The Green Lantern, Before the End

If The Green Lantern is to be Grant Morrison’s last work writing a monthly title for DC, the final two issues should be a grand gesture, long remembered. With twenty-five of the issues behind us, what can we say of Morrison’s love letter to Hal Jordan? Where has this journey led and how will it finish?

In some regard, Morrison’s earlier runs with Batman and Superman (on Action) are two of a kind, with this Green Lantern run as the third in a set. These are not just runs that start with a story, followed by another story, then another, until there’s a last one. Morrison builds a structure. His Batman run had, primarily, three arcs, with a Big Bad lurking in the shadows until late in each run. His Action run, the shortest, had just one such season, with one primary Big Bad, Vyndktvx. Morrison’s run, thus far, organized around three distinct titles of 12, 3, and 12 issues, has had one clear Big Bad in the first, but the third has not, so far, suggested any one central villain lurking.

All of these plot lines have rosters of villains backing up the main one; sometimes they are underlings of the boss, and sometimes they are parallel, lesser, but unrelated threats. The Batman stories had Doctor Hurt and Talia as the central villains, but Ra’s al Ghul, the Joker, and Darkseid’s Hyper-Adapter and several others played major roles. In Action, Vyndktvx was the central villain, but Super-Doomsday was pivotal, the muscle in some respect, to Vyndktvx’s brains. And in The Green Lantern’s first twelve issues, the Qwa-Man, Hal’s antimatter double, is something like that for Commander Mu.

The structure even for Season One (the first twelve issues, not formally named as a season) was more complex than “seasons” of Morrison’s other runs. It appeared, near the end of issue 6, as though Commander Mu’s plan had reached fruition, and he had just about built the machine at the center of his master plot, hinted as far back as issue 1, and then… he was killed, by Alanna, no less. Furthermore, Hal and the universe as a whole were at death’s door along with him. But then, late in #12, we found out that Mu had not died (and perhaps could not die), and the plan suddenly went forward just exactly twice as far into the story as when it had seemed to have been halted the first time. And just as before, Hal was faced with imminent death. Just as before, creating, and giving to Mu, the miracle machine (Geh-Jedollah, the very same ultimate wishing machine from Final Crisis) seemed to be the only way for Hal to save his own life. And then, once again, Hal feigned compliance but at the end of the three-issue mini-season, Green Lantern Blackstars, it turned out that Hal had a massive ruse going, letting the Blackstars win in a different universe. Belzebeth believed that she would be able to fight back, but, once again, Mu had turned out to have escaped death and perhaps to be beyond death. Even fifteen issues in, the run had turned out to be a sort of Möbius Strip of repeated subplots. Has Mu won? Has Hal? Yes, no, yes, no, yes, no, yes.

For Hal, too, being on the verge of death, and actually dying, has occurred three times so far: around the midpoint of each season, and then at the end of the first. Everything is cycling; the run is not only a flashback to each of the major themes of Hal Jordan’s publication history, but a repetition of them. Old girlfriends come up early in each season. The Qwa-Man and Zundernell come up in both seasons. Marriage comes up near the end of each season. Each season has a buddy team up with a Silver Age JLA member important to Hal’s lore: first, Green Arrow; then, the Flash.

And, of course, as with Morrison’s Batman run, this run features plenty of alternate Green Lanterns; what the League of Heroes and other imitation Batmen were in that run, the Green Lantern Corps and Green Lanterns of other Earths in the Multiverse (no pair being more memorable than Batman Green Lantern and Hippie Green Lantern) are in this one. Hal succeeds where Superman and the JLA fail in Season One, manipulates and bests Superman in GL Blackstars, fights and ultimately bests the Superman surrogate Hyperman in Season Two. Repetition is everywhere, until even Hal, in Season Two #2 (two twos like Harvey Dent is behind it) says, “Feels like I’m trapped in my own history.” Morrison’s Green Lantern run is a carousel ride, repeating Hal’s history while it also repeats itself. Girlfriends, Silver Age -style sci fi plots with aliens, coming back to Earth, going back to space, buddy team-ups, the anti-universe, death, weird doppelgängers, his Guardian bosses, betrayal, defeat, victory. It all repeats, then repeats again. Morrison’s GL run is a microcosm of Hal’s publication history, but it’s also a microcosm of itself, loops upon loops.

