Tag Archives: supervillains

Dr. Doom: Ultimate Villain or Greatest Hero?

The following is a video from my YouTube channel, Jack’s World. It’s another video about comic books, which shouldn’t surprise anyone at this point. It’s also about Victor Von Doom, which shouldn’t surprise anyone who has been following this site for any extended period. This video is actually based on an article I wrote a while back, but with a few tweaks here and there. Given his eventual arrival into the Marvel Cinematic Universe, I think the time is right to celebrate why he’s such a great character. Enjoy!

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Why Lex Luthor Is The Ultimate Villain

The following is a video from my YouTube channel, Jack’s World. This video is a brief exploration of one of the greatest fictional villains of all time, Lex Luthor. There has been an ongoing trend in recent year to develop more complex villains with equally complex motivations. However, there’s still room for the kind of old school, pure evil villain and nobody epitomizes that more than Lex Luthor. Hopefully, this video gives everyone a new appreciation of that. Enjoy!

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Jack’s World: Homelander: The Perfect Villain For A Cynical Era

The following is a video for my YouTube channel, Jack’s World. It’s just a brief video essay on why Homelander from “The Boys” is the perfect villain for this particularly messed up era. Enjoy!

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Jack’s World: How “Megamind” Gave Us The Ultimate Incel Villain

The following is a vide for my YouTube channel, Jack’s World. It once again explores “Megamind,” a movie I’ve highlighted in the past for it’s colorful subversion of the superhero genre. It felt like the time was right to discuss it on my channel. This time, I explore how “Megamind” gave us the first true Incel villain before the concept of an “incel” was a thing.

Like anything involving incels, it’s a distressing topic and bound to generate some less-than-comfortable feelings. I still welcome comments and discussion. Enjoy!

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Jack’s World: Why Conservatives Make Better Villains (For Now)

The following is a video I made for my YouTube channel, Jack’s World. It’s a video version of an article I wrote a while back. I added and removed a few details to the video. If necessary, I’ll do a follow-up. Enjoy!

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Filed under Current Events, extremism, human nature, Jack's World, media issues, philosophy, political correctness, politics, psychology, superhero comics, superhero movies, Villains Journey, YouTube

Why Conservatives Make Better Villains (For Now)

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We currently live in a golden age of villains. Between Thanos, Erik Killmonger, the Joker, and Walter White, there has been a veritable surge of complex characters who also happen to be compelling villains. While there’s still a place for the kind of pure evil that Disney villains have relied on for years, this trend in a more refined brand of villainy feels both refreshing and overdue.

I’ve written extensively on villains before. As a lifelong fan of superhero comics and movies, I’ve consumed, contemplated, and scrutinized hero/villain dynamics more than most. In doing so, I’ve noticed plenty of trends. Like most aspects of popular culture, it’s always evolving. Very few themes and details remain constant, especially when it comes to antagonists.

That said, there’s one trend in villains that has remained somewhat constant over the course of my lifetime. It’s also a trend that I see as intensifying, albeit in a subtle way. Some of it coincides with the growing complexity of villains in popular culture, but most of the trend precedes the current era of superhero-dominated media. If anything, superhero media helped accelerate it.

While most villains and heroes rarely identify with a certain political affiliation, it’s usually not hard to discern how most would vote in a contemporary election. I would even argue that it’s easier to surmise what a villain’s political leanings are compared to that of heroes. Take any villain from the past 10 years of movies, be they superhero or otherwise. Chances are a vast majority of them would identify as conservative.

Now, I understand conservatism is an exceedingly broad term. It has a dictionary definition, but as a political philosophy, there are many sub-sets, divisions, and variations. From fiscal conservatives to social conservative to neoconservatives, there are many wildly different ideologies that still identify as conservative. A few actively clash with one another.

Those complexities aside, there are some core tenants associated with conservatism and it’s those very tenants that make it such an effective basis for villains. Chief among conservative values is the idea that traditional norms, institutions, and values be maintained. Change isn’t actively dissuaded, but it is viewed with caution and suspicion. To be conservative is to affirm the status quo, to some extent.

That’s all well and good if the status quo is beneficial to everyone. It’s not so preferable for those who either fail to benefit or are actively screwed over by that same status quo. Since there has never been a society in history that has achieved perfect prosperity for everyone, regardless of their minority status, there’s bound to be people who get left behind.

