RELIGION IN COMICS 509
of Truth. Th is alternate version of Warlock, now dubbed the Magus, could be read
as Starlin commenting on the errant nature of institutionalized or papal Christianity,
while the heroic Warlock retained pure Christ-like nobility. In the 1990s, Starlin would
return to this theme through another of Warlock’s discarded aspects, the Goddess, who
would lead an apocalyptic sect of followers in what can be read as another critique of
turn-of-the-century religious millennial alarm. Along with the Triune Understanding
and Universal Church of Truth, Marvel Comics has also made religion the main impe-
tus for many alien races’ aggressions, notably the shape-shifting Skrulls and their foiled
plans to infi ltrate Earth, as prophesied by their scripture.
DC Comics has developed its own fi ctional religions, as well. Most notable
among them would be the creation by Jack Kirby—and later development by Grant
Morrison — of the New Gods. Th ough they often behaved and interacted with other
extraterrestrial species as merely a powerful pantheon of warring aliens, the New Gods
have taken on much more cosmically divine features in Morrison’s later interpretations.
Similarly, the inhabitants of planets Rann (the adopted home of Adam Strange) and
Th anagar (the original world of Hawkman) have each become imbued with religious
fervor in their 21st-century portrayals, leading to the miniseries Th e Rann-Th anagar
Wa r and Th e Rann-Th anagar Holy War. Also, following the death of Conner “Superboy”
Kent, aka Kon-El, a human group led by Wonder Girl form “Th e Cult of Conner,” based
on Kryptonian technology and the belief that he can be resurrected; they are, however,
broken up by a band of heroes who had themselves been previously resurrected.
Th e issue of resurrection and rebirth following mortal death is a particularly recurring
theme in superhero comics. In fact, one of the few religious rituals consistently depicted in
comics is the funeral (as opposed to, say, baptism or confi rmation). Frequently, it is made
as a universal, non-denominational service, though a casket, a congregation or funeral
party, prayer leader, and some form of prayer book remain fi xtures. Despite this reli-
ability and apparent sincerity, an extraordinary number of characters have proven actual
biological death— not a “fake death” or death-like state — to be temporary: Aquaman ,
Captain Britain, Colossus, Dr. Doom, Elektra, Elasti-Girl, Th e Flash , Green Arrow ,
Green Lantern , Hawkeye, Hawkman, Hellcat, Lex Luthor, Marvel Girl, Metamorpho,
Th e Punisher, Th e Red Skull, Robin, Spawn , Th or, Wonder Man, Wo n d e r Wo m a n ,
and so on. Supposedly, in the case of DC Comics, the hero Kid Eternity, Agent of Chaos,
was holding the metaphysical door between life and death open, allowing such ease of
return for dead souls. In the case of Marvel Comics, several of these resurrections have
been explained away either as the result of magical instability on the part of the Scarlet
Witch or as the result of Skull imposters.
Of the many intersections between this medium and religion, the one engagement
that has yet to take place is the creation of a new theology from a comic. Th ese works
have been used to contemplate religion, criticize it, degrade it, refl ect it, honor it, and
even proselytize for it. Given the increased quantity of these connections and the rising
validation of the medium among U.S. audiences, the possibility of faith arising from
panels is no longer impossible.
