Spotlight Sunday 11.18.18

While there were several options to choose from, with the arrival of the end, there are spoilers ahead for…

Cover A by Nick Derrington
Cover B by Mitch Gerads

Mister Miracle #12
Writer: Tom King
Artist: Mitch Gerads
Cover: Nick Derrington
Variant Cover: Mitch Gerads
Rated M

“I can always escape.”

I meant to get around to taking a look at Plastic Man upon the arrival of its final issue, and this week I managed to pick up The Green Lantern. There’s also the promising start to renowned writer G. Willow Wilson’s run on Wonder Woman that is worth of consideration – particularly given that DC is finally doing what I’ve been saying they need to do for a long time and having a woman write it – and I kind of hate to admit how much (despite the inevitable annoyances) I’m enjoying the Bendis run on Superman.

I could have picked any of those, but I still would havehad to write about this as the last remaining Bonus feature from the old days. In the interest of laziness, I opted to just focus on this one issue.

It was good. The end.

Okay, fine, I won’t get that lazy about it.

The ending that we’ve been waiting for/dreading has arrived for Mister Miracle. It’s been a long, glorious, game-changing run, filled with twists and turns and gut-wrenching cosmic and personal turmoil.

Can you spot all the celebrity – and in some cases “celebrity” – cameos?

So how does it end? Well…it doesn’t. Not really.

Sure, the book will not continue – though the last page’s teaser text speaks of other things to come – but the story, like life, has no conclusive ending.

A life may end, but life goes on.

Last issue found Scott and Barda adding a “not” to “Darkseid is,” and Metron appearing to inform Scott that, as Scott himself knew, and we suspected, he is not where he belongs, and showing him a glimpse of his real home.

Yet this issue opens with Scott going on about his life as if that never happened, with the only significant change being his decision to shave his beard.

The question of where Scott is, if he’s not where he belongs, remains ambiguous, but one thing remains clear: he did not escape from death back when this whole thing got started.

Is he in hell? The ghost of Bug seems to think so.

Is he in heaven? Orion’s ghost would have us believe that, and that being in heaven is worse than being in hell.

Scott just plain does not give a shit what the ghost of his father tells him.

It’s Oberon’s ghost that he pays attention to, leading Scott to decide that wherever he is, he’s with Barda, and their son, and the daughter who’s on the way, and it’s where he belongs. At least for now.

After all, he can always escape.

(Or can he?)

Everybody Loves Barda.

As annoying as it may seem, such an ambiguous ending is a good fit for a series that has been less about the plot and more about the moments that make the plot a story. I said early on in my first Spotlight post about the book that the story is, essentially, only part of the story, that the real value of the book is in experiencing it. I could tell you, in meticulous detail, everything that happens in it, and while you might think “That sounds cool!” or “Hard pass,” and any reaction in between, you wouldn’t really get it until you hold the book in your hands – as a physical book or a digital version – so I’ll sum things up by encouraging you to do just that, either by picking up the individual issues, or by grabbing the trade when it comes out in January (ideally doing so via a link I’ll provide when the time comes).

Mister Miracle has been one of the best comics I’ve read in decades, and it deserves all the praise it receives, so I’ll close out by extending a heartfelt congratulations – and thank you – for this stunning achievement to Tom King, Mitch Gerads, Nick Derrington, Clayton Cowles, DC Comics, and, of course, The King.

So…What Were the Other Options?

Catwoman #5
Chilling Adventures of Sabrina TPB
Domino #8
Electric Warriors #1
Exiles #10
The Green Lantern #1
House of Whispers #3
Plastic Man #6
Superman #5
Thor #7
Wonder Woman #58

Stan Lee 1922 – 2018

We lost a legend last week, in many senses of the word.While Stan’s legacy is complex, there is no question that it is significant. Stan left his mark. As I saw someone say on Twitter, he may get more credit than he deserves, but deserves credit for more than most people could ever dream of.

He was Stan Lee, and to much of the world he was comics.

‘nuff said.

Recommended Reading


That does it for the Spotlight for this week. Be sure to come back next week to see what it shines upon.

As always, special thanks go out to Comic Logic Books & Artworkmy Local Comic Shop. Remember to support your LCS (find one here, if you don’t already have one).