In our own real-world history, we’ve seen people from those disaffected groups organize and fight the status quo to better their lives. That struggle has played out in the Civil Rights movement of the 1960s, the movement for women’s rights, and the LGBT rights movement that’s still going on today. Those who oppose these movements tend to have, broadly speaking, conservative leanings.

Look at the groups that opposed the Civil Rights movement.

Look at those who actively oppose LGBT rights, women’s rights, and immigrants.

They all espouse rhetoric that would put them at odds with Superman, Captain America, and most other superheroes who value justice, truth, and peace. For some, their talking points sound like ideas that only villains in the mold of Lex Luthor would agree with. While not all of them identify as overtly conservative, the standard principles are there.

Anything too different from the status quo must be wrong or evil.

Anybody too different from the people everyone else in a society must be bad, evil, or devious.

Any idea, trend, or movement that is disruptive or deviant in any way is something to be opposed.

It doesn’t just manifest in superhero movies or underdog stories, either. Look at a movie like “Footloose.” In this story, the people who ban dancing are uptight, dogmatic, religious zealots who likely voted for Ronald Reagan in 1984 when this movie came out. They were the antagonists of that story and the kids, while not overtly liberal, dared to defy them.

It can even manifest subtly in other media. In kids shows like “Recess,” “Hey Arnold,” and “Rocko’s Modern Life,” the most common antagonists are uptight authority figures who have no tolerance for new ideas, big changes, or anything remotely fun. It’s hard to imagine any of these characters voting for someone who builds their slogan around change, reform, and reinvention.

They like things the way they are. Most of them benefit from the current system and will naturally seek to preserve their place in that system. While they won’t always see themselves as villains, it’s difficult for them to come off as heroes. You can only be so heroic when your side is closely aligned with predatory business practices, fun-hating religious zealots, and unabashed war-mongers.

That’s not to say it’s impossible for liberals to be villains too. It does happen and it can be done very well when done right. I would argue that Erik Killmonger in “Black Panther” was more in line with an extreme liberal revolutionary who didn’t just want to pursue change. I would make a similar argument for Ra’s Al Ghul in “Batman Begins.”

These characters didn’t just seek to change society from its current unjust state. They sought to violently destroy it and rebuild it from the ground up. That kind of liberalism exists in the real world and it can make for compelling villains.

However, the number of villains who align with the politics of Killmonger are far fewer than those who would align with the politics of Lex Luthor. In general, it’s easier to resist change rather than embrace it. It’s also necessary to some extent for those to resist change to be uptight authority figures who are okay with coercing others to maintain traditions. Logistically, the villains in many conflicts must be conservative.

Now, that’s not to say that villains will always lean conservative in popular media. What it means to be conservative changes over time. If you were to listen to conservative rhetoric 50 years ago, they would sound very different. They might even sound liberal by today’s standards.

The same goes for liberalism of previous eras. It hasn’t always been closely aligned with the politics surrounding minority rights, income inequality, or political correctness. The liberals of the 1920s would likely clash with the liberals of today. That’s just part of the ever-evolving nature of politics.

 

For the time being, though, being a villain in popular culture usually means being conservative to a certain extent. Conservatives are more likely to be the rich, greedy business people who would gladly burn down a rain forest or exploit slave labor to raise profits. Conservatives are more likely to be the rule-loving, fun-hating, curfew-enforcing religious zealots who wouldn’t mind electing theocrats with every election.

These types of individuals are far more likely to be villains in a story. At the very least, they’ll side or tolerate the villain. It’s easy to believe that those who side with the religious right and well-connected rich people will generally oppose a selfless, likable protagonist. From a narrative perspective, these kinds of villains are better in that we tend to root for heroes who oppose authoritarian bullies like that.

Again, it’s guaranteed that political and cultural trends will likely change what it means to be conservative, liberal, and everything in between. For the time being, if you were to bet on the political leanings of an antagonist, the odds are mostly in favor of that antagonist being conservative.

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Jack Fisher’s Weekly Quick Pick Comic: Dr. Doom #3

Death has always been a running joke of sorts in superhero comics. Characters die all the time, but rarely stay dead. That includes important, iconic characters whose deaths resonate beyond the pages of comics. Sometimes, these deaths are incredibly dramatic, showing just how great these characters can be when everything is on the line. Regardless of how heroic their deaths might be, however, it rarely sticks.

