Jones 1

Douglas Jones

29 August 2007

Kingdom Come, Superman, and the Myth of the Hero

Kingdom Come, a graphic novel published by DC Comics, written by Mark Waid and

illustrated by Alex Ross, presents an interesting world brimming with characters new and old.

These characters are used in Kingdom Come to deconstruct the superhero universe. The

relevance of the archetype of the hero is fit for analysis in the context of the universe created in

Kingdom Come. Furthermore, Kingdom Come establishes Superman as the representative for the

myth of the hero. As a well-established icon, Superman is used to illustrate how the fundamental

myth relates to the modern hero, and, more importantly, that the fundamental archetype is still

relevant to modern mythology in the form of the graphic novel (Morris and Morris ix). Kingdom

Come argues that the fundamental archetype cannot be replaced. It illustrates the character of

Superman growing and becoming more in line with the myth of the hero established by Joseph

Campbell. In a way, Superman is returning to his roots after a long and dangerous departure. The

story contained in the pages of Kingdom Come leads the reader to the conclusion that the myth of

the hero must continue to include the fundamental hero archetype otherwise it cannot survive.

Superman is a classic example of a character illustrating the archetype of the hero, an

archetype as old as The Epic of Gilgamesh, one of the oldest written myths. Superman’s

character embodies the features that help define what makes a character heroic in the minds of

his or her audience (Thury and Devinney 135). Heroes following the archetype mirror attributes

that are valued by humanity.

 Jones 2

“Whether he’s stopping a purse snatcher, foiling one

of Lex Luthor’s evil plots, or even deflecting an

asteroid from its collision course with Earth,

Superman gives us an ongoing example of what

commitment to truth, justice, and not just the

American way, but genuinely human way should look

like.” (Morris and Morris 18)

Even one of Superman’s nicknames, “The Man of

Tomorrow” (Waid and Ross 216), gives insight into the

character of Superman. Clearly, he has been created with the

intention of being a leader and embodiment of the defining

attributes of humanity (Waid and Ross 7). Such attributes are

vital for a hero representing the fundamental archetype.

Figure 1
Campbell shows that the hero is really a reflection of

humanity itself. Heroes portray the struggles that we all face in trying to find our positions as a

part of a larger society (Thury and Devinney 135). To find such attributes so strongly represented

in Superman is especially interesting considering that he is not a human being, but an alien from

a distant world. Yet, like the members of the human race, Superman must face the problem of

finding his place in society. In an attempt to resolve this issue, Clark Kent took to heart the ideals

of his small town family allowing him to become a character that all of America could depend on

and look up to.

Using an established icon like Superman allows the authors of Kingdom Come to create

something more than just another action story. Given a well-known icon as a base to build upon,
 Jones 3

the concept of the hero itself can be placed under the

microscope for examination and analysis. What Kingdom

Come builds is not a myth, but a meta-myth. As a myth

about myth itself, Kingdom Come hopes to establish that the

myth of the hero is still relevant to a modern and changing

audience. This goal is accomplished by showing that only

the hero archetype can stop the destruction of the worlds of

both the hero and the human being. The deeper meaning is

clear; the myth of the hero cannot survive without the

archetype, which provides meaning and relevance to any

Figure 2
audience, new or old.

To build this conclusion, Kingdom Come places Superman on the path of the hero as

established by Joseph Campbell (Thury and Devinney 135). The monomyth itself is used to put

the archetype of the hero to the test. If Superman can follow this classic story arch and survive,

then the monomyth itself will be validated. Joseph Campbell breaks the monomyth into three

distinct phases: Departure, Trials, and Return (Thury and Devinney 137). Kingdom Come moves

Superman through all of these stages in order to apply the monomyth and catalogue the result.

