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BREAKDOWNS - Hard Choices

After the marathon column last week, I wanted to apply the old "brevity is the soul of wit" maxim, with just three reviews of hardcover graphic novels ALIAS and TOR Volume One. And okay, maybe a look at a couple of the new books that came out last Wednesday, like Y - THE LAST MAN and AUTOMATIC KAFKA and UNNATURAL SELECTION. And then Playdigm sent me GALACTIC GLADIATORS, which I wanted to review before the San Diego Comic-Con, and we're quickly bulking up again with reviews. Add to that the first of a two-part, mildly informed look at the Eisner Awards nominees, and I think I'd better just get started...

Y - THE LAST MAN #1 by Brian K. Vaughan, Pia Guerra and Jose Marzan. Vertigo/DC Comics. $2.95
In the summer of 2002 (ulp!), a mysterious "gendercide" occurs, killing every man but alas, young Yorick ... and his monkey. Vaughan takes what could be a disastrous concept in other hands and nails it ... so far. Yorick, the "Y" of the title, obviously, is appealing and otherwise normal, so one can examine through him just what our own actions would be in his shoes. It's a thriller filled with politics, romance, humor and purpose, and one of the more expertly paced books I've seen this year. Guerra is a new talent with good storytelling, but not much in the way of excitement as yet. For now, though, the story will hold me while she develops her style. Wonderful cover by J.G. Jones, worth looking at a few times to take it all in.

AUTOMATIC KAFKA #1 by Joe Casey and Ashley Wood. Wildstorm/DC Comics. $2.95
The OTHER big debut for DC last week, and from what I've seen on message boards, getting more mixed reviews. And to be honest, while I liked the book a lot, there are few comics writers who beg for online golden showers like Casey. As the Warren Ellis Forum rapidly makes the transition from pomp to Pompeii, Casey, Ellis and Brian Wood shouted down online reviewers with the same old rationalizations, and yet this time, Casey didn't strike out, though many would disagree with me.

A.K. as I'll call it, to annoy our own A.K., who hated the book, is about a big robot superhero, once part of a team, who is looking for some direction and a sense of identity and humanity. He's like The Vision on drugs, literally, as he begins taking "nanotecheroin" (a really contrived, awkward name, that) and experiencing flashbacks assisted by Death, in the form of a naked babe with a quality depilatory. Like Wood's own POPBOT, then, this is about androids, evil, tits, vagina, big guns and ironic pop culture deconstruction, plus ass. I like POPBOT, and I like this, plus the price is friendlier.

Again, Casey asks for it with the WHY YOU SHOULD BE/SHOULD NOT BE READING THIS SUPERHERO COMICBOOK piece at the end, and my guess is that the claims of not really knowing where they're going are not entirely inaccurate, but there's enough here to excite and invigorate me. Those who claim the book is hard to follow are, I think, maybe a bit too used to the spoon-feeding one finds in most other superhero books. It's really not hard to get most of it, and what's left is for legitimate dramatic purpose. Excellent work by Wood here, particularly on a two-page "tour" of Kafka's body, and his use of color is inspired throughout. There are a couple of slips into gratuitousness that could get troubling if not kept in check, and Casey segues into them in his typically self-conscious way ("Okay, enough existentialism ... a little MAYHEM, anyone...?"), but the artistic verve and some honestly pretty funny lines hold it together.

GALACTIC GLADIATORS #1-3 (OF 4) by Sandford Tuey and Scott Lee. Playdigm Entertainment. $2.95 ea. U.S.
For 38,000 years, an alien race called Psions have been exploiting humans for their gene fusion experiments, creating ultimate warriors to fight in their eternal war against the Chaons. In these three issues, primitive humans, Roman gladiators, modern man and woman, and even a future cyborg are chosen. Some attempt escape and some undergo grueling experiments.

Tuey has come up with a decent concept here, though 3/4ths of the way in, I'm thinking it's merely a "gathering of the forces" miniseries, and we won't get to the Psion/Chaon War for a while. Which would be okay, except after the first issue, the other two have felt like a lot of useless motion, action for its own sake and not a lot happening. I found the fact that each warrior was sucked up with his enemy a pretty transparent method to set up future conflicts. There's also a tendency to describe too much through captions, rather than writing motion and information into the visuals.

