Twilight of the Superheroes

Twilight of the Superheroes is the title of a proposed comic book crossover that writer Alan Moore submitted to DC Comics in 1987 before his split with the company. Although various elements suggested by Moore later occurred in various comics, Twilight was never published and is considered a "lost work". The proposal gained fame after surfacing on the internet in the 1990s where its status as a lost work by one of the superstars of the medium, as well as its dark treatment of superheroes, garnered much attention.

The title refers to the concept of Ragnarök from Norse mythology. The story was to be set two decades in the future of the DC Universe and would feature the ultimate final battle between the heroes of Earth, including the older and younger generations of superheroes, as well as the supervillains and some extraterrestrials who inhabited Earth in the DC continuity. Twilight was conceived as a standalone limited series which could also be tied to ongoing titles at the other writers' consent, much like the then-recent 12-issue limited series Crisis on Infinite Earths.

Various web sources preface the proposal by claiming that it originated in 1987, after Moore had made a name for himself with comics such as Swamp Thing but before his departure from DC. The proposal itself is prefaced with a long disquisition in which Moore talks about his thoughts on the super-hero genre, the problems of cross overs as a marketing and storytelling device, and his overall goals with the project. With regard to super-heroes, Moore stated that one problem with the genre was the lack of a definitive end to the story of most heroes; in the manner that the Norse Gods, for instance, had a definitive end. He felt that this prevented superheroes from achieving the iconic status that they might otherwise acquire and praised Frank Miller's Batman: The Dark Knight Returns as an effort to provide such an end point for at least one DC hero. On the subject of crossovers as a storytelling tool, Moore criticised them as either forcing other books to make tentative connections to a central storyline, or forcing readers to buy comics they otherwise would not for fear of not understanding the storyline. His goal for the Twilight proposal was to address both of these concerns by providing an end point for the DC superhero universe, as well as providing a crossover which would logically tie into the company's various books without forcing readers to buy numerous titles

The framing device of the story involves future versions of John Constantine and Rip Hunter travelling to the present day, ostensibly to prevent a serious disaster involving the superheroes of their time. The hook through which the series would connect with other titles is the attempts of the two time travellers to recruit others into their quest to alter the future through warning them of upcoming events. Individual books in the DC Universe could tie into the crossover or not, as their creators wished, by having Hunter or Constantine show up and warn the stars of the book of some event. The main narrative of the series involves Constantine relating the story of what has happened in the future to his present-day self over drinks in a bar. The series was set in the future of the DC Universe, where the world is ruled by superheroic dynasties, including the House of Steel (presided over by Superman and his wife Wonder Woman) and the House of Thunder (consisting of the Marvel Family) as well as houses built around the Teen Titans, the Justice League, and an alliance of supervillains. The houses of Steel and Thunder are about to unite through the dynastic marriage of Superboy and Mary Marvel Jr., with their combined power potentially threatening the status quo, and several characters, including Constantine, attempt to stop it. One group of opponents is a shadowy cabal of non-powered heroes from DC and pulp fiction, led by Batman. Another involves an alien alliance of the Green Lantern Corps, Martians, and Thanagarians. Constantine's narrative of the future ends with a massive battle between the various factions, resulting in the death of most of the super-powered characters. A side story would show a decaying superhero ghetto where decrepit versions of old heroes live. In the final part of the present time framing device it would be revealed that Hunter and Constantine had travelled back in time not to prevent the future they came from but to ensure its coming true. The final battle depicted in the book resulted in humanity being freed from the control of superheroes, a status that Hunter and Constantine supported.

The series would have restored the DC Multiverse, which had been eliminated in the 1985 mini-series Crisis on Infinite Earths. However, the series would also have been a significantly darker take on DC comics characters than had previously been published, with many of the future versions of the heroes depicted as murderers, perverts and tyrants. A central plot element of the series, for example, involves the Question investigating the bondage-themed murder of someone who turns out to be Billy Batson. The series was never commissioned, but copies of Moore's detailed notes have appeared on the Internet and in print, despite the efforts of DC, which considers the proposal its property.

Whether intentionally or unintentionally, a number of story elements from Twilight of the Superheroes have made their way into works actually published by DC Comics. The 1991 crossover Armageddon 2001, for example, involves a messenger from the future travelling to the present to convince superheroes to avoid a disastrous future. A dark future vision of superheroes as irresponsible was shown in the series Kingdom Come. DC later introduced a more flexible approach to continuity, similar to what Moore proposed, with the idea of Hypertime. Finally, the mini-series Infinite Crisis, along with the series 52, reintroduced the multiverse to DC comics. Other changes to individual characters that appear in the proposal, such as the Teen Titan Cyborg becoming almost wholly mechanical, were introduced as well.