And what is the story of Hal Jordan? Limitless talent, limitless self confidence, limitlessly prone to screwing everything up and then getting it all back again. He works as a pilot and is on the hot seat. He works for the Guardians and is on the hot seat. His knack for disobeying authority makes him the ultimate inside agent to bring down the Blackstars from the inside. He faces death and survives. He even dies and comes back. He wins over the lady and then blows it. His real romance as Green Lantern is with the power ring, personified as Pengowirr in Season One. His big scary enemy, the (yellow!) Zundernell, he shrinks down into a harmless joke. He’s a little bit comfortable in absolutely every situation and at home nowhere. In Season Two, the big universe-ending Crisis on Infinite Earths gets remixed and turns into another riff. Morrison didn’t invent any of this – it all goes back to the dawn of the Silver Age. Morrison simply refines it and repeats it. And this is the perfect time to pause and consider the story before its final arc because in the last story line, a proposal to Carol Ferris just might break the loop couldn’t do that because, as Carol said, “In the end maybe but it’s not – it’s not the end… not yet.”

This isn’t just the story of Hal Jordan. It’s also a work – potentially his last DC work, potentially a touchstone work – by Grant Morrison, and it may be following one long, slow-developing story that is taking perhaps the medium and perhaps the author on a path towards disenchantment.

After Final Crisis, Morrison’s three high-profile series have been Action, Multiversity, and The Green Lantern. FC and Superman Beyond delivered a message of optimism about the medium, that Superman was bigger than the writers, bigger than any of us, and the story of Superman drew so much power from its optimism that it was destined to go on forever. But in the three subsequent runs, we see this optimism undercut by metatextual messages in the stories as Morrison works in subplots that are about the superhero medium and the superhero as merchandise. In Action, perhaps the most ominous foe faced by Superman is Superdoomsday, “a brand” with “maximum cross-spectrum, wide-platform appeal, a violent, troubled, faceless anti-hero... a global marketing icon.” In Multiversity, The Empty Hand, symbolizing the economic pressures on the publishers and The Gentry, symbolizing the market and market forces that pervert the heroes, often, into something darker and more sensational, reinforce the message that marketing and branding would lead to something violent and troubled. And while I didn’t see it at first, I feel sure that it is significant that the agents of The Empty Hand, seemingly sweet and benign but dark and possessed were the Little League of Earth-42. Above all others, these are the versions of the DC characters aimed directly at the youngest, most innocent readers. And is there a common thread here? Yes, definitely: The Little League first met darkness when Superdoomsday from Earth-45 arrived and killed their Superman. And by the time we see them in Multiversity Guidebook, they are evil, possessed, red-eyed agents of marketing as perverted into darkness.

And now, in The Green Lantern, two subplots echoed and built upon this pessimism. First, the darkly satirical metatexual opening to GL Blackstars #2 amplifies the grim tone of Heroes in Crisis, the Dark Multiverse, and other works, with a Depressoverse, culminating with a clearly Batman Who Laughs -inspired Batmanson who is infectious, making the real Batman, the paragon of conviction in the DC Universe, “give in.” Later, quite parallel to the Little Leaguers, the team-up with the Flash in TGL Season Two #4 introduces Hal and Barry and Olivia Reynolds to an enemy world of toys. The world itself is a toy, smelling of “canned plastic” and ultimately, Olivia’s career expertise in toys allows her to defeat them, but not before we see how dark these toys are in a very modern way, “beta-testing” the heroes, play until they break, and when the lead toy, Quing, is broken, how unsympathetically he is replaced with one of the others as the new Quing.

In all of this, we see the underlying optimism – an affirmation of the superhero medium – turn to a darker metatextual comment with marketing as the enemy that may corrupt superheroes for once and for all. And it may not be coincidental that this message has picked up pace now as Morrison is, perhaps, moving on.

And so, a run that is full of repetition is going to stop repeating soon, because the end is coming. The big finale (#11 and #12) will take place on Athmoora, a world first shown in two panels of GL #16 back in 1962. Morrison places Hal on Athmoora in Season One #9, where Hal visits just for the fun of the adventure of brawling in combat where his ring is weakened. That is one of astonishingly many times in the run that Hal has voluntarily forsaken the security of his ring, confident in his ability to face danger in any circumstance. Now he returns to that danger again. If we have just two issues left of new Morrison monthlies to enjoy, I will be enjoying them and looking forward to seeing on what directions he takes Hal and us in his finale.

