That, step by step, DC Comics is laying the groundwork to run Twilight Of The Superheroes, the Alan Moore pitch that they bought, lock, stock and two smoking Benson And Hedges, before Moore fell out with the company and withdrew his labour.
But DC Comics owns the pitch, fair and square.
The plot of the framing device is as follows: the story starts at its ending in a one-page prologue that takes place at the end of 1987 in a bar someplace in New York. John Constantine sits drinking alone, looking very bitter and pissed off at somebody or other. A striking and personable blonde enters the bar and, noticing Constantine, leans over and asks him for a light. Constantine, sitting there with a crumpled letter in one
bunched fist and a glass in the other, glances up at her and then stares at her as if transfixed. We close up on his face and then move into flashback. Basically, the whole series is what passes through Constantine’s mind in the two seconds it takes him to respond to the girl asking him for a light.
We’ve seen the uses of the Houses of Secrets and Mysteries, we’ve seen Superman and Wonder Woman getting it together, w’ve seen a man from the future changing his own past (Booster Gold in the Dan DiDio/Geoff Johns Justice League International Annual), we’ve even seen one destroyed future in Swamp Thing/Animal Man’s Rotworld.
But John Constantine, at the centre of the Twilight Of The Superheroes story, is getting his own comic in the New 52. Originally, Twilight Of The Superheroes was intended to spin Constantine off into his own book.
Joining the dots by dots by dots by dots…
Image from a very different Twilight Of The Superheroes.