The art is solid, as Lee has a fair amount of pro experience already. He goes for T 'n'A too much for my taste, but his style isn't bad, a mix of Mark Texeira and Whilce Portacio, and Ben Prenevost's coloring is very good. Not a bad book, some potential here.

ALIAS Volume One Hardcover by Brian Michael Bendis and Michael Gaydos. Marvel Comics. $29.99
The first entry in Marvel's MAX line of mature readers books, ALIAS set the bar at a height as yet unreached by others like CAGE and FURY. The "maturity" Bendis finds here is not merely the freedom to use profanity, though the very first word one reads makes exuberant use of that freedom. It's not the maturity of Marvel superheroes engaging in sexual liaisons, though the coupling of Luke Cage and the lead character Jessica Jones had many an online pundit tsk-tsking months before the book was even published. Rather, the maturity displayed here is of the emotional kind.

Jessica Jones is a former minor superhero-turned-private-eye, and like most P.I.s in fiction, is down on her luck, prone to misunderstandings with the police, and filled with a sense of self-loathing because of having to snoop on people when they're at their worst. This manifests itself in seeking the brief and loveless attentions of Cage, and matters are made worse when she accidentally shoots video of Captain America leaving a tryst. As the plot resolves itself in broad strokes of government conspiracy, it gets away for a moment from the real strength of the book, which is the uniquely despairing but honorable heroine, Jessica, but it wraps up in fine style with some much-needed appreciation from Cap. This case is not a big payoff for her in terms of money, but it's more importantly a moral victory and a validation from one of her heroes.

The second story arc collected here involves perennial sidekick Rick Jones and the crazy wife looking for him. Perhaps with concern that Jessica winning each time would get tiresome, Bendis has her make a rookie mistake, leading with her heart rather than her head. It's not the most cohesive story, especially with the digressions into Rick Jones' memoir (though the Bill Sienkiewicz illustrations for these chapters are nice), but it comes together well by the end, with Jessica using her innate decency to settle both the Jones case and one involving a closeted and straying husband. Throughout, Gaydos does magnificent work, never flashy and always serving the story. Jessica looks like a real woman who's been through her share of troubles, and this realistic nature makes her far more appealing than most comicbook heroines. The hardcover presents these stories in a larger format, on thicker, glossier paper that better absorbs the rich and moody hues, and script samples and sketchbook pages for both Gaydos and cover artist David Mack complete the package. The book is so superior a reading experience that I don't get the monthly issues anymore. Just sign me up for Volume II.

UNNATURAL SELECTION by Richard Starkings, Joe Casey and Ladronn. Active Images. $2.99

Let me put it this way: you may want to buy two copies of this. One to read, and one to roll into a tube and have sex with. It's that beautiful.

OK, sorry, not very professional, huh?

Seriously, for a mere three bucks, you will find no more attractive comic this year. A Tim Sale may make it look effortless, but Ladronn...he makes you feel the ungodly man-hours of effort, and it's astounding.

You see, back when this project was announced, it seemed like it would be some sort of noir parody starring an anthropomorphic hippo named Hip Flask. And maybe that's still sort of the plan for the upcoming miniseries, THE BIG HERE & THE LONG NOW. But somewhere, this became personal for Ladronn and creator/co-plotter/master letterer Starkings, resulting in this one-shot origin of the Hip One. We learn of horrible human experiments resulting in these Moreauesque animal warriors, and despite the cool lighting and sterile lab environment, there's an emotional heft to these scenes. Eventually, the wheels come off, and these hybrids are freed and deprogrammed. Hip Flask plays a small part here, actually, but the shrewd rhino Obadiah takes his place as the center of dramatic intrigue by the end, setting up the miniseries.

Joe Casey dialogues with admirable restraint here, knowing epics require precision. The book is perhaps a little light on story, tending toward the decompressed style of big mastershots that feed the eyes but don't do much to advance plot, but what is here is good and compelling. So track it down, read it, then look at that art, again and again and again.