## Visão sobre alguns personagens:

(Sejam gentis. O texto original encontra-se perdido devido a páginas da web que foram extintas. Estou lembrando de cabeça o que li na época, coisa de 10 anos atrás)

* Questão: procura descobrir quem assassinou um anão.
* Homem Borracha: prostituto, começa a perder o controle de sua forma devido a idade, ficando com partes do corpo flácidas.
* Lady Fantasma: MILF, dona de bar.
* Pequeno Polegar: após anos os efeitos de seu soro fizeram-no uma estranha criaturinha parecida a um grilo humano, que não suporta o próprio peso, e de inteligência sub-humana. Vive numa gaiola no bar de Lady Fantasma.
* Billy Batson: devido a uma doença desconhecida se tornou anão. É morto logo no começo da saga, e o Caçador de Marte toma seu lugar, assumindo a forma de Capitão Marvel.

## Review 1:

Extraído de http://rikdad.blogspot.com.br/2015/08/retro-review-alan-moores-twilight-of.html

Call it the greatest story never printed. Spanning, perhaps, 1988 and 1989, DC Comics might have run a massive crossover event called Twilight of the Superheroes. Scripted by Alan Moore, a master at the top of his game, TOTS would have been a 12-issue series set, for the most part, in a possible future of the newly minted post-Crisis DCU. Moore's notes proposing such a series, including his motives and copious musings over the fine details, long ago appeared on the Internet, to the chagrin of DC. However, TOTS was never to be written, drawn, or published. Soon after the proposal was received, Moore and DC had a falling out over material and creative disputes, and the series that might have been never was. Had the series been published, there's little reason to doubt that it would have been wonderfully written, well drawn, attracted the highest degree of attention, and been remembered for its impact on the DCU. But it never happened.

### The Plot

The central plot of TOTS describes the following possible future:

In the 1990s, an increasingly decentralized society would cause the structure provided by governments to crumble and superheroes would become the only source of order. Several "Houses" of superheroes would carve the world into separate kingdoms, the most powerful heroes commanding the largest territories. On the verge of a royal marriage that would unite the two strongest houses into a power that none other could oppose, rival factions would plan a surprise attack to prevent the marriage from taking place. The battle would take place in waves, with various third and fourth factions waiting for two others to battle before trying to step in to vanquish the survivors. Ultimately, virtually all of the super powered beings would be defeated, leaving a coalition of non-powered heroes to guide humanity towards a new future free from the control of super powered overlords.

Moore's proposal placed that possible future in a very specific and important context, which would be communicated by a framing event: John Constantine, the mystical cynic from Moore's Swamp Thing run, would be instrumental in shaping this future – possibly causing it, or possibly preventing it. A framing event that would open and close TOTS would show the 1987 John Constantine receiving a message via time travel from the 2000 John Constantine. The older Constantine would tell his younger counterpart about the bloody war between superheroes that might come to pass and ask him to warn the key players so that the path leading to the Twilight scenario could be prevented. Once the 1987 Constantine delivers those warnings, however, he receives a postscript from his future self indicating that the warnings were calculated to cause the Twilight scenario, and that the older Constantine had deliberately used his younger self after calculating that the annihilation of superheroes was in the Earth's best interest. Then, in the series' final panels, the 1987 Constantine would attempt to strike back at his elder self, and possibly derail the Twilight scenario, by choosing not to meet, in 1987, the woman that would have been the love of his life.

Moore's proposal is exceedingly detailed on certain points, but confessedly, and understandably, nonspecific on many others. Key details which seem immutable, include the following:

• The future timeline of the DCU from about 1990 to 2010 is made uncertain because of a "fluke" created by the Time Trapper as part of an unrelated attack on the Legion of Super-Heroes. This makes the Twilight scenario that is the center of the story a possible future, but one that might possibly be prevented.

• In the Twilight scenario, as noted earlier, the American government has been replaced by various territorial fiefdoms run by superheroes. These are called houses and are analogous to the ruling families of Europe that took power during the Middle Ages.

