The key to these multi-writer story conclusions is to dole out the resolutions amongst the writers, so each micro-cast has a vital bit to play. We may even need to conference over it and assign chores if we can't do it any other way.

For example, Al B. (I think) introduced Salieri Meng. We've focussed on the kid intermittently, set up a drama about his mother's internment, noted that he's about the only character to come in from completely left field (he's not a previous minor player or a different version of an existing cast member) - so from a narrative, dramatic viewpoint he has to be there for some major reason. Question is: what?

Likewise we've invested a lot of time setting up the Purveyors vs Legion stuff. People will feel cheated if that was off-panel. Things need to get "widescreen" there for a while.

And we haven't really explored this concentration camp that some of our cast are in. We maybe need to have a look at what Meggan, April, Kat and even Mrs Meng are up against before we see our heroes come to the rescue.


I hate having to do that too.


There are limitations as well as benefits to these round-robin style stories, especially as we start ticking off the resolutions.

I was thinking that now they've had a taste of possible dire futures and are loose in the basement labs of the Death Camp, Yuki and Co's first concern might be trying to get the prisoners out before they're herded into the gas ovens. You'd need to find some reason why it's harder and more heroic than Liu Xi just void-shifting them away, though.