That’s why it’s often more interesting when major villains die. While they rarely stay dead as well, their postmortem journey is often more arduous. If ever there was a villain who constantly skews the concept of death, it’s Victor Von Doom. If anyone needs proof, then look no further than “Dr. Doom #3.”

While he has “died” before, he rarely stays dead. It’s not just because every one of his “deaths” can be attributed to a Doombot, either. This is a man who has been a God and won battles against Marvel’s version of the devil. To him, death is more an inconvenience than a permanent end. It’s just a lot more inconvenient than usual in “Dr. Doom #3.”

These are not good times for Victor Von Doom. The Fantastic Four are back. His brief stint as the new Iron Man ended before he had a chance to show up Tony Stark. He has also been deposed from Latveria, exiled from the country, and thrown into a world with a target on his back for every superhero and SHIELD agent. It is the most vulnerable Doom has been since he was stranded butt naked on Counter Earth.

In short, he’s vulnerable, pissed off, and under constant attack. It’s precisely the situation that brings out the best and worst in Dr. Doom. While the events of “Dr. Doom #2” ended with him “dying” at the hands of Taskmaster, death only gives him a chance to remind everyone why no afterlife can hold him.

It also gives him a chance at another rematch with Mephisto, also known as Marvel’s devil and the one responsible for breaking up Spider-Man and Mary Jane’s marriage. It’s not the first time they’ve clashed, but to date, Dr. Doom has a winning record against Mephisto. That’s something Mephisto is eager to change in his own hellish way.

It makes for a battle full of hellfire. Artist Salvador Larroca brings beautiful depictions of the hellscape that is Mephisto’s domain and writer Christopher Cantwell captures their less-than-heavenly egos every step of the way.

Mephisto tries to torment Doom with what he has sacrificed in the past to achieve his goals. Doom tries torment Mephisto by reminding him that he has beaten damnation before and only got stronger because of it. Neither one of them comes off as heroic, but that’s exactly what makes Doom’s defiance of death’s grip so unique.

Dr. Doom is not the kind of man who makes heroic sacrifices, but he’s also not a man who does what he does for no reason. As I’ve noted before and as other comics have highlighted, Doom doesn’t terrorize innocent people, heroes, and even other villains for no reason. He does what he does because he truly believes that the only future in which people are free from want and suffering is a future in which he rules.

It’s a sentiment that the late Stan Lee himself echoed. The first two issues of this series effectively double down on this vision, but “Dr. Doom #3” presents it with a major challenge. There are obstacles in his way aside from the Fantastic Four and the Avengers. Death and damnation only compound those obstacles, but as is often the case, Doom raises to the challenge.

There are times when Mephisto tries to poke at Dr. Doom’s very few, but very real vulnerabilities. He tempts him with challenges and deals that test even his unshakable will. Cantwell never lets Doom come off as pure evil or pure ego, but he never comes off as a hero, either.

Heroes don’t beat death, Hell, and the Devil like this. At the same time, villains don’t prevail in ways that makes us want to cheer them on. That’s what Dr. Doom does in “Dr. Doom #3” and he’s somehow more menacing because of it.

There are only a handful of characters in comics that can truly die and stay dead, even if some of them do find roles in alternate universes. There are also certain characters who can die in any number of ways, but will never stay dead for long. Dr. Doom is definitely on that list, if not at the very top.

Dr. Doom #3” might very well be Doom’s darkest hour in the sense that his destiny to rule the world in a Utopian future seemed most distant. He has been dethroned, killed off, and sent to Hell to be tormented by a devil with plenty of motivation to see him suffer. For once, Doom has to beat the odds when they’re not stacked in his favor.

It’s a test of his will and resolve, but one we expect him to pass because he’s Dr. Doom. This is what he does. It doesn’t matter how many times every hero, villain, angel, or demon takes him down. Doom always finds a way to claw his way back. It’s not always easy to root for Dr. Doom, but when he’s beating the devil himself, it’s hard not to cheer him on.

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What “Malcolm In The Middle” And “Joker” Can Teach Us About Deviance

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What makes someone deviant? What turns otherwise normal human beings into the kind of deviants who go onto commit crimes, foster discord, or lash out at the rest of society? These questions are often contemplated by psychologists, police, politicians, and people who just want to live in peace.

