Superheroes are such a global sensation. From its immense fan base, to its communities and sometimes drawing inspiration from real life events, stories, lores and even mythology, it somehow manages to draw people from all different races, walks of life and religions together.
Fans are used to accepting heroes the way they are written. However, certain versions or variants of these fictional characters deserve a closer look to how logical having certain versions of them on screen would play out, as these characters possess little to no weaknesses.
Personally, I believe the somewhat groundedness of a character however fictional helps its audience to resonate with it. This is what give fandom some depth.
This is the first installment of a personal project: WHEN WRITING SUPERHEROES GOES TOO FAR
Superman Prime 1 Million
Everyone Superman cared about died. Whole civilizations rose and fell, and he kept facing cosmic threats alone. He eventually learned that his biggest enemy wasn't any villain. It was time itself. So, he made one choice. He flew into the sun and stayed there for 15,000 years. This appears in DC 1 Million. The constant solar radiation didn't recharge him. It rebuilt him. When he emerged, he became Superman Prime 1 Million, a golden immortal version of Superman, working on a completely different scale.
This form is simple. His cells act like living nuclear reactors. His strength, senses, and durability rise into cosmic level territory. He can shape energy in ways normal Superman never could. The feats show it. In DC 1 Million number four, he recreates Lewis Lane from pure solar energy. He repairs whole stars effortlessly. He time travels without machines. His return is treated like a cosmic event by future Justice League teams. His mindset shifts, too. After thousands of years in the sun, he becomes calmer, wiser, and far less human. Yet, still driven by the same moral core. When Superman Prime appears, even the Justice League doesn't step forward casually. They treat him like he's a new fundamental force of nature.
Wonder Woman, Goddess of War.
This version of Wonder Woman doesn't just fight war, she controls it. Normally, Diana is a warrior powered by the gods, trained for combat and guided by compassion. But during the New 52 era, she was pushed into a moment where peace wasn't enough. Aries died and his title had to be passed on. Someone had to become the new god of war. In Wonder Woman number 23, Diana kills Aries out of necessity. And the moment he dies, his power shifts into her. That's the trigger. No ritual, no ceremony, just inheritance through battle.
As the goddess of war, her abilities change right away. She gains war sense, the power to feel conflict anywhere in the world. She can guide armies, tilt the outcome of battles, and draw power from war itself. Her strategy and fighting instincts, already elite, become god level. She understands violence on a cosmic scale. In Wonder Woman number 24 through 35, she leads forces in battles against gods and mythic beings. She fights the Firstborn, a near immortal powerhouse and holds her ground using her war god awareness. She influences entire conflicts with a thought, something normal Diana could never do. She becomes sharper, more direct, and far more willing to use force when needed.
The role of war doesn't break her. It makes her dangerous. This form isn't symbolic. It's practical. She gains strength from the very thing she fights. Conflict.
Flash god of death
Flash god of death is death himself. Normally speedsters tap into the speed force, a living energy field that makes them fast enough to outrun explosions, bullets, and time itself. But that same speed force has a built-in fail safe, a cosmic grim reaper that appears whenever a speedster is about to die or break the rules of reality. That entity is the black flash. And in several stories, the Flash becomes it.
The trigger shifts depending on the timeline, but the idea stays the same. A speedster is pushed to the edge of death or twisted by the speed force, and the mantle of death for speedsters clings to them. In the Flash Rebirth, Barry briefly takes on this aspect when the Black Flash form infects him. And in Dark Knight's Metal, the corrupted Flash, called the Red Death, taps into similar death through speed energy. Once changed, the Flash stops being a hero and becomes the universe's way of enforcing mortality on anyone linked to the speed force.
His appearance turns into a skeletal decayed figure with black lightning and a burning red symbol. In the Flash number 138 through 141, the Black Flash kills speedsters by simply touching them. He chases Wally West across realities at speeds that break time. Every Zoom and other top speedsters treat the Black Flash as something they can't truly completely escape. The mindset shift is simple. Emotion switches off. There's no compassion, fear, or hesitation, only inevitability. And tactically, this form is brutal. The moment the Black Flash appears, a speedster story usually ends.