The Doorman Nobody Valued: Wes on Storytelling, Corporate Blind Spots, and Building Brotherhood o...

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Hey, how you doing today, Wes?

I am doing fine, sir. How you doing?

I'm doing good, man. Thanks for taking the time out. Yo, yo, yo, miss your, your Gloomy Seattle day, man. And join me today, man, on the CJ Moneyway Johnson Show, man.

I was like just most— I'm just like just straight up catatonic until I realized, whoa, there's CJ Money. So let me get the Seattle gloom off and then get on this. Thanks for having me.

Oh man, it's all good. Like you say, you from Seattle, that's where the money at, man. That's what Starbucks and Amazon, and that's where everybody at, man. That's where all the dough at. So, uh, Wes, man, let me ask you, man, the man behind the Wolf Tell us, man. Tell us about this outside of the comic world thing that you got going on, man.

Yeah, so, you know, for me, it's just like, you know, I'm from Seattle, but like I bounced around the country a lot, right? And so for me, like, you go to different places, you know, go from one state to another state, and then sometimes maybe another country because my dad's work, and you kind of like have to keep making new friends. So I think my theory is, growing up as a millennial, the one constant despite all this change constantly, almost like every 7 years, the one constant was like books and TV and movies and like the pop culture world, right? The entertainment world. And so I grew up with all that stuff. Then, you know, and even when I was a young boy, I'd write like creative writing things. I put together a couple of plays, kind of funny. And yeah, it's just like, even like I remember the first play I did, just like a mini skit was like 5th grade and then some more of that in 6th grade and then did an actual full-on play in 9th grade. And so I was always interested in just like, what does it take to make people entertained? Why are people entertained? What happens when people see something really good or watch something really good? Something happens inside them. What is that thing? I was always curious as to what that thing is. And so as I grew up, I decided, I just looking at the state of Hollywood and the state of the media and the quality of the storytelling is just getting worse and worse and worse and worse. Like recently with my kids, we watched the Speed Racer movie by the Wachowski brothers. At that time they were the Wachowski brothers. Now I guess they're the Wachowski sisters now. Anyway, so they were the guys who directed The Matrix, but they directed also the Speed Racer movie, which is like very fun and really well written and just like a blast, right? And my small kids just had a great time looking at it. And that thing was released in 2008.

Mm-hmm.

And that's just one random thing that I mentioned, the Speed Racer movie, because it was the most recent thing that I showed. But like, I don't think there's anything been done at that level of quality in a very long time. Like, I feel like it seems like the heyday of Hollywood, of the really good writing. And what makes a media good isn't so much as technology, right? It's not just all these graphics that you put in. It's like the actual— the characters, the story. How do the transformation happen? Because, you know, when you look at storytelling, one of the things that The reason why there's storytelling is that it's there to teach people something about life in an entertaining way. Because I could— let's say you have a kid, and you could be like, hey, don't trust strangers. And here's the statistics of why you should not trust strangers. I mean, I just did— maybe CJ, just to get your opinion, because I know you're a wise man. If you were just to do that with a kid, how would they react to that?

Repeat it again. Since you put that on me, let me get a full scope of what you said.

So let's say you wanted to teach your young kid, whether it's yours or somebody else, Maybe you're a teacher, like, hey, you need to be very careful. Don't trust strangers, right? Just be careful about trusting strangers. Don't— somebody tries like a windowless van pulls up, don't just jump into it just because you can. So if you try to convey that message to the kid and you just did it just with the facts and the figures and the statistics, and this is the number of child abductions— let's say you'd shared all that with the kid. What would that do to like move the needle on changing their behavior, if at all? In your opinion, in your experience?

I mean, I believe that it'll bring a little awareness to the situation, but because a kid, they gonna do kid things, you know. Sometimes they could be enticed to do other things regardless of what you may have told them, you know. Sometimes they can be instinctive, or sometimes they can be aloof to what you said because as a kid, it go in one ear and out the other.

