Superhero comics are obsessed with death

Corporate superhero comics have entered their decadent phase

For an event to to be a true crisis, DC's own continuity had to be at stake

Nothing new makes the bad fan happy

Superboy Prime is the apotheosis of the bad fan

Even if the DC multiverse failed to return, the memory of the DC multiverse was back

Johns used the tools of Moore and Gaiman to make better superhero comics, full-stop

Zero Hour held out the prospect of reversing every editorial decision to change the status quo in the years since Crisis

The heroes are no longer the protagonists; the protagonist is continuity itself

Wolfman's and Perez's characters never stop feeling

Some characters intervene in events simply by watching them.

Crisis managed to be both restorative and archeological at the same time that it destroyed the DC Multiverse as readers knew it

Crisis was a poor solution to a non-existent problem

This is a job for...French philosopher Alain Badiou.

Line-wide events reconfigure the relationship between the comics, their creators, and their readers

Superheroes are constant, habitual liars

The Foolkiller is a walking, murdering critique of an entire set of societal trends that Gerber saw as toxic

Foolkiller is the most pessimistic comic Marvel ever published

Gerber's new Foolkiller combined Bernie Goetz, the antiheroes of the Great Recession, and the Punisher in a compelling pathology that was unlike anything the company had ever published

The targets of Gerber's ire tend to exhibits failure in not just morality, but imagination