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Comic-book editor Steve Padnick argues that, more than other comic-book superheroes, Batman is an embodiment of plutocracy, with a good measure of Hobbesian authoritarianism thrown in:
Batman isn’t just “the man,” Bruce Wayne is also The Man. He’s a rich, white, handsome man who comes from an old money family and is the main employer in Gotham. He owns half the property in the city. In a very real sense, Gotham belongs to him, and he inherited all of it.
True, it’s a very American version of aristocracy, based on wealth rather than divine right, but in practice it’s basically the same. The myth of aristocracy is that class is genetic, that some people are just born good enough to rule, and that this inherent goodness can be passed down from generation to generation. It’s long been established, and Grant Morrison’s recent “Return of Bruce Wayne” miniseries reaffirmed, that there has always been a Wayne in Gotham City, and that the state of the city reflects the status of the Waynes at the time. The implied message of Batman: Year One, and Batman Begins, and The Dark Knight Returns, Batman Beyond, and so on is… if the Waynes are absent from Gotham, the entire city falls apart.The underlying narrative of Batman—which, in most people's minds, has largely been buried under a pile of camp 1960s kitsch, thanks to the TV series—is one of class war, with Batman, an Arthurian king-in-exile, taking back his kingdom (Gotham City) from the underclass, and reinforce the status quo where the law, rendered effete and ineffectual by red tape and concern for due process, is unable to do so:
Just look at who he fights. Superman (for example) fights intergalactic dictators, evil monopolists, angry generals, and dark gods, i.e. symbols of abusive authority. Batman fights psychotics, anarchists, mob bosses, the mentally ill, and environmentalists, i.e. those who would overthrow the status quo. Superman fights those who would impose their version of order on the world. Batman fights those who would unbalance the order Batman himself imposes on Gotham.
Consider the Penguin. He’s a criminal, a thug. But what really distinguishes him from other villains is his pretensions to being upper class. The tux, the monocle, the fine wine and fine women, running for mayor.... He tries to insinuate himself with actual socialites, some of whom are attracted to his air of danger, but most of whom are repulsed by his “classless” manners. And when his envy and resentment of his “betters” turns to violence, Bruce steps in to teach him his place.In other words, if each age gets the heroes it deserves, the (super)hero for our time, with its spiralling wealth gap, nominally democratic governments realising that they're at the beck and call of the global super-rich and consequently raising taxes and cutting back services for the little people, and the post-9/11 Long Siege, could be Batman.
(via Boing Boing)
In one of the diplomatic cables released by WikiLeaks Putin and Medvedev are compared to Batman and Robin. It’s a useful analogy: isn’t Julian Assange, WikiLeaks’s organiser, a real-life counterpart to the Joker in Christopher Nolan’s The Dark Knight? In the film, the district attorney, Harvey Dent, an obsessive vigilante who is corrupted and himself commits murders, is killed by Batman. Batman and his friend police commissioner Gordon realise that the city’s morale would suffer if Dent’s murders were made public, so plot to preserve his image by holding Batman responsible for the killings. The film’s take-home message is that lying is necessary to sustain public morale: only a lie can redeem us.
Consider too the renewed popularity of Leo Strauss: the aspect of his political thought that is so relevant today is his elitist notion of democracy, the idea of the ‘necessary lie’. Elites should rule, aware of the actual state of things (the materialist logic of power), and feed the people fables to keep them happy in their blessed ignorance. For Strauss, Socrates was guilty as charged: philosophy is a threat to society. Questioning the gods and the ethos of the city undermines the citizens’ loyalty, and thus the basis of normal social life. Yet philosophy is also the highest, the worthiest, of human endeavours. The solution proposed was that philosophers keep their teachings secret, as in fact they did, passing them on by writing ‘between the lines’. The true, hidden message contained in the ‘great tradition’ of philosophy from Plato to Hobbes and Locke is that there are no gods, that morality is merely prejudice, and that society is not grounded in nature.
Star Wars Modern has another excellent post, this time about the history of cities and urbanism as seen through superhero comics, or more specifically, Superman and Batman.
That Depression Era mash of eugenics, nationalism, and progress/self-improvement, when introduced into the settings of the already popular crime pulps, gave birth to two enduring strains of superheroes: those that are inhumanly-super, like Superman; and those that are merely humanly-super, like Batman. Each has a place, an urban setting. More than childhood trauma or costume choices, it is these negative spaces that surround the heroes that make them what they are.While both embody the idea of the übermensch, leavened by Depression-era anxieties, they represent different outlooks in the 20th-century debate on the condition of living in cities; Superman embodies the modernist utopianism of slum clearances and gleaming high-rise tower blocs à la Le Corbusier (in one early story, he demolishes a slum teeming with criminality, forcing the authorities to hastily erect modern tower blocs). Batman, however, represents a more Hobbesian pessimistic world-view, of the urban condition as irredemably producing vice and evil, of urban dwellers as rats, their depravity justifying Batman's brutal methods. (Or, as John Powers writes, "In Batman's Gotham, human-nature makes the city a bad place. In Superman's Metropolis, exactly like More's Utopia, it is the city that makes people bad, and it needs to be physically reordered".) Both, however, were founded in the same prevalent assumption that the urban condition breeds vice, and that a more wholesome life is to be found in small towns, villages or the newly erected Levittown-style suburbs.
A lot of the anti-urbanist arguments cited a 1962 psychology paper titled Population Density and Social Pathology, by John B. Calhoun, in which the researchers cram increasing numbers of rats into a small space and notice that they start attacking and cannibalising one another, and then infer that rat psychology applies equally to humans, and city-like population densities trigger acts of depravity in human populations. To this day you hear the "rats in a cage" argument trotted out as folklore, because it's a vivid, lurid image. The problem is, the experiment doesn't hold; humans in a city aren't rats in a cage, and cities, even densely-packed slum-like ones, left to their own devices, evolve remarkable (if not always aesthetically pleasing) mechanisms of community and cooperation; in fact, the sprawling shanty-town is the ur-city:
Like Jacobs in 1961, who was opposed to Modernist slum clearance and saw density as a positive quality invisible to her contemporaries, Brand sees the high density of slums of contemporary South America, Asia and Africa as the model for future city life. While Jacobs pointed to so-called slums as healthy, but underserved neighborhoods in Boston and New York, and argued that they were positive examples to be emulated by planners, Brand points to vast squatter cities that house billions of people globally as feral urbanism that needs to be legitimized and fostered. The favelas and katchi abadi are thousands of times larger then the neighborhoods Jacobs wrote about, but Brand points out that San Francisco started out as a shanty town, and while he is quick to admit that "new squatter cities look like human cesspools and often smell like them," these are still neighborhoods, they are a legitimate form of urban development. These are not the "breeding ground for suffering and injustice" that Nolan has cast them as. In Brand's description squatter cities are vibrant:
Costumed crimefighters seem to be the big thing in Britain these days: firstly there was the one in Tunbridge Wells, then Angle Grinder Man came along to defend London motorists from having to take responsibility, and now two chaps dressed as Batman and Robin are protecting the residents of Reading from muggers and football streakers.
It's ironic that this should happen two days after Wesley Willis passed away: Thames Valley police launch manhunt for Batman, after the superhero (or an impostor) beat another man unconscious outside a cafe.
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