Category: Blogathon

The sky is getting light.  I find that depressing.  I wish I were in a time zone when it would still be dark when I went to bed.

Heck, on a weekday, I’m leaving for the office now, rather than not-having-gone-to-sleep.

Buck up, Dave … you’re getting short.

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

Shadowpact #3 (DC) [4/3/3/3] (w. Bill Willingham; a. Cory Walker)

The SP break away from captivity and severely trounce their opposite numbers, freeing the town. Huzzah!  Full of Willingham charm, satire, and twists.  Good stuff, and the best thing to come out of the pre-Infinite Crisis thingie period.

Truth, Justin, and the American Way #3 (Image) [2/3/3/3]  (w. Scott Kurtz, Aaron Williams; a. Giuseppe Ferrario)

How can two talented writers like this (Nodwick, PvP) come up with something so dreadful?  I mean, part of the dreadfulness is intentional — a satire on 70s TV shows (most notably Greatest American Hero, but including others).  But … really … so much of what’s meant to be funny … just … isn’t.  Sadly so.

Wonder Woman #1 (DC) [4/5/3/1] (w. Allan Heinberg; a. Terry Dodson / Rachel Dodson)

And the new Wonder Woman is … Donna Troy.  Makes absolute sense.  But, then, why are some villains willing to kill to find the original WW?  Who’s that Donna’s fighting?  And who’s that new secret agent over there …

As far as I’m concerned, I’m fine with the new direction.  That may change — probably will — but I’m more than happy to give it a chance.

X-Factor #9 (Marvel) [4/3/2/1] (w. Peter David a. Dennis Calero)

While everyone else is debating the Civil War, X-Factor’s debating Quicksilver’s ostensible power from his sister to grant mutant abilities.  Except Madrox, who simply doesn’t want to have to make a decision.  Except that by the time the issue is over Madrox, and X-Factor, in spite of the X-Men (or to spite them) will be taking a public stand against the Registration Act.  David writes a dense but understandable plot, and each character we meet seems to have their own agenda on a deeper
level than cliches and catch phrases.  A good book, and I hope it’s doing well in sales.

And, hey, look — I forgot to turn on my music …

Slowing down even more …

It’s 5 a.m., though.  That means two hours.  More importantly, that means four more posts (including this one).  Three more, really, because the fourth is the wrap-up, sum-up, thanks-for-all-the-fish post close to 7 a.m., but it will basically write itself.

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

Lucifer #75 (DC) [4/3/1/4] (w. Mike Carey; a. Peter Gross)

The end of the series — and, so far as can be ascertained, the character.  He closes up accounts, does his reminscences, bids his farewells, has one last encounter with his Father, and then … leaves.  “The ultimate freedom … the freedom to leave.”

A fitting, quiet ending, to an intricate and tumultuous series.  Well done.

Ms. Marvel #5 (Marvel) [3/3/2/1] (w. Brian Reed; a. Roberto de la Torre / Jimmy Palmiotti)

Sharon deals with unexpected press interviews and an unexpectedly competent Traveller, now wielding the Wand of Watoomb.  Not to mention a world-eating insect plague.  And, by the end, she’s getting ready to deal with the toughest situation of all:  the Registration Act, and Captain America at her door.

Nothing spectacular or special, which is a shame, because I’d really like to see the character succeed, and her prominence in the Civil War event is a great stepping stone to that.

Next Wave #6 (Marvel) [4/4/4/2] (w. Warren Ellis; a. Stuart Immonen)

Ellis’ stylish supergroup spy satire.  The agents fight improbable robots and the full power of a SHIELD-like helicarrier-like HQ craft.  Quirky fun with obscure characters and Ellis’ trademark surrealism.

Runaways #18 (Marvel) [4/4/2/3] (w. Brian Vaughan; a. Adrian Alphona / Craig Yeung)

“One of these Runaways is about to die,” the cover text says — and they’re telling the truth.  Big stuff, poignant, the whole nine yards.  This is not a safe comic.  But it is good.

