To give unselfishly to others is a reward unto itself, but when it directly benefits others in a positive way, it is truly worthwhile. Deadman is a character that makes the best of a bad situation. Boston Brand/Deadman died in a horrific way while performing in a circus and was bestowed the gift of eternal life as a spirit, though he is fated to improve the lives of others to remain conscious and whole in his ethereal form. As Deadman, Boston Brand is doing more good in death than he ever could in life. Though he is motivated to remain alive, his ability to turn lives around for the better is a true indicator of altruistism.
Though Deadman seeks to remain among the 'living,' his leaps from one person to another turns their lives to a more positive path. He can influence the decision-making of any individual, and improves their quality of life in the process. Boston/Deadman explains this quite clearly:
"I've lived lifetimes. More than I can count. I've done my best as to help many people as I can. I've changed since I first took on this gig. Used to be, I liked the thrill of the ride, helping interesting people solve their interesting problems. I've been a stuntman and a a spy and a police detective. But lately it's been more people like this guy--Johnny Foster--who made it home minus his legs when all of his buddies were killed by an I.E.D. Lucky Him" (Jenkins, DC Universe Presents: Deadman, 9-12).
Boston Brand influences and changes lives for the better more frequently than he realizes. He has lived the fantasy lives he'd wished for in his human existence, but now is seeking to help those that are truly down on their luck and needing a change in their lives. In this case, Deadman is seeking to help a guilt-ridden soldier manage to find peace after tragedy and horrific disfigurement. Johnny, Boston's vessel, has completely imploded into himself and is refusing any help to cope with his personal hell. Though he doesn't know this man personally, Boston is compelled to help him overcome his adversity to find personal redemption with only a gentle push. Boston is seeking to atone for being a self-absorbed jerk in his previous life:
"I was not a good man. That's why I'm living out lifetimes with no end in sight. At first, I knew what I was supposed to do. I put together the interesting jigsaw puzzle lives of strangers. Johnny Foster becomes another living brick on my path to enlightenment. Another innocent soul about to get stuck to my shoe. Well, maybe I was never a good guy, and maybe I was never the really big fish. But if there's one thing I do know from living other people's lives it's that I've changed" (Jenkins, Deadman, 24-26).
Deadman realizes that in doing better by others while improving their lives, he can ultimately better himself. This isn't a selfish action, but a selfless action, as he is seeking to pay back all the harm that he's done in his former life as a 'bad man.' Though he knows he is doing important work in the universe through his actions, he is still incredibly conflicted about the 'good' he is truly accomplishing: "A young soldier with a brain injury and no legs is about to become my responsitibility. What eventually happens to him is going to be my fault. All of thsoe people...all of the bricks..."(Jenkins, 16). This symbiotic relationship improves both Boston's life and Johnny's life in the process. Though he is seeking to remain a part of the living world, Boston Brand/Deadman is altruistic in the sense that he improves lives at his expense. Though he may not realize it, Deadman is a brilliant example of altruism in the Comic Book Form.
Friday, September 30, 2011
Thursday, September 29, 2011
The Absolutism of Cable
Average people seek to make changes in the world through volunteering, donating their time or money, or simply helping a neighbor who is struggling. Organizations seek to do the most good with their resources such as the Red Cross. In the comic book world of Cable and Deadpool (2004), the character Cable develops a "God Complex" and truly believes that he can save the world from itself by uniting all people under his rule, despite their consternation. He seeks to eliminate racism, classism, and end nearly all human suffering. Cable builds a floating fortress in the sky, and truly believes he is doing the most good through his actions. It later is discovered that his actions are creating more strife and agony for those that don't see or share his vision of the world, as he is mentally manipulating these people into utopia. This character illustrates a clear case of Absolutism.
Though possessing a slightly inflated ego, Cable truly has the ability to reshape the world as he sees fit. He is an incredibly gifted telepath that can manipulate the world around him. In an interview with his good friend for publication, he explains the rationale behind his actions:
"'I'm sorry, does it bother you? Turning people's skin pink, changing it back and saying 'don't bother thanking me, just be glad I'm here' raising chunks of debris from all over the earth and sculpting a floating sanctuary?---Should I go on?' 'Please do. It sounds more impressive when you run it all together... 'Four days rerouting waterways to flood half the Sahara, two days to throw every single logger out of the Amazon rain forest, two hours a day soothing the pain of every single person on the planet dying of any kind of disease---' 'Well, two hours where that is my only focus. I'm doing it right now, too.' 'You think this is funny?' 'My mission or this interview?' 'Let's talk about your mission.' 'I want to save the world.' 'What would you call---' 'I can read minds, Irene---I can read yours too---I know what people want''' (Nicenza, Cable and Deadpool #7, pg. 8-9).
Cable is in the unique position of determining the needs and wants of those in pain by reading their minds and determining what they truly need of him. The hubris in this plan removes any semblance of choice for these individuals about precisely what direction their lives move in, though it is often for the greater good. In this process, though, he makes it difficult to say no, as his abilities drastically improve their lives and the world. Cable leaves no choice: join him or suffer from the trappings of human existence.
Furthermore, once he becomes too much of a threat to the world powers at large, as they don't know his true motives, they seek to eliminate his iron grip on the world. Cable, in his absolutist mentality, feels that the world powers are seeking to destroy his utopia, while oblivious of the fact that his worldwide reshaping has had dire consequences. The world powers seek to obliterate Cable's manipulation of free will. This cold, calculating nature manifests itself in a dialogue with Cyclops, a fellow X-men (mutant super-hero) member:
"'Let me go through with this, Scott. Please. Just a little while longer.' 'Until the world blows itself up trying to stop you---or until you kill yourself?' 'I know what I'm doing. Seriously. Absolutely. Completely. I can read everybody's mind. I can turn spark to flame, give people a reason to hope--nudge them away from prejudice, greed--'Nudge?' 'Not like that! Show them the path, hold their hand for the first few steps down the road--' 'which is paved with good intentions. You can convince anyone...by hook or crook? The ends justify the means? That's befitting of our savior'" (Nicenza, C&D #9, 19)?
Even among his peers, Cable's plan seems very foolhardy. He cannot rationalize his actions, outside of the mantra of "the ends justify the means." Despite his removal of choice for any human being that follows his direction and brainwashing, regardless of the "good" it is doing, Cable cannot see the harm he is causing. His intentions to nudge people out of racism or greed is noble, but at what cost? If true social change can occur, it cannot be forced upon those who truly seek a better world. Through Cable's plan, there is no choice, only conformity. Cable's absolutism removes any opportunity for a better life on humanity's own terms, or through their own actions. His manipulation threatens the strength and integrity of the world as a whole by attempting to unify it.
Finally, Cable's hubris comes (literally) crashing down around him as his utopian experiment succumbs to the weight of his opposition. In his strategical planning, he couldn't fathom a being who could truly challenge his immense powers that could destroy his floating fortress. Cable's arrogance and hubris have damned all aboard his "paradise." This horrific scenario becomes apparent once the other X-men seek to bring down Cable's utopia, Providence: "--We have a problem, these gravity generators are just props.' 'Repeat that?' 'They're not doing anything, Scott. This entire time, the island has been kept afloat by Cable's telekinesis'" (Nicenza, C&D #10, 15)!!
In his arrogance to unite the world by force, Cable has reshaped the world for the greater good, by removing any semblance of free will. As soon as his sanctuary was threatened, the entire weight of his utopia fell as soon as Cable's grip did. The strength and vitality of his mental hold on the world, coupled with his absolutism through conformity, provided a true sense of peace. His boundless invasion of consciousnesses healed the world's ills, while forcing humanity to comply with a despot's warnings of a grim future ahead. Cable simply wanted to prove the could change the world by force. Cable is a clear example of absolutism at its most invasive.
Though possessing a slightly inflated ego, Cable truly has the ability to reshape the world as he sees fit. He is an incredibly gifted telepath that can manipulate the world around him. In an interview with his good friend for publication, he explains the rationale behind his actions:
"'I'm sorry, does it bother you? Turning people's skin pink, changing it back and saying 'don't bother thanking me, just be glad I'm here' raising chunks of debris from all over the earth and sculpting a floating sanctuary?---Should I go on?' 'Please do. It sounds more impressive when you run it all together... 'Four days rerouting waterways to flood half the Sahara, two days to throw every single logger out of the Amazon rain forest, two hours a day soothing the pain of every single person on the planet dying of any kind of disease---' 'Well, two hours where that is my only focus. I'm doing it right now, too.' 'You think this is funny?' 'My mission or this interview?' 'Let's talk about your mission.' 'I want to save the world.' 'What would you call---' 'I can read minds, Irene---I can read yours too---I know what people want''' (Nicenza, Cable and Deadpool #7, pg. 8-9).