The answers aren’t easy, but they often make for compelling movies and TV shows. Some dare to offer answers that are as revealing as they are distressing. That’s part of what made “Joker” such an impactful movie. It’s also what triggered the controversy surrounding its subversive message. I tried to explore that message my review of the movie, but in doing so, I uncovered something surprising.

The themes in “Joker” are more relevant today than they’ve been in years. It makes the case that when people denigrate, marginalize, or ignore those in the lowest rungs of society, they’re going to create the kinds of monsters and supervillains that undermine the current order. Moreover, they deserve the chaos and deviance that these individuals cause.

In “Joker,” Arthur Fleck was a perfect storm of unfortunate circumstances and societal denigration. While Gotham City didn’t turn him into the Joker, they put him in a position to make those fateful choices. Nobody tried to help him or give him other options. If anything, the help and options he needed were taken away. It was part of what made his deviance both compelling and understandable.

It reminded me of a famous TV show that made a similar point, albeit one from a very different genre and medium. It dared to make that point decade earlier, long before the current controversies surrounding mass shooters in movie theaters and so-called “incel culture.” That show is “Malcolm In The Middle.”

The two narratives couldn’t be more different. One is an R-rated movie that defies the conventions of the superhero genre and explores the twisted mind of an iconic villain. The other is a prime-time sitcom full of funny, cartoonish antics from a dysfunctional working-class family. One is dark and serious. The other is funny and light-hearted.

Despite those vast differences, they convey very similar messages. They both make the case that a callous, negligent society will create deviant individuals within its most disadvantaged. They also highlight how efforts to push them aside or suppress their deviance will only make things worse.

In “Joker,” it turned Arthur Fleck into an agent of chaos who went onto inspire more chaos in others. The circumstances in “Malcolm In The Middle” were very different and a lot more subtle, but the underlying message was still there.

It’s subtle, but it’s there.

From the first episode of the show to its finale, Malcolm and his family are depicted as both dysfunctional and disadvantaged. In some instances, they’re downright destitute. On many occasions, they deal with crippling debt, dead-end jobs, and arrogant upper-class types who look down on them with disgust. More often than not, Malcolm and his brothers get back at them in their own creative way.

Whatever form the antics take, the show never uses the lower-class status of Malcolm’s family to justify their behavior. Much like “Joker,” it establishes that the characters have agency. They’re dealt a lousy hand, but they still have opportunities to make non-deviant choices. They’re rarely forced into deviant acts. Opportunities arise and they exercise poor judgement, to say the least.

The very least.

Malcolm and his brothers didn’t have to lie about what happened to Dewey’s bike in Season 1, Episode 15. They did it anyways and things only escalated from there when the consequences caught up with them.

Malcom and his brother didn’t have to buy their mother a terrible birthday gift in Season 2, Episode 3. They still did and the end result led to them fighting an army of clowns in one of the show’s most memorable moments.

It’s not just the kids, either. Hal didn’t have to resort to unorthodox tactics when coaching Dewey’s soccer team in Season 3, Episode 16. He still did and things only got messier from there.

Lois didn’t have to force Malcolm to getting a job as terrible as hers in order to teach him a lesson in Season 5, Episode 6. She still did and, in doing so, taught him an entirely different lesson about just how screwed people like them are. It’s a message that even found its way into her memorable speech in the series finale.

It’s an important component of the show’s brilliance and humor. Malcolm and his family are a mess. They’re constantly getting screwed over by circumstances, bad choices, and other people who look down on them. However, they never come off as victims, nor do they carry themselves as such. They have opportunities to become less dysfunction, but often squander them.

Arthur Fleck had chances to become something other than a killer clown. There were a number of instances in “Joker” in which he could’ve gone a different path. He simply chose not to and society didn’t lift a finger to help him. If anything, they took away what little help he got.

Throughout seven seasons in “Malcolm In The Middle,” Malcolm’s family finds themselves in similar situations. One of the best examples is in Season 4, Episode 17, which happened to be the second clip show episode. In that episode, Hal and Lois recount the births of their kids as they prepare for the arrival of another.

