- Plot Manipulation Superman Revision
Superman is already accepted to have plot manipulation here :
Summary : The Darkest Knight created a whole new stories that would never have been allowed to become real. These stories are metafictional, presented directly to the reader as horrifying new narratives. "are you ready to turn that page dear reader, the horrors out there are ready for you...
www.vsbattles.com
But the wording in Superman's profile need to be revised because it can be misunderstood as Immortality Type 8 :
But its more than that, that is one of Story of Superman can do. Below :
In the narrative,
The Evil supposed to triumph(Final Crisis : Superman Beyond #1) and destroy everything to the void. And
superman is aware of him being a fictional character(Final Crisis : Superman Beyond #2) also aware
he's inside the story of the previous narrative(Final Crisis : Superman Beyond #2). However, rather than directly rewriting the narrative in a conventional metafictional sense like
"Superman rewrite the story in the grant morrison's desk", the Story of Superman itself functions as an
inevitable narrative created to be indestructible(Final Crisis : Superman Beyond #2) at the
heart of the DC Multiverse(
Inside The Mind of Morrison), causing the narrative to bend toward
Superman’s victory(Final Crisis : Superman Beyond #2), which makes him got extreme power up if he need it
to oppose threat(Final Crisis : Superman Beyond #2) like punching the world forger in the sixth dimension, and Superboy Prime as a representation of reader He has r
ead many comics, he read superman die and
he said he will always comes back(Death Metal : Secret Origin), so Superman cant really be destroyed. Superman doesn't consciously revived himself by rewriting the story, but Story of Superman as an indestructible narrative itself did it.
Maybe this words below, made you think its not meta
IGN Comics: You stated that you wanted Final Crisis and Beyond to be about the nature of story itself, and I definitely think you've succeeded in that regard, particularly in Beyond and FC #7. Again, there are so many layers to this, and I'd just like to get your thoughts on a few things I noticed:
First off, you've spoken about the power of story, and the power of the DC Universe in particular, and expressed a certain level of awe at how these creations and these stories outlast their creators significantly. This sentiment seems to play out directly when Zillo Valla faces down Mandrakk's dream of the ultimate void by telling him she found a story in the germ world that's unstoppable and indestructible, about a child rocketed to Earth from a doomed planet. Is that pretty much what you were going for there?
Morrison: Yeah, pretty much. The fact that in the DC Universe there is a story about a genuinely good and moral man who can't be beat, and the fact that the DC Universe exists in the real world means that humanity made up a story about a genuinely moral man who can't be beat. That's a really cool story to learn from, especially when we're under a lot of pressure in the world today from lots of angles. So again, like I said to you earlier, it's the idea of acknowledging a genuine depth of reality to these fictions. It's not the fourth wall, it's not post-modern or meta – I hate those terms because I think they just undermine the simple notion that everything we can experience is real, including dreams and stories. These characters are in here, in the universe with us, and they have s--t to tell us. And that's what I find really exciting. They're real in the sense that you can hold them in your hands and interact with them. They don't need to pretend to live in New York. It's much more real than that – they're actually alive in our hands.
It does not an anti feat of it being metafiction, he just wants to tell it's not just a metafictional joke story made for fun, it's deeper than that.
Since superman
itself aware of him being a
fictional and aware
he's inside the story in the first narrative and
prime as a representation of reader, he has read many superman stories(he's a fan of superman) aware of Superman cant be truly destroyed.
IGN Comics: All right, let's dive into it. So storytelling has often been compared to illusion and slight of hand, where the illusionist or writer uses big loud movements with his right hand to distract the crowd from his left, then when the crowd looks over to the left hand to catch the trick, the big turn occurs in the right. On several levels, it seems like you've pulled off the ultimate storytelling slight of hand with Final Crisis. You began with this epic superhero event boiled down to good vs. evil, then introduced these crazy, fourth-wall bending elements in Superman Beyond. But when it came down to it in the end, the story really did end being this ultimate good vs. evil story – just not the one we expected. Was this deliberate on your part?
Morrison: Yeah, completely. As you know, from the very start of this, it was kind of me trying to do a 'final' statement on DCU superhero comics before I go off and have a rethink. Unmaking the DC Universe to the point of destruction then showing how its own internal rules will work to homeostatically reset it. Superman always saves the day or he's not Superman. It's a self-perpetuating idea. So I wanted to get in everything I felt about that, and I knew it was ambitious, but I actually do think we nailed it.
I think as the years go by, people will see how well it was made. But then it became for me about digging right down to the root of the whole thing. Like what a superhero is, the basic hero story itself, and why humanity likes to imagine itself as the striving hero fighting against decay and darkness. Why are superhero movies so popular when we're all so scared? Everything was wound very tightly around the very simple core theme. I mean, in Superman Beyond we told a story that's told a million times, where the good strong guy goes up against the old corrupt evil bad guy who wants to prey on everything in his path, and the good guy elects to stop him. We've seen that story in every comic we've ever read and every movie we've ever seen, and yet it's still powerful. An appreciation for that particular story seems hardwired into the human nervous system.
I was also trying to do something to acknowledge the fact that we all know these are made-up stories. Again, I felt that it was a very specific DC approach. Marvel has really cornered the market on the whole, real-life "this is set in New York" type of thing, where it's trying to convince you superheroes could live in the real world and it's all kind of believable.
DC is more willing to acknowledge its existence as a fictional universe. We know Metropolis isn't real. We know Gotham isn't real. But Batman is real, because everyone digs Batman. Everyone has got a bit of Batman in their heart, if not a T-shirt. The DCU doesn't have to pretend to be our world. It doesn't have to fake the headlines to maintain the simulation. It can actually be pure, uncut mad-for-it sci-fi DC Universe, which is not this world at all. It's a dazzling virtual reality on paper. And that's why people go there to be entertained, enlightened or angered. These are all real feelings. So I was trying to get to that, and to say, "you know, we can acknowledge that these are stories, but stories are also real. Stories have big effects on people, and they can make people feel sad or brave or make them cry or go to war."
Grant Morrison views the story of Superman as something that outlasts the writers who have written him, because the idea of Superman as a symbol of hope and a hero who saves the day has already become deeply embedded within human in real life. Because of this, the Story of Superman is created as indestructible story, ensuring that Superman cannot truly be destroyed and causing the narrative to bend toward Superman’s victory.(This is definitely meta)
^^^^ Look into the bold sentences in Morrison interview above^^^^
So we should revised the word in Superman plot manipulation to :
We should give it to cas too & i just realized, Prime doesn't have 4th wall ability in his profile, we should edit his profile too
Superman
shook the Phantom Zone which is
dimensionless void
And obviously dimension itself related to mathematical space-time with no doubts.
If anyone interested why Beyond Dimensional Existence Type 1 cuz BDE 1 is given for structures or characters which are aspatiotemporal and has nothing to do with Low 1-A, 1-A, whatsover
Type 1: Characters who lack spatiotemporal features entirely, while not actually being superior to them in nature. They are simply ontologically different from any dimensional construct, but can ultimately still be comparable to dimension-bound entities in terms of raw power. Due to being aspatial and atemporal, they are obviously immune to conventional Spatial Manipulation and Time Manipulation, and since they are not part of the spacetime continuum, they usually have Acausality (Type 1). Note, however, that simply being incorporeal is not sufficient for this ability. The character must specifically not be a part of space at all, while incorporeal beings (e.g. Ghosts) can still have extension in it, despite their lack of bodies.