(listening to: “The Banana Splits” from Television’s Greatest Hits – V)
(listening to: Webber, Andrew Lloyd & Tim Rice, “Pilate’s Dream” from Jesus Christ Superstar)
(listening to: Debussy, “Reverie” from Wedding Album, The)
(listening to: Kilbride, Patrick, “Patrick” from Undocumented Dancing)
(listening to: Moscow Symphony Orchestra, “Oriental Spirit” from Outcast)
(listening to: Sting, “Mad about you” from The Soul Cages)

If I’m reading the Blogathon Surf Ring frame properly, mine is a “Hot Spot.”  Which is kind of weird, but also a bit gratifying.  I’m not sure that’s defined, but … well … there it is.

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

Front Line #4 (Marvel) [4/4/3/2] (w/a. various)

This is another Civil War title, running several continuing stories in it, focusing on the “personal” aspects of what’s going on.  Clever investigative reports are looking to find out cui bono with the act.  Speedball survived the explosion, but is powerless and in the federal clink until he confesses to his “role” in the disaster (which he doesn’t see as his fault); he’s subjected there to repeated abuse by inmates and guards alike. And we continue to learn more about a sleeper cell of Atlanteans that
Namor had stashed ashore, for reasons to be made clear later, perhaps …

It’s an interesting series, reminiscent in tone and intent to DC’s 52, but somehow less successful — perhaps because what’s happening with the story isn’t yet as apparent.

Justice League of America #0 (DC) [4/3/3/1] (w. Brad Meltzer; a. various)

A disjointed recollection across time of the joining (and breaking) of various versions of the Justice League, focused on the actions and relationships of the Big Three — Bats, Supes, and WW — and their relationships in the past, present … and future?  It’s an interesting collection, but it ends, with the decision to reestablish the JLA … though it’s not clear how time has healed the wounds from when it was broken.

(listening to: Williams, John, & the London Symphony, “Brother of the Cruciform Sword” from Indiana Jones and the Last Crusade)
(listening to: Ravenscroft, Thurl, & Disney, “Grim Grinning Ghosts” from Disneyland/Disney World Official Album)
(listening to: “Shared Dig” from Unreal)
(listening to: Copeland, Stewart, “Liberté” from Rhythmatist)
(listening to: Badelt, Klaus & H. Zimmer, “Skull And Crossbones” from Pirates of the Caribbean – Curse of the Black Pearl)
(listening to: Carl Stalling Project, “Medley: Dinner Music For a Pack of Hungry Cannibals (1941-1950)” from Music from Warner Bros. Cartoons 1936)
(listening to: TV, “Jarry Goldsmith / Barnaby Jones” from Television’s Greatest Hits 70’s & 80’s)
(listening to: Baez, Joan, “Lonesome Road” from Volume 2)

Slogging along.  So tired. 

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

Hellblazer #222 (Vertigo) [2/3/2/3] (w. Denise Mina; Leonardo Manco)

I am really tired of this story line.  Just … stop.  John’s not behaving in a way that makes sense.  The long monastic conspiracy thing has had glimmers of interest, but … I’m this far from dropping this title.  Really.

Invincible #33 (Image) [4/3/2/2] (w. Robert Kirkman; a. Ryan Ottley)

Angstrom Levy has captured Mark’s mom and baby brother.  And beat them up.  And now he’s transporting Mark into one universe after another, looking for one that can kill him.  And he’s finally pushed Mark too far, which, with even a half-Viltrumite is dangerous.

Oh, yeah, and there’s a cameo by some zombies.

Still a greatly fun comic.

JLA Classified #24 (DC) [2/3/1/1] (w. Steve Englehart; a. Tom Derenick / Mark Farmer)

I’m sure someone thought that a flashback story of the “Detroit” Justice League (Vibe, Gypsy, Vixin, Steel, Martian Manhunter) would be an interesting “blast from the past.” They might have been right, but a five-part story?  Against losers like the Royal Flush Gang?  With really bad internal dialog for one of the heroes per issue?  You know what, I’m glad Steel is long dead, because he does nothing here but whine.  Ditto for Vibe.  So there.

JSA #87 (DC) [3/3/2/1] (w. Paul Levitz; a. various)

JSA has been one of the most consistently popular titles DC has produced for the last several years.  So, of course, it makes sense that they’re canceling it — so that they can create a new JSA title (at #1) in the fall?  Feh.