TOR Volume One by Joe Kubert and Norman Maurer. DC Comics. $49.99
Following the Will Eisner Library, DC begins its second series of volumes focused on the works of one great, enduring creator. Kubert is known for many things: HAWKMAN, SGT. ROCK, starting his own school devoted to instruction of would-be comics artists. But it would seem TOR is one of the closest to his heart. This, the first of three oversized hardcovers, collects the first couple issues of 1,000,000 YEARS B.C., which Kubert and partner Maurer published themselves in the early '50s, during the 3D craze. Tor is an outcast, living during caveman times but physically fairly contemporary, much like Tarzan. With his cute primate Chee-Chee, he wanders, fighting human injustice or hungry dinosaurs. It's a simple concept, but it works well, due to Kubert's artistic skill and palpable enthusiasm for the project. Unlike, say, Eisner's SPIRIT ARCHIVES, this series starts off when Kubert was already at or near the peak of his powers. There are only a couple stories with significant plots, the other Tor stories being short fights against this or that prehistoric creature, but they're all fun. Truthfully, though, I would have preferred nothing but these stories, instead of the lackluster Danny Dreams and Wizard of Uggh! backups, but I suppose completeness is a must. There are also additional sketches, children's book proposals, and animation storyboards, but little of this material is essential or revelatory. Other than a good storyboarded short about Young Tor, this is filler material, and I think the readers would have been better served with just two volumes of TOR without some of the extras. I recommend the book, though, with the caveat that you might want to do what I did, and get it online from one of the popular auction sites, where you should be able to find it for $30 instead of $50.

And here we go with my picks for the first 13 of 26 Eisner Awards. We'll just call them the Allens, which seems only appropriate ... to me.

Best Short Story
"THE ADVENTURES OF HERGE'," by Boquet, Fromental and Stanislas, in Drawn & Quarterly, vol. 4 (Drawn & Quarterly)
"THE ELTINGVILLE CLUB IN 'THE INTERVENTION,'" by Evan Dorkin, in Dork #9 (Slave Labor)
"HIS STORY," by Dave McKean, in Bento #1 and Pictures That [Tick] (Hourglass/Allen Spiegel Fine Arts)
"ME AND EDITH HEAD," by Sara Ryan and Steve Lieber, in Cicada, vol. 4 no. 1 (Carus Publishing)
"OH, TO CELEBRATE," by Miriam Katin in Drawn & Quarterly, vol. 4 (Drawn & Quarterly)
"THE WILLFUL DEATH OF A STEREOTYPE," by Chris Staros and Bo Hampton, in Expo 2001 (The EXPO)

My Pick: I guess I'll just have to start getting that Drawn & Quarterly annual, huh? I've been resistant to paying $25 for old GASOLINE ALLEY and LITTLE PEARL reprints. I took a quick read of both D&Q stories, though, and while a biography of TINTIN creator Herge' in his own art style is novel, I don't think it succeeded as a story on its own. CELEBRATE boasts lovely, textured pencils, but is the equivalent of the BEST DOCUMENTARY at the Oscars-religious or ideological oppression and torture is automatically nominated regardless of the skill of its portrayal. So, the pick is Lieber and Ryan just ahead of Staros and Hampton in this race. Both are stories of young people overcoming shyness, and site loyalty aside, I liked the former just a little bit better. Dave McKean's great, no question, but I've never seen the story. This leaves Dorkin's effort, and it's amusing, but hardly worthy of nomination. This is the best Eltingville story, but it's still stuff we've seen before, and I'd rather see Dorkin stop recycling himself so rigorously in his comic.

Best Single Issue
EIGHTBALL #22, by Dan Clowes (Fantagraphics)
THE FALL, by Ed Brubaker and Jason Lutes (Drawn & Quarterly)
FINDER #22: "Fight Scene," by Carla Speed McNeil (Lightspeed)
100 BULLETS #27: "Idol Chatter," by Brian Azzarello and Eduardo Risso (Vertigo/DC)
OPTIC NERVE #8: Bomb Scare," by Adrian Tomine (Drawn & Quarterly)

My Pick: It's EIGHTBALL by a pretty far stretch. OPTIC NERVE #8 finds Tomine continuing to grow, but while it's an excellent story, it doesn't match the range of Clowes' work here. THE FALL is a wonderfully low-key true crime tale but I'm going to toss it out for being originally published in serial format elsewhere, years ago. My rules. FINDER I don't get, and 100 BULLETS is still a good book but doesn't stay with me that strongly after reading.

