How did your Marvel experience prepare you for building this kind of visual identity?

Yeah, that's a good question.

I mean, let's be honest.

I created a comic, and not only was I going to be the creator, but I kind of had to color it.

You know what I mean? That's my skill set.

It is kind of still wild for me, because this is new, to be like, I still color comics, but they're my comics now, which still hasn't really sank in yet, because you're catching me now.

You're catching me at the second issue of What we're building is myth and metal press.

So, now, This project does have a big ensemble feeling, right? So how do you introduce these performers and rivals and villains and mysteries without kind of overwhelming the readers?

Can you sort of describe how the climbing community and our federal agencies got to this point?

Yeah, sure.

So this has been many decades in the making, really.

I mean, there... goes all the way back to the 80s, really late 80s, early 90s, when there had been some proposed fixed anchor bans.

And actually, the Forest Service and the Sawtooth National Forest had issued a ban that was about to become a national ban.

And so we had been dealing with trying to manage fixed anchors primarily in wilderness areas across the country right at the same time that popularity of climbing was really increasing.

So there was a lot more users out there.

So What do these policies mean? Who put out these policies? Are they the same? Are they different? How do they differ? There's