Exactly. So then, do you think you may or may not have a better or worse outcome and getting that message across through to that kid, if instead of sharing all those facts and figures with the kid, you'd be like, hey, let me tell you a story about Little Red Riding Hood. She was a little girl, she was walking through the forest to meet her grandma, and this wolf rolls up, and on and on. And I think you might agree with me that that Little Red Riding Hood story would probably make a bigger impact and moving the needle on that kid's behavior than just sharing them a police report sheet. You know what I'm saying? So that's really what story is about. It's about giving people snippets of truth, snippets of wisdom in a way that hits them emotionally as opposed to intellectually. Because storytelling is really just part of art. And the point of art is to get an emotional change inside the person, whether it's a painting or music or storytelling. And so for me, I've noticed that the art craft of storytelling has really degraded. And I just kept saying, when's someone gonna do something about this? Because also at the same time, my parents are from the Middle East, I'm Muslim, and I'm seeing Hollywood that produces all of this. Like, for me, it's just like growing up essentially between the movies made— because movies are like pretty old, right? Like, generally, like, like movies made between the late 19th century, so like late 1800s to the year 2000, around 1,000 of them had movies that featured Muslims or Arabs, and only 12 of those 1,000 showed those Muslims or Arabs to be any somewhat decent human beings. Everything else in that 1,000— and those 1,000 movies were, uh, negative. And so I'm just sitting here looking at all this as a guy growing up, and I'm like, when's somebody gonna do something about this? And then you get to a point once you get old enough, CJ, where it's like there's nobody— there's nobody coming to help you. There's no cavalry. It's like, you know, in the horror movie where it's like, oh my God, somebody call the police, and it's like the phone lines are cut, and you're like, okay, I guess I'm gonna just go and take a shower now.

Oh, hell break loose, you better take a shower.

So, so that was my thing. So it's just like, okay, so I got to do it myself. So that's kind of my, like, at a high level, the journey that I'm at. So like, yes, successful in tech, but decided like, there's a lot of guys like me in tech, like, yeah, so what? But like, for me, I was like, there's a real problem there, a real set of problems there that no one's really solving in any kind of professional way. So I'm like, okay, let me— I gotta do it. So here we are. So, um, and that resulted in, uh, like us creating, uh, like essentially a physical-only graphic novel series called The Brotherhood of the Wolf. And so it's like, you can imagine, it's like Berserk combined with Black Hawk Down. So it's like, yeah, so just, uh, you know, if anybody knows like Castlevania or any of those types of things, it's kind of in that vein. And so that's, yeah, what we're doing, you know. And we've published one book already, a little novella, and reviews have been quite positive. Yeah, now we're just chugging along, uh, putting out hopefully high-quality books.

So how many volumes you gonna have, man? How many volumes y'all already got, you know, like in your mind? I know as a creative We can do things, you know what I'm saying, that's on the surface. But sometimes you thinking 5, 6, 7, 10 steps ahead, you know what I'm saying? You got to get everything in order though. So I mean, value, just off rip right now, can you tell us that you're going to have a Brotherhood of the Wolf?

So here's the thing. We know how the series overall ends. And we have 15 issues planned out. And each issue is like 32 pages, right? In addition to that, we also have a video game in pre-production. Going on right now. But obviously the 15 issues that we have planned out is not the whole thing. There's going to be way more. It's probably going to go into the hundreds. So yeah, to your point, yeah, no, we got plans. You know, it's just like a matter of like making sure that we're able to deliver high-quality books in a timely manner. And for us, our goal is to release one book every quarter, so every 3 months. But also just seeing what people like, you know. I mean, we— when we released the last novella, which was called The Lesser Evil, there are some things people liked and some people's things that people didn't like because I was doing something experimental. For The Lesser Evil, I was like, okay, we'll tell half this story in prose, like text, like you would in a novel, and the other half, the other half in comic book pages. But those comic— I wanted to flex, so I want to show my muscles. So I said, those comic book pages will be silent, so no dialogue, you'll just be understood through the action, and grayscale. So just really show like, hey, yeah, we could tell a complete story from end to end using different modalities. It's like almost like fighting with your hand tied behind your back just to show off a little bit. So for some people it was just like, oh, the switch was jarring. And so it was like, okay, that's good to know. But they still liked it and they still wanted to know more. But moving forwards, we're just going to do the standard, starting with issue 1, just the standard graphic novel, full dialogue, color, so that people are more used to a format that they're comfortable with. And so yeah, we're chugging along on that.

So let me ask you, Wes, man, are you a production company? Uh, you know what I'm saying?

Like, yeah, we're a publishing company, but now we're dipping our toes, like I said, into video game production. So I— we're also becoming a video game development company. But yeah, I would say at our core, we're an indie graphic novel publishing company.

So other people can hire you guys for your services?

