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7 Soldiers

 
  

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Spaniel
10:51 / 02.11.06
Also, I'm not sure I care whether an ending is thematically appropriate or not if it lacks dramatic punch. The two things don't necessarily go hand in hand, and I think in this case there was a (partial) failure to produce solid drama.
 
 
_Boboss
12:11 / 02.11.06
well, to be going on here, weren't MM's 'deaths' in his mini, like, *definitely* not real? I thought they only happened in the micro-universe of the life trap, or whatever it was called, which had it's own set of internal physics, which meant that time enough passed inside the black hole for him to have million simulated incarnations, reach nirvana and spring out of there, no more dead in 'our' world than he had been before? this new power of his, i.e. the immortal man's power pretty much, is definitely seen for the first time in issue 1 - see darkseid's dialogue 'ah mr shilo at last we meet' - cos all the stuff between them before was just stuff made up by the life trap.

i think a bit of the disappointment i'm hearing here sounds like it's being generated by the individual readers' expectations of what the issue should have been about, rather than whether it was any good on its own or not. i reckon this might being making some miss the big bags of good that are in these forty pages. the 'character development' that some people think is so important is all done in the seven miniseries - this issue is more about dotting is and crossing ts and rad experimentalist action. as marriage says, this comic is incandescent with bright moments (though i don't agree it's morrison's best since flex), and i'd say that given that this is just one 'module' of thirty, the traditional dramatic arcs you might be after is probably there in the earlier issues. (to be awfully glib and 'come-and-have-a-go', maybe some folk here could try handing in their 'campaign for real ale' memberships and go have a nice fresh g'n't?)

that said, i reckon the heart on fist air punches are there if you want them, maybe just not where they're expected - don fatso from shining knight gets his victory, as does baby brain: his weedy little threat coming true fifty years later struck me as being suitably 'emotional', 'character-lead', or whatever it is we're after, to provide quite the satisfying read.

one more thing before i go, and regarding the effect the prepublicity seems to have had, this whole experiment was about revitalising some old dcu concepts - springboards for ongoing franchises. this issue gives us king klarion and his angry manservant frank, buffy in armour, a new sidekick for zatanna, guardian back at work with no more hangups, bulleteer with a 'dead' nemesis/ a great great great etc. grandad/ and a whole world of career options open, and a new gods epic on the way that's going to be the comic your eyes were made for - job done.
 
 
Sniv
12:38 / 02.11.06
I agree with Gumbitch in as much as the minis pretty much were independent stories (although as part of a larger whole). Yes, they all end on the "Let's go fight the Sheeda" cliffhanger, but before that final page, we get a pretty complete story about that character with just odds-and-sods and continuity bumpf to clear up in the final issue. I think that in that respect, 7S did do what it said it would, although the final bookend was a very different setup and execution than the first.

And, back to Miss W and Klarion, I so totally buy the idea of Klarion's 'merry pranks' as the new direction for the Sheeda. They were ruled by gloiana for a long time. She was committed to violence and evil, this we know. We also know Klarion, and I think he's not quite as interested in this as you suggest. He is capricious and selfish. He's been to blue rafters a couple of times, it's onloy been about a week (!) since he left limbo-town... I don't think he wants to get down to a strict regeime of civilisation conquering just yet. Maybe later, but not yet.

Also, one thing that struck me last night - why did the sheeda never go forwards in time, to harrow their more advanced future-selves (or even just to check if the whole invade-the-21st-century plan came together)? Or, if they can move through time, why not live a bit further back in time, so the earth isn't quite as hostile? Gah, time travel stories hurt my mind.
 
 
The Falcon
13:08 / 02.11.06
Gumbitch is so right it's not even funny. [Also: aye, the gin with the cucumber, Hendrick's.]
 
 
miss wonderstarr
13:38 / 02.11.06
i think a bit of the disappointment i'm hearing here sounds like it's being generated by the individual readers' expectations of what the issue should have been about, rather than whether it was any good on its own or not.