Multiversity 2

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.

Multiversity: Ultra Comics

Ultra Comics is real. (I’m using italics very consciously to distinguish the character and the comic book.) Of all the superheroes, you've ever read about, this one, set on Earth-33, which is our world, is actually real. I was part of him, and when you read Ultra Comics, so are you. Everything that happens to him is real, and when you put the comic book down, he dies. When you pick it up again, he lives. Ultra Comics is in a time loop, like the ones Grant Morrison used in Final Crisis and elsewhere, but unlike those, this one is real, and when you read Ultra Comics again, Ultra Comics, the superhero, comes back to life. His death is so tragic every time the issue ends, how do you have the heart not to read it again?

Ultra Comics is in a trap, and it's real. It's an allegory for the comic book industry as a whole, but as far as it – he – is concerned, it's real. Made of cyan, magenta, yellow, and black (just like all your favorite comic books), Ultra Comics begins majestic and pristine a few pages into the story, then quickly goes through the history of superhero comics, with four consecutive panels representing, roughly, the Forties, Sixties, Eighties, and 2000's. In this sequence, he goes from fighting crooks to fighting monsters plaguing a sexualized young woman, mourning a death, and then bloodily causing one.

Then, when Ultra Comics is sent on his first adventure, into what looks like the ruins of New York, his corporate creator tells us that Ultra Comics and all of us have been led into a trap, and readers who aren't going too quickly will notice that the man in a suit has the dark bat wings of the Gentry's Intellectron behind him.

As Ultra Comics examines the unpopulated ruins of New York, he finds a faded billboard showing the 1939 comic book character Ultra-Man, a character like John Carter of Mars who debuted, then appeared in All-Star Comics #1 before being cut from the series when the Justice Society took it over two issues later. There is a caption, incidentally, in the "Kryptonese" font, but this appears to be nonsense, deciphering as "ABC EDH G G K N." Soon, he battles an amalgamation of an evil Justice League and Ultra-Man’s original cast of villains set in the world of 2240 (three hundred years after they were written). It is because Ultra-Man was set in the future that he was, in essence, the first DC superhero who couldn’t join the Justice Society.

Ultra Comics soon finds, and saves, a version of the Newsboy Legion, but they're all twisted and sinister, and his namesakes Ultra-Man and Ultraa. It turns out that Ultraa, who debuted in JLA #153, is the dark leader of this band of cannibals. Ultra Comics is condemned by a jury of history’s (and comicdom’s) villains in a court led by the Devil in a scene out of “The Devil and Daniel Webster.” They subject Ultra Comics to an apathy ray, and Ultraa takes a bite out of Ultra Comics' head, eating the crystal that gives him his greatest powers. All the while, captions representing fan opinions (and seeming very true to the spirit of them) complain about the quality of what we're reading.

This is true to the original Ultraa. When the Justice League visited Earth Prime, they happened to encounter Ultraa immediately after his public debut. Almost immediately, Ultraa, Earth Prime’s first superhero, was pursued by a supervillain. At the end of the story, he felt responsible for the existence of the supervillain, that his presence “infected” Earth Prime with superpeople, good and bad alike, and left Earth Prime for Earth One to save his home dimension from further trouble. In a later pre-Crisis appearance, he decides to rid Earth One of superheroes, and uses an apathy gun in an attack on the Justice League. This apathy weapons is used on Ultra Comics in Ultra Comics. Post-Crisis, Ultraa (whose home dimension, Earth Prime, no longer exists) is retconned as a resident of Maxima’s homeworld of Almerac, something he refers to as his origin in this story, too.

