’Neil, John Ostrander, Martha Thomases, Michael Davis and myself are two newcomers: Marc Alan Fishman and Mindy Newell.

You know Marc from his frequent contributions to ComicMix. He’s just a kid, which is weird because his wife is pregnant with a smaller, younger kid. A life-long comics fan who knows his barbecue, Marc is part of the mighty Unshaven Comics crew. That’s at www.unshavencomicsonline.com, where he’s joined by his buddies and my pals Matt Wright and Kyle Gnepper. Together, they publish indy comics that are truly worth reading; that’s how we found Marc in the first place. Check ‘em out at their website.

Chances are pretty damn good you’ve also heard of Mindy. She’s making her return to comics here at ComicMix; she spent about five years editing at Marvel Comics and ten years writing such features as Wonder Woman, Catwoman, the Legion of Super-Heroes, American Flagg!, Daredevil, Black Widow, The Next Wave… you get the idea. She’s also an operating room nurse, which I think might come in handy around here. Somebody told me – I think it was Mindy – that I cannot live on barbecue alone. I try.

We’ll be focusing more solidly on comics than we did last time around. Not to say we’ve abandoned the heavy political/social stuff: Martha, Michael and I have been writing those type of columns every week for www.michaeldavisworld.com for a couple years now and we’ll be continuing to do so until we get arrested for sedition.

But here at ComicMix we’ll be mostly talking about comics and directly related media and phenomena. We’ll probably be talking about the comics related movies and teevee shows and, if we can find somebody wealthy enough to buy tickets, even to comics related Broadway plays. Perhaps I’ll even do an expose about just how many Wonder Woman statues a 35-year-old woman can squeeze into her basement apartment.

Most important, we invite you to join in on the fun. We’re in for some hectic times in the greater comics world. DC is recreating itself again, and Marvel going nuts with special events. Everybody’s got something new, and new publishers continue to pop up like rabid Whac-a-Moles. Please feel free to comment until your fingers fall off. It’s probable that the relevant columnist will play in and we can get a nice little dialog going. Think of ComicMix as sort of like Twitter with an attention span.

And bring along your sense of humor.

THURSDAY: Dennis O’Neil!

Rapture Ready Comics: ‘Dies Illa’ from Wasteland #3

There’s a lot of chatter about an event that may or may not happen tomorrow.

(SPOILER: It won’t happen. See Matthew 24:36 and Mark 13:32.)

For what will become obvious reasons, it reminded me of this story from John Ostrander and David Lloyd from Wasteland #3, February 1988 from DC Comics.

As for me, I plan to spend Friday night going out and leaving strategically placed piles of clothes and shoes.

Artwork ©1988 DC Comics.

John Ostrander returns to writing Amanda Waller– online!

John Ostrander, who created Amanda Waller 25 years ago in Legends and wrote for many years in [[[Suicide Squad]]], has started writing a blog at http://drwaller.net/ detailing her day-to-day life and challenges with her job.

However, a quick read shows that it might not be the Amanda Waller we’re quite familiar with. I mean, the attitude is certainly there, and we do see a couple of names we recognize in the blog, but it seems that she went to the same astrophysics school that recently gave Jane Foster her doctorate in the [[[Thor]]] movie.

So is this yet another part the alternate universe of Flashpoint, or is it part of the Green Lantern movie? Who cares, it’s John Ostrander writing the Wall again! Go read it.

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