I'm going to kinda-sorta agree with Lorenx, here. I also tend to agree with Neil Gaiman (The following is taken from the Wikipedia page on 'Hero With a Thousand Faces'):
Author Neil Gaiman, whose work is frequently seen as exemplifying the monomyth structure, says that he started The Hero with a Thousand Faces but refused to finish it: "I think I got about half way through The Hero with a Thousand Faces and found myself thinking if this is true—I don't want to know. I really would rather not know this stuff. I’d rather do it because it's true and because I accidentally wind up creating something that falls into this pattern than be told what the pattern is."
See, I OWN 'Hero With a Thousand Faces." It's good stuff, though the actual writing is all over the place. There isn't anything specific that says "This is a story, and nothing else works." He mostly makes points in the broadest sense because the theory itself is pretty vague. He's not telling you how to build a house, he's mostly pointing out that houses tend to have a roof and some form of wall.
Now, the actual graphic that he used to describe his "Hero's Journey" is a fantastic tool for getting the feeling of storytelling down. It's good to keep in mind when you get an idea for a comic, that you're not just imagining powers and cool weapons for your characters. All that stuff is just window-dressing for the story that you OUGHT to be telling.
If you want to venture further down the rabbit hole of literature and the collective unconscious though, take a gander into the works of Carl G. Jung. See, Joe Campbell looked at Jung's theories about psychology and applied them to a narrative. If Campbell teaches you the amazing basics of STORY, Jung will do the same for CHARACTERS.