This final issue has been coming for several issues, tied around a Gentleman Ghost tale.  Which has kind of been more than a bit mediocre, compared to some of the things that JSA has done even recently.

JSA Classified #13 (DC) [3/2/1/1] (w. Stuart Moore; a. Paul Gulacy)

The end of Vandal Savage.  Not sure we’ve needed four parts of tale to give us the character’s history.  Especially poorly.  Especially since it’s not actually the end.  *sigh* 

(listening to: Wainwright III, Loudon, “Tonya’s Twirls (Live)” from So Damn Happy)
(listening to: Giacchino, Michael and Tim Simonec, “New and Improved” from Incredibles)
(listening to: Battlefield Band, “Carnlough Bay” from On The Rise)
(listening to: Fitzpatrick, James & Prague Philharmonic & Chorus, “QB VII – Kaddish for the Six Million” from Jerry Goldsmith – 40 Years of Film Music)
(listening to: Chad, J. Pat O’Malley, Lord Tim Hudson, Digby Wolfe, Thurl Ravenscroft, Bruce Reitherman, “That’s What Friends Are For (The Vulture Song)” from Jungle Book)
(listening to: Lauper, Cyndi, “When You Were Mine” from She’s So Unusual)
(listening to: Nylons, “I Can’t Go for That” from Fabric of Life)
(listening to: Mamas & the Papas, “Too Late” from All the Leaves Are Brown)

It’s amazing how much a comment can perk you up.  Thanks, Elegy!

Now, on with the show!

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

First Family #5 of 6 (Marvel) [3/3/2/1] (w. Joe Casey; a. Chris Weston / Gary Erskine)

Odd retelling of the first days and weeks after the FF were created.  The artwork is passable, but too realistic.  Casey is his usual brutal self, imaginative and unpleasant. 

Friendly Neighborhood Spider-Man #10 (Marvel) [3/3/3/1] (w. Peter David; a. Mike Wieringo)

I really want to like this — I enjoy both the writer and the artist.  But the whole Spider-Man / Green Goblin of 2211 story line has left me cold, even if it has also left a Ben Parker wandering the streets is kind of interesting, even if the last panel confused me.

Green Lantern #12 (DC) [3/3/1/1] (w. Geoff Johns; a. Ivan Reis)

Oh, boy — the Cyborg Superman.  I really dislike that villain.  Mix in Manhunters and GLs that hate Hal Jordan, and you have … well, kind of a cluttered mess.  Not one of John’s better efforts.

Green Lantern Corps #1 (DC) [3/2/2/1] (w. David Gibons; a. Patrick Gleason / Prentis Rollins)

I don’t care about any of these characters, despite several months of previews trying to get me to.  Way too many of them seem too unpleasant to be Green Lanterns.  Bleah.

Green Arrow #64 (DC) [3/3/1/1] (w. Judd Winick; a. Scott McDaniel / Andy Owens)

GA is mayor of Star City, but he’s also dealing with mysterious goings-on in the walled-in portion of town.  Slade Wilson is in prison, and evidently wants to stay there.  Getting tired of this title, too.

Hmmm.  Maybe this isn’t a good time of night to be doing reviews. “Tired” seems to be entering into too many of them.

Hawkgirl #54 (DC) [3/4/1/1] (w. Walter Simonson; a. Howard Chaykin)

Shayera nearly beats the bad guy to death for killing a cop.  The Stonechat Museum is still being sought after for purchase.  Zombies are wandering the streets.  And someone is turning himself into Hawkman.  Maybe.  Not sure what’s going on here, Walt, and you’re usually a much clearer writer.  Chaykin’s art is well done, not surprisingly — but it makes me wonder why he’s not writing …

(listening to: Slovak Phil., “Etude in E, Op. 10,3 – Lento ma non troppo” (Chopin) from Great Piano Moments)
(listening to: -Various Game, “Mineshaft Madness” from Beyond Good and Evil)
(listening to: Raitt, Bonnie, “What Is Success” from Bonnie Raitt Collection, The)

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

Dark Horse 20 Years (Dark Horse) [x/4/x/x]

A short one-shot, celebrating two decades of Dark Horse goodness.  The cover, by Mignola, has every single significant character produced by DH over its years, and it’s amazing how many of them I recognize.  It would make a nice poster.

