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Honestly, I don’t mind just not including this specific story in DeMatteis Cosmology blog since the treatment of Eternity is a bit iffy. Plus, it adds more confusion on the relationship between who Creation(Eternity or Maya) is. Though, small references here and there don't deter the usage of a story. Stuff like that is bound to happen and rarely affects the bigger canon at large.I don't think that the storyline of Defenders Vol. 3 should be removed from standard canon, since that was written by Kieth Giffen alongside Demattis, plus IIRC that storyline was referenced when Umar briefly tried making Hulk her consort for the second time.
So, even though I don’t mind per se. I think it's still suitable to use in this Cosmology preferably than the main Cosmology. Plus, J.M. DeMatteis is known for working with Kieth Giffen, they're good friends and collaborators. Kieth is known to let DeMatteis creates the scripts when it comes to more of the “cosmology aspect” of the storytelling.
As quote:
It wasn’t until ten years later—when Keith, Kevin, and I reunited for our Eisner-winning Formerly Known As The Justice League series—that we all went, “Hey…we’ve got something special here.” The three of us did more Justice League together, as well as a short Metal Men run I’m extremely fond of, and a Defenders mini-series for Marvel. Keith and I made sure to keep working together with regularity after that, right through to our Scooby Apocalypse series that ended in 2019. (Along with projects like Justice League 3000, Booster Gold, and Larfleeze, we produced my favorite Giffen-DeMatteis collaboration, our creator-owned series Hero Squared.)
There was no ego involved when Keith and I worked together. The basic plots, the rock-solid building blocks of our stories, were all Giffen—but I had the freedom to bend and twist those stories any way I chose. Someone else might have taken offense—“How dare you alter my brilliant creative vision?!”—but Keith always encouraged me to follow my muse, adding new plot-lines and character bits via the narration and dialogue. He, in turn, would build on what I’d done, always surprising me with his extraordinary leaps of imagination. It was, as I’ve often said, like a game of tennis: We’d hit the ball back and forth, and, as we played, the stories evolved into something more than either of us could have ever achieved on our own.