THE KINGDOM
An exploration of the superhero, or an exploitation?

Writer: Mark Waid
Artists: various
Colorists: various
Letterers: various
Trade Papaerback
Published By DC comics 1999
$14.95

Reviewed by Alasdair Watson

This is not a book worth buying. KINGDOM COME was passable, parts of Alan Moore's TWILIGHT filtered through the re-constructionist sympathies of Mark Waid and Alex Ross. It didn't match the kind of thing Alan Moore would have put out, but it did make some attempt at providing a capstone, and endpoint to the Superheroic antics of the DC universe, even as an Elseworlds. This was the purpose of the Alan's crossover that never was, to take what The Dark Knight Returns had done for Batman, and apply it to the entire DC universe. Even if everyone knew that the comics would never reach that end, the future standpoint provides a useful light to re-examine the present works in, a sense of tension, that things are building to a head. Most comics need this very badly indeed, since they will never actually end. They need this artificial ending. Hence TWILIGHT.

KINGDOM COME was the watered down version of the concept, but it was passable. It left things on more of an upnote that Moore's TWILIGHT might have, but there was still a sense that the comic book adventures were over, that the superheroes had ended. They were still around, but there was closure.

But some daft bastard at DC decided that after the sales success of KINGDOM COME, what they had there was a money-spinner that needed to be exploited. At least, one must hope that's the case; because otherwise, Mark Waid, who is by all accounts a thoroughly nice chap, is in need of a thorough slapping. THE KINGDOM takes everything that was good about KINGDOM COME (which wasn't without its flaws in the first place) and kicks it all neatly into touch.

"it's tied in to the events of KINGDOM COME, but it honestly doesn't need to be."

No, the superheroics aren't over. No, there is no final platform to consider the present of DC comics from, because look, the story isn't ended. The core story of The Kingdom is a reasonably simple plot, involving stopping a madman from repeatedly killing Superman by travelling back in time and killing him earlier and earlier. Oh, it's tied in to the events of KINGDOM COME, but it honestly doesn't need to be. You could do this story with any Elseworlds. As always, when time is being ponced about with in the DC Universe, the Linear Men get involved, and Rip Hunter wanders about in the background trying to look Machiavellian, making ominous mutterings about the best kept secret in the multiverse, and setting up this team of heroes who will help him save everything, while the Superman, Batman and Wonder Woman from Kingdom Come meet there present day counterparts and attempt to team up and stop the villain.

What we have in the "event" books is an attempt to consider the present day versions of various DC characters by looking at their descendents. Some of them are quite good. KID FLASH, for example, works very nicely, playing up to the change that's taken place in Wally West since his first days as Kid Flash, from hero worshiper/emulator, to a strong and confident man who understand that being a hero is an end in itself, not a means to anything else, and certainly not something to be done because you wish to emulate someone else or win their respect. But then, that works because Wally had previously been Kid Flash himself.

Some of the others are just tripe. The 'Son of Batman' and 'Daughter of Robin' stories are dreadful, failing to get under the skin of Batman or Robin (Dick Grayson) in any meaningful sort of way. Instead, they're character pieces about characters that the reader knows nothing of prior to these stories, and consequently doesn't give a monkey's toss for either of them.

The 'Son of Plastic Man' is a middle ground, being a look at why other, more credible heroes might tolerate someone like Plastic Man in their midst, however, the payoff is a pretty weak notion, and not really a satisfactory answer to the question.

Finally the last story, a peculiar piece about the nature of heroism, which is basically a rather trite "everyone's a hero in their own way" story that also serves to set up the final part of the core 'Kingdom' two part piece.

With the exception of KID FLASH, none of these are much good. Certainly not worth the price of admission. So, what about the core 'Kingdom' story? It may have a reasonably simple plot, but is it any good? Sadly, no. It's crap. It starts from very shaky foundations - the 'Kingdom' versions of Batman, Superman and Wonder Woman travel back in time to save a child, doing so in the full knowledge that this act will doom their entire world to non-existence. Yes, there's a debate about it, but the reasons why this is a good thing are remarkably spurious, and feel like they were shoehorned in there in case anyone noticed that the act was a bit morally questionable. It doesn't really improve. The rest of the book is basically a series of fight scenes and short character interactions that do nothing but vaguely nod their head in the direction of 'see how the future heroes are subtly different from the present ones.' No exploration, just some vague and unsubtle commentary, basically.

Then, the big payoff to the whole thing: Hypertime. The return of the many-worlds universe. This isn't much cop, either. Again, the watered down version of a better concept, the product of Grant Morrison's drug addled mind, a pseudo-magical "fiction suit" for us all. No sign of anything that mad and entertaining here, just the return of the many worlds to the DC Universe. Which caused enough problems last time around and resulted in Crisis and Zero Hour, anyway. It be quite so much of an annoyance, except that the double page spread the reveals Hypertime to us for the first time looks like a marketing gimmick, consisting of flashing reflections of shots from various Elseworlds stories, basically saying 'See all those stories you didn't buy because they weren't in continuity? Well, now they are! Rush out with your wallets open, kiddies!'

"The art, throughout, is actually very good indeed, which makes this at least somewhat more bearable."

To be fair to Mark Waid, who wrote the damn thing, he probably wasn't thinking that way. Everything that people say about him indicates that he would probably find that sort of idea appealing, and in the true spirit of wonder that should pervade a superhero comic. It's just a shame it doesn't actually feel that way. In fact, there are panels, earlier on that have that sense of wonder and majesty about them, but they're underplayed - one panel on a five panel page, as opposed to the splash page they might deserve.

The art, throughout, is actually very good indeed, which makes this at least somewhat more bearable. There are some considerable talents involved with this book, all of whom turn in at least reasonable, and frequently excellent work. Sadly, even a talented art crew, and indeed a fairly talented writer providing the scripts can't save this from looking like a disgustingly commercial exercise that sadly fails to work on just about every level. Do not buy this book.

Avoid.

Alasdair Watson is a Staff Writer for PopImage.

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