I think the block is a good idea, and I'd only really try the page-after-page thing if there was a story explanation for it. Not necessarily an in-world story explanation, but rather, in scenes of chaos or instability, having that shift be unspoken of and never acknowledged, the reader can at least sortof 'get' that it's in keeping with the tone. FLCL constantly throws in little skits and shifts in animation style, that I can think of off of the top of my head, that match its manic pace. Having blocks in a more ordered format, though, it... It sortof almost feels like an 'edition' or something, fitting a more meta-comics-expression. And it's a great way to show or express community involvement, even if the community isn't involved quite as much. And, just, generally, it fits the whole 'the enemies are otherworldly garbage comic things.'
I dunno how the artist renders or makes the stuff, so I got no idea there. I'm still at the point where I'm fucking around for hours a day on figure drawing, so I won't even be touching the books upon books I need for perspective and setting for a ways yet. If I had to guess, it might be a running problem with the amount of layers or something, which can fry a wimpy computer when you try to render. Alan Moore has written and mumbled quite a bit about working with comic artists, as has Neil Gaiman--might be worth looking through their advice with a grain or five of salt. While Moore was known for plotting everything in painstaking detail, which here might be somewhat counterproductive, the way he framed scenes and important elements in them--like the 'You have to be a little crazy to work here!' plaque sitting on a desk in The Killing Joke, perfectly placed to suggest that Batman himself might not be the most mentally sound person--is certainly worth looking into, particularly given that you want to play it somewhat straight.
Which, indeed, is I think the way you should roll with it. The subject material in and of itself is absurd, which is where the bulk of the humor is drawn from. If characters behave erratically and LOL SO RANDUM, then everything in the universe is cohesive, and the absurd gap is lost as a result. Obviously jokes and shit make sense between characters, because real people like to tell jokes and have senses of humors--but the comedy is principally gunna come out of (what sounds like) lovecraftian-style horror, except replace eldritch abominations with shitty webcomic characters. The instant you step into the Mel Brooks realm, of joking along with the joke, you lose that magical charm.
WELL I THINK ANYWAY