The comic doesn't exist on its own. Not to get all lit-crit and cult studs about it, but it only becomes meaningful when you read it ~ that is, in the process when a reader brings his or her expectations and interpretations to bear on it. I don't see how anyone could really follow the whole series (including its intertextual material, the hype, teasers and constant banners about one soldier dying, one soldier betraying, no soldiers meeting) and then be expected to respond to the final issue in isolation, away from that context. I don't see how you could follow the series and not have expectations. To argue that "it's a good comic if you abandon everything you were led to believe and hope for by the preceding material" seems another generous stretch of justification. My expectations of what it "should have been" about were generated partly by what I was constantly told (by DC) 7 Soldiers would be about, as a whole, and partly by received conventions about narrative closure, character development, enigmas being resolved. Those last demands came from me and my expectations of storytelling, but I don't think they're unreasonable expectations within a mainstream medium. I wasn't led to believe that was going to be an avant-garde text that resists conventions of wrapping things up, tying threads, giving characters a satisfying arc, fulfilling promises, and on a simple level, MAKING SENSE. (eg. Zatanna's spell, which it seems we have to go through all sort of gymnastics to explain in terms of what it actually does and what happens next).
 
 
Spaniel
13:42 / 02.11.06
well, to be going on here, weren't MM's 'deaths' in his mini, like, *definitely* not real?

I'm really unsure about that. I suppose to an extent it depends on what you mean when you say "not real". Surely the ability to transcend death in the black hole universe is exactly the same kind of ability as transcending death in the DCU, otherwise what's the point of all that practice? To me MM's feat (shared with the rest of the SSs) is to transcend his destiny, to transcend determinism, basically, and become self determining despite all obstacles. His story, then, is over by the time we get to the end - he's already achieved his victory - Hence lack of air-punch moment on the final page. And let's not forget that devoting a full page to his neon-ghost hand blasting out of that grave is almost certainly going for an air-punch.

As for audience expectation, that's a tricky one, but we would do well to remember that drama is all about our relationship to it: whether it's met, countered, contradicted, undermined, whatever. The point is that any good piece of writing always has a close eye on it.
 
 
miss wonderstarr
13:45 / 02.11.06
the 'character development' that some people think is so important is all done in the seven miniseries - this issue is more about dotting is and crossing ts and rad experimentalist action.

I've suggested, and so have others, that it really doesn't dot eyes and cross tees, in the sense that there seems to be narrative inconsistency, a general ambiguity, a tendency to flatness and anticlimax. I didn't feel the "Misty" subplot and the device with the dice was crossed and dotted in the way you imply, for instance.

I didn't really feel much character development in the minis, either. Ystin? Grows up a bit I suppose, avenges Camelot, gains some sense of identity as a young woman. Klarion? Starts of as an inquisitive little trickster, ends up as an inquisitive little trickster in charge of a hell-army. Frankenstein? Bad-ass vigilante at the beginning and end. I can see how some kind of character arc could be argued for Guardian and Zatanna, for instance, but I still didn't feel any emotional punch to their stories ~ and I'm not a hard-hearted reader by any means.



(to be awfully glib and 'come-and-have-a-go', maybe some folk here could try handing in their 'campaign for real ale' memberships and go have a nice fresh g'n't?)


You're saying "those of you who didn't enjoy this as much as me, why not make an effort to shift your perspective?" Well, yeah... but you could shift your perspective and see the comic's faults, by that token. I don't know why those who didn't dig it in the way you did should be persuaded into taking another angle.
 
 
Spaniel
13:50 / 02.11.06
Starts of as an inquisitive little trickster, ends up as an inquisitive little trickster in charge of a hell-army

That actually sounds really really great, inna kinda no growth whatsoever sorta way.
 
 
PatrickMM
14:47 / 02.11.06
Well, I don't know... you put a devil-child (a witch-boy, for God's sake!) in charge of an army that's devastated human civilisations since the year dot, and I don't look forward to merry pranks. His final splash looked like Kid Joker, and not in a reassuring way.

It's a bit difficult to say definitively, but a major point of the ending is that everyone, in some way, gets what they want. Klarion started out powerless, unable to leave his hometown. Now, he rules over an empire and is able to go anywhere he wants in time and space. And it was all his decision to break with the status quo of Limbotown that made this possible. Is he as evil as Gloriana was at the end? I'm not sure, but the page leads me to believe that he's much happier, and more likely to just revel in his power than go around razing civilizations.

Also, I'm not sure I care whether an ending is thematically appropriate or not if it lacks dramatic punch. The two things don't necessarily go hand in hand, and I think in this case there was a (partial) failure to produce solid drama.