Well, actually, no. So we're doing our own stuff. So what we're doing is like We come, we create our own stories at the quality level that we want, which is fanatically high. Just like constantly, I'm just like pounding my hand. It's like, we gotta redo this, we gotta redo this, we gotta polish this. And then we print it and prepare it, package it, and we ship it directly to the customer. So directly to your mailbox. So it's not digital, it's an actual physical thing. That's what we do. So we hire ourselves. We got enough stories in our heads that we don't got time for anybody else's story.

I know the feeling. I feel you. I feel you. So let me ask you, man. So let me ask you a quick question real quick. From corporate to creative, what was it like working for Johnson Johnson in Singapore? And how did it give you a different perspective of your creative mindset?

Yeah, well, here's the thing about working with corporations. Corporations don't really encourage creativity if you define creativity as like, hey, we got something. Let's see what we could do to make it better. Because corporations, what they would look at is like, okay, what's the data? And the solution to doing that isn't so much creative as opposed to what seems to make sense on a spreadsheet or on a PowerPoint deck. Like, here's an example of like corporations not using creativity, but trying to be efficient, quote unquote, and shooting themselves in the foot. So there was a chain of hotels that wanted to save costs, right? And so they brought in one of these consulting firms like McKinsey or whatever. Which is just a bunch of graduate students from business schools who don't know anything, but they came from— they graduated from Harvard and Yale and Princeton. Yeah, yeah. Anyway, so these guys came in and be like, hey, listen, well, yeah, I think a way we could save you money is like, you know, in the hotel you have a doorman, and this doorman, um, you don't need them. You should get rid of your doorman and instead, like, you don't need a human to open doors. Just do an automated system that we got a connection with we gotta deal with, and you could use that to open the doors for patients, customers, for guests of the hotel, and that'll save you like this many thousands of dollars. And the owners of the hotel were like, great, that sounds great, we sound smart, this sounds like a smart solution. So they did that. But then what happened is they started getting less guests, and the question was like, well, what happened? And then they realized that the doorman did more than actually open doors. Even though that's his name. The doorman opened doors, he greeted people, he helped people carry things that needed things to be carried. He'd keep an eye around the parking lot to see if there were like these transients or troublemakers coming in so he can like kind of shoo them off. So all these little things that the doorman did that these MBAs from McKinsey or whatever didn't account for at all. And so now you got like homeless people sleeping right in front of the parking lot of the hotel And you have people coming in, like, you know, older guests or whatever, just not knowing what to do or not really having anybody to help them with their bags. Or the only time they can get somebody to help them with their bags, if they have to go into the actual lobby and, you know, if they have questions, they confuse. So all those little things that the doorman did, these McKinsey kids with their spreadsheets and their PowerPoint decks just didn't account for. And so that's the thing. So like with corporate America, it's like you can come to a sensible solution a lot of times to solve problems. But not a creative one that solves it in a way that doesn't create problems for other people, right? Like, just like, just to make the exaggerated example, it's like you got a business, it's like, oh man, we got a lot of overhead, how do we cut costs? I just fire everybody. Fire everybody. It's like, okay, you're cutting costs, but you know, so that's the idea with corporate America. I feel like that you have the freedom to be more creative. It's like, no, it's like you can trial and error things without having to explain that to an accountant who doesn't know anything about the customers or the business, but you just have to give him an argument that makes sense to him. It's like, no, you don't have to worry about that. But when you're doing your own thing, you have to also put skin in the game, right? Because there's no— you got to make it work, you know? So, yeah, sink or swim. And a lot of people, I think they don't like the sink or swim, which is totally fine, no judgment there, which is why they like the security, the financial security, relative financial security. Of doing the corporate thing even though they know so much of it is bullshit. Yeah, so that's the thing.

Yeah, I get it, man. Well, you got skins in the game, it changes the game. It changes your mindset because like you say, failure is not an option. And I thought you were going to hit me with that. What do you think about that, CJ, with the Singapore thing? And they got rid of the doorman at the door. You know, being an usher at church, I kind of— oh yeah, yeah. That first line of defense, you know, that first line. Like you say, when people come in, you know, you greeting them, you taking them to their seats and things of that nature. You know, people like that type of service, man, you know what I'm saying, when you paying attention to them. And the people that, as you were saying, some of the corporate America most are the people who are most valuable to the organization. But because of our mindsets, because of how we think, like say, oh, he just got doorman on the front of his, you know, said jacket or the plaque on his, on the, you know, the little stands they be having outside, especially when we talking about these, uh, high-class 5-star hotels. They got the little plaques up there, uh, doorman, you know. And but you, but you, uh, kind of overlook them, man. And so I, I kind of agree with what you're, what you're saying. It ain't just in, it ain't just in corporate America. That's in life in general, man. You spitting life nuggets out here, man. That's why you're a storyteller. Hey, so, uh, Wes, man, let me ask you, man. Visual storytelling, art as an impact, that's, that's, that's going to be the subject. Visual storytelling. What's your creative process? Or let me go back. The collectible experience. Why are limited edition physical copies important to you?

