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Urja Rawat

The Idea Of a Superhero. Superman : the Idealistic Figure

Dissertation

Chapter 1 Superhero, the Idea

Superheroes occupy a central place in contemporary culture, shaping literature, cinema, and

global entertainment. They are everywhere—from comic books and blockbuster films to video

games and merchandise. But beneath the capes, costumes, and cinematic spectacle lie deeper

questions: What exactly is a superhero? Why do we love them so intensely? And how did this

uniquely modern myth develop?

Superheroes have become one of the most powerful storytelling traditions of the modern world,

though their lineage stretches far into ancient mythology. The last few decades, in particular,

have seen an extraordinary rise in the popularity of superheroes in mainstream culture. This

cultural surge was significantly propelled by the original Superman films of the late 1970s and

early 1980s, starring Christopher Reeve, which brought the superhero archetype to global

cinematic attention. However, the roots of the superhero concept reach much further back in

time.

Origins of the Superhero: A Long Lineage of Extraordinary Figures

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Although the superhero is often described as a unique American creation, the idea predates

America by millennia. Long before Superman flew across comic-book pages, earlier literature

gave birth to extraordinary, larger-than-life heroes. Gilgamesh, Beowulf, Hercules, Sir Lancelot,

and later Zorro (first appearing in 1919) embodied traits recognizable in modern superheroes—

strength beyond human limits, courageous missions, symbolic weapons, and moral or divine

purposes.

In this sense, superheroes have “always existed,” though under different names and forms. As

one comparison goes, before capes, we had lion-skin cloaks and thunder-hurling gods. Hercules

cleaned stables; Superman cleans up cities. What changes across time is the toolkit, not the

archetypal pattern. The major difference lies in motivation: mythical heroes often fought for

glory, revenge, or divine obligation, whereas modern superheroes choose their path, driven

largely by moral selflessness.

Before Superman’s arrival in 1938, several “prototype superheroes” were already popular in

various media. Newspaper comic strips featured Hugo Hercules and Tarzan, while radio

captivated audiences with The Green Hornet and The Lone Ranger. Even in comics, characters

such as Doctor Occult and Sheena, Queen of the Jungle preceded Superman. These early

characters shared certain traits—extraordinary strength, skill, or intelligence—and often led

double lives, concealing their abilities from ordinary society. They acted in secret to combat

wrongdoing, establishing early narrative conventions that Superman would later solidify and

popularize. Thus, superheroes were not created from nothing; they evolved organically from the

stories people were already reading, listening to, and imagining.

But what exactly is a superhero?

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A superhero is a being with a selfless, pro social mission with superpowers, extraordinary

abilities or in some cases technological advancement or highly trained physical, mental and

mystical skills. At its core, a superhero is a character endowed with powers beyond those of

ordinary humans, who uses these abilities to perform heroic actions. These characters are often

guided by a strict moral code, acting selflessly and prioritizing the welfare of others. They are

almost always categorized as “good,” and rarely deviate from this path. However, what makes

them compelling is not merely their powers, but the way they choose to use them—how their

ethical framework shapes their actions and their relationship with society.

Superheroes can be born or created. Superman is a born superhero, an alien from Krypton who

gains powers under Earth’s yellow sun. In contrast, many heroes are made—through toxic

chemical exposure, radioactive insect bites like Spider-Man, or genetic mutations like the X-

Men. What truly defines a superhero is not how much power they have but how selflessly they

use it. Their ethics prevent them from becoming the villains they fight. Their principles—not

their strength—make them heroic.

A defining trait of superheroes, particularly Superman, is their dual identity. Superman lives as

both Clark Kent, a mild-mannered journalist in Kansas, and Kal-El, the alien savior of humanity.

This duality introduces narrative tension and explores the challenges of balancing extraordinary

abilities with ordinary human experience. The public persona of Clark Kent provides a point of

empathy for the audience; it highlights the human upbringing, values, and ethical education that

shape Superman’s decisions. The dual identity also allows the exploration of moral choices and

responsibility: although he has the power to act without constraint, he chooses to operate within

ethical boundaries, exemplifying the superhero’s moral dilemma.