Cable is in the unique position of determining the needs and wants of those in pain by reading their minds and determining what they truly need of him. The hubris in this plan removes any semblance of choice for these individuals about precisely what direction their lives move in, though it is often for the greater good. In this process, though, he makes it difficult to say no, as his abilities drastically improve their lives and the world. Cable leaves no choice: join him or suffer from the trappings of human existence.
Furthermore, once he becomes too much of a threat to the world powers at large, as they don't know his true motives, they seek to eliminate his iron grip on the world. Cable, in his absolutist mentality, feels that the world powers are seeking to destroy his utopia, while oblivious of the fact that his worldwide reshaping has had dire consequences. The world powers seek to obliterate Cable's manipulation of free will. This cold, calculating nature manifests itself in a dialogue with Cyclops, a fellow X-men (mutant super-hero) member:
"'Let me go through with this, Scott. Please. Just a little while longer.' 'Until the world blows itself up trying to stop you---or until you kill yourself?' 'I know what I'm doing. Seriously. Absolutely. Completely. I can read everybody's mind. I can turn spark to flame, give people a reason to hope--nudge them away from prejudice, greed--'Nudge?' 'Not like that! Show them the path, hold their hand for the first few steps down the road--' 'which is paved with good intentions. You can convince anyone...by hook or crook? The ends justify the means? That's befitting of our savior'" (Nicenza, C&D #9, 19)?
Even among his peers, Cable's plan seems very foolhardy. He cannot rationalize his actions, outside of the mantra of "the ends justify the means." Despite his removal of choice for any human being that follows his direction and brainwashing, regardless of the "good" it is doing, Cable cannot see the harm he is causing. His intentions to nudge people out of racism or greed is noble, but at what cost? If true social change can occur, it cannot be forced upon those who truly seek a better world. Through Cable's plan, there is no choice, only conformity. Cable's absolutism removes any opportunity for a better life on humanity's own terms, or through their own actions. His manipulation threatens the strength and integrity of the world as a whole by attempting to unify it.
Finally, Cable's hubris comes (literally) crashing down around him as his utopian experiment succumbs to the weight of his opposition. In his strategical planning, he couldn't fathom a being who could truly challenge his immense powers that could destroy his floating fortress. Cable's arrogance and hubris have damned all aboard his "paradise." This horrific scenario becomes apparent once the other X-men seek to bring down Cable's utopia, Providence: "--We have a problem, these gravity generators are just props.' 'Repeat that?' 'They're not doing anything, Scott. This entire time, the island has been kept afloat by Cable's telekinesis'" (Nicenza, C&D #10, 15)!!
In his arrogance to unite the world by force, Cable has reshaped the world for the greater good, by removing any semblance of free will. As soon as his sanctuary was threatened, the entire weight of his utopia fell as soon as Cable's grip did. The strength and vitality of his mental hold on the world, coupled with his absolutism through conformity, provided a true sense of peace. His boundless invasion of consciousnesses healed the world's ills, while forcing humanity to comply with a despot's warnings of a grim future ahead. Cable simply wanted to prove the could change the world by force. Cable is a clear example of absolutism at its most invasive.
Sunday, September 25, 2011
The Pessimism of Penance
A common idiom about the true nature of good deeds is that "The road to Hell is paid with good intentions." This is the case for Robbie Baldwin, who makes a foolhardy decision that costs 600+ people their lives in the Stamford Disaster which starts the Superhero Civil War as explored in previous postings. Robbie takes his poor decision to heart, and believes that his suffering is what he deserves in life as he carries all those tragic deaths on his shoulders. Robbie's transformation into "Penance" is indicative of his guilt and dark pessimism. Robbie suffers time and again in order to atone for his wrongdoing, as he is violently assaulted and ridiculed by the public and those close to him. His own family eventually deserts him to distance themselves from their "terrorist" son. Robbie truly believes that he deserves all the suffering he undergoes, and eventually befriends the horrors he faces daily in order to transform from a happy-go-lucky superhero, into a dark, tortured and violent supervillain. Robbie's transformation is a tragic view of one man's journey into a pessimistic, tortured soul.
As explored above, Robbie's poor decision leads to the deaths of 600+ people in the Stamford Disaster, which he narrowly survives. Robbie is incarcerated as an unregistered combatant and co-conspirator in the Stamford disaster, which makes him public enemy number one for average people that feel superheroes are too dangerous to remain autonomous. This is perfectly illustrated in an exchange between Robbie and a prison guard:
"'Look...You guys have family, right? I mean, just let me get a message to someone. You guys look pretty smart. You know this is bull-- (Robbie punched by guard)' 'Yeah...I got a family. As a matter of fact, I got a cousin in Stamford, Connecticut. I used to have. And she died 'cause some attention-seeking moron in a costume decided to record a crime-fighting spree on National TV'" (Jenkins, Frontline, 51).
Robbie is truly hated for his actions, and cannot escape what he's done. Robbie doesn't initially believe that he has done any wrong in the stunt, and maintains his innocence until it becomes too much to bear. Robbie eventually accepts that he is hated and becomes more sarcastic and angry as his struggles continue in prison. This eventually boils over into a dialogue with his mother as he argues with her over his plight. He and his mother argue during visiting hours, his mother stating how:
"You could die in this place! What's happened to you, Robbie? They described you as 'The most hated man in America!' Do you have any idea how it feels for a mother to hear that about her son? Do you? I love you. Nothing can change that---" 'Hey! This was fun right? Next time, see if Dad wants to come! I sure miss listening to both of you shout at me at once!' 'There won't be a next time, Robbie. I'm never coming back'" (Jenkins, FL 116-118).
This exchange sets the trajectory for Robbie's sharp mental decline into motion. Though he doesn't consider himself to be 'the most hated man in America,' he still doesn't take his mother's words at face value until she states her removal from his life. At this point, Robbie's world is turned upside-down, and he begins his slow, bitter decline. This manifests once Robbie is transferred into an inter-dimensional prison, and describes the horrors he lives with in a letter to his mother: "Dear Mom... Wish you were here. (sic) My buddy in the next cell was called Jonathan. Back in the real world, he used to be called Digitek. He told me that when he was a hero, he had the power to re-form parts of his body into machinery, or weapons. Yesterday, Jon formed an M-110 particle shotgun out of his right arm,... and then blew his own head off. Not that it matters, you probably won't ever get this letter" (Jenkins, FL 172-173). Robbie's world becomes darker and darker, as his struggles become more and more difficult to fathom, let alone coming to grips with a suicide only a room over from him. The pessimism of his plight begins to seep into his personality, until it becomes too much to bear, and Robbie accepts his culpability in the Stamford disaster.
During a prison breakout, Robbie is pinned by a violent offender named Razor Fist, and threatened within an inch of his life as the other inmates escape. Robbie, by being violently assaulted previously, has discovered that pain is the mechanism by which his powers are activated. This also feeds into his dark, introspective decline as his pessimism is fully embraced. Robbie seeks to receive pain, in order to violently retaliate against those that would do harm. Razor Fist doesn't realize what he's done when he threatens Robbie: "'Shut your mouth, Baldwin! You're nothing! You're human meat--cannon fodder! Just you remember that.' 'You're hurting me.' 'You think I care? 'No...I like it'" (Jenkins, FL 373-374). After this exchange, Robbie embraces his pain, leveling the room of guards and inmates, knocking them unconscious in his wrath. Robbie has no remorse or sympathy for those he's hurt, as he has become fully versed in his self-inflicted retribution. Robbie no longer is the man he was before, as his actions are sociopathic at best.
