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Resenhas de livros
Utsuro no Hako to Zero no Maria
Utsuro no Hako to Zero no Maria
Utsuro no Hako to Zero no Maria
Utsuro no Hako to Zero no Maria review
Utsuro no Hako to Zero no Maria
Apr 16, 2021
Utsuro no Hako to Zero no Maria review
I haven't read a lot of different light novels prior to this one, and to be honest when I first begun reading Utsuro no Hako to Zero no Maria (shortened as Hakomari) I almost wanted to put it on hold after 30 pages. Fortunately, I dismissed this thought and finished reading the first volume.

After that, I found myself unable to stop reading Utsuro no Hako to Zero no Maria for several days. The story was so thrilling and full of suspense that I just had to know how it would end.

HakoMari is about an ordinary high school student, Kazuki Hoshino, who's life gets completely flipped upside-down as the transfer student Aya Otonashi enters his life, and with her appearance he also comes in contact with a mysterious object called a 'box' that can grant the wish of it's 'owner'. Kazuki must then deal with these 'boxes' and their 'owners' in order to keep his normal, peaceful life as it is.

The story is pretty straightforward. However, this is by no means a bad thing as the various predicaments that the protagonist gets forced into is very interesting and it always leaves you wanting for answers. What is going on? Who is after the protagonist? What does the antagonist want to achieve? How will the protagonist deal with this incident and remain alive?

And that leads me into the next good thing with HakoMari, it's characters. All characters central to the plot are very interesting as they have their own beliefs and acts accordingly. We also get to know more about them as the story progresses, which is mostly a good thing. To not spoil things, let's just say that I could relate to every character except one, who imo entered the uncanny valley, when they got more character development. The worst part of this is that this persons change was intentional and not preventable.

Overall I enjoyed Utsuro no Hako to Zero no Maria very much. I do have some main gripes with how the story went after a few volumes and with a certain character but in the end I would say that the good things overshadows the bad. I would strongly recommend this novel to someone who wants a book that'll keep them on the edge of their seat.

tl;dr Utsuro no Hako to Zero no Maria is a mystery novel that has a good and suspenseful story with a strong cast of characters. Definitely give it a read if you have the time to spare.
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Death Note
Death Note
Death Note
Death Note review
Death Note
Apr 15, 2021
Death Note review
If there's one thought that goes through my brain the same moment I think of Death Note, it is: "If only it were even better to begin with, it'd be even cooler". Its authors go and deliver what they think is the best they can do and sure, that might be true. Ohba and Obata's other work Bakuman alludes to them wanting to end Death Note's story earlier and sure, that also might be true.
Yet if these things are true, DN still makes me scratch my head about some things throughout the series overall.

I want to try and go over my gripes and show my appreciation for DN since at the moment of writing this, spending my time publicizing who-gives-a-shit thoughts sounds like a better pastime than doing nothing or masturbating every time I scratch myself down there out of boredom and random itchiness.

*WARNING: This text will be getting into some SPOILER territory so I'd advise people who don't want to spoil themselves if they haven't watched or read this title to stop here*

Death Note not being perfect is hardly an uncommon opinion in any shape or form, in more concentrated animanga communities or wider. The reasons may somewhat vary, but there is a consensus about the second half of the story just not being on par with the first. I'm not here to argue that.
What I am here to do is tell it like I feel it for DN as a whole in terms of its story. First things first, it doesn't go out of its way to use too many dumb characters so that the main characters seem smarter in comparison. The writer really wants to let you know that it doesn't give easy opponents that lead into a smarter foe for Light by just outright having the hook of the manga be fighting against a person on the same supposed level of intelligence. Just for reference, a series like Legend of the Galactic Heroes often has the two main characters each face a lot of brainless mooks by their actions inbetween facing each other.
Death Note seems to try its best to avoid this. Stuff like that can lead to a crooked picture of what is the actual intelligence of the characters at the forefront of the story. The times Light is faced with a hurdle to overcome besides L in the first half of the story, it is made so he needs to put in at least decent effort with enough back-and-forth with the person he's talking to. It does apply in the second half, too. Characters that aren't exactly the brightest exist in DN very much, but the actions they take and the mistakes they make feel like they're always accounted well enough by the thought processes and actions of its main characters.