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Costumes in superhero narratives are not mere decoration—they act as semiotic tools, conveying

the hero’s role, values, and intentions to the audience. It represents and acts as a sign to announce

about the superheros. These costumes help signalize who the real superhero is. It also makes

them different from the crowd. Symbols also carry meaning and purpose. In Superman’s case,

the bright blue suit, red cape, and the iconic “S” symbolises “symbol of hope” emblem on his

chest serve multiple functions. These costumes became an important part of superheros as they

make them noticeable and easy to grab attention which is essential for them. As one humorous

observation notes: You don’t really need a costume to fly or fight bad guys; if I had superpowers,

I wouldn’t wear one. Yet symbolically, it matters.

Villainy and the Structure of Superhero Narratives

A superhero cannot exist without a supervillain. Villains provide narrative tension, stakes, and

moral contrast. A hero without a compelling antagonist is, as the saying goes, “just someone

doing push-ups in a cape.” The greatest supervillains are not simply “bad guys of the week,” but

philosophical opposites or corrupted versions of the hero. For example, The Joker seeks chaos

for its own sake, while Thanos commits mass murder under the delusion that it is an act of

mercy. Importantly, many villains are shaped by circumstances rather than born evil. Their

backstories reveal societal failures, personal trauma, or moral corruption, making them essential

to the emotional and ideological complexity of the superhero narrative. If they were evil, they

would be supervillains, because the same rule applies: to be a supervillain, you have to be a

villain, but you also have to have a superpower, just like a superhero has to. The word super is

really the key. Without a villain or forced purpose a superhero is nothing but just a mere being. If

there’s an absence of the grand portrayal of a villain then the whole existence of the superhero

will be in question.
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Why do we admire superheroes?

We always look out for something almost “perfect” because fantasy helps us escape from the

harsh reality of our world. The characters we look up to in fiction (or even in real life) are often a

reflection of the person we want to be. That is why superheroes are always the “good guys’” in a

story. However, our flaws and mistakes create a world full of difficulty, struggle and strife. The

superheroes we admire can fight terrorism or save loved ones from burning buildings, but we

can't because there needs to be realism in the superheroes we look up to. A hero with “perfect”

morality is boring, predictable and unbelievable. It’s a paradox of humanity: we want to do good,

but we often do the opposite. A well written superhero has flaws and makes mistakes.

As Stan Lee states that “we always look out for something, an ideal perfect figure……we hear

superhero stories since childhood and the characters are so grand, bigger than life…...these

superpowers and abilities give chance to the readers to relive their excitement when they were

young. These superhero stories are fairy tales for grown [Link] me the human aspect of

superheroes has been the most important part. Just because a person has some superpowers

doesn't mean they might not have the same personal problems that you might have…… You want

a three dimensional superhero who lives and breathes worries and experiences things. I write

stories that I would enjoy reading…..origins of superpowers are always very interesting.”

Superman and the Birth of the Modern Superhero

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Despite the presence of earlier heroic figures, Superman remains widely acknowledged as the

first true superhero—the one who established the template used for all who followed.

Superman emerged at a critical moment in world history, invented just before the outbreak of the

Second World War, when tensions, political instability, and pre-war atrocities were shaping

global consciousness. During this troubled time, society longed for stability and morally strong

figures, and it was into this climate that Superman arrived. His first appearance on the cover of

Action Comics #1 in June 1938, published by D.C., marked not only the debut of a new character

but also the birth of an entirely new literary and visual form: the superhero genre.

The origins of Superman lie in the imagination and personal experiences of two Jewish teenagers

from Cleveland—Jerry Siegel and Joe Shuster. Their creation was influenced by Philip Wylie’s

pulp novel Gladiator, which introduced the idea of a superhuman individual in a realistic world.

Siegel and Shuster initially struggled to find publishers, circulating a different comic strip about

“Jerry the journalist” and even planning at one point to make their Kryptonian character a villain.