In every instance, the births are subject to strange and hilarious circumstances. In one of them, Lois goes into labor in the driveway of their house because Francis locked her out of the car. Then, while she’s writhing in pain from the labor, a jogger passes by. She yells out she’s having a baby, but the jogger just ignores her and congratulates her.

It’s funny, but symptomatic of the family’s lot in life. Nobody goes out of their way for them. Nobody offers to help them. It even happens again a few episodes later in Season 4, Episode 21 when Lois goes into labor with Jamie. Even though someone calls 9-1-1 and an ambulance arrives, they don’t get there until after she gives birth. The EMTs even joke about how they stopped for coffee.

Like Arthur Fleck, the society around Malcolm’s family doesn’t care about them. They even go out of their way to avoid or neglect them. In “Joker,” Arthur is repeatedly victimized by both the system and individuals who go out of their way to harass him. His situation is already bad, but these ordeals only make it worse.

Early in the movie, Arthur does show signs that he’s capable of being a decent person. He tried to make a kid on the bus laugh. He entertained sick children at a hospital. He could’ve been a productive, positive force in society. Then, society started screwing him over and bad choices on his part led him to become a dangerous deviant.

While Malcolm and his family didn’t become as deviant as the Joker, they still did plenty of damage with their antics. At the same time, there were plenty of instances that showed that, as dysfunctional as they were, they could still be good and decent to others when given the chance. They just rarely got those changes and society rarely provided the incentives.

It’s a powerful message with respect to what makes people deviant. Some people are at the mercy of bad circumstances, be they poverty, mental illness, or having an overbearing mother like Lois. They’re still capable of being good, but it’s easier for them to become deviant when society neglects them. That deviance only compounds as a result of poor judgement and bad choices.

Yes, they compound a LOT.

There are plenty of differences between “Joker” and “Malcolm In The Middle.” Whereas “Joker” takes things to the worst possible outcome in the descent towards deviance, “Malcolm In The Middle” manages to maintain a more hopeful outlook. People can still be deviant and dysfunctional, but they can rise above it. The events of the series finale affirm that.

Those differences aside, this movie and this TV show offer lessons and insight into something that all societies must deal with. There will always be a certain level of deviance. There will also be those more inclined to pursue it. It’s just a matter of how to confront it. More than anything else, “Joker” and “Malcolm In The Middle” shows the consequences of confronting it the wrong way.

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The Future Of Villains And Villainy

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What is happening to villains these days? That’s an entirely reasonable question to ask. Over the past decade, we’ve seen a remarkable shift in how we approach villainy in movies, TV, comic books, and video games. I’m not just talking about the superhero media, either. However, that happens to be the most visible manifestation of this change.

As a long-time fan of both superheroes and quality villains, I welcome this change. At the same time, I’m curious about where it’s leading and what it means for the future. Villains are as old as storytelling itself. From the Bible to “Star Wars,” these stories work best when there’s villainy to oppose the unfolding narrative. Villains have always evolved alongside the heroes that oppose them, but that evolution seems to be accelerating.

I’ve discussed the unique journey that villains undergo and how they set themselves apart from heroes. Traditionally, a villain’s primary purpose was to both oppose the hero and highlight how heroic they are. The sheer malice of characters like Lex Luthor help contrast the pure selflessness of characters like Superman. It’s easier to appreciate those heroes knowing they have to deal such malicious opponents.

Then, something remarkable happened. Audiences began demanding more of their villains. It wasn’t enough to just have a villain oppose a hero. People began wanting villains who were understandable and even relatable to some extent. Ironically, they wanted a villain they could root for.

That helped lead to characters like Walter White from “Breaking Bad.” His impact was so profound that I even called his influence the Walter White effect. However, I think there were others who paved the way for Walter White. If I had to pick one villain that helped kick-start this trend in villainy, it would be Heath Ledger’s Joker from “The Dark Knight.”

From this portrayal of villainy, the emerging state of villains emerged and it may very well set the tone for the future. On the surface, this version of the Joker wasn’t too different from the one who had existed in the comics for years. He’s dangerous, destructive, murderous, and callous, like many villains. Unlike most, though, he does what he does with a laugh and a smile.

What made this version of the Joker so memorable was the principles behind his madness. To him, society is corrupt and people aren’t inherently good. As such, he seeks to point out how laughable it is when others try to save it. Batman’s crusade against crime is the biggest joke of all, which helps drive their rivalry.

