In wrestling, they sometimes call the finishing sequence “going home.”
And that’s literal; they can actually go home after all this is said and done. (Or the bar or Waffle House or wherever.) But I like to think that phrase has more symbolic mean. Like, take these people home — give them some kind of finality or closure, make them happy (or, piss them off to then make ’em happy down the road), and make it seem like they can leave feeling that warm comfort of a truly great storytelling experience.
And in that sense, Wrestle Heist #5 took us home, tucked us in, and left us dreaming of what just happened.
As we left Wrestle Heist #4, the crew (Sterling Steele, Grave Digger, Bearwolf, Ocho Bola, and Hijo de Ocho Bola) had launched their plot to rob Buddy Hansen at the biggest wrestling show of the year (Fightsgiving). And it was going…well? Sure, Grave Digger and Bearwolf were locked in a vault with the man-monster Fetu, but as writer-artist Kyle Starks had proven even before issue #4, he was a master at remixing and repurposing the whole heist “gimmick” with maximum effectiveness.
We see the culmination of that play out perfectly across Wrestle Heist #5. Now, I don’t dare spoil the ins and outs (like how our buds got out of that vault), but I think you can assume that things turn out well enough for our merry band of grapplers. What really matters, though, is the execution of it all; it’s not just about giving us an ending we might enjoy from an emotional standpoint, but having it make sense in both the context of the story and also in the tradition of both wrestling and heists. (Not an easy feat, mind you!) But Starks (alongside colorist Vladimir Popov) accomplish just that in a few key ways.
Variant cover by Kyle Starks. Courtesy of Image Comics.
The first is that continued emphasis on the deeply personal/human elements of this story. Wrestling and heists alike are all about obscuring/hiding the humanity under a bit of razzle dazzle. From there, we discover that we’ve been told a deeply human story about loss, love, regret, etc. while thinking we’ve actually just seen a dope robbery/casket match. So, in issue #5, it meant a proper balance of the big emotional beats alongside even more in-ring action. Now, in this book so far, I’ve generally preferred when Starks played up a moment of planning/scheming over DDTs and piledrivers; something about his exaggerated, cartoonish style (that radiates a certain familiarity) has made Wrestle Heist so utterly approachable.
Still, the action in #5 is just great in a more visceral, immediate sense. It’s as crisp and sharp of a “translation” of actual wrestling as I’ve seen in a comic book. And that matters: Starks wanted to use wrestling as a filter, and so he’s giving us the kind of dramatic, over-the-top movements that feel aligned to what wrestling really looks like. From there, we get a conclusion further aligned with what wrestling actually offers: A massive swell of intensity and that big, sudden release of emotions.
This is a finale, after all, and really translating our excitement (and even our tension) through this lens was a way to 1) honor the true heart of wrestling (and thus making its “marriage” to a heist feel authentic and not gimmicky) and 2) celebrate this craft in a way that we understand the unique nature of wrestling stories and why that matters. Wrestle Heist is a lot of things, but it’s most certainly a love letter to this simple but deeply, deeply effective storytelling vehicle.
From there, Wrestle Heist #5 did address and resolve all of its important beats, like the lingering tension between Grave Digger and Bearwolf (those two need a spin-off pronto); the father-son drama between the Ochos; and even some finality on a certain deceased wrestler. And, yes, in one way or another, Hansen also gets his comeuppance — although I will add that it’s a degree smarter than mere vengeance, and I like that Starks appeases us without placating us. (It’s called AEW-ing and not WWE-ing.) But lest we forget that this is a wrestling comic, and there has to be a turn or something equally unexpected for this to really land.
Main cover by Kyle Starks. Courtesy of Image Comics.
I can tell you it’s not anything “traditional,” like a heel-face turn (which you might’ve expected with Hijo de Ocho Bola, but Starks handles that brilliantly as he connects that element with the best part of any heist story). Rather, it involves Sterling, and it’s a moment that (for the wrestling newbies especially) might seem a little absurd, nonsensical, etc. But, again, this is wrestling, babay, and Wrestle Heist stays true to the game by stomping on the rules and story to give us that Big Gold Belt of a genuinely feel-good moment. It’s not entirely from left field, but it is one of those instances where you just have to buy into the theatricality of it all and really embrace this moment for what it is (and what it isn’t, too.)
And this moment is what rests at the very core of Wrestle Heist: A powerful reminder of what stories actually offer us. In the case of this book, it’s that good people can find a way to win if they work together, believe in the power of an underdog, and have decency and love on their side. The fact that this book is dressed up in different “attires” shouldn’t take away from the fact that Starks has delivered a genuine masterclass in audience engagement (again, without placating); slow-building character arcs; the most effective use of dramatic structures; and how to keep us guessing all along. The finale is a proper example of a great turn in that we never see it coming, but man oh man, does it affirm everything we wanted from the story but dare not ever demand.
It is, in essence, the final coalescence of why Wrestle Heist is such a damn great story. It moves you, but never forgets to have a little fun. It covers all of its bases, but is open enough to keep you guessing and/or wanting more. It engages with its “tradition” but always pushes those story structures forward. In short, it’s the best kind of wrestling match, with high spots, chain wrestling, a great story, and a little blood as it explores what it really means to be human. Wrestle Heist is just a “dumb” wrestling comic, but that is exactly what makes it such a vital exploration of the stories we tell ourselves about love, life, community, etc.
If we get more chapters/issues down the line, I’ll be running the ropes like Bron Breakker. And even if we don’t, I will enjoy the fact that Wrestle Heist stole the show like no one else ever could.
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