That means, however, that the suspension of disbelief and overall quality depend the most on how consistent its main characters come off. It leads me to the point that the story really puts in the effort to be consistent as much as it can... but oversights happen, in character and general plotting. Given its concept and the kind of battle it entails, mishandled minute details or logistical improbabilities and contrivances stick out that much more.
First thing in order is the FBI agents situation. There was no proper reasoning why the info from analysis on Kira's killings being affected by misspelt names really had to arrive late to L or the FBI, it just kinda happened. Those deaths being prevented already would alter the situation to have Light handle that much bigger of challenge. This is just a contrivance that can be easily overlooked, mind you, yet its ripple effect could hardly be negligible.
Another situation really concerns character consistency and it's about Light. Him getting arrested is a result of two events: getting tailed while being on a date with Misa which leads to suspicion from L and the japanese police and the other one being Misa visiting Light's campus, where L nabs Misa's phone working under the suspicion from the first event. The fault here lies on Misa, but only somewhat and given the character it makes sense enough writing wise. The fault also lies on how Light was quite literally written into this spot due to an oversight, that oversight being Light really not making use of the fact that Rem as a Shinigami actually decided to take a side unlike Light's Ryuk, even threatening Light to kill him if something happens to Misa. Where I am getting with this is that given that Rem actually worries for Misa's safety, he could've made use of Rem to actually be on a lookout for anyone following her and inform her. The first event that got Light arrested later could've been avoided or it could've been used to avoid the second one if this happened and it is uncharacteristic of Light's tendency to get mileage out of everything at his disposal.

There are scenarios where he put himself into an awkward position due to his ego, and childishness while still a highschooler as when he got challenged by a fake L on TV which gave the real L insight into Kira's general whereabouts and mentality, but this ain't it, chief. He was very aware that he had to act carefully given that he met up with the second Kira, which is Misa. And it bothered me that in all of the explaining he had for her, he let probably the most useful detail to use in this situation go. Thinking about the fact that there could've been something instead of the very roundabout Yotsuba arc to see Light's plan resolved really gets under my skin a little.
Ironically given its reputation, the second half has less of these problems. The catch though, is that one notable example of the types of issues I first mentioned is in the very ending. Light gets caught because Near switched Mikami's Death Note with a fake one. The fake one was handwritten to be like the real one to a T and what's incredible about this is that between Mikami taking the notebook out of the vault to try and stop Mello and silence Takada and Light getting caught, not even a whole day has passed. And just one person managed to fill up a notebook with precisely and consistently copied handwriting, with every page filled to the brim with names in maybe over half a day worth of time.

The writer of the authorial duo seems like he writes around a certain scene he wants in the story at times. It's like he wants something to happen so he will put it in and then sweat the details later to come to that event. And there's a good chance he does since beyond the first three chapters, DN really was written as he went along. Throughout the manga, there are rules about the notebook that come with the chapters and a lot of times, these rules are given way ahead of a scenario which will put how the Death Note works into question, making a certain action with the notebook reasonable in hindsight. At rare times, certain rulings come quite literally in the chapter that puts forward the problem is that even possible or alright to do which is just slightly troublesome.
My main gripe with the fact that these rules exist is that for a decently sized rulebook with some interesting and specific rulings, a lot of them cannot come to fruition in some part of the story. When I factor in the places where the story could've taken a different turn due to some overlooked tidbits, there could've been an even more engaging fight just against L.

I won't make assumptions about why Ohba let some things past his attention, but given how entertaining DN's scenarios are as is some of its slip-ups aside, a part of me wishes I didn't notice them and forever seal Death Note in my head as "hella fun, but short-sighted given its potential" because of those oversights. It's slightly sad since there is a lot of good to talk about it even so.
As I said early on, most of the time it is consistent. While Light's side of the deal is faulty, L's character does not suffer from lack of consistency and therefore is more of a safe spot to grab on to in terms of what to expect. L was kinda always written after Light in response to him, therefore L's character writing avoids mishaps even if he did get struck by a contrivance or two like with the FBI agents, which is something not on him since it was late info for no real reason for everybody, but on Ohba's writing saying that this and that ought to happen like this and then just sort of miss a detail.