Robbie welcomes his new-found pain, and becomes the supervillain Penance. His tailor reflects on the materials used to construct the 'iron-maiden-like" torture suit he wears to cope with his actions: "The plates are constructed of super-hardened plastics, reinforced with certain alloys, making it the hardest substance that can possibly be manufactured. The insides of the suit are exactly as specified---the lesser spikes protrude just over half an inch: painful, but hardly incapacitating. The larger spikes no doubt will break the skin of the wearer" (Jenkins, FL, 412). Seeing as Robbie wishes to suffer for his crimes, he requests a suit that will constantly remind him of the pain and misery he's inflicted upon the world at large. This borders on the extreme, as Robbie seeks to suffer eternally for what he's done wrong. He can no longer see the brightness or positive aspects of life, and seeks to suffer to understand his new reality. Robbie's pessimism truly defines him as he explores the different pain points in his suit and the lives they represent:
"I know how to pay for all the pain I've caused. Six hundred and twelve people died at Stamford. So every day I'll carry with me six hundred and twelve points of pain. Sixty of those people were innocent children who burned to death in a schoolyard. Their blood is on my hands. I'll feel their pain every time I throw a punch. Every single point of my pain will be a reminder until the day I mercifully die. And all of that pain is fuel. Robbie Baldwin is dead. Now it's time for Penance'" (Jenkins, FL, 415-417). http://upload.wikimedia.org/wikipedia/en/a/a5/Cwfrontline10.PNG
Though Robbie's journey is initially one of redemption as he attempts to clear his name, his life quickly spirals out of control as he witnesses the horrors of prison life, while he is verbally and physically assaulted frequently over his journey. After his breakout, Robbie becomes a conduit for pain and anguish, utilizing his misery in order to inflict more pain on the world. Robbie's outlook is a very bleak one, and in his "iron-maiden-like" suit, he manages to atone for his wrongdoing by suffering on a daily basis. Robbie's bright, cheery attitude quickly deteriorates into one of stark pessimism, as he will continually suffer as long as he lives, until the day he dies for the pain he's caused. Robbie's journey transforms him from a lighthearted and optimistic young man, convinced of his innocence and eventual release, into a tortured and pessimistic villain that continually suffers for his crime. Robbie Baldwin's suffering and transformation into Penance is a horrific exploration of how pessimism can completely change an individual. Penance is analogous of pessimism, continuously suffering on his tortured journey of redemption.
http://i.annihil.us/u/prod/marvel//universe3zx/images/4/40/Penance01.jpg
As explored above, Robbie's poor decision leads to the deaths of 600+ people in the Stamford Disaster, which he narrowly survives. Robbie is incarcerated as an unregistered combatant and co-conspirator in the Stamford disaster, which makes him public enemy number one for average people that feel superheroes are too dangerous to remain autonomous. This is perfectly illustrated in an exchange between Robbie and a prison guard:
"'Look...You guys have family, right? I mean, just let me get a message to someone. You guys look pretty smart. You know this is bull-- (Robbie punched by guard)' 'Yeah...I got a family. As a matter of fact, I got a cousin in Stamford, Connecticut. I used to have. And she died 'cause some attention-seeking moron in a costume decided to record a crime-fighting spree on National TV'" (Jenkins, Frontline, 51).
Robbie is truly hated for his actions, and cannot escape what he's done. Robbie doesn't initially believe that he has done any wrong in the stunt, and maintains his innocence until it becomes too much to bear. Robbie eventually accepts that he is hated and becomes more sarcastic and angry as his struggles continue in prison. This eventually boils over into a dialogue with his mother as he argues with her over his plight. He and his mother argue during visiting hours, his mother stating how:
"You could die in this place! What's happened to you, Robbie? They described you as 'The most hated man in America!' Do you have any idea how it feels for a mother to hear that about her son? Do you? I love you. Nothing can change that---" 'Hey! This was fun right? Next time, see if Dad wants to come! I sure miss listening to both of you shout at me at once!' 'There won't be a next time, Robbie. I'm never coming back'" (Jenkins, FL 116-118).
This exchange sets the trajectory for Robbie's sharp mental decline into motion. Though he doesn't consider himself to be 'the most hated man in America,' he still doesn't take his mother's words at face value until she states her removal from his life. At this point, Robbie's world is turned upside-down, and he begins his slow, bitter decline. This manifests once Robbie is transferred into an inter-dimensional prison, and describes the horrors he lives with in a letter to his mother: "Dear Mom... Wish you were here. (sic) My buddy in the next cell was called Jonathan. Back in the real world, he used to be called Digitek. He told me that when he was a hero, he had the power to re-form parts of his body into machinery, or weapons. Yesterday, Jon formed an M-110 particle shotgun out of his right arm,... and then blew his own head off. Not that it matters, you probably won't ever get this letter" (Jenkins, FL 172-173). Robbie's world becomes darker and darker, as his struggles become more and more difficult to fathom, let alone coming to grips with a suicide only a room over from him. The pessimism of his plight begins to seep into his personality, until it becomes too much to bear, and Robbie accepts his culpability in the Stamford disaster.
During a prison breakout, Robbie is pinned by a violent offender named Razor Fist, and threatened within an inch of his life as the other inmates escape. Robbie, by being violently assaulted previously, has discovered that pain is the mechanism by which his powers are activated. This also feeds into his dark, introspective decline as his pessimism is fully embraced. Robbie seeks to receive pain, in order to violently retaliate against those that would do harm. Razor Fist doesn't realize what he's done when he threatens Robbie: "'Shut your mouth, Baldwin! You're nothing! You're human meat--cannon fodder! Just you remember that.' 'You're hurting me.' 'You think I care? 'No...I like it'" (Jenkins, FL 373-374). After this exchange, Robbie embraces his pain, leveling the room of guards and inmates, knocking them unconscious in his wrath. Robbie has no remorse or sympathy for those he's hurt, as he has become fully versed in his self-inflicted retribution. Robbie no longer is the man he was before, as his actions are sociopathic at best.
Robbie welcomes his new-found pain, and becomes the supervillain Penance. His tailor reflects on the materials used to construct the 'iron-maiden-like" torture suit he wears to cope with his actions: "The plates are constructed of super-hardened plastics, reinforced with certain alloys, making it the hardest substance that can possibly be manufactured. The insides of the suit are exactly as specified---the lesser spikes protrude just over half an inch: painful, but hardly incapacitating. The larger spikes no doubt will break the skin of the wearer" (Jenkins, FL, 412). Seeing as Robbie wishes to suffer for his crimes, he requests a suit that will constantly remind him of the pain and misery he's inflicted upon the world at large. This borders on the extreme, as Robbie seeks to suffer eternally for what he's done wrong. He can no longer see the brightness or positive aspects of life, and seeks to suffer to understand his new reality. Robbie's pessimism truly defines him as he explores the different pain points in his suit and the lives they represent:
"I know how to pay for all the pain I've caused. Six hundred and twelve people died at Stamford. So every day I'll carry with me six hundred and twelve points of pain. Sixty of those people were innocent children who burned to death in a schoolyard. Their blood is on my hands. I'll feel their pain every time I throw a punch. Every single point of my pain will be a reminder until the day I mercifully die. And all of that pain is fuel. Robbie Baldwin is dead. Now it's time for Penance'" (Jenkins, FL, 415-417). http://upload.wikimedia.org/wikipedia/en/a/a5/Cwfrontline10.PNG
Though Robbie's journey is initially one of redemption as he attempts to clear his name, his life quickly spirals out of control as he witnesses the horrors of prison life, while he is verbally and physically assaulted frequently over his journey. After his breakout, Robbie becomes a conduit for pain and anguish, utilizing his misery in order to inflict more pain on the world. Robbie's outlook is a very bleak one, and in his "iron-maiden-like" suit, he manages to atone for his wrongdoing by suffering on a daily basis. Robbie's bright, cheery attitude quickly deteriorates into one of stark pessimism, as he will continually suffer as long as he lives, until the day he dies for the pain he's caused. Robbie's journey transforms him from a lighthearted and optimistic young man, convinced of his innocence and eventual release, into a tortured and pessimistic villain that continually suffers for his crime. Robbie Baldwin's suffering and transformation into Penance is a horrific exploration of how pessimism can completely change an individual. Penance is analogous of pessimism, continuously suffering on his tortured journey of redemption.
http://i.annihil.us/u/prod/marvel//universe3zx/images/4/40/Penance01.jpg
Monday, September 19, 2011
The Dualism of The Sentry
You are the world's greatest hero, and you are a beacon of strength and determination that many other heroes and everyday people flock to. You are the Sentry. Your archenemy is aptly named "The Void," but the crux of your adversarial relationship rests within your being. This is The Sentry at his simplest-a man that tries to prove himself time and again as a paragon of heroics, while his dark half, The Void, seeks to destroy all that the "good" half accomplishes. Robert Reynolds/The Sentry is a perfect example of dualism: " the idea is that, for some particular domain, there are two fundamental kinds or categories of things or principles. In theology, for example a ‘dualist’ is someone who believes that Good and Evil — or God and the Devil — are independent and more or less equal forces in the world." http://plato.stanford.edu/entries/dualism/ The Sentry's dual personalities define his character, and it is no coincidence that this character is at odds with his identity as he is literally composed of two different beings sharing one body and mind.