I'd agree with that. However, I don't think the ending inherently lacks drama. The situation I'd compare it to is, and this is probably a bad road to go down, the final scene of The Matrix: Reloaded. Shilo has these incredible powers of resurection in the Life Trap world, but when he gets out, Dark Side is finished with the elaborate traps and just shoots him. There's no escape from that. However, then we find out that the lessons learned in the Life Trap world apply outside too, and, like the other characters, Shilo winds up being able to do what he wants in the real world, to choose his own path, not the one that Dark Side chooses for him. So, it's much like Keanu having the Matrix powers outside of the Matrix at the end of Reloaded.

However, I certainly see your point that it's the expected ending. The thing that makes it work for me is all that energy around him, indicating that it's not just the man who's coming back, it's the idea of freedom itself. That's the critical line for me, earlier, when Dark Side calls Shilo the avatar of freedom. His entire series is about moving beyond mortal concerns and rising to the level of a god.

Also, one thing that struck me last night - why did the sheeda never go forwards in time, to harrow their more advanced future-selves (or even just to check if the whole invade-the-21st-century plan came together)?

At some point, I think they mentioned that it was the evolved culture of past civilizations that they needed to boost the culture of their own, what they were looking for wasn't just resources, it was more the ideas and art objects that we create, the stuff they couldn't get for themselves. And presumably 21st century history was forgotten by the year 1 billion. I suppose they could have went back to shortly after this attempted harrowing, but according to Grant, all tiime already exists, so they'd still have lost, one way or another.

As for the issue of Zatanna's spell, I would agree that figuring out exactly what it did may require a bit of fanwank, but on an emotional level, it makes complete sense for me. She talks right before about magic being the doing of the impossible, right before it looks like they won't be able to win, but her spell makes it possible for good to prevail. And, for me, it's easily the best moment of the issue, and the perfect capper for her mini.

And just in general on the issue, I think what is missing is not so much the resolution of the character arcs, but the denouement. I would have loved if everyone got a page like Ystina at the school, just checking in to see what's going on, particularly with Zatanna and Misty. But, all the character arcs were resolved in the issue itself. Except for Frankenstein, everyone seems to have gotten exactly what they wanted during their series, and I didn't feel left hanging.

However, the abruptness of the ending was problematic. One page we're at the climax of the book, then two pages later it's over. For a 30 issue story, a little more time to sink in would have helped, and might have made the Mister Miracle revival more powerful. I think just eight more pages would have resolved most of the issues people have, by giving the reader a bit of room to breathe towards the end.
 
 
Spaniel
14:56 / 02.11.06
Thanks for explaining how the MM ending worked for you, Pat. I think the Matrix Reloaded comparison makes a lot of sense, actually. It still didn't work for me for the reasons I've outlined, but I can see how it could work for someone.

And that crackley red and blue spirit energy did bode ACTION! so I can see how someone might find that kind of exciting.
 
 
Elijah, Freelance Rabbi
15:01 / 02.11.06
I had never made the connection that Cap 7 was responsible for Suzi's death.

I just got the issue yesterday because I am trapped in part of the country that had the delay.

I didn't really LIKE it the first time I read it, but I didn't hate it. On reading it again I liked it more.

The crossword went right the fuck over my head though, so I am glad to have Barbelith.
 
 
Hallo, Paper Spaceboy
15:48 / 02.11.06
I'm not sure who you'd want running your basic Futurist Human Faery Empire of the Vampire Sun if not Klarion, Witch-Boy. He makes me have funny feelings. I'm curious to see how things end up when he meets Tim Drake.

& I feel like we've been more set up for Misty to spin-off into something to complete her story.

Query: can she do eht sdrawkcab cigam without the Father Box?
 
 
PatrickMM
15:50 / 02.11.06
Yeah, anyone know if Misty, or Zatanna, have turned up anywhere post Seven Soldiers? I'm guessing Z would figure in some of this big DCU stuff, and hopefully Misty's still hanging out with her.
 
 
miss wonderstarr
16:08 / 02.11.06
It still didn't work for me for the reasons I've outlined, but I can see how it could work for someone.

I feel this way about the whole comic ~ the whole series, even.
 
 
Spaniel
17:34 / 02.11.06
Well, I can definitely see how it could work for Gumbitch, but then he has crazy new ways of enjoying things that I'm too old to understand.

We've had some interesting debates down the pub over the years.
 