Yeah, so, um, you know, listen, I'm going to answer this question, CJ, but I also want to disclaim by saying you seem to me like a high-class guy. You were an usher at church. So what I'm going to say here, you know, I might sound like a low-class jackass, but forgive me. What I will say is, to answer your question, I will quote the great Stan Lee of Marvel, the late great Stan Lee of Marvel, who said this: Comics are like boobs. They look great on a computer, but I'd rather hold one in my hand.

This episode is brought to you by CJ Moneyway Media, where podcast ideas become platforms. Through the Moneyway Lab Masterclass, CJ shares real lessons from the lab for Creators building their voices brick by brick. From powerful guest conversations, storytelling that inspires growth, CJ Moneyway Media is about one thing: building legacy through stories. Learn more at CJMoneyway.com. Music style, music store.

I like that one. Yeah, yeah.

So, and you know, I would say that there's a lot of truth in that sentiment, right? Yeah. And so you got the, like, here, like, this is like talking about the lesser evil, right? So this is a, like, a chapter 0 of the Brotherhood of Wolves series, The Lesser Evil, right? And so there's a lot of truth in that statement because the tactile experience of holding a comic book, turning its pages, smelling the print, these are things that digital just can't replicate. —And so it's a unique experience that has made comics special from your childhood to the present day. And by the way, like, in America, because of history I won't go into, comic books are associated with superhero stuff and kids' stuff, but really it's just visual storytelling, like sequential art, narrative art, right? So that's why, like, in France and Belgium, there's bande dessinée where they tell all sorts of comic book stories for adults— Westerns, horror, fantasy, you name it. And not to mention manga in Japan where it's like they tell all sorts of things. And manga has now— is like the number one comic book media— like medium in the world. It's, uh, way more successful than the American stuff which just keeps trying to regurgitate the superhero stuff. Like, there's so many times you could— dudes in tights, you know, before like things get stale. So, so like I said, so when you're trying to enjoy a comic in its entirety, just images on a screen just don't deliver the same feeling. And you can say this with any type of physical media. So like one of the main advantages is that And you hinted on this before with the, you know, you've touched on this already, is like you own the original version as it was released. With digital, you can make changes, like people can make changes including censorship at any time to your digital thing. So for example, if they don't want Wolverine from the X-Men, if they don't want him smoking, they can just go back to the digital comic and remove every instance of him like having a cigar or cigarette. So that means that you no longer see the characters, the setting, the plot as they were originally intended. Preserving the history of a book is important, and even if publishers make later editions with tweaks to dialogue or adjustments or whatever, having that first edition is just really special to a lot of connoisseurs. Think about Star Wars. Sometimes publishers want to make special editions if they get an opportunity. George Lucas did that with Star Wars. He released the original Star Wars versions, then DVDs started coming out and he started inserting scenes in the original Star Wars. So even though Lucas's special editions might be considered inferior by a lot of fans, it's understandable why he did it. And if— but if a comic book publisher wanted to wait until everything was 100%, like they were 100% happy with their work, nothing would ever get released because there's always something to tinker and screw around with. Uh, so, but there is something special about that first edition, even if you make changes in the future. And so with the physical copies, you have actual resale value. So there are people out there who buy comic books just to resell them. It's like an investment. So some people invest in crypto, some people invest in gold, other people actually invest in comic books. And you can't really do that with digital. So with digital media, you're essentially renting. If the server goes down, you lose access to what you thought you bought. And so that's why for me, it's very important for Brotherhood of the Wolf to be exclusively published in print, so that when you open the book, we want you to have the full experience of holding a printed first edition graphic novel in your hand. You know, I want you to immerse yourself in the artistry and wonder, hey, what's going on in the next page with the page turn, and savor the moment, right? And you can't do that if it's just screen stuff. And so that's my answer to that, man.

I like that cover. I like that cover.

So, so, oh yeah, it's pretty metal, isn't it?

Yeah, yeah. Whoever on your team doing that, man.

