Kingdom Come

The world changed... but you wouldn't. So they chose me.

They chose the man who would kill over the man who wouldn't... 

...and now they're dead.

Kingdom Come is a story of deconstruction. Both a post-contemporary take on the established DC mythos and a breakdown of the comic book industry at the time. Mark Waid and Alex Ross worked to create an Elseworlds tale that sits on a pedestal of DC literature possibly second to only Watchmen. It is a clash of two out of touch factions as they struggle to gain the upper hand over the other, all the while a middleman watches with the help of an angel-like deity, fearing the rendition of the apocalypse via the conflict. It is not just a superhero comic book, it is a work of literature, a stance on the comic industry itself that both breaks down its flaws yet makes a convincing case for the recognition these novellas so desperately deserve.

It was Ross's idea, a story he'd allegedly been working on since a young age. When he pitched it to DC, they gave him a writer who was fresh-out-the-gates but well versed in the history and lore of DC's vast collection of characters, Mark Waid. The two combined to create a love letter to the mythos, uprooting the current continuity and setting it several years in the future. This is not done to show off futuristic technology and examine the progress of humanity as they move into a new age, it is a method of displaying the generational disconnect of American society. The reader watches this disconnect from above, in an almost literal allegory for the silent guardian angel, as the Spectre brings Minister Norman McCay through the story to observe the heroes, their conflict, and whether or not they deserve to have an impending apocalypse (presented in the form of snippets of the Book of Revelations) averted. Norman must decide if they are to be saved.

It is a mesh of superhero and biblical themes, highlighted by Norman receiving his first omen of the said apocalypse by none other than a dying Wesley Dodds, otherwise known as the Sandman. Sandman was a popular golden age character who fell into obscurity as comics expanded, and Dodds' death symbolizes both the character being forgotten by many readers and writers but also the dissolution of lighthearted comics in favor of the darker state the industry finds itself in today. Dodds claims the heroes will bring about their own end, a critique of the disconnect from morals and loss of compassion among many who were currently active, but also a warning of what was going to happen to the larger comic industry as a whole. Violence for the sake of violence will not sell, and the current collection of Marvel and DC runs was oversaturated with antiheroes and hard-nosed vigilantes. Comics were pushing towards collapse, and something had to be done.

Norman is the archetype of the silent protagonist, a paradox given his strong opinions and involved role later in the story. He supplements the reader, whereas the Spectre is DC Comics itself, asking them to examine themes of judgment. The heroes have changed, pushed away by an evolving society they could not keep up with. Most of the old guard, the big names, have retired or moved behind the shadows, whereas a new generation less hampered by moral constraints has risen up to take their place. It's a disconnect examined by Dr. Manhattan in Watchmen or even Superman in Injustice. So far above the average citizen, the heroes forget their purpose to serve them first. The fights leave careless death and collateral damage, but what harm is that when so many more lives have been saved? The new generation, much like that of real-life, is less affected by violence and more concerned about image. The old generation wonders where everything went wrong, failing to realize they themselves have failed to empathize with those they swore to protect.

The figurehead of the old guard is Superman, who had left for a life of relative obscurity in his Fortress of Solitude. Joker had murdered the love of his life, and it was not Superman but a newcomer named Magog who ultimately achieved justice for the act. The failure broke Superman. Lois was dead, and he would have let her killer walk. Someone else took action and the public cheered them for it. Suddenly, it was not Superman but Magog who symbolized what heroism stood for, who the populace looked to as their idol. Realizing he was no longer wanted and not having any further human grounding, Superman quietly retired. The rest of the Justice League either followed suit or monitored the populace in a more passive manner than they had previously.

Ultimately, much like the political disparity between generations, the actions of the newer heroes eventually forced Superman to return to action, only this time there was no Lois to implore a gentler side from him. Symbolized by the iconic black and red S on his chest, this Superman was more authoritarian than he is traditionally depicted, a sign of how jaded and detached he had become. He didn't give the new heroes a chance for redemption, instead, they were issued an ultimatum: Get in line or be removed from service. At the very least, unlike his Injustice counterpart who was faced with similar moral quandaries and situations, this Superman did not seek control and did not kill.  Maybe this was another unintentional statement of the current generation's morals. Kingdom Come, published in 1996, brought Superman to his lowest point and it led to his retirement. Injustice brought him to his lowest through largely the same means and it led to him becoming a murderer and a dictator. Two completely different outcomes all because the Joker killed Lois.

The stage is set for a conflict of generations, the old guard versus the new guard, and with it the looming threat of armageddon. But not everyone falls in line behind Superman. Wonder Woman, the only reason he had any connection to society at all during his exile and his strongest supporter, encourages much more brutal tactics. This is a reflection of past involvement in superhuman affairs, because though Superman left Wonder Woman was right there, living in a growing society. It left her hardened and willing to do whatever it takes, an ideology Superman does not share.

In between Superman and the newer heroes sits two factions: the villains, led by Lex Luthor, hope to utilize the superhero conflict to make a play for power. Keeping this and Superman's war in check is Batman and his team. The Dark Knight, even as an old and very mortal man, remains two steps ahead of the gods around him. Batman also represents the humanity of the big three, the voice of reason who comes closest to realizing the repercussions of Superman's involvement. It is not Batman who finally redeems Superman however, that responsibility falls to another.

Even Magog, the figurehead of what the heroes turned into, realized too late what he had done. He had twisted the meaning of superhero into something unrecognizable and taken society in a new, darker direction, all because Superman wouldn't. He thought it was his purpose to replace Superman as the 'Man of Tomorrow,' as Superman was now too out of touch to bear the title. What he discovered was the title was more than just a name, it was a curse. It made him the icon of every success and failure the people around him experienced. He was the sole protector of the entire world, and when people died that was his shame to wear.

The story succeeds so well not just because of its direction and complex themes but also because of its gorgeous illustration. Alex Ross is well known as an icon of the industry, although he usually does covers. Kingdom Come and Marvels are the exceptions, stellar masterpieces that really show what superheroes would look like if brought to life. His costume design is simplistic and somewhat skintight, looking like simple fabric clothing rather than armored costumes that surpass modern military protection. Ross's watercolor style makes every page look like a beautifully rendered oil painting. Across the entire comics industry, there is not quite another artist like him.

Another factor is how deliberately contained the story is. There is no prior knowledge needed to read Kingdom Come, even in terms of general DC lore. Everything relevant is explained and everything extra is just that much more of a reward for those who know their source material. Easter eggs are packed into almost every page, from obscure DC characters (or their offspring) to several ordinary citizens taking the appearance of well known DC artists and writers at the time. It is not oversaturation because it is perfectly fine to not catch or need to focus on any of them. It is merely a testament of Waid and Ross's admiration for the world they're operating with.

Kingdom Come is widely regarded as one of the greatest single runs DC Comics has ever published. There are no tie-ins, no extra reading, just a simple four-issue run that tells a complete story. It is both an examination with humanity's growing detachment from violence and a takedown of the comic book industry at the time it came out. Action cannot be mindless action and Waid and Ross recognized this. Edgy for the sake of being edgy does not always create a complex character, and antiheroes in themselves are not characters who should necessarily be idolized as icons of moral standard. It is a beautiful read with a lot to say. Easy to get through but worth revisiting for years to come.