All Flo asked for was that the bodies should form “in the most grotesque manner possible.” It’s a great example of John’s kind of logical creativity that the bodies materialize out of chopped wood, as if Byron’s told himself that he was just chopping firewood all the time he was chopping people.

This sequence sort of conforms to and sort of transcends the “balloon hell/bubble heaven” dichotomy we saw earlier. Some of Byron feels that he deserves a better afterlife, living peaceably in his hometown, and some of him feels he deserves the hell that lies behind the simple imagery. He’s at war with himself still, for a little while longer.

Jason Waltrip and I once did a fantasy sequence in Fans in which our most guilt-prone main character visualized a field of corpses that included all his friends. We could certainly have done that here! However, this is no fantasy: this is Byron’s actual memory of the death of Battleshire, which we alluded to in the “pal” sequence. Of all the things the berserker’s done, it makes sense he’d remember this the most.

(For similar reasons, we couldn’t use the destruction of Pardo’s village, because Byron was dead before that began so he wouldn’t know what it looked like or who was killed. According to Gravedust,  even his ghost wouldn’t have been free to haunt it.)