Oh no, the people on my team are like, like, they're like— so the artists themselves, they're like, I have two. One of them is a professor at the comic book school, Escuela de Fumetto, and Palermo, Sicily. Professor Aurelio Mazzara, and he's worked for Disney and Ape Entertainment and Marvel. And his teacher— and his teacher is the one who did this particular cover— is Professor Luciano. Professor Luciano is kind of semi-retired, but he, you know, still does work for us. And he also taught at that same school. He taught anatomy. So it's just like, you know, we got heavy hitters. This is like serious stuff. This ain't fan fiction.

Yeah, yeah, yeah, I see it, man. I see it. Hey, give us the full picture, brother. I can see it. So man, let me ask you one more question, uh, Wes, man. And I got a quick fire round game, man. I like to play with you. I'm gonna ask you a few questions, man. You just tell me the first thing to come to your mind. And you know, before that, man, you know, before I get into this last question, tell us, man, where can we find you at on social media and where can we find these books at, man?

Okay, so in terms of social media, like, I'm mostly on Twitter just like talking smack. But if you want to get serious, actual useful knowledge, I recommend you go to the website, which I'm putting here in the— sharing here in the private chat between me and you. If you want to put it in the show notes, that would be cool. TalesofKhayr.com. So Tales, T-A-L-E-S of, and then K-H-A-Y-R dot com. And there you sign up to that email list. It's non-spammy. We respect you. No spam. No spam allowed, CJ. You know, if you sign up to that email list, you will get a free exclusive trailer. Free exclusive video that shows you a bunch of— nobody else will get. That's where you get like updates on future books, merchandise, videos, etc. Because we try to communicate to people who are on our list because we want to communicate to people who are interested and not just be like on social media being like, hey, you got this, we got that. Now, if you're interested, join the list. If you're not interested, that's fine. You know, you could, I don't know, watch cat videos on YouTube or whatever you want to do. So yeah.

Hey, so man, when you get that game out, man, let your boy know, man. Promote it out there, promote it. I might play it myself. I ain't played the game in a minute, but, uh, if I could say, man, I was playing, I'm playing this game, I did an interview with this dude named Wes, and this, the Brotherhood of the Wolf, man, is hot, man, it's hot. So let me know when you got that coming out, man.

I will do, like, and you know, you should play it just so that you could be like, hey guys, I'm not just a gamer, I'm a player. And then be like, what are you talking about, CJ? And then you could just be like, that's what, you know, it's whatever you think, baby. And then just let— leave it at that.

I tell you what, man, I tell you what, and this be our little secret. Let me be the gamer and the player and give me some of them old cheat codes. Give me some of them codes that they don't know nothing about, that they have to figure it out in months, but I'm already ahead of the game. Yeah, yeah, if you really want to, uh, get it out there, man. I do that for you. And so, uh, so Wes, man, the legendary vision, man. Years from now, what do you hope Brotherhood of the Wolf will mean to the world?

I think it'll mean to the world, like, that you could do a lot, that people appreciate good storytelling, that, like, as they're experiencing, like, you know, there's a lot of pain out there, right? You know, financial pain. Like, a lot of people are living paycheck to paycheck. You know, a lot of people are just, like, overwhelmed with having to take care of their kids, their spouses, maybe they got elderly parents they got to take care of, right? A lot of people, you know, look at the media landscape out there, whether it's video games or what's on streaming or TV, and there's like all this filth that's being beamed into the hearts and minds of kids and being like, oof, I want to protect my kids from that and myself from that, right? Because even though we're adults, the stuff that we— in the same way that you— the stuff that you eat affects your body, the stuff that you watch or you read affects your mind, right? And so For just like Brotherhood of the Wolf would be a way where they can get that nice dopamine hit where it's like genuinely entertaining, but it respects the audience. It doesn't try to like deconstruct humans and say heroism is bullcrap. It's like, no, heroism is a good thing, but it might be hard. It might cost you a lot, might cost you your life. But like, I think the underlying messaging of the stories, when you see it, like you're entertained. And if you're a deep thinker, you might be entertained and also like you walk out there feeling elevated. You'd be like, yeah, you know, I feel like I'm ready to take on the world, as opposed to, oh, humans suck, the world sucks, what's the point of living, which I think is a lot of the messaging that's embedded in a lot of media today.