• One leading house is the House of Steel, led by the now-married Superman and Wonder Woman and their son and daughter, young adults or teens as the scenario unfolds. The other is the House of Thunder, led by the married Captain Marvel, Sr. and Mary Marvel, Sr., and rounded out also into a quartet by Captain Marvel, Jr. (their longtime friend, now secretly Mary's lover) and their daughter, Mary, Jr. A wedding that would unite Superboy and Mary Marvel, Jr. would thus create a single house with eight beings at the highest level of power.

• Other rival houses are centered around, respectively, the Justice League, the Teen Titans, the surviving super villains, magicians, time travelers, and another group or two. A secret cabal of non-powered heroes led by Batman and a separate off-world alliance of aliens (notably, from Mars and Thanagar) and Green Lanterns figure importantly in the power balance.

• A seedy underworld centered on a bar owned by the former Shadow Lady would be the setting for a compelling locked-room mystery including a dead "midget" and a 6' 6" blonde call girl. This would turn out to be vitally relevant, as the dead man-boy would prove to be a sexually perverted Billy Batson and the blonde who entered a room with him, then disappeared, would be the Martian Manhunter. Captain Marvel died when Martian Manhunter killed Billy, and throughout the events of the Twilight scenario, whenever we see "Captain Marvel," it is actually Martian Manhunter in disguise.

• While the houses of Steel and Thunder have the greatest physical power in this world, the older John Constantine acts as a master manipulator behind the scenes, and he secretly directs an outcome in which the Batman-led faction ends up triumphant. This takes shape as the minor houses (Justice, Titans, etc.) attack the Steel-Thunder alliance at the royal wedding. After much bloodletting and many deaths, the off-world aliens swoop in to try to finish off the survivors, finally revealing that "Captain Marvel" was the Martian Manhunter, on their side all along. Sodam Yat (Moore misspells the name he had previously invented), the Daxamite Green Lantern, kills Superman, and the aliens seem to have prevailed, when Constantine reveals that he has allowed Qward to invade their home worlds, which causes the alien forces to leave Earth to go fight defensive wars on New Mars, Rann, Thanagar, and Oa. This leaves the non-powered forces such as Batman to rebuild a new world order free of all superheroes.

• The framing event makes the relevance of the Twilight future to the present (1987) DCU intentionally ambiguous. The younger Constantine's act of defiance in refusing to meet the woman who was his companion in the Twilight future may prevent it from taking place. Moore anticipates that the ambiguity will stimulate readers' interest in the years to follow as they see various signs in monthly comics that seem to confirm or reject the Twilight future as one that will eventually occur.

Hypothetical Impact

It has been noted that Kingdom Come, a memorable work by Alex Ross and Mark Waid has considerable similarity to TOTS. I would argue that Kingdom Come is closer to a realization of TOTS than it is to a separate work with minor similarities. But there are important differences, and one of them is that Kingdom Come was not so directly suggested as a possible future of the then-current DCU's present. Another is that in Kingdom Come, Superman, Wonder Woman, and Batman were not made out to be killers, and that the core of DC's heroes remained true to their traditional principles.

TOTS was never printed. Perhaps that is solely because of the falling-out between Moore and DC that ended all of his would-be projects for them and for no other reason. It is impossible to say if DC would have printed the story, had their relationship continued. If it had been published, it almost certainly would have been a hit ­– well written, well drawn, well promoted, and universally read. But perhaps some or all of DC's higher-ups would have vetoed the project on the basis of its tone.

Moore's story depicts the physical death of many superheroes, essentially to the point of exterminating them all, but it kills off their ideals long before their bodies die. His story makes DC's superheroes into freaks, perverts, tyrants, sadists, and killers; few are spared. Those depictions were not clearly "in continuity," which might have excused them. Certainly, stories by Moore and others showing some of the same darkness have been published (and highly regarded), so TOTS might have gotten the green light and gone on to attract the attention that it inevitably would have.

Moore in the mid-Eighties talks with energy and enthusiasm about how comics were beginning to appeal to an older generation of readers. This was allowed by, and further led to, content that was more interesting to and appropriate for older readers, in a cycle that shifted comics from titles selling up to a million copies per issue for an audience of kids to titles selling 50 thousand copies per issue for an audience of adults; by and large, the kid market evaporated, though it exists at a lower level of volume.