Inside, each page is a major DH-published character … by someone other than the usual artist.  So there’s Hellboy drawn by Adam Hughes, whose character Ghost is on the next page drawn by Art Adams, whose characters Monkeyman & O’Brien are on the next page drawn by Doug Mahnke, whose character the Mask is on the next page drawn by …. and so it goes, with some odd, charming, and/or amusing results (Stan Sakai drawing Sin City is pretty cool, transposed with Frank Miller drawing Usagi Yojimbo …)

Daredevil #87 (Marvel) [4/4/2/1] (w. Ed Brubaker; a. Michael Lark, Stefano Gaudiano)

The mysteries around DD’s incarceration — and who’s been imitating DD on the outside, and why — begin to unravel, even as the Shock Ending of the Issue really makes things interesting.  While the book has gotten a lot less wordy since Bendis left, I’m not sure how long I’m going to keep up here.  There needs to be a direction they’re pushing the character, and it sure feels like he’s being backed into a creative corner if someone doesn’t put on their comic writers thinking cap Real Soon Now.

Daughters of the Dragon #6 of 6 (Marvel) [2/2/1/2] (w. Justin Gray, Jimmy Palmioti; a. Khari Evans)

What a waste of ink, paper, and two characters — Misty Knight and Colleen Wing.  Bleah.  The comedic timing is off, and parts that one would think would be played straight are handled jokingly, and sometimes vice-versa.  Very strange, and way to consciously hip.  It needed to lose the Kill Bill vibe about it.

Ex Machina #20 (Wildstorm) [4/4/2/3] (w. Brian Vaughan; a. Tony Harris)

Mayor Hundred takes a personal role in figuring out the terror plot stalking the city — which takes one final victim.  This book is a unique blend of personal, political, and heroic, that I feel justified in saying there’s nothing else like it out there.  I’m not so enamoured that I’m buying the trades — but I’m definitely buying the individual issues.

Exiles #84 (Marvel) [3/3/1/1] (w. Tony Bedard; a. J. Calafiore, Mark McKenna)

On Heather Hudson’s near-“normal” world, the team is taking a break — and a mission.  But the timekeepers are becoming irked at how the other deteriorating dimensions are being neglected, and are planning to take action themselves.

I keep thinking I should drop this title.  But there’s something very fun about it, when it’s on its stride, and I still like all the alternate dimensions.  We’ll see.

(listening to: Whites, “Sandy Land” from Down from the Mountain)
(listening to: Barry, John, “Mujahadin And Opium” from Living Daylights, The)
(listening to: Poddany, Eugene, “Let Us All Sing” from Cat In The Hat Songbook)
(listening to: TV, “HBO Feature Presentation” from Television’s Greatest Hits – VII)
(listening to: Beach Boys, “Do You Wanna Dance?” from Capitol Years, The)
(listening to: McCreary, Bear, “Battlestar Muzaktica” from Battlestar Galactica: Season 1)

(listening to: Dora The Explorer, “Backpack Song” from Nick Jr – Dance and Sing!)

(listening to: Simpsons, “The Simpsons End Credits Theme (“Hill Street Blues” Homage)” from Songs in the Key of Springfield)
(listening to: Birmingham, “Sym No. 6 in F, Op. 68 (Pastoral) – Andante molto mosso” from Beethoven – Complete Symphonies – Vol. II)

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

The Walking Dead: Heart’s Desire (Vol. 4) (Image) [5/4/3/4] (collects #19-24)
w. Robert Kirkman; a. Charlie Adlard

If Robert Kirkman seems strongly associated with zombies, it’s because this series of his continues so strongly and so well.  It’s the standard bit — one day, the dead walk, eating the living. Civilization collapses, and the survivors have to figure out how to keep being survivors.  How much violence is necessary to protect themselves from the zombies, from other living — and from each other?  What are the rules that keep each other from each other’s throats?  Physical, emotional, and sexual
tension continue to rise, and the question is not who will crack first, but who won’t crack.