I commend Ohba's efforts to try and make Mello and Near worthy successors of L. People may not care since they're so attached to the initial hook of the story and therefore attached to the detective that loves sweets, but they are well done for what purpose they serve. The hook for the second part of the story is these two finding out from a random policeman testimony that there was some kind of notebook on the scene of crime involving the Yotsuba group Kira, something that was part of Light's plan to rid suspicion and take down L. They act on that testimony to locate and face Kira. What instigates the Near and Mello part is very whatever for a lack of a better term to describe it, but in retrospect randomly finding a supernatural notebook is sorta equally so.
I've ran into a number of people who are quick to disregard these two in comparison to L, some chose to do it on basis of wit and line of thinking. And here's the deal, there are things like charisma, poignancy and such that don't resonate equally and in same ways with people that I can understand, but this is somewhat different. For reference, Near's thought process is far more detailed than L as part of Ohba's efforts to let the reader know "yes, this is how they inferred where to look for Kira and pin him him down with nothing more than a testimony that could've been a weird rumor/lie". His deduction process during the notebook machinations with Mikami in the mix in the second part was decently articulated. More than my review, in any case. Obviously, I said that it is Near's thoughts that are explained in great detail, Mello isn't handled in the same way. However, his behavior always throws a monkey wrench into Light's plans and is presented as understanding Near's thought process in general and for the final plan to bring Kira down. L showed glimpses of morally concerning thoughts when he was in the story that were kept in check by those around him at the time, but with Mello, he isn't restrained by anybody considering that he went to the other side of the law to take Kira down. For a guy relayed to the more brutish role in the story, to just straightforwardly push Light's buttons early on in his appearance was at least somewhat refreshing to see.

The side characters don't jump out of their necessary roles in the story, at worst they are underutilized like Misa for reasons I have mentioned before. There's no harm in her existence being just another weapon for Light given how simple it is to string her along since the time she meets up with him, as she also had enough brains in her to be careful up to the meet-up and it was his responsibility to make better use of her while he was still being watched. Misa fucked it up for him, but only because in the first place he wasn't more careful about how useful a character with her cirumstances can be.
But let's talk about these characters as people, since narrative roles and personalities and character detail are different stories. The characters that matter most are worked out by the way they think and the way they act across the events of the narrative. Knowing the way these characters think does stack up a few adjectives that can be used to describe each and every one of them, but they're still used in a limited space, by which I mean always as a part of a moving plot. The idiosyncrasies of certain characters don't prove insightful into any facet of their personality that can be seen in the way they act in the story, and how they behave in the progressing plot doesn't pour over into the little bits of the series that don't concern this cat-and-mouse game between galaxy brains. There's really not that much beyond the plot events to Death Note, if we're talking about character pasts playing a pivotal role, how characters behave around families or those they deem close and things like that. DN sorta separates business and pleasure in how its characters are conceived and used, and then just forgoes pleasure for the most part, since most characters are all about business. Which is fine by me, I don't take it against the series, but criticisms of lack of characterization are a bit misguided whenever I manage to see some.
Light steals the show since he's the one character followed the most and his downward spiral has some subtleties to notice throughout the series' run. It's not necessarily as simple as breaking bad for him and that's where it ends as far as talking about character progression. Things like L's challenge towards Light as Kira and their subsequent meetings leave an ever increasing mark on his ego and humanity. I mean, sure, he doesn't wrestle with any conflicting feelings with what he does beyond the beginning, but other things take a toll and noticing his attitude changing, even if just subtly sometimes in places has its own charm.