In the process, Moore became disenchanted with the idea of superhero comics as something beneath him, and left the genre for creative reasons, other disputes aside. But along the way, Moore scripted undeniable classics that transformed superheroes into petty, flawed, sometimes malevolent freaks who even in their efforts to do good ultimately did more harm than good. Moore's conclusion to TOTS, as seen through the eyes of an old Constantine (whom Moore's proposal calls "endearing") brands the superheroes as an obstacle to humankind's peace and prosperity. This is exactly the viewpoint spoken by Glorious Godfrey as he tried to turn humanity against superheroes in Legends, which was being published at the time Moore wrote the TOTS proposal (Moore mentions Legends, but indicates that he had not yet read it). It is also the viewpoint of Lex Luthor, in many of his various incarnations, regarding Superman and other superheroes. Moore, in essence, looked deeply at the superhero genre and decided that he sides with the villains, and then wrote stories fulfilling the villains' wishes. Then he dusted off his hands and walked away from the genre, having done just as much damage to the legends as he could.

And note the movement that took place: Comics written at a child's level for children to read were replaced with something else – superhero comics written at adults' level for adults. Then, as Moore would have it, the something else wasn't worth perpetuating and may as well have ended.

Virtually ever comic book written by Moore is superior in artistic vision to the issues of Legends, written by Jon Ostrander and Len Wein. Ostrander and Wein's story ends with the superheroes under siege from adults who were duped by Darkseid when children surge forward and surround them, proclaiming their love and turning the confrontation to the heroes' advantage.

Moore's works are inspired. Legends is silly and immature. But I find myself musing that Moore's works artfully carried out something very negative, whereas Legends, and many stories like it, did a sometimes-respectable job of something actually worthwhile.

Moore's brilliantly memorable "For the Man Who Has Everything," ends with Batman's gift to Superman, a rose named "The Krypton," being stepped on and killed. Superman, speaking with an intent known only to him, that he thinks may speak as accurately of the planet Krypton as it does of the rose, answers, "Don't worry about it, Bruce. Perhaps it's for the best."

TOTS was never published. Many fans and critics have lamented this, pondering what a great work it would have been. And I reply with Moore's words. Don't worry about it, fans. Perhaps it's for the best.

Review 2:

Extraído de http://dc1980s.blogspot.com.br/2013/10/1987-twilight-of-superheroes-by-alan.html

Alan Moore pitched this idea to DC Comics in 1987. "Twilight of the Superheroes" had Hellblazer, John Constantine, going back in time to prevent a future ruled by warring super hero factions. These factions included the House of Thunder (the Marvel family), the House of Steel (Superman and Wonder Woman), the House of Titans, a Batman underground rebel group, and a collection of aliens (Martian Manhunter, Adam Strange, and the Green Lantern Corps).

The story, which was set 20 years in the future, was built up around a climactic battle that would settle which faction would dominate the Earth. It was pitched as a stand-alone maxi-series, similar to Wolfman/Perez's Crisis on Infinite Earths.

Moore's Central Plot:

> This is the main central plot of Twilight, being the story that [Rip] Hunter tells Constantine and that Constantine passes on to the other parties involved, and it deals with the world of the Twilight. I don't have it broken down issue by issue or anything, but the rough shape is something like this: In the middle 1995 or earlier, when society was starting to break down, many of the villains on Earth tried to take advantage of this situation by exploiting the uncertainty and disaster. Incensed by this, the current Justice League decide to go on the offensive for the first time and plan a careful campaign that will remove all the super-villains forever. They enlist the aid of a lot of other superheroes in this, and they are mostly very effective. So effective, in fact, that they begin to be seen as the only effective force for reason and order in a fast crumbling world.
>
>

> This goes to the assembled heroes' heads a little, and in an attempt to secure their new power base they pass a majority motion outlawing aliens from Earth. While this is passed and is rigorously enforced, it is one of the decisions that causes the first serious rift in the ranks of the assembled super-doers, with some small groups like the Titans starting to drift away from the main group. This process continues until the state of the ruling Houses is pretty much as described above, with the House of Secrets containing the only super-villains to survive the purge other than those who reformed, and the House of Lanterns demolished upon Earth and temporarily relocated upon Mars pending the planned secret invasion.
>
>

> At the start of our story proper, there is quite a lot of different activity going on in the various camps. The Houses of Steel and Thunder, each suffering their own internal stresses, are preparing for the marriage of the delinquent Superboy with Mary Marvel Jr., daughter of the Captain and Mary Sr. This is a development that causes considerable anxiety all over the place: previously, even the two most powerful Houses could not attempt to exert any pressure upon the others for fear that the other Houses would unite against them. Both Houses knew that individually they couldn't hope to take on the assembled might of the Titans, Justice League and others. This preserved a status quo of sorts.
>
>