Ultra Comics apologizes to the reader just as Ultraa did to the people of Earth Prime back in 1978, for exposing us to evil. After he cleverly disposes of Ultraa, he faces the now-unmasked Intellectron, who also admits that he exposed us to evil, but isn’t apologetic about the fact. It is because corrupting influences have been disguised as something benevolent that Little Red Riding Hood is the central figure of the children: The comic book is her grandmother, but beneath its clothing is the wolf, images of destruction and bloody murder, sex and violence, and all of the corrupting influence that Ultra Comics was seen to have on characters in Multiversity. And in case we forgot that this story is real, Intellectron downplays the harm that he revels in, saying, “This is only silly comm-ix. Makes no sense. Only pretend! Go on – read on! What harm can come to yu?” And lest we forget who “yu” is, he goes on, “Earth-Prime. There yu are,” with his malevolent eye looking at us. This moment hits home powerfully when he looks at us again and says, “Kneel before yur new master. Turn the page. Do it. Slave.” And I did. You did, too, didn’t you?

Ultra Comics counterattacks in three ways: Readers ask for a happy ending and get a happy ending (or happy middle, in this case.) Noting that “Text is vulnerable to criticism,” Ultra Comics observes as realistic fan responses criticize the worthiness of Intellectron as a character. And, finally, Ultra Comics, though dying on the last page, knows that he’ll be reborn whenever another reader opens Ultra Comics, allowing him to be reborn, though bloodied, on the first page. And lest we feel too badly for Ultra Comics in his ever-recycling purgatory of existing and dying every time a reader opens this issue, remember that he’s going to outlive us. One day, I’ll die. So will you. But Ultra Comics will live on, and sometime after my death, and yours, some reader will open this comic again, and Ultra Comics will live, temporarily, after we’re gone.

This is dark stuff, and it’s powerful. It, like Flex Mentallo, discusses superheroes as fictional constructs, and like Superman Beyond, discusses the superhero’s power of having a positive, likeable idea at the core and being able to rejuvenate by coming back to be read about again, responding to death with, “To Be Continued.” Morrison has the voices in this issue articulate some very serious criticism of the darkness in comic books, and he’s not dismissing that perspective. He sees some real harm at stake here, and that’s what the Gentry has always represented, the infection of darker subject matter that we allow into our heads when we wanted a good time. And we may wonder if it’s coincidence that Grant Morrison is delivering this message now, as he effectively ends his run on monthly DC superhero comics, just as Alan Moore denounced the medium just as he wrote his final works in the genre. There is redemption for the genre, yes, as Morrison has said in interviews, and as he says in this issue, but the criticism sticks. The characters in preceding issues of Multiversity have been disturbed by what they read in Ultra Comics, and not without good reason. Maybe good and productive members of society have better things to do with the limited time we have on the planet than to read about zombies sucking the eyeballs out of people’s heads. The favorable response that readers had to Multiversity:Thunderworld is an implicit answer to that what’s worth celebrating in these stories doesn’t require all the blood and gore and rape that has become increasing common as the decades go by.

Multiversity: Mastermen

Multiversity: Mastermen is set on a world that was created in stages. The Quality Comics characters that appeared as separate features during the Forties were put together on a team for the first time in JLA #107 in 1973. This story re-imagined the Freedom Fighters as the Resistance to a Nazi regime that had won World War Two on Earth X thanks to a mind-control machine. The next stop on the path to Mastermen is a panel in 52 #52 that shows the Freedom Fighters battling Nazi superheroes on Earth-10 (perhaps a conversion from the Roman numeral X). Since then, Grant Morrison has shown us more of Overman in Superman Beyond and Final Crisis, establishing his origin, the loss of his cousin, Overgirl, and that the man has a moral sense despite his use as the wonder weapon that gave Adolf Hitler control over the world.

Mastermen begins, unforgettably, with Adolf Hitler committing a necessary biological function. He is reading a comic book that appears to be akin to "What If Superman Ended the War?” which appeared in Look magazine in early 1940. A fictional version of World War Two entered Superman stories a couple of months later in Action Comics and soon, well before the attack on Pearl Harbor, the Nazi threat became a staple of American comic books, including Captain America (homaged in Mastermen) and in Quality Comics, whose characters are here, as in JLA #107, the resistance to Nazi rule.

In Mastermen, Overman's troubled conscience drives him, at last, to action. He is converted to the rebel side and watches from afar as a tiny flash of light that we see on the Moon indicates that the Freedom Fighters are destroying a lunar base, with Overman's aid and approval.