Best Serialized Story
AMAZING SPIDER-MAN #30-35: "Coming Home," by J. Michael Straczynski, John Romita Jr. and Scott Hanna (Marvel)
HELLBLAZER #164-167: "Highwater," by Brian Azzarello and Marcelo Frusin (Vertigo/DC)
FINDER #19-21: "Talisman," by Carla Speed McNeil (Lightspeed)
NEW X-MEN #114-117: "E Is for Extinction," by Grant Morrison, Frank Quitely, Ethan Van Sciver and Tim Townsend (Marvel)
QUEEN AND COUNTRY #1-4: "Operation: Broken Ground," by Greg Rucka and Steve Rolston (Oni)

My Pick: This is a tough one. Both the NEW X-MEN and SPIDER-MAN stories took the books in new directions and injected them with real excitement, while Q&C is a very strong spy show on paper. But while Azzarello didn't quite know how to end "Highwater," it was still the most ambitious, disturbing story of the bunch, an insightful examination of the evil in all of us. One other thing to note is how crucial one artist can be, as all but one nominee had a single artist or consistent art team telling the story from beginning to end, NEW X-MEN carried to the finish line on Van Sciver's solid work combined with lingering fumes of Quitely's brilliance.

Best Continuing Series
FINDER by Carla Speed McNeil (Lightspeed)
100 BULLETS by Brian Azzarello and Eduardo Risso (Vertigo/DC)
PLANETARY by Warren Ellis and John Cassaday (Wildstorm/DC)
QUEEN & COUNTRY by Greg Rucka and Steve Rolston (Oni)
RUSE by Mark Waid, Butch Guice and Michael Perkins (CrossGen)

My Pick: PLANETARY is a continuing series like the INDIANA JONES movies are a continuing series. Hey, we just need a script and to get our schedules aligned. Sorry, no. A shame, too, as I'd rather see Cassaday on that than CAPTAIN AMERICA, but whattayagonnado? Despite its apparent merits, or vigorous campaigning for nominations (?), FINDER will be a LOSER. QUEEN & COUNTRY needs a little bit more exciting artist to reach the top. It's got to be RUSE, which actually improves on Sherlock Holmes with the addition of sexual tension and some fine humor by Waid, plus Guice is doing sensational work.

Actually, POWERS, ALIAS, ULTIMATE SPIDER-MAN or DAREDEVIL could easily be up here-is there a Bendis backlash now? Do Eisner judges read "MTV cartoon" and "Frank Oz directing" and say, "Enough success for you!"?!

Best Limited Series
ENEMY ACE: WAR IN HEAVEN by Garth Ennis, Chris Weston, Christian Alamy and Russ Heath (DC)
HELLBOY: CONQUEROR WORM by Mike Mignola (Dark Horse Maverick)
HOPELESS SAVAGES by Jen Van Meter, Christine Norrie and Chynna Clugston-Major (Oni)
ROSE by Jeff Smith and Charles Vess (Cartoon Books)
SCARY GODMOTHER: GHOULS OUT FOR SUMMER by Jill Thompson (Sirius)

My Pick: I just have no interest in Thompson's cutesy stuff. It's nothing personal, just not my style. It's not even that I don't think she's good; she is. And she's damn sexy, just dripping with appeal (figuratively). Um, moving on ...

We're going with the HELLBOY here. It's always great, just a perfect combo of creepiness, kick-ass action and humor, from an artist so good he can, and has, made a story about Hellboy eating pancakes GOOD. DC, you screwed up with ENEMY ACE. No, the book was cool enough - nice to see Russ Heath getting work and still having the chops - but a) Two totally different artists kills the flow; and b) Ennis' WAR STORY series of four one-shots was better. That was the one to nominate. Yes, there were different artists, but each story was self-contained, unlike ENEMY ACE. ROSE turned me off with the delays. You know, you have a prequel miniseries, there's really no need to publish it until it's done! So it loses for this category, though the trade paperback is worthwhile. HOPELESS SAVAGES wasn't very good. The new HS miniseries is worlds better. Really, KISSING CHAOS should be here instead, or MAGIC PICKLE.