It’s a philosophy that few other than terrorists and extreme nihilists would buy into, but it’s one that’s understandable to some extent. We don’t have to agree with them or their methods. We just have to see their twisted logic. They can’t just be standard James Bond villains whose motives are indistinguishable from fascists, communists, or terrorists. There needs to be something more personal at work.

We saw plenty of that in 2018’s biggest movies. From “Black Panther” to “ Avengers: Infinity War” to “Incredibles 2,” the villains all had something personal at stake. Erik Killmonger saw his villainous actions as heroic. He wasn’t out to just take over Wakanda. He had a vision in mind that felt justified to some extent, especially to those familiar with real-world historical injustices.

Thanos raised the bar even more in “Avengers: Infinity War.” He never tries to come off as a hero, but he never sees his actions as villainous, either. In fact, when heroes like Dr. Strange call him out, he frames his desire to cull half the population in the universe as mercy. For him, it’s simple math. Half a population is better than no population at all.

These motivations, as devious they might be on paper, have some semblance of merit to it. Both Thanos and Killmonger think they’re doing the right thing. That significantly impacts how the heroes in their stories go about thwarting them, although I would argue that one story was more complete while the other remains unresolved.

In “Black Panther,” T’Challa doesn’t just stop at defeating Killmonger. He actually sees some of his enemy’s points and takes steps to address them. He doesn’t revert things back to the way they were. Wakanda doesn’t return to the same isolated state it had been at the start of the movie. Instead, he seeks to find a middle ground. That, I would argue, is the new template for how heroes defeat this kind of villain.

The resolution in “Avengers: Infinity War,” however, is not as clear. That’s largely due to the story not being complete. There is a sequel planned, but at no point in the three-hour spectacle did the Avengers attempt to prove Thanos wrong. They only ever tried to stop him. That oversight has not gone unnoticed by audiences.

This, in many ways, sums up the new dynamic between heroes in villains. It’s no longer enough for heroes to just defeat their adversaries. It’s not even enough for villains to be exceptionally devious. There have to be larger principles at work. It can’t just be reduced to general greed, ego, or bullying.

Thanos seeks to kill have the population because he believes that it’ll prevent the complete extinction of all life.

Erik Killmonger seeks to empower oppressed minorities to right past injustices.

Dr. Doom seeks to conquer the world because a world under his rule is the only one free of suffering and want. That’s actually canon in the comics.

It’s makes crafting compelling villains more difficult, but at the same time, it opens the door to more complexity. On top of that, it demands that audiences think beyond the good versus evil dynamic that has defined so many stories, going back to the days of fairy tales. It’s a challenge that some are certain to fail. Some already have, sadly.

It also sets the tone for future forms of villainy. How that villainy manifests is impossible to predict, but given the current trends, I think there’s room to speculate. At the heart of this emerging villainy is the idea that the current system just isn’t working. It’s so bad that the only viable option is to destroy and rebuild it. There’s no room, whatsoever, for reform.

This is where the heroes will have to evolve, as well. They can’t just play “Super Friends” and save the day. They have to actually make meaningful changes to move society forward. King T’Challa did that at the end of “Black Panther.” Other heroes need to be as willing. Otherwise, they won’t be able to call themselves heroes. They’re just defenders of a status quo may not be working as well as they think.

It’s an ideological struggle that parallels many real-world struggles. People today have less and less faith in established institutions. As a result, more people are falling sway to populist rhetoric that promises to break down the current system entirely. By and large, people today aren’t content with just preserving things as they are. They seek more meaningful change.

That presents a serious problem for heroes and a golden opportunity for villains. Historically, heroes haven’t been able to effect change beyond a certain point. Some of that is for logistical reasons. A hero can never create a functioning utopia without ending the story completely, which is something major media companies cannot have. There’s too much money to be made.

Logistics aside, the future of villainy will have plenty of raw materials to work with and plenty of societal angst to draw upon. Heroes who save the day, but do little else won’t be able to call themselves heroes in the world currently unfolding. Villains who have a real vision with understandable motivations will find themselves with more supporters than before.

It’s no longer taboo to root for the villain, especially when the heroes don’t confront the flaws in their rhetoric. In what seems prophetic now, “Avengers: Age of Ultron” may have put it best when Ultron stated:

“I’m sorry, I know you mean well. You just didn’t think it through. You want to protect the world, but you don’t want it to change.”