 
_Boboss
18:20 / 02.11.06
I don't know why those who didn't dig it in the way you did should be persuaded into taking another angle.'

well, quite, but no one's saying much more here than 'i like/no like this' - i'm not trying to tell you you're wrong or anything, it's just a shame you didn't like it because i imagine that like me you were quite invested in the series (as invested as you can be with this kind of thing - basically 'oh good that's out i've been waiting ages' is the level of investment i'm thinking about). and i'm not of the opinion that the flaws you've picked out are necesarily negatives.

My expectations of what it "should have been" about were generated partly by what I was constantly told (by DC) 7 Soldiers would be about, as a whole, and partly by received conventions about narrative closure, character development, enigmas being resolved. Those last demands came from me and my expectations of storytelling, but I don't think they're unreasonable expectations within a mainstream medium. I wasn't led to believe that was going to be an avant-garde text that resists conventions of wrapping things up'

really not trying to take the piss or anything, but i can't help but think you took the hype a little too seriously - whether you were led to believe you were getting an avant-garde text or not, you more-or-less got one, and i think it's rather a tasty example of one really, given the traditional constraints of the format and genre. besides - williams & morrison? both of them have reasonable pedigrees for being as avant garde as you got within the mainstream medium of modern superhero fightbooks, so what were you expecting? if i have beef with this issue it's that it didn't go far enough, we maybe could have done with a last-issue-of-promethea kind of thing. actually, that would have really worked i bet...

i can't get this feeing out of my head, only because i've been having my annual ballard period lately: someone goes to the sf shop looking for a book of great sf short stories buy a writer who they've been lead to trust as a quality name. they buy 'the atrocity exhibition' and at the end of it say 'where were the fucking spaceships?'

we seem to be falling into one of two camps here - those that are bugged by a lack of received conventions about narrative closure etc. and those that ain't. maybe those of us like me who ain't have less than the noblest motives for thinking so (maybe the kicker here's just fannishness actually 'don't say that about my grant!' - if that's what i'm doing then, well, fucking forget me basically). buuut, basically, this issue, this module as perhaps it should be thought of, gave me the feeling, and i rarely argue with that. warning: mileage varies.


I'm really unsure about that. I suppose to an extent it depends on what you mean when you say "not real". Surely the ability to transcend death in the black hole universe is exactly the same kind of ability as transcending death in the DCU, otherwise what's the point of all that practice?

oh come on, it's blatantly not exactly the same as death in the 'real dcu', it's a series of millions of fake-out deaths inside one of darkseid's apokolips beasts - just a 7-day simulation that gives him a new persective, immortal buddhafinger or 'god sight' as he says. they feel real to him (and us) while he figures out what's going on, but when he gets out he's still got his costume on even. he just comes out having, y'know, integrated his doubts, the mother box, hs newgods legacy so he's now got this cool new power... it's your mate heidegger innit: he's the same as he was before, but is now doing it authentically rather than...erm, whatever the pre-'authentic' state is. the effect of the authenticity is he can now literally defy death.
 
 
Spaniel
18:33 / 02.11.06
Inauthentic.

If you think about it in terms of transcending determinism in the special Mister Miracle way (i.e. escaping the constraints of reality) then it's a been there done that moment: He escapes death in one universe with one set of rules, he escapes death in another universe with another set of rules - big deal.

Were you surprised? No you weren't, and why is that?
 
 
Spaniel
18:34 / 02.11.06
Bu, yeah, again, I see what you're saying about authenticity - in fact I'm not sure I've ever seen it in any other way - I just don't think it really matters in that we're never really in any doubt what MM is capable of after he escapes the Black hole.
 
 
_Boboss
18:42 / 02.11.06
he doesn't escape death in the first universe, he escapes the universe! death there isn't death! in the real one he gets proper jill dando'd but his new internal motherbox nanoweave thing sets him right again.

was i surprised? no, because that mm would be the dead one was pretty clear to me from the cover of the first issue of his mini - i did think he might stay dead mind (there being another mm around already)...

but was i smiling back in the final panel of that page when i realised he was smiling straight at me and the pingpingping started? why yes.
 
 
miss wonderstarr
18:53 / 02.11.06

really not trying to take the piss or anything, but i can't help but think you took the hype a little too seriously - whether you were led to believe you were getting an avant-garde text or not, you more-or-less got one, and i think it's rather a tasty example of one really


If you're led to believe you'd be getting a relatively mainstream superhero megaseries, and you get an avant-garde refusal of narrative conventions, then I think you'd be justified in feeling dissatisfied. That doesn't have to imply a dislike of experiment and avant-garde, but it's contrary to what you'd built up to, and doesn't fulfil your expectations.

