Oral Roberts University

SUPERIORITY AND BLURRED LINES:
An observation of the themes communicated in major DC Comics storylines

Joshua Gallego

Philosophy of Science HONR 102

Dr. Ken Weed/Dr. Samuel Thorpe

March 13, 2014

Introduction
Superheroes are part of an American upbringing. Stories of persons with capabilities that far exceed that of the human race are popular and appealing to our youth and even to many adults. Entertainment in general pervades the American culture, and this specific type of entertainment dealing with superheroes is of considerable size and has been a constant for several decades. Images of Superman, Captain America and many others are immediately recognized when seen. The entertainment value of these fictitious tales has caused the companies that own them to expand into creating computer games and producing movies, which has made them even more visible. It is considered weird if a person does not even know the basic story of these costumed figures. The adventures, stories, and even lives of these fictions have become a part of the American Psyche.

Throughout the course of this semester, discussion in the Philosophy of Science class has led to topics such as the paradigms and presuppositions that we approach our world from and the metaphors that we use to communicate ideas and concepts. Such discussion has led to the asking of questions concerning things that we encounter in everyday circumstances. Questions like “What are the presuppositions of this statement?” were asked on a regular basis. One of the most interesting discussions in the class was the topic of the multiverse concept, a reality consisting of more than a single “reality”. Discussion of this topic immediately led to another topic in which the multiverse concept had been used: the world of superheroes found in comic books. As the class had trained us to do, questions began to surface, questions concerning the stories of these superheroes that have become an important piece of our culture. Of course, the stories are fictitious, and the purpose was not to test the stories as you would test a true scientific theory. The main focus of this research was on the message of the stories, what ideas and concepts did
Gallego 2 they communicate? It would have been unreasonable to sift through vast collection of series published throughout the years, so the content analyzed was narrowed down to the main story arcs of “Crisis on Infinite Earths”, “Infinite Crisis”, “Trinity War”, “Forever Evil” and a few other relevant storylines. The major reasons for the selection of titles were the facts that 1) The first two dealt with the multiverse concept and 2) these titles are perhaps the most inclusive of the DC storylines, involving the majority of the characters in the DC universe. Throughout the research, many themes were presented, yet two messages were found that seemed to deal expressly with the subject of the philosophy of science. The first was the presentation of science as a limitless and superior, and the second was the presentation of a blurred line for the standards of human behavior.

The Science Theme
The power of superheroes is something completely beyond the grasp of current human capabilities. Things like the ability to travel at the speed of light common place in the world of superheroes. These are things that humans aspire to, but scientists at NASA are trying to determine if such travel is even possible (Hakim). We use our knowledge of the atom to power our cities with nuclear power plants, but imagine if you could harness nuclear power within a body and use it to rearrange subatomic structures of inorganic matter. That is the theory behind the powers of Firestorm, a hero with abilities that scientists can only dream of (Firestorm). The power of heroes like Firestorm and the Atom, who has the ability to alter both his size and mass, are theories, but theories that are grounded in real occurrences in the world of science. Firestorm was conceptualized in the 1970s, a time when the United States and Soviet Union were facing off in a nuclear arms war. Michael McAvennie and Hannah Dolan put it like this, “the Nuclear
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Man was a genuine sign of the times – the explosive embodiment of a nuclear world” (McAvennie, Dolan). The heroes are the product of creative thinking. In the handout Dr. Thorpe provided us entitled “Creative Thinking”, some of the questions asked include “what is the extreme version?”, “how could it be made better?”, what if this were backwards?”. Some of these questions certainly have been explored by comic book writers and editors. Firestorm exemplifies the potential of nuclear power. Another example would be the Flash’s ability to vibrate his molecules to achieve intangibility and phase through walls, something that has a real-life parallel, quantum tunneling. Quantum tunneling basically goes against classical physics, saying that particles such as electrons could possibly “tunnel” through barriers (KSU). Flash’s power of phasing is an extrapolation of this quantum tunneling theory to an entire human body. The expansion of scientific theories in comic books communicates a strong faith in the limitlessness of scientific theory. While we may not be even remotely close to achieving the things postulated in comic books, it seems that we are already planning what to do with it when we do get there.