That’ll be the key to the future of villainy, change in a world that resists too much of it happening at once. It’ll make for some complicated villains, but it will definitely make the struggle of heroes even harder. However it plays out, I believe it’ll be worth watching.

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Understanding (And Learning From) Lex Luthor’s Hatred Of Superman

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As a lifelong fan of superhero comics and someone who enjoys shows like “Breaking Bad,” I’m genuinely fascinated by villains. Specifically, I’m intrigued by what makes them tick and why they walk the villain’s path. Their journey is distinct from that of a hero, but one that can be just as compelling.

In many cases, these villains have capabilities that allow them to solve many of the world’s problems. I’ve cited Dr. Doom as one of those villains who blurs the lines of villainy because of his intentions. Characters like Dr. Doom genuinely believe that their villainous actions are justified because it will lead to a better, safer, more prosperous world. Heroes also believe that too, which helps fuel their epic battles.

For a character like Lex Luthor, though, the line isn’t that blurry. He’s a villain, plain and simple. He’s selfish, callous, arrogant, cruel, and narcissistic to an extreme. If he existed in the real world, he would check every box for narcissistic personality disorder. In terms of personality, he’s the polar opposite of his nemesis, Superman.

That goes a long way towards giving Superman an enemy who stands against his heroic ideals. I would even argue that Superman couldn’t be the iconic kind of hero he is without Lex Luthor. At the same time, I also think Lex reveals something critical about humanity, morality, and superheroes in general.

That’s difficult to see because for much of Lex’s early years in comics, there wasn’t much depth to his motivation. He just wanted to dominate the universe and Superman was in his way. It’s basic and bland, but that was typical for the early era of superhero comics. Villains like Lex were mostly just obstacles for the heroes to overcome in their journey.

That changed in the late 80s and early 90s with the modern era iteration of Lex Luthor. Finally, Lex got more backstory and depth. He was still no Walter White, but these details helped set the stage for the kind of villain he became. It also helped establish why he hates Superman so much.

Whereas Superman landed on Earth and was adopted by loving parents, Lex grew up in a rough part of Metropolis called the Suicide Slums and was raised in an abusive household. Right off the bat, Superman gets lucky by having the best parents a child of any species could ask for while he’s unlucky enough to be born with the worst.

As a result, Lex had to be ruthless, manipulative, and cunning. Unlike other villains, though, he didn’t need much tempting. He didn’t agonize over his moral decisions, either. He just did it and didn’t feel a shred of guilt. That includes the role he played in the death of his parents.

That alone establishes Lex Luthor as the kind of ruthless villain who would oppose Superman for any number of reasons. However, as evil as that act was, it’s important to note the motivation behind it. Lex didn’t just kill his parents because murder makes him happy. He did it because they were an obstacle and an opportunity.

They were holding him back, but their deaths meant insurance money that he could use to strike out on his own and build something worthy of his genius. To him, the morality of his decision didn’t matter. Only the results mattered. That’s a critical detail and one that puts Lex Luthor’s villainy into a unique context.

Lex, being one of the smartest characters in the entire DC universe, doesn’t care much for things that are esoteric and obscure. He’s all about results that are tangible and measurable. That means things like truth, justice, and the American way are empty concepts to him. Superman champions those ideals, but for Lex Luthor, they’re just hindrances.

That kind of cold, callous approach to the world gives a unique substance to Lex’s behavior. He’s certainly not the first person to take such a materialistic approach to reality. Rick Sanchez of “Rick and Morty” does the same, but rather than misanthropic despair, Lex Luthor sees it as the key to producing the results he seeks.

Moreover, he has to produce those results without the god-like power that Superman wields. If Superman wants to move the Earth out of the way or destroy an oncoming asteroid, he doesn’t have to build anything or learn anything. He just has to flex his muscles, fly up into the sky, and destroy it with a single punch. There’s no tangible reason to his actions beyond it being the right thing to do.

To Lex Luthor, that’s not just an affront to someone who had to work for everything he ever gained. It’s an insult to his egocentric, results-focused worldview. Just saving the world because it’s the right thing to do doesn’t achieve anything. It does nothing to move humanity forward because nobody had to produce something of merit. It just allows them to continue in the same, unaltered state.