The Multiversal aspect of the story that begins with Hitler's comic books continues with a Nazi Sivana (who is therefore good? evil?), in league with the resistance, helps Uncle Sam form the Freedom Fighters, whose members are survivors of groups that the Nazis had almost exterminated. From their base, adorned with symbols of things the Nazis hated, from a 48-star American flag, to jazz music, and Rosie the Riveter, they launched the attack that failed, tactically, but converted Overman to their side. The other Multiversal intrusion is Lord Broken, of the Gentry, infesting Overman's dreams. Here, as with Sivana, the inversion of good and evil makes a double negative into a positive, as Lord Broken's malevolence helps awaken Overman's goodness.

This issue is memorable for its gut-punch ending. The typical superhero comic shows a threat, and once it manifests, the heroes battle back to their inevitable victory. The violation of this pattern in Mastermen calls attention to how much we readers expect it. Here, the future of the story is told with exceeding brevity in narration from the Nazi Jimmy Olsen, with selections from a memoir that he wrote after the fact. In the story's main action, we see Overman permit the Freedom Fighters to launch a massive blow, devastating Earth-10's Metropolis. We know from the spare excerpts of Jürgen's memoir that what happens next is the end of the Nazi regime, with Overman's assistance, and that in time, Jürgen helps destroy Overman. But we see only the first part of this drama, with Overman kneeling, overcome with emotion, in the ruins of a devastated Metropolis. The war obviously follows, Overman and the Freedom Fighters end the Nazi rule, and Overman is somehow, eventually, destroyed.

For how little is shown, there is a complex and brilliant blend of influences and themes in those few pages. The flash of light seen on the Moon to indicate rebels overthrowing an evil regime was used by Morrison at the end of his Justice League story Rock of Ages, as Batman then tells Darkseid to look up so as to see the same thing. The one and only act that we see of the rebellion begins and ends with Overman at the opera, where Wagner's Götterdämmerung is being performed. This opera depicts the "Twilight of the Gods," and ends with the hall of the gods on fire. That parallels the way the Nazi Justice League, the New Reichsmen, is destroyed by the Human Bomb's attack, with superheroes standing in for gods, a theme important in Morrison's work. It also hearkens back to Alan Moore's unpublished, "Twilight of the Superheroes," which would have ended the timeline of DC's superheroes while making the same parallel. A possible cinematic inspiration for Uncle Sam's gigantic, looming apparition at the opera is Quentin Tarantino's Inglourious Basterds, which begins the destruction of the Nazi leaders during the screening of a film in a theatre with all top Nazis in attendance. Then, as Overman brings the exploding Justice League satellite to Metropolis, the scene resembles the September 11 attacks, with a vehicle coming by surprise from clear skies to topple towers in America's preeminent city. After this, we don't need to see more.

The title, "Splendour Falls," describes the revolution that follows, but it also acknowledges that the aftermath of Nazi victory is splendour, a painful moral conundrum that Overman faces: When the victims have long since been killed, what form can justice take? However much Overman publicly regrets the Holocaust, what is to be done after it is utterly complete? Jürgen notes that the postwar Earth-10 is a virtual paradise. Even if the "Hitler era" was full of sin, is there anything just for the Aryan survivors to do but enjoy the results? The Freedom Fighters think so, and Overman, unhappy with his marriage to Earth-10's Lana Lang, unhappy with his victory, and at heart, deep down, always a good man, begins to atone for his sins. In some way that we don't see, this destroys him, and in our judgment, it profits the man that he loses the world but gains his soul.

This is the last of five "middle" issues of Multiversity that is dedicated to showing one alternate world full of superheroes facing the Gentry's attack. The Guidebook was something more intricate, and the upcoming Ultra Comics promises to be something different, leading into the finale. Multiversity has been a showcase of Morrison's wonderful ability to synthesize original concepts into wonderful new variants, from Earth-40's brain-transplanted version of Blockbuster to the intricate translation of Watchmen into a new story to all the many alternate Sivanas and superhero names translated into German-language equivalents like Underwaterman. Multiversity has been a wonderful success in terms of style. Even with two issues remaining, it begins to appear that when Multiversity ends, many readers will be left wishing it could continue.