If you're saying Seven Soldiers #1 is basically an experimental text and should be treated as such, then do you also think the miniseries are experimental avant-garde? If not ~ and I wouldn't have said Shining Knight, Klarion, Guardian, Bulleteer or Frankenstein really signalled that this is an avant-garde project ~ then you can surely see why the conclusion "fails" to meet certain expectations set up by the preceding series. If yes ~ and I can see how it could be argued for Zatanna, Mister Miracle maybe ~ then that's another interesting line of discussion.

besides - williams & morrison? both of them have reasonable pedigrees for being as avant garde as you got within the mainstream medium of modern superhero fightbooks, so what were you expecting?

I don't really know Williams. Morrison has experimented within the form, sure, but he's also been to a great extent about pop, bubblegum, silver age aesthetics... comics as fun, throwaway, glorious lightweight stuff. He's not unambiguously avant-garde.

This was a "mega-series", prominent and heavily promoted within the DC line rather than tucked in a corner, involving revamps (a classic mainstream device) of superhero characters (including Zatanna, who's about as mainstream as The Question and The Huntress, ie. pretty much second-tier to Superman and Batman) and, crucially, lest we forget, advertised during its run in tabloid, "who lives, who dies" terms, and described as "dazzling super-hero action and serial fiction with horror, mystery, epic fantasy and gothic pulp".

I think I can be forgiven for not expecting Un Chien Andalou.
 
 
Hallo, Paper Spaceboy
19:03 / 02.11.06
It's right up there with Ystina emerging from the Cauldron of Rebirth.

Someone upthread complained that Jake didn't really achieve anything beyond what everybody else in Manhattan did, but he is a soldier - one of the grunts, on the ground, in the trenches with the rest of the troops. He's a leader, and his whole game plan seems to be elevating the Common Citizen. He rallies the troops.

LOVE that moment of jumping from paper to reality with him and the horse.
 
 
Spaniel
19:03 / 02.11.06
He escapes a determined fate, the confines of a limited universe, that's what the entire series is about, and being MM he transcends by performing the greatest escape evah: freeing himself from the black hole: anti-life (a bit like death, some might say an allegory for death, but then they'd be mental) in the first instance, and by escaping death proper in the second.

What GM is relying one here is the thought that these two things are totally diff in the mind of the reader, the trick that he rely's on to pull MM's climax off logically is that they're not. The ending of the mini is yer standard misdirection - that wasn't real but this IS! - sadly I think he needed to work a little harder at deceiving me because I knew all along that what MM had just learnt to do he could put into pratice in the DCU. But then I'm special.
 
 
Spaniel
19:04 / 02.11.06
More climaxes need to be pulled off logically.

If you know what I mean.
 
 
Elijah, Freelance Rabbi
19:25 / 02.11.06
In spite of confusion and bits that may or may not have tripped over themselves I still want a 7s tattoo.

That is unbearably lame right?
 
 
Hallo, Paper Spaceboy
19:36 / 02.11.06
Well, I just noticed a couple super-horses zapping giant worms with HEAT VISION, so it's not really unbearably lame.
 
 
Keith, like a scientist
21:25 / 02.11.06
Elijah - I had never made the connection that Cap 7 was responsible for Suzi's death.

Suzi's caption in Z#4 read "Dead at 14" and Captain 7's read "Child Molester/Murdererer". So my theory is:

Suzi and Ed have a secret relationship. He somehow impregnates her. But since it's a secret relationship with a "freak" she reciprocates Captain 7's advances. Until the point at which he gets a bit too frisky and she says no. Out of rage he kills her. Therefore, Captain 7 is not innocent.

It's weird and it's truly made up of fitting all the little bits together, but I think it makes an overall sense of that obscure G#4 stuff we saw. And completely makes sense of Ed remarking of Suzi: "Wow. Machines love her too." Ed loved Suzi! It's heartbreaking.
 
 
Elijah, Freelance Rabbi
21:32 / 02.11.06
I got that Ed loved Suzi from that line when she fixed the biplane.

I guess what I am missing is the leap from 'One of them died at 14 and another was a child molester/murderer' to the events being linked.

I assumed that Cap was killed when they found out about something he did when he went away to college, which he mentioned (in G4 I think) was his next step.
 