Best New Series
PRIVATE BEACH by David Hahn (Slave Labor)
QUEEN & COUNTRY by Greg Rucka and Steve Rolston (Oni)
RUSE by Mark Waid, Butch Guice and Michael Perkins (CrossGen)
THE SANDWALK ADVENTURES by Jay Hosler (Active Synapse)
TRUE STORY, SWEAR TO GOD by Tom Beland (Clib's Boy Comics)

My Pick: I've heard good things about PRIVATE BEACH and SANDWALK, but since I haven't read them, my vote in this category is even more unfair. Basically, I'm like most Academy Awards voters. Despite a chronic failure to send me his books-hey, I'll pay, Tom! (my comic shop has let some preorders fall through the cracks, plus Diamond gives newer stores untold strife), I'll vote for TRUE STORY, as I know Beland's daily strips are absolutely brilliant, beautiful and even romantic, which is hard to pull off in comics.

Best Title for a Younger Audience
COURAGEOUS PRINCESS: THE QUEST FOR HOME by Rod Espinosa (Antarctic)
HEROBEAR AND THE KID by Mike Kunkel (Astonish)
LITTLE LIT: STRANGE STORIES FOR STRANGE KIDS edited by Art Spiegelman and Francoise Mouly (HarperCollins)
PATTY CAKE & FRIENDS by Scott Roberts (Amaze Ink/Slave Labor)
THE RETURN OF ALISON DARE, LITTLE MISS ADVENTURES by J. Torres and J. Bone (Oni)
My Pick: One of the most fucked categories. Actually, I shouldn't say that, as this column probably has a better chance of being exposed to little kids than most of these comics do. What's the point of doing kids comics no one will see? I mean, you have to have a pretty big comic store to be able to find PATTY CAKE or HEROBEAR in stock. ALISON DARE, maybe, because Oni has a pretty big presence already. There are a lot of factors to consider here. Hey, if you're putting out a kids book you want parents to feel confident buying, maybe you don't publish it through SLAVE LABOR, heh? How about a new imprint, like CHILD LABOR - just kidding - like BUNNYTOWN PRESS or something friendly. AMAZE INK is fine, just keep the SLAVE LABOR logo completely absent.

COURAGEOUS PRINCESS etc. sounds like a bad, overly earnest cartoon, like that Amy Tan garbage about the Siamese cat, but I've heard it's good. Seriously, these are good books, but my problem is their lack of availability. You put HEROBEAR in a nice trade paperback that kids won't fold and tear up in ten minutes and I'll vote for it. Until then, LITTLE LIT is the winner, though its hefty price is an impediment, and the quirky roster and story content will limit its appeal to many homes to coffeetable curio rather than something the young'uns will read again and again.

DC actually does a nice job with a lot of their kids comics, like BATMAN: GOTHAM ADVENTURES (excellent recent issue by Jason (PISTOLWHIP) Hall and Brad (CATWOMAN) Rader) and JUSTICE LEAGUE ADVENTURES (Mike W. Barr made a welcome and all-too-brief return to comics for a sublime issue a month or so back).

Last thought on this category: James Kochalka would be a millionaire if he did kids board books.

Best Humor Publication
THE ADVENTURES OF BARRY WEEN, BOY GENIUS: MONKEY TALES by Judd Winick (Oni)
BIZARRO COMICS edited by Joey Cavalieri (DC)
DORK #9 by Evan Dorkin (Slave Labor)
HEY, MISTER: DIAL "M" FOR MISTER by Pete Sickman-Garner (Top Shelf)
JINGLE BELLE: THE MIGHTY ELVES by Paul Dini and J. Bone (Oni)
RADIOACTIVE MAN by Batton Lash, Abel Laxamana, Dan De Carlo, Mike DeCarlo and Bob Smith (Bongo)

My Pick: HEY, MISTER is cool, but how old is it? The DIAL 'M' one-shot was already collected in the FALL COLLECTION tpb, so I'm saying this is too late. JINGLE BELLE was awful cute, but not laugh-out-loud funny, maybe a couple parts. Wouldn't mind it winning, actually. RADIOACTIVE I didn't read. I'm guessing the nomination is largely to get to award the late Dan De Carlo something, but I could very well be wrong there. Not trying to be insensitive. I'll save that for here: BIZARRO COMICS is disqualified for not being funny. Some of it, okay. A lot of it seemed to be indie creators doing stuff they felt was beneath them. DORK #9 was funny, but perhaps even funnier when it went by the names DORK #1, #2, #3 ... Please, please kill Fisher Price Theatre.