However, they soon transformed the concept into the heroic figure we recognize today. Their

personal lives were deeply embedded in the character’s creation: Lois Lane’s appearance was

inspired by Siegel’s wife, Joanne Siegel, and Superman’s famed heroic pose was based on Jerry

Siegel’s own posture. Moreover, because Siegel had always dreamt of being a reporter, he

crafted Clark Kent’s human identity as a journalist at the Daily Planet. In many ways, Superman

mirrored the creators’ struggles during the Great Depression—an embodiment of hope,

resilience, and the desire for justice in difficult times.

Superman burst onto the scene “faster than a speeding bullet, more powerful than a locomotive,

and able to leap tall buildings in a single bound,” establishing himself as a cultural phenomenon.
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He pioneered what would become the definitive superhero archetype: secret identity, colorful

costume, extraordinary powers, moral righteousness, and a mission to serve humanity. His

impact went far beyond comics, influencing global popular culture, inspiring real-world social

movements, shaping media representations, and even affecting language—“kryptonite” is now

officially listed in the Oxford English Dictionary.

What made the American interpretation of the superhero unique from the beginning was the

attempt to scientifically justify the character’s extraordinary abilities. Superman’s powers were

explained through an origin rooted in extraterrestrial biology and astrophysical logic. Born as

Kal-El on the advanced alien planet Krypton, he was sent to Earth by his parents, Jor-El and

Lara, in a spacecraft shortly before Krypton’s destruction. The explosion transformed

Kryptonian debris into kryptonite, a radioactive substance harmful only to superpowered

Kryptonians exposed to Earth’s yellow sun. Upon landing in rural Kansas, he was adopted by

Jonathan and Martha Kent, who named him Clark. As his powers emerged—flight, super-

strength, speed, and even x-ray vision (though not through lead)—the Kents taught him to use

them responsibly for the benefit of humanity.

Unlike many other superheroes who gain powers from freak accidents, toxic exposure, genetic

mutation (as seen in Spider-Man or the X-Men), or scientific innovation (as with Iron Man or

Batman), Superman is a born superhero. This distinction makes him the original template for

superheroes and sets him apart as an immigrant figure whose abilities are innate rather than

artificially acquired. Clark Kent, importantly, is not a disguise but an authentic reminder that

Superman grew up in Kansas, not Krypton; his humanity is a product of his upbringing.
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Christopher Reeve’s portrayal in Richard Donner’s Superman: The Movie (1978) revitalized the

hero for modern audiences. Reeve masterfully balanced the whimsical charm of Silver Age

Superman with emotional depth, most famously displayed in the heartbreaking scene where he

screams in anguish as Lois Lane dies in his arms. His performance reaffirmed that Superman’s

vulnerability and moral centeredness were more compelling than invulnerability alone. However,

by Superman IV: The Quest for Peace (1987), the franchise lost coherence, mirroring the comic

books’ difficulty reconciling Cold War anxieties with the character’s idealism.

Superman’s evolution also reflects cultural anxieties. Critics like Walter Ong and Fredric

Wertham raised concerns about the fascist implications of a “superman,” questioning whether

the character’s immense power and moral superiority hinted at authoritarian overtones. These

debates illustrated the tension between seeing Superman as an American ideal and fearing the

political consequences of idolizing ultimate power.

Ultimately, Superman’s enduring appeal lies in his adaptability. He is simultaneously an alien

and an American, a godlike figure and an immigrant, a symbol of strength and a reflection of

vulnerability. For some readers, he represents the ultimate refugee narrative; for others, he is the

embodiment of moral clarity in a chaotic world. Whatever the interpretation, Superman remains

one of the most influential and transformative figures in modern storytelling—an enduring

symbol of hope, justice, and the limitless potential of the imagination.

UBERMENCH

The term Übermensch, often translated as Superman or Overman, was not invented by

Nietzsche. The concept of hyperanthropos can be found in the ancient writings of Lucian. In

German, the word had already been used by Müller, Herder, Novalis, Heine, and most
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importantly by Goethe in relation to Faust (in Faust, Part I, line 490). In America Ralph Waldo

Emerson wrote of the Oversoul, and, perhaps with the exception of Goethe’s Faust, his

aristocratic, self-reliant ‘Beyond-man’ was probably the greatest contributor to Nietzsche’s idea

of the Übermensch.