 
PatrickMM
22:09 / 02.11.06
And presumably Ed was the leader in calling for Captain 7's punishment, so as to take his rival for Suzi's affection out of the way. Cameron, if you're still reading the thread, I'd love to know if Grant mentioned this twist to you back when you were drawing the miniseries.
 
 
The Falcon
22:58 / 02.11.06
I'd sort of been working on a thesis that what 7S was really about was parents and parenthood, but I think Rab here has syllogised it far more adeptly than I was ever going to. Worth a read, eh?

The Cyrus stuff - and, really, Miss W, I'd be able to take your numerous valid criticisms more seriously if you didn't keep trying to palm off the Terrible Time Tailor/Zor as some minor character instead of, you know, the architect of the whole thing - is what really turned the key for me.
 
 
Hallo, Paper Spaceboy
23:05 / 02.11.06
It's all about Zachary Zor sticking it to the In Crowd after they ostracize him for Doing the Bad Thing, Sheeda are his toys like Seven are the Unknown Men's.

It's all about Zatanna remembering that it's not about flagellating yourself or forgiving yourself but Getting Over It. Also: remember your training.

It's all about Gloriana Tenebrae trying to provide for her people while, you know, dealing with her serious fairy-tale citric acid addiction. And, as well, dealing with her dysfunctional and at-their-throats royal family.

Parents and children and the point where you stop having to be special because, hey, you're You!
 
 
Imaginary Mongoose Solutions
01:21 / 03.11.06
That is unbearably lame right?

Yeah, kinda.

But you ARE one of the Seven Soldiers, so... I mean, the idea has crossed my mind as well. Especially since SS#1 has in a roundabout way led to a fantastic string of events that have helped me with a lot of issues.

Yeah, that's right. Seven Soldiers helped change my life. Is that lame or what? Or what?
 
 
--
04:27 / 03.11.06
Hey, at the start of SS #1 they list the seven weapons, one of which is a "hammer". Maybe I'm just clueless or something but what is that a reference to?

Also... Regarding Melmoth, he says he can't be killed, and there are many instances in the series where this is demonstrated, such as when Frankenstein shoots his head off, or when Klarion devours him. Yet in Frankenstein #2, a great deal is made about how Frankenstein plans to kill Melmoth once and for all. What ends up happening is that Melmoth is devoured by monsters and, according to Frankenstein, will be reduced to conscious dung. How does he come to that conclusion? I mean, we've already seen him blast the guy's head off (and in the panel it looks like the head is about to fall right into a vat of lava or something). If Melmoth could survive that and still hold a recognizable form afterwards, I hardly see why he couldn't after being eaten by monsters on Mars.

Something else that's been bugging me... After Frankenstein takes out the Nebulon Man, there's a final panel showing the tomb and the black stuff but there's also a giant blue spark by the tomb... any idea what that's all about?
 
 
Hallo, Paper Spaceboy
04:39 / 03.11.06
Hey, at the start of SS #1 they list the seven weapons, one of which is a "hammer". Maybe I'm just clueless or something but what is that a reference to?

Bors, the Laughing Knight, uses the Hammer in the city of Ysse, where the dwarrow-men live. He splits the atom with it. We don't see the hammer again, from what I remember. I think this is round about Shining Knight #2 or 3.

If Melmoth could survive that and still hold a recognizable form afterwards, I hardly see why he couldn't after being eaten by monsters on Mars.

Well, keep in mind that Melmoth has clearly had his head sewn back on after Frankenstein cuts it off. I'm not sure what means there are to reassemble him after the big Martian monsters poop him out. For a cross-ref, see Neil Gaiman's "Facade" story (collected in Dream Country) where Element Girl debates the merits of suicide, and being a sentient gas or fluid spread out across the world.

After Frankenstein takes out the Nebulon Man, there's a final panel showing the tomb and the black stuff but there's also a giant blue spark by the tomb... any idea what that's all about?

Father Time: "We're hacking a Chinese signal so you can hitch a ride on a teleport freight grid all the way to a receiver our boys just set up in Arizona." The blue flash is our Man Frankenstein being teleported to Arizona.
 
 
miss wonderstarr
06:48 / 03.11.06
Oh, I didn't know Zachary Zor was the Terrible Time Tailor. Maybe that's the series not making it clear, or maybe that's me not re-reading it recently... but I wouldn't really put the blame on GM for that one, so fair enough.
 
 
Triplets
10:01 / 03.11.06
THEY BOTH WEAR THE SAME HAT AND LIVE IN THE SAME HOUSE!
 
  

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