The inspiration for this research was the multiverse concept. The storylines of DC that deal directly with this subject are “Crisis on Infinite Earths” and “Infinite Crisis”. An exploration of these two titles led to the conclusion that the comics communicate a message of scientific superiority. The first piece of evidence is the explanation behind the multiverse of DC. The entire story of “Crisis on Infinite Earths” is built on the idea of many universes, each with its own earth that has its own form of heroes. These different earths are the result of the actions of the scientist Krona from the planet Maltus. He created a time-bending machine that allowed him to view the moment of creation, causing the creation of a multiverse instead of a single universe.
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The second scientist who features prominently into the story is Pariah. He too, was a brilliant scientist who sought to learn the origins of the universe. He was able to build an anti-matter chamber that allowed him to also view the origin of the universe. His actions awoke the antagonist of the storyline, the Anti-Monitor, and set into motion the events that would require the efforts of nearly all the characters in the DC universe to solve. The message of scientific superiority is communicated through this premise that scientists will one day be able to grasp the root cause of all existence.

The actions of other scientists played prominent parts in solving the problems, despite the fact that the problems were started by scientists in the first place. The antagonist of “Crisis on Infinite Earths”, the Anti-Monitor, has a counterpart called the Monitor. The Monitor uses his knowledge of the problem to construct “cosmic tuning forks” that prevent the Anti-Monitor from destroying the last remnants of the multiverse. The Monitor also raises up Alexander Luthor Jr., yet again another brilliant scientist, in his place to finish the work of defeating the Monitor before he dies. Luthor opens up portals between worlds, allowing the strongest heroes of multiple earths to attack and defeat the Anti-Monitor. Without the valiant scientific efforts of these two, the preservation of the universe would not have been possible. The story presupposes that it is within the grasp of scientists to understand the origins of the universe, and even to alter the universe to some extent. It is quite obvious that this premise is prominent within the scientific community today. The scientists of Earth, like Krona and Pariah, aspire to know the origins of our universe. In fact, the very topic features heavily into two of the books we were assigned in class, Show Me God and Science and Religion. Show Me God
Gallego 5 presents an abundance of new scientific discoveries that lend credence to the big bang theory, a theory that supposedly describes the phenomenon that occurred at the beginning of time. The book’s author, Heeren, argues that the evidence points to God as the “first cause” and the how behind our universe (Heeren). McGrath’s book, Science and Religion focuses on the relationship between science and religion, but also has sections dealing with origin theories. It talks about the historical perspectives on the relationship, bringing up Newton, who viewed the universe as a machine, and Darwin, who sought to explain the biological origins of man, both of which are theories that seek to explain origins (McGrath). The long fought creation-evolution debate is still going on, most recently with the Bill Nye and Ken Ham debate. The question of our origins is a hot topic, one that is in the forefront of many brilliant minds. The comics once again parallel a belief in science. This time it is the presupposition that humans, specifically scientists, possess the faculties to understand the origin of the universe.

Science is being greatly exalted in our day and age. Many believe science is the key to solving the world’s problems and some even consider it to be the ultimate authority. This message concerning the all-encompassing aspect of science can also be found within the pages of DC comics. The most widely explored concept we find is the role of science in explaining emotions. The Guardians of the Universe, a group of Krona’s people, decided to bring order to the universe and eradicate evil. They sought to do this by creating the iconic green lantern corps (Guardians). The green lantern corps use rings to harness the power of the will, which is defined in the comics as an emotion. In the story arcs “Blackest Night” and “Brightest Day”, DC expanded on this concept, revealing six other emotions that are harnessed through the “Emotional Electromagnetic Spectrum”. The six other emotions are rage, avarice, fear, hope, compassion and love
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(Spectrum). The ability of the guardians to harness the power of emotions through rings implies that science has the ability to explain everything, even things normally thought to lie outside the realm of science, like emotions. This attitude towards emotions is found in the world of science today. For instance, the Harvard Medical School has a web page dedicated to the “science of emotion”. In article on the Scientific American site detailing the interview of Antonio R. Damasio, the author states that, “Damasio has strived to show that feelings are what arise as the brain interprets emotions, which are themselves purely physical signals of the body reacting to external stimuli.” (Lenzen). The implication of this statement is that there is no unobservable aspect of emotions or feelings. Thus, feelings and emotions can be fully explained through the scientific method of discovery and experimentation. Just as the Guardians harnessed the power of the will in the comic books, the neuroscientists of today believe they too can unlock the mystery of emotions.