Kingdom Come begins with Superman departed from the world that he once swore to

protect. Thury summarizes the significance of what Campbell has stated, “the hero must ‘retreat

from the world to the realm of the unconscious. It is here that he will find the resolution of his

conflicts and fears’” (137). Superman is isolated in his aptly named Fortress of Solitude. Here all

his time is spent in internal reflection upon his past actions and the way the world views him. He

has now taken a form that is not easily recognizable by those familiar with his character. Instead
 Jones 4

of a man of action always ready to do his part in

making the world a better place, we are given a

normal looking man quietly laboring on his farm

(Figure 2). Internally, however, Superman is facing

what may be his greatest fear: that the world no

longer has need for him or the concepts that he

represents. In his isolation, Superman has sent a

clear message. He has passed his position as

protector of America to a new breed of hero. This

message has a compound effect, prompting other

heroes of mindsets similar to that of Superman to

retire or change from primary to secondary heroes.

With the absence of Superman, the world of

Figure 3
the hero begins to change. Without a leading figure,

new heroes are free to choose the meaning they bring to their work and to the world. Kingdom

Come is deconstructing the concept of the superhero (Stephens). Each new hero represents a new

point of view and a new opinion on how the concept of “the hero” should move forward. The

result is chaos. There is no longer a center to define the meaning of “hero”. Pointless battles are

fought and innocent lives are ruined for nothing greater than a super-powered battle for

recognition. Perhaps the best imagery of this situation is presented on pages 21 through 24; page

23 is shown in Figure 3 (Waid and Ross).

 Jones 5

On these pages not only does the

illustration, but also the layout of the

panels themselves, speak to the

actions of these new characters. Here

we see a fragmented, torn view of a

new reality that has no purpose or

obvious meaning. However, the

effects are concrete. These new

Figure 4
“heroes” are anything but. They inspire fear and hatred by normal humans for the entire race of

super-powered beings. The words of the narrator, Norman McCay, explain the new heroes best,

“They number in the nameless thousands…progeny of the past, inspired by the legends of those

who came before…if not the morals” (Waid and Ross 22). When Superman retired, he left a void

that was begging to be filled. A deconstructed reality, which brings chaos and fear, two things

that protectors, by definition, should strive to minimize, is the result of Superman’s absence.

As a beginning to the path of the monomyth, Wonder Woman delivers “The Call to

Adventure” to Superman. Initially, Superman refuses the call. He still believes that he has made

the right decision by allowing other heroes to take his place. Superman recognizes that he is

unchanging in his ideals and is attempting to accept that they may no longer represent the will of

the people. If his actions are not looked upon favorably, then he cannot continue. Superman held

this belief until Wonder Woman convinced him to take action. It is at this point that Superman is

forced to face his fear that his decision to retire was wrong and he has neglected his

responsibility to humanity. To Superman, this is a great failure, a failure that cannot be

overlooked.
 Jones 6

In order to return as a

protector of humanity, Superman

must cross a physical and symbolic

threshold (Thury and Devinney 138).

The shell of the Fortress of Solitude is

a physical representation of the

threshold that Superman must cross.

The threshold itself is shown as a

shell dividing the Fortress from the

outside world in Figure 4.

Symbolically, Superman must cross

Figure 5
the threshold from a place safe from

the judgments of humanity to a world that may no longer accept him. Crossing this threshold will

force Superman to come face to face with his fears, much like when Superman initially entered

the world, leaving his family and farm behind.

Upon crossing the threshold and returning to the world, Superman has begun on the Road

of Trials as described by Campbell (Thury and Devinney 139). Superman is not only a powerful

icon to his readers but also to other characters in Kingdom Come. By simply being present, he

can inspire hope in others. At least, this is how most citizens initially viewed his return.

However, liminal characters, such as Norman McCay, can provide a unique point of view as a

virtue of their existence between two states (Thury and Devinney 381). This fact affords McCay

a unique view of the consequences of Superman’s actions. McCay can see that Superman has

changed in a fundamental way. He has diverged from the archetype of the hero and this causes
 Jones 7

McCay to worry. This is illustrated in

Figure 5 where McCay is realizing for the

first time that Superman may no longer

represent hope for human kind.

Despite the fears voiced by

McCay, Superman himself still cannot see

the danger inherit in his actions. Superman

knows that he must strive to avoid the

death of others at all costs, but the

violence necessary to subdue some

Figure 6
characters often conflicts with this goal.