Nietzsche’s reluctance to spell out exactly what he meant has provoked numerous interpretations

in the secondary literature. Hollingdale (in Nietzsche) saw in Übermensch a man who had

organised the chaos within; Kaufmann (Nietzsche) a symbol of a man that created his own

values, and Carl Jung (Zarathustra’s Seminars) a new ‘God’. For Heidegger it represented

humanity that surpassed itself, whilst for the Nazis it became an emblem of the master race.

For Nietzsche, the idea of Übermensch was more like a vision than a theory. It suddenly surfaced

in his consciousness during the memorable summer of 1881 in Sils-Maria (Swiss Alps), born out

of that epiphanic experience that also gave rise to Eternal Return, Zarathustra and God is Dead.

In the 19th-century he investigated throughout his work, particularly with his character of the

Übermensch — meaning ‘superman’, ‘overman’, or ‘beyond-man’.

The great hero (der Überheld) overcomes himself, sublimates his impulses and passions, and

owes nothing to anyone, not even to God. In the process of ‘becoming what one is’, the

Übermensch unites reason and passion, order and chaos, discipline and ecstasy. But to become

‘all one’, and be free, ultimately means to be alone, taking full responsibility for one’s life.

“During the longest period of human past nothing was more terrible than to feel that one stood

by oneself. To be alone, to experience things by oneself, neither to obey nor to rule, to be an

individual – that was not a pleasure but a punishment; one was sentenced ‘to individuality’.
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Freedom of thought was considered a discomfort itself.”

The Gay Science

Feuerbach saw God’s creativity as a` projection of human failure to realize full potential, and

God’s omnipotence as a projection of human sense of finitude and vulnerability. “Atheism is a

secret of religion” – he claimed in The Essence of Christianity. Once humanity achieves mature

self-consciousness, there will be no need for such projections.

Yet despite Nietzsche's own cautions the Ubermensch has generally been constructed as a heroic

ideal, as a higher type who must be bred by all-to-human humankind, as the greatest man, the

superior individual whose self perfection- half genius, half saint places at a far remove from the

mediocrity and stagnation of the crowd “the herd” he has also been understood as an non

confirming immortalist, and as the value legislature whose values expresses his own authentic

self possession.

In his work “ thus spoke zarathusth’ in which he proposed the idea of Ubermenche, where he

talks about how a person should be completely out of religious beliefs and customs that resists

and prevents a man from achieving the utmost morals. He believes that a man should transgress

the societal norms and be the perfect complete being. Although he doesn’t connect it with any

primary race or genetics, he does say it’s a biological construct. Ubermenche is the origin of the

idea of ‘Superman’ and ‘overman’. By the name itself one can understand its hierarchy over

other beings. Words like ‘super’ and ‘over’ itself indicate the supremely strong hold onto others
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Back in the 1930s when the idea first came in the 1930s, it got the attention of German nazis who

used the theory for their own motive. To prove their hierarchy over other races and people, they

used Nietzsche's idea of ‘Ubermenche’ , misinterpreted its meaning and used it as their own

means to prove their race as the most perfect and pure one. They justified their racial superiority

through this and there comes Superman as the new god.

But the real idea didn’t last much time, as it was used as a tool by political authorities. Back in

the 1930s when the idea first came in the 1930s, it got the attention of German nazis who used

the theory for their own motive. To prove their hierarchy over other races and people, they used

Nietzsche's idea of ‘Ubermenche’ , misinterpreted its meaning and used it as their own means to

prove their race as the most perfect and pure one. They justified their racial superiority through

this and there comes Superman as the new god.

Movies I have chosen and why?

From Christopher Reeve’s earnest portrayal to Henry Cavill’s brooding DCEU iteration, each

adaptation reflects the values of its era while keeping the core truth alive: Superman represents

our best selves.

