Capes are not one genre, they are a dozen arguing with each other. DC and Marvel built the cathedral, but the interesting stained glass is off to the sides: Alan Moore's Watchmen, where the costume is a symptom rather than a calling; Garth Ennis's The Boys, where the powered elite are a publicly traded brand with a body count; Robert Kirkman's Invincible, which lingers on what a single punch actually does to a person; Mignola's Hellboy, half pulp adventure and half folklore footnote. The household names are the tip. Underneath them is a century of stranger people.
The other thing the comics understood early is that a hero is often a job, not a person. Mantles get inherited. Somebody wears the mask, then hangs it up, and someone else picks it up and is measured against the ghost of whoever came first. The most famous version of that idea is a boy in a red vest standing next to a man in a cowl.
So this section reaches deliberately past the top thirty blockbuster names. Knowing the movie is not enough here. You need to know the shelf below it.