Soon, his actions no longer assuage the fears of humans; instead they bolster them as citizens

begin to question the motives of Superman. It is this key issue that Superman fails to realize. He

has clearly changed from the fundamental archetype that both the characters in Kingdom Come

as well as readers of the graphic novel are familiar with.

This change in Superman’s character is represented visually by the replacement of yellow

with black in his costume as seen in Figure 6. Superman has always been uncompromising, but

his actions are now viewed as dangerously totalitarian. Humanity is not given a say in

Superman’s decisions and the response is more fear. Here, it is the liminal character Batman that

presents these concerns. By straddling the division between citizen and hero, Batman is afforded

the ability to recognize the faults in Superman’s ways.

During the “Road of Trials”, Superman has strayed dangerously from the fundamental

archetype. He believes that he is fighting for truth and justice, but ordinary humans do not share
 Jones 8

this view. By losing touch with the people he intends to protect, Superman has a lost a critical

portion of the hero archetype. He no longer represents an icon that humans aspire to. Instead, he

is viewed as an uncontrollable force, almost a god, waging a personal war that very well may

destroy humanity in the process.

One of the central themes of Campbell’s monomyth is that of “Woman as the

Temptress”. In Kingdom Come, Wonder Woman serves as the temptress to Superman. The

danger of her temptations is more than that of the flesh; her temptations affect Superman in a

way that could compromise his standing with the fundamental archetype even further. Wonder

Woman presents Superman with the overwhelming temptation to use deadly force in order to

subdue the anti-heroes that continue to riot. In response to Superman’s questioning the morality

of crossing the line and acting as judge and jury, Wonder Woman responds, “Then get ready to

cross it. We are at war, Kal…and we will take prisoners. We will have to” (Waid and Ross 93).

The tension between Superman and Wonder Woman is clear. Wonder Woman represents the

choice to act as a god, simply shaping the world to match their desires. To use powers in such an

absolute manner would be to reject the hero archetype and move away from the monomyth. At

times, during the trials he faces, Superman does make the choice to move in this direction. One

of the key signifiers of this is the construction of the gulag, a prison where uncontrollable heroes

are sent, to be released only when they conform to Superman’s vision for the world. Again, such

actions do not represent the will of the people. He is acting above and beyond what humanity is

able to dictate. He is no longer a hero serving as a model for humanity. He is now a god creating

peace and security only in his own mind. Because he does not consider the will of humanity in

his plans, this path actually leads to Armageddon.

 Jones 9

With Superman seemingly on the path to

destruction, “Atonement with the Father” serves as the

point of correction for Superman, allowing him to avert the

destruction of the world (Thury and Devinney 140).

Kingdom Come presents the concept of the father in the

representative form of Captain Marvel. As a superhero with

a powerless alter ego, Captain Marvel simultaneously

represents the human being as well as the superhero in an

uncompromising fight for truth and justice. That is, Captain

Marvel represents the fulfillment of the fundamental hero

archetype. The hero archetype is the father that Superman

must atone to. Captain Marvel represents the message that

Figure 7
only by returning to the archetype can the world survive.

In the narrative, Captain Marvel’s weak alter ego has been corrupted to evil purposes.

However, this does not change what Captain Marvel represents. His image is striking, especially

when shown that he is one of the few superheroes able to match Superman move for move (see

Figure 7). With Captain Marvel serving as the representative of the “father figure”, Superman

must realize what Captain Marvel represents and atone in order to prevent Armageddon and to

prove that only the monomyth is able to repair the world. Superman must embody the duality,

the true fulfillment of the hero archetype. He cannot simply mold the world into the form that he

sees fit. He must remember the human beings that he has sworn to protect. The appearance of

Captain Marvel is meant as a reminder to Superman of this. Superman knows of the duality of

Captain Marvel, but he believes that a choice between superheroes and human society still must
 Jones 10

be made. He cannot see that he needs to encompass both aspects of humanity and the superhero

in order to satisfy the archetype. Captain Marvel makes obvious this duality when he sacrifices

himself in order to save both humans and super humans. Captain Marvel’s heroic sacrifice saved

the physical world in Kingdom Come, however the monomyth itself will not be completely

proven until Superman is able to return to the archetype of the hero.