Best Anthology
BIZARRO COMICS edited by Joey Cavalieri (DC)
COMICS JOURNAL WINTER SPECIAL 2002 edited by Gary Groth and Anne Elizabeth Moore (Fantagraphics)
DRAWN & QUARTERLY, VOL. 4, edited by Chris Oliveros (Drawn & Quarterly)
LITTLE LIT: STRANGE STORIES FOR STRANGE KIDS edited by Art Spiegelman and Francoise Mouly (HarperCollins)
ONI PRESS SUMMER COLOR SPECIAL 2001, edited by Jamie Rich (Oni)

My Pick: Let's be whimsical here. BIZAR-no, that's not whimsical, that's just insulting to the other nominees. The TCJ special had some great stuff in it, but the comics section was underwhelming. You know I haven't seen the D&Q, but both LIT and the ONI special are superb, and since the latter isn't up for anything else, let's pick that one.

Best Graphic Album-New
THE BOOK OF LEVIATHAN by Peter Blegvad (Overlook Press)
FALLOUT by Jim Ottaviani, Janine Johnston, Steve Lieber, Vince Locke, Bernie Mireault and Jeff Parker (GT Labs)
THE GOLEM'S MIGHTY SWING by James Sturm (Drawn & Quarterly)
HEY, WAIT . . . by Jason (Fantagraphics)
MAIL ORDER BRIDE by Mark Kalesniko (Fantagraphics)
THE NAME OF THE GAME by Will Eisner (DC)
PICTURE THAT [TICK] by Dave McKean (Hourglass/Allen Spiegel Fine Arts)

My Pick: It's not my intention to make a smartass comment in every category, so we'll go easy here. There's no shame in any of these creators' games. Er, except THE NAME OF THE GAME was a serious misstep for the usually great Eisner. If he wins, it would be a great injustice.

Best Graphic Album-Reprint
BATMAN: DARK VICTORY by Jeph Loeb and Tim Sale (DC)
BERLIN: CITY OF STONES by Jason Lutes (Drawn & Quarterly)
BOX OFFICE POISON by Alex Robinson (Top Shelf)
SCATTERBRAIN edited by Phil Amara and Scott Allie (Dark Horse Maverick)
STRAY BULLETS: OTHER PEOPLE by David Lapham (El Capitan)

My Pick: Jesus, wasn't there anything worthy in the past six months? Most of these are close to a year old. Anyway, BOX OFFICE POISON is wonderful, suitable for almost any adult reader, funny, layered and warm. STRAY BULLETS is also great and doesn't get enough attention these days, and BERLIN will be a hell of an achievement if and when it's all done. And DARK VICTORY was great, too. Other than SCATTERBRAIN, this is a great lineup, but BOP is the one with the totally complete story for its $30.

Best Archival Collection/Project
AKIRA by Katsuhiro Otomo (Dark Horse)
PLASTIC MAN ARCHIVES vol. 3, by Jack Cole (DC)
SPY VS. SPY: THE COMPLETE CASEBOOK by Antonio Prohias (Watson Guptill)
WENDELL ALL TOGETHER by Howard Cruse (Olmstead Press)
THE COMPLETE CLASSIC ADVENTURES OF ZORRO by Alex Toth (Image)

My Pick: Cruse's early work is just not for me, though I'll grant that these gay-themed strips from the early 80s have historical value. PLAS and AKIRA-no doubt about their worth. SPY VS. SPY I liked a lot as a kid in Mad Magazine, though behind anything by Don Martin, Al Jaffee, Sergio Aragones, Dave Berg, Paul Peter Porges, Jack Davis, George Woodbridge...uh, never mind. I wouldn't mind having that book, actually, but it was usually more clever than funny, like a Rube Goldberg cartoon. My pick is then, ultimately, the great Toth.

And that's it for this week's edition. Next week, the rest of the Allen Awards and, naturally, more reviews of new books, graphic novels-even a DVD called GOD HATES CARTOONS. Oh, and a couple corrections from last week: It's LOONEY in ROAD TO PERDITION the graphic novel (a real guy), and Rooney in the movie, and Christine NORRIE, not Norton, did the art on a segment of HOPELESS SAVAGES from Oni Press.

Quickie Blurb: Warren Ellis writes some of his funniest dialogue ever in his THE OPERATION story in this week's ONI PRESS SUMMER COLOR SPECIAL 2002. Fantastic. Chris Allen

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