Yesterday, I read a couple comics related to DC’s ongoing “Final Crisis” storyline, in which reality-altering villains literally turn the DC Universe into Hell — and it’s been a month and a half since the last time I picked up an issue from one of the few miniseries (all ostensibly monthly) I’m following through all of this.
Indeed, I notice issue #1 of the two-part Grant Morrison miniseries Final Crisis: Superman Beyond (in 3D) came out in August, but part two is not slated to appear until at least January! My question is: having read the trippy, reality-altering first issue with the special 3D glasses that came inside, do I now need special 4D glasses that transcend time in order to view the conclusion?
While I’m waiting, I can’t resist imagining possible endings for the weird, dire story, and since Morrison likes mind-blowing metafiction, perhaps — while I realize this has almost been done repeatedly — he should take things to their logical conclusion and unmask the villain Libra (who’s already been hinted to be a tad gay) at the end of Final Crisis and reveal him to be gender-bending Grant Morrison himself (the unmasking must be pivotal somehow, in keeping with the Hopi myths Morrison seems to be emulating).
Morrison/Libra can then say he hails from a higher plane of reality and thus can warp the DC Earth like a writer editing a story — and he has decided to do horrible things to all the heroes and villains, like sodomize Darkseid, make Batman into an accountant, and turn Superman into pasta — living pasta.
Then just have the miniseries end with things that way (pasta graces the covers of the ongoing Superman books in February, etc.) and have the editors and writers claim, deadpan, that this is the new status quo and indeed that it’s better than anything that has gone before. Then see how long it takes fandom to completely lose its collective mind with rage.
And since Morrison likes depicting hints of sex and horror (the themes of my September and October blog entries, respectively) in this tale of the New Gods — and since, like Frankie Goes to Hollywood, he hails from the UK — I dedicate this link to him: the unsubtly-political early-80s New Wave song “Two Tribes,” which toward the end asks the always-relevant question, “Are we living in a land where SEX and HORROR are NEW GODS?”