> However, with the prospect of an alliance in the offing, it seems quite possible that the assembled forces of three people with the power of Superman, four people with the power of Captain Marvel and Wonder Woman into the bargain could easily smash the most firm resistance. This prospect worries both the Houses of Titans and Justice tremendously. It also worries the villains remaining at the House of Secrets who remember back to the purges of the nineties and shudder. It certainly alarms the people living in the barrio, who, though downtrodden, still have a certain amount of liberty, impoverished though it be, and are not actually living under the absolute dictatorship that could result from a marriage between the Houses of Steel and Thunder.
>
>

> The other major party alarmed by the prospect are the assembled alien forces that are conspiring out on the moon of Mars. They don't like the thought of a planet ruled by an unstoppable superhuman elite purely because it might very quickly pose a threat to the aliens' own well-being. Their plan is cryptic, but we learn a bit of it at a time. The main thrust of their plan is that they intend to use Adam Strange's place as their agent on Earth to set up a Zeta Beam link through which an inviting army of Hawkpeople, super-powered green Martians and members of the Green Lantern Corps could materialize in the center of Times Square or somewhere, this plan being linked to a Thanagarian Plan that has to be abandoned in the current issues of Swamp Thing, resurrected here to much more spectacular purpose.
>
>

Alan Moore ends his pitch with the following comment:

> "I hope you can see how it's meant to fulfill all the requirements mentioned earlier. There are opportunities for new characters to get a springboard, old characters to get a shot in the arm and all the merchandising you can handle in terms of games and stuff, at least as I see it. The warring Houses idea sounds ideal for role-playing games, or maybe even a video game. The overall continuity is hopefully enhanced without being damaged in any irreversible way, and I think we might get a damn good yarn out of it in the bargain. Anyway, I seem to have gone on far longer than I intended, so I better wrap this up. I'll be looking forward with interest to hearing what any of you have to say about all this when you've had a chance to read it. If any sections are incomprehensible and need clarifying then please give me a call."
>
>

## Review 3:

Extraído de http://tvtropes.org/pmwiki/pmwiki.php/Script/TheTwilightOfTheSuperheroes

In 1987, before his split from DC Comics, Alan Moore proposed a dark comics crossover called Twilight of the Superheroes. While the story was never published, the original proposal was leaked online and gained popularity as a "might have been" story penned by one of comicdom's biggest stars.

The background as outlined stems from Moore's ideas about the Crisis on Infinite Earths and the Post-Crisis world. He noted that while it could resolve continuity problems in the short run, eventually they would run into the same issues again in the future and that in many ways, the loose many-worlds alternate-universe division between Golden Age and Silver Age Batman and Superman gave more options for writers. Moore's solution was inspired by Frank Miller's Batman: The Dark Knight Returns which he noted gave Batman an ending and finally raised him to the level of myth and also settled continuity issues by proving that it's such a good story it doesn't matter finally what its position in the continuity is. Moore stated that without the element of time, comic books can never become true legends since the nature of Comic-Book Time, Status Quo Is God and Failure Is the Only Option prevented the characters from growing old, having the final battles and betrayals common to the Norse Myths, Robin Hood or Sherlock Holmes stories that ultimately defined those characters. He proposed a Crisis Crossover that was structured in such a way that it left room for writers to either add/subtract or ignore altogether and free up many issues of writing in continuity while at the same time adding a level of myth and purpose to the entire DC Universe.

The story's Framing Device features a future version of John Constantine traveling back in time to warn everyone of an impending disaster. As he explains to his younger self in a bar, the world will eventually become a dystopia ruled by a number of superhero dynasties, such as the House of Justice and the House of Titans. Superman and Captain Marvel — rulers of the most powerful dynasties, the House of Steel and the House of Thunder — arrange a political wedding between their children to combine their power. Since the union threatens to destroy the status quo, the other houses begin planning to crash the wedding and seize power for themselves. But little does anyone realize that the future Constantine has his own plans for the wedding, and they're all playing right into his hands...

It's worth noting that a number of the concepts used in the proposal, such as the restoration of the DC Multiverse and DC characters living in a dystopian future, would go on to be used in other DC stories.