Multiversity Guidebook

The Multiversity Guidebook plays two distinct, major roles. An inner section provides a map, mini-encyclopedia, and timeline of the Multiverse, and serves as a reference, clip-and-save style, for fans to consult on matters of Multiversal navigation for the indefinite future. Around this section, and referring to it, is a chapter in the continuing story of the Gentry’s effort to crush and conquer the Multiverse. It returns us to the narration from Multiversity #1, and in this sense serves as a sort of Multiversity #1½ that will lead into the series-ending Multiversity #2 a few months from now. The narrative is not linear, however, but nested and branching – not as complex as Pax Americana, but complex enough to merit close attention.

The story opens as a logical continuation from Thunderworld, with the “Serial Killer Sivana” leading his robots and fellow Sivanas in an attack on Earth-42, home of the Little League. This opens with the little Martian Manhunter being killed in a panel that copies the death of the regular Martian Manhunter in Morrison’s Final Crisis #1 down to the similar posture and the death cry “My'ria'h!” The Marvels of Earth-5 are in hot pursuit, but the Sivanas have ample time to kill several little heroes, and fulfill their real goal, access to a better transmatter device that allows them to travel anywhere in the Multiverse. That transmatter machine was built by Sivana-42, another instance of an idea that is key to this story’s plot having been placed in someone’s mind by a dream. I’ve earlier discussed the importance of dreams to the Multiverse, as originally described in Gardner Fox’s stories about the Flash, and affirmed now by Morrison.

As the Legion of Sivanas depart, the Batman of Earth-17 appears and rescues the Batman of Earth-42 from Sivana robots. (Incidentally, these robots resemble the robot that Superman of Earth-23 was fighting in Multiversity #1, but are not identical in size or design. It remains possible that Serial Killer Sivana built that robot.) Although the two Batmen are allied, Batman-17 is willing to use deadly force, in stark contrast to the nice Batman-42, exactly the sort of corruption that appeared to bring Earth-20 down (notice that a Mayan temple is seen on Earth-51 in the Guidebook and at the end of Society of Super-Heroes), which implies that heroes who kill are possible in the metaphysics that Morrison is laying out.

As Batman-42 picks up a copy of the Guidebook itself and reads a history of the Multiverse, which begins by paraphrasing a similar telling of the history in Superman Beyond #1. Then the history goes forward to describe travel between the Universes and the Crises which followed, all of which, as I noted earlier, depends crucially on the Flash, Barry Allen. Then the action switches to Earth-51, where Kamandi, Tuftan, and Ben Boxer arrive in pursuit of their lost colleague, Flower, the original of which appeared in only two issues of Kamandi back in 1973.

What Kamandi and his colleagues find opens up new perspectives on the plot of Multiversity. As the characters on Earth-51 confer, they are being watched by the New Gods on New Genesis. Highfather and the New Gods discuss the situation, giving us some helpful exposition along the way. Darkseid was released from a tomb on Earth-51, allowing him to go forth in the form of multiple instantiations across many worlds. His tomb was opened by Nix Uotan, the son of Dax Novu. Nix Uotan, as we’d already seen, was corrupted by demons, the Gentry.

Here, the story opens the mystery wider. We knew that the Gentry corrupted Nix Uotan, but the New Gods tell us that the Gentry themselves are the agents of a higher, more evil power, The Empty Hand. Morrison has a preference for structuring his stories around a hierarchy of villains, with minor villains reporting to mid-level villains, and finally an ultimate top villain. In this story, the Big Bad is The Empty Hand, a name that calls to mind The Black Glove from Morrison’s Batman run. The identify of this villain is being presented as a mystery, “whose name none dare voice,” Highfather says. Lightray calls the villains, “The sons of midnight.” Who is The Empty Hand?

In an earlier post, I noted that the Justice League of the Multiverse had no Batman. Here, he arrives: Batman of Earth-17 appears in the House of Heroes and is immediately enlisted as the Gentry are attacking. We see a three-eyed, many-tentacled, be-fanged demon with a city as its head trying to eat the House of Heroes. Earlier, we saw another member of the Gentry, “Lord Broken,” appear as a house with an evil red eye inside. The name “the Gentry” and these buildings suggest that the Gentry are people, and as I’ve offered earlier, the villains of the story may be us (or among us), the people of the real world, Earth-33, which, as the Guidebook tells us, “exerts a powerful and unknown influence on the progress and development of the entire Multiverse.”