It’s not a pretty book.  But it’s a good one.

Wonder Woman: Destiny Calling (Vol. 4) (DC) [4/4/3/2] (collects #20-24, Annual #1)
w. George Perez; a. George Perez 

Continuing the groundbreaking run by Perez in the late 80s, this volume includes the death of Myndi Mayer, the opening of Thymiscara, and Hermes’ decision to live as a god on Earth.  Good stuff, and if there’s now a bit of a whiff of melodrama about it all, it’s still nicely drawn and — further dicking around with the whole WW mythos by subsequent writers notwithstanding — foundational stuff for the Wonder Woman we have today.

And that, friends, completes the stack of TPBs I had to go through.  Woot.

(listening to: Giacchino, Michael and Tim Simonec, “Saving Metroville” from Incredibles)
(listening to: “Peter Gunn” from Television’s Greatest Hits – II)
(listening to: Symphonic Cast, “Look Down” from Les Misérables (Symphonic))

(listening to: Benson, Jodi, “Part of Your World” from Disney’s Greatest Vol. 3)
(listening to: Denver, John, “Follow Me” from John Denver – Greatest Hits)

(listening to: Slatkin, Leonard, “The Nutcracker, Op.71a, No. 3: Dance of the Sugar-Plum Fairy” from Smart Symphonies)
(listening to: Proclaimers, “A Long Long Long Time Ago” from Hit The Highway)

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

Ultimates 2: Gods & Monsters (Vol. 1)  (Marvel) [4/5/3/1] (collects #1-6)
w. Mark Millar; a. Bryan Hitch

The Ultimates are busy acting as the world’s policemen, even as the Robert Banner is outed as the Hulk, and the civil authorities demand his death for the casualties in his last rampage.  Meanwhile, Thor’s increasing instability and apparent hallucinations about Volstag and Loki have the authorities ever more worried — especially when it’s revealed he’s really just wielding high tech from a European supers program.  Will the Hulk be executed?  Will the Ultimates take Thor down?  Will Tony
pop the question to the Black Widow?  Will a disgraced Hank Pym make a success of it with the Defenders?  And will the world finally get tired of how the US government is using the Ultimates?

Think of a nasty and cynical answer to these questions, and you’re likely to come up with the route that Mark Millar’s taken.  Rarely pleasant, but usually fascinating.  Let’s just say I’m pretty certain that the current “Ultimates” videos out there are pretty watered down from any of these tales.

Usagi Yojimbo: Fathers and Sons  (Dark Horse) [5/5/4/5] (collects #69-75)
w/a. Stan Sakai

Twenty years into his run with his rabbit ronin, Sakai is still going strong.  In this outing, Usagi is escorting his nephew to Jotaro to a temple — knowing that Jotaro is actually is illegitimate son.  Will he tell the boy before parting, perhaps forever?  Throw in bandits, ninja, and mystical collywobbles, all steeped in Japanese myth and history, and you have standard, excellent UY fare, including another classic “Lone Goat and Kid” tale.

Villains United (DC) [3/4/2/1] (collects #1-6)
w. Gail Simone; a. Dale Eaglesham, Val Semeiks

It’s tricky writing with villains as protagonists.  Simone pulls this off by having the six protagonists — the “Secret Six,” under control of some unknown character — facing off in defiance of the Society, which has the numbers, the firepower, and the plotting to do in both them and the super-heroes they fear (and, after Identity Crisis, rightfully so).  The Six, though none of them gems, actually manage to garner some sympathy in their fight against the Society, enough that they’ve graduated
to a series of their own. Reasonably good stuff.

(listening to: Cherry Poppin’ Daddies, “When I Change Your Mind” from Zoot Suit Riot)
(listening to: Rogers, Roy, “When The Sun Is Setting On The Prairie” from Home On The Range)

(listening to: Chieftains, “The Long Black Veil” from Long Black Veil)
(listening to: Shaiman, Mark, “Finale” from Addams Family)
(listening to: Post, Mike, “Theme from NYPD Blue” from Inventions from the Blue Line)

(listening to: Pomona College, “Etudes #11, 1:Pour les arpèges composées, Pour les “cinq doigts”” from Pomona Musical Sampler)

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

Ultimate Fantastic Four: N-Zone (Vol. 3) (Marvel) [4/4/3/2] (collects #13-18)
w. Warren Ellis; a. Adam Kubert 

Kept under wraps by the military, the young Reed Richards figures out how to enter a parallel dimension, the N-Zone. Convincing his government keepers to let them explore it, they discover a universe where entropy is further advanced — and where a sinister figure sees the technology they’ve brought, and the universe they’ve come from as the most valuable resource available.  Typically fun Ellis plot-twisting, yet surprisingly cheerful and upbeat.

