Quote:
Originally Posted by Feral Fantom
I think a lot of the classic series really were glorified fascism blended with national optimism, but today they have evolved into something different. There are superheroes who were previously murderers and assassins. There are vigilantes and anti-heroes who use questionable means and even while being the protaganist they may not be portrayed in a positive light by the author. There are even some popular classic series which explore how many of the supervillains who do horrible things are in some way a creation of the superhero and the possibility that he is responsible for them.
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I think this is an excellent summary of how the media has developed with time. I don't know about you guys, but in my lifetime I've always considered superhero genre to be almost exclusively adult. Children can appreciate the characters on some level, but a more complex emotional comprehension is required to fully understand the characters and the world.
I've never been fond of heroes such as Superman and Captain America precisely because, to me, they appear to be products of a bygone age. They embody the nationalistic roots of the superhero genre, and all that it entails - the supposed "good," but mainly the bad. They symbolise inflexible legalistic principles and undesireable traditions, including, to my eyes, more than a measured dash of misogyny. We live in a different world now. Our world - perhaps incorrectly, but that's another argument - now widely rejects these traditions.
Of course, I'm referring to the
Western world. This is where the superhero genre originated, and largely where these arguments will remain. However, I have recently noticed the same rejection of fascist principles in media from another culture - Japan. Take, for example, the anime
Panty and Stocking with Garterbelt, released in the last couple of months of 2010. The titular characters, Panty and Stocking, are Anarchy Angels, whilst the major antagonists are demons whose goal is to impose totalitarianism onto the world. The girls defy and destroy the demons' attempts at assimilating humankind, and undermine their obsession with "RULES!!!"
Another example that springs to mind is the video game
Bayonetta. The protagonist is a dark chaos witch who ultimately thwarts the attempts of the light coven to revive their deity. The blur between the lines of good and evil in both of these examples is exceedingly complex. In
Bayonetta, you essentially play on the "dark side," but the goal of the cold angelic world is obviously corrupt and harmful to all forms of life. This is despite the fact that the light witches see themselves as performing the ultimate good. (It is this misguided, clouded view of "good" which usually brands characters - and people - as criminally insane.) In P&Sw/G, the "Good" side is the traditional "Heavenly" side, but the roles are reversed - it is the demonic side which is legalistic rather than chaotic. This is a twist I find fascinating. On the flipside, in another anime called
Angel Sanctuary, the ultimate villain, in another intriguing concept, is God. Heaven is once again portrayed as authoritarian and corrupt.
To return to the strictest interpretation of the genre, you can still see the same principles everywhere - the blurred line between good and evil. In the X-Men canon, Rogue is a character who lurches back and forth between the dark side and the good side, between antagonist and protagonist. Wolverine, always a "Good" character, embodies many dark characteristics. In the second part of the recent
X-Men movie trilogy, the sympathy for the human villain character is strong, as his current hatred came about as a product of Xavier's incapability to help his mutant son. The whole structure of the mutant school, I felt, was shown to be flawed and embedded in traditions which were not helpful or tailor-made to EVERYONE - this was shown most poignantly in the movie by the young Pyro. His control of fire had the potential for both great good and terrible destruction, and because he couldn't find acceptance in the academy - because they had taught him with the mindset of limiting him rather than allowing him to flourish - he ended up turning to a teacher who would nurture him properly. The evil mastermind, of course.
Other works I'd like to cite include the recent
Megamind. All you have to do is read its plot summary on Wikipedia to see that it's entirely based on the fine line between what makes a "hero" and what makes a "villain." In an unfinished work by one of my favourite artists, titled
Lotte vs. the Dead, the conventions of the superhero genre are parodied, and the flaws of the system - such as the traditional superhero unwillingness to kill the villains - ultimately leads to their destruction.
I have mixed feelings about female superheroines. On the one hand, they reinforce stereotypical ideals of beauty and femininity, including both supposed good and bad aspects of "being a woman." On the other, they, especially heroines such as Catwoman, stand for female empowerment and independence... but only to a limited degree, as their stories often revolve around a male protagonist and love interest. I've yet to see a superheroine who I can be totally satisfied with.
My personal favourite superhero is Spiderman, especially as portrayed in the recent
Spiderman trilogy. His struggle with his own human insecurities and role in life is endearing at every turn. The good and evil shown within himself, within the other characters and within the world is true to life. In essence, Peter Parker is a good guy who makes mistakes and tries to learn from them. He's a good guy, who's [i]trying/i] to be good, but has also slipped up and been blinded by rage and agony. This is the sort of "hero" which, perhaps, would be better to aspire to than faceless masks of authority such as Batman.