Who is The Empty Hand? We have a few clues. Most directly, when Kamandi reads the history of the Multiverse, we see an empty hand at the dawn of creation, with the text, “What great hand casts the lightning… and remakes the world?” This hand was famously seen in Crisis on Infinite Earths, but we can pinpoint its origin even earlier, to Green Lantern #40, when Krona and his effort to view the creation of the Universe were introduced. So that’s The Empty Hand, but it was earlier portrayed as a mere force of nature, not a character with the potential to be good or bad. Clearly, there are more reveals to come, attaching that hand, so to speak to some very powerful character we’ve otherwise known, or giving it a new identity. Near the end of the issue, it makes the dead Little Leaguers revive as its servants and says, “Get up. Reset. You have died before, and you will die many times more before I am done with you. See how my hand is empty.” Red-eyed, the zombie heroes respond, “Empty is thy hand.” The red eyes suggest Darkseid. The word “thy” suggests the Early Modern English of the King James Bible. Together, these reinforce that The Empty Hand is something primal, powerful, and evil.

What does The Empty Hand do? Reset. The history of the Multiverse, which we already knew, consists of many cycles of death, followed by regeneration. And the people who are really performing this regeneration are the writers, editors, and readers on Earth-33. Everything in the Guidebook continues to bear out that the threat in Multiversity comes from our world, a meta-story about the threats to superhero comic books that begin in those who shape the medium itself.

Erratum: The description of Earth-7 says that Thunderer is a survivor of Earth-4. This probably meant to say Earth-7.

Multiversity: Thunderworld

The tide has turned. The sprawling, cross-universal threat has apparently met its match for the first time with the squeaky-clean Marvel family of Earth-5 flying off in victory at the end of Thunderworld, the fourth of five one-shots issues devoted to a single Earth. Between the first three issues ending on a distinctly dark note, and the upcoming finale known to be a happy ending, we see Captain Marvel and his allies turn back the Multiversal threat issued by his old nemesis, Thaddeus Bodog Sivana.

Far less complex than Pax Americana, the previous issue of Multiversity, Thunderworld nevertheless shows off Morrison’s tremendous gift of adopting someone else’s style, and putting his own twists on it. Thunderworld is, most of the time, admirably faithful to the old-style Fawcett Comics tales of Captain Marvel, which were themselves imitated in new stories published by DC in the Seventies.

The history of the Marvel feature is relevant to Morrison’s work here: Captain Marvel was the top-selling character for most of his history from 1940 until 1953, when a lawsuit by DC forced Fawcett to cease publishing the character, deemed by the court to be a violation of the copyrights on Superman. In 1973, DC licensed the characters from Fawcett and began publishing both old and new stories in a series that spitefully put Superman on the cover of the first issue (which happened to be one of the first comic books that I ever bought). To explain the long hiatus of the Marvel family, the first new story explained that Sivana had used an invention, Suspendium, to freeze time for the Marvels so that they were out of action for 20 years, awaking in 1973 to begin their adventures anew. Suspendium is quite similar to the plot device used to explain why Captain America was similarly out of publication for a decade, but rendered in terms of science fiction. Morrison has used Suspendium in 52, and his use of it here is one of only several nods in this issue to 52.

Morrison begins the story with Fourth Wall narration, the wizard Shazam comedically realizing that the reader is listening to him. As Multiversity began and will end with Fourth Wall narration, this is one way of weaving the issue into his larger structure.

An important motif in the old-time Captain Marvel stories that Morrison has used in his other works as well as here is the endless invention of variant characters. Captain Marvel’s universe was always populated with an entire roster of alternative versions of himself: a girl version of him, a younger version of him, fat, tall, and “hillbilly” versions of him, and more than one evil version of him. Morrison keeps the ball rolling by turning the Sivana children into evil Marvels before turning himself into a Sivana version of Black Adam who was himself an alternate version of Captain Marvel. The overall effect is like a department store mirror that allows one to see reflections of reflections iterating off into infinity.