The Sentry: http://images4.wikia.nocookie.net/__cb20051104052057/marveldatabase/images/1/12/SENTRY001_cova.jpg
The Void: http://images.wikia.com/marveldatabase/images/d/d1/Void.gif
As explored above, The Sentry is a man that is at odds with his personalities, each of which are equally constructive and destructive. Though The Sentry's idealism and good intentions oftentimes have a profound effect on his surroundings and communities, eventually his dark half, The Void, arrives to undo what has been accomplished. This is most evident when Robert is discussing his psychology to Norman Osborn, his mentor and confidant: "The Void is in me. He's watching me. He's watching us now. And---and anything I do, anything I do...he does something to balance it. If I save a plane from crashing, he sinks a boat. I save the world. He endangers it" (Bendis, Dark Avengers, 58). The Sentry is constantly at odds with himself, seeking to keep his dark side at bay. No matter how much good Bob does, his shadow creates more havoc as a result. This falls in line with the definition directly as: "good and evil are independent and more or less equal forces in the world". The Sentry is truly a dualistic character. Osborn reflects on this strongly too as he mentions to Robert:
"Would you like to be an Avenger? The hero you are? Today? Now? Now? No. Now we're going to shower and shave and eat and sleep. Not because you have to, because you want to. Because they make you feel good and human. They make you feel like "Bob" and if you feel like Bob, you are Bob. And when you deny yourself your humanity, you create something else. You create a... Void. Exactly. Oh my God. You're right. You're...You're right" (Bendis, DA, 61-62).
The ability for Bob to hold two distinct personalities within the same body and mind takes its toll on his human identity, to the point where he no longer eats or sleeps regularly due to the constant reminder of his duality. The ability for Osborn to pinpoint this key aspect of Robert's personality later proves to be his undoing.
The notion of Robert's dualism is further explored later in the volume as he comes to terms with his mental illness and the possibility that The Sentry can defeat his darker, evil side. The internal struggle comes to a head when Robert's wife, Lindy, realizes that her husband has become far too powerful and is a very real threat. The Void takes complete control of The Sentry and explains his disdain for Robert's "pathetic" wife, the character's dualism is on full display:
"He told you his deepest, darkest secrets. You see me as the enemy. You're the enemy! You're the betrayer. You made a promise, Lindy, you're a liar. Please just let me go. Just kill me. Only because you were polite enough to beg me. No! You promised! We had a deal! Not her! You don't touch her. That was then. She asked me to. She flat out begged... No! You don't touch her. I think we can all agree at this point that your life will be much easier without her. NO! She's only made it more complicated. NO!! SHE DOESN'T LOVE YOU ANYMORE!!!! YOU DON'T TOUCH HER" (Bendis, DA 281-282)!!! The character is literally at odds with himself, the violent and murderous aspects of The Void manifest themselves in dark, shadowy protrusions on Robert's body, while the heroic and forthright aspects of the character manifest in his blue eyes and light blond hair. Even in the art depicting this character, the dualism is fully on display. Both The Sentry and The Void are equal parts constructive, superheroic behavior, and murderous, nihilistic intent.
Finally, the internal struggle begins to buckle as The Sentry gives way to The Void, when Osborn loses his leash on Robert. Osborn's hubris proves to be his undoing, and this is the final straw to break Robert's hold on The Void. This is terrifyingly expressed by Osborn as he's fallen in battle: "You're dead. You're all dead. He's going kill you all. I was the only one who could stop him. I was the only one who knew what he really was. How---How powerful he was. I was saving you all from him. I was saving you" (Bendis, Siege, 115). The fully realized power of The Void manifests itself into an otherworldly demon, capable of keeping all the heroes at bay. The human, kind and heroic aspect of Robert Reynolds becomes the nihilistic, violent and determined Void as soon as Robert loses control. The dualistic struggle between these two halves define who and what The Sentry is, and as soon as the heroic and virtuous nature of Robert's human side disappears, the violent Void takes control, nearly killing all in his wake.
The Sentry is equal parts psychological study as he is compelling comic book character, but the most intriguing part of his personality comes down to his dualism. The appeal of The Sentry is this characteristic, as over the course of this character's life and death in the short span of 7 (real life years) in comics, we as readers being to see what makes Robert tick, and the consequences of losing your internal struggle for control over your being. Truly equal parts good and evil, God and Devil, Hero and Villain, The Sentry/The Void embodies the nature of dualism in a creative, tragic and thoroughly entertaining manner. The Sentry and The Void are a perfect, contemporary example of Dualism in the comic book form.
The Sentry: http://images4.wikia.nocookie.net/__cb20051104052057/marveldatabase/images/1/12/SENTRY001_cova.jpg
The Void: http://images.wikia.com/marveldatabase/images/d/d1/Void.gif
As explored above, The Sentry is a man that is at odds with his personalities, each of which are equally constructive and destructive. Though The Sentry's idealism and good intentions oftentimes have a profound effect on his surroundings and communities, eventually his dark half, The Void, arrives to undo what has been accomplished. This is most evident when Robert is discussing his psychology to Norman Osborn, his mentor and confidant: "The Void is in me. He's watching me. He's watching us now. And---and anything I do, anything I do...he does something to balance it. If I save a plane from crashing, he sinks a boat. I save the world. He endangers it" (Bendis, Dark Avengers, 58). The Sentry is constantly at odds with himself, seeking to keep his dark side at bay. No matter how much good Bob does, his shadow creates more havoc as a result. This falls in line with the definition directly as: "good and evil are independent and more or less equal forces in the world". The Sentry is truly a dualistic character. Osborn reflects on this strongly too as he mentions to Robert:
"Would you like to be an Avenger? The hero you are? Today? Now? Now? No. Now we're going to shower and shave and eat and sleep. Not because you have to, because you want to. Because they make you feel good and human. They make you feel like "Bob" and if you feel like Bob, you are Bob. And when you deny yourself your humanity, you create something else. You create a... Void. Exactly. Oh my God. You're right. You're...You're right" (Bendis, DA, 61-62).
The ability for Bob to hold two distinct personalities within the same body and mind takes its toll on his human identity, to the point where he no longer eats or sleeps regularly due to the constant reminder of his duality. The ability for Osborn to pinpoint this key aspect of Robert's personality later proves to be his undoing.
The notion of Robert's dualism is further explored later in the volume as he comes to terms with his mental illness and the possibility that The Sentry can defeat his darker, evil side. The internal struggle comes to a head when Robert's wife, Lindy, realizes that her husband has become far too powerful and is a very real threat. The Void takes complete control of The Sentry and explains his disdain for Robert's "pathetic" wife, the character's dualism is on full display:
"He told you his deepest, darkest secrets. You see me as the enemy. You're the enemy! You're the betrayer. You made a promise, Lindy, you're a liar. Please just let me go. Just kill me. Only because you were polite enough to beg me. No! You promised! We had a deal! Not her! You don't touch her. That was then. She asked me to. She flat out begged... No! You don't touch her. I think we can all agree at this point that your life will be much easier without her. NO! She's only made it more complicated. NO!! SHE DOESN'T LOVE YOU ANYMORE!!!! YOU DON'T TOUCH HER" (Bendis, DA 281-282)!!! The character is literally at odds with himself, the violent and murderous aspects of The Void manifest themselves in dark, shadowy protrusions on Robert's body, while the heroic and forthright aspects of the character manifest in his blue eyes and light blond hair. Even in the art depicting this character, the dualism is fully on display. Both The Sentry and The Void are equal parts constructive, superheroic behavior, and murderous, nihilistic intent.