Yeah, yeah. You know, I remember I was working at the casino. You know, we listened to music in there all the time, and I got to a point in my life where, you know, like you say, I was watching what I was taking in, you know what I'm saying, taking into my spirit. And so I used to tell my boy all the time, say, man, y'all sit around here and listen to this stuff and y'all don't even know what y'all listening to. Y'all ain't even listening to the words, you know what I'm saying? You listening to the beat. You gotta start paying attention to what they saying, man. You know what I'm saying? You really do, because it will filter into your spirit without you even knowing that it's there, you know what I'm saying? You don't know why I'm acting like this or why I'm acting in this way. It's because what you watching it and what you're looking at and what you're listening to. That's why I say be careful who you listen to. It may sound good, but they could be sending you down a rabbit hole.

Yeah, and just to like add a proof point to that, if people are skeptical, they'd be like, well, if I'm not listening to it, how would I know? Because I'm not paying attention. Even if you're not paying attention, your other parts— other parts of your mind are. The simple proof point is like FedEx did an ad, right, where it's like— it's an ad as they had pictures in it One of the pictures had an image of a clock behind it in the background, and another image didn't. And the clock, the version that had the clock in the background wasn't important. Like, the clock wasn't a thing at all. It was like just a thing in the background, and people weren't really conscious of it. But the people who were given the ad that had the clock in the background rated FedEx as faster. They rated FedEx as like, yeah, well, we think it's got faster service. Mm-hmm. So the thing is, is like when you look at things, or if you listen to things, like your conscious mind might be paying attention to like 10% of everything in there. Your unconscious mind might be looking at the other 80 or 90%, but that's just still with you, right? And that subtly affects your perception. So then it's a matter of like, the question you got to ask yourself is, do I want to look at media? Like, you know, we're realistic, nobody's gonna be a hermit and just be like No screens, nothing. Just read books from the '80s. So it's just like, well, okay, then in that case you have to be super careful about what you take in the same way that, you know what, I'm not going to eat this 25th chocolate éclair today. I'm going to eat something real. I will. I love chocolate éclair. But instead of saying that, you know what, I think I'll have a nice chicken breast or a nice steak or whatever. You know, and so the same thing, you know, with food, you do that with the media that you consume because you're not conscious of how your stomach is digesting that chocolatey clear, but your body will show signs that, hey, things aren't good, right? Same thing with your mind. Entertainment consumes.

I know exactly what you mean, uh, Wes, because I'm just gonna put it like this and I'm gonna leave it like this if we gonna keep it 100. Same way I listen to some of this music right now. Yeah, I said it. When we be in the car, me and my son, or me and my wife and son, we'd be in the car, say, man, I'm not listening to this garbage because that's all LA spirit out there. I'm not listening to this mess. Hey, so let me ask you, Wes, man, quick fire round, man. You ready? I hope so. No, I hope so. I get everybody nervous at this, man, but it's all good, man. It's all good. Dark fantasy or classic science fiction? Dark fantasy. Dark fantasy. Favorite comic series growing up? Berserk. Most misunderstood villain?

Gaston from Beauty and the Beast.

Favorite storytelling medium, film, book, or comic?

Book.

Last one, my man, last. See how— see how easy this was, man? You thought I was gonna knock you outside your head or something?

I was expecting to do some serious thinking. Oh no, man.

No, but we like to have fun on the CJ Moneyway Show. One word to describe the Brotherhood of the Wolf?

Metal.

Mm, still, baby, standing strong. Wes, man, thank you for coming on the show, man, giving us your insights on, you know, storytelling, man, and how bad— would you say bad storytelling out there? Hasn't— you ain't seen nothing since Speed Racer. What was that, 2008, you said? You know, it ain't been nothing out there since, man, but you finna change the game. Go ahead.

Yeah, no, like literally, like I watched this 2008 movie of people acting like anime characters and it's literally better than most of what's out there in 2025.

It's not good. Hey, I feel you. See, you the comic book head and then the film critic. Me, and I'ma stick to my music thing, I still listen to my 1990s music— Tupac, Scarface, all them. And that music, the quality and the, you know, what they talking about is way better than some of this garbage they talking about today. Again, I said it. So Wes, man, I thank you for coming on the show, man. And to our audience, if you're looking for storytelling challenges that challenges your mind and stirs up your soul, this is one journey worth taking. Follow Wes, grab a collector's copy, and remember, true legends are built one panel at a time. And to that doorman and all across the world, you are valuable to your organization. This your boy CJ Moneyway with my man Wes the Comic Man. We out of here. Peace.

You've been listening to the CJ Moneyway Show with real stories, real lessons, yeah, and real perspective come together. Remember Move with patience, move with purpose. That is the mindset of a Panther. Until next time, keep building your legacy brick by brick by brick by brick. Music style.