### Tropes:

* Alien Invasion: An alliance between the Green Lanterns, Rannians, Thanagarians and Martians is one of the factions vying for control of Earth. They end up being the biggest threat out of all of them.
* Back-to-Back Badasses: Subverted. Superman and Captain Marvel face off against the Alien Invasion this way, only for Captain Marvel to reveal himself as Martian Manhunter in disguise.
* Bittersweet Ending: Constantine was able to prevent the dark future from happening, at the cost of his own chance for true love.
* The Chessmaster: John Constantine basically runs the entire conflict from behind the scenes.
* Chronic Backstabbing Disorder: Constantine ends up manipulating and betraying almost everyone. Including his past self.
* Dead to Begin With: Captain Marvel.
* Dead Person Impersonation: Captain Marvel has actually been dead since before the story started. Martian Manhunter has been impersonating him.
* Deconstruction Crossover: Of the DC Universe.
* Future Me Scares Me: John Constantine takes this to some pretty extreme levels.Upon learning that he was manipulated into helping create a dystopian future, he's so angry at his future self that he deliberately sabotages a chance at true love just to get back at himself.
* Gambit Pileup: First you've got the Houses of Steel and Thunder, who are trying to combine their powers via a political marriage. Then you've got the Houses ofJustice, Titans and Secrets, who have all teamed up to wipe out the Houses of Steel and Thunder and take control for themselves. Then there's the House of Lanterns and their various alien allies, who want to take over Earth to prevent a potential intergalactic empire. Then there's an underground cabal run by Batmanand various other pulp heroes, who want to take down the houses and put humanity back in control of Earth. And finally there's John Constantine, who's manipulating everyone else and trying to prevent this dark future from ever happening. Except he's actually loyal to Batman's crew.
* Grey and Grey Morality: None of the warring factions are really that much great, and even the worst of them has a Token Good Teammate.

* Humans Are Warriors: This is the main reason the aliens want control of Earth. They're afraid that if the various houses stop fighting each other, then humanity could spread out into space and threaten their power.
* Kill and Replace: Martian Manhunter poses as a call girl to lure Billy Batson into an S&M session, and then kills the boy and steals his identity.
* Kill 'em All: Most of the cast ends up dead by the end of the climactic brawl.
* Last Stand: Superman dies this way, fighting against a massive Alien Invasionsinglehandedly before finally dying at the hands of Sodam Yat.
* Legion of Doom: The House of Secrets is made up of the world's remaining supervillains. Despite this, they're not any better or worse than the hero-run houses.
* Locked Room Mystery: One of these serves as as subplot. The victim and murderer are Captain Marvel and Martian Manhunter, respectively.
* Love Makes You Crazy: To the point of causing the dark future to happen, just for the one special girl.

* Never Grew Up / Older Than They Look: Though he is an adult in his Captain Marvel form, Billy Batson is still a young boy whenever he transforms back into a human. This causes him serious emotional problems, as he still has the mind and sex drive of an adult even when a child. This proves to be his undoing, as he ends up being killed while trying to engage in bondage sex with a hooker that turns out to be Martian Manhunter in disguise. Because of his size, the people who find his body just assume that he was a dwarf, allowing J'onn's deception to go undiscovered.
* The Purge: Twice in the backstory.
	+ Most of the supervillains were exterminated by the superheroes. The only survivors either reformed or joined the House of Secrets.
	+ Most aliens living on Earth were purged, leading to the death of Starfire and the House of Lanterns being forced off-world.
* Set Right What Once Went Wrong: John Constantine travels back to the present DC Universe to prevent this future from ever happening. Except not really. He's actually trying to guarantee it comes to pass.
* Screw This, I'm Outta Here!: During the final showdown, Captain Marvel, Jr., Mary Marvel and Supergirl decide to leave Earth and find new home elsewhere.
* Sidekick Graduations Stick: Wonder Girl has become the new Wonder Woman, Kid Flash has become the new Flash, and Aqualad has become the new Aquaman.
* Stuffed In The Fridge: Nightwing has become a grimmer and deadlier version of Batman, due to the death of his love interest Starfire in the backstory.
* Wedding Smashers: The wedding between Superboy and Mary Marvel, Jr. gets interrupted by a climactic showdown between the other factions.

## Links:

Baixe a versão em PDF (em inglês)

https://ia801709.us.archive.org/0/items/TwilightOfTheSuperheroes/TwilightOfTheSuperheroes.pdf

Um review extenso, com imagens:

http://web.archive.org/web/19970411100007/www.hoboes.com/html/Comics/Twilight/