Finally, the internal struggle begins to buckle as The Sentry gives way to The Void, when Osborn loses his leash on Robert. Osborn's hubris proves to be his undoing, and this is the final straw to break Robert's hold on The Void. This is terrifyingly expressed by Osborn as he's fallen in battle: "You're dead. You're all dead. He's going kill you all. I was the only one who could stop him. I was the only one who knew what he really was. How---How powerful he was. I was saving you all from him. I was saving you" (Bendis, Siege, 115). The fully realized power of The Void manifests itself into an otherworldly demon, capable of keeping all the heroes at bay. The human, kind and heroic aspect of Robert Reynolds becomes the nihilistic, violent and determined Void as soon as Robert loses control. The dualistic struggle between these two halves define who and what The Sentry is, and as soon as the heroic and virtuous nature of Robert's human side disappears, the violent Void takes control, nearly killing all in his wake.
The Sentry is equal parts psychological study as he is compelling comic book character, but the most intriguing part of his personality comes down to his dualism. The appeal of The Sentry is this characteristic, as over the course of this character's life and death in the short span of 7 (real life years) in comics, we as readers being to see what makes Robert tick, and the consequences of losing your internal struggle for control over your being. Truly equal parts good and evil, God and Devil, Hero and Villain, The Sentry/The Void embodies the nature of dualism in a creative, tragic and thoroughly entertaining manner. The Sentry and The Void are a perfect, contemporary example of Dualism in the comic book form.
Monday, September 12, 2011
The Realism of Spider-man (Civil War pt. 2)
Imagine yourself stuck between the love of your life and your successful career outside of your happy home. You have an opportunity to improve not only your life, but your significant other's life and your elderly Great Aunt whom you love like a mother. Would you take it? Most of us would, of course, but what if it meant that your safety and security were on the line everyday of your life? This is the crisis that Peter Parker/Spider-man faces in the Marvel Event, Civil War, which permeated every corner of the Marvel Universe, swept up in sociopolitical undercurrents, chiefly manifested in progressive legislation that caused more death and bloodshed in its aftermath. http://www.comicvine.com/civil-war/39-40615/ The elements of realism in Spider-man's tale are easy to observe and appreciate as he is simply an ordinary man with extraordinary powers at his disposal. These relatable traits make Spider-man's journey over this story arc both compelling and tragic, through a human and realistic lens.
The dichotomy between safety and financial security as a duly appointed government operative under "The Superhero Registration Act" proves difficult for Peter/Spidey, as there are horrific consequences for both choices. If he chooses to comply, his identity will be known, as well as the identities of his wife and Aunt which will immediately put them in harm's way. If he chooses to resist, he'll be a wanted fugitive obstructing justice, with his wife ant Aunt accomplices for aiding and abetting a known criminal and wanted felon. Either way, the consequences are dire. This is tensely discussed between Tony Stark/Iron Man and Peter:
"It's not me asking, Peter. If you don't unmask, you'll be just like the other powers who defy the law. Wanted Criminals. Hunted. Jailed. Not just you, but MJ and your Aunt, because they'd be considered accomplices. If you turn against the law, I can't have you with me. I won't be able to protect you or your family" (Straczynski, #532 10-11).
The reality of the situation shows on Peter's face as he contemplates revealing his identity to benefit his family, or become a felon. We can relate to this impossible situation as people make impossible decisions every day in their lives, sometimes between life or death, or knowingly doing the wrong thing for future benefits. Again, Peter Parker is at his simplest, a regular man at odds with his dual nature and conflicting loyalties.
This internal struggle continues in the story as Peter becomes uneasy about his choice to step before the public, despite the consequences in favor the "Super Hero Registration Act." Again, like many of us that are terrified of public speaking, or revealing a deep, dark secret, the notion of queasiness and nausea are real symptoms of a psychosomatic fear or "stage fright" before, during or after the fact:
"It wasn't the easy thing to do, but it was the right thing to do." "HURRCCHH!!" "Did you see the look their faces when you told them your real name?" "HURRCCHH!!" "You okay, Peter?" " I think I just woffed up a hot dog that I ate when I was twelve." "Not possible." "No? There's still some of it on my shoes. Wanna see" (Straczynski, #533, 5)?
The humanity of Peter Parker makes it easy to appreciate the horror he is facing, realistic sense. We feel as though we are under the weight of this foreboding law as it looms large upon him and his family. This is apparent when he reflects upon his choice: "I wonder what the hell I'm doing here. I'm legal. I'm registered. I'm authorized. And as I feel this whole situation starting to unravel all around me, I just hope to God that I'm also right" (Straczynski, #534, 23). We feel Peter's pain and incredible burden to bear, and empathize with his him as if he were a real human being with real struggles and hurdles to jump to make ends meet and to continue a "normal" existence.
The boiling point is finally reached when Peter realizes he's made the wrong choice, and puts his family's well-being above his own, to fight back against Iron Man as the latter has been imprisoning fugitives without due process in a super max prison, with no means to a fair trial or due process. As soon as Peter sees the horrific treatment of former heroes and villains (despite their histories), he is disgusted and immediately turns on his mentor. He moves out of his cushy, government subsidized luxury apartment, and runs from the law. His nature as a fugitive sets the trajectory for his family's life in the issues to follow. The guilt and shame manifests itself in Peter's dialogue with his wife, Mary Jane:
"I'm sorry baby, I'm so sorry." "I know. So I went by the bank and cleaned out both our accounts. It's not a lot, but it'll cover us for a while, as long as nothing disastrous happens." "You mean like today?" "Well, there goes my sense of security." "If you stay, you're both going to end up on the run with me, going from one dive to another, using different names...the stress will be enormous. (Straczynski, #536, 7-9)"
The consequences for this family were doomed from the beginning, as they were known to the public, at the mercy of Spider-man's rogues, and with Peter as a fugitive from the law, the U.S. Government and his former friends/allies are searching far and wide to bring him to justice. The consequences for this fictional character never feel too out of the ordinary, despite the superhero identity. The journey of a man that makes a poor decision that disrupts his private family life, only to permanently change their trajectory for the worse. This essential version of the story feels human and realistic in every sense of these words. We feel as Peter Parker feels from his unease and nausea before announcing his identity to the world, his internal conflict stemming from his decision, his attempt to rectify his decision and run from the law as a fugitive with his family, and his internal dialogues about what truly is right and wrong under the law. Despite his nature as a superhuman being in spandex fighting crime with an Iron Man by his side, Peter Parker remains an everyman character that struggles as we all struggle with the difficulties and complexities of life. Regardless of his nature as a fictional character, Spider-man remains one of the most relatable and realistic characters in fiction.
The dichotomy between safety and financial security as a duly appointed government operative under "The Superhero Registration Act" proves difficult for Peter/Spidey, as there are horrific consequences for both choices. If he chooses to comply, his identity will be known, as well as the identities of his wife and Aunt which will immediately put them in harm's way. If he chooses to resist, he'll be a wanted fugitive obstructing justice, with his wife ant Aunt accomplices for aiding and abetting a known criminal and wanted felon. Either way, the consequences are dire. This is tensely discussed between Tony Stark/Iron Man and Peter:
"It's not me asking, Peter. If you don't unmask, you'll be just like the other powers who defy the law. Wanted Criminals. Hunted. Jailed. Not just you, but MJ and your Aunt, because they'd be considered accomplices. If you turn against the law, I can't have you with me. I won't be able to protect you or your family" (Straczynski, #532 10-11).
The reality of the situation shows on Peter's face as he contemplates revealing his identity to benefit his family, or become a felon. We can relate to this impossible situation as people make impossible decisions every day in their lives, sometimes between life or death, or knowingly doing the wrong thing for future benefits. Again, Peter Parker is at his simplest, a regular man at odds with his dual nature and conflicting loyalties.
This internal struggle continues in the story as Peter becomes uneasy about his choice to step before the public, despite the consequences in favor the "Super Hero Registration Act." Again, like many of us that are terrified of public speaking, or revealing a deep, dark secret, the notion of queasiness and nausea are real symptoms of a psychosomatic fear or "stage fright" before, during or after the fact:
"It wasn't the easy thing to do, but it was the right thing to do." "HURRCCHH!!" "Did you see the look their faces when you told them your real name?" "HURRCCHH!!" "You okay, Peter?" " I think I just woffed up a hot dog that I ate when I was twelve." "Not possible." "No? There's still some of it on my shoes. Wanna see" (Straczynski, #533, 5)?