Spotlight Sunday 9.30.18

The passing of a legendary artist and the opportunity to support a worthy cause mean that there are spoilers ahead for…

Heroes In Crisis #1
Writer: Tom King
Artist: Clay Mann
Cover: Clay Mann
Variant Covers: Ryan Sook, Mark Brooks, J.G. Jones, Francesco Mattina

“Yeah. There’s going to be a fight.”

Before we dive into the issue at hand, I want to comment on the recent passing of artist Norm Breyfogle. For an entire generation of readers, Breyfogle is the definitive Batman artist; his clean, yet slightly surrealist style, with the physics-defying, endlessly swirling cape, and a Dark Knight who always seemed to be couched in shadow no matter the lighting conditions, was uniquely his own, yet evocative of some of the great artists, like Aparo and Marshall, who preceded him.

While he has rightly-earned his place in the pantheon of the greats for his lengthy tenure on the Bat-titles, and I am a fan of what he did in that time, my personal preference is for his work with J.M. DeMatteis on The Spectre, a series in which he upped his already-considerable artistic game.

Breyfogle was the first pro I ever met and got something signed by back when I was in college. I didn’t really speak to him, because I’m an awkward geek, but while I didn’t know him, I’ve long felt a personal connection to him. Not just because I admired his work, but because he was like me.

That is, he’s from where I’m from, or near-enough: Michigan’s Upper Peninsula. Further, he and I share an alma mater, though he was a dozen years older, so our paths never crossed, other than at that signing that occurred when he returned to the area for a visit.

In a way, though, they did. In my student job as a janitor, I worked in the Fine Arts building, and during one shift cleaning the drawing studio I happened to see something lying on a shelf at the back of the room that caught my eye. On closer inspection, I realized that it was pages of original art from an issue of Prime, a comic that had recently launched with Norm Breyfogle as the artist. There was a note from Breyfogle explaining that they were a gift to his former teacher, who was still on the faculty at the time and gave instruction in that studio, to thank him helping him achieve his comic book dreams.

It was a very cool experience – though I will say that it was decidedly uncool of the professor to just leave them lying around like that – and is one of my favorite memories of my time at Northern.

The funny thing is that back in high school when I first saw his work on Batman, I had no idea that he was from the area. I didn’t actually find that out until that signing years later, when he was interviewed on the local news for the standard “local boy makes good” story.

(I also learned some time later that my brother, who is only a few years younger than Breyfogle, did know him.)

I had him sign this mini-poster, which was an insert in issue #604 of Detective Comics.

I say “standard,” but the fact of the matter is that there was nothing “standard” about it in that area, because local boys very rarely made good, which is why I wish that I had known that he was a Yooper back when I first discovered his art.

Few will admit it – and it may be that they just don’t see it – but for all the natural beauty of the place I’m from, and the admitted advantages of life in a small (miniscule, practically non-existent) town, growing up there imbues you with a kind of hopelessness, or fatalism. Or rather, it lowers your expectations and stunts your aspirations, in no small part because its very nature – sparsely-populated, remote, economically-depressed, and more often than not buried under snow – limits your opportunities and blinds you to the very existence of opportunities.

As a kid, I had dreams, and hopes, and aspirations, but as far back as I can remember they were always undercut by the suspicion that achieving them was impossible, and that working towards them – really working – was a fruitless endeavor. “Sure,” this small voice inside me would say, “try, but just, you know, don’t try too hard. You’re just some Yooper after all. No one even knows this place exists.”

It’s not my intent to blame my own self-doubts and limitations on the place of my birth, but that little voice was amplified by exceedingly rare examples of any kind of counterargument, and I can’t help but think that if I had known then that someone like me, a Yooper, had gone on to achieve the kind of success I’d longed for…well, things probably wouldn’t have turned out any differently. At least, that’s what that voice tells me.

But it would have been nice to know. To have that source of inspiration.

A hero.

And that’s why the death of someone I didn’t even know has hit me so hard, because even if I was late to discovering it, he was a hero to me.

I’ll wrap things up and get to the comic in a moment, but I want to mention something else. A few years ago, Norm Breyfogle had a stroke, and, as is so common now, crowdfunding efforts arose to meet the costs of his medical care, because, like most comic book creators, Breyfogle was a freelancer, and like so many freelancers, getting by with little or no health insurance.