With the first Superman film in 1978, superhero movies became intensely popular fare, though

sequels of the film were considered inferior. The story begins with a judgement scene on

Krypton, where Jor-El urges the Council to punish the captured convicts before the planet’s

impending destruction. To save his son, he sends Kal-El across six galaxies to Earth, equipping

his spacecraft with recorded knowledge. Growing up as Clark Kent, Kal-El lives an ordinary life
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unaware of his origins until the death of his foster father pushes him to confront his true identity.

Accepting his destiny, he becomes Superman.

A dominant idea throughout the film is the perceived superiority of Krypton over Earth. Jor-El

repeatedly describes humans as weaker, biologically fragile, and intellectually behind, asserting

that Kal-El’s powers “exceed mortal men” and implying that Earth needs him to advance. His

tone suggests pride and authority, almost resembling a divine figure, creating a parallel with the

God–Christ relationship in which a celestial father sends his son to guide humanity.

Kal-El’s presence on Earth is framed as purposeful; both his fathers insist he has a reason to be

there. He becomes a saviour-like figure—idealistic, morally pure, and embodying traditional

American values. In contrast, the people around him appear helpless, naive, or lacking

awareness. Characters like Otis, Miss Teschmacher, and even Lois Lane are portrayed as

dependent and easily misled, highlighting Superman’s elevated status and responsibility.

Zack Snyder’s Man of Steel reimagines Superman’s origins with a strong emphasis on hope,

divinity, and Kryptonian superiority. The film begins with Kal-El’s birth, which Jor-El describes

as “holding hope,” positioning his son as Earth’s destined leader. Jor-El repeatedly instructs him

to “guide” humanity and “build a better world,” reinforcing Earth’s portrayal as an inferior,

fragile planet in need of salvation. Unlike the 1978 version, Snyder’s Superman must first face

suspicion before earning trust, making the human-alien relationship more [Link] battle with

General Zod devastates Metropolis, resulting in countless civilian deaths. This destruction raises

a troubling question: why must innocent people suffer for Superman to prove his heroism and

relevance? The film does not attempt to hide the consequences of his power; instead, it forces
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viewers to confront the ethical implications of adopting a super-powered [Link] portrayal

of humanity in Superman’s life also evolves. While characters like Lois Lane are stronger and

more competent than their 1978 counterparts, she still becomes entangled in nearly every crisis

that Superman must resolve, suggesting that her narrative function remains dependent on his. In

contrast to earlier versions, Clark’s relationship with his mother receives more emotional depth.

Comparisons to earlier Superman films highlight significant shifts. The 2013 version adopts a

darker costume palette, removes the classic red trunks, and emphasizes a more solemn tone. Jor-

El is depicted with greater emotional range, yet the sense of Kryptonian pride and superiority

persists in both [Link], Man of Steel reframes Superman not as a quietly integrated

hero but as a monumental announcement to the world—one that challenges humanity to redefine

its understanding of power, hope, and the meaning of a saviour

Batman v Superman: Dawn of Justice builds its narrative on grand dualities—Good vs Evil,

Day vs Night, Blue vs Black—to explore the ideological clash between two iconic figures:

Superman and Batman. The film begins by revisiting the catastrophic battle between Superman

and Zod from Man of Steel, but this time from the perspective of Bruce Wayne. As he witnesses

the collapse of buildings and the deaths of innocents, Bruce internalizes the trauma as a personal

loss. To him, Superman represents not a hero, but an uncontrollable alien force whose presence

endangers humanity. This initial framing shapes Batman’s belief that Superman is the greater

[Link] the film, society grapples with a central question: not what Superman can do,

but what he should do. He becomes a subject of political, ethical, and moral debate. Superman

himself is burdened by accusations and doubt, described by some as a “devil who comes from

the sky.” Yet by the film’s end, he restores humanity’s trust by making the ultimate sacrifice,
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giving his life to save the [Link] Lane’s role in this film is notably diminished. Once an

investigative reporter, she is now primarily used as a narrative device—an object villains exploit

to summon Superman. Her presence in every major conflict reinforces her dependency and limits

her character development.