The humanity of Peter Parker makes it easy to appreciate the horror he is facing, realistic sense. We feel as though we are under the weight of this foreboding law as it looms large upon him and his family. This is apparent when he reflects upon his choice: "I wonder what the hell I'm doing here. I'm legal. I'm registered. I'm authorized. And as I feel this whole situation starting to unravel all around me, I just hope to God that I'm also right" (Straczynski, #534, 23). We feel Peter's pain and incredible burden to bear, and empathize with his him as if he were a real human being with real struggles and hurdles to jump to make ends meet and to continue a "normal" existence.
The boiling point is finally reached when Peter realizes he's made the wrong choice, and puts his family's well-being above his own, to fight back against Iron Man as the latter has been imprisoning fugitives without due process in a super max prison, with no means to a fair trial or due process. As soon as Peter sees the horrific treatment of former heroes and villains (despite their histories), he is disgusted and immediately turns on his mentor. He moves out of his cushy, government subsidized luxury apartment, and runs from the law. His nature as a fugitive sets the trajectory for his family's life in the issues to follow. The guilt and shame manifests itself in Peter's dialogue with his wife, Mary Jane:
"I'm sorry baby, I'm so sorry." "I know. So I went by the bank and cleaned out both our accounts. It's not a lot, but it'll cover us for a while, as long as nothing disastrous happens." "You mean like today?" "Well, there goes my sense of security." "If you stay, you're both going to end up on the run with me, going from one dive to another, using different names...the stress will be enormous. (Straczynski, #536, 7-9)"
The consequences for this family were doomed from the beginning, as they were known to the public, at the mercy of Spider-man's rogues, and with Peter as a fugitive from the law, the U.S. Government and his former friends/allies are searching far and wide to bring him to justice. The consequences for this fictional character never feel too out of the ordinary, despite the superhero identity. The journey of a man that makes a poor decision that disrupts his private family life, only to permanently change their trajectory for the worse. This essential version of the story feels human and realistic in every sense of these words. We feel as Peter Parker feels from his unease and nausea before announcing his identity to the world, his internal conflict stemming from his decision, his attempt to rectify his decision and run from the law as a fugitive with his family, and his internal dialogues about what truly is right and wrong under the law. Despite his nature as a superhuman being in spandex fighting crime with an Iron Man by his side, Peter Parker remains an everyman character that struggles as we all struggle with the difficulties and complexities of life. Regardless of his nature as a fictional character, Spider-man remains one of the most relatable and realistic characters in fiction.
Saturday, September 10, 2011
The Progressivism of Marvel's 'Civil War'
Typically, those in society look to officers of the law to protect them in times of extreme need, or when their physical integrity in immediate danger. What if our public officials were state-sponsored, regulated super heroes? It sounds so simple and logical that one wouldn't give much thought to the opposite idea. But, what if it was your body and reputation on the line? Your name and criminal background would be public knowledge, and any and all dangerous, deranged people would know your best kept secret: your identity. The 7-issue story arc Civil War is at its core, a big bold superhero beat-em-up, but if one digs a little deeper, the legislation that sets this chain of events is: "The Superhero Registration Act," which splits the superhero community in two while directly infringing on their right to privacy and civil liberties.
Throughout the story, heroes struggle with conflicting mentalities about 'doing the right thing' for their country, while staying true to themselves and their personas. The tragedy is set in motion when a super powered clash occurs that kills 626 people. Many of the victims are children at a nearby school, which causes public outrage at the superhero community for allowing this tragedy to occur. The tragedy's figurehead is Miriam Sharpe, a mother who lost her young son. Her scathing view of superheroes pushes public opinion to regulation and passing of "The Superhero Registration Act": "Cops have to train and carry badges, but that's too boring for Tony Stark. Naw, Joe Billionaire here says all you need are some powers and a bad-ass attitude, and you can have a place in his private super-gang. You fund this sickness, Stark. With your dirty billions" (Millar, 15).
Although this is a superhero story, there are several real-world overtones that influence the plot and direction of the story. The Patriot Act was a response to the horrific terror attacks that rocked New York City on 9/11/01, when we traded our civil liberties to feel safer. Our phone, medical and other private records were laid bare in the name of National Defense. This story is a clear allegory of what happened that tragic day and the reactionary legislation that came from it. A tragic and deadly event occurs that kills hundreds of innocent children. The public screams for increased national defense. The superhero community splits in two in response to the bill that directly infringes upon an individual's right to privacy and civil liberties in the name of defense. The direct contemporary connections are hard to ignore. The author states: "...in a war, people do dramatic things. There's blood on the hands of both sides, but that's war for you. It's never pretty. But they're superheroes and were only doing this stuff for the right reasons" (Millar, Script Book 181). Much like the public in the real world felt reactive legislation was the right response, the fallout from the decision has unforeseen consequences in the fictional world as well.
Though the author states superheroes are choosing to do the right thing, but it doesn't make them any less conflicted over the law. Tony Stark/Iron Man reflects on his struggle: " 'Twenty minutes to go, Tony. Word is [sic] that we're looking at thirty-eight signatures already.' 'Oh, God. Please let us be doing the right thing here...'" (Millar, 41). Furthermore, friends and allies come to blows about the dangers of the law: " 'The Secret Identity thing isn't such a big deal. The Fantastic Four have been public since the very beginning, and it's never really been a serious concern.' 'Yeah, well...not until that day I come home and find my wife impaled [sic], and the woman who raised me begging for her life'" (Millar, 20). Even though these are fictional people, the stakes are incredibly high for either side of the law. Spider-man is fearful for his immediate family's safety, whereas the Fantastic Four see no immediate threat and readily sign up. Those with nothing to lose in their extended family lives or financial stability readily sign up, but those that have much to lose from being super heroes, instead fight the law, and go underground as criminals. The tension violently explodes, and is poignantly examined by Steve Rogers/Captain America: "They're right. We're not fighting for the people anymore. Look at us. We're just fighting. They're not arresting Captain America, they're arresting Steve Rogers. That's a very different thing" (Millar, 173-174). The power in those words resonates among the fighting heroes, as the escalating tension subsides. Millar states this strongly: "I read the papers, I watch the news and this is what seeps into my writing...obviously, there's a certain amount of political allegory in a story where a guy wrapped in the American flag is in chains as the people swap freedom for security" (Millar, Script 145).
This 7-part story captured what was on the minds of the American people after the signing of the Patriot Act, and functions as a cautionary tale of government progressivism in terms or reactionary law. This particular reactionary law did far more harm than good, which led to the deaths of hundreds more people over an ideological difference. The philosophical analysis of progressivism is interwoven throughout this story in multiple story beats and themes. This is a clear 'meta-text' on the dangers of reactionary progressivism.
Throughout the story, heroes struggle with conflicting mentalities about 'doing the right thing' for their country, while staying true to themselves and their personas. The tragedy is set in motion when a super powered clash occurs that kills 626 people. Many of the victims are children at a nearby school, which causes public outrage at the superhero community for allowing this tragedy to occur. The tragedy's figurehead is Miriam Sharpe, a mother who lost her young son. Her scathing view of superheroes pushes public opinion to regulation and passing of "The Superhero Registration Act": "Cops have to train and carry badges, but that's too boring for Tony Stark. Naw, Joe Billionaire here says all you need are some powers and a bad-ass attitude, and you can have a place in his private super-gang. You fund this sickness, Stark. With your dirty billions" (Millar, 15).
Although this is a superhero story, there are several real-world overtones that influence the plot and direction of the story. The Patriot Act was a response to the horrific terror attacks that rocked New York City on 9/11/01, when we traded our civil liberties to feel safer. Our phone, medical and other private records were laid bare in the name of National Defense. This story is a clear allegory of what happened that tragic day and the reactionary legislation that came from it. A tragic and deadly event occurs that kills hundreds of innocent children. The public screams for increased national defense. The superhero community splits in two in response to the bill that directly infringes upon an individual's right to privacy and civil liberties in the name of defense. The direct contemporary connections are hard to ignore. The author states: "...in a war, people do dramatic things. There's blood on the hands of both sides, but that's war for you. It's never pretty. But they're superheroes and were only doing this stuff for the right reasons" (Millar, Script Book 181). Much like the public in the real world felt reactive legislation was the right response, the fallout from the decision has unforeseen consequences in the fictional world as well.