This gets to the heart of why Lex Luthor hates Superman. The extent of that hatred was fully articulated in one of the best modern Superman stories ever told, “All-Star Superman” by Grant Morrison and Frank Quitely. If you only read one Superman comic, make it this one because it perfectly encapsulates the pure heroism of Superman and the cold villainy of Lex Luthor.

In one critical part of the story, Lex tells Clark Kent, who he doesn’t know is Superman, what it means to actually work for his power. Superman, for all his idealism, did nothing to earn his abilities. He just happened to be an alien who landed on a planet with a yellow sun.

It’s like winning the lottery as opposed to working hard for a fortune. One is built on hard work and skill while the other is just dumb luck. Beyond basic jealousy, though, Lex makes another critical point about the ideal Superman sets.

From his perspective, that lofty ideal diminishes the entire human race. By being this other-worldly savior who achieves all these impossible feats, Superman reveals how inept the human race is. More importantly to Lex and his massive ego, it shows just how feeble his achievements are, despite all the work he put in.

Being the extreme narcissist he is, Lex takes that as the ultimate insult. In terms of the bigger picture, it establishes that neither he nor humanity can achieve their full potential. In that context, it’s understandable why Lex dedicated so much time and energy to killing Superman.

I won’t get into all the ways Lex has tried and failed over the years, although one of his plots did involve him becoming President of the United States. Whatever his methods, I think there’s a larger lesson to learn from Lex’s hatred and for once, it goes beyond his ego.

A big part of what turns someone into a villain is this sense that the world isn’t fair, but could be made better with the right guidance. Lex believes he’s capable of providing that guidance and not just because of his ego. He is, objectively, one of the smartest and most capable human beings on the planet. However, it’s Superman who keeps Lex from making the world less unfair.

Superman believes in the merits of truth and justice. He inspires others to uphold these ideals, even without his vast power. That’s a problem for Lex, who builds much of his power on lies and treachery. To him, though, he doesn’t see that as wrong. He just sees that as the most efficient way to get results.

To uphold truth and justice, in his brilliant mind, is to prevent the world from progressing. Granted, progress in Lex Luthor’s mind means him being in charge, but that doesn’t necessarily undermine the implications.

Like Dr. Doom, Lex is ambitious in that he doesn’t just want to save the world like Superman. He wants to fundamentally change it and he’s willing to cross any line to achieve that. Killing Superman is part of that change, but so is becoming a billionaire and a future President of the United States. If a billion people die in the process, then that’s acceptable because it means humanity is stronger because of it.

There have been times in the comics where Luthor’s vision has manifested. In another critically-acclaimed Superman story, “Red Son” by Mark Millar, Lex has a chance to lead the world into a brighter future. By and large, he succeeds. He’s still an unapologetic narcissist, but he still gets the results he seeks.

Like all great conflicts between superheroes and their arch-nemesis, the dichotomy between Superman and Lex Luthor is stark. They’re two extremes on opposite ends of a spectrum delineating heroism and villainy. By being on those extremes, though, it’s easier to see the inherent shortcomings of both.

While Lex’s shortcomings are easier to identify since he’s an outright villain, he does help identify an important flaw in Superman’s idealism and one that extends to superheroes, as a whole. Superman is willing to save the day, but he’s not willing to cross any lines. He will only ever do the right thing and that means not sacrificing innocent lives or usurping individual freedom.

Those heroics will keep the world turning, but they won’t move society forward. Superman believes in inspiring humanity rather than doing it for them, but Lex Luthor believes his heroism achieves the opposite. It just makes people complacent and dependent on heroes like him rather than crossing the lines that he’ll cross to get things done.

At the end of the day, both in the real world and the world of comic books, we have to determine how much we’re willing to pay for the results we seek. Lex is willing to pay any price. Superman isn’t willing to pay a cent beyond doing the right thing. Most reasonable people, including other superheroes, fall somewhere in the middle.

In the pantheon of super-villains, Lex Luthor is probably the easiest to despise and the hardest to understand. Like Superman, he exposes another side of an ongoing struggle between doing the right thing and achieving more. As society continues to progress, achieving abilities rivaling that of any superhero, it’s a struggle we’ll have to confront.

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Filed under Comic Books, Jack Fisher, Superheroes, human nature, philosophy, psychology, superhero comics