Death Note has quite the nihilistic mood to it, from the unconcerned world of the Shinigami to the apathy of the detective foes Light faces. There is no care for executing justice among L, Near or Mello especially, it is either about the challenge a case presents, or finishing what someone started out of a crooked sense of respect as the two kids do, one of them not caring how low he stoops for it.
If DN has a choice to present either the better, humane sides of some characters in the story or the worse parts of humanity, the latter would sound like a better idea to write about as far as Ohba is concerned. From orphanages that raise jaded, apathetic super-detectives to power hungry corporates that organise killings of their competition to rising two-faced cult leaders that take advantage of people's fear and respect towards Kira, there is a lot cynicism, sinister thought and so on. And there is the protagonist that wants to sit on top of it all, who is nothing more than a murderer excusing his initial blunder to not have his ego and life crash.
In short, Death Note does not give a flying fuck and it wants you to come along for the ride, mull a bit over some points it presents and hope you got some fun out of it with a ridiculously achieved lesson on why any ambition doesn't excuse the means to achieve it if it was even an honest ambition in the first place. Its biting cynicism and nihilism perhaps comes from the writer's priority to just write what he deems interesting and that is alright, since there are some very entertaining individual scenarios to take away from the series.

As far as the art goes, Takeshi Obata's human designs are always very nice to look at and the designs of the Shinigami are fairly eye-catching. The real-life referenced backgrounds and objects don't exactly scream creatively distinct, but there isn't a real need for that.
The manga doesn't lack a good sense for camera angles, but it lacks engaging panel composition. There is a lack of sparking, sharp and diagonal panels to accentuate the intensity of certain scenes at times. If there's an action scene, it either goes wide or it feels cramped and lacking in energy, signalling some limited capabilities of Obata as a comic artist at the time whom since had improved incomparably. It's hard to argue that not needing intense and creative panneling is that necessary given the nature of the conflicts in the story considering how the anime adaptation was able to go about it.

And that is that pretty much. Death Note is not a tale of peaks and valleys in quality, but little disappointments here and there that could've led to more. It is also a tale of a story which, while too comfortable in its own skin, executes what's there with extreme confidence that I can't help being fairly entertained anyway. A lot of its situations on their own are very engaging and my gripes with it can't take that away enough, I guess. Still, I'm gonna have to carry the good feelings along with the spectres of criticism looming over my shoulder like a god of death.





It ain't a heavier weight than the one that comes with living with a humongous dick though, believe me.
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One Punch-Man
One Punch-Man
One Punch-Man
One Punch-Man review
One Punch-Man
Apr 15, 2021
One Punch-Man review
Its been quite a while since I read this manga, so might aswell I review it.

Onepunch-man is a superhero manga. A genre that im not really into it, but its not a regular super hero like marvel, it has some twist in it. It tells the story of Saitama, a man who trained so hard at becoming a superhero that he became really strong. So strong that he ends every single fight in a single punch.

In this world superhero is a job, needless to say you got to do some good deeds such as catches a robber or even fight the mysterious being. Oh yea I forgot to mention theres some monsters too in this world that appeard all the time.

Our main character here named saitama is a superhero for hobby, he’s a superhero himself but he forgot to apply to the super hero associations so he did not make any outcome out of it until he met a cyborg who’s strong aswell, then both of them joins the hero association together.
So from the title “One punch man” we could assume what kind of power he has, yep. He ends any fight with a single punch. That’s the central joke to onepunch man. Saitama is so powerful that he’s bored. Unlike any other franchise such as dbz or even sword art online, they got a suspense but it’s a false suspense since the maincharacter is OP asfuck. One punch man has no suspense at all because he defeats any monster with a single punch. Theres no logical explanation of why is he OP asfuck, but he once mention that he trains physically for over 3 years, but is that really the reason why he is strong as he is rightnow? That’s not really plausible.

I’m well aware that one punch-man is an action comedy genre type of thing. Its not a shows based on a logical thinking. But just having Saitama show up and punch dudes in the face would get old pretty quickly. What makes it click as a joke is how unassuming he is. He's a bit of a loser really. His superhero costume is a yellow jumpsuit and red kitchen gloves. He looks like a man play-acting superhero, which is kind of what he is doing. Plus he just looks silly, with his blank bored expression and bald head, which is why it's just inherently funny to see him surprise these superpowered hyper-evolved beings with that big dopey face of his and immense strength.