The comics of DC, specifically “Crisis on Infinite Earths” and “Infinite Crisis” communicate a message of scientific superiority. The expansion of scientific theories, the emphasis on scientific capability, and the expansion of scientific authority are themes that are presented throughout these storylines. From the Flash to Green Lanterns to Alexander Luthor, characters in popular comic books reflect the growing importance placed on science and the exalted position it holds in our world today

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The Philosophy Theme
“Clark Kent personifies the fairly typically the average reader who is harassed by complexes and despised by his fellow men; though an obvious process of self-identification, any accountant in any American city secretly feeds the hope that one day, from the slough of his actual personality, there can spring forth a superman who is capable of redeeming years of mediocre existence” (Eco).

In these opening words to his essay “The Myth of Superman”, Umberto Eco describes the great appeal of comic book superheroes. They are the prototypical being, the pinnacle of existence that we seek to become. This dynamic between the fictional characters and the real people living next door highlights the importance of cultural phenomena like comic books. This is why a quote from Jim Lee, the Co-Publisher of DC Comics, should resonate within the minds of any person interested in exploring the values of the United States of America.

“What you’ve seen over these decades is less of a black and white between the heroes and villains. Back in the ’30s, ’40s and ’50s, you had clear-cut heroes, clear-cut supervillains. Today, you have more of a blend, more of a gray area between the two. You have the rise of the sympathetic villain and the rise of the antihero. You have a lot of characters who follow the motto “The ends justify the means,” and depending on what the ends are, are they a villain or a superhero? That’s what makes supervillains today more modern. We’ll show their back story, we’ll show their motivation. It’s not just about robbing a bank of $10 million. They’re a lot more complicated and layered and thematically rich today than they were in the past” (Lacher).
The superheroes of today are different from superheroes of the past. They are more complex, more
Gallego 8 modern, and apparently more appealing to the current audience of comic books. A look at current portrayal of the “big three” of DC (Batman, Superman, and Wonder Woman) and some villains provides insight into the “gray area” that they represent.

Batman was the epitome of justice. Not the political justice that seeks to please others, but justice that is willing to do the dirty work for the right reasons. Justice that does what is necessary and right, even when it is unappealing. He took up his abode in the dark city of Gotham, surrounded by lunatics and wicked men, and was willing to condemn every single one of them. Yet justice has changed. Justice has become paranoid. In the story arc “Identity Crisis”, Batman had part of his memory taken from him. In the storyline “OMAC Project”, he contemplates the events, “I learned early on the only thing I could truly control was my mind. They took that from me” (The Comic Book Realm). Batman lost the assurance of his reason, and his faith in the rest of the heroes was shaken. He created Brother Eye, a surveillance system that allowed him to ascertain the weaknesses of all metahumans, both heroes and villains. He even had means to combat the other heroes. In a later story arc, “Trinity War” it is shown that he possesses a kryptonite ring in order to weaken Superman and a yellow power ring in order to fight Green Lantern. In the latest major story arc, he uses the yellow power ring, showing his determination to not trust the other heroes (Forever Evil). This blurred line shows that the prototypical being no longer puts his faith in the goodness of others, but in his ability to combat the evil that may be come from them.

Wonder Woman has become a murderer. In the “OMAC Project”, a prelude to “Infinite Crisis”, Maxwell Lord mind-controls Superman and uses him to severely injure Batman. In an ensuing fight, Wonder Woman responds by snapping Maxwell Lord’s neck. In “Infinite Crisis”, she defends her actions, saying, “Sometimes there is no other choice” (Infinite Crisis). She seems to have retained this determination to do whatever is necessary to stop what she views as evil. In “Trinity War”, she has the following conversation with Superman:
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WW: There’s a reason I don’t have a list of villains as long as Bruce’s, Barry’s, or even yours. When I deal with them, I deal with them.
Superman: I trust you’re not talking about killing them Diana.
WW: Only if it comes to that.
(Hex, Brandon)
Wonder Woman is now portrayed as a hero who is willing to do whatever it takes to maintain peace in the world, even if it means violating the sanctity of life.

Truth, Justice, and the American Way. Superman is the embodiment of the American ideal. However, even the Superman is portrayed as less than perfect in recent DC storylines. In “Infinite Crisis”, Alexander Luthor and Kal-L (Superman from Earth-Two) lay the blame on Superman for not steering earth in the right direction, attacking him for not correcting the wrong in the world. The very facts that the authors feel the need to have characters in the comic books believe in the perfectness of Superman shows that he holds the standard. However, this standard has fallen. In “Trinity War”, Superman’s character is further eroded when it is shown that he kills Doctor Light. At the same time, the Question, a metahuman investigator, stares down a board of evidence that labels Superman as evil. In the end, it is shown that it was not Superman’s fault (although he did actually kill Dr. Light), but the storyline reflects the current trend towards more morally ambiguous heroes who are likely to fail. Although his actions aren’t as condemning as Batman’s or Wonder Woman’s, the very fact that Superman is portrayed in this way is a major shift. Superman is the prototypical existence, but he has been labeled as evil and can inadvertently kill others. What was once the gold standard is now imperfect and prone to failure.