Overall, the film paints a complex portrait of divinity, power, and accountability, questioning

who holds the right to protect humanity—and at what cost.

The newest portrayal of Superman 2025 directed by James Gunn starring David Cornsweet

presents a version who is far more human than any earlier [Link] U.S. government and

the public condemn him for interfering without authority. The scenario exposes the harsh reality

that humanitarian action is never independent of politics. His attempt to “do good” becomes

problematic because it disrupts political alliances, demonstrating that righteousness, service, and

charity are all shaped—and often constrained—by political power. In global conflicts, political

interests override human suffering, and the power to act is determined not by need but by

strategic [Link] story leaves audiences questioning whether Superman’s parents

viewed Earth with superiority and whether their motives were noble or condescending, when Lex

Luthor uncovers a message allegedly recorded by Kal-El’s parents, describing Earth’s

inhabitants as “simple-minded,” “weak,” and “profoundly confused,” claiming Kal-El can “do

the most good” here. Whether the footage is authentic or fabricated remains unresolved, creating

tension around Kryptonian intentions.

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I have selected four major Superman films—Superman (1978), Man of Steel (2013), Batman v

Superman: Dawn of Justice (2016), and Superman (2025)—because together, they trace not just

the evolution of a character, but the shifting cultural, ideological, and political imagination of

America.

The 1978 Superman, directed by Richard Donner and starring Christopher Reeve, is the

foundational text. It introduces Superman as the classic American hero: white, tall, blue-eyed,

morally pure, and openly aligned with “truth, justice, and the American way.” This film sets the

template for Superman as a god-like saviour whose values mirror idealised American

nationalism. Because it is the origin of Superman’s screen narrative, it is essential to

understanding how later films revise, challenge, or deconstruct this ideal.

Next, Man of Steel (2013) and Batman v Superman: Dawn of Justice (2016), both starring

Henry Cavill, intensify his association with divinity. These films are saturated with religious

symbolism—Christ imagery, references to God, angels, sacrifice, and destiny. Here, Superman is

not just a hero, but almost a deity whose authority over humanity is rarely questioned.

Finally, Superman (2025) directed by James Gunn offers the most radical shift. Instead of a

flawless deity, the film presents a vulnerable, imperfect hero—someone who bleeds, cries,

doubts, fails, and asks even a dog for help. He is not detached from humanity but deeply

immersed within it. This version challenges the earlier god-like portrayals and reflects a cultural

shift towards valuing emotional honesty, humility, and moral complexity. Additionally, the
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geopolitical conflict in which Superman intervenes—going against U.S. preferences by

defending Jarhanpur—forces us to re-examine the long-standing question: Is Superman a global

hero, or an American hero? By refusing to follow U.S. ideology, this new Superman breaks

from the tradition of serving American interests and instead becomes an independent moral

agent.

Together, these four films illustrate how America constructs its identity through the superheroes

it creates. Through them, we can study what America is “feeding” its audience—narratives about

power, morality, nationalism, immigration, and the dream of self-made greatness. Superman’s

immigrant origin mirrors the mythic narrative of America itself: a land of opportunity where an

outsider can rise to greatness. Thus, these films form a coherent and meaningful set that allows

my dissertation to trace the ideological transformation of America through its most iconic

superhero.

Works Cited
Cybulska, Dr Eva. "Philosophy Now." Nietzsche’s Übermensch: A Hero of Our Time? 2012.

India, TedX Gateway. What makes a superhero? | Stan Lee | TEDxGateway 2013 Stna Lee. 27
December 2013.

Jenkins, Paul. Superhero Story Ideas: Reimagining Reality in a Caped Crusade. 10 July 2023.
<[Link]

maden, Jack. Philosophy break. —. "Übermensch Explained: the Meaning of Nietzsche’s

‘Superman’." june 2022.

Unknown. "superman." The Complete History of Superman First Superhero in DC. comic
spoiler, 16 july 2025.
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