Ultimate Fantastic Four: Inhuman (Vol. 4) (Marvel) [4/2/3/1] (collects #19-20, Annual 1)
w. Mike Carey, Mark Millar; a. Jae Lee

Carey introduces the Ultimate version of the Mad Thinker — a woman who’s artificially (and grotesquely) booster her intelligence to take vengeance on Reed Richards.  Millar introduces the Ultimate Inhumans, which tale frankly I found depressing and boring at the same time.  Jae Lee’s dark, craggy art doesn’t help either tale much.

Ultimate Fantastic Four: Crossover (Vol. 5) (Marvel) [4/5/3/2] (collects #21-26)
w. Mark Millar; a. Greg Land 

Reed contacts his analog from a parallel world — that will seem very familiar to the readers.  But when he goes to visit, you’d think that Robert Kirkman was writing this installment.  Meanwhile, Johnny and Sue’s mother has returned from nowhere because she needs the team’s help in excavating an underwater civilization — as we get introduced to the Ultimates version of Namor.

Beautifully rendered, and decent enough tales as well. 

(listening to: Animaniacs, “Animaniacs” from Animaniacs)

(listening to: Madonna, “Ray of Light” from Grammy Nominees 1999)

(listening to: Battlefield Band, “Seacoalers” from Celtic Hotel)
(listening to: Talking Heads, “Life During Wartime [Live]” from Sand in the Vaseline)

Review code format (ranked 1-5, blah to faboo): [writing / art / new reader? / non-comics reader?]

Stardust (Vertigo) [5/5/5/5]

w. Neil Gaiman; a. Charles Vess

Strictly speaking, this is not a comic book.  Vess’ illustrations are just that, illustrations of the printed text.  That said, this edition of the novel (reviewed here) is marvelously all the more charming for the contributions by Vess.  Triffic stuff.

Top Ten: The Forty-Niners (America’s Best Comics) [4/4/4/3]

w. Alan Moore; a. Gene Ha

Features the founding of Neopolis, the true “city of heroes” from the early Top Ten books by Moore and Ha.  After WWII, the various super-heroes (and villains) of that war are demobbed to a new city.  Jetlad must find a way to transition from being a young super-pilot to being just another mechanic in a city were “everybody is special.”  Throw in ex-Nazi scientist and vampires, and you’ve got a story that swerves between high adventure and psycho-drama.  Not unexpectedly, solid work
by both creators.

Ultimate Galactus: Book 2: Ultimate Secret (Marvel) [4/5/3/2] (collects #1-4)
w. Warren Ellis; a. Steve McNiven, Tom Raney

Despite the clunky title, this is a fine insertion of the Galactus story into the Marvel Ultimate universe.  Along the way we get the Ultimate Captain Marvel, too, a charmingly geeky warrior who really has gone native.  Along the Ultimates and the Ultimate FF, they manage to avert a Kree attempt to cripple Earth’s space capability — so that they’ll be unable to escape the coming of Gah-lak-tus.  Witty and intelligent, this was one of the brighter spots in the Ultimate universe.

(listening to: Bear in the Big Blue House, “Good Morning” from Songs from Bear in the Big Blue House)
(listening to: Kaplan, Sol, “Doomsday Machine: Commander; Beams” from Star Trek Orig TV Sdtrk – II)

(listening to: Doors, “I Looked at You” from Doors, The)
(listening to: Yankovic, Weird Al, “The Brady Bunch” from In 3-D)

(listening to: Poltz, Steve, “Everything About You” from Notting Hill)
(listening to: White, Nancy, “I’m Babbling” from Momnipotent)