The final piece of evidence that depicts the blurred line between good and evil is the portrayal of the villains in the latest story arc in DC, “Forever Evil”. The first thing of note is the way the evil
Gallego 10 counterparts of the Superman, Batman, and Wonder Woman are drawn. In the past, they were drawn with different mannerisms and distinctly “evil” facial expressions. In “Forever Evil”, they look nearly exactly like the good heroes. Furthermore, Superwoman (Wonder Woman’s evil counterpart) has a baby, associating something that is normally perceived as good and pure (babies) with a representation of villainy and evil. Another shift is the portrayal of the villains of earth. Captain Cold and his group of villains refuse to destroy a city because it is still occupied by innocent civilians. Lex Luthor is shown to develop a bond with Bizarro, and even shares an inspirational story from his past about why he never fails. Furthermore, the villains of earth essentially become the protagonists, fighting against the evil counterparts of the big three in order to liberate earth. All of these portrayals of the villains in “Forever Evil” further blur the line between good and evil. This time, it conveys the message that what we believe to be wrong might actually contain some goodness that is worth aspiring towards.

The heroes we have come to admire are portrayed as less than perfect nowadays. They are subject to distrust, are willing to take lives, and are capable of even failing to save the world in times of need. The villains who are normally portrayed as ultimately depraved are capable of compassion and performing some of the roles of the heroes. As Umberto Eco explained, the superheroes (and villains) of the comic books are powerful symbols of self-identification, and if good guys are doing bad things and bad guys are doing good things, what is that communicating to us?

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Works Cited
Eco, Umberto. “The Myth of Superman”. The Role of the Reader. n.p. 1972. PDF File
<http://www.uta.edu/english/timothyr/Eco.pdf>
“Emotional Electromagnetic Spectrum.” DC Comics Database. N.p. n.d. Web. <http://dc.wikia.com/wiki/Emotional_Electromagnetic_Spectrum>
“Exploring Quantum Tunneling.” N.p., n.d. PDF File. <http://web.phys.ksu.edu/vqm/vqmnextgen/qmbasics/exploringquantumtunneling.pdf>
"Firestorm." N.p., n.d. Web. <http://dc.wikia.com/wiki/Ronald_Raymond_(New_Earth)>.
Hakim, Danny. "Faster Than the Speed of Light?" New York Times. The New York Times Company, 22 July 2013. Web. <http://www.nytimes.com/2013/07/23/science/faster-than-the-speed-of-light.html?_r=0>.
“Guardians of the Universe (New Earth).” DC Comics Database. N.p. n.d. Web. <http://dc.wikia.com/wiki/Guardians_of_the_Universe_(New_Earth)>
Heeren, Fred. Show Me God. Olathe: Day Star Publications, 2004. Print
Hex, Brandon. “DC Comics New 52: Trinity War pt.1 - No More Superman.” Online video clip. Youtube. Youtube, 8 Sep. 2013.
Lacher, Irene. "Jim Lee Talks Batman, Italy and the Psychology of Villains." Hero Complex: Popular Culture Unmasked. LA Times, 5 Oct. 2013. Web. <http://herocomplex.latimes.com/comics/jim-lee-talks-batman-italy-and-the-psychology-of-villains/#/0>.
Lenzen, Manuela. "Feeling Our Emotions." Scientific American. Scientific American, 24 Mar. 2005. Web. <http://www.scientificamerican.com/article/feeling-our-emotions/?page=1>.
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McAvennie, Michael; Dolan, Hannah. "1970s". DC Comics Year By Year A Visual Chronicle. New York: Dorling Kindersley, 2010. 177. Print.
McGrath, Alister E. Science and Religion. 2nd ed. West Sussex: Wiley-Blackwell, 2010. Print
The Comic Book Realm. “Count Down to Infinite Crisis Book 8 The Omac Project # 2.” Online video clip. Youtube. Youtube, 29 Apr. 2013.