Over all Onepunch-man is a refreshing manga, I had a good laugh with it. The art is amazingly done and fits well the manga. Despite all the flaws it didn’t really hurts my enjoyment. I would rate this manga 7.6/10 with an 8.5/10 enjoyment level.
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Eiken
Pupa
Pupa
Pupa
Pupa review
Pupa
Apr 13, 2021
Pupa review
Pupa (manga) 7/8/7/8/8

First things first. My "reviews" system is explained on a blog entry. Which can be found through my profile.
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✦Story✦
Unique, chaotic, scarring and rather grotesque. What can I say. PuPa is rather tragic and dramatic story with rather nice flavor of mystery. It had a lot to it and even for the most part I can semi-call it an incestuous love story. But oh boy, it's a rather twisted and rather disturbing piece of work.

Here I want add an side comment. Anime suffers from short length where lot of things get left out, don't get answers, shroud in mystery and has a very confusing and disappointing ending. Whilst Manga, explains a lot more and feels a lot more "whole". There are still rather questionable story elements and unnecessarily confusing ending.

Anyhow, I enjoyed this more than Anime (which in my case, is very rare thing). But that I already predicted before even reading it. Because back when I watched the Anime I saw obvious issues with the story it had and the length of episodes. It's a rather disturbing "mystery" Manga with a lot of odd unique plot devices and presentations. Many twists, enough tragedy and depression for a while.

✦Art✦
What can I say. It was odd, interesting and unique enough to get a praise from me. Whilst not being overly obnoxious by trying to be artistic.

✦Character✦
I liked them for the most part. Main characters were cute, with plenty of darkness going on in their lives.

Side characters had well had lot of mystery of their role in the lives of main characters. As well their whole charade with the placement in the world itself.

Sad part is probably that some characters somewhat remained in the shroud of mystery regarding their roles. Also finale of main characters was as well something I would rather had a bit better.

✦Enjoyment & Overall✦
Tragic, depressing, disturbing, dark, dramatic, mysterious and unique. I did enjoy it a lot. Shame Anime got such limited adaption.
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Yume Nikki
Battle Royale II: Blitz Royale
Battle Royale II: Blitz Royale
Battle Royale II: Blitz Royale
Battle Royale II: Blitz Royale review
Battle Royale II: Blitz Royale
Apr 12, 2021
Battle Royale II: Blitz Royale review
It takes a lot to get a score under 6.5 on MAL, but man does Battle Royale II deserve it. Battle Royale is hard hitting and serious. Battle Royale II is... not. It's set in the same universe as the movies.

To start, the art is awful. I do not say this lightly. The ears are massive, the noses are practically falling off the face they're so low, and the center of the face is a giant blank space. The art is so jarring and bad that it makes the extremely violent content downright bewildering, like turning on Barney and watching him murder people. The artist has no idea how to convey motion or impact, and the characters look absurd. At points you even have the comical stars twirling around heads in otherwise totally serious scenes.

The story is bad. The writing is bad. It's not even consistent with its own universe (people don't know about the program, something that's mandatory TV viewing?). The plot is complete nonsense that makes absolutely no sense. They're kidnapping kids, giving them explosive collars, and sending them to fight terrorists... why? What is a kid going to be able to do that a soldier can't? You're burning money for nothing.

There's an entire meta plot about people betting on it, but why? It still doesn't make any sense. The manga somehow manages to get even worse in the second volume, when it introduces this entire plot about the kids turning on each other for completely stupid reasons. The entire series was a trainwreck from start to finish, without a single redeeming quality.
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Gantz:G
Kamakiri Onna
Kamakiri Onna
Kamakiri Onna
Kamakiri Onna review
Kamakiri Onna
Apr 11, 2021
Kamakiri Onna review
Esta review también está en español.

Kamakiri Onna (Mantis Woman) is a collection of short stories (usually less than thirty pages) made by Senno Knife, an artist specialized in horror manga. This anthology is composed by six chapters:

Mantis Woman, the main title, and the one that gives the name to this collection, is about the arrival of a new teacher, that not only brings education, but also a lot of disappearances and deaths. The title refers to the affinity of the creepy teacher for her two sickles.
The Zenda Family's Hell is about the new family in town, the Zenda. One of their hobbies is to kidnap and judge their neighbors, with nasty results.
Koala is Watching is about a violent stalker, that happens to be a marsupial (I'm not kidding. And this isn't the weirder story in this collection...).
The Water Beckongs teach us that learning how to swim, at night, in a closed building and with a girl you don't know that well may not be the brightest idea.
Hell's Gumball Machine is about a strange gumball machine that grants wishes to the person that, well... buy some gum. That is not your regular gum either... Yes, this one is the weirder story here.
Snake's Boy tells us that no matter how important and rich your family is, it's never okay to mistreat the servants, especially when snake demons are involved.