Though the author states superheroes are choosing to do the right thing, but it doesn't make them any less conflicted over the law. Tony Stark/Iron Man reflects on his struggle: " 'Twenty minutes to go, Tony. Word is [sic] that we're looking at thirty-eight signatures already.' 'Oh, God. Please let us be doing the right thing here...'" (Millar, 41). Furthermore, friends and allies come to blows about the dangers of the law: " 'The Secret Identity thing isn't such a big deal. The Fantastic Four have been public since the very beginning, and it's never really been a serious concern.' 'Yeah, well...not until that day I come home and find my wife impaled [sic], and the woman who raised me begging for her life'" (Millar, 20). Even though these are fictional people, the stakes are incredibly high for either side of the law. Spider-man is fearful for his immediate family's safety, whereas the Fantastic Four see no immediate threat and readily sign up. Those with nothing to lose in their extended family lives or financial stability readily sign up, but those that have much to lose from being super heroes, instead fight the law, and go underground as criminals. The tension violently explodes, and is poignantly examined by Steve Rogers/Captain America: "They're right. We're not fighting for the people anymore. Look at us. We're just fighting. They're not arresting Captain America, they're arresting Steve Rogers. That's a very different thing" (Millar, 173-174). The power in those words resonates among the fighting heroes, as the escalating tension subsides. Millar states this strongly: "I read the papers, I watch the news and this is what seeps into my writing...obviously, there's a certain amount of political allegory in a story where a guy wrapped in the American flag is in chains as the people swap freedom for security" (Millar, Script 145).
This 7-part story captured what was on the minds of the American people after the signing of the Patriot Act, and functions as a cautionary tale of government progressivism in terms or reactionary law. This particular reactionary law did far more harm than good, which led to the deaths of hundreds more people over an ideological difference. The philosophical analysis of progressivism is interwoven throughout this story in multiple story beats and themes. This is a clear 'meta-text' on the dangers of reactionary progressivism.
Wednesday, September 7, 2011
The Existentialism of Swamp Thing
What does it mean to be human? Is it the air we breathe? The concept of rational, logic thought? Or is our humanity something we cannot even begin to fathom? Alan Moore's celebrated run on The Saga of the Swamp Thing is one of the most poignant analyzes of humanity and self-perception in any written medium. Alan Moore dissects Swamp Thing into the most base parts in his landmark story The Anatomy Lesson. Moore's Swamp Thing is one of the most relatable and human characters you'll ever meet, despite being "a vegetable monster."
Alec Holland was once a scientist working on plant growth biology in swampland, only to have his work sabotaged by dynamite, incinerating his body as it plunged into the swamp. Days later, the Swamp thing rises from its watery grave to live again. The story starts out interestingly enough, at Swamp Thing's death. The autopsy, Anatomy Lesson,reveals that this creature is incredibly human-like, down to the organs and tissue. http://www.comicvine.com/the-saga-of-swamp-thing-the-anatomy-lesson/37-261279/ The scientist, Jason Woodrue, a noted botanist in his field, examines our protagonist to discover the organic structure of this creature and what makes it tick. He describes in surgical detail:
"What are they? His lungs or something? No. They look like lungs, but human lungs have tiny capillary tubes that let oxygen pass through into the blood. That's what lungs are for. These are vegetable fiber. Vegetable fibers are too coarse to allow molecules of oxygen through in that way. These things suck and blow, and they don't do anything else. They don't work. They're not lungs (Moore, 44)."
Woodrue then continues to dissect the creature discovering its brain, heart, and kidneys. These pieces all amount to something that once resembled a man. Though the lungs never worked, and the organs are essentially non-functioning (even in life), the character was once a living, moving, critically thinking creature. Does the physiology make the man? Existentialism is defined in finite yet broad terms by The Stanford Encyclopedia of Philosophy: "Existentialism does not deny the validity of the basic categories of physics, biology, psychology, and the other sciences (categories such as matter, causality, force, function, organism, development, motivation, and so on). http://plato.stanford.edu/entries/existentialism/It claims only that human beings cannot be fully understood in terms of them." Human beings are too complex to be defined in terms of biology and psychology, which makes The Anatomy Lesson unique in the analysis of the human condition.
Furthermore, we discover something more sinister under Woodrue's examination. He explains:
"It's dynamite. Five sticks of it.The combined effects of the blast and the reflex muscles in his legs propel him through the door and into the swamp, but Alec Holland is already dead. His body goes into the swamp along with the formula it is saturated with. Once there, it decomposes. Those plants eat him, and they become infected by a powerful consciousness that does not realize it is no longer alive! It was a plant that thought it was Alec Holland (Moore, 48)!" Does this make the Swamp Thing human? Does our consciousness make us human, or the sum of our parts and experiences? The questions of identity and existence are explored in this landmark issue as The Anatomy Lesson discovers the dark truth behind The Swamp Thing.
The issue comes to a roaring climax as Woodrue completes his report and reflects upon what he's discovered. We all ponder what our position in life is and what we're destined to do, but what if our lives were just a dream all along? What if our concept of consciousness and higher-level thinking was all just a charade to understand the concept of humanity? Why are we here? What is our purpose? The tragic nature of Swamp Thing is concluded by Woodrue:
"You see, throughout his miserable existence, the only thing that could have kept him sane was the hope that he might one day regain his humanity. If he's read my notes he'll know that just isn't true. He isn't Alec Holland. He never will be Alec Holland. He's just a ghost. A ghost dressed in weeds (58)."
This crushing realization has a profound impact on Swamp Thing, as it discovers how inhuman it truly is. This also picks at the notion of spirituality and reincarnation, albeit a dark and incredibly twisted one. The existential deconstruction is the key element to the success of this incredible issue. The notions of humanity, existence, spirituality, identity and predestination are all on display as the character is ripped apart, reborn as something more violent and disillusioned. The true death of Alec Holland is the death of Swamp Thing's hope of reclaiming its former life and humanity. This is most evident later when "Alec" reconnects with an old friend: " 'Actually, you know you were underwater for half an hour? You really don't need to breathe anymore?' 'I...never did. It was...only a habit. I...gave it up.' 'how does it feel to just stop breathing?' 'Strange. You realize...just how much...effort...it has been...all along (Moore, 138-139).'"
When Swamp thing finally renounces its humanity after falling into madness, it reflects in a cold, calculated objective manner: "There is a red and angry world. Red things happen there. The world eats your wife, eats your friends, eats all the things that make you human...and you become a monster (Moore, 87)." This is an incredible existential examination in it's bleakest, darkest terms. Moore's Saga of the Swamp Thing examines what it truly means to be human, or what one perceives as being human.
Alec Holland was once a scientist working on plant growth biology in swampland, only to have his work sabotaged by dynamite, incinerating his body as it plunged into the swamp. Days later, the Swamp thing rises from its watery grave to live again. The story starts out interestingly enough, at Swamp Thing's death. The autopsy, Anatomy Lesson,reveals that this creature is incredibly human-like, down to the organs and tissue. http://www.comicvine.com/the-saga-of-swamp-thing-the-anatomy-lesson/37-261279/ The scientist, Jason Woodrue, a noted botanist in his field, examines our protagonist to discover the organic structure of this creature and what makes it tick. He describes in surgical detail:
"What are they? His lungs or something? No. They look like lungs, but human lungs have tiny capillary tubes that let oxygen pass through into the blood. That's what lungs are for. These are vegetable fiber. Vegetable fibers are too coarse to allow molecules of oxygen through in that way. These things suck and blow, and they don't do anything else. They don't work. They're not lungs (Moore, 44)."
Woodrue then continues to dissect the creature discovering its brain, heart, and kidneys. These pieces all amount to something that once resembled a man. Though the lungs never worked, and the organs are essentially non-functioning (even in life), the character was once a living, moving, critically thinking creature. Does the physiology make the man? Existentialism is defined in finite yet broad terms by The Stanford Encyclopedia of Philosophy: "Existentialism does not deny the validity of the basic categories of physics, biology, psychology, and the other sciences (categories such as matter, causality, force, function, organism, development, motivation, and so on). http://plato.stanford.edu/entries/existentialism/It claims only that human beings cannot be fully understood in terms of them." Human beings are too complex to be defined in terms of biology and psychology, which makes The Anatomy Lesson unique in the analysis of the human condition.