So I want to mention the Hero Initiative, an organization that works to help comics creators in need. There are lots of ways to help support Hero Initiative, including buying comics signed by their creators. I have several comics in my collection that were signed by writers and artists for the Hero Initiative, and it’s a great way to help heroes who find themselves in crisis.

Which leads us, finally, to the comic at hand.

Tom King is, of course, no stranger to the Spotlight, and one of the aspects of his work that I find so appealing is the unflinching manner in which he uses comics, and the super heroes whose adventures those comics chronicle, to take an unflinching look at issues of mental health and the pervasive impact of physical and emotional trauma.

While that is a clear theme of his work in Mister Miracle, with Heroes In Crisis, that approach to grappling with those issues is front and center and is the very core of the concept.

In order to help the world’s super-heroes work through the trauma and stress of their lives, the Trinity – Superman, Wonder Woman, and Batman – established a place called Sanctuary, hidden deep in a location nearly as remote as the place of my birth, a retreat where heroes can get the kind of specialized help that they need.

We open in a diner in Gordon, Nebraska, a place that’s not accustomed to seeing many super-heroes, where Booster Gold is having a cup of coffee. He’s soon joined by Harley Quinn, and we then get a double-page spread splash showing a red blur streaking through the sky over farmlands.

Next we see Harley in the first of the many “confessionals” sprinkled throughout the issue, part of the intake process at Sanctuary.

Back at the diner, Harley enjoys a piece of pie, and makes another confession.

“I hate pudding.”

Superman – the red blur we saw on the splash page – arrives at Sanctuary, where it’s clear, based on the scavenging birds enjoying a bloody feast, that something has gone terribly wrong.

At the diner, Harley finishes her pie and moves on to the real dessert: attacking Booster.

At Sanctuary, Superman discovers the bodies of several minor heroes, and is in contact with Batman and Wonder Woman, who are both en route.

Among the bodies he discovers are those of Arsenal – whose confessional about his struggles with addiction tie the super-hero lifestyle to the real-world opioid epidemic – and Wally West, who only recently returned to continuity as part of the “Rebirth” event.

Harley takes advantage of the fact that Booster doesn’t want to hurt her to hurt him as much as possible, until he finally grabs hold of her and takes to the air, intent on bringing her to justice.

At Sanctuary, the rest of the Trinity arrives, and are shaken by what they see. The dream of Sanctuary, along with the people who were there, is dead.

A message on the wall proclaims “The puddlers are all dead.”

Wonder Woman explains that a “puddler” is someone who works with metal to make weapons, skimming the surface of the molten metal to remove impurities. As to what it means, Batman says it means what it always means.

In the skies above, despite – or because of – the fact that they’ll both fall, Harley stabs Booster, who does what he can to save her life as they fall, and we get a sense of what they were fighting about. The gravely-wounded Booster asserts that he saw Harley kill everyone at Sanctuary, and that he fled in a panic.

Harley, meanwhile, saw Booster kill everyone.

The issue closes with Booster’s confessional.

Crises are a staple of DC stories – fittingly enough, among the comics I have that were signed for Hero Initiative is a complete set of Crisis on Infinite Earths signed by Marv Wolfman and George Perez – and though the nominally final one occurred ten years ago, it’s appropriate for this story, which is more personal than cosmic. Advanced press likened it to Identity Crisis, which no doubt prompted many to give it a pass, but while it’s an apt comparison in a broad sense, it feels very different, at least in this first issue. Yes, there are shocking deaths, and the kind of grittiness and “realism” that can often feel so utterly incongruous in stories about people who put on costumes and beat up criminals, but, particularly knowing the work of King as I do, nothing in it feels like it’s being done merely for shock value, and the weightiness of the subject matter does not feel out of place or an attempt to be edgy.

I’ve talked before about King’s ability to transform the mundane into the mythic and the mythic into the mundane, and that is on full display here, especially in the quiet moments before the violence – the violence we all know is coming – at the diner, and in the confessionals, which, like their counterparts in “reality” TV programming, help us feel a sense of connection with these characters as they seem to speak directly to us.

The fractured approach to telling the story, jumping between scenes with Booster and Harley, scenes featuring the Trinity, and the confessionals, works well building a sense of tension, and mimicking the disorienting effect of trauma. There’s a sense of dread that comes with the slow reveal of the carnage awaiting Superman at Sanctuary, as does seeing the Man of Steel so utterly shaken.