In order to return, Superman must accept the position of a “Master of the Two Worlds”

(Thury and Devinney 142). For Superman, this is literally represented by the two parts of his

name, “super” and “man”. The archetype of the hero requires that he is able to exist in both

“worlds”, he must simultaneously fight for truth and justice as well as represent and serve as an

example for humanity. Understanding and embracing the necessity of the duality allows

Superman to return to the archetype. In order to be a hero, he cannot just rely on super powers to

shape the world or simply retire to live life as a man. Instead, he must use the combination of

both aspects to be a complete heroic icon. Again the liminal character Norman McCay serves to

remind Superman and the audience of the hero archetype. This time, McCay directly informs

Superman of the error of his ways. Just as Superman is about to destroy the UN, a symbol of

human civilization, permanently positioning his god-like powers above the concern for

humanity, McCay is able to successfully remind Superman of the archetype that he must

continue to represent. Upon hearing these words, Superman realizes fully the grave error that he

has committed. Humanity and the monomyth are subsequently saved as Superman returns to the

archetype and vowels to work with humanity instead of above it. Had he disregarded the

archetype and destroyed the UN, Superman’s standing as a hero would have been lost forever,

his character destroyed due to departure from the archetype of the hero.
 Jones 11

The narrative of Kingdom Come has now

completed its cyclic path. Superman, an original icon for

the concept of the hero, has departed from the archetype,

only to return at the conclusion. This cyclic aspect of the

narrative is represented visually with the use of the

superhero character diner visited at both the beginning

and the end of the story (see Figure 8). The diner is an

icon for the classic hero, whose images create a

comfortable atmosphere for the diners, making it a

powerful indicator of the success of the monomyth.

Heroes can only be relevant when they represent aspects

of humanity, rather than absolute god-like control. It is

fitting that Kingdom Come starts and ends with the diner

as it symbolizes the departure and return to the

Figure 8
archetype and the myth of the hero.

The conclusion of Kingdom Come establishes the necessity of the monomyth. While

traveling the path of the hero, Superman struggled to find his place in society. By straying from

and subsequently returning to the archetype, thereby saving the world and humanity from

destruction, Superman was able to validate the monomyth. Had Superman continued on his path

without returning to the archetype, he would have lost his status as a hero. As a meta-myth, this

conclusion would have symbolized the death of the myth of the hero. The audience, much like

the humans that Superman strives to protect, would no longer have interest in the hero if he does

not relate to humanity in some way. Superman must work with human leadership in order to
 Jones 12

show them the way forward. If the myth, or the hero that represents the myth, is no longer

relevant, then both will spiral into nonexistence. Superman averted this fate by returning to the

archetype, a conclusion that validates the relevance of the monomyth. This is the story that

Kingdom Come tells. Once this is understood, it is easy to see that the myth of the hero is a

necessary, and will continue to be so, in modern graphic novels.

 Jones 13

Works Cited

Chandler, Daniel. "Semiotics for Beginners." The University of Wales, Aberystwyth. 11 April

2006 2006. The University of Wales. 13 Aug 2007

<http://www.aber.ac.uk/media/Documents/S4B/sem02.html>.

Morris, Tom, and Matt Morris, eds. Superheroes and Philosophy: Truth, Justice, and the Socratic

Way. Peru, Illinois: Carus Publishing Company, 2005.

Neuhauser, Bennett. "Interview with Alex Ross." Westfield Company. 15 February, 1996 1996.

Alex Ross Art. Alex Ross Art. 13 Aug 2007

<http://www.alexrossart.com/article_kingdom96.asp>.

Stephens, Mitchell. "Jacques Derrida and Deconstruction." New York University. 23 Jan 1994

1994. 29 Aug 2007 <http://www.nyu.edu/classes/stephens/Jacques%20Derrida%20-

%20NYT%20-%20page.htm>.

Thury, Eva M., and Margaret K. Devinney. Introduction to Mythology: Contemporary

Approaches to Classical and World Myths. New York: Oxford University Press, 2005.

Waid, Mark, and Alex Ross. Kingdom Come. New York: DC Comics, 1997.