This type of anti-climax is typical of Morrison’s work and typical of Zenith in particular. The battle is won because of a strategic move made off-panel halfway through the story. There are a lot of punches and power blasts during the battle scenes, yes, but all of the expended energy doesn’t amount to much. John is the actual cause of the victory against the evil force anyway, but he doesn’t win through usual super-heroic means. And although Ruby fails to deliver on that promise by the end of the story (she goes on holiday instead), Zenith is rewarded for his “heroic” actions by achieving pop stardom. He only aids Ruby when she promises to provide him with something (information about his parents) in return. evil (Nazis and evil beings from another dimension), but Morrison doesn’t give us the story that we would normally expect. On the surface, he has the struggle of good (Zenith, St. What Morrison subverts, throughout this narrative, are the conventions of the super-hero melodrama. John confesses that he played the hero role for the sake of political gain, and soon afterwards Zenith finds that his role as a savior has made him #1 on the singles and album charts. In the epilogue, during Rhys’s funeral, St. Zenith 7 contorts in an epileptic fit and spews out the two heroes.
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