Six independent stories, that shares lot of elements: the protagonist is always a girl (in most cases, a high school student). She's always timid, naive, and victim of some form of abuse. The rest of the characters range between unpleasant douches to evil psychos (Really, except for the main girl, no one deserves much sympathy...). And every single one (except Hell's Gumball, that is the different in most ways) end up the same. It's true: you read one, you read two, and by the third one you know how it will end (and develop, actually).

That's the biggest problem in Kamakiri Onna: the repetition of patterns is so notorious, that the stories become tedious and very, very predictable. Yes, the drawing is ok (not mindblowing, but the characters in story are very different from each other, and the action can be followed easily) and the violence is... acceptable (no gore, but there are some severed parts, and a good amount of blood), but the monotony of the development ruin the final product. Separately the chapters would be acceptable, is the fact that they're all together which makes them less spectacular. So, I recommend reading Mantis Woman (this one is the most representative of them all), Hell's Gumball Machine (which is different from the rest) and then... it's on you. Don't say I didn't warn you.

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Kamakiri Onna (la mujer mantis) es una colección de historias cortas (no más de treinta hojas) creado por Senno Knife, un artista especializado en mangas de terror. Seis capítulos componen esta antología:

Mantis Woman, el titulo principal y la que da nombre a esta colección, trata sobre la llegada de una nueva maestra a la escuela, y de la obvia ola de desapariciones y muertes asociada a ella. El título hace referencia a la afinidad de la docente por las guadañas.
The Zenda Family's Hell, es sobre la llegada de una nueva familia al barrio, los Zenda. Uno de sus pasatiempos es secuestrar y juzgar a sus nuevos vecinos, con resultados siempre escabrosos.
Koala is Watching es sobre un marsupial violento y acechador (En serio. Y ni siquiera es la historia más rara de esta antología…).
The Water Beckongs trata sobre como aprender a nadar de noche, en un edificio cerrado y con una chica a la que no conoces es mala idea.
Hell's Gumball Machine es sobre una extraña maquina de chicles que concede deseos a la persona que…. Bueno, compre un chicle. Que en realidad no son chicles… si, esta es la más rara de todas.
Snake's Boy nos cuenta que no importa que tan importante y rica sea una familia, nunca está bien maltratar a la servidumbre, especialmente si hay un demonio serpiente involucrado.

Seis historias independientes, pero, que a la vez, tienen mucho en común: siempre la protagonista es mujer (estudiante de secundaria, en la mayoría de los casos). Siempre es ingenua y víctima de algún tipo de abuso. Todos los demás personajes oscilan entre muy desagradables y malignos (en serio, excepto por la protagonista, no hay nadie más que merezca simpatía…). Y todas, todas (bueno, excepto Hell's Gumball, que es algo así como la excepción en todo) terminan igual. Es cierto: lees una, lees dos, y ya para la tercera ya sabes cómo va a terminar (y desarrollarse, la verdad).

Ese es el problema más grande y lapidario de Kamakiri Onna: la repetición de esquemas es tan grande que las historias se vuelven tediosas y muy, muy predecibles. Si, el dibujo no está mal (no es brillante, pero los personajes son fácilmente diferenciables y la acción se puede seguir con facilidad) y la violencia es aceptable (no hay gore ni demasiados desmembramientos, pero si hay varios muertos y una cantidad de sangre decente), pero lo monótono del desarrollo como que arruina el producto final. Por separado los capítulos serian aceptables, es el hecho de que están todas juntas los que les resta espectacularidad. Por eso, recomiendo leer Mantis Woman (que muestra todo lo que el mangaka puede ofrecer), Hell's Gumball Machine (que es bastante diferente de sus hermanos de colección) y después… esta en ustedes. No digan que no se los dije.
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