Furthermore, we discover something more sinister under Woodrue's examination. He explains:
"It's dynamite. Five sticks of it.The combined effects of the blast and the reflex muscles in his legs propel him through the door and into the swamp, but Alec Holland is already dead. His body goes into the swamp along with the formula it is saturated with. Once there, it decomposes. Those plants eat him, and they become infected by a powerful consciousness that does not realize it is no longer alive! It was a plant that thought it was Alec Holland (Moore, 48)!" Does this make the Swamp Thing human? Does our consciousness make us human, or the sum of our parts and experiences? The questions of identity and existence are explored in this landmark issue as The Anatomy Lesson discovers the dark truth behind The Swamp Thing.
The issue comes to a roaring climax as Woodrue completes his report and reflects upon what he's discovered. We all ponder what our position in life is and what we're destined to do, but what if our lives were just a dream all along? What if our concept of consciousness and higher-level thinking was all just a charade to understand the concept of humanity? Why are we here? What is our purpose? The tragic nature of Swamp Thing is concluded by Woodrue:
"You see, throughout his miserable existence, the only thing that could have kept him sane was the hope that he might one day regain his humanity. If he's read my notes he'll know that just isn't true. He isn't Alec Holland. He never will be Alec Holland. He's just a ghost. A ghost dressed in weeds (58)."
This crushing realization has a profound impact on Swamp Thing, as it discovers how inhuman it truly is. This also picks at the notion of spirituality and reincarnation, albeit a dark and incredibly twisted one. The existential deconstruction is the key element to the success of this incredible issue. The notions of humanity, existence, spirituality, identity and predestination are all on display as the character is ripped apart, reborn as something more violent and disillusioned. The true death of Alec Holland is the death of Swamp Thing's hope of reclaiming its former life and humanity. This is most evident later when "Alec" reconnects with an old friend: " 'Actually, you know you were underwater for half an hour? You really don't need to breathe anymore?' 'I...never did. It was...only a habit. I...gave it up.' 'how does it feel to just stop breathing?' 'Strange. You realize...just how much...effort...it has been...all along (Moore, 138-139).'"
When Swamp thing finally renounces its humanity after falling into madness, it reflects in a cold, calculated objective manner: "There is a red and angry world. Red things happen there. The world eats your wife, eats your friends, eats all the things that make you human...and you become a monster (Moore, 87)." This is an incredible existential examination in it's bleakest, darkest terms. Moore's Saga of the Swamp Thing examines what it truly means to be human, or what one perceives as being human.
Friday, September 2, 2011
The Pragmatism of Batman
Batman: Detective, Martial Artist, and Pragmatist? No really! It's true! This character is the penultimate pragmatist in fiction. Batman is a character that makes mistakes like you or I do, yet manages to stay true to his life's goal of eradicating crime. Pragmatism is defined as : "character or conduct that emphasizes practicality," or "a philosophical movement or system having various forms, but generally stressing practical consequences as constituting the essential criterion in determining meaning, truth, or value." http://dictionary.reference.com/browse/pragmatism Batman is at his simplest: a man that fights crime. He is on a one-man crusade to eliminate criminals to prevent tragedy and injustice in the world. Batman is pragmatism defined.
Though he is a very driven man, he makes mistakes and pays for those mistakes dearly. Batman prides himself as the world's greatest detective and has honed his intellect to incredible levels in order to combat and eliminate threats as they happen. Batman is also a highly-trained martial artist, the pinnacle of human strength and fighting ability. Through years of pushing his body to the physical and mental limits, he has become the ultimate human being. This fills the definition of "practical consequences determining meaning, truth and value." Though he uses his considerable wealth and power to achieve these means, he is still an ordinary man pushing his superhuman intellect and physical prowess to their limits to succeed.
This determined nature also proves to be his undoing on many occasions as well. This is most evident in the 1980's story line A Death in the Family. Batman is vehemently against his partner's (Jason Todd) desire to discover his birth-mother, but is distracted with The Joker's (Batman's arch-rival) criminal empire reaching the Middle East. The two divergent plot threads intersect as Batman discovers that Jason has been set up by his two-timing birth-mother and captured by The Joker. He is left for dead with a time-bomb ticking ever closer to detonation, only for Batman to arrive too late to save his apprentice. Batman's driven nature is the main reason why Jason dies, and from this point forward, Batman becomes an even more focused detective, albeit more damaged as a result. The "practical consequences" in this sense have a marked and profound change in how Batman operates, and it is many years until a third apprentice, Tim Drake, will be accepted as Batman's partner when he accepts the lesson of Jason's death after learning it's "truth, meaning and value." http://www.comicvine.com/batman-a-death-in-the-family-batman-a-death-in-the-family/37-148619/
This character, like many others in long-form narratives, has profoundly deep emotions that define his humanity. The caveat to this character is that tragedy defines Batman. His campaign to eliminate crime, bring about justice and prevent tragedy defines his pragmatic nature. Christopher Nolan, the recent director of Batman Begins, and The Dark Knight, had this to say about the character and his humanity: "We did not want his quest to be for vengeance, we wanted it to be for justice. That’s what sends him looking for an outlet for his rage and frustration. What he chooses to do with it is, I believe, selfless, and therefore, heroic. And that, to me, is really the distinction—selfishness versus selflessness—and that is very noble. But it is a very fine distinction. Because Batman is limited by being an ordinary man, there’s a constant tension between pragmatism and idealism." http://www.scottholleran.com/interviews/christopher-nolan.htm
Batman is only an ordinary man, but a man at his physical and mental peak. Being such a driven man has it's consequences, but his true strength is the ability to learn from these mistakes. The world's greatest detective can handle nearly any situation using careful planning, while reflecting on previous wrongdoings to continue his quest to seek justice and eliminate crime. Batman is the ultimate pragmatist of comic book fiction.
Though he is a very driven man, he makes mistakes and pays for those mistakes dearly. Batman prides himself as the world's greatest detective and has honed his intellect to incredible levels in order to combat and eliminate threats as they happen. Batman is also a highly-trained martial artist, the pinnacle of human strength and fighting ability. Through years of pushing his body to the physical and mental limits, he has become the ultimate human being. This fills the definition of "practical consequences determining meaning, truth and value." Though he uses his considerable wealth and power to achieve these means, he is still an ordinary man pushing his superhuman intellect and physical prowess to their limits to succeed.
This determined nature also proves to be his undoing on many occasions as well. This is most evident in the 1980's story line A Death in the Family. Batman is vehemently against his partner's (Jason Todd) desire to discover his birth-mother, but is distracted with The Joker's (Batman's arch-rival) criminal empire reaching the Middle East. The two divergent plot threads intersect as Batman discovers that Jason has been set up by his two-timing birth-mother and captured by The Joker. He is left for dead with a time-bomb ticking ever closer to detonation, only for Batman to arrive too late to save his apprentice. Batman's driven nature is the main reason why Jason dies, and from this point forward, Batman becomes an even more focused detective, albeit more damaged as a result. The "practical consequences" in this sense have a marked and profound change in how Batman operates, and it is many years until a third apprentice, Tim Drake, will be accepted as Batman's partner when he accepts the lesson of Jason's death after learning it's "truth, meaning and value." http://www.comicvine.com/batman-a-death-in-the-family-batman-a-death-in-the-family/37-148619/
This character, like many others in long-form narratives, has profoundly deep emotions that define his humanity. The caveat to this character is that tragedy defines Batman. His campaign to eliminate crime, bring about justice and prevent tragedy defines his pragmatic nature. Christopher Nolan, the recent director of Batman Begins, and The Dark Knight, had this to say about the character and his humanity: "We did not want his quest to be for vengeance, we wanted it to be for justice. That’s what sends him looking for an outlet for his rage and frustration. What he chooses to do with it is, I believe, selfless, and therefore, heroic. And that, to me, is really the distinction—selfishness versus selflessness—and that is very noble. But it is a very fine distinction. Because Batman is limited by being an ordinary man, there’s a constant tension between pragmatism and idealism." http://www.scottholleran.com/interviews/christopher-nolan.htm
Batman is only an ordinary man, but a man at his physical and mental peak. Being such a driven man has it's consequences, but his true strength is the ability to learn from these mistakes. The world's greatest detective can handle nearly any situation using careful planning, while reflecting on previous wrongdoings to continue his quest to seek justice and eliminate crime. Batman is the ultimate pragmatist of comic book fiction.
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