The pivotal alternate-version in this issue is the alternate Rock of Eternity, which was shown in the Map of the Multiverse issues before the series began. Sivana’s plot is as follows: having discovered the Multiverse by tracking the source of Captain Marvel’s lightning, he learns through comic books about how it works. He gathers Suspendium from other universe to give himself an extra day of the week, Sivanaday, one in which he can win. After besieging the Rock of Eternity and imprisoning the wizard Shazam, he uses his alternate Rock of Eternity, one favoring science (it is covered with blinking lights and circuit diagrams) rather than magic, to make him and his family (the latter, as guinea pigs) as powerful as the Marvels, so that he can vanquish Captain Marvel at last.

Sivana will then rule the Multiverse along with all of the alternate Sivanas, who are initially portrayed as a delightful array of amusing variants on the original, one of many great displays by artist Cameron Stewart, whose talents are perfectly matched to the Marvel world. But by the issue’s end, the alternate Sivanas become dark, disturbing even the original Sivana. This is emphasized by two Sivanas who bookend the continuity of darkness: One is merely a scientist with “personal problems” who is aghast that most of the Sivanas are criminals. The other, at the far extreme of evil, is a serial killer, masked like Hannibal Lecter and dripping with blood, who has killed his own universe’s version of Captain Marvel, and wants to torture and kill more Marvels.

This is one of several cracks that appear in the otherwise squeaky-clean facade of the tale. The first is when someone notes that Billy Batson’s job as a reporter apparently violates child labor laws. Another is when Georgia Sivana flaunts her sexy curves in a low-cut top, a la Power Girl, beckoning Captain Marvel Junior to ogle her, to the dismay of Mary Marvel. This has overtones of the corrupting influence we’ve seen in earlier issues of Multiversity – the heroes who kill in Society of Super-Heroes, and the trauma felt by Kyle Rayner in The Just. But Freddy Freeman has read SOS, and it’s all a ruse. He uses the ogling to trick her into saying her name, a la Mr. Mxyzptlk, to take away her powers.

Another suggestion of Multiversal corruption bringing darkness to Earth-5 is in the appearance of the Monster Society of Evil, who appear vastly more evil than their original forms. Instead of the adorable, bug-eyed Mr. Mind, we see the legitimately hideous insect that is the central, secret villain of 52. Alongside more-evil-looking versions of Ibac, the robot Mister Atom, and others, we see a huge, Godzilla-like crocodile who appears to be Thunderworld’s version of Herkimer. The original Herkimer was a silly-looking man with a crocodile head, but this one resembles Sobek, the crocodile-man who suddenly revealed his murderous side in 52, setting Black Adam on a path of vengeance and genocide.

What saves the day is a time loop, a device that Morrison has used in Seven Soldiers, Final Crisis, Pax Americana, and now here. Billy Batson raids Sivana’s cache of Suspendium to go back to the beginning of Sivanaday and give himself a warning. Telling himself to watch the Sun (the artwork shows that a whole day-night cycle takes place in what should be only a few minutes) and watch clocks to see that Sivanaday is unusually short, because the alternate Sivanas cheated the original, giving him less time than he thought. As soon as he wins, Sivanaday ends, and Captain Marvel wins when the world goes back to normal time.

And so, this is the first issue of Multiversity with a happy ending. But perhaps that’s just a matter of tone. The issue ends with pending threats from Parallax and Niczhuotan from SOS as well as the serial killer Sivana, who now has his eye on Mary Marvel. These are perhaps no less real than the threats that conclude the series’ earlier issues, but the Marvels are simply unconcerned. They know that they’ll face them, and they know that they’ll win.

If this sets the tone for Multiversity as a whole, then we don’t need to wait for a sudden 180° turn that gives the heroes a victory in the final issue. The dark endings of Multiversity #1, SOS, and The Just gave way to an ambiguous ending for Pax Americana (depending on whether or not Captain Atom will return to resurrect President Harley), and now a light turn here. Instead of a good world turned bad, corrupted by the sex and violence of post-1986 comics, we have a world that witnesses some of those themes but remains intact. The next issue that is devoted to one Earth will be Mastermen, in which a Nazi world is eventually set right. And we can see now that Multiversity has an ornate structure: It is not simply one long arc with initial tragedy turning to a happy ending in the finale, but a hierarchical structure with the changes in fortune turning dark in the first issues, but becoming less so with successive issues. Thunderworld ends with a new dawn. Mastermen will end with the defeat of Fascism. Whatever darkness the Gentry represent, Morrison sees the light beyond them.