Multiversity is a
long and winding road, a story of stories, with multiple universes facing their
doom, and a cast of characters so vast that the cameos and allusions stretch out
numerous and almost invisibly into the far distance. The finale, Multiversity #2, has many of the
hallmarks of a grand triumphant ending, big and chaotic, with the heroes more
than matching in power and goodness what the villains offer in power and evil,
until a final ceremonial victory celebration. As with much of the rest of the series,
the finale is more than it seems at first glance.
Warring through a chaotic set of interlocking battles, a
large number of heroes, some of whom have never been seen before, hurl
themselves across the page, winning many small fights which are small only in
comparison to the main battle, which is so large, it name-checks Darkseid as a
side threat without bothering to show him.
With fights breaking out all across the Multiverse, it's the
most humongous superhero battle of all time, which distracts from the most
significant fact, which is that it's all completely real.
The reality of what's happening in Multiversity #2, as real as the stakes in the previous issue, Ultra Comics, is driven home at the
beginning, when the font and second-person narrative speaks to us, literally to
us, in a panel stylized as many pages, one after another, and an eye. The story
goes on, with or without you. Whether we read or stop reading, whether it's
from boredom or death that we stop, the story goes on. Last issue, this was
Ultra's salvation and his curse, that his story goes on with or without us,
forever. After we die, someone else will read Ultra comics, and someone else
will read Multiversity and the comics
that come after it. That's the first truth of Multiversity.
Later, when the overt threat of the bad guys called the
Gentry have been defeated (Or have they?), and the Empty Hand makes an ominous
debut and disappears, Superman of Earth-23, Cal Ellis, looks right at us as he
refers to Earth-33, our Earth, and though he uses third-person, he's speaking
to those around us in the real world, fans and creators alike: The source of
all the heroes' troubles is really in our world, not theirs, and that's the
fight that he and the Justice League of the Multiverse called Operation Justice
Incarnate, must fight. Maybe Grant Morrison hopes that this team of alternate
Justice Leaguers will appear in more comic books in the future, but that's not
the real message. What Multiversity has
been about since the beginning is the threat to comic books, the fact that its
spirit and business wax and wane, and the things which sustain the industry
could be corrupted or damaged critically in the future. The Gentry, a wave of
unpleasant content, is defeated for now, by the idea of the Justice League and
superheroes in general, but more threats remains.
And the bottom line threat is right there on the last panel.
Cold, hard cash. If there's anything the comic book industry needs to survive,
it's ultimately that. Even as movies and video games have made superhero
stories more profitable than ever, the comics face a long-term existential
threat to their business model. For now, the comic industry goes on, but the
looming threat of The Empty Hand is always out there, to return when it
chooses.
This is the multipronged message of Multiversity, and it drives the allegorical story from start to
finish. A gothic miniadventure with a vampire Sivana invading the dark Earth-13
ends in victory for the heroes as the demon Etrigan patterns himself after
Superman and a Zatanna-like curse produces the first of several laughs in the
issue by making vampires crave coffee instead of blood. Then, the Marvels
defeat Hannibal Lecter Sivana, and the story patterns itself around Crisis on Infinite Earths, becoming what
comics have in many ways become, "an endless event." To the credit of
penciller Ivan Reis, it's in this sequence that Earth-26's Lincoln Memorial
with a cartoon-looking goat as the central figure becomes the issue's second
laugh. Bizarro Adam Strange ("Adam Familiar") follows soon after.
The pivotal battle turns around Nix Uotan solving a Rubik's
Cube, seeking, as seen in Final Crisis,
a way to do it better than ever before, demonstrating the power of nerds to
perform miracles. Now he's corrupted by the Gentry as he does so, and the
greatest perversions of sweet, innocent characters take place. The Lil Leaguers
are shown to be robot spies for the Gentry and Nix Uotan beheads Captain Carrot.
If there's a place where the corruption of the genre would be more harmful, it
would be in the variants intended for the youngest readers. The alternate Batman,
Aquaman and Flash lead the charge, with Red Racer, the superhero who – like
Barry Allen – is a comics fan, referencing both Crisis on Infinite Earths and stories in Morrison's own JLA series. Ultimately, the combined
power of the alternate Justice League and the Marvel-Comics-inspired characters
overwhelms the Gentry, and Nix is turned good, for now. The ambiguous victory
with The Empty Hand fading away with a threat to return on his own terms gives
readers the usual, formulaic win for the heroes while reminding us of
Morrison's overarching warning: The comics face threats; if you love them, take
those threats seriously.
Multiversity is
sure to be collected and read by fans far into the future. Its best issues are
of the highest level, and they alone would be enough to make it a classic. The
guide to the Multiverse is likely to be a significant reference for many years
to come. The heavy message yoked to those elements is Morrison's good-bye (for
now?) to monthly superhero comics, and it's a message readers and creators will
thus be reminded of long into the future. Will they heed it? Morrison is likely
talking to himself, and of his own retirement, in the opening panel of Multiversity #2. The story goes on, with
or without you.