That’s part of what makes comics, and specifically super-hero comics, such a potent medium for telling stories that have heft and impact. Not just the unique features of the form and structure that allow for stories to unfold in a way that’s not possible in any other medium, but in the history, in that shared understanding of mythology. This is an event that left not only Superman and Wonder Woman shaken, but Batman as well.

The art by Clay Mann is stunning, and I’m most impressed by his storytelling in the quiet moments in the diner, which are just as dynamic, in their own way, as the action sequences. His use of body language in the confessionals adds depth to the monologues, and in the pre-fight sequences conveys the impact through Booster’s subdued posture. From that very first page it’s clear that Booster is in shock.

This was originally slated to be a seven-issue mini-series, with two supplemental books – with art by King’s brother in comics, Mitch Gerads – but it was recently expanded to nine, incorporating the tie-ins into the main series. Even though it’s just getting started, I have a feeling that long before the end arrives this story will be regarded as a modern classic.

Recommended Reading


That does it for the Spotlight for this week. Be sure to come back next week to see what it shines upon.

As always, special thanks go out to Comic Logic Books & Artworkmy Local Comic Shop. Remember to support your LCS (find one here, if you don’t already have one).

Supporting OpenDoor Comics is a thing you can do, by whitelisting the site in your ad blocker, by purchasing something from the Supply Closet or the OpenDoor Comics Shop, by creating your own comics on the OpenDoor Comics platform, or through directly giving money via Patreon or PayPal.

Spotlight Sunday 12.17.17

I got my Christmas miracle, so spoilers await as we take a look at…

Mister Miracle #5
Writer: Tom King
Artist: Mitch Gerads
Cover: Nick Derington
Variant Cover: Mitch Gerads
Rated M

Darkseid is.

I’ve wanted to write about Mister Miracle since I started doing these Spotlight Sunday posts, so I’m glad to finally get the chance, though I do apologize for my blatant attempts at influencing the voting.

After all, if I wanted to just write about what I want to write about I’d eliminate the voting entirely, but the voting is the whole point, as I want to create an opportunity for you to be involved, to drive engagement, and make this whole thing inclusive and at least somewhat interactive.

As I’ve said a few times, and as the format makes clear, these Spotlight entries aren’t really reviews, they’re more akin to conversations. Yes, they’re a bit one-sided – which I why I like having the Weigh In to help shift the balance at least a little – but ultimately, this is just me talking about comics I’ve read. As one of you can attest, in these posts I write about comics pretty much exactly the way I’d talk about a comic with you in person.

The point is, I’m grateful that you’ve finally consented to letting me ramble on about this comic, and to show my gratitude, going forward, I will do my best to refrain from trying to fix the vote.

There’s a certain irony in the fact that as much as I want to talk with you about this comic, it’s really something that you have to experience for yourself to understand just why I’ve been so eager to talk about it. I can tell you what happens in it, show you some pages from it, and try to explain why I think it’s so good, but unless and until you read it yourself you’re never going to fully appreciate the effect that comes from holding the comic in your hand and seeing for yourself that it is truly something special.

As I describe it here, it might even seem, well, boring. This issue is something of an exemplar of what the series, to date, has been like, as there’s not a whole lot that happens in it – Scott Free (Mister Miracle) and his wife, Big Barda, spend a day together, much of it stuck in traffic, as Scott prepares to face his execution the next day – but at the same time there’s so much happening.

But okay, let’s get some of the plot stuff out of the way. At the start of the series, Scott Free had been hospitalized after attempting suicide. As he explains later, it was a new trick for his act as “The World’s Greatest Escape Artist.” It was an attempt at the ultimate escape: escaping death. (Or was it really about escaping life?)

Since that time, a lot of odd things have been happening in his life, things that lead him – and us – to wonder if he really did manage to escape death. His best friend, Oberon, is dead, though Scott has no recollection of that happening, and had, in fact, just been speaking to him minutes before being “reminded” of his death. His wife’s eyes are a different color than he remembers. There’s always this nagging sensation that something, somehow, is not right, and that this is not his life.

He has little time to think about it, as he ends up dragged into a war between the New Gods of Apokolips and New Genesis, after learning that his father, the former Highfather of New Genesis, has died, and that Orion has assumed that role and title.

It’s that latter point that brings us to the predefined endpoint of this issue’s story, the execution – for treason against the new Highfather – that awaits him.

Our story opens with Scott telling Barda that if she asks him to stay (alive), he will. He’ll go to war against all of New Genesis. Kill Orion.  All she has to do is say it.


Barda refuses, telling him that she can’t be his way out, that it’s up to him to decide what he wants to do.

And so, on Earth, the world that they’ve made their home, they spend their last day together.

It’s a day filled with fairly mundane activities (that nevertheless are of special significance to them), and, naturally enough for two people in love, some sexy times.

But, just all days do, the day ends, and as Scott hears the unmistakable “boom” in his living room, he slips out of bed, leaving Barda sleeping, to meet Funky Flashman, who, accompanied by Highfather’s executioners, prepares to take Scott to his fate.

As Flashman – who was created by Kirby, or so it’s been said, as a parody of Stan Lee – explains that they’re going to take him down for a pre-execution press conference, which is all part of the PR efforts Flashman has been engaging in on behalf of the New Gods, another Boom Tube opens up behind the executioners, and they, along with Funky Flashmen, get their heads bashed in.

Naked and covered in the lifeblood of the men who tried to take him from her, Barda walks to Scott and utters a single word.


I picked up the first issue of Mister Miracle based on some preview pages I saw posted on reddit, and because, like many people, I’m a big fan of Kirby’s Fourth World Saga in general, and of Mister Miracle in particular, and of Big Barda even more particularly.

(While Mother Box would probably be a more appropriate name, Big Barda is the name I’ve given to my phone. I love me some Barda, but then, as was asked in an earlier issue of the comic, doesn’t everyone?)

Part of what I love about Barda is that she’s not complicated. That’s not to say that she’s a simple character or lacks complexity, but to have a handle on who Barda is, you really need to understand only two things

  1. She likes to fight
  2. She loves her husband more than anything

This issue, despite the ambiguity of everything else that’s happening, makes that second point especially clear, and every issue so far has proven that King has an understanding of Barda, which is, in itself, a strong point in the book’s favor.

As I said earlier, though, simply telling you about the book and what happens in it doesn’t really make it clear why the comic is a best-seller, with many issues requiring multiple printings, and why so many people agree with me that it’s the best series of the year.

You really do need to read it yourself to experience the feelings it evokes, with the tight grid composition creating a sense of claustrophobia and being trapped – which is fitting for a comic about an escape artist – and the close focus on the characters within creating a sense of intimacy.

The subdued color palette that dulls the bright colors of the costumes adds to the sense that something is off, that what should be a brightly-lit world – a Kirby world – is missing something, that nothing is what it appears, or what it should be, as does the odd little interference effect that is reminiscent, if you’re an old like me, of the tracking being off during the playback of a VHS tape.

(I try to evoke something similar at times, in a more high-tech fashion, in my own comic.)

And throughout, we get the periodic reminder of a very important point.

Darkseid is.

This is a comic that has a particular resonance for anyone who has ever grappled with depression, as we watch Scott go through the motions of his life, and we sense that feeling of being numb but not quite numb, of searching desperately for something to hold on to, something that, against the odds, will provide a way out.

An escape.

That sense of being numb but not numb is conveyed in dialogue – particularly in some of the stories that Scott tells, or his explorations of philosophy and history – but also in the art. With the dialogue, we encounter a kind of coldly-remote, clinical articulation of what’s raging inside of him, a calmness that belies the intensity of what he feels, when he allows himself to feel. The coldness, the clinical, academic style provides a kind of distance, a means to express something that, if expressed without that filter would consist of nothing but incoherent screaming.

In the art, we see it in his expressions, in his posture, and in the expressions and postures of those around him.

Consider the look on his face in the middle panel, hidden as it is among the other expressions:

What he feels inside manages, in that moment, to break through not only the figurative mask he wears, but even the literal mask.

Returning to Barda, while it would seemingly make more sense that, from the beginning, she would want to fight to keep him with her, to save him, she was, from a certain perspective, making the right choice by not asking him to stay. It had to be up to him. She couldn’t make him want to stay.

There are things that we can’t do for the sake of others, that we have to do for ourselves, if for no other reason than that the time will likely come in which we start to resent the people for whom we do them.

In the end, Barda found that she couldn’t just leave it up to him. One can hardly fault her, but beyond that, it could be argued that in telling her he’d stay if she asked he was telling her that he had decided. Barda isn’t his way out, but her participation is essential to him finding a way out.

It reminds me of one of my favorite Scott and Barda interactions from a different comic from several years back, an issue of Batman: Beyond Universe in which the future Justice League has an encounter with the future Justice Lords, a brutal, authoritarian version of the League from an alternate universe.

The Justice Lords Barda had long ago lost her own Scott, and entered into a loveless, politically-motivated marriage with Orion. The Justice League Barda and Scott (and several other members of the League) were being held prisoner by the Justice Lords in a prison that even Mister Miracle couldn’t escape (his late counterpart had built it as the ultimate prison), with Justice Lords Barda as their jailer. Leauge Barda starts haranguing her husband about his incompetence, and proclaims that she’s sick of him, and can no longer stand the sight of him. Lords Barda, who still longs for her lost love, asserts that if League Barda doesn’t want him, she’ll gladly take him off her counterpart’s hands.  Scott agrees to the transfer, and after Lords Barda sets him free, he zaps her unconscious and sets his teammates free, and is reunited with his Barda who was never actually angry with him. As Scott explains that it was all just part of the escape plan, he tells the other Leaguers, “What people don’t understand is that Mister Miracle has never been a solo act.”

It’s unclear how, if it does at all, Mister Miracle fits into current continuity, particularly if one considers the recent storyline in Superman (or what’s happening in the Bonus below), but, and I say this as the kind of comic book nerd who actually likes and cares about continuity, it doesn’t matter. This comic is just too good to waste time worrying about how to fit it into the larger universe.

“You know him!! I know him!! Everybody gets to know a ‘Funky Flashman.’ The question is: ‘Do we need him?’ This can become a desperate issue—if a ‘Funky Flashman’ can decide your fate! Watch Mister Miracle get taken!!! By the con’s con-man!!! The funkiest agent of them all!!!”

There’s a lot more I could say, but, again, simply relaying what the comic is like, or what happens in it, or just pointing out some of the nice touches like including some of the bombastic Kirby text from some of the original Mister Miracle comics, as with the description of Funky Flashman (quoted above) that’s included on the page on which Barda takes Funky and Highfather’s executioners out, to serve as a contrast to the action of the comic itself, just doesn’t do the book justice.

I’ll just conclude by saying “Read it – experience it – for yourself.”

Recommended Reading:

MISTER MIRACLE BY JACK KIRBY – Jack Kirby reinvented the superhero genre with his sprawling saga of the Fourth World —a bold storytelling vision that was decades ahead of its time. In honor of this extraordinary talent’s centennial, DC Comics is proud to re-present the groundbreaking work of the King of Comics in a brand-new series of trade paperback editions collecting his classic DC titles in all their four-color glory: MISTER MIRACLE BY JACK KIRBY (New Edition)!

VISION VOL 1: LITTLE WORSE THAN A MAN – The Vision wants to be human, and what’s more human than family? So he heads back to the beginning, to the laboratory where Ultron created him and molded him into a weapon. The place where he first rebelled against his given destiny and imagined that he could be more -that he could be a man. There, he builds them. A wife, Virginia. Two teenage twins, Viv and Vin. They look like him. They have his powers. They share his grandest ambition -or is that obsession? -the unrelenting need to be ordinary. Behold the Visions!


Wonder Woman #36 finds the Amazing Amazon bound and at the mercy of Grail and Jason.

After she tries, and fails, to reason with her jerk of a brother, Diana reveals that she’s not as at their mercy as she appeared, and breaks free. Grail assumes that they’ll defeat her once again, but Diana points out that this time around she’s royally pissed. However, young Darkseid intervenes and though he doesn’t want Diana dead (yet), and he’s not restored to his full power (or age), he’s certain he has what it takes to take her out.

However, Diana’s attempts at reasoning with Jason weren’t as futile as they seemed – he’s especially troubled to learn that Grail intentionally killed his brother/friend Hercules – but before he can make up his mind which side he’s on in this conflict, a new combatant enters the fray: Hercules’s attorney?

(He’s actually been Zeus in disguise the whole time.)

That does it for this week’s Spotlight Sunday.

Thanks to everyone who voted, and be sure to come back for the next Weigh In Wednesday.

Special thanks go out to Comic Logic Books & Artworkmy Local Comic Shop. Remember to support your LCS (find one here, if you don’t already have one). And support OpenDoor Comics on Patreon!