Plot
The series begins with Automatic Kafka's first nanotecheroin trip. As Kafka ponders where his life has gone since the $tranger$ disbanded, The Warning is approached by the National Park Service who want to use Automatic Kafka for clandestine missions. Kafka avoids being trapped into service with the NPS by doing celebrity product endorsements and later hosting a lethal gameshow called The Million Dollar Detail.
After an issue focusing on a side character, the series moves to The Constitution of the United States, who leads a group of mercenaries in an attack on a jungle camp. As he finishes, a mysterious flight of military planes bombs the camp with exploding babies. He then returns to the United States, where he embarks on a career as a porn star.
Meanwhile, Kafka and Helen of Troy are enjoying a tryst when The Warning summons them to a social call with an old arch-enemy, Galaxia. Helen and Kafka both balk at the reunion, but eventually warm to the experience. Shortly thereafter, The Warning tricks Galaxia and kills him to power a machine that manufactures the mysterious exploding babies.
As Kafka wrestles with the suicide note left by his drug-dealer/assistant, a phantom butterfly arrives to "rescue" him "from the possible tedium of another so-called 'story arc'." The butterfly takes him to a comic shop, where he meets Joe Casey and Ashley Wood. The authors explain to Kafka that "You've been operating under different rules than most superheroes. You're part of an ongoing marketing experiment. Kids aren't flocking to superheroes like the used to, so now we've got superheroes for adults." Because they do not want to share their creation with other writers and artists, Casey and Wood erase Kafka as the last issue ends.
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—